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Speaker 1: On the Bechdel Cast.

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Speaker 2: The questions asked if movies have women and them, are

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Speaker 2: all their discussions just boyfriends and husbands, or do they

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Speaker 2: have individualism? The patriarchy Zephyn Beast start changing with the

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Speaker 2: Bechdel Cast.

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Speaker 3: Hello Bechdel Cast listeners, Jamie and Caitlin. Here we are

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Speaker 3: re releasing one of our favorite episodes this week that

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Speaker 3: we recorded what two years.

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Speaker 4: Ago or so that sounds possible.

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Speaker 3: About the classic Real Women Have Curves directed by Pittric

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Speaker 3: Shikurdo So, written by and based on the play by

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Speaker 3: Hosafina Lopez. So the reason we're doing this may be evident.

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Speaker 3: But if you are international or live in a cave,

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Speaker 3: this is a movie that is about East Los Angeles.

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Speaker 3: It's a movie about the immigrant community in Los Angeles

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Speaker 3: and in Los Angeles at the moment, there have been

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Speaker 3: all of these horrific media narratives claiming that there are

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Speaker 3: riots in the streets, when the riots are in fact

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Speaker 3: being perpetrated by Ice and by the National Guard and

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Speaker 3: by the LAPD. No matter what Mary Karen Bass says

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Speaker 3: at this podcast, we say, fuck mayor of Karen Bass.

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Speaker 4: Yes, and Karen is a Karen is a Karen is

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Speaker 4: a Karen.

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Speaker 3: I mean, Los Angeles has always been a city of immigrants,

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Speaker 3: it has always been a city of unions, and I

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Speaker 3: think the dual threat has really caused the city to

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Speaker 3: come together in this amazing way. But there is still

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Speaker 3: so so so much going on across the country, but

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Speaker 3: particularly in LA is where this all sort of kicked

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Speaker 3: off by ICE. To be clear, around a week ago

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Speaker 3: from when we were recording this, ICE showed up at

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Speaker 3: a home depot in Paramount, California, which is another thing

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Speaker 3: that seems to be widely misunderstood how massive LA is

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Speaker 3: targeting specifically immigrants, which led to it impromptu protest, which

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Speaker 3: has led to protests across the country as ICE continues

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Speaker 3: to essentially occupy the city. So we thought it would

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Speaker 3: be a good moment to re release an episode that

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Speaker 3: is about the immigrant community in LA And.

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Speaker 4: Yeah, this movie is about a family that could very

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Speaker 4: likely be torn apart by the types of raids that

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Speaker 4: are happening right now, and that, to be clear, have

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Speaker 4: been happening.

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Speaker 5: Yes, this happens all the time.

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Speaker 4: There is an escalation of it right now, but you know,

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Speaker 4: during the Biden and Obama administrations, lest we forget there

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Speaker 4: were raids like this happening.

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Speaker 3: Absolutely, and you know, if you're a listener in the

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Speaker 3: US and you went to a No King's protest this

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Speaker 3: past weekend, good on you.

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Speaker 5: But we also wanted to talk about, you know, something

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Speaker 5: we've talked about over.

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Speaker 3: The years of if you are feeling helpless and how

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Speaker 3: the privilege to be able to do more, please do more.

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Speaker 3: We're gonna link some resources in the description of places.

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Speaker 5: To donate, and also, I think.

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Speaker 3: Like a critical part that we've talked about before is

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Speaker 3: finding your mutual aid practice to support vulnerable communities, so

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Speaker 3: we'll add in we'll add some links for that as well.

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Speaker 4: We'll add those to our link tree too.

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Speaker 3: Absolutely, and just so you know that we're keeping ourselves accountable,

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Speaker 3: we are also going to be making a donation to

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Speaker 3: and I'll.

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Speaker 5: Include more information about this.

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Speaker 3: But in case this is actionable in your community, LA,

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Speaker 3: there's a ton of incredible street vendors here who are

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Speaker 3: from immigrant families or immigrants themselves, and there are a

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Speaker 3: bunch of mutual aid efforts going on in our community

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Speaker 3: to basically pay these employees to stay home so that

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Speaker 3: they can stay safe from this horrific escalation of ICE

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Speaker 3: as they continue to occupy our city. So if they're

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Speaker 3: similar efforts in your community, donate to them. If there

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Speaker 3: are not similar efforts in your community, I've watched through

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Speaker 3: a series of you know, signal chats over the course

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Speaker 3: of the weekend, people just going and speaking with their

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Speaker 3: community members, speaking to street vendors in their community to

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Speaker 3: see if this is something they would be interested in. So,

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Speaker 3: you know, there's numerous ways to stay involved in to

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Speaker 3: protect your community, and so we wanted to re release

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Speaker 3: this episode just to acknowledge that, you know, this is

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Speaker 3: a podcast that is engaging.

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Speaker 5: With the world.

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Speaker 3: It is the very least we can do, and that

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Speaker 3: we're staying engaged as well. To all of our listeners

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Speaker 3: who are immigrants or have family who are immigrants, we

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Speaker 3: stand with you. We will do anything and everything we're

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Speaker 3: able to.

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Speaker 5: To continue to do.

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Speaker 3: So The Buchtal Cast is an inclusive show. It is

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Speaker 3: for fucking everybody and well. I also wanted to mention

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Speaker 3: that hosts Pheno Lopez, who wrote this show, has also

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Speaker 3: been doing a lot to draw attention to actions and

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Speaker 3: notifying where ICE has been showing up, because that's also

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Speaker 3: a lot of community work we'll link in the description,

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Speaker 3: but know how to identify an ice vehicle and know

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Speaker 3: where to call if you identify an ice vehicle, so

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Speaker 3: people can be notified as quickly as possible.

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Speaker 4: Other ways to get involved and stay engaged and support

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Speaker 4: your communities, you can distribute Know your Rights cards red cards,

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Speaker 4: which include information about the rights that immigrants and that

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Speaker 4: people in general have, and distributing those two your neighbors,

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Speaker 4: your community so that people can be as informed as possible.

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Speaker 3: And that's another thing as well, where I think that

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Speaker 3: there's all of these popular narratives that people who aren't

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Speaker 3: citizens don't have rights. That's not true. There's this thing

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Speaker 3: called human rights that still exist. It's just like drives

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Speaker 3: me fucking wild. If you are able to get cards,

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Speaker 3: they're also more and more widely available. I think that

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Speaker 3: they're available at most public libraries if you are looking

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Speaker 3: to acquire some.

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Speaker 5: I also think.

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Speaker 3: That a community that has sort of been left behind

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Speaker 3: in this discussion are the unhoused. There is a tremendous

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Speaker 3: amount of overlap between the undocumented immigrant community and the

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Speaker 3: unhoused community, particularly here in LA but also everywhere. We

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Speaker 3: will be linking a number of resources in the description

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Speaker 3: we are still.

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Speaker 5: Learning as well or not you know, coming on here

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Speaker 5: to be like.

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Speaker 3: Fuck, you do better. We're all doing our best, but

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Speaker 3: just we're asking our listeners who have the privilege to

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Speaker 3: do so as we do, to stay involved, staying for

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Speaker 3: and really show up for your community in ways that

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Speaker 3: might not always be comfortable.

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Speaker 4: Yeah, a couple talking points I wanted to touch on

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Speaker 4: as well, kind of emphasize a talking point that there

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Speaker 4: are some people who are like, yeah, we shouldn't detain

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Speaker 4: or deport immigrants because of their contributions to the workforce,

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Speaker 4: like they grow our food.

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Speaker 3: Right, This hasnt been and this is something that like

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Speaker 3: politicians who have been speaking out against ice raids have

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Speaker 3: used as their justification and it's such horseshit. Way, I

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Speaker 3: wanted to actually quote my friend Albert, who's terrific Los

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Speaker 3: Angeles organizer and a huge Bright Eyes fan, and these

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Speaker 3: are wow, two of the many reasons that I and

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Speaker 3: he was actually that our most recent factal Cash show

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Speaker 3: in La Albert is the best. And he yeah, he

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Speaker 3: tweeted on June ninth, just a little note, stop trying

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Speaker 3: to justify someone's existence in this country by saying their

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Speaker 3: quote unquote heart working. Literally, who gives a shit. The

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Speaker 3: government is kidnapping people in broad daylight. Whether they work

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Speaker 3: hard or not is irrelevant and beside the point. No

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Speaker 3: one should be defined by their labor.

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Speaker 5: It's people.

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Speaker 3: It's people being kidnapped from the like, from their homes

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Speaker 3: and from the streets. That is what matters. It's a

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Speaker 3: kill the cop in your head moment.

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Speaker 5: Do not define people by their labor.

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Speaker 4: Absolutely. Another thing is people are also talking about how

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Speaker 4: this is connected to Palestine, and people are like, but why,

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Speaker 4: but how that's happening over there. There's a direct correlation

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Speaker 4: in the sense that law enforcement in the US are

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Speaker 4: trained in the fake state of Israel. They learn tactics.

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Speaker 3: Yea, the idea of colludes with American policing systems constantly.

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Speaker 4: Constantly, and then just the larger context of all of

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Speaker 4: this is happening because of white supremacy, pro imperialism, pro

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Speaker 4: settler colonialism, like it's it's all connected. Not to sound

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Speaker 4: like a conspiracy theorist, but it.

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Speaker 3: Is, well there, I mean, yes, the intersections are infinite.

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Speaker 3: I mean there's yes. Also will also link in the description.

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Speaker 3: There's an episode of We the En House that just

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Speaker 3: came out on Tuesday. That also speaks to the way

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Speaker 3: that these communities and these atrocities intersect. And yeah, check

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Speaker 3: out the links in our description. Get involved in your

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Speaker 3: community specifically, you are needed, and stay safe. We love you,

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Speaker 3: We love you, and enjoy this episode about real women

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Speaker 3: have curbscast.

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Speaker 4: Jamie, it's so hot in here. Can you please turn

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Speaker 4: the fan on in this recording studio?

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Speaker 5: Well, it gets, it gets the podcast. Dusty can't can't

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Speaker 5: turn on the fan? The podcast will be covered. Does

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Speaker 5: it'll be a catastrophe for us?

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Speaker 4: Sorry, well fine, I'll just take off all my clothes then, all.

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Speaker 5: Right, that's not my business. I guess I'll do the same. Oh,

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Speaker 5: the same.

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Speaker 4: Yeah, that sounds great. Actually, the only.

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Speaker 5: Person that's gonna piss off is Mommy.

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Speaker 4: Mommy podcast. Cool. Well, I'm glad we sorted that out.

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Speaker 5: Yeah, that idea that resolved very cleanly.

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Speaker 4: Welcome to the Bechdel Cast. My name is Caitlin Derante.

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Speaker 3: My name is Jamie Laftus, and this is our podcast

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Speaker 3: where we take a look at your favorite movies using

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Speaker 3: an intersectional feminist lens, using the Bechdel test as a

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Speaker 3: jumping off point for discussion.

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Speaker 4: Which of course, is a media metric created by Creeer

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Speaker 4: cartoonist Alison Bechdel, sometimes called the Bechdel Wallace test, whereby

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Speaker 4: two people of a marginalized gender have to have names,

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Speaker 4: they have to speak to each other, and their conversation

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Speaker 4: has to be about something other than a man, and

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Speaker 4: ideally for our sake, it is a meaningful, substantial conversation

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Speaker 4: and not just like a hay.

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Speaker 5: Keep this going, this feels this sounds good, this feels good.

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Speaker 4: How's your soup? And then the other person says.

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Speaker 5: I'm not listening to you.

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Speaker 3: Go away, and then the first character disappears forever and

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Speaker 3: they're like, wait, my name is Crystal as they're leaving.

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Speaker 4: But it's too late. We didn't hear it on screen.

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Speaker 3: That's an example of something that is great writing, but

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Speaker 3: not great to pass it. Look anyways, it's a flawed

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Speaker 3: metric because that was an amazing scene we just did.

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Speaker 4: I'm going to base an entire screenplay around it. Yeah,

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Speaker 4: it's called it's gonna be called a soup, an extremely

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Speaker 4: soupy movie, an.

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Speaker 3: Extreme No, no, it's not. And I can't engage with

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Speaker 3: this joke any further. I can I draw a line.

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Speaker 5: Look, look, in the.

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Speaker 3: Case of today's episode, Uh huh Bechdel test, not a problem.

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Speaker 5: Let's just say that right now, No problem at all. Yeah, yes,

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Speaker 5: and so I said, let's get to it.

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Speaker 3: Let's get our incredible returning Bechdel cast guest into the room.

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Speaker 5: Let's get her in the mix.

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Speaker 4: We simply must. She's a comedian, podcaster, creator and host

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Speaker 4: of Mere Juanera, a podcast for potheads, and do you

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Speaker 4: remember her from our episode on Selena. It's Mala munnos.

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Speaker 1: Hey everyone, thank you for having me. It feels great

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Speaker 1: to be back. It's our pleasure and it is also mine.

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Speaker 5: We've brought you back. In one thousand degree heat, it's.

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Speaker 1: You know what, There's literally nothing else I would rather

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Speaker 1: be doing than podcasting about this film in a heat wave.

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Speaker 1: It's apt it makes sense. Yeah, I feel like I'm

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Speaker 1: in the movie.

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Speaker 5: It's true.

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Speaker 4: We were joking about how by the end of the

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Speaker 4: episode we will all be taking our clothes off, hopefully

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Speaker 4: because of the heat.

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Speaker 3: Look, pr Nightmare. Maybe will hr get involved?

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Speaker 5: Maybe possibly? Am I open to it? Yes?

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Speaker 4: Yes, so fucking hot today it is one hundred or

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Speaker 4: like ninety seven degrees in where I'm at in La

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Speaker 4: right now.

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Speaker 5: Unpleasant, but you know it's not unpleasant.

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Speaker 1: The movie, Oh my god, very fun watch, very enjoyable.

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Speaker 4: Real women have curves, Molla. What's your relationship, your history

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Speaker 4: with this film?

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Speaker 1: You know, I feel like my relationship with the film

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Speaker 1: starts with my relationship with America Ferrera because she was

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Speaker 1: like a Disney Channel darling. She was in Gotta Kick

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Speaker 1: It Up about the Latina Dance Team, and that's where,

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Speaker 1: like I was born in ninety two, that's where I

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Speaker 1: was first introduced to America Ferrera. So when Real Women

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Speaker 1: Have Curves came out, it was like, oh, this is

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Speaker 1: a recognizable actress who we love and she had this

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Speaker 1: like incredible like role. And I don't know if that's

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Speaker 1: a movie that a lot of people have seen, but

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Speaker 1: in like little Latina Circles, Gotta Kick It Up, real

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Speaker 1: women have curves super just iconic, like staples of our media.

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Speaker 4: Diet nicely, So did you see Real Women have Curves?

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Speaker 4: Like right when it came out, you.

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Speaker 1: Know, so two thousand and two. I don't remember where

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Speaker 1: I was or where I saw it. I just remember that,

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Speaker 1: like it was like this standout movie to me because

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Speaker 1: of Loop Anti Vettos is in it, George Lopez is

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Speaker 1: in it, America Frere is in it, and there are

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Speaker 1: others throughout the film who are iconic actors and actresses.

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Speaker 1: But I remember thinking like, oh my god, like this

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Speaker 1: little movie is like has all these recognizable faces that

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Speaker 1: I've seen in all these other projects, like you know,

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Speaker 1: Loop Aunt, the Vetols played Yea in the Selena biopic. Yeah,

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Speaker 1: So so for that reason, it was like, wow, like

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Speaker 1: I've seen these faces in all these other projects, Disney Channels,

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Speaker 1: George Lopez, and now they're all here in this one movie.

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Speaker 1: Like that's fucking sick.

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Speaker 4: What a great cast and like really amazing performances across

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Speaker 4: the board.

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Speaker 3: And learning about the I mean, we'll get into it,

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Speaker 3: but like learning about the production history of this movie

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Speaker 3: is like very frustrating and very fascinating, and I just

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Speaker 3: like can't wait to.

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Speaker 5: Get into it.

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Speaker 4: Truly agreed, Jamie, what is your relationship with this movie?

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Speaker 3: I had kind of a similar journey. I every d

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Speaker 3: com that came out was my favorite movie, and so

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Speaker 3: gotta kick it up was I feel like a significant

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Speaker 3: one that was like kind of in like the upper

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Speaker 3: pantheon of D coms.

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Speaker 5: I really, really loved it.

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Speaker 3: That was definitely how I, even though I think that

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Speaker 3: technically real women have curves was made before Gotta Kick

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Speaker 3: It Up, definitely learned about America for and like fell

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Speaker 3: in love with her through Gotta Kick It Up. And

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Speaker 3: I don't remember, I know I saw real women have

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Speaker 3: curves when I was a kid. I was trying to

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Speaker 3: sort out in my head the sequence of events of

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Speaker 3: like I might have seen like Gotta Kick It Up

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Speaker 3: Sisterhood of the Traveling Pants and then seen real women

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Speaker 3: have curves to be like we have to get into vintage.

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Speaker 5: America Ferrera, right.

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Speaker 3: But I definitely saw it when I was in like

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Speaker 3: either late middle school early high school.

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Speaker 5: Really really loved it.

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Speaker 3: Have revisited it a couple times over the years, but

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Speaker 3: I hadn't seen it in a really long time, and

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Speaker 3: definitely not since I had moved to La And so

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Speaker 3: it was like such a delight to like revisit I

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Speaker 3: really love this movie, and yeah, getting to learn more

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Speaker 3: about the film and kind of the the at it,

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Speaker 3: Like I feel like this is such a cool example

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Speaker 3: of like adapting something into a movie well, which is

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Speaker 3: so often done badly or sloppily or lazily or whatever,

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Speaker 3: but like, this is just like a beautiful adaptation.

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Speaker 5: And I'm so excited to talk about it. Yeah, Caitlin,

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Speaker 5: what's your history with real Woman? Have curve?

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Speaker 4: I saw this movie in high school because I came

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Speaker 4: out in two thousand and two. I think I would

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Speaker 4: have seen it in like two thousand and three or

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Speaker 4: four when I was about honest character's.

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Speaker 5: Age in the movie.

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Speaker 1: Ye.

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Speaker 4: Yeah, because I think, if my memory serves me correctly,

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Speaker 4: my mom had heard about this movie and was like,

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Speaker 4: I heard it's really good. Roger Eber gave it three

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Speaker 4: and a half stars. Let's watch it. Let's rent it

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Speaker 4: from the video store.

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Speaker 3: The Ultimate yard Stick. This is a very like I

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Speaker 3: feel like I probably watched this with my mom. It's

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Speaker 3: a very mother like. There's not a lot of mother

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Speaker 3: daughter movie. Yeah, I mean, and the relationship we'll get there.

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Speaker 1: But and it would have required someone we had to

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Speaker 1: have the DVD of this film to watch it, So

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Speaker 1: I feel like I went to Blockbuster or someone recommended it.

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Speaker 1: And because I don't remember seeing it in the movie

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Speaker 1: theaters or on TV, like, I feel like it was

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Speaker 1: a DVD situation.

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Speaker 3: Yeah, exactly. Yeah, that's my recollection as well. Gosh, like yeah,

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Speaker 3: like that the later Blockbuster years.

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Speaker 5: What a beautiful what a beautiful.

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Speaker 1: Time in It's Twilight.

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Speaker 3: Does anyone remember the last DVD they got from Blockbuster?

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Speaker 5: Wow? I feel like that's a fun question.

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Speaker 4: My hometown was so small that we didn't even have

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Speaker 4: a Blockbuster Wow. We had to go to just like

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Speaker 4: the local video rental store, which I don't even remember

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Speaker 4: what it was called now, it might have just been

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Speaker 4: called like video.

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Speaker 1: Store, the video store.

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Speaker 4: Amazing anyway, So yeah, I saw it in high school

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Speaker 4: as a teenager, and I haven't watched it since then,

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Speaker 4: I don't think. But there were two scenes in particular

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Speaker 4: that are just like seered into my memory. You know

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Speaker 4: when you watch a movie that you and then you

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Speaker 4: don't see it for years, but there are just like

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Speaker 4: little moments that you will never forget and then have

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Speaker 4: just been like logged into your memory bank forever. The

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Speaker 4: scene where America Ferrara is like admiring her body. She

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Speaker 4: like pulls her robe open and is like looking at

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Speaker 4: herself in the mirror, and then her mom comes in

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Speaker 4: and she like immediately knows that she's lost her virginity.

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Speaker 4: That like was completely steered into my memory. And then

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Speaker 4: the like climactic scene at the end when all the

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Speaker 4: women at the dress factory are taking their clothes off

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Speaker 4: and comparing bodies and Anna's mom is horrified, like what

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Speaker 4: a great scene. Oh, We'll never forget that.

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Speaker 3: The other scene that I did not remember her mom

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Speaker 3: being like you lost your virginity and being right. I

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Speaker 3: was like, Oh, I'm glad. I'm kind of glad.

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Speaker 5: That didn't stick with me. I was like, oh, how

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Speaker 5: did she know that?

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Speaker 4: Yeah, but I think it was seared into my memory

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Speaker 4: because I was so afraid that that would happen to

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Speaker 4: me with my.

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Speaker 1: Oh right, like you can tell, like I do I

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Speaker 1: look different? And in that scene too, she opens with

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Speaker 1: like she uses such strong language with Anna, like throughout

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Speaker 1: the movie. One of the things that like really sticks

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Speaker 1: out to me is like the vocabulary that Garman that

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Speaker 1: Anna's mother uses, so like immediately in that scene, she's like,

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

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Speaker 1: are you fat, you're a buta you know, very hard

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Speaker 1: language that just really punctuates like every aspect of the scene.

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Speaker 5: Yeah, totally.

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Speaker 3: One of the scenes that stuck with me the hardest

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Speaker 3: on this viewing was the scene where it's like on

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Speaker 3: his first day working at the factory and her mom

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Speaker 3: is body shaming her, and then the second another person

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Speaker 3: enters the room, she's all of a sudden nice, And

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Speaker 3: you're like, oh, no, I know that dynamic, Like that's

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Speaker 3: so that I don't know how many times I've seen

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Speaker 3: that like on screen, like depicted in a very straightforward

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Speaker 3: way of like, well, yeah, like you know, I could

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Speaker 3: be a total asshole to you when no one's around,

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Speaker 3: but then the second there's a third party, my demeanor

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Speaker 3: completely changes and you're like, yeah, that's I saw that

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Speaker 3: a ton growing up, Like.

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

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

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

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

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Speaker 1: Anna's like admiring a dress on one of the mannequins

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

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

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

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

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

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

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

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

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Speaker 1: her to stay home to make breakfast for the men.

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Speaker 1: You know, she's just like a party pooper throughout the

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Speaker 1: whole film.

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Speaker 3: That scened like at the factory, like truly, I was like,

400
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Speaker 3: oh my god, she was literally just standing there like

401
00:22:00,600 --> 00:22:03,280
Speaker 3: it turned into an attack, like.

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Speaker 4: Oh, yeah, yeah, we will unpack that, yes relationship soon.

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00:22:09,080 --> 00:22:12,080
Speaker 1: Yes, it's wild because she's so likable. She's so lovable

404
00:22:12,280 --> 00:22:14,760
Speaker 1: the mom even when she's saying all these horrible things,

405
00:22:14,840 --> 00:22:17,440
Speaker 1: like yeah, she's still kind of funny when she's saying them,

406
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Speaker 1: and like the tension between the two of them is like,

407
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Speaker 1: I don't know, there's something still endearing about her even

408
00:22:23,440 --> 00:22:26,160
Speaker 1: as she infuriates you, you know right.

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Speaker 4: I feel like a lot of that is just like

410
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Speaker 4: Lupe Antibo's performance as well, Like yeah, oh.

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Speaker 3: Man, across the board, Like every performance in this movie

412
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Speaker 3: is so good and like layered and full of heart.

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Speaker 5: And I mean the fact that like America Frera.

414
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Speaker 3: Was fifteen when she started this movie, and like the

415
00:22:46,280 --> 00:22:50,320
Speaker 3: whole range of like she's just so fucking talented.

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Speaker 4: It is such a good movie. I am sad. I

417
00:22:53,520 --> 00:22:56,560
Speaker 4: like slept on it for all of those years in between,

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Speaker 4: like when I first saw it and now your back, baby,

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Speaker 4: I'm back baby. Shall I do the recap?

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Speaker 5: Let's do it?

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00:23:05,359 --> 00:23:10,399
Speaker 4: Okay? So we meet Anna Garcia played by America Feria.

422
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Speaker 4: She's a teenager who is about to finish high school

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Speaker 4: in Los Angeles. Ever heard of it? We meet her family,

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Speaker 4: her sister Estella played by Ingrid and I'm not sure

425
00:23:23,640 --> 00:23:27,800
Speaker 4: how to pronounce her last name, Oliu, her dad Raoul

426
00:23:28,040 --> 00:23:32,720
Speaker 4: played by Jorge Severa Junior, her grandfather her like Abulito,

427
00:23:32,920 --> 00:23:36,840
Speaker 4: and then her mom, Carmen played by Lupe ante Veros,

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00:23:37,560 --> 00:23:43,240
Speaker 4: who Anna has a loving but difficult relationship with, as

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00:23:43,320 --> 00:23:48,040
Speaker 4: we've hinted at, and we'll discuss further. Carmen, we will learn,

430
00:23:48,480 --> 00:23:51,440
Speaker 4: gets on Anna's case about a lot of different things

431
00:23:51,560 --> 00:23:57,840
Speaker 4: and has certain pretty rigid expectations for Anna and for Estella. Yes,

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00:23:59,680 --> 00:24:03,120
Speaker 4: Anna heads to her last day of high school. She

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Speaker 4: and her family live in I think East La.

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00:24:06,320 --> 00:24:07,440
Speaker 1: Yeah, Boyle Heights.

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00:24:07,520 --> 00:24:10,360
Speaker 3: But that's right, because that was like very based on

436
00:24:10,840 --> 00:24:14,240
Speaker 3: the source material. This was adapted from a play I know.

437
00:24:14,240 --> 00:24:17,800
Speaker 3: We'll talk about this but play by Josefina Lopez, who

438
00:24:18,040 --> 00:24:20,040
Speaker 3: writes about boyle heads a ton like that is very

439
00:24:20,119 --> 00:24:22,840
Speaker 3: much her background in her community and yeah.

440
00:24:22,720 --> 00:24:27,000
Speaker 4: Yep, but Anna takes several city buses to get to

441
00:24:27,080 --> 00:24:32,040
Speaker 4: school in Beverly Hills. Her teacher, mister Gusman played by

442
00:24:32,080 --> 00:24:36,840
Speaker 4: George Lopez, asks her about her college applications, but she

443
00:24:36,880 --> 00:24:39,679
Speaker 4: says she's not going to college because her family cannot

444
00:24:39,720 --> 00:24:44,520
Speaker 4: afford it. He reminds her that there are scholarships, grants,

445
00:24:44,600 --> 00:24:48,399
Speaker 4: financial aid, but she's like, I don't know, not that

446
00:24:48,440 --> 00:24:52,080
Speaker 4: she doesn't want to, it's just she knows it's gonna.

447
00:24:51,800 --> 00:24:54,240
Speaker 5: Be like an issue within the family, exactly.

448
00:24:54,520 --> 00:24:59,760
Speaker 4: Yeah, her family throws a little congrats on graduating high

449
00:24:59,760 --> 00:25:04,080
Speaker 4: school celebration. We also see Anna quit her job at

450
00:25:04,080 --> 00:25:06,720
Speaker 4: a fast food joint, which upsets her mom but.

451
00:25:06,800 --> 00:25:08,879
Speaker 3: Is a fun scene to watch her quinn. I loved

452
00:25:08,920 --> 00:25:11,399
Speaker 3: watching her quin That was very fun.

453
00:25:11,560 --> 00:25:15,760
Speaker 1: And I actually think that the cashier is Josefina Lopez,

454
00:25:16,119 --> 00:25:17,040
Speaker 1: the one who hands her.

455
00:25:17,119 --> 00:25:20,720
Speaker 4: Okay, she is in the movie as a character named Veronica,

456
00:25:20,800 --> 00:25:23,600
Speaker 4: but I was like, who's Veronica. I couldn't remember exactly.

457
00:25:23,760 --> 00:25:26,919
Speaker 4: That's so cool, all right, that's great.

458
00:25:26,880 --> 00:25:29,119
Speaker 1: And she killed it. She was so great In that

459
00:25:29,240 --> 00:25:30,800
Speaker 1: one scene She's.

460
00:25:30,720 --> 00:25:33,879
Speaker 4: Keeping Anna's check in her bra and Anna's like, that's sick.

461
00:25:35,080 --> 00:25:35,240
Speaker 1: That.

462
00:25:36,640 --> 00:25:38,760
Speaker 3: Now I like that scene even more. I was just

463
00:25:38,800 --> 00:25:41,680
Speaker 3: like where the character actor was was really funny. Yeah,

464
00:25:41,720 --> 00:25:43,399
Speaker 3: holy shit, Oh that's great. And now that I'm like

465
00:25:43,400 --> 00:25:44,960
Speaker 3: looking at her picture again, I'm like, oh, yeah, that

466
00:25:45,000 --> 00:25:45,720
Speaker 3: totally was her.

467
00:25:46,000 --> 00:25:46,359
Speaker 1: That's her.

468
00:25:46,520 --> 00:25:47,400
Speaker 5: Yeah, amazing.

469
00:25:48,000 --> 00:25:51,600
Speaker 4: So Ana quits her job, which upsets her mom, who

470
00:25:51,720 --> 00:25:54,560
Speaker 4: suggests she work at the clothing factory that her sister,

471
00:25:54,680 --> 00:25:59,560
Speaker 4: Estella runs, something that neither Anna nor Estella really want.

472
00:26:00,200 --> 00:26:03,199
Speaker 4: But Anna needs to learn, needs to earn money to

473
00:26:03,200 --> 00:26:08,120
Speaker 4: help the family, and Estella is behind on her work orders,

474
00:26:08,359 --> 00:26:12,160
Speaker 4: so she will go to work at the factory. Mister

475
00:26:12,280 --> 00:26:15,520
Speaker 4: Gusman pays Anna a visit to keep encouraging her to

476
00:26:15,640 --> 00:26:20,639
Speaker 4: submit college applications, but her family and her mom especially

477
00:26:21,280 --> 00:26:24,239
Speaker 4: are against Anna going to college right now because she

478
00:26:24,359 --> 00:26:27,840
Speaker 4: needs to work and help the family. The next day,

479
00:26:28,320 --> 00:26:33,080
Speaker 4: Anna and her sister and mom go to Estella's clothing factory,

480
00:26:33,280 --> 00:26:36,320
Speaker 4: where they assemble dresses to be sold at Bloomingdale's for

481
00:26:36,480 --> 00:26:40,240
Speaker 4: six hundred dollars, even though the manufacturer only pays them

482
00:26:40,640 --> 00:26:45,600
Speaker 4: eighteen dollars per dress to assemble each dress, and Anna

483
00:26:45,680 --> 00:26:49,119
Speaker 4: points out how unfair this is, how their labor is

484
00:26:49,160 --> 00:26:50,200
Speaker 4: being exploited.

485
00:26:50,520 --> 00:26:52,600
Speaker 3: Also, I think probably at the time, that would have

486
00:26:52,640 --> 00:26:56,440
Speaker 3: been the first time I'd heard that issue discussed in

487
00:26:56,520 --> 00:26:57,400
Speaker 3: a movie.

488
00:26:57,320 --> 00:26:58,480
Speaker 5: Like at all.

489
00:26:59,080 --> 00:27:04,280
Speaker 4: For sure. Yeah, there's an interesting class discussion around this movie,

490
00:27:04,320 --> 00:27:07,320
Speaker 4: for sure. And then we meet the other women who

491
00:27:07,359 --> 00:27:11,680
Speaker 4: work at the factory, such as Pancha, Norma, and Rosahli.

492
00:27:12,440 --> 00:27:16,919
Speaker 4: Also on his mom Carmen body shames on us several

493
00:27:17,000 --> 00:27:21,760
Speaker 4: times and tends to comment on most people's weight. Yeah,

494
00:27:21,880 --> 00:27:24,159
Speaker 4: that's just kind of a habit of hers.

495
00:27:24,359 --> 00:27:26,159
Speaker 3: Well, yeah, because there is that scene where, I mean

496
00:27:26,200 --> 00:27:28,639
Speaker 3: the scene we were just talking about where she is

497
00:27:28,800 --> 00:27:32,120
Speaker 3: verbally abusive towards her daughter. Someone like her employees start

498
00:27:32,160 --> 00:27:34,840
Speaker 3: to arrive and then she's nice to them, but then

499
00:27:34,840 --> 00:27:37,760
Speaker 3: she also turns on her employees pretty quickly and starts

500
00:27:37,800 --> 00:27:38,960
Speaker 3: criticizing them as well.

501
00:27:39,000 --> 00:27:41,240
Speaker 5: And you're like, oh, I guess this is just her personality.

502
00:27:41,320 --> 00:27:45,080
Speaker 1: Oh everybody gets it. Yeah, yeah, she gives it to everybody.

503
00:27:45,440 --> 00:27:47,800
Speaker 1: Everyone gets a slice, you.

504
00:27:47,720 --> 00:27:51,440
Speaker 5: Get a polite hello, and then things take a turn.

505
00:27:51,680 --> 00:27:55,200
Speaker 4: Uh huh yep. So then Anna gives her filled out

506
00:27:55,200 --> 00:27:59,080
Speaker 4: college applications to mister Gooseman, but he points out that

507
00:27:59,080 --> 00:28:01,760
Speaker 4: she's missing a personal statement and that she needs to

508
00:28:01,760 --> 00:28:05,280
Speaker 4: write one as soon as possible. Then Anna runs into

509
00:28:05,320 --> 00:28:10,400
Speaker 4: her classmate Jimmy, who seems to like her. He's got

510
00:28:10,440 --> 00:28:14,119
Speaker 4: a little crush, and he gives Anna his phone number.

511
00:28:15,440 --> 00:28:20,040
Speaker 4: Back at the factory, Estella is struggling to keep up

512
00:28:20,280 --> 00:28:24,200
Speaker 4: with the work order, especially after several of her workers

513
00:28:24,400 --> 00:28:28,399
Speaker 4: unexpectedly leave to move to Mexico. Then we get a

514
00:28:28,440 --> 00:28:32,560
Speaker 4: scene where Carmen tells Anna a secret that Carmen thinks

515
00:28:32,680 --> 00:28:37,480
Speaker 4: she's pregnant, but Anna is like, Mom, that's pretty unlikely.

516
00:28:39,360 --> 00:28:40,520
Speaker 4: Probably not what's happening.

517
00:28:41,080 --> 00:28:43,320
Speaker 3: For all the shit that Anna has to put up with,

518
00:28:43,520 --> 00:28:49,600
Speaker 3: I love that she's always very quick to be like enough, stop, no.

519
00:28:50,120 --> 00:28:55,000
Speaker 4: She advocates for herself exceptionally well yeah yeah, and I.

520
00:28:54,920 --> 00:28:57,240
Speaker 3: Love her for it, even in situations where you can

521
00:28:57,280 --> 00:28:59,200
Speaker 3: tell like I don't know, or where it felt to

522
00:28:59,240 --> 00:28:59,880
Speaker 3: me like you could tell.

523
00:29:00,080 --> 00:29:01,240
Speaker 5: She's like, I'm not gonna win this.

524
00:29:01,240 --> 00:29:04,280
Speaker 3: Battle, but I have to say this, like, hmm, you're

525
00:29:04,360 --> 00:29:05,640
Speaker 3: not pregnant, mom.

526
00:29:06,080 --> 00:29:10,560
Speaker 4: So then Anna goes with Estella to speak to missus Glass,

527
00:29:10,680 --> 00:29:14,040
Speaker 4: who is the owner of the dress manufacturing company to

528
00:29:14,320 --> 00:29:17,120
Speaker 4: ask for an advance so they can pay the bills

529
00:29:17,160 --> 00:29:20,760
Speaker 4: and keep the lights running at the factory, but missus

530
00:29:20,760 --> 00:29:24,480
Speaker 4: Glass still denies them in advance. So then Anna goes

531
00:29:24,520 --> 00:29:28,440
Speaker 4: to her dad for a loan. Meanwhile, Anna goes out

532
00:29:28,480 --> 00:29:31,040
Speaker 4: on a date with that kid, Jimmy. They have a

533
00:29:31,120 --> 00:29:31,640
Speaker 4: nice time.

534
00:29:32,080 --> 00:29:34,600
Speaker 5: He's got big, that kid Jimmy energy too.

535
00:29:35,000 --> 00:29:39,680
Speaker 4: Like I was like, who is this Elijah Wood? Ass

536
00:29:39,800 --> 00:29:40,720
Speaker 4: looking kid?

537
00:29:41,280 --> 00:29:44,680
Speaker 3: Yeah, Elijah Wood wasn't available, slash, he's too old, too old,

538
00:29:44,800 --> 00:29:47,920
Speaker 3: this kid, that kid Jimmy. He was only in movies

539
00:29:47,960 --> 00:29:50,440
Speaker 3: for a couple of years and then he who knows,

540
00:29:50,480 --> 00:29:51,800
Speaker 3: he tapped out and he's done.

541
00:29:51,920 --> 00:29:55,160
Speaker 4: Yeah. I liked his character though, you know, he said

542
00:29:55,200 --> 00:29:59,320
Speaker 4: some things that made me gough, but overall agree with that.

543
00:30:00,440 --> 00:30:01,560
Speaker 4: He seemed like a sweet kid.

544
00:30:01,640 --> 00:30:06,200
Speaker 1: He's he's very like her first nice white boyfriend. You know.

545
00:30:06,680 --> 00:30:10,680
Speaker 1: It's it's an experience, it's a type. It's oh I

546
00:30:10,720 --> 00:30:14,080
Speaker 1: had a nice white boyfriend like back home, like and

547
00:30:14,120 --> 00:30:15,600
Speaker 1: that's him right right.

548
00:30:15,720 --> 00:30:20,000
Speaker 4: Yeah, So she goes out with Jimmy. Anna then turns

549
00:30:20,080 --> 00:30:23,760
Speaker 4: in her personal statement to mister Gooseman. We see another

550
00:30:23,840 --> 00:30:27,680
Speaker 4: day at work. It's hard, it's hot. Anna admires the

551
00:30:27,760 --> 00:30:31,000
Speaker 4: dresses she steams at the factory and is sad to

552
00:30:31,040 --> 00:30:34,320
Speaker 4: remember that they're not for her. But then Estella surprises

553
00:30:34,320 --> 00:30:37,560
Speaker 4: Anna with a dress that she made especially for Anna

554
00:30:38,200 --> 00:30:41,680
Speaker 4: in a very sweet moment part.

555
00:30:42,000 --> 00:30:44,560
Speaker 5: And it is a beautiful dress too, mm hmmm.

556
00:30:44,680 --> 00:30:48,240
Speaker 1: And I always wish there was like a dress reveal moment,

557
00:30:48,400 --> 00:30:51,760
Speaker 1: like an occasion for her wear that dress.

558
00:30:51,960 --> 00:30:54,120
Speaker 3: I was like, is there a cut scene because it

559
00:30:54,160 --> 00:30:56,520
Speaker 3: felt like Chekhov's dress?

560
00:30:57,760 --> 00:31:00,720
Speaker 1: Exactly where is the dress? Where's she wearing it?

561
00:31:01,000 --> 00:31:01,240
Speaker 5: Yeah?

562
00:31:01,400 --> 00:31:04,160
Speaker 3: I hope she wore it at like some I don't know,

563
00:31:04,240 --> 00:31:05,640
Speaker 3: some New York event.

564
00:31:06,320 --> 00:31:07,880
Speaker 4: Yeah. She goes to a.

565
00:31:07,840 --> 00:31:08,840
Speaker 1: Mixer at Columbia.

566
00:31:09,240 --> 00:31:09,520
Speaker 5: Yeah.

567
00:31:09,640 --> 00:31:12,640
Speaker 3: Yeah, She's like, I just wore a gown to orientation?

568
00:31:13,240 --> 00:31:15,040
Speaker 5: Is that normal? Can you do that?

569
00:31:18,560 --> 00:31:21,280
Speaker 4: Then mister Guzmand stops by to let Anna know that

570
00:31:21,320 --> 00:31:24,720
Speaker 4: she's been accepted to Columbia University with a full scholarship,

571
00:31:25,240 --> 00:31:28,000
Speaker 4: but her parents are still like now is not the

572
00:31:28,040 --> 00:31:31,000
Speaker 4: right time for Anna to go to college, which is

573
00:31:31,040 --> 00:31:36,120
Speaker 4: extremely disappointing to Anna. She then goes out with Jimmy again,

574
00:31:36,520 --> 00:31:40,160
Speaker 4: they have sex. Her mom senses that she has lost

575
00:31:40,160 --> 00:31:44,040
Speaker 4: her virginity and like we were saying earlier she calls

576
00:31:44,080 --> 00:31:46,880
Speaker 4: Anna a tramp and a putta, And.

577
00:31:47,000 --> 00:31:49,680
Speaker 3: One of the biggest mysteries of the movie, how did

578
00:31:49,760 --> 00:31:50,400
Speaker 3: she know?

579
00:31:50,920 --> 00:31:51,600
Speaker 5: How did she know?

580
00:31:51,640 --> 00:31:51,680
Speaker 4: It?

581
00:31:51,800 --> 00:31:51,880
Speaker 3: Was?

582
00:31:51,880 --> 00:31:55,480
Speaker 5: It because America Frere was like looking in the mirror

583
00:31:55,520 --> 00:31:57,560
Speaker 5: being like, go meet, Like.

584
00:31:57,600 --> 00:32:00,160
Speaker 4: Why how does she know? Yeah? My guess is that

585
00:32:00,200 --> 00:32:03,240
Speaker 4: she was just like confidently admiring her body.

586
00:32:02,960 --> 00:32:05,520
Speaker 1: Body for the first time ever.

587
00:32:06,400 --> 00:32:08,800
Speaker 3: Yeah, right, so she's like, I better put an end

588
00:32:08,920 --> 00:32:09,840
Speaker 3: to this confidence.

589
00:32:09,920 --> 00:32:10,880
Speaker 5: My daughter's feeling.

590
00:32:11,640 --> 00:32:14,800
Speaker 3: That was more the Spidey cent going off was I

591
00:32:14,800 --> 00:32:16,560
Speaker 3: think my daughter's having a good feeling.

592
00:32:16,840 --> 00:32:20,120
Speaker 1: It's like her favorite refrain. She's always like a mother knows,

593
00:32:20,600 --> 00:32:21,440
Speaker 1: a woman knows.

594
00:32:21,640 --> 00:32:24,400
Speaker 4: She just knows, and this time she was right. She

595
00:32:24,480 --> 00:32:29,400
Speaker 4: turns out to not be right about being pregnant because

596
00:32:29,480 --> 00:32:31,080
Speaker 4: she goes to the doctor, take.

597
00:32:30,960 --> 00:32:33,800
Speaker 3: A hundred shots, and you're gonna make one eventually.

598
00:32:34,400 --> 00:32:38,120
Speaker 4: True. The reason that Carmen has missed several periods in

599
00:32:38,120 --> 00:32:40,240
Speaker 4: a row is a bit is because she is going

600
00:32:40,280 --> 00:32:45,000
Speaker 4: through menopause, not because she is pregnant. So then we

601
00:32:45,040 --> 00:32:48,240
Speaker 4: see another day at the dress factory. It's a particularly

602
00:32:48,280 --> 00:32:51,560
Speaker 4: hot day and Estella won't turn on the fan because

603
00:32:51,560 --> 00:32:54,640
Speaker 4: it blows dust on the dresses. So Anna takes off

604
00:32:54,640 --> 00:32:58,240
Speaker 4: her shirt and her mom freaks out, but Anna is like,

605
00:32:58,400 --> 00:33:00,760
Speaker 4: what's the big deal. We're all went here, we all

606
00:33:00,800 --> 00:33:03,920
Speaker 4: have the same parts. And then all of the other

607
00:33:03,960 --> 00:33:08,680
Speaker 4: women at the factory take their clothes off. They compare bodies,

608
00:33:08,840 --> 00:33:13,760
Speaker 4: they compare cellulite and stretch marks, and they're like, we're beautiful,

609
00:33:13,840 --> 00:33:19,520
Speaker 4: We're awesome. But Carmen is looking on in horror and

610
00:33:19,960 --> 00:33:22,000
Speaker 4: Anna is just like, this is who we are, mom,

611
00:33:22,280 --> 00:33:27,360
Speaker 4: real women, and Carmen storms out while the other ladies

612
00:33:27,400 --> 00:33:31,440
Speaker 4: continue working and dancing and celebrating themselves and their bodies.

613
00:33:32,880 --> 00:33:37,360
Speaker 3: I'm interested in talking about the shooting situation around that scene.

614
00:33:37,480 --> 00:33:39,880
Speaker 5: There's a lot to talk about there too.

615
00:33:40,240 --> 00:33:45,760
Speaker 4: Ooh, I'm interested to learn more. And then finally Anna

616
00:33:45,840 --> 00:33:50,080
Speaker 4: heads off to Columbia University. She tries to say goodbye

617
00:33:50,120 --> 00:33:55,680
Speaker 4: to Carmen and to get her mom's blessing, but Carmen refuses,

618
00:33:56,440 --> 00:33:59,280
Speaker 4: so her dad and grandpa take Anna to the airport,

619
00:33:59,840 --> 00:34:03,680
Speaker 4: and then we see Anna walking down the streets of

620
00:34:03,760 --> 00:34:08,200
Speaker 4: New York City. I ever heard of it, And that's

621
00:34:08,440 --> 00:34:12,560
Speaker 4: how the movie ends. So let's take a quick break

622
00:34:12,760 --> 00:34:26,200
Speaker 4: and then we will come back to discuss and we're back.

623
00:34:27,080 --> 00:34:30,239
Speaker 3: I feel like a little bit of context for how

624
00:34:30,280 --> 00:34:32,600
Speaker 3: this movie came to be is a good place to

625
00:34:32,680 --> 00:34:36,480
Speaker 3: start before we get into the characters. So this, as

626
00:34:36,520 --> 00:34:39,760
Speaker 3: we've sort of hinted at already, this is a movie

627
00:34:39,760 --> 00:34:44,160
Speaker 3: that is based on a play by jos Afina Lopez.

628
00:34:44,920 --> 00:34:48,120
Speaker 3: Her background is she was born in Mexico and then

629
00:34:48,480 --> 00:34:51,960
Speaker 3: immigrated to Los Angeles. A lot of her work surrounds

630
00:34:51,960 --> 00:34:55,880
Speaker 3: that experience and sort of reflections of her experience. This

631
00:34:56,040 --> 00:34:59,960
Speaker 3: play is very much a part of that. She started writing.

632
00:35:00,080 --> 00:35:02,919
Speaker 3: I reading about her career, I'd never like gone down

633
00:35:02,920 --> 00:35:07,000
Speaker 3: this Wikipedia hole, and she's like, so fucking cool. She

634
00:35:07,080 --> 00:35:10,160
Speaker 3: wrote her first play in high school while the rest

635
00:35:10,160 --> 00:35:14,000
Speaker 3: of us were doing god knows what, she was at

636
00:35:14,080 --> 00:35:17,600
Speaker 3: work and she wrote a play called Simply Maria or

637
00:35:17,640 --> 00:35:21,319
Speaker 3: the American Dream. She then went on to write Real

638
00:35:21,360 --> 00:35:24,279
Speaker 3: Women Have Curves. The play was very well regarded, it

639
00:35:24,360 --> 00:35:28,280
Speaker 3: was very successful. It's my understanding is it's pretty close

640
00:35:28,400 --> 00:35:31,680
Speaker 3: to what happens in the movie because she co writes

641
00:35:31,960 --> 00:35:33,560
Speaker 3: the screenplay and.

642
00:35:33,760 --> 00:35:35,800
Speaker 6: Is apparently one of my favorite characters.

643
00:35:35,920 --> 00:35:36,640
Speaker 5: I just learned.

644
00:35:38,320 --> 00:35:41,560
Speaker 3: But anyways, Real Women Have Curves is her biggest hit

645
00:35:41,760 --> 00:35:45,560
Speaker 3: so far, and people want to adapt it in one

646
00:35:45,600 --> 00:35:48,719
Speaker 3: way or another originally, and I didn't know any of

647
00:35:48,760 --> 00:35:52,919
Speaker 3: this before reading this kind of retrospective piece. So at

648
00:35:52,960 --> 00:35:57,719
Speaker 3: the time it was going to be adapted for television

649
00:35:57,840 --> 00:36:01,799
Speaker 3: by Norman Lear, who who is first of all, one

650
00:36:01,840 --> 00:36:04,440
Speaker 3: hundred years old and still alive, which you got handed

651
00:36:04,440 --> 00:36:04,759
Speaker 3: to him.

652
00:36:04,800 --> 00:36:06,400
Speaker 5: Wow.

653
00:36:06,920 --> 00:36:10,319
Speaker 3: But he had a reputation in Hollywood for being one

654
00:36:10,320 --> 00:36:14,799
Speaker 3: of the only producers who championed diverse stories for television,

655
00:36:14,920 --> 00:36:18,839
Speaker 3: and so most diverse families you saw on television in

656
00:36:19,000 --> 00:36:22,879
Speaker 3: the seventies, eighties, and nineties into the two thousands he's

657
00:36:22,880 --> 00:36:28,200
Speaker 3: still working were a result of his champion He is

658
00:36:28,280 --> 00:36:32,680
Speaker 3: a white producer who was known for championing women's stories

659
00:36:32,680 --> 00:36:36,120
Speaker 3: and diverse stories. So he seemed to host of Pheni

660
00:36:36,120 --> 00:36:39,720
Speaker 3: Lopez to be kind of a natural fit for getting

661
00:36:39,719 --> 00:36:42,480
Speaker 3: this project adapted into television.

662
00:36:43,400 --> 00:36:45,320
Speaker 5: However, he did.

663
00:36:45,200 --> 00:36:50,600
Speaker 1: One Day at a Time right, like the more recent adaptation, Yeah.

664
00:36:50,440 --> 00:36:53,240
Speaker 3: Yeah, And the first one was also him, right, and

665
00:36:53,800 --> 00:36:57,280
Speaker 3: he did I'm trying to as like God, older TV

666
00:36:57,440 --> 00:37:00,719
Speaker 3: is truly not my strength, but let me get let

667
00:37:00,800 --> 00:37:03,440
Speaker 3: me get a few of his hits on the board.

668
00:37:03,719 --> 00:37:06,719
Speaker 3: Samford and Son was his One Day at a Time.

669
00:37:06,840 --> 00:37:12,000
Speaker 3: The Jeffersons Good Times Modu one of my favorite shows ever.

670
00:37:12,080 --> 00:37:15,040
Speaker 3: Mary Hartman, Mary Hartman like he had, he did he could.

671
00:37:15,080 --> 00:37:18,080
Speaker 3: He got stories on TV that no one else was

672
00:37:18,320 --> 00:37:18,840
Speaker 3: trying to.

673
00:37:19,480 --> 00:37:19,879
Speaker 5: Very cool.

674
00:37:19,920 --> 00:37:22,640
Speaker 3: So hose Fina Lopez was excited that he wanted to

675
00:37:22,760 --> 00:37:26,840
Speaker 3: help adapt it, but even with the Norman Lear Co sign,

676
00:37:27,360 --> 00:37:30,400
Speaker 3: they could not sell Real Women Have Curves as a

677
00:37:30,440 --> 00:37:35,200
Speaker 3: TV series two networks. Networks said it was not relatable

678
00:37:35,320 --> 00:37:40,920
Speaker 3: a story enough, which we know is absolute hoorseshit.

679
00:37:40,840 --> 00:37:44,080
Speaker 4: Porshit, but very typical of Hollywood.

680
00:37:43,600 --> 00:37:48,520
Speaker 3: Of TV yeah to this day. So Josefina Lopez is discouraged.

681
00:37:48,520 --> 00:37:50,399
Speaker 3: She's like, one of the biggest TV producers in the world,

682
00:37:50,440 --> 00:37:53,600
Speaker 3: can't get this produced. Who's going to there's a second

683
00:37:53,880 --> 00:37:59,279
Speaker 3: wind with this project as a film script. So she

684
00:37:59,640 --> 00:38:04,040
Speaker 3: meets a writer named George Levu, which is what a

685
00:38:04,200 --> 00:38:05,360
Speaker 3: what a fun name.

686
00:38:05,880 --> 00:38:06,040
Speaker 4: But.

687
00:38:08,680 --> 00:38:10,840
Speaker 5: I just like to say it, George Levu.

688
00:38:11,040 --> 00:38:18,719
Speaker 3: She meets Levu and they decide, they decide to collaborate

689
00:38:18,800 --> 00:38:24,440
Speaker 3: on a screenplay together, and finally they find an executive

690
00:38:25,000 --> 00:38:27,880
Speaker 3: who wants to fund the project. And it's a I

691
00:38:27,920 --> 00:38:32,360
Speaker 3: have a quote here, So this project was funded by HBO,

692
00:38:32,480 --> 00:38:35,080
Speaker 3: which I don't think I knew, not that it matters,

693
00:38:35,120 --> 00:38:37,960
Speaker 3: I just didn't know it was an HBO movie. So

694
00:38:38,040 --> 00:38:41,279
Speaker 3: Hosephina Lopez says this, I believe in twenty seventeen, in

695
00:38:41,320 --> 00:38:45,919
Speaker 3: this retrospective, HBO's maud Nadler had the power to say Yes.

696
00:38:46,360 --> 00:38:49,720
Speaker 3: It came down to a female executive saying, women's stories matter.

697
00:38:50,000 --> 00:38:52,399
Speaker 3: Stories about mothers and daughters are important to me because

698
00:38:52,440 --> 00:38:54,919
Speaker 3: I love my mother. And I remember asking mad after

699
00:38:54,960 --> 00:38:57,840
Speaker 3: we made the film why she said yes, she said,

700
00:38:58,160 --> 00:39:01,080
Speaker 3: because I love my mother. Took a woman in a

701
00:39:01,120 --> 00:39:04,920
Speaker 3: position of power to find value in the story, which

702
00:39:05,120 --> 00:39:06,680
Speaker 3: is I thought, I don't know.

703
00:39:06,800 --> 00:39:09,600
Speaker 5: That was like, that's really nice.

704
00:39:09,480 --> 00:39:13,319
Speaker 1: Yeah, And none of those men love their mothers. They

705
00:39:13,400 --> 00:39:17,600
Speaker 1: all hate their mothers. I love my mother not enough

706
00:39:17,640 --> 00:39:19,440
Speaker 1: to fund a story on woman.

707
00:39:20,080 --> 00:39:26,080
Speaker 5: Let's not. Let's not cary away. Look look, I'm women

708
00:39:26,480 --> 00:39:29,279
Speaker 5: to a point, very like us. The father of a

709
00:39:29,400 --> 00:39:32,080
Speaker 5: daughter energy. Yes.

710
00:39:34,239 --> 00:39:40,360
Speaker 3: So the project gets funded. They find director Patricia Cardoso,

711
00:39:40,400 --> 00:39:44,839
Speaker 3: who I believe is raised in Columbia. She signs on

712
00:39:44,880 --> 00:39:48,960
Speaker 3: for the project. Luvu and Lopez become the hottest writing

713
00:39:49,000 --> 00:39:50,040
Speaker 3: team in Hollywood.

714
00:39:51,680 --> 00:39:52,160
Speaker 5: The movies.

715
00:39:52,360 --> 00:39:55,400
Speaker 3: Oh and then another huge thing that happens is George

716
00:39:55,440 --> 00:39:58,520
Speaker 3: Lopez signs on as a co producer, which also was

717
00:39:58,560 --> 00:40:01,160
Speaker 3: like a big hand and getting this movie in front

718
00:40:01,200 --> 00:40:04,280
Speaker 3: of people. It goes to sun Dance and the rest

719
00:40:04,600 --> 00:40:06,400
Speaker 3: is history. But it was a huge I mean, I

720
00:40:06,400 --> 00:40:10,000
Speaker 3: think we see this a lot of times in projects

721
00:40:10,040 --> 00:40:14,400
Speaker 3: that are not centered around the white experience and the

722
00:40:14,440 --> 00:40:18,040
Speaker 3: white male experience. Like it was a huge uphill battle

723
00:40:18,440 --> 00:40:20,480
Speaker 3: to get this project made, even though it was already

724
00:40:20,520 --> 00:40:25,520
Speaker 3: like a proven successful entity through the play right right.

725
00:40:25,360 --> 00:40:28,280
Speaker 1: And it really has aged so well. I was watching

726
00:40:28,360 --> 00:40:32,360
Speaker 1: it this morning and like the jokes land, the writing

727
00:40:32,520 --> 00:40:36,080
Speaker 1: feels like still very like charming and fresh and it's

728
00:40:36,200 --> 00:40:40,560
Speaker 1: just a fun watch and like nothing in that movie

729
00:40:40,760 --> 00:40:44,000
Speaker 1: is standing out in a bad, cringey way unless it's

730
00:40:44,000 --> 00:40:47,080
Speaker 1: supposed to be. You know, it's just like so well written,

731
00:40:47,560 --> 00:40:50,960
Speaker 1: and you know, it's like, yeah, the work speaks for itself.

732
00:40:51,320 --> 00:40:54,480
Speaker 3: It's funny and like it's just like, I don't know,

733
00:40:54,520 --> 00:40:55,640
Speaker 3: this movie has so much going.

734
00:40:55,600 --> 00:40:59,160
Speaker 4: For it, so charming. Sorry, there's like a trash removal

735
00:40:59,200 --> 00:41:02,040
Speaker 4: truck right outside my window making loud noises my air

736
00:41:02,080 --> 00:41:05,400
Speaker 4: conditioners on because it's eight million degrees. Sorry for all

737
00:41:05,440 --> 00:41:06,279
Speaker 4: the noise.

738
00:41:06,760 --> 00:41:10,560
Speaker 5: Is past my house and I smell fire.

739
00:41:10,800 --> 00:41:12,520
Speaker 1: Oh no, there's a lot going on.

740
00:41:12,760 --> 00:41:16,719
Speaker 7: Oh everyone, everyone is okay, Okay, let's go back to

741
00:41:16,800 --> 00:41:20,960
Speaker 7: talking about the movie that takes place in la around

742
00:41:21,400 --> 00:41:23,439
Speaker 7: like literally this exact time of year.

743
00:41:24,239 --> 00:41:27,760
Speaker 4: Yeah, during a heat wave in the summer, the sweltering heat.

744
00:41:28,080 --> 00:41:32,960
Speaker 4: Oh my gosh. But yeah, this movie does age so well.

745
00:41:33,000 --> 00:41:36,280
Speaker 4: And we've talked about there's like a span of time

746
00:41:36,600 --> 00:41:41,160
Speaker 4: for movies, and honestly it ranges for a long quite

747
00:41:41,200 --> 00:41:43,560
Speaker 4: a long time. But you know, if you're from a

748
00:41:43,600 --> 00:41:46,640
Speaker 4: certain generation, especially the movies of like the late nineties,

749
00:41:46,680 --> 00:41:49,360
Speaker 4: early two thousands, like if that's when you're coming of age,

750
00:41:49,840 --> 00:41:51,680
Speaker 4: and those are like the movies and the media that

751
00:41:51,719 --> 00:41:55,359
Speaker 4: you were like most exposed to, which is the case

752
00:41:55,400 --> 00:41:59,400
Speaker 4: for me at least, that era was just such a

753
00:41:59,440 --> 00:42:03,680
Speaker 4: crap shoes for most media because it was like just

754
00:42:03,880 --> 00:42:10,560
Speaker 4: steeped in sexism, racism, homophobia, transphobia, ableism, like you name it.

755
00:42:10,800 --> 00:42:14,399
Speaker 4: Marginalized communities were punched down to in media. So it's

756
00:42:14,440 --> 00:42:16,480
Speaker 4: just so refreshing to see a movie that's twenty years

757
00:42:16,520 --> 00:42:20,600
Speaker 4: old from the early two thousands to be a movie

758
00:42:20,640 --> 00:42:24,480
Speaker 4: that is like so I mean feminist. Masterpiece Number one

759
00:42:25,160 --> 00:42:29,560
Speaker 4: has so many strong impactful messages, the exact type of

760
00:42:29,600 --> 00:42:32,960
Speaker 4: thing that like young people need to see to be

761
00:42:33,160 --> 00:42:36,600
Speaker 4: influenced in the right direction, because it has such strong

762
00:42:36,760 --> 00:42:41,880
Speaker 4: themes and messaging about like body positivity, sex positivity. It

763
00:42:41,920 --> 00:42:45,960
Speaker 4: showcases a complicated relationship between a mother and daughter, but

764
00:42:46,040 --> 00:42:50,040
Speaker 4: one that's this very authentic and familiar to a lot

765
00:42:50,080 --> 00:42:54,200
Speaker 4: of people. So it's just like it's doing so much.

766
00:42:54,239 --> 00:42:55,800
Speaker 5: And fast commentary.

767
00:42:56,480 --> 00:43:00,840
Speaker 3: There's something that honestly like didn't even didn't connect for

768
00:43:00,920 --> 00:43:03,200
Speaker 3: me until I saw it, like explicitly kind of said

769
00:43:03,239 --> 00:43:06,600
Speaker 3: by the creators of the movie because I didn't have my.

770
00:43:06,640 --> 00:43:08,799
Speaker 5: Proper two thousand and two goggles on.

771
00:43:09,400 --> 00:43:14,560
Speaker 3: I guess was just showing Boyle Heights as the community

772
00:43:14,800 --> 00:43:19,720
Speaker 3: that it is, versus how East LA and Latin people

773
00:43:19,719 --> 00:43:22,160
Speaker 3: from La were shown in media at this time. That

774
00:43:22,239 --> 00:43:25,839
Speaker 3: like this movie had a huge hand in, you know,

775
00:43:25,920 --> 00:43:30,799
Speaker 3: offering a counter to the really prejudiced, like overly simplistic

776
00:43:30,880 --> 00:43:34,200
Speaker 3: narrative that was being shown and everything else, which is

777
00:43:34,239 --> 00:43:37,920
Speaker 3: like such a big part of Josafina Lopez's work.

778
00:43:38,520 --> 00:43:40,920
Speaker 1: It's awesome, it's very wholesome.

779
00:43:40,800 --> 00:43:42,360
Speaker 5: It is, yeah, for sure.

780
00:43:42,480 --> 00:43:44,880
Speaker 4: Yeah, and like, yeah, just think about all the movies

781
00:43:44,920 --> 00:43:47,040
Speaker 4: that you see that are like set in LA about

782
00:43:47,440 --> 00:43:51,520
Speaker 4: rich white people living in wealthy neighborhoods, living in huge houses,

783
00:43:52,360 --> 00:43:58,520
Speaker 4: that basically just ignores huge swaths of the population of LA. Yeah,

784
00:43:58,560 --> 00:44:02,920
Speaker 4: there's a huge LATINX community that is not often represented

785
00:44:03,040 --> 00:44:07,680
Speaker 4: in movies here in LA and often not represented favorably

786
00:44:07,800 --> 00:44:09,680
Speaker 4: if it is represented at all.

787
00:44:10,040 --> 00:44:12,399
Speaker 1: Yeah, I was just gonna say that Real Women Have

788
00:44:12,719 --> 00:44:17,759
Speaker 1: Curves is markedly youthful and feminine when compared to other

789
00:44:18,120 --> 00:44:23,240
Speaker 1: La Chicano Mexican American films. Like literally the other movies

790
00:44:23,239 --> 00:44:26,080
Speaker 1: that we can compare it to in the same sort

791
00:44:26,080 --> 00:44:29,840
Speaker 1: of genre or cultural space is like Blood and Blood

792
00:44:29,880 --> 00:44:34,319
Speaker 1: Out American Me. And then you know, My Familia has

793
00:44:34,360 --> 00:44:37,319
Speaker 1: more of a family dynamic at the beginning. But these

794
00:44:37,400 --> 00:44:41,360
Speaker 1: films and then zoot Suit, and these are all iconic films.

795
00:44:41,560 --> 00:44:44,239
Speaker 1: Zoot Suit is a musical, you know, it's a piece

796
00:44:44,280 --> 00:44:47,400
Speaker 1: of theater. But all of these films also have a

797
00:44:47,440 --> 00:44:50,280
Speaker 1: lot of violence in them. There's a lot of trauma.

798
00:44:51,080 --> 00:44:55,680
Speaker 1: There's prison and gangs, and the ethos is very masculine

799
00:44:55,719 --> 00:44:58,560
Speaker 1: and it's very much like a lot of men on

800
00:44:58,680 --> 00:45:01,880
Speaker 1: screen and what they're going through in their lives. And

801
00:45:01,920 --> 00:45:05,319
Speaker 1: then you have real women have curves with like I

802
00:45:05,440 --> 00:45:08,680
Speaker 1: was on ho Sephina Lopez on her website and reading

803
00:45:08,719 --> 00:45:11,640
Speaker 1: about her like about Me, which seems like she wrote it,

804
00:45:11,680 --> 00:45:14,360
Speaker 1: which is awesome, and she's talking about how she started

805
00:45:14,360 --> 00:45:17,480
Speaker 1: writing this play when she was eighteen, you know, and

806
00:45:17,520 --> 00:45:20,800
Speaker 1: how like yeah, and how the sensibilities of an eighteen

807
00:45:20,880 --> 00:45:24,960
Speaker 1: year old girl have everything to do with why the

808
00:45:25,000 --> 00:45:28,080
Speaker 1: film is everything that it is and it's it's I

809
00:45:28,120 --> 00:45:30,759
Speaker 1: think it feels so fresh because it is because like

810
00:45:30,840 --> 00:45:34,560
Speaker 1: such a young person wrote it. And it feels very

811
00:45:34,719 --> 00:45:38,080
Speaker 1: like like fresh too, because it doesn't look or feel

812
00:45:38,160 --> 00:45:42,200
Speaker 1: like steeped in super trendy stuff of the time, Like

813
00:45:42,239 --> 00:45:45,600
Speaker 1: it doesn't really look like a two thousand's film, I guess,

814
00:45:45,880 --> 00:45:49,399
Speaker 1: like it's not super stylized like their wardrobe or their

815
00:45:49,440 --> 00:45:53,800
Speaker 1: makeup or their hair or the music. You know. It's like, yeah,

816
00:45:53,920 --> 00:45:57,239
Speaker 1: very wholesome and like a zoomer today who like goes

817
00:45:57,280 --> 00:46:00,360
Speaker 1: thrifting might end up pulling some of the out so

818
00:46:00,400 --> 00:46:03,280
Speaker 1: that America Ferrera is wearing in real women have curves,

819
00:46:03,360 --> 00:46:06,319
Speaker 1: you know, Like it just feels very like, yeah, it

820
00:46:06,320 --> 00:46:07,360
Speaker 1: feels like young.

821
00:46:07,600 --> 00:46:09,239
Speaker 5: I was thinking that so much of it has come

822
00:46:09,280 --> 00:46:09,880
Speaker 5: back around.

823
00:46:10,320 --> 00:46:12,640
Speaker 1: Oh yeah, absolutely, I have.

824
00:46:12,520 --> 00:46:18,080
Speaker 3: A quote from mister Levu himself, let's say his name,

825
00:46:18,680 --> 00:46:22,080
Speaker 3: but yeah, like speaking to you know, like drew attention

826
00:46:22,120 --> 00:46:25,480
Speaker 3: to the fact like this is based on hose Afina's

827
00:46:25,520 --> 00:46:29,040
Speaker 3: experience so much, as told through the soft, warm, humorous

828
00:46:29,160 --> 00:46:31,920
Speaker 3: tone of her experience. Hopefully that's what you're seeing when

829
00:46:31,960 --> 00:46:34,400
Speaker 3: you see the city as different from the gangs and

830
00:46:34,440 --> 00:46:37,280
Speaker 3: the grittiness of other films from this time. Ho Safina

831
00:46:37,320 --> 00:46:39,719
Speaker 3: wanted to show the city as a vibrant place where

832
00:46:39,760 --> 00:46:42,319
Speaker 3: women can have full lives and grow. And I feel

833
00:46:42,320 --> 00:46:46,520
Speaker 3: like this movie pulls that off a million percent.

834
00:46:47,239 --> 00:46:48,240
Speaker 5: Oh yeah, yeah.

835
00:46:48,360 --> 00:46:53,920
Speaker 4: I want to share a quote from the director, Patricia

836
00:46:54,120 --> 00:46:58,120
Speaker 4: Patricia Cardoso says quote, I wanted to show a part

837
00:46:58,120 --> 00:47:00,839
Speaker 4: of Los Angeles we don't usually see in a beautiful way,

838
00:47:01,200 --> 00:47:04,239
Speaker 4: not a CD neighborhood filled with stereotypes of East LA.

839
00:47:04,840 --> 00:47:07,520
Speaker 4: It was important to expand the concept of beauty for women,

840
00:47:08,080 --> 00:47:12,439
Speaker 4: but also for the city and the neighborhoods. So it's

841
00:47:12,520 --> 00:47:16,480
Speaker 4: like in this vision from the director, from the writer,

842
00:47:16,760 --> 00:47:21,200
Speaker 4: all comes through very clearly, in very satisfying ways.

843
00:47:21,600 --> 00:47:24,680
Speaker 3: I had one other behind the scenes thing I wanted

844
00:47:24,680 --> 00:47:26,719
Speaker 3: to and I know this well, this will come in

845
00:47:26,800 --> 00:47:28,960
Speaker 3: and out for the rest of the episode. But I

846
00:47:29,040 --> 00:47:31,520
Speaker 3: was happy that this article, like as I was so

847
00:47:31,640 --> 00:47:35,640
Speaker 3: curious of like the sequence of America Ferrera lore So

848
00:47:35,719 --> 00:47:38,200
Speaker 3: I guess that she had already shot Gotta Kick It

849
00:47:38,280 --> 00:47:42,200
Speaker 3: Up before she shot Real women have curves, and I

850
00:47:42,320 --> 00:47:44,640
Speaker 3: just like, I love this story. It was like when

851
00:47:44,680 --> 00:47:48,239
Speaker 3: she got her check from Gotta Kick It Up, she

852
00:47:49,120 --> 00:47:53,160
Speaker 3: got a car and wanted to go to drama Camp

853
00:47:53,360 --> 00:47:55,839
Speaker 3: and like those are that's what she used her money for,

854
00:47:56,040 --> 00:47:59,800
Speaker 3: as like, she's so great, Wow, they wanted her to

855
00:48:00,200 --> 00:48:02,840
Speaker 3: tion for this movie. She was like, well, I'm going

856
00:48:02,880 --> 00:48:05,839
Speaker 3: to drama Camp. So if you're still casting when I'm

857
00:48:05,880 --> 00:48:10,759
Speaker 3: done at drama Camp, like hit me up basically, and

858
00:48:11,480 --> 00:48:13,520
Speaker 3: like listening to her talk about that in her thirties

859
00:48:13,520 --> 00:48:15,239
Speaker 3: and she was like that was a bold move for

860
00:48:15,280 --> 00:48:19,239
Speaker 3: a seventeen year old to do. But fortunately they still

861
00:48:19,280 --> 00:48:21,799
Speaker 3: wanted me to be in the movie. So I love

862
00:48:21,800 --> 00:48:25,719
Speaker 3: America Frer so much. I was curious about like what

863
00:48:25,880 --> 00:48:29,480
Speaker 3: scenes in this retrospective they would talk about, and there

864
00:48:29,600 --> 00:48:31,840
Speaker 3: was a fair amount of discussion around I feel like

865
00:48:31,880 --> 00:48:34,680
Speaker 3: the scene that people remember best from this movie when

866
00:48:34,719 --> 00:48:36,319
Speaker 3: they're in the factory at the end and they take

867
00:48:36,360 --> 00:48:38,440
Speaker 3: their clothes off and they talk about their bodies and

868
00:48:38,480 --> 00:48:43,080
Speaker 3: it's like this really celebratory, cool moment. So I guess

869
00:48:43,120 --> 00:48:45,480
Speaker 3: America Frere was yeh. I said she was fifteen. I

870
00:48:45,520 --> 00:48:46,000
Speaker 3: was wrong.

871
00:48:46,080 --> 00:48:48,480
Speaker 5: She was seventeen when this movie was being shot.

872
00:48:48,760 --> 00:48:52,480
Speaker 3: But she's still a kid, and I guess that on

873
00:48:52,640 --> 00:48:58,279
Speaker 3: the day that this was being shot, she decided that

874
00:48:58,360 --> 00:49:01,840
Speaker 3: she didn't want to take her pants off. So this

875
00:49:01,960 --> 00:49:04,360
Speaker 3: was sort of this was hashed by a few people,

876
00:49:04,440 --> 00:49:06,640
Speaker 3: I mean, and it seems like, you know, fifteen years later,

877
00:49:07,440 --> 00:49:11,400
Speaker 3: she's fine, everyone's relationship is fine. But at the time,

878
00:49:11,840 --> 00:49:14,880
Speaker 3: so the scene had been blocked, they were ready to

879
00:49:14,920 --> 00:49:17,600
Speaker 3: shoot it. I think prior to the scene being shot,

880
00:49:17,640 --> 00:49:18,840
Speaker 3: America Farah said.

881
00:49:18,719 --> 00:49:20,319
Speaker 5: Okay, that's okay, I'll do that.

882
00:49:21,000 --> 00:49:23,000
Speaker 3: But I just wanted to share a few quotes from

883
00:49:23,000 --> 00:49:28,040
Speaker 3: her because kids acting is like such a such a miyer,

884
00:49:28,239 --> 00:49:32,480
Speaker 3: and she was uncomfortable during that scene. So she says,

885
00:49:32,719 --> 00:49:34,480
Speaker 3: I was seventeen years old and it was only my

886
00:49:34,520 --> 00:49:36,560
Speaker 3: second job. I'd never had to take off my clothes

887
00:49:36,600 --> 00:49:38,960
Speaker 3: in front of a two hundred person crew, most of

888
00:49:39,000 --> 00:49:42,200
Speaker 3: them men. I'm sure I was incredibly intimidated by that.

889
00:49:42,800 --> 00:49:45,000
Speaker 3: I remember wearing a robe between takes, and as the

890
00:49:45,040 --> 00:49:46,560
Speaker 3: day went on, it was too much of a hassle

891
00:49:46,600 --> 00:49:49,000
Speaker 3: to get the robe on and off. So I was like, whatever,

892
00:49:49,239 --> 00:49:52,279
Speaker 3: I'll stand here without the robe. But basically, the crew

893
00:49:52,320 --> 00:49:55,320
Speaker 3: tells this story about how she decided she wasn't comfortable

894
00:49:55,320 --> 00:49:57,839
Speaker 3: taking her pants off, and then I believe.

895
00:49:57,600 --> 00:49:59,440
Speaker 5: The director.

896
00:50:00,200 --> 00:50:03,400
Speaker 3: Faked getting a phone call from an HBO executive. She

897
00:50:03,560 --> 00:50:06,440
Speaker 3: was like, you know, well, you know, this is a

898
00:50:06,480 --> 00:50:08,279
Speaker 3: really important part of the script. We need you to

899
00:50:08,320 --> 00:50:11,320
Speaker 3: do this, and America Frere was like, I'm not comfortable

900
00:50:11,320 --> 00:50:12,920
Speaker 3: with that. I don't want to do it anymore. And

901
00:50:12,960 --> 00:50:17,120
Speaker 3: she's like, well, let me call HBO. The director goes outside,

902
00:50:17,760 --> 00:50:21,600
Speaker 3: fakes a call. So this is from George Levu is

903
00:50:22,000 --> 00:50:24,400
Speaker 3: recapping this, okay, so no, sorry, this is George Levou

904
00:50:24,719 --> 00:50:30,960
Speaker 3: making the call. Levu canceled owt okay, George Levu harsh

905
00:50:31,000 --> 00:50:33,000
Speaker 3: turn in his narrative. I don't like him anymore.

906
00:50:33,960 --> 00:50:36,800
Speaker 1: Yeah, not, Levu's not.

907
00:50:36,920 --> 00:50:40,920
Speaker 3: It's always It's always Levu, though, isn't it. So Levu

908
00:50:41,080 --> 00:50:44,319
Speaker 3: says I made an excuse. I said, let me call

909
00:50:44,440 --> 00:50:47,239
Speaker 3: Colin Callender, who was the head of HBO Films at

910
00:50:47,239 --> 00:50:49,440
Speaker 3: the time. I said, let me see what he wants.

911
00:50:49,760 --> 00:50:51,880
Speaker 3: So I took my phone outside and I pretended to

912
00:50:51,920 --> 00:50:54,960
Speaker 3: call Colin. I came back and said, Colin said you

913
00:50:55,080 --> 00:50:57,960
Speaker 3: have to do it, and she said, okay, we'll do it.

914
00:50:58,360 --> 00:50:59,840
Speaker 3: I didn't know what we were going to do. I

915
00:51:00,040 --> 00:51:02,880
Speaker 3: couldn't imagine the movie without that scene. Hopefully they're happy

916
00:51:02,920 --> 00:51:08,279
Speaker 3: it happened that way. Then Patricia Cardoso jumps on this

917
00:51:08,440 --> 00:51:11,239
Speaker 3: train and says, America was mad at me the whole day.

918
00:51:11,360 --> 00:51:12,759
Speaker 5: It took two days to shoot.

919
00:51:12,480 --> 00:51:14,640
Speaker 3: That scene, and she was so mad she wouldn't even

920
00:51:14,640 --> 00:51:16,560
Speaker 3: look me in the eyes. The next day she came

921
00:51:16,600 --> 00:51:19,240
Speaker 3: running to me and said, you know, now I understand

922
00:51:19,280 --> 00:51:21,160
Speaker 3: why it was important for the character to take off

923
00:51:21,200 --> 00:51:24,440
Speaker 3: her pants. Can we please shoot the scene again? I said, no,

924
00:51:24,680 --> 00:51:28,920
Speaker 3: you did it perfectly. America Ferrera, now in her thirties,

925
00:51:29,000 --> 00:51:32,080
Speaker 3: this is in twenty seventeen, kind of puts a pin

926
00:51:32,160 --> 00:51:35,200
Speaker 3: on this discussion that I was like, I'm mad at

927
00:51:35,239 --> 00:51:40,239
Speaker 3: them personally, But she says, I clearly see how this

928
00:51:40,320 --> 00:51:44,040
Speaker 3: film empowered others to feel seen, liberated and beautiful. But

929
00:51:44,120 --> 00:51:46,760
Speaker 3: I was a child playing everything, but a typical child.

930
00:51:47,200 --> 00:51:49,920
Speaker 3: More than saying, oh that's my body. People watched it

931
00:51:49,960 --> 00:51:52,400
Speaker 3: and said Oh yes, that's how my mom responds to

932
00:51:52,400 --> 00:51:54,640
Speaker 3: my body. That's how my culture responds to my body.

933
00:51:54,680 --> 00:51:57,239
Speaker 3: That's how the world responds to my body. For me,

934
00:51:57,520 --> 00:51:59,640
Speaker 3: being a young woman going through my own journey with

935
00:51:59,640 --> 00:52:03,440
Speaker 3: my body, having seen and talked, having it seen and

936
00:52:03,520 --> 00:52:06,440
Speaker 3: talked about and projected upon by people watching this movie,

937
00:52:06,480 --> 00:52:09,160
Speaker 3: if anything, sort of stunned me for a while, because

938
00:52:09,200 --> 00:52:11,400
Speaker 3: that in and of itself sent a strong message about

939
00:52:11,400 --> 00:52:14,480
Speaker 3: how I should feel about my body, and it was

940
00:52:14,520 --> 00:52:16,279
Speaker 3: a much longer journey for me to get to a

941
00:52:16,280 --> 00:52:18,919
Speaker 3: place where I felt empowered about my body. The way

942
00:52:19,000 --> 00:52:24,279
Speaker 3: that film helped others feel dang. So, I mean it's

943
00:52:24,800 --> 00:52:28,240
Speaker 3: levels for sure, it's complex. I mean personally, I'm like, Okay,

944
00:52:28,600 --> 00:52:30,760
Speaker 3: production wise, I don't think that that was a very

945
00:52:30,800 --> 00:52:34,080
Speaker 3: that was like a dishonest and irresponsible way to handle that.

946
00:52:34,400 --> 00:52:38,520
Speaker 1: Yeah, especially with someone who's underage, who's a minor.

947
00:52:38,760 --> 00:52:41,799
Speaker 3: Right right, I mean she's seventeen in this situation, and

948
00:52:41,880 --> 00:52:44,960
Speaker 3: like that was the one production thing that I learned

949
00:52:45,040 --> 00:52:49,719
Speaker 3: that didn't sit super well because it's like, yeah, this

950
00:52:49,960 --> 00:52:54,439
Speaker 3: like she's an incredible performer, she's but it's I mean,

951
00:52:54,719 --> 00:52:58,839
Speaker 3: a teenager talking about their body on screen is so

952
00:52:59,040 --> 00:53:02,680
Speaker 3: I can't imagine how excruciatingly difficult that, oh yeah must

953
00:53:02,719 --> 00:53:04,799
Speaker 3: have been. And so to have like pressure put on

954
00:53:04,880 --> 00:53:07,400
Speaker 3: top of her, like you have to do this, like

955
00:53:07,480 --> 00:53:08,400
Speaker 3: that sucks.

956
00:53:08,640 --> 00:53:12,520
Speaker 1: Yeah, it's it's like this period of your life where

957
00:53:12,920 --> 00:53:16,520
Speaker 1: irl teenagers are still wearing T shirts in the swimming

958
00:53:16,520 --> 00:53:19,359
Speaker 1: pool and like not showing their bodies to anybody, like

959
00:53:19,400 --> 00:53:22,920
Speaker 1: if they feel uncomfortable. And I think what's interesting too,

960
00:53:23,000 --> 00:53:25,680
Speaker 1: is like America Farara, like in that quote, nowhere is

961
00:53:25,719 --> 00:53:28,560
Speaker 1: she saying that she didn't like her body, or she

962
00:53:28,680 --> 00:53:31,840
Speaker 1: felt fat, or she felt not proud of her body,

963
00:53:31,960 --> 00:53:34,120
Speaker 1: or uncomfortable in her body, you know what I mean.

964
00:53:34,160 --> 00:53:37,440
Speaker 1: It's like there's all these projections, and it has so

965
00:53:37,520 --> 00:53:40,400
Speaker 1: much to do with like of course, it's literally the

966
00:53:40,880 --> 00:53:44,640
Speaker 1: plot and it's the movie, and it's the character and

967
00:53:44,680 --> 00:53:47,560
Speaker 1: it's the storyline. So that's all baked in there, Like

968
00:53:47,640 --> 00:53:52,320
Speaker 1: she's cast in this role because the main character, Anna

969
00:53:52,360 --> 00:53:55,200
Speaker 1: is a Gordadita, she's chubby, so she's got to look

970
00:53:55,239 --> 00:53:57,840
Speaker 1: the part, you know. And then I think about the

971
00:53:57,920 --> 00:54:00,920
Speaker 1: fact that like all the levels right, because has that

972
00:54:01,120 --> 00:54:04,960
Speaker 1: script was written by somebody Josefina who probably experienced this

973
00:54:05,120 --> 00:54:07,680
Speaker 1: exact same like type of body shaming that goes on

974
00:54:07,760 --> 00:54:11,600
Speaker 1: in our families, and then those actresses, being Latinas probably

975
00:54:11,640 --> 00:54:15,799
Speaker 1: have all experienced something similar in their own lives and

976
00:54:15,880 --> 00:54:19,080
Speaker 1: I don't know that in their particular families or lives

977
00:54:19,120 --> 00:54:22,040
Speaker 1: that just because we have this awareness in the script

978
00:54:22,040 --> 00:54:25,520
Speaker 1: and in the movie that you know, everybody is beautiful

979
00:54:25,600 --> 00:54:29,040
Speaker 1: and that fat is beautiful, that those actresses when they

980
00:54:29,040 --> 00:54:31,920
Speaker 1: go home their families are not necessarily on board, like

981
00:54:32,000 --> 00:54:34,960
Speaker 1: that script is probably still there, you know, like that

982
00:54:35,120 --> 00:54:36,880
Speaker 1: is still happening in the outside world.

983
00:54:37,239 --> 00:54:37,960
Speaker 5: Yeah, you know.

984
00:54:38,120 --> 00:54:41,239
Speaker 1: So it's just I just think about the compounded levels of.

985
00:54:41,200 --> 00:54:45,239
Speaker 4: It all in a movie like this, right, Yeah, And

986
00:54:45,560 --> 00:54:48,560
Speaker 4: you hear about stories where like a scene like this

987
00:54:49,160 --> 00:54:54,640
Speaker 4: is in the script and calls for nudity, partial nudity,

988
00:54:54,800 --> 00:54:56,239
Speaker 4: you know, people wearing underwear.

989
00:54:56,680 --> 00:55:00,560
Speaker 3: I didn't feel like inappropriate or exploitative, but I also not, like,

990
00:55:00,640 --> 00:55:03,960
Speaker 3: no can totally understand why a seventeen year old actor,

991
00:55:04,480 --> 00:55:06,920
Speaker 3: when the moment comes to take your clothes off in

992
00:55:06,920 --> 00:55:10,200
Speaker 3: front of two hundred people, no matter how safe you are,

993
00:55:10,400 --> 00:55:13,359
Speaker 3: it's like that's you can feel amazing about your body

994
00:55:13,400 --> 00:55:15,800
Speaker 3: and be uncomfortable with that, Like that's yeah.

995
00:55:15,880 --> 00:55:17,480
Speaker 4: So that's what I was gonna say. You hear stories

996
00:55:17,520 --> 00:55:19,960
Speaker 4: about like some productions being like, Okay, I know this

997
00:55:20,040 --> 00:55:22,759
Speaker 4: is going to be a potentially very uncomfortable scene for

998
00:55:23,200 --> 00:55:25,160
Speaker 4: the actors, so we're going to take a bunch of

999
00:55:25,200 --> 00:55:28,400
Speaker 4: precautions to make it as comfortable as possible. And that

1000
00:55:28,719 --> 00:55:32,440
Speaker 4: it ranges from like hiring like choreo if it's like

1001
00:55:32,480 --> 00:55:36,160
Speaker 4: a sex scene, like a sex choreographer will basically be hired,

1002
00:55:36,400 --> 00:55:38,600
Speaker 4: or like there will be like social workers or other

1003
00:55:38,680 --> 00:55:41,600
Speaker 4: kind of like mental health professionals on set or like

1004
00:55:41,680 --> 00:55:45,239
Speaker 4: nearby to consult with if the actors need like to

1005
00:55:45,280 --> 00:55:47,440
Speaker 4: consult with somebody or touch with someone, there will be

1006
00:55:47,480 --> 00:55:50,080
Speaker 4: a reduced crew where like normally the crew might be

1007
00:55:50,120 --> 00:55:52,600
Speaker 4: two hundred people, but on a shoot day like that,

1008
00:55:53,000 --> 00:55:56,520
Speaker 4: you scale it way back. I've heard of like let's

1009
00:55:56,520 --> 00:55:58,880
Speaker 4: say the DP is a man, but they will like

1010
00:55:58,960 --> 00:56:01,799
Speaker 4: temporarily hire a woman. I mean they could have just

1011
00:56:02,120 --> 00:56:04,880
Speaker 4: hired a woman anyway, but they.

1012
00:56:05,239 --> 00:56:09,000
Speaker 3: They did say that, like it wasn't actually two hundred people.

1013
00:56:09,239 --> 00:56:12,799
Speaker 3: It was that was like I think America Frere was like.

1014
00:56:14,400 --> 00:56:15,960
Speaker 5: Hype. What is hyperbolic?

1015
00:56:16,040 --> 00:56:18,920
Speaker 1: Hyper hyperbolic?

1016
00:56:19,160 --> 00:56:21,239
Speaker 5: Yeah, I went to school, I swear.

1017
00:56:23,480 --> 00:56:27,759
Speaker 3: So per Levu there were like dividers up so that

1018
00:56:27,880 --> 00:56:30,960
Speaker 3: not every member of the crew had access to the

1019
00:56:31,000 --> 00:56:34,680
Speaker 3: shooting of this scene. So I don't have the number count,

1020
00:56:34,760 --> 00:56:37,719
Speaker 3: but it was like America decided she didn't want to

1021
00:56:37,719 --> 00:56:39,960
Speaker 3: take off her pants in front of the crew, and

1022
00:56:40,000 --> 00:56:43,520
Speaker 3: I guess she told her director that she was like, oh,

1023
00:56:43,520 --> 00:56:45,600
Speaker 3: I don't think that the character would actually do that

1024
00:56:45,760 --> 00:56:49,440
Speaker 3: or all this stuff, and it just I mean, also,

1025
00:56:49,600 --> 00:56:53,759
Speaker 3: I don't envy the director's position and that situation either,

1026
00:56:53,800 --> 00:56:56,600
Speaker 3: because that's a really true especially on a on a

1027
00:56:56,719 --> 00:56:59,320
Speaker 3: like a lower budget movie, that's a really really difficult

1028
00:56:59,320 --> 00:57:00,440
Speaker 3: position to be put in.

1029
00:57:00,920 --> 00:57:02,839
Speaker 5: Yeah, for sure, but it could have been handled better.

1030
00:57:02,960 --> 00:57:03,600
Speaker 5: She's a kid.

1031
00:57:04,200 --> 00:57:08,439
Speaker 1: I wonder too that scene. I wish that I could

1032
00:57:08,480 --> 00:57:11,840
Speaker 1: see it like how it was staged for the theater

1033
00:57:12,120 --> 00:57:16,720
Speaker 1: and for the stage, because I can imagine that. You know, obviously,

1034
00:57:16,760 --> 00:57:19,840
Speaker 1: on camera you see a certain you can only see

1035
00:57:19,880 --> 00:57:22,080
Speaker 1: so much and things are kind of far away, you know,

1036
00:57:22,160 --> 00:57:24,240
Speaker 1: And I feel like on the stage and in the

1037
00:57:24,240 --> 00:57:26,680
Speaker 1: theater you're much up close and personal, and I can

1038
00:57:26,720 --> 00:57:31,040
Speaker 1: just imagine that the row of like the factory scenes,

1039
00:57:31,080 --> 00:57:34,080
Speaker 1: and the row of sewing machines and the women sewing

1040
00:57:34,160 --> 00:57:36,600
Speaker 1: and the sounds and the visual is probably very striking

1041
00:57:36,640 --> 00:57:39,560
Speaker 1: and dynamic on stage. And I'm sure that when it

1042
00:57:39,600 --> 00:57:42,000
Speaker 1: gets to that part about them taking off their clothes

1043
00:57:42,000 --> 00:57:44,760
Speaker 1: and showing off their stretch marks and their cellulite, that

1044
00:57:44,760 --> 00:57:48,000
Speaker 1: that's very impactful on stage and very dynamic, you know,

1045
00:57:48,600 --> 00:57:51,680
Speaker 1: in a different way than in the movie. And like

1046
00:57:51,720 --> 00:57:53,960
Speaker 1: I wonder how it was handled even like for the

1047
00:57:54,040 --> 00:57:57,560
Speaker 1: stage and the taking off the clothes and the lead

1048
00:57:57,600 --> 00:58:01,960
Speaker 1: actress and those pieces. Is because it's a scene that

1049
00:58:02,040 --> 00:58:04,840
Speaker 1: everybody loves. It's like a standout scene for everyone.

1050
00:58:06,000 --> 00:58:08,440
Speaker 6: I would love to see a stage production of this.

1051
00:58:08,640 --> 00:58:11,600
Speaker 3: I also didn't know that I guess Hosafina Lopez opened

1052
00:58:11,600 --> 00:58:14,160
Speaker 3: a theater in Boyle Heights.

1053
00:58:14,280 --> 00:58:18,000
Speaker 1: Yes, that's Gasa zero zero one, I want to say, yeah.

1054
00:58:18,160 --> 00:58:18,600
Speaker 5: Yeah.

1055
00:58:18,840 --> 00:58:22,800
Speaker 1: Back in two thousand on First Street, she has a

1056
00:58:22,840 --> 00:58:27,280
Speaker 1: restaurant also called Gasa Fina. Oh way on First Street

1057
00:58:27,320 --> 00:58:31,280
Speaker 1: in Mariachi Plaza and then so so, and Mariaci Plaza

1058
00:58:31,480 --> 00:58:34,640
Speaker 1: is featured in the movie throughout like you see it right,

1059
00:58:34,840 --> 00:58:37,280
Speaker 1: and Anna goes on her dates in Mariachi Plaza and

1060
00:58:37,320 --> 00:58:39,640
Speaker 1: she walks through Mariachi Plaza to catch her bus to

1061
00:58:39,720 --> 00:58:43,400
Speaker 1: high school. So right there on First she has her restaurant,

1062
00:58:43,440 --> 00:58:47,280
Speaker 1: Gasa Mama, Gasa Fina, Gasa Fina, and then the theater

1063
00:58:47,600 --> 00:58:48,240
Speaker 1: down the street.

1064
00:58:49,000 --> 00:58:49,640
Speaker 5: That's a cool.

1065
00:58:50,200 --> 00:58:51,360
Speaker 1: Yeah, so that was all.

1066
00:58:51,480 --> 00:58:54,040
Speaker 5: That was all the behind the scenes stuff I had.

1067
00:58:54,880 --> 00:58:57,439
Speaker 4: Well, yeah, so let's let's take a break and then

1068
00:58:57,640 --> 00:59:02,680
Speaker 4: we'll come back and discuss the story, the movie, the characters,

1069
00:59:02,720 --> 00:59:14,520
Speaker 4: et cetera. And we're back.

1070
00:59:14,840 --> 00:59:20,160
Speaker 3: Okay, let's get into talking about the actual what happens

1071
00:59:20,160 --> 00:59:20,760
Speaker 3: in the movie.

1072
00:59:20,960 --> 00:59:24,240
Speaker 5: I really liked. I know, I feel like every.

1073
00:59:24,040 --> 00:59:26,800
Speaker 3: Time we see public transportation in a movie, I get

1074
00:59:26,840 --> 00:59:27,440
Speaker 3: so excited.

1075
00:59:27,960 --> 00:59:30,439
Speaker 5: But I really like.

1076
00:59:30,560 --> 00:59:32,880
Speaker 3: I feel like we've covered five trillion movies where it's

1077
00:59:32,880 --> 00:59:35,600
Speaker 3: like New York is kind of a character ra ra rare.

1078
00:59:35,880 --> 00:59:40,680
Speaker 6: But this movie, I think like La is On is like.

1079
00:59:40,840 --> 00:59:42,959
Speaker 5: Really strutting its stuff in this one.

1080
00:59:43,200 --> 00:59:47,840
Speaker 3: It is so beautiful and so like well done, and

1081
00:59:48,040 --> 00:59:50,200
Speaker 3: I love that you sort of navigate the city with

1082
00:59:50,400 --> 00:59:52,240
Speaker 3: public transit and I just.

1083
00:59:52,560 --> 00:59:53,280
Speaker 5: Really liked it.

1084
00:59:53,560 --> 00:59:54,760
Speaker 1: Yeah, yes, heart agree.

1085
00:59:54,920 --> 00:59:59,920
Speaker 4: That is again like something you don't see when you want.

1086
01:00:00,320 --> 01:00:03,800
Speaker 4: Except for the iconic film Speed nineteen ninety two.

1087
01:00:03,720 --> 01:00:06,560
Speaker 5: Could it have happened that the La Metro certainly not.

1088
01:00:07,560 --> 01:00:10,360
Speaker 4: But yeah, I mean there's there's so much this movie

1089
01:00:10,520 --> 01:00:13,520
Speaker 4: is doing as far as representation goes, as far as

1090
01:00:14,400 --> 01:00:19,360
Speaker 4: just like again, powerful messaging. You know, it's a predominantly

1091
01:00:19,480 --> 01:00:26,040
Speaker 4: LATINX cast. I love that Spanish is spoken frequently among

1092
01:00:26,200 --> 01:00:28,320
Speaker 4: the characters because I feel like a lot of Hollywood

1093
01:00:28,320 --> 01:00:32,200
Speaker 4: executives would cite that as a thing like that will

1094
01:00:32,200 --> 01:00:35,840
Speaker 4: make this movie too inaccessible for a mainstream audience.

1095
01:00:36,120 --> 01:00:39,240
Speaker 1: But it's funny too, because you already had so many

1096
01:00:39,360 --> 01:00:42,040
Speaker 1: like okay, like we had tons of Star Wars movies

1097
01:00:42,320 --> 01:00:44,880
Speaker 1: already at this time, and they're speaking all kinds of

1098
01:00:44,920 --> 01:00:49,680
Speaker 1: different made up alien languages like in those films. But

1099
01:00:49,760 --> 01:00:53,480
Speaker 1: Spanish is too much, that is too inaccessible, right, Like.

1100
01:00:53,520 --> 01:00:56,640
Speaker 3: Oh no, a language that most people in the US

1101
01:00:56,880 --> 01:01:01,680
Speaker 3: speak to some degree can't have that well like not that.

1102
01:01:02,120 --> 01:01:04,120
Speaker 5: Meanwhile, Elvish is.

1103
01:01:05,480 --> 01:01:08,240
Speaker 6: Making a huge comeback at this same time.

1104
01:01:09,680 --> 01:01:12,080
Speaker 4: All right, because Lord of the Rings two Towers comes

1105
01:01:12,080 --> 01:01:13,120
Speaker 4: out the same year.

1106
01:01:13,880 --> 01:01:17,280
Speaker 1: There you go. I feel like the movie sometimes I

1107
01:01:17,280 --> 01:01:20,560
Speaker 1: feel like a movie like real women have curves, especially

1108
01:01:20,560 --> 01:01:24,360
Speaker 1: at this time, is almost like a crossover situation, even

1109
01:01:24,400 --> 01:01:29,600
Speaker 1: though it's Mexican Americans, like in La, like her character

1110
01:01:29,840 --> 01:01:33,560
Speaker 1: ostensibly is like you know, first or second generation, like

1111
01:01:33,600 --> 01:01:37,560
Speaker 1: Mexican American. And part of why I love the bus

1112
01:01:37,600 --> 01:01:41,320
Speaker 1: conversation and the travel conversation is because there's this crossover

1113
01:01:41,400 --> 01:01:44,440
Speaker 1: that happens in La. It's this east side west side crossover,

1114
01:01:44,840 --> 01:01:49,000
Speaker 1: and you see them. She's crossing the bridge via bus

1115
01:01:49,040 --> 01:01:51,840
Speaker 1: and via her dad's pickup truck to go from her

1116
01:01:51,840 --> 01:01:56,160
Speaker 1: east side neighborhood pass through downtown to work or to

1117
01:01:56,360 --> 01:01:58,760
Speaker 1: end up in Beverly Hills on the west side for

1118
01:01:58,880 --> 01:02:03,120
Speaker 1: school or for the dad's job. And I think that's

1119
01:02:03,280 --> 01:02:06,640
Speaker 1: almost like the story of the movie. It's like born

1120
01:02:06,720 --> 01:02:09,560
Speaker 1: here on the east side, she was taking meetings and

1121
01:02:09,600 --> 01:02:11,920
Speaker 1: she was on the west side ho Safina. I'm sure

1122
01:02:12,440 --> 01:02:15,560
Speaker 1: a lot Becau's trying to get this movie made, and

1123
01:02:16,120 --> 01:02:18,000
Speaker 1: it's like a journey that I think, like if you're

1124
01:02:18,040 --> 01:02:20,080
Speaker 1: in La local, Like we joke about this, me and

1125
01:02:20,120 --> 01:02:23,040
Speaker 1: my co host Yosa, because we live I live sort

1126
01:02:23,040 --> 01:02:24,680
Speaker 1: of in the mid City area, which is a little

1127
01:02:24,680 --> 01:02:28,880
Speaker 1: more west, but it's close to downtown, and the USA

1128
01:02:29,080 --> 01:02:32,720
Speaker 1: lives sort of southeast, and our community is sort of

1129
01:02:33,040 --> 01:02:36,520
Speaker 1: here west of Librea and beyond, and we hear so

1130
01:02:36,560 --> 01:02:39,800
Speaker 1: many people like Transplant saying, oh La, like I never

1131
01:02:39,880 --> 01:02:42,240
Speaker 1: go east of Librea anything east of Librea is the

1132
01:02:42,280 --> 01:02:44,640
Speaker 1: east side, Downtown is the east side, silver Lake is

1133
01:02:44,680 --> 01:02:48,680
Speaker 1: the east side. There's this disconnect in what LA is.

1134
01:02:48,960 --> 01:02:51,800
Speaker 1: I've we've heard this so many times. So anytime that

1135
01:02:51,840 --> 01:02:53,720
Speaker 1: we have to go to the west side and leave

1136
01:02:53,720 --> 01:02:57,520
Speaker 1: our little enclaves, it's a thing. It's a journey. It's oh,

1137
01:02:57,560 --> 01:02:59,680
Speaker 1: we're going to the west side, you know. So I

1138
01:02:59,680 --> 01:03:02,439
Speaker 1: feel like Kosefina was going to the west side, and

1139
01:03:02,600 --> 01:03:04,920
Speaker 1: in this movie they traveled to the west side.

1140
01:03:05,400 --> 01:03:06,360
Speaker 5: It's like ivan.

1141
01:03:06,560 --> 01:03:06,720
Speaker 1: Yeah.

1142
01:03:06,800 --> 01:03:11,840
Speaker 3: For for listeners who do not understand truly, the grand

1143
01:03:12,000 --> 01:03:15,240
Speaker 3: trek that Anna was taking to get to school every day,

1144
01:03:15,400 --> 01:03:17,200
Speaker 3: it's I was I was trying to do the math

1145
01:03:17,200 --> 01:03:18,880
Speaker 3: in my head. I'm like, that's at least an hour

1146
01:03:18,920 --> 01:03:22,520
Speaker 3: and a half if the bus comes on time.

1147
01:03:22,600 --> 01:03:25,760
Speaker 1: Because she's like transfers. She like goes from like Boil

1148
01:03:25,800 --> 01:03:31,960
Speaker 1: Heights to Hollywood and Vine. She's taking transfers, which.

1149
01:03:31,840 --> 01:03:34,280
Speaker 6: Is a yeah, that's uh.

1150
01:03:34,400 --> 01:03:38,960
Speaker 3: The buses here look pro. But we could use some

1151
01:03:38,960 --> 01:03:42,240
Speaker 3: more routes, could use some more routes, use some more frequency,

1152
01:03:42,360 --> 01:03:45,920
Speaker 3: because yeah, sometimes you're like, why am I doing a

1153
01:03:46,200 --> 01:03:49,280
Speaker 3: yo yo act to get somewhere that is objectively three.

1154
01:03:49,080 --> 01:03:52,800
Speaker 5: Miles from where I'm sitting unclear, look.

1155
01:03:53,080 --> 01:03:56,840
Speaker 3: Right, but but but I loved that the movie took

1156
01:03:56,960 --> 01:04:00,360
Speaker 3: that time to show you that journey because it like

1157
01:04:00,400 --> 01:04:07,200
Speaker 3: it effortlessly communicates the class struggle that Anna is dealing

1158
01:04:07,240 --> 01:04:10,520
Speaker 3: with without having to like bop you over the head

1159
01:04:10,520 --> 01:04:12,880
Speaker 3: with it. It's just like an effortless part of the story.

1160
01:04:12,960 --> 01:04:16,320
Speaker 3: I love how you're just told visually. And also like

1161
01:04:16,360 --> 01:04:19,760
Speaker 3: when you see that kid Jimmy come to the east

1162
01:04:19,840 --> 01:04:23,120
Speaker 3: Side and like, clearly it sounds like he's like one

1163
01:04:23,120 --> 01:04:25,800
Speaker 3: of the people you're talking about, Malla.

1164
01:04:25,600 --> 01:04:28,560
Speaker 5: Where's it's He's like what what?

1165
01:04:29,120 --> 01:04:32,320
Speaker 4: Like there's a part where he's like because she knows

1166
01:04:32,360 --> 01:04:35,080
Speaker 4: him from school, and he goes to school in Beverly Hills,

1167
01:04:35,080 --> 01:04:37,800
Speaker 4: so you can presume that he probably lives in Beverly

1168
01:04:37,880 --> 01:04:38,400
Speaker 4: Hills as well.

1169
01:04:38,440 --> 01:04:41,640
Speaker 5: It's like Shar's little brother or something.

1170
01:04:41,960 --> 01:04:44,360
Speaker 4: Yes, yeah, he's Elijah Wood's son.

1171
01:04:44,960 --> 01:04:48,400
Speaker 1: No, he's like he's of the Wood family for sure.

1172
01:04:48,600 --> 01:04:51,080
Speaker 5: Yes, yeah, summering with the Wood family.

1173
01:04:52,720 --> 01:04:55,479
Speaker 4: He's like, I wanted to go to Europe with you.

1174
01:04:55,560 --> 01:04:58,480
Speaker 4: Things are just too easy here. You know, you're handed everything,

1175
01:04:58,760 --> 01:05:01,800
Speaker 4: You're handed school, your hand, a car. That's why I

1176
01:05:01,840 --> 01:05:05,040
Speaker 4: want to teach, and it's like, Okay, you're saying this

1177
01:05:05,200 --> 01:05:08,840
Speaker 4: to Anna, who comes from a working class, blue collar

1178
01:05:08,920 --> 01:05:13,280
Speaker 4: family where most of her family works in a clothing

1179
01:05:13,400 --> 01:05:18,040
Speaker 4: factory where their labor is for sure being exploited because

1180
01:05:18,080 --> 01:05:22,040
Speaker 4: they're assembling dresses for eighteen dollars.

1181
01:05:20,960 --> 01:05:24,440
Speaker 3: To be sold at the Bloomingdale's that his family probably

1182
01:05:24,480 --> 01:05:25,120
Speaker 3: shops at.

1183
01:05:26,240 --> 01:05:29,240
Speaker 1: And Anna takes the bus. She's like, what are you

1184
01:05:29,320 --> 01:05:29,960
Speaker 1: talking about?

1185
01:05:30,120 --> 01:05:33,360
Speaker 5: I take the bus and he's like, we have buses here,

1186
01:05:33,800 --> 01:05:34,360
Speaker 5: like right.

1187
01:05:36,240 --> 01:05:39,360
Speaker 1: What I love about that scene is like Anna doesn't

1188
01:05:39,400 --> 01:05:42,120
Speaker 1: say any of that, you know, she just like listens

1189
01:05:42,160 --> 01:05:46,200
Speaker 1: to him and she's like, okay, sure, Jimmy, you know,

1190
01:05:46,320 --> 01:05:49,960
Speaker 1: she doesn't have to. It's so fascinating to me she doesn't.

1191
01:05:50,160 --> 01:05:53,440
Speaker 1: She doesn't feel compelled to tell him he's wrong or

1192
01:05:53,480 --> 01:05:55,440
Speaker 1: that he has it easy, or that her life is

1193
01:05:55,480 --> 01:05:58,240
Speaker 1: so hard, or well here's what's She's on the bus.

1194
01:05:58,240 --> 01:06:00,240
Speaker 1: She doesn't have a car. It's not easy for her.

1195
01:06:00,520 --> 01:06:03,800
Speaker 1: And I always find those choices really fascinating of like

1196
01:06:03,880 --> 01:06:06,800
Speaker 1: how much Anna is like sharing with him or not,

1197
01:06:07,200 --> 01:06:10,680
Speaker 1: you know, right, because I think that in and that

1198
01:06:10,840 --> 01:06:13,320
Speaker 1: sex scene that they have where he's like, I'll right you,

1199
01:06:13,400 --> 01:06:16,000
Speaker 1: I'll call you, and she's very kind of cold and

1200
01:06:16,200 --> 01:06:20,720
Speaker 1: says no, like for what she knows, Like this guy

1201
01:06:20,880 --> 01:06:23,120
Speaker 1: is for for the now, but this is not He's

1202
01:06:23,160 --> 01:06:25,800
Speaker 1: not my future and he doesn't need to know all

1203
01:06:25,840 --> 01:06:27,560
Speaker 1: of me. And I think that's so interesting.

1204
01:06:28,400 --> 01:06:31,560
Speaker 4: Yeah, And that's just like that just like felt so

1205
01:06:32,640 --> 01:06:35,760
Speaker 4: real to me, and just like it just shows how

1206
01:06:35,840 --> 01:06:39,160
Speaker 4: she is a very like multi dimensional complex character where

1207
01:06:39,600 --> 01:06:42,720
Speaker 4: you know, she has no qualms about challenging her mom,

1208
01:06:42,880 --> 01:06:47,680
Speaker 4: challenging her sister, you know, challenging Missus Glass, the owner

1209
01:06:47,760 --> 01:06:51,560
Speaker 4: of the clothing manufacturer, like, but she isn't quite so

1210
01:06:51,720 --> 01:06:54,040
Speaker 4: challenging to some of the things that Jimmy says, because

1211
01:06:54,080 --> 01:06:56,840
Speaker 4: he says something like, uh, and you know, we'll talk

1212
01:06:56,880 --> 01:07:01,360
Speaker 4: all about like the body and fat shaming she experiences,

1213
01:07:01,400 --> 01:07:04,640
Speaker 4: but he says something like you're not fat, you're beautiful,

1214
01:07:04,720 --> 01:07:07,520
Speaker 4: and as if those two things are mutually exclusive.

1215
01:07:08,680 --> 01:07:11,919
Speaker 1: Jimmy, Jimmy, Jimmy Jimmy.

1216
01:07:11,960 --> 01:07:15,520
Speaker 4: And she doesn't challenge that. But it's just a much

1217
01:07:15,600 --> 01:07:19,000
Speaker 4: more different dynamic that she has with this kid. She's

1218
01:07:19,080 --> 01:07:21,840
Speaker 4: this like rich white kid she's just getting to know

1219
01:07:22,360 --> 01:07:25,960
Speaker 4: versus her mom, who she's lived her entire life with.

1220
01:07:26,040 --> 01:07:27,720
Speaker 4: And that just like felt like said, you know, we

1221
01:07:27,800 --> 01:07:31,520
Speaker 4: all kind of switch our behavior and you know, based

1222
01:07:31,560 --> 01:07:34,160
Speaker 4: on who we're interacting with, and so that just like

1223
01:07:34,200 --> 01:07:37,000
Speaker 4: felt very familiar relatable.

1224
01:07:37,720 --> 01:07:40,439
Speaker 3: Yeah, and it is just such a cool character where

1225
01:07:40,480 --> 01:07:43,560
Speaker 3: every time I don't know, like you can see even

1226
01:07:43,560 --> 01:07:46,320
Speaker 3: in that scene with Jimmy, I really like when she

1227
01:07:46,480 --> 01:07:48,320
Speaker 3: was like, we're not gonna have anything to talk about

1228
01:07:48,400 --> 01:07:50,200
Speaker 3: in three months, like don't.

1229
01:07:49,960 --> 01:07:52,160
Speaker 6: Bother, blah blah blah, Like that was so cool.

1230
01:07:52,240 --> 01:07:54,800
Speaker 3: And then but in the scene right after you do

1231
01:07:54,880 --> 01:07:58,120
Speaker 3: see that, like there is some insecurity attached to her

1232
01:07:58,160 --> 01:07:59,760
Speaker 3: setting that boundary in that.

1233
01:07:59,680 --> 01:08:02,520
Speaker 6: Way where she's like, well, you're.

1234
01:08:02,320 --> 01:08:05,200
Speaker 3: Gonna have some like skinny white girlfriend in a couple

1235
01:08:05,240 --> 01:08:08,520
Speaker 3: of months anyways, So like, why would I the subject

1236
01:08:08,560 --> 01:08:11,800
Speaker 3: being like, why would I emotionally invest in a Jimmy

1237
01:08:12,360 --> 01:08:12,960
Speaker 3: of the world?

1238
01:08:13,240 --> 01:08:18,240
Speaker 1: And here's my question. Jimmy says that he's got into

1239
01:08:18,280 --> 01:08:21,680
Speaker 1: Teachers College, which leads me to believe he's enrolling at

1240
01:08:21,680 --> 01:08:26,400
Speaker 1: Columbia University. She gets into Columbia University, she ends up

1241
01:08:26,439 --> 01:08:30,800
Speaker 1: in New York. Is there a real woman Have Curves

1242
01:08:31,120 --> 01:08:37,000
Speaker 1: sequel where she wears the red dress in New York

1243
01:08:37,280 --> 01:08:42,120
Speaker 1: and they reunite somehow is that why there loose ends, Well.

1244
01:08:42,240 --> 01:08:45,400
Speaker 3: This is becoming a what oh my gosh, it's becoming

1245
01:08:45,400 --> 01:08:49,120
Speaker 3: a to all the boys I loved before style saga.

1246
01:08:49,240 --> 01:08:52,599
Speaker 6: Yes, yeah, a whole thing.

1247
01:08:52,920 --> 01:08:54,960
Speaker 1: I have to wonder it's not too late.

1248
01:08:55,040 --> 01:08:57,439
Speaker 4: Yes it's twenty years later, but you know, I'm.

1249
01:08:57,240 --> 01:08:59,080
Speaker 5: Still waiting for that red dress payoff.

1250
01:08:59,360 --> 01:09:01,800
Speaker 1: I'll be on Yeah. Yeah.

1251
01:09:01,840 --> 01:09:05,080
Speaker 4: The other thing that I thought was interesting as it

1252
01:09:05,160 --> 01:09:10,440
Speaker 4: relates to the kind of class commentary is Missus Glass.

1253
01:09:10,520 --> 01:09:13,479
Speaker 4: So again, she's the owner of the dress manufacturing company

1254
01:09:13,920 --> 01:09:17,559
Speaker 4: that Estella is a contractor of. And there's that scene

1255
01:09:17,600 --> 01:09:20,240
Speaker 4: where Estella she's like at first trying to write an

1256
01:09:20,280 --> 01:09:24,080
Speaker 4: email to her, and Anna is like, you gotta go

1257
01:09:24,160 --> 01:09:26,519
Speaker 4: down and like talk to her. You're never gonna get

1258
01:09:26,520 --> 01:09:29,720
Speaker 4: anywhere with an email. So Anna goes with her, you know,

1259
01:09:29,920 --> 01:09:35,880
Speaker 4: ends up like advocating pretty hard, far more than Estella can.

1260
01:09:35,960 --> 01:09:38,000
Speaker 4: But it's also like, you know, more is at stake

1261
01:09:38,040 --> 01:09:40,120
Speaker 4: for Estella, so you don't you know, you get why

1262
01:09:40,160 --> 01:09:44,439
Speaker 4: she's a bit intimidated by Missus Glass. But there's that

1263
01:09:44,520 --> 01:09:47,639
Speaker 4: moment where Missus Glass is like, you know, I believe

1264
01:09:47,680 --> 01:09:50,479
Speaker 4: a woman like me should help a woman like you,

1265
01:09:50,720 --> 01:09:52,920
Speaker 4: but I can only help you so much and basically

1266
01:09:52,960 --> 01:09:55,880
Speaker 4: tells her she has to pick herself up by her bootstraps. Yeah,

1267
01:09:55,920 --> 01:09:59,559
Speaker 4: because she despite also being like a Latina woman who

1268
01:09:59,680 --> 01:10:02,240
Speaker 4: you know, like saw something in Estella and like that's

1269
01:10:02,240 --> 01:10:04,000
Speaker 4: why she wanted to help her out. But she's also

1270
01:10:04,040 --> 01:10:08,599
Speaker 4: a capitalist who is for sure exploiting Estella's labor. Yeah,

1271
01:10:08,640 --> 01:10:11,559
Speaker 4: you hate to see it, but that shit also does happen.

1272
01:10:11,640 --> 01:10:12,479
Speaker 5: It does happen. Yeah.

1273
01:10:12,520 --> 01:10:16,360
Speaker 1: I find the Missus Glass character so fascinating because that

1274
01:10:16,479 --> 01:10:19,000
Speaker 1: character can be open to so many interpretations, Like we

1275
01:10:19,040 --> 01:10:22,360
Speaker 1: can create so many storylines behind her life. Is this

1276
01:10:22,600 --> 01:10:27,280
Speaker 1: like an Argentinian Latina with the last name Glass? Like

1277
01:10:27,760 --> 01:10:31,439
Speaker 1: is she like a third gen like Mexican American who

1278
01:10:31,479 --> 01:10:34,320
Speaker 1: like went to like Harvard Business School? Like who is

1279
01:10:34,360 --> 01:10:37,559
Speaker 1: this woman? And why is she the way that she is?

1280
01:10:37,800 --> 01:10:38,000
Speaker 1: You know?

1281
01:10:38,439 --> 01:10:38,559
Speaker 5: Right?

1282
01:10:38,840 --> 01:10:41,120
Speaker 1: And I love the tension there too with like you

1283
01:10:41,160 --> 01:10:43,519
Speaker 1: have Anna, who like went to Beverly Hills High School

1284
01:10:44,080 --> 01:10:49,000
Speaker 1: and is college bound and is very kind of she

1285
01:10:49,040 --> 01:10:51,040
Speaker 1: feels like she knows a lot of things right, And

1286
01:10:51,080 --> 01:10:53,080
Speaker 1: I feel like there's a lot of like power trips

1287
01:10:53,080 --> 01:10:55,400
Speaker 1: in this movie about what we know and what we

1288
01:10:55,479 --> 01:10:58,160
Speaker 1: don't know. So I think Anna feels like among her family,

1289
01:10:58,479 --> 01:11:00,680
Speaker 1: she knows more things than like her mom, and her

1290
01:11:00,680 --> 01:11:03,800
Speaker 1: mom feels like, well, a woman knows, and a mother knows,

1291
01:11:03,840 --> 01:11:07,320
Speaker 1: and that's her favorite saying, you know, because she's a mom,

1292
01:11:07,400 --> 01:11:09,519
Speaker 1: so she knows, and she's a married woman, so she knows.

1293
01:11:09,520 --> 01:11:11,639
Speaker 1: And Anna went to Beverly Hills High, so she knows,

1294
01:11:12,200 --> 01:11:15,679
Speaker 1: you know. And so Anna thinks. Anna thinks that she's

1295
01:11:15,680 --> 01:11:18,120
Speaker 1: about to help her sister out and like negotiate with

1296
01:11:18,160 --> 01:11:20,599
Speaker 1: this business lady. But Anna is way and over her

1297
01:11:20,640 --> 01:11:23,080
Speaker 1: head and this lady is way out of her league,

1298
01:11:23,840 --> 01:11:26,080
Speaker 1: and Anna's actually doing more harm than good. And she

1299
01:11:26,240 --> 01:11:29,679
Speaker 1: thinks she's helping, you know. And so it's like, maybe

1300
01:11:29,720 --> 01:11:32,000
Speaker 1: there's a reason Estella has been kind of moving the

1301
01:11:32,000 --> 01:11:35,200
Speaker 1: way she's been moving, because maybe Estella knows something that

1302
01:11:35,240 --> 01:11:37,960
Speaker 1: Anna doesn't know, right, And I love all of that,

1303
01:11:37,960 --> 01:11:40,960
Speaker 1: that kind of merry go round, I.

1304
01:11:40,920 --> 01:11:43,439
Speaker 3: Don't think in my I think I got I was

1305
01:11:43,560 --> 01:11:45,960
Speaker 3: so caught up in the Anna of it all in

1306
01:11:46,000 --> 01:11:49,360
Speaker 3: my earlier viewings because it's like that is, especially if

1307
01:11:49,360 --> 01:11:51,519
Speaker 3: you're like a teen girl, you're plugging yourself into Anna,

1308
01:11:51,720 --> 01:11:56,599
Speaker 3: like end of story. I didn't think as much as

1309
01:11:56,640 --> 01:11:59,960
Speaker 3: I probably should have about Estella's character, and on prepping

1310
01:12:00,120 --> 01:12:02,960
Speaker 3: for this episode, I was like kind of blown away

1311
01:12:02,960 --> 01:12:07,519
Speaker 3: by how much there is in Estella's character, even though,

1312
01:12:07,600 --> 01:12:10,200
Speaker 3: like I mean, she's a main character, but she doesn't like.

1313
01:12:10,200 --> 01:12:12,400
Speaker 5: Actually speak that much.

1314
01:12:12,520 --> 01:12:15,680
Speaker 3: She doesn't take a ton of like action action or

1315
01:12:15,880 --> 01:12:19,639
Speaker 3: because it's so Ana's story and the relationship between Anna

1316
01:12:19,640 --> 01:12:22,320
Speaker 3: and her mother is so focused on. But I really

1317
01:12:22,360 --> 01:12:24,840
Speaker 3: love Estella, and I don't think I like had the

1318
01:12:24,840 --> 01:12:29,280
Speaker 3: tools to understand what she was up against when I

1319
01:12:29,320 --> 01:12:33,360
Speaker 3: first saw this movie, because Anna is so headstrong and

1320
01:12:33,400 --> 01:12:36,360
Speaker 3: like pushes back on everything and in a way that

1321
01:12:36,400 --> 01:12:39,479
Speaker 3: it's like really cathartic and cool to see, and and

1322
01:12:39,520 --> 01:12:40,920
Speaker 3: I think in my mind at the time, I'm like, well,

1323
01:12:40,920 --> 01:12:43,840
Speaker 3: why doesn't Estella stand up for herself more? And like

1324
01:12:44,000 --> 01:12:49,240
Speaker 3: not understanding there the dynamic there where even watching like

1325
01:12:49,479 --> 01:12:54,360
Speaker 3: how like it's clear that ten years prior Estella was

1326
01:12:54,439 --> 01:12:57,840
Speaker 3: treated the way Anna's being treated now by her mother,

1327
01:12:57,920 --> 01:13:00,320
Speaker 3: which is I f like represented in that scene where

1328
01:13:00,880 --> 01:13:03,759
Speaker 3: their mom basically says, like, well, it's too late for Estella.

1329
01:13:03,840 --> 01:13:06,800
Speaker 3: I'm going to focus on Anna, And it seems like

1330
01:13:07,040 --> 01:13:12,000
Speaker 3: Estella has put so much energy and like her life

1331
01:13:12,040 --> 01:13:15,280
Speaker 3: into pleasing her mom. And doing what she thinks is

1332
01:13:15,320 --> 01:13:18,120
Speaker 3: the right thing and trying to like meet the bar

1333
01:13:18,360 --> 01:13:20,599
Speaker 3: that their mom is setting that no one can ever

1334
01:13:20,680 --> 01:13:25,759
Speaker 3: actually reach. Yeah, and then ten years later be blamed for.

1335
01:13:25,680 --> 01:13:28,880
Speaker 1: It, and she's still not the mom's favorite.

1336
01:13:28,640 --> 01:13:30,880
Speaker 3: Right, and then like ten years later, she's still catching

1337
01:13:30,880 --> 01:13:32,840
Speaker 3: shit for it and her mom has given up on

1338
01:13:32,960 --> 01:13:37,040
Speaker 3: her for no reason, even though Estella seems like she like, yeah,

1339
01:13:37,200 --> 01:13:40,080
Speaker 3: is I mean, I don't know enough about how a

1340
01:13:40,120 --> 01:13:42,000
Speaker 3: textile factory is run to say this for sure, but

1341
01:13:42,000 --> 01:13:44,160
Speaker 3: it seems like Estella is kind of like doing the

1342
01:13:44,200 --> 01:13:49,160
Speaker 3: bulk of the day to day stuff. She's handling all

1343
01:13:49,280 --> 01:13:52,720
Speaker 3: the rent issues and the checks and like a lot

1344
01:13:52,720 --> 01:13:56,120
Speaker 3: of the high level stuff, but is like not appreciated

1345
01:13:56,200 --> 01:13:59,479
Speaker 3: by the powers that be, certainly, but also doesn't seem

1346
01:13:59,479 --> 01:14:02,040
Speaker 3: it seems like she she's really undervalued by her own mom.

1347
01:14:02,880 --> 01:14:05,240
Speaker 3: And just like seeing how that because that does I

1348
01:14:05,280 --> 01:14:08,840
Speaker 3: don't know, like being Estella's age and not Ana's now

1349
01:14:08,880 --> 01:14:11,000
Speaker 3: you're like that does wear on you. And of course

1350
01:14:11,040 --> 01:14:16,519
Speaker 3: there's just like Anna has the energy to fight every battle,

1351
01:14:16,600 --> 01:14:21,120
Speaker 3: and it's like, but that changes over time, and I

1352
01:14:21,200 --> 01:14:22,760
Speaker 3: just love Estella and.

1353
01:14:22,720 --> 01:14:26,040
Speaker 1: With no Stellash, I feel like Estella's underrated too, because

1354
01:14:26,120 --> 01:14:30,520
Speaker 1: if I knew somebody who had their own dress manufacturing

1355
01:14:30,560 --> 01:14:35,479
Speaker 1: business and was selling gowns to Bloomingdale's, like was filling

1356
01:14:35,600 --> 01:14:39,479
Speaker 1: orders constantly, that's a big fucking deal. Like that's an

1357
01:14:39,560 --> 01:14:46,160
Speaker 1: accomplished seamstress designer, like business woman, Like that's nothing to

1358
01:14:46,240 --> 01:14:50,280
Speaker 1: sneeze at. She's being exploited. It is literally a sweatshop setting.

1359
01:14:50,800 --> 01:14:54,000
Speaker 1: But it's impressive when we really break it down and

1360
01:14:54,040 --> 01:14:57,120
Speaker 1: think about what she's doing there. And I don't think

1361
01:14:57,160 --> 01:14:58,120
Speaker 1: that Anna sees that.

1362
01:14:58,200 --> 01:15:00,880
Speaker 5: She's literally phantom thread like.

1363
01:15:03,600 --> 01:15:08,200
Speaker 4: It's also it's like further complicated by so you can

1364
01:15:08,320 --> 01:15:12,760
Speaker 4: kind of imagine that Estella took up this business because

1365
01:15:12,800 --> 01:15:15,360
Speaker 4: that's what her mom did. Like Carmen says that she

1366
01:15:15,760 --> 01:15:18,559
Speaker 4: has been sewing for thirty eight years and she started

1367
01:15:18,600 --> 01:15:21,040
Speaker 4: when she was like thirteen. So like you have Estella

1368
01:15:21,160 --> 01:15:23,840
Speaker 4: like taking in her mom, you know, like taking after

1369
01:15:23,840 --> 01:15:29,599
Speaker 4: her month. Let's the expression take something footsteps following, following

1370
01:15:29,760 --> 01:15:32,960
Speaker 4: in her footsteps. I was like, why can't I put

1371
01:15:33,000 --> 01:15:33,880
Speaker 4: this sentence together?

1372
01:15:33,920 --> 01:15:36,080
Speaker 5: It's nine degrees.

1373
01:15:35,160 --> 01:15:40,280
Speaker 4: Why So she's following in her mom's footsteps, possibly to

1374
01:15:41,120 --> 01:15:44,040
Speaker 4: impress her mom, possibly because that's the skill her mom

1375
01:15:44,080 --> 01:15:47,040
Speaker 4: taught her, you know, there could be any number of reasons,

1376
01:15:47,160 --> 01:15:51,760
Speaker 4: and was able to open up her own factory. Yeah,

1377
01:15:51,760 --> 01:15:54,200
Speaker 4: which I think maybe it seems to be implied that

1378
01:15:54,280 --> 01:15:58,759
Speaker 4: like that's something that Carmen didn't have the opportunity or

1379
01:15:58,960 --> 01:16:01,160
Speaker 4: the money that you need to start your own business,

1380
01:16:01,479 --> 01:16:04,920
Speaker 4: but it's something that Estella was able to do. And

1381
01:16:05,000 --> 01:16:08,280
Speaker 4: so she started her own business. And now she employs

1382
01:16:08,439 --> 01:16:12,280
Speaker 4: her mom, so she's her mom's boss. And then her

1383
01:16:12,320 --> 01:16:18,800
Speaker 4: mom mentions how from decades of sewing, she's she's become arthritic.

1384
01:16:19,320 --> 01:16:22,519
Speaker 4: She can't see very well, and she's like not actually

1385
01:16:22,600 --> 01:16:26,280
Speaker 4: able to work very well because like this hard labor

1386
01:16:26,479 --> 01:16:29,840
Speaker 4: has really worn on her over the years. But she's

1387
01:16:29,880 --> 01:16:33,839
Speaker 4: ashamed by that and is not really communicating that too Estella,

1388
01:16:33,880 --> 01:16:36,160
Speaker 4: but she tells it to Anna, and it's just like

1389
01:16:36,200 --> 01:16:41,000
Speaker 4: there's like so many such an interesting and complicated family dynamic.

1390
01:16:41,560 --> 01:16:44,200
Speaker 1: Yeah. Yeah, there's a lot of layers, and it's like

1391
01:16:44,720 --> 01:16:48,840
Speaker 1: you have this situation where like the mother and the

1392
01:16:48,920 --> 01:16:53,479
Speaker 1: sister have dignity in their work, even though it's not ideal,

1393
01:16:53,640 --> 01:16:56,759
Speaker 1: because that is such a step. Like she's a business owner,

1394
01:16:56,840 --> 01:17:00,519
Speaker 1: she is doing deals with blooming Dale's and this team.

1395
01:17:00,560 --> 01:17:05,200
Speaker 1: They're employing people. Right. There's this scene where Carmen and

1396
01:17:05,320 --> 01:17:08,320
Speaker 1: Anna's father they're talking to each other and the father

1397
01:17:08,439 --> 01:17:11,760
Speaker 1: is saying, she can learn a lot at Columbia, Like

1398
01:17:11,800 --> 01:17:14,639
Speaker 1: she's accepted, she got a scholarship, she can go get educated.

1399
01:17:14,960 --> 01:17:18,120
Speaker 1: And her mother says, I can educate her. I can

1400
01:17:18,160 --> 01:17:20,080
Speaker 1: teach her how to sew. I can teach her how

1401
01:17:20,120 --> 01:17:22,000
Speaker 1: to take care of children. I can teach her how

1402
01:17:22,040 --> 01:17:24,320
Speaker 1: to keep a house. She doesn't do laundry. She's my

1403
01:17:24,360 --> 01:17:27,400
Speaker 1: greatest disappointment, you know, she doesn't listen to me. And

1404
01:17:27,920 --> 01:17:30,799
Speaker 1: you know, it's interesting because I think there's a piece

1405
01:17:30,840 --> 01:17:34,000
Speaker 1: there where like the mom and the sister are like,

1406
01:17:34,840 --> 01:17:39,519
Speaker 1: we like our lives and we are doing work, and

1407
01:17:39,680 --> 01:17:43,160
Speaker 1: we are supporting ourselves, and this is a dignified life

1408
01:17:43,160 --> 01:17:46,479
Speaker 1: that's also worth living, you know. And so there's this

1409
01:17:46,680 --> 01:17:50,160
Speaker 1: like divide there where she's very young and she's pushing

1410
01:17:50,200 --> 01:17:52,880
Speaker 1: back on it and she's pooh pooing it, but it's

1411
01:17:52,880 --> 01:17:56,920
Speaker 1: what's also allowed her to go to Beverly Hills High School,

1412
01:17:57,280 --> 01:18:00,840
Speaker 1: you know, and she's had that familial support. So there's

1413
01:18:00,840 --> 01:18:03,559
Speaker 1: that push and pull there where like in their heart

1414
01:18:03,560 --> 01:18:06,040
Speaker 1: of hearts, they want more for her, but they know that,

1415
01:18:06,200 --> 01:18:09,000
Speaker 1: like this is their world and for her to step

1416
01:18:09,040 --> 01:18:10,920
Speaker 1: out of it, what does that mean about their world

1417
01:18:10,960 --> 01:18:12,360
Speaker 1: and them and all of that.

1418
01:18:13,760 --> 01:18:16,280
Speaker 3: I mean it's like and and again, like that whole

1419
01:18:16,360 --> 01:18:21,280
Speaker 3: message is conveyed in like a single scene which is wild,

1420
01:18:21,680 --> 01:18:26,000
Speaker 3: like the scene when mister Guzman comes back to the

1421
01:18:26,040 --> 01:18:27,960
Speaker 3: house and I did I know that this is like

1422
01:18:28,040 --> 01:18:29,720
Speaker 3: she's wrong for this, but it did always make me

1423
01:18:29,800 --> 01:18:33,960
Speaker 3: laugh every time Carbon saw mister Guzman coming and she's like,

1424
01:18:34,000 --> 01:18:35,479
Speaker 3: who is that? Let's get him out of here, like

1425
01:18:36,080 --> 01:18:38,960
Speaker 3: She's slamming the door, and George Lopez's face.

1426
01:18:38,920 --> 01:18:43,080
Speaker 6: Man, yeah man looking for You're like, that's that's her feature.

1427
01:18:44,360 --> 01:18:47,840
Speaker 3: But yeah, like that that whole class tension of like

1428
01:18:48,800 --> 01:18:50,040
Speaker 3: and I feel like you see it a little bit

1429
01:18:50,080 --> 01:18:53,240
Speaker 3: in Nostello's character as well, where it's it's not like

1430
01:18:53,320 --> 01:18:56,120
Speaker 3: mister Guzman is trying to say like one thing is

1431
01:18:56,160 --> 01:18:59,720
Speaker 3: more valuable than the other, but I think like his

1432
01:18:59,720 --> 01:19:02,479
Speaker 3: person aspective is like, well, you sent her to this

1433
01:19:02,680 --> 01:19:06,040
Speaker 3: like bougie high school. Do you want her to have

1434
01:19:06,120 --> 01:19:08,519
Speaker 3: access to what the bougie high school was supposed to

1435
01:19:08,520 --> 01:19:11,920
Speaker 3: have gotten her access to? And then from where Carmen

1436
01:19:11,960 --> 01:19:14,639
Speaker 3: and Estella are sitting, and from where the whole family

1437
01:19:14,680 --> 01:19:17,080
Speaker 3: is sitting, it makes total sense to be like, well,

1438
01:19:17,120 --> 01:19:18,960
Speaker 3: why are you telling us that the life that we

1439
01:19:19,080 --> 01:19:23,200
Speaker 3: have isn't enough? Like it feels like Anna is the

1440
01:19:23,240 --> 01:19:26,960
Speaker 3: only person in the room at any given time who

1441
01:19:27,280 --> 01:19:31,640
Speaker 3: understands that and like understands both sides of it, and

1442
01:19:31,640 --> 01:19:33,439
Speaker 3: we don't. I guess we don't know enough about mister

1443
01:19:33,520 --> 01:19:36,680
Speaker 3: Guzman's background. Maybe he does understand this tension and his

1444
01:19:36,800 --> 01:19:39,320
Speaker 3: power is just kind of very limited in this situation.

1445
01:19:40,120 --> 01:19:44,200
Speaker 3: Because you're totally right, Marla, Like it's so wild the

1446
01:19:44,240 --> 01:19:48,120
Speaker 3: way that Estella is treated and like the circumstances she

1447
01:19:48,120 --> 01:19:51,000
Speaker 3: has to work under because she's also I liked that

1448
01:19:51,040 --> 01:19:53,880
Speaker 3: you have that details. She's a brilliant designer, and like

1449
01:19:54,479 --> 01:19:58,040
Speaker 3: I hope that you know, in the inevitable, you know,

1450
01:19:58,080 --> 01:20:01,560
Speaker 3: real woman have curves to return of the red dress.

1451
01:20:01,800 --> 01:20:06,960
Speaker 4: Boots, she had an extremely curvy movie. Yeah.

1452
01:20:05,760 --> 01:20:10,599
Speaker 3: Yeah, she has like her own like fashion house or

1453
01:20:10,720 --> 01:20:14,840
Speaker 3: like something like that, where like she's so talented, but

1454
01:20:14,960 --> 01:20:15,519
Speaker 3: it's like.

1455
01:20:15,400 --> 01:20:18,360
Speaker 1: It's got an ig boutique right exactly.

1456
01:20:18,680 --> 01:20:22,599
Speaker 3: It is like doing expensive custom red carpet looks yes.

1457
01:20:22,720 --> 01:20:24,040
Speaker 5: For America Ferrera.

1458
01:20:24,240 --> 01:20:25,120
Speaker 4: Question Mark.

1459
01:20:27,080 --> 01:20:30,400
Speaker 5: But and then the movie explodes.

1460
01:20:31,240 --> 01:20:35,040
Speaker 3: But but I I thought it was interesting how like

1461
01:20:35,200 --> 01:20:38,719
Speaker 3: there's those moments with Estella, the moments I liked most

1462
01:20:38,760 --> 01:20:42,799
Speaker 3: between Anna and Estella, or when Estella, I think would

1463
01:20:42,840 --> 01:20:48,400
Speaker 3: sometimes internalize how various systems were failing her and her

1464
01:20:48,439 --> 01:20:54,280
Speaker 3: business as individual failures, which is, you know, how the

1465
01:20:54,479 --> 01:20:57,040
Speaker 3: systems want you to feel. And I feel like, you know,

1466
01:20:57,320 --> 01:21:00,200
Speaker 3: even though the Missus Glass thing did not pan out

1467
01:21:00,200 --> 01:21:02,599
Speaker 3: and was that was kind of naive on honest part

1468
01:21:02,960 --> 01:21:05,600
Speaker 3: to think you could just march in and change a

1469
01:21:05,600 --> 01:21:12,400
Speaker 3: girl boss's mind. But like Estella, it seems like I had

1470
01:21:12,400 --> 01:21:14,400
Speaker 3: internalized a lot of shame about it, and like she

1471
01:21:14,560 --> 01:21:17,800
Speaker 3: wasn't able to talk to people about it, and you

1472
01:21:17,840 --> 01:21:20,840
Speaker 3: would imagine if she went to Karmen about it, Carmen would.

1473
01:21:20,520 --> 01:21:22,200
Speaker 5: Give her shit about it, because that is.

1474
01:21:22,800 --> 01:21:26,160
Speaker 3: Very inherent to how Carmen treats her daughters. And just

1475
01:21:26,280 --> 01:21:30,719
Speaker 3: like watching Estella this like brilliant business owner who should

1476
01:21:30,800 --> 01:21:35,320
Speaker 3: be you know, in Milan or whatever, like having to

1477
01:21:35,400 --> 01:21:39,400
Speaker 3: internalize this bullshit is it's I don't know, it's like

1478
01:21:39,439 --> 01:21:41,800
Speaker 3: pretty subtle in the way that it's like telegraphed in

1479
01:21:41,800 --> 01:21:42,160
Speaker 3: the movie.

1480
01:21:42,160 --> 01:21:44,160
Speaker 5: But I just I don't know.

1481
01:21:44,200 --> 01:21:47,120
Speaker 3: It just felt like this whole other element to what's

1482
01:21:47,160 --> 01:21:50,240
Speaker 3: going on in her life that I didn't take a

1483
01:21:50,240 --> 01:21:53,520
Speaker 3: lot of note on because I was America.

1484
01:21:53,160 --> 01:21:57,120
Speaker 5: For her built and just didn't understand the world as well.

1485
01:21:57,560 --> 01:21:57,720
Speaker 1: Yeah.

1486
01:21:57,760 --> 01:22:01,160
Speaker 4: Absolutely, and yet there's still so much to about Anna's

1487
01:22:01,240 --> 01:22:05,200
Speaker 4: character to where like, so we've been kind of dancing

1488
01:22:05,240 --> 01:22:10,200
Speaker 4: around the mother daughter relationship throughout the entire discussion, So

1489
01:22:10,760 --> 01:22:15,360
Speaker 4: let's just get into it. It's a complicated relationship. It's

1490
01:22:15,479 --> 01:22:18,439
Speaker 4: clear that Carmen very much loves and cares for her

1491
01:22:18,560 --> 01:22:22,200
Speaker 4: daughter and is coming from a place where she thinks

1492
01:22:22,600 --> 01:22:24,960
Speaker 4: what she's doing, what she's saying, is what's best for

1493
01:22:25,040 --> 01:22:27,680
Speaker 4: her daughter. She's not really doing anything out of like

1494
01:22:28,200 --> 01:22:32,759
Speaker 4: spite or malice. It's just this is what she knows

1495
01:22:32,880 --> 01:22:35,360
Speaker 4: and she's trying to pass it along to her daughter,

1496
01:22:35,439 --> 01:22:38,639
Speaker 4: and it's what she thinks is best for Anna. This

1497
01:22:38,800 --> 01:22:44,320
Speaker 4: often manifests as Carmen policing Anna's body in two pretty

1498
01:22:44,360 --> 01:22:47,559
Speaker 4: major ways. One is her size and the other is

1499
01:22:47,560 --> 01:22:53,320
Speaker 4: her sexuality. And this is obviously informed by Carmen's religious

1500
01:22:53,360 --> 01:22:57,880
Speaker 4: beliefs and her kind of cultural like you know, yes,

1501
01:22:57,960 --> 01:23:01,640
Speaker 4: she is reinforcing a lot of pa triarchal standards that

1502
01:23:01,680 --> 01:23:05,479
Speaker 4: were pretty par for the course for her generation her culture.

1503
01:23:05,960 --> 01:23:10,080
Speaker 4: Anna is from a younger, more progressive generation. She grew

1504
01:23:10,200 --> 01:23:12,439
Speaker 4: up in a different country and culture from her parents,

1505
01:23:13,080 --> 01:23:16,120
Speaker 4: and this has kind of empowered her to push back

1506
01:23:16,200 --> 01:23:21,120
Speaker 4: against like her mom's ideology because we constantly see that

1507
01:23:21,320 --> 01:23:25,439
Speaker 4: kind of tug of war of Carmen either fat shaming

1508
01:23:25,600 --> 01:23:31,000
Speaker 4: or slut shaming Anna, and then Anna challenging it absolutely.

1509
01:23:31,200 --> 01:23:36,400
Speaker 4: So again we have like Carmen constantly making comments about

1510
01:23:36,520 --> 01:23:40,240
Speaker 4: Anna's weight, her size. She says things like, you know,

1511
01:23:40,320 --> 01:23:43,360
Speaker 4: you would look beautiful if you lost weight, and constant

1512
01:23:43,439 --> 01:23:47,920
Speaker 4: comments about her body, and then you have Anna again

1513
01:23:48,160 --> 01:23:52,080
Speaker 4: constantly challenging this and pushing back and saying things like, well,

1514
01:23:52,080 --> 01:23:55,200
Speaker 4: I happen to like myself and yeah, maybe I do

1515
01:23:55,240 --> 01:23:57,080
Speaker 4: want to lose weight, but part of me doesn't because

1516
01:23:57,080 --> 01:24:00,920
Speaker 4: my weight says to everybody, fuck you, And she says,

1517
01:24:00,960 --> 01:24:03,280
Speaker 4: you know, how dare anybody try to tell me what

1518
01:24:03,320 --> 01:24:05,800
Speaker 4: I should look like or what I should be when

1519
01:24:05,800 --> 01:24:08,439
Speaker 4: there's so much more to me than just my weight.

1520
01:24:09,120 --> 01:24:11,920
Speaker 4: And that's such a wonderful thing to be in a

1521
01:24:12,000 --> 01:24:17,240
Speaker 4: movie that is targeted to I mean everyone, everyone should

1522
01:24:17,280 --> 01:24:20,320
Speaker 4: watch this movie. But it's like targeted to probably a

1523
01:24:20,360 --> 01:24:24,920
Speaker 4: younger audience, you know, teens, tweens. So you have like

1524
01:24:25,280 --> 01:24:28,960
Speaker 4: this young character who's like advocating for herself and pushing

1525
01:24:29,000 --> 01:24:33,200
Speaker 4: back against this like harmful ideology of fat shaming and

1526
01:24:33,200 --> 01:24:34,000
Speaker 4: body shaming.

1527
01:24:34,160 --> 01:24:37,720
Speaker 1: I've been watching Dance Moms and Abby Lee Miller has

1528
01:24:37,760 --> 01:24:42,320
Speaker 1: sort of helped me to better understand Carmen's character because

1529
01:24:42,720 --> 01:24:47,240
Speaker 1: interest well, yes, because Abby Lee is known for her

1530
01:24:47,280 --> 01:24:50,439
Speaker 1: harsh words and teaching tactics with her students, but her

1531
01:24:50,479 --> 01:24:54,479
Speaker 1: students also win like the sweep right, and so abby

1532
01:24:54,520 --> 01:24:57,360
Speaker 1: Lee at one of her competitions was like, listen, I

1533
01:24:57,479 --> 01:25:01,040
Speaker 1: tell you the harsh truth and rehearsal because I don't

1534
01:25:01,040 --> 01:25:03,000
Speaker 1: want to put you on a stage and parents and

1535
01:25:03,080 --> 01:25:06,840
Speaker 1: other coaches are saying nasty things about your technique and

1536
01:25:06,840 --> 01:25:09,960
Speaker 1: your unpointed feet in the audience and you're getting dinged.

1537
01:25:10,400 --> 01:25:13,040
Speaker 1: I'm saying it so you fix it, and other people

1538
01:25:13,320 --> 01:25:16,040
Speaker 1: are not saying it and humiliating you. And I feel

1539
01:25:16,120 --> 01:25:18,680
Speaker 1: like there are some older women and I know for

1540
01:25:18,800 --> 01:25:22,280
Speaker 1: a fact Latina mothers, because my mother kind of is

1541
01:25:22,320 --> 01:25:26,040
Speaker 1: of this sort of mindset sometimes like well, I'm your mother,

1542
01:25:26,080 --> 01:25:27,599
Speaker 1: and if I don't tell you who's going to tell you?

1543
01:25:28,040 --> 01:25:32,120
Speaker 1: And I feel like Carmen has this sort of very

1544
01:25:32,160 --> 01:25:34,600
Speaker 1: like she likes to tell cautionary tales, like if you

1545
01:25:34,600 --> 01:25:36,400
Speaker 1: don't listen to your mother, this is what's going to

1546
01:25:36,439 --> 01:25:38,920
Speaker 1: happen to you. I'm telling you because I'm your mother.

1547
01:25:39,080 --> 01:25:42,240
Speaker 1: Like there's that one scene where they're watching that novella

1548
01:25:42,240 --> 01:25:47,200
Speaker 1: and I love this title, Los pobresoran mass and the

1549
01:25:47,280 --> 01:25:49,559
Speaker 1: girl like it doesn't listen to her mom and gets

1550
01:25:49,600 --> 01:25:52,599
Speaker 1: decapitated in the process trying to run off with some guy,

1551
01:25:52,840 --> 01:25:56,439
Speaker 1: and Carmen is like, that's that's what happens. That's what

1552
01:25:56,479 --> 01:25:58,639
Speaker 1: happens when you don't listen to your mother. A mother

1553
01:25:58,760 --> 01:26:01,360
Speaker 1: knows the right man for her, you know. So it's

1554
01:26:01,439 --> 01:26:03,640
Speaker 1: like for me, that's who Carmon is.

1555
01:26:03,800 --> 01:26:06,280
Speaker 3: While like poor Anna's trying to write her college essay

1556
01:26:06,360 --> 01:26:08,080
Speaker 3: at the table, She's like stop.

1557
01:26:10,920 --> 01:26:19,760
Speaker 1: The decapitation comes up, like mid essay writing, Yeah.

1558
01:26:17,000 --> 01:26:20,440
Speaker 4: Oh that's perfect. And then there's also this this undercurrent

1559
01:26:20,439 --> 01:26:23,639
Speaker 4: throughout the movie that these women in the factory are

1560
01:26:23,640 --> 01:26:30,200
Speaker 4: making dresses that they can't fit into because glamorous clothing

1561
01:26:30,320 --> 01:26:33,960
Speaker 4: is often not manufactured for larger bodies because you have

1562
01:26:34,200 --> 01:26:38,559
Speaker 4: puncha saying talking about address that Estella is designing, and

1563
01:26:38,600 --> 01:26:40,599
Speaker 4: she says something like, yeah, I would definitely wear that

1564
01:26:40,960 --> 01:26:44,760
Speaker 4: if it would fit me, parentheses it wouldn't or like

1565
01:26:45,320 --> 01:26:47,680
Speaker 4: I couldn't probably find a dress that would fit me

1566
01:26:47,760 --> 01:26:48,120
Speaker 4: like this.

1567
01:26:48,200 --> 01:26:50,960
Speaker 5: But that's why. And real women have curves too.

1568
01:26:51,640 --> 01:26:56,160
Speaker 3: Estella is the most famous inclusive designer in the entire

1569
01:26:56,200 --> 01:26:59,160
Speaker 3: world world, like exactly.

1570
01:26:58,520 --> 01:27:04,919
Speaker 1: She's styling Lizzo, She's said everybody. Yeah, the script writes itself, honestly,

1571
01:27:05,760 --> 01:27:06,280
Speaker 1: Yeah we don't.

1572
01:27:06,360 --> 01:27:08,920
Speaker 3: We don't need LaVoo this time. Just get them out

1573
01:27:08,920 --> 01:27:15,200
Speaker 3: of the Yeah, laboo more like it more like la

1574
01:27:15,240 --> 01:27:19,120
Speaker 3: poo wowidding.

1575
01:27:23,240 --> 01:27:26,960
Speaker 4: And then that's really sweet scene where you see Estella

1576
01:27:27,000 --> 01:27:30,400
Speaker 4: giving the dress that she made for Anna and she

1577
01:27:30,479 --> 01:27:34,240
Speaker 4: says like I cut this specifically for your body and

1578
01:27:34,320 --> 01:27:37,479
Speaker 4: says like pretty dresses aren't just for skinny girls, and

1579
01:27:37,520 --> 01:27:41,599
Speaker 4: it's just such a beautiful little like button on that

1580
01:27:42,040 --> 01:27:43,280
Speaker 4: through line of the movie.

1581
01:27:43,640 --> 01:27:46,559
Speaker 1: Yeah, the dresses are such a double a triple whammy,

1582
01:27:46,600 --> 01:27:49,599
Speaker 1: because it's like it costs these women money to make

1583
01:27:49,640 --> 01:27:53,000
Speaker 1: these dresses. Practically, like not only can they not fit

1584
01:27:53,040 --> 01:27:55,439
Speaker 1: in the dresses they're making, but they can't afford the

1585
01:27:55,520 --> 01:27:58,519
Speaker 1: dresses they're making because they cost six hundred dollars. And

1586
01:27:58,960 --> 01:28:01,120
Speaker 1: the constant throughout the film is I don't think we

1587
01:28:01,200 --> 01:28:03,960
Speaker 1: ever see the women really get paid, you know, until

1588
01:28:04,000 --> 01:28:07,000
Speaker 1: the very end they reimburse the dad because of the loan.

1589
01:28:07,680 --> 01:28:10,200
Speaker 1: The landlord is coming because she's laid on red like

1590
01:28:10,240 --> 01:28:12,519
Speaker 1: the dress is actually even just to work is like

1591
01:28:12,600 --> 01:28:15,439
Speaker 1: costing them and it's wild to see.

1592
01:28:16,800 --> 01:28:18,760
Speaker 3: It made me so sad, like and it made me

1593
01:28:19,080 --> 01:28:21,759
Speaker 3: I felt like a moment of like frustration with Estella.

1594
01:28:21,800 --> 01:28:23,479
Speaker 3: I was like, oh, but that it's like, but she's

1595
01:28:23,640 --> 01:28:25,880
Speaker 3: being put in an impossible position.

1596
01:28:26,120 --> 01:28:28,800
Speaker 5: It's just and I feel like it.

1597
01:28:29,080 --> 01:28:30,920
Speaker 3: The movie, I guess in that moment did kind of

1598
01:28:30,960 --> 01:28:35,639
Speaker 3: telegraph clearly why Estella feels like this is all her fault,

1599
01:28:35,920 --> 01:28:39,320
Speaker 3: because she's the one that has to tell her employees,

1600
01:28:39,840 --> 01:28:42,400
Speaker 3: I can't pay you even though you're doing really really

1601
01:28:42,439 --> 01:28:45,639
Speaker 3: hard work like all the time, and I won't turn

1602
01:28:45,680 --> 01:28:49,479
Speaker 3: a fan on because of dust Like it's of course

1603
01:28:49,520 --> 01:28:52,599
Speaker 3: she feels terrible, but it's like, but yeah, I don't

1604
01:28:52,600 --> 01:28:57,080
Speaker 3: know this viewing, I was Estella pilled on this one.

1605
01:28:58,120 --> 01:29:00,920
Speaker 1: And the thing about the movie too, was like that, Ah,

1606
01:29:00,960 --> 01:29:03,880
Speaker 1: there's so much, so many questions because Anna goes off

1607
01:29:03,920 --> 01:29:07,439
Speaker 1: to New York. She's streating her stuff. But remember, like

1608
01:29:07,760 --> 01:29:10,759
Speaker 1: Estella stayed behind because she had to go to the factory.

1609
01:29:10,800 --> 01:29:14,280
Speaker 1: Like the factory continues, the dead is still there, like

1610
01:29:14,400 --> 01:29:18,200
Speaker 1: the turnover, that's all still, that's still going on while

1611
01:29:18,240 --> 01:29:19,160
Speaker 1: Anna's in New York.

1612
01:29:19,520 --> 01:29:23,080
Speaker 4: Right at least Estella gets her own bedroom now because

1613
01:29:23,160 --> 01:29:24,719
Speaker 4: they were sharing a bedroom.

1614
01:29:24,840 --> 01:29:28,800
Speaker 1: So true, that is she deserves she deserves.

1615
01:29:28,479 --> 01:29:30,639
Speaker 5: Yeah, she deserves. I mean, she deserves her own place.

1616
01:29:30,680 --> 01:29:31,040
Speaker 4: We could.

1617
01:29:31,120 --> 01:29:35,160
Speaker 5: Like I wanted to get back to mom a little bit.

1618
01:29:35,040 --> 01:29:38,599
Speaker 3: As well, because I really do think it's like it's

1619
01:29:38,680 --> 01:29:42,559
Speaker 3: such a tricky rule. I feel like it is such

1620
01:29:42,760 --> 01:29:49,080
Speaker 3: a testament to Lupe Antevero's for making Carmen a lovable

1621
01:29:49,240 --> 01:29:53,360
Speaker 3: character and like because I feel like on paper it's tough.

1622
01:29:53,439 --> 01:29:56,519
Speaker 3: The things she says to her daughters can be so

1623
01:29:56,680 --> 01:29:58,840
Speaker 3: cutting and awful, and the fact that she is able

1624
01:29:58,880 --> 01:30:01,559
Speaker 3: to get across, Like I do believe that she loves

1625
01:30:01,600 --> 01:30:06,000
Speaker 3: her daughters. But there's all these layers of and I

1626
01:30:06,040 --> 01:30:09,080
Speaker 3: know that there's there's so many Oh there's another fire.

1627
01:30:10,400 --> 01:30:15,880
Speaker 3: Oh no, I know there's so many layers of what Carmen.

1628
01:30:15,680 --> 01:30:18,240
Speaker 5: Is kind of projecting onto her daughters. It's a lot

1629
01:30:18,240 --> 01:30:21,000
Speaker 5: of cultural values that she grew up with.

1630
01:30:21,040 --> 01:30:25,960
Speaker 3: It's a generational value, it's it's internalized shame being projected

1631
01:30:25,960 --> 01:30:26,880
Speaker 3: back onto her kids.

1632
01:30:27,000 --> 01:30:29,760
Speaker 5: And there was an element.

1633
01:30:29,439 --> 01:30:32,280
Speaker 3: Of it the closest I could get to, like relating

1634
01:30:32,439 --> 01:30:35,600
Speaker 3: to outside of like just being a body shamed by

1635
01:30:35,680 --> 01:30:40,679
Speaker 3: female relatives, which happened in my family brutally and all

1636
01:30:40,720 --> 01:30:43,439
Speaker 3: the time. But it almost felt like there is like

1637
01:30:43,479 --> 01:30:48,400
Speaker 3: this part of Carmen that wants her daughters to suffer

1638
01:30:48,640 --> 01:30:51,200
Speaker 3: in the same exact ways she did and like to

1639
01:30:51,400 --> 01:30:54,280
Speaker 3: not suffer in those It almost reminds me of like whence,

1640
01:30:54,880 --> 01:30:57,920
Speaker 3: like with this whole student loan forgiveness debate, where people

1641
01:30:57,960 --> 01:31:00,320
Speaker 3: are like, well I had to be an ex dream

1642
01:31:00,360 --> 01:31:03,360
Speaker 3: debt for twenty years, so my kids should too, and it's.

1643
01:31:03,160 --> 01:31:06,320
Speaker 5: Like, no, that doesn't don't know what.

1644
01:31:06,640 --> 01:31:08,320
Speaker 1: No, Yeah, but on.

1645
01:31:08,240 --> 01:31:12,400
Speaker 3: A human level, you can understand how you know she,

1646
01:31:12,600 --> 01:31:15,439
Speaker 3: I mean, Carmen has had to deal with shit her

1647
01:31:15,600 --> 01:31:18,400
Speaker 3: entire life, and she was raised a very particular way,

1648
01:31:18,400 --> 01:31:22,000
Speaker 3: and you understand how she got to where she is

1649
01:31:22,280 --> 01:31:25,640
Speaker 3: in the way she views the world. And also be like,

1650
01:31:25,840 --> 01:31:28,840
Speaker 3: but you have to let your daughters, you know, you've

1651
01:31:28,840 --> 01:31:30,640
Speaker 3: got to want more for your kids. You've got to

1652
01:31:30,680 --> 01:31:32,639
Speaker 3: want them to be able to go their own way.

1653
01:31:32,720 --> 01:31:36,519
Speaker 3: And it's such a difficult relationship to see play out

1654
01:31:36,560 --> 01:31:39,400
Speaker 3: because you you, I don't know, you feel so much

1655
01:31:39,479 --> 01:31:41,920
Speaker 3: for everybody, but sometimes you just want to be like Carmen,

1656
01:31:42,080 --> 01:31:42,519
Speaker 3: come on.

1657
01:31:43,520 --> 01:31:47,200
Speaker 1: Yeah, There's there's a piece too where it's like Carmen,

1658
01:31:47,600 --> 01:31:50,680
Speaker 1: she is harsh and she can be mean. There's this

1659
01:31:50,760 --> 01:31:54,160
Speaker 1: really interesting layer there though, where it's like sometimes like

1660
01:31:54,800 --> 01:31:58,000
Speaker 1: Mexican families do speak that way to each other and

1661
01:31:58,040 --> 01:32:00,519
Speaker 1: it can come off as harsh and me but it's

1662
01:32:00,600 --> 01:32:04,920
Speaker 1: not unbelievable and it's not unrealistic, right, And I feel

1663
01:32:04,960 --> 01:32:08,040
Speaker 1: like sometimes like oh, it's almost like you actually can't

1664
01:32:08,120 --> 01:32:11,880
Speaker 1: body shame like a Latina because our families have already

1665
01:32:11,920 --> 01:32:14,680
Speaker 1: been doing it for years, Like we've been hearing this

1666
01:32:14,720 --> 01:32:18,200
Speaker 1: stuff for our whole lives, Like people speak about our

1667
01:32:18,240 --> 01:32:22,519
Speaker 1: bodies in very public and specific terms, like your body

1668
01:32:22,560 --> 01:32:25,120
Speaker 1: part isn't just the body part, it becomes like a

1669
01:32:25,160 --> 01:32:27,879
Speaker 1: stand in for your whole identity, Like we have words

1670
01:32:28,280 --> 01:32:30,720
Speaker 1: just to refer to you in relation to a body part,

1671
01:32:30,840 --> 01:32:32,720
Speaker 1: Like if you have a big butt, you don't just

1672
01:32:32,760 --> 01:32:36,400
Speaker 1: have a big butt, you are a Nalgona, Like that

1673
01:32:36,479 --> 01:32:39,559
Speaker 1: can be your nickname, Like if you have big chee cheese,

1674
01:32:39,600 --> 01:32:42,040
Speaker 1: you can be a chi choa, Like that's your nickname,

1675
01:32:42,080 --> 01:32:45,360
Speaker 1: that's your title, you know, Gorbita, she calls her throughout

1676
01:32:45,439 --> 01:32:48,160
Speaker 1: this is and I love the caption the translation because

1677
01:32:48,160 --> 01:32:50,360
Speaker 1: she goes, this is my Gorritha right here, and it's like,

1678
01:32:50,520 --> 01:32:54,280
Speaker 1: this is my fatty butter bright here right, my butterball

1679
01:32:54,360 --> 01:32:58,320
Speaker 1: butterball also in the captions. But these are actual terms

1680
01:32:58,400 --> 01:33:02,760
Speaker 1: that people actually call all girls and women like irl

1681
01:33:03,280 --> 01:33:07,519
Speaker 1: and so is it uncomfortable? Yeah? Are they sometimes terms

1682
01:33:07,520 --> 01:33:08,240
Speaker 1: of endearment?

1683
01:33:08,680 --> 01:33:09,040
Speaker 5: Yeah?

1684
01:33:09,120 --> 01:33:12,240
Speaker 1: Are they sometimes kind of cute see names? Yeah? But

1685
01:33:12,280 --> 01:33:15,360
Speaker 1: can they also be used like to cut? Also? Yes?

1686
01:33:15,520 --> 01:33:19,559
Speaker 1: So there's also like that sort of like very subtle

1687
01:33:19,640 --> 01:33:22,040
Speaker 1: like line that I love that hole Setina plays with

1688
01:33:22,040 --> 01:33:22,799
Speaker 1: with her writing.

1689
01:33:23,320 --> 01:33:27,840
Speaker 4: Yeah, and it works so well. And then again, the

1690
01:33:27,880 --> 01:33:32,720
Speaker 4: other thing that Carmen tends to do with Anna it

1691
01:33:32,920 --> 01:33:36,639
Speaker 4: mostly well part. So it's like Carmen has this idea

1692
01:33:36,720 --> 01:33:39,200
Speaker 4: that you know, a woman has to save herself quote

1693
01:33:39,240 --> 01:33:42,360
Speaker 4: unquote till marriage. She can't have sex until she's married,

1694
01:33:42,720 --> 01:33:45,080
Speaker 4: and it's also her duty to get married and start

1695
01:33:45,160 --> 01:33:47,519
Speaker 4: raising a family and to take care of that family

1696
01:33:47,600 --> 01:33:50,360
Speaker 4: and to take care of her husband. And she wants

1697
01:33:50,680 --> 01:33:54,000
Speaker 4: Anna to get married as soon as possible. And you know,

1698
01:33:54,080 --> 01:33:58,240
Speaker 4: she has that little the figurine of of San I

1699
01:33:58,280 --> 01:34:04,120
Speaker 4: forget which Saint Saint Anthony, So you know she's holding out.

1700
01:34:04,200 --> 01:34:07,720
Speaker 4: She's like and she's like, I've lost hope that Estella

1701
01:34:07,760 --> 01:34:10,439
Speaker 4: will get married, but now so now I have to

1702
01:34:10,439 --> 01:34:15,240
Speaker 4: really focus on this future for Anna. So that's kind

1703
01:34:15,280 --> 01:34:18,640
Speaker 4: of where she's coming from as far as like Anna's

1704
01:34:18,680 --> 01:34:23,080
Speaker 4: like sexuality and like her expectations of what Anna is

1705
01:34:23,120 --> 01:34:27,840
Speaker 4: going to do with like starting a family and that

1706
01:34:27,880 --> 01:34:32,320
Speaker 4: kind of stuff. Anna does not buy into this. She's

1707
01:34:32,360 --> 01:34:36,160
Speaker 4: just like, I'm gonna like start dating this kid, Jimmy

1708
01:34:36,240 --> 01:34:39,679
Speaker 4: for the summer. She wants to have sex with him.

1709
01:34:40,080 --> 01:34:42,320
Speaker 4: She tells him, you know, I feel ready. She has

1710
01:34:42,360 --> 01:34:44,280
Speaker 4: sex on her terms, which is I think is an

1711
01:34:44,320 --> 01:34:47,160
Speaker 4: amazing thing to show on screen of like, you know,

1712
01:34:47,560 --> 01:34:50,160
Speaker 4: a young woman feeling ready to have sex for the

1713
01:34:50,160 --> 01:34:54,839
Speaker 4: first time, and the condom scene she buys a condom.

1714
01:34:55,800 --> 01:34:58,559
Speaker 4: Everything is on her terms. You know, she gives consent

1715
01:34:58,720 --> 01:35:01,000
Speaker 4: like this. This is all like wow, I loved it

1716
01:35:01,040 --> 01:35:04,240
Speaker 4: to see on screen that actual sex scene when you

1717
01:35:04,240 --> 01:35:07,559
Speaker 4: know she's like, she turns the lights back on. She's like,

1718
01:35:07,600 --> 01:35:09,400
Speaker 4: I want you to see my body. This is what

1719
01:35:09,439 --> 01:35:12,080
Speaker 4: I look like. That whole thing I thought was handled

1720
01:35:12,120 --> 01:35:15,000
Speaker 4: so beautifully. And I don't think it's like an act

1721
01:35:15,040 --> 01:35:17,840
Speaker 4: of protest against her mom's ideology. But it's just like

1722
01:35:17,920 --> 01:35:19,599
Speaker 4: what she wants to do. And it's like what she's

1723
01:35:19,640 --> 01:35:23,519
Speaker 4: doing despite it not wanting what her mother wants for her.

1724
01:35:23,840 --> 01:35:26,840
Speaker 4: And Anna pushes back on this and says, why is

1725
01:35:26,880 --> 01:35:29,719
Speaker 4: a woman's virginity the only thing that matters? A woman

1726
01:35:29,800 --> 01:35:33,880
Speaker 4: has thoughts, ideas, a mind of her own, And so

1727
01:35:33,920 --> 01:35:37,519
Speaker 4: Anna is like constantly advocating for like I'm more than

1728
01:35:37,520 --> 01:35:39,760
Speaker 4: my weight, I'm more than my size, I'm more than

1729
01:35:40,360 --> 01:35:44,080
Speaker 4: my virginity, you know, And it's just like a feminist

1730
01:35:44,280 --> 01:35:46,360
Speaker 4: icon eighteen year old Anna and.

1731
01:35:46,360 --> 01:35:49,760
Speaker 3: America Ferrera like performs the hell out of those speeches.

1732
01:35:49,880 --> 01:35:54,439
Speaker 3: I like it's so good, Yeah, I really And I

1733
01:35:54,560 --> 01:35:57,360
Speaker 3: liked that. I feel like a lesser movie. I don't know,

1734
01:35:57,439 --> 01:36:00,240
Speaker 3: like this is such a case study for like women

1735
01:36:00,640 --> 01:36:04,599
Speaker 3: like writing and directing stories about women, especially with the

1736
01:36:04,640 --> 01:36:09,519
Speaker 3: amount of specificity that Josefina Lopez does, Like it just works,

1737
01:36:09,680 --> 01:36:13,200
Speaker 3: Like it's amazing and I feel like a lesser story

1738
01:36:14,080 --> 01:36:17,000
Speaker 3: would have because I was just like, okay, other teen

1739
01:36:17,080 --> 01:36:20,679
Speaker 3: movie analogs, you see that, Like in a lesser movie

1740
01:36:20,760 --> 01:36:23,799
Speaker 3: and a lesser story, Anna would have been like, Oh,

1741
01:36:23,960 --> 01:36:27,320
Speaker 3: this boy thinks I'm beautiful, so I'm in love with him.

1742
01:36:27,160 --> 01:36:28,839
Speaker 5: Now, and like all this stuff.

1743
01:36:29,600 --> 01:36:33,600
Speaker 6: But she like is very in charge of her sexuality.

1744
01:36:33,840 --> 01:36:36,000
Speaker 3: She's I loved that they went out of the way

1745
01:36:36,160 --> 01:36:38,920
Speaker 3: to be like and she made sure that she was safe.

1746
01:36:38,960 --> 01:36:41,559
Speaker 3: She protected herself because who knows what's going on with

1747
01:36:41,600 --> 01:36:44,080
Speaker 3: this kid Jimmy, but also doesn't know how condoms work,

1748
01:36:44,080 --> 01:36:48,479
Speaker 3: which is very true of seventeen year olds, and that

1749
01:36:48,760 --> 01:36:51,479
Speaker 3: when she was done, she was like, you know, I

1750
01:36:51,760 --> 01:36:53,760
Speaker 3: don't want this to be a relationship.

1751
01:36:53,840 --> 01:36:55,200
Speaker 5: I feel like teen movies so.

1752
01:36:55,240 --> 01:36:58,680
Speaker 3: Often put young women in the situation of like the

1753
01:36:58,720 --> 01:37:02,040
Speaker 3: first boy that is nice to me or finds me attractive,

1754
01:37:02,120 --> 01:37:05,479
Speaker 3: or like sees me for who like the whatever walking

1755
01:37:05,520 --> 01:37:06,439
Speaker 3: down the stairs moment?

1756
01:37:06,439 --> 01:37:08,360
Speaker 5: What's that movie that I hate? All that?

1757
01:37:08,640 --> 01:37:11,559
Speaker 3: Yes, like the first the first boy that sees me

1758
01:37:11,640 --> 01:37:14,120
Speaker 3: for who I really am is the love of my

1759
01:37:14,280 --> 01:37:16,360
Speaker 3: life and blah blah blah, And Anna's like, I live

1760
01:37:16,439 --> 01:37:19,120
Speaker 3: in the real world. I don't want to keep seeing

1761
01:37:19,160 --> 01:37:23,240
Speaker 3: you and like it's just such a that happens nowhere,

1762
01:37:23,280 --> 01:37:25,439
Speaker 3: Like it was just so cool to see her take

1763
01:37:25,520 --> 01:37:26,400
Speaker 3: charge of everything.

1764
01:37:26,920 --> 01:37:30,479
Speaker 1: Yeah, I love too that the movie manages to be

1765
01:37:31,160 --> 01:37:36,880
Speaker 1: very dramatic, hilarious, hilarious, but also very dramatic, and nothing

1766
01:37:37,360 --> 01:37:42,799
Speaker 1: that dramatic happens plot wise, like she graduates high school,

1767
01:37:43,000 --> 01:37:45,880
Speaker 1: dates a boy, and goes to college, you know, like

1768
01:37:46,040 --> 01:37:48,479
Speaker 1: and like works summer, Like.

1769
01:37:49,960 --> 01:37:52,639
Speaker 5: It feels so cinematic that you know.

1770
01:37:52,760 --> 01:37:57,600
Speaker 1: Very wholesome. But there's it's so cinematic and that's for

1771
01:37:57,720 --> 01:38:00,680
Speaker 1: me is the you know, she doesn't get pregnant, she

1772
01:38:00,760 --> 01:38:03,360
Speaker 1: doesn't go to jail, no one dies of an overdose, Like,

1773
01:38:03,360 --> 01:38:06,880
Speaker 1: there's no stabbings, like, but drama. And that's the brilliance

1774
01:38:06,920 --> 01:38:09,360
Speaker 1: of the movie and the writing, Like that's the storytelling

1775
01:38:09,360 --> 01:38:13,479
Speaker 1: because you're captivated and you're like feeling feelings and going

1776
01:38:13,560 --> 01:38:16,080
Speaker 1: through it with her, And I feel like that is

1777
01:38:16,120 --> 01:38:19,840
Speaker 1: the drama of teen angst. That's how heightened it can be.

1778
01:38:20,600 --> 01:38:23,320
Speaker 1: She's just being a teen girl going the fuck through

1779
01:38:23,360 --> 01:38:24,840
Speaker 1: it and clashing with her mom.

1780
01:38:25,240 --> 01:38:29,639
Speaker 4: And you know, the movie doesn't take any shortcuts when

1781
01:38:29,640 --> 01:38:32,000
Speaker 4: it comes to like this is a dramatic story, so

1782
01:38:32,040 --> 01:38:38,080
Speaker 4: someone has to die. Like it's just like life is dramatic,

1783
01:38:38,520 --> 01:38:43,519
Speaker 4: yeah and hilarious. Yeah, and the movie balances both very well.

1784
01:38:43,760 --> 01:38:44,360
Speaker 5: It's so good.

1785
01:38:44,439 --> 01:38:49,240
Speaker 3: Yeah, it's yes, well you said it perfectly where you're like, yeah,

1786
01:38:49,280 --> 01:38:53,000
Speaker 3: like teen girl life is everything feels.

1787
01:38:52,760 --> 01:38:53,439
Speaker 4: Like a movie.

1788
01:38:53,720 --> 01:38:58,760
Speaker 1: Yeah, everything teen ANGSTNGST. And so this is I think

1789
01:38:58,880 --> 01:39:03,400
Speaker 1: just in that vein Teen Girls, you know struggle.

1790
01:39:03,160 --> 01:39:05,800
Speaker 6: They're in the trench. They're in the trenches twenty four

1791
01:39:05,800 --> 01:39:06,200
Speaker 6: to seven.

1792
01:39:06,840 --> 01:39:10,439
Speaker 1: Truly, if you're a teen girl listening, I salute you.

1793
01:39:10,960 --> 01:39:15,759
Speaker 1: It does get better eventually, it will eventually eventually its hold.

1794
01:39:15,560 --> 01:39:17,559
Speaker 5: On another thing.

1795
01:39:17,680 --> 01:39:20,160
Speaker 3: I feel like I just was so impressed and like

1796
01:39:20,240 --> 01:39:24,400
Speaker 3: blown away by the writing of like there's no character,

1797
01:39:24,920 --> 01:39:28,640
Speaker 3: however small, that you don't have some level of investment in,

1798
01:39:28,680 --> 01:39:31,000
Speaker 3: because the script goes out of its way to like,

1799
01:39:31,240 --> 01:39:34,879
Speaker 3: you know, at least something about every woman who works

1800
01:39:35,320 --> 01:39:38,519
Speaker 3: with Estella, Like you get to know them over the

1801
01:39:38,560 --> 01:39:42,360
Speaker 3: course of the movie, even like in I think again,

1802
01:39:42,439 --> 01:39:44,960
Speaker 3: in like a less thoughtfully written movie, it would just

1803
01:39:45,000 --> 01:39:48,640
Speaker 3: be like background seamstress number four, but that role like

1804
01:39:48,760 --> 01:39:51,840
Speaker 3: doesn't exist. You learn everyone's name, you learn a little

1805
01:39:51,840 --> 01:39:53,800
Speaker 3: bit about them, or at least get a taste of

1806
01:39:53,840 --> 01:39:56,880
Speaker 3: their personality, and I feel like that just makes the

1807
01:39:56,960 --> 01:40:00,280
Speaker 3: payoff of this, Like it could have been a like

1808
01:40:00,360 --> 01:40:02,479
Speaker 3: I Am Spartacus moment where you're like, this is kind

1809
01:40:02,479 --> 01:40:03,759
Speaker 3: of cool, but who are these people?

1810
01:40:04,360 --> 01:40:05,960
Speaker 5: But it's like you know who who.

1811
01:40:06,000 --> 01:40:09,120
Speaker 3: These women are, and you already have gotten to know

1812
01:40:09,240 --> 01:40:12,360
Speaker 3: like a little bit of their history and their relationship

1813
01:40:12,360 --> 01:40:14,840
Speaker 3: with their co workers throughout the movie, and so it

1814
01:40:14,920 --> 01:40:17,160
Speaker 3: feels like, Oh, I'm in a room full of women

1815
01:40:17,240 --> 01:40:21,280
Speaker 3: whose lives I know something about, and now they're finally

1816
01:40:21,320 --> 01:40:25,280
Speaker 3: comfortable talking about their their bodies and their insecurities and

1817
01:40:25,280 --> 01:40:29,600
Speaker 3: their like everything, and it just felt so yeah, like

1818
01:40:29,640 --> 01:40:33,200
Speaker 3: the attention to detail is so awesome.

1819
01:40:34,160 --> 01:40:37,599
Speaker 4: Absolutely, Uh what else?

1820
01:40:37,640 --> 01:40:38,640
Speaker 5: What else we got going on?

1821
01:40:38,720 --> 01:40:40,640
Speaker 3: Sorry, I feel like I just blacked out for a

1822
01:40:40,680 --> 01:40:42,640
Speaker 3: second because I inhaled.

1823
01:40:46,080 --> 01:40:47,120
Speaker 4: So hot hot.

1824
01:40:48,800 --> 01:40:50,040
Speaker 5: Yeah.

1825
01:40:50,439 --> 01:40:57,080
Speaker 4: I want to share one last quote from the creator

1826
01:40:57,160 --> 01:41:01,679
Speaker 4: of this property cos of Veena Lopez. So the play

1827
01:41:01,920 --> 01:41:06,280
Speaker 4: seems to be a bit more focused on the on

1828
01:41:06,400 --> 01:41:10,880
Speaker 4: a character being undocumented for some portion of her life

1829
01:41:10,920 --> 01:41:15,640
Speaker 4: and the anxiety about being undocumented and being deported, and

1830
01:41:16,200 --> 01:41:20,360
Speaker 4: that is a focus on the play that is eliminated

1831
01:41:20,400 --> 01:41:23,120
Speaker 4: from the movie. So this quote, this quote is a

1832
01:41:23,200 --> 01:41:26,160
Speaker 4: little bit about hose Aphina talking about being undocumented, just

1833
01:41:26,160 --> 01:41:30,240
Speaker 4: to put that into context. But Hosephina says, quote, I

1834
01:41:30,320 --> 01:41:32,760
Speaker 4: was undocumented for thirteen years. I wanted to write a

1835
01:41:32,800 --> 01:41:36,640
Speaker 4: play to affirm my humanity because I felt so dehumanized

1836
01:41:36,680 --> 01:41:40,120
Speaker 4: being undocumented. I've always had issues with my weight, and

1837
01:41:40,280 --> 01:41:43,040
Speaker 4: one of my teachers told me not in a mean way.

1838
01:41:43,600 --> 01:41:46,479
Speaker 4: She thought I was a great actress, that I had

1839
01:41:46,479 --> 01:41:49,320
Speaker 4: the ability to play Juliet and Lady Macbeth, but no

1840
01:41:49,320 --> 01:41:51,920
Speaker 4: one was going to cast me as the ingenue if

1841
01:41:51,960 --> 01:41:54,639
Speaker 4: I didn't lose weight, because only thing girls get the lead.

1842
01:41:55,120 --> 01:41:58,080
Speaker 4: Men write roles and direct the movies. So I had

1843
01:41:58,080 --> 01:42:01,559
Speaker 4: to adhere to those standards. Wise, I'd always play the

1844
01:42:01,600 --> 01:42:04,160
Speaker 4: side character. I thought, Okay, if I lose the weight,

1845
01:42:04,200 --> 01:42:07,200
Speaker 4: then I'm going to be told by casting people that

1846
01:42:07,280 --> 01:42:10,000
Speaker 4: i should change my name to a white name, change

1847
01:42:10,000 --> 01:42:12,200
Speaker 4: my hair color. If I do this, I'm going to

1848
01:42:12,240 --> 01:42:14,639
Speaker 4: have to give up who I am to be an actress.

1849
01:42:14,840 --> 01:42:19,400
Speaker 4: I refused to do that. The problem isn't that I'm undocumented, Mexican,

1850
01:42:19,520 --> 01:42:27,200
Speaker 4: working class, or overweight. The problem is society. Unquote. That

1851
01:42:27,720 --> 01:42:32,880
Speaker 4: sentiment feels like it comes through in this movie very well,

1852
01:42:32,960 --> 01:42:35,200
Speaker 4: and that that's like the core of what so much

1853
01:42:35,240 --> 01:42:40,160
Speaker 4: of this movie is about, and it's just such a

1854
01:42:40,160 --> 01:42:43,439
Speaker 4: positive thing for that to be out in the world.

1855
01:42:44,400 --> 01:42:45,880
Speaker 5: I hell, yeah, that's.

1856
01:42:45,760 --> 01:42:49,720
Speaker 3: Such a nice She's so cool. The last thing I

1857
01:42:49,760 --> 01:42:53,679
Speaker 3: had this is not a criticism. It was just something

1858
01:42:53,680 --> 01:42:55,920
Speaker 3: that I is something we've talked about in the show before,

1859
01:42:56,000 --> 01:42:58,360
Speaker 3: and so I wanted to sort of see what y'all

1860
01:42:58,360 --> 01:42:59,360
Speaker 3: felt about it.

1861
01:42:59,800 --> 01:43:01,559
Speaker 5: I really love that this.

1862
01:43:01,560 --> 01:43:05,840
Speaker 3: Movie puts mother daughter relationships front and center and gives

1863
01:43:05,880 --> 01:43:10,719
Speaker 3: them precedents. We get a few scenes with their father,

1864
01:43:10,920 --> 01:43:15,400
Speaker 3: who seems to be a very nice, affable kind of guy.

1865
01:43:16,040 --> 01:43:17,280
Speaker 1: Yeah, real nice guy.

1866
01:43:17,680 --> 01:43:20,200
Speaker 5: Right, but as is their grandfather.

1867
01:43:20,479 --> 01:43:22,240
Speaker 3: I just feel like, I don't know, I mean, I

1868
01:43:22,400 --> 01:43:26,040
Speaker 3: I don't even think that I would want anything to

1869
01:43:26,080 --> 01:43:29,360
Speaker 3: be changed. I just think that there are moments in

1870
01:43:30,320 --> 01:43:32,519
Speaker 3: movies at center around mother's and daughters where it's like

1871
01:43:32,560 --> 01:43:36,840
Speaker 3: the dad is always like the quote unquote nicer guy.

1872
01:43:37,600 --> 01:43:40,240
Speaker 3: It just felt like a little I was like, okay,

1873
01:43:40,320 --> 01:43:41,480
Speaker 3: so well, dad.

1874
01:43:41,320 --> 01:43:44,400
Speaker 1: When dads are mean, they're scary, Like we're gonna get

1875
01:43:44,439 --> 01:43:48,120
Speaker 1: too scary territory with mean dad, right, So it's like

1876
01:43:48,280 --> 01:43:53,240
Speaker 1: all all the kind of baggage is rolled into Carmen,

1877
01:43:53,840 --> 01:43:56,200
Speaker 1: and it just like, I don't know, I mean, I

1878
01:43:56,240 --> 01:43:59,040
Speaker 1: didn't really feel strongly about it. I just always feel

1879
01:43:59,080 --> 01:44:01,320
Speaker 1: like I noticed when there's a lot of movies where

1880
01:44:01,320 --> 01:44:03,960
Speaker 1: it's like the dad is quote unquote the nice parent.

1881
01:44:04,200 --> 01:44:07,519
Speaker 4: Yeah, yeah, I would say that, yes, And that certainly

1882
01:44:07,560 --> 01:44:10,759
Speaker 4: is a trope that we've discussed to a large extent

1883
01:44:10,880 --> 01:44:13,080
Speaker 4: on the show. But I think it all depends on

1884
01:44:13,120 --> 01:44:16,240
Speaker 4: how the movie approaches it and how the movie actually

1885
01:44:16,280 --> 01:44:18,479
Speaker 4: handles it. In this movie, it didn't feel tropy. It

1886
01:44:18,520 --> 01:44:24,040
Speaker 4: didn't feel like it was leaning into stereotypes about a

1887
01:44:24,120 --> 01:44:25,240
Speaker 4: mom being.

1888
01:44:25,439 --> 01:44:27,360
Speaker 5: Right, what is the word I'm searching for?

1889
01:44:27,439 --> 01:44:30,040
Speaker 3: But she's like so, I mean, Carmen is so like

1890
01:44:30,280 --> 01:44:34,679
Speaker 3: contextualized and well written and like hmm, you understand, yeah,

1891
01:44:34,720 --> 01:44:36,439
Speaker 3: why she reacts the way she does.

1892
01:44:36,800 --> 01:44:39,360
Speaker 1: Right, There's all these shows like there's like I think

1893
01:44:39,360 --> 01:44:41,759
Speaker 1: of like the Mom, I'm like Malcolm in the Middle.

1894
01:44:42,720 --> 01:44:47,200
Speaker 1: Then there's like Everybody Loves Raymond, the White Debra and

1895
01:44:47,240 --> 01:44:49,920
Speaker 1: I love all these characters, all these women. What's the

1896
01:44:49,960 --> 01:44:52,400
Speaker 1: other one? But there's a bunch right like where like

1897
01:44:52,479 --> 01:44:55,040
Speaker 1: the mom is oh my wife and kids, the dad

1898
01:44:55,120 --> 01:44:58,240
Speaker 1: is like funny goofball and then the mom's kind of

1899
01:44:58,439 --> 01:45:01,599
Speaker 1: kind of a bitch, kind of strict, always yelling, high strung,

1900
01:45:01,840 --> 01:45:04,000
Speaker 1: like he's always doing stupid things to stress her out.

1901
01:45:04,280 --> 01:45:07,599
Speaker 1: And I feel like in this film, like Carmen is like.

1902
01:45:07,520 --> 01:45:08,280
Speaker 5: An anti hero.

1903
01:45:08,960 --> 01:45:12,240
Speaker 1: Yeah, yeah, we can't stand her and she sometimes because

1904
01:45:12,240 --> 01:45:14,800
Speaker 1: of the thing she says, but we still love her.

1905
01:45:15,320 --> 01:45:18,479
Speaker 1: And I also feel like I love that Anna's character

1906
01:45:18,760 --> 01:45:22,440
Speaker 1: is allowed to be kind of a brat, Like Carmen's

1907
01:45:22,560 --> 01:45:25,040
Speaker 1: kind of a bitch and Anna's kind of a brat.

1908
01:45:25,439 --> 01:45:28,559
Speaker 1: And as much as they insist that they are different,

1909
01:45:29,080 --> 01:45:33,320
Speaker 1: the more we see their similarities. And I feel like

1910
01:45:33,400 --> 01:45:37,599
Speaker 1: it's so interesting the way she pits them against each other.

1911
01:45:37,640 --> 01:45:40,200
Speaker 1: But it's like, oh, we're learning more about each one

1912
01:45:40,200 --> 01:45:42,360
Speaker 1: of them because they're the same person, you know.

1913
01:45:43,680 --> 01:45:45,559
Speaker 3: It is like another thing where it's like I want

1914
01:45:45,560 --> 01:45:48,200
Speaker 3: to see, Yeah, I feel like we're making a strong

1915
01:45:48,240 --> 01:45:49,880
Speaker 3: case for a sequel. I want to see what this

1916
01:45:50,120 --> 01:45:52,920
Speaker 3: relationship between them looks like twenty years down the line,

1917
01:45:53,040 --> 01:45:58,080
Speaker 3: like because I do understand like they're her parents. I mean,

1918
01:45:58,120 --> 01:46:01,840
Speaker 3: there's so much anxiety around on a leaving to go

1919
01:46:01,840 --> 01:46:04,120
Speaker 3: to college, especially across the country, and I feel like

1920
01:46:04,120 --> 01:46:06,800
Speaker 3: there's a subtext of like she's gonna change, she's gonna

1921
01:46:06,800 --> 01:46:10,120
Speaker 3: like not be the girl that we raise, and like

1922
01:46:10,280 --> 01:46:11,160
Speaker 3: she'll lose.

1923
01:46:11,280 --> 01:46:13,479
Speaker 5: Touch with who she is if she leaves.

1924
01:46:14,040 --> 01:46:17,360
Speaker 3: And I would love to see that relationship examined twenty

1925
01:46:17,439 --> 01:46:18,920
Speaker 3: years down.

1926
01:46:19,400 --> 01:46:19,599
Speaker 1: Ah.

1927
01:46:19,960 --> 01:46:20,760
Speaker 5: Yes, yeah.

1928
01:46:20,960 --> 01:46:27,679
Speaker 4: My last observation is, so there is another movie about

1929
01:46:28,240 --> 01:46:32,080
Speaker 4: like a young woman who's just graduated from high school,

1930
01:46:32,680 --> 01:46:36,479
Speaker 4: who lives in California and has a difficult relationship with

1931
01:46:36,640 --> 01:46:39,760
Speaker 4: her mother. She dates a boy and has sex for

1932
01:46:39,800 --> 01:46:42,519
Speaker 4: the first time, and then she goes off to college

1933
01:46:42,640 --> 01:46:45,080
Speaker 4: across the country. I also think in New York City

1934
01:46:45,600 --> 01:46:49,160
Speaker 4: and that movie is Ladybird. There's a lot of parallels here.

1935
01:46:49,360 --> 01:46:52,040
Speaker 1: Interesting, And Ladybird's kind of a brat.

1936
01:46:52,640 --> 01:46:55,479
Speaker 3: Yeah yeah, and like a lot of body stuff with

1937
01:46:55,560 --> 01:46:57,519
Speaker 3: the mom as well body stuff.

1938
01:46:57,640 --> 01:46:59,920
Speaker 4: You know, there's class commentary in that movie as well.

1939
01:47:00,400 --> 01:47:01,280
Speaker 4: Very similar movies.

1940
01:47:01,320 --> 01:47:01,679
Speaker 5: Interesting.

1941
01:47:01,680 --> 01:47:04,679
Speaker 4: I would say, if you like Ladybird, for sure, check

1942
01:47:04,680 --> 01:47:07,200
Speaker 4: out Real Women Have Curves if you haven't seen it.

1943
01:47:07,320 --> 01:47:09,840
Speaker 4: I think the real women have curves? Does it better?

1944
01:47:10,360 --> 01:47:11,800
Speaker 4: I find it to be a.

1945
01:47:11,760 --> 01:47:13,880
Speaker 5: More fifteen years earlier.

1946
01:47:13,920 --> 01:47:15,320
Speaker 4: Fifty Yeah, exactly.

1947
01:47:15,640 --> 01:47:18,240
Speaker 5: Yeah, I didn't make that connection, yeah, totally.

1948
01:47:18,320 --> 01:47:21,400
Speaker 4: So, Yeah, if you liked Ladybird. Definitely check out real

1949
01:47:21,439 --> 01:47:24,519
Speaker 4: women have curves if you haven't seen it.

1950
01:47:26,080 --> 01:47:29,320
Speaker 3: Sorry, I got caught up in my own horrible Ladybird joke,

1951
01:47:29,360 --> 01:47:33,160
Speaker 3: which is, instead of that boy, Jimmy, Ladybird has that boy.

1952
01:47:32,960 --> 01:47:37,200
Speaker 4: Timmy Oh, Timmy shallow May, Yes.

1953
01:47:37,200 --> 01:47:41,240
Speaker 3: Timmy shallow May, most hilarious joke of all time.

1954
01:47:42,400 --> 01:47:43,040
Speaker 1: And on.

1955
01:47:44,280 --> 01:47:47,080
Speaker 5: No, there's actually no good way to transition this, but I.

1956
01:47:47,040 --> 01:47:49,960
Speaker 4: Mean talking about Timothy Shalamey. I do think passes the

1957
01:47:50,040 --> 01:47:51,360
Speaker 4: Bechdel test. If that's where you.

1958
01:47:51,400 --> 01:47:54,559
Speaker 5: Were going, I don't know what is he like?

1959
01:47:54,840 --> 01:47:57,599
Speaker 4: You know, like this, can we even a good question?

1960
01:47:57,760 --> 01:47:59,360
Speaker 3: You really vouch for him? I feel like it's still

1961
01:47:59,439 --> 01:48:02,439
Speaker 3: kind of a miss. It eludes me, but you know,

1962
01:48:02,479 --> 01:48:05,160
Speaker 3: it doesn't elude me. Whether this movie passes the Bechel

1963
01:48:05,240 --> 01:48:05,680
Speaker 3: test or not.

1964
01:48:06,479 --> 01:48:07,760
Speaker 5: Yes, we did it.

1965
01:48:08,200 --> 01:48:10,200
Speaker 6: This movie super passes the Bexel test.

1966
01:48:10,240 --> 01:48:13,479
Speaker 3: It's barely even worth discussing because it passes between almost

1967
01:48:13,520 --> 01:48:19,400
Speaker 3: any pairing of characters that aren't men. I like we

1968
01:48:19,560 --> 01:48:23,040
Speaker 3: discussed before, this movie does takes a lot of care

1969
01:48:23,200 --> 01:48:27,320
Speaker 3: to give every character in the movie, particularly the women,

1970
01:48:27,960 --> 01:48:31,840
Speaker 3: a name and some information about them. So really, any

1971
01:48:31,880 --> 01:48:36,680
Speaker 3: interaction happening to get the factory that isn't explicitly about marriage, passes.

1972
01:48:36,360 --> 01:48:37,000
Speaker 5: The Bechel test.

1973
01:48:37,000 --> 01:48:39,760
Speaker 3: They're talking about their bodies, they're talking about school, they're

1974
01:48:39,800 --> 01:48:42,280
Speaker 3: talking about work, they're talking about deadlines.

1975
01:48:41,880 --> 01:48:44,559
Speaker 5: They're talking about taxes, they're talking about.

1976
01:48:44,280 --> 01:48:47,639
Speaker 3: They're just you know, dare I say it being full

1977
01:48:47,720 --> 01:48:51,599
Speaker 3: on people and characters the whole damn movie?

1978
01:48:51,760 --> 01:48:52,200
Speaker 1: Yep.

1979
01:48:52,320 --> 01:48:55,400
Speaker 4: And as we also touched on in the episode, this

1980
01:48:55,680 --> 01:48:59,880
Speaker 4: movie has just so much focus on the female character

1981
01:49:00,280 --> 01:49:03,920
Speaker 4: and the relationships between female characters. And while there are

1982
01:49:04,600 --> 01:49:08,000
Speaker 4: you know, there's a dad, there's the grandpa, there's a

1983
01:49:08,120 --> 01:49:13,720
Speaker 4: couple male cousins, those characters are like pretty secondary or tertiary,

1984
01:49:13,800 --> 01:49:16,640
Speaker 4: and it's really so much of a focus on the

1985
01:49:16,640 --> 01:49:18,959
Speaker 4: women and their relationships, so still.

1986
01:49:18,720 --> 01:49:19,599
Speaker 5: Depicted with love.

1987
01:49:19,680 --> 01:49:23,040
Speaker 3: It's not like they're like left by the wrisub but like,

1988
01:49:24,280 --> 01:49:26,840
Speaker 3: but you know, like but yes it is. It is

1989
01:49:27,040 --> 01:49:31,120
Speaker 3: a women's movie, and you know women that we don't

1990
01:49:31,160 --> 01:49:34,000
Speaker 3: usually get focused on, women who are working class, women

1991
01:49:34,040 --> 01:49:36,320
Speaker 3: who are immigrants, women who are people of color and

1992
01:49:36,640 --> 01:49:40,640
Speaker 3: Latin specifically. So it's just this movie is doing so

1993
01:49:40,800 --> 01:49:43,439
Speaker 3: much that no other movie of its time is doing,

1994
01:49:44,000 --> 01:49:46,920
Speaker 3: and still most movies now are not doing so with

1995
01:49:47,080 --> 01:49:49,840
Speaker 3: that in mind, another perfect transition.

1996
01:49:50,000 --> 01:49:54,799
Speaker 4: And do you mean the nipple scale. Yes, the only

1997
01:49:55,000 --> 01:50:00,320
Speaker 4: perfect metric, and it is, of course a scale of

1998
01:50:00,640 --> 01:50:06,400
Speaker 4: zero to five nipples based on examining the movie through

1999
01:50:06,520 --> 01:50:08,799
Speaker 4: an intersectional feminist lens.

2000
01:50:09,880 --> 01:50:14,960
Speaker 1: So you know, given all possible factors to consider, every

2001
01:50:15,120 --> 01:50:19,160
Speaker 1: potential factor one might consider with regards to this movie

2002
01:50:19,400 --> 01:50:21,639
Speaker 1: and this rating, I would give it a four.

2003
01:50:22,040 --> 01:50:24,000
Speaker 5: Hell yeah, yeah, I think, I mean I would go

2004
01:50:24,080 --> 01:50:26,080
Speaker 5: like four to four and a half. It's I was

2005
01:50:26,120 --> 01:50:28,160
Speaker 5: really happy to see.

2006
01:50:27,920 --> 01:50:30,679
Speaker 3: Like especially, I mean just the fact that like women

2007
01:50:30,760 --> 01:50:35,000
Speaker 3: wrote and directed and produced this and like, yeah, most

2008
01:50:35,000 --> 01:50:36,880
Speaker 3: of them are women of color like that, I feel like,

2009
01:50:37,080 --> 01:50:40,000
Speaker 3: I mean, yeah, still unheard of now and.

2010
01:50:40,200 --> 01:50:42,679
Speaker 5: It's still and it's a classic, like you can't.

2011
01:50:42,840 --> 01:50:45,519
Speaker 3: Yeah, it's I feel like real women have curves kind

2012
01:50:45,520 --> 01:50:47,840
Speaker 3: of yet to be topped except by real women have

2013
01:50:47,880 --> 01:50:51,680
Speaker 3: curves two coming out next year, yeah, pending, and then

2014
01:50:52,360 --> 01:50:55,360
Speaker 3: and then we also you know, bequeath you the power

2015
01:50:55,439 --> 01:51:01,000
Speaker 3: to gift your four nipples to any character person, an actor,

2016
01:51:01,280 --> 01:51:05,240
Speaker 3: production person of your choice. You can distribute in pairs

2017
01:51:05,320 --> 01:51:09,200
Speaker 3: or not, you know, like kind of get creative with it.

2018
01:51:09,720 --> 01:51:12,439
Speaker 1: Oh, this is so difficult because I want to give

2019
01:51:12,600 --> 01:51:16,680
Speaker 1: two each to just America and Loupe, you know, just

2020
01:51:16,680 --> 01:51:18,559
Speaker 1: split them up half and half. But I also want

2021
01:51:18,600 --> 01:51:22,000
Speaker 1: to give hos Afina two, but I only have four,

2022
01:51:22,840 --> 01:51:25,240
Speaker 1: you know what. I'm gonna give Loop anti Vedos two

2023
01:51:25,400 --> 01:51:28,679
Speaker 1: because she passed away rip. I'm going to give hos

2024
01:51:28,680 --> 01:51:32,280
Speaker 1: Afina Lopez two because she wrote it. She's an icon,

2025
01:51:32,640 --> 01:51:35,400
Speaker 1: and I'm gonna give America for one because she's the

2026
01:51:35,520 --> 01:51:38,720
Speaker 1: youngest and I think is still working on icon status.

2027
01:51:39,280 --> 01:51:40,200
Speaker 1: That's how we'll do it.

2028
01:51:40,560 --> 01:51:43,360
Speaker 6: I think that that was very judicious of you. That

2029
01:51:43,520 --> 01:51:44,960
Speaker 6: was very diple about it.

2030
01:51:45,920 --> 01:51:46,280
Speaker 1: Thank you.

2031
01:51:46,640 --> 01:51:49,080
Speaker 3: I'm gonna go forward to half and I'm gonna docket

2032
01:51:49,320 --> 01:51:54,120
Speaker 3: the half nipple just for making America for uncomfortable when

2033
01:51:54,120 --> 01:51:57,759
Speaker 3: she was seventeen. She is a living legend and a child,

2034
01:51:58,000 --> 01:52:00,479
Speaker 3: and I'm, you know, gonna I'm going to put that

2035
01:52:00,560 --> 01:52:01,320
Speaker 3: one on Lavu.

2036
01:52:01,520 --> 01:52:03,719
Speaker 5: No nipples for Luvu for me zero.

2037
01:52:03,960 --> 01:52:06,000
Speaker 3: But outside of that, I think this movie is so

2038
01:52:06,320 --> 01:52:09,640
Speaker 3: fucking awesome and it I mean, it was doing so

2039
01:52:09,680 --> 01:52:11,320
Speaker 3: many things no other movies were doing.

2040
01:52:11,400 --> 01:52:12,719
Speaker 5: Hosefina Lopez is an.

2041
01:52:12,600 --> 01:52:17,400
Speaker 3: Incredible writer and I just love every element of this movie.

2042
01:52:17,479 --> 01:52:21,400
Speaker 3: And I'm now an estella stand for life Hell so

2043
01:52:21,560 --> 01:52:24,920
Speaker 3: I'll give one nipple to Anna, one to Estella. I'll

2044
01:52:24,920 --> 01:52:28,639
Speaker 3: give the half to Carmen because she's doing her best.

2045
01:52:28,960 --> 01:52:29,600
Speaker 5: Yeah, and I.

2046
01:52:30,240 --> 01:52:33,320
Speaker 3: Have I have love for her. Yeah, but leave Anna

2047
01:52:33,360 --> 01:52:39,000
Speaker 3: and Nostella alone. I'll give one to Pancha. I loved Pancha.

2048
01:52:39,080 --> 01:52:43,719
Speaker 3: I feel like super underrated character, and I will give

2049
01:52:44,040 --> 01:52:47,320
Speaker 3: one to I should give one to Hoefina Lopez, but

2050
01:52:47,320 --> 01:52:50,960
Speaker 3: I'm going to give it to Hosefina Lopez playing the

2051
01:52:51,280 --> 01:52:55,960
Speaker 3: manager of the burger joint because that is acting.

2052
01:52:55,800 --> 01:52:58,719
Speaker 1: Scene Steeler, scene Steeler.

2053
01:52:58,520 --> 01:53:02,519
Speaker 3: Exactly where was a major Oscar snub that year?

2054
01:53:03,120 --> 01:53:03,320
Speaker 5: Oh?

2055
01:53:03,360 --> 01:53:04,640
Speaker 3: And then the last thing I wanted to say was

2056
01:53:04,960 --> 01:53:07,960
Speaker 3: I guess as of last year, there's a musical being

2057
01:53:08,439 --> 01:53:12,719
Speaker 3: written around this, so no way. Hopefully people are listening

2058
01:53:12,760 --> 01:53:15,200
Speaker 3: to this episode from the future and just saw real

2059
01:53:15,240 --> 01:53:17,080
Speaker 3: women have curves on Broadway. I feel like this would

2060
01:53:17,080 --> 01:53:21,240
Speaker 3: be such a good musical. Hell yeah, I love musicals,

2061
01:53:21,360 --> 01:53:24,759
Speaker 3: and I love musical adaptations that aren't already Disney movies,

2062
01:53:24,880 --> 01:53:27,360
Speaker 3: So this seems like something I would love.

2063
01:53:27,680 --> 01:53:32,200
Speaker 5: Yep, Caitlin, what is your writing for this flim Oh.

2064
01:53:32,160 --> 01:53:34,639
Speaker 4: This flim gets I would say four and a half.

2065
01:53:35,040 --> 01:53:37,599
Speaker 4: I was gonna give it a five before I knew

2066
01:53:37,600 --> 01:53:41,720
Speaker 4: about the the sketchy things that were happening, especially in

2067
01:53:41,720 --> 01:53:45,360
Speaker 4: that one in that one particular scene where America Ferrera

2068
01:53:45,800 --> 01:53:51,240
Speaker 4: expressed discomfort and then they deceived her with like yucky.

2069
01:53:51,400 --> 01:53:56,040
Speaker 4: But aside from that, this is such a wonderful movie. Again,

2070
01:53:56,240 --> 01:54:02,920
Speaker 4: a focus on women, women's stories, women's relationships, positive LATINX

2071
01:54:03,040 --> 01:54:07,760
Speaker 4: representation that we so rarely see in cinema, especially in

2072
01:54:08,080 --> 01:54:13,640
Speaker 4: this era. Messages of body positivity, of sex positivity. A

2073
01:54:13,680 --> 01:54:17,720
Speaker 4: focus on a working class family in Los Angeles, a

2074
01:54:17,760 --> 01:54:20,280
Speaker 4: side of Los Angeles that we don't tend to see

2075
01:54:20,479 --> 01:54:25,040
Speaker 4: or that tends to be demonized in most media.

2076
01:54:24,920 --> 01:54:28,920
Speaker 3: Multi generational, which I feel like we haven't like explicitly like,

2077
01:54:29,080 --> 01:54:30,160
Speaker 3: there's just there's so.

2078
01:54:30,160 --> 01:54:34,880
Speaker 4: Much and so much is accomplished, so effortlessly, so effortless.

2079
01:54:35,200 --> 01:54:37,240
Speaker 4: Oh my gosh, I'm so bad at that word.

2080
01:54:37,400 --> 01:54:39,320
Speaker 5: I think everyone has those words.

2081
01:54:39,400 --> 01:54:42,600
Speaker 4: It takes a lot of effort for me to say effortlessly.

2082
01:54:43,080 --> 01:54:44,720
Speaker 5: Wow, there we go.

2083
01:54:47,600 --> 01:54:51,879
Speaker 4: So much is accomplished in a movie that is less.

2084
01:54:51,640 --> 01:54:54,080
Speaker 3: Than an hour and a half, which we were texting

2085
01:54:54,120 --> 01:54:56,080
Speaker 3: about every movie should be less than an hour and

2086
01:54:56,120 --> 01:54:58,600
Speaker 3: a half long. If this movie can do what it

2087
01:54:58,600 --> 01:55:02,200
Speaker 3: does in an hour and a half. What's your excuse?

2088
01:55:02,640 --> 01:55:06,040
Speaker 5: I was about to say something flippant, annoying, and what's

2089
01:55:06,080 --> 01:55:06,600
Speaker 5: your excuse?

2090
01:55:06,680 --> 01:55:07,280
Speaker 4: Titanic?

2091
01:55:08,640 --> 01:55:11,760
Speaker 5: Okay, now that's straight up one exception.

2092
01:55:12,120 --> 01:55:13,480
Speaker 4: Yeah, I know, I know, I know, I know. I'm

2093
01:55:13,480 --> 01:55:14,160
Speaker 4: so sorry.

2094
01:55:13,920 --> 01:55:15,640
Speaker 5: Everyone, who are you giving your nipples to?

2095
01:55:16,920 --> 01:55:20,600
Speaker 4: I'm going to give my nipples to one to America Ferreira,

2096
01:55:21,200 --> 01:55:26,720
Speaker 4: one to Lupe ante Veros, one to Ingrid Oliu who

2097
01:55:26,760 --> 01:55:30,720
Speaker 4: plays Estella. I'll give one to the women who work

2098
01:55:30,920 --> 01:55:35,240
Speaker 4: in the clothing factory, and then my half nipple I

2099
01:55:35,280 --> 01:55:40,240
Speaker 4: will give to Los Angeles Public Transportation because.

2100
01:55:40,720 --> 01:55:43,760
Speaker 5: It's called the Metro preas owner.

2101
01:55:45,680 --> 01:55:52,120
Speaker 4: But generically it is public transportation. It is, and I

2102
01:55:52,160 --> 01:55:54,720
Speaker 4: do take it sometimes brave oky.

2103
01:55:54,680 --> 01:55:57,160
Speaker 5: Pray occasional red line user.

2104
01:55:57,160 --> 01:55:59,240
Speaker 3: Wow, I love to bully people who don't use enough

2105
01:55:59,280 --> 01:56:02,560
Speaker 3: public fads day. But that said, you drove me to

2106
01:56:02,600 --> 01:56:03,640
Speaker 3: the beach yesterday, so.

2107
01:56:03,880 --> 01:56:07,800
Speaker 4: It makes you think it does? It does indeed, right,

2108
01:56:08,200 --> 01:56:12,800
Speaker 4: So that is real women have curves.

2109
01:56:13,040 --> 01:56:16,080
Speaker 3: Mala, thank you so much for being here, and uh yeah,

2110
01:56:16,080 --> 01:56:17,520
Speaker 3: where can we find you online?

2111
01:56:17,600 --> 01:56:18,240
Speaker 5: Plug away?

2112
01:56:18,720 --> 01:56:24,720
Speaker 1: Yes, so I am on all social platforms at Mala, Underscore, Munios,

2113
01:56:25,040 --> 01:56:28,040
Speaker 1: m U n o Z is the last name, and

2114
01:56:28,400 --> 01:56:31,480
Speaker 1: you can listen to I have two podcasts out. One

2115
01:56:31,600 --> 01:56:35,120
Speaker 1: is called Look at Tora Radio, which is the flagship

2116
01:56:35,160 --> 01:56:38,839
Speaker 1: podcast that I co host with my co producer Yosa,

2117
01:56:39,400 --> 01:56:43,760
Speaker 1: and then my solo show, Mari Juanetta, a podcast for potheads.

2118
01:56:43,800 --> 01:56:48,440
Speaker 1: And we're on Apple, Apple Podcasts, Spotify, all the usual places.

2119
01:56:48,680 --> 01:56:51,480
Speaker 5: Hell yeah, also your stand up fucking rules.

2120
01:56:51,680 --> 01:56:52,840
Speaker 1: Thank you so much.

2121
01:56:53,160 --> 01:56:57,200
Speaker 4: Yes, and then you can follow us on Twitter and

2122
01:56:57,240 --> 01:57:03,000
Speaker 4: Instagram at Bechdel Cast. You can subscribe to our Matreon

2123
01:57:03,480 --> 01:57:06,640
Speaker 4: at Patreon dot com slash Bechdel Cast, which gives you

2124
01:57:06,680 --> 01:57:10,840
Speaker 4: two bonus episodes every month, along with access to the

2125
01:57:10,920 --> 01:57:15,080
Speaker 4: back catalog of over one hundred bonus episodes all and

2126
01:57:15,120 --> 01:57:18,120
Speaker 4: that is all for five dollars a month.

2127
01:57:18,200 --> 01:57:24,600
Speaker 3: Oh can you imagine? Can you imagine? It's actually sometimes I.

2128
01:57:24,160 --> 01:57:26,280
Speaker 5: Do reflect on the value and just I'm like, Wow,

2129
01:57:26,320 --> 01:57:30,960
Speaker 5: what a deal, what a steal? Whatere? Are we? Okay? Uh?

2130
01:57:31,160 --> 01:57:33,160
Speaker 3: You can also get our march at teapublic dot com

2131
01:57:33,200 --> 01:57:38,320
Speaker 3: slash the Bechdel Cast if you are so inclined. And

2132
01:57:38,440 --> 01:57:41,760
Speaker 3: with that, I mean I think we should mention we've

2133
01:57:41,800 --> 01:57:42,800
Speaker 3: been shirtless.

2134
01:57:42,960 --> 01:57:45,440
Speaker 5: Yeah. The last half of the episode, I mean, am.

2135
01:57:45,360 --> 01:57:46,640
Speaker 4: I gonna put my clothes back on.

2136
01:57:47,120 --> 01:57:50,240
Speaker 5: We'll see Carmen deal with it all right.

2137
01:57:50,440 --> 01:57:51,400
Speaker 4: Bye bye bye