Cate Blanchett Month continues as we shift gears from the throne rooms of England to the open roads of the American West with the 2001 crime-comedy, Bandits. This week, we’re looking at a completely different side of Cate Blanchett - trading the white lead makeup for a messy red wig and a kitchen-sink existential crisis. Grab a drink- maybe try this week's Split Decision cocktail - as we join the "Sleepover Bandits" on a heist that’s less about the money and more about the company.

This week, we celebrate Cate’s surprising comedic timing as Kate Wheeler, the neglected housewife who accidentally hijacks a bank robbery and ends up in a "permanently temporary" love triangle with Bruce Willis and Billy Bob Thornton. We examine her frantic, high-wire energy - especially that iconic kitchen dance to "I Need a Hero" - and analyze how she holds her own against two massive leading men, effectively becoming the heart and the brains of the operation. It’s a discussion about the chemistry of an unlikely trio, whether or not Lemar would like this more if he'd seen it when it came out, and why this role proved that Cate could master the "messy American" just as easily as the British monarch.

If you love a good road movie, a smart caper, or just want to hear us debate how this one holds up, this is the episode for you. We’re blending our appreciation for her versatility with our usual casual banter, making this a fun, fast-paced second stop on our Cate Blanchett Month tour. Who knew being kidnapped could be so revitalizing?

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Welcome to April, and we are rolling out the red carpet for our first-ever Actress Month! We’re kicking things off with a deep dive into the filmography of the incomparable Cate Blanchett, beginning with the 1998 breakout that turned her into Hollywood royalty: Elizabeth. Pour yourself a glass of something regal - perhaps Mackenzie's cocktail this week, The Red Fox - as we travel back to a 16th-century England filled with shadows, whispers, and a young woman forced to trade her heart for a crown.

This week, we trace the transformation of Elizabeth from a vibrant, romantic girl into the formidable, white-masked "Virgin Queen" who ruled with an iron fist. We marvel at Blanchett’s ability to command the screen with just a flicker of her eyes, capturing the terrifying transition from vulnerability to cold, calculated power. We also examine Shekhar Kapur’s visceral, thriller-like direction, the lush but claustrophobic costume design, and the standout supporting turns from Geoffrey Rush and Joseph Fiennes. It’s a conversation about the high cost of leadership, the erasure of the self for the sake of the state, and the exact moment we all realized a legendary talent had arrived.

If you love historical dramas that feel more like political horror, or if you’ve always wanted to know why this performance is considered the gold standard for period acting, this is the episode for you. We’re blending our obsession with Cate’s craft with our usual casual banter, making this a truly majestic start to our Cate Blanchett Month celebration. Long live the Queen!

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We’ve reached the bittersweet finale of Love Stinks! Month here on We Drink & We Watch Things, and we’re closing out our "Not-So-Love-Love-Stories" with Damien Chazelle’s 2016 neon-soaked daydream, La La Land. It’s time to mix up something sophisticated but a little sharp - perhaps Mackenzie's Lillet-ing Go - as we follow Mia and Sebastian through the traffic jams and jazz clubs of Los Angeles, where the pursuit of a dream often costs more than you’re prepared to pay.

This week, we examine the film’s central conflict: the agonizing choice between the person you love and the life you’ve always wanted. We explore the chemistry between Emma Stone and Ryan Gosling, the vibrant, primary-colored cinematography, and the haunting "City of Stars" melody that anchors their journey. Most importantly, we unpack that devastatingly beautiful seven-minute epilogue, debating whether the "happily ever after" montage was a celebration of what they gave each other or a heartbreaking reminder of the life they had to surrender to reach the top. It’s a conversation about timing, the reality of "the one that got away," and why sometimes the most romantic thing you can do for someone is let them go.

If you love musicals that ground their fantasy in the harsh light of reality, or if you’ve ever wondered if your success was worth the sacrifices you made along the way, this is the perfect curtain call for the month. We’re blending our adoration for the film's craft with our usual casual banter, making this a spectacular, tear-jerking conclusion to our second annual Love Stinks! marathon. Here’s to the fools who dream, even if they have to dream alone.

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Love Stinks! Month continues its mission to dismantle the "happily ever after" this week on We Drink & We Watch Things with the 2009 indie-staple, 500 Days of Summer. This is the ultimate "not a love story" about a boy who meets a girl, and it’s an episode where our own perspectives are as non-linear as the film’s timeline. Grab a drink - maybe try Lemar's Sweet Disposition - and join us as we revisit the greeting-card-writer’s guide to heartbreak.

This week, we tackle the sharp divide in our viewing experiences, as Mackenzie grapples with Tom’s projection and entitlement, while Lemar navigates his own deep-seated nostalgia for this quintessential hipster time capsule. We examine Tom’s selective memory, looking at how he ignores every "we should just be friends" warning to chase a soulmate fantasy that only exists in his head. We discuss the brilliance of the iconic "Expectations vs. Reality" split-screen sequence, the Hall & Oates dance number that captures the peak of infatuation, and why Zooey Deschanel’s Summer is often unfairly vilified for simply being honest about what she wanted. It’s a conversation about the danger of romanticizing "bizarro crap" in common and the painful, necessary growth that comes when the seasons finally change.

If you’ve ever found yourself staring at a closed door hoping it would open, or if you just want to hear us debate whether Tom is a hopeless romantic or a "nice guy" nightmare, this is the episode for you. We’re blending our conflicting takes with our usual casual banter, making this a perfectly polarized addition to our month of Not-So-Love-Love-Stories. This is not a love story, but it is definitely an episode you’ll love.

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Love Stinks! Month continues its march across the moors this week on We Drink & We Watch Things as we confront the year's most scandalous and polarizing adaptation: Emerald Fennell’s 2026 reimagining of Wuthering Heights. This isn’t your grandmother’s Brontë; it’s a hyper-stylized, anachronistic, and deeply provocative "bodice-ripper" that trades Victorian restraint for BDSM, heavy-metal corsetry, and a Charli XCX soundtrack. Pour yourself something dark and intoxicating - perhaps our cocktail take on Yearning - and join us as we discuss why this film has everyone from literary scholars to Barbie fans talking.

This week, we analyze the relationship between Margot Robbie’s fashion-doll Cathy and Jacob Elordi’s long-haired, seething Heathcliff. We examine Fennell’s decision to strip away the novel’s second generation to focus entirely on the toxic, cyclical lust of its leads, and we talk through the film’s shocking, "Saltburn-esque" flourishes - like the horse-bridle-and-shackle games that redefine Heathcliff’s legendary cruelty. We also consider the controversy surrounding the casting and the film's unapologetic rejection of historical accuracy in favor of creating a "sensory experience" that feels like a teenage girl's fever dream of the 1840s.

If you’re a Brontë purist ready to clutch your pearls, a fan of Fennell’s brand of "campy depravity," or just want to hear us debate whether a story about two people "driving each other mad" is a romance or a red flag, this is the episode you’ve been waiting for. We’re blending our critique of its provocative choices with our biggest disagreement in recent memory, making this a truly wild second chapter in our month of Not-So-Love-Love-Stories. Be with us always - take any form - just don't miss this one!

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March is back, and that means we’re leaning into the mess with the return of Love Stinks! Month - our annual deep dive into the "Not-So-Love-Love-Stories" that make us cringe, cry, and question everything. We’re kicking things off with the ultimate manifesto for the death of romance: Roger Avary’s 2002 chaotic collegiate trip, The Rules of Attraction. Grab a drink try our Emotional Vampire cocktail - as we head to Camden College, where the only thing more plentiful than the drugs is the total lack of genuine connection.

This week, we tackle the polarized reactions between us, as Mackenzie struggles with the film’s relentless nihilism while Lemar holds onto his nostalgia for this mid-aughts time capsule. We examine James Van Der Beek’s aggressive pivot away from Dawson's Creek as the "sexual vampire" Sean Bateman, Shannyn Sossamon’s doomed pining for the absent Victor, and Ian Somerhalder’s heartbreakingly misdirected search for intimacy as Paul Denton. We also break down the film’s flashy, hyper-stylized techniques—from the famous split-screen hallway encounter to the dizzying European montage—and debate whether the movie’s bone-deep cynicism is a truthful portrait of youth or just "directorial masturbation."

If you’ve ever loved someone who didn't even know you existed, or if you just want to hear us argue about whether these characters are "horrible people" or just tragically human, this is the episode for you. We’re mixing our conflicting perspectives with our usual casual banter, making this a perfectly messy start to our month of cinematic heartaches. Just remember: at Camden, the party never ends, even when the romance is long dead.

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Our Oscars Run continues this week on We Drink & We Watch Things with the most over-caffeinated and divisive contender in the race: Josh Safdie’s Marty Supreme. This isn't just a sports movie; it’s a chaotic, 1950s-set "ping-pong nightmare" that plays like a heist film where the only thing being stolen is glory. Pour yourself our cocktail of the week - The Hydrator - because this movie doesn't let you breathe for its entire 149-minute runtime.

This week, we talk through Timothée Chalamet’s electric, polarizing performance as Marty Mauser, a spindly, obsessive table tennis hustler who treats every match like a life-or-death battle for his own soul. We examine the film’s unique, frantic energy - reminiscent of Uncut Gems - and analyze Gwyneth Paltrow’s stylish return to the screen as the glamorous, world-weary Kay Stone. We also highlight the incredible supporting work of Odessa A’zion, who brings some much-needed humanity to the chaos as the woman Marty leaves in his wake. It’s a discussion about the toxic drive for the American Dream, the absurdity of professional ping-pong, and whether Chalamet’s "anti-hero" swagger is enough to finally nab him that Best Actor statue.

If you’re tracking the Oscar race with Mackenzie or just want to hear us debate whether a movie about a "sociopathic screwball" can actually win Best Picture, this is the episode for you. We’re blending our awe for the film's kinetic style with our usual casual banter, making this a high-speed highlight of our Oscars Month journey. Don’t look away - you might miss the serve!

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Oscars Month takes a vibrant, neon-soaked turn this week on We Drink & We Watch Things as we dive into the year's most unexpected Academy darling: the animated powerhouse KPop Demon Hunters. It’s not every year that a high-octane, genre-bending musical makes it into the Best Picture conversation, but this film has danced its way into the hearts of critics and audiences alike. Grab our Darkness & Harmony cocktail - extra points if it has sparkles - and get ready for an episode that is as high-energy as a sold-out stadium tour.

This week, we admire the stunning, boundary-pushing animation style that blends hyper-kinetic action with the sleek aesthetic of the music industry. We talk about the infectious, chart-topping original songs that have made this a frontrunner for Best Original Song, and how the film manages to balance its flashy demon-slaying sequences with a surprisingly grounded story about sisterhood and the pressures of fame. We also weigh the odds of its Oscar success, discussing whether the Academy is finally ready to reward a film that feels so unapologetically modern and fun.

Whether you're following Mackenzie's Oscar tracker or just want to hear us rave about the coolest animated film in years, this is the episode for you. We’re blending our excitement for the film's creativity with our usual casual banter, proving that even a quest for the golden statue can have a killer beat.

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Oscars Month marches forward on We Drink & We Watch Things as we tackle the provocative and high-stakes contender that has everyone talking: Paul Thomas Anderson’s sprawling political odyssey, One Battle After Another. Far from a traditional war movie, this is a stylish, kinetic look at an underground network of anti-fascist revolutionaries navigating a modern America on the brink. Pour yourself something strong and steady - you’re going to need it to keep up with the frantic energy of The French 75.

This week, we examine the film’s portrayal of resistance, following Leonardo DiCaprio’s "Bob" as a former munitions expert forced out of a stoner haze to protect his daughter from a shadow-government cabal. We talk through PTA’s decision to blend Thomas Pynchon’s psychedelic paranoia with very real contemporary anxieties, specifically focusing on the "Latino Harriet Tubman" operation led by Benicio Del Toro’s serene sensei. We also analyze Sean Penn’s unsettling turn as the obsessive Colonel Lockjaw and the film’s central question: in a world of pervasive surveillance and escalating extremism, is organized rebellion a noble necessity or a cycle of "one battle after another?"

If you’re keeping up with Mackenzie’s Oscar ballot or just love a film that feels like a fever dream of the evening news, this episode is an absolute must-watch. We’re blending our technical appreciation for this 35mm powerhouse with our usual casual conversation, making this a truly electrifying entry in our journey toward Hollywood’s biggest night.

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It’s the most prestigious time of the year! We’re kicking off Mackenzie’s annual Oscars Run here on We Drink & We Watch Things, where we dedicate the entire month to the films leading the pack for the 98th Academy Awards. To start us off, we’re stepping into the sun-dappled forests of Stratford-upon-Avon to discuss Chloé Zhao’s sweeping, heart-wrenching adaptation of Hamnet. Make our cocktail of the week - Sleep No More - to toast this deeply sensory exploration of love, loss, and the birth of a masterpiece.

This week, we celebrate the staggering lead performances of Jessie Buckley as the mystical Agnes Hathaway and Paul Mescal as a young, restless William Shakespeare. We examine how Zhao brings her signature "Nomadland" intimacy to the 16th century, trading wide-open plains for the visceral, muddy reality of domestic life and the crushing weight of the bubonic plague. We unpack the film’s central, moving thesis: that one of the greatest plays in history, Hamlet, was actually a father's desperate, creative attempt to give his deceased son the life he never got to finish. We also marvel at the breathtaking final act at the Globe Theatre, where the boundary between art and reality finally dissolves in a flood of cathartic tears.

If you love lush period dramas, powerful meditations on grief, or are just following along with Mackenzie’s quest to predict the Best Picture winner, this is an essential start to the month. We’re mixing our awe for the film’s technical beauty with our usual banter, ensuring our first stop on the road to the Oscars is a truly memorable one.

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