Cathy and Todd discuss Apollo 13 (1995) for Space Month, Ron Howard’s docudrama starring Tom Hanks, Kevin Bacon, Bill Paxton, Gary Sinise, and Ed Harris, based on the true story of NASA’s near-disastrous 1970 lunar mission. The film was nominated for nine Academy Awards and grossed over $355 million worldwide, cementing its place as one of the great survival stories ever put on screen. They discuss the complicated legacies of the astronauts, the emotional devastation of the wives left behind, and why the most famous line in the film isn’t what anyone actually said.

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It’s Space Month on Zen Pop, and Cathy and Todd are talking about E.T. the Extra-Terrestrial, the Steven Spielberg film he called the first movie he ever made for himself. They discuss why it dominated 1982 and held the all-time worldwide box office record for eleven years, the Reese’s Pieces deal that made Mars look very foolish, the Atari game so bad they buried it in the desert, and why at its core this movie is really about divorce, grief, and two outsiders who find each other.

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Cathy and Todd discuss Rocky IV, the 1985 film that Sylvester Stallone wrote, directed, and starred in, grossing $300 million on a $31 million budget and spending six weeks at number one over Christmas. They break down Apollo Creed’s shocking death at the hands of Ivan Drago and the real story of Brigitte Nielsen sliding a photo under Stallone’s hotel room door and landing a role he wrote specifically for her. They dig into what the film is really about, whether Drago is a villain or the Soviet state’s most tragic victim, how every great sports movie is secretly about an individual fighting an institution that doesn’t want them to win, and why a film that won five Razzie Awards is still so beloved to this day. This is our last entry for Rocky month!

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Cathy and Todd discuss Rocky 3, the 1982 sequel where Stallone ditched everything that made the first two movies feel real and ended up with the biggest hit of the franchise anyway. They talk about where Mr. T came from, how Hulk Hogan got hired, and how Stallone dropped 40 pounds so fast it caused memory loss. They get into how “Eye of the Tiger” only exists because Queen said no, the statue that Philadelphia didn’t want, and an ending that freezes mid-fight. Also Paulie, because there’s always something to say about Paulie.

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Cathy and Todd discuss Rocky II (1979), the Sylvester Stallone-written and directed sequel that earned $200 million worldwide and briefly became the highest-grossing sequel ever made. They break down the film’s best behind-the-scenes stories and hidden details, make the case that Apollo Creed is actually the more compelling character in the film, and explore how Rocky II quietly lays the emotional foundation for the entire Creed franchise decades later.

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Cathy and Todd discuss Rocky (1976), a film that feels more like a documentary than a traditional sports movie, set in the working-class neighborhoods of Philadelphia and made on a shoestring budget by writer and star Sylvester Stallone and director John G. Avildsen. The story follows Rocky Balboa, a small-time boxer and part-time debt collector living an almost invisible life, who unexpectedly gets a shot at the heavyweight title against champion Apollo Creed as a publicity stunt. At its core, the film is about Rocky trying to prove he’s not a “bum,” developing his relationship with Adrian, and wrestling with the deeper question of self-worth over winning. It’s a grounded, human portrait of people searching for meaning and wanting their lives to matter, even if they don’t win. They’ll continue with Rocky II next week as part of their Rocky Month series.

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To celebrate spring and baseball season, Cathy and Todd discuss Major League, the 1989 baseball comedy that wasn’t supposed to be a huge hit but ended up sticking around for decades. They get into the cast including Tom Berenger, Charlie Sheen, Wesley Snipes, and Rene Russo and the behind-the-scenes details, like filming in Milwaukee instead of Cleveland and Sheen having legit pitching skills. They also talk about the tone of the movie, how it got away with being a little rougher and more irreverent than expected, and why it became such a cable TV regular.

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Cathy and Todd discuss Dirty Dancing and how a low-budget film about a summer romance became a cultural phenomenon and why it still resonates. They explore how it’s not just a love story between Johnny and Baby, but also a deeper look at class tension, autonomy, and a girl finding her voice. They dig into behind-the-scenes tension, surprising casting what-ifs, and the film’s groundbreaking abortion storyline set in pre-Roe America, along with the chilling way privilege and disposability show up through characters like Robbie. It’s nostalgia, cultural analysis, and an important look at a movie that’s always been about more than just dancing.

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Cathy and Todd discuss Billy Elliot (2000), the British film set during the 1984–85 miners’ strike about a working-class boy who secretly pursues ballet while his community expects him to box and follow the rigid rules of masculinity. Using the film as a lens, they also discuss the documentaryLouis Theroux: Inside the Manosphere, exploring how ideas about what boys “should” be, tough, unemotional, traditionally masculine, continue to shape conversations about gender today. They discuss the cultural impact of Billy Elliot, from its eventual transformation into the hit Elton John stage musical to the way the story challenges assumptions about masculinity through Billy’s passion for dance and his friendship with Michael. They also reflect on the powerful Swan Lake finale, where Billy’s final leap onstage becomes a symbol of freedom, an image of a boy stepping beyond the expectations of his community to become fully himself.

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Dance month continues as Cathy and Todd discuss the 1983 film Flashdance, directed by Adrian Lyne and written by Tom Hedley and Joe Eszterhas, a movie that helped define the early-1980s MTV-style of filmmaking with its fast cuts, dance scenes, and unforgettable soundtrack. Starring Jennifer Beals as Alex, a young steel mill welder who dances at night while dreaming of becoming a professional dancer, the film blends working-class ambition and romance. They discuss why the movie became such a cultural moment, from its Oscar-winning song “Flashdance… What a Feeling” by Irene Cara to its iconic fashion and dance scenes, while also focusing on some of the film’s contradictions around female ambition, performance, and power. Last week was Footloose, next week, Billy Elliott!

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