We Really Like Her!

Much like cinema, we're back, baby! Our official TIFF 2022 dispatch is here. Grab a pen and paper (if you're an analog lover like Emily) because we've got women-directed recommendations for your fall watchlists: Canadian gems ROSIE, THIS PLACE, and UNTIL BRANCHES BEND, genre faves THE PEOPLE'S JOKER, SUSIE SEARCHES, and NANNY, and soon-to-be indie darlings THE ETERNAL DAUGHTER, I LIKE MOVIES, and CORSAGE.

On the finale of their Fondavision miniseries, Emily and Danita try to wrap their heads around why someone as incredibly talented and charismatic as Jane Fonda would sign on to something as outrageously bad as 2014's This is Where I Leave You. After reviewing all the ways that movie could have treated Jane (and Kathryn Hahn and Rose Byrne) better, they launch into their Official Jane Rankings (hint: they have a very similar Top 6!) before offering a final word on what they learned from spending a year with the legendary actor and activist.

On the penultimate episode of WRLH's Fondavision miniseries, Danita and Emily hit the books with 1990's Stanley & Iris, a.k.a. the movie that supposedly made Jane Fonda leave acting for 15 years. Would this box-office bomb have succeeded if it chose a lane, focusing solely on the title characters' attempt to combat adult illiteracy (with a lil' romance still thrown in, of course)? Did John Williams actually go off with that overtly wistful score? Why don't more movies put Robert De Niro in glasses? What the heck was going on with Jane's wayward claw clips? And can someone please buy us an egg roll while we wait for our laundry to dry?

This week on WRLH! presents Fondavision, Emily & Danita need a tequila shot before watching (and talking about!) Sidney Lumet's The Morning After (1986). Was Jane drunk on set, or is that just an IMDb rumour? How much can one woman go through while perpetually hungover? Did this '80s thriller suffer from too much romance and not enough suspense? And most importantly, where can we get matching green velour suits?

Tonight on Fondavision (WRLH!'s miniseries dedicated to actor/activist Jane Fonda!), Danita and Emily have a lil' meltdown as they investigate 1979's The China Syndrome. Did this film, produced by and starring Jane, really start the war on nuclear power (a.k.a. "The Jane Fonda Effect"), or is that just another sexist conspiracy theory? How does journalist Kimberly Wells compare to depictions of other women whistleblowers like Karen Silkwood (who Jane wanted to make a film about!) and Erin Brockovich? And what in the hell happened to the humanistic political thriller? This and more at 11!

This week on another instalment of WRLH's Fondavision miniseries, Emily and Danita take a trip across multiple universes as they thrust themselves into the warped world of space-set sex bomb Barbarella (1968). Is it fair to call this orgasm machine of a film "feminist" when we know how damaging it was to Jane Fonda's personal and professional trajectory? Was Jane really drunk while shooting the opening striptease? Where does one procure a pink spaceship? And is it possible to enjoy this absolute trip of a movie without getting stoned out of your mind first?

This week on WRLH! presents Fondavision, Emily and Danita make it a special 2-for-1 episode with a double bill of California Suite and Coming Home. From revamping her image to making some of the most important films of her career, no one was busier than Jane in the late 1970s. So, how do these two very different roles from the same year fit into Jane's filmography? Would you rather live with Jane Fonda or Alan Alda? Is young Jon Voight hot? And while we love Hal Ashby, why was he so mad about *that* sex scene?

Danita and Emily are back from their winter break and ready to backflip into Jane Fonda's filmography! In this new episode of WRLH! miniseries Fondavision, they revisit the movie that Jane made to get her estranged father, Henry, an Oscar: 1981 sappy smash On Golden Pond. Did Jane really have beef with Katharine Hepburn on set, or is this another Debra Winger/Shirley MacLaine situation? How does Norman and Chelsea's strained relationship (which includes him ignoring her, criticizing her weight, and being unafraid to tell her he doesn't like her) compare to Jane and Henry's? And can this movie, which asks a "self-conscious" woman to forgive a grumpy old man who should know better, still stir up the same emotions today, when so many daughters of fathers have gone to therapy?

On this week's episode of We Really Like Her!'s FONDAVISION miniseries, Emily & Danita travel back in time to the depressing, depression-era La Monica Ballroom. What do today's reality shows have in common with the cruel dance marathons of the 1920s & '30s? How much did Jane draw from her personal life to craft the complex, cynical Gloria? And was this role the real catalyst for both the next decade of her career and her activism?

"Well now friends just lend an ear, for you're now about to hear ... the ballad of Cat Ballou!" On this week's episode of We Really Like Her!'s FONDAVISION miniseries, Danita and Emily ride into Wolf City, Wyomin' to hang with the infamous Cat Ballou. How did this zany, 1960s comedy-western (a favourite of Bryan Cranston and the Farrelly Brothers?) get away with giving Lee Marvin two scenery-chewing roles while Jane Fonda (who played the *titular* Cat) an underdeveloped one? Would it have been better as a full-fledged musical with Jane singing alongside the late, great Nat King Cole and Stubby Kaye? And which young starlet could play Cat in a reboot where, hopefully, the so-called "wildest gal in the West" actually takes the reins?

Get thee to a nunnery as this week's episode of FONDAVISION (a Jane Fonda miniseries from WRLH!) takes Emily and Danita to heaven and hell and back. Yes, it's time to talk 1985 nun-centric "neo-noir" AGNES OF GOD, which sees Jane playing a slightly unethical psychiatrist who is trying to help a sister (an incredibly committed Meg Tilly) out with her minor baby murder problem. What is this movie trying to say about sexual abuse within the church, if at all? Is this the most Jane has ever smoked in a movie (and with Anne Bancroft, natch)? And what's this about her and cinematographer Sven Nykvist having their own sinful confessionals between takes?!?

After workin' 9 to 5, Danita and Emily are clocking back in with another politically charged film about workplace hazards: Tout va bien (1972). All is NOT well as they investigate how the sausage was made on this anti-capitalist film about class wars in France. Were Jean-Luc Godard and Jean-Pierre Gorin really just using Jane as a prop for their political agendas, or was this a film that Jane simply needed to make as she made a very pivotal turn in her personal and professional life? What is with Jane's obsession with playing journalists? And, most importantly, were all of her character's outfits ripped from her closet in Klute?

Emily and Danita are back on the clock with an all-new episode of Fondavision, WRLH!'s special series dedicated to ACTor and ACTivist Jane Fonda! Pour yourself a cup of ambition and pull up a chair as they revisit 9 to 5, the classic workplace comedy that truly wouldn't have made it past the interview stage if not for Jane. How does the film's office politics compare to current struggles for equity? Will we ever see a sequel (or at least an episode of Grace & Frankie with Dolly)? And, most importantly, what the hell is that milky cocktail Jane is drinking in the bar scene??

We saw so many great movies directed by women at TIFF21 that we couldn't fit them all into one episode! Reporting post-festival, we get into Jane Campion's The Power of the Dog, Mia Hansen-Løve's Bergman Island, Betsy West & Julie Cohen's Julia, and Justine Bateman's Violet. Meanwhile, if you've been wondering about the return of FONDAVISION, we're back on October 13 with the comedy classic 9 to 5. We also want to say THANK YOU to everyone who came out to Wayne's World, our first screening back at the Revue Cinema. Our next IRL event is on October 27 & we're showing the essential Jennifer's Body. If you're in Toronto, you can get tickets here: https://bit.ly/2ZI1RlHSee you then, friends!

After a short summer hiatus, we're back! Dispatching from the Toronto International Film Festival, your trusty (and tired!) co-hosts have been watching a lot of movies directed by women - at home and IRL! This week, we are covering the Best of the Fest so far: Penny Lane's delightful LISTENING TO KENNY G, Céline Sciamma's emotional PETITE MAMAN, Danis Goulet's powerful NIGHT RAIDERS, Ruth Paxton's eerie A BANQUET, Jenna Cato Bass' spooky MLUNGU WAM, and Julia Ducournau's killer TITANE.

In an all-new episode of Fondavision, Emily and Danita get hung up on Bree Daniels, the true star and subject of the neo-noir classic Klute (1971). Why is fruit so titillating? Is Emily a True Freak for listening to the spine-tingling soundtrack on repeat? Was Bree *actually* faking it with John Klute? Can long-time "friend of the podcast" Ann Roth style us for the fall season? And will this authentic portrayal of a complicated woman who goes to therapy go down in history as Jane Fonda's most important and influential role ever?

From Bob and Jane to Don and Jane! In an all-new Fondavision, Emily and Danita escape with the rag-tag team of ex-cons of Steelyard Blues (1973), the second on-screen collab between Jane Fonda and Donald Sutherland. Is this scatterbrained comedy worth watching outside of the truly electric chemistry between the aforementioned former power couple? How did future Everybody Loves Raymond star Peter Boyle get a better wig budget than Jane? And will Danita ever stop listening to the zany soundtrack that stood in for any semblance of plot development?

In the finale of Fondavision's Bob & Jane trilogy, WRLH! co-hosts Danita and Emily take a ride with The Electric Horseman (1979)! Is this western romance co-starring Willie Nelson the Ultimate Robert Redford/Jane Fonda Experience? Where does one get a purple light-up get-up like Sonny Steele wears? Has Bradley Cooper, famed director of A Star is Born (2018), seen this film? And where does this story about a man, a woman and a show pony fit in with Jane's overall legacy as an actor/activist?

Have some more fun with Bob and Jane as Danita and Emily take on the most recent (and final?) Redford/Fonda collab: 2017's Our Souls at Night! How has Jane's chemistry with her favourite co-star evolved over the years? How does this Netflix original compare to Danita's favourite movie, TIFF 2018 selection The Old Man & the Gun? And what the hell was Young Sheldon doing in this tender film about finding love and connection in old(er) age?

Newlywed month continues with FONDAVISION's first foray into the Jane Fonda/Robert Redford canon: Barefoot in the Park (1967)! Does this Neil Simon rom com hold up aside from the TRULY UNREAL chemistry between "frequent collaborators" Jane and Bob? Why didn't they just put some cardboard on that damn skylight? And can we talk about Jane's timeless wardrobe courtesy of the legendary Edith Head?

This week on FONDAVISION ... Jane Fonda doing her best Blanche DuBois in a sub-textually queer film from the writer of Funny Girl (the play and film)! Listen in as Emily and Danita navigate Tennessee Williams adaptation Period of Adjustment (1962), which features one of Jane's earliest on-screen performances. Is this black-and-white MGM picture just another silly pitstop on Jane's way to serious superstardom, or does it have some sneakily forward-thinking themes that would steer the course of her career forevermore?

After a brief hiatus, Danita and Emily are back with a new instalment of FONDAVISION! Join them as they cringe through Jane's most problematic movie yet: 1977's Fun with Dick and Jane. What was Activist Jane thinking when she made this failed satire that includes raging homophobia, transphobia, racism and misogyny? What's the Real True Hollywood Story behind those rainbow socks she wore in it? And, most importantly, where does this movie rank on the FONDAVISION scale of success?

In the second episode of WRLH!'s Jane Fonda series, Emily and Danita take cakes to the face with the challenging (and, honestly, occasionally chuckle-worthy) Monster-in-Law (2005). Was this early aughts comedy the triumphant return to cinema that Jane may have hoped it would be after 15 years? Where's the sequel starring Wanda Sykes as the scene-stealing Ruby (and only Wanda Sykes as the scene-stealing Ruby)? Has there ever been better horror girl representation than J.Lo and Jane watching A Nightmare on Elm St.? And, most importantly, what did Jane think of Jennifer's performance in Hustlers?

WE'RE BACK, BABY! Join We Really Like Her! co-hosts Emily and Danita as they kick off Fondavision — a new series dedicated to the iconic works of the one and only Jane Fonda — with the politically and erotically charged opus that is Book Club (2018).Is it as good as they remember it was when they saw in theatres with Emily's mom and their friend Candis while drunk on rosé? Is Jane's character, Vivian, the direct descendant of Samantha Jones? And did Don Johnson (Dakota Johnson's father to Danita) fall in ~TRUE LOVE~ with Jane while shooting this movie? Find out the answers to these questions and more in the premiere of Fondavision!

Climb into our fur(s) and get cozy because we’re closing out 2019 with an extended episode dedicated to our favourite films directed by women this past decade! We’re talking everything from underrated tearjerkers (YOUR SISTER’S SISTER, anyone?) and acclaimed dramedies (LADY BIRD!) to fearless horror flicks (remember THE VOICES?) and genre-defying docs (here’s looking at you, SHIRKERS). Plus, we reveal our top movie of 2019 (it is, shockingly, unanimous!) and which gore-geous horror film we’ll be screening at Toronto’s Revue Cinema on January 30! We Really Like Her! is produced by Emily Gagne and Danita Steinberg, edited by Danita Steinberg, with a theme song by Emily Milling.

Which hit film is heartfelt, hilarious, head-banging, and helmed by a most righteous babe of punk cinema? It’s WAYNE’S WORLD (party time, excellent)! In honour of Emily’s birthday, we’re bowing down to Penelope Spheeris’s WAY worthy 1992 comedy about friendship, “foxy” ladies, and finding success on your own terms. Let’s look straight into the camera and address important questions like, did you ever find haiku writer, secret drummer and possible Scorpio Garth Algar endlessly relatable? Also, has there ever been a more excellent faux rocker chick than - cue Gary Wright’s “Dream Weaver” - Tia Carrere’s Cassandra? And why in the hell did Mike Myers not trust Penelope’s vision for what would become one of the most iconic music moments in movie history???We Really Like Her! is produced by Emily Gagne and Danita Steinberg, edited by Danita Steinberg, with a theme song by Emily Milling.

This week we’re taking a trip to 1960s Louisana with Toronto filmmaker Lu Asfaha! As Kasi Lemmons tours the world with her new film, HARRIET, we’re revisiting her magical debut feature, EVE’S BAYOU, a film about growing up, sisterhood and the complicated nature of memory. After lamenting the fact that Lemmons didn’t get all the calls after this truly remarkable work (which Roger Ebert dubbed best film of 1997!!) killed at the box office, we celebrate the other incredible women who helped her bring the film to life (including cinematographer Amy Vincent, actresses Jurnee Smollett-Bell and Debbi Morgan). Plus, Lu speaks to the ways Lemmons inspires her as a genre writer/director and gives us a sneak peek of her two (!!) films screening at the Regent Park Film Festival this month: DEAD END (November 20) and PALADIN (November 21). And Danita debuts her fan theory linking Eve Batiste to Danny “Redrum” Torrence! We Really Like Her! is produced by Emily Gagne and Danita Steinberg, edited by Danita Steinberg, with a theme song by Emily Milling.

For this year’s Halloween episode, we’re digging up a forgotten favourite! Yes, it’s time to revive the conversation around director Mary Lambert and her grossly (emphasis on the GROSS!) underrated 1989 adaptation of Stephen King’s Pet Sematary. Follow us to the forests of Ludlow, Maine as we unearth our true feelings about the 2019 remake and the ways in which it (im)pales in comparison to Mary’s revolting and revolutionary take. We also mourn the loss of Mary’s original concept for Pet Sematary II (which would have followed Ellie Creed!) and wonder whether the Fun and Fucked Up horror film is dead, or just buried under a pile of “elevated” yet uninteresting spins on the genre. We Really Like Her! is produced by Emily Gagne and Danita Steinberg, edited by Danita Steinberg, with a theme song by Emily Milling.

One, two, a new episode for you! We’re back from our hiatus to celebrate the 25th anniversary of NEW NIGHTMARE with dreamghoul and fellow horror lover Lindsay Traves. Join us in the boiler room as we slice and dice the NIGHTMARE ON ELM STREET franchise, revisiting Heather Langenkamp’s ongoing role as Nancy Thompson. Why do we still scream for Robert Englund as literal child murderer Freddy Krueger, but hardly ever talk about Nancy, a true survivor, pyjama enthusiast, and precursor to one of the best modern final girls (calling Sidney Prescott!)? And what would a new NEW NIGHTMARE look like, especially without Nancy’s biggest fan, Wes Craven, in the picture? We Really Like Her! is produced by Emily Gagne and Danita Steinberg, edited by Danita Steinberg, with a theme song by Emily Milling.

We're finally over our post-festival colds (okay, Emily's still coughing a bit) and ready to share our final TIFF thoughts! Settle in with a seasonal beverage (pumpkin spice cold brew, anyone?) and listen in as we reflect on all the women-directed films we saw, including new works from Kasi Lemmons (HARRIET) and Alma Har'el (HONEY BOY) as well as debut features from Aisling Chin-Yee (THE REST OF US, a.k.a. Danita's new favourite film!) and Rose Glass (SAINT MAUD). Plus, what did Movie Club think of Renée Zellweger's buzzed-about performance in JUDY? Will Beanie Feldstein be redefining teen cinema (again!) with HOW TO BUILD A GIRL? And why is Emily so obsessed with KNIVES OUT?We Really Like Her! is produced by Emily Gagne and Danita Steinberg, edited by Danita Steinberg, and features a theme song by Emily Milling.

We sat down with actor Raffey Cassidy, director Malgorzata Szumowska, and writer Catherine S. McMullen to talk about their incredible film 'The Other Lamb' which celebrated its World Premiere at TIFF19. We got the scoop on Jeffrey the ram (!!!), location scouting in Ireland, adapting a short story for the screen, and the joys of collaborating with women.

TIFF 2019 is fully underway and we were lucky enough to interview Shelly Love, director of A BUMP ALONG THE WAY. In this minisode, Shelly talks about the importance of childcare funding within film budgets, the process of preparing to make her first feature, and travelling with her two year old.We Really Like Her! is produced by Emily Gagne and Danita Steinberg. Edited by Danita Steinberg and theme song by Emily Milling.

In our first interview of TIFF 2019, we chat with WORKIN’ MOMS writer Karen Moore about her directorial debut, VOLCANO! In this mini episode, Karen tells us why she, in particular, wanted to make a short film about two friends (Hannah Cheesman and Jess Salgueiro) sharing drinks and secrets at Toronto’s Shameful Tiki Bar. Plus, a few hot tips on the best spots to grab a drink during the fest and some words of wisdom for first-time directors. We Really Like Her! is produced by Emily Gagne and Danita Steinberg. Sound engineering by Perry Jackson and theme song by Emily Milling.

Pull up a Muskoka chair and a huge box of Kleenex because this week’s episode is dedicated to birthday girl Danita and two of her all-time faves: Bette Midler and BEACHES. Listen in as Danita looks back on her lifelong relationship with the Divine Miss M, including a devastating childhood story involving a VHS tape, an autograph, and a couple of extra 'D's (!). Plus, what does Emily really think of BEACHES after only watching it for the first time two years ago (with Danita, of course)? And did Garry Marshall really want there to be “more catfights” in this ode to the ups and downs of female friendship? We Really Like Her! is produced by Danita Steinberg and Emily Gagne, edited by Danita Steinberg, with a theme song by Emily Milling.

We’re, like, freaking out because Hollywood Suite archival producer and film programmer Alicia Fletcher is with us this week to talk about Martha Coolidge and her bitchin’ 1983 flick VALLEY GIRL! Listen in as we flip right out over this California-set riff on Romeo and Juliet, including its seriously cute cast (Deborah Foreman + Nic Cage 4 ever!), rad soundtrack (we melt for “I Melt with You”!), and totally tubular costumes. Why is this literally perfect movie not talked about as much as John Hughes’s entire (and, honestly, grody on reflection) filmography? The patriarchy can “Fuck off, fer sure! Like, totally!” We Really Like Her! is produced by Danita Steinberg and Emily Gagne, edited by Danita Steinberg, with a theme song by Emily Milling.

Finish up your Snapple because it’s time to take an emotionally-charged tour through Reese Witherspoon’s career and filmography with writer and person Anne T. Donahue! Follow us as we travel down the Oscar-winning actress/producer’s many roles and career paths before we reach our final destination: her raw, riveting performance in Jean-Marc Vallée’s 2014 film WILD. Can we talk about Reese’s fearless commitment to Cheryl Strayed’s story about grief, loss, addiction and perseverance without making a pit-stop to address the Andrea Arnold / Big Little Lies controversy? Also, when is Reese going to do Anne’s book, NOBODY CARES, for her Book Club? We Really Like Her! is produced by Danita Steinberg and Emily Gagne, edited by Danita Steinberg, with a theme song by Emily Milling.

It’s summer and we’re in *a mood* so we decided it was finally time to talk about the unfairly maligned and absolutely brilliant Diablo Cody. If we’re going to be honest to blog, we love everything Diablo does (Emily especially), but this week we’re focusing on one of her most challenging works: 2011’s YOUNG ADULT. Why does this uncompromising, uncomfortable character study about a depressed writer obsessed with her high school beau not get discussed more? Could it have something to do with how so many other Diablo scripts - JENNIFER’S BODY, TULLY, RICKI AND THE FLASH - are dismissed for centering on “unlikeable” leading ladies (a.k.a. women dealing with legitimate issues like life, death and mental health)? We Really Like Her! is produced by Danita Steinberg and Emily Gagne, edited by Sonya Suraci, with a theme song by Emily Milling.

Break out your purple clogs and your most capable outfit! Drunk Feminist Films cast member Bernita Rebeiro is in the passenger seat of our Jeep this week, giving us the 411 on why she’s still majorly, totally, butt crazy in love with Alicia Silverstone and her performance in CLUELESS. Better buckle up because we’re not only discussing Amy Heckerling’s, like, totally important teen film and its utterly aspirational protagonist, (fashion icon/do-gooder Cher Horowitz!), but also the “Crazy” gross trend that may have made Alicia say “Outie!” to other major acting roles. We Really Like Her! is produced by Danita Steinberg and Emily Gagne, edited by Sonya Suraci, with a theme song by Emily Milling.

This week, we are sitting and talking about Nicole Holofcener's debut film, critically-acclaimed ode to female friendship WALKING AND TALKING. How is it that this film, which paved the way for so many great modern works by and about women (including, yes, BRIDESMAIDS), isn’t talked about as much as the films of, say, Cameron Crowe and Noah Baumbach? And, more importantly, whatever happened to Anne Heche? All of this and more as we finally give the lovely, amazing, and recently Oscar-nominated Nicole the episode she deserves!We Really Like Her! is produced by Danita Steinberg and Emily Gagne, edited by Sonya Suraci, with a theme song by Emily Milling.

Lace up your fave sneakers and put on your best jumpsuit because Emily and Danita are back with a sneak preview of Olivia Wilde’s directorial debut, BOOKSMART! Listen up as they geek out over this new comedy that follows nerdy BFFs Amy (Kaitlyn Dever) and Molly (Beanie Feldstein) as they attempt to get their party on for the first time the night before their high school graduation. Does this so-called SUPERBAD of the 2010s really make the grade in terms of its portrayal of teenage friendship, sexual inexperience and being “uncool”? Or is it, much like high school, way overhyped?

Hope you’re hungry because Danita, Emily and Nerdist writer/editor Lindsey Romain are serving up an all-new episode dedicated to Keri Russell in WAITRESS. On the menu: mourning the loss of late actor/writer/director Adrienne Shelly, drooling over pies (they’re better than cakes!), and predicting who Keri will play in a galaxy far, far away.We Really Like Her! is produced by Danita Steinberg and Emily Gagne, edited by Sonya Suraci, with a theme song by Emily Milling.

Emily and Danita are in interview mode this week as they chat with Stacey Tenenbaum, the director of PIPE DREAMS, a documentary that follows five young organists as they compete in Canada’s prestigious International Organ Competition (or the CIOC) in Montreal. In anticipation of the film’s upcoming world premiere at the Hot Docs Canadian International Documentary Festival, we ask Stacey about the technical challenges of making a film about multiple subjects, subjectivity in documentary, and, most importantly, why we should all eat bananas when we are anxious. We Really Like Her! is produced by Danita Steinberg and Emily Gagne, edited by Sonya Suraci, with a theme song by Emily Milling.

Emily and Danita are back from their escape to L.A. and ready to talk - at great length! - about the crown jewel of Brooklyn and star of almost every single indie drama directed by woman, Michelle Williams. While the second half of this episode is an extended ode to the sexiest film about Toronto (TAKE THIS WALTZ), there’s also talk of BLUE VALENTINE, DAWSON’S CREEK, MEEK’S CUTOFF and HALLOWEEN: H20. Speaking of HALLOWEEN, the girls share an exclusive, first-hand account of visiting Michael Myers’ bush! You don’t wanna wait to listen to this episode because new things get old and also, Luke Kirby is very hot. Produced by Emily Gagne and Danita Steinberg. Edited by Sonya Suraci. Theme music by Emily Milling.

This week, Danita and Emily take a detour to review Juanita, a new Netflix dramedy starring the always incredible Alfre Woodard. Did Juanita ever eat the turkey leg she had with her at the start of her journey of self-discovery? Why did everyone keep asking her if she had a makeover when she wore a colour other than black? Is Blair Underwood okay? The girls ask these and more pressing questions, while also previewing their next episode (coming April 10)! Produced by Emily Gagne and Danita Steinberg. Edited by Sonya Suraci. Theme music by Emily Milling.

Bring your appetite and your best dress because Emily and Danita are taking an impromptu trip to Italy with Diane Lane and UNDER THE TUSCAN SUN! This 48-minute tour of Diane’s ridiculously cool life and filmography (ladies and gentlemen, THE FABULOUS STAINS!) also includes a detour to the land of worshipping all things Sandra Oh. And don’t miss Emily’s conspiracy theory about “the best movie of 2018” (hint: it’s not GREEN BOOK). Produced by Emily Gagne and Danita Steinberg. Edited by Danita Steinberg. Theme music by Emily Milling.

Take a trip to LADYWORLD as Emily and Danita interview crazy cool filmmaker Amanda Kramer! Listen up as the trio chat about LADYWORLD’s upcoming screening at the Toronto International Film Festival’s (TIFF) Next Wave Film Festival, as well as the implications of portraying female conflict on screen and the importance of challenging expectations through art. Produced by Emily Gagne and Danita Steinberg. Edited by Sonya Suraci. Theme music by Emily Milling.

Get carried away with Danita, Emily and Drunk Feminist Films co-founder Steph Guthrie as they discuss Debra Winger’s Oscar-nominated performance in AN OFFICER AND A GENTLEMAN. Listen in as they lift the so-called “difficult” actress up where she belongs, showering her with endless TERMS OF ENDEARMENT for her fearless drive to create memorable (and messy!) female characters. Plus, the first WRLH! sing-a-long? Produced by Emily Gagne and Danita Steinberg. Edited by Sonya Suraci. Theme music by Emily Milling.

This week, Danita and Emily are having what Ariel Fisher’s having as they chat with the Fangoria writer and AFTER ALL podcast co-host about Nora Ephron, Carrie Fisher and the best rom-com of all time, WHEN HARRY MET SALLY. Put on your best sweater and blazer combo for a stroll through Central Park and the incredible careers of Nora and Carrie (on and off camera). And of course, we spend some time tipping our hats to Meg Ryan's perfect hair.Produced by Emily Gagne and Danita Steinberg. Edited by Sonya Suraci. Theme music by Emily Milling.

Danita and Emily rev up for another year of celebrating all things women in film with some BIG love for late, great director/actress/tinted glasses aficionado Penny Marshall. Buckle in as they take a tour of Penny’s career, discussing why she was, truly, in a league of her own. Her final film, 2001’s RIDING IN CARS WITH BOYS, is a perfect representation of her hilarious and heartfelt brand. Plus, details on WRLH!’s upcoming A LEAGUE OF THEIR OWN screening and Penny tribute (January 24 at the Revue Cinema!). Produced by Emily Gagne and Danita Steinberg. Edited by Sonya Suraci. Theme music by Emily Milling.

Emily and Danita get emotional in all the ways as they look back on all the great films made by and/or starring women they watched this year. Settle in with a festive beverage of choice (or iced coffee, Danita’s fave) as they gush about everything from the “difficult women” of TULLY and CAN YOU EVER FORGIVE ME?, to the film that changed both of their movie-going lives (it’s not, to Emily’s chagrin, MAMMA MIA! HERE WE GO AGAIN!), to their fave first watches (see: “the best movie of TIFF 2018”, THE JOY LUCK CLUB). Produced by Emily Gagne and Danita Steinberg. Edited by Sonya Suraci. Theme music by Emily Milling.