It's time for The Trouble with Girls: a good title that does not describe its action at all and, sadly, Elvis's penultimate film. After getting some more advice about what to cover next, we run through the film's wild cast and lament how almost none of the many high profile actors spend any time interacting with one another. We also talk through this film's troubled production history (and the source novel that must be better than this), get sad about the unfortunate placement in Elvis's film career (at least for our purposes), and debate whether this is really the only movie where Elvis doesn't fight. Was cannibalism a popular topic in 1927? What is a Chautauqua? We try to find answers. We talk also talk about the tonal shifts that must have been difficult for everyone involved, the the unexpected and illogical murder plot, and why it opens with so many child auditions if they're never going to pop up again. We find new ground with our games at the end of the episode and look ahead to our final movie, Change of Habit.

We have made it to 1969, the final year of Elvis Presley's film career, and we're kicking things off with Charro! This means we have just two movies to go, but we may have finally accomplished something special: did we finally find a good tagline? We talk about how Charro! is a movie featuring no songs (other than the title/theme song) sung by Elvis, the movie's truly wild alternate titles, and how hyper-violent (and overly sexual) it is (at least for an Elvis movie). We explore how Charro! exists at seemingly at a pivot point in Elvis's film career, which makes the fact that the end is nigh a bit depressing. We imagine Elvis as the star of a 1960s Western TV series. Mike explains how this movie is similar to The Legend of Zelda: Breath of the Wild and how Elvis's sense of morality and justice in the movie is akin to Superman. We play our normal games at the end of the episode, but they hit a bit different this time, given the lack of music in this movie. We guess what The Trouble with Girls will be about. Is it going to be a stinker? We're worried!

Viva Pod Vegas returns with Live a Little, Love a Little -- Elvis's third and final film from 1968, and one of his most fun to date! After reading some emails suggesting things to cover in our near future -- and asking if Elvis love dogs more than anything else -- we run through the film's six (!) taglines, which Mike finds issue with. We talk about Michele Carey as a proto manic pixie dream girl, the relatively few (but truly spectacular) songs in the film, and Elvis's sort of legitimately crazy stunt work in this movie. Joey explains why he connects with this version of Elvis. We find an oddity: a bearded Elvis? We talk about the all-time great dream sequence, how Live a Little, Love a Little benefits from leaning into the weirdness and randomness, and what Elvis's film career would have looked like if he was in charge of things. We have fun with Elvis's double duty/Mrs. Doubtfire-esque scheme. We talk about this film's ties to James Bond -- including the incredible ending shot -- before playing our end of episode games and looking ahead to Charro!

Happy tax season! Viva Pod Vegas returns with Speedway, which features an almost unbelievable main storyline for Elvis. After running through the film's taglines, we talk about how Bill Bixby continues to sully his reputation and how good Elvis looks (and acts!) in this movie. We begin to understand why people condescendingly said "just number Elvis's movies" and we talk about the importance of this movie with regards to NASCAR (as well as how tough it is to watch with current sports conveniences). We wonder why Elvis doesn't have a rival, and we pitch easy fixes to the movie's plot. Does Quentin Tarantino love this movie? Why bother with any of the romance in this movie? We talk about how "the Memphis Mafia" (sort of) appears in this movie, the surprise choreographed musical number in the middle of Speedway, and why Elvis Presley chooses to wear cowboy boots while racing. We do our end-of-episode games and look ahead to Live a Little, Love a Little.

Viva Pod Vegas returns with Stay Away, Joe, which is the lowest-rated movie of Elvis’s career. Is it as bad as we were led to believe? Yes… and no! After Mike sifts through shoddy taglines to try to find one he approves of, we debate whether watching these movies more quickly would help or hurt us. Mike works his way through a theory about Burgess Meredith as the Penguin and Col. Tom Parker. Speaking of, what would this movie have looked like if Col. Tom Parker was involved? We ask: why isn’t there more plot? Also: why is THIS the plot? Joey notes that this feels like a video game — and Mike points out that maybe that’s not a bad thing. We talk about why Elvis hates the song “Dominick” (but loves dogs) and whether or not he’s running a bull-riding grift at the end of this movie. We break down the Stay Away, Joe wedding that Elvis doesn’t want… and then a brawl to end the movie (with sound effects that no one wants!). We set a new record in our end-of-show games and we look ahead to Speedway.

Oops, it took too long, but Viva Pod Vegas is back! We're trying to figure out what a Clambake is, and why there's only one in this movie. After opening the long-overdue mailbag, we learn how to pronounce Fabares and talk about this movie being a pivot point in Elvis's career and life. We try to make sense of Elvis as a water ski instructor who only has one student, a world in which no one's attracted to Elvis, and whether "The Prince and the Pauper" works if there's a second prince. We also have fun exploring Elvis is a scientist and the surprise "proud dad" twist! We're caught off guard by a surprise marriage proposal. We try to guess what Stay Away, Joe will be about -- and don't come anywhere close to correct. But hey -- Mamma's little baby loves clambake, clambake!

We get duped again as Viva Pod Vegas seemingly promises two Elvises (Elvii?) with Double Trouble, but we only get one! We talk about how this movie tries to take on the British Invasion with a movie set entirely in Europe, but, you know… Colonel Tom… We talk about Elvis Presley in a Julie Christie role, a nice change of pace for Elvis movies (in terms of filmmaking), and the story behind Elvis’s co-star’s only film role. We (somewhat) explore the year at the box office, discuss Elvis’s breaking point when recording the music for this movie, and wonder why Elvis tells no one about getting punched in the face. We admire the slapstick, break down the wildest version of Old Macdonald we’ve ever heard, and love one of the wildest turns in an Elvis movie so far. Elvis jumps through a window! We look ahead to Clambake.

We're entering the home stretch of Elvis's filmography, but there's still plenty of surprises to be found! Today's episode: Easy Come, Easy Go. After finding issue with the IMDb plot summary (from the very get-go) we run through the film's limited taglines and explore the strange history of the film's title, as well as the better name hidden in the film. We wonder why Elvis, once again, does not have a love interest. Why is there no love, very few songs, and no capers? We talk about the wheel of girls (and a new level of sleaze), Col. Tom Parker vs. yoga and art, and underwater fights and other sequences reminiscent of James Bond films. We have a realization about the circumstances within every Elvis movie. We guess the plot of Double Trouble, once again banking on there being two Elvis Presleys in the film.

We're closing out 1966 with Elvis Presley's third (and final) film: Spinout! We try to parse the plot of Spinout, which is at the same time both totally inscrutable and a re-hash of earlier films, and which Mike has a theory about. We find our first (?) actual good tagline for an Elvis movie, discuss the original pitch for this movie (which Col. Tom Parker shot down), and try to make sense of the creative team's lack of action around a soundtrack solution. Mike sees what this movie is really trying to do (which Joey totally missed). We wonder if food in 1966 was good, why Elvis is so susceptible to reverse psychology, and why they choose to describe women as a "smorgasbord." Elvis saves a marriage, then marries three women. We look ahead to Easy Come, Easy Go.

Elvis returns to Hawaii -- and Viva Pod Vegas is right there with him -- as we talk about Paradise, Hawaiian Style! After kicking off with some Graceland news, Col. Tom Parker drops by the podcast again before Mike recasts the Fantastic Four with Elvis Presley and associates. We run through this movie's mixed bag of taglines, explore the (more interesting than usual) backstories for the other actors in this movie, and lament Elvis's seeming resignation around the songs he had to sing for this movie. We talk about how weird it is that this movie starts with a cold open, find ourselves once again confused by Elvis's many lookalike girlfriends (of which there are more than ever before, but somehow there's no love interest?), and break down the "Elvis + Kid = Great!" streak snapper. We talk about the incredibly low stakes in Paradise, Hawaiian Style, the (truly wonderful) element of this movie we've never seen before, and its unmemorable soundtrack. We look ahead to Spinout.

Viva Pod Vegas is back with Frankie and Johnny, the first non-cowboy period piece in Elvis Presley’s filmography! After some long overdue email reads, we welcome Col. Tom Parker back to the podcast to sort our way through some more terrible taglines that miss the mark. We talk about whether or not this is THE Nellie Bly, whether or not the Dixieland music fits the movie, and whether or not the meta approach to the story works in 1966. We discuss Elvis as a degenerate gambler, the Gibson Girl, and “Elvis’s bulge.” We try to make sense of the core love stories in this movie, revel in how Elvis movies lean into cinematic cliches, and try to figure out if Frankie and Johnny (the characters) have a happy ending. We retire the “best Elvis song” and are forced to pick a new one. We play our other games and discuss recent Riley Keough projects.

We’re taking another brief detour on Viva Pod Vegas to cover Sofia Coppola’s Priscilla, now playing in theaters! We talk about Priscilla as a complement to Baz Luhrmann’s Elvis, its focus on Elvis’s film career (rather than his music career), and how it compared to what we expected the movie to be. We explore the “controversies” behind the scenes, talk about our favorite music moments, and imagine how close this final product was to Sofia Coppola’s original vision. We also talk about Cailee Spaeny as Priscilla — and the movie’s incredible ability to capture her growth in this movie — and Jacob Elordi as Elvis — and how his portrayal compares to last year’s performance by Austin Butler. We also come to the realization that after last year’s film centering on Col. Tom Parker’s point of view, and this film centering on Priscilla’s point of view… we haven’t gotten an Elvis biopic from his own perspective.

Viva Pod Vegas returns with Harum Scarum, which seems (unfortunately) to be Elvis's cinematic career low. But if this is the low point... things really aren't so bad overall? It's one of the shortest movies we've had so far -- and still filled with padding -- and its backstory is filled with tonal confusion and creative burnout. We discuss all that as well as its incredible opening scene, its seeming refusal to explain its plot, and its cultural insensitivities. We wonder if they could have leaned into a full parody of Elvis movies, discuss how much James Bond influence can be found in Harum Scarum, and why Elvis keeps falling asleep to be awoken by a kiss. We talk about Elvis's sultry song to an 8-year-old girl and his singing via reflecting pool. Joey's hair blindness rears its ugly head. We look ahead to Frankie and Johnny (and other upcoming episodes).

The time has come, at last, for Viva Pod Vegas to get to (perhaps) Elvis Presley's weirdest movie title yet: Tickle Me. We talk about the misleading title (and the original [bad] title, too), read some emails, and make some Scooby Doo connections. We describe Tickle Me's almost inexplicable plot, explore its six (!) taglines and largely unknown cast, and wonder why *this* was the movie that Elvis won an award for. We talk about Elvis continually disrupting everything by singing songs, his duet with a horse, and his many (many) fights. We break down Elvis as a rodeo rider, a Deadwood-era performer, and a mind reader (?). Joey shares his issues with the way this movie plays out, while Mike has ideas on how to easily make it better. We explore the concept of "movie says so," discuss restarting Viva Pod Vegas after we wrap up its initial run, and predict Harum Scarum -- which we had way, way wrong.

We're taking a quick pit stop from our regularly scheduled Elvis programming to cover his granddaughter Riley Keough's directorial debut: War Pony! After catching up on Riley Keough News (and one email from a concerned listener seeking our Tickle Me episode), we dive into War Pony to talk about the story behind the movie, the many types of stories that are ready to be told (and are finally getting a chance to be told), and Keough's confidence as a first-time director (alongside her directorial partner and best friend Gina Gammell). We talk about the similarities we find to American Honey, the nearly overwhelming sense of looming dread throughout the film, and how the film seems to have some Zola vibes. We discuss our favorite scenes and moments, the cozy sense of community on display, and how naturally the film uses music. 

Viva Pod Vegas is back, and we've made it to 1965 to talk about Elvis Presley and Shelley Fabares in Girl Happy! Before we dive into the movie, we talk about the teaser trailer for Sofia Coppola's Priscilla, we share some exciting news about Elvis movies on the Criterion Channel, and we read a few more very kind notes from listeners. Then, we pack up and head for Fort Lauderdale to talk about Shelley Fabares filling the Ann-Margret void, the world's oldest college kids, and why the "Do the Clam" dance never caught on. We talk about Girl Happy as a response to Beatlemania, its comparison between the women of Florida and the women of Chicago, and Elvis pulling a Magic Mike and setting off an entire chain of events he has to reckon with. We talk about the greatest Elvis song name in history ("Fort Lauderdale Chamber of Commerce"), Girl Happy becoming a "women in prison" movie, and how to simplify the movie and solve its story issues. We admire Elvis's incredible guessing game, laugh about him pulling a Superman IV, and find ourselves thinking about the Kittyhawks again. We re-adjust how we do the "best song in an Elvis movie" game. We get very, very excited for Tickle Me after we read its plot description.

We're closing out Elvis Presley's three-picture 1964 year in film strong (?) with a real "snow job" in Roustabout! After defining what a roustabout is, we talk about Elvis being differently creepy (and more of a bastard) than we expected, the fact that a movie finally caves and says "sure, fine, he's a singer, whatever," and how this movie seems to have come directly from within the Colonel's brain (and was produced by Big Carnival?). We discuss some wild Elvis karate lore that we're not fact-checking, the quality/caliber of songs in this movie seeming higher than normal, and yet another instance of needless conflict. Joey laments that Roustabout fails his test and makes a plea to 60-year-old movies. Mike is amazed his hope came true before comparing Elvis to Vanilla Ice and Pee-wee Herman. We compare Roustabout to 30 Rock and Fast & Furious, guess what Girl Happy is about, and explore the history of baseball as a euphemism for sex.

We've made it to Elvis's "big movie" (biggest ever? biggest so far? who can say?!), as he teams up with Ann-Margret for our namesake, Viva Las Vegas! After opening the mailbag (and finding more kindred Elvis spirits), we talk about the disorienting ADR in this movie, explore more bad taglines, and officially enter "the Ann-Margret era." (This lasts exactly one film.) We find out how Col. Tom Parker rears his ugly head once again, talk about the heavy "Toretto vibes" in this movie, and try to make sense of Ann-Margret's dancing style. We reflect back on Fun in Acapulco, wonder if we've uncovered a unifying Elvis character theory, and break down the inconsistent music reality of Viva Las Vegas. We talk about the movie forgetting (then remembering in the last moments) how it's about a racecar driver. We make our guesses for Roustabout, then peek ahead to see how far off we were.

We're back with a brand new episode of Viva Pod Vegas, and we're talking all about Kissin' Cousins! (Hoo boy.) After briefly discussing how the movie passes Joey's one ask of Elvis movies, we share lots of Elvis news before Mike vamps about Joey's cats and then reads between the lines of the movie's taglines. We try to make sense of Kittyhawks, discuss why Elvis hated this movie, and wonder why it decides to begin in such a misleading way. We talk about the Elvis movie charm NOT working (for once!), what "kissin' cousins" means, and why this movie seems more pro-polygamy (and hornier) than his other movies. We look ahead to Harum Scarum, learn lessons from the titular song "Kissin' Cousins," and plan for the (long distant) future of the podcast. Also: Batgirl is back, girl.

We're headed down to Mexico -- without Elvis, though, and we'll explain why he isn't allowed to join us -- to talk about Fun in Acapulco! We're talking about *another* Elvis character named Mike, love triangles on (and off?!) screen, and Col. Tom Parker's soundtrack mandate (and how that will become the "new normal" for Elvis movies). Joey shares the craziest bit of Elvis movie trivia we've found so far (to which Mike wonders, "Why even make this movie?). We talk about Elvis's ability to sing in Spanish, him having fun again on screen, and the craziest Elvis character backstory so far. We discuss remaking Elvis movies, his first on-screen appearance with a cape, and an on-screen Col. Tom Parker stand-in. We also talk about how Fun in Acapulco gives us another huge Elvis song ("Bossa Nova Baby") and a Top Gun-esque ending and reconciliation. We try to make sense of our "forced songs" game scale and peek ahead to our next episode to brace ourselves for Kissin' Cousins.