Who said the friendships on this show had to be just between humans? Then again this classic sci-fi film is also about the humanity that makes us so or at least what we hope to evolve into? Therefore a friendship between a man and the female scientist who tries to save him is well worth exploring since there is still much we can learn. There may be a bone of contention in the most referenced scene between Charlton Heston’s Taylor and Kim Hunter’s Zira, but beyond being quite the wingman has she gotten the credit for being an iconic female character of the time? There is probably only one thing holding Taylor back, but sometimes it is those boundaries that draw deeper connections between the sexes that are still too often ignored in modern movies.

Kevin Smith’s Clerks films may be known for the ongoing friendship between Dante Hicks and Randal Graves, but there’s another in play in the first sequel. Rosario Dawson’s Becky may be Dante’s boss but she is so much more than that as evidenced by their backroom banter and nail polishing. As most movie friendships between men and women, theirs evolves into much more if not already there at the beginning. Erik and Morgan share a mutual appreciation for this film and the often X-rated intimacy in the language of certain workplace relationships. Is the triangle with Dante’s fiancé a step above the average “bad fit” in romcoms? Does Becky have the dynamics that led to Dante’s impending nuptials down cold? All that and mouths and trolls and taking it back.

Though the 1993 film is not known for its depiction of the women of the Old West, Morgan (Gire, not Earp) has found something of value in at least one of them. Briefly. But this is actually one of the discussions that was the inspiration for this very podcast. What friendship in this movie (besides Wyatt & Doc) was Erik (and most every fan of this movie) overlooking? Does its momentary exchange say more about their relationship than the majority of male/female friendships we see throughout cinema? Is this film as good as the reputation it has developed since it was initially dumped on St. Crispin’s Day (actually Christmas Day?) And just what tier does this friendship belong to on the newly-formed scale by Erik and Morgan?

After a decade of raunchy teen sex comedies with a pubescent mentality and a momentary elevation through the work of John Hughes, the 1980s graduated with a teenage romance that took things to a new level. In the middle of Cameron Crowe’s tale of love between a directionless good guy and a driven valedictorian was a friendship rarely seen before or even since in the movies. John Cusack’s Lloyd Dobler and Lili Taylor’s Corey Flood were besties who advised and looked out for each other through past pain and the potential for future greatness and sadness. Erik & Morgan love these characters and so much more from the directorial debut of the writer who would eventually bring us Jerry Maguire and Almost Famous. They admire how the film embraces the insecurities of its characters and remembers how important economics can be to a long-term relationship. Is Diane Court’s father really the bad guy the people remember him to be or is he just looking out for his daughter’s best interests? And listen as Morgan tries to fix one of the most iconic cinema moments of the last century.

A perfect movie demands the perfect guests so Morgan Gire and Erik Childress invited colleagues Nick Digilio (of The Nick D Podcast) and Collin Souter (of the Christmas Movies Actually podcast) to join in their discussion of George Miller’s 2015 masterpiece. The central focus, as always, is on the evolving friendship of Furiosa and Max. How and when do they learn to trust each other? What silent communication is used to straighten their bond? How powerful is the bond between a woman and a man when not taken to the Hollywood standard of a final kiss? Beyond all that, the four of them go even further from the on-set relationship of the actors, the progressive nature of Miller’s vision, and what action films deserve mention in the same universe as this one. It is a packed episode that we hope only furthers your enjoyment of the film.

The search for positivity in male and female friendships on this podcast takes a dark turn this week with Nacho Vigalondo’s 2017 film. This tale of monsters and alcohol is not the typical lovey-dovey tale of old friends finding romance. Though the relationship between Anne Hathaway and Jason Sudeikis starts off friendly, true feelings are not always manifested as a means for happiness. Erik and Morgan discuss the deceased toxicity inherent in trying to control a woman working through her own problems. Flowery proclamations are replaced by love-bombing and savior complexes in a film that does not always agree with the pair but whose personal experiences and inward examinations make some of the behavior all the more disturbing.

Hugh Wilson’s tale of frenemies played by Nicolas Cage and Shirley MacLaine was once a favorite of Morgan Gire and it has been even longer since Erik Childress has seen it. Like VHS-long. So does their relationship stand the test of time for both of them or does the film’s mix of comedy, drama and, ultimately, thriller shortchange each other? A lot is devoted to some of the nonchalance of the big finale and the secret service’s inability to rise to the challenge. But what can be done to expand upon the film’s central relationship? Why do Morgan and Erik keep sidetracking into other movies? What does it have in common with Tommy Wiseau’s The Room? And the most important question of all – can Shirley MacLaine knock out Nancy Reagan? We all want to remember the best of Nicolas Cage and maybe this is part of it, but does that mean it is good?

Kogonada’s debut film was a standout at Sundance in 2017. His rumination on grief, lost opportunities and the family members that contribute to them also feature a trio of friendships between men and women. Erik Childress and Morgan Gire break them all down while reconciling different opinions on the style of how their stories are told. Does a little go a long way or does the film’s meditative approach keep some of the hidden feelings too much at bay? John Cho and Haley Lu Richardson get an opportunity to shine here with first class performances along with nice supporting work from Rory Culkin and Parker Posey. Is this the rare film to elevate the absence of genuine male/female friendships in movies or does the emotional tension held within prevent these characters from being more than passing acquaintances?

If there is a romantic comedy than Morgan Gire and Erik Childress can agree about it is James L. Brooks’ 2010 film, How Do You Know. While they may clash with those that dismissed it and audiences that turned it into a genuine bomb, the hosts have a lot to say about it that makes it worthy of a re-evaluation. Whether or not Jack Nicholson phoned his role in for his friend is up for debate, Morgan and Erik find a lot to appreciate in the unique way Brooks handles his romantic triangle again with Reese Witherspoon, Paul Rudd and Owen Wilson. Three characters far more interesting than your usual romcom shtick. Then, of course, there is the friendship between Rudd and his assistant, played by the great Kathryn Hahn which is a focal point of the show and while there are caveats to distance them from being romantically linked, it is another genuine, sweet relationship that the show is always on the lookout for.

Peter Dinklage just brought new life to the tale of Cyrano de Bergerac, so Erik Childress and Morgan Gire went back and looked at the more comedic take on Edmond Rostand’s play that Steve Martin wrote in 1987. Fred Schepisi’s Roxanne put the big nose on Martin and cast Daryl Hannah as the titular character of his affection. His feelings are secret, but a friendship still develops that Erik & Morgan examine along with C.D.’s relationship with local business owner, Dixie, played by Shelley Duvall who may be a little closer to him than you might remember. As for C.D. and Roxanne, is it a friendship that could have survived unrequited emotions? Is Martin’s modern version of the legendary window scene creepy or romantic for the ages? Is the film itself one of the great romantic comedies of its era (or any) or is it just a lot of fluff with character motivations that do not ring true? Drink it all in and words do not fail either of your hosts on the 35th Anniversary of this film.