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Speaker 1: On the Bel cast. The questions asked if movies have

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Speaker 1: women in them? Are All their discussions just boyfriends and husbands?

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Speaker 1: Do they have individualism? The Patriarchy? Zef in, best start

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Speaker 1: changing it with the Beck del cast. Jamie, it's so

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Speaker 1: hot in here. Can you please turn the fan on

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Speaker 1: in this recording studio? It gets, it gets the PODCAST, dusty, can't.

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Speaker 1: Can't turn on the fan. The podcast will be covered.

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Speaker 1: It does, it will be a catastrophe for us. Sorry,

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Speaker 1: we'll fine. I'll just take off all my clothes then.

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Speaker 1: All right, that's not my business. I guess I'll do

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Speaker 1: the same. Cool, same, yeah, that sounds great. Actually, the

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Speaker 1: only person that's going to piss off is mommy, Mommy podcast. Cool. Well,

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Speaker 1: I'm glad we sorted that out. Yeah, that I get

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Speaker 1: that resolved very cleanly. Welcome to the Bechtel cast. My

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Speaker 1: name is Caitlin Darante, my name is Jamie Loftus, and

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Speaker 1: this is our podcast where we take a look at

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Speaker 1: your favorite movies using an intersectional feminist Lens, using the

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Speaker 1: Bechdel test as a jumping off point for discussion, which,

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Speaker 1: of course, is a media metric created by careeer cartoonist

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Speaker 1: Alison Bechdel, sometimes called the Bechtel Wallace test, whereby two

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Speaker 1: people of a marginalized gender have to have names, they

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Speaker 1: have to speak to each other and their conversation has

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Speaker 1: to be about something other than a man, and ideally,

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Speaker 1: for our sake, it is a meaningful, substantial conversation and

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Speaker 1: not just like Hey, what Um now, keep this going,

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Speaker 1: this feels this sounds good, this feels good. How's your soup?

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Speaker 1: And then the other person says, I'm not listening to you,

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Speaker 1: go away, and then the first character disappears forever and

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Speaker 1: they're like, my name is crystal as they're leaving, but

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Speaker 1: it's too late. We didn't year it on screen. That's

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Speaker 1: an example of something that is great writing, but not

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Speaker 1: great to pass it. Look anyways, it's a flawed metric,

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Speaker 1: because that was an amazing scene we just did. I'm

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Speaker 1: going to base an entire screenplay around it. Yeah, it's

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Speaker 1: called it's gonna be called a suit, an extremely supi movie,

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Speaker 1: an extremely no, no, it's not, and I can't engage

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Speaker 1: with this joke any further. I can. I draw the line. Look, look,

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Speaker 1: in the case of today's episode, Bechtel Test Not a problem.

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Speaker 1: Let's just say that right now. No problem at all. Yes,

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Speaker 1: and so I said, let's let's get to it. Let's

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Speaker 1: get our incredible returning becktel cast guest into the room.

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Speaker 1: Let's get her in the mix. We simply must. She's

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Speaker 1: a comedian, podcaster, creator and host of a podcast for potheads,

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Speaker 1: and do you remember her from our episode on Selena?

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Speaker 1: It's Mama unios. Okay, everyone, thank you for having me.

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Speaker 1: It feels great to be back. It's our pleasure and

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Speaker 1: it is also mine. We brought you back in one

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Speaker 1: degree heat. It's you know what, there's literally nothing else

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Speaker 1: I would rather be doing than podcasting about this film

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Speaker 1: in a heat wave. It's apt. It makes sense. Yeah,

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Speaker 1: I feel like I'm in the movie. It's true. We

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Speaker 1: were joking about how, by the end of the episode,

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Speaker 1: we will all be taking our clothes off, hopefully because

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Speaker 1: of the heat. Look, PR nightmare. Maybe we'LL HR get involved,

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Speaker 1: may possibly. Am I open to it? Yes, it's so.

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Speaker 1: Today it is one hundred, or like ninety seven degrees

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Speaker 1: in where I'm at in l a right now. Unpleasant,

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Speaker 1: but you know, it's not unpleasant the movie, Oh my God,

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Speaker 1: Very Fun Watch, very enjoyable. Real women have curves. Mala,

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Speaker 1: what's your relationship, your history with this film? You know,

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Speaker 1: I feel like my relationship with the film starts with

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Speaker 1: my relationship with America Ferrera, because she was like a

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Speaker 1: Disney Channel Darling. She was in gotta kick it up,

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Speaker 1: about the Latina dance team, and that's where, like, I

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Speaker 1: was born in ninety two. That's where I was first

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Speaker 1: introduced to America Ferrera. So when real women have curves

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Speaker 1: came out, it was like, Oh, this is a recognizable

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Speaker 1: actress who we love and she had this incredible like

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Speaker 1: role and I don't know if that's a movie that

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Speaker 1: a lot of people have seen, but in like little

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Speaker 1: Latina circles, gotta kick it up, real women have curves

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Speaker 1: super just iconic, like staples of our media diet. So

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Speaker 1: did you see real women have curves, like right when

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Speaker 1: it came out, you know, so two thousand two. I

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Speaker 1: don't remember where I was or where I saw it.

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Speaker 1: I just remember that like it was like this standout

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Speaker 1: movie to me because of of loop anti vettos is

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Speaker 1: in it, George Lopez is in it, America Frere is

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Speaker 1: in it and there are others throughout the film who

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Speaker 1: are iconic actors and actresses, but I remember thinking like

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Speaker 1: Oh my God, like this little movie is like has

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Speaker 1: all these recognizable faces that I've seen in all these

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Speaker 1: other projects, like, you know, loop ant Thi vetto's played

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Speaker 1: in the Selena biopick. So so for that reason it

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Speaker 1: was like wow, like I've seen these faces in all

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Speaker 1: these other projects, Disney channel, Selena, George Lopez, and now

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Speaker 1: they're all here in this one movie, like that's fucking sick.

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Speaker 1: What a great cast and like really amazing performances across

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Speaker 1: the board. And learning about the I mean, we'll get

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Speaker 1: into it, but like learning about the production history of

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Speaker 1: this movie is like very frustrating and very fascinating and

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Speaker 1: I just like I can't wait to get into it.

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Speaker 1: Truly agreed. Jamie, what is your relationship with this movie?

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Speaker 1: I had kind of a similar journey. I I every

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Speaker 1: deep calm that came out was my favorite movie, and

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Speaker 1: so got to kick it up was, I feel, like

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Speaker 1: a significant one that was like kind of in like

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Speaker 1: the Upper Pantheon of D coms. I really, really loved it.

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Speaker 1: That was definitely how I even though I think that

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Speaker 1: technically real women have curves, was made before got to

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Speaker 1: kick it up. Definitely learned about America Ferra and like

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Speaker 1: fell in love with her through got to kick it up,

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Speaker 1: and I don't remember, I know I saw real women

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Speaker 1: have curves when I was a kid. I was trying

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Speaker 1: to sort out in my head the sequence of events

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Speaker 1: of like I might have seen, like got to kick

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Speaker 1: it up, sisterhood of the traveling pants and then seen

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Speaker 1: real women have curves. To be like we have to

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Speaker 1: get into vintage America Ferrara, but I definitely saw it

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Speaker 1: when I was in like either late middle school early

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Speaker 1: high school. Really really loved it. Um have revisited it

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Speaker 1: a couple of times over the years, but I hadn't

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Speaker 1: seen it in a really long time and definitely not

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Speaker 1: since I had moved to L A, and so it

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Speaker 1: was like such a delight to like revisit. I really

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Speaker 1: love this movie and, yeah, getting to learn more about

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Speaker 1: the film and kind of the the adult like I

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Speaker 1: feel like this is such a cool example of like

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Speaker 1: adapting something into a movie well, which is so often

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Speaker 1: done badly or sloppily or lazily or whatever, but like

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Speaker 1: this is just like a beautiful adaptation and I'm so

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Speaker 1: excited to talk about it. Yeah, Caitlyn, what's your history

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Speaker 1: with real women have curbs? I saw this movie in

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Speaker 1: high school because I came out in two thousand two.

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Speaker 1: I think I would have seen it in like two

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Speaker 1: thousand three or four when I was about honest character's

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Speaker 1: age in the movie, because I think, if my memory

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Speaker 1: serves me correctly, my mom had heard about this movie

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Speaker 1: and was like, I heard it's really good. Roger Eber

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Speaker 1: gave it three and a half stars. Let's watch it,

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Speaker 1: let's rent it from the video store, the ultimate yard stick.

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Speaker 1: This is a very like. I feel like I probably

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Speaker 1: watched this with my mom. It's a very mother like.

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Speaker 1: There's not a lot of mother daughter movie, I mean,

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Speaker 1: and the relationship will get there. But and it would

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Speaker 1: have required someone, we had to have the DVD of

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Speaker 1: this film to watch it. So I feel like I

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Speaker 1: went to blockbuster or someone recommended it and and because

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Speaker 1: I don't remember seeing it in the movie theaters or

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Speaker 1: on TV, like I feel like it was a DVD situation. Yeah, exactly. Yeah,

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Speaker 1: that's my recollection as well. Gosh, like yeah, like the

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Speaker 1: the later blockbuster years. What a beautiful what a beautiful time,

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Speaker 1: and it's twilight. Does anyone remember the last dvd they

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Speaker 1: got from blockbuster? Wow, I think that's a fun question.

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Speaker 1: My hometown was so small that we didn't even have

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Speaker 1: a blockbuster. We had to go to just like the

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Speaker 1: local video rental store, which I don't even remember what

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Speaker 1: it was called now. It might have just been called

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Speaker 1: like video store, the video store. Amazing Um. Anyway. So, yeah,

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Speaker 1: I saw it in high school as a teenager and

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Speaker 1: I haven't watched it since then, I don't think. But

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Speaker 1: there were two scenes in particular that are just like

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Speaker 1: steered into my memory. You know, when you watch a

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Speaker 1: movie that you and then you you don't see it

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Speaker 1: for years, but they are just like little moments that

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Speaker 1: you will never forget and then have just been like

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Speaker 1: logged into your memory bank forever. The scene where America,

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Speaker 1: for era, is like admiring her body. She like pulls

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Speaker 1: her robe open and it's like looking at herself in

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Speaker 1: the mirror, and then her mom comes in and she

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Speaker 1: like immediately knows that she's lost her virginity. That like

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Speaker 1: was completely steered into my memory. And then the climactic

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Speaker 1: scene at the end when all the women at the

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Speaker 1: dress factory are taking their clothes off and comparing bodies

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Speaker 1: and on his mom is horrified, like what a great scene.

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Speaker 1: I will never forget that. The other scene that I

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Speaker 1: did not remember her mom being like you lost her

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Speaker 1: virginity and being right. I was like, Oh, I'm glad.

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Speaker 1: I'm kind of glad that didn't stick with me. I

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Speaker 1: was like how did she know that? Uh, but I

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Speaker 1: think it was steered into my memory because I was

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Speaker 1: so afraid that that would happen to me with my

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Speaker 1: right like you can tell like I do. I look different.

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Speaker 1: And in that scene too, she opens with like she

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Speaker 1: uses such strong language with Anna, like throughout the movie.

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Speaker 1: One of the things that really sticks out to me

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Speaker 1: is like the vocabulary that Garman, that Anna's mother uses

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Speaker 1: so like immediately in that scene she's like you tramp,

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Speaker 1: and then she tells her like not only are you fat,

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Speaker 1: you know, very hard language that just really punctuates like

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Speaker 1: every aspect of the scene totally. One of the scenes

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Speaker 1: that stuck with me the hardest on this viewing was

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Speaker 1: the scene where it's like on his first day working

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Speaker 1: at the factory and her mom is body shaming her

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Speaker 1: and then the second another person enters the room she's

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Speaker 1: all of a sudden nice and you're like, oh no,

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Speaker 1: I know that dynamic, like that's so that I don't

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Speaker 1: know how many times I've like seen that like on screen,

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Speaker 1: like depicted in a very straightforward way of like well, yeah,

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Speaker 1: like you know, I could be a total asshole to

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Speaker 1: you when no one's around, but then the second there's

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Speaker 1: a third party might demeanor completely changes and you're like yeah,

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Speaker 1: that's I saw that a ton growing up, like it's

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Speaker 1: just yeah, Anna's mom has this way of just like

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Speaker 1: raining on her parade like at every possible moment, like

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Speaker 1: even from the opening scene of them, because like that

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Speaker 1: scene where she's like talking bad to Anna, like Anna's

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Speaker 1: like admiring a dress on one of the mannequins and

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Speaker 1: she's just looking at it and how pretty it is,

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Speaker 1: and her mother immediately comes in with you can't fit

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Speaker 1: into that, like you're way too fat. There's no way

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Speaker 1: there's enough fabric to cover you. Like look at your

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Speaker 1: chee cheese, they're so huge. And then in Wox Norma

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Speaker 1: and even the very first scene of the movie, Anna's

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Speaker 1: on her way to school, her last day of high school,

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Speaker 1: and her mom is sick in bed and asking her

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Speaker 1: to stay home to make breakfast for the men. You know,

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Speaker 1: she's just like a party pooper throughout the whole film.

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Speaker 1: That's that seemed like at the factory, like truly I

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Speaker 1: was like, Oh my God, she was literally just standing

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Speaker 1: there and the like. It turned into an attack, like

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Speaker 1: Oh yeah, yeah, we will unpack that relationship soon. Yes,

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Speaker 1: it's wild because she's so likable, she's so lovable the

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Speaker 1: mom even when she's saying all these horrible things, like

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Speaker 1: she's still kind of funny when she's saying them, and

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Speaker 1: like the tension between the two of them is like,

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Speaker 1: I don't know, there's something still endearing about her even

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Speaker 1: as she infuriates you. You know right. I feel like

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Speaker 1: a lot of that is just like Lupe onto be

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Speaker 1: of those performance as well, like her man across the board.

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Speaker 1: Like every performance in this movie is so good and

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Speaker 1: like layered and full of heart, and I mean the

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Speaker 1: fact that like America Ferra was fifteen when she started

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Speaker 1: this movie and like the whole range of like she's

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Speaker 1: just so fucking talented. It is such a good movie.

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Speaker 1: I am sad I slept on it for all of

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Speaker 1: those years in between, like when I first saw it,

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Speaker 1: and now you're back based I'm back, baby. Um. Shall

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Speaker 1: I do the recap? Let's do it. Okay. So we

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Speaker 1: meet Anna Garcia, played by America Ferrera. She's a teenager

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Speaker 1: who is about to finish high school in Los Angeles.

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Speaker 1: Ever heard of it? We meet her family, her sister,

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Speaker 1: a Stella, played by Ingrid and I'm not sure how

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Speaker 1: to pronounce her last name, Oly You, Um, Her dad,

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Speaker 1: role played by Jorgees Rivera Jr, her grandfather, her like Abulito,

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Speaker 1: and then her mom, Carmen, played by Loupe Ontiveros, who

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Speaker 1: Anna has a loving but difficult relationship with, as we've

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Speaker 1: hinted at and will discuss further. Carmen, we will learn,

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Speaker 1: gets on honest case about a lot of different things

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Speaker 1: and has certain pretty rigid expectations for Anna and and

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Speaker 1: for Estella. Yes, Anna heads to her last day of

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Speaker 1: high school. She and her family live in I think

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Speaker 1: east L A, boil heights, but right, because that was

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Speaker 1: like very based on the source material. This was adapted

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Speaker 1: from a play, I know we'll talk about this, but

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Speaker 1: played by Josafina Lopez, who writes about boil heights. A

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Speaker 1: ton like that is very much her background in her community.

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Speaker 1: And Yeah, Yep, but Anna takes several city buses to

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Speaker 1: get to school in Beverly Hills. Her teacher, Mr Gooseman,

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Speaker 1: played by George Lopez, asks her about her college applications,

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Speaker 1: but she says she's not going to college because her

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Speaker 1: family cannot afford it. He reminds her that there are scholarships, grants,

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Speaker 1: financial aid, but she's like, I don't know. Not that

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Speaker 1: she doesn't want to, it's just she knows it's going

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Speaker 1: to be like an issue within the family. Exactly. Um

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Speaker 1: Her family throws a little congrats on graduating high school celebration.

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Speaker 1: We also see Anna quit her job at a fast

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Speaker 1: food joint, which upsets her mom, but it's a fun

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Speaker 1: scene to watch her quitn I loved watching her Quinn.

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Speaker 1: That was very fun and I actually think that the

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Speaker 1: cashier is Lopez, the one who hands her. She is

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Speaker 1: in the movie as a character named Veronica, but I

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Speaker 1: was like, who's Veronica? I couldn't remember exactly. That's so cool.

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Speaker 1: All right, that's great and she killed it. She was

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Speaker 1: so great. And that unseen she's keeping on his check

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Speaker 1: in her Bra and Anna's like that's sick. Now I

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Speaker 1: like that seat even more. I was just like where

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Speaker 1: the character actor was was really funny and now that

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Speaker 1: I'm like looking at her picture again, I'm like, Oh yeah,

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Speaker 1: that totally was her. Amazing. So on a quit her job,

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Speaker 1: which upsets her mom, who suggests she works at the

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Speaker 1: clothing factory that her sister, Estella runs, something that neither

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Speaker 1: Anna nor Estella really want. But Anna needs to learn,

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Speaker 1: needs to earn money to help the family, and Estella

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Speaker 1: is behind on her work orders, so she will go

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Speaker 1: to work at the factory. Mr Gusmand pays on a

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Speaker 1: visit to keep encouraging her to submit college applications, but

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Speaker 1: her family, and her mom especially, are against Anna going

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Speaker 1: to college right now because she needs to work and

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Speaker 1: help the family. The next day Anna and her sister

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Speaker 1: and mom go to Estella's clothing factory where they assemble

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Speaker 1: dresses to be sold at Bloomingdale's for six dollars, even

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Speaker 1: though the manufacturer only pays them eighteen dollars per dress

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Speaker 1: to assemble each dress, and Anna points out how unfair

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Speaker 1: this is, how their labor is being exploited. Also, I

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Speaker 1: think probably at the time that would have been the

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Speaker 1: first time I had heard that issue discussed in a

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Speaker 1: movie like at all, for sure. Yeah, there's a an

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Speaker 1: interesting class discussion around this movie, for sure. And then

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Speaker 1: we meet the other women who work at the factory,

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Speaker 1: such as Pancha, Norma and Rosalie. Also on his mom, Carmen,

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Speaker 1: body shames on a several times and tends to comment

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Speaker 1: on most people's weight. That's just kind of a habit

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Speaker 1: of hers. Yeah, because there's that scene where, I mean

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Speaker 1: the scene we were just talking about, where she is

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Speaker 1: verbally towards her daughter. Someone like her employees start to

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Speaker 1: arrive and then she's nice to them, but then she

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Speaker 1: also turns on her employees pretty quickly and starts criticizing

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Speaker 1: them as well, and you're like, Oh, I guess this

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Speaker 1: is just her personality. So everybody gets it. Yeah, she

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Speaker 1: gives it to everybody. Everyone gets slice. You get a

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Speaker 1: polite hello and then things take a turn up. So

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Speaker 1: then Anna gives her filled out college applications to Mr

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Speaker 1: Goose Band, but he points out that she's missing a

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Speaker 1: personal statement and that she needs to write one as

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Speaker 1: soon as possible. Then Anna runs into her classmate Jimmy,

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Speaker 1: who seems to like her. He's got a little crush

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Speaker 1: and he gives on his phone number back at the factory,

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Speaker 1: Estella is struggling to keep up with the work order,

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Speaker 1: especially after several of her workers unexpectedly leave to move

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Speaker 1: to Mexico. Then we get a scene where carman tells

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Speaker 1: anna a secret, that Carmen thinks she's pregnant, but Anna

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Speaker 1: is like mom, that's pretty unlikely, probably not what's happening.

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Speaker 1: For All the ship that Anna has to put up with,

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Speaker 1: I love that she's always very quick to be like enough,

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Speaker 1: like stop, no, she advocates for herself exceptionally well. Yeah,

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Speaker 1: and I love her for it, even in situations where

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Speaker 1: you can tell, like I don't know or where it

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Speaker 1: felt to me like you could tell, she's like, I'm

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Speaker 1: not going to win this battle, but I have to

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Speaker 1: say this, like, you're not pregnant, mom. So then Anna

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Speaker 1: goes with Estella to speak to Mrs Glass, who is

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Speaker 1: the owner of the dress manufacturing company, to ask for

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Speaker 1: an advance so they can pay the bills and keep

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Speaker 1: the lights running at the factory. But Mrs Glass Still

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Speaker 1: Denies Them An advance. So then Anna goes to her

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Speaker 1: dad for a loan. Meanwhile, Anna goes out on a

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Speaker 1: date with that kid Jimmy. They have a nice time.

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Speaker 1: He's got big that kid Jimmy Energy too. Like I

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Speaker 1: was like, who is this Elijah would ask looking kid because, yeah,

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Speaker 1: Elijah Wood wasn't available. Slash. He's too old. That kid Jimmy.

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Speaker 1: He was only in movies for a couple of years

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Speaker 1: and then he who knows, he tapped out and he's done.

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Speaker 1: I liked his character, though, you know, he said some

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Speaker 1: things that made me go, but overall agree with that.

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Speaker 1: He was. He seems like a sweet kid. He's he's

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Speaker 1: very like her first nice white boyfriend. You know, it's

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Speaker 1: it's an experience, it's a type. It's, Oh, I had

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Speaker 1: a nice white boyfriends like back home, like and that's him, right, right, yeah,

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Speaker 1: so she goes out with Jimmy. Anna then turns in

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Speaker 1: her personal statement to Mr Gooseman. Let me see, another

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Speaker 1: day at work. It's hard, it's hot. Anna admires the

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Speaker 1: dresses she steams at the factory and it is sad

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Speaker 1: to remember that they're not for her. But then Astella

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Speaker 1: surprises Anna with a dress that she made especially for

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Speaker 1: Anna in a very sweet moment part and it is

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Speaker 1: a beautiful dress too, and I always wish there was

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Speaker 1: like a dress reveal moment, like an occasion for her

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Speaker 1: wear that dress. It was like, is there a cut scene,

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Speaker 1: because it felt like Chekhov's dress. Exactly where is the dress?

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Speaker 1: Where is she wearing it? Yeah, I hope she wore

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Speaker 1: it at like some I don't know, some New York event. Yeah,

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Speaker 1: she goes to a mixer at Columbia. Yeah, yeah, she's like,

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Speaker 1: I just wore a gown to orientation. Is that normal?

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Speaker 1: Can you do that? Then Mr Guzman stops by to

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Speaker 1: let Anna know that she's been accepted to Columbia University

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Speaker 1: with a full scholarship, but her parents are still like

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Speaker 1: now is not the right time for Anna to go

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Speaker 1: to college, which is extremely disappointing to Anna. She then

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Speaker 1: goes out with Jimmy again. They have sex, her mom

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Speaker 1: senses that she has lost her virginity and, like we

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Speaker 1: were saying earlier, she calls on a tramp and a

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Speaker 1: Puta and one of the biggest mysteries of the movie.

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Speaker 1: How did she know? How did she know it was

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Speaker 1: it because America frer was like looking at you in

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Speaker 1: the mirror being like go meet like why how did

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Speaker 1: she know? My guess is that she was just like

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Speaker 1: confidently admiring her body, body for the first time ever. Right.

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Speaker 1: So she's like, I better, I better put an end

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Speaker 1: to this confidence. My daughter's feeling. That was more the

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Speaker 1: spiky sense going off was I think my daughter is

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Speaker 1: having a good feeling. It's like her favorite refrain. She's

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Speaker 1: always like a mother knows, a woman knows, and this

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Speaker 1: time she was right. She turns out to not be

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Speaker 1: right about being pregnant because she goes to the doctor,

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Speaker 1: take a hundred shots and yeah, you're gonna make one eventually. True,

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Speaker 1: the reason that Carmen has missed several periods in a

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Speaker 1: row is a bit is because she is going through menopause,

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Speaker 1: not because she is gregnant. So then we see another

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Speaker 1: day at the dress factory. It's a particularly hot day

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Speaker 1: and Estella won't turn on the fan because it blows

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Speaker 1: dust on the dresses. So Anna takes off her shirt

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Speaker 1: and her mom freaks out, but Anna is like, what's

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Speaker 1: the big deal? We're all women here, we all have

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Speaker 1: the same parts. And then all of the other women

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Speaker 1: at the factory take their clothes off. They compare bodies,

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Speaker 1: they compare cellulate and stretch marks and they're like we're beautiful,

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Speaker 1: we're awesome. But Carmen is looking on in horror and

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Speaker 1: Anna is just like, this is who we are, mom,

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Speaker 1: real women, and Carmen storms out, while the other ladies

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Speaker 1: continue working and dancing and celebrating themselves and their bodies.

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Speaker 1: I'm I'm interested in talking about the shooting situation around

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Speaker 1: that scene. There's UH, there's a lot to talk about

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Speaker 1: there too. Oh, I'm interested to learn more. And then, finally,

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Speaker 1: on a heads off to Columbia University. She tries to

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Speaker 1: say goodbye to Carmen and to get her mom's blessing,

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Speaker 1: but Carmen refuses, so her dad and GRANDPA take on

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Speaker 1: a to the airport and then we see on a

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Speaker 1: walking down the streets of New York City. Ever heard

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Speaker 1: of it? And that's how the movie ends. So let's

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Speaker 1: take a quick break and then we will come back

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Speaker 1: to discuss and we're back. I feel like a little

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Speaker 1: bit of context for how this movie came to be

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Speaker 1: as a is a good place to start before we

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Speaker 1: get into the characters. So this, as we've sort of

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Speaker 1: hinted out already, this is a movie that is based

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Speaker 1: on a play by Josafina Lopez. Her background, as she

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Speaker 1: was born in Mexico and then immigrated to Los Angeles.

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Speaker 1: A lot of her work surrounds that experience and sort

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Speaker 1: of reflections of her experience. Um this play is very

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Speaker 1: much a part of that. She started writing reading about

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Speaker 1: her career. I never like gone down this wikipedia hole

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Speaker 1: and she's like so fucking cool. She wrote her first

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Speaker 1: play in high school. While the rest of us were

415
00:25:38,560 --> 00:25:42,920
Speaker 1: doing God knows what, she was at work and she

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Speaker 1: wrote a play called simply Maria, or the American dream.

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Speaker 1: She then went on to write real women have curves.

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Speaker 1: The play was very well regarded. It was very successful.

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Speaker 1: It's my understanding is it's pretty close to what happens

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Speaker 1: in the movie because she um co writes the screenplay

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Speaker 1: and is apparently one of my favorite characters. I just learned, Um.

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Speaker 1: But anyways, real women have curves is her biggest hit

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Speaker 1: so far and people want to adapt it in one

424
00:26:13,359 --> 00:26:16,440
Speaker 1: way or another. Originally, and I didn't know any of

425
00:26:16,560 --> 00:26:20,680
Speaker 1: this before reading this kind of retrospective piece, so at

426
00:26:20,720 --> 00:26:25,439
Speaker 1: the time it was going to be adapted for television

427
00:26:25,640 --> 00:26:29,879
Speaker 1: by Norman Lear, who is, first of all, a hundred

428
00:26:29,960 --> 00:26:32,520
Speaker 1: years old and still alive, which he got handed to him.

429
00:26:34,680 --> 00:26:38,040
Speaker 1: But he had a reputation in Hollywood for being one

430
00:26:38,080 --> 00:26:42,520
Speaker 1: of the only producers who championed diverse stories for television,

431
00:26:42,680 --> 00:26:46,520
Speaker 1: and so most diverse families you saw on television in

432
00:26:46,800 --> 00:26:50,640
Speaker 1: the seventies, eighties and nineties, into the two thousands, he's

433
00:26:50,640 --> 00:26:55,960
Speaker 1: still working, were a result of his champion he is

434
00:26:56,080 --> 00:27:00,439
Speaker 1: a white producer who was known for championing women stories

435
00:27:00,480 --> 00:27:04,320
Speaker 1: and diverse stories. So he seemed to hostephina Lopez to

436
00:27:04,359 --> 00:27:08,160
Speaker 1: be kind of a natural fit for getting this project

437
00:27:08,240 --> 00:27:13,320
Speaker 1: adapted into television. However, he did. He did one day

438
00:27:13,320 --> 00:27:18,400
Speaker 1: a time, right like the more recent adaptation. Yeah, yeah,

439
00:27:18,480 --> 00:27:21,879
Speaker 1: and the first one was also him and he did.

440
00:27:21,960 --> 00:27:25,719
Speaker 1: I'm trying to has like God, older TV is truly

441
00:27:25,880 --> 00:27:28,800
Speaker 1: not my strength, but let me get let me get

442
00:27:29,040 --> 00:27:32,119
Speaker 1: a few of his hits on the board. Sanford and

443
00:27:32,280 --> 00:27:35,440
Speaker 1: son was his, one day at a time. The Jefferson's

444
00:27:35,560 --> 00:27:40,439
Speaker 1: good times, Maud one of my favorite shows ever. Mary Hartman,

445
00:27:40,480 --> 00:27:42,920
Speaker 1: Mary Hartman like he had, he did he could. He

446
00:27:43,040 --> 00:27:46,560
Speaker 1: got stories on TV that no one else was trying to.

447
00:27:47,640 --> 00:27:50,720
Speaker 1: So hosaphina Lopez was excited that he wanted to help

448
00:27:50,800 --> 00:27:55,239
Speaker 1: adapt it, but even with the Norman learco sign they

449
00:27:55,320 --> 00:27:58,440
Speaker 1: could not sell real women have curves as a TV

450
00:27:58,680 --> 00:28:02,959
Speaker 1: series to net works. Network said it was not relatable,

451
00:28:03,080 --> 00:28:09,040
Speaker 1: a story enough, which we know is absolutely porship, porship,

452
00:28:09,240 --> 00:28:12,760
Speaker 1: but very typical of Hollywood TV. Yeah, to this day.

453
00:28:13,720 --> 00:28:16,800
Speaker 1: So Josie Lopez is discouraged. She's like one of the

454
00:28:16,840 --> 00:28:19,080
Speaker 1: biggest TV producers in the world. Can't get this produced.

455
00:28:19,160 --> 00:28:23,600
Speaker 1: Who's going to there's a second wind with this project

456
00:28:23,920 --> 00:28:28,600
Speaker 1: as a film script. So she meets a writer named

457
00:28:28,840 --> 00:28:32,840
Speaker 1: George Levu, which is what a what a fun name,

458
00:28:33,640 --> 00:28:38,400
Speaker 1: but I just like to say it. George Levue. She

459
00:28:38,840 --> 00:28:45,520
Speaker 1: she meets Levu and, uh, they decide. They decide to Um,

460
00:28:45,920 --> 00:28:51,520
Speaker 1: collaborate on a screenplay together, and finally they find an

461
00:28:51,600 --> 00:28:55,120
Speaker 1: executive who wants to fund the project. And it's a

462
00:28:55,560 --> 00:28:59,040
Speaker 1: I have a quote here. Um. So this project was

463
00:28:59,120 --> 00:29:01,680
Speaker 1: funded by H E O, which I don't think I knew,

464
00:29:02,040 --> 00:29:03,600
Speaker 1: not that it matters, I just didn't know it was

465
00:29:03,640 --> 00:29:07,600
Speaker 1: an HBO movie. So josephina Lopez says this. I believe

466
00:29:07,640 --> 00:29:12,960
Speaker 1: in in this retrospective, HBO's MoD Nadler had the power

467
00:29:13,040 --> 00:29:15,880
Speaker 1: to say yes. It came down to a female executive

468
00:29:15,920 --> 00:29:19,240
Speaker 1: saying women's stories matter, stories about mothers and daughters are

469
00:29:19,280 --> 00:29:21,200
Speaker 1: important to me because I love my mother, and I

470
00:29:21,320 --> 00:29:23,880
Speaker 1: remember asking Maud after we made the film why. She

471
00:29:24,000 --> 00:29:27,760
Speaker 1: said yes, she said because I love my mother. It

472
00:29:27,880 --> 00:29:30,240
Speaker 1: took a woman in a position of power to find

473
00:29:30,400 --> 00:29:34,440
Speaker 1: value in the story, which is I thought, I don't know,

474
00:29:34,560 --> 00:29:39,120
Speaker 1: that was like, that's really nice. And none of those

475
00:29:39,240 --> 00:29:44,080
Speaker 1: men love their mothers. They all hate their mothers. I

476
00:29:44,200 --> 00:29:47,240
Speaker 1: love my mother, not enough to fund a story of women.

477
00:29:47,880 --> 00:29:55,000
Speaker 1: Let's not. Let's not look look women to a point

478
00:29:55,440 --> 00:30:01,600
Speaker 1: very like us, the father of a daughter energy. Yes, uh.

479
00:30:02,000 --> 00:30:08,080
Speaker 1: So the project gets funded. Uh. They Find Director Patricia Cardoso,

480
00:30:08,160 --> 00:30:12,560
Speaker 1: who I believe is raised in Colombia. She signs on

481
00:30:12,680 --> 00:30:16,720
Speaker 1: for the project. Lavoo and Lopez become the hottest writing

482
00:30:16,800 --> 00:30:21,440
Speaker 1: team in Hollywood the movie. Oh Uh. And then another

483
00:30:21,600 --> 00:30:24,360
Speaker 1: huge thing that happens is George Lopez signs on as

484
00:30:24,520 --> 00:30:27,000
Speaker 1: a CO producer, which also was like a big hand

485
00:30:27,080 --> 00:30:29,880
Speaker 1: and Um, getting this movie in front of people. It

486
00:30:29,960 --> 00:30:33,120
Speaker 1: goes to Sundance and the rest is history. But it

487
00:30:33,240 --> 00:30:35,080
Speaker 1: was a huge I mean I think we see this

488
00:30:35,320 --> 00:30:38,960
Speaker 1: a lot of times in projects that are not centered

489
00:30:39,080 --> 00:30:43,640
Speaker 1: around the white experience and the white male experience. Like

490
00:30:43,920 --> 00:30:47,200
Speaker 1: it was a huge, uphill battle to get this project made.

491
00:30:47,240 --> 00:30:50,320
Speaker 1: Even though it was already like a proven successful entity

492
00:30:50,840 --> 00:30:55,120
Speaker 1: through the play right, and it really has aged so well.

493
00:30:55,400 --> 00:30:58,600
Speaker 1: I was watching it this morning and, like the jokes

494
00:30:58,760 --> 00:31:02,800
Speaker 1: land the right feels like still very like charming and

495
00:31:03,000 --> 00:31:06,760
Speaker 1: fresh and it's just a fun watch and like nothing

496
00:31:06,880 --> 00:31:10,760
Speaker 1: in that movie is standing out in a bad, cringe

497
00:31:10,800 --> 00:31:13,560
Speaker 1: e way unless it's supposed to be. You know, it's

498
00:31:13,640 --> 00:31:17,160
Speaker 1: just like so well written and you know it's like yeah,

499
00:31:17,240 --> 00:31:20,760
Speaker 1: the work speaks for itself. It's funny and like it's

500
00:31:20,880 --> 00:31:25,440
Speaker 1: just like, I don't know, this movie has so charming. Sorry,

501
00:31:25,480 --> 00:31:28,360
Speaker 1: there's like a trash removal truck right outside my window

502
00:31:28,440 --> 00:31:31,240
Speaker 1: making loud noises. My air conditioners on because it's eight

503
00:31:31,280 --> 00:31:36,880
Speaker 1: million degrees. Sorry for all the noise my house and

504
00:31:37,000 --> 00:31:43,360
Speaker 1: I smell fire. There's a lot going on. Okay, okay,

505
00:31:43,680 --> 00:31:46,840
Speaker 1: let's go back to talking about the movie. That takes

506
00:31:46,880 --> 00:31:50,760
Speaker 1: place in l a around like literally this exact time

507
00:31:50,840 --> 00:31:55,520
Speaker 1: of year. Yeah, during a heatwave, in the summer, sweltering heat,

508
00:31:55,840 --> 00:31:59,760
Speaker 1: oh my gosh. But Yeah, this movie does age so

509
00:32:00,440 --> 00:32:03,200
Speaker 1: well and we've talked about there's like a span of

510
00:32:03,640 --> 00:32:08,920
Speaker 1: time for movies and honestly it ranges for a quite

511
00:32:08,960 --> 00:32:11,360
Speaker 1: a long time, but you know, if you're from a

512
00:32:11,400 --> 00:32:14,400
Speaker 1: certain generation, especially the movies of like the late nineties,

513
00:32:14,480 --> 00:32:16,600
Speaker 1: early two thousand's, like if that's when you're coming of

514
00:32:16,720 --> 00:32:19,280
Speaker 1: age and those are like the movies and the media

515
00:32:19,400 --> 00:32:22,880
Speaker 1: that you were like most exposed to, which is the

516
00:32:22,920 --> 00:32:27,000
Speaker 1: case for me at least. That era was just such

517
00:32:27,040 --> 00:32:30,360
Speaker 1: a crapshoot for for most media, because it was like

518
00:32:31,280 --> 00:32:37,560
Speaker 1: just steeped in sexism, racism, homophobia, Transphobia, able is m like,

519
00:32:37,720 --> 00:32:41,840
Speaker 1: you name it. Marginalized communities were punched down to in media.

520
00:32:41,920 --> 00:32:43,800
Speaker 1: So it's just so refreshing to see a movie that's

521
00:32:43,800 --> 00:32:46,560
Speaker 1: twenty years old, from the early two thousand's to be

522
00:32:47,640 --> 00:32:51,720
Speaker 1: a movie that is like so, I mean feminist masterpiece.

523
00:32:51,840 --> 00:32:56,960
Speaker 1: Number one has so many strong, impactful messages, the exact

524
00:32:57,040 --> 00:32:59,920
Speaker 1: type of thing that like young people need to see

525
00:33:00,160 --> 00:33:03,480
Speaker 1: to like be influenced in the right direction, because it

526
00:33:03,520 --> 00:33:07,560
Speaker 1: has such strong themes and messaging about like body positivity,

527
00:33:07,840 --> 00:33:13,000
Speaker 1: sex positivity. It showcases a complicated relationship between a mother

528
00:33:13,080 --> 00:33:16,640
Speaker 1: and daughter, but one that's this very authentic and and

529
00:33:16,840 --> 00:33:19,400
Speaker 1: familiar to a lot of people. So it's just like

530
00:33:19,600 --> 00:33:25,920
Speaker 1: it's doing so much class commentary that there's something that

531
00:33:26,200 --> 00:33:29,160
Speaker 1: honestly like didn't even didn't connect for me until I

532
00:33:29,280 --> 00:33:31,640
Speaker 1: saw it like explicitly kind of said by the creators

533
00:33:31,680 --> 00:33:35,000
Speaker 1: of the movie, because I didn't have my proper two

534
00:33:35,040 --> 00:33:39,680
Speaker 1: thousand and two goggles on. I guess was just showing

535
00:33:40,200 --> 00:33:44,280
Speaker 1: boil heights as the community that it is, versus how

536
00:33:45,000 --> 00:33:48,160
Speaker 1: east L A and Latin people from l a were

537
00:33:48,240 --> 00:33:51,000
Speaker 1: shown in media at this time. That, like this movie,

538
00:33:51,120 --> 00:33:54,560
Speaker 1: had a huge hand in, you know, offering a counter

539
00:33:54,800 --> 00:33:59,280
Speaker 1: to the really prejudiced, like overly simplistic narrative that was

540
00:33:59,360 --> 00:34:02,280
Speaker 1: being shown in everything else. Um, which is like such

541
00:34:02,320 --> 00:34:08,160
Speaker 1: a big part of Josafina Lopez's work. It's very wholesome,

542
00:34:08,560 --> 00:34:11,320
Speaker 1: it is. Yeah, for sure. Yeah, and like, yeah, just

543
00:34:11,520 --> 00:34:13,520
Speaker 1: think about all the movies that you see that are

544
00:34:13,560 --> 00:34:16,600
Speaker 1: like set in L A, about rich white people living

545
00:34:16,640 --> 00:34:20,880
Speaker 1: in wealthy neighborhoods, living in huge houses. That basically just

546
00:34:21,000 --> 00:34:26,160
Speaker 1: ignores huge swaths of the population of L A. Yeah,

547
00:34:26,320 --> 00:34:30,000
Speaker 1: there's a huge Latin x community that is not often

548
00:34:30,080 --> 00:34:33,920
Speaker 1: represented in movies here in L A and often not

549
00:34:34,239 --> 00:34:38,040
Speaker 1: represented favorably, if it is represented at all. Yeah, I

550
00:34:38,160 --> 00:34:41,279
Speaker 1: was just gonna say that real women have curves. Is

551
00:34:41,520 --> 00:34:46,040
Speaker 1: Markedly youthful and feminine when compared to other L A

552
00:34:46,280 --> 00:34:51,080
Speaker 1: chicano Mexican American films, like literally the other movies that

553
00:34:51,160 --> 00:34:53,920
Speaker 1: we can compare it to in the same sort of

554
00:34:54,040 --> 00:34:57,640
Speaker 1: genre or or cultural space, is like blood and blood

555
00:34:57,640 --> 00:35:02,040
Speaker 1: out American me and then, you know, me Familia has

556
00:35:02,120 --> 00:35:05,080
Speaker 1: more of a family dynamic at the beginning. But these

557
00:35:05,200 --> 00:35:09,040
Speaker 1: films and then zoot suit, and these are all iconic films.

558
00:35:09,320 --> 00:35:12,040
Speaker 1: zoot suit is a musical, you know, it's a piece

559
00:35:12,080 --> 00:35:15,080
Speaker 1: of theater. But all of these films also have a

560
00:35:15,200 --> 00:35:18,040
Speaker 1: lot of violence in them. There's a lot of trauma,

561
00:35:18,840 --> 00:35:23,360
Speaker 1: there's prison and gangs and the ethos is very masculine

562
00:35:23,520 --> 00:35:26,279
Speaker 1: and it's very much like a lot of men on

563
00:35:26,440 --> 00:35:29,640
Speaker 1: screen and what they're going through in their lives. And

564
00:35:29,719 --> 00:35:33,040
Speaker 1: then you have real women have curves with like I

565
00:35:33,200 --> 00:35:37,239
Speaker 1: was on Hostafina Lopez on her website and reading about her,

566
00:35:37,320 --> 00:35:39,400
Speaker 1: her like about me, which seems like she wrote it,

567
00:35:39,480 --> 00:35:42,160
Speaker 1: which is awesome, and she's talking about how she started

568
00:35:42,200 --> 00:35:45,160
Speaker 1: writing this play when she was eighteen, you know, and

569
00:35:45,280 --> 00:35:48,600
Speaker 1: how like yeah, and how the sensibilities of an eighteen

570
00:35:48,640 --> 00:35:52,640
Speaker 1: year old girl have everything to do with why the

571
00:35:52,760 --> 00:35:55,800
Speaker 1: film is everything that it is and it's it's I

572
00:35:55,920 --> 00:35:58,480
Speaker 1: think it feels so fresh because it is because like

573
00:35:58,600 --> 00:36:02,279
Speaker 1: such a young person wrote it. And it feels very

574
00:36:02,440 --> 00:36:05,840
Speaker 1: like like fresh too, because it doesn't look or feel

575
00:36:05,920 --> 00:36:09,920
Speaker 1: like steeped in Super Trendy stuff of the time, like

576
00:36:10,040 --> 00:36:13,280
Speaker 1: it doesn't really look like a two thousand's film, I guess,

577
00:36:13,600 --> 00:36:17,160
Speaker 1: like it's not super stylized, like their wardrobe or their

578
00:36:17,239 --> 00:36:21,480
Speaker 1: makeup or their hair or the music. You know, it's like, yeah,

579
00:36:21,680 --> 00:36:24,960
Speaker 1: very wholesome and like a zoomer today who like goes

580
00:36:25,040 --> 00:36:28,040
Speaker 1: thrift Ng might end up pulling some of the outfits

581
00:36:28,040 --> 00:36:30,960
Speaker 1: so that America Ferrera is wearing in. Real women have curves,

582
00:36:31,120 --> 00:36:34,080
Speaker 1: you know, like it just feels very like, yeah, it

583
00:36:34,120 --> 00:36:36,520
Speaker 1: feels like young. I was thinking that so much of

584
00:36:36,560 --> 00:36:40,160
Speaker 1: it has come back around. Oh yeah, absolutely. I have

585
00:36:40,320 --> 00:36:46,319
Speaker 1: a quote from UH, Mr Levo himself, let's say his name, Um.

586
00:36:46,880 --> 00:36:49,840
Speaker 1: But yeah, like speaking to you know, like drew attention

587
00:36:49,880 --> 00:36:53,960
Speaker 1: to the fact like this is based on Josaphina's experience

588
00:36:54,560 --> 00:36:57,200
Speaker 1: so much as told through the soft, warm, humorous tone

589
00:36:57,280 --> 00:36:59,719
Speaker 1: of her experience. Hopefully that's what you're seeing when you

590
00:36:59,760 --> 00:37:02,239
Speaker 1: see the city as different from the gangs and the

591
00:37:02,320 --> 00:37:05,319
Speaker 1: grittiness of other films from this time. Jo Safina. Wanted

592
00:37:05,360 --> 00:37:07,799
Speaker 1: to show the city as a vibrant place where women

593
00:37:07,880 --> 00:37:10,160
Speaker 1: can have full lives and grow, and I feel like

594
00:37:10,320 --> 00:37:15,919
Speaker 1: this movie pulls that off a million percent. Oh Yeah, yeah,

595
00:37:16,120 --> 00:37:20,319
Speaker 1: I want to share a quote from the Director, Um

596
00:37:21,120 --> 00:37:25,719
Speaker 1: Patricia Patricia Cardoso, says, quote. I wanted to show a

597
00:37:25,760 --> 00:37:27,880
Speaker 1: part of Los Angeles we don't usually see in a

598
00:37:27,920 --> 00:37:31,440
Speaker 1: beautiful way, not a seedy neighborhood filled with stereotypes of

599
00:37:31,520 --> 00:37:34,240
Speaker 1: east l a. It was important to expand the concept

600
00:37:34,320 --> 00:37:37,520
Speaker 1: of beauty for women, but also for the city and

601
00:37:37,640 --> 00:37:42,120
Speaker 1: the neighborhoods. Unquote. So it's like in this vision from

602
00:37:42,440 --> 00:37:46,760
Speaker 1: the director, from the writer, all comes through very clearly,

603
00:37:47,520 --> 00:37:52,160
Speaker 1: in very satisfying ways. Um had one other behind the

604
00:37:52,239 --> 00:37:54,520
Speaker 1: scenes thing I wanted to and I know this will will,

605
00:37:54,800 --> 00:37:56,200
Speaker 1: this will come in and out for the rest of

606
00:37:56,239 --> 00:37:59,279
Speaker 1: the episode, but I was happy that this article like

607
00:37:59,640 --> 00:38:01,800
Speaker 1: as I was so curious of like the sequence of

608
00:38:02,280 --> 00:38:05,880
Speaker 1: America Ferrera Lore So. I guess that she had already

609
00:38:06,000 --> 00:38:08,680
Speaker 1: shot got to kick it up before she shot. Real

610
00:38:08,760 --> 00:38:12,480
Speaker 1: women have curves and I just like, I love this story.

611
00:38:12,680 --> 00:38:15,560
Speaker 1: It was like when she got her check from got

612
00:38:15,640 --> 00:38:20,680
Speaker 1: to kick it up, she got a car and wanted

613
00:38:20,719 --> 00:38:23,319
Speaker 1: to go to drama camp and like those are that's

614
00:38:23,320 --> 00:38:27,200
Speaker 1: what she used her money for. As like she's so great,

615
00:38:27,880 --> 00:38:30,560
Speaker 1: they wanted her to audition for this movie. She was like, well,

616
00:38:30,880 --> 00:38:34,160
Speaker 1: I'm going to drama camp, so if you're still casting

617
00:38:34,200 --> 00:38:37,239
Speaker 1: when I'm done at drama camp, like hit me up,

618
00:38:37,400 --> 00:38:41,520
Speaker 1: basically and then and like listening to her talk about

619
00:38:41,560 --> 00:38:42,920
Speaker 1: that in her thirties and she was like that was

620
00:38:42,960 --> 00:38:45,160
Speaker 1: a bold move for a seventeen year old to do,

621
00:38:45,520 --> 00:38:48,520
Speaker 1: but uh, fortunately, they still wanted me to be in

622
00:38:48,600 --> 00:38:51,600
Speaker 1: the movie. So I live America fure so much. I

623
00:38:52,640 --> 00:38:56,040
Speaker 1: was curious about like what scenes in this retrospective they

624
00:38:56,080 --> 00:38:59,120
Speaker 1: would talk about, and there was a fair amount of

625
00:38:59,120 --> 00:39:01,840
Speaker 1: discussion around, I feel like the scene that people remember

626
00:39:01,960 --> 00:39:04,319
Speaker 1: best from this movie when they're in the factory at

627
00:39:04,320 --> 00:39:05,880
Speaker 1: the end and they take their clothes off and they

628
00:39:06,040 --> 00:39:08,600
Speaker 1: talk about their bodies and it's like this really celebratory,

629
00:39:09,120 --> 00:39:13,160
Speaker 1: cool moment Um. So I guess America Farre was I

630
00:39:13,239 --> 00:39:15,560
Speaker 1: said she was fifteen. I was wrong. She was seventeen

631
00:39:15,600 --> 00:39:18,480
Speaker 1: when this movie was being shot, but still still, she

632
00:39:18,560 --> 00:39:21,360
Speaker 1: was still a kid and I guess that on the

633
00:39:21,800 --> 00:39:27,120
Speaker 1: day that this was being shot, she decided that she

634
00:39:27,360 --> 00:39:30,680
Speaker 1: didn't want to take her pants off. So this was

635
00:39:30,760 --> 00:39:33,359
Speaker 1: sort of this was hashed by a few people, I mean,

636
00:39:33,400 --> 00:39:36,960
Speaker 1: and it seems like, you know, fifteen years later she's fine,

637
00:39:37,080 --> 00:39:41,120
Speaker 1: everyone's relationship is fine. But at the time, so the

638
00:39:41,280 --> 00:39:44,000
Speaker 1: scene had been blocked, they were ready to shoot it.

639
00:39:44,520 --> 00:39:47,680
Speaker 1: I think prior to the scene being shot, America Frero said, okay,

640
00:39:47,800 --> 00:39:50,440
Speaker 1: that's okay, I'll do that. But I just wanted to

641
00:39:50,440 --> 00:39:54,560
Speaker 1: share a few quotes from her because kids acting is

642
00:39:54,640 --> 00:39:58,440
Speaker 1: like such a such a Myer, and I she was

643
00:39:58,520 --> 00:40:02,040
Speaker 1: uncomfortable during that scene. So she says. I was seventeen

644
00:40:02,120 --> 00:40:03,880
Speaker 1: years old and it was only my second job. I

645
00:40:04,080 --> 00:40:05,640
Speaker 1: never had to take off my clothes in front of

646
00:40:05,680 --> 00:40:09,480
Speaker 1: a crew, most of them men. I'm sure it was

647
00:40:09,520 --> 00:40:12,799
Speaker 1: incredibly intimidated by that. I remember wearing a robe between

648
00:40:12,880 --> 00:40:14,520
Speaker 1: takes and as the day went on it was too

649
00:40:14,600 --> 00:40:16,359
Speaker 1: much of a hassle to get the robe on and off,

650
00:40:16,480 --> 00:40:19,279
Speaker 1: so I was like whatever, I'll stand here without the rope.

651
00:40:19,680 --> 00:40:22,480
Speaker 1: But basically the crew tells this story about how she

652
00:40:22,600 --> 00:40:25,719
Speaker 1: decided she wasn't comfortable taking her pants off and then

653
00:40:25,760 --> 00:40:30,359
Speaker 1: I believe the director Um faked getting a phone call

654
00:40:30,520 --> 00:40:33,640
Speaker 1: from an HBO executive. She was like you know well,

655
00:40:34,000 --> 00:40:36,360
Speaker 1: you know this is a really important part of the script.

656
00:40:36,400 --> 00:40:38,960
Speaker 1: We need you to do this, and America fare was like,

657
00:40:39,120 --> 00:40:40,719
Speaker 1: I'm not comfortable with that, I don't want to do

658
00:40:40,800 --> 00:40:43,600
Speaker 1: it anymore. And she's like, well, let me call HBO.

659
00:40:44,440 --> 00:40:48,680
Speaker 1: The director goes outside fakes a call. So this is

660
00:40:48,920 --> 00:40:52,160
Speaker 1: from George Lavu is recapping this. Okay. So, no, sorry,

661
00:40:52,239 --> 00:40:56,720
Speaker 1: this is George lavue making the call. Lavu canceled out. Okay,

662
00:40:57,800 --> 00:41:01,080
Speaker 1: George Levu harshed her in his narrative. I don't like

663
00:41:01,200 --> 00:41:07,200
Speaker 1: him anymore. Yeah, not, it's always. It's always Lavu, though,

664
00:41:07,280 --> 00:41:12,319
Speaker 1: isn't it? So lavo says I made an excuse. I said,

665
00:41:12,440 --> 00:41:14,920
Speaker 1: let me call Colin Calendar, who was the head of

666
00:41:15,160 --> 00:41:17,439
Speaker 1: Hbo Films at the time. I said, let me see

667
00:41:17,480 --> 00:41:19,800
Speaker 1: what he wants. So I took my phone outside and

668
00:41:19,840 --> 00:41:22,680
Speaker 1: I pretended to call Colin. I came back and said

669
00:41:22,880 --> 00:41:25,920
Speaker 1: Colin said you have to do it, and she said okay,

670
00:41:26,080 --> 00:41:28,040
Speaker 1: we'll do it. I didn't know what we were going

671
00:41:28,120 --> 00:41:30,480
Speaker 1: to do. I couldn't imagine the movie without that scene.

672
00:41:30,600 --> 00:41:34,920
Speaker 1: Hopefully they're happy it happened that way. Then Patricia Cardoso

673
00:41:35,640 --> 00:41:39,239
Speaker 1: jumps on this train and says America was mad at

674
00:41:39,280 --> 00:41:41,160
Speaker 1: me the whole day. It took two days to shoot

675
00:41:41,200 --> 00:41:43,319
Speaker 1: that scene and she was so mad she wouldn't even

676
00:41:43,360 --> 00:41:45,239
Speaker 1: look me in the eyes. The next day she came

677
00:41:45,320 --> 00:41:47,960
Speaker 1: running to me and said, you know, now I understand

678
00:41:47,960 --> 00:41:49,879
Speaker 1: why it was important for the character to take off

679
00:41:49,880 --> 00:41:52,600
Speaker 1: her pants. Can we please shoot the scene again? I

680
00:41:52,719 --> 00:41:56,840
Speaker 1: said no, you did it perfectly. America Ferrera now in

681
00:41:57,000 --> 00:42:00,880
Speaker 1: her thirties. This is kind of put a pin on

682
00:42:01,000 --> 00:42:04,960
Speaker 1: this discussion that I was like, I'm mad at them personally.

683
00:42:05,480 --> 00:42:09,840
Speaker 1: But she says, I clearly see how this film empowered

684
00:42:09,880 --> 00:42:13,000
Speaker 1: others to feel seen, liberated and beautiful, but I was

685
00:42:13,040 --> 00:42:16,239
Speaker 1: a child playing everything, but a typical child. More than

686
00:42:16,320 --> 00:42:19,600
Speaker 1: saying Oh, that's my body, people watched it and said, Oh, yes,

687
00:42:19,719 --> 00:42:21,880
Speaker 1: that's how my mom responds to my body, that's how

688
00:42:21,920 --> 00:42:24,040
Speaker 1: my culture responds to my body, that's how the world

689
00:42:24,120 --> 00:42:27,040
Speaker 1: responds to my body. For me, being a young woman

690
00:42:27,120 --> 00:42:29,600
Speaker 1: going through my own journey with my body, having seen

691
00:42:29,719 --> 00:42:33,440
Speaker 1: and talked, having it seen and talked about and projected

692
00:42:33,520 --> 00:42:36,360
Speaker 1: upon by people, watching this movie, if anything, sort of

693
00:42:36,400 --> 00:42:38,440
Speaker 1: stunned me for a while, because that in and of

694
00:42:38,480 --> 00:42:41,120
Speaker 1: itself sent a strong message about how I should feel

695
00:42:41,200 --> 00:42:44,200
Speaker 1: about my body and it was a much longer journey

696
00:42:44,280 --> 00:42:45,759
Speaker 1: for me to get to a place where I felt

697
00:42:45,800 --> 00:42:50,600
Speaker 1: empowered about my body the way that film helped others feel. So,

698
00:42:51,280 --> 00:42:56,200
Speaker 1: I mean it's levels, for sure. It's complex. I mean personally,

699
00:42:56,280 --> 00:42:58,680
Speaker 1: I'm like okay. Production Wise, I don't think that that

700
00:42:58,840 --> 00:43:02,200
Speaker 1: was a very that was a dishonest and irresponsible way

701
00:43:02,239 --> 00:43:06,360
Speaker 1: to handle that, especially with someone who's an underage, who's

702
00:43:06,360 --> 00:43:10,080
Speaker 1: a miner, right, right. I mean she's seventeen in this situation,

703
00:43:10,320 --> 00:43:13,080
Speaker 1: and like that was the one production thing that I

704
00:43:13,360 --> 00:43:18,239
Speaker 1: learned that didn't sit super well because it's like yeah,

705
00:43:18,360 --> 00:43:23,080
Speaker 1: this like she's an incredible performer, she's, but it's I mean,

706
00:43:23,400 --> 00:43:27,440
Speaker 1: a teenager talking about their body on screen is so

707
00:43:27,719 --> 00:43:31,759
Speaker 1: I can't imagine how excruciatingly difficult that must have been.

708
00:43:31,880 --> 00:43:33,880
Speaker 1: And so to have like pressure put on top of

709
00:43:33,960 --> 00:43:37,040
Speaker 1: her like you have to do this, like that sucks.

710
00:43:37,960 --> 00:43:41,640
Speaker 1: It's it's like this period of your life where, I

711
00:43:41,880 --> 00:43:44,759
Speaker 1: R L teenagers are still wearing t shirts in the

712
00:43:44,840 --> 00:43:47,800
Speaker 1: swimming pool and like not showing their bodies to anybody,

713
00:43:47,920 --> 00:43:51,360
Speaker 1: like if they feel uncomfortable. And I think what's interesting

714
00:43:51,440 --> 00:43:54,240
Speaker 1: too is like America Frera like in that quote. Nowhere

715
00:43:54,320 --> 00:43:57,080
Speaker 1: is she saying that she didn't like her body or

716
00:43:57,200 --> 00:44:00,120
Speaker 1: she felt fat or she felt not proud of her

717
00:44:00,160 --> 00:44:02,759
Speaker 1: body or uncomfortable in her body. You know what I mean?

718
00:44:02,880 --> 00:44:06,120
Speaker 1: It's like there's all these projections and it has so

719
00:44:06,200 --> 00:44:09,120
Speaker 1: much to do with like, of course, it's literally the

720
00:44:09,560 --> 00:44:13,239
Speaker 1: plot and it's the movie and it's the character and

721
00:44:13,400 --> 00:44:16,160
Speaker 1: it's the storyline, so that's all baked in there. Like

722
00:44:16,360 --> 00:44:20,960
Speaker 1: she's cast in this role because the main character, Anna

723
00:44:21,080 --> 00:44:23,879
Speaker 1: is a Godrida, she's Chubby, so she's got to look

724
00:44:23,960 --> 00:44:26,520
Speaker 1: the part, you know. And then I think about the

725
00:44:26,600 --> 00:44:30,200
Speaker 1: fact that like all the levels right, because that script

726
00:44:30,320 --> 00:44:34,120
Speaker 1: was written by somebody, Josafina, who probably experienced this exact

727
00:44:34,200 --> 00:44:37,280
Speaker 1: same type of body shaming that goes on in our families.

728
00:44:37,840 --> 00:44:41,799
Speaker 1: And then those actresses, being Latina's, probably have all experienced

729
00:44:41,880 --> 00:44:45,000
Speaker 1: something similar in their own lives and I don't know

730
00:44:45,200 --> 00:44:48,760
Speaker 1: that in their particular families or lives that just because

731
00:44:48,840 --> 00:44:51,040
Speaker 1: we have this awareness in the script and in the

732
00:44:51,160 --> 00:44:55,040
Speaker 1: movie that, you know, everybody is beautiful and that fat

733
00:44:55,160 --> 00:44:58,840
Speaker 1: is beautiful, that those actresses, when they go home their families,

734
00:44:58,880 --> 00:45:02,359
Speaker 1: are not necessarily board like that script is probably still there.

735
00:45:02,680 --> 00:45:05,560
Speaker 1: You know, like that is still happening in the outside world,

736
00:45:06,440 --> 00:45:08,560
Speaker 1: you know. So it's just I just think about the

737
00:45:08,680 --> 00:45:11,319
Speaker 1: compounded levels of it all in a in a movie

738
00:45:11,440 --> 00:45:15,839
Speaker 1: like this, right. Yeah, and you hear about stories where,

739
00:45:16,040 --> 00:45:19,040
Speaker 1: like a scene like this is in the script and

740
00:45:19,520 --> 00:45:24,880
Speaker 1: it calls for nudity, partial nudity, you know, people wearing underwear.

741
00:45:25,320 --> 00:45:28,959
Speaker 1: I didn't feel like inappropriate or exploitative, but I also

742
00:45:30,000 --> 00:45:33,359
Speaker 1: can totally understand why a seventeen year old actor, when

743
00:45:33,440 --> 00:45:35,799
Speaker 1: the moment comes to take your clothes off in front

744
00:45:35,800 --> 00:45:39,319
Speaker 1: of two people, no matter how safe you are, it's

745
00:45:39,440 --> 00:45:42,120
Speaker 1: like that you can feel amazing about your body and

746
00:45:42,160 --> 00:45:45,040
Speaker 1: be uncomfortable with that. Like that's so that's what I

747
00:45:45,080 --> 00:45:47,600
Speaker 1: was gonna say. You hear stories about like some productions

748
00:45:47,680 --> 00:45:49,120
Speaker 1: being like, okay, I know this is going to be

749
00:45:49,239 --> 00:45:52,719
Speaker 1: a potentially very uncomfortable scene for the actors, so we're

750
00:45:52,719 --> 00:45:54,960
Speaker 1: going to take a bunch of precautions to make it

751
00:45:55,120 --> 00:46:00,680
Speaker 1: as comfortable as possible, and that ranges from like hiring Choreo,

752
00:46:00,760 --> 00:46:03,200
Speaker 1: if it's like a sex scene, like a sex choreographer

753
00:46:03,239 --> 00:46:06,120
Speaker 1: will basically be hired, or like there will be like

754
00:46:06,320 --> 00:46:08,799
Speaker 1: social workers or other kind of like mental health professionals

755
00:46:09,239 --> 00:46:12,120
Speaker 1: on set or like nearby to consult with if the

756
00:46:12,280 --> 00:46:15,359
Speaker 1: actors need like to consult with somebody or talk to someone.

757
00:46:15,600 --> 00:46:18,279
Speaker 1: There will be a reduced crew, where like normally the

758
00:46:18,320 --> 00:46:20,640
Speaker 1: crew might be two hundred people, but on a shoot

759
00:46:20,719 --> 00:46:23,600
Speaker 1: day like that you scale it way back. I've heard

760
00:46:23,640 --> 00:46:26,520
Speaker 1: of Um like let's say the DP is a man,

761
00:46:26,880 --> 00:46:29,799
Speaker 1: but they will like temporarily hire a woman. I mean

762
00:46:29,920 --> 00:46:33,319
Speaker 1: they could have just hired a woman anyway, but they

763
00:46:33,920 --> 00:46:37,320
Speaker 1: they did say that, like it wasn't actually two hundred

764
00:46:37,400 --> 00:46:40,759
Speaker 1: people it was. That was like I think America Frere

765
00:46:41,160 --> 00:46:48,080
Speaker 1: was like, Um, hyper hyper what is hyperbole? Hyperbolic? Yeah,

766
00:46:48,200 --> 00:46:54,400
Speaker 1: I went to school, I swear uh so per Levu Um.

767
00:46:54,600 --> 00:46:57,680
Speaker 1: There were like dividers up so that not every member

768
00:46:57,880 --> 00:47:00,520
Speaker 1: of the crew had access to the shooting of this scene.

769
00:47:01,000 --> 00:47:04,279
Speaker 1: So I don't have the number count, but but it

770
00:47:04,520 --> 00:47:06,680
Speaker 1: was like America decided she didn't want to take off

771
00:47:06,719 --> 00:47:09,000
Speaker 1: her pants in front of the crew and I guess

772
00:47:09,200 --> 00:47:12,239
Speaker 1: she told her director that. She was like, Oh, I

773
00:47:12,320 --> 00:47:14,520
Speaker 1: don't think that the character would actually do that or

774
00:47:14,560 --> 00:47:18,320
Speaker 1: all this stuff, and it just I mean also, I

775
00:47:18,719 --> 00:47:22,719
Speaker 1: don't envy the director's position and that situation either, because

776
00:47:22,760 --> 00:47:25,440
Speaker 1: that's a really true especially on a on a like

777
00:47:25,520 --> 00:47:28,400
Speaker 1: a lower budget movie. That's a really, really difficult position

778
00:47:28,440 --> 00:47:30,759
Speaker 1: to be put in, for sure, but it could have

779
00:47:30,800 --> 00:47:34,720
Speaker 1: been handled better. She's a kid. I wonder too, that scene.

780
00:47:35,440 --> 00:47:38,600
Speaker 1: I wish that I could see it like how it

781
00:47:38,880 --> 00:47:42,400
Speaker 1: was staged for the theater and for the stage, because

782
00:47:42,520 --> 00:47:46,320
Speaker 1: I can imagine that, you know, obviously on camera you

783
00:47:46,400 --> 00:47:49,080
Speaker 1: see a certain you can only see so much and

784
00:47:49,200 --> 00:47:51,000
Speaker 1: things are kind of far away, you know, and I

785
00:47:51,040 --> 00:47:53,560
Speaker 1: feel like on the stage and in the theater you're

786
00:47:53,719 --> 00:47:56,040
Speaker 1: much up close and personal, and I can just imagine

787
00:47:56,080 --> 00:48:00,040
Speaker 1: that the row of like the factory scenes and a

788
00:48:00,200 --> 00:48:03,000
Speaker 1: row of sewing machines and the women's sewing and the

789
00:48:03,120 --> 00:48:05,920
Speaker 1: sounds and the visual is probably very striking and dynamic

790
00:48:06,000 --> 00:48:08,759
Speaker 1: on stage and I'm sure that when it gets to

791
00:48:08,920 --> 00:48:11,080
Speaker 1: that part about them taking off their clothes and showing

792
00:48:11,120 --> 00:48:14,040
Speaker 1: off their stretch marks and their cellulite, that that's very

793
00:48:14,120 --> 00:48:17,440
Speaker 1: impactful on stage and very dynamic, you know, in a

794
00:48:17,560 --> 00:48:20,759
Speaker 1: different way than in the movie. And like I wonder

795
00:48:20,840 --> 00:48:23,520
Speaker 1: how it was handled even like for the stage and

796
00:48:24,040 --> 00:48:27,080
Speaker 1: the taking off the clothes and the lead actress and

797
00:48:27,440 --> 00:48:31,479
Speaker 1: and those pieces, because it's a scene that everybody loves.

798
00:48:31,640 --> 00:48:35,719
Speaker 1: It's like a standout scene for everyone. I would love

799
00:48:35,800 --> 00:48:37,959
Speaker 1: to see a stage production of this. I also didn't

800
00:48:38,000 --> 00:48:41,160
Speaker 1: know that, I guess Hostephena Lopez opened a theater in

801
00:48:41,920 --> 00:48:45,839
Speaker 1: boil heights. Yes, that's Gasa zero zero one. I want

802
00:48:45,880 --> 00:48:49,240
Speaker 1: to say. Yeah, yeah, back in two thousand's on first

803
00:48:49,280 --> 00:48:55,279
Speaker 1: street she has a restaurant, also called Gasa Fina, on

804
00:48:55,440 --> 00:48:58,600
Speaker 1: First Street in Mariachi Plaza, and then so so and

805
00:48:58,760 --> 00:49:02,400
Speaker 1: Mariachi Plaza is featured in the movie throughout like you

806
00:49:02,520 --> 00:49:05,480
Speaker 1: see it, and Anna goes on her dates in Mariachi

807
00:49:05,560 --> 00:49:08,000
Speaker 1: Plaza and she walks through Mariachi Plaza to catch for

808
00:49:08,080 --> 00:49:11,160
Speaker 1: bus to high school. So right there on first she

809
00:49:11,280 --> 00:49:15,560
Speaker 1: has her restaurant, Gasa Mama Casa Gasa, and then the

810
00:49:15,719 --> 00:49:19,759
Speaker 1: theater down the street. That's so cool. Yeah, so that

811
00:49:19,880 --> 00:49:22,000
Speaker 1: was all. That was all the behind the scenes stuff

812
00:49:22,280 --> 00:49:25,239
Speaker 1: I had. Um. Well, yeah, so let's let's take a

813
00:49:25,400 --> 00:49:29,480
Speaker 1: break and then we'll come back and discuss the story,

814
00:49:29,680 --> 00:49:41,440
Speaker 1: the movie, the characters, et Cetera, and we're back. Okay,

815
00:49:41,520 --> 00:49:46,400
Speaker 1: let's get into talking about the the actual what happens

816
00:49:46,440 --> 00:49:49,640
Speaker 1: in the movie. I really liked Um. I know, I

817
00:49:49,719 --> 00:49:52,760
Speaker 1: feel like every time we see public transportation in a movie,

818
00:49:52,800 --> 00:49:57,120
Speaker 1: I get so excited. But I really like I feel

819
00:49:57,120 --> 00:49:59,399
Speaker 1: like we've covered five trillion movies where it's like New

820
00:49:59,480 --> 00:50:01,799
Speaker 1: York is end of the character rre or ray or ran,

821
00:50:02,200 --> 00:50:05,480
Speaker 1: but this movie, I think like l a is on

822
00:50:06,520 --> 00:50:09,520
Speaker 1: is like really strutting its stuff in this one. It

823
00:50:09,719 --> 00:50:14,360
Speaker 1: is so beautiful and so like well done, and I

824
00:50:14,480 --> 00:50:17,000
Speaker 1: love that you sort of navigate the city with public

825
00:50:17,120 --> 00:50:21,080
Speaker 1: transit and I just really liked it. Yes, heart agree.

826
00:50:21,160 --> 00:50:26,279
Speaker 1: That is again like something you don't see when you want,

827
00:50:26,600 --> 00:50:31,279
Speaker 1: except for the iconic film speed. Have happened that the

828
00:50:31,400 --> 00:50:35,560
Speaker 1: L A metroly not. But UH yeah, I mean there's

829
00:50:35,600 --> 00:50:37,880
Speaker 1: there's so much this movie is doing as far as

830
00:50:38,000 --> 00:50:43,160
Speaker 1: representation goes, as far as just like again, powerful messaging.

831
00:50:44,040 --> 00:50:48,040
Speaker 1: You know, it's a predominantly Latin x cast Um. I

832
00:50:48,160 --> 00:50:53,440
Speaker 1: love that Spanish is spoken frequently among the characters, because

833
00:50:53,440 --> 00:50:56,840
Speaker 1: I feel like a lot of Hollywood executives would cite

834
00:50:56,880 --> 00:50:59,040
Speaker 1: that is a thing like that will make this movie

835
00:50:59,120 --> 00:51:03,560
Speaker 1: too inaccessible for a mainstream audience. But it's funny too,

836
00:51:03,640 --> 00:51:06,719
Speaker 1: because you already had so many like, okay, like we

837
00:51:06,800 --> 00:51:09,720
Speaker 1: had tons of star wars movies already at this time

838
00:51:09,960 --> 00:51:13,000
Speaker 1: and they're speaking all kinds of different made up alien languages,

839
00:51:13,400 --> 00:51:17,360
Speaker 1: like in those films. But Spanish is too much, that

840
00:51:17,600 --> 00:51:21,160
Speaker 1: is too inaccessible right, like, oh no, a language that

841
00:51:21,480 --> 00:51:25,200
Speaker 1: most people in the US speak to some degree. Can't

842
00:51:25,280 --> 00:51:32,040
Speaker 1: have that. We like, not that. Meanwhile, elvish is making

843
00:51:32,120 --> 00:51:36,759
Speaker 1: a huge comeback at this same time, alright, because Lord

844
00:51:36,800 --> 00:51:39,359
Speaker 1: of the Rings Two towers comes out the same year.

845
00:51:40,160 --> 00:51:43,520
Speaker 1: There you go. I feel like the movie sometimes I

846
00:51:43,600 --> 00:51:46,800
Speaker 1: feel like a movie, like real women have curves, especially

847
00:51:46,840 --> 00:51:50,600
Speaker 1: at this time. is almost like a crossover situation, even

848
00:51:50,680 --> 00:51:54,919
Speaker 1: though it's Mexican Americans, like in L A, like her

849
00:51:55,440 --> 00:51:59,560
Speaker 1: character ostensibly is like, you know, first or second generation

850
00:51:59,719 --> 00:52:02,840
Speaker 1: like Mexican American. And part of why I love the

851
00:52:03,320 --> 00:52:06,960
Speaker 1: bus conversation and the travel conversation is because there's this

852
00:52:07,080 --> 00:52:09,719
Speaker 1: crossover that happens in L A. It's this east side

853
00:52:09,760 --> 00:52:13,520
Speaker 1: West side crossover, and you see them. She's crossing the

854
00:52:13,680 --> 00:52:17,440
Speaker 1: bridge via bus and via her dad's pickup truck to

855
00:52:17,560 --> 00:52:21,200
Speaker 1: go from her east side neighborhood passed through downtown to

856
00:52:21,320 --> 00:52:24,120
Speaker 1: work or to end up in Beverly Hills on the

857
00:52:24,200 --> 00:52:28,320
Speaker 1: West Side for school or for the dad's job, and

858
00:52:28,640 --> 00:52:31,880
Speaker 1: I think that's almost like the story of the movie.

859
00:52:32,120 --> 00:52:34,520
Speaker 1: It's like born here on the east side, she she

860
00:52:34,920 --> 00:52:37,440
Speaker 1: was taking meetings and she was on the west side Hostafina.

861
00:52:37,560 --> 00:52:40,879
Speaker 1: I'm sure a lot trying to get this movie made

862
00:52:41,480 --> 00:52:44,120
Speaker 1: and it's like a journey that I think like if

863
00:52:44,160 --> 00:52:46,000
Speaker 1: you're in L A local like we joke about this,

864
00:52:46,160 --> 00:52:48,839
Speaker 1: me and my co hosts, because we live. I live

865
00:52:49,040 --> 00:52:50,640
Speaker 1: sort of in the mid city area, which is a

866
00:52:50,680 --> 00:52:54,480
Speaker 1: little more Um West, but it's close to downtown and

867
00:52:54,760 --> 00:52:58,600
Speaker 1: the USA lives sort of southeast and our community is

868
00:52:58,640 --> 00:53:02,400
Speaker 1: sort of here, west of Librea and beyond, and we

869
00:53:02,520 --> 00:53:05,520
Speaker 1: hear so many people, like transplant saying, oh l a like,

870
00:53:05,719 --> 00:53:08,360
Speaker 1: I never go east of Librea, anything east of Libraa

871
00:53:08,440 --> 00:53:10,560
Speaker 1: is the east side. Downtown is the east side, silver

872
00:53:10,680 --> 00:53:13,800
Speaker 1: like is the east side. There's this disconnect in in

873
00:53:13,960 --> 00:53:16,000
Speaker 1: what L A is. We've I've we've heard this so

874
00:53:16,080 --> 00:53:18,719
Speaker 1: many times. So anytime that we have to go to

875
00:53:18,800 --> 00:53:22,279
Speaker 1: the west side and leave our little enclaves, it's a thing,

876
00:53:22,520 --> 00:53:24,960
Speaker 1: it's a journey. It's Oh we're going to the west side,

877
00:53:25,280 --> 00:53:27,440
Speaker 1: you know. So I feel like Safina was going to

878
00:53:27,520 --> 00:53:30,520
Speaker 1: the west side and in this movie they traveled to

879
00:53:30,560 --> 00:53:34,840
Speaker 1: the West side it's like Iv. Yeah, for for listeners

880
00:53:34,880 --> 00:53:40,000
Speaker 1: who do not understand truly the grand trek that Anna

881
00:53:40,080 --> 00:53:42,080
Speaker 1: was taking to get to school every day, it's I

882
00:53:42,239 --> 00:53:43,560
Speaker 1: was I was just trying to do the math in

883
00:53:43,600 --> 00:53:45,239
Speaker 1: my head. I'm like that's at least an hour and

884
00:53:45,280 --> 00:53:49,440
Speaker 1: a half if the bus comes on time, because she's

885
00:53:49,480 --> 00:53:52,480
Speaker 1: like transfers. She like goes from like boil heights to

886
00:53:52,560 --> 00:53:56,080
Speaker 1: Hollywood and vine from Hollywood and Vine Hills, like she's

887
00:53:56,120 --> 00:54:01,480
Speaker 1: taking transfers, which is a yeah, that's the bus is here.

888
00:54:01,760 --> 00:54:06,160
Speaker 1: Look pro but we could use some more routes. Could

889
00:54:06,280 --> 00:54:09,960
Speaker 1: use some more routes, use some more frequency, because sometimes

890
00:54:10,000 --> 00:54:13,320
Speaker 1: you're like why am I doing a Yo Yo act

891
00:54:13,440 --> 00:54:16,080
Speaker 1: to get somewhere that is objectively three miles from where

892
00:54:16,080 --> 00:54:21,600
Speaker 1: I'm sitting? Unclear, look right, but, but, but I loved

893
00:54:21,719 --> 00:54:25,200
Speaker 1: that the movie took that time to show you that

894
00:54:25,480 --> 00:54:30,680
Speaker 1: journey because it feels like it effortlessly communicates the class

895
00:54:31,160 --> 00:54:35,400
Speaker 1: struggle that Anna is dealing with without having to like

896
00:54:35,719 --> 00:54:37,480
Speaker 1: bop you over the head with it. It's just like

897
00:54:37,520 --> 00:54:40,000
Speaker 1: an effortless part of the story. I love how it

898
00:54:40,440 --> 00:54:43,239
Speaker 1: you're just told visually and also like when you see

899
00:54:43,800 --> 00:54:47,160
Speaker 1: that kid Jimmy come to the east side and like,

900
00:54:47,880 --> 00:54:50,120
Speaker 1: clearly it sounds like he's like one of the people

901
00:54:50,239 --> 00:54:54,480
Speaker 1: you're talking about where it's it's he's like what? What?

902
00:54:55,400 --> 00:54:58,560
Speaker 1: Like there's a part where he's like because she knows

903
00:54:58,640 --> 00:55:01,279
Speaker 1: him from school and he goes to school in Beverly Hills,

904
00:55:01,360 --> 00:55:04,080
Speaker 1: so you can presume that he probably lives in Beverly

905
00:55:04,160 --> 00:55:08,439
Speaker 1: Hills as well, like shares little brother or something. Yes,

906
00:55:08,960 --> 00:55:13,960
Speaker 1: he's Elijah Wood's son. Um, he's he's of the Wood family,

907
00:55:14,239 --> 00:55:19,320
Speaker 1: for sure. Yes, summering with the wood family. He's like,

908
00:55:19,560 --> 00:55:22,200
Speaker 1: I wanted to go to Europe with you. Things are

909
00:55:22,239 --> 00:55:25,200
Speaker 1: just too easy here, you know, you're handed everything, you're

910
00:55:25,200 --> 00:55:28,239
Speaker 1: handed school, you're handed a car. That's why I went

911
00:55:28,360 --> 00:55:32,240
Speaker 1: to teach. And it's like, okay, you're saying this to Anna,

912
00:55:32,600 --> 00:55:36,120
Speaker 1: who comes from a working class, blue collar family where

913
00:55:37,040 --> 00:55:40,399
Speaker 1: most of her family works in a clothing factory where

914
00:55:40,480 --> 00:55:45,160
Speaker 1: their labor is for sure being exploited because they're assembling

915
00:55:45,239 --> 00:55:49,360
Speaker 1: dresses for eighteen dollars to be assauled at the Bloomingdale's

916
00:55:49,400 --> 00:55:53,239
Speaker 1: that his family probably shops at. Like and Anna takes

917
00:55:53,320 --> 00:55:56,400
Speaker 1: the bus. She's like, what are you talking about? I

918
00:55:56,560 --> 00:55:59,680
Speaker 1: take the bus. And he's like we have buses here.

919
00:56:00,120 --> 00:56:05,080
Speaker 1: Like what I love about that scene is like Anna

920
00:56:05,200 --> 00:56:07,840
Speaker 1: doesn't say any of that. You know, she just like

921
00:56:08,000 --> 00:56:12,440
Speaker 1: listens to him and she's like okay, sure, Jimmy. You know,

922
00:56:12,640 --> 00:56:16,160
Speaker 1: she doesn't have to. It's so fascinating to me she doesn't.

923
00:56:16,440 --> 00:56:19,680
Speaker 1: She doesn't feel compelled to tell him he's wrong or

924
00:56:19,760 --> 00:56:21,719
Speaker 1: that he has it easy or that her life is

925
00:56:21,760 --> 00:56:24,440
Speaker 1: so hard. or well, here's what she's she's on the bus,

926
00:56:24,520 --> 00:56:26,279
Speaker 1: she doesn't have a car. It's not easy for her,

927
00:56:26,840 --> 00:56:30,040
Speaker 1: and I always find those choices really fascinating of like

928
00:56:30,120 --> 00:56:33,000
Speaker 1: how much Anna is like sharing with him or not.

929
00:56:33,480 --> 00:56:36,480
Speaker 1: You know, Um, because I think that in in and

930
00:56:36,880 --> 00:56:39,200
Speaker 1: that sex scene that they have where he's like I'll

931
00:56:39,239 --> 00:56:41,600
Speaker 1: write you, I'll call you, and she's very kind of

932
00:56:41,719 --> 00:56:46,200
Speaker 1: cold and says no, like for what she knows, like

933
00:56:46,560 --> 00:56:48,840
Speaker 1: this guy is for for the now, but this is

934
00:56:48,920 --> 00:56:51,680
Speaker 1: not he's not my future and he doesn't need to

935
00:56:51,760 --> 00:56:54,919
Speaker 1: know all of me, and I think that's so interesting. Yeah,

936
00:56:55,200 --> 00:56:59,120
Speaker 1: and that's just like that's just like fe so real

937
00:56:59,520 --> 00:57:02,560
Speaker 1: to and just it just shows how she is a

938
00:57:02,680 --> 00:57:06,640
Speaker 1: very like multidimensional, complex character where, you know, she has

939
00:57:06,680 --> 00:57:10,920
Speaker 1: no qualms about challenging her mom challenging her sister, you know,

940
00:57:11,160 --> 00:57:16,000
Speaker 1: challenging Mrs Glass, the owner of the clothing manufacturer, like,

941
00:57:16,120 --> 00:57:18,960
Speaker 1: but she isn't quite so challenging to some of the

942
00:57:19,040 --> 00:57:22,120
Speaker 1: things that Jimmy says, because he says something like uh,

943
00:57:22,200 --> 00:57:25,040
Speaker 1: and you know, we'll talk all about like the body

944
00:57:25,200 --> 00:57:28,520
Speaker 1: and fat shaming that she experiences, but he says something

945
00:57:28,640 --> 00:57:32,080
Speaker 1: like you're not fat, you're beautiful, as if those two

946
00:57:32,160 --> 00:57:38,640
Speaker 1: things are mutually exclusive. Jimmy, Jimmy, Jimmy, Jimmy, and she

947
00:57:38,840 --> 00:57:42,320
Speaker 1: doesn't challenge that. But it's just a much more different

948
00:57:42,400 --> 00:57:46,320
Speaker 1: dynamic that she has with this kid she's like rich

949
00:57:46,400 --> 00:57:49,880
Speaker 1: white kid she's just getting to know, versus her mom,

950
00:57:50,440 --> 00:57:53,160
Speaker 1: who she's lived her entire life with. And that just felt,

951
00:57:53,200 --> 00:57:55,480
Speaker 1: like said, you know, we all kind of switch our

952
00:57:55,560 --> 00:57:59,360
Speaker 1: behavior and you know, based on who we're interacting with,

953
00:57:59,560 --> 00:58:04,240
Speaker 1: and and so that just felt very familiar relatable. Yeah,

954
00:58:04,800 --> 00:58:08,120
Speaker 1: it's just such a cool character where every time, I

955
00:58:08,200 --> 00:58:10,320
Speaker 1: don't know, like you can see, even in that scene

956
00:58:10,320 --> 00:58:13,400
Speaker 1: with Jimmy, I really like when she was like we're

957
00:58:13,400 --> 00:58:15,320
Speaker 1: not gonna have anything to talk about in three months,

958
00:58:15,480 --> 00:58:18,800
Speaker 1: like don't bother, like that was so cool. And then

959
00:58:18,880 --> 00:58:21,520
Speaker 1: but in the scene right after you do see that

960
00:58:21,720 --> 00:58:24,880
Speaker 1: like there is some insecurity attached to her setting that

961
00:58:25,000 --> 00:58:28,800
Speaker 1: boundary in that way where she's like, well, you're gonna

962
00:58:29,040 --> 00:58:31,560
Speaker 1: have some like skinny white girlfriend in a couple of

963
00:58:31,640 --> 00:58:35,080
Speaker 1: months anyway. So, like, why would I the subject feeling

964
00:58:35,080 --> 00:58:38,680
Speaker 1: like why would I emotionally invest in a Jimmy of

965
00:58:38,800 --> 00:58:43,680
Speaker 1: the world? And here's my question. Jimmy says that he's

966
00:58:44,000 --> 00:58:47,360
Speaker 1: got into Teachers College, which leads me to believe he's

967
00:58:47,440 --> 00:58:52,200
Speaker 1: enrolling at Columbia University. She gets into Columbia University, she

968
00:58:52,360 --> 00:58:56,080
Speaker 1: ends up in New York. Is there a real women

969
00:58:56,160 --> 00:59:02,200
Speaker 1: have curves, sequel, where she wears the red dress in

970
00:59:02,680 --> 00:59:06,440
Speaker 1: New York and they reunite somehow? Is that why they're

971
00:59:06,560 --> 00:59:10,880
Speaker 1: loose ends? Well, this is becoming a what? Oh my gosh,

972
00:59:10,960 --> 00:59:13,120
Speaker 1: it's becoming a to all the boys I love before

973
00:59:13,400 --> 00:59:19,960
Speaker 1: style saga. Yes, the whole thing. I have to wonder.

974
00:59:20,600 --> 00:59:22,640
Speaker 1: It's not too late? Yes, it's twenty years later, but

975
00:59:23,000 --> 00:59:25,320
Speaker 1: you know, I'm still waiting for that red dress payoff,

976
00:59:25,600 --> 00:59:30,960
Speaker 1: I'll be honest. The other thing that I thought was interesting,

977
00:59:31,040 --> 00:59:35,440
Speaker 1: as it relates to the kind of class commentary, is

978
00:59:35,920 --> 00:59:38,520
Speaker 1: Mrs Glass. So again, she's the owner of the dress

979
00:59:38,640 --> 00:59:43,400
Speaker 1: manufacturing company that Estella is a contractor of, and there's

980
00:59:43,400 --> 00:59:46,400
Speaker 1: that scene where stella she's like first trying to write

981
00:59:46,400 --> 00:59:50,160
Speaker 1: an email to her, and Anna is like, you gotta

982
00:59:50,280 --> 00:59:52,560
Speaker 1: go down and talk to her. You're never going to

983
00:59:52,640 --> 00:59:55,120
Speaker 1: get anywhere with an email. So Anna goes with her,

984
00:59:55,840 --> 01:00:00,480
Speaker 1: you know, ends up like advocating pretty hard for more

985
01:00:00,600 --> 01:00:03,680
Speaker 1: than Estella camp, but it's also like, you know, more

986
01:00:03,800 --> 01:00:05,800
Speaker 1: is at stake for Estella, so you don't you know,

987
01:00:05,880 --> 01:00:10,240
Speaker 1: you get why she's a bit intimidated by Mrs Glass Um,

988
01:00:10,320 --> 01:00:12,920
Speaker 1: but there's that moment where Mrs Glass is like, you know,

989
01:00:13,080 --> 01:00:16,320
Speaker 1: I believe a woman like me should help a woman

990
01:00:16,400 --> 01:00:18,560
Speaker 1: like you, but I can only help you so much,

991
01:00:18,720 --> 01:00:20,600
Speaker 1: and basically tells her she has to pick herself up

992
01:00:20,640 --> 01:00:24,440
Speaker 1: by her bootstraps because she, despite also being like a

993
01:00:24,520 --> 01:00:28,080
Speaker 1: Latina woman who, you know, like saw something in Ostella

994
01:00:28,160 --> 01:00:29,640
Speaker 1: and like that's why she wanted to help her out,

995
01:00:29,680 --> 01:00:32,680
Speaker 1: but she's also a capitalist who is for sure exploiting

996
01:00:32,920 --> 01:00:37,040
Speaker 1: Estella's labor. You hate to see it, but that ship

997
01:00:37,120 --> 01:00:39,240
Speaker 1: also does happen. It does happen. Yeah, I find the

998
01:00:39,400 --> 01:00:43,360
Speaker 1: Mrs Glass character so fascinating because that character can be

999
01:00:43,440 --> 01:00:45,920
Speaker 1: open to so many interpretations, like we can create so

1000
01:00:46,040 --> 01:00:50,160
Speaker 1: many storylines behind her life. Is this like an Argentinean

1001
01:00:50,920 --> 01:00:54,240
Speaker 1: Latin out with the last named glass, like is she

1002
01:00:54,720 --> 01:00:58,080
Speaker 1: like a third gen like Mexican American who like went

1003
01:00:58,200 --> 01:01:01,160
Speaker 1: to like Harvard Business School? Like, who is this woman

1004
01:01:01,760 --> 01:01:03,800
Speaker 1: and how did why is she the way that she is,

1005
01:01:04,080 --> 01:01:06,960
Speaker 1: you know, and I love the tension there too with

1006
01:01:07,120 --> 01:01:09,240
Speaker 1: like you have Anna, who like went to Beverly Hills

1007
01:01:09,280 --> 01:01:13,640
Speaker 1: High School and his college bound and is very kind

1008
01:01:13,720 --> 01:01:16,440
Speaker 1: of Um. She feels like she knows a lot of

1009
01:01:16,520 --> 01:01:18,280
Speaker 1: things right, and I feel like there's a lot of

1010
01:01:18,360 --> 01:01:21,160
Speaker 1: like power trips in this movie about what we know

1011
01:01:21,280 --> 01:01:23,480
Speaker 1: and what we don't know. So I think Anna feels

1012
01:01:23,480 --> 01:01:26,080
Speaker 1: like among her family she knows more things than like

1013
01:01:26,200 --> 01:01:29,000
Speaker 1: her mom, and her mom feels like, well, a woman

1014
01:01:29,080 --> 01:01:31,920
Speaker 1: knows and a mother knows, and that's her favorite saying,

1015
01:01:32,200 --> 01:01:34,360
Speaker 1: you know, because she's a mom, so she knows and

1016
01:01:34,440 --> 01:01:36,320
Speaker 1: she's a married woman, so she knows. And Anna went

1017
01:01:36,360 --> 01:01:39,000
Speaker 1: to Beverly Hills high so she knows, you know. And

1018
01:01:39,200 --> 01:01:42,600
Speaker 1: so Anna thinks, Anna thinks that she's about to help

1019
01:01:42,640 --> 01:01:45,240
Speaker 1: her sister out and like negotiate with this business lady.

1020
01:01:45,360 --> 01:01:47,800
Speaker 1: But Anna is weighing over her head and this lady

1021
01:01:48,080 --> 01:01:50,920
Speaker 1: is way out of her league and Anna is actually

1022
01:01:51,000 --> 01:01:53,680
Speaker 1: doing more harm than good and she thinks she's helping,

1023
01:01:54,960 --> 01:01:56,520
Speaker 1: you know. And so it's like maybe there's a reason

1024
01:01:56,680 --> 01:01:59,040
Speaker 1: Estella has been kind of moving the way she's been moving,

1025
01:01:59,040 --> 01:02:03,120
Speaker 1: because maybe Estella knows something that Anna doesn't know, and

1026
01:02:03,240 --> 01:02:05,560
Speaker 1: I love all of that. That kind of merry go round.

1027
01:02:07,080 --> 01:02:09,440
Speaker 1: I don't think in my I think I got I

1028
01:02:09,600 --> 01:02:12,000
Speaker 1: was so caught up in the Anna of it all

1029
01:02:12,120 --> 01:02:15,480
Speaker 1: in my earlier viewings, because it's like that is especially

1030
01:02:15,520 --> 01:02:17,760
Speaker 1: if you're like a teen girl. You're plugging yourself into Anna,

1031
01:02:18,000 --> 01:02:22,840
Speaker 1: like end of story. I didn't think as much as

1032
01:02:22,920 --> 01:02:26,320
Speaker 1: I probably should have about Estella's character and I'm prepping

1033
01:02:26,400 --> 01:02:29,200
Speaker 1: for this episode I was like kind of blown away

1034
01:02:29,280 --> 01:02:33,920
Speaker 1: by how much there is in Estella's character, even though, like,

1035
01:02:34,160 --> 01:02:36,360
Speaker 1: I mean, she's a main character, but she doesn't like

1036
01:02:36,480 --> 01:02:40,440
Speaker 1: actually speak that much. She doesn't take a ton of

1037
01:02:40,680 --> 01:02:44,200
Speaker 1: like action, action or because it's so honest story and

1038
01:02:44,720 --> 01:02:47,160
Speaker 1: the relationship between Anna and her mother is so focused on.

1039
01:02:47,320 --> 01:02:50,400
Speaker 1: But I really love Estella and I don't think I

1040
01:02:50,520 --> 01:02:54,600
Speaker 1: like had the tools to understand what she was up

1041
01:02:54,640 --> 01:02:58,360
Speaker 1: against when I first saw this movie because Anna is

1042
01:02:58,520 --> 01:03:02,200
Speaker 1: so headstrong and like she's back on everything and in

1043
01:03:02,280 --> 01:03:04,680
Speaker 1: a way that it's like really Cathartic and cool to see.

1044
01:03:04,840 --> 01:03:06,840
Speaker 1: And and I think in my mind at the time

1045
01:03:06,880 --> 01:03:09,160
Speaker 1: I'm like, well, why doesn't Estella stand up for herself

1046
01:03:09,240 --> 01:03:13,960
Speaker 1: more and like not understanding there the dynamic there where,

1047
01:03:14,520 --> 01:03:18,480
Speaker 1: even watching like how it's like it's clear that ten

1048
01:03:18,600 --> 01:03:22,480
Speaker 1: years prior Estella was treated the way Anna is being

1049
01:03:22,560 --> 01:03:24,880
Speaker 1: treated now by her mother, which is, I feel, like

1050
01:03:25,080 --> 01:03:28,760
Speaker 1: represented in that scene where their mom basically says, like well,

1051
01:03:28,840 --> 01:03:31,920
Speaker 1: it's too late for Estella. I'm going to focus on Anna,

1052
01:03:32,440 --> 01:03:36,280
Speaker 1: and it seems like Estella has put so much energy

1053
01:03:37,160 --> 01:03:40,080
Speaker 1: and and like her life into pleasing her mom and

1054
01:03:40,200 --> 01:03:42,880
Speaker 1: doing what she thinks is the right thing and trying

1055
01:03:42,960 --> 01:03:46,040
Speaker 1: to like meet the bar that their mom is setting

1056
01:03:46,120 --> 01:03:49,840
Speaker 1: that no one can ever actually reach, and then, ten

1057
01:03:49,960 --> 01:03:53,120
Speaker 1: years later, be blamed for it and she's still not

1058
01:03:53,320 --> 01:03:56,280
Speaker 1: the mom's favorite right and then like ten years later

1059
01:03:56,360 --> 01:03:58,440
Speaker 1: she's still catching ship for it and her mom has

1060
01:03:58,520 --> 01:04:01,840
Speaker 1: given up on her for no reason, even though Estella

1061
01:04:01,920 --> 01:04:05,240
Speaker 1: seems like she like is I mean, I don't know

1062
01:04:05,440 --> 01:04:07,800
Speaker 1: enough about how a textile factory is run to say

1063
01:04:07,800 --> 01:04:09,600
Speaker 1: this for sure, but it seems like Estella is kind

1064
01:04:09,640 --> 01:04:14,200
Speaker 1: of like doing the bulk of the day today Um stuff.

1065
01:04:14,280 --> 01:04:17,320
Speaker 1: She's handling all the rent issues and the and the

1066
01:04:17,520 --> 01:04:20,560
Speaker 1: checks and like a lot of the high level stuff,

1067
01:04:20,640 --> 01:04:24,920
Speaker 1: but is like not appreciated by the powers that be, certainly,

1068
01:04:24,960 --> 01:04:27,320
Speaker 1: but also doesn't seem it seems like she's really undervalued

1069
01:04:27,400 --> 01:04:30,440
Speaker 1: by her own mom and just like seeing how that

1070
01:04:30,480 --> 01:04:34,120
Speaker 1: because that does, I don't know, like being Estella's age

1071
01:04:34,160 --> 01:04:36,480
Speaker 1: and not Anna's. Now you're like that does wear on you.

1072
01:04:36,720 --> 01:04:40,600
Speaker 1: And of course there's just like Anna has the energy

1073
01:04:40,960 --> 01:04:45,320
Speaker 1: to fight every battle and it's like, but that changes

1074
01:04:45,400 --> 01:04:49,200
Speaker 1: over time and I just love Estella and with the

1075
01:04:49,320 --> 01:04:52,520
Speaker 1: Stellash I feel like a Stella's underrated too, because if

1076
01:04:52,640 --> 01:04:57,240
Speaker 1: I knew somebody who had their own dress manufacturing business

1077
01:04:57,320 --> 01:05:01,720
Speaker 1: and was selling gowns to blooming als, like was filling

1078
01:05:01,880 --> 01:05:05,760
Speaker 1: orders constantly, that's a big fucking deal, like that's an

1079
01:05:05,800 --> 01:05:13,040
Speaker 1: accomplished seamstress designer, like businesswoman, like that's nothing to sneeze at.

1080
01:05:13,400 --> 01:05:17,120
Speaker 1: She's being exploited. It is literally a sweatshop setting, but

1081
01:05:17,440 --> 01:05:20,480
Speaker 1: it's impressive when we really break it down and think

1082
01:05:20,520 --> 01:05:23,160
Speaker 1: about what it's what she's doing there, and I don't

1083
01:05:23,240 --> 01:05:27,000
Speaker 1: think that annesty is that. It's literally Phantom threading, like

1084
01:05:29,920 --> 01:05:34,480
Speaker 1: it's also it's like further complicated by so you can

1085
01:05:34,560 --> 01:05:39,040
Speaker 1: kind of imagine that Stella took up this business because

1086
01:05:39,080 --> 01:05:41,600
Speaker 1: that's what her mom did. Like Carmen says that she

1087
01:05:42,040 --> 01:05:44,840
Speaker 1: has been sewing for thirty eight years and she started

1088
01:05:44,880 --> 01:05:47,320
Speaker 1: when she was like thirteen. So, like you have, Stella

1089
01:05:47,440 --> 01:05:50,080
Speaker 1: like taking in her mom, you know, like taking after

1090
01:05:50,160 --> 01:05:57,560
Speaker 1: her unless expression take something footsteps, following, following others footsteps.

1091
01:05:57,640 --> 01:06:00,120
Speaker 1: I was like, why can't I put this sentence to age?

1092
01:06:00,240 --> 01:06:06,520
Speaker 1: It's so she's following in her mom's footsteps, possibly to

1093
01:06:07,400 --> 01:06:10,280
Speaker 1: impress her mom, possibly because that's the skill her mom

1094
01:06:10,360 --> 01:06:12,080
Speaker 1: taught her. You know, there's could be any number of

1095
01:06:12,640 --> 01:06:15,600
Speaker 1: of reasons. and Um I was able to open up

1096
01:06:15,640 --> 01:06:19,840
Speaker 1: her own factory, Um, which I think maybe it seems

1097
01:06:19,840 --> 01:06:23,480
Speaker 1: to be implied that like that's something that Carmen didn't

1098
01:06:23,520 --> 01:06:26,480
Speaker 1: have the opportunity or the money that you need to

1099
01:06:26,480 --> 01:06:29,760
Speaker 1: start your own business, but it's something that Estella was

1100
01:06:29,920 --> 01:06:32,560
Speaker 1: able to do, and so she started her own business

1101
01:06:32,640 --> 01:06:36,560
Speaker 1: and now she employs her mom, so she's her mom's

1102
01:06:36,760 --> 01:06:42,920
Speaker 1: boss and then her mom mentions how, from decades of sewing,

1103
01:06:43,160 --> 01:06:47,600
Speaker 1: she's she's become arthritic, she can't see very well and

1104
01:06:47,840 --> 01:06:51,160
Speaker 1: she's like not actually able to work very well because,

1105
01:06:51,240 --> 01:06:54,360
Speaker 1: like this hard labor has has really worn on her

1106
01:06:54,720 --> 01:06:57,560
Speaker 1: over the years. But she's ashamed by that and is

1107
01:06:57,600 --> 01:07:00,800
Speaker 1: not really communicating that too love. But she tells it

1108
01:07:00,880 --> 01:07:03,320
Speaker 1: to Anna and it's just like there's like so many

1109
01:07:04,120 --> 01:07:08,800
Speaker 1: such an interesting and complicated family dynamic. Yeah, there's a

1110
01:07:08,880 --> 01:07:12,000
Speaker 1: lot of layers and it's like you you have this

1111
01:07:12,160 --> 01:07:16,880
Speaker 1: situation where, like the mother and the sister have dignity

1112
01:07:17,200 --> 01:07:20,440
Speaker 1: in their work, even though it's not ideal, because that

1113
01:07:20,680 --> 01:07:23,160
Speaker 1: is such a step. Like she's a business owner, she

1114
01:07:23,320 --> 01:07:26,360
Speaker 1: is doing deals with blooming Dale's and they're they have

1115
01:07:26,440 --> 01:07:30,080
Speaker 1: this team, they're employing people. Right. There's this scene where

1116
01:07:30,760 --> 01:07:33,800
Speaker 1: Carmen and Anna's father they're talking to each other and

1117
01:07:33,920 --> 01:07:37,880
Speaker 1: the father is saying she can learn a lot at Columbia,

1118
01:07:37,960 --> 01:07:40,160
Speaker 1: like she's accepted, she got a scholarship, she can go

1119
01:07:40,240 --> 01:07:43,960
Speaker 1: get educated, and her mother says, I can educate her,

1120
01:07:44,120 --> 01:07:45,959
Speaker 1: I can teach her how to sew, I can teach

1121
01:07:45,960 --> 01:07:48,080
Speaker 1: her how to take care of children, I can teach

1122
01:07:48,080 --> 01:07:50,240
Speaker 1: her how to keep a house she doesn't do laundry.

1123
01:07:50,320 --> 01:07:52,840
Speaker 1: She's my greatest disappointment, you know, she doesn't listen to me.

1124
01:07:53,440 --> 01:07:56,640
Speaker 1: And you know, it's interesting because I think there's a

1125
01:07:56,760 --> 01:08:00,240
Speaker 1: piece there where like the mom and the sister are like,

1126
01:08:01,120 --> 01:08:05,640
Speaker 1: we like our lives and we are doing work and

1127
01:08:05,960 --> 01:08:09,400
Speaker 1: we are supporting ourselves and this is a dignified life

1128
01:08:09,480 --> 01:08:12,680
Speaker 1: that's also worth living, you know. And so there's this

1129
01:08:12,920 --> 01:08:16,000
Speaker 1: like divide there where she's very young and and she's

1130
01:08:16,080 --> 01:08:18,840
Speaker 1: pushing back on it and she's Pooh pooing it, but

1131
01:08:19,000 --> 01:08:22,320
Speaker 1: it's what's allowed also allowed her to go to Beverly

1132
01:08:22,400 --> 01:08:26,320
Speaker 1: Hills High School, you know, and she's had that familial support.

1133
01:08:26,720 --> 01:08:29,240
Speaker 1: So there's that push and pull there. Were like in

1134
01:08:29,400 --> 01:08:31,519
Speaker 1: their heart of hearts, they want more for her, but

1135
01:08:31,720 --> 01:08:34,600
Speaker 1: they know that, like this is their world and for

1136
01:08:34,720 --> 01:08:36,280
Speaker 1: her to step out of it, what does that mean

1137
01:08:36,360 --> 01:08:40,080
Speaker 1: about their world and them and all of that? I

1138
01:08:40,160 --> 01:08:42,519
Speaker 1: mean it's like and and I get like that whole

1139
01:08:42,680 --> 01:08:47,519
Speaker 1: message is conveyed in like a single scene which is wild,

1140
01:08:47,920 --> 01:08:52,599
Speaker 1: like the scene when Mr Guzman comes back to the house,

1141
01:08:53,120 --> 01:08:54,519
Speaker 1: and I did I know that this is like she's

1142
01:08:54,560 --> 01:08:56,240
Speaker 1: wrong for this, but it did always make me laugh

1143
01:08:56,320 --> 01:09:00,120
Speaker 1: every time. Um, carbon saw Mr Guzman coming and is

1144
01:09:00,160 --> 01:09:01,599
Speaker 1: like who is that? Let's get him out of here,

1145
01:09:01,680 --> 01:09:06,320
Speaker 1: like slamming the door, and George Lopez's face. Man, yeah, man,

1146
01:09:07,640 --> 01:09:11,519
Speaker 1: you're like that's that's her teacher. But but yeah, like

1147
01:09:11,600 --> 01:09:15,479
Speaker 1: that that whole class tension of like, and I feel

1148
01:09:15,479 --> 01:09:17,280
Speaker 1: like you see it a little bit in Estella's character

1149
01:09:17,400 --> 01:09:20,560
Speaker 1: as well, where it's it's not like Mr Guzman is

1150
01:09:20,640 --> 01:09:23,200
Speaker 1: trying to say like one thing is more valuable than

1151
01:09:23,280 --> 01:09:27,200
Speaker 1: the other, but I think like his perspective is like, well,

1152
01:09:27,760 --> 01:09:31,240
Speaker 1: you sent her to this like Bougie high school. Do

1153
01:09:31,360 --> 01:09:33,639
Speaker 1: you want her to have access to what the Bougie

1154
01:09:33,720 --> 01:09:35,960
Speaker 1: high school was supposed to have gotten her access to?

1155
01:09:36,720 --> 01:09:39,880
Speaker 1: And then, from where Carmen and Ostella are sitting and

1156
01:09:39,960 --> 01:09:42,080
Speaker 1: from where the whole family sitting, it makes total sense

1157
01:09:42,160 --> 01:09:44,519
Speaker 1: to be like well, why are you telling us that

1158
01:09:44,640 --> 01:09:48,000
Speaker 1: the life that we have isn't enough? Like it feels

1159
01:09:48,040 --> 01:09:51,280
Speaker 1: like Anna is the only person in the room at

1160
01:09:51,280 --> 01:09:56,960
Speaker 1: any given time who understands that Um and like understands

1161
01:09:57,040 --> 01:09:58,479
Speaker 1: both sides of it, and we don't. I guess we

1162
01:09:58,479 --> 01:10:01,000
Speaker 1: don't know enough about Mr Kos months background. Maybe he

1163
01:10:01,080 --> 01:10:03,840
Speaker 1: does understand this tension and his power is just kind

1164
01:10:03,880 --> 01:10:08,200
Speaker 1: of very limited in this situation, because you're totally right, Mala,

1165
01:10:08,360 --> 01:10:13,080
Speaker 1: like it's so wild the way that Estella is treated

1166
01:10:13,160 --> 01:10:15,719
Speaker 1: and like the circumstances she has to work under, because

1167
01:10:16,040 --> 01:10:18,599
Speaker 1: she's also I liked that you have that details. She's

1168
01:10:18,600 --> 01:10:21,640
Speaker 1: a brilliant designer and like I hope that you know

1169
01:10:21,840 --> 01:10:25,639
Speaker 1: in the inevitable, uh, you know, real women have curves.

1170
01:10:25,920 --> 01:10:30,839
Speaker 1: To return of the red dress. Um, she has extremely

1171
01:10:30,880 --> 01:10:35,879
Speaker 1: curvy movie. Yeah, she has like her own like fashion

1172
01:10:36,000 --> 01:10:40,799
Speaker 1: house or like something like that, where, like she's so talented,

1173
01:10:41,040 --> 01:10:43,880
Speaker 1: but it's like it's got a I g boutique right

1174
01:10:44,040 --> 01:10:47,960
Speaker 1: exactly excited, is like doing expensive custom red carpet looks

1175
01:10:49,000 --> 01:10:55,439
Speaker 1: for America, Ferraro question mark. Um, but and then the

1176
01:10:55,840 --> 01:11:00,799
Speaker 1: movie explodes. Um, but, but I I that it was interesting.

1177
01:11:00,880 --> 01:11:04,200
Speaker 1: How like there's those moments with a Stella, the moments

1178
01:11:04,280 --> 01:11:07,799
Speaker 1: I liked most between Anna and Ostella, or when Estella,

1179
01:11:08,240 --> 01:11:13,960
Speaker 1: I think, would sometimes internalize how various systems were failing

1180
01:11:14,040 --> 01:11:18,680
Speaker 1: her and her business as individual failures, which is, you know,

1181
01:11:18,840 --> 01:11:22,920
Speaker 1: how the systems want you to feel. And I feel

1182
01:11:22,920 --> 01:11:25,519
Speaker 1: like you know, even though the Mrs Glass thing did

1183
01:11:25,600 --> 01:11:28,040
Speaker 1: not pan out and was that was kind of naive

1184
01:11:28,120 --> 01:11:30,519
Speaker 1: on on his part to think you could just march

1185
01:11:30,600 --> 01:11:37,519
Speaker 1: in and change a girl boss's mind. Um. But, like Estella,

1186
01:11:37,960 --> 01:11:39,920
Speaker 1: it seemed like I had internalized a lot of shame

1187
01:11:39,960 --> 01:11:42,760
Speaker 1: about it and like she wasn't able to talk to

1188
01:11:42,880 --> 01:11:45,080
Speaker 1: people about it. And you would imagine if she went

1189
01:11:45,160 --> 01:11:47,679
Speaker 1: to Carmen about it, Carmen would give her shit about

1190
01:11:47,680 --> 01:11:50,800
Speaker 1: it because that is very inherent to how Carmen treats

1191
01:11:50,840 --> 01:11:55,240
Speaker 1: her daughters. And just like watching Estella, this like brilliant

1192
01:11:55,600 --> 01:11:59,640
Speaker 1: business owner who should be, you know, in Milan or

1193
01:11:59,720 --> 01:12:03,880
Speaker 1: what I or like having to internalize this bullshit is

1194
01:12:04,600 --> 01:12:06,560
Speaker 1: it's I don't know, it's like pretty subtle in the

1195
01:12:06,600 --> 01:12:08,800
Speaker 1: way that it's like telegraphed in the movie, but I

1196
01:12:08,960 --> 01:12:11,320
Speaker 1: just I don't know, it just felt like this whole

1197
01:12:11,400 --> 01:12:15,400
Speaker 1: other element to what's going on in her life that

1198
01:12:15,479 --> 01:12:18,240
Speaker 1: I didn't take a lot of note on because I

1199
01:12:18,400 --> 01:12:22,160
Speaker 1: was America for he built and just didn't understand the

1200
01:12:22,720 --> 01:12:26,200
Speaker 1: world as well. And yet there's still so much to

1201
01:12:26,280 --> 01:12:30,639
Speaker 1: love about on this character to where like so we've

1202
01:12:30,680 --> 01:12:34,360
Speaker 1: been kind of dancing around the mother daughter relationship throughout

1203
01:12:34,400 --> 01:12:38,360
Speaker 1: the entire discussion. So so let's just get into it.

1204
01:12:39,320 --> 01:12:43,360
Speaker 1: It's a complicated relationship. It's clear that Carmen very much

1205
01:12:43,479 --> 01:12:46,519
Speaker 1: loves and cares for her daughter and is coming from

1206
01:12:46,560 --> 01:12:50,160
Speaker 1: a place where she thinks what she's doing, what she's saying,

1207
01:12:50,520 --> 01:12:53,160
Speaker 1: is what's best for her daughter. She's not really doing

1208
01:12:53,200 --> 01:12:57,519
Speaker 1: anything out of like spite or malice. It's just this

1209
01:12:57,800 --> 01:13:00,200
Speaker 1: is what she knows and she's trying to pat sit

1210
01:13:00,280 --> 01:13:02,880
Speaker 1: along to her daughter and it's what she thinks is

1211
01:13:02,960 --> 01:13:09,080
Speaker 1: best for Anna. This often manifests as carmen policing Anna's

1212
01:13:09,120 --> 01:13:12,679
Speaker 1: body in two pretty major ways. One is her size

1213
01:13:13,280 --> 01:13:16,479
Speaker 1: and the other is her sexuality, and this is obviously

1214
01:13:16,640 --> 01:13:23,160
Speaker 1: informed by Karmen's religious beliefs and her kind of cultural like.

1215
01:13:23,360 --> 01:13:26,800
Speaker 1: You know, yes, she is reinforcing a lot of patriarchal

1216
01:13:26,880 --> 01:13:30,280
Speaker 1: standards that were pretty par for the course for her

1217
01:13:30,360 --> 01:13:35,720
Speaker 1: generation her culture. Anna is from a younger, more progressive generation.

1218
01:13:35,960 --> 01:13:38,080
Speaker 1: She grew up in a different country and culture from

1219
01:13:38,120 --> 01:13:41,400
Speaker 1: her parents and this has kind of empowered her to

1220
01:13:41,520 --> 01:13:46,440
Speaker 1: push back against like her mom's ideology, because we constantly

1221
01:13:46,560 --> 01:13:50,920
Speaker 1: see that kind of tug of war of Carmen either

1222
01:13:51,040 --> 01:13:55,080
Speaker 1: fat shaming or Slat Shaming Anna and then an a

1223
01:13:55,320 --> 01:14:01,439
Speaker 1: challenging it. So again we have like harmon constantly making

1224
01:14:01,479 --> 01:14:05,439
Speaker 1: comments about on a weight her size. She says things

1225
01:14:05,520 --> 01:14:08,519
Speaker 1: like you know, you would look beautiful if you lost weight,

1226
01:14:08,760 --> 01:14:12,880
Speaker 1: and constant comments about her body. And then you have

1227
01:14:13,479 --> 01:14:17,599
Speaker 1: Anna again, constantly challenging this and pushing back and saying

1228
01:14:17,680 --> 01:14:20,960
Speaker 1: things like well, I happen to like myself and yeah,

1229
01:14:21,040 --> 01:14:22,560
Speaker 1: maybe I do want to lose weight, but part of

1230
01:14:22,600 --> 01:14:25,800
Speaker 1: me doesn't, because my weight says to everybody fuck you,

1231
01:14:26,560 --> 01:14:28,760
Speaker 1: and she says, you know, how dare anybody try to

1232
01:14:28,800 --> 01:14:31,040
Speaker 1: tell me what I should look like or what I

1233
01:14:31,080 --> 01:14:33,840
Speaker 1: should be when there's so much more to me than

1234
01:14:34,000 --> 01:14:37,479
Speaker 1: just my weight. And that's such a wonderful thing to

1235
01:14:37,600 --> 01:14:41,760
Speaker 1: be in a movie that is targeted to. I mean

1236
01:14:42,439 --> 01:14:45,760
Speaker 1: everyone should watch this movie, but it's like targeted to

1237
01:14:46,160 --> 01:14:50,479
Speaker 1: probably a younger audience. Um, you know, teens, tweens. So

1238
01:14:50,640 --> 01:14:54,040
Speaker 1: you have like this young character who's like advocating for

1239
01:14:54,120 --> 01:14:58,840
Speaker 1: herself and pushing back against this harmful ideology of fat

1240
01:14:58,920 --> 01:15:02,920
Speaker 1: shaming and body I've been watching dance moms and Abby

1241
01:15:03,040 --> 01:15:06,280
Speaker 1: Lee Miller has sort of helped me to better understand

1242
01:15:06,479 --> 01:15:13,160
Speaker 1: Carmen's character. Because, yes, because Abby Lee is known for

1243
01:15:13,360 --> 01:15:16,519
Speaker 1: her harsh words and teaching tactics with her students, but

1244
01:15:16,600 --> 01:15:20,280
Speaker 1: her students also win, like they sweep right, and so

1245
01:15:20,479 --> 01:15:23,560
Speaker 1: Abbe Lee. One of her competitions was like listen, I

1246
01:15:23,720 --> 01:15:27,320
Speaker 1: tell you the harsh truth and rehearsal, because I don't

1247
01:15:27,360 --> 01:15:29,240
Speaker 1: want to put you on a stage and parents and

1248
01:15:29,360 --> 01:15:33,080
Speaker 1: other coaches are saying nasty things about your technique and

1249
01:15:33,120 --> 01:15:36,200
Speaker 1: your unppointed feet in the audience and you're getting dinged.

1250
01:15:36,680 --> 01:15:39,280
Speaker 1: I'm saying it so you fix it and other people

1251
01:15:39,560 --> 01:15:42,280
Speaker 1: are not saying it and humiliating you. And I feel

1252
01:15:42,360 --> 01:15:44,880
Speaker 1: like there are some older women, and I know for

1253
01:15:45,080 --> 01:15:48,519
Speaker 1: a fact Latina mothers, because my mother kind of is

1254
01:15:48,600 --> 01:15:52,320
Speaker 1: of this sort of mindset sometimes, like I'm your mother

1255
01:15:52,360 --> 01:15:53,800
Speaker 1: and if I don't tell you, who's going to tell you?

1256
01:15:54,360 --> 01:15:57,960
Speaker 1: and I feel like Carmen has this sort of very

1257
01:15:58,400 --> 01:16:00,880
Speaker 1: like she likes to tell cautionary tales, like if you

1258
01:16:00,880 --> 01:16:02,680
Speaker 1: don't listen to your mother, this is what's going to

1259
01:16:02,720 --> 01:16:05,160
Speaker 1: happen to you. I'm telling you because I'm your mother.

1260
01:16:05,360 --> 01:16:08,000
Speaker 1: Like there's that one scene where they're watching that Novella,

1261
01:16:08,560 --> 01:16:13,439
Speaker 1: and I love this title, Los B Mass, and the

1262
01:16:13,560 --> 01:16:15,800
Speaker 1: girl like it, doesn't listen to her mom and gets

1263
01:16:15,880 --> 01:16:18,320
Speaker 1: decapitated in the process trying to run off with some

1264
01:16:18,439 --> 01:16:22,599
Speaker 1: guy and Karmen is like that's that's what happens. That's

1265
01:16:22,640 --> 01:16:24,560
Speaker 1: what happens when you don't listen to your mother. A

1266
01:16:24,680 --> 01:16:26,840
Speaker 1: mother knows the right man for her daughter, you know.

1267
01:16:27,240 --> 01:16:30,200
Speaker 1: So it's like, for me, that's who karmen is. People

1268
01:16:30,360 --> 01:16:32,720
Speaker 1: like poor Anna's trying to write her college essay at

1269
01:16:32,760 --> 01:16:38,960
Speaker 1: the table. She's like stop. The decapitation comes up like

1270
01:16:39,280 --> 01:16:44,880
Speaker 1: mid essay writing. Yeah, oh, that's perfect. And then there's

1271
01:16:44,880 --> 01:16:48,639
Speaker 1: also this Um, this undercurrent throughout the movie that these

1272
01:16:48,680 --> 01:16:52,719
Speaker 1: women in the factory are making dresses that they can't

1273
01:16:52,800 --> 01:16:58,280
Speaker 1: fit into because glamorous clothing is often not manufactured for

1274
01:16:58,640 --> 01:17:02,880
Speaker 1: larger bodies. Because Have Puncha saying talking about address that

1275
01:17:03,080 --> 01:17:05,920
Speaker 1: Estella is designing, and she says something like yeah, I

1276
01:17:05,960 --> 01:17:09,480
Speaker 1: would definitely wear that if it would fit me parentheses.

1277
01:17:10,080 --> 01:17:13,000
Speaker 1: It wouldn't. Or like you, I couldn't probably find a

1278
01:17:13,120 --> 01:17:15,080
Speaker 1: dress that would fit me like this. But that's why

1279
01:17:15,280 --> 01:17:19,080
Speaker 1: in real women have curves to a Stella is the

1280
01:17:19,280 --> 01:17:28,760
Speaker 1: most famous inclusive designer in the entire worldly. She's stiling Lizzo. Yes, yeah,

1281
01:17:29,400 --> 01:17:32,920
Speaker 1: the script rights itself. Honestly, yeah, we don't. We don't

1282
01:17:32,920 --> 01:17:36,280
Speaker 1: need Lavoo. This time to get him out of there. Yeah,

1283
01:17:37,080 --> 01:17:49,760
Speaker 1: La Boo more like it, more like lapoo. And then

1284
01:17:49,840 --> 01:17:53,559
Speaker 1: that's really sweet scene where you see a stella giving

1285
01:17:53,880 --> 01:17:57,000
Speaker 1: the dress that she made for Anna and she says

1286
01:17:57,040 --> 01:18:00,840
Speaker 1: like I cut this specifically for your body and says

1287
01:18:00,920 --> 01:18:03,960
Speaker 1: like pretty dresses aren't just for skinny girls, and it's

1288
01:18:04,040 --> 01:18:08,519
Speaker 1: just such a beautiful little like button on that through

1289
01:18:08,640 --> 01:18:11,800
Speaker 1: line of the movie. The dresses are such a double,

1290
01:18:11,920 --> 01:18:15,080
Speaker 1: a triple whammy, because it's like it costs these women

1291
01:18:15,200 --> 01:18:18,640
Speaker 1: money to make these dresses. Practically like not only can

1292
01:18:18,680 --> 01:18:20,920
Speaker 1: they not fit in the dresses they're making, but they

1293
01:18:20,960 --> 01:18:23,639
Speaker 1: can't afford the dresses they're making because they cost six

1294
01:18:23,760 --> 01:18:26,960
Speaker 1: hundred dollars. And the constant throughout the film is I

1295
01:18:26,960 --> 01:18:29,479
Speaker 1: don't think we ever see the women really get paid,

1296
01:18:29,680 --> 01:18:32,439
Speaker 1: you know, until the very end they reimburse the dad

1297
01:18:32,520 --> 01:18:35,559
Speaker 1: because of the loan. The landlord is coming because she's

1298
01:18:35,640 --> 01:18:37,920
Speaker 1: laid on rent. Like the dress is actually even just

1299
01:18:38,080 --> 01:18:41,719
Speaker 1: to work is like costing them and it's wild to see.

1300
01:18:43,080 --> 01:18:45,000
Speaker 1: It made me so sad, like and it made me

1301
01:18:45,360 --> 01:18:48,000
Speaker 1: I felt like a moment of like frustration with Estella.

1302
01:18:48,080 --> 01:18:50,120
Speaker 1: I was like, but then it's like, but she's being

1303
01:18:50,160 --> 01:18:54,240
Speaker 1: put into an impossible position. It's just and and I

1304
01:18:54,640 --> 01:18:56,639
Speaker 1: feel like it's the movie, I guess, in that moment

1305
01:18:56,720 --> 01:19:00,560
Speaker 1: did kind of telegraph clearly why Estella feel like this

1306
01:19:00,760 --> 01:19:04,240
Speaker 1: is all her fault, because she's the one that has

1307
01:19:04,320 --> 01:19:07,640
Speaker 1: to tell her employees, I can't pay you, even though

1308
01:19:07,680 --> 01:19:10,960
Speaker 1: you're doing really, really hard work, like all the time,

1309
01:19:11,120 --> 01:19:13,599
Speaker 1: and I won't turn a fan on because of dust,

1310
01:19:14,160 --> 01:19:17,240
Speaker 1: like it's of course she feels terrible, but it's like,

1311
01:19:17,840 --> 01:19:20,880
Speaker 1: but yeah, I don't know that this viewing I was

1312
01:19:21,200 --> 01:19:25,600
Speaker 1: Estella pilled this one Um. And the thing about the

1313
01:19:25,720 --> 01:19:28,639
Speaker 1: movie too, is like that. There's so much, so many questions,

1314
01:19:28,720 --> 01:19:32,160
Speaker 1: because Anna goes off to New York, she's treating her stuff,

1315
01:19:32,800 --> 01:19:36,200
Speaker 1: but remember, like Estella stayed behind because she had to

1316
01:19:36,240 --> 01:19:39,360
Speaker 1: go to the factory. Like the factory continues. The dead

1317
01:19:39,600 --> 01:19:43,240
Speaker 1: is still there, like the turnover. That's all still, that's

1318
01:19:43,280 --> 01:19:45,960
Speaker 1: still going on while Anna is in New York. Right

1319
01:19:46,240 --> 01:19:49,559
Speaker 1: at least Estella gets her own bedroom now, because they

1320
01:19:49,600 --> 01:19:54,920
Speaker 1: were sharing a bedroom. That she deserves. She deserves. Yeah,

1321
01:19:55,000 --> 01:19:57,040
Speaker 1: she doesn't. I mean she serves her own place. We

1322
01:19:57,120 --> 01:20:00,760
Speaker 1: could like I wanted to get back to mom a

1323
01:20:00,840 --> 01:20:03,240
Speaker 1: little bit as well, because I really do think it's

1324
01:20:03,320 --> 01:20:08,160
Speaker 1: like it's such a tricky role. I feel like it

1325
01:20:08,360 --> 01:20:13,599
Speaker 1: is such a testament to loupe onto veros for making

1326
01:20:13,880 --> 01:20:17,880
Speaker 1: Carmen a lovable character and like, because I feel like

1327
01:20:17,960 --> 01:20:21,760
Speaker 1: on paper it's tough. The things she says to her

1328
01:20:21,840 --> 01:20:24,320
Speaker 1: daughters can be so cutting and awful, and the fact

1329
01:20:24,400 --> 01:20:26,560
Speaker 1: that she is able to get across like I do

1330
01:20:26,760 --> 01:20:30,280
Speaker 1: believe that she loves her daughters, but there's all these

1331
01:20:30,439 --> 01:20:34,559
Speaker 1: layers of and I know that there's there's so many Oh,

1332
01:20:34,600 --> 01:20:39,120
Speaker 1: there's another fire Um. Oh, I know there's so many

1333
01:20:39,840 --> 01:20:43,479
Speaker 1: layers of what Carmen is kind of projecting onto her daughters.

1334
01:20:43,560 --> 01:20:47,240
Speaker 1: It's a lot of cultural values that she grew up with.

1335
01:20:47,320 --> 01:20:51,760
Speaker 1: It's a generational value, it's uh, it's internalized shame being

1336
01:20:51,800 --> 01:20:55,599
Speaker 1: projected back onto her kids, and there was an element

1337
01:20:55,720 --> 01:20:58,519
Speaker 1: of it, the closest I could get to like relating

1338
01:20:58,720 --> 01:21:02,799
Speaker 1: to outside like just being a body shamed by female relatives,

1339
01:21:02,880 --> 01:21:07,439
Speaker 1: which happened in my family brutally and all the time.

1340
01:21:07,960 --> 01:21:10,320
Speaker 1: But it almost felt like there is like this part

1341
01:21:10,439 --> 01:21:15,080
Speaker 1: of Carmen that wants her daughters to suffer in the

1342
01:21:15,200 --> 01:21:18,799
Speaker 1: same exact ways she did and like to not suffer

1343
01:21:18,880 --> 01:21:21,200
Speaker 1: in though it almost reminds me of like whence like

1344
01:21:21,560 --> 01:21:24,920
Speaker 1: with this whole student loan forgiveness debate, where people are like, well,

1345
01:21:25,000 --> 01:21:27,599
Speaker 1: I had to be an extreme debt for twenty years,

1346
01:21:27,720 --> 01:21:30,120
Speaker 1: so my kids should too, and it's like no, that

1347
01:21:30,200 --> 01:21:35,000
Speaker 1: doesn't I don't know what, but but on a human

1348
01:21:35,080 --> 01:21:39,599
Speaker 1: level you can understand how. You know she, I mean Carmen,

1349
01:21:39,720 --> 01:21:42,640
Speaker 1: has had to deal with ship her entire life and

1350
01:21:42,800 --> 01:21:45,520
Speaker 1: she was raised a very particular way and you understand

1351
01:21:45,760 --> 01:21:48,960
Speaker 1: how she got to where she is in the way

1352
01:21:49,040 --> 01:21:52,400
Speaker 1: she views the world and also be like, but you

1353
01:21:52,520 --> 01:21:55,360
Speaker 1: have to let your daughters. You know, you've got to

1354
01:21:55,400 --> 01:21:57,280
Speaker 1: want more for your kids. You've got to want them

1355
01:21:57,360 --> 01:21:59,280
Speaker 1: to be able to go their own way, and it's

1356
01:21:59,360 --> 01:22:04,040
Speaker 1: such a difficult relationship to see play out because you you,

1357
01:22:04,280 --> 01:22:06,519
Speaker 1: I don't know. You feel so much for everybody, but

1358
01:22:06,640 --> 01:22:10,040
Speaker 1: sometimes you just want to be like Carmen. Come on, yeah,

1359
01:22:10,479 --> 01:22:13,920
Speaker 1: there's there's a piece to where it's like Carmen, she

1360
01:22:14,280 --> 01:22:17,280
Speaker 1: is harsh and she can be mean. There's this really

1361
01:22:17,400 --> 01:22:21,519
Speaker 1: interesting layer there, though, where it's like sometimes, like Mexican

1362
01:22:21,600 --> 01:22:24,360
Speaker 1: families do speak that way to each other and it

1363
01:22:24,520 --> 01:22:26,880
Speaker 1: can come off as harsh and mean, but it's not

1364
01:22:27,320 --> 01:22:31,839
Speaker 1: unbelievable and it's not unrealistic. And I feel like sometimes

1365
01:22:31,920 --> 01:22:35,040
Speaker 1: like Oh, it's almost like you actually can't body shame

1366
01:22:35,240 --> 01:22:38,519
Speaker 1: like a Latina, because our families have already been doing

1367
01:22:38,600 --> 01:22:41,600
Speaker 1: it for years, like we've been hearing this stuff for

1368
01:22:42,160 --> 01:22:45,320
Speaker 1: our lives, like people speak about our bodies in very

1369
01:22:45,680 --> 01:22:49,560
Speaker 1: public and specific terms, like your body part isn't just

1370
01:22:49,720 --> 01:22:51,880
Speaker 1: the body part. It becomes like a stand in for

1371
01:22:51,960 --> 01:22:55,120
Speaker 1: your whole identity, like we have words just to refer

1372
01:22:55,280 --> 01:22:57,519
Speaker 1: to you in relation to a body part. Like if

1373
01:22:57,560 --> 01:22:59,200
Speaker 1: you have a big butt, you don't just have a

1374
01:22:59,280 --> 01:23:02,960
Speaker 1: big butt, you are a Nalgona, like that can be

1375
01:23:03,040 --> 01:23:05,920
Speaker 1: your nickname. Like if you have big cheat cheese, you

1376
01:23:06,080 --> 01:23:09,000
Speaker 1: can be a Cheechon, like that's your nickname, that's your title.

1377
01:23:09,479 --> 01:23:12,200
Speaker 1: You Know Gorrita, she calls her throughout. This is and

1378
01:23:12,439 --> 01:23:14,880
Speaker 1: I love the caption, the translation, because she goes, this

1379
01:23:15,040 --> 01:23:17,120
Speaker 1: is my Gorta right here, and it's this is my

1380
01:23:17,240 --> 01:23:21,720
Speaker 1: fatty right here, right my butterball, butter ball also in

1381
01:23:21,800 --> 01:23:25,879
Speaker 1: the captions. But these are actual terms that people actually

1382
01:23:26,040 --> 01:23:29,920
Speaker 1: call girls and women, like I R L and so

1383
01:23:30,640 --> 01:23:35,160
Speaker 1: is it uncomfortable? Yeah. Are they sometimes terms of endearment? Yeah,

1384
01:23:35,360 --> 01:23:38,439
Speaker 1: are they sometimes kind of cute. See Names. Yeah, but

1385
01:23:38,560 --> 01:23:41,559
Speaker 1: can they also be used like to cut? Also? Yes.

1386
01:23:41,800 --> 01:23:45,759
Speaker 1: So there's also like that sort of like very subtle

1387
01:23:45,880 --> 01:23:48,080
Speaker 1: like line that I love. That whole Stefin know plays

1388
01:23:48,120 --> 01:23:51,679
Speaker 1: with with her writing. Yeah, and it works so well.

1389
01:23:52,560 --> 01:23:56,960
Speaker 1: And then again, the other thing that common tends to

1390
01:23:57,120 --> 01:24:00,920
Speaker 1: do with on a mostly well part. So it's like

1391
01:24:01,880 --> 01:24:04,320
Speaker 1: Carmen has this idea that, you know, a woman has

1392
01:24:04,400 --> 01:24:07,360
Speaker 1: to save herself, quote unquote, till marriage. She can't have

1393
01:24:07,479 --> 01:24:10,160
Speaker 1: sex until she's married, and it's also her duty to

1394
01:24:10,240 --> 01:24:12,680
Speaker 1: get married and start raising a family and to take

1395
01:24:12,760 --> 01:24:15,160
Speaker 1: care of that family and to take care of her husband.

1396
01:24:15,760 --> 01:24:18,960
Speaker 1: And she wants Anna to get married as soon as possible.

1397
01:24:19,600 --> 01:24:22,479
Speaker 1: And you know, she has that little the figurine of

1398
01:24:23,160 --> 01:24:29,240
Speaker 1: of San. I forget which sat anth St Anthony. So

1399
01:24:29,439 --> 01:24:31,360
Speaker 1: you know she's holding out. She's like and she's like

1400
01:24:31,439 --> 01:24:35,800
Speaker 1: I've I've lost hope that Estella will get married. But now,

1401
01:24:36,120 --> 01:24:39,280
Speaker 1: so now I have to really focus on this future

1402
01:24:39,479 --> 01:24:42,519
Speaker 1: for Anna. So that's kind of where she's coming from

1403
01:24:42,560 --> 01:24:47,640
Speaker 1: as far as like Anna's like sexuality and like her

1404
01:24:47,720 --> 01:24:51,560
Speaker 1: expectations of what Anna is going to do with like

1405
01:24:53,080 --> 01:24:55,760
Speaker 1: starting a family and that kind of stuff. Anna does

1406
01:24:55,880 --> 01:25:00,360
Speaker 1: not buy into this. She's just like, I'm gonna like

1407
01:25:00,520 --> 01:25:05,040
Speaker 1: start dating this kid, Jimmy, for the summer. She wants

1408
01:25:05,080 --> 01:25:07,160
Speaker 1: to have sex with him. She tells him, you know,

1409
01:25:07,280 --> 01:25:09,960
Speaker 1: I feel ready. She has sex on her terms, which

1410
01:25:10,080 --> 01:25:12,240
Speaker 1: I think is an amazing thing to show on screen

1411
01:25:12,400 --> 01:25:15,880
Speaker 1: of like, you know, a young woman feeling ready to

1412
01:25:15,960 --> 01:25:18,759
Speaker 1: have sex for the first time, and the condom scene

1413
01:25:19,880 --> 01:25:23,360
Speaker 1: that she buys a condom. Everything is on her terms.

1414
01:25:23,600 --> 01:25:25,880
Speaker 1: You know, she gives consent like this. This is all

1415
01:25:26,200 --> 01:25:29,479
Speaker 1: like I loved it to see on screen that actual

1416
01:25:29,560 --> 01:25:32,439
Speaker 1: sex scene when, you know she's like she turns the

1417
01:25:32,560 --> 01:25:34,559
Speaker 1: lights back on. She's like, I want you to see

1418
01:25:34,680 --> 01:25:37,519
Speaker 1: my body, this is what I look like. That whole thing,

1419
01:25:37,560 --> 01:25:40,559
Speaker 1: I felt, was handled so beautifully, and I don't think

1420
01:25:40,560 --> 01:25:43,360
Speaker 1: it's like an act of protest against her mom's ideology,

1421
01:25:43,520 --> 01:25:45,080
Speaker 1: but it's just like what she wants to do and

1422
01:25:45,160 --> 01:25:48,560
Speaker 1: it's like what she's doing, despite it, not wanting what

1423
01:25:48,720 --> 01:25:51,479
Speaker 1: her mother wants for her. And Anna Pushes back on

1424
01:25:51,600 --> 01:25:54,639
Speaker 1: this and says, why is a woman's virginity the only

1425
01:25:54,720 --> 01:25:58,200
Speaker 1: thing that matters? A woman has thoughts, ideas, a mind

1426
01:25:58,280 --> 01:26:02,080
Speaker 1: of her own, and so annas like constantly advocating for

1427
01:26:02,560 --> 01:26:05,200
Speaker 1: like I'm more than my weight, I'm more than my size,

1428
01:26:05,320 --> 01:26:09,000
Speaker 1: I'm more than my virginity, you know, and it's just

1429
01:26:09,200 --> 01:26:13,400
Speaker 1: like feminist icon. Eighteen year old ANA and America for air,

1430
01:26:13,560 --> 01:26:16,479
Speaker 1: like performs the hell out of those speeches. I like

1431
01:26:16,760 --> 01:26:21,120
Speaker 1: it's so good. Yeah, I I really, and I liked that.

1432
01:26:21,320 --> 01:26:23,760
Speaker 1: I feel like a lesser movie, I don't know, like

1433
01:26:23,840 --> 01:26:26,960
Speaker 1: this is such a case study for like women like

1434
01:26:27,120 --> 01:26:31,240
Speaker 1: writing and directing stories about women, especially with the amount

1435
01:26:31,320 --> 01:26:35,759
Speaker 1: of specificity that Josephina Lothpez does. Like it just works,

1436
01:26:35,920 --> 01:26:39,360
Speaker 1: like it's amazing, and I feel like a lesser story

1437
01:26:40,360 --> 01:26:43,200
Speaker 1: would have because I was just like, okay, other teen

1438
01:26:43,320 --> 01:26:46,840
Speaker 1: movie analogs, you see that, like in a lesser movie

1439
01:26:47,040 --> 01:26:49,880
Speaker 1: and a Lesser Story, Anna would have been like, Oh,

1440
01:26:50,240 --> 01:26:53,000
Speaker 1: this boy thinks I'm beautiful, so I'm in love with

1441
01:26:53,200 --> 01:26:56,760
Speaker 1: him now and like all this stuff. But she like

1442
01:26:57,320 --> 01:27:01,360
Speaker 1: is very in charge of her sexuality. She's I loved it.

1443
01:27:01,400 --> 01:27:03,240
Speaker 1: They went out of the way to be like and

1444
01:27:03,479 --> 01:27:06,200
Speaker 1: she made sure that she was safe. She protected herself,

1445
01:27:06,200 --> 01:27:08,559
Speaker 1: because who knows what's going on with this kid Jimmy,

1446
01:27:08,760 --> 01:27:10,920
Speaker 1: but also doesn't know how condoms work, which is very

1447
01:27:11,080 --> 01:27:15,400
Speaker 1: true of seventeen year old um and that when she

1448
01:27:15,600 --> 01:27:18,240
Speaker 1: was done, she was like, you know, I I don't

1449
01:27:18,280 --> 01:27:20,760
Speaker 1: want this to be a relationship. I feel like teen

1450
01:27:20,840 --> 01:27:24,360
Speaker 1: movies so often put young women in the situation of

1451
01:27:24,520 --> 01:27:26,880
Speaker 1: like the first boy that is nice to me or

1452
01:27:27,240 --> 01:27:30,240
Speaker 1: finds me attractive or like, sees me for who I like,

1453
01:27:30,400 --> 01:27:33,759
Speaker 1: the whatever, walking down the stairs moment. What's that movie

1454
01:27:33,800 --> 01:27:36,519
Speaker 1: that I used all that? Yes, like the first the

1455
01:27:36,600 --> 01:27:39,000
Speaker 1: first boy that sees me for who I really am,

1456
01:27:39,640 --> 01:27:41,559
Speaker 1: is the love of my life and Blah, blah, blah.

1457
01:27:41,560 --> 01:27:43,439
Speaker 1: And an is like, I live in the real world.

1458
01:27:43,680 --> 01:27:46,639
Speaker 1: I don't want to keep seeing you, and like it's

1459
01:27:46,760 --> 01:27:50,120
Speaker 1: just such a that happens nowhere. Like it was just

1460
01:27:50,240 --> 01:27:53,400
Speaker 1: so cool to see her take charge of everything. Yeah,

1461
01:27:53,560 --> 01:27:59,560
Speaker 1: I love, too, that the movie manages to be very dramatic, hilarious,

1462
01:28:00,280 --> 01:28:05,360
Speaker 1: hilarious but also very dramatic, and nothing that dramatic happens

1463
01:28:05,680 --> 01:28:09,960
Speaker 1: plot wise, like she graduates high school, dates a boy

1464
01:28:10,240 --> 01:28:13,000
Speaker 1: and goes to college, you know, like and like works,

1465
01:28:13,040 --> 01:28:19,679
Speaker 1: like it feels so cinematic them, you know, very wholesome,

1466
01:28:19,800 --> 01:28:24,280
Speaker 1: but there's it's so cinematic, and that's for me, is

1467
01:28:24,360 --> 01:28:27,360
Speaker 1: the you know, she doesn't get pregnant, she doesn't go

1468
01:28:27,479 --> 01:28:29,880
Speaker 1: to jail, no one dies of an overdose, like, there's

1469
01:28:29,920 --> 01:28:33,240
Speaker 1: no stabbings, like, but drama, and that's the brilliance of

1470
01:28:33,320 --> 01:28:35,880
Speaker 1: the movie and the writing, like that's the storytelling, because

1471
01:28:35,880 --> 01:28:40,040
Speaker 1: you're captivated and you're like feeling feelings and going through

1472
01:28:40,120 --> 01:28:42,439
Speaker 1: it with her, and I feel like that is the

1473
01:28:42,600 --> 01:28:46,080
Speaker 1: drama of Teen Angst. That's how heightened it can be.

1474
01:28:46,880 --> 01:28:49,559
Speaker 1: She's just being a teen girl, going the fuck through

1475
01:28:49,640 --> 01:28:53,120
Speaker 1: it and clashing with her mom and you, like the

1476
01:28:53,200 --> 01:28:56,519
Speaker 1: movie doesn't take any shortcuts when it comes to like

1477
01:28:56,920 --> 01:28:59,360
Speaker 1: this is a dramatic story, so someone has to die,

1478
01:29:00,200 --> 01:29:05,040
Speaker 1: you know, like it's just like life is dramatic, yeah,

1479
01:29:05,280 --> 01:29:10,200
Speaker 1: and Hilarious, and the movie balances both very well. It's

1480
01:29:10,280 --> 01:29:14,680
Speaker 1: so good. Yeah, it's well, you said it perfectly where

1481
01:29:14,680 --> 01:29:19,000
Speaker 1: you're like yeah, like teen girl life is everything feels

1482
01:29:19,000 --> 01:29:24,640
Speaker 1: like a movie. Everything Teen Angst, angst, and so this is,

1483
01:29:24,720 --> 01:29:28,000
Speaker 1: I think, just in that vein. Yeah, teen girls, you know,

1484
01:29:28,680 --> 01:29:33,439
Speaker 1: struggle or in the trend there in the trench. Truly,

1485
01:29:34,479 --> 01:29:37,280
Speaker 1: if you're a teen girl listening, I salute you. It

1486
01:29:37,360 --> 01:29:41,880
Speaker 1: does get better. Eventually. You will eventually. Eventually it's hold on,

1487
01:29:42,680 --> 01:29:45,280
Speaker 1: and another thing I feel like I just was so

1488
01:29:45,560 --> 01:29:48,960
Speaker 1: impressed and like blown away by the writing of like

1489
01:29:49,520 --> 01:29:53,680
Speaker 1: there's no character, however small, that you don't have some

1490
01:29:53,920 --> 01:29:56,640
Speaker 1: level of investment in, because the script goes out of

1491
01:29:56,680 --> 01:29:59,320
Speaker 1: its way to like, you know at least something about

1492
01:30:00,160 --> 01:30:04,200
Speaker 1: women who works with Estella, like you get to know

1493
01:30:04,320 --> 01:30:07,200
Speaker 1: them over the course of the movie even like, and

1494
01:30:07,479 --> 01:30:10,760
Speaker 1: I think again, in like a less thoughtfully written movie,

1495
01:30:10,840 --> 01:30:14,040
Speaker 1: it would just be like background, seems stress number four,

1496
01:30:14,240 --> 01:30:17,200
Speaker 1: but that role like doesn't exist. You learn everyone's name,

1497
01:30:17,320 --> 01:30:19,479
Speaker 1: you learn a little bit about them or at least

1498
01:30:19,520 --> 01:30:22,320
Speaker 1: get a taste of their personality, and I feel like

1499
01:30:22,400 --> 01:30:25,920
Speaker 1: that just makes the payoff of this like it could

1500
01:30:25,960 --> 01:30:28,160
Speaker 1: have been a like I am spartacus moment where you're

1501
01:30:28,200 --> 01:30:30,000
Speaker 1: like this is kind of cool, but who are these people?

1502
01:30:30,640 --> 01:30:33,040
Speaker 1: But it's like you know who, who these women are,

1503
01:30:33,240 --> 01:30:36,000
Speaker 1: and you have already have gotten to know like a

1504
01:30:36,080 --> 01:30:38,880
Speaker 1: little bit of their history and their relationship with their

1505
01:30:38,920 --> 01:30:42,040
Speaker 1: coworkers throughout the movie, and so it feels like, Oh,

1506
01:30:42,120 --> 01:30:44,400
Speaker 1: I'm in a room full of women whose lives I

1507
01:30:44,520 --> 01:30:48,719
Speaker 1: know something about and now they're finally comfortable talking about

1508
01:30:49,280 --> 01:30:52,839
Speaker 1: their their bodies and their insecurities and they're like everything

1509
01:30:52,960 --> 01:30:56,479
Speaker 1: and it just felt so yeah, like the attention to

1510
01:30:56,560 --> 01:31:04,240
Speaker 1: detail is is so awesome. Absolutely. What else? What else

1511
01:31:04,280 --> 01:31:05,800
Speaker 1: we got going on? Sorry, I feel like I just

1512
01:31:06,120 --> 01:31:15,280
Speaker 1: blacked out for a second because I inhaled a yeah,

1513
01:31:16,760 --> 01:31:23,280
Speaker 1: I want to share one last quote from the creator

1514
01:31:23,439 --> 01:31:28,800
Speaker 1: of this property, Cosavina Lopez. So the play seems to

1515
01:31:28,960 --> 01:31:33,160
Speaker 1: be a bit more focused on the on a character

1516
01:31:33,360 --> 01:31:37,360
Speaker 1: being undocumented for some portion of her life and the

1517
01:31:37,439 --> 01:31:43,040
Speaker 1: anxiety about being undocumented and being deported, and that is

1518
01:31:43,400 --> 01:31:47,639
Speaker 1: a focus on the play that is eliminated from the movie.

1519
01:31:47,720 --> 01:31:50,080
Speaker 1: So this quote, this quote is a little bit about

1520
01:31:50,320 --> 01:31:53,519
Speaker 1: Savina talking about being undocumented, just to put that into context.

1521
01:31:53,920 --> 01:31:58,200
Speaker 1: But HOSTAFNA says, quote, I was undocumented for thirteen years.

1522
01:31:58,320 --> 01:32:00,880
Speaker 1: I wanted to write a play to affirm my humanity

1523
01:32:01,200 --> 01:32:04,760
Speaker 1: because I felt so dehumanized being undocumented. I've always had

1524
01:32:04,840 --> 01:32:08,000
Speaker 1: issues with my weight and one of my teachers told me,

1525
01:32:08,360 --> 01:32:11,200
Speaker 1: not in a mean way, she thought I was a

1526
01:32:11,280 --> 01:32:14,240
Speaker 1: great actress, that I had the ability to play Juliette

1527
01:32:14,240 --> 01:32:16,599
Speaker 1: and Lady Macbeth, but no one was going to cast

1528
01:32:16,680 --> 01:32:19,559
Speaker 1: me as the Angeneue if I didn't lose weight, because

1529
01:32:19,640 --> 01:32:22,479
Speaker 1: only thing girls get the lead. Men write roles and

1530
01:32:22,600 --> 01:32:25,959
Speaker 1: direct the movies. So I had to adhere to those standards.

1531
01:32:26,120 --> 01:32:29,639
Speaker 1: Otherwise I'd always play the side character. I thought, okay,

1532
01:32:29,680 --> 01:32:31,320
Speaker 1: if I lose the weight, that I'm going to be

1533
01:32:31,800 --> 01:32:34,800
Speaker 1: told by casting people that I should change my name

1534
01:32:35,000 --> 01:32:37,400
Speaker 1: to a white name change my hair color. If I

1535
01:32:37,520 --> 01:32:39,280
Speaker 1: do this, I'm going to have to give up who

1536
01:32:39,479 --> 01:32:42,280
Speaker 1: I am to be an actress. I refused to do that.

1537
01:32:42,840 --> 01:32:47,200
Speaker 1: The problem isn't that I'm undocumented, Mexican, working class or overweight.

1538
01:32:47,640 --> 01:32:55,120
Speaker 1: The problem is society. Unquote. She said that sentiment feels

1539
01:32:55,439 --> 01:32:59,000
Speaker 1: like it. It comes through in this movie very well

1540
01:32:59,240 --> 01:33:01,560
Speaker 1: and that that's the core of what so much of

1541
01:33:01,640 --> 01:33:06,879
Speaker 1: this movie is about and it's just such a positive

1542
01:33:06,960 --> 01:33:11,639
Speaker 1: thing for that to be out in the world. Hell yeah,

1543
01:33:11,840 --> 01:33:15,519
Speaker 1: that's such a nice school. She's so cool. The last

1544
01:33:15,560 --> 01:33:19,519
Speaker 1: thing I had. This is not a criticism, it was

1545
01:33:19,600 --> 01:33:21,519
Speaker 1: just something that I is something we've talked about on

1546
01:33:21,600 --> 01:33:23,320
Speaker 1: the show before and so I wanted to sort of

1547
01:33:23,800 --> 01:33:27,200
Speaker 1: see what y'all felt about it. I really love that

1548
01:33:27,400 --> 01:33:31,680
Speaker 1: this movie puts mother daughter Relationships Front and center and

1549
01:33:31,840 --> 01:33:36,960
Speaker 1: gives them precedents. We get a few scenes with their father,

1550
01:33:37,200 --> 01:33:41,639
Speaker 1: who seems to be a very nice, affable, kind of Guy,

1551
01:33:42,680 --> 01:33:46,760
Speaker 1: real nice guy, right, but as is their grandfather. I

1552
01:33:46,880 --> 01:33:48,720
Speaker 1: just feel like, I don't know, I mean, I I

1553
01:33:50,080 --> 01:33:52,040
Speaker 1: don't I don't even think that I would want anything

1554
01:33:52,160 --> 01:33:54,839
Speaker 1: to be changed. I just think that there are moments

1555
01:33:55,439 --> 01:33:58,720
Speaker 1: in movies that center around mothers and daughtered where it's

1556
01:33:58,720 --> 01:34:03,040
Speaker 1: like the Dadd is always like the quote unquote, Nicer Guy.

1557
01:34:03,880 --> 01:34:06,479
Speaker 1: It just felt like a little I was like, okay,

1558
01:34:06,600 --> 01:34:10,800
Speaker 1: so mean they're scary, like we're getting we're getting into

1559
01:34:10,880 --> 01:34:14,720
Speaker 1: scary territory with mean dad. Right. So it's like all

1560
01:34:15,120 --> 01:34:20,160
Speaker 1: all the kind of baggage is rolled into Carmen and

1561
01:34:20,360 --> 01:34:22,759
Speaker 1: it just like, I don't know, I mean, I didn't

1562
01:34:22,760 --> 01:34:25,400
Speaker 1: really feel strongly about it. I just always feel like

1563
01:34:25,439 --> 01:34:27,800
Speaker 1: I noticed when there's a lot of movies where it's

1564
01:34:27,840 --> 01:34:31,240
Speaker 1: like the dad is, quote unquote, the Nice Parent. Yeah,

1565
01:34:31,479 --> 01:34:33,920
Speaker 1: I would say that, yes, and that that certainly is

1566
01:34:33,920 --> 01:34:37,200
Speaker 1: a trope that we've discussed to a large extent on

1567
01:34:37,479 --> 01:34:39,519
Speaker 1: the show, but I think it all depends on how

1568
01:34:39,600 --> 01:34:42,960
Speaker 1: the movie approaches it and how the movie actually handles it.

1569
01:34:43,000 --> 01:34:45,439
Speaker 1: In this movie it didn't feel tropy. It didn't feel

1570
01:34:46,040 --> 01:34:50,639
Speaker 1: like it was leaning into stereotypes about uh, a mom

1571
01:34:50,880 --> 01:34:53,760
Speaker 1: being right. What is the word I'm searching for. But

1572
01:34:53,920 --> 01:34:57,520
Speaker 1: she's like so I mean Carmen is so like contextualized

1573
01:34:57,560 --> 01:35:01,519
Speaker 1: and well written and like you understand, yeah, why she

1574
01:35:01,680 --> 01:35:04,759
Speaker 1: reacts the way she does. Right, there's there's all these shows,

1575
01:35:04,840 --> 01:35:06,560
Speaker 1: like there's like I think of like the mom on

1576
01:35:06,680 --> 01:35:10,920
Speaker 1: like Malcolm in the middle. Then there's like, UM, everybody

1577
01:35:11,000 --> 01:35:14,679
Speaker 1: loves Raymond, the White Debrah, and I love all these characters,

1578
01:35:14,720 --> 01:35:17,240
Speaker 1: all these women. What's the other one? But there's a

1579
01:35:17,320 --> 01:35:20,000
Speaker 1: bunch right, like where like the MOM is, Oh, my

1580
01:35:20,120 --> 01:35:23,360
Speaker 1: wife and kids, the dad is like funny goofball, and

1581
01:35:23,479 --> 01:35:25,519
Speaker 1: then the mom's kind of, kind of a bit, kind

1582
01:35:25,560 --> 01:35:28,920
Speaker 1: of strict, always yelling, high strung, like he's always doing

1583
01:35:28,960 --> 01:35:31,160
Speaker 1: stupid things to stress her out. And I feel like

1584
01:35:31,200 --> 01:35:36,000
Speaker 1: in this film, like Carmen is like an Antihero. We

1585
01:35:36,439 --> 01:35:38,960
Speaker 1: can't stand her and she sometimes because of the things

1586
01:35:39,040 --> 01:35:42,240
Speaker 1: she says, but we still love her. And I also

1587
01:35:42,520 --> 01:35:45,559
Speaker 1: feel like I love that on US character is allowed

1588
01:35:45,680 --> 01:35:49,120
Speaker 1: to be kind of a brat, like Carmen's kind of

1589
01:35:49,160 --> 01:35:51,760
Speaker 1: a bitch and on us kind of a Brat. And

1590
01:35:51,920 --> 01:35:55,400
Speaker 1: as much as they insist that they are different, the

1591
01:35:55,560 --> 01:35:59,880
Speaker 1: more we see their similarities, and I feel like it's

1592
01:36:00,000 --> 01:36:03,800
Speaker 1: so interesting the way she pits them against each other,

1593
01:36:03,920 --> 01:36:06,519
Speaker 1: but it's like we're learning more about each one of

1594
01:36:06,600 --> 01:36:10,240
Speaker 1: them because they're the same person. You know. It is

1595
01:36:10,320 --> 01:36:13,120
Speaker 1: like another thing where it's like I want to see. Yeah,

1596
01:36:13,360 --> 01:36:15,240
Speaker 1: I feel like we're making a strong case for a sequel.

1597
01:36:15,360 --> 01:36:17,679
Speaker 1: I want to see what this relationship between them looks

1598
01:36:17,720 --> 01:36:21,400
Speaker 1: like twenty years down the line, like, because I do

1599
01:36:21,640 --> 01:36:24,960
Speaker 1: understand like there her parents. I mean there's so much

1600
01:36:25,000 --> 01:36:29,360
Speaker 1: anxiety around Anna leaving to go to college, especially across

1601
01:36:29,400 --> 01:36:31,080
Speaker 1: the country, and like I feel like there's a subtext

1602
01:36:31,240 --> 01:36:35,040
Speaker 1: like she's gonna Change, she's gonna like not be the

1603
01:36:35,120 --> 01:36:37,960
Speaker 1: girl that we raise and like she'll lose touch with

1604
01:36:38,120 --> 01:36:41,320
Speaker 1: who she is if she leaves, and I would love

1605
01:36:41,360 --> 01:36:47,800
Speaker 1: to see that relationship examined twenty years down. My last

1606
01:36:47,880 --> 01:36:54,680
Speaker 1: observation is so there is another movie about like a

1607
01:36:54,840 --> 01:36:59,080
Speaker 1: young woman who has just graduated from high school, who

1608
01:36:59,160 --> 01:37:03,400
Speaker 1: lives in California and has a difficult relationship with her mother.

1609
01:37:04,160 --> 01:37:06,479
Speaker 1: She dates a boy and has sex for the first

1610
01:37:06,560 --> 01:37:09,840
Speaker 1: time and then she goes off to college across the country.

1611
01:37:09,920 --> 01:37:12,519
Speaker 1: I also think in New York City, and that movie

1612
01:37:12,720 --> 01:37:17,360
Speaker 1: is Ladybird. There's a lot of parallels here and Ladybird

1613
01:37:17,439 --> 01:37:20,680
Speaker 1: is kind of a Brat. Yeah, and like a lot

1614
01:37:20,760 --> 01:37:23,719
Speaker 1: of body stuff with the mom as well body stuff.

1615
01:37:23,920 --> 01:37:26,280
Speaker 1: You know, there's class commentary in that movie as well.

1616
01:37:26,640 --> 01:37:29,520
Speaker 1: Very similar movies. I would say if you like Ladybird,

1617
01:37:29,760 --> 01:37:32,760
Speaker 1: for sure check out real women have curves, if you

1618
01:37:32,840 --> 01:37:35,479
Speaker 1: haven't seen it. I think the real women occurs does

1619
01:37:35,560 --> 01:37:38,799
Speaker 1: it better. I find it to be a more fifteen

1620
01:37:38,920 --> 01:37:44,960
Speaker 1: years earlier. Yeah, exactly, I didn't make that connection. Yeah, totally. So. Yeah,

1621
01:37:44,960 --> 01:37:48,519
Speaker 1: if you liked Ladybird, definitely check out real women have curves,

1622
01:37:48,800 --> 01:37:53,240
Speaker 1: if you haven't seen it. Sorry, I got caught up

1623
01:37:53,280 --> 01:37:56,479
Speaker 1: in my own horrible Lady Bird joke, which is, instead

1624
01:37:56,520 --> 01:38:00,120
Speaker 1: of that boy Jimmy, Ladybird has that boy timmy. To

1625
01:38:01,439 --> 01:38:06,360
Speaker 1: Me Shalomay, yes, to me shallowmy most hilarious joke of

1626
01:38:06,400 --> 01:38:11,320
Speaker 1: all time, ha ha, and on that. No, there's actually

1627
01:38:11,400 --> 01:38:13,800
Speaker 1: no good way to transition this, but I mean talking

1628
01:38:13,840 --> 01:38:17,000
Speaker 1: about Timothy Shalomy, I do think passes the Bechtel test,

1629
01:38:17,080 --> 01:38:20,200
Speaker 1: if that's where you're going. I don't know. What is

1630
01:38:20,360 --> 01:38:23,240
Speaker 1: he like, you know, like this, can we even a

1631
01:38:23,360 --> 01:38:25,280
Speaker 1: good question? You really vouch for him? I feel like

1632
01:38:25,320 --> 01:38:27,920
Speaker 1: it's still kind of a mystery. It eludes me. But

1633
01:38:28,520 --> 01:38:31,040
Speaker 1: you know, it doesn't elude me whether this movie passes

1634
01:38:31,080 --> 01:38:34,519
Speaker 1: the Bechtel test or not. Yes, we did it. This

1635
01:38:34,640 --> 01:38:37,400
Speaker 1: movie super passes the Bechtel Test. It's barely even worth

1636
01:38:37,439 --> 01:38:42,280
Speaker 1: discussing because it passes between almost any pairing of characters

1637
01:38:42,960 --> 01:38:47,360
Speaker 1: that aren't men. I like we discussed before Um, this

1638
01:38:47,520 --> 01:38:51,000
Speaker 1: movie does takes a lot of care to give every

1639
01:38:51,120 --> 01:38:55,000
Speaker 1: character in the movie, particularly the women, a name and

1640
01:38:55,479 --> 01:38:59,120
Speaker 1: some information about them. So really any interaction happening at

1641
01:38:59,120 --> 01:39:03,240
Speaker 1: the factory that isn't explicitly about marriage passes the Betel test.

1642
01:39:03,280 --> 01:39:06,080
Speaker 1: They're talking about their bodies, they're talking about school, they're

1643
01:39:06,080 --> 01:39:09,200
Speaker 1: talking about work, they're talking about deadlines, they're talking about taxes,

1644
01:39:09,200 --> 01:39:12,840
Speaker 1: they're talking about they're just, you know, dare say it,

1645
01:39:13,120 --> 01:39:18,280
Speaker 1: being full on people and characters the whole damn movie. Yap,

1646
01:39:18,600 --> 01:39:21,360
Speaker 1: and as we also Um touched on in the episode,

1647
01:39:21,520 --> 01:39:25,400
Speaker 1: this movie is has just so much focus on the

1648
01:39:25,479 --> 01:39:29,760
Speaker 1: female characters and the relationships between female characters. And while

1649
01:39:29,840 --> 01:39:33,280
Speaker 1: there are, you know, there's a dad, there's the GRANDPA,

1650
01:39:33,520 --> 01:39:38,679
Speaker 1: there's a couple male cousins, those characters are like pretty

1651
01:39:38,720 --> 01:39:41,600
Speaker 1: secondary or tertiary and it's really so much of a

1652
01:39:41,680 --> 01:39:45,320
Speaker 1: focus on the women and their relationships. So still depicted

1653
01:39:45,360 --> 01:39:47,639
Speaker 1: up with love. It's not like they're like left by

1654
01:39:47,640 --> 01:39:52,439
Speaker 1: the boys up, but like, but, you know, like, but yes,

1655
01:39:52,520 --> 01:39:56,160
Speaker 1: it is. It is a women's movie and, Um, you know,

1656
01:39:56,680 --> 01:39:59,320
Speaker 1: women that we don't usually get focused on, women who

1657
01:39:59,360 --> 01:40:01,840
Speaker 1: are working class, women who are immigrants, women who are

1658
01:40:01,840 --> 01:40:04,760
Speaker 1: people of Color and Latin x specifically. So it's just

1659
01:40:05,920 --> 01:40:08,639
Speaker 1: this movie is doing so much that no other movie

1660
01:40:08,680 --> 01:40:11,720
Speaker 1: of its time is doing, and still most movies now

1661
01:40:11,760 --> 01:40:15,160
Speaker 1: we're not doing so. With that in mind, another per

1662
01:40:15,240 --> 01:40:20,160
Speaker 1: grade transition, and do you mean the Nipple scale? Yes,

1663
01:40:20,439 --> 01:40:25,560
Speaker 1: the only perfect metric, and it is, of course, a

1664
01:40:25,800 --> 01:40:31,360
Speaker 1: scale of zero to five Nipples, based on examining the

1665
01:40:31,640 --> 01:40:37,920
Speaker 1: movie through an Intersectional Feminist Lens. So, you know, given

1666
01:40:38,040 --> 01:40:43,960
Speaker 1: all possible factors, to consider every potential factor one might consider, Um,

1667
01:40:44,240 --> 01:40:47,200
Speaker 1: with regards to this movie and this rating, I would

1668
01:40:47,200 --> 01:40:49,880
Speaker 1: give it a four. Hell Yeah, yeah, I think. I mean,

1669
01:40:49,880 --> 01:40:51,559
Speaker 1: I would go like four, four and a half. It's

1670
01:40:52,080 --> 01:40:55,479
Speaker 1: I was really happy to see, like, especially, I mean

1671
01:40:55,520 --> 01:40:58,560
Speaker 1: just the fact that, like, women wrote and directed and

1672
01:40:58,880 --> 01:41:02,320
Speaker 1: produced this and, like, most of them are women of color.

1673
01:41:02,479 --> 01:41:04,839
Speaker 1: Like that, I feel like. I mean, yeah, still unheard

1674
01:41:04,880 --> 01:41:08,400
Speaker 1: of now and it's still and it's a classic, like

1675
01:41:08,560 --> 01:41:11,559
Speaker 1: you can't. It's I feel like real women have curves

1676
01:41:11,640 --> 01:41:13,960
Speaker 1: kind of yet to be topped, except by real women

1677
01:41:14,040 --> 01:41:17,720
Speaker 1: have curves to coming out next year, yes, pending. And

1678
01:41:17,840 --> 01:41:21,599
Speaker 1: then we also, Um, you know, bequeath you the power

1679
01:41:21,720 --> 01:41:27,080
Speaker 1: to gift your four Nipples to any character person, actor,

1680
01:41:27,560 --> 01:41:31,080
Speaker 1: production person of your choice. Um, you can distribute in

1681
01:41:31,160 --> 01:41:34,439
Speaker 1: pairs or not, you know, like kind of uh, get

1682
01:41:34,520 --> 01:41:38,240
Speaker 1: creative with it. Oh, this is so difficult because I

1683
01:41:38,280 --> 01:41:41,360
Speaker 1: want to give to each to just America and Loupe,

1684
01:41:42,360 --> 01:41:44,280
Speaker 1: you know, just split them up half and half, but

1685
01:41:44,320 --> 01:41:48,160
Speaker 1: I also want to give Hostafina to but I have four.

1686
01:41:49,120 --> 01:41:51,439
Speaker 1: You know what? I'M gonna give loop anti vettos too,

1687
01:41:51,680 --> 01:41:54,720
Speaker 1: because she passed away R I p. I'm gonna give

1688
01:41:55,320 --> 01:41:58,920
Speaker 1: Lopez to because she wrote it, she's an icon, and

1689
01:41:58,960 --> 01:42:01,640
Speaker 1: I'm gonna give a go for one because she's the

1690
01:42:01,800 --> 01:42:04,599
Speaker 1: youngest and I think it's still working on icon status.

1691
01:42:05,560 --> 01:42:07,519
Speaker 1: That's how we'll do it. I think that that was

1692
01:42:07,720 --> 01:42:11,240
Speaker 1: very judicious of you. That was very diplo about it.

1693
01:42:12,160 --> 01:42:14,599
Speaker 1: Thank you. I'M gonna go forward a half and I'm

1694
01:42:14,640 --> 01:42:19,479
Speaker 1: gonna docket the half nipple just for making America, for her,

1695
01:42:19,600 --> 01:42:23,280
Speaker 1: uncomfortable when she was seventeen. She is a living legend

1696
01:42:23,360 --> 01:42:26,439
Speaker 1: and a child and I'm, you know, gonna, I'm gonna

1697
01:42:26,520 --> 01:42:29,960
Speaker 1: put that one on Lavo. No nipples for Lavu from me. Zero.

1698
01:42:30,240 --> 01:42:32,240
Speaker 1: But outside of that, I think this movie is so

1699
01:42:32,600 --> 01:42:35,880
Speaker 1: fucking awesome and it, I mean it was doing so

1700
01:42:35,960 --> 01:42:38,720
Speaker 1: many things no other movies we're doing. Josephina Lopez is

1701
01:42:38,720 --> 01:42:43,240
Speaker 1: an incredible writer and I just love every element of

1702
01:42:43,320 --> 01:42:46,840
Speaker 1: this movie. And I'm now and Estella stand for life.

1703
01:42:47,600 --> 01:42:50,320
Speaker 1: So I'll give one nipple to anna, one to Estella.

1704
01:42:51,000 --> 01:42:54,479
Speaker 1: I'll give the half to carmen because she's doing her

1705
01:42:54,560 --> 01:42:58,560
Speaker 1: best and I have, I have loved for her, but

1706
01:42:59,120 --> 01:43:03,760
Speaker 1: leave Anna and Asti alone. Um, I'll give one to Poncha.

1707
01:43:04,040 --> 01:43:08,519
Speaker 1: I loved Poncha. I feel like super underrated character and

1708
01:43:09,080 --> 01:43:12,600
Speaker 1: I will give one too. I should give one to

1709
01:43:12,640 --> 01:43:15,719
Speaker 1: Hostephina Lopez, but I'm going to give it to Hostafina Lopez,

1710
01:43:15,960 --> 01:43:20,640
Speaker 1: playing the manager of the Burger joint because, Um, that

1711
01:43:21,120 --> 01:43:27,439
Speaker 1: is acting, scene steeler, scene steeler. Exactly, where was Major

1712
01:43:27,520 --> 01:43:30,240
Speaker 1: Oscar snub that year? Oh, and then the last thing

1713
01:43:30,240 --> 01:43:32,479
Speaker 1: I wanted to say was I guess as of last year.

1714
01:43:32,840 --> 01:43:38,559
Speaker 1: There's a musical being written around this. So hopefully people

1715
01:43:38,600 --> 01:43:40,680
Speaker 1: are listening to this episode from the future and just

1716
01:43:40,800 --> 01:43:43,040
Speaker 1: saw real women have curves on Broadway. I feel like

1717
01:43:43,080 --> 01:43:45,519
Speaker 1: this would be such a good musical. Hell, yeah, I

1718
01:43:45,680 --> 01:43:49,719
Speaker 1: love musicals, Um, and I love musical adaptations that aren't

1719
01:43:49,960 --> 01:43:54,759
Speaker 1: already Disney movies, so this seems like something I would love. Caitlyn,

1720
01:43:55,439 --> 01:43:59,240
Speaker 1: what is your writing for this Flim? This flim gets

1721
01:43:59,439 --> 01:44:01,680
Speaker 1: I would say four and a half. I was going

1722
01:44:01,720 --> 01:44:04,479
Speaker 1: to give it a five before I knew about the

1723
01:44:05,360 --> 01:44:08,320
Speaker 1: the sketchy things that were happening, especially in that one

1724
01:44:08,439 --> 01:44:13,440
Speaker 1: in that one particular scene where America Ferrera expressed discomfort

1725
01:44:13,560 --> 01:44:18,200
Speaker 1: and then they deceived her with like Yucky but Um,

1726
01:44:18,720 --> 01:44:22,240
Speaker 1: aside from that, this is such a wonderful movie. Again,

1727
01:44:22,520 --> 01:44:28,880
Speaker 1: a focus on women, women's stories, women's relationships, positive Latin

1728
01:44:29,160 --> 01:44:33,920
Speaker 1: x representation that we so rarely see in cinema, especially

1729
01:44:34,000 --> 01:44:39,040
Speaker 1: in in this era, messages of body positivity, of sex positivity,

1730
01:44:39,800 --> 01:44:43,839
Speaker 1: a focus on a working class family in Los Angeles,

1731
01:44:43,920 --> 01:44:46,120
Speaker 1: a side of Los Angeles that we don't tend to

1732
01:44:46,320 --> 01:44:52,280
Speaker 1: see or that tends to be Um demonized in most media. Multigenerational,

1733
01:44:52,439 --> 01:44:55,639
Speaker 1: which I feel like we haven't like explicitly, like there's

1734
01:44:55,720 --> 01:44:59,880
Speaker 1: just there's so much and so much is accomplished so effortlessly,

1735
01:45:00,200 --> 01:45:03,519
Speaker 1: so effortleless. Oh my gosh, I'm so bad at that word,

1736
01:45:03,960 --> 01:45:06,360
Speaker 1: like everyone has those words. It takes a lot of

1737
01:45:06,439 --> 01:45:13,519
Speaker 1: effort for me to say effortlessly. There we go. Um,

1738
01:45:13,880 --> 01:45:17,880
Speaker 1: so much is accomplished in a movie that is less

1739
01:45:17,920 --> 01:45:20,639
Speaker 1: than an hour and a half, which we were texting about.

1740
01:45:20,840 --> 01:45:22,439
Speaker 1: Every movie should be less than an hour and a

1741
01:45:22,479 --> 01:45:25,080
Speaker 1: half long. If this movie can do what it does

1742
01:45:25,200 --> 01:45:28,960
Speaker 1: in an hour and a half, what's your excuse? I

1743
01:45:29,080 --> 01:45:35,240
Speaker 1: was about to say something flippant annoying. And what's your excuse? Titanic. Okay,

1744
01:45:35,360 --> 01:45:39,000
Speaker 1: now that's straight up. One exception. Yeah, I know, I know,

1745
01:45:39,080 --> 01:45:40,519
Speaker 1: I know, I know, I know. I'm so sorry. Everyone.

1746
01:45:40,720 --> 01:45:43,559
Speaker 1: Who are you giving your nipples to? Um, I'm going

1747
01:45:43,640 --> 01:45:47,719
Speaker 1: to give my nipples to one to America Ferrera, one

1748
01:45:48,000 --> 01:45:52,920
Speaker 1: to Lupe Anti Veros, one to Ingrid, oh, you who

1749
01:45:53,040 --> 01:45:56,280
Speaker 1: plays a stella. I'll give one to the women who

1750
01:45:56,680 --> 01:46:00,439
Speaker 1: work in the clothing factory and then my half nipple

1751
01:46:01,439 --> 01:46:07,200
Speaker 1: I will give to Los Angeles public transportation, because it's

1752
01:46:07,240 --> 01:46:16,720
Speaker 1: called the metro pre as owner, but it is public transportation.

1753
01:46:16,960 --> 01:46:22,600
Speaker 1: It is, and I do take it sometimes brave occasional

1754
01:46:22,720 --> 01:46:24,960
Speaker 1: redline user. Wow, I love to bully people who don't

1755
01:46:25,040 --> 01:46:28,720
Speaker 1: use enough public transportation. But that said, you drove me

1756
01:46:28,760 --> 01:46:31,720
Speaker 1: to the beach yesterday, so it makes you think it does.

1757
01:46:32,080 --> 01:46:37,920
Speaker 1: It does indeed. Right. So, Um, that is real. Women

1758
01:46:38,160 --> 01:46:41,400
Speaker 1: have curves. Mala, thank you so much for being here. And,

1759
01:46:41,880 --> 01:46:45,200
Speaker 1: uh yeah, where can we find you online? Plug away. Yes,

1760
01:46:45,400 --> 01:46:51,000
Speaker 1: so I'm on all social platforms at Mala, underscore, Monos,

1761
01:46:51,360 --> 01:46:54,160
Speaker 1: M U N O Z is the last name, and

1762
01:46:54,680 --> 01:46:57,760
Speaker 1: you can listen to I have two podcasts out. One

1763
01:46:57,880 --> 01:47:01,879
Speaker 1: is called Look Radio, which is, uh, the flagship podcast

1764
01:47:02,000 --> 01:47:05,720
Speaker 1: that I co host with my co producer Diosa, and

1765
01:47:05,840 --> 01:47:10,000
Speaker 1: then my solo show, might one, a podcast for pod heads,

1766
01:47:10,120 --> 01:47:14,599
Speaker 1: and we're on apple, apple podcast, spotify, all the usual places.

1767
01:47:14,920 --> 01:47:18,320
Speaker 1: Hell yeah, also your stand up sucking rules. Thank you

1768
01:47:18,520 --> 01:47:22,960
Speaker 1: so much. Yes, and then you can follow us on

1769
01:47:23,080 --> 01:47:27,600
Speaker 1: twitter and Instagram at Bechtel cast. You can subscribe to

1770
01:47:28,040 --> 01:47:32,519
Speaker 1: our matreon at Patreon dot com slash becketel cast, which

1771
01:47:32,560 --> 01:47:36,519
Speaker 1: gives you two bonus episodes every month, along with access

1772
01:47:36,640 --> 01:47:40,640
Speaker 1: to the back catalog of over one hundred bonus episodes.

1773
01:47:41,280 --> 01:47:44,599
Speaker 1: And that is all for five dollars a month. Oh,

1774
01:47:44,720 --> 01:47:49,839
Speaker 1: can you imagine? Can you imagine? Nearly it's actually sometimes

1775
01:47:49,920 --> 01:47:52,519
Speaker 1: I do reflect on the value and just I'm like, wow,

1776
01:47:52,600 --> 01:47:56,640
Speaker 1: what a deal, what a steal. Where are we? Okay, uh,

1777
01:47:57,479 --> 01:47:59,400
Speaker 1: you can also get our march at t public dot com.

1778
01:47:59,439 --> 01:48:04,560
Speaker 1: Slash the Bechdel cast, if you are so inclined. And

1779
01:48:04,720 --> 01:48:07,840
Speaker 1: with that, um I mean I think we should mention

1780
01:48:07,920 --> 01:48:10,960
Speaker 1: we've been shirtless for the last half of the episode.

1781
01:48:11,040 --> 01:48:12,880
Speaker 1: I mean, am I gonna put my clothes back on?

1782
01:48:13,400 --> 01:48:17,559
Speaker 1: We'll see. Carmen deal with it right. Bye, bye, bye,