Cozy Quilt Cinema – Détails, épisodes et analyse

Pat Green, author of Hearts of Glass: Living in the Real World and Editor-in-Chief of Gen X Watch joins Beth and Michelle virtually in the studio to discuss his emotional movie pick, Benny & Joon. This 1993 film remained unwatched by both Beth and Michelle, until now. We discuss all the things about this film that make it a must see for those who haven't.

Beth and Michelle take some time in the country, amongst the simple, salt of the earth folk of Redbud. And we realize that nostalgia has drastically altered our perception of a film that would have been better centered upon Elizabeth Farmer and the good eclectic and well portrayed townsfolk rather than upon Andy Farmer. This is a movie which ends suddenly without resolution to the issue but an acceptance that the issues mean nothing to the main character.

Author of Hearts of Glass, living in the real world, Tomi Adeyemi

Beth and Michelle sit down to a deep discussion about the themes within Drop Dead Fred. We talk about abuse in it's many forms and how this movie may or may not inform our own stances on how to deal with them. We talk about what nuances may have been lost and perhaps gain a better understanding of each other in the process.

Beth and Michelle sit down for a romantic movie in which the assumed protagonist doesn't win the man, but manages to win herself. They share their song, "Maggie May" by Rod Stewart, a deeply odd song for a couples song but you don't pick the song, the song picks you. And Beth has a teapot filled with wishin' and hopin' but mostly Earl Grey tea, because it's arguably the best tea.

Link to Balloon Fest '86 as mentioned in the episode:

The Disaster of Balloonfest '86

Beth and Michelle embark on an unedited and crafty adventure with 2004 National Treasure. We get crafty with diamond paintings while Nicholas Cage preemptively steals the Declaration of Independence. Good Trouble is what it's all about, freedom for everyone.

Our (un)finished products... that was two hours, it's like making claymation, so tedious!

Beth and Michelle press play one of Michelle's favorite movies. Don't turn into a morphing ball and roll to the bathroom, because you won't want to miss this emotional power up of an episode. We look at the feelings behind the characters even if they don't always go very deep and we pick up the coins they leave behind as they go. So travel the subspace highway with us in this deep bass rumbling, garage rocking, electronic love story.

Beth and Michelle replay a favorite episode of theirs, a seminal film about drag and identity. What this film gets right is simply wonderful and honest, what it gets wrong actually highlights the best things about humanity. We will return next week with an all new episode, thank you for your patience and kindness. Happy Pride, my friends!

We are going to college! Beth and Michelle dive into the strangely empty and open to students pool of beatbox-powered, perfectly harmonized, world of Pitch Perfect. The Bellas may start off as a ragtag bunch of misfits, but their journey to perfect harmony mirrors something deeper, finding their voice and each other. From mashups to meltdowns, this is a story of sisterhood stitched together with musical misadventure. Listen in for friendship, falsettos, and a few unexpectedly emotional mic drops.

Link to “No More Kings” - Schoolhouse Rock

Beth and Michelle attempt to jettison the cargo of this space monster film, to no avail. It's still an enjoyable film with plenty of room to create your own narratives and lore. This is goonies in space, if they were the monster squad but not friends and on an alien planet, in the dark. 

Beth and Michelle rewatch the idahostian film Napoleon Dynamite and feel the nostalgia wash over them like a dust trail from a farmers pickup driving down a gravel road. Taste the milk, taste the onion of the milk. It's going to be a real boondoggle of an episode. See if the Castellani test can weather the complete lack of weather and find out why the entire plot hinges on a character that enters the film a full three quarters of the way in.