Erik Childress and Morgan Gire dive into the inter-office dynamics of the trio within one of his favorite movies. James L. Brooks’ prescient look at the state of television media in the 1980s is matched by his rich characters played by Holly Hunter, William Hurt and Albert Brooks.

Morgan Gire and Erik Childress believe that this tale of loss and emotional heartbreak is deserving of a rediscovery. In this episode they discuss how it smartly handles grief and the downfalls of shielding children from the harsher realities of life; a ball which movies tend to drop. Plus at its center is one of the sweetest pre-adolescent friendship tales beautifully portrayed by Anna Chlumsky and Macaulay Culkin. This is one that all families should experience together. Hold onto your tears long enough to listen to this in-depth discussion.

Is the friendship between Bill Murray and Scarlett Johansson in Sofia Coppola’s sophomore effort entirely on the up-and-up? Erik and Morgan discuss the implications of jealousy between friends as well as how survival instincts translate into relationships. Just what was Coppola trying to infer with her opening shot if anything? Disagreements over the film’s content range from her style of filmmaking to whether its leads are tolerable people. How much ambiguity is acceptable within friendships and does the cloud of sexual imagery and thought taint an otherwise chaste relationship between the two?

Shane Black made a little Hollywood history with his script for this movie even it’s not entirely the one he delivered. One element certainly not in dispute is the relationship between Geena Davis and Samuel L. Jackson is the rarefied platonic dynamic that the hosts seek out. Could even a brief shift alter the nature of their friendship or does it signal growth under temptation? Is this one of Jackson’s most entertaining performances? Just how bad is Craig Bierko as the villain? What is the line that will forever make Morgan and Erik lose it? All these questions plus action tropes and a good time on this episode.

 The late Ted Demme’s ensemble relationship dramedy was and remains a favorite of Erik's, but is it by the end of this episode? The discussion with Morgan covers just how shallow its male characters may be and whether or not their female counterparts could do better with their lives. What constitutes average and our own sense of self-worth in a society that places emphasis on perfection and are these characters victims or perpetuators of it? Erik and Morgan discuss all this as well as delving into the complicated relationship between Timothy Hutton and Natalie Portman.  

There are not many films that attempt to deal with a collection of individual women’s stories and Morgan presents this as Exhibit A. Erik has his counterarguments but Morgan makes her case for a film pushing back on the societal norms thrust upon women from an early age from the damage of playground myths to the pressure of getting married. The cliches of romcom’s past are revisited by the hosts and how they are reflected with or without commentary by the film itself. As each relationship is examined, Morgan and Erik look at whether Ginnifer Goodwin and Justin Long’s friendship is “the exception” and who amongst the cavalcade of characters relate most closely to each other’s own personal beliefs and experiences.

Spike Jonze's Her remains one of the more profound films about loneliness. Together, Erik and Morgan discuss the elements of perfection and instant gratification, the psychological implications of a technological-free world and the underappreciated privilege of listening.

Horror films have always tested friendships and this personal favorite of Morgan’s certainly puts one into question. Her and Erik further break down the various genre tropes and archetypes, wondering how much more could have been explored if it had been franchised instead of messed with and delayed. Learn Morgan’s secret to watching horror while they wonder about the process in choosing the story’s victims. How does their pre-determined labeling mesh against everyday stereotypes of identity? Does the film’s approach towards sex fly in the face of a new generation’s attitude towards cinematic voyeurism? What conclusions do Morgan and Erik draw about the film’s climactic confrontation that questions just how great the film’s central friendship was to begin with. All these answers and more are put to the test by the two friends themselves.