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Speaker 1: On the Bedel Cast, the questions asked if movies have

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Speaker 1: women and um are all their discussions just boyfriends and husbands?

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Speaker 1: Or do they have individualism? The patriarchy ze invest start

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Speaker 1: changing it with the Bedel Cast. Hey, Caitlin, Yes, Jamie,

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Speaker 1: If a girl walks home alone at night and no

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Speaker 1: one is there to see her do it? Did she

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Speaker 1: walk home alone at night at all? Wow? Just an

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Speaker 1: incredible thought. Let me answer your question with another question.

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Speaker 1: If a girl walks home alone at night and there's

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Speaker 1: no one there to talk to her because she's alone,

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Speaker 1: does it pass the Bechdel test? Well? I guess it

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Speaker 1: depends on whether you consider the girl to be a

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Speaker 1: name or not. I guess we'll have to talk about it. Oh,

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Speaker 1: yes we will. Well, theme to the beck Del Cast.

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Speaker 1: My name is Jamie Loftus, my name is Caitlin Toronte,

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Speaker 1: and this is our podcasts that in in which we

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Speaker 1: look at popular movies using an intersectional feminist lanes, and

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Speaker 1: we use the aforementioned Bechtel tests, sometimes called the Bechtel

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Speaker 1: Wallace test, which was originated by queer cartoonist Alison Bechtel,

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Speaker 1: which asks due to named people of any marginalized gender

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Speaker 1: speak to each other about something other than a man uh,

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Speaker 1: and that has to be at least a two line exchange.

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Speaker 1: So we use that test, just use it as a

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Speaker 1: jumping off point for a discussion, and then we go wild.

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Speaker 1: We bite off the heads of everyone around us using

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Speaker 1: the test various perps um. I'm really excited to talk

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Speaker 1: about the movie. I think that we've gotten a fair

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Speaker 1: amount of request for this movie over the years. Yes,

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Speaker 1: and uh, it was my first time watching it, and

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Speaker 1: but it's not my first time talking to our incredible guest.

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Speaker 1: Oh my goodness, perfect transition. Amazing Jamie. Our guest today

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Speaker 1: is an I heeart producer. She's a co host of

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Speaker 1: Ethnically Ambiguous and Deckheads podcasts, and you know her from

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Speaker 1: our episodes on She's All That and A Star Is Born.

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Speaker 1: So she is joining the elite tier of three time

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Speaker 1: Bectel Cast guests. It's on a Hostie A, Hi, Hi,

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Speaker 1: I forgot we did Stars Born? Wow, I can't it

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Speaker 1: every day? That was beautiful? Actually, could you thank you?

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Speaker 1: I can't tell the difference go on for the rest

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Speaker 1: of the on A. The reason that we're having you

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Speaker 1: back on the cast is that I just wanted to

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Speaker 1: take another character. Oh, okay, do you think my nose

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Speaker 1: is not um marketable? I felt like that was the

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Speaker 1: thesis of the movie. Is is my nose marketable? Oh?

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Speaker 1: A white rich Man said it was okay, then it is.

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Speaker 1: That's all I remember for that movie. Wow. And also

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Speaker 1: remember feminist icon Gale, which we made merch about. Andy

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Speaker 1: ever referred to that one time. It never came up again.

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Speaker 1: I have that merch. I wear that shirt around good.

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Speaker 1: I love it. I still have mine too, And I'm like,

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Speaker 1: if I wear this outside, will anyone know what I'm

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Speaker 1: talking about? It's so I was thinking about this the

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Speaker 1: other day, like all of Lady Gaga's new music sounds

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Speaker 1: exactly like the music in A Star is Born that

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Speaker 1: was supposed to be bad, And so I think that

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Speaker 1: A Star is Born ultimately anti pop because the music

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Speaker 1: is not bad. And I think one of the songs

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Speaker 1: besides Shallow I listened to in the soundtrack the most

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Speaker 1: is well, which dude, I do that? Do that? Do that?

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Speaker 1: Do that to me? It's good? Yeah, wow, But that's

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Speaker 1: not what we're talking about. We're talking about A Girl

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Speaker 1: Walks home Alone at night film written and directed by

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Speaker 1: Ana Lily Amir Poor. So, Anna, what's your relationship with

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Speaker 1: this film? Do you want to do? You want me

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Speaker 1: to do what my dad would do if someone if

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Speaker 1: I pronounced an Iranian name not good enough, he goes

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Speaker 1: a Lily Amirpoor And You're like, Okay, chill, bro, it's fine,

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Speaker 1: you're yelling. He does that with every Persian word or

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Speaker 1: name I say that he does not feel is I said,

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Speaker 1: it's like, like, like Iranian enough screaming is at just

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Speaker 1: a legend in everywhere. That's the person thing is to

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Speaker 1: correct your like dumb American Irani an American kid like

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Speaker 1: you are not saying it correctly, Anna, And I'm like, okay,

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Speaker 1: well you didn't even watch the movie. Dad, This is

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Speaker 1: all hypothetical. That's how deep the terror of his brain

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Speaker 1: is into my blood. But I'm sorry you asked what

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Speaker 1: did I think of the movie or what is my

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Speaker 1: just what's your relationship with it? Well? I actually I

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Speaker 1: know I don't personally know the director, but I know

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Speaker 1: of the director, and she's an Iranian American director and

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Speaker 1: I've always kind of followed her work. But for some reason,

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Speaker 1: I never watched this movie. And that's because I am

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Speaker 1: scared of anything that says horror in the description. I

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Speaker 1: just don't. I don't know how to take it in.

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Speaker 1: I'm not a very good like, I'm just not a

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Speaker 1: very good horror movie watcher. I'm too scared, I'm too jumpy.

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Speaker 1: I cover my eyes for most of it, and I

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Speaker 1: always feel like that's not a good way to watch

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Speaker 1: a movie. So I just tend to stay away from them.

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Speaker 1: Um So, I never watched this, but like, I've watched

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Speaker 1: the director's other work, Like I've seen her other movie,

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Speaker 1: The Bad Badge. I've seen all the like TV shows

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Speaker 1: she's directed. You're saying she's Twilight sing, Yeah, she's a

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Speaker 1: Twilight light zone. She did like Castle Rock. What's the

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Speaker 1: other one? There's another like Legion. That's right, Legion. She

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Speaker 1: directed an episode Legion. So like I've watched um those,

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Speaker 1: but this was the one I never got to watch,

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Speaker 1: even though it's interesting because it's like the actual one.

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Speaker 1: I would connect the most too, because it's all in

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Speaker 1: FARSI uh, and it's supposed to be about like these

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Speaker 1: like Iranian characters. I'm glad I I actually like after

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Speaker 1: watching it, I really liked it, like a lot, a lot,

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Speaker 1: and I'm glad. I finally got to well, you're welcome.

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Speaker 1: Thank you, yes, thank you for like putting putting it

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Speaker 1: on me and being like it's time and me being like,

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Speaker 1: you'll write. I don't know what that was supposed to be.

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Speaker 1: But you're like my master. And I was like, you're

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Speaker 1: my movie master and you told me to watch it.

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Speaker 1: I'm not comfortable with that. You are my movie master.

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Speaker 1: And when you tell me to watch a movie, I

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Speaker 1: watch it. I mean, if you mean that I have

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Speaker 1: a master's degree in screenwriting from Boston University, the fact

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Speaker 1: that I would never bring up, then yes, you're correct.

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Speaker 1: I am a master in that way. That's exactly right.

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Speaker 1: And that's why I think of Caitlin as my movie

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Speaker 1: master and Jamie as my friend. Incredible. Oh gosh, okay,

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Speaker 1: so Jamie, what's your relationship with the movie? I hadn't

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Speaker 1: seen it. I also, I get um. I like watching

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Speaker 1: horror movies, but I don't watch them in theaters usually

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Speaker 1: because I just worry about reacting too hard, and I

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Speaker 1: don't like to react too hard in public. It makes

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Speaker 1: me nervous. So I remember missing a screening of this

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Speaker 1: movie while I was in college. I think because I'm

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Speaker 1: a coward, and then I watched it for this episode,

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Speaker 1: and I also I really really really enjoyed it, and

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Speaker 1: I it's weird. I mean, this movie is and we'll

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Speaker 1: talk about me. It's so many cross genres. But it

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Speaker 1: is not a gory movie. Really, I mean it's and

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Speaker 1: and and it's not like super scary either. I don't

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Speaker 1: know like where to classify it, but I think that's

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Speaker 1: part of the point. Um. I really I really liked it. Yeah,

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Speaker 1: I mean, it is many genres, and I would say

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Speaker 1: horror is present, but it's also like of all the

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Speaker 1: genres that it is, like it is horror the least.

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Speaker 1: It's more like I mean, this movie has been described

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Speaker 1: as like a Iranian spaghetti western horror, vampire love story

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Speaker 1: is like all the things that it is. Um, but yeah,

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Speaker 1: there's not that. There's very little gore. There might be

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Speaker 1: like one jump scare and it's pretty mild. So but

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Speaker 1: it's interesting. It seems like like a lot of the

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Speaker 1: genre labels associated with this movie are not put there

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Speaker 1: by the director. And so while this movie was like

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Speaker 1: labeled a horror movie, that's not necessarily true. And it's

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Speaker 1: a label of the western movie. But that's not necessarily true.

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Speaker 1: I don't know. There's there's so much. There's also I

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Speaker 1: forgot to mention, um noir, there's some noir elements to it.

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Speaker 1: So life for crying out loud, good grief. So my

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Speaker 1: history with it, my relationship is that I didn't see

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Speaker 1: it when it first came out, but I did watch

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Speaker 1: it a few years ago because it had been it

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Speaker 1: was pitched to me, and I forget exactly who all

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Speaker 1: recommended that I watch it, but I remember people pitching

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Speaker 1: it as like it's like a feminist horror movie about

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Speaker 1: a vampire who rides around on a skateboard. And I

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Speaker 1: was like, what, that sounds awesome. I have to watch

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Speaker 1: that immediately. And I watched it and I did like it.

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Speaker 1: I'll say that it is a little slow and meandery

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Speaker 1: for my taste. It definitely goes like art art at

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Speaker 1: some like there's some long ARTI for sure. And a

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Speaker 1: part of that is also like the vampire vibe, like

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Speaker 1: vampires are kind of like weird, scary, quiet types and

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Speaker 1: you're like, okay, move it along, vampire, we get it.

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Speaker 1: You're brooding, right, Um. But overall I think it's it's

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Speaker 1: a really cool film. Um I love the soundtrack. It

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Speaker 1: has a really awesome like score and soundtrack, lots of

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Speaker 1: fun themes for us to talk about. Yeah, I'm excited

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Speaker 1: to discuss. Yeah, I think it's interesting. I mean this

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Speaker 1: movie I saw and again it's like, this is a

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Speaker 1: I mean a pretty fairly recent movie six years ago

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Speaker 1: I came out, and even so it's it's I don't know.

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Speaker 1: Like most and most of the reviews I was reading,

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Speaker 1: they're kind of drawing you too, They're like, oh, she

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Speaker 1: I always found this frustrating with especially like new and

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Speaker 1: particularly female filmmakers. Where in the like lead for the review,

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Speaker 1: it references it gives you three reference points of male

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Speaker 1: filmmakers to be like, no, no, now before you say

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Speaker 1: you're not going to watch it, David Lynch, Jim Jar, Moosh,

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Speaker 1: Jim any anything. It could be any Jarmish, I don't

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Speaker 1: know Jim Jar, Jim j but there. But I mean,

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Speaker 1: I do see where this. I don't know about Jim

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Speaker 1: Jar because truly I don't know what. I've never watched

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Speaker 1: his work. I understand I understand that David Lynch comparison,

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Speaker 1: and I feel like that is like maybe where the

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Speaker 1: long brooding moments comparison is, but it's still I just

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Speaker 1: always find that frustrating. Anyways, Yeah, those were a few

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Speaker 1: of the comparisons I saw. I also saw Tarantino and

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Speaker 1: Robert Rodriguez comparisons as well, so yeah, I definitely took

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Speaker 1: note of that too. Like everything I read it was like, well, um,

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Speaker 1: because you don't know who this woman is, let's compare

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Speaker 1: her work to forty seven men who you are familiar with.

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Speaker 1: And it's like, all right, well that's annoying. Yeah, well

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Speaker 1: should I do the recap and then we'll go from there. Sure, Sure,

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Speaker 1: So we open We're in a ghost town called bad

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Speaker 1: City in Iran. Bad. It's really funny to me. It's

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Speaker 1: actually I didn't even think about it till now. But

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Speaker 1: how like in Farsi we just say bad. We don't

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Speaker 1: actually have a word for like, we don't have a

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Speaker 1: direct translation for the word bad. So we go bad,

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Speaker 1: just bad. He's like, add a little, I shot a

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Speaker 1: bad It's like, okay, so yeah, we're in bad City.

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Speaker 1: We meet a young man or ash. He has a cat,

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Speaker 1: which you don't think necessarily is going to be that important,

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Speaker 1: but then it ends up the cat is actually the

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Speaker 1: star of the film. The cat is a metaphor. The

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Speaker 1: cat is probably one of the greatest actors of the movie.

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Speaker 1: So that cat took direction. So the motive cat. Yeah,

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Speaker 1: so many opportunities for that cat to um leave the

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Speaker 1: scene because it's a cat, not once. I really enjoyed

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Speaker 1: the cat and the cat, the fact that the cat's

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Speaker 1: significance just continues to escalate. And then the twist at

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Speaker 1: the end is the cat. It's good. It's like it's

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Speaker 1: Tchekhov's cat. It's incredible. Okay, so we've met Arish. His

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Speaker 1: father is a heroin addict who owes money to this

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Speaker 1: pimp drug dealer guy. He's wearing a sweatsuit, which is

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Speaker 1: cinematic language for not nice for bad, bad city, and

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Speaker 1: the pimp steals Arish's car. Then we see Arish at work.

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Speaker 1: He works for this rich family. He steals some earrings

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Speaker 1: from the daughter. Then we cut back to the pimp

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Speaker 1: who picks up a sex worker named At and he

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Speaker 1: treats her poorly. He refuses to give her her earnings.

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Speaker 1: He coerces her to perform a sex act on him,

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Speaker 1: and then while this is happening, we see someone looming

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Speaker 1: in the background who is watching the pimp mistreat this woman.

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Speaker 1: Then we start to follow this person who had been lurking,

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Speaker 1: and it turns out to be a young woman, and

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Speaker 1: that young woman turns out to be a vampire. She

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Speaker 1: stalks the pimp and then she goes home with him,

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Speaker 1: and then she bites off his finger and kills him.

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Speaker 1: I do want to point out that the pimp had

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Speaker 1: the phrase josh on his head and that just means pimp,

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Speaker 1: so he literally had pimp tattooed on his head. Yeah,

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Speaker 1: I thought that was an interesting choice, very funny. He

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Speaker 1: also has just the word sex written across his like

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Speaker 1: tattooed across his neck. There's an interesting thing about like Iranians,

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Speaker 1: and I'm speaking just out of experience of knowing my

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Speaker 1: own cousins were like very simple like things like a

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Speaker 1: marijuana plant or the words sex is like the edgiest

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Speaker 1: thing in the world. So like if you saw a guy,

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Speaker 1: like in America, if we saw a guy who had

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Speaker 1: sex tattooed on him, we'd be like, I don't know,

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Speaker 1: I don't take this guy very seriously. But like if

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Speaker 1: you see a guy like that in Iran, you're like Iran,

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Speaker 1: It's like, oh my God, like, who is this terrifying man?

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Speaker 1: Like to a point where like in Iran, based on

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Speaker 1: my understanding of what my cousin has told me, if

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Speaker 1: you have tattoos, you need a like a psychologists note

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Speaker 1: like claiming that you are mentally fit to get things

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Speaker 1: like a driver's license, because they like in that culture,

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Speaker 1: like why would you inc up your skin? That's a

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Speaker 1: person who's unwell if they did something like that. So

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Speaker 1: the guy who got the sex face tattoo had to

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Speaker 1: get a doctor's note for that, well, he might have

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Speaker 1: had to get a doctor's note. I don't know obviously

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Speaker 1: in the context of what goes on in bad city.

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Speaker 1: But if you lived in like a city like Hran

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Speaker 1: and he looked like that, like yes, there are chances

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Speaker 1: unless he went through like other routes that if he

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Speaker 1: went to like a d m V of Iran, they'd

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Speaker 1: be like, sir, you are clearly mentally unwell because you

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Speaker 1: have pimp tattooed on your head, so which you know

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Speaker 1: that's that makes I would understand that, but like my

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Speaker 1: favorite but like, yeah, you would have to prove that

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Speaker 1: you are like a stable human being who can like

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Speaker 1: handle having a driver's license because clearly you've made this

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Speaker 1: really weird, mentally unstable choice of having a tattoo. But

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Speaker 1: like that's that's like the level, Like the culture is

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Speaker 1: very strict like that, so like that's what it's like.

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Speaker 1: I don't know. So the vampire who is known only

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Speaker 1: really known in the movie and on IMDb as the Girl.

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Speaker 1: She leaves the pimp's house after killing him, and she

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Speaker 1: crosses paths with Arish, who is there trying to get

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Speaker 1: his car back, and Orish discovers the dead pimp when

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Speaker 1: he goes instide, he steals his briefcase full of drugs,

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Speaker 1: which he then starts selling. Caitlin, I'm gonna stop you there.

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Speaker 1: It's all Rash. I'm so sorry. Please apologize to your father.

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Speaker 1: It's I have I have the name our Ash tattooed

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Speaker 1: on my thumb because it's my cousin's name. It's a

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Speaker 1: pretty common name in Iran. But yes, it's all Ash. Sorry.

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Speaker 1: I sorry to bring my dad for you. Do you

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Speaker 1: want me to just do that for everything? Yeah? Yeah,

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Speaker 1: I'll say it my way and then I'll pause so

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Speaker 1: that you can correct me, and I'll scold you in

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Speaker 1: a yelling way like my dad always does. And I'm like,

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Speaker 1: I will say that I was often I found myself

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Speaker 1: very distracted while watching this movie because our ash is

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Speaker 1: one of the most handsome people I've ever seen. I

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Speaker 1: was like, oh my god, he's so hot. He's pretty attractive.

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Speaker 1: So I just you know, I had to I had

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Speaker 1: to not pass the Bechtel test in that moment. Just

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Speaker 1: I do think they did kind of or you know,

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Speaker 1: the nailed the casting of like this kind of quintessential

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Speaker 1: young Iranian man, because that's like what a lot of

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Speaker 1: like my young like cousins are just like the young

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Speaker 1: men I've known in Iran kind of look like got it,

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Speaker 1: like kind of like cool guys in a way, not

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Speaker 1: all of them, but like there's James Dean kind of

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Speaker 1: aesthetic going. Well, a lot of their influences are European

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Speaker 1: in that sense, so a lot of things I don't know.

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Speaker 1: I do think like there's kind of like they enjoy

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Speaker 1: this kind of like older style, but it's like very classy.

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Speaker 1: But like what I've seen, they did kind of nail

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Speaker 1: the casting aesthetically, and they're like, let's get the hottest

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Speaker 1: guy we can find, and then they did so Caitlan

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Speaker 1: getting corny on the pot. I can't. I'm so horny

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Speaker 1: for him, I just can't stop thinking about it. And

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Speaker 1: he he has a cat, a really cute cat. I mean,

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Speaker 1: he's the perfect man for me. And he does reste

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Speaker 1: a cat in the opening shot, and so you're like, okay,

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Speaker 1: I was confused by the I'm like, is this you

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Speaker 1: are you just like taking home a stray cat or

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Speaker 1: is that your cat that you were just sort of

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Speaker 1: like letting roam around outside. It is an interesting thing

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Speaker 1: to to find such a well behaved stray cat, right

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Speaker 1: very rarely is that the case. That's why I'm like,

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Speaker 1: I think he just like takes his cat outside and

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Speaker 1: like kind of lets it roam around and then he

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Speaker 1: puts it back in his car and then drives home.

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Speaker 1: I don't know anyway, So our vampire friend there's this

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Speaker 1: kind of little kid who's like in the neighborhood that

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Speaker 1: we've seen in different scenes, and she kind of stalks

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Speaker 1: him a little bit and then confronts him and she's like,

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Speaker 1: are you a good boy? You better be a good boy.

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Speaker 1: I'm gonna be watching you for your whole life to

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Speaker 1: make sure you're good and you're well behaved. And it

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Speaker 1: scares the ship out of him and he runs off,

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Speaker 1: and then she steals his skateboard and starts riding it around. Meanwhile,

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Speaker 1: Irish is at a costume party dressed as a vampire,

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Speaker 1: and then he does a drug that I think is ecstasy,

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Speaker 1: but again I'm a square and I don't understand drugs.

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Speaker 1: I think it was good, good. And then later that

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Speaker 1: night he crosses paths with the vampire again, not knowing

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Speaker 1: that she's a vampire. She invites him over to her

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Speaker 1: house and then we're like, oh, no, is she going

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Speaker 1: to kill him with her vampire teeth? But she doesn't,

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Speaker 1: and instead they like kind of just nuzzle against each

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Speaker 1: other a little bit, and we're like, oh, they're they're vibing.

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Speaker 1: She does a good job at resisting, yeah, because she

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Speaker 1: she also thinks he's really hot. Okay, So then later

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Speaker 1: she starts to follow Auti, the sex worker from earlier,

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Speaker 1: but it's not because she's preying on her, it's because

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Speaker 1: she's actually looking out for her. Then Irish and the

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00:21:01,680 --> 00:21:06,520
Speaker 1: vampire meet up again outside of a power plant, very

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Speaker 1: romantic spot, and you were like, yeah, okay, they like

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Speaker 1: each other. He gives her the earrings that he had

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Speaker 1: stolen previously, but she doesn't have her ears pierced, so

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Speaker 1: she's like, pierced my ears and he's like, if you

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Speaker 1: want me to, okay? And then also we're like what

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Speaker 1: is this To Lindsay Lohans in The Parent Trap, I

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Speaker 1: think I was like, in terms of ear piercing in

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Speaker 1: popular media, I think this one is more fun to watch,

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Speaker 1: and I love the I love the two Lindsay Lohans,

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Speaker 1: but I'm like, this is but this is cool. This

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Speaker 1: one is cool. Is the sexy ear pierce Yeah, Lindsay

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Speaker 1: Lohan air piercing decidedly were like is this amount of

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Speaker 1: a metaphor? You know, the penetrative act of getting your

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Speaker 1: ears pierced? DKA anyway, and then they're about to kiss,

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Speaker 1: but she's like, no, I've done bad things. I'm bad

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Speaker 1: and he's like we've all done bad things. No. In

359
00:22:02,880 --> 00:22:10,000
Speaker 1: Bad City was like, and you're all bad people. Anyway,

360
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Speaker 1: she runs off, and then later Arash and his father,

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Speaker 1: who is now going through Heroin withdrawal, get into an

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Speaker 1: argument and then Arish kicks him out of the house

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Speaker 1: and he's like, take your cat with you. So then

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Speaker 1: the father, whose name is Hossain, by the way, played

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Speaker 1: by Sane you got it, you got it right, Um

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Speaker 1: played by notable actor Marshall menesh Yes character actor for

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Speaker 1: the Ages. So he leaves, he takes the cat with him.

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Speaker 1: He picks up Atti, who he also mistreats like forces

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Speaker 1: her to take heroin so you'll never guess who shows

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Speaker 1: up our friend the vampire. She kills Hossain. Then the

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Speaker 1: cat comes into her possession, and then the little boy

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Speaker 1: from earlier sees the vampire and Auntie dumped the body

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Speaker 1: than ours was like, who killed my father? And then

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Speaker 1: the little boys like I d ka because the little

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Speaker 1: boy is afraid of the vampire. The girl who was like,

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Speaker 1: I am watching you every moment for the rest of

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Speaker 1: your life. So he's like, I'm not about to like

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00:23:20,880 --> 00:23:25,439
Speaker 1: to to this whistles this train on. That moment was

379
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Speaker 1: a bummer, say batch batasty that j Batasty. I was like, bitch,

380
00:23:32,280 --> 00:23:35,479
Speaker 1: get out of here. You're traumatizing this child for life.

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Speaker 1: I know. I felt there there were like a few

382
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Speaker 1: moments in the movie where I'm like, the girl needs

383
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Speaker 1: to really choose her targets a little more, a little better, um,

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Speaker 1: And one of those moments was but that said good

385
00:23:51,080 --> 00:23:56,960
Speaker 1: child actor terrified I would be scary. Um So anyway,

386
00:23:57,040 --> 00:23:59,880
Speaker 1: So Irish, with nowhere else to go and no one

387
00:24:00,000 --> 00:24:04,520
Speaker 1: else to turn to, goes to the girl, who he

388
00:24:04,800 --> 00:24:07,440
Speaker 1: still does not know that she is a vampire who

389
00:24:07,520 --> 00:24:10,920
Speaker 1: killed his father, and he's like, let's get out of here,

390
00:24:11,000 --> 00:24:14,800
Speaker 1: let's leave this place together. But then he notices that

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00:24:15,359 --> 00:24:19,639
Speaker 1: she has his dad's cat, and he's like, oh shit,

392
00:24:20,400 --> 00:24:24,320
Speaker 1: my new girlfriend. Did she kill my dad and steal

393
00:24:24,400 --> 00:24:28,080
Speaker 1: his cat? But then he's like, shrug, let's go anyway,

394
00:24:28,960 --> 00:24:32,359
Speaker 1: and then they do, and that is the end of

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Speaker 1: the film. So let's take a quick break and then

396
00:24:35,680 --> 00:24:45,440
Speaker 1: we'll come right back to discuss. And we're back. Where

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00:24:45,480 --> 00:24:49,880
Speaker 1: is a good place to start with this movie? You

398
00:24:49,920 --> 00:24:54,399
Speaker 1: never know where to start? Where does hegin? And is

399
00:24:54,400 --> 00:24:57,040
Speaker 1: there anything that like what what jumped out to you

400
00:24:57,119 --> 00:25:00,679
Speaker 1: the most about this movie? What I think? I don't know.

401
00:25:00,720 --> 00:25:02,520
Speaker 1: There was something interesting to me, like this this place

402
00:25:02,560 --> 00:25:06,560
Speaker 1: called Bad City, where like everyone's kind of like just

403
00:25:06,800 --> 00:25:10,840
Speaker 1: drifting through life, and there was like weird like metaphors

404
00:25:10,920 --> 00:25:13,720
Speaker 1: to like what it's like to be in Iran when

405
00:25:13,840 --> 00:25:15,919
Speaker 1: I mean, I shouldn't say too much because I do

406
00:25:16,000 --> 00:25:18,360
Speaker 1: want to go back to Iran. One day, but just

407
00:25:18,400 --> 00:25:22,080
Speaker 1: like this this kind of life where you find your

408
00:25:22,119 --> 00:25:24,800
Speaker 1: thrills where you can. And I'm speaking of my experience

409
00:25:24,840 --> 00:25:27,160
Speaker 1: having gone to Iran and hanging out with family members

410
00:25:27,200 --> 00:25:29,640
Speaker 1: and being like it's a very strict country to live in,

411
00:25:30,160 --> 00:25:32,680
Speaker 1: but you just you take what you can get when

412
00:25:32,680 --> 00:25:37,000
Speaker 1: it comes to like true like adventure and so like

413
00:25:37,119 --> 00:25:40,320
Speaker 1: to me, it's like this young man at ash who

414
00:25:40,440 --> 00:25:43,800
Speaker 1: like finds this drug dealer having been murdered, is like,

415
00:25:44,720 --> 00:25:46,440
Speaker 1: I'm just gonna start selling drugs, like I do what

416
00:25:46,480 --> 00:25:49,480
Speaker 1: I gotta do, And it like made sense to me,

417
00:25:49,560 --> 00:25:51,600
Speaker 1: Like and at no point was like why would you

418
00:25:51,640 --> 00:25:53,440
Speaker 1: do that. You're ruining your life, Like I was like, yeah,

419
00:25:53,480 --> 00:25:56,760
Speaker 1: I mean, like this guy's dead. This this drug dealer

420
00:25:56,800 --> 00:25:59,879
Speaker 1: who's been like haunting your family, now he's not a

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Speaker 1: ound to like sell it to your dad, so you

422
00:26:02,119 --> 00:26:06,959
Speaker 1: could possibly help your dad get off heroin. But at

423
00:26:07,000 --> 00:26:09,280
Speaker 1: the same time, like make money on the side to

424
00:26:09,480 --> 00:26:13,480
Speaker 1: like survive this. I don't know that that stuck out

425
00:26:13,520 --> 00:26:15,960
Speaker 1: to me as like a theme of like doing what

426
00:26:16,040 --> 00:26:18,639
Speaker 1: you can to survive because like no one else is

427
00:26:18,680 --> 00:26:21,840
Speaker 1: going to help you, like you're on your own, and

428
00:26:22,000 --> 00:26:24,400
Speaker 1: like I saw that within the Vampire like she's completely

429
00:26:24,440 --> 00:26:26,480
Speaker 1: on her own. And then there's also this kind of

430
00:26:26,480 --> 00:26:29,119
Speaker 1: amazing thing where like I thought it was cool that

431
00:26:29,160 --> 00:26:31,840
Speaker 1: like a girl walks home alone at night, which you

432
00:26:31,880 --> 00:26:36,040
Speaker 1: know usually is not the most comfortable, safe choice for

433
00:26:36,080 --> 00:26:38,240
Speaker 1: a woman, but then it's kind of like flipped on

434
00:26:38,280 --> 00:26:42,400
Speaker 1: its head where this woman is like, she's the one

435
00:26:42,440 --> 00:26:46,000
Speaker 1: you should be fearing because she will literally kill you

436
00:26:46,880 --> 00:26:50,000
Speaker 1: and take your blood. So that was like a really

437
00:26:50,040 --> 00:26:51,920
Speaker 1: cool thing to be like, yeah, for once, it's not

438
00:26:52,000 --> 00:26:54,280
Speaker 1: like this sad story of like I walked home alone

439
00:26:54,320 --> 00:26:56,920
Speaker 1: at night. Oh no, I'm so scared. It's like our

440
00:26:57,040 --> 00:27:01,200
Speaker 1: forever narrative as women. It was nice to not see

441
00:27:01,280 --> 00:27:04,160
Speaker 1: that for once of like a woman holding her keys

442
00:27:04,200 --> 00:27:07,359
Speaker 1: between her hand, to be like maybe this will do something,

443
00:27:07,600 --> 00:27:09,520
Speaker 1: you know, like that fear you have in you and

444
00:27:09,560 --> 00:27:11,919
Speaker 1: like every time I walk my dog at night, at

445
00:27:11,960 --> 00:27:14,919
Speaker 1: the back of my mind, I'm like, just any shadows,

446
00:27:15,000 --> 00:27:17,520
Speaker 1: you know, like be careful. And yeah, it was like

447
00:27:17,560 --> 00:27:20,800
Speaker 1: a relief to see that. Yeah, I did not know.

448
00:27:20,960 --> 00:27:24,639
Speaker 1: I knew the vague descriptors that are kind of like

449
00:27:24,800 --> 00:27:28,440
Speaker 1: stuck on this movie going in where they're like feminist

450
00:27:28,760 --> 00:27:33,280
Speaker 1: Western horror, like seventeen words in a row. But even

451
00:27:33,440 --> 00:27:35,439
Speaker 1: based on I mean, I felt I felt for the

452
00:27:35,520 --> 00:27:39,040
Speaker 1: title entirely. I thought, I mean just because of like

453
00:27:39,080 --> 00:27:41,639
Speaker 1: the you know presumptions you were just talking about Anna, like,

454
00:27:41,920 --> 00:27:44,119
Speaker 1: oh yeah, something bad is going to happen to a

455
00:27:44,160 --> 00:27:47,120
Speaker 1: woman on her way home, but she is the danger.

456
00:27:47,680 --> 00:27:51,679
Speaker 1: And of all the many subversions of this movie makes

457
00:27:51,840 --> 00:27:53,800
Speaker 1: that's one of my faces, I'm like, damn, I got

458
00:27:53,880 --> 00:27:59,760
Speaker 1: tricked in the title. I gotta pull it together. The

459
00:28:00,000 --> 00:28:03,040
Speaker 1: It's one thing I really like about this movie because

460
00:28:03,520 --> 00:28:08,960
Speaker 1: in general horror movies, thriller movies, they are often showing

461
00:28:09,400 --> 00:28:14,399
Speaker 1: women being the prey, being the victims, like being the

462
00:28:14,480 --> 00:28:20,399
Speaker 1: targets of violence, and scary people usually scary men or

463
00:28:20,520 --> 00:28:26,119
Speaker 1: like coded male figures. And while that is a reflection

464
00:28:26,400 --> 00:28:31,840
Speaker 1: of many real life circumstances, unfortunately, I just I really

465
00:28:31,840 --> 00:28:36,320
Speaker 1: appreciate any story that kind of flips that narrative fantasy,

466
00:28:36,359 --> 00:28:40,160
Speaker 1: though it may be that it shows the woman as

467
00:28:40,200 --> 00:28:43,880
Speaker 1: a predator, because usually a woman doesn't get to be

468
00:28:44,440 --> 00:28:47,480
Speaker 1: like a predatory character in any kind of horror movie.

469
00:28:47,480 --> 00:28:50,160
Speaker 1: And when I say, like a woman is a predator,

470
00:28:50,800 --> 00:28:54,240
Speaker 1: they're not predators the way that male men are predators.

471
00:28:54,240 --> 00:28:59,920
Speaker 1: The animal style exactly like predator prey like rite, because

472
00:29:00,080 --> 00:29:03,680
Speaker 1: when men are predators in real life and often in movies,

473
00:29:04,040 --> 00:29:07,880
Speaker 1: they are predators because they're like exploiting their power over people,

474
00:29:08,440 --> 00:29:12,560
Speaker 1: Whereas when women are predators in stories, it's almost always

475
00:29:12,560 --> 00:29:18,120
Speaker 1: either like a revenge narrative or like a vigilante justice story. Well,

476
00:29:18,160 --> 00:29:20,920
Speaker 1: I would argue that this is in some ways a

477
00:29:21,040 --> 00:29:26,160
Speaker 1: vigilante justice story. Um that yeah, like there and and

478
00:29:26,280 --> 00:29:29,400
Speaker 1: but again, it's like this movie is so tricky and

479
00:29:29,440 --> 00:29:33,720
Speaker 1: complicated because it isn't. We've seen, you know, stories where

480
00:29:33,760 --> 00:29:37,800
Speaker 1: women are enacting vigilante justice before on this show with

481
00:29:37,960 --> 00:29:42,240
Speaker 1: teeth and with Jennifer's body, hard candy, hard candy. But

482
00:29:42,400 --> 00:29:46,280
Speaker 1: this movie is like, it's not super straightforward because sometimes

483
00:29:47,040 --> 00:29:50,840
Speaker 1: the prey is very logical and then sometimes the prey

484
00:29:51,080 --> 00:29:53,840
Speaker 1: is not. I don't know. I I just this movie

485
00:29:53,880 --> 00:29:55,640
Speaker 1: like keeps you on your toes in so many ways,

486
00:29:55,680 --> 00:29:58,240
Speaker 1: and I really like it where it's like the moral

487
00:29:58,360 --> 00:30:03,880
Speaker 1: code isn't complete Lee clear right, that's bad city, baby,

488
00:30:04,080 --> 00:30:07,040
Speaker 1: that's bad That is bad city. That is something that

489
00:30:07,080 --> 00:30:11,320
Speaker 1: I wish had been handled a little differently because I

490
00:30:11,360 --> 00:30:16,200
Speaker 1: think she has three victims total, and then she and

491
00:30:16,240 --> 00:30:19,080
Speaker 1: then she scares the ship out of the Little Kid.

492
00:30:19,680 --> 00:30:22,960
Speaker 1: Two of her three victims are men who we see

493
00:30:23,520 --> 00:30:27,040
Speaker 1: mistreating a woman, and it's the same woman both times.

494
00:30:27,120 --> 00:30:33,680
Speaker 1: It's Autie. She has the smurfet of Bad City, right, right,

495
00:30:33,760 --> 00:30:37,480
Speaker 1: the only human woman that appears besides the girl. Well, yeah,

496
00:30:37,520 --> 00:30:39,680
Speaker 1: but she's a vampire, right, But she's a vampire, right.

497
00:30:40,120 --> 00:30:45,040
Speaker 1: But then the third victim is a person experiencing homelessness,

498
00:30:45,480 --> 00:30:48,400
Speaker 1: which I don't know if like that was the director

499
00:30:48,520 --> 00:30:52,280
Speaker 1: kind of saying like this person's life is expendable, or

500
00:30:52,360 --> 00:30:56,360
Speaker 1: it was more saying like her moral code. Sure, maybe

501
00:30:56,360 --> 00:31:00,800
Speaker 1: she's like a vigilante justice fighter most of the time,

502
00:31:00,920 --> 00:31:05,560
Speaker 1: but also sometimes she gets hungry, and like, I didn't

503
00:31:05,720 --> 00:31:09,560
Speaker 1: like that choice just because of I mean, how it

504
00:31:09,680 --> 00:31:15,000
Speaker 1: just kind of reinforces popular stereotypes about unhoused people. My

505
00:31:15,000 --> 00:31:19,040
Speaker 1: my interpretation of that scene was a breaking of moral

506
00:31:19,120 --> 00:31:23,880
Speaker 1: code for the girl, which is like, fine, I mean,

507
00:31:23,920 --> 00:31:27,120
Speaker 1: I understand that that plot point makes sense at at

508
00:31:27,160 --> 00:31:29,960
Speaker 1: that point in the same way that I mean other

509
00:31:30,080 --> 00:31:35,520
Speaker 1: characters break, Like it's really just her and Rush who

510
00:31:35,640 --> 00:31:37,880
Speaker 1: are breaking their moral codes because they're kind of the

511
00:31:37,920 --> 00:31:40,680
Speaker 1: only people in Bad City that have moral codes to break.

512
00:31:41,400 --> 00:31:43,240
Speaker 1: So I get why that choice had to be made.

513
00:31:43,280 --> 00:31:45,720
Speaker 1: I just wish that it was not at the expense

514
00:31:45,800 --> 00:31:48,960
Speaker 1: of an unhoused person. There's I don't know, there there

515
00:31:49,040 --> 00:31:52,080
Speaker 1: were other ways to make that same plot point. Yeah,

516
00:31:52,200 --> 00:31:54,520
Speaker 1: but but it's I don't know, it's it's it's definitely

517
00:31:54,520 --> 00:32:00,680
Speaker 1: supposed to make the viewer uncomfortable in ways that felt least.

518
00:32:00,920 --> 00:32:03,520
Speaker 1: I don't know. I still don't like the choice because

519
00:32:03,560 --> 00:32:07,520
Speaker 1: it just dehumanizes and has people. Scenes that I could

520
00:32:07,520 --> 00:32:10,600
Speaker 1: think of that I've encountered before that have a similar

521
00:32:10,640 --> 00:32:15,720
Speaker 1: crime taking place were slightly different at least where it's

522
00:32:15,720 --> 00:32:18,600
Speaker 1: like that scene in American Psycho or Yeah, that's the

523
00:32:18,600 --> 00:32:21,040
Speaker 1: first one I thought of too, I believe in House

524
00:32:21,120 --> 00:32:24,080
Speaker 1: of Cards, which is a show I watched one season

525
00:32:24,120 --> 00:32:26,720
Speaker 1: of when it came out, but but basically like a

526
00:32:26,760 --> 00:32:30,720
Speaker 1: showing of like a very privileged, rich white guy exerting

527
00:32:30,840 --> 00:32:35,480
Speaker 1: his power on someone with significantly less privileged than him. So,

528
00:32:36,480 --> 00:32:39,440
Speaker 1: but it's the same crime and it's never I don't know,

529
00:32:39,600 --> 00:32:41,880
Speaker 1: it's there was a different way to make that choice. Yeah,

530
00:32:41,960 --> 00:32:46,440
Speaker 1: I would have much preferred. Honestly, not that much happens

531
00:32:46,640 --> 00:32:50,120
Speaker 1: in the movie because it is paced quite slowly. I

532
00:32:50,160 --> 00:32:55,080
Speaker 1: wish that had we had maybe seen more targets of

533
00:32:55,080 --> 00:32:58,800
Speaker 1: hers that were like men being awful and then like

534
00:32:58,960 --> 00:33:05,200
Speaker 1: just really emphasizing that kind of theme. But yeah, but

535
00:33:05,240 --> 00:33:07,440
Speaker 1: it's like that does kind of push against the morally

536
00:33:07,520 --> 00:33:11,320
Speaker 1: gray stuff. And then it was like, I mean, I'm

537
00:33:11,440 --> 00:33:14,080
Speaker 1: kind of devil's advocating here, but like, wouldn't it just

538
00:33:14,120 --> 00:33:17,760
Speaker 1: then be teeth of like a character that is strictly

539
00:33:18,240 --> 00:33:23,040
Speaker 1: doing this to enact revenge on men who are mistreating women,

540
00:33:23,480 --> 00:33:25,440
Speaker 1: which is sometimes the case for the girl, but other

541
00:33:25,520 --> 00:33:29,440
Speaker 1: times it isn't. And I don't know, Yeah, let morally

542
00:33:29,520 --> 00:33:34,640
Speaker 1: gray women exist on screen, that's true. I mean, it's

543
00:33:34,720 --> 00:33:38,240
Speaker 1: it makes it more nuanced than you're more like neat

544
00:33:38,240 --> 00:33:43,000
Speaker 1: and tidy like Hollywood film that probably would have more

545
00:33:43,040 --> 00:33:46,040
Speaker 1: of like a well let's just make her batman kind

546
00:33:46,080 --> 00:33:51,240
Speaker 1: of right. Um but um so, yeah, I appreciate like

547
00:33:51,280 --> 00:33:54,320
Speaker 1: the nuances of that, But but are we do think

548
00:33:54,360 --> 00:33:56,720
Speaker 1: that maybe she only And again I a part of

549
00:33:56,760 --> 00:33:59,600
Speaker 1: me was like, well, I shouldn't like, yes, she goes

550
00:33:59,640 --> 00:34:01,680
Speaker 1: back for she kills this homeless man, because maybe she

551
00:34:01,760 --> 00:34:05,080
Speaker 1: just assumes that like this person, you know, because they're

552
00:34:05,120 --> 00:34:08,480
Speaker 1: a housed that they don't matter to society or whatever,

553
00:34:08,840 --> 00:34:11,840
Speaker 1: in her own what I assume is like a skewed mindset.

554
00:34:12,320 --> 00:34:14,640
Speaker 1: Part of me was like, maybe it's because it's bad city,

555
00:34:14,760 --> 00:34:18,040
Speaker 1: and that's what bad cities like, Like they truly don't

556
00:34:18,200 --> 00:34:21,719
Speaker 1: bad city, baby, I don't know. The murder of an

557
00:34:21,760 --> 00:34:24,640
Speaker 1: unhoused person was just very strange to me that a

558
00:34:24,640 --> 00:34:26,960
Speaker 1: part of me is like, but does she actually have

559
00:34:27,120 --> 00:34:30,719
Speaker 1: morals or or is she just doesn't kill you if

560
00:34:30,760 --> 00:34:33,680
Speaker 1: she finds some sort of kinship with you, Because like

561
00:34:33,719 --> 00:34:36,760
Speaker 1: a part of was like, maybe she would have killed Ati,

562
00:34:37,280 --> 00:34:40,880
Speaker 1: but like somehow like felt like maybe she related to

563
00:34:40,880 --> 00:34:43,120
Speaker 1: her in somewhere, or maybe she just felt this like

564
00:34:43,360 --> 00:34:45,960
Speaker 1: feeling with her, because I feel like she she comes

565
00:34:46,040 --> 00:34:48,440
Speaker 1: to you, because like if she didn't want to hurt

566
00:34:48,840 --> 00:34:51,239
Speaker 1: our Ash, why would she kill his dad? You know,

567
00:34:51,320 --> 00:34:54,040
Speaker 1: like if you know it's like you would either. Did

568
00:34:54,040 --> 00:34:56,040
Speaker 1: she know that was his dad? I was kind of

569
00:34:56,880 --> 00:34:59,160
Speaker 1: it seems like she knows everything in Bad City, Like

570
00:34:59,200 --> 00:35:03,040
Speaker 1: she just kind of this omniscient character because she knows

571
00:35:03,040 --> 00:35:06,719
Speaker 1: what people are feeling and thinking, and so it wasn't

572
00:35:06,719 --> 00:35:08,520
Speaker 1: totally I mean, I guess it wasn't stayed in text,

573
00:35:08,600 --> 00:35:10,439
Speaker 1: but she had to have known that with his dad, right,

574
00:35:11,040 --> 00:35:15,640
Speaker 1: I wasn't sure. I don't know, because she she stalked

575
00:35:15,719 --> 00:35:18,360
Speaker 1: him before. She stalks at one point when he's bothering

576
00:35:18,360 --> 00:35:20,879
Speaker 1: at asking for like I guess for her to like

577
00:35:21,920 --> 00:35:24,799
Speaker 1: pleasure him in some way, and she's like, come back

578
00:35:24,840 --> 00:35:29,640
Speaker 1: when you have money. The girl was there like watching him.

579
00:35:29,680 --> 00:35:33,120
Speaker 1: I don't know, So I have kind of a feeling

580
00:35:33,239 --> 00:35:34,920
Speaker 1: on that. I think you're kind of right on it,

581
00:35:34,920 --> 00:35:40,080
Speaker 1: where it's like, I okay, so this movie was labeled

582
00:35:40,360 --> 00:35:44,359
Speaker 1: like this is like an overtly feminist movie and then

583
00:35:44,360 --> 00:35:45,759
Speaker 1: and we'll talk about this in a bit, but the

584
00:35:45,800 --> 00:35:49,239
Speaker 1: director kind of pushes back on and like resists that

585
00:35:49,480 --> 00:35:52,799
Speaker 1: and all labels that are associated with this movie. So

586
00:35:52,920 --> 00:35:57,480
Speaker 1: it's not a specific, you know, like indictment of feminism,

587
00:35:57,480 --> 00:35:59,160
Speaker 1: but it's it's kind of she just like, don't label

588
00:35:59,200 --> 00:36:02,479
Speaker 1: it as anything, just watch it, which fair enough, right,

589
00:36:02,840 --> 00:36:05,000
Speaker 1: But I think that a lot of the reason that

590
00:36:05,280 --> 00:36:09,399
Speaker 1: people interpret this as a feminist film, and I think

591
00:36:09,440 --> 00:36:12,959
Speaker 1: that this is kind of taking the female predator out

592
00:36:13,000 --> 00:36:17,960
Speaker 1: of the conversation. But it's because she like pretty, it

593
00:36:18,120 --> 00:36:22,120
Speaker 1: looks valiantly defends a woman, but it's the only woman

594
00:36:22,160 --> 00:36:25,400
Speaker 1: in town. So is it feminist to do that? I

595
00:36:25,400 --> 00:36:29,560
Speaker 1: mean it she and and other choices she makes are

596
00:36:29,760 --> 00:36:32,920
Speaker 1: kind of great where I kind of thought that the

597
00:36:32,960 --> 00:36:35,600
Speaker 1: people that she will defend are people who are also

598
00:36:35,719 --> 00:36:41,319
Speaker 1: experiencing a lot of like loneliness and like, which is

599
00:36:41,400 --> 00:36:44,920
Speaker 1: everybody in the movie. But it's like lonely people who

600
00:36:45,000 --> 00:36:47,799
Speaker 1: are not murdering other you know, and not like we're

601
00:36:47,840 --> 00:36:51,640
Speaker 1: not harming others. It seems like and and and lonely

602
00:36:51,640 --> 00:36:56,839
Speaker 1: people who are willing to almost like for her own purposes,

603
00:36:56,840 --> 00:36:59,640
Speaker 1: like lonely people who are trying to connect with other

604
00:36:59,719 --> 00:37:03,600
Speaker 1: people ball, which kind of to me explains the two

605
00:37:03,600 --> 00:37:07,480
Speaker 1: people that she spares are people who talk to her

606
00:37:07,600 --> 00:37:10,760
Speaker 1: um and people who don't push her away, and people

607
00:37:10,760 --> 00:37:14,759
Speaker 1: who are kind of open with like, I don't know

608
00:37:14,840 --> 00:37:16,479
Speaker 1: what you do. I don't like it here. I feel

609
00:37:16,560 --> 00:37:19,120
Speaker 1: very isolated and she it seems like that is the

610
00:37:19,120 --> 00:37:22,320
Speaker 1: connecting factor of who she spares versus a gender based

611
00:37:23,120 --> 00:37:25,120
Speaker 1: moral code. But I don't know, because if there was

612
00:37:25,160 --> 00:37:26,920
Speaker 1: another woman in town, I guess we would have more

613
00:37:26,960 --> 00:37:31,680
Speaker 1: of a control group. But yeah, because I mean, she

614
00:37:31,760 --> 00:37:34,960
Speaker 1: doesn't kill based solely on gender. It's not like she's

615
00:37:35,000 --> 00:37:38,480
Speaker 1: just like I'm going to kill every male. Yeah, it's not.

616
00:37:39,120 --> 00:37:42,959
Speaker 1: And I love Tea, but it's not right because she's like, well,

617
00:37:43,120 --> 00:37:46,600
Speaker 1: I see this boy here, and I this vampire clearly

618
00:37:46,600 --> 00:37:50,840
Speaker 1: has a deep mistrust of or distrust what's the difference,

619
00:37:50,920 --> 00:37:55,600
Speaker 1: doesn't matter of men. So she's like, you're a you're

620
00:37:55,640 --> 00:37:58,680
Speaker 1: a young child. You haven't done anything wrong yet, but

621
00:37:58,960 --> 00:38:02,360
Speaker 1: you have the potential too, so don't become bad and

622
00:38:02,400 --> 00:38:07,200
Speaker 1: I'll be watching you. So she like doesn't attack the boy,

623
00:38:07,360 --> 00:38:11,080
Speaker 1: she doesn't attack Autie. She kind of helps her and

624
00:38:11,440 --> 00:38:14,320
Speaker 1: looks after her and protects her, and then she doesn't

625
00:38:14,360 --> 00:38:20,200
Speaker 1: attack our Ash because he's hot and she falls in love.

626
00:38:20,719 --> 00:38:25,839
Speaker 1: I personally really like they're like romantic subplat I think

627
00:38:25,880 --> 00:38:31,480
Speaker 1: it's awesome and it's complicated and hot, and I liked it,

628
00:38:32,080 --> 00:38:34,479
Speaker 1: so do I And I'm normally not a big fan

629
00:38:34,600 --> 00:38:38,440
Speaker 1: of most like romantic storylines in movies, but I'm like,

630
00:38:39,320 --> 00:38:42,560
Speaker 1: let's see more. This is what like Twilight should have been.

631
00:38:43,000 --> 00:38:46,880
Speaker 1: Hell yeah, team are Ash. Also, I feel like she

632
00:38:46,920 --> 00:38:48,799
Speaker 1: feels the sort of kinship with people who like try

633
00:38:48,840 --> 00:38:51,680
Speaker 1: and feed her but like she can't eat technically, but

634
00:38:51,760 --> 00:38:55,239
Speaker 1: like Rash tries to give her food, AUTI tries to

635
00:38:55,239 --> 00:38:57,680
Speaker 1: make her take up what I think is a plum,

636
00:38:59,280 --> 00:39:02,000
Speaker 1: which is a very like Iranian culture, Like everyone's trying

637
00:39:02,000 --> 00:39:03,600
Speaker 1: to feed you at all times, and they want you

638
00:39:03,640 --> 00:39:06,279
Speaker 1: to eat, especially fruit that they put out for you.

639
00:39:06,960 --> 00:39:08,879
Speaker 1: That really took me back to home my mom being

640
00:39:08,880 --> 00:39:10,439
Speaker 1: like I put this fruit out. Don't you want fruit?

641
00:39:10,480 --> 00:39:12,120
Speaker 1: Do you not want a fruit? Do you want to banana?

642
00:39:12,200 --> 00:39:13,520
Speaker 1: Do you want this fruit? Oh? It's that for not

643
00:39:13,560 --> 00:39:15,000
Speaker 1: good enough for you? Well what about this fruit which

644
00:39:15,040 --> 00:39:16,960
Speaker 1: like this fruo And you're like, oh my god, I

645
00:39:17,160 --> 00:39:20,960
Speaker 1: just got here. So it's like maybe this like she

646
00:39:21,120 --> 00:39:24,680
Speaker 1: finds comfort in someone who's like trying to like take

647
00:39:24,719 --> 00:39:25,840
Speaker 1: care of her in a way, like not even just

648
00:39:25,920 --> 00:39:28,080
Speaker 1: take care of her, but like reach out. Like it's

649
00:39:28,120 --> 00:39:30,839
Speaker 1: like this like kind of a peace offering of like, hey,

650
00:39:30,880 --> 00:39:34,440
Speaker 1: I brought you this. Obviously Autie at the time didn't

651
00:39:34,440 --> 00:39:36,640
Speaker 1: realize she was a vampire, and I don't think our

652
00:39:36,760 --> 00:39:39,000
Speaker 1: should realized until the way end, or if he ever

653
00:39:39,080 --> 00:39:41,799
Speaker 1: does realize that she can't eat, but like they're really

654
00:39:41,840 --> 00:39:44,719
Speaker 1: they're giving her something, and I feel like she because

655
00:39:44,719 --> 00:39:47,840
Speaker 1: remember she she goes and sees Auti because she's following

656
00:39:47,840 --> 00:39:52,839
Speaker 1: her around. And this is way before hossein AS's father

657
00:39:52,960 --> 00:39:55,640
Speaker 1: comes through to try and like hurt her, and she

658
00:39:55,680 --> 00:39:58,440
Speaker 1: doesn't do anything. She just talks to AUTI. She's just like,

659
00:39:58,640 --> 00:40:01,440
Speaker 1: you know, I don't think you're happy, and Auntie is like,

660
00:40:01,440 --> 00:40:03,960
Speaker 1: I honestly don't know anything anymore because of what I've

661
00:40:03,960 --> 00:40:06,920
Speaker 1: seen and done and that I feel like in that

662
00:40:06,960 --> 00:40:10,239
Speaker 1: moment when she offered her the plum, there was kind

663
00:40:10,239 --> 00:40:12,000
Speaker 1: of like a change in her, like she was like

664
00:40:12,040 --> 00:40:14,520
Speaker 1: looking at the plum like, oh, this is almost like

665
00:40:14,560 --> 00:40:17,720
Speaker 1: this offering to me. And then all of a sudden,

666
00:40:17,760 --> 00:40:20,640
Speaker 1: like she became like a like someone who was watching

667
00:40:20,719 --> 00:40:23,319
Speaker 1: over Autie to make sure she was safe. Like it

668
00:40:23,400 --> 00:40:25,440
Speaker 1: was as if I don't even know, like somehow the

669
00:40:25,560 --> 00:40:28,439
Speaker 1: cat informed her, like she was able through the cat

670
00:40:28,560 --> 00:40:30,560
Speaker 1: to see that Autie was in trouble, and she like

671
00:40:30,680 --> 00:40:32,759
Speaker 1: showed up to help her. I'm telling you, the cat

672
00:40:32,880 --> 00:40:36,480
Speaker 1: is the most important character. There was like there are

673
00:40:36,520 --> 00:40:39,040
Speaker 1: some themes in this movie where I'm like, I don't

674
00:40:39,040 --> 00:40:43,960
Speaker 1: know if I'm smart enough there where when she can

675
00:40:44,000 --> 00:40:48,160
Speaker 1: see through the cat, it seems I'm like there is

676
00:40:48,280 --> 00:40:52,279
Speaker 1: this And again I'm like I wasn't sure what what

677
00:40:52,440 --> 00:40:54,879
Speaker 1: the ultimate point of what they were trying to say was,

678
00:40:55,040 --> 00:40:58,600
Speaker 1: but it was like some through line of like surveillance

679
00:40:58,840 --> 00:41:02,200
Speaker 1: and like being why touched and an omniscient all seeing

680
00:41:02,600 --> 00:41:06,520
Speaker 1: element to this story that I don't know, that kind

681
00:41:06,520 --> 00:41:09,000
Speaker 1: of for me, it didn't fall here nor there because

682
00:41:09,000 --> 00:41:12,280
Speaker 1: it's like, we we like the girl and to an extent,

683
00:41:12,360 --> 00:41:15,319
Speaker 1: we're kind of rooting for her to get pulled out

684
00:41:15,360 --> 00:41:18,120
Speaker 1: of this loneliness, but she is this kind of like

685
00:41:18,640 --> 00:41:23,120
Speaker 1: omniscient surveillance character that it knows everything about everyone too,

686
00:41:23,239 --> 00:41:26,160
Speaker 1: so and she can see through cats. I don't know,

687
00:41:26,239 --> 00:41:28,959
Speaker 1: I'm like, maybe that's just something fun in the movie.

688
00:41:28,960 --> 00:41:30,680
Speaker 1: I don't know. Well, I looked it up and it

689
00:41:30,760 --> 00:41:34,160
Speaker 1: said vampires are traditionally either cats or wolves, like in

690
00:41:34,239 --> 00:41:38,600
Speaker 1: like lore whatever, Wait, what about bats? I thought vampires

691
00:41:38,600 --> 00:41:41,399
Speaker 1: were bats? Yeah, I guess bats. I mean I only

692
00:41:41,440 --> 00:41:44,279
Speaker 1: looked at I literally googled vampires and cats, so it

693
00:41:44,280 --> 00:41:47,080
Speaker 1: could go either or Yeah. What is it the movie

694
00:41:47,200 --> 00:41:51,200
Speaker 1: Ghost where like there's a cat that like senses the

695
00:41:51,280 --> 00:41:55,960
Speaker 1: presence of Patrick Swayzy's ghost. Am I remembering that correctly?

696
00:41:56,800 --> 00:42:02,080
Speaker 1: Cats that are are just supernatural little creatures? I also,

697
00:42:02,360 --> 00:42:06,520
Speaker 1: I felt, so I'm if I'm assuming how a vampire

698
00:42:06,600 --> 00:42:09,000
Speaker 1: exists based on my own kind of basic knowledge of

699
00:42:09,080 --> 00:42:11,440
Speaker 1: vampires and in popular culture and movies and all that

700
00:42:11,880 --> 00:42:15,160
Speaker 1: they are old souls because we don't know how long

701
00:42:15,520 --> 00:42:17,520
Speaker 1: the girl has been a vampire, Like, we don't know

702
00:42:17,560 --> 00:42:19,719
Speaker 1: how long she's just existed in this form, And a

703
00:42:19,760 --> 00:42:23,200
Speaker 1: part of me was like, maybe she's a lot older

704
00:42:23,239 --> 00:42:26,040
Speaker 1: than we realized, because she wears a chow door, which is,

705
00:42:26,160 --> 00:42:28,520
Speaker 1: you know, the black cloak she puts on herself, which

706
00:42:28,520 --> 00:42:31,560
Speaker 1: is traditionally in Iran only kind of worned by older

707
00:42:31,600 --> 00:42:34,400
Speaker 1: women because it's kind of like a it's from a

708
00:42:34,440 --> 00:42:38,800
Speaker 1: different era, if you will, of Iranian culture, like now

709
00:42:39,080 --> 00:42:41,040
Speaker 1: the women all kind of wear like more like stylish,

710
00:42:41,239 --> 00:42:45,200
Speaker 1: kind of like head wrapped scarf situations he jobs, if

711
00:42:45,200 --> 00:42:49,680
Speaker 1: you will. But like her aesthetic was very like almost

712
00:42:49,760 --> 00:42:54,400
Speaker 1: like older Iranian woman, Like she's very like her simple.

713
00:42:54,480 --> 00:42:58,040
Speaker 1: She always had one shirt, striped shirts, jeans, whatever, shoes

714
00:42:58,320 --> 00:43:00,279
Speaker 1: and then the chad door didn't even have her years

715
00:43:00,280 --> 00:43:03,399
Speaker 1: Pierce do you have? Everything about her was very like

716
00:43:03,640 --> 00:43:05,520
Speaker 1: dated in a way, so which makes me think like

717
00:43:05,600 --> 00:43:08,520
Speaker 1: she like even the music she listened to. Of course,

718
00:43:08,560 --> 00:43:10,400
Speaker 1: I don't know what era this is supposed to be

719
00:43:10,400 --> 00:43:13,080
Speaker 1: taking place, because our ash did kind of have like

720
00:43:13,120 --> 00:43:17,359
Speaker 1: this James Dean style with but like all the tech was,

721
00:43:17,880 --> 00:43:20,400
Speaker 1: you know, like the tech, and like uh said, the

722
00:43:20,600 --> 00:43:22,920
Speaker 1: Pimps House was also very current, so it's like this

723
00:43:23,040 --> 00:43:26,320
Speaker 1: kind of a mash up of eras. But she listened

724
00:43:26,360 --> 00:43:28,840
Speaker 1: to like what felt like kind of like new wave

725
00:43:29,760 --> 00:43:32,400
Speaker 1: American music. So like I was trying to get, like,

726
00:43:32,440 --> 00:43:35,640
Speaker 1: maybe she's a lot older than we realize, so she

727
00:43:35,800 --> 00:43:39,520
Speaker 1: just kind of has her sensibilities about it, Like she

728
00:43:39,640 --> 00:43:43,400
Speaker 1: has her her way of doing things, which is I

729
00:43:43,400 --> 00:43:47,640
Speaker 1: guess an housed people whatever, kill them, who cares or whatever.

730
00:43:47,680 --> 00:43:50,000
Speaker 1: So she could also have that kind of dated view

731
00:43:50,080 --> 00:43:52,799
Speaker 1: on that of like you know versus us who are

732
00:43:52,880 --> 00:43:55,239
Speaker 1: like okay, you know, those are also people and you

733
00:43:55,280 --> 00:43:57,080
Speaker 1: need to respect them just because they don't live in

734
00:43:57,080 --> 00:44:00,440
Speaker 1: a home, like a classical situation of what you a

735
00:44:00,520 --> 00:44:03,239
Speaker 1: person should live like in order to be respected. Like

736
00:44:03,360 --> 00:44:06,080
Speaker 1: she just might not have that because she's from a

737
00:44:06,120 --> 00:44:10,880
Speaker 1: different era or generations, like a boomer vampire. Yeah, exactly,

738
00:44:10,920 --> 00:44:13,239
Speaker 1: Like she could be a boomer in that sense of

739
00:44:13,280 --> 00:44:16,799
Speaker 1: like she just doesn't respect life unless you're, like I

740
00:44:16,840 --> 00:44:19,000
Speaker 1: don't know, living with a roof under your head or

741
00:44:19,040 --> 00:44:21,920
Speaker 1: over your head or something like. That's what I was thinking,

742
00:44:22,080 --> 00:44:25,440
Speaker 1: possibly that she might just be not that it's an excuse,

743
00:44:25,600 --> 00:44:28,640
Speaker 1: but yeah, I was curious about your thoughts on that,

744
00:44:28,680 --> 00:44:32,120
Speaker 1: because there there were like, as I was reading through,

745
00:44:32,840 --> 00:44:36,000
Speaker 1: just kind of I mean, it's interesting because because this

746
00:44:36,040 --> 00:44:39,319
Speaker 1: movie is like classified as horror, people write about it

747
00:44:39,320 --> 00:44:42,960
Speaker 1: every October. Uh, and we're releasing this episode in October,

748
00:44:43,480 --> 00:44:47,920
Speaker 1: and several pieces by Iranian writers as well, and a

749
00:44:47,920 --> 00:44:49,880
Speaker 1: lot of different writers have a lot of different takes

750
00:44:49,960 --> 00:44:54,400
Speaker 1: on what the symbolism of her wearing the trade or

751
00:44:54,920 --> 00:44:57,640
Speaker 1: seems I mean, And from what I could find, the

752
00:44:57,680 --> 00:45:01,239
Speaker 1: director never really stated it because that she doesn't really

753
00:45:01,239 --> 00:45:05,600
Speaker 1: want to influence people's opinions. But I found a read

754
00:45:05,640 --> 00:45:08,959
Speaker 1: of it that was suggesting that it might be a

755
00:45:09,000 --> 00:45:12,880
Speaker 1: sign of protest because I and I didn't know this,

756
00:45:13,040 --> 00:45:17,040
Speaker 1: but I guess that in like the late sixties early seventies,

757
00:45:17,080 --> 00:45:20,960
Speaker 1: the shador could be worn as a sign of protest.

758
00:45:21,600 --> 00:45:24,080
Speaker 1: I saw the read you're talking about where it's like

759
00:45:24,160 --> 00:45:29,200
Speaker 1: she is representing uh, prior generation, and yeah, I don't

760
00:45:29,200 --> 00:45:32,920
Speaker 1: know if everyone has a different take on what her

761
00:45:33,040 --> 00:45:35,480
Speaker 1: wearing it means. I read that it could be seen

762
00:45:35,520 --> 00:45:38,080
Speaker 1: as political, but Apartment was like, I would understand that

763
00:45:38,120 --> 00:45:41,319
Speaker 1: because maybe in the sixties, because the revolution happened in

764
00:45:41,320 --> 00:45:43,600
Speaker 1: seventy nine, so in the sixties and seventies it was

765
00:45:43,640 --> 00:45:47,840
Speaker 1: a very westernized country under the shaw Uh Patavi, who

766
00:45:48,600 --> 00:45:51,400
Speaker 1: he was in the pocket of the American CIA, like

767
00:45:51,520 --> 00:45:53,759
Speaker 1: he if you paid him enough money, he would do

768
00:45:53,800 --> 00:45:56,680
Speaker 1: as he would do what you wanted. So, um, I

769
00:45:56,719 --> 00:45:59,920
Speaker 1: could see that like maybe the more religious people who

770
00:46:00,120 --> 00:46:03,520
Speaker 1: like Iran has lost its way, we're Muslim and we're

771
00:46:03,520 --> 00:46:05,919
Speaker 1: out here people are just doing whatever they want, would

772
00:46:05,920 --> 00:46:09,880
Speaker 1: potentially still continue to cover up because they felt it

773
00:46:09,960 --> 00:46:13,880
Speaker 1: was to be more modest. But later on, after the

774
00:46:13,920 --> 00:46:18,600
Speaker 1: revolution happened and it became an Islamic republic, you have

775
00:46:18,680 --> 00:46:20,680
Speaker 1: to cover up. So that's kind of this interesting thing

776
00:46:20,719 --> 00:46:25,120
Speaker 1: of like I don't fully understand the political statement necessarily

777
00:46:25,120 --> 00:46:27,040
Speaker 1: in this movie, And of course it could be because

778
00:46:27,040 --> 00:46:30,440
Speaker 1: I am not smart enough. I am fully willing to

779
00:46:30,440 --> 00:46:33,000
Speaker 1: give that over. I don't know fully because it's like,

780
00:46:33,320 --> 00:46:37,840
Speaker 1: is your statement that we as a people went too

781
00:46:37,840 --> 00:46:42,400
Speaker 1: far and we were corrected or are we still trying

782
00:46:42,440 --> 00:46:44,319
Speaker 1: to correct I don't know. See, I don't know. I'm

783
00:46:44,360 --> 00:46:50,560
Speaker 1: not smart enough. Sorry, would be like laughing maniacally at

784
00:46:50,560 --> 00:46:55,400
Speaker 1: this discussion because she just scared out because I have

785
00:46:55,480 --> 00:46:59,160
Speaker 1: a quote here from a Wired article that kind of

786
00:46:59,160 --> 00:47:04,600
Speaker 1: profiles the director. They're discussing the film setting, which is

787
00:47:04,640 --> 00:47:10,160
Speaker 1: this again fictional ghost town, bad City, sakers Field as well.

788
00:47:10,200 --> 00:47:13,840
Speaker 1: I read that right. It was shot in California, but

789
00:47:13,960 --> 00:47:18,000
Speaker 1: she grew up in California. Yeah, yeah, yeah. Anyway, so

790
00:47:18,560 --> 00:47:22,680
Speaker 1: quote from this article talking about Bad City as being

791
00:47:22,760 --> 00:47:26,680
Speaker 1: quote a place full of loners, gangsters, junkies, and the

792
00:47:26,719 --> 00:47:29,720
Speaker 1: love lorn and a vampire known only is the Girl.

793
00:47:30,040 --> 00:47:32,880
Speaker 1: The thing tying them all together is that they're on

794
00:47:32,920 --> 00:47:36,680
Speaker 1: the margins of their respective societies. This is particularly true

795
00:47:36,719 --> 00:47:41,160
Speaker 1: of the character Rockabilly, who never speaks but serves as

796
00:47:41,200 --> 00:47:46,279
Speaker 1: a silent watcher in Drag and Then here is a

797
00:47:46,560 --> 00:47:50,200
Speaker 1: quote from the director herself saying, if there's one political

798
00:47:50,320 --> 00:47:53,960
Speaker 1: thing in the movie, it's not the edd or it's Rockabilly,

799
00:47:54,000 --> 00:47:57,400
Speaker 1: because it's not okay to be gay in Iran and

800
00:47:57,520 --> 00:48:00,120
Speaker 1: quote and we can talk about this Rockabilly character are

801
00:48:00,160 --> 00:48:02,880
Speaker 1: kind of on a separate discussion. But she the point

802
00:48:02,880 --> 00:48:06,200
Speaker 1: here is that it was not intentional for the use

803
00:48:06,239 --> 00:48:09,000
Speaker 1: of the child or to be like a political statement

804
00:48:09,160 --> 00:48:12,560
Speaker 1: like that was not her intention. I was watching an

805
00:48:12,600 --> 00:48:15,680
Speaker 1: interview where she just like got her hands on one,

806
00:48:15,800 --> 00:48:17,880
Speaker 1: and she's like, oh, this would just be a really

807
00:48:17,880 --> 00:48:21,279
Speaker 1: cool thing to put a vampire character in, especially if

808
00:48:21,280 --> 00:48:24,279
Speaker 1: she's like riding around on a skateboard. So it was

809
00:48:24,320 --> 00:48:28,120
Speaker 1: more like almost like an aesthetic choice than a any

810
00:48:28,160 --> 00:48:31,040
Speaker 1: sort of like symbolic or political statement that she was

811
00:48:31,120 --> 00:48:32,640
Speaker 1: trying to make. I was wondering because I was like,

812
00:48:32,680 --> 00:48:36,600
Speaker 1: the chold Door has a very cape like aesthetic to it. Yeah,

813
00:48:36,840 --> 00:48:41,240
Speaker 1: and it's somewhat mimicked or ashes like Dracula cape earlier

814
00:48:41,239 --> 00:48:44,040
Speaker 1: in the movie of like Oh, it's it's just he's

815
00:48:44,080 --> 00:48:47,360
Speaker 1: like trying to create the style of like the vampire,

816
00:48:47,480 --> 00:48:49,840
Speaker 1: and she just has her own cultural version of it,

817
00:48:49,880 --> 00:48:52,080
Speaker 1: which is the chold Door. It's almost like she's just

818
00:48:52,160 --> 00:48:58,960
Speaker 1: like a caped crusader, you know, Like I guess certain, yeah,

819
00:48:59,000 --> 00:49:02,439
Speaker 1: I really, I don't know. I like respect this ship

820
00:49:02,520 --> 00:49:05,360
Speaker 1: out of how you know, she like kind of like

821
00:49:05,480 --> 00:49:07,200
Speaker 1: rolls her eyes at some of the because it is

822
00:49:07,239 --> 00:49:10,359
Speaker 1: I mean, it's like and we are not spared from

823
00:49:10,400 --> 00:49:13,480
Speaker 1: this of like the way that people interpret movies in

824
00:49:13,600 --> 00:49:15,920
Speaker 1: ways they're like that was just a choice of necessity

825
00:49:16,080 --> 00:49:19,319
Speaker 1: or like I liked how that looked, um like how

826
00:49:19,560 --> 00:49:23,240
Speaker 1: um Alonso Kuran was like, I just like the color green.

827
00:49:23,719 --> 00:49:27,160
Speaker 1: It has no symbolic purpose and a little princess. I

828
00:49:27,280 --> 00:49:30,880
Speaker 1: just like green. And everyone's like, but there's forty essays

829
00:49:30,920 --> 00:49:33,920
Speaker 1: on like the use of green, and and like this

830
00:49:33,960 --> 00:49:37,719
Speaker 1: is movies, it's literature, it's everything. We're just I don't know.

831
00:49:37,760 --> 00:49:41,360
Speaker 1: I like when directors are like, shut up, Like no,

832
00:49:41,719 --> 00:49:44,160
Speaker 1: I just like the way it looked. It looked the

833
00:49:44,160 --> 00:49:46,719
Speaker 1: way I wanted it to look. Um, but there are

834
00:49:46,760 --> 00:49:50,719
Speaker 1: there are limitless takes on a lot of things that

835
00:49:51,040 --> 00:49:54,160
Speaker 1: the director is very firm on. Like that was not

836
00:49:54,560 --> 00:49:57,520
Speaker 1: in my head, that was not my intention, But go on,

837
00:49:57,760 --> 00:50:02,319
Speaker 1: I guess like, so um, I like that. Let's take

838
00:50:02,320 --> 00:50:04,120
Speaker 1: a quick break and then we'll come right back for

839
00:50:04,200 --> 00:50:14,319
Speaker 1: more discussion, and we're back. I wanted to kind of

840
00:50:14,360 --> 00:50:17,400
Speaker 1: just speak briefly because I've only I would need to

841
00:50:17,440 --> 00:50:23,240
Speaker 1: do a deeper dive about vampire lore and like the

842
00:50:23,239 --> 00:50:27,680
Speaker 1: the history of the representation of vampires in media and

843
00:50:27,719 --> 00:50:30,839
Speaker 1: then the kind of specifically for our purposes of like

844
00:50:31,280 --> 00:50:35,800
Speaker 1: representation of vampires in popular movies, but like, but in general,

845
00:50:35,920 --> 00:50:40,760
Speaker 1: just like with my peripheral knowledge about it, vampire lore

846
00:50:41,360 --> 00:50:46,120
Speaker 1: is generally like about vampires who are coded as men

847
00:50:46,840 --> 00:50:52,080
Speaker 1: who generally prey upon and or brutalize women, and even

848
00:50:52,160 --> 00:50:57,279
Speaker 1: like updated contemporary like pop culture versions of vampire lore

849
00:50:57,480 --> 00:51:03,560
Speaker 1: like Twilight, for example, it's still like a male vampire

850
00:51:04,200 --> 00:51:08,799
Speaker 1: preying upon and emotionally abusing a human woman, and that

851
00:51:08,920 --> 00:51:13,040
Speaker 1: just seems to be the trend or way vampires and

852
00:51:13,120 --> 00:51:17,279
Speaker 1: more insidious that there are female vampires present in all

853
00:51:17,320 --> 00:51:20,680
Speaker 1: of these stories, but they're always in the way, way

854
00:51:20,719 --> 00:51:24,080
Speaker 1: way way back of the story. Like it's I feel

855
00:51:24,080 --> 00:51:28,359
Speaker 1: like it's like a sub sub sub bcdel test kind

856
00:51:28,360 --> 00:51:31,759
Speaker 1: of thing where it seems pretty common that it's like,

857
00:51:31,800 --> 00:51:37,439
Speaker 1: oh and here's his female vampire assistant sister mother. Like

858
00:51:37,640 --> 00:51:40,640
Speaker 1: you see female vampires around, I mean even in Twilight,

859
00:51:40,640 --> 00:51:42,360
Speaker 1: like you're like, there there are a ton of women,

860
00:51:42,400 --> 00:51:45,920
Speaker 1: but like did they get to do anything? No, not much,

861
00:51:46,080 --> 00:51:48,480
Speaker 1: or like in an interview with a vampire where like

862
00:51:48,960 --> 00:51:53,520
Speaker 1: tiny Kirsten Dunst is like a child vampire but she

863
00:51:53,719 --> 00:51:58,239
Speaker 1: means you love to see her. But same. But my

864
00:51:58,440 --> 00:52:03,239
Speaker 1: one of my other favorite vampire flicks, The Little Vampire. Uh,

865
00:52:03,760 --> 00:52:05,879
Speaker 1: not familiar with that. Oh my god, I really want

866
00:52:05,880 --> 00:52:08,880
Speaker 1: to cover it on the Matreon. I am remembering um

867
00:52:09,000 --> 00:52:13,960
Speaker 1: but an iconic kids vampire movie where there is another

868
00:52:14,040 --> 00:52:17,360
Speaker 1: little sister vampire who's there to be like he, but

869
00:52:17,520 --> 00:52:21,520
Speaker 1: like you know, there there's not a larger story, so

870
00:52:22,120 --> 00:52:24,680
Speaker 1: you know, justice for female vampires. This is the end

871
00:52:24,680 --> 00:52:31,040
Speaker 1: this movie. This just that's the point I would eventually

872
00:52:31,160 --> 00:52:33,399
Speaker 1: arrive at, which is that this movie is a very

873
00:52:33,480 --> 00:52:37,880
Speaker 1: nice subversion of what we have come to know just

874
00:52:37,920 --> 00:52:43,600
Speaker 1: sort of culturally as what vampires tend to be. Because

875
00:52:43,719 --> 00:52:47,800
Speaker 1: this movie completely turns out all on its head. And

876
00:52:48,360 --> 00:52:52,000
Speaker 1: I really appreciate that about this film. Women as Predators.

877
00:52:52,040 --> 00:52:55,520
Speaker 1: We love to see it. We've been talking about the

878
00:52:55,560 --> 00:52:59,600
Speaker 1: girl quite a bit and I wanted to, I guess

879
00:53:00,120 --> 00:53:04,239
Speaker 1: discuss there's a lot of overlap her relationship and and

880
00:53:04,719 --> 00:53:10,000
Speaker 1: the other female character in the movie, so Ati, So

881
00:53:10,280 --> 00:53:14,040
Speaker 1: there is I would say of the relationships, I feel

882
00:53:14,040 --> 00:53:18,080
Speaker 1: like there's I guess three relationships in this movie that

883
00:53:18,160 --> 00:53:21,880
Speaker 1: we see in more depth, which is the girl and

884
00:53:22,040 --> 00:53:27,240
Speaker 1: at the girl and Rash and Rash and his father

885
00:53:27,520 --> 00:53:31,680
Speaker 1: and Rash and his cat and and the can the

886
00:53:31,719 --> 00:53:34,399
Speaker 1: cat and the girl and the cat, and the cat

887
00:53:34,440 --> 00:53:38,240
Speaker 1: has an important relationship with everybody. The cat gets around

888
00:53:38,880 --> 00:53:40,400
Speaker 1: is the fast effect of as of a cat with

889
00:53:40,480 --> 00:53:46,000
Speaker 1: no name stars meaningfully at a vampire woman. Yes, yes

890
00:53:46,000 --> 00:53:50,319
Speaker 1: it does, and they don't mention a man. Interesting, but

891
00:53:50,800 --> 00:53:54,400
Speaker 1: Ati is the Smurfette of Bad City. She's the only

892
00:53:55,080 --> 00:54:00,839
Speaker 1: human woman we see besides actually besides rash and where, Yes,

893
00:54:01,280 --> 00:54:03,600
Speaker 1: we got a nose job. Coincidentally enough, I was like,

894
00:54:03,719 --> 00:54:05,680
Speaker 1: is that the most Persian thing ever to just show

895
00:54:05,760 --> 00:54:08,640
Speaker 1: up and have like a post nose job. I was like,

896
00:54:08,680 --> 00:54:11,520
Speaker 1: what the she got a nose job? Are you kidding me?

897
00:54:11,640 --> 00:54:13,879
Speaker 1: That was the one thing I was kind of offended by.

898
00:54:13,960 --> 00:54:16,400
Speaker 1: I was like, come on, we don't need a Persian

899
00:54:16,400 --> 00:54:20,160
Speaker 1: woman with a nose job. We all have our cousins

900
00:54:20,200 --> 00:54:22,440
Speaker 1: who tell you when they see you, you're so lucky

901
00:54:22,480 --> 00:54:24,440
Speaker 1: you don't have to get a post a nose job.

902
00:54:24,560 --> 00:54:26,400
Speaker 1: Like so just my cousins will say that to me,

903
00:54:26,800 --> 00:54:29,160
Speaker 1: like you are so lucky, you don't need a nose job,

904
00:54:29,200 --> 00:54:32,359
Speaker 1: And I'm like, you don't either, Like you actually don't either.

905
00:54:32,440 --> 00:54:35,320
Speaker 1: You're just being like you're being mind fucked into believing

906
00:54:35,360 --> 00:54:37,360
Speaker 1: that you need to meet a certain standard, but in reality,

907
00:54:37,400 --> 00:54:39,080
Speaker 1: you don't need a nose job. So I don't know

908
00:54:39,239 --> 00:54:41,719
Speaker 1: that was I didn't. I mean, it's very Persian, but

909
00:54:41,760 --> 00:54:44,399
Speaker 1: I didn't think they needed to include maybe other than

910
00:54:44,440 --> 00:54:47,440
Speaker 1: to show that Shada was like a very like she

911
00:54:47,560 --> 00:54:50,799
Speaker 1: very into her looks. What does that work. Yes, they're

912
00:54:50,800 --> 00:54:52,839
Speaker 1: trying to show hers like a vain person. But like

913
00:54:52,920 --> 00:54:54,960
Speaker 1: to me, I was like, god, damn it. I was

914
00:54:55,040 --> 00:54:57,839
Speaker 1: curious about that too, because it's for I guess. I mean,

915
00:54:57,880 --> 00:55:00,080
Speaker 1: let's talk about Shadea for a second, because she's in

916
00:55:00,120 --> 00:55:03,239
Speaker 1: the movie briefly. But I feel I was What I'm

917
00:55:03,280 --> 00:55:07,000
Speaker 1: like is was the fact that she had gotten a

918
00:55:07,040 --> 00:55:10,920
Speaker 1: nose job for these restrictive kind of cultural reasons. Like

919
00:55:10,960 --> 00:55:12,680
Speaker 1: I felt like I was supposed to make you not

920
00:55:12,840 --> 00:55:17,600
Speaker 1: like her, which sucks, Like I I that choice was

921
00:55:17,680 --> 00:55:19,480
Speaker 1: strange to me. There's a lot of interesting things that

922
00:55:19,560 --> 00:55:22,879
Speaker 1: go on an Iran that are totally like okay, Like

923
00:55:23,560 --> 00:55:26,960
Speaker 1: having facial work done like a nose job is actually

924
00:55:27,000 --> 00:55:30,520
Speaker 1: like no one even remotely like we'll look down on you,

925
00:55:30,680 --> 00:55:32,440
Speaker 1: not like here where you're like no, no. It was

926
00:55:32,480 --> 00:55:35,560
Speaker 1: a deviated symptom. I had to and everyone's like, oh

927
00:55:35,640 --> 00:55:39,600
Speaker 1: my god, sure you know. Like there it's like it's

928
00:55:39,640 --> 00:55:42,560
Speaker 1: like a rite of passage. You're like offered a nose job.

929
00:55:42,719 --> 00:55:44,839
Speaker 1: Like I remember when I was young, my dad said,

930
00:55:44,840 --> 00:55:46,000
Speaker 1: we'll just let me know if you ever need a

931
00:55:46,040 --> 00:55:47,480
Speaker 1: nose if you ever want a nose job, And I

932
00:55:47,520 --> 00:55:50,800
Speaker 1: was like, what the fuck, Like that's a very common

933
00:55:50,840 --> 00:55:54,680
Speaker 1: thing to have done, and I have multiple cousins who

934
00:55:54,719 --> 00:55:58,560
Speaker 1: have had nose jobs done, and um, it's just not

935
00:55:58,600 --> 00:56:01,879
Speaker 1: looked down upon. It's culture really completely okay. A lot

936
00:56:01,880 --> 00:56:04,759
Speaker 1: of women tattooed their eyeliner on, a lot of women

937
00:56:04,800 --> 00:56:08,640
Speaker 1: tattooed their eyebrows on. That's there's nothing. I don't know why,

938
00:56:08,800 --> 00:56:11,920
Speaker 1: but it's just completely culturally acceptable to do such things.

939
00:56:11,960 --> 00:56:14,560
Speaker 1: So while it is like a very strict culture like

940
00:56:15,120 --> 00:56:19,960
Speaker 1: these things, within like the more affluent communities, it's it's

941
00:56:20,000 --> 00:56:23,000
Speaker 1: almost normal to get such things done. Like I remember

942
00:56:23,040 --> 00:56:26,360
Speaker 1: I was in Iran recently and my cousin every morning

943
00:56:26,400 --> 00:56:29,360
Speaker 1: had eyeliner on, and I just like it wasn't computing

944
00:56:29,360 --> 00:56:30,840
Speaker 1: to me that it was tattooed on. And I was like,

945
00:56:30,840 --> 00:56:32,560
Speaker 1: how do you do your makeup every morning? Like you

946
00:56:32,600 --> 00:56:34,719
Speaker 1: have kids? Like you just look so like ready to

947
00:56:34,760 --> 00:56:37,880
Speaker 1: go every morning, and she's like, no, these are this

948
00:56:37,960 --> 00:56:41,439
Speaker 1: like wingtip is tattooed on my face, like I don't

949
00:56:41,480 --> 00:56:47,279
Speaker 1: do anything. And I was like, oh, to me, that

950
00:56:47,440 --> 00:56:49,400
Speaker 1: was like shocking. But to her, she's like, what a

951
00:56:49,400 --> 00:56:51,799
Speaker 1: weird question. No, I would not do my makeup. I

952
00:56:51,840 --> 00:56:54,600
Speaker 1: just had it permanently put on, and like you could

953
00:56:54,600 --> 00:56:56,520
Speaker 1: do like you could tattoo your lips and get like

954
00:56:57,160 --> 00:57:00,400
Speaker 1: forever lipstick on if you want it, and it's okay,

955
00:57:00,400 --> 00:57:03,279
Speaker 1: it lonks like it saves a lot of time. But yeah,

956
00:57:03,280 --> 00:57:05,799
Speaker 1: I felt like, and I don't let me know if

957
00:57:05,840 --> 00:57:09,080
Speaker 1: you agree, but I felt like the way she does

958
00:57:09,440 --> 00:57:12,879
Speaker 1: nose job was presented was in a way to be like, oh,

959
00:57:12,920 --> 00:57:15,440
Speaker 1: she's so vain and we don't like her, which didn't

960
00:57:15,480 --> 00:57:18,880
Speaker 1: feel very fair, right. I didn't like that. I didn't

961
00:57:18,920 --> 00:57:20,640
Speaker 1: like that they were trying to be like this girl

962
00:57:20,800 --> 00:57:24,920
Speaker 1: so into herself and she sucks, and I was like, oh, okay,

963
00:57:25,000 --> 00:57:30,520
Speaker 1: well all right, yeah okay. I interpreted her character as

964
00:57:30,600 --> 00:57:35,040
Speaker 1: almost like the function of her was to characterize Rash

965
00:57:35,120 --> 00:57:38,400
Speaker 1: a little bit more, because we see her twice in

966
00:57:38,400 --> 00:57:41,120
Speaker 1: the movie. The first time is when he is in

967
00:57:41,200 --> 00:57:43,760
Speaker 1: her bedroom because her like TV is on the fritz,

968
00:57:43,840 --> 00:57:46,040
Speaker 1: and he's like, it's gonna take me a while to

969
00:57:46,120 --> 00:57:49,560
Speaker 1: fix this, so let me stay here and fix your TV.

970
00:57:50,040 --> 00:57:53,320
Speaker 1: You should go because it's inappropriate, like your parents are

971
00:57:53,320 --> 00:57:56,120
Speaker 1: going to think it's inappropriate if, like me, a man

972
00:57:56,920 --> 00:57:59,840
Speaker 1: is alone in your bedroom with you here. So I

973
00:58:00,000 --> 00:58:02,080
Speaker 1: and GE's like showing that he kind of has this

974
00:58:02,680 --> 00:58:07,160
Speaker 1: moral compass at least when it comes to like respectability

975
00:58:07,320 --> 00:58:11,800
Speaker 1: of women. But then he steals her earrings. That is

976
00:58:11,920 --> 00:58:14,720
Speaker 1: very common for men and women to not be alone

977
00:58:14,720 --> 00:58:17,640
Speaker 1: together an Iran unless there's like family, So that was

978
00:58:18,160 --> 00:58:20,600
Speaker 1: while it was used as a tool to like steal

979
00:58:20,680 --> 00:58:24,440
Speaker 1: from her. That it's like he took this like cultural

980
00:58:25,520 --> 00:58:29,000
Speaker 1: thing that goes on and used it for his own

981
00:58:29,040 --> 00:58:32,280
Speaker 1: like dark reasoning. But it's very real. But I also

982
00:58:32,400 --> 00:58:34,240
Speaker 1: just want to point out that I think they were

983
00:58:34,280 --> 00:58:37,840
Speaker 1: trying to make Shadea look shitty or like vain and

984
00:58:37,920 --> 00:58:43,040
Speaker 1: just like annoying to almost give our ash the okay

985
00:58:43,080 --> 00:58:46,840
Speaker 1: to steal from her, right, like they're used to justify,

986
00:58:47,440 --> 00:58:51,280
Speaker 1: justify or like make you feel because yeah, I guess

987
00:58:51,280 --> 00:58:54,400
Speaker 1: that that is kind of like because we like him

988
00:58:54,440 --> 00:58:56,919
Speaker 1: and we're not supposed to like when people steal, So

989
00:58:56,960 --> 00:58:59,040
Speaker 1: how do you get around that make the person he's

990
00:58:59,040 --> 00:59:01,720
Speaker 1: stealing from like of all? But then he also used

991
00:59:01,720 --> 00:59:05,120
Speaker 1: a cultural stereotyped for his own dark knees. I don't know,

992
00:59:05,160 --> 00:59:09,240
Speaker 1: there's there's so many like what is it, Like, God,

993
00:59:09,240 --> 00:59:11,439
Speaker 1: I'm so I'm like losing all my words stays because

994
00:59:11,440 --> 00:59:14,000
Speaker 1: I haven't enough coffee. But like he's an antagonist in

995
00:59:14,040 --> 00:59:17,120
Speaker 1: a way because it's like I I didn't trust him

996
00:59:17,120 --> 00:59:19,120
Speaker 1: from the beginning of when he like the second he

997
00:59:19,160 --> 00:59:20,880
Speaker 1: took the drugs to start selling them, I was like,

998
00:59:21,000 --> 00:59:23,360
Speaker 1: this is just not a good person. He Well, that's

999
00:59:23,360 --> 00:59:28,240
Speaker 1: the thing is that, like he like the girl the Vampire,

1000
00:59:28,920 --> 00:59:32,320
Speaker 1: his like moral code is like pretty murky. It's pretty

1001
00:59:32,360 --> 00:59:35,360
Speaker 1: gray area because like so in that at the end

1002
00:59:35,360 --> 00:59:38,720
Speaker 1: of that scene when he's in Shadow's room, he's like,

1003
00:59:39,160 --> 00:59:41,680
Speaker 1: you know, you better leave, it's inappropriate, and then she

1004
00:59:41,800 --> 00:59:45,120
Speaker 1: kind of like flirts with him, like makes this almost

1005
00:59:45,120 --> 00:59:48,520
Speaker 1: like mini pass at him, and then leaves. And then

1006
00:59:49,360 --> 00:59:51,280
Speaker 1: later the second time we see here in the movie

1007
00:59:51,360 --> 00:59:53,920
Speaker 1: is at that costume party where he's dressed as Dracula.

1008
00:59:54,720 --> 00:59:59,280
Speaker 1: He has taken the ecstasy at her suggestion, but she

1009
00:59:59,440 --> 01:00:02,520
Speaker 1: only also has ecstasy because he gave it to her.

1010
01:00:02,600 --> 01:00:05,680
Speaker 1: But then also like he's like tripping on e or

1011
01:00:05,680 --> 01:00:07,840
Speaker 1: whatever you do when you're on ecstasy. Again, I don't

1012
01:00:07,960 --> 01:00:12,040
Speaker 1: understand drugs, but he then tries to surprise kiss her

1013
01:00:12,640 --> 01:00:15,480
Speaker 1: and she's like no, no, no, no, like what are

1014
01:00:15,480 --> 01:00:18,000
Speaker 1: you doing? And I think a lot of the at

1015
01:00:18,040 --> 01:00:21,240
Speaker 1: least for part of the movie, the tension comes from

1016
01:00:21,720 --> 01:00:25,760
Speaker 1: the audience being like wondering whether or not the vampire

1017
01:00:26,000 --> 01:00:31,440
Speaker 1: is going to like deem him worthy as a victim

1018
01:00:31,520 --> 01:00:34,440
Speaker 1: of hers because he has engaged in some kind of

1019
01:00:34,800 --> 01:00:38,840
Speaker 1: sketchy behavior. So it's like, is that enough for her

1020
01:00:38,960 --> 01:00:42,240
Speaker 1: to want to eat him and kill him? Because you know,

1021
01:00:42,760 --> 01:00:46,440
Speaker 1: he almost he tries to surprise kiss a woman. He

1022
01:00:46,680 --> 01:00:51,360
Speaker 1: like kind of springs a random hug on the vampire

1023
01:00:51,440 --> 01:00:54,080
Speaker 1: because he's like, you're so cold, not knowing that she's

1024
01:00:54,080 --> 01:00:55,720
Speaker 1: a vampire, and he's like, let me hug you to

1025
01:00:55,720 --> 01:00:57,680
Speaker 1: warm me with the reason by being like he th

1026
01:00:57,720 --> 01:01:00,840
Speaker 1: high or like that right right right. So it's like

1027
01:01:01,160 --> 01:01:03,760
Speaker 1: it almost seems like he's he's crossed the line or

1028
01:01:03,760 --> 01:01:06,640
Speaker 1: he's going to cross the line several times and that

1029
01:01:06,800 --> 01:01:08,960
Speaker 1: and it's like, oh, no, is she gonna is she

1030
01:01:09,040 --> 01:01:12,600
Speaker 1: gonna kill him? But instead they fall in love. So like,

1031
01:01:13,320 --> 01:01:17,200
Speaker 1: to me, like Shadah's function in the story was mostly

1032
01:01:17,360 --> 01:01:22,120
Speaker 1: too like give him opportunities to kind of display some

1033
01:01:22,200 --> 01:01:27,959
Speaker 1: of this like moral gray area behavior. I guess, yeah,

1034
01:01:27,960 --> 01:01:30,680
Speaker 1: my read of her was more of like saying something

1035
01:01:30,720 --> 01:01:33,800
Speaker 1: about class, but doing it in a way that was

1036
01:01:33,880 --> 01:01:39,040
Speaker 1: kind of cruel to Iranian woman like women, because she

1037
01:01:39,240 --> 01:01:42,600
Speaker 1: is the only I mean, unless you you count Mr.

1038
01:01:42,680 --> 01:01:46,880
Speaker 1: Track Suit, she is the only character of means that

1039
01:01:47,000 --> 01:01:50,720
Speaker 1: we see in this movie. And so I I felt

1040
01:01:50,760 --> 01:01:53,120
Speaker 1: a little bit of like, I don't know, just like

1041
01:01:53,200 --> 01:01:58,800
Speaker 1: kind of a stockish, rich girl character um being shown

1042
01:01:58,840 --> 01:02:01,800
Speaker 1: through her, and you know, we're not on the side

1043
01:02:01,800 --> 01:02:04,800
Speaker 1: of that character for the most part. And I think

1044
01:02:04,800 --> 01:02:08,960
Speaker 1: it kind of sucks at the way that that statement

1045
01:02:09,360 --> 01:02:13,320
Speaker 1: that people generally agree with is made through saying things

1046
01:02:13,320 --> 01:02:18,440
Speaker 1: that are like disparaging about women making choices about their bodies,

1047
01:02:18,480 --> 01:02:21,040
Speaker 1: whether it's a nose job or a no nose job,

1048
01:02:21,160 --> 01:02:22,960
Speaker 1: or like wanting to kiss someone or not wanting to

1049
01:02:23,040 --> 01:02:25,720
Speaker 1: kiss someone. Right, So yeah, I don't know that that

1050
01:02:25,840 --> 01:02:30,880
Speaker 1: just was for me, like just not incredible writing choices. UM.

1051
01:02:31,440 --> 01:02:33,480
Speaker 1: I think she was going for a statement on class there.

1052
01:02:33,560 --> 01:02:38,200
Speaker 1: I don't know, she wouldn't tell us probably, but yeah,

1053
01:02:38,200 --> 01:02:41,040
Speaker 1: I just felt like saying one thing that I agree

1054
01:02:41,040 --> 01:02:43,160
Speaker 1: with at the expense of I don't know, I just

1055
01:02:43,160 --> 01:02:48,160
Speaker 1: felt like bizarre, bizarre, right, because like when asked if

1056
01:02:48,320 --> 01:02:54,400
Speaker 1: like she intentionally made a feminist film, or like asked, like,

1057
01:02:54,520 --> 01:02:57,200
Speaker 1: do you find your film to be feminist? The director

1058
01:02:57,320 --> 01:03:01,560
Speaker 1: was like, uh no, these full blosophies are a disease

1059
01:03:01,640 --> 01:03:04,480
Speaker 1: for which they claim to be the cure, and like

1060
01:03:04,800 --> 01:03:08,160
Speaker 1: some basically, I mean, I think, like you said, Jamie,

1061
01:03:08,240 --> 01:03:12,200
Speaker 1: she's not necessarily coming down against feminism as a concept.

1062
01:03:12,240 --> 01:03:15,400
Speaker 1: It's more that, like, my intention to make this movie

1063
01:03:16,080 --> 01:03:22,400
Speaker 1: was to just show characters doing their things and living

1064
01:03:22,600 --> 01:03:26,240
Speaker 1: their lives. She says, quote, I would have become a

1065
01:03:26,240 --> 01:03:29,440
Speaker 1: teacher or activist or something if I was trying to

1066
01:03:29,440 --> 01:03:32,200
Speaker 1: tell you stuff. I get more excited when people are

1067
01:03:32,240 --> 01:03:35,040
Speaker 1: asking their own questions and seeing their own stuff and quote.

1068
01:03:35,080 --> 01:03:39,240
Speaker 1: So she's just encouraging more like active participation as a

1069
01:03:39,280 --> 01:03:42,400
Speaker 1: movie going audience, and just encouraging people to kind of

1070
01:03:42,440 --> 01:03:45,960
Speaker 1: think for themselves and interpret things how they want. And

1071
01:03:46,040 --> 01:03:49,880
Speaker 1: because many people have interpreted this as a feminist text,

1072
01:03:50,560 --> 01:03:54,040
Speaker 1: which like, I very much see that, I would I

1073
01:03:54,080 --> 01:03:58,120
Speaker 1: would classify that this movie as such. But it's less

1074
01:03:58,200 --> 01:04:01,560
Speaker 1: that like the director made this movie with that intention,

1075
01:04:01,680 --> 01:04:03,800
Speaker 1: and more that she's just like, these are the things

1076
01:04:03,800 --> 01:04:05,640
Speaker 1: that I wanted to happen in my movie. This is

1077
01:04:05,680 --> 01:04:09,280
Speaker 1: the character's story that I wanted to tell interpreted however

1078
01:04:09,360 --> 01:04:12,600
Speaker 1: you want. So that was interesting to me. Um, yeah,

1079
01:04:12,640 --> 01:04:15,520
Speaker 1: I really, I I really, I don't know. At first

1080
01:04:15,560 --> 01:04:17,920
Speaker 1: I was kind of like, whoa, But the more I

1081
01:04:17,960 --> 01:04:21,120
Speaker 1: read of what she was saying, I think I agree

1082
01:04:21,160 --> 01:04:25,120
Speaker 1: with her more than I don't. Where Yeah, I think

1083
01:04:25,160 --> 01:04:27,000
Speaker 1: a lot of the poll quotes that are taken from

1084
01:04:27,040 --> 01:04:29,720
Speaker 1: her kind of frame her in an unflattering light where

1085
01:04:29,720 --> 01:04:31,720
Speaker 1: if you read the full quote, there's actually quite a

1086
01:04:31,720 --> 01:04:35,280
Speaker 1: bit there where like that quote continues to say, like

1087
01:04:35,640 --> 01:04:40,040
Speaker 1: I just am resistant to categorization in general. She she says,

1088
01:04:40,320 --> 01:04:42,280
Speaker 1: a film is like a mirror what I connect with

1089
01:04:42,280 --> 01:04:45,800
Speaker 1: when a movie is my own stuff. You know, everybody

1090
01:04:45,840 --> 01:04:47,400
Speaker 1: in the world in the film, in my mind, is

1091
01:04:47,480 --> 01:04:49,200
Speaker 1: much more than what you see on the surface. All

1092
01:04:49,240 --> 01:04:52,360
Speaker 1: people underneath have strange, weird secrets inside, and when you

1093
01:04:52,400 --> 01:04:54,440
Speaker 1: get to those things, that makes you re evaluate the

1094
01:04:54,440 --> 01:04:57,800
Speaker 1: outside and reevaluate your assumptions. That's what I'm interested in.

1095
01:04:58,000 --> 01:05:00,360
Speaker 1: It's not is um All of those things can fine

1096
01:05:00,400 --> 01:05:02,440
Speaker 1: your thinking because they tell you this is what it is,

1097
01:05:02,520 --> 01:05:04,960
Speaker 1: and then it's done. I think everything just has to

1098
01:05:04,960 --> 01:05:08,600
Speaker 1: be considered in its own individual space and time, which

1099
01:05:08,600 --> 01:05:11,080
Speaker 1: I think is fair, and I think that that speaks

1100
01:05:11,160 --> 01:05:17,040
Speaker 1: to pressures that marginalized filmmakers undergo in general, of like,

1101
01:05:17,800 --> 01:05:20,760
Speaker 1: you know, like these are not questions that you would

1102
01:05:20,800 --> 01:05:25,600
Speaker 1: here asked of Christopher Nolan, And I think resistance to

1103
01:05:25,640 --> 01:05:28,360
Speaker 1: being put in a box because you are who you are,

1104
01:05:28,960 --> 01:05:31,160
Speaker 1: even if it's well intentioned, and even if it's like

1105
01:05:31,200 --> 01:05:33,680
Speaker 1: being presented as like, no, I'm trying to say something

1106
01:05:33,720 --> 01:05:36,080
Speaker 1: positive about your movie. I can see why that would

1107
01:05:36,080 --> 01:05:39,840
Speaker 1: be frustrating of like, well, funck, you evaluate my movie

1108
01:05:39,880 --> 01:05:43,320
Speaker 1: the way you would evaluate anyone's movie, right, So yeah,

1109
01:05:43,360 --> 01:05:46,000
Speaker 1: I I there were some pull quotes that I'm like,

1110
01:05:46,160 --> 01:05:48,400
Speaker 1: I don't I wonder what she would say about this now,

1111
01:05:48,440 --> 01:05:52,120
Speaker 1: But in general, her reaction to those questions made me

1112
01:05:52,520 --> 01:05:56,560
Speaker 1: think a little bit about my approach to stuff too,

1113
01:05:56,680 --> 01:06:00,360
Speaker 1: and like my approach to movies in general, where I

1114
01:06:00,480 --> 01:06:02,760
Speaker 1: want I mean, it's I like the quote about like

1115
01:06:03,040 --> 01:06:05,440
Speaker 1: whatever the movie is a mirror, which is very like

1116
01:06:05,840 --> 01:06:09,400
Speaker 1: you know, freshman year film school. But we are coming

1117
01:06:09,440 --> 01:06:12,400
Speaker 1: into this wanting to see feminism in horror, and so

1118
01:06:13,160 --> 01:06:15,960
Speaker 1: we see that, you know, if if certain elements are there.

1119
01:06:16,040 --> 01:06:19,560
Speaker 1: So I don't know, I thought, I've just been in

1120
01:06:19,640 --> 01:06:23,560
Speaker 1: a real thought bubble about this director, about this movie.

1121
01:06:23,720 --> 01:06:27,280
Speaker 1: Also the irony she I mean, she mentions a mirror,

1122
01:06:27,320 --> 01:06:31,480
Speaker 1: but the irony of vampires not being able to look

1123
01:06:31,520 --> 01:06:34,800
Speaker 1: in the mirror because they don't have a reflection, which

1124
01:06:34,840 --> 01:06:37,480
Speaker 1: is why she puts that scene where she's putting on

1125
01:06:37,840 --> 01:06:41,120
Speaker 1: um eyeliner and lipstick. She's not doing it in front

1126
01:06:41,160 --> 01:06:43,200
Speaker 1: of a mirror because there's no point because she doesn't

1127
01:06:43,200 --> 01:06:46,560
Speaker 1: have a reflection. She's just having to Like I don't know,

1128
01:06:46,760 --> 01:06:50,440
Speaker 1: she's freeball it or whatever. I didn't even notice that. Yeah,

1129
01:06:50,680 --> 01:06:53,080
Speaker 1: I didn't notice it until they watched an interview where

1130
01:06:53,080 --> 01:06:58,760
Speaker 1: they pointed it out. But it's still pretty cool. Oh

1131
01:06:58,880 --> 01:07:01,440
Speaker 1: there's I wish I didn't have time to do it,

1132
01:07:01,480 --> 01:07:04,880
Speaker 1: but I want to see like a map of like

1133
01:07:05,000 --> 01:07:07,880
Speaker 1: what her I guess it's her apartment, but I'm like vampire,

1134
01:07:08,000 --> 01:07:11,760
Speaker 1: so it's her layer. Um, but I liked her layer

1135
01:07:11,800 --> 01:07:14,600
Speaker 1: a lot. The one thing I was able to find

1136
01:07:14,640 --> 01:07:16,920
Speaker 1: of like because I was watching I was watching it

1137
01:07:16,920 --> 01:07:19,479
Speaker 1: on the computers. I'm like, I can't really see what

1138
01:07:19,560 --> 01:07:23,320
Speaker 1: this is. But um, there was like a picture of

1139
01:07:23,360 --> 01:07:28,360
Speaker 1: Margaret Atwood style to look like a Madonna album cover.

1140
01:07:28,560 --> 01:07:31,480
Speaker 1: Like there's a lot of fun, weird touches in there

1141
01:07:31,480 --> 01:07:33,880
Speaker 1: that I'm sure to tell you more about who she is,

1142
01:07:33,960 --> 01:07:36,200
Speaker 1: what time she said in where I guess that that

1143
01:07:36,520 --> 01:07:40,360
Speaker 1: the Madonna aesthetic feeds into the new wave like eighties era.

1144
01:07:41,160 --> 01:07:44,600
Speaker 1: I don't know, is she in eighties Vampire? Well, speaking

1145
01:07:44,680 --> 01:07:47,919
Speaker 1: of just watching a bunch of interviews and finding out

1146
01:07:47,960 --> 01:07:51,920
Speaker 1: information on a Lily, A mere Port says in an

1147
01:07:51,920 --> 01:07:56,200
Speaker 1: interview that the girl is I think she said a

1148
01:07:56,280 --> 01:08:00,480
Speaker 1: hundred and eighties seven years old. Um, we don't learn

1149
01:08:00,560 --> 01:08:05,520
Speaker 1: this in the movie at all, like Edward Cullen specificity. Yeah, right,

1150
01:08:08,560 --> 01:08:15,840
Speaker 1: so she's basically as old as I Frankenstein. Um, but incredible, incredible,

1151
01:08:16,720 --> 01:08:20,200
Speaker 1: Um so yeah, I mean maybe I don't know. Like

1152
01:08:20,240 --> 01:08:23,880
Speaker 1: there's the girl. The character of the girl is just

1153
01:08:24,040 --> 01:08:28,160
Speaker 1: fascinating to me. She's hard to discuss. I like it,

1154
01:08:28,360 --> 01:08:30,759
Speaker 1: you like it because it's not I think that sometimes

1155
01:08:30,800 --> 01:08:34,200
Speaker 1: we come into stuff and in general like we're like, Okay,

1156
01:08:34,200 --> 01:08:36,680
Speaker 1: a feminist film has this, this and this, if this

1157
01:08:36,720 --> 01:08:38,599
Speaker 1: is the villain, this is what should happen, and when

1158
01:08:38,600 --> 01:08:43,200
Speaker 1: these things happen, I'm smiling. But which in some ways

1159
01:08:43,280 --> 01:08:46,240
Speaker 1: is great and for some movies that works perfectly, But

1160
01:08:46,280 --> 01:08:49,080
Speaker 1: I also get how that's like limiting in a lot

1161
01:08:49,080 --> 01:08:51,760
Speaker 1: of ways, like they're I like that. She's hard to

1162
01:08:51,800 --> 01:08:54,160
Speaker 1: talk about, like it because she makes good choices and

1163
01:08:54,240 --> 01:08:58,640
Speaker 1: bad choices like people like a person and she's not

1164
01:08:58,680 --> 01:09:04,800
Speaker 1: even a person because like in vampire mythology, vampires like

1165
01:09:05,200 --> 01:09:08,519
Speaker 1: don't have a soul, which you know, interpret what a

1166
01:09:08,560 --> 01:09:11,080
Speaker 1: soul is how you will. But you know, most people

1167
01:09:11,280 --> 01:09:15,799
Speaker 1: would interpret that as some kind of like moral compass

1168
01:09:16,360 --> 01:09:18,640
Speaker 1: or I mean, I guess that's how I would interpret

1169
01:09:18,800 --> 01:09:21,720
Speaker 1: a soul. But yeah, I mean she she has what

1170
01:09:21,880 --> 01:09:25,720
Speaker 1: seems like an agenda most of the time. She's like

1171
01:09:25,880 --> 01:09:32,280
Speaker 1: out there protecting women from or protecting a woman woman

1172
01:09:34,120 --> 01:09:38,320
Speaker 1: from a couple bad guys. But do you think that

1173
01:09:38,360 --> 01:09:42,120
Speaker 1: she would hesitate to kill a woman if it came

1174
01:09:42,120 --> 01:09:44,080
Speaker 1: down to it, Because I don't think she would. I

1175
01:09:44,080 --> 01:09:47,840
Speaker 1: don't know, Yeah, I don't think she would. Yeah, it's hard.

1176
01:09:47,920 --> 01:09:51,360
Speaker 1: It's hard to say, I think, right, because she does

1177
01:09:51,520 --> 01:09:55,960
Speaker 1: just sort of seemingly at random because she's hungry kill

1178
01:09:56,479 --> 01:10:01,840
Speaker 1: that unhoused man like so and she apropos of nothing,

1179
01:10:02,400 --> 01:10:07,120
Speaker 1: terrifies an adorable skateboard child. Ye, like she does sucked

1180
01:10:07,160 --> 01:10:10,920
Speaker 1: up stuff. I feel like she would kill our ash

1181
01:10:11,040 --> 01:10:14,200
Speaker 1: if she ever witnessed him do something truly tragic right

1182
01:10:14,280 --> 01:10:18,599
Speaker 1: In fact, like the movie fades out when they they're

1183
01:10:18,720 --> 01:10:21,160
Speaker 1: driving off, like with the cat in the car. The

1184
01:10:21,200 --> 01:10:25,760
Speaker 1: cat is present a great actor, but like, I don't know,

1185
01:10:25,800 --> 01:10:28,880
Speaker 1: maybe ten minutes later she like says something fucked up

1186
01:10:28,960 --> 01:10:30,600
Speaker 1: or like tries to kiss her and she's like, you

1187
01:10:30,600 --> 01:10:33,400
Speaker 1: know what, I've had enough of you, and then kills him.

1188
01:10:33,960 --> 01:10:37,000
Speaker 1: We don't know, Well, we don't know what he's going

1189
01:10:37,080 --> 01:10:39,519
Speaker 1: to do with her, because he's clearly figured out that

1190
01:10:39,720 --> 01:10:43,439
Speaker 1: she killed his father, and it's like whether or not

1191
01:10:43,880 --> 01:10:46,360
Speaker 1: he has come to terms with it and decided it's

1192
01:10:46,400 --> 01:10:49,120
Speaker 1: actually a good thing is unclear. Like he gets out

1193
01:10:49,120 --> 01:10:50,800
Speaker 1: of the car at one point looks very stressed out,

1194
01:10:50,800 --> 01:10:52,519
Speaker 1: but then gets in like funk it, let's just go.

1195
01:10:53,240 --> 01:10:55,719
Speaker 1: But we don't know if his mind's going to change

1196
01:10:55,720 --> 01:10:58,200
Speaker 1: within a few minutes of like wait, no, fuck you,

1197
01:10:58,200 --> 01:11:02,120
Speaker 1: you killed my dad because he loves because he does love,

1198
01:11:02,920 --> 01:11:05,840
Speaker 1: he loves his dad, And there I don't know. It's

1199
01:11:05,840 --> 01:11:09,120
Speaker 1: like we don't in movies in general, you don't often

1200
01:11:09,240 --> 01:11:13,280
Speaker 1: see like a kid with an addict parent and all

1201
01:11:13,560 --> 01:11:18,599
Speaker 1: of the complications and like horrible moments that come with

1202
01:11:18,680 --> 01:11:23,000
Speaker 1: that and this is like escalated because we're in bad city.

1203
01:11:23,400 --> 01:11:27,400
Speaker 1: But I thought, like, I think he like loves his dad.

1204
01:11:27,479 --> 01:11:30,879
Speaker 1: He was protecting him even when his his dad's addiction

1205
01:11:30,960 --> 01:11:35,240
Speaker 1: was really hurting him. And there's that small like another

1206
01:11:35,320 --> 01:11:38,639
Speaker 1: cool moral moment is like I had the smallest bit

1207
01:11:38,680 --> 01:11:42,400
Speaker 1: of like, I don't know, you see Josan do something,

1208
01:11:43,160 --> 01:11:48,160
Speaker 1: commit a crime, something completely unconsfortable where he forces Ati

1209
01:11:48,520 --> 01:11:53,000
Speaker 1: to take heroin. He you know, sedates her. It seems

1210
01:11:53,000 --> 01:11:58,160
Speaker 1: like he's going to fully assault her sexually. But the

1211
01:11:58,280 --> 01:12:01,400
Speaker 1: movie has established him as someone that our protagonist loves,

1212
01:12:01,479 --> 01:12:04,120
Speaker 1: and so there's like the smallest part of me that

1213
01:12:04,200 --> 01:12:07,519
Speaker 1: when he was killed, you're like, okay, like that makes

1214
01:12:07,560 --> 01:12:10,439
Speaker 1: sense that like the girl that's that is someone that

1215
01:12:10,479 --> 01:12:12,840
Speaker 1: the girl would kill and it makes sense why she's

1216
01:12:12,840 --> 01:12:14,799
Speaker 1: doing it. But you're like, oh, but it's a Rash's

1217
01:12:14,880 --> 01:12:18,000
Speaker 1: dad and he loves his dad, and like, I don't know,

1218
01:12:18,040 --> 01:12:23,040
Speaker 1: there was another like complicated brain. Yeah, wait, here's something

1219
01:12:23,040 --> 01:12:27,200
Speaker 1: that just occurred to me. I feel like Rash figured

1220
01:12:27,240 --> 01:12:31,600
Speaker 1: out right away that she was a vampire because she

1221
01:12:31,760 --> 01:12:34,800
Speaker 1: like comes down the stairs after killing the pimp and

1222
01:12:34,840 --> 01:12:37,080
Speaker 1: she I think she still has blood all over her,

1223
01:12:37,600 --> 01:12:40,280
Speaker 1: like all over her mouth. But even if that's not

1224
01:12:40,360 --> 01:12:42,960
Speaker 1: the case, he like goes up into his house and

1225
01:12:43,000 --> 01:12:45,679
Speaker 1: then the pimp is dead, so like all he has

1226
01:12:45,720 --> 01:12:48,200
Speaker 1: to do is just like connect to dots and be like,

1227
01:12:48,400 --> 01:12:51,400
Speaker 1: I think she's a vampire. Because then later, I mean,

1228
01:12:51,400 --> 01:12:54,400
Speaker 1: why do you think he dresses as Dracula to the

1229
01:12:54,680 --> 01:12:57,160
Speaker 1: to the party because he knows. And then he when

1230
01:12:57,160 --> 01:13:00,000
Speaker 1: he writes that note on her door and he's like,

1231
01:13:00,080 --> 01:13:02,759
Speaker 1: meet made by the power plant at ten pm because

1232
01:13:02,760 --> 01:13:05,000
Speaker 1: he knows that she can only come out after dark.

1233
01:13:05,800 --> 01:13:09,000
Speaker 1: And then I that just reminded me of Titanic. When

1234
01:13:09,040 --> 01:13:11,320
Speaker 1: I saw it, I was like, oh, someone past meet

1235
01:13:11,400 --> 01:13:15,960
Speaker 1: him somewhere at a time. Culture make it count. Meet

1236
01:13:15,960 --> 01:13:18,920
Speaker 1: me by the clock should make account. I'm document, it

1237
01:13:18,920 --> 01:13:21,640
Speaker 1: shouldn't made account. Meet me by the clock at the

1238
01:13:21,680 --> 01:13:24,519
Speaker 1: power plant. Um. Anyway, I think it just occurred to

1239
01:13:24,560 --> 01:13:27,559
Speaker 1: me that I think maybe he's either maybe not consciously knew,

1240
01:13:27,600 --> 01:13:29,800
Speaker 1: but I think he subconsciously knew that she was a

1241
01:13:29,880 --> 01:13:33,040
Speaker 1: vampire this whole time. And then and then when he's like, oh, wait,

1242
01:13:33,080 --> 01:13:37,679
Speaker 1: my cat is here. That was my dad's cat, who's dead. Now,

1243
01:13:37,840 --> 01:13:41,040
Speaker 1: why do you have my dead dad's cat? Then that

1244
01:13:41,160 --> 01:13:44,840
Speaker 1: really solidified his thinking. But I think he knew the

1245
01:13:44,880 --> 01:13:48,479
Speaker 1: whole time. It's interesting that no one ever acknowledges like,

1246
01:13:48,479 --> 01:13:50,960
Speaker 1: like there's never athing, Like there's people dying and they're

1247
01:13:50,960 --> 01:13:54,360
Speaker 1: always puncture wounds on their neck, right, no one ever

1248
01:13:54,400 --> 01:13:57,559
Speaker 1: really acknowledges the c s I of it. Well, yeah,

1249
01:13:57,600 --> 01:14:01,960
Speaker 1: where's the crime scene investigation? Have a bad city? A

1250
01:14:02,000 --> 01:14:07,519
Speaker 1: lot of people are dying with Well, must be a dog, right,

1251
01:14:08,600 --> 01:14:11,240
Speaker 1: she whiz. There's also a whole ditch full of dead

1252
01:14:11,240 --> 01:14:13,720
Speaker 1: body that you're right, Oh my god, I forgot all

1253
01:14:13,760 --> 01:14:16,639
Speaker 1: about that. No one are ash in the first scene,

1254
01:14:16,640 --> 01:14:20,040
Speaker 1: walks right by it, like, hey, yeah, you know that ditch?

1255
01:14:20,640 --> 01:14:24,960
Speaker 1: You know how that is? That's that's bad city baby. Anyway,

1256
01:14:25,080 --> 01:14:29,400
Speaker 1: I feel like the movie kind of demonizes addiction in

1257
01:14:29,439 --> 01:14:31,320
Speaker 1: a way that I don't think is really fair. I

1258
01:14:31,320 --> 01:14:35,280
Speaker 1: think a lot of people misunderstand drug addiction and like

1259
01:14:35,560 --> 01:14:39,600
Speaker 1: don't treat it as like the mental illness that it

1260
01:14:39,800 --> 01:14:42,800
Speaker 1: often is, and you know, and it kind of goes

1261
01:14:42,840 --> 01:14:45,360
Speaker 1: with the stigma of mental illness anyway, So I feel

1262
01:14:45,360 --> 01:14:48,080
Speaker 1: like the movie kind of miss hunt handles that a

1263
01:14:48,120 --> 01:14:50,679
Speaker 1: little bit. But I see that. But I also think

1264
01:14:50,720 --> 01:14:54,800
Speaker 1: that we get good moments with Jossin where he's not

1265
01:14:55,280 --> 01:15:00,200
Speaker 1: universally characterized as a villain necessarily, like there you see

1266
01:15:00,240 --> 01:15:04,439
Speaker 1: the manipulative forces in his life. You understand, you know,

1267
01:15:05,080 --> 01:15:08,160
Speaker 1: I don't know. The movie certainly doesn't say explicitly that

1268
01:15:08,200 --> 01:15:12,040
Speaker 1: it's a disease, and it's not perfect, but I don't know.

1269
01:15:12,200 --> 01:15:14,600
Speaker 1: I thought it was better than a lot of portrayals

1270
01:15:14,640 --> 01:15:16,920
Speaker 1: of addiction that you see it because you see his

1271
01:15:17,040 --> 01:15:21,880
Speaker 1: family life, you get background, you see that he's you know,

1272
01:15:21,960 --> 01:15:26,000
Speaker 1: he he doesn't have the resources to escape this. He's

1273
01:15:26,040 --> 01:15:28,840
Speaker 1: not being given the resources to escape which is the

1274
01:15:28,920 --> 01:15:31,800
Speaker 1: problem with addiction so much of the time is that

1275
01:15:32,640 --> 01:15:35,880
Speaker 1: you know, it's not insurmountable in all cases, but but

1276
01:15:36,000 --> 01:15:39,240
Speaker 1: it's just a lack of access and there's you know,

1277
01:15:39,320 --> 01:15:41,599
Speaker 1: it's a bad city. I thought it's a very interesting

1278
01:15:41,680 --> 01:15:47,400
Speaker 1: portrayal of like an older family man who becomes addicted

1279
01:15:47,439 --> 01:15:49,519
Speaker 1: to heroin because it's like you hear a lot about it.

1280
01:15:49,600 --> 01:15:52,360
Speaker 1: People start doing opiates because that they're paying whatever, they

1281
01:15:52,400 --> 01:15:54,960
Speaker 1: become addicted and then you know, because it's cheaper to

1282
01:15:55,040 --> 01:15:58,200
Speaker 1: just do heroin straight, that's what happens, and that's kind

1283
01:15:58,200 --> 01:16:00,360
Speaker 1: of what leads to a lot of death and whatever.

1284
01:16:00,360 --> 01:16:03,160
Speaker 1: Outside of like the cutting of fentanyl into these drugs.

1285
01:16:03,240 --> 01:16:06,840
Speaker 1: But like, I thought that was an interesting portrayal because

1286
01:16:06,840 --> 01:16:10,000
Speaker 1: I wasn't expecting the dad to be just a full

1287
01:16:10,000 --> 01:16:13,360
Speaker 1: blown heroin attic Like that actually took me by surprise,

1288
01:16:13,680 --> 01:16:16,080
Speaker 1: because you don't you if you would see a man

1289
01:16:16,240 --> 01:16:18,800
Speaker 1: like that on the street, you'd be like, Okay, in

1290
01:16:18,840 --> 01:16:23,479
Speaker 1: my case, that's an older Iranian man. He's a family man.

1291
01:16:24,160 --> 01:16:26,519
Speaker 1: I would never guess that he was on heroin. Like

1292
01:16:26,800 --> 01:16:29,680
Speaker 1: there was kind of this kind of like stereotype breaking

1293
01:16:30,760 --> 01:16:34,120
Speaker 1: aspect of that, Like I wasn't expecting it. It It could

1294
01:16:34,120 --> 01:16:36,479
Speaker 1: be like it was almost like it could be your father,

1295
01:16:37,040 --> 01:16:39,960
Speaker 1: and and that was kind of like, I mean, it

1296
01:16:40,120 --> 01:16:42,160
Speaker 1: hit home because I've had like family members who have

1297
01:16:42,200 --> 01:16:44,000
Speaker 1: gotten caught up in things like this, and it's like

1298
01:16:44,680 --> 01:16:47,160
Speaker 1: you never you never know what someone's going through. And

1299
01:16:47,160 --> 01:16:49,880
Speaker 1: that was very interesting to me. You don't know, you

1300
01:16:49,880 --> 01:16:52,439
Speaker 1: don't know what this man is doing, what he's shooting

1301
01:16:52,479 --> 01:16:55,320
Speaker 1: in between his toes at night, like you just genuinely

1302
01:16:55,360 --> 01:16:57,400
Speaker 1: don't know. And he could just look like any other

1303
01:16:57,520 --> 01:17:00,000
Speaker 1: old Persian man and he would just be like, oh

1304
01:17:00,160 --> 01:17:03,160
Speaker 1: what I didn't what I didn't I guess the plot

1305
01:17:03,200 --> 01:17:06,200
Speaker 1: point that I didn't like was conflating his addiction with

1306
01:17:06,840 --> 01:17:10,840
Speaker 1: being a sex person like that. That's what I'm That's

1307
01:17:10,840 --> 01:17:14,360
Speaker 1: what I'm what I'm saying. It's mishandling it going from

1308
01:17:14,960 --> 01:17:18,000
Speaker 1: I mean and it it's yeah, like including those two

1309
01:17:18,040 --> 01:17:21,280
Speaker 1: plot points and the same character, like it wasn't necessary.

1310
01:17:21,320 --> 01:17:24,479
Speaker 1: I thought the father's son aspect of like seeing a

1311
01:17:24,800 --> 01:17:29,240
Speaker 1: parent who is struggling with addiction in a very immediate

1312
01:17:29,280 --> 01:17:33,599
Speaker 1: way and the tension and the complications that come with

1313
01:17:33,720 --> 01:17:38,240
Speaker 1: your own child like that didn't bother me as much, um,

1314
01:17:38,880 --> 01:17:41,479
Speaker 1: but but it was. It was the second he is,

1315
01:17:41,960 --> 01:17:45,400
Speaker 1: you know, kicked out by his son and you understand,

1316
01:17:45,400 --> 01:17:48,160
Speaker 1: at least plot wise, why Irash is doing that. I

1317
01:17:48,160 --> 01:17:50,200
Speaker 1: don't know, it made sense to me in the story.

1318
01:17:50,320 --> 01:17:53,800
Speaker 1: But but the fact that he immediately goes and assaults

1319
01:17:54,040 --> 01:17:59,160
Speaker 1: the only woman that he's been harassing for the entire movie. Yeah,

1320
01:17:59,160 --> 01:18:00,920
Speaker 1: those plot points I I don't think it needed to

1321
01:18:00,920 --> 01:18:03,040
Speaker 1: be connected. And that's what I mean. That is like

1322
01:18:03,520 --> 01:18:07,800
Speaker 1: a difficult scene to watch because we getting back to

1323
01:18:08,560 --> 01:18:11,880
Speaker 1: a t in that scene. I mean, she she is

1324
01:18:12,080 --> 01:18:17,880
Speaker 1: repeatedly mistreated by men in Bad City. We first see

1325
01:18:17,920 --> 01:18:21,680
Speaker 1: her with said who just is really giving her a

1326
01:18:21,800 --> 01:18:24,920
Speaker 1: laundry list of like sexist things to say. It's like,

1327
01:18:24,960 --> 01:18:27,960
Speaker 1: how old are you? I'm thirty. Oh, you're getting pretty

1328
01:18:27,960 --> 01:18:32,200
Speaker 1: old that you want kids. Just every like lazy sexist

1329
01:18:32,200 --> 01:18:34,880
Speaker 1: thing you can think of to say. He, you know,

1330
01:18:34,960 --> 01:18:39,120
Speaker 1: kind of demands sex from her, then refuses to pay her.

1331
01:18:39,439 --> 01:18:42,960
Speaker 1: When she gets upset about this, he assaulted. He pushes

1332
01:18:42,960 --> 01:18:47,599
Speaker 1: her to the ground. Then later on the other person

1333
01:18:47,640 --> 01:18:51,200
Speaker 1: that you see her with, who is I mean, it

1334
01:18:51,240 --> 01:18:54,760
Speaker 1: seems like because Josean has been given some money by

1335
01:18:54,840 --> 01:18:59,479
Speaker 1: a raj, he's paying her as well. But then he

1336
01:19:00,120 --> 01:19:02,200
Speaker 1: crosses a line and she says, no, I don't want

1337
01:19:02,200 --> 01:19:04,800
Speaker 1: to have sex with you, over and over and over,

1338
01:19:04,880 --> 01:19:09,479
Speaker 1: and he responds by grabbing her, pulling her down and

1339
01:19:09,600 --> 01:19:12,800
Speaker 1: sedating her. So it's just like a direct assault. And

1340
01:19:14,240 --> 01:19:16,240
Speaker 1: I thought it was that she didn't want to do

1341
01:19:16,320 --> 01:19:17,840
Speaker 1: Heroin with him, Like he was trying to be like,

1342
01:19:17,920 --> 01:19:20,280
Speaker 1: let's do Heroin together, and she kept like, no, I

1343
01:19:20,320 --> 01:19:22,160
Speaker 1: don't want to do he because he said he kept

1344
01:19:22,200 --> 01:19:23,800
Speaker 1: saying like, let's have a good time. Let's have a

1345
01:19:23,800 --> 01:19:26,439
Speaker 1: good time, like yeah, and I thought that was him

1346
01:19:26,439 --> 01:19:29,280
Speaker 1: being like, let's do Heroin together. I think it's open

1347
01:19:29,320 --> 01:19:36,840
Speaker 1: to interpretation. Yeah, I feel like Ati just is brutally

1348
01:19:36,960 --> 01:19:41,600
Speaker 1: put through the ringer in this movie, And yeah, I

1349
01:19:43,640 --> 01:19:46,040
Speaker 1: thought it was. I. I guess I don't really know

1350
01:19:47,080 --> 01:19:50,360
Speaker 1: where I land on how she's treated. I mean, I

1351
01:19:50,400 --> 01:19:53,880
Speaker 1: think that it's like saying one thing that it's it's

1352
01:19:54,000 --> 01:19:57,519
Speaker 1: sex workers are certainly frequently mistreated and their boundaries are

1353
01:19:57,560 --> 01:20:01,240
Speaker 1: crossed and they're not respected. And seeing that reflected, it

1354
01:20:01,280 --> 01:20:04,400
Speaker 1: was like, okay, that is, you know, certainly something that exists.

1355
01:20:05,720 --> 01:20:07,599
Speaker 1: I don't know. And then and then the girl comes

1356
01:20:07,600 --> 01:20:11,679
Speaker 1: into her life, and I don't know. This is another

1357
01:20:11,720 --> 01:20:13,320
Speaker 1: thing where I'm just like I don't know how to

1358
01:20:13,320 --> 01:20:15,599
Speaker 1: feel or I kind of know how I feel. Where

1359
01:20:16,840 --> 01:20:21,720
Speaker 1: the girl and Auntie meet formally right, and they hang

1360
01:20:21,760 --> 01:20:24,920
Speaker 1: out because the girl is following her around because that's

1361
01:20:25,280 --> 01:20:28,519
Speaker 1: that's her thing that she loves to follow. She is

1362
01:20:28,520 --> 01:20:38,280
Speaker 1: a camera, she's a dolly following at but but at

1363
01:20:38,600 --> 01:20:44,360
Speaker 1: like Rash doesn't react with like terror. She just says like,

1364
01:20:44,560 --> 01:20:48,160
Speaker 1: what are you doing? Do you want to talk like

1365
01:20:49,000 --> 01:20:52,519
Speaker 1: and appeals to her need for company. So they hang out.

1366
01:20:53,400 --> 01:20:55,719
Speaker 1: And then and this was the point where I wasn't

1367
01:20:55,720 --> 01:21:00,400
Speaker 1: totally sure if the girl like truly knew healthy people

1368
01:21:00,439 --> 01:21:02,799
Speaker 1: felt or if she was just because there's a scene

1369
01:21:02,840 --> 01:21:06,719
Speaker 1: that's the first scene with them. She basically tells at

1370
01:21:07,080 --> 01:21:11,120
Speaker 1: how she feels about her life and about her profession,

1371
01:21:11,760 --> 01:21:15,519
Speaker 1: and in some ways that I think are perpetuating negative

1372
01:21:15,560 --> 01:21:19,639
Speaker 1: stereotypes about how sex workers view themselves in their profession,

1373
01:21:19,800 --> 01:21:22,960
Speaker 1: where it's I don't know, I guess portraying it as

1374
01:21:23,000 --> 01:21:26,040
Speaker 1: the norm of like you couldn't possibly enjoy this job,

1375
01:21:26,240 --> 01:21:30,639
Speaker 1: you couldn't possibly feel pleasure if you have this job,

1376
01:21:30,680 --> 01:21:33,800
Speaker 1: and all these kind of common stereotypes that the girl

1377
01:21:33,920 --> 01:21:37,639
Speaker 1: is presenting to a t as fact and at is like, wow,

1378
01:21:38,680 --> 01:21:42,080
Speaker 1: I feel seen right which apartment was? Like is that

1379
01:21:42,200 --> 01:21:47,200
Speaker 1: the like boomer Iranian culture that the girl is coming from?

1380
01:21:47,240 --> 01:21:50,200
Speaker 1: Like that's because in any other case, if you're interacting

1381
01:21:50,200 --> 01:21:53,960
Speaker 1: with Iranians who are kind of deeply embedded in their culture,

1382
01:21:54,360 --> 01:21:57,360
Speaker 1: they're just not like if you will woke in that manner,

1383
01:21:57,479 --> 01:22:00,519
Speaker 1: Like I have friends who are my same h who

1384
01:22:00,560 --> 01:22:02,640
Speaker 1: would probably be like, you would never want to be

1385
01:22:02,720 --> 01:22:05,320
Speaker 1: a sex worker, Like they would talk down about something

1386
01:22:05,400 --> 01:22:08,680
Speaker 1: like that versus someone like me who's more involved in

1387
01:22:08,920 --> 01:22:11,559
Speaker 1: like social justice work. If you will. I hate to

1388
01:22:11,600 --> 01:22:14,200
Speaker 1: say such words like weke and social justice right now.

1389
01:22:14,240 --> 01:22:17,160
Speaker 1: But like I, I have maybe more of an open

1390
01:22:17,240 --> 01:22:19,320
Speaker 1: view of such things. But if I were to today

1391
01:22:19,520 --> 01:22:21,519
Speaker 1: today call my dad and be like, what do you

1392
01:22:21,520 --> 01:22:25,479
Speaker 1: think of sex work? He's a culturally boomer Iranian man,

1393
01:22:25,520 --> 01:22:27,280
Speaker 1: he'd be like, why would you even ask me about this?

1394
01:22:27,680 --> 01:22:30,160
Speaker 1: That's not a good thing, Like they I think, I

1395
01:22:30,160 --> 01:22:32,680
Speaker 1: feel like she comes from that era, and and so

1396
01:22:32,800 --> 01:22:35,360
Speaker 1: does kind of utty, and it's like all viewed from

1397
01:22:35,360 --> 01:22:39,920
Speaker 1: this like Iranian cultured lens of like kind of less

1398
01:22:40,400 --> 01:22:43,920
Speaker 1: open mindedness. That's like how I was kind of seeing it,

1399
01:22:44,000 --> 01:22:45,679
Speaker 1: because I think as soon as I watch a film

1400
01:22:45,680 --> 01:22:49,519
Speaker 1: that's in FARSI I immediately assume that things might not

1401
01:22:49,600 --> 01:22:52,840
Speaker 1: be as open minded and as progressive as I would

1402
01:22:53,280 --> 01:22:56,240
Speaker 1: hope they be. But I don't know that the director

1403
01:22:56,400 --> 01:22:58,960
Speaker 1: is like Iranian American woman, so I don't know exactly.

1404
01:22:59,000 --> 01:23:01,439
Speaker 1: Of course, she's just waiting for us to like dig

1405
01:23:01,479 --> 01:23:05,800
Speaker 1: too deep. I'm so yeah that that was another that

1406
01:23:05,880 --> 01:23:09,840
Speaker 1: I wasn't. I just wasn't because plot wise, what we

1407
01:23:09,920 --> 01:23:14,479
Speaker 1: know of autis experience in sex work. It stands to

1408
01:23:14,520 --> 01:23:17,799
Speaker 1: reason that she doesn't enjoy what she's doing, and it's

1409
01:23:17,880 --> 01:23:22,679
Speaker 1: because we've only seen her get abused. But again, it's like,

1410
01:23:23,120 --> 01:23:26,040
Speaker 1: you know, you didn't need to make that plot choice,

1411
01:23:26,600 --> 01:23:28,800
Speaker 1: but it would also feel, I guess, kind of off

1412
01:23:28,800 --> 01:23:32,800
Speaker 1: center for a sex worker to feel very safe and

1413
01:23:32,880 --> 01:23:36,800
Speaker 1: respected in bad city. So it's just kind of another

1414
01:23:36,840 --> 01:23:40,000
Speaker 1: thing where I just like, I just I don't love

1415
01:23:40,040 --> 01:23:42,280
Speaker 1: how that scene plays out, especially because it's like one

1416
01:23:42,280 --> 01:23:44,880
Speaker 1: of the only scenes where women are talking to each

1417
01:23:44,880 --> 01:23:48,400
Speaker 1: other and it does pass the back deal test, but

1418
01:23:48,439 --> 01:23:52,200
Speaker 1: it's like, don't you just hate your life? And the

1419
01:23:52,439 --> 01:23:54,880
Speaker 1: woman's like, yes, I do, which now when I say

1420
01:23:54,920 --> 01:23:57,759
Speaker 1: it out loud, I have that conversation every day. Um,

1421
01:23:58,880 --> 01:24:01,680
Speaker 1: but you know what I mean that that was an

1422
01:24:01,960 --> 01:24:04,240
Speaker 1: that was like a loaded scene in a lot of ways,

1423
01:24:04,320 --> 01:24:07,599
Speaker 1: and I can see a lot of different interpretations. And again,

1424
01:24:07,640 --> 01:24:11,880
Speaker 1: if any listeners that are sex workers, I'd love to

1425
01:24:11,960 --> 01:24:17,000
Speaker 1: know your take. Yeah. Indeed, another thing I wanted to

1426
01:24:17,600 --> 01:24:21,560
Speaker 1: talk about a little bit that we already referenced from

1427
01:24:21,600 --> 01:24:25,759
Speaker 1: a quote that I read earlier, but the Rockabilly character,

1428
01:24:26,040 --> 01:24:29,840
Speaker 1: and that is the character who who we see in

1429
01:24:29,880 --> 01:24:32,840
Speaker 1: a few different scenes that we don't know exactly how

1430
01:24:32,880 --> 01:24:37,760
Speaker 1: they identified because this character does not speak words. They

1431
01:24:37,800 --> 01:24:42,840
Speaker 1: don't speak. They're seen dancing around at some point, I

1432
01:24:43,320 --> 01:24:48,639
Speaker 1: thought it was interesting to include that character because there's

1433
01:24:48,760 --> 01:24:53,040
Speaker 1: no real function they serve as far as I can

1434
01:24:53,040 --> 01:24:55,160
Speaker 1: tell on the kind of a surface level in the narrative.

1435
01:24:55,920 --> 01:24:59,640
Speaker 1: Maybe it's some sort of like allegorical thing or symbolic

1436
01:24:59,760 --> 01:25:03,000
Speaker 1: thing that I just wasn't super picking up on me

1437
01:25:03,160 --> 01:25:08,000
Speaker 1: like a an art movie. Yeah, I just I And

1438
01:25:08,000 --> 01:25:12,639
Speaker 1: and like with the quote that we read earlier, I mean, well,

1439
01:25:12,640 --> 01:25:16,719
Speaker 1: she she basically said explicitly that, um, where so many

1440
01:25:17,040 --> 01:25:21,360
Speaker 1: reviewers and viewers were saying that, um, this movie was

1441
01:25:21,520 --> 01:25:24,800
Speaker 1: an outright political movie, that the only thing she viewed

1442
01:25:24,800 --> 01:25:31,760
Speaker 1: as a political statement was Rockabilly because of how queerness

1443
01:25:32,080 --> 01:25:36,400
Speaker 1: is dealt with by Iranian culture, which is something where

1444
01:25:36,479 --> 01:25:39,519
Speaker 1: we want to know more about from you on a UM,

1445
01:25:39,600 --> 01:25:43,040
Speaker 1: it's I mean, I kind of only know the basics.

1446
01:25:43,080 --> 01:25:45,000
Speaker 1: I wish that we got to know this character better

1447
01:25:45,520 --> 01:25:48,400
Speaker 1: and had like a fully developed queer character. But I

1448
01:25:48,439 --> 01:25:52,720
Speaker 1: am happy for Rockabilly's presence. Yeah, same, I agree. I

1449
01:25:53,040 --> 01:25:55,400
Speaker 1: kind of wish we saw more of Rockabilly because like

1450
01:25:55,720 --> 01:25:59,639
Speaker 1: the first shot, I believe they were just standing around

1451
01:26:00,040 --> 01:26:02,960
Speaker 1: when our ash was walking by or maybe a site

1452
01:26:03,000 --> 01:26:06,560
Speaker 1: I'm blanking now, and we see them pretty it's a

1453
01:26:06,640 --> 01:26:09,240
Speaker 1: quick shot, and I think like in the moment, I

1454
01:26:09,280 --> 01:26:13,599
Speaker 1: didn't really register who that was. And then later when

1455
01:26:13,640 --> 01:26:16,839
Speaker 1: we we kind of see them pop up around the movie,

1456
01:26:17,479 --> 01:26:20,200
Speaker 1: but we don't get like a full interaction until they're

1457
01:26:20,280 --> 01:26:23,080
Speaker 1: dancing for us, I kind of wanted more, Like I

1458
01:26:23,120 --> 01:26:25,599
Speaker 1: was like, maybe this character will interact with the girl,

1459
01:26:25,720 --> 01:26:28,599
Speaker 1: or maybe this character will interact with Ash, but like

1460
01:26:29,000 --> 01:26:31,920
Speaker 1: or even like Hossein the Father or even Ati, but

1461
01:26:32,000 --> 01:26:35,040
Speaker 1: like it was almost as if it was this this

1462
01:26:35,160 --> 01:26:38,360
Speaker 1: character that was placed. There's like all knowing, they see

1463
01:26:38,400 --> 01:26:41,200
Speaker 1: everything as well, they know what's going on, and they're

1464
01:26:41,240 --> 01:26:43,919
Speaker 1: just kind of like they're just like almost like reveling

1465
01:26:43,920 --> 01:26:49,160
Speaker 1: in like all the madness around them of like Bad City.

1466
01:26:49,200 --> 01:26:50,760
Speaker 1: But I was kind of hoping for more because I

1467
01:26:50,760 --> 01:26:53,479
Speaker 1: was like, Okay, oh, all right, now this character is

1468
01:26:53,600 --> 01:26:56,479
Speaker 1: dancing for us, but then they just don't really know why.

1469
01:26:56,560 --> 01:26:58,559
Speaker 1: I was hoping that something was going to like pay

1470
01:26:58,600 --> 01:27:02,080
Speaker 1: off there, you know, whereas like they're seeing this character

1471
01:27:02,560 --> 01:27:05,600
Speaker 1: kind of in almost seems like being used as a

1472
01:27:05,640 --> 01:27:09,120
Speaker 1: transitional tool to get you from sequence to sequence, And

1473
01:27:09,160 --> 01:27:12,160
Speaker 1: I was hoping because I was, I mean, I did

1474
01:27:12,200 --> 01:27:14,599
Speaker 1: really enjoy this movie. I was like, oh, maybe that

1475
01:27:14,720 --> 01:27:17,400
Speaker 1: is just like a very long con of a plant

1476
01:27:18,000 --> 01:27:19,640
Speaker 1: and then there's going to be a payoff and that

1477
01:27:19,680 --> 01:27:21,679
Speaker 1: this character will get to do something at some point,

1478
01:27:21,680 --> 01:27:24,040
Speaker 1: but that just doesn't happen. Yeah, that's what I was

1479
01:27:24,080 --> 01:27:28,519
Speaker 1: hoping as well, right, especially because like we see the girl,

1480
01:27:28,600 --> 01:27:34,240
Speaker 1: the vampire interact with most other characters we meet, or

1481
01:27:34,960 --> 01:27:38,080
Speaker 1: every character we meet interacts with someone else that we meet,

1482
01:27:38,200 --> 01:27:43,280
Speaker 1: except for Rockabilly, who doesn't seem to interact with anyone one.

1483
01:27:43,400 --> 01:27:47,800
Speaker 1: So because of that, we don't really get any context

1484
01:27:47,960 --> 01:27:51,479
Speaker 1: for who they are, why they're they're, what they're doing.

1485
01:27:51,680 --> 01:27:55,760
Speaker 1: Are they also a vampire who knows that will be fun?

1486
01:27:55,840 --> 01:27:58,880
Speaker 1: I mean Rockabilly seems I mean it just based on

1487
01:27:59,000 --> 01:28:03,360
Speaker 1: how they're framed. We only see them alone really, so

1488
01:28:03,400 --> 01:28:05,000
Speaker 1: it's like you would think this would be a prime

1489
01:28:05,080 --> 01:28:08,640
Speaker 1: candidate to be friends with the girl. There's another isolated

1490
01:28:08,720 --> 01:28:11,000
Speaker 1: person that needs someone to talk to hang out with.

1491
01:28:11,160 --> 01:28:15,200
Speaker 1: That's the girl's bread and butter. She loves lonely people,

1492
01:28:15,960 --> 01:28:23,080
Speaker 1: it's her addiction. Well, I found an abstract on the internet.

1493
01:28:23,280 --> 01:28:25,160
Speaker 1: I did too, and then I'm like, I don't have

1494
01:28:25,240 --> 01:28:29,800
Speaker 1: Yeah I didn't, so I requested it for for for free. Oops. Um,

1495
01:28:29,880 --> 01:28:35,600
Speaker 1: and I have not heard back from them recording. But

1496
01:28:35,840 --> 01:28:38,760
Speaker 1: what what is this that you requested? So it's it's

1497
01:28:38,800 --> 01:28:44,200
Speaker 1: a academic piece of writing entitled Queer Utopias and a

1498
01:28:44,240 --> 01:28:49,439
Speaker 1: Feminist Iranian Vampire A critical analysis of resistive monstrosity and

1499
01:28:49,479 --> 01:28:54,280
Speaker 1: a Girl Walks Home Alone at Night And the abstract Sorry,

1500
01:28:54,280 --> 01:28:57,040
Speaker 1: I don't know what an abstract is, as it turns out,

1501
01:28:57,040 --> 01:29:02,720
Speaker 1: but the abstract of this academic piece of writing says this, Yeah, uh,

1502
01:29:02,880 --> 01:29:05,720
Speaker 1: just the black and white vampire spaghetti western. A Girl

1503
01:29:05,720 --> 01:29:08,360
Speaker 1: Walks Home Alone at Night follows the narrative of the girl,

1504
01:29:08,439 --> 01:29:13,559
Speaker 1: a forlorn, trador wearing feminist vampire vigilante in the fictional

1505
01:29:13,560 --> 01:29:16,840
Speaker 1: world of Bad City. In this queer utopia, the girl

1506
01:29:16,960 --> 01:29:19,479
Speaker 1: prais on immoral men so that she can protect the

1507
01:29:19,600 --> 01:29:23,000
Speaker 1: female residence of Bad City from the violence of patriarchy.

1508
01:29:23,120 --> 01:29:27,120
Speaker 1: We explore themes of monstrous feminisms and queer doublings to

1509
01:29:27,280 --> 01:29:29,960
Speaker 1: consider how the film uses the trope of the vampire

1510
01:29:30,000 --> 01:29:34,599
Speaker 1: to manifest queer utopias and reflect Iranian and Iranian American

1511
01:29:34,640 --> 01:29:37,920
Speaker 1: feminist themes. So that's what this academic paper is about.

1512
01:29:37,960 --> 01:29:41,240
Speaker 1: We do not have access to it, can credit if

1513
01:29:41,280 --> 01:29:44,960
Speaker 1: there if, if, if, and when it comes Caitlin's way

1514
01:29:45,120 --> 01:29:49,120
Speaker 1: and it changes our whole perspective and read, we will

1515
01:29:49,439 --> 01:29:51,880
Speaker 1: do a follow up. But I wish I was glad

1516
01:29:51,920 --> 01:29:55,080
Speaker 1: that there was at least something out there to address that,

1517
01:29:55,160 --> 01:29:59,040
Speaker 1: because I mean, I understand that, like, not every movie

1518
01:29:59,080 --> 01:30:03,080
Speaker 1: can address you know, every every societal issue, right, and

1519
01:30:03,160 --> 01:30:05,920
Speaker 1: this movie tackles a lot, But it would not have

1520
01:30:06,040 --> 01:30:10,640
Speaker 1: been difficult to include Rockabilly in a meaningful way and

1521
01:30:10,720 --> 01:30:14,280
Speaker 1: in a way that would have elevated the movie, I think,

1522
01:30:14,360 --> 01:30:16,760
Speaker 1: and like could have fleshed out the characters we already know,

1523
01:30:17,520 --> 01:30:20,000
Speaker 1: but yeah, they're from what I could tell, no one

1524
01:30:20,080 --> 01:30:22,439
Speaker 1: has really asked that question of the director, and so

1525
01:30:22,520 --> 01:30:24,920
Speaker 1: we don't really know if that if it was a

1526
01:30:24,960 --> 01:30:29,320
Speaker 1: decision made very deliberately to have the only character that

1527
01:30:29,439 --> 01:30:34,559
Speaker 1: she has specifically stated as queer being non speaking, and

1528
01:30:34,600 --> 01:30:37,760
Speaker 1: we don't even know. You don't know what Rockabilly's name

1529
01:30:37,840 --> 01:30:41,000
Speaker 1: is unless you like look at the IMDb page, like

1530
01:30:41,080 --> 01:30:45,000
Speaker 1: it's the character is not referenced at all, So it's

1531
01:30:45,000 --> 01:30:47,400
Speaker 1: like almost, yeah, I have a question. So it sounds

1532
01:30:47,439 --> 01:30:51,280
Speaker 1: like that like articles saying that she protects the women

1533
01:30:51,400 --> 01:30:54,680
Speaker 1: from the men, which means that she was just assuming

1534
01:30:54,720 --> 01:30:57,800
Speaker 1: that unhoused man would be a danger at some point.

1535
01:30:59,000 --> 01:31:01,240
Speaker 1: That is not okay, So that actually kind of like

1536
01:31:01,280 --> 01:31:04,400
Speaker 1: trying that that's something there is. There are so many

1537
01:31:04,439 --> 01:31:07,920
Speaker 1: reads of this movie that it makes my head to explode.

1538
01:31:08,760 --> 01:31:11,679
Speaker 1: A different read I read on this movie and several

1539
01:31:11,680 --> 01:31:18,519
Speaker 1: different places, was that, okay, get ready for symbolism, that

1540
01:31:18,720 --> 01:31:25,519
Speaker 1: the girl and the vampire is a stand in for society,

1541
01:31:25,600 --> 01:31:29,920
Speaker 1: because we live in a society. So what it sounds

1542
01:31:29,920 --> 01:31:33,280
Speaker 1: really corny. The reasoning against it is fairly sound, but

1543
01:31:33,400 --> 01:31:35,400
Speaker 1: based on what I've read of what the director says,

1544
01:31:35,439 --> 01:31:37,719
Speaker 1: I doubt it's true. But the read goes as such

1545
01:31:38,280 --> 01:31:43,280
Speaker 1: that the girl is always killing. You can perceive the

1546
01:31:43,320 --> 01:31:47,000
Speaker 1: girl killing someone in a way that could be perceived

1547
01:31:47,000 --> 01:31:50,439
Speaker 1: as them kind of like succumbing to a societal ill

1548
01:31:50,640 --> 01:31:54,479
Speaker 1: or a societal disadvantage. So the moment she kills Hossein

1549
01:31:54,680 --> 01:31:57,960
Speaker 1: is when he is at the absolute bottom of his addiction,

1550
01:31:58,120 --> 01:32:01,120
Speaker 1: so her killing him could be seen as him succumbing

1551
01:32:01,600 --> 01:32:06,160
Speaker 1: to untreated addiction. And the same goes to the read

1552
01:32:06,400 --> 01:32:11,000
Speaker 1: of her murdering an unhoused person, where there is a

1553
01:32:11,320 --> 01:32:14,719
Speaker 1: read of this that is, well, this is a person

1554
01:32:14,760 --> 01:32:19,960
Speaker 1: who is succumbing to being completely neglected by society. I

1555
01:32:20,000 --> 01:32:22,360
Speaker 1: don't agree with it, but I did at least think

1556
01:32:22,360 --> 01:32:26,439
Speaker 1: it was worth mentioning because it's brought up quite a

1557
01:32:26,479 --> 01:32:31,719
Speaker 1: bit in reviews and the initial um wave of think

1558
01:32:31,800 --> 01:32:35,760
Speaker 1: pieces about this back in Because I also don't really

1559
01:32:35,760 --> 01:32:39,160
Speaker 1: see how that plays into the death of the pimp,

1560
01:32:39,840 --> 01:32:47,360
Speaker 1: because he seems to be toxic masculinity killed. I don't

1561
01:32:47,520 --> 01:32:51,640
Speaker 1: succumb to full just shitty behavior. Yeah, I mean, but

1562
01:32:51,720 --> 01:32:53,680
Speaker 1: like men get away with that all the time, and

1563
01:32:53,840 --> 01:32:57,479
Speaker 1: society allows them to do that. So yeah, I don't know.

1564
01:32:57,840 --> 01:33:00,280
Speaker 1: I think how much I agree with that read. I

1565
01:33:00,320 --> 01:33:02,479
Speaker 1: don't agree with it. I didn't think it was like

1566
01:33:02,520 --> 01:33:06,600
Speaker 1: an interesting I don't know. This movie is so fascinating

1567
01:33:06,640 --> 01:33:09,400
Speaker 1: and the way that the filmmaker treats her own film

1568
01:33:09,439 --> 01:33:11,400
Speaker 1: is so fascinating that I feel like you get all

1569
01:33:11,439 --> 01:33:13,560
Speaker 1: these reads that kind of go on challenge because the

1570
01:33:13,560 --> 01:33:16,559
Speaker 1: filmmakers like whatever you think, what you think, and that

1571
01:33:16,880 --> 01:33:19,880
Speaker 1: like this is like my movie is a mirror to

1572
01:33:20,000 --> 01:33:22,120
Speaker 1: how you think, and so you kind of have a

1573
01:33:22,240 --> 01:33:27,120
Speaker 1: wide array of reads on what happens because there's just

1574
01:33:27,200 --> 01:33:32,599
Speaker 1: not there's no you know, no training wheels. Baby. Yeah,

1575
01:33:32,800 --> 01:33:38,040
Speaker 1: but yeah, vampire. More like, we live in a society.

1576
01:33:38,720 --> 01:33:42,599
Speaker 1: Society is always biting my neck and trying to kill me.

1577
01:33:43,200 --> 01:33:46,360
Speaker 1: Ain't that the truth? And yet society refuses to look

1578
01:33:46,360 --> 01:33:51,439
Speaker 1: at mirror and see itself for what it is. Either way,

1579
01:33:51,680 --> 01:33:55,000
Speaker 1: I am never going to be like, yeah, totally, I

1580
01:33:55,120 --> 01:34:00,120
Speaker 1: understand violence against unhoused people. That's the one part it

1581
01:34:00,240 --> 01:34:02,920
Speaker 1: that really throws me because I could get behind like

1582
01:34:03,040 --> 01:34:06,080
Speaker 1: any sort of like, yes, she's a protector of women,

1583
01:34:06,400 --> 01:34:09,000
Speaker 1: until she's like yeah, but you know, vampire got a

1584
01:34:09,080 --> 01:34:12,120
Speaker 1: feed and then you're like, oh okay. I was like,

1585
01:34:12,439 --> 01:34:17,720
Speaker 1: I'm not like really rooting for you any more. Is

1586
01:34:17,760 --> 01:34:20,559
Speaker 1: there a single character you guys find yourself rooting for?

1587
01:34:20,720 --> 01:34:24,320
Speaker 1: In my case, I found it to be Auti. Yes, yeah,

1588
01:34:24,920 --> 01:34:27,720
Speaker 1: I was rooting for Auti, and then um, I was

1589
01:34:27,920 --> 01:34:31,800
Speaker 1: mostly rooting for Rash, even though there were things he

1590
01:34:31,840 --> 01:34:34,559
Speaker 1: did that were not good and that he should be

1591
01:34:34,640 --> 01:34:39,280
Speaker 1: held accountable for, um such as you know, surprised get

1592
01:34:39,320 --> 01:34:41,639
Speaker 1: saying women while he's high and just kind of I mean,

1593
01:34:42,479 --> 01:34:45,599
Speaker 1: he does make a series of missteps, but considering the

1594
01:34:45,640 --> 01:34:49,120
Speaker 1: amount of ship he's up against, I was generally rooting

1595
01:34:49,120 --> 01:34:53,280
Speaker 1: for him and anti just whole I'm all in I

1596
01:34:53,320 --> 01:34:55,400
Speaker 1: want the best for her, and the fact that she

1597
01:34:55,560 --> 01:35:00,880
Speaker 1: basically still protects the girl after this murder, which she

1598
01:35:00,960 --> 01:35:03,640
Speaker 1: didn't have to do, Like, yeah, I just love it

1599
01:35:03,720 --> 01:35:08,040
Speaker 1: because they like she helps Autie helps the girl, like

1600
01:35:08,320 --> 01:35:11,320
Speaker 1: dom po Sin's body and like she's like, we gotta

1601
01:35:11,360 --> 01:35:13,000
Speaker 1: get you out of here. We gotta deal with this.

1602
01:35:13,040 --> 01:35:16,320
Speaker 1: So like you know, they're they're they're helping each other out.

1603
01:35:16,720 --> 01:35:19,080
Speaker 1: I mean, I am rooting for the girl most of

1604
01:35:19,120 --> 01:35:21,679
Speaker 1: the time. It's just that one moment where it's it's

1605
01:35:21,680 --> 01:35:26,040
Speaker 1: a scene that is maybe twenty seconds where she kills

1606
01:35:26,960 --> 01:35:31,560
Speaker 1: a person experiencing homelessness. Get it out of the movie.

1607
01:35:31,600 --> 01:35:34,439
Speaker 1: Like that little moment just like really makes me lose

1608
01:35:34,479 --> 01:35:38,360
Speaker 1: a lot of like empathy for her. And and again

1609
01:35:38,400 --> 01:35:40,840
Speaker 1: it's like we don't know if that was intended, and

1610
01:35:41,080 --> 01:35:44,040
Speaker 1: like did the director want us to lose empathy for

1611
01:35:44,080 --> 01:35:47,040
Speaker 1: her in that moment or was it that she just

1612
01:35:47,120 --> 01:35:52,040
Speaker 1: genuinely made a bad or choice I really don't like

1613
01:35:52,720 --> 01:35:55,120
Speaker 1: in the movie when she could have made that plot

1614
01:35:55,160 --> 01:36:01,400
Speaker 1: point of like the girl loses her moral code in

1615
01:36:01,439 --> 01:36:04,719
Speaker 1: a number of different ways, right, she could have smashed

1616
01:36:04,760 --> 01:36:10,720
Speaker 1: a skateboard, which she would never do, or if we

1617
01:36:10,800 --> 01:36:14,639
Speaker 1: just see another scene where we see a different man.

1618
01:36:15,360 --> 01:36:17,920
Speaker 1: I mean not that I'm advocating that we see men

1619
01:36:18,040 --> 01:36:20,519
Speaker 1: harassing women or anything like that, but if there was

1620
01:36:20,600 --> 01:36:25,240
Speaker 1: something that a man did to behave badly that justified

1621
01:36:25,320 --> 01:36:27,559
Speaker 1: him getting killed, I would have much rather. But then

1622
01:36:27,600 --> 01:36:29,880
Speaker 1: that wouldn't have broken her that that wouldn't have broken

1623
01:36:29,920 --> 01:36:32,960
Speaker 1: her code though really because she would she was going

1624
01:36:33,040 --> 01:36:36,200
Speaker 1: to do that anyway. I don't know, there's there was

1625
01:36:36,240 --> 01:36:40,679
Speaker 1: definitely maybe I'm a simple maybe I'm simple minded for something,

1626
01:36:40,720 --> 01:36:42,960
Speaker 1: but I'm just like, I just want her to be

1627
01:36:43,040 --> 01:36:48,640
Speaker 1: a good following her moral compass the whole time. And

1628
01:36:48,920 --> 01:36:53,080
Speaker 1: that ain't bad city. I know, you're right. Is there

1629
01:36:53,120 --> 01:36:57,639
Speaker 1: anything anyone else wants to talk about? Jamie brought something

1630
01:36:57,680 --> 01:37:01,439
Speaker 1: up which was about like queerness in like the Iranian culture,

1631
01:37:01,560 --> 01:37:03,840
Speaker 1: and I never really say anything about that, but to

1632
01:37:04,160 --> 01:37:08,840
Speaker 1: expand on that, it is definitely looked down upon. It

1633
01:37:08,880 --> 01:37:13,960
Speaker 1: is not considered normal in their eyes. That's how Iranian

1634
01:37:14,000 --> 01:37:16,800
Speaker 1: culture like. Yes, there are queer people. There is an

1635
01:37:16,920 --> 01:37:20,200
Speaker 1: lgbt Q, I A you know, plus community in Iran.

1636
01:37:20,840 --> 01:37:25,280
Speaker 1: Do they live out like are they able to be comfortable? No?

1637
01:37:25,479 --> 01:37:28,840
Speaker 1: Obviously not, um I think they kind of there's certain

1638
01:37:29,280 --> 01:37:31,240
Speaker 1: ways they have to live their lives in order to

1639
01:37:31,680 --> 01:37:35,439
Speaker 1: um stay hidden and out of you know, the government's eyes.

1640
01:37:35,760 --> 01:37:39,479
Speaker 1: And you know it's not ideal, but the Iranian culture

1641
01:37:39,560 --> 01:37:44,240
Speaker 1: is not. I mean, it's a Muslim republic, it's a

1642
01:37:44,240 --> 01:37:48,400
Speaker 1: republic of Islam. And while I don't personally think, and

1643
01:37:48,439 --> 01:37:51,560
Speaker 1: this is always up to interpretation that the Koran specifically

1644
01:37:51,600 --> 01:37:54,400
Speaker 1: says that you cannot be gay, a lot of people

1645
01:37:54,479 --> 01:37:57,320
Speaker 1: have different interpretations of it. I personally certain parts that

1646
01:37:57,400 --> 01:37:59,559
Speaker 1: I've read in research that I've done for like ethnically,

1647
01:37:59,560 --> 01:38:02,639
Speaker 1: Ambigi is like, I don't think there's any clear wording

1648
01:38:02,680 --> 01:38:05,120
Speaker 1: that says you can't do it anything, Like I don't know.

1649
01:38:05,520 --> 01:38:07,519
Speaker 1: Of course, you know, there will always be debates about

1650
01:38:07,520 --> 01:38:10,599
Speaker 1: this um because like this movie, the corona is up

1651
01:38:10,640 --> 01:38:13,800
Speaker 1: and for interpretation, you know, like the Bible or whatever.

1652
01:38:13,840 --> 01:38:15,759
Speaker 1: Like you take it how you want it, and certain

1653
01:38:15,800 --> 01:38:19,680
Speaker 1: people take it in a more negative, evil sort of

1654
01:38:19,800 --> 01:38:22,479
Speaker 1: route and how they treat people, and other people are like,

1655
01:38:23,000 --> 01:38:25,439
Speaker 1: I don't see it that way. I don't think it's

1656
01:38:25,439 --> 01:38:28,760
Speaker 1: explicit that you can't be gay, but because it's such

1657
01:38:28,760 --> 01:38:32,120
Speaker 1: a strict culture and society, they just they don't under

1658
01:38:32,280 --> 01:38:33,840
Speaker 1: the big I think the big thing is they don't

1659
01:38:33,920 --> 01:38:37,200
Speaker 1: understand why, and they don't they will never go out

1660
01:38:37,200 --> 01:38:39,599
Speaker 1: of their way to understand why because to them, it's

1661
01:38:39,640 --> 01:38:42,519
Speaker 1: like in a lot of Iranian culture and you'll see

1662
01:38:42,520 --> 01:38:45,160
Speaker 1: this kind of in other Middle Eastern cultures or South

1663
01:38:45,200 --> 01:38:51,760
Speaker 1: Asian cultures, is it's all about giving the outward expression

1664
01:38:51,760 --> 01:38:54,519
Speaker 1: of everything is great, and you want to keep everything great,

1665
01:38:54,560 --> 01:38:58,639
Speaker 1: and everything's about your reputation. So like my family, like whatever,

1666
01:38:58,680 --> 01:39:00,320
Speaker 1: I mean, my brother were in trouble, like my parents

1667
01:39:00,360 --> 01:39:02,559
Speaker 1: wouldn't you know, one would ever know. My parents always

1668
01:39:02,560 --> 01:39:04,640
Speaker 1: be like they're doing great, everything's great, everything's lovely, like

1669
01:39:04,680 --> 01:39:06,920
Speaker 1: to point where you're you know, you're like white knuckled,

1670
01:39:07,200 --> 01:39:11,559
Speaker 1: like gripped on something like everything guys great. And so

1671
01:39:12,080 --> 01:39:15,720
Speaker 1: that culturally is what they do. It's very accepted to

1672
01:39:15,920 --> 01:39:20,000
Speaker 1: hide negative aspects of your life and for them to

1673
01:39:20,120 --> 01:39:22,400
Speaker 1: be like, okay, well why would you be gay? It

1674
01:39:22,400 --> 01:39:25,679
Speaker 1: would just make your life harder. And it's not about well,

1675
01:39:26,439 --> 01:39:29,720
Speaker 1: it's not my choice. This is who I am and

1676
01:39:29,800 --> 01:39:32,040
Speaker 1: this is what makes me happy. They're like, well, why

1677
01:39:32,040 --> 01:39:34,360
Speaker 1: would you choose something that makes you happy that would

1678
01:39:34,439 --> 01:39:36,839
Speaker 1: make your life harder? And it's like always this constant

1679
01:39:36,880 --> 01:39:38,920
Speaker 1: roadblock that I've seen with, you know, like speaking with

1680
01:39:38,960 --> 01:39:41,439
Speaker 1: family members and even my own parents who now live

1681
01:39:41,439 --> 01:39:44,759
Speaker 1: in America, but have come a long way in regards

1682
01:39:44,800 --> 01:39:48,840
Speaker 1: to like cultural things in this country and like leaving

1683
01:39:48,880 --> 01:39:52,519
Speaker 1: behind those like that mindset they had for so long.

1684
01:39:52,680 --> 01:39:56,400
Speaker 1: Like my mom is a Muslim woman, devout practicing, you know,

1685
01:39:56,479 --> 01:39:59,200
Speaker 1: praise five times a day, but took her a very

1686
01:39:59,240 --> 01:40:01,599
Speaker 1: long time and now she's fine. She's like, you do

1687
01:40:01,640 --> 01:40:04,000
Speaker 1: whatever you want with your own life. But I would say,

1688
01:40:04,040 --> 01:40:06,560
Speaker 1: like up until like ten years ago, like I was

1689
01:40:06,600 --> 01:40:09,640
Speaker 1: still having the discussions with her, like, you know, you

1690
01:40:09,680 --> 01:40:12,200
Speaker 1: really can't be judging people like that, Like you yourself

1691
01:40:12,520 --> 01:40:16,000
Speaker 1: always constantly preached never judging and always having compassion. Because

1692
01:40:16,000 --> 01:40:20,320
Speaker 1: my mom is actually surprisingly very chill Muslim. Uh. She

1693
01:40:20,360 --> 01:40:22,559
Speaker 1: doesn't care what you do with your life. She's come

1694
01:40:22,600 --> 01:40:24,360
Speaker 1: a long way. And I think that's also because she

1695
01:40:24,400 --> 01:40:26,320
Speaker 1: lives in the Bay Area, and it's like that whole

1696
01:40:26,320 --> 01:40:30,879
Speaker 1: Berkeley like hippie Muslim. It's a very you know, interesting

1697
01:40:30,960 --> 01:40:32,960
Speaker 1: type of Muslim where they're like, you know, we sing

1698
01:40:33,040 --> 01:40:36,320
Speaker 1: our own meditation songs and you're like, what, you'll find

1699
01:40:36,320 --> 01:40:38,360
Speaker 1: those CDs around my parents house. It's very funny to

1700
01:40:38,360 --> 01:40:41,200
Speaker 1: hear my mom being well, we'll get into another episode,

1701
01:40:41,439 --> 01:40:45,040
Speaker 1: but so like but she had to come a long way,

1702
01:40:45,080 --> 01:40:48,559
Speaker 1: and my dad even further, Like with racism, just like

1703
01:40:48,600 --> 01:40:52,280
Speaker 1: how things work. They're like, it's so deeply built in

1704
01:40:52,360 --> 01:40:56,840
Speaker 1: them to to basically want to go towards like the

1705
01:40:56,840 --> 01:41:00,200
Speaker 1: white supremacist agenda because that's what they're told for, like

1706
01:41:00,320 --> 01:41:04,280
Speaker 1: movies and culture and like westernize anything that that to

1707
01:41:04,400 --> 01:41:07,160
Speaker 1: be the whitest is the best. So when they come

1708
01:41:07,200 --> 01:41:09,320
Speaker 1: to America, they're like, well, we have to work to

1709
01:41:09,400 --> 01:41:13,080
Speaker 1: prove ourselves to be white. And it's like everything is

1710
01:41:13,120 --> 01:41:16,000
Speaker 1: like ingrained in them from like systems that were built

1711
01:41:16,120 --> 01:41:19,200
Speaker 1: by old white rich men. So like they're constantly trying

1712
01:41:19,240 --> 01:41:21,400
Speaker 1: to understand and be like, but this is what I know,

1713
01:41:22,000 --> 01:41:24,840
Speaker 1: and you have to be like, no, that's what you

1714
01:41:24,920 --> 01:41:28,879
Speaker 1: thought you knew. And actually you can have different feelings

1715
01:41:28,920 --> 01:41:31,559
Speaker 1: towards this once you like meet a person who could

1716
01:41:31,560 --> 01:41:33,880
Speaker 1: be gay, and then you're like, oh, you're right, their

1717
01:41:33,920 --> 01:41:36,800
Speaker 1: life is like I shouldn't be worried about how hard

1718
01:41:36,840 --> 01:41:38,680
Speaker 1: their life is going to be or whatever, like what

1719
01:41:38,840 --> 01:41:43,439
Speaker 1: choices they're making. And I and and I think the

1720
01:41:43,520 --> 01:41:46,400
Speaker 1: unfortunate thing is the culture has to see outside of themselves,

1721
01:41:46,479 --> 01:41:49,479
Speaker 1: and in a lot of these experiences, they don't. They

1722
01:41:49,520 --> 01:41:51,720
Speaker 1: don't have the experience to do so, because it's very

1723
01:41:51,720 --> 01:41:54,240
Speaker 1: hard to leave Iran, Like it's very hard to get visas,

1724
01:41:54,320 --> 01:41:56,519
Speaker 1: like getting a visity Europe. Like my cousin will be like,

1725
01:41:56,520 --> 01:41:58,320
Speaker 1: We're going to Italy in three months, and I'm like,

1726
01:41:58,400 --> 01:42:01,400
Speaker 1: what three months? Okay, Like when we get our visa,

1727
01:42:01,479 --> 01:42:04,120
Speaker 1: if our visa comes through and you're like okay, and

1728
01:42:04,160 --> 01:42:06,240
Speaker 1: then you know, then they're able to go see another culture.

1729
01:42:06,320 --> 01:42:08,240
Speaker 1: Like I have a cousin who was born and raised

1730
01:42:08,240 --> 01:42:11,400
Speaker 1: in Iran and he recently went to college in Australia,

1731
01:42:11,840 --> 01:42:14,000
Speaker 1: and like, looking at his Instagram, I'm like, oh, you

1732
01:42:14,160 --> 01:42:18,479
Speaker 1: just discovered the world. Like you your Instagram is you're

1733
01:42:18,520 --> 01:42:21,280
Speaker 1: just being like guys, I'm at the club and you're

1734
01:42:21,320 --> 01:42:23,800
Speaker 1: like yeah, okay, Like and it's just like this like

1735
01:42:24,080 --> 01:42:28,040
Speaker 1: intensity of like look at this whole other place that

1736
01:42:28,080 --> 01:42:30,439
Speaker 1: I never experienced because I just never got to like

1737
01:42:30,520 --> 01:42:33,600
Speaker 1: see outside myself. And it's like that's kind of a

1738
01:42:33,600 --> 01:42:35,920
Speaker 1: weird metaphor. I've been seeing his instagram along being like, dude,

1739
01:42:35,960 --> 01:42:38,000
Speaker 1: he's always at the club. What have you never been

1740
01:42:38,040 --> 01:42:39,880
Speaker 1: to a club before? And then it's like, no, he

1741
01:42:40,040 --> 01:42:43,839
Speaker 1: never went to a club before, Like alcohol is illegal

1742
01:42:43,920 --> 01:42:46,880
Speaker 1: in Iran. Like you don't see these sorts of things,

1743
01:42:46,960 --> 01:42:50,840
Speaker 1: you know. So like I mean, even I'm curious about him.

1744
01:42:50,840 --> 01:42:52,439
Speaker 1: I actually want to talk to him, like how he's

1745
01:42:52,479 --> 01:42:58,080
Speaker 1: seeing maybe more um marginalized communities now that he actually

1746
01:42:58,120 --> 01:43:00,519
Speaker 1: has the ability to interact and interact with them in

1747
01:43:00,640 --> 01:43:05,160
Speaker 1: open and like talk to them and hear their experiences.

1748
01:43:05,240 --> 01:43:08,040
Speaker 1: And it's I don't know, it's a tough culture. And

1749
01:43:08,040 --> 01:43:11,240
Speaker 1: while I do think the Iranian culture is beautiful, there's

1750
01:43:11,320 --> 01:43:16,000
Speaker 1: a lot of walls built up because they just aren't

1751
01:43:16,080 --> 01:43:19,120
Speaker 1: able to see outside themselves or outside the culture, and

1752
01:43:19,160 --> 01:43:22,240
Speaker 1: they just will never have the opportunity to understand or

1753
01:43:22,320 --> 01:43:25,719
Speaker 1: experience why someone is the way they are because again,

1754
01:43:26,400 --> 01:43:29,839
Speaker 1: you know, queer communities can't live out loud in Iran.

1755
01:43:30,360 --> 01:43:32,080
Speaker 1: Does that help break things down? I don't know. I

1756
01:43:32,120 --> 01:43:34,880
Speaker 1: feel like it just went like a thirty minute. Definitely does.

1757
01:43:35,120 --> 01:43:39,439
Speaker 1: I mean and even just like in contextualizing bad city

1758
01:43:39,680 --> 01:43:42,200
Speaker 1: of just like that the thought patterns that people are

1759
01:43:42,240 --> 01:43:45,719
Speaker 1: trapped in there too, that's yeah, yeah, that's that's incredibly helpful.

1760
01:43:46,120 --> 01:43:48,080
Speaker 1: I mean, So then for to look back at the

1761
01:43:48,160 --> 01:43:55,040
Speaker 1: rockabilly character who seems to be openly like expressing themselves

1762
01:43:55,080 --> 01:43:58,960
Speaker 1: and expressing their queerness and to like have that be

1763
01:43:59,080 --> 01:44:02,519
Speaker 1: in the open sound like something that wouldn't necessarily fly

1764
01:44:03,720 --> 01:44:07,760
Speaker 1: in Iran. But maybe Bad City is, or maybe and

1765
01:44:07,800 --> 01:44:11,439
Speaker 1: then maybe this is what this academic paper is talking about.

1766
01:44:11,400 --> 01:44:14,519
Speaker 1: It is basically like the girl is just like killing

1767
01:44:14,800 --> 01:44:19,200
Speaker 1: anyone who might have a problem with queer expression or

1768
01:44:19,280 --> 01:44:24,360
Speaker 1: queer identities to like create this queer utopia for for

1769
01:44:24,360 --> 01:44:28,200
Speaker 1: people like the rockabilly to live in. So I'm guessing

1770
01:44:28,280 --> 01:44:30,880
Speaker 1: that's what or you can see it as this is

1771
01:44:30,880 --> 01:44:33,040
Speaker 1: a character we only ever see on the outskirts of

1772
01:44:33,080 --> 01:44:36,559
Speaker 1: town alone. Like there's that's true, There's so many And

1773
01:44:36,560 --> 01:44:38,600
Speaker 1: then the last thing I wanted to bring up was

1774
01:44:38,680 --> 01:44:41,960
Speaker 1: even this movie is shot in California, it's also made

1775
01:44:42,080 --> 01:44:47,479
Speaker 1: explicit that Bad City is uh somehow associated with oil

1776
01:44:48,280 --> 01:44:50,840
Speaker 1: um where we see like a number of shots that

1777
01:44:50,840 --> 01:44:53,400
Speaker 1: are like this is an oil town, which also feels

1778
01:44:53,439 --> 01:44:56,880
Speaker 1: I mean again, I couldn't find, uh pull quote from

1779
01:44:56,920 --> 01:45:00,360
Speaker 1: the director addressing this directly, but certainly, you know this

1780
01:45:00,479 --> 01:45:05,000
Speaker 1: is an Iranian American director who is you know that

1781
01:45:05,360 --> 01:45:10,080
Speaker 1: is a huge component of the of how those cultures

1782
01:45:10,479 --> 01:45:15,479
Speaker 1: intersect at least um economically, so M and again, I mean,

1783
01:45:15,520 --> 01:45:20,040
Speaker 1: I just want to acknowledge what a huge fucking thing

1784
01:45:20,080 --> 01:45:23,200
Speaker 1: it is that not just this movie did so well

1785
01:45:23,200 --> 01:45:26,320
Speaker 1: and it's kind of already regarded pretty early into its

1786
01:45:26,400 --> 01:45:28,759
Speaker 1: life as a film as a as a cult classic,

1787
01:45:29,320 --> 01:45:32,760
Speaker 1: but also that it was released at all. I mean,

1788
01:45:32,800 --> 01:45:37,240
Speaker 1: it's so. I mean, making this movie, um and getting

1789
01:45:37,240 --> 01:45:40,559
Speaker 1: it funded was a long and difficult process for Anna

1790
01:45:40,600 --> 01:45:43,400
Speaker 1: Lily Am the Airport. You can read there's a ton

1791
01:45:43,439 --> 01:45:45,720
Speaker 1: of interviews where she kind of detailed how long it

1792
01:45:45,760 --> 01:45:48,479
Speaker 1: took to get this movie made it all. And so

1793
01:45:48,560 --> 01:45:52,080
Speaker 1: the fact that it is out there and incredible and

1794
01:45:52,600 --> 01:45:56,800
Speaker 1: already kind of has this life of its own is incredible.

1795
01:45:57,240 --> 01:46:01,240
Speaker 1: She also won the Bingham Ray break Through Director Award

1796
01:46:01,439 --> 01:46:06,080
Speaker 1: at the Gotham Film Festival. Um. So she's got like

1797
01:46:06,160 --> 01:46:08,519
Speaker 1: a little bit of what what do you call when

1798
01:46:08,560 --> 01:46:10,240
Speaker 1: you have an award on the shelf? You call it

1799
01:46:10,280 --> 01:46:14,600
Speaker 1: an award on the shelf some clout, some crediblity, some

1800
01:46:15,040 --> 01:46:20,479
Speaker 1: institutional ship behind you. And it's also worth mentioning that

1801
01:46:20,880 --> 01:46:24,360
Speaker 1: this is one of the very few movies written and

1802
01:46:24,439 --> 01:46:27,519
Speaker 1: directed by a woman of color that we've covered on

1803
01:46:27,560 --> 01:46:30,599
Speaker 1: this show, which is certainly partially on us, and we

1804
01:46:30,960 --> 01:46:34,720
Speaker 1: need to be continuing to to cover these movies because

1805
01:46:34,720 --> 01:46:37,360
Speaker 1: they're good fucking movies. But on top of that, I mean,

1806
01:46:37,400 --> 01:46:40,680
Speaker 1: I think it also is kind of symptomatic of who

1807
01:46:41,080 --> 01:46:45,720
Speaker 1: is given money and confidence and the ability to get

1808
01:46:45,720 --> 01:46:50,960
Speaker 1: a wide release in Hollywood. Yeah, and let's uh make

1809
01:46:51,000 --> 01:46:54,400
Speaker 1: it a point to cover more movies on this podcast

1810
01:46:54,560 --> 01:47:00,400
Speaker 1: that are made by women of color. Yes, And speaking

1811
01:47:00,600 --> 01:47:04,439
Speaker 1: of women amazing transition. Do they talk to each other

1812
01:47:04,479 --> 01:47:06,920
Speaker 1: in this movie? Does the movie past the Bechtel test?

1813
01:47:07,439 --> 01:47:13,160
Speaker 1: I think it does between the girl and Atti. And

1814
01:47:13,240 --> 01:47:17,160
Speaker 1: you could argue with the girl doesn't have a name, um,

1815
01:47:17,200 --> 01:47:20,080
Speaker 1: which I would counter argue, I think she does. She

1816
01:47:20,240 --> 01:47:22,920
Speaker 1: is the girl um and in the same way that

1817
01:47:23,040 --> 01:47:26,760
Speaker 1: Mom is sometimes Mom. Well. Also, like that kind of

1818
01:47:27,160 --> 01:47:30,879
Speaker 1: caveat of the test, I think applies specifically to characters

1819
01:47:30,920 --> 01:47:33,040
Speaker 1: who we would only see for a few seconds and

1820
01:47:33,080 --> 01:47:36,080
Speaker 1: they are not important enough to be given a name to. Obviously,

1821
01:47:36,479 --> 01:47:39,519
Speaker 1: the girl is the protagonist and the one of two

1822
01:47:39,640 --> 01:47:43,040
Speaker 1: the most important characters in the movie. Uh, So, like

1823
01:47:43,280 --> 01:47:47,680
Speaker 1: that caveat I think doesn't apply in this scenario. So

1824
01:47:47,720 --> 01:47:52,799
Speaker 1: I really care about it's the main character yeah. Yeah,

1825
01:47:53,080 --> 01:47:58,000
Speaker 1: she also has like so much agency, like just my

1826
01:47:58,120 --> 01:48:01,759
Speaker 1: reader that she this is of like a feminist character.

1827
01:48:01,960 --> 01:48:04,760
Speaker 1: And then and and it would pass affective us, right, yeah,

1828
01:48:04,800 --> 01:48:07,679
Speaker 1: because she and Auntie talk in a few different scenes

1829
01:48:08,040 --> 01:48:12,559
Speaker 1: and they are not talking about men. They're talking about

1830
01:48:12,880 --> 01:48:15,640
Speaker 1: their feelings and what like. She's like, you don't like

1831
01:48:15,720 --> 01:48:18,200
Speaker 1: what you do and you don't even remember what it's

1832
01:48:18,240 --> 01:48:23,640
Speaker 1: like to want something. Yeah. So, Um, as far as

1833
01:48:23,640 --> 01:48:27,000
Speaker 1: our nipple scale goes zero to five nipples based on

1834
01:48:27,560 --> 01:48:32,679
Speaker 1: an intersectional feminist analysis, I would give this a pretty

1835
01:48:32,760 --> 01:48:36,280
Speaker 1: high rating. I'm inclined to give it like a four

1836
01:48:36,840 --> 01:48:41,960
Speaker 1: or maybe even a four and a half. Um, where

1837
01:48:42,040 --> 01:48:46,080
Speaker 1: I think it falls short is the couple of things

1838
01:48:46,080 --> 01:48:49,360
Speaker 1: that we've already discussed in that it almost feels to

1839
01:48:49,400 --> 01:48:55,800
Speaker 1: me like the girl killing the unhoused person. I don't

1840
01:48:55,800 --> 01:48:58,760
Speaker 1: know what the intention is there. I'm not convinced there

1841
01:48:58,800 --> 01:49:04,160
Speaker 1: even is a specific meaningful intention. Whatever it is, it's

1842
01:49:04,200 --> 01:49:06,479
Speaker 1: not clear enough, and I don't like that it happens.

1843
01:49:07,200 --> 01:49:11,120
Speaker 1: Um And I would have liked to see a more

1844
01:49:11,360 --> 01:49:17,760
Speaker 1: meaningful inclusion of rockabilly and understand why who they are

1845
01:49:18,080 --> 01:49:22,680
Speaker 1: and what their circumstances are, how they feel about things,

1846
01:49:23,120 --> 01:49:26,920
Speaker 1: et cetera. So I'll give it a four point to

1847
01:49:27,160 --> 01:49:30,599
Speaker 1: five generally. You know, I like, I think this movie

1848
01:49:30,640 --> 01:49:32,479
Speaker 1: is doing a lot of really cool things. I think

1849
01:49:32,520 --> 01:49:36,519
Speaker 1: it is a feminist text just in it being a

1850
01:49:36,640 --> 01:49:40,800
Speaker 1: movie about a woman who is a vampire, because also

1851
01:49:40,840 --> 01:49:44,639
Speaker 1: women don't get to be vampires that much in like lore.

1852
01:49:45,560 --> 01:49:48,599
Speaker 1: It's usually you know, your your draculas and your nose

1853
01:49:48,600 --> 01:49:52,160
Speaker 1: s ferratos and all of that guy to turn you like,

1854
01:49:52,280 --> 01:50:01,960
Speaker 1: come on me, Belliswan. The yeah, I mean the fact

1855
01:50:02,040 --> 01:50:06,000
Speaker 1: that it and this might be an oversimplification of the movie,

1856
01:50:06,360 --> 01:50:09,799
Speaker 1: but it's about a vampire woman who goes around and

1857
01:50:10,160 --> 01:50:13,280
Speaker 1: for the most part protects women and or protects a

1858
01:50:13,360 --> 01:50:19,400
Speaker 1: woman and who um fuckx up toxic men. So I

1859
01:50:19,439 --> 01:50:23,040
Speaker 1: like that about it. I will give it four point

1860
01:50:23,040 --> 01:50:27,920
Speaker 1: to five nipples. Um, I'll give one to the girl.

1861
01:50:28,240 --> 01:50:32,640
Speaker 1: I'll give one to Autie, I'll give one to the

1862
01:50:32,720 --> 01:50:35,720
Speaker 1: director on a Lily, Amir Poor, I'll give one to

1863
01:50:35,880 --> 01:50:40,800
Speaker 1: Elijah Wood, who produced this movie. And then I'll give

1864
01:50:40,880 --> 01:50:46,680
Speaker 1: my point to five nips to the cat. And I

1865
01:50:46,720 --> 01:50:48,800
Speaker 1: guess now would be a good time to bring up

1866
01:50:49,040 --> 01:50:51,840
Speaker 1: cat facts with Caitlin, which I really want to dissociate

1867
01:50:52,600 --> 01:50:55,120
Speaker 1: myself from. So I'm not even gonna say what the

1868
01:50:55,160 --> 01:50:57,439
Speaker 1: cat fact is. I'm going to just leave it at that.

1869
01:50:58,600 --> 01:51:03,160
Speaker 1: Anyway I'll go, I'll go four five as well. I'm

1870
01:51:03,280 --> 01:51:06,960
Speaker 1: docking it for um, the treatment of and housed people

1871
01:51:07,000 --> 01:51:12,479
Speaker 1: and also conflating uh addiction with sex crimes. Yes, yes,

1872
01:51:12,880 --> 01:51:16,160
Speaker 1: so that is when I'm talking for However, I really

1873
01:51:16,200 --> 01:51:19,040
Speaker 1: liked this movie. I think it was like really challenging

1874
01:51:19,040 --> 01:51:21,559
Speaker 1: and cool in a lot of ways. The more I

1875
01:51:21,640 --> 01:51:23,759
Speaker 1: researched about it, the more I kind of like question

1876
01:51:23,920 --> 01:51:28,439
Speaker 1: myself and um, what the assumptions I made? And I

1877
01:51:28,479 --> 01:51:31,160
Speaker 1: don't know, I just on top of everything you've been

1878
01:51:31,200 --> 01:51:33,639
Speaker 1: talking about kitly and I just like I really felt

1879
01:51:33,640 --> 01:51:36,559
Speaker 1: like challenge in a positive way by this movie. Also,

1880
01:51:36,640 --> 01:51:40,000
Speaker 1: this is the first Iranian American movie we've ever covered.

1881
01:51:40,400 --> 01:51:42,519
Speaker 1: You know, she's a first time director. If you look

1882
01:51:42,560 --> 01:51:45,000
Speaker 1: into the production behind this movie, she had to crowd

1883
01:51:45,000 --> 01:51:46,680
Speaker 1: fund a good part of it. This was not an

1884
01:51:46,680 --> 01:51:50,559
Speaker 1: easy movie to make, which you know, goes into a

1885
01:51:50,640 --> 01:51:53,400
Speaker 1: number of things of why is it so hard for

1886
01:51:53,960 --> 01:51:58,040
Speaker 1: filmmakers that are not white men? And will you know

1887
01:51:58,120 --> 01:52:01,759
Speaker 1: I'll reference that Wes and or send anecdote again about

1888
01:52:01,760 --> 01:52:05,960
Speaker 1: how he submitted and you know, sixty pages in Longhand

1889
01:52:06,040 --> 01:52:08,040
Speaker 1: and was like is this a movie? And then they're

1890
01:52:08,080 --> 01:52:12,760
Speaker 1: like it's bottle Rocket where honestly I'm important. You know,

1891
01:52:12,800 --> 01:52:15,479
Speaker 1: she been at it making shorts for years and years

1892
01:52:15,520 --> 01:52:18,880
Speaker 1: and years before she got the opportunity to half crowdfund

1893
01:52:18,920 --> 01:52:22,240
Speaker 1: her own movie. And it's still fucking amazing, Like that

1894
01:52:22,400 --> 01:52:26,160
Speaker 1: is so cool, and so I really admire all the

1895
01:52:26,160 --> 01:52:28,679
Speaker 1: work that went behind this. I want to shout out

1896
01:52:29,080 --> 01:52:33,160
Speaker 1: the actress who plays the girl, Sheila Vand I did

1897
01:52:33,240 --> 01:52:37,280
Speaker 1: more look into her body of work as an actress

1898
01:52:37,320 --> 01:52:40,120
Speaker 1: and as just like an artist. She's done a ton

1899
01:52:40,360 --> 01:52:43,599
Speaker 1: of like really cool um work in the arts space.

1900
01:52:43,760 --> 01:52:46,920
Speaker 1: So I recommend checking that out. She's really really cool.

1901
01:52:47,840 --> 01:52:51,000
Speaker 1: And yeah, I just, um, I really loved this movie.

1902
01:52:51,040 --> 01:52:54,160
Speaker 1: I thought, I thought it addresses so much, but in

1903
01:52:54,200 --> 01:52:56,519
Speaker 1: a way that doesn't feel like it's you know, bashing

1904
01:52:56,520 --> 01:52:59,960
Speaker 1: you over the head with it. It's fun. The ending

1905
01:53:00,120 --> 01:53:04,400
Speaker 1: scene really fucked with me. And yeah, I I really

1906
01:53:04,439 --> 01:53:06,960
Speaker 1: liked it. So I'll give you four point to five,

1907
01:53:07,880 --> 01:53:11,439
Speaker 1: give two to the girl to to a t and

1908
01:53:11,520 --> 01:53:15,240
Speaker 1: then point five to the cats or point to five whatever.

1909
01:53:15,320 --> 01:53:19,200
Speaker 1: Who cares? All Right, Um, well before I gave him

1910
01:53:19,200 --> 01:53:21,320
Speaker 1: my nips. I didn't want to say, you guys should

1911
01:53:21,360 --> 01:53:24,960
Speaker 1: watch Not Without my Daughter out from Molina film where

1912
01:53:24,960 --> 01:53:29,160
Speaker 1: her Man. Someone brought this up to us recently. I

1913
01:53:29,240 --> 01:53:31,040
Speaker 1: like the movie because I saw it when I was young,

1914
01:53:31,080 --> 01:53:32,680
Speaker 1: so it's like whatever this is. It's like one of

1915
01:53:32,720 --> 01:53:35,919
Speaker 1: those nostalgic things. But um, I haven't seen it recently,

1916
01:53:36,000 --> 01:53:38,080
Speaker 1: and I am curious if it holds up. But like

1917
01:53:38,120 --> 01:53:40,680
Speaker 1: thinking to like they cast Alfred Molina to play an

1918
01:53:40,720 --> 01:53:45,440
Speaker 1: Iranian man, You're like, what what a time there? Early nineties?

1919
01:53:45,920 --> 01:53:48,320
Speaker 1: Bring him back on the cast. He also he plays

1920
01:53:48,320 --> 01:53:54,000
Speaker 1: an Armenian character in that movie called Magnolia. Magnolia. Yeah, oh,

1921
01:53:54,080 --> 01:53:58,719
Speaker 1: I would never watch Magnolia friendly. It's it's simply too long.

1922
01:53:59,040 --> 01:54:03,799
Speaker 1: It's very long. I do have it on DVD. Embarrassing anyway.

1923
01:54:04,040 --> 01:54:07,920
Speaker 1: Um so, yes, Anna, what's your nipple? I'm gonna go

1924
01:54:08,720 --> 01:54:14,160
Speaker 1: four point five nips? And that is because I had

1925
01:54:14,479 --> 01:54:17,799
Speaker 1: You know, I struggle when a movie is like filled

1926
01:54:17,840 --> 01:54:21,479
Speaker 1: with symbolism and then the directors like figure it out,

1927
01:54:21,600 --> 01:54:23,680
Speaker 1: because that always just annoys me in away because I'm like,

1928
01:54:23,720 --> 01:54:26,599
Speaker 1: I'm not smart enough to figure it out. I don't

1929
01:54:26,600 --> 01:54:29,120
Speaker 1: know what's going on in this movie. It feels like

1930
01:54:29,160 --> 01:54:33,840
Speaker 1: they're symbolism. That cat felt like symbolism. Everything feels like symbolism.

1931
01:54:33,920 --> 01:54:36,040
Speaker 1: Yet you want me to figure it out myself. Just

1932
01:54:36,080 --> 01:54:38,720
Speaker 1: give me a hint. What were you thinking? Just tell

1933
01:54:38,720 --> 01:54:41,640
Speaker 1: me what you were thinking. Um. It takes me back

1934
01:54:41,680 --> 01:54:46,480
Speaker 1: to like Inception when like whatever his name is, Christopher

1935
01:54:46,480 --> 01:54:49,320
Speaker 1: Nolan's like it's a movie set, and I'm like, you're

1936
01:54:49,320 --> 01:54:52,360
Speaker 1: wrong about your own the dreams are actually me making

1937
01:54:52,400 --> 01:54:56,040
Speaker 1: a movie. Like it's like, at least give us something

1938
01:54:56,280 --> 01:54:59,120
Speaker 1: so I can figure out if I see that or not.

1939
01:54:59,360 --> 01:55:01,880
Speaker 1: Give me even a little bit of a taste of

1940
01:55:01,920 --> 01:55:05,640
Speaker 1: what you were thinking so I can decide myself if

1941
01:55:05,760 --> 01:55:09,480
Speaker 1: I was able to see that. And then when when

1942
01:55:09,480 --> 01:55:12,520
Speaker 1: they don't, and you know, and look, I like on

1943
01:55:12,640 --> 01:55:15,200
Speaker 1: a lily import like I love her work. I think

1944
01:55:15,200 --> 01:55:16,800
Speaker 1: she's a great director. I think she has such an

1945
01:55:16,800 --> 01:55:20,760
Speaker 1: interesting I like this movie was wonderful, but like, don't

1946
01:55:20,760 --> 01:55:23,040
Speaker 1: be too cool. You know that always bugs me when

1947
01:55:23,040 --> 01:55:24,920
Speaker 1: they get too cool, when you know, the Vice News

1948
01:55:24,960 --> 01:55:27,440
Speaker 1: logo or whatever comes up and I'm like or Vice Entertainment.

1949
01:55:27,480 --> 01:55:34,440
Speaker 1: I'm like, man, she's too cool for us. Um, But again, yes,

1950
01:55:34,600 --> 01:55:38,200
Speaker 1: I didn't care for the kind of lack of explanation

1951
01:55:38,280 --> 01:55:43,120
Speaker 1: as to why the girl attacked on housed man. That

1952
01:55:43,200 --> 01:55:46,040
Speaker 1: really threw me because I really thought I had figured

1953
01:55:46,080 --> 01:55:49,000
Speaker 1: out what the girl's thing was, and that threw me

1954
01:55:49,080 --> 01:55:52,280
Speaker 1: for a loop. Yeah, I wish there was more on

1955
01:55:52,480 --> 01:55:56,560
Speaker 1: Rockabilly incorporating that character into the plot a little more,

1956
01:55:56,800 --> 01:55:59,920
Speaker 1: versus is like this side character as like this kind

1957
01:56:00,000 --> 01:56:02,920
Speaker 1: in a political statement, but at the same time not

1958
01:56:02,960 --> 01:56:06,440
Speaker 1: really giving that character any ground to make more of

1959
01:56:06,440 --> 01:56:09,200
Speaker 1: a political statement, versus just kind of being this like

1960
01:56:09,440 --> 01:56:14,000
Speaker 1: a little haunting figure around the just around, you know.

1961
01:56:14,280 --> 01:56:16,160
Speaker 1: But yeah, that's kind of other than that. Like, I

1962
01:56:16,200 --> 01:56:18,800
Speaker 1: love the film, I love the direction. Um, I would

1963
01:56:18,840 --> 01:56:22,320
Speaker 1: give one nip to the whites of our Ash's eyes.

1964
01:56:22,680 --> 01:56:26,000
Speaker 1: Oh my god, he's so so milky in those eyes

1965
01:56:26,520 --> 01:56:29,560
Speaker 1: that scene where he's like realizing that she might be

1966
01:56:30,200 --> 01:56:33,600
Speaker 1: involved in his father's death and his eyes are just

1967
01:56:33,640 --> 01:56:36,120
Speaker 1: like moving back and forth, like I felt like I

1968
01:56:36,160 --> 01:56:41,040
Speaker 1: was swimming in some lactose. But yes, I would give

1969
01:56:41,360 --> 01:56:45,840
Speaker 1: two nips, specifically to that goddamn actor of a cat

1970
01:56:46,840 --> 01:56:50,600
Speaker 1: like ship. Can we get that cat nominated? Get this

1971
01:56:50,720 --> 01:56:54,800
Speaker 1: cat franchise for crying out loud? And then I would

1972
01:56:54,840 --> 01:57:00,160
Speaker 1: give one to Sheilavan the girl. She's great, her like her.

1973
01:57:00,600 --> 01:57:03,880
Speaker 1: Just the quiet she brought I thought was very well done.

1974
01:57:04,240 --> 01:57:06,000
Speaker 1: What I learned from this movie is that I want

1975
01:57:06,040 --> 01:57:10,160
Speaker 1: to be friends in Sheila Man. Yeah, yes, Sheila call

1976
01:57:10,320 --> 01:57:18,160
Speaker 1: us baby, that's like and then um my half nip. Actually,

1977
01:57:18,480 --> 01:57:20,760
Speaker 1: like this was a very interesting thing to me, of

1978
01:57:20,920 --> 01:57:25,640
Speaker 1: like portraying an Iranian sex worker. Rarely do you ever

1979
01:57:25,920 --> 01:57:29,920
Speaker 1: see an Iranian sex worker because again, in most Iranian films,

1980
01:57:29,920 --> 01:57:33,400
Speaker 1: they'd rather not ever like be like, this woman is

1981
01:57:33,440 --> 01:57:35,960
Speaker 1: a sex worker, because they don't even like to acknowledge

1982
01:57:36,360 --> 01:57:38,840
Speaker 1: that that would be a thing in their culture, in

1983
01:57:38,880 --> 01:57:42,840
Speaker 1: their society. And I think seeing that, I don't know,

1984
01:57:42,840 --> 01:57:46,280
Speaker 1: there was something so like refreshing about it for me

1985
01:57:46,320 --> 01:57:50,040
Speaker 1: to be like, yes, Iranian sex workers exist. They're people,

1986
01:57:50,320 --> 01:57:52,280
Speaker 1: they do what they have to do to get by,

1987
01:57:52,360 --> 01:57:56,000
Speaker 1: They make their own choices, they have their own agency,

1988
01:57:56,200 --> 01:57:58,160
Speaker 1: And that was I don't know, it was really cool,

1989
01:57:58,160 --> 01:57:59,560
Speaker 1: like I don't I don't even know how to explain

1990
01:57:59,560 --> 01:58:01,800
Speaker 1: it other than like, I don't think I've ever seen

1991
01:58:01,840 --> 01:58:04,880
Speaker 1: an Iranian sex worker in any movie I've ever seen

1992
01:58:05,080 --> 01:58:07,720
Speaker 1: from Iran, Out of Iran by any sort of Iranian

1993
01:58:07,720 --> 01:58:12,280
Speaker 1: related filmmaker. So yeah, that's that's how I distribute my

1994
01:58:12,320 --> 01:58:15,360
Speaker 1: four point five nippy tipps, my tippy and my nippies.

1995
01:58:15,680 --> 01:58:19,120
Speaker 1: Hell Y, well, Anna, thank you so much for being here.

1996
01:58:19,280 --> 01:58:22,600
Speaker 1: Where can people follow you online and check out your stuff?

1997
01:58:23,240 --> 01:58:25,600
Speaker 1: I'm at Anna host n A A N N A

1998
01:58:26,280 --> 01:58:29,680
Speaker 1: H O S S N I e H what a

1999
01:58:29,720 --> 01:58:35,280
Speaker 1: Persian last name? On Twitter? And I have a podcast

2000
01:58:35,320 --> 01:58:38,000
Speaker 1: all about like kind of Middle Eastern culture and news,

2001
01:58:38,040 --> 01:58:41,040
Speaker 1: and we interview a lot of people of color to

2002
01:58:41,120 --> 01:58:42,960
Speaker 1: kind of give them, like spotlight them a little and

2003
01:58:43,000 --> 01:58:45,200
Speaker 1: be like, hey man, it ain't all just the white.

2004
01:58:45,760 --> 01:58:49,600
Speaker 1: But I host that with Sharne Eunice, who's this amazing

2005
01:58:50,040 --> 01:58:54,640
Speaker 1: Syrian American filmmaker, artists, very funny person on Twitter. Follow

2006
01:58:54,680 --> 01:58:57,280
Speaker 1: her as well, Yes, front of the cast she's been

2007
01:58:57,280 --> 01:58:59,280
Speaker 1: on here go check out her episodes. It's called our

2008
01:58:59,280 --> 01:59:01,720
Speaker 1: shows called ethnicly Ambiguous. I don't know for the title,

2009
01:59:01,800 --> 01:59:05,840
Speaker 1: you can tell we are ethnically ambiguous, uh. And I

2010
01:59:05,920 --> 01:59:09,960
Speaker 1: also host on the complete opposite spectrum of any sort

2011
01:59:10,000 --> 01:59:13,840
Speaker 1: of knowledge, uh is the show called Deckheads, which is

2012
01:59:13,920 --> 01:59:17,440
Speaker 1: all about Bravos below deck and I host that with

2013
01:59:17,520 --> 01:59:20,760
Speaker 1: comedian Nick Turner and we cover every episode of the

2014
01:59:20,760 --> 01:59:24,840
Speaker 1: TV show, and we just rip apart rich people limb

2015
01:59:24,840 --> 01:59:27,800
Speaker 1: by limb and their behavior and how terrible they can be.

2016
01:59:27,880 --> 01:59:30,120
Speaker 1: And there's something really interesting about it because it's made me.

2017
01:59:30,800 --> 01:59:34,280
Speaker 1: A reality TV about rich people really hits the right

2018
01:59:34,480 --> 01:59:36,520
Speaker 1: sort of mark right now for me, because I just

2019
01:59:36,560 --> 01:59:39,920
Speaker 1: think it proves how much we need to like work

2020
01:59:40,040 --> 01:59:44,879
Speaker 1: towards income and quality and like just like equality across

2021
01:59:44,960 --> 01:59:48,840
Speaker 1: all boards. Because boy, or do you not look good

2022
01:59:48,840 --> 01:59:51,200
Speaker 1: when you go on a yacht and lose your mind

2023
01:59:51,360 --> 01:59:53,960
Speaker 1: and say a bunch of terrible things and treat people poorly.

2024
01:59:54,480 --> 01:59:56,400
Speaker 1: I was like, and then you will let this be

2025
01:59:56,440 --> 01:59:58,560
Speaker 1: on a reality show, because that's the other thing. It's like,

2026
01:59:58,600 --> 02:00:01,080
Speaker 1: you're so okay, would that be haveavior? You're fine with

2027
02:00:01,120 --> 02:00:04,800
Speaker 1: it being aired on TV. That's the problem. We shouldn't

2028
02:00:04,800 --> 02:00:07,600
Speaker 1: be allowing that. That shouldn't be okay. We should all

2029
02:00:07,640 --> 02:00:10,880
Speaker 1: be very empathetic towards other people and self aware that

2030
02:00:11,160 --> 02:00:16,120
Speaker 1: how our behavior hurts or destroys other communities and other

2031
02:00:16,280 --> 02:00:21,040
Speaker 1: like income levels and other you know, just everything. And uh,

2032
02:00:21,320 --> 02:00:23,520
Speaker 1: we must have fund the police, okay. And that's uh,

2033
02:00:23,520 --> 02:00:25,480
Speaker 1: that's kind of what I've learned from watching Below Deck.

2034
02:00:25,520 --> 02:00:27,680
Speaker 1: I know you're all thinking how, but I'm like, I

2035
02:00:27,720 --> 02:00:32,960
Speaker 1: watch it with a very critically so yeah, check that

2036
02:00:33,000 --> 02:00:35,120
Speaker 1: out if you're into that, Yes, please do, and thanks

2037
02:00:35,160 --> 02:00:39,640
Speaker 1: again for being here. You can follow us on Twitter

2038
02:00:39,720 --> 02:00:43,320
Speaker 1: and Instagram at Bechtel Cast. You can subscribe to our

2039
02:00:43,480 --> 02:00:47,520
Speaker 1: Patreon aka Matreon at patreon dot com slash packtel Cast.

2040
02:00:47,880 --> 02:00:50,000
Speaker 1: It's five dollars a month and it gets you two

2041
02:00:50,040 --> 02:00:52,840
Speaker 1: bonus episodes every month, plus access to the entire back

2042
02:00:52,960 --> 02:00:56,560
Speaker 1: catalog of all of our Patreon episodes. You can also

2043
02:00:56,680 --> 02:00:59,520
Speaker 1: check out our merch store at t public dot com

2044
02:00:59,560 --> 02:01:03,520
Speaker 1: slash the Bechtel Cast for all of our merchandising needs

2045
02:01:04,480 --> 02:01:09,160
Speaker 1: and thanks for listening, and watch out for vampires.