Our 2026 Summer Blockbusters tour takes a deeply unsettling, mind-bending turn this week on We Drink & We Watch Things. We are trading the bloody arena fights of Mortal Kombat II for the quiet, endless, fluorescent-lit nightmare of Kane Parsons’ feature directorial debut, Backrooms. Distributed by A24, this psychological horror transforms a viral internet phenomenon into a genuinely terrifying study of grief, memory, and architecture gone completely wrong.

To help suppress the existential dread of being trapped in a parallel universe, Lemar has given us our cocktail of the week - The Captain & Clark - a pale, yellow rum cocktail you'll want to sip on. It is crisp, a little bitter, and the perfect drink for when you feel like you are losing your grip on reality.

This week, we unpack the incredible performances of Chiwetel Ejiofor as Clark, the struggling furniture store owner who stumbles into a gateway in his basement, and Renate Reinsve as Mary, his therapist who gets pulled into the labyrinth with him. We dissect how the film captures the deeply creepy aesthetic of "liminal spaces" - those beige corridors, dead malls, and glitching, digital sandbox environments that feel completely empty yet intensely hostile. We also talk through the film's hidden layers, examining how these infinite yellow rooms function as a physical manifestation of Clark and Mary's unresolved trauma, and why Mark Duplass's character adds the perfect amount of unsettling gravitas to the lore.

If you are a fan of the original YouTube shorts, or if you just love a horror film that trades cheap jump-scares for absolute psychological claustrophobia, this is an episode you cannot miss. We are blending our fascination with this new wave of internet-born cinema with our usual casual banter, proving that the only thing scarier than being entirely alone is the sinking feeling that you aren't.

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Summer blockbuster season is officially heating up here at We Drink & We Watch Things, and we are kicking off our high-octane July lineup with a return to the absolute pinnacle of cinematic bloodbaths: Simon McQuoid’s newly released Mortal Kombat II. It turns out we needed a drink just to handle the pure, unadulterated CGI gore.

To steel our nerves for the arena, Mackenzie has designed our cocktail this week - Kitana's Revenge - a gorgeous and delicious tequila concoction that looks exactly like it sounds. Trust us, after watching what this movie does to its characters, you’ll need it.

This week, we tackle the massive new additions to the roster, starting with Karl Urban’s delightfully cocky, washed-up, convention-circuit iteration of Johnny Cage. We dissect the absolute madness of the narrative - from the 10th consecutive tournament stakes to the chaotic interdimensional politics of Outworld - and break down the arrival of fan-favorites like Kitana, Jade, and Martyn Ford’s massive, menacing Shao Kahn. We also gloat over our favorite crowd-pleasing, gory fights, marveling at how a movie can be so unapologetically unhinged with its bisections and impalements while still trying to give us a genuine emotional arc about Cole Young and a redeemed Kung Lao. It’s a loud, silly, and delightfully brutal adaptation that hits like a straight punch to the jaw.

If you’ve spent the last month practicing your upper-cuts, or if you just want to hear us debate whether Karl Urban successfully channels the classic arcade energy of the 90s, this is the round you've been waiting for. We’re blending our inner gaming nerds with our usual casual, cocktail-fueled banter, making this an explosive start to our 2026 Summer Blockbusters marathon. FINISH HIM!

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We have reached the glittering grand finale of our Pride Month celebration on We Drink & We Watch Things, and we are going out in style! For our "T" selection in the lineup, we are packing our bags, boarding a battered lavender bus named Priscilla, and heading deep into the Australian outback with Stephan Elliott’s iconic 1994 masterpiece, The Adventures of Priscilla, Queen of the Desert. Pour yourself something absolutely fabulous - perhaps Lemar's It's Not Purple, It's Lavender cocktail - as we journey into the heart of the desert, where the heels are high and the survival instincts are higher.

This week, we celebrate the extraordinary trio at the center of this road trip: Hugo Weaving’s conflicted Tick/Mitzi, Guy Pearce’s chaotic, high-energy Adam/Felicia, and Terrence Stamp’s absolutely sublime, deeply dignified performance as Bernadette, a trans woman navigating grief and a world that rarely understands her. We bask in the film's legendary visual triumphs - from the towering silver lamé gown on top of the bus to the jaw-dropping lip-sync numbers in the middle of nowhere - and break down Oscar-winning costumes that managed to turn flip-flops into high fashion. Most importantly, we examine the film’s striking balance between brilliant camp comedy and raw, necessary commentary on homophobia, transphobia, and the revolutionary act of queer joy simply refusing to hide.

If you’ve ever wanted to watch three drag queens conquer the outback to the tune of Gloria Gaynor, or if you just want to hear us rave about a film that changed the landscape of queer cinema forever, this is the curtain call you've been waiting for. We’re blending our deep adoration for this vibrant classic with our usual casual banter to bring our Pride Month run to a triumphant, sequin-covered close. Finally, a fabulous ending!

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Pride Month hits the highway this week on We Drink & We Watch Things as we move into our "B" selection, tackling Alfonso Cuarón’s sizzling, groundbreaking 2001 road movie, Y Tu Mamá También. It’s time to have a Charolastra Shooter - if you know you know - as we pack our bags and head out on a spontaneous Mexican road trip toward a fictional beach that might just change everything.

This week, we unpack the fluid, charged dynamics of the film's central trio: Diego Luna’s Tenoch, Gael García Bernal’s Julio, and Maribel Verdú’s captivating, enigmatic Luisa. We analyze how Cuarón treats sexuality not as a rigid label, but as an honest, evolving expression of youth, intimacy, and unspoken desire - culminating in that famously intense, barrier-breaking night that alters the boys' friendship forever. We also examine the film’s dual layers, looking at how the breathless, hormones-first journey of the characters contrasts with the narrator's melancholic observations about the shifting political and economic landscape of Mexico passing right outside their car windows.

If you love movies that blend raw, uninhibited coming-of-age energy with a deeply poetic sense of time and place, this episode is a must-listen. We’re blending our fascination with the film's complex character study with our usual casual banter, making this a brilliant, sun-soaked third chapter in our Pride Month celebration. Life is like surf, so give yourself away to the sea!

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Pride Month keeps the celebration moving on We Drink & We Watch Things as we transition from the quiet, burning embers of 18th-century France to the bright, neon-soaked drag capital of South Beach. For our "G" selection in the lineup, we are throwing it back to 1996 for Mike Nichols and Elaine May’s sublime masterclass in comedic farce: The Birdcage. Mix yourself something wonderfully refreshing - perhaps Lemar's "Straight" Bourbon - and get ready for a family dinner where absolutely nothing goes according to plan.

This week, we celebrate the legendary chemistry between Robin Williams and Nathan Lane, looking at how Williams plays the perfect, anchored straight man (pun intended) to Lane’s fiercely dramatic, Barbara Bush-redefining Albert. We bask in the glorious, scene-stealing supporting work of Hank Azaria as the perpetually barefoot Agador Spartacus and Gene Hackman as the ultra-conservative Senator Keeley, who unwittingly ends up in the drag escape of a lifetime. We also break down the film’s incredible heart, discussing how beneath the chaotic Martha Graham choreography, the "eco-friendly" naked-boy pottery, and the frantic attempts to pass as straight, it is a deeply moving portrait of unconditional love and a radical defense of queer families.

If you can instantly recite the difference between a John Wayne walk and a regular walk, or if you just want to hear us gush about the comedic genius of an Elaine May screenplay, this episode is pure joy. We’re blending our adoration for this comfort-movie masterpiece with our usual casual banter, proving that when the world gets crazy, sometimes you just have to give 'em a little bit of Fosse, Fosse, Fosse!

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Pride Month is officially taking over on We Drink & We Watch Things! For the entire month of June, we are celebrating LGBT representation in cinema by breaking it down by the letters: one lesbian-focused masterpiece, one classic gay comedy, one iconic bisexual drama, and one legendary transgender anthem.

To kick off the month, we are diving into our lesbian-focused selection: Céline Sciamma’s breathtaking 2019 romance, Portrait of a Lady on Fire. Set fire to a glass of Mackenzie's The Canvas & the Flame as we head to an isolated island in 18th-century Brittany, where every glance is loaded with tension.

This week, we bask in the incredible chemistry between Noémie Merlant and Adèle Haenel, analyzing how Sciamma constructs the "female gaze" to create a romance that is intensely passionate without ever feeling exploitative. We break down the film’s stunning, painterly cinematography, the complete lack of a traditional musical score (which makes the rare moments of music absolutely explosive), and the devastatingly perfect use of Vivaldi’s Four Seasons in the final frame. We also talk through the heartbreaking reality of their temporary freedom and why this film stands as a modern masterpiece of queer cinema.

If you love romances that burn slowly but deeply, or if you just want to hear us rave about a film where a single look can break your heart, this is the episode for you. We’re blending our deep appreciation for this visual triumph with our usual casual banter, making this a beautiful and powerful launch for our Pride Month celebration.

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We have finally reached the finish line... and honestly, we barely made it out alive. Four movies, four deep dives, and four custom cocktails, all recorded in one single, grueling day. To close out our Space MAYhem marathon, we are tackling the absolute nadir of our recording schedule: the infamous, delayed sci-fi remake filmed under strict lockdowns, War of the Worlds, starring... Ice Cube and Eva Longoria.

To survive this final stretch, we had to double down on our drink menu. First, we are introducing "The Impassioned Project"- a concoction Lemar cooked up to power us through. We both absolutely detested this movie, so we also had to throw back a shot just to find the strength to keep the microphones turned on.

This week, we rip into the baffling creative choices of this production, from the painfully obvious green-screen backgrounds to the total lack of chemistry between Ice Cube’s intensely angry protagonist and Eva Longoria’s profoundly confused co-lead. We laugh through the pain of the low-budget digital alien effects, question how an H.G. Wells adaptation managed to feel so small and claustrophobic, and chronicle our own mounting exhaustion as the movie dragged on. It’s a therapeutic, hilariously hostile review of a cinematic trainwreck that should have stayed locked in the vault.

If you want to hear two podcast hosts completely lose their filters, cross the finish line of a brutal marathon, and bond over shared cinematic trauma, this is the finale you've been waiting for. We’re blending our mutual hatred for this flick with our usual casual banter to bring Space MAYhem to a chaotic, tequila-fueled, and slightly lightheaded close. Thank goodness it's over!

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We’ve officially crossed the halfway mark of our Space MAYhem marathon, and the fatigue is real, but the energy is high! We are still pushing through our single-day recording marathon, and for movie number three, we are throwing it back to the absolute gold standard of 90s summer blockbusters: Roland Emmerich’s 1996 explosive spectacle, Independence Day.

To survive this round of the marathon, we are shaking up a cocktail as on fire as the movie itself: Mackenzie's "Victory Cigar Old Fashioned"- a sweet and smoked take on a classic, that smells exactly like an alien mothership going down in flames.

This week, we bask in the peak-90s charisma of Will Smith punching aliens in the face, Jeff Goldblum using a 1995 PowerBook to take down a technologically superior civilization with a literal computer virus, and Bill Pullman delivering one of the greatest cinematic speeches of all time. We laugh at the glorious absurdity of the science, marvel at the practical effects that still look better than most modern CGI, and debate whether there is a single better scene in cinema history than Judd Hirsch complaining about his lawyer while the world ends.

If you want to hear us get deeply nostalgic about the peak era of popcorn cinema while we slowly lose our minds on hour six-ish of our recording day, this is the episode for you. We’re blending our childhood love for this blockbuster giant with our usual vibes, making this the most explosive stop yet on our Space MAYhem itinerary. Today, we celebrate our Independence Day!

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We’re moving into the second leg of our Space MAYhem marathon, and things are getting much quieter - and much more terrifying. For those keeping track at home, we’re still on that same high-speed recording day, and we’ve officially swapped the "competence porn" of Project Hail Mary for the wordless, nail-biting dread of Brian Duffield’s 2023 sci-fi horror, No One Will Save You.

The "Space MAYhem" custom cocktail for this round is Lemar's concoction - The Isolated Incident. It’s the perfect companion for a movie that features only five spoken words in its entire 93-minute runtime.

This week, we admire Kaitlyn Dever’s incredible physical performance as Brynn, a woman living in forced isolation who suddenly has to defend her home from an extraterrestrial invasion. We analyze the film’s unique approach to the "Grey" alien trope, looking at how the invaders use telekinesis and parasitic control to turn Brynn’s town against her - though, as we discuss, the town was doing a pretty good job of that on its own. We also examine the film’s shocking ending and its exploration of grief and redemption, asking the big question: would you rather be shunned by your neighbors or accepted by a community of possessed puppets?

If you love home invasion thrillers with a cosmic twist, or if you just want to hear how our voices are holding up as we enter the second half of our one-day recording spree, don’t miss this one. We’re blending our technical appreciation for the film's sound design with our usual casual banter, proving that even in space (or a quiet farmhouse), no one can hear you scream... but they can definitely hear us talk about it.

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Welcome to a brand-new month and a brand-new challenge here at We Drink & We Watch Things! This is Space MAYhem. Over the next four weeks, we’re bringing you four interstellar adventures, but there’s a twist: Lemar and Mackenzie watched all four movies and recorded all four episodes in one single, high-orbit day. That means four movies, four deep dives, and four custom cocktails, all within 11 hours. If we start sounding a little lightheaded by the end of the month, you’ll know why.

To kick things off, we are starting with the film we’ve both been dying to talk about - the highly anticipated 2026 adaptation of Andy Weir’s Project Hail Mary. Mackenzie has lived and breathed the book, and we both fell head over heels for this cinematic version. Pour yourself our first drink of the marathon - a energizing, solar-flaring concoction we’re calling "Astrophage Ignition" (heavy on the caffeine, light on the gravity) - and join us as we wake up on a spaceship with no memory and a very important job to do.

This week, we celebrate Ryan Gosling’s pitch-perfect return to space as Ryland Grace, capturing that signature Weir "competence porn" where science is the only way out of a death trap. We marvel at the visual effects that bring the Hail Mary to life, but more importantly, we gush over the debut of cinema’s new favorite companion (no spoilers here, but fist bump to the VFX team). We also examine how the film handles the book’s non-linear structure and the high-stakes mission to save a sun that’s being eaten from the inside out.

If you love hard science, unlikely friendships, or just want to hear us kick off our most ambitious recording stunt yet while we’re still relatively sober, this is the episode for you. We’re blending our obsession with the source material with our usual casual banter, making this a stellar launch for Space MAYhem. Evolution, am I right?

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