WEBVTT - Real Women Have Curves (with new intro!) with Mala Muñoz 0:00:00.960 --> 0:00:02.120 On the Bechdel Cast. 0:00:02.240 --> 0:00:05.720 The questions asked if movies have women and them, are 0:00:05.800 --> 0:00:08.399 all their discussions just boyfriends and husbands, or do they 0:00:08.440 --> 0:00:14.240 have individualism? The patriarchy Zephyn Beast start changing with the 0:00:14.280 --> 0:00:15.880 Bechdel Cast. 0:00:16.360 --> 0:00:21.239 Hello Bechdel Cast listeners, Jamie and Caitlin. Here we are 0:00:21.520 --> 0:00:25.120 re releasing one of our favorite episodes this week that 0:00:25.200 --> 0:00:26.880 we recorded what two years. 0:00:26.680 --> 0:00:30.120 Ago or so that sounds possible. 0:00:29.880 --> 0:00:34.400 About the classic Real Women Have Curves directed by Pittric 0:00:34.440 --> 0:00:37.800 Shikurdo So, written by and based on the play by 0:00:38.080 --> 0:00:43.360 Hosafina Lopez. So the reason we're doing this may be evident. 0:00:43.560 --> 0:00:48.200 But if you are international or live in a cave, 0:00:49.600 --> 0:00:53.400 this is a movie that is about East Los Angeles. 0:00:53.400 --> 0:00:56.480 It's a movie about the immigrant community in Los Angeles 0:00:56.520 --> 0:00:59.760 and in Los Angeles at the moment, there have been 0:00:59.840 --> 0:01:03.320 all of these horrific media narratives claiming that there are 0:01:03.640 --> 0:01:06.120 riots in the streets, when the riots are in fact 0:01:06.120 --> 0:01:09.920 being perpetrated by Ice and by the National Guard and 0:01:10.080 --> 0:01:13.959 by the LAPD. No matter what Mary Karen Bass says 0:01:14.760 --> 0:01:17.560 at this podcast, we say, fuck mayor of Karen Bass. 0:01:17.800 --> 0:01:20.960 Yes, and Karen is a Karen is a Karen is 0:01:21.000 --> 0:01:21.479 a Karen. 0:01:22.040 --> 0:01:24.760 I mean, Los Angeles has always been a city of immigrants, 0:01:24.800 --> 0:01:26.800 it has always been a city of unions, and I 0:01:26.840 --> 0:01:30.440 think the dual threat has really caused the city to 0:01:30.720 --> 0:01:34.360 come together in this amazing way. But there is still 0:01:34.520 --> 0:01:37.399 so so so much going on across the country, but 0:01:37.480 --> 0:01:41.199 particularly in LA is where this all sort of kicked 0:01:41.240 --> 0:01:45.440 off by ICE. To be clear, around a week ago 0:01:45.560 --> 0:01:49.120 from when we were recording this, ICE showed up at 0:01:49.120 --> 0:01:52.520 a home depot in Paramount, California, which is another thing 0:01:52.600 --> 0:01:55.440 that seems to be widely misunderstood how massive LA is 0:01:56.080 --> 0:02:01.440 targeting specifically immigrants, which led to it impromptu protest, which 0:02:01.440 --> 0:02:05.920 has led to protests across the country as ICE continues 0:02:05.960 --> 0:02:11.079 to essentially occupy the city. So we thought it would 0:02:11.160 --> 0:02:15.200 be a good moment to re release an episode that 0:02:15.320 --> 0:02:19.080 is about the immigrant community in LA And. 0:02:19.680 --> 0:02:22.919 Yeah, this movie is about a family that could very 0:02:23.160 --> 0:02:27.520 likely be torn apart by the types of raids that 0:02:27.560 --> 0:02:31.000 are happening right now, and that, to be clear, have 0:02:31.240 --> 0:02:32.440 been happening. 0:02:32.600 --> 0:02:34.160 Yes, this happens all the time. 0:02:34.200 --> 0:02:36.800 There is an escalation of it right now, but you know, 0:02:37.200 --> 0:02:41.600 during the Biden and Obama administrations, lest we forget there 0:02:41.600 --> 0:02:43.040 were raids like this happening. 0:02:43.160 --> 0:02:47.320 Absolutely, and you know, if you're a listener in the 0:02:47.440 --> 0:02:49.400 US and you went to a No King's protest this 0:02:49.440 --> 0:02:51.080 past weekend, good on you. 0:02:51.760 --> 0:02:54.000 But we also wanted to talk about, you know, something 0:02:54.040 --> 0:02:55.560 we've talked about over. 0:02:55.400 --> 0:02:59.959 The years of if you are feeling helpless and how 0:03:00.160 --> 0:03:04.040 the privilege to be able to do more, please do more. 0:03:04.160 --> 0:03:08.560 We're gonna link some resources in the description of places. 0:03:08.120 --> 0:03:11.639 To donate, and also, I think. 0:03:11.520 --> 0:03:14.720 Like a critical part that we've talked about before is 0:03:14.760 --> 0:03:20.480 finding your mutual aid practice to support vulnerable communities, so 0:03:20.520 --> 0:03:23.680 we'll add in we'll add some links for that as well. 0:03:24.400 --> 0:03:26.240 We'll add those to our link tree too. 0:03:26.400 --> 0:03:30.440 Absolutely, and just so you know that we're keeping ourselves accountable, 0:03:30.520 --> 0:03:33.120 we are also going to be making a donation to 0:03:33.520 --> 0:03:34.239 and I'll. 0:03:34.000 --> 0:03:35.280 Include more information about this. 0:03:35.360 --> 0:03:39.200 But in case this is actionable in your community, LA, 0:03:39.560 --> 0:03:42.920 there's a ton of incredible street vendors here who are 0:03:42.960 --> 0:03:46.400 from immigrant families or immigrants themselves, and there are a 0:03:46.440 --> 0:03:48.960 bunch of mutual aid efforts going on in our community 0:03:49.360 --> 0:03:53.160 to basically pay these employees to stay home so that 0:03:53.200 --> 0:03:56.720 they can stay safe from this horrific escalation of ICE 0:03:56.840 --> 0:04:00.000 as they continue to occupy our city. So if they're 0:04:00.120 --> 0:04:04.640 similar efforts in your community, donate to them. If there 0:04:04.640 --> 0:04:08.400 are not similar efforts in your community, I've watched through 0:04:08.440 --> 0:04:11.360 a series of you know, signal chats over the course 0:04:11.360 --> 0:04:15.160 of the weekend, people just going and speaking with their 0:04:15.640 --> 0:04:18.200 community members, speaking to street vendors in their community to 0:04:18.200 --> 0:04:21.120 see if this is something they would be interested in. So, 0:04:21.640 --> 0:04:25.000 you know, there's numerous ways to stay involved in to 0:04:25.120 --> 0:04:28.200 protect your community, and so we wanted to re release 0:04:28.240 --> 0:04:32.320 this episode just to acknowledge that, you know, this is 0:04:32.360 --> 0:04:35.039 a podcast that is engaging. 0:04:34.600 --> 0:04:35.400 With the world. 0:04:35.720 --> 0:04:38.200 It is the very least we can do, and that 0:04:38.240 --> 0:04:42.440 we're staying engaged as well. To all of our listeners 0:04:42.600 --> 0:04:46.400 who are immigrants or have family who are immigrants, we 0:04:46.680 --> 0:04:49.400 stand with you. We will do anything and everything we're 0:04:49.440 --> 0:04:51.000 able to. 0:04:50.360 --> 0:04:51.120 To continue to do. 0:04:51.200 --> 0:04:53.680 So The Buchtal Cast is an inclusive show. It is 0:04:53.680 --> 0:04:57.840 for fucking everybody and well. I also wanted to mention 0:04:58.520 --> 0:05:02.799 that hosts Pheno Lopez, who wrote this show, has also 0:05:03.400 --> 0:05:08.080 been doing a lot to draw attention to actions and 0:05:08.640 --> 0:05:13.799 notifying where ICE has been showing up, because that's also 0:05:13.839 --> 0:05:17.279 a lot of community work we'll link in the description, 0:05:17.480 --> 0:05:21.600 but know how to identify an ice vehicle and know 0:05:21.960 --> 0:05:25.080 where to call if you identify an ice vehicle, so 0:05:25.160 --> 0:05:27.200 people can be notified as quickly as possible. 0:05:27.720 --> 0:05:33.479 Other ways to get involved and stay engaged and support 0:05:33.520 --> 0:05:39.520 your communities, you can distribute Know your Rights cards red cards, 0:05:39.520 --> 0:05:43.840 which include information about the rights that immigrants and that 0:05:44.120 --> 0:05:50.840 people in general have, and distributing those two your neighbors, 0:05:50.880 --> 0:05:54.680 your community so that people can be as informed as possible. 0:05:54.880 --> 0:05:58.080 And that's another thing as well, where I think that 0:05:58.120 --> 0:06:01.160 there's all of these popular narratives that people who aren't 0:06:01.200 --> 0:06:04.080 citizens don't have rights. That's not true. There's this thing 0:06:04.160 --> 0:06:07.960 called human rights that still exist. It's just like drives 0:06:08.000 --> 0:06:11.800 me fucking wild. If you are able to get cards, 0:06:11.600 --> 0:06:15.080 they're also more and more widely available. I think that 0:06:15.120 --> 0:06:18.520 they're available at most public libraries if you are looking 0:06:18.560 --> 0:06:20.000 to acquire some. 0:06:20.720 --> 0:06:21.640 I also think. 0:06:21.520 --> 0:06:25.359 That a community that has sort of been left behind 0:06:25.640 --> 0:06:30.000 in this discussion are the unhoused. There is a tremendous 0:06:30.080 --> 0:06:34.800 amount of overlap between the undocumented immigrant community and the 0:06:34.880 --> 0:06:38.839 unhoused community, particularly here in LA but also everywhere. We 0:06:38.920 --> 0:06:43.239 will be linking a number of resources in the description 0:06:43.920 --> 0:06:45.360 we are still. 0:06:45.360 --> 0:06:48.480 Learning as well or not you know, coming on here 0:06:48.520 --> 0:06:49.000 to be like. 0:06:49.320 --> 0:06:52.359 Fuck, you do better. We're all doing our best, but 0:06:52.520 --> 0:06:56.680 just we're asking our listeners who have the privilege to 0:06:56.680 --> 0:06:59.840 do so as we do, to stay involved, staying for 0:07:00.600 --> 0:07:04.120 and really show up for your community in ways that 0:07:04.400 --> 0:07:05.680 might not always be comfortable. 0:07:06.560 --> 0:07:10.240 Yeah, a couple talking points I wanted to touch on 0:07:10.360 --> 0:07:14.160 as well, kind of emphasize a talking point that there 0:07:14.160 --> 0:07:18.160 are some people who are like, yeah, we shouldn't detain 0:07:18.400 --> 0:07:22.720 or deport immigrants because of their contributions to the workforce, 0:07:23.280 --> 0:07:25.160 like they grow our food. 0:07:25.600 --> 0:07:27.840 Right, This hasnt been and this is something that like 0:07:28.680 --> 0:07:32.080 politicians who have been speaking out against ice raids have 0:07:32.240 --> 0:07:35.920 used as their justification and it's such horseshit. Way, I 0:07:35.960 --> 0:07:40.800 wanted to actually quote my friend Albert, who's terrific Los 0:07:40.800 --> 0:07:44.360 Angeles organizer and a huge Bright Eyes fan, and these 0:07:44.560 --> 0:07:47.320 are wow, two of the many reasons that I and 0:07:47.360 --> 0:07:49.480 he was actually that our most recent factal Cash show 0:07:49.480 --> 0:07:53.120 in La Albert is the best. And he yeah, he 0:07:53.160 --> 0:07:56.559 tweeted on June ninth, just a little note, stop trying 0:07:56.560 --> 0:07:59.160 to justify someone's existence in this country by saying their 0:07:59.240 --> 0:08:02.080 quote unquote heart working. Literally, who gives a shit. The 0:08:02.120 --> 0:08:05.000 government is kidnapping people in broad daylight. Whether they work 0:08:05.040 --> 0:08:08.320 hard or not is irrelevant and beside the point. No 0:08:08.320 --> 0:08:11.120 one should be defined by their labor. 0:08:11.320 --> 0:08:12.400 It's people. 0:08:12.720 --> 0:08:16.280 It's people being kidnapped from the like, from their homes 0:08:16.280 --> 0:08:19.400 and from the streets. That is what matters. It's a 0:08:19.480 --> 0:08:20.720 kill the cop in your head moment. 0:08:20.760 --> 0:08:22.320 Do not define people by their labor. 0:08:22.560 --> 0:08:28.720 Absolutely. Another thing is people are also talking about how 0:08:29.040 --> 0:08:32.199 this is connected to Palestine, and people are like, but why, 0:08:32.280 --> 0:08:36.199 but how that's happening over there. There's a direct correlation 0:08:36.600 --> 0:08:40.280 in the sense that law enforcement in the US are 0:08:40.520 --> 0:08:44.720 trained in the fake state of Israel. They learn tactics. 0:08:44.840 --> 0:08:49.719 Yea, the idea of colludes with American policing systems constantly. 0:08:49.280 --> 0:08:53.120 Constantly, and then just the larger context of all of 0:08:53.160 --> 0:08:58.679 this is happening because of white supremacy, pro imperialism, pro 0:08:58.760 --> 0:09:04.320 settler colonialism, like it's it's all connected. Not to sound 0:09:04.440 --> 0:09:06.640 like a conspiracy theorist, but it. 0:09:06.520 --> 0:09:11.720 Is, well there, I mean, yes, the intersections are infinite. 0:09:11.800 --> 0:09:15.040 I mean there's yes. Also will also link in the description. 0:09:15.440 --> 0:09:18.800 There's an episode of We the En House that just 0:09:18.840 --> 0:09:23.120 came out on Tuesday. That also speaks to the way 0:09:23.160 --> 0:09:29.000 that these communities and these atrocities intersect. And yeah, check 0:09:29.000 --> 0:09:32.600 out the links in our description. Get involved in your 0:09:32.640 --> 0:09:38.280 community specifically, you are needed, and stay safe. We love you, 0:09:38.400 --> 0:09:42.480 We love you, and enjoy this episode about real women 0:09:42.520 --> 0:09:46.480 have curbscast. 0:09:45.679 --> 0:09:50.080 Jamie, it's so hot in here. Can you please turn 0:09:50.120 --> 0:09:53.640 the fan on in this recording studio? 0:09:53.960 --> 0:09:57.880 Well, it gets, it gets the podcast. Dusty can't can't 0:09:57.920 --> 0:10:00.280 turn on the fan? The podcast will be covered. Does 0:10:00.320 --> 0:10:01.760 it'll be a catastrophe for us? 0:10:01.840 --> 0:10:05.720 Sorry, well fine, I'll just take off all my clothes then, all. 0:10:05.679 --> 0:10:08.760 Right, that's not my business. I guess I'll do the same. Oh, 0:10:08.840 --> 0:10:09.280 the same. 0:10:09.440 --> 0:10:11.320 Yeah, that sounds great. Actually, the only. 0:10:11.200 --> 0:10:13.600 Person that's gonna piss off is Mommy. 0:10:14.760 --> 0:10:19.440 Mommy podcast. Cool. Well, I'm glad we sorted that out. 0:10:19.520 --> 0:10:21.160 Yeah, that idea that resolved very cleanly. 0:10:23.840 --> 0:10:27.120 Welcome to the Bechdel Cast. My name is Caitlin Derante. 0:10:26.720 --> 0:10:29.280 My name is Jamie Laftus, and this is our podcast 0:10:29.600 --> 0:10:31.960 where we take a look at your favorite movies using 0:10:32.000 --> 0:10:36.959 an intersectional feminist lens, using the Bechdel test as a 0:10:37.040 --> 0:10:39.000 jumping off point for discussion. 0:10:39.160 --> 0:10:42.600 Which of course, is a media metric created by Creeer 0:10:42.640 --> 0:10:47.400 cartoonist Alison Bechdel, sometimes called the Bechdel Wallace test, whereby 0:10:48.120 --> 0:10:51.720 two people of a marginalized gender have to have names, 0:10:52.120 --> 0:10:55.520 they have to speak to each other, and their conversation 0:10:55.920 --> 0:10:59.520 has to be about something other than a man, and 0:10:59.559 --> 0:11:05.480 ideally for our sake, it is a meaningful, substantial conversation 0:11:05.720 --> 0:11:08.599 and not just like a hay. 0:11:11.880 --> 0:11:14.120 Keep this going, this feels this sounds good, this feels good. 0:11:15.800 --> 0:11:18.240 How's your soup? And then the other person says. 0:11:18.040 --> 0:11:19.280 I'm not listening to you. 0:11:19.400 --> 0:11:23.200 Go away, and then the first character disappears forever and 0:11:23.200 --> 0:11:28.000 they're like, wait, my name is Crystal as they're leaving. 0:11:27.840 --> 0:11:30.160 But it's too late. We didn't hear it on screen. 0:11:30.360 --> 0:11:33.120 That's an example of something that is great writing, but 0:11:33.480 --> 0:11:37.520 not great to pass it. Look anyways, it's a flawed 0:11:37.600 --> 0:11:40.040 metric because that was an amazing scene we just did. 0:11:40.200 --> 0:11:42.880 I'm going to base an entire screenplay around it. Yeah, 0:11:42.960 --> 0:11:47.000 it's called it's gonna be called a soup, an extremely 0:11:47.080 --> 0:11:48.720 soupy movie, an. 0:11:48.559 --> 0:11:54.120 Extreme No, no, it's not. And I can't engage with 0:11:54.160 --> 0:11:59.920 this joke any further. I can I draw a line. 0:12:01.080 --> 0:12:03.120 Look, look, in the. 0:12:03.000 --> 0:12:07.120 Case of today's episode, Uh huh Bechdel test, not a problem. 0:12:07.400 --> 0:12:10.720 Let's just say that right now, No problem at all. Yeah, yes, 0:12:10.960 --> 0:12:12.800 and so I said, let's get to it. 0:12:12.880 --> 0:12:17.120 Let's get our incredible returning Bechdel cast guest into the room. 0:12:17.200 --> 0:12:18.080 Let's get her in the mix. 0:12:18.200 --> 0:12:22.280 We simply must. She's a comedian, podcaster, creator and host 0:12:22.360 --> 0:12:26.320 of Mere Juanera, a podcast for potheads, and do you 0:12:26.360 --> 0:12:29.840 remember her from our episode on Selena. It's Mala munnos. 0:12:30.360 --> 0:12:34.800 Hey everyone, thank you for having me. It feels great 0:12:34.840 --> 0:12:38.160 to be back. It's our pleasure and it is also mine. 0:12:38.280 --> 0:12:41.520 We've brought you back. In one thousand degree heat, it's. 0:12:41.480 --> 0:12:43.840 You know what, There's literally nothing else I would rather 0:12:43.880 --> 0:12:48.200 be doing than podcasting about this film in a heat wave. 0:12:48.360 --> 0:12:51.240 It's apt it makes sense. Yeah, I feel like I'm 0:12:51.240 --> 0:12:51.880 in the movie. 0:12:52.520 --> 0:12:53.199 It's true. 0:12:53.320 --> 0:12:55.520 We were joking about how by the end of the 0:12:55.559 --> 0:12:59.360 episode we will all be taking our clothes off, hopefully 0:12:59.559 --> 0:13:00.400 because of the heat. 0:13:00.480 --> 0:13:05.520 Look, pr Nightmare. Maybe will hr get involved? 0:13:05.880 --> 0:13:09.200 Maybe possibly? Am I open to it? Yes? 0:13:09.400 --> 0:13:14.360 Yes, so fucking hot today it is one hundred or 0:13:14.400 --> 0:13:17.880 like ninety seven degrees in where I'm at in La 0:13:17.960 --> 0:13:18.439 right now. 0:13:18.880 --> 0:13:21.360 Unpleasant, but you know it's not unpleasant. 0:13:21.600 --> 0:13:26.240 The movie, Oh my god, very fun watch, very enjoyable. 0:13:26.400 --> 0:13:30.720 Real women have curves, Molla. What's your relationship, your history 0:13:30.800 --> 0:13:31.880 with this film? 0:13:32.240 --> 0:13:34.320 You know, I feel like my relationship with the film 0:13:34.400 --> 0:13:37.880 starts with my relationship with America Ferrera because she was 0:13:37.960 --> 0:13:40.839 like a Disney Channel darling. She was in Gotta Kick 0:13:40.880 --> 0:13:45.480 It Up about the Latina Dance Team, and that's where, 0:13:45.559 --> 0:13:48.040 like I was born in ninety two, that's where I 0:13:48.080 --> 0:13:51.600 was first introduced to America Ferrera. So when Real Women 0:13:51.679 --> 0:13:55.080 Have Curves came out, it was like, oh, this is 0:13:55.080 --> 0:13:57.640 a recognizable actress who we love and she had this 0:13:57.720 --> 0:14:00.840 like incredible like role. And I don't know if that's 0:14:00.840 --> 0:14:03.040 a movie that a lot of people have seen, but 0:14:03.120 --> 0:14:06.360 in like little Latina Circles, Gotta Kick It Up, real 0:14:06.400 --> 0:14:11.560 women have curves super just iconic, like staples of our media. 0:14:11.640 --> 0:14:15.319 Diet nicely, So did you see Real Women have Curves? 0:14:15.600 --> 0:14:17.319 Like right when it came out, you. 0:14:17.240 --> 0:14:20.760 Know, so two thousand and two. I don't remember where 0:14:20.800 --> 0:14:25.200 I was or where I saw it. I just remember that, 0:14:25.880 --> 0:14:30.280 like it was like this standout movie to me because 0:14:30.320 --> 0:14:33.240 of Loop Anti Vettos is in it, George Lopez is 0:14:33.240 --> 0:14:36.280 in it, America Frere is in it, and there are 0:14:36.360 --> 0:14:39.920 others throughout the film who are iconic actors and actresses. 0:14:40.360 --> 0:14:42.920 But I remember thinking like, oh my god, like this 0:14:42.960 --> 0:14:46.600 little movie is like has all these recognizable faces that 0:14:46.640 --> 0:14:48.720 I've seen in all these other projects, like you know, 0:14:48.760 --> 0:14:54.080 Loop Aunt, the Vetols played Yea in the Selena biopic. Yeah, 0:14:54.200 --> 0:14:56.720 So so for that reason, it was like, wow, like 0:14:56.760 --> 0:14:59.840 I've seen these faces in all these other projects, Disney Channels, 0:15:00.360 --> 0:15:02.800 George Lopez, and now they're all here in this one movie. 0:15:02.880 --> 0:15:03.880 Like that's fucking sick. 0:15:04.080 --> 0:15:08.200 What a great cast and like really amazing performances across 0:15:08.240 --> 0:15:08.680 the board. 0:15:09.360 --> 0:15:11.360 And learning about the I mean, we'll get into it, 0:15:11.400 --> 0:15:13.840 but like learning about the production history of this movie 0:15:14.040 --> 0:15:17.920 is like very frustrating and very fascinating, and I just 0:15:18.000 --> 0:15:19.080 like can't wait to. 0:15:19.720 --> 0:15:20.480 Get into it. 0:15:20.560 --> 0:15:25.080 Truly agreed, Jamie, what is your relationship with this movie? 0:15:25.440 --> 0:15:29.160 I had kind of a similar journey. I every d 0:15:29.320 --> 0:15:32.800 com that came out was my favorite movie, and so 0:15:32.920 --> 0:15:36.000 gotta kick it up was I feel like a significant 0:15:36.040 --> 0:15:38.720 one that was like kind of in like the upper 0:15:38.800 --> 0:15:40.760 pantheon of D coms. 0:15:40.840 --> 0:15:42.200 I really, really loved it. 0:15:42.400 --> 0:15:45.040 That was definitely how I, even though I think that 0:15:45.200 --> 0:15:48.880 technically real women have curves was made before Gotta Kick 0:15:48.920 --> 0:15:52.520 It Up, definitely learned about America for and like fell 0:15:52.560 --> 0:15:55.400 in love with her through Gotta Kick It Up. And 0:15:55.560 --> 0:15:57.720 I don't remember, I know I saw real women have 0:15:57.800 --> 0:16:00.680 curves when I was a kid. I was trying to 0:16:00.720 --> 0:16:04.040 sort out in my head the sequence of events of 0:16:04.080 --> 0:16:06.040 like I might have seen like Gotta Kick It Up 0:16:06.280 --> 0:16:09.040 Sisterhood of the Traveling Pants and then seen real women 0:16:09.080 --> 0:16:12.480 have curves to be like we have to get into vintage. 0:16:12.160 --> 0:16:13.840 America Ferrera, right. 0:16:14.080 --> 0:16:16.000 But I definitely saw it when I was in like 0:16:16.040 --> 0:16:18.480 either late middle school early high school. 0:16:18.640 --> 0:16:19.760 Really really loved it. 0:16:20.640 --> 0:16:22.920 Have revisited it a couple times over the years, but 0:16:22.960 --> 0:16:25.320 I hadn't seen it in a really long time, and 0:16:25.480 --> 0:16:30.280 definitely not since I had moved to La And so 0:16:30.960 --> 0:16:33.560 it was like such a delight to like revisit I 0:16:33.600 --> 0:16:37.560 really love this movie, and yeah, getting to learn more 0:16:37.640 --> 0:16:41.240 about the film and kind of the the at it, 0:16:41.320 --> 0:16:43.880 Like I feel like this is such a cool example 0:16:44.000 --> 0:16:48.760 of like adapting something into a movie well, which is 0:16:48.840 --> 0:16:52.720 so often done badly or sloppily or lazily or whatever, 0:16:52.760 --> 0:16:55.320 but like, this is just like a beautiful adaptation. 0:16:55.160 --> 0:16:58.400 And I'm so excited to talk about it. Yeah, Caitlin, 0:16:58.440 --> 0:16:59.960 what's your history with real Woman? Have curve? 0:17:01.080 --> 0:17:05.560 I saw this movie in high school because I came 0:17:05.600 --> 0:17:07.120 out in two thousand and two. I think I would 0:17:07.119 --> 0:17:08.760 have seen it in like two thousand and three or 0:17:08.920 --> 0:17:13.480 four when I was about honest character's. 0:17:13.040 --> 0:17:15.200 Age in the movie. 0:17:15.640 --> 0:17:15.760 Ye. 0:17:15.840 --> 0:17:19.639 Yeah, because I think, if my memory serves me correctly, 0:17:20.680 --> 0:17:23.199 my mom had heard about this movie and was like, 0:17:23.760 --> 0:17:26.800 I heard it's really good. Roger Eber gave it three 0:17:26.800 --> 0:17:29.399 and a half stars. Let's watch it. Let's rent it 0:17:29.440 --> 0:17:30.399 from the video store. 0:17:30.920 --> 0:17:33.560 The Ultimate yard Stick. This is a very like I 0:17:33.600 --> 0:17:35.400 feel like I probably watched this with my mom. It's 0:17:35.400 --> 0:17:37.560 a very mother like. There's not a lot of mother 0:17:37.760 --> 0:17:40.960 daughter movie. Yeah, I mean, and the relationship we'll get there. 0:17:41.080 --> 0:17:43.960 But and it would have required someone we had to 0:17:44.040 --> 0:17:46.439 have the DVD of this film to watch it, So 0:17:46.640 --> 0:17:50.879 I feel like I went to Blockbuster or someone recommended it. 0:17:50.960 --> 0:17:53.359 And because I don't remember seeing it in the movie 0:17:53.400 --> 0:17:55.520 theaters or on TV, like, I feel like it was 0:17:55.520 --> 0:17:56.720 a DVD situation. 0:17:57.400 --> 0:18:01.240 Yeah, exactly. Yeah, that's my recollection as well. Gosh, like yeah, 0:18:01.240 --> 0:18:03.240 like that the later Blockbuster years. 0:18:03.280 --> 0:18:05.600 What a beautiful what a beautiful. 0:18:05.240 --> 0:18:06.640 Time in It's Twilight. 0:18:06.960 --> 0:18:10.560 Does anyone remember the last DVD they got from Blockbuster? 0:18:10.880 --> 0:18:12.560 Wow? I feel like that's a fun question. 0:18:13.280 --> 0:18:15.920 My hometown was so small that we didn't even have 0:18:16.200 --> 0:18:19.280 a Blockbuster Wow. We had to go to just like 0:18:19.359 --> 0:18:22.439 the local video rental store, which I don't even remember 0:18:22.440 --> 0:18:23.880 what it was called now, it might have just been 0:18:23.880 --> 0:18:25.800 called like video. 0:18:25.960 --> 0:18:28.800 Store, the video store. 0:18:31.400 --> 0:18:35.000 Amazing anyway, So yeah, I saw it in high school 0:18:35.000 --> 0:18:39.600 as a teenager, and I haven't watched it since then, 0:18:39.680 --> 0:18:42.360 I don't think. But there were two scenes in particular 0:18:42.440 --> 0:18:44.480 that are just like seered into my memory. You know 0:18:44.560 --> 0:18:46.840 when you watch a movie that you and then you 0:18:47.240 --> 0:18:50.000 don't see it for years, but there are just like 0:18:50.119 --> 0:18:53.840 little moments that you will never forget and then have 0:18:53.960 --> 0:18:58.119 just been like logged into your memory bank forever. The 0:18:58.119 --> 0:19:02.320 scene where America Ferrara is like admiring her body. She 0:19:02.400 --> 0:19:04.639 like pulls her robe open and is like looking at 0:19:04.680 --> 0:19:07.920 herself in the mirror, and then her mom comes in 0:19:08.359 --> 0:19:11.240 and she like immediately knows that she's lost her virginity. 0:19:11.920 --> 0:19:14.760 That like was completely steered into my memory. And then 0:19:14.800 --> 0:19:17.359 the like climactic scene at the end when all the 0:19:17.400 --> 0:19:21.080 women at the dress factory are taking their clothes off 0:19:21.119 --> 0:19:25.879 and comparing bodies and Anna's mom is horrified, like what 0:19:26.040 --> 0:19:29.040 a great scene. Oh, We'll never forget that. 0:19:29.200 --> 0:19:34.520 The other scene that I did not remember her mom 0:19:34.760 --> 0:19:37.239 being like you lost your virginity and being right. I 0:19:37.320 --> 0:19:39.000 was like, Oh, I'm glad. I'm kind of glad. 0:19:39.040 --> 0:19:41.280 That didn't stick with me. I was like, oh, how 0:19:41.320 --> 0:19:42.359 did she know that? 0:19:43.880 --> 0:19:46.199 Yeah, but I think it was seared into my memory 0:19:46.240 --> 0:19:49.240 because I was so afraid that that would happen to 0:19:49.280 --> 0:19:49.960 me with my. 0:19:51.040 --> 0:19:53.520 Oh right, like you can tell, like I do I 0:19:53.560 --> 0:19:57.040 look different? And in that scene too, she opens with 0:19:57.520 --> 0:20:00.760 like she uses such strong language with Anna, like throughout 0:20:00.800 --> 0:20:02.879 the movie. One of the things that like really sticks 0:20:02.880 --> 0:20:07.080 out to me is like the vocabulary that Garman that 0:20:07.359 --> 0:20:10.520 Anna's mother uses, so like immediately in that scene, she's like, 0:20:11.040 --> 0:20:14.280 you tramp, and then she tells her like not only 0:20:14.320 --> 0:20:18.720 are you fat, you're a buta you know, very hard 0:20:18.920 --> 0:20:23.199 language that just really punctuates like every aspect of the scene. 0:20:23.560 --> 0:20:24.320 Yeah, totally. 0:20:24.680 --> 0:20:27.600 One of the scenes that stuck with me the hardest 0:20:27.800 --> 0:20:31.080 on this viewing was the scene where it's like on 0:20:31.160 --> 0:20:35.119 his first day working at the factory and her mom 0:20:35.359 --> 0:20:38.679 is body shaming her, and then the second another person 0:20:38.840 --> 0:20:41.280 enters the room, she's all of a sudden nice, And 0:20:41.320 --> 0:20:44.480 you're like, oh, no, I know that dynamic, Like that's 0:20:44.560 --> 0:20:49.639 so that I don't know how many times I've seen 0:20:50.040 --> 0:20:53.520 that like on screen, like depicted in a very straightforward 0:20:53.560 --> 0:20:55.800 way of like, well, yeah, like you know, I could 0:20:55.800 --> 0:20:58.680 be a total asshole to you when no one's around, 0:20:58.720 --> 0:21:01.200 but then the second there's a third party, my demeanor 0:21:01.200 --> 0:21:03.960 completely changes and you're like, yeah, that's I saw that 0:21:04.680 --> 0:21:05.880 a ton growing up, Like. 0:21:05.840 --> 0:21:09.199 It's just yeah, Anna's mom has this way of just 0:21:09.280 --> 0:21:12.720 like raining on her parade, like at every possible moment, 0:21:12.840 --> 0:21:15.159 like even from the opening scene of them, because like 0:21:15.480 --> 0:21:18.359 that scene where she's like talking bad to Anna, Like 0:21:18.400 --> 0:21:22.160 Anna's like admiring a dress on one of the mannequins 0:21:22.440 --> 0:21:24.800 and she's just looking at it and how pretty it is, 0:21:25.240 --> 0:21:28.680 and her mother immediately comes in with you can't fit 0:21:28.760 --> 0:21:31.560 into that, like you're way too fat. There's no way 0:21:31.560 --> 0:21:33.679 there's enough fabric to cover you, Like, look at your 0:21:33.760 --> 0:21:36.320 chee cheese, they're so huge. And then in Wox, Norma 0:21:36.800 --> 0:21:40.240 and even the very first scene of the movie, Anna's 0:21:40.280 --> 0:21:42.200 on her way to school, her last day of high 0:21:42.200 --> 0:21:44.160 school and her mom is sick in bed and asking 0:21:44.200 --> 0:21:46.320 her to stay home to make breakfast for the men. 0:21:46.520 --> 0:21:49.840 You know, she's just like a party pooper throughout the 0:21:49.880 --> 0:21:50.640 whole film. 0:21:51.720 --> 0:21:55.600 That scened like at the factory, like truly, I was like, 0:21:55.720 --> 0:22:00.239 oh my god, she was literally just standing there like 0:22:00.600 --> 0:22:03.280 it turned into an attack, like. 0:22:03.640 --> 0:22:08.680 Oh, yeah, yeah, we will unpack that, yes relationship soon. 0:22:09.080 --> 0:22:12.080 Yes, it's wild because she's so likable. She's so lovable 0:22:12.280 --> 0:22:14.760 the mom even when she's saying all these horrible things, 0:22:14.840 --> 0:22:17.440 like yeah, she's still kind of funny when she's saying them, 0:22:18.040 --> 0:22:20.560 and like the tension between the two of them is like, 0:22:20.680 --> 0:22:23.400 I don't know, there's something still endearing about her even 0:22:23.440 --> 0:22:26.160 as she infuriates you, you know right. 0:22:27.119 --> 0:22:28.440 I feel like a lot of that is just like 0:22:28.520 --> 0:22:33.000 Lupe Antibo's performance as well, Like yeah, oh. 0:22:32.600 --> 0:22:35.720 Man, across the board, Like every performance in this movie 0:22:35.800 --> 0:22:39.560 is so good and like layered and full of heart. 0:22:39.760 --> 0:22:42.760 And I mean the fact that like America Frera. 0:22:42.600 --> 0:22:46.199 Was fifteen when she started this movie, and like the 0:22:46.280 --> 0:22:50.320 whole range of like she's just so fucking talented. 0:22:50.640 --> 0:22:53.439 It is such a good movie. I am sad. I 0:22:53.520 --> 0:22:56.560 like slept on it for all of those years in between, 0:22:56.680 --> 0:23:00.119 like when I first saw it and now your back, baby, 0:23:00.640 --> 0:23:03.600 I'm back baby. Shall I do the recap? 0:23:04.320 --> 0:23:04.920 Let's do it? 0:23:05.359 --> 0:23:10.399 Okay? So we meet Anna Garcia played by America Feria. 0:23:11.080 --> 0:23:14.280 She's a teenager who is about to finish high school 0:23:14.400 --> 0:23:19.760 in Los Angeles. Ever heard of it? We meet her family, 0:23:20.280 --> 0:23:23.600 her sister Estella played by Ingrid and I'm not sure 0:23:23.640 --> 0:23:27.800 how to pronounce her last name, Oliu, her dad Raoul 0:23:28.040 --> 0:23:32.720 played by Jorge Severa Junior, her grandfather her like Abulito, 0:23:32.920 --> 0:23:36.840 and then her mom, Carmen played by Lupe ante Veros, 0:23:37.560 --> 0:23:43.240 who Anna has a loving but difficult relationship with, as 0:23:43.320 --> 0:23:48.040 we've hinted at, and we'll discuss further. Carmen, we will learn, 0:23:48.480 --> 0:23:51.440 gets on Anna's case about a lot of different things 0:23:51.560 --> 0:23:57.840 and has certain pretty rigid expectations for Anna and for Estella. Yes, 0:23:59.680 --> 0:24:03.120 Anna heads to her last day of high school. She 0:24:03.160 --> 0:24:05.960 and her family live in I think East La. 0:24:06.320 --> 0:24:07.440 Yeah, Boyle Heights. 0:24:07.520 --> 0:24:10.360 But that's right, because that was like very based on 0:24:10.840 --> 0:24:14.240 the source material. This was adapted from a play I know. 0:24:14.240 --> 0:24:17.800 We'll talk about this but play by Josefina Lopez, who 0:24:18.040 --> 0:24:20.040 writes about boyle heads a ton like that is very 0:24:20.119 --> 0:24:22.840 much her background in her community and yeah. 0:24:22.720 --> 0:24:27.000 Yep, but Anna takes several city buses to get to 0:24:27.080 --> 0:24:32.040 school in Beverly Hills. Her teacher, mister Gusman played by 0:24:32.080 --> 0:24:36.840 George Lopez, asks her about her college applications, but she 0:24:36.880 --> 0:24:39.679 says she's not going to college because her family cannot 0:24:39.720 --> 0:24:44.520 afford it. He reminds her that there are scholarships, grants, 0:24:44.600 --> 0:24:48.399 financial aid, but she's like, I don't know, not that 0:24:48.440 --> 0:24:52.080 she doesn't want to, it's just she knows it's gonna. 0:24:51.800 --> 0:24:54.240 Be like an issue within the family, exactly. 0:24:54.520 --> 0:24:59.760 Yeah, her family throws a little congrats on graduating high 0:24:59.760 --> 0:25:04.080 school celebration. We also see Anna quit her job at 0:25:04.080 --> 0:25:06.720 a fast food joint, which upsets her mom but. 0:25:06.800 --> 0:25:08.879 Is a fun scene to watch her quinn. I loved 0:25:08.920 --> 0:25:11.399 watching her quin That was very fun. 0:25:11.560 --> 0:25:15.760 And I actually think that the cashier is Josefina Lopez, 0:25:16.119 --> 0:25:17.040 the one who hands her. 0:25:17.119 --> 0:25:20.720 Okay, she is in the movie as a character named Veronica, 0:25:20.800 --> 0:25:23.600 but I was like, who's Veronica. I couldn't remember exactly. 0:25:23.760 --> 0:25:26.919 That's so cool, all right, that's great. 0:25:26.880 --> 0:25:29.119 And she killed it. She was so great In that 0:25:29.240 --> 0:25:30.800 one scene She's. 0:25:30.720 --> 0:25:33.879 Keeping Anna's check in her bra and Anna's like, that's sick. 0:25:35.080 --> 0:25:35.240 That. 0:25:36.640 --> 0:25:38.760 Now I like that scene even more. I was just 0:25:38.800 --> 0:25:41.680 like where the character actor was was really funny. Yeah, 0:25:41.720 --> 0:25:43.399 holy shit, Oh that's great. And now that I'm like 0:25:43.400 --> 0:25:44.960 looking at her picture again, I'm like, oh, yeah, that 0:25:45.000 --> 0:25:45.720 totally was her. 0:25:46.000 --> 0:25:46.359 That's her. 0:25:46.520 --> 0:25:47.400 Yeah, amazing. 0:25:48.000 --> 0:25:51.600 So Ana quits her job, which upsets her mom, who 0:25:51.720 --> 0:25:54.560 suggests she work at the clothing factory that her sister, 0:25:54.680 --> 0:25:59.560 Estella runs, something that neither Anna nor Estella really want. 0:26:00.200 --> 0:26:03.199 But Anna needs to learn, needs to earn money to 0:26:03.200 --> 0:26:08.120 help the family, and Estella is behind on her work orders, 0:26:08.359 --> 0:26:12.160 so she will go to work at the factory. Mister 0:26:12.280 --> 0:26:15.520 Gusman pays Anna a visit to keep encouraging her to 0:26:15.640 --> 0:26:20.639 submit college applications, but her family and her mom especially 0:26:21.280 --> 0:26:24.239 are against Anna going to college right now because she 0:26:24.359 --> 0:26:27.840 needs to work and help the family. The next day, 0:26:28.320 --> 0:26:33.080 Anna and her sister and mom go to Estella's clothing factory, 0:26:33.280 --> 0:26:36.320 where they assemble dresses to be sold at Bloomingdale's for 0:26:36.480 --> 0:26:40.240 six hundred dollars, even though the manufacturer only pays them 0:26:40.640 --> 0:26:45.600 eighteen dollars per dress to assemble each dress, and Anna 0:26:45.680 --> 0:26:49.119 points out how unfair this is, how their labor is 0:26:49.160 --> 0:26:50.200 being exploited. 0:26:50.520 --> 0:26:52.600 Also, I think probably at the time, that would have 0:26:52.640 --> 0:26:56.440 been the first time I'd heard that issue discussed in 0:26:56.520 --> 0:26:57.400 a movie. 0:26:57.320 --> 0:26:58.480 Like at all. 0:26:59.080 --> 0:27:04.280 For sure. Yeah, there's an interesting class discussion around this movie, 0:27:04.320 --> 0:27:07.320 for sure. And then we meet the other women who 0:27:07.359 --> 0:27:11.680 work at the factory, such as Pancha, Norma, and Rosahli. 0:27:12.440 --> 0:27:16.919 Also on his mom Carmen body shames on us several 0:27:17.000 --> 0:27:21.760 times and tends to comment on most people's weight. Yeah, 0:27:21.880 --> 0:27:24.159 that's just kind of a habit of hers. 0:27:24.359 --> 0:27:26.159 Well, yeah, because there is that scene where, I mean 0:27:26.200 --> 0:27:28.639 the scene we were just talking about where she is 0:27:28.800 --> 0:27:32.120 verbally abusive towards her daughter. Someone like her employees start 0:27:32.160 --> 0:27:34.840 to arrive and then she's nice to them, but then 0:27:34.840 --> 0:27:37.760 she also turns on her employees pretty quickly and starts 0:27:37.800 --> 0:27:38.960 criticizing them as well. 0:27:39.000 --> 0:27:41.240 And you're like, oh, I guess this is just her personality. 0:27:41.320 --> 0:27:45.080 Oh everybody gets it. Yeah, yeah, she gives it to everybody. 0:27:45.440 --> 0:27:47.800 Everyone gets a slice, you. 0:27:47.720 --> 0:27:51.440 Get a polite hello, and then things take a turn. 0:27:51.680 --> 0:27:55.200 Uh huh yep. So then Anna gives her filled out 0:27:55.200 --> 0:27:59.080 college applications to mister Gooseman, but he points out that 0:27:59.080 --> 0:28:01.760 she's missing a personal statement and that she needs to 0:28:01.760 --> 0:28:05.280 write one as soon as possible. Then Anna runs into 0:28:05.320 --> 0:28:10.400 her classmate Jimmy, who seems to like her. He's got 0:28:10.440 --> 0:28:14.119 a little crush, and he gives Anna his phone number. 0:28:15.440 --> 0:28:20.040 Back at the factory, Estella is struggling to keep up 0:28:20.280 --> 0:28:24.200 with the work order, especially after several of her workers 0:28:24.400 --> 0:28:28.399 unexpectedly leave to move to Mexico. Then we get a 0:28:28.440 --> 0:28:32.560 scene where Carmen tells Anna a secret that Carmen thinks 0:28:32.680 --> 0:28:37.480 she's pregnant, but Anna is like, Mom, that's pretty unlikely. 0:28:39.360 --> 0:28:40.520 Probably not what's happening. 0:28:41.080 --> 0:28:43.320 For all the shit that Anna has to put up with, 0:28:43.520 --> 0:28:49.600 I love that she's always very quick to be like enough, stop, no. 0:28:50.120 --> 0:28:55.000 She advocates for herself exceptionally well yeah yeah, and I. 0:28:54.920 --> 0:28:57.240 Love her for it, even in situations where you can 0:28:57.280 --> 0:28:59.200 tell like I don't know, or where it felt to 0:28:59.240 --> 0:28:59.880 me like you could tell. 0:29:00.080 --> 0:29:01.240 She's like, I'm not gonna win this. 0:29:01.240 --> 0:29:04.280 Battle, but I have to say this, like, hmm, you're 0:29:04.360 --> 0:29:05.640 not pregnant, mom. 0:29:06.080 --> 0:29:10.560 So then Anna goes with Estella to speak to missus Glass, 0:29:10.680 --> 0:29:14.040 who is the owner of the dress manufacturing company to 0:29:14.320 --> 0:29:17.120 ask for an advance so they can pay the bills 0:29:17.160 --> 0:29:20.760 and keep the lights running at the factory, but missus 0:29:20.760 --> 0:29:24.480 Glass still denies them in advance. So then Anna goes 0:29:24.520 --> 0:29:28.440 to her dad for a loan. Meanwhile, Anna goes out 0:29:28.480 --> 0:29:31.040 on a date with that kid, Jimmy. They have a 0:29:31.120 --> 0:29:31.640 nice time. 0:29:32.080 --> 0:29:34.600 He's got big, that kid Jimmy energy too. 0:29:35.000 --> 0:29:39.680 Like I was like, who is this Elijah Wood? Ass 0:29:39.800 --> 0:29:40.720 looking kid? 0:29:41.280 --> 0:29:44.680 Yeah, Elijah Wood wasn't available, slash, he's too old, too old, 0:29:44.800 --> 0:29:47.920 this kid, that kid Jimmy. He was only in movies 0:29:47.960 --> 0:29:50.440 for a couple of years and then he who knows, 0:29:50.480 --> 0:29:51.800 he tapped out and he's done. 0:29:51.920 --> 0:29:55.160 Yeah. I liked his character though, you know, he said 0:29:55.200 --> 0:29:59.320 some things that made me gough, but overall agree with that. 0:30:00.440 --> 0:30:01.560 He seemed like a sweet kid. 0:30:01.640 --> 0:30:06.200 He's he's very like her first nice white boyfriend. You know. 0:30:06.680 --> 0:30:10.680 It's it's an experience, it's a type. It's oh I 0:30:10.720 --> 0:30:14.080 had a nice white boyfriend like back home, like and 0:30:14.120 --> 0:30:15.600 that's him right right. 0:30:15.720 --> 0:30:20.000 Yeah, So she goes out with Jimmy. Anna then turns 0:30:20.080 --> 0:30:23.760 in her personal statement to mister Gooseman. We see another 0:30:23.840 --> 0:30:27.680 day at work. It's hard, it's hot. Anna admires the 0:30:27.760 --> 0:30:31.000 dresses she steams at the factory and is sad to 0:30:31.040 --> 0:30:34.320 remember that they're not for her. But then Estella surprises 0:30:34.320 --> 0:30:37.560 Anna with a dress that she made especially for Anna 0:30:38.200 --> 0:30:41.680 in a very sweet moment part. 0:30:42.000 --> 0:30:44.560 And it is a beautiful dress too, mm hmmm. 0:30:44.680 --> 0:30:48.240 And I always wish there was like a dress reveal moment, 0:30:48.400 --> 0:30:51.760 like an occasion for her wear that dress. 0:30:51.960 --> 0:30:54.120 I was like, is there a cut scene because it 0:30:54.160 --> 0:30:56.520 felt like Chekhov's dress? 0:30:57.760 --> 0:31:00.720 Exactly where is the dress? Where's she wearing it? 0:31:01.000 --> 0:31:01.240 Yeah? 0:31:01.400 --> 0:31:04.160 I hope she wore it at like some I don't know, 0:31:04.240 --> 0:31:05.640 some New York event. 0:31:06.320 --> 0:31:07.880 Yeah. She goes to a. 0:31:07.840 --> 0:31:08.840 Mixer at Columbia. 0:31:09.240 --> 0:31:09.520 Yeah. 0:31:09.640 --> 0:31:12.640 Yeah, She's like, I just wore a gown to orientation? 0:31:13.240 --> 0:31:15.040 Is that normal? Can you do that? 0:31:18.560 --> 0:31:21.280 Then mister Guzmand stops by to let Anna know that 0:31:21.320 --> 0:31:24.720 she's been accepted to Columbia University with a full scholarship, 0:31:25.240 --> 0:31:28.000 but her parents are still like now is not the 0:31:28.040 --> 0:31:31.000 right time for Anna to go to college, which is 0:31:31.040 --> 0:31:36.120 extremely disappointing to Anna. She then goes out with Jimmy again, 0:31:36.520 --> 0:31:40.160 they have sex. Her mom senses that she has lost 0:31:40.160 --> 0:31:44.040 her virginity and like we were saying earlier she calls 0:31:44.080 --> 0:31:46.880 Anna a tramp and a putta, And. 0:31:47.000 --> 0:31:49.680 One of the biggest mysteries of the movie, how did 0:31:49.760 --> 0:31:50.400 she know? 0:31:50.920 --> 0:31:51.600 How did she know? 0:31:51.640 --> 0:31:51.680 It? 0:31:51.800 --> 0:31:51.880 Was? 0:31:51.880 --> 0:31:55.480 It because America Frere was like looking in the mirror 0:31:55.520 --> 0:31:57.560 being like, go meet, Like. 0:31:57.600 --> 0:32:00.160 Why how does she know? Yeah? My guess is that 0:32:00.200 --> 0:32:03.240 she was just like confidently admiring her body. 0:32:02.960 --> 0:32:05.520 Body for the first time ever. 0:32:06.400 --> 0:32:08.800 Yeah, right, so she's like, I better put an end 0:32:08.920 --> 0:32:09.840 to this confidence. 0:32:09.920 --> 0:32:10.880 My daughter's feeling. 0:32:11.640 --> 0:32:14.800 That was more the Spidey cent going off was I 0:32:14.800 --> 0:32:16.560 think my daughter's having a good feeling. 0:32:16.840 --> 0:32:20.120 It's like her favorite refrain. She's always like a mother knows, 0:32:20.600 --> 0:32:21.440 a woman knows. 0:32:21.640 --> 0:32:24.400 She just knows, and this time she was right. She 0:32:24.480 --> 0:32:29.400 turns out to not be right about being pregnant because 0:32:29.480 --> 0:32:31.080 she goes to the doctor, take. 0:32:30.960 --> 0:32:33.800 A hundred shots, and you're gonna make one eventually. 0:32:34.400 --> 0:32:38.120 True. The reason that Carmen has missed several periods in 0:32:38.120 --> 0:32:40.240 a row is a bit is because she is going 0:32:40.280 --> 0:32:45.000 through menopause, not because she is pregnant. So then we 0:32:45.040 --> 0:32:48.240 see another day at the dress factory. It's a particularly 0:32:48.280 --> 0:32:51.560 hot day and Estella won't turn on the fan because 0:32:51.560 --> 0:32:54.640 it blows dust on the dresses. So Anna takes off 0:32:54.640 --> 0:32:58.240 her shirt and her mom freaks out, but Anna is like, 0:32:58.400 --> 0:33:00.760 what's the big deal. We're all went here, we all 0:33:00.800 --> 0:33:03.920 have the same parts. And then all of the other 0:33:03.960 --> 0:33:08.680 women at the factory take their clothes off. They compare bodies, 0:33:08.840 --> 0:33:13.760 they compare cellulite and stretch marks, and they're like, we're beautiful, 0:33:13.840 --> 0:33:19.520 We're awesome. But Carmen is looking on in horror and 0:33:19.960 --> 0:33:22.000 Anna is just like, this is who we are, mom, 0:33:22.280 --> 0:33:27.360 real women, and Carmen storms out while the other ladies 0:33:27.400 --> 0:33:31.440 continue working and dancing and celebrating themselves and their bodies. 0:33:32.880 --> 0:33:37.360 I'm interested in talking about the shooting situation around that scene. 0:33:37.480 --> 0:33:39.880 There's a lot to talk about there too. 0:33:40.240 --> 0:33:45.760 Ooh, I'm interested to learn more. And then finally Anna 0:33:45.840 --> 0:33:50.080 heads off to Columbia University. She tries to say goodbye 0:33:50.120 --> 0:33:55.680 to Carmen and to get her mom's blessing, but Carmen refuses, 0:33:56.440 --> 0:33:59.280 so her dad and grandpa take Anna to the airport, 0:33:59.840 --> 0:34:03.680 and then we see Anna walking down the streets of 0:34:03.760 --> 0:34:08.200 New York City. I ever heard of it, And that's 0:34:08.440 --> 0:34:12.560 how the movie ends. So let's take a quick break 0:34:12.760 --> 0:34:26.200 and then we will come back to discuss and we're back. 0:34:27.080 --> 0:34:30.239 I feel like a little bit of context for how 0:34:30.280 --> 0:34:32.600 this movie came to be is a good place to 0:34:32.680 --> 0:34:36.480 start before we get into the characters. So this, as 0:34:36.520 --> 0:34:39.760 we've sort of hinted at already, this is a movie 0:34:39.760 --> 0:34:44.160 that is based on a play by jos Afina Lopez. 0:34:44.920 --> 0:34:48.120 Her background is she was born in Mexico and then 0:34:48.480 --> 0:34:51.960 immigrated to Los Angeles. A lot of her work surrounds 0:34:51.960 --> 0:34:55.880 that experience and sort of reflections of her experience. This 0:34:56.040 --> 0:34:59.960 play is very much a part of that. She started writing. 0:35:00.080 --> 0:35:02.919 I reading about her career, I'd never like gone down 0:35:02.920 --> 0:35:07.000 this Wikipedia hole, and she's like, so fucking cool. She 0:35:07.080 --> 0:35:10.160 wrote her first play in high school while the rest 0:35:10.160 --> 0:35:14.000 of us were doing god knows what, she was at 0:35:14.080 --> 0:35:17.600 work and she wrote a play called Simply Maria or 0:35:17.640 --> 0:35:21.319 the American Dream. She then went on to write Real 0:35:21.360 --> 0:35:24.279 Women Have Curves. The play was very well regarded, it 0:35:24.360 --> 0:35:28.280 was very successful. It's my understanding is it's pretty close 0:35:28.400 --> 0:35:31.680 to what happens in the movie because she co writes 0:35:31.960 --> 0:35:33.560 the screenplay and. 0:35:33.760 --> 0:35:35.800 Is apparently one of my favorite characters. 0:35:35.920 --> 0:35:36.640 I just learned. 0:35:38.320 --> 0:35:41.560 But anyways, Real Women Have Curves is her biggest hit 0:35:41.760 --> 0:35:45.560 so far, and people want to adapt it in one 0:35:45.600 --> 0:35:48.719 way or another originally, and I didn't know any of 0:35:48.760 --> 0:35:52.919 this before reading this kind of retrospective piece. So at 0:35:52.960 --> 0:35:57.719 the time it was going to be adapted for television 0:35:57.840 --> 0:36:01.799 by Norman Lear, who who is first of all, one 0:36:01.840 --> 0:36:04.440 hundred years old and still alive, which you got handed 0:36:04.440 --> 0:36:04.759 to him. 0:36:04.800 --> 0:36:06.400 Wow. 0:36:06.920 --> 0:36:10.319 But he had a reputation in Hollywood for being one 0:36:10.320 --> 0:36:14.799 of the only producers who championed diverse stories for television, 0:36:14.920 --> 0:36:18.839 and so most diverse families you saw on television in 0:36:19.000 --> 0:36:22.879 the seventies, eighties, and nineties into the two thousands he's 0:36:22.880 --> 0:36:28.200 still working were a result of his champion He is 0:36:28.280 --> 0:36:32.680 a white producer who was known for championing women's stories 0:36:32.680 --> 0:36:36.120 and diverse stories. So he seemed to host of Pheni 0:36:36.120 --> 0:36:39.720 Lopez to be kind of a natural fit for getting 0:36:39.719 --> 0:36:42.480 this project adapted into television. 0:36:43.400 --> 0:36:45.320 However, he did. 0:36:45.200 --> 0:36:50.600 One Day at a Time right, like the more recent adaptation, Yeah. 0:36:50.440 --> 0:36:53.240 Yeah, And the first one was also him, right, and 0:36:53.800 --> 0:36:57.280 he did I'm trying to as like God, older TV 0:36:57.440 --> 0:37:00.719 is truly not my strength, but let me get let 0:37:00.800 --> 0:37:03.440 me get a few of his hits on the board. 0:37:03.719 --> 0:37:06.719 Samford and Son was his One Day at a Time. 0:37:06.840 --> 0:37:12.000 The Jeffersons Good Times Modu one of my favorite shows ever. 0:37:12.080 --> 0:37:15.040 Mary Hartman, Mary Hartman like he had, he did he could. 0:37:15.080 --> 0:37:18.080 He got stories on TV that no one else was 0:37:18.320 --> 0:37:18.840 trying to. 0:37:19.480 --> 0:37:19.879 Very cool. 0:37:19.920 --> 0:37:22.640 So hose Fina Lopez was excited that he wanted to 0:37:22.760 --> 0:37:26.840 help adapt it, but even with the Norman Lear Co sign, 0:37:27.360 --> 0:37:30.400 they could not sell Real Women Have Curves as a 0:37:30.440 --> 0:37:35.200 TV series two networks. Networks said it was not relatable 0:37:35.320 --> 0:37:40.920 a story enough, which we know is absolute hoorseshit. 0:37:40.840 --> 0:37:44.080 Porshit, but very typical of Hollywood. 0:37:43.600 --> 0:37:48.520 Of TV yeah to this day. So Josefina Lopez is discouraged. 0:37:48.520 --> 0:37:50.399 She's like, one of the biggest TV producers in the world, 0:37:50.440 --> 0:37:53.600 can't get this produced. Who's going to there's a second 0:37:53.880 --> 0:37:59.279 wind with this project as a film script. So she 0:37:59.640 --> 0:38:04.040 meets a writer named George Levu, which is what a 0:38:04.200 --> 0:38:05.360 what a fun name. 0:38:05.880 --> 0:38:06.040 But. 0:38:08.680 --> 0:38:10.840 I just like to say it, George Levu. 0:38:11.040 --> 0:38:18.719 She meets Levu and they decide, they decide to collaborate 0:38:18.800 --> 0:38:24.440 on a screenplay together, and finally they find an executive 0:38:25.000 --> 0:38:27.880 who wants to fund the project. And it's a I 0:38:27.920 --> 0:38:32.360 have a quote here, So this project was funded by HBO, 0:38:32.480 --> 0:38:35.080 which I don't think I knew, not that it matters, 0:38:35.120 --> 0:38:37.960 I just didn't know it was an HBO movie. So 0:38:38.040 --> 0:38:41.279 Hosephina Lopez says this, I believe in twenty seventeen, in 0:38:41.320 --> 0:38:45.919 this retrospective, HBO's maud Nadler had the power to say Yes. 0:38:46.360 --> 0:38:49.720 It came down to a female executive saying, women's stories matter. 0:38:50.000 --> 0:38:52.399 Stories about mothers and daughters are important to me because 0:38:52.440 --> 0:38:54.919 I love my mother. And I remember asking mad after 0:38:54.960 --> 0:38:57.840 we made the film why she said yes, she said, 0:38:58.160 --> 0:39:01.080 because I love my mother. Took a woman in a 0:39:01.120 --> 0:39:04.920 position of power to find value in the story, which 0:39:05.120 --> 0:39:06.680 is I thought, I don't know. 0:39:06.800 --> 0:39:09.600 That was like, that's really nice. 0:39:09.480 --> 0:39:13.319 Yeah, And none of those men love their mothers. They 0:39:13.400 --> 0:39:17.600 all hate their mothers. I love my mother not enough 0:39:17.640 --> 0:39:19.440 to fund a story on woman. 0:39:20.080 --> 0:39:26.080 Let's not. Let's not cary away. Look look, I'm women 0:39:26.480 --> 0:39:29.279 to a point, very like us. The father of a 0:39:29.400 --> 0:39:32.080 daughter energy. Yes. 0:39:34.239 --> 0:39:40.360 So the project gets funded. They find director Patricia Cardoso, 0:39:40.400 --> 0:39:44.839 who I believe is raised in Columbia. She signs on 0:39:44.880 --> 0:39:48.960 for the project. Luvu and Lopez become the hottest writing 0:39:49.000 --> 0:39:50.040 team in Hollywood. 0:39:51.680 --> 0:39:52.160 The movies. 0:39:52.360 --> 0:39:55.400 Oh and then another huge thing that happens is George 0:39:55.440 --> 0:39:58.520 Lopez signs on as a co producer, which also was 0:39:58.560 --> 0:40:01.160 like a big hand and getting this movie in front 0:40:01.200 --> 0:40:04.280 of people. It goes to sun Dance and the rest 0:40:04.600 --> 0:40:06.400 is history. But it was a huge I mean, I 0:40:06.400 --> 0:40:10.000 think we see this a lot of times in projects 0:40:10.040 --> 0:40:14.400 that are not centered around the white experience and the 0:40:14.440 --> 0:40:18.040 white male experience. Like it was a huge uphill battle 0:40:18.440 --> 0:40:20.480 to get this project made, even though it was already 0:40:20.520 --> 0:40:25.520 like a proven successful entity through the play right right. 0:40:25.360 --> 0:40:28.280 And it really has aged so well. I was watching 0:40:28.360 --> 0:40:32.360 it this morning and like the jokes land, the writing 0:40:32.520 --> 0:40:36.080 feels like still very like charming and fresh and it's 0:40:36.200 --> 0:40:40.560 just a fun watch and like nothing in that movie 0:40:40.760 --> 0:40:44.000 is standing out in a bad, cringey way unless it's 0:40:44.000 --> 0:40:47.080 supposed to be. You know, it's just like so well written, 0:40:47.560 --> 0:40:50.960 and you know, it's like, yeah, the work speaks for itself. 0:40:51.320 --> 0:40:54.480 It's funny and like it's just like, I don't know, 0:40:54.520 --> 0:40:55.640 this movie has so much going. 0:40:55.600 --> 0:40:59.160 For it, so charming. Sorry, there's like a trash removal 0:40:59.200 --> 0:41:02.040 truck right outside my window making loud noises my air 0:41:02.080 --> 0:41:05.400 conditioners on because it's eight million degrees. Sorry for all 0:41:05.440 --> 0:41:06.279 the noise. 0:41:06.760 --> 0:41:10.560 Is past my house and I smell fire. 0:41:10.800 --> 0:41:12.520 Oh no, there's a lot going on. 0:41:12.760 --> 0:41:16.719 Oh everyone, everyone is okay, Okay, let's go back to 0:41:16.800 --> 0:41:20.960 talking about the movie that takes place in la around 0:41:21.400 --> 0:41:23.439 like literally this exact time of year. 0:41:24.239 --> 0:41:27.760 Yeah, during a heat wave in the summer, the sweltering heat. 0:41:28.080 --> 0:41:32.960 Oh my gosh. But yeah, this movie does age so well. 0:41:33.000 --> 0:41:36.280 And we've talked about there's like a span of time 0:41:36.600 --> 0:41:41.160 for movies, and honestly it ranges for a long quite 0:41:41.200 --> 0:41:43.560 a long time. But you know, if you're from a 0:41:43.600 --> 0:41:46.640 certain generation, especially the movies of like the late nineties, 0:41:46.680 --> 0:41:49.360 early two thousands, like if that's when you're coming of age, 0:41:49.840 --> 0:41:51.680 and those are like the movies and the media that 0:41:51.719 --> 0:41:55.359 you were like most exposed to, which is the case 0:41:55.400 --> 0:41:59.400 for me at least, that era was just such a 0:41:59.440 --> 0:42:03.680 crap shoes for most media because it was like just 0:42:03.880 --> 0:42:10.560 steeped in sexism, racism, homophobia, transphobia, ableism, like you name it. 0:42:10.800 --> 0:42:14.399 Marginalized communities were punched down to in media. So it's 0:42:14.440 --> 0:42:16.480 just so refreshing to see a movie that's twenty years 0:42:16.520 --> 0:42:20.600 old from the early two thousands to be a movie 0:42:20.640 --> 0:42:24.480 that is like so I mean feminist. Masterpiece Number one 0:42:25.160 --> 0:42:29.560 has so many strong impactful messages, the exact type of 0:42:29.600 --> 0:42:32.960 thing that like young people need to see to be 0:42:33.160 --> 0:42:36.600 influenced in the right direction, because it has such strong 0:42:36.760 --> 0:42:41.880 themes and messaging about like body positivity, sex positivity. It 0:42:41.920 --> 0:42:45.960 showcases a complicated relationship between a mother and daughter, but 0:42:46.040 --> 0:42:50.040 one that's this very authentic and familiar to a lot 0:42:50.080 --> 0:42:54.200 of people. So it's just like it's doing so much. 0:42:54.239 --> 0:42:55.800 And fast commentary. 0:42:56.480 --> 0:43:00.840 There's something that honestly like didn't even didn't connect for 0:43:00.920 --> 0:43:03.200 me until I saw it, like explicitly kind of said 0:43:03.239 --> 0:43:06.600 by the creators of the movie because I didn't have my. 0:43:06.640 --> 0:43:08.799 Proper two thousand and two goggles on. 0:43:09.400 --> 0:43:14.560 I guess was just showing Boyle Heights as the community 0:43:14.800 --> 0:43:19.720 that it is, versus how East LA and Latin people 0:43:19.719 --> 0:43:22.160 from La were shown in media at this time. That 0:43:22.239 --> 0:43:25.839 like this movie had a huge hand in, you know, 0:43:25.920 --> 0:43:30.799 offering a counter to the really prejudiced, like overly simplistic 0:43:30.880 --> 0:43:34.200 narrative that was being shown and everything else, which is 0:43:34.239 --> 0:43:37.920 like such a big part of Josafina Lopez's work. 0:43:38.520 --> 0:43:40.920 It's awesome, it's very wholesome. 0:43:40.800 --> 0:43:42.360 It is, yeah, for sure. 0:43:42.480 --> 0:43:44.880 Yeah, and like, yeah, just think about all the movies 0:43:44.920 --> 0:43:47.040 that you see that are like set in LA about 0:43:47.440 --> 0:43:51.520 rich white people living in wealthy neighborhoods, living in huge houses, 0:43:52.360 --> 0:43:58.520 that basically just ignores huge swaths of the population of LA. Yeah, 0:43:58.560 --> 0:44:02.920 there's a huge LATINX community that is not often represented 0:44:03.040 --> 0:44:07.680 in movies here in LA and often not represented favorably 0:44:07.800 --> 0:44:09.680 if it is represented at all. 0:44:10.040 --> 0:44:12.399 Yeah, I was just gonna say that Real Women Have 0:44:12.719 --> 0:44:17.759 Curves is markedly youthful and feminine when compared to other 0:44:18.120 --> 0:44:23.240 La Chicano Mexican American films. Like literally the other movies 0:44:23.239 --> 0:44:26.080 that we can compare it to in the same sort 0:44:26.080 --> 0:44:29.840 of genre or cultural space is like Blood and Blood 0:44:29.880 --> 0:44:34.319 Out American Me. And then you know, My Familia has 0:44:34.360 --> 0:44:37.319 more of a family dynamic at the beginning. But these 0:44:37.400 --> 0:44:41.360 films and then zoot Suit, and these are all iconic films. 0:44:41.560 --> 0:44:44.239 Zoot Suit is a musical, you know, it's a piece 0:44:44.280 --> 0:44:47.400 of theater. But all of these films also have a 0:44:47.440 --> 0:44:50.280 lot of violence in them. There's a lot of trauma. 0:44:51.080 --> 0:44:55.680 There's prison and gangs, and the ethos is very masculine 0:44:55.719 --> 0:44:58.560 and it's very much like a lot of men on 0:44:58.680 --> 0:45:01.880 screen and what they're going through in their lives. And 0:45:01.920 --> 0:45:05.319 then you have real women have curves with like I 0:45:05.440 --> 0:45:08.680 was on ho Sephina Lopez on her website and reading 0:45:08.719 --> 0:45:11.640 about her like about Me, which seems like she wrote it, 0:45:11.680 --> 0:45:14.360 which is awesome, and she's talking about how she started 0:45:14.360 --> 0:45:17.480 writing this play when she was eighteen, you know, and 0:45:17.520 --> 0:45:20.800 how like yeah, and how the sensibilities of an eighteen 0:45:20.880 --> 0:45:24.960 year old girl have everything to do with why the 0:45:25.000 --> 0:45:28.080 film is everything that it is and it's it's I 0:45:28.120 --> 0:45:30.759 think it feels so fresh because it is because like 0:45:30.840 --> 0:45:34.560 such a young person wrote it. And it feels very 0:45:34.719 --> 0:45:38.080 like like fresh too, because it doesn't look or feel 0:45:38.160 --> 0:45:42.200 like steeped in super trendy stuff of the time, Like 0:45:42.239 --> 0:45:45.600 it doesn't really look like a two thousand's film, I guess, 0:45:45.880 --> 0:45:49.399 like it's not super stylized like their wardrobe or their 0:45:49.440 --> 0:45:53.800 makeup or their hair or the music. You know. It's like, yeah, 0:45:53.920 --> 0:45:57.239 very wholesome and like a zoomer today who like goes 0:45:57.280 --> 0:46:00.360 thrifting might end up pulling some of the out so 0:46:00.400 --> 0:46:03.280 that America Ferrera is wearing in real women have curves, 0:46:03.360 --> 0:46:06.319 you know, Like it just feels very like, yeah, it 0:46:06.320 --> 0:46:07.360 feels like young. 0:46:07.600 --> 0:46:09.239 I was thinking that so much of it has come 0:46:09.280 --> 0:46:09.880 back around. 0:46:10.320 --> 0:46:12.640 Oh yeah, absolutely, I have. 0:46:12.520 --> 0:46:18.080 A quote from mister Levu himself, let's say his name, 0:46:18.680 --> 0:46:22.080 but yeah, like speaking to you know, like drew attention 0:46:22.120 --> 0:46:25.480 to the fact like this is based on hose Afina's 0:46:25.520 --> 0:46:29.040 experience so much, as told through the soft, warm, humorous 0:46:29.160 --> 0:46:31.920 tone of her experience. Hopefully that's what you're seeing when 0:46:31.960 --> 0:46:34.400 you see the city as different from the gangs and 0:46:34.440 --> 0:46:37.280 the grittiness of other films from this time. Ho Safina 0:46:37.320 --> 0:46:39.719 wanted to show the city as a vibrant place where 0:46:39.760 --> 0:46:42.319 women can have full lives and grow. And I feel 0:46:42.320 --> 0:46:46.520 like this movie pulls that off a million percent. 0:46:47.239 --> 0:46:48.240 Oh yeah, yeah. 0:46:48.360 --> 0:46:53.920 I want to share a quote from the director, Patricia 0:46:54.120 --> 0:46:58.120 Patricia Cardoso says quote, I wanted to show a part 0:46:58.120 --> 0:47:00.839 of Los Angeles we don't usually see in a beautiful way, 0:47:01.200 --> 0:47:04.239 not a CD neighborhood filled with stereotypes of East LA. 0:47:04.840 --> 0:47:07.520 It was important to expand the concept of beauty for women, 0:47:08.080 --> 0:47:12.439 but also for the city and the neighborhoods. So it's 0:47:12.520 --> 0:47:16.480 like in this vision from the director, from the writer, 0:47:16.760 --> 0:47:21.200 all comes through very clearly, in very satisfying ways. 0:47:21.600 --> 0:47:24.680 I had one other behind the scenes thing I wanted 0:47:24.680 --> 0:47:26.719 to and I know this well, this will come in 0:47:26.800 --> 0:47:28.960 and out for the rest of the episode. But I 0:47:29.040 --> 0:47:31.520 was happy that this article, like as I was so 0:47:31.640 --> 0:47:35.640 curious of like the sequence of America Ferrera lore So 0:47:35.719 --> 0:47:38.200 I guess that she had already shot Gotta Kick It 0:47:38.280 --> 0:47:42.200 Up before she shot Real women have curves, and I 0:47:42.320 --> 0:47:44.640 just like, I love this story. It was like when 0:47:44.680 --> 0:47:48.239 she got her check from Gotta Kick It Up, she 0:47:49.120 --> 0:47:53.160 got a car and wanted to go to drama Camp 0:47:53.360 --> 0:47:55.839 and like those are that's what she used her money for, 0:47:56.040 --> 0:47:59.800 as like, she's so great, Wow, they wanted her to 0:48:00.200 --> 0:48:02.840 tion for this movie. She was like, well, I'm going 0:48:02.880 --> 0:48:05.839 to drama Camp. So if you're still casting when I'm 0:48:05.880 --> 0:48:10.759 done at drama Camp, like hit me up basically, and 0:48:11.480 --> 0:48:13.520 like listening to her talk about that in her thirties 0:48:13.520 --> 0:48:15.239 and she was like that was a bold move for 0:48:15.280 --> 0:48:19.239 a seventeen year old to do. But fortunately they still 0:48:19.280 --> 0:48:21.799 wanted me to be in the movie. So I love 0:48:21.800 --> 0:48:25.719 America Frer so much. I was curious about like what 0:48:25.880 --> 0:48:29.480 scenes in this retrospective they would talk about, and there 0:48:29.600 --> 0:48:31.840 was a fair amount of discussion around I feel like 0:48:31.880 --> 0:48:34.680 the scene that people remember best from this movie when 0:48:34.719 --> 0:48:36.319 they're in the factory at the end and they take 0:48:36.360 --> 0:48:38.440 their clothes off and they talk about their bodies and 0:48:38.480 --> 0:48:43.080 it's like this really celebratory, cool moment. So I guess 0:48:43.120 --> 0:48:45.480 America Frere was yeh. I said she was fifteen. I 0:48:45.520 --> 0:48:46.000 was wrong. 0:48:46.080 --> 0:48:48.480 She was seventeen when this movie was being shot. 0:48:48.760 --> 0:48:52.480 But she's still a kid, and I guess that on 0:48:52.640 --> 0:48:58.279 the day that this was being shot, she decided that 0:48:58.360 --> 0:49:01.840 she didn't want to take her pants off. So this 0:49:01.960 --> 0:49:04.360 was sort of this was hashed by a few people, 0:49:04.440 --> 0:49:06.640 I mean, and it seems like, you know, fifteen years later, 0:49:07.440 --> 0:49:11.400 she's fine, everyone's relationship is fine. But at the time, 0:49:11.840 --> 0:49:14.880 so the scene had been blocked, they were ready to 0:49:14.920 --> 0:49:17.600 shoot it. I think prior to the scene being shot, 0:49:17.640 --> 0:49:18.840 America Farah said. 0:49:18.719 --> 0:49:20.319 Okay, that's okay, I'll do that. 0:49:21.000 --> 0:49:23.000 But I just wanted to share a few quotes from 0:49:23.000 --> 0:49:28.040 her because kids acting is like such a such a miyer, 0:49:28.239 --> 0:49:32.480 and she was uncomfortable during that scene. So she says, 0:49:32.719 --> 0:49:34.480 I was seventeen years old and it was only my 0:49:34.520 --> 0:49:36.560 second job. I'd never had to take off my clothes 0:49:36.600 --> 0:49:38.960 in front of a two hundred person crew, most of 0:49:39.000 --> 0:49:42.200 them men. I'm sure I was incredibly intimidated by that. 0:49:42.800 --> 0:49:45.000 I remember wearing a robe between takes, and as the 0:49:45.040 --> 0:49:46.560 day went on, it was too much of a hassle 0:49:46.600 --> 0:49:49.000 to get the robe on and off. So I was like, whatever, 0:49:49.239 --> 0:49:52.279 I'll stand here without the robe. But basically, the crew 0:49:52.320 --> 0:49:55.320 tells this story about how she decided she wasn't comfortable 0:49:55.320 --> 0:49:57.839 taking her pants off, and then I believe. 0:49:57.600 --> 0:49:59.440 The director. 0:50:00.200 --> 0:50:03.400 Faked getting a phone call from an HBO executive. She 0:50:03.560 --> 0:50:06.440 was like, you know, well, you know, this is a 0:50:06.480 --> 0:50:08.279 really important part of the script. We need you to 0:50:08.320 --> 0:50:11.320 do this, and America Frere was like, I'm not comfortable 0:50:11.320 --> 0:50:12.920 with that. I don't want to do it anymore. And 0:50:12.960 --> 0:50:17.120 she's like, well, let me call HBO. The director goes outside, 0:50:17.760 --> 0:50:21.600 fakes a call. So this is from George Levu is 0:50:22.000 --> 0:50:24.400 recapping this, okay, so no, sorry, this is George Levou 0:50:24.719 --> 0:50:30.960 making the call. Levu canceled owt okay, George Levu harsh 0:50:31.000 --> 0:50:33.000 turn in his narrative. I don't like him anymore. 0:50:33.960 --> 0:50:36.800 Yeah, not, Levu's not. 0:50:36.920 --> 0:50:40.920 It's always It's always Levu, though, isn't it. So Levu 0:50:41.080 --> 0:50:44.319 says I made an excuse. I said, let me call 0:50:44.440 --> 0:50:47.239 Colin Callender, who was the head of HBO Films at 0:50:47.239 --> 0:50:49.440 the time. I said, let me see what he wants. 0:50:49.760 --> 0:50:51.880 So I took my phone outside and I pretended to 0:50:51.920 --> 0:50:54.960 call Colin. I came back and said, Colin said you 0:50:55.080 --> 0:50:57.960 have to do it, and she said, okay, we'll do it. 0:50:58.360 --> 0:50:59.840 I didn't know what we were going to do. I 0:51:00.040 --> 0:51:02.880 couldn't imagine the movie without that scene. Hopefully they're happy 0:51:02.920 --> 0:51:08.279 it happened that way. Then Patricia Cardoso jumps on this 0:51:08.440 --> 0:51:11.239 train and says, America was mad at me the whole day. 0:51:11.360 --> 0:51:12.759 It took two days to shoot. 0:51:12.480 --> 0:51:14.640 That scene, and she was so mad she wouldn't even 0:51:14.640 --> 0:51:16.560 look me in the eyes. The next day she came 0:51:16.600 --> 0:51:19.240 running to me and said, you know, now I understand 0:51:19.280 --> 0:51:21.160 why it was important for the character to take off 0:51:21.200 --> 0:51:24.440 her pants. Can we please shoot the scene again? I said, no, 0:51:24.680 --> 0:51:28.920 you did it perfectly. America Ferrera, now in her thirties, 0:51:29.000 --> 0:51:32.080 this is in twenty seventeen, kind of puts a pin 0:51:32.160 --> 0:51:35.200 on this discussion that I was like, I'm mad at 0:51:35.239 --> 0:51:40.239 them personally, But she says, I clearly see how this 0:51:40.320 --> 0:51:44.040 film empowered others to feel seen, liberated and beautiful. But 0:51:44.120 --> 0:51:46.760 I was a child playing everything, but a typical child. 0:51:47.200 --> 0:51:49.920 More than saying, oh that's my body. People watched it 0:51:49.960 --> 0:51:52.400 and said Oh yes, that's how my mom responds to 0:51:52.400 --> 0:51:54.640 my body. That's how my culture responds to my body. 0:51:54.680 --> 0:51:57.239 That's how the world responds to my body. For me, 0:51:57.520 --> 0:51:59.640 being a young woman going through my own journey with 0:51:59.640 --> 0:52:03.440 my body, having seen and talked, having it seen and 0:52:03.520 --> 0:52:06.440 talked about and projected upon by people watching this movie, 0:52:06.480 --> 0:52:09.160 if anything, sort of stunned me for a while, because 0:52:09.200 --> 0:52:11.400 that in and of itself sent a strong message about 0:52:11.400 --> 0:52:14.480 how I should feel about my body, and it was 0:52:14.520 --> 0:52:16.279 a much longer journey for me to get to a 0:52:16.280 --> 0:52:18.919 place where I felt empowered about my body. The way 0:52:19.000 --> 0:52:24.279 that film helped others feel dang. So, I mean it's 0:52:24.800 --> 0:52:28.240 levels for sure, it's complex. I mean personally, I'm like, Okay, 0:52:28.600 --> 0:52:30.760 production wise, I don't think that that was a very 0:52:30.800 --> 0:52:34.080 that was like a dishonest and irresponsible way to handle that. 0:52:34.400 --> 0:52:38.520 Yeah, especially with someone who's underage, who's a minor. 0:52:38.760 --> 0:52:41.799 Right right, I mean she's seventeen in this situation, and 0:52:41.880 --> 0:52:44.960 like that was the one production thing that I learned 0:52:45.040 --> 0:52:49.719 that didn't sit super well because it's like, yeah, this 0:52:49.960 --> 0:52:54.439 like she's an incredible performer, she's but it's I mean, 0:52:54.719 --> 0:52:58.839 a teenager talking about their body on screen is so 0:52:59.040 --> 0:53:02.680 I can't imagine how excruciatingly difficult that, oh yeah must 0:53:02.719 --> 0:53:04.799 have been. And so to have like pressure put on 0:53:04.880 --> 0:53:07.400 top of her, like you have to do this, like 0:53:07.480 --> 0:53:08.400 that sucks. 0:53:08.640 --> 0:53:12.520 Yeah, it's it's like this period of your life where 0:53:12.920 --> 0:53:16.520 irl teenagers are still wearing T shirts in the swimming 0:53:16.520 --> 0:53:19.359 pool and like not showing their bodies to anybody, like 0:53:19.400 --> 0:53:22.920 if they feel uncomfortable. And I think what's interesting too, 0:53:23.000 --> 0:53:25.680 is like America Farara, like in that quote, nowhere is 0:53:25.719 --> 0:53:28.560 she saying that she didn't like her body, or she 0:53:28.680 --> 0:53:31.840 felt fat, or she felt not proud of her body, 0:53:31.960 --> 0:53:34.120 or uncomfortable in her body, you know what I mean. 0:53:34.160 --> 0:53:37.440 It's like there's all these projections, and it has so 0:53:37.520 --> 0:53:40.400 much to do with like of course, it's literally the 0:53:40.880 --> 0:53:44.640 plot and it's the movie, and it's the character and 0:53:44.680 --> 0:53:47.560 it's the storyline. So that's all baked in there, Like 0:53:47.640 --> 0:53:52.320 she's cast in this role because the main character, Anna 0:53:52.360 --> 0:53:55.200 is a Gordadita, she's chubby, so she's got to look 0:53:55.239 --> 0:53:57.840 the part, you know. And then I think about the 0:53:57.920 --> 0:54:00.920 fact that like all the levels right, because has that 0:54:01.120 --> 0:54:04.960 script was written by somebody Josefina who probably experienced this 0:54:05.120 --> 0:54:07.680 exact same like type of body shaming that goes on 0:54:07.760 --> 0:54:11.600 in our families, and then those actresses, being Latinas probably 0:54:11.640 --> 0:54:15.799 have all experienced something similar in their own lives and 0:54:15.880 --> 0:54:19.080 I don't know that in their particular families or lives 0:54:19.120 --> 0:54:22.040 that just because we have this awareness in the script 0:54:22.040 --> 0:54:25.520 and in the movie that you know, everybody is beautiful 0:54:25.600 --> 0:54:29.040 and that fat is beautiful, that those actresses when they 0:54:29.040 --> 0:54:31.920 go home their families are not necessarily on board, like 0:54:32.000 --> 0:54:34.960 that script is probably still there, you know, like that 0:54:35.120 --> 0:54:36.880 is still happening in the outside world. 0:54:37.239 --> 0:54:37.960 Yeah, you know. 0:54:38.120 --> 0:54:41.239 So it's just I just think about the compounded levels of. 0:54:41.200 --> 0:54:45.239 It all in a movie like this, right, Yeah, And 0:54:45.560 --> 0:54:48.560 you hear about stories where like a scene like this 0:54:49.160 --> 0:54:54.640 is in the script and calls for nudity, partial nudity, 0:54:54.800 --> 0:54:56.239 you know, people wearing underwear. 0:54:56.680 --> 0:55:00.560 I didn't feel like inappropriate or exploitative, but I also not, like, 0:55:00.640 --> 0:55:03.960 no can totally understand why a seventeen year old actor, 0:55:04.480 --> 0:55:06.920 when the moment comes to take your clothes off in 0:55:06.920 --> 0:55:10.200 front of two hundred people, no matter how safe you are, 0:55:10.400 --> 0:55:13.359 it's like that's you can feel amazing about your body 0:55:13.400 --> 0:55:15.800 and be uncomfortable with that, Like that's yeah. 0:55:15.880 --> 0:55:17.480 So that's what I was gonna say. You hear stories 0:55:17.520 --> 0:55:19.960 about like some productions being like, Okay, I know this 0:55:20.040 --> 0:55:22.759 is going to be a potentially very uncomfortable scene for 0:55:23.200 --> 0:55:25.160 the actors, so we're going to take a bunch of 0:55:25.200 --> 0:55:28.400 precautions to make it as comfortable as possible. And that 0:55:28.719 --> 0:55:32.440 it ranges from like hiring like choreo if it's like 0:55:32.480 --> 0:55:36.160 a sex scene, like a sex choreographer will basically be hired, 0:55:36.400 --> 0:55:38.600 or like there will be like social workers or other 0:55:38.680 --> 0:55:41.600 kind of like mental health professionals on set or like 0:55:41.680 --> 0:55:45.239 nearby to consult with if the actors need like to 0:55:45.280 --> 0:55:47.440 consult with somebody or touch with someone, there will be 0:55:47.480 --> 0:55:50.080 a reduced crew where like normally the crew might be 0:55:50.120 --> 0:55:52.600 two hundred people, but on a shoot day like that, 0:55:53.000 --> 0:55:56.520 you scale it way back. I've heard of like let's 0:55:56.520 --> 0:55:58.880 say the DP is a man, but they will like 0:55:58.960 --> 0:56:01.799 temporarily hire a woman. I mean they could have just 0:56:02.120 --> 0:56:04.880 hired a woman anyway, but they. 0:56:05.239 --> 0:56:09.000 They did say that, like it wasn't actually two hundred people. 0:56:09.239 --> 0:56:12.799 It was that was like I think America Frere was like. 0:56:14.400 --> 0:56:15.960 Hype. What is hyperbolic? 0:56:16.040 --> 0:56:18.920 Hyper hyperbolic? 0:56:19.160 --> 0:56:21.239 Yeah, I went to school, I swear. 0:56:23.480 --> 0:56:27.759 So per Levu there were like dividers up so that 0:56:27.880 --> 0:56:30.960 not every member of the crew had access to the 0:56:31.000 --> 0:56:34.680 shooting of this scene. So I don't have the number count, 0:56:34.760 --> 0:56:37.719 but it was like America decided she didn't want to 0:56:37.719 --> 0:56:39.960 take off her pants in front of the crew, and 0:56:40.000 --> 0:56:43.520 I guess she told her director that she was like, oh, 0:56:43.520 --> 0:56:45.600 I don't think that the character would actually do that 0:56:45.760 --> 0:56:49.440 or all this stuff, and it just I mean, also, 0:56:49.600 --> 0:56:53.759 I don't envy the director's position and that situation either, 0:56:53.800 --> 0:56:56.600 because that's a really true especially on a on a 0:56:56.719 --> 0:56:59.320 like a lower budget movie, that's a really really difficult 0:56:59.320 --> 0:57:00.440 position to be put in. 0:57:00.920 --> 0:57:02.839 Yeah, for sure, but it could have been handled better. 0:57:02.960 --> 0:57:03.600 She's a kid. 0:57:04.200 --> 0:57:08.439 I wonder too that scene. I wish that I could 0:57:08.480 --> 0:57:11.840 see it like how it was staged for the theater 0:57:12.120 --> 0:57:16.720 and for the stage, because I can imagine that. You know, obviously, 0:57:16.760 --> 0:57:19.840 on camera you see a certain you can only see 0:57:19.880 --> 0:57:22.080 so much and things are kind of far away, you know, 0:57:22.160 --> 0:57:24.240 And I feel like on the stage and in the 0:57:24.240 --> 0:57:26.680 theater you're much up close and personal, and I can 0:57:26.720 --> 0:57:31.040 just imagine that the row of like the factory scenes, 0:57:31.080 --> 0:57:34.080 and the row of sewing machines and the women sewing 0:57:34.160 --> 0:57:36.600 and the sounds and the visual is probably very striking 0:57:36.640 --> 0:57:39.560 and dynamic on stage. And I'm sure that when it 0:57:39.600 --> 0:57:42.000 gets to that part about them taking off their clothes 0:57:42.000 --> 0:57:44.760 and showing off their stretch marks and their cellulite, that 0:57:44.760 --> 0:57:48.000 that's very impactful on stage and very dynamic, you know, 0:57:48.600 --> 0:57:51.680 in a different way than in the movie. And like 0:57:51.720 --> 0:57:53.960 I wonder how it was handled even like for the 0:57:54.040 --> 0:57:57.560 stage and the taking off the clothes and the lead 0:57:57.600 --> 0:58:01.960 actress and those pieces. Is because it's a scene that 0:58:02.040 --> 0:58:04.840 everybody loves. It's like a standout scene for everyone. 0:58:06.000 --> 0:58:08.440 I would love to see a stage production of this. 0:58:08.640 --> 0:58:11.600 I also didn't know that I guess Hosafina Lopez opened 0:58:11.600 --> 0:58:14.160 a theater in Boyle Heights. 0:58:14.280 --> 0:58:18.000 Yes, that's Gasa zero zero one, I want to say, yeah. 0:58:18.160 --> 0:58:18.600 Yeah. 0:58:18.840 --> 0:58:22.800 Back in two thousand on First Street, she has a 0:58:22.840 --> 0:58:27.280 restaurant also called Gasa Fina. Oh way on First Street 0:58:27.320 --> 0:58:31.280 in Mariachi Plaza and then so so, and Mariaci Plaza 0:58:31.480 --> 0:58:34.640 is featured in the movie throughout like you see it right, 0:58:34.840 --> 0:58:37.280 and Anna goes on her dates in Mariachi Plaza and 0:58:37.320 --> 0:58:39.640 she walks through Mariachi Plaza to catch her bus to 0:58:39.720 --> 0:58:43.400 high school. So right there on First she has her restaurant, 0:58:43.440 --> 0:58:47.280 Gasa Mama, Gasa Fina, Gasa Fina, and then the theater 0:58:47.600 --> 0:58:48.240 down the street. 0:58:49.000 --> 0:58:49.640 That's a cool. 0:58:50.200 --> 0:58:51.360 Yeah, so that was all. 0:58:51.480 --> 0:58:54.040 That was all the behind the scenes stuff I had. 0:58:54.880 --> 0:58:57.439 Well, yeah, so let's let's take a break and then 0:58:57.640 --> 0:59:02.680 we'll come back and discuss the story, the movie, the characters, 0:59:02.720 --> 0:59:14.520 et cetera. And we're back. 0:59:14.840 --> 0:59:20.160 Okay, let's get into talking about the actual what happens 0:59:20.160 --> 0:59:20.760 in the movie. 0:59:20.960 --> 0:59:24.240 I really liked. I know, I feel like every. 0:59:24.040 --> 0:59:26.800 Time we see public transportation in a movie, I get 0:59:26.840 --> 0:59:27.440 so excited. 0:59:27.960 --> 0:59:30.439 But I really like. 0:59:30.560 --> 0:59:32.880 I feel like we've covered five trillion movies where it's 0:59:32.880 --> 0:59:35.600 like New York is kind of a character ra ra rare. 0:59:35.880 --> 0:59:40.680 But this movie, I think like La is On is like. 0:59:40.840 --> 0:59:42.959 Really strutting its stuff in this one. 0:59:43.200 --> 0:59:47.840 It is so beautiful and so like well done, and 0:59:48.040 --> 0:59:50.200 I love that you sort of navigate the city with 0:59:50.400 --> 0:59:52.240 public transit and I just. 0:59:52.560 --> 0:59:53.280 Really liked it. 0:59:53.560 --> 0:59:54.760 Yeah, yes, heart agree. 0:59:54.920 --> 0:59:59.920 That is again like something you don't see when you want. 1:00:00.320 --> 1:00:03.800 Except for the iconic film Speed nineteen ninety two. 1:00:03.720 --> 1:00:06.560 Could it have happened that the La Metro certainly not. 1:00:07.560 --> 1:00:10.360 But yeah, I mean there's there's so much this movie 1:00:10.520 --> 1:00:13.520 is doing as far as representation goes, as far as 1:00:14.400 --> 1:00:19.360 just like again, powerful messaging. You know, it's a predominantly 1:00:19.480 --> 1:00:26.040 LATINX cast. I love that Spanish is spoken frequently among 1:00:26.200 --> 1:00:28.320 the characters because I feel like a lot of Hollywood 1:00:28.320 --> 1:00:32.200 executives would cite that as a thing like that will 1:00:32.200 --> 1:00:35.840 make this movie too inaccessible for a mainstream audience. 1:00:36.120 --> 1:00:39.240 But it's funny too, because you already had so many 1:00:39.360 --> 1:00:42.040 like okay, like we had tons of Star Wars movies 1:00:42.320 --> 1:00:44.880 already at this time, and they're speaking all kinds of 1:00:44.920 --> 1:00:49.680 different made up alien languages like in those films. But 1:00:49.760 --> 1:00:53.480 Spanish is too much, that is too inaccessible, right, Like. 1:00:53.520 --> 1:00:56.640 Oh no, a language that most people in the US 1:00:56.880 --> 1:01:01.680 speak to some degree can't have that well like not that. 1:01:02.120 --> 1:01:04.120 Meanwhile, Elvish is. 1:01:05.480 --> 1:01:08.240 Making a huge comeback at this same time. 1:01:09.680 --> 1:01:12.080 All right, because Lord of the Rings two Towers comes 1:01:12.080 --> 1:01:13.120 out the same year. 1:01:13.880 --> 1:01:17.280 There you go. I feel like the movie sometimes I 1:01:17.280 --> 1:01:20.560 feel like a movie like real women have curves, especially 1:01:20.560 --> 1:01:24.360 at this time, is almost like a crossover situation, even 1:01:24.400 --> 1:01:29.600 though it's Mexican Americans, like in La, like her character 1:01:29.840 --> 1:01:33.560 ostensibly is like you know, first or second generation, like 1:01:33.600 --> 1:01:37.560 Mexican American. And part of why I love the bus 1:01:37.600 --> 1:01:41.320 conversation and the travel conversation is because there's this crossover 1:01:41.400 --> 1:01:44.440 that happens in La. It's this east side west side crossover, 1:01:44.840 --> 1:01:49.000 and you see them. She's crossing the bridge via bus 1:01:49.040 --> 1:01:51.840 and via her dad's pickup truck to go from her 1:01:51.840 --> 1:01:56.160 east side neighborhood pass through downtown to work or to 1:01:56.360 --> 1:01:58.760 end up in Beverly Hills on the west side for 1:01:58.880 --> 1:02:03.120 school or for the dad's job. And I think that's 1:02:03.280 --> 1:02:06.640 almost like the story of the movie. It's like born 1:02:06.720 --> 1:02:09.560 here on the east side, she was taking meetings and 1:02:09.600 --> 1:02:11.920 she was on the west side ho Safina. I'm sure 1:02:12.440 --> 1:02:15.560 a lot Becau's trying to get this movie made, and 1:02:16.120 --> 1:02:18.000 it's like a journey that I think, like if you're 1:02:18.040 --> 1:02:20.080 in La local, Like we joke about this, me and 1:02:20.120 --> 1:02:23.040 my co host Yosa, because we live I live sort 1:02:23.040 --> 1:02:24.680 of in the mid City area, which is a little 1:02:24.680 --> 1:02:28.880 more west, but it's close to downtown, and the USA 1:02:29.080 --> 1:02:32.720 lives sort of southeast, and our community is sort of 1:02:33.040 --> 1:02:36.520 here west of Librea and beyond, and we hear so 1:02:36.560 --> 1:02:39.800 many people like Transplant saying, oh La, like I never 1:02:39.880 --> 1:02:42.240 go east of Librea anything east of Librea is the 1:02:42.280 --> 1:02:44.640 east side, Downtown is the east side, silver Lake is 1:02:44.680 --> 1:02:48.680 the east side. There's this disconnect in what LA is. 1:02:48.960 --> 1:02:51.800 I've we've heard this so many times. So anytime that 1:02:51.840 --> 1:02:53.720 we have to go to the west side and leave 1:02:53.720 --> 1:02:57.520 our little enclaves, it's a thing. It's a journey. It's oh, 1:02:57.560 --> 1:02:59.680 we're going to the west side, you know. So I 1:02:59.680 --> 1:03:02.439 feel like Kosefina was going to the west side, and 1:03:02.600 --> 1:03:04.920 in this movie they traveled to the west side. 1:03:05.400 --> 1:03:06.360 It's like ivan. 1:03:06.560 --> 1:03:06.720 Yeah. 1:03:06.800 --> 1:03:11.840 For for listeners who do not understand truly, the grand 1:03:12.000 --> 1:03:15.240 trek that Anna was taking to get to school every day, 1:03:15.400 --> 1:03:17.200 it's I was I was trying to do the math 1:03:17.200 --> 1:03:18.880 in my head. I'm like, that's at least an hour 1:03:18.920 --> 1:03:22.520 and a half if the bus comes on time. 1:03:22.600 --> 1:03:25.760 Because she's like transfers. She like goes from like Boil 1:03:25.800 --> 1:03:31.960 Heights to Hollywood and Vine. She's taking transfers, which. 1:03:31.840 --> 1:03:34.280 Is a yeah, that's uh. 1:03:34.400 --> 1:03:38.960 The buses here look pro. But we could use some 1:03:38.960 --> 1:03:42.240 more routes, could use some more routes, use some more frequency, 1:03:42.360 --> 1:03:45.920 because yeah, sometimes you're like, why am I doing a 1:03:46.200 --> 1:03:49.280 yo yo act to get somewhere that is objectively three. 1:03:49.080 --> 1:03:52.800 Miles from where I'm sitting unclear, look. 1:03:53.080 --> 1:03:56.840 Right, but but but I loved that the movie took 1:03:56.960 --> 1:04:00.360 that time to show you that journey because it like 1:04:00.400 --> 1:04:07.200 it effortlessly communicates the class struggle that Anna is dealing 1:04:07.240 --> 1:04:10.520 with without having to like bop you over the head 1:04:10.520 --> 1:04:12.880 with it. It's just like an effortless part of the story. 1:04:12.960 --> 1:04:16.320 I love how you're just told visually. And also like 1:04:16.360 --> 1:04:19.760 when you see that kid Jimmy come to the east 1:04:19.840 --> 1:04:23.120 Side and like, clearly it sounds like he's like one 1:04:23.120 --> 1:04:25.800 of the people you're talking about, Malla. 1:04:25.600 --> 1:04:28.560 Where's it's He's like what what? 1:04:29.120 --> 1:04:32.320 Like there's a part where he's like because she knows 1:04:32.360 --> 1:04:35.080 him from school, and he goes to school in Beverly Hills, 1:04:35.080 --> 1:04:37.800 so you can presume that he probably lives in Beverly 1:04:37.880 --> 1:04:38.400 Hills as well. 1:04:38.440 --> 1:04:41.640 It's like Shar's little brother or something. 1:04:41.960 --> 1:04:44.360 Yes, yeah, he's Elijah Wood's son. 1:04:44.960 --> 1:04:48.400 No, he's like he's of the Wood family for sure. 1:04:48.600 --> 1:04:51.080 Yes, yeah, summering with the Wood family. 1:04:52.720 --> 1:04:55.479 He's like, I wanted to go to Europe with you. 1:04:55.560 --> 1:04:58.480 Things are just too easy here. You know, you're handed everything, 1:04:58.760 --> 1:05:01.800 You're handed school, your hand, a car. That's why I 1:05:01.840 --> 1:05:05.040 want to teach, and it's like, Okay, you're saying this 1:05:05.200 --> 1:05:08.840 to Anna, who comes from a working class, blue collar 1:05:08.920 --> 1:05:13.280 family where most of her family works in a clothing 1:05:13.400 --> 1:05:18.040 factory where their labor is for sure being exploited because 1:05:18.080 --> 1:05:22.040 they're assembling dresses for eighteen dollars. 1:05:20.960 --> 1:05:24.440 To be sold at the Bloomingdale's that his family probably 1:05:24.480 --> 1:05:25.120 shops at. 1:05:26.240 --> 1:05:29.240 And Anna takes the bus. She's like, what are you 1:05:29.320 --> 1:05:29.960 talking about? 1:05:30.120 --> 1:05:33.360 I take the bus and he's like, we have buses here, 1:05:33.800 --> 1:05:34.360 like right. 1:05:36.240 --> 1:05:39.360 What I love about that scene is like Anna doesn't 1:05:39.400 --> 1:05:42.120 say any of that, you know, she just like listens 1:05:42.160 --> 1:05:46.200 to him and she's like, okay, sure, Jimmy, you know, 1:05:46.320 --> 1:05:49.960 she doesn't have to. It's so fascinating to me she doesn't. 1:05:50.160 --> 1:05:53.440 She doesn't feel compelled to tell him he's wrong or 1:05:53.480 --> 1:05:55.440 that he has it easy, or that her life is 1:05:55.480 --> 1:05:58.240 so hard, or well here's what's She's on the bus. 1:05:58.240 --> 1:06:00.240 She doesn't have a car. It's not easy for her. 1:06:00.520 --> 1:06:03.800 And I always find those choices really fascinating of like 1:06:03.880 --> 1:06:06.800 how much Anna is like sharing with him or not, 1:06:07.200 --> 1:06:10.680 you know, right, because I think that in and that 1:06:10.840 --> 1:06:13.320 sex scene that they have where he's like, I'll right you, 1:06:13.400 --> 1:06:16.000 I'll call you, and she's very kind of cold and 1:06:16.200 --> 1:06:20.720 says no, like for what she knows, Like this guy 1:06:20.880 --> 1:06:23.120 is for for the now, but this is not He's 1:06:23.160 --> 1:06:25.800 not my future and he doesn't need to know all 1:06:25.840 --> 1:06:27.560 of me. And I think that's so interesting. 1:06:28.400 --> 1:06:31.560 Yeah, And that's just like that just like felt so 1:06:32.640 --> 1:06:35.760 real to me, and just like it just shows how 1:06:35.840 --> 1:06:39.160 she is a very like multi dimensional complex character where 1:06:39.600 --> 1:06:42.720 you know, she has no qualms about challenging her mom, 1:06:42.880 --> 1:06:47.680 challenging her sister, you know, challenging Missus Glass, the owner 1:06:47.760 --> 1:06:51.560 of the clothing manufacturer, like, but she isn't quite so 1:06:51.720 --> 1:06:54.040 challenging to some of the things that Jimmy says, because 1:06:54.080 --> 1:06:56.840 he says something like, uh, and you know, we'll talk 1:06:56.880 --> 1:07:01.360 all about like the body and fat shaming she experiences, 1:07:01.400 --> 1:07:04.640 but he says something like you're not fat, you're beautiful, 1:07:04.720 --> 1:07:07.520 and as if those two things are mutually exclusive. 1:07:08.680 --> 1:07:11.919 Jimmy, Jimmy, Jimmy Jimmy. 1:07:11.960 --> 1:07:15.520 And she doesn't challenge that. But it's just a much 1:07:15.600 --> 1:07:19.000 more different dynamic that she has with this kid. She's 1:07:19.080 --> 1:07:21.840 this like rich white kid she's just getting to know 1:07:22.360 --> 1:07:25.960 versus her mom, who she's lived her entire life with. 1:07:26.040 --> 1:07:27.720 And that just like felt like said, you know, we 1:07:27.800 --> 1:07:31.520 all kind of switch our behavior and you know, based 1:07:31.560 --> 1:07:34.160 on who we're interacting with, and so that just like 1:07:34.200 --> 1:07:37.000 felt very familiar relatable. 1:07:37.720 --> 1:07:40.439 Yeah, and it is just such a cool character where 1:07:40.480 --> 1:07:43.560 every time I don't know, like you can see even 1:07:43.560 --> 1:07:46.320 in that scene with Jimmy, I really like when she 1:07:46.480 --> 1:07:48.320 was like, we're not gonna have anything to talk about 1:07:48.400 --> 1:07:50.200 in three months, like don't. 1:07:49.960 --> 1:07:52.160 Bother, blah blah blah, Like that was so cool. 1:07:52.240 --> 1:07:54.800 And then but in the scene right after you do 1:07:54.880 --> 1:07:58.120 see that, like there is some insecurity attached to her 1:07:58.160 --> 1:07:59.760 setting that boundary in that. 1:07:59.680 --> 1:08:02.520 Way where she's like, well, you're. 1:08:02.320 --> 1:08:05.200 Gonna have some like skinny white girlfriend in a couple 1:08:05.240 --> 1:08:08.520 of months anyways, So like, why would I the subject 1:08:08.560 --> 1:08:11.800 being like, why would I emotionally invest in a Jimmy 1:08:12.360 --> 1:08:12.960 of the world? 1:08:13.240 --> 1:08:18.240 And here's my question. Jimmy says that he's got into 1:08:18.280 --> 1:08:21.680 Teachers College, which leads me to believe he's enrolling at 1:08:21.680 --> 1:08:26.400 Columbia University. She gets into Columbia University, she ends up 1:08:26.439 --> 1:08:30.800 in New York. Is there a real woman Have Curves 1:08:31.120 --> 1:08:37.000 sequel where she wears the red dress in New York 1:08:37.280 --> 1:08:42.120 and they reunite somehow is that why there loose ends, Well. 1:08:42.240 --> 1:08:45.400 This is becoming a what oh my gosh, it's becoming 1:08:45.400 --> 1:08:49.120 a to all the boys I loved before style saga. 1:08:49.240 --> 1:08:52.599 Yes, yeah, a whole thing. 1:08:52.920 --> 1:08:54.960 I have to wonder it's not too late. 1:08:55.040 --> 1:08:57.439 Yes it's twenty years later, but you know, I'm. 1:08:57.240 --> 1:08:59.080 Still waiting for that red dress payoff. 1:08:59.360 --> 1:09:01.800 I'll be on Yeah. Yeah. 1:09:01.840 --> 1:09:05.080 The other thing that I thought was interesting as it 1:09:05.160 --> 1:09:10.440 relates to the kind of class commentary is Missus Glass. 1:09:10.520 --> 1:09:13.479 So again, she's the owner of the dress manufacturing company 1:09:13.920 --> 1:09:17.559 that Estella is a contractor of. And there's that scene 1:09:17.600 --> 1:09:20.240 where Estella she's like at first trying to write an 1:09:20.280 --> 1:09:24.080 email to her, and Anna is like, you gotta go 1:09:24.160 --> 1:09:26.519 down and like talk to her. You're never gonna get 1:09:26.520 --> 1:09:29.720 anywhere with an email. So Anna goes with her, you know, 1:09:29.920 --> 1:09:35.880 ends up like advocating pretty hard, far more than Estella can. 1:09:35.960 --> 1:09:38.000 But it's also like, you know, more is at stake 1:09:38.040 --> 1:09:40.120 for Estella, so you don't you know, you get why 1:09:40.160 --> 1:09:44.439 she's a bit intimidated by Missus Glass. But there's that 1:09:44.520 --> 1:09:47.639 moment where Missus Glass is like, you know, I believe 1:09:47.680 --> 1:09:50.479 a woman like me should help a woman like you, 1:09:50.720 --> 1:09:52.920 but I can only help you so much and basically 1:09:52.960 --> 1:09:55.880 tells her she has to pick herself up by her bootstraps. Yeah, 1:09:55.920 --> 1:09:59.559 because she despite also being like a Latina woman who 1:09:59.680 --> 1:10:02.240 you know, like saw something in Estella and like that's 1:10:02.240 --> 1:10:04.000 why she wanted to help her out. But she's also 1:10:04.040 --> 1:10:08.599 a capitalist who is for sure exploiting Estella's labor. Yeah, 1:10:08.640 --> 1:10:11.559 you hate to see it, but that shit also does happen. 1:10:11.640 --> 1:10:12.479 It does happen. Yeah. 1:10:12.520 --> 1:10:16.360 I find the Missus Glass character so fascinating because that 1:10:16.479 --> 1:10:19.000 character can be open to so many interpretations, Like we 1:10:19.040 --> 1:10:22.360 can create so many storylines behind her life. Is this 1:10:22.600 --> 1:10:27.280 like an Argentinian Latina with the last name Glass? Like 1:10:27.760 --> 1:10:31.439 is she like a third gen like Mexican American who 1:10:31.479 --> 1:10:34.320 like went to like Harvard Business School? Like who is 1:10:34.360 --> 1:10:37.559 this woman? And why is she the way that she is? 1:10:37.800 --> 1:10:38.000 You know? 1:10:38.439 --> 1:10:38.559 Right? 1:10:38.840 --> 1:10:41.120 And I love the tension there too with like you 1:10:41.160 --> 1:10:43.519 have Anna, who like went to Beverly Hills High School 1:10:44.080 --> 1:10:49.000 and is college bound and is very kind of she 1:10:49.040 --> 1:10:51.040 feels like she knows a lot of things right, And 1:10:51.080 --> 1:10:53.080 I feel like there's a lot of like power trips 1:10:53.080 --> 1:10:55.400 in this movie about what we know and what we 1:10:55.479 --> 1:10:58.160 don't know. So I think Anna feels like among her family, 1:10:58.479 --> 1:11:00.680 she knows more things than like her mom, and her 1:11:00.680 --> 1:11:03.800 mom feels like, well, a woman knows, and a mother knows, 1:11:03.840 --> 1:11:07.320 and that's her favorite saying, you know, because she's a mom, 1:11:07.400 --> 1:11:09.519 so she knows, and she's a married woman, so she knows. 1:11:09.520 --> 1:11:11.639 And Anna went to Beverly Hills High, so she knows, 1:11:12.200 --> 1:11:15.679 you know. And so Anna thinks. Anna thinks that she's 1:11:15.680 --> 1:11:18.120 about to help her sister out and like negotiate with 1:11:18.160 --> 1:11:20.599 this business lady. But Anna is way and over her 1:11:20.640 --> 1:11:23.080 head and this lady is way out of her league, 1:11:23.840 --> 1:11:26.080 and Anna's actually doing more harm than good. And she 1:11:26.240 --> 1:11:29.679 thinks she's helping, you know. And so it's like, maybe 1:11:29.720 --> 1:11:32.000 there's a reason Estella has been kind of moving the 1:11:32.000 --> 1:11:35.200 way she's been moving, because maybe Estella knows something that 1:11:35.240 --> 1:11:37.960 Anna doesn't know, right, And I love all of that, 1:11:37.960 --> 1:11:40.960 that kind of merry go round, I. 1:11:40.920 --> 1:11:43.439 Don't think in my I think I got I was 1:11:43.560 --> 1:11:45.960 so caught up in the Anna of it all in 1:11:46.000 --> 1:11:49.360 my earlier viewings because it's like that is, especially if 1:11:49.360 --> 1:11:51.519 you're like a teen girl, you're plugging yourself into Anna, 1:11:51.720 --> 1:11:56.599 like end of story. I didn't think as much as 1:11:56.640 --> 1:11:59.960 I probably should have about Estella's character, and on prepping 1:12:00.120 --> 1:12:02.960 for this episode, I was like kind of blown away 1:12:02.960 --> 1:12:07.519 by how much there is in Estella's character, even though, 1:12:07.600 --> 1:12:10.200 like I mean, she's a main character, but she doesn't like. 1:12:10.200 --> 1:12:12.400 Actually speak that much. 1:12:12.520 --> 1:12:15.680 She doesn't take a ton of like action action or 1:12:15.880 --> 1:12:19.639 because it's so Ana's story and the relationship between Anna 1:12:19.640 --> 1:12:22.320 and her mother is so focused on. But I really 1:12:22.360 --> 1:12:24.840 love Estella, and I don't think I like had the 1:12:24.840 --> 1:12:29.280 tools to understand what she was up against when I 1:12:29.320 --> 1:12:33.360 first saw this movie, because Anna is so headstrong and 1:12:33.400 --> 1:12:36.360 like pushes back on everything and in a way that 1:12:36.400 --> 1:12:39.479 it's like really cathartic and cool to see, and and 1:12:39.520 --> 1:12:40.920 I think in my mind at the time, I'm like, well, 1:12:40.920 --> 1:12:43.840 why doesn't Estella stand up for herself more? And like 1:12:44.000 --> 1:12:49.240 not understanding there the dynamic there where even watching like 1:12:49.479 --> 1:12:54.360 how like it's clear that ten years prior Estella was 1:12:54.439 --> 1:12:57.840 treated the way Anna's being treated now by her mother, 1:12:57.920 --> 1:13:00.320 which is I f like represented in that scene where 1:13:00.880 --> 1:13:03.759 their mom basically says, like, well, it's too late for Estella. 1:13:03.840 --> 1:13:06.800 I'm going to focus on Anna, And it seems like 1:13:07.040 --> 1:13:12.000 Estella has put so much energy and like her life 1:13:12.040 --> 1:13:15.280 into pleasing her mom. And doing what she thinks is 1:13:15.320 --> 1:13:18.120 the right thing and trying to like meet the bar 1:13:18.360 --> 1:13:20.599 that their mom is setting that no one can ever 1:13:20.680 --> 1:13:25.759 actually reach. Yeah, and then ten years later be blamed for. 1:13:25.680 --> 1:13:28.880 It, and she's still not the mom's favorite. 1:13:28.640 --> 1:13:30.880 Right, and then like ten years later, she's still catching 1:13:30.880 --> 1:13:32.840 shit for it and her mom has given up on 1:13:32.960 --> 1:13:37.040 her for no reason, even though Estella seems like she like, yeah, 1:13:37.200 --> 1:13:40.080 is I mean, I don't know enough about how a 1:13:40.120 --> 1:13:42.000 textile factory is run to say this for sure, but 1:13:42.000 --> 1:13:44.160 it seems like Estella is kind of like doing the 1:13:44.200 --> 1:13:49.160 bulk of the day to day stuff. She's handling all 1:13:49.280 --> 1:13:52.720 the rent issues and the checks and like a lot 1:13:52.720 --> 1:13:56.120 of the high level stuff, but is like not appreciated 1:13:56.200 --> 1:13:59.479 by the powers that be, certainly, but also doesn't seem 1:13:59.479 --> 1:14:02.040 it seems like she she's really undervalued by her own mom. 1:14:02.880 --> 1:14:05.240 And just like seeing how that because that does I 1:14:05.280 --> 1:14:08.840 don't know, like being Estella's age and not Ana's now 1:14:08.880 --> 1:14:11.000 you're like that does wear on you. And of course 1:14:11.040 --> 1:14:16.519 there's just like Anna has the energy to fight every battle, 1:14:16.600 --> 1:14:21.120 and it's like, but that changes over time, and I 1:14:21.200 --> 1:14:22.760 just love Estella and. 1:14:22.720 --> 1:14:26.040 With no Stellash, I feel like Estella's underrated too, because 1:14:26.120 --> 1:14:30.520 if I knew somebody who had their own dress manufacturing 1:14:30.560 --> 1:14:35.479 business and was selling gowns to Bloomingdale's, like was filling 1:14:35.600 --> 1:14:39.479 orders constantly, that's a big fucking deal. Like that's an 1:14:39.560 --> 1:14:46.160 accomplished seamstress designer, like business woman, Like that's nothing to 1:14:46.240 --> 1:14:50.280 sneeze at. She's being exploited. It is literally a sweatshop setting. 1:14:50.800 --> 1:14:54.000 But it's impressive when we really break it down and 1:14:54.040 --> 1:14:57.120 think about what she's doing there. And I don't think 1:14:57.160 --> 1:14:58.120 that Anna sees that. 1:14:58.200 --> 1:15:00.880 She's literally phantom thread like. 1:15:03.600 --> 1:15:08.200 It's also it's like further complicated by so you can 1:15:08.320 --> 1:15:12.760 kind of imagine that Estella took up this business because 1:15:12.800 --> 1:15:15.360 that's what her mom did. Like Carmen says that she 1:15:15.760 --> 1:15:18.559 has been sewing for thirty eight years and she started 1:15:18.600 --> 1:15:21.040 when she was like thirteen. So like you have Estella 1:15:21.160 --> 1:15:23.840 like taking in her mom, you know, like taking after 1:15:23.840 --> 1:15:29.599 her month. Let's the expression take something footsteps following, following 1:15:29.760 --> 1:15:32.960 in her footsteps. I was like, why can't I put 1:15:33.000 --> 1:15:33.880 this sentence together? 1:15:33.920 --> 1:15:36.080 It's nine degrees. 1:15:35.160 --> 1:15:40.280 Why So she's following in her mom's footsteps, possibly to 1:15:41.120 --> 1:15:44.040 impress her mom, possibly because that's the skill her mom 1:15:44.080 --> 1:15:47.040 taught her, you know, there could be any number of reasons, 1:15:47.160 --> 1:15:51.760 and was able to open up her own factory. Yeah, 1:15:51.760 --> 1:15:54.200 which I think maybe it seems to be implied that 1:15:54.280 --> 1:15:58.759 like that's something that Carmen didn't have the opportunity or 1:15:58.960 --> 1:16:01.160 the money that you need to start your own business, 1:16:01.479 --> 1:16:04.920 but it's something that Estella was able to do. And 1:16:05.000 --> 1:16:08.280 so she started her own business. And now she employs 1:16:08.439 --> 1:16:12.280 her mom, so she's her mom's boss. And then her 1:16:12.320 --> 1:16:18.800 mom mentions how from decades of sewing, she's she's become arthritic. 1:16:19.320 --> 1:16:22.519 She can't see very well, and she's like not actually 1:16:22.600 --> 1:16:26.280 able to work very well because like this hard labor 1:16:26.479 --> 1:16:29.840 has really worn on her over the years. But she's 1:16:29.880 --> 1:16:33.839 ashamed by that and is not really communicating that too Estella, 1:16:33.880 --> 1:16:36.160 but she tells it to Anna, and it's just like 1:16:36.200 --> 1:16:41.000 there's like so many such an interesting and complicated family dynamic. 1:16:41.560 --> 1:16:44.200 Yeah. Yeah, there's a lot of layers, and it's like 1:16:44.720 --> 1:16:48.840 you have this situation where like the mother and the 1:16:48.920 --> 1:16:53.479 sister have dignity in their work, even though it's not ideal, 1:16:53.640 --> 1:16:56.759 because that is such a step. Like she's a business owner, 1:16:56.840 --> 1:17:00.519 she is doing deals with blooming Dale's and this team. 1:17:00.560 --> 1:17:05.200 They're employing people. Right. There's this scene where Carmen and 1:17:05.320 --> 1:17:08.320 Anna's father they're talking to each other and the father 1:17:08.439 --> 1:17:11.760 is saying, she can learn a lot at Columbia, Like 1:17:11.800 --> 1:17:14.639 she's accepted, she got a scholarship, she can go get educated. 1:17:14.960 --> 1:17:18.120 And her mother says, I can educate her. I can 1:17:18.160 --> 1:17:20.080 teach her how to sew. I can teach her how 1:17:20.120 --> 1:17:22.000 to take care of children. I can teach her how 1:17:22.040 --> 1:17:24.320 to keep a house. She doesn't do laundry. She's my 1:17:24.360 --> 1:17:27.400 greatest disappointment, you know, she doesn't listen to me. And 1:17:27.920 --> 1:17:30.799 you know, it's interesting because I think there's a piece 1:17:30.840 --> 1:17:34.000 there where like the mom and the sister are like, 1:17:34.840 --> 1:17:39.519 we like our lives and we are doing work, and 1:17:39.680 --> 1:17:43.160 we are supporting ourselves, and this is a dignified life 1:17:43.160 --> 1:17:46.479 that's also worth living, you know. And so there's this 1:17:46.680 --> 1:17:50.160 like divide there where she's very young and she's pushing 1:17:50.200 --> 1:17:52.880 back on it and she's pooh pooing it, but it's 1:17:52.880 --> 1:17:56.920 what's also allowed her to go to Beverly Hills High School, 1:17:57.280 --> 1:18:00.840 you know, and she's had that familial support. So there's 1:18:00.840 --> 1:18:03.559 that push and pull there where like in their heart 1:18:03.560 --> 1:18:06.040 of hearts, they want more for her, but they know that, 1:18:06.200 --> 1:18:09.000 like this is their world and for her to step 1:18:09.040 --> 1:18:10.920 out of it, what does that mean about their world 1:18:10.960 --> 1:18:12.360 and them and all of that. 1:18:13.760 --> 1:18:16.280 I mean it's like and and again, like that whole 1:18:16.360 --> 1:18:21.280 message is conveyed in like a single scene which is wild, 1:18:21.680 --> 1:18:26.000 like the scene when mister Guzman comes back to the 1:18:26.040 --> 1:18:27.960 house and I did I know that this is like 1:18:28.040 --> 1:18:29.720 she's wrong for this, but it did always make me 1:18:29.800 --> 1:18:33.960 laugh every time Carbon saw mister Guzman coming and she's like, 1:18:34.000 --> 1:18:35.479 who is that? Let's get him out of here, like 1:18:36.080 --> 1:18:38.960 She's slamming the door, and George Lopez's face. 1:18:38.920 --> 1:18:43.080 Man, yeah man looking for You're like, that's that's her feature. 1:18:44.360 --> 1:18:47.840 But yeah, like that that whole class tension of like 1:18:48.800 --> 1:18:50.040 and I feel like you see it a little bit 1:18:50.080 --> 1:18:53.240 in Nostello's character as well, where it's it's not like 1:18:53.320 --> 1:18:56.120 mister Guzman is trying to say like one thing is 1:18:56.160 --> 1:18:59.720 more valuable than the other, but I think like his 1:18:59.720 --> 1:19:02.479 person aspective is like, well, you sent her to this 1:19:02.680 --> 1:19:06.040 like bougie high school. Do you want her to have 1:19:06.120 --> 1:19:08.519 access to what the bougie high school was supposed to 1:19:08.520 --> 1:19:11.920 have gotten her access to? And then from where Carmen 1:19:11.960 --> 1:19:14.639 and Estella are sitting, and from where the whole family 1:19:14.680 --> 1:19:17.080 is sitting, it makes total sense to be like, well, 1:19:17.120 --> 1:19:18.960 why are you telling us that the life that we 1:19:19.080 --> 1:19:23.200 have isn't enough? Like it feels like Anna is the 1:19:23.240 --> 1:19:26.960 only person in the room at any given time who 1:19:27.280 --> 1:19:31.640 understands that and like understands both sides of it, and 1:19:31.640 --> 1:19:33.439 we don't. I guess we don't know enough about mister 1:19:33.520 --> 1:19:36.680 Guzman's background. Maybe he does understand this tension and his 1:19:36.800 --> 1:19:39.320 power is just kind of very limited in this situation. 1:19:40.120 --> 1:19:44.200 Because you're totally right, Marla, Like it's so wild the 1:19:44.240 --> 1:19:48.120 way that Estella is treated and like the circumstances she 1:19:48.120 --> 1:19:51.000 has to work under because she's also I liked that 1:19:51.040 --> 1:19:53.880 you have that details. She's a brilliant designer, and like 1:19:54.479 --> 1:19:58.040 I hope that you know, in the inevitable, you know, 1:19:58.080 --> 1:20:01.560 real woman have curves to return of the red dress. 1:20:01.800 --> 1:20:06.960 Boots, she had an extremely curvy movie. Yeah. 1:20:05.760 --> 1:20:10.599 Yeah, she has like her own like fashion house or 1:20:10.720 --> 1:20:14.840 like something like that, where like she's so talented, but 1:20:14.960 --> 1:20:15.519 it's like. 1:20:15.400 --> 1:20:18.360 It's got an ig boutique right exactly. 1:20:18.680 --> 1:20:22.599 It is like doing expensive custom red carpet looks yes. 1:20:22.720 --> 1:20:24.040 For America Ferrera. 1:20:24.240 --> 1:20:25.120 Question Mark. 1:20:27.080 --> 1:20:30.400 But and then the movie explodes. 1:20:31.240 --> 1:20:35.040 But but I I thought it was interesting how like 1:20:35.200 --> 1:20:38.719 there's those moments with Estella, the moments I liked most 1:20:38.760 --> 1:20:42.799 between Anna and Estella, or when Estella, I think would 1:20:42.840 --> 1:20:48.400 sometimes internalize how various systems were failing her and her 1:20:48.439 --> 1:20:54.280 business as individual failures, which is, you know, how the 1:20:54.479 --> 1:20:57.040 systems want you to feel. And I feel like, you know, 1:20:57.320 --> 1:21:00.200 even though the Missus Glass thing did not pan out 1:21:00.200 --> 1:21:02.599 and was that was kind of naive on honest part 1:21:02.960 --> 1:21:05.600 to think you could just march in and change a 1:21:05.600 --> 1:21:12.400 girl boss's mind. But like Estella, it seems like I had 1:21:12.400 --> 1:21:14.400 internalized a lot of shame about it, and like she 1:21:14.560 --> 1:21:17.800 wasn't able to talk to people about it, and you 1:21:17.840 --> 1:21:20.840 would imagine if she went to Karmen about it, Carmen would. 1:21:20.520 --> 1:21:22.200 Give her shit about it, because that is. 1:21:22.800 --> 1:21:26.160 Very inherent to how Carmen treats her daughters. And just 1:21:26.280 --> 1:21:30.719 like watching Estella this like brilliant business owner who should 1:21:30.800 --> 1:21:35.320 be you know, in Milan or whatever, like having to 1:21:35.400 --> 1:21:39.400 internalize this bullshit is it's I don't know, it's like 1:21:39.439 --> 1:21:41.800 pretty subtle in the way that it's like telegraphed in 1:21:41.800 --> 1:21:42.160 the movie. 1:21:42.160 --> 1:21:44.160 But I just I don't know. 1:21:44.200 --> 1:21:47.120 It just felt like this whole other element to what's 1:21:47.160 --> 1:21:50.240 going on in her life that I didn't take a 1:21:50.240 --> 1:21:53.520 lot of note on because I was America. 1:21:53.160 --> 1:21:57.120 For her built and just didn't understand the world as well. 1:21:57.560 --> 1:21:57.720 Yeah. 1:21:57.760 --> 1:22:01.160 Absolutely, and yet there's still so much to about Anna's 1:22:01.240 --> 1:22:05.200 character to where like, so we've been kind of dancing 1:22:05.240 --> 1:22:10.200 around the mother daughter relationship throughout the entire discussion, So 1:22:10.760 --> 1:22:15.360 let's just get into it. It's a complicated relationship. It's 1:22:15.479 --> 1:22:18.439 clear that Carmen very much loves and cares for her 1:22:18.560 --> 1:22:22.200 daughter and is coming from a place where she thinks 1:22:22.600 --> 1:22:24.960 what she's doing, what she's saying, is what's best for 1:22:25.040 --> 1:22:27.680 her daughter. She's not really doing anything out of like 1:22:28.200 --> 1:22:32.759 spite or malice. It's just this is what she knows 1:22:32.880 --> 1:22:35.360 and she's trying to pass it along to her daughter, 1:22:35.439 --> 1:22:38.639 and it's what she thinks is best for Anna. This 1:22:38.800 --> 1:22:44.320 often manifests as Carmen policing Anna's body in two pretty 1:22:44.360 --> 1:22:47.559 major ways. One is her size and the other is 1:22:47.560 --> 1:22:53.320 her sexuality. And this is obviously informed by Carmen's religious 1:22:53.360 --> 1:22:57.880 beliefs and her kind of cultural like you know, yes, 1:22:57.960 --> 1:23:01.640 she is reinforcing a lot of pa triarchal standards that 1:23:01.680 --> 1:23:05.479 were pretty par for the course for her generation her culture. 1:23:05.960 --> 1:23:10.080 Anna is from a younger, more progressive generation. She grew 1:23:10.200 --> 1:23:12.439 up in a different country and culture from her parents, 1:23:13.080 --> 1:23:16.120 and this has kind of empowered her to push back 1:23:16.200 --> 1:23:21.120 against like her mom's ideology because we constantly see that 1:23:21.320 --> 1:23:25.439 kind of tug of war of Carmen either fat shaming 1:23:25.600 --> 1:23:31.000 or slut shaming Anna, and then Anna challenging it absolutely. 1:23:31.200 --> 1:23:36.400 So again we have like Carmen constantly making comments about 1:23:36.520 --> 1:23:40.240 Anna's weight, her size. She says things like, you know, 1:23:40.320 --> 1:23:43.360 you would look beautiful if you lost weight, and constant 1:23:43.439 --> 1:23:47.920 comments about her body, and then you have Anna again 1:23:48.160 --> 1:23:52.080 constantly challenging this and pushing back and saying things like, well, 1:23:52.080 --> 1:23:55.200 I happen to like myself and yeah, maybe I do 1:23:55.240 --> 1:23:57.080 want to lose weight, but part of me doesn't because 1:23:57.080 --> 1:24:00.920 my weight says to everybody, fuck you, And she says, 1:24:00.960 --> 1:24:03.280 you know, how dare anybody try to tell me what 1:24:03.320 --> 1:24:05.800 I should look like or what I should be when 1:24:05.800 --> 1:24:08.439 there's so much more to me than just my weight. 1:24:09.120 --> 1:24:11.920 And that's such a wonderful thing to be in a 1:24:12.000 --> 1:24:17.240 movie that is targeted to I mean everyone, everyone should 1:24:17.280 --> 1:24:20.320 watch this movie. But it's like targeted to probably a 1:24:20.360 --> 1:24:24.920 younger audience, you know, teens, tweens. So you have like 1:24:25.280 --> 1:24:28.960 this young character who's like advocating for herself and pushing 1:24:29.000 --> 1:24:33.200 back against this like harmful ideology of fat shaming and 1:24:33.200 --> 1:24:34.000 body shaming. 1:24:34.160 --> 1:24:37.720 I've been watching Dance Moms and Abby Lee Miller has 1:24:37.760 --> 1:24:42.320 sort of helped me to better understand Carmen's character because 1:24:42.720 --> 1:24:47.240 interest well, yes, because Abby Lee is known for her 1:24:47.280 --> 1:24:50.439 harsh words and teaching tactics with her students, but her 1:24:50.479 --> 1:24:54.479 students also win like the sweep right, and so abby 1:24:54.520 --> 1:24:57.360 Lee at one of her competitions was like, listen, I 1:24:57.479 --> 1:25:01.040 tell you the harsh truth and rehearsal because I don't 1:25:01.040 --> 1:25:03.000 want to put you on a stage and parents and 1:25:03.080 --> 1:25:06.840 other coaches are saying nasty things about your technique and 1:25:06.840 --> 1:25:09.960 your unpointed feet in the audience and you're getting dinged. 1:25:10.400 --> 1:25:13.040 I'm saying it so you fix it, and other people 1:25:13.320 --> 1:25:16.040 are not saying it and humiliating you. And I feel 1:25:16.120 --> 1:25:18.680 like there are some older women and I know for 1:25:18.800 --> 1:25:22.280 a fact Latina mothers, because my mother kind of is 1:25:22.320 --> 1:25:26.040 of this sort of mindset sometimes like well, I'm your mother, 1:25:26.080 --> 1:25:27.599 and if I don't tell you who's going to tell you? 1:25:28.040 --> 1:25:32.120 And I feel like Carmen has this sort of very 1:25:32.160 --> 1:25:34.600 like she likes to tell cautionary tales, like if you 1:25:34.600 --> 1:25:36.400 don't listen to your mother, this is what's going to 1:25:36.439 --> 1:25:38.920 happen to you. I'm telling you because I'm your mother. 1:25:39.080 --> 1:25:42.240 Like there's that one scene where they're watching that novella 1:25:42.240 --> 1:25:47.200 and I love this title, Los pobresoran mass and the 1:25:47.280 --> 1:25:49.559 girl like it doesn't listen to her mom and gets 1:25:49.600 --> 1:25:52.599 decapitated in the process trying to run off with some guy, 1:25:52.840 --> 1:25:56.439 and Carmen is like, that's that's what happens. That's what 1:25:56.479 --> 1:25:58.639 happens when you don't listen to your mother. A mother 1:25:58.760 --> 1:26:01.360 knows the right man for her, you know. So it's 1:26:01.439 --> 1:26:03.640 like for me, that's who Carmon is. 1:26:03.800 --> 1:26:06.280 While like poor Anna's trying to write her college essay 1:26:06.360 --> 1:26:08.080 at the table, She's like stop. 1:26:10.920 --> 1:26:19.760 The decapitation comes up, like mid essay writing, Yeah. 1:26:17.000 --> 1:26:20.440 Oh that's perfect. And then there's also this this undercurrent 1:26:20.439 --> 1:26:23.639 throughout the movie that these women in the factory are 1:26:23.640 --> 1:26:30.200 making dresses that they can't fit into because glamorous clothing 1:26:30.320 --> 1:26:33.960 is often not manufactured for larger bodies because you have 1:26:34.200 --> 1:26:38.559 puncha saying talking about address that Estella is designing, and 1:26:38.600 --> 1:26:40.599 she says something like, yeah, I would definitely wear that 1:26:40.960 --> 1:26:44.760 if it would fit me, parentheses it wouldn't or like 1:26:45.320 --> 1:26:47.680 I couldn't probably find a dress that would fit me 1:26:47.760 --> 1:26:48.120 like this. 1:26:48.200 --> 1:26:50.960 But that's why. And real women have curves too. 1:26:51.640 --> 1:26:56.160 Estella is the most famous inclusive designer in the entire 1:26:56.200 --> 1:26:59.160 world world, like exactly. 1:26:58.520 --> 1:27:04.919 She's styling Lizzo, She's said everybody. Yeah, the script writes itself, honestly, 1:27:05.760 --> 1:27:06.280 Yeah we don't. 1:27:06.360 --> 1:27:08.920 We don't need LaVoo this time. Just get them out 1:27:08.920 --> 1:27:15.200 of the Yeah, laboo more like it more like la 1:27:15.240 --> 1:27:19.120 poo wowidding. 1:27:23.240 --> 1:27:26.960 And then that's really sweet scene where you see Estella 1:27:27.000 --> 1:27:30.400 giving the dress that she made for Anna and she 1:27:30.479 --> 1:27:34.240 says like I cut this specifically for your body and 1:27:34.320 --> 1:27:37.479 says like pretty dresses aren't just for skinny girls, and 1:27:37.520 --> 1:27:41.599 it's just such a beautiful little like button on that 1:27:42.040 --> 1:27:43.280 through line of the movie. 1:27:43.640 --> 1:27:46.559 Yeah, the dresses are such a double a triple whammy, 1:27:46.600 --> 1:27:49.599 because it's like it costs these women money to make 1:27:49.640 --> 1:27:53.000 these dresses. Practically, like not only can they not fit 1:27:53.040 --> 1:27:55.439 in the dresses they're making, but they can't afford the 1:27:55.520 --> 1:27:58.519 dresses they're making because they cost six hundred dollars. And 1:27:58.960 --> 1:28:01.120 the constant throughout the film is I don't think we 1:28:01.200 --> 1:28:03.960 ever see the women really get paid, you know, until 1:28:04.000 --> 1:28:07.000 the very end they reimburse the dad because of the loan. 1:28:07.680 --> 1:28:10.200 The landlord is coming because she's laid on red like 1:28:10.240 --> 1:28:12.519 the dress is actually even just to work is like 1:28:12.600 --> 1:28:15.439 costing them and it's wild to see. 1:28:16.800 --> 1:28:18.760 It made me so sad, like and it made me 1:28:19.080 --> 1:28:21.759 I felt like a moment of like frustration with Estella. 1:28:21.800 --> 1:28:23.479 I was like, oh, but that it's like, but she's 1:28:23.640 --> 1:28:25.880 being put in an impossible position. 1:28:26.120 --> 1:28:28.800 It's just and I feel like it. 1:28:29.080 --> 1:28:30.920 The movie, I guess in that moment did kind of 1:28:30.960 --> 1:28:35.639 telegraph clearly why Estella feels like this is all her fault, 1:28:35.920 --> 1:28:39.320 because she's the one that has to tell her employees, 1:28:39.840 --> 1:28:42.400 I can't pay you even though you're doing really really 1:28:42.439 --> 1:28:45.639 hard work like all the time, and I won't turn 1:28:45.680 --> 1:28:49.479 a fan on because of dust Like it's of course 1:28:49.520 --> 1:28:52.599 she feels terrible, but it's like, but yeah, I don't 1:28:52.600 --> 1:28:57.080 know this viewing, I was Estella pilled on this one. 1:28:58.120 --> 1:29:00.920 And the thing about the movie too, was like that, Ah, 1:29:00.960 --> 1:29:03.880 there's so much, so many questions because Anna goes off 1:29:03.920 --> 1:29:07.439 to New York. She's streating her stuff. But remember, like 1:29:07.760 --> 1:29:10.759 Estella stayed behind because she had to go to the factory. 1:29:10.800 --> 1:29:14.280 Like the factory continues, the dead is still there, like 1:29:14.400 --> 1:29:18.200 the turnover, that's all still, that's still going on while 1:29:18.240 --> 1:29:19.160 Anna's in New York. 1:29:19.520 --> 1:29:23.080 Right at least Estella gets her own bedroom now because 1:29:23.160 --> 1:29:24.719 they were sharing a bedroom. 1:29:24.840 --> 1:29:28.800 So true, that is she deserves she deserves. 1:29:28.479 --> 1:29:30.639 Yeah, she deserves. I mean, she deserves her own place. 1:29:30.680 --> 1:29:31.040 We could. 1:29:31.120 --> 1:29:35.160 Like I wanted to get back to mom a little bit. 1:29:35.040 --> 1:29:38.599 As well, because I really do think it's like it's 1:29:38.680 --> 1:29:42.559 such a tricky rule. I feel like it is such 1:29:42.760 --> 1:29:49.080 a testament to Lupe Antevero's for making Carmen a lovable 1:29:49.240 --> 1:29:53.360 character and like because I feel like on paper it's tough. 1:29:53.439 --> 1:29:56.519 The things she says to her daughters can be so 1:29:56.680 --> 1:29:58.840 cutting and awful, and the fact that she is able 1:29:58.880 --> 1:30:01.559 to get across, Like I do believe that she loves 1:30:01.600 --> 1:30:06.000 her daughters. But there's all these layers of and I 1:30:06.040 --> 1:30:09.080 know that there's there's so many Oh there's another fire. 1:30:10.400 --> 1:30:15.880 Oh no, I know there's so many layers of what Carmen. 1:30:15.680 --> 1:30:18.240 Is kind of projecting onto her daughters. It's a lot 1:30:18.240 --> 1:30:21.000 of cultural values that she grew up with. 1:30:21.040 --> 1:30:25.960 It's a generational value, it's it's internalized shame being projected 1:30:25.960 --> 1:30:26.880 back onto her kids. 1:30:27.000 --> 1:30:29.760 And there was an element. 1:30:29.439 --> 1:30:32.280 Of it the closest I could get to, like relating 1:30:32.439 --> 1:30:35.600 to outside of like just being a body shamed by 1:30:35.680 --> 1:30:40.679 female relatives, which happened in my family brutally and all 1:30:40.720 --> 1:30:43.439 the time. But it almost felt like there is like 1:30:43.479 --> 1:30:48.400 this part of Carmen that wants her daughters to suffer 1:30:48.640 --> 1:30:51.200 in the same exact ways she did and like to 1:30:51.400 --> 1:30:54.280 not suffer in those It almost reminds me of like whence, 1:30:54.880 --> 1:30:57.920 like with this whole student loan forgiveness debate, where people 1:30:57.960 --> 1:31:00.320 are like, well I had to be an ex dream 1:31:00.360 --> 1:31:03.360 debt for twenty years, so my kids should too, and it's. 1:31:03.160 --> 1:31:06.320 Like, no, that doesn't don't know what. 1:31:06.640 --> 1:31:08.320 No, Yeah, but on. 1:31:08.240 --> 1:31:12.400 A human level, you can understand how you know she, 1:31:12.600 --> 1:31:15.439 I mean, Carmen has had to deal with shit her 1:31:15.600 --> 1:31:18.400 entire life, and she was raised a very particular way, 1:31:18.400 --> 1:31:22.000 and you understand how she got to where she is 1:31:22.280 --> 1:31:25.640 in the way she views the world. And also be like, 1:31:25.840 --> 1:31:28.840 but you have to let your daughters, you know, you've 1:31:28.840 --> 1:31:30.640 got to want more for your kids. You've got to 1:31:30.680 --> 1:31:32.639 want them to be able to go their own way. 1:31:32.720 --> 1:31:36.519 And it's such a difficult relationship to see play out 1:31:36.560 --> 1:31:39.400 because you you, I don't know, you feel so much 1:31:39.479 --> 1:31:41.920 for everybody, but sometimes you just want to be like Carmen, 1:31:42.080 --> 1:31:42.519 come on. 1:31:43.520 --> 1:31:47.200 Yeah, There's there's a piece too where it's like Carmen, 1:31:47.600 --> 1:31:50.680 she is harsh and she can be mean. There's this 1:31:50.760 --> 1:31:54.160 really interesting layer there though, where it's like sometimes like 1:31:54.800 --> 1:31:58.000 Mexican families do speak that way to each other and 1:31:58.040 --> 1:32:00.519 it can come off as harsh and me but it's 1:32:00.600 --> 1:32:04.920 not unbelievable and it's not unrealistic, right, And I feel 1:32:04.960 --> 1:32:08.040 like sometimes like oh, it's almost like you actually can't 1:32:08.120 --> 1:32:11.880 body shame like a Latina because our families have already 1:32:11.920 --> 1:32:14.680 been doing it for years, Like we've been hearing this 1:32:14.720 --> 1:32:18.200 stuff for our whole lives, Like people speak about our 1:32:18.240 --> 1:32:22.519 bodies in very public and specific terms, like your body 1:32:22.560 --> 1:32:25.120 part isn't just the body part, it becomes like a 1:32:25.160 --> 1:32:27.879 stand in for your whole identity, Like we have words 1:32:28.280 --> 1:32:30.720 just to refer to you in relation to a body part, 1:32:30.840 --> 1:32:32.720 Like if you have a big butt, you don't just 1:32:32.760 --> 1:32:36.400 have a big butt, you are a Nalgona, Like that 1:32:36.479 --> 1:32:39.559 can be your nickname, Like if you have big chee cheese, 1:32:39.600 --> 1:32:42.040 you can be a chi choa, Like that's your nickname, 1:32:42.080 --> 1:32:45.360 that's your title, you know, Gorbita, she calls her throughout 1:32:45.439 --> 1:32:48.160 this is and I love the caption the translation because 1:32:48.160 --> 1:32:50.360 she goes, this is my Gorritha right here, and it's like, 1:32:50.520 --> 1:32:54.280 this is my fatty butter bright here right, my butterball 1:32:54.360 --> 1:32:58.320 butterball also in the captions. But these are actual terms 1:32:58.400 --> 1:33:02.760 that people actually call all girls and women like irl 1:33:03.280 --> 1:33:07.519 and so is it uncomfortable? Yeah? Are they sometimes terms 1:33:07.520 --> 1:33:08.240 of endearment? 1:33:08.680 --> 1:33:09.040 Yeah? 1:33:09.120 --> 1:33:12.240 Are they sometimes kind of cute see names? Yeah? But 1:33:12.280 --> 1:33:15.360 can they also be used like to cut? Also? Yes? 1:33:15.520 --> 1:33:19.559 So there's also like that sort of like very subtle 1:33:19.640 --> 1:33:22.040 like line that I love that hole Setina plays with 1:33:22.040 --> 1:33:22.799 with her writing. 1:33:23.320 --> 1:33:27.840 Yeah, and it works so well. And then again, the 1:33:27.880 --> 1:33:32.720 other thing that Carmen tends to do with Anna it 1:33:32.920 --> 1:33:36.639 mostly well part. So it's like Carmen has this idea 1:33:36.720 --> 1:33:39.200 that you know, a woman has to save herself quote 1:33:39.240 --> 1:33:42.360 unquote till marriage. She can't have sex until she's married, 1:33:42.720 --> 1:33:45.080 and it's also her duty to get married and start 1:33:45.160 --> 1:33:47.519 raising a family and to take care of that family 1:33:47.600 --> 1:33:50.360 and to take care of her husband. And she wants 1:33:50.680 --> 1:33:54.000 Anna to get married as soon as possible. And you know, 1:33:54.080 --> 1:33:58.240 she has that little the figurine of of San I 1:33:58.280 --> 1:34:04.120 forget which Saint Saint Anthony, So you know she's holding out. 1:34:04.200 --> 1:34:07.720 She's like and she's like, I've lost hope that Estella 1:34:07.760 --> 1:34:10.439 will get married, but now so now I have to 1:34:10.439 --> 1:34:15.240 really focus on this future for Anna. So that's kind 1:34:15.280 --> 1:34:18.640 of where she's coming from as far as like Anna's 1:34:18.680 --> 1:34:23.080 like sexuality and like her expectations of what Anna is 1:34:23.120 --> 1:34:27.840 going to do with like starting a family and that 1:34:27.880 --> 1:34:32.320 kind of stuff. Anna does not buy into this. She's 1:34:32.360 --> 1:34:36.160 just like, I'm gonna like start dating this kid, Jimmy 1:34:36.240 --> 1:34:39.679 for the summer. She wants to have sex with him. 1:34:40.080 --> 1:34:42.320 She tells him, you know, I feel ready. She has 1:34:42.360 --> 1:34:44.280 sex on her terms, which is I think is an 1:34:44.320 --> 1:34:47.160 amazing thing to show on screen of like, you know, 1:34:47.560 --> 1:34:50.160 a young woman feeling ready to have sex for the 1:34:50.160 --> 1:34:54.839 first time, and the condom scene she buys a condom. 1:34:55.800 --> 1:34:58.559 Everything is on her terms. You know, she gives consent 1:34:58.720 --> 1:35:01.000 like this. This is all like wow, I loved it 1:35:01.040 --> 1:35:04.240 to see on screen that actual sex scene when you 1:35:04.240 --> 1:35:07.559 know she's like, she turns the lights back on. She's like, 1:35:07.600 --> 1:35:09.400 I want you to see my body. This is what 1:35:09.439 --> 1:35:12.080 I look like. That whole thing I thought was handled 1:35:12.120 --> 1:35:15.000 so beautifully. And I don't think it's like an act 1:35:15.040 --> 1:35:17.840 of protest against her mom's ideology. But it's just like 1:35:17.920 --> 1:35:19.599 what she wants to do. And it's like what she's 1:35:19.640 --> 1:35:23.519 doing despite it not wanting what her mother wants for her. 1:35:23.840 --> 1:35:26.840 And Anna pushes back on this and says, why is 1:35:26.880 --> 1:35:29.719 a woman's virginity the only thing that matters? A woman 1:35:29.800 --> 1:35:33.880 has thoughts, ideas, a mind of her own, And so 1:35:33.920 --> 1:35:37.519 Anna is like constantly advocating for like I'm more than 1:35:37.520 --> 1:35:39.760 my weight, I'm more than my size, I'm more than 1:35:40.360 --> 1:35:44.080 my virginity, you know, And it's just like a feminist 1:35:44.280 --> 1:35:46.360 icon eighteen year old Anna and. 1:35:46.360 --> 1:35:49.760 America Ferrera like performs the hell out of those speeches. 1:35:49.880 --> 1:35:54.439 I like it's so good, Yeah, I really And I 1:35:54.560 --> 1:35:57.360 liked that. I feel like a lesser movie. I don't know, 1:35:57.439 --> 1:36:00.240 like this is such a case study for like women 1:36:00.640 --> 1:36:04.599 like writing and directing stories about women, especially with the 1:36:04.640 --> 1:36:09.519 amount of specificity that Josefina Lopez does, Like it just works, 1:36:09.680 --> 1:36:13.200 Like it's amazing and I feel like a lesser story 1:36:14.080 --> 1:36:17.000 would have because I was just like, okay, other teen 1:36:17.080 --> 1:36:20.679 movie analogs, you see that, Like in a lesser movie 1:36:20.760 --> 1:36:23.799 and a lesser story, Anna would have been like, Oh, 1:36:23.960 --> 1:36:27.320 this boy thinks I'm beautiful, so I'm in love with him. 1:36:27.160 --> 1:36:28.839 Now, and like all this stuff. 1:36:29.600 --> 1:36:33.600 But she like is very in charge of her sexuality. 1:36:33.840 --> 1:36:36.000 She's I loved that they went out of the way 1:36:36.160 --> 1:36:38.920 to be like and she made sure that she was safe. 1:36:38.960 --> 1:36:41.559 She protected herself because who knows what's going on with 1:36:41.600 --> 1:36:44.080 this kid Jimmy, but also doesn't know how condoms work, 1:36:44.080 --> 1:36:48.479 which is very true of seventeen year olds, and that 1:36:48.760 --> 1:36:51.479 when she was done, she was like, you know, I 1:36:51.760 --> 1:36:53.760 don't want this to be a relationship. 1:36:53.840 --> 1:36:55.200 I feel like teen movies so. 1:36:55.240 --> 1:36:58.680 Often put young women in the situation of like the 1:36:58.720 --> 1:37:02.040 first boy that is nice to me or finds me attractive, 1:37:02.120 --> 1:37:05.479 or like sees me for who like the whatever walking 1:37:05.520 --> 1:37:06.439 down the stairs moment? 1:37:06.439 --> 1:37:08.360 What's that movie that I hate? All that? 1:37:08.640 --> 1:37:11.559 Yes, like the first the first boy that sees me 1:37:11.640 --> 1:37:14.120 for who I really am is the love of my 1:37:14.280 --> 1:37:16.360 life and blah blah blah, And Anna's like, I live 1:37:16.439 --> 1:37:19.120 in the real world. I don't want to keep seeing 1:37:19.160 --> 1:37:23.240 you and like it's just such a that happens nowhere, 1:37:23.280 --> 1:37:25.439 Like it was just so cool to see her take 1:37:25.520 --> 1:37:26.400 charge of everything. 1:37:26.920 --> 1:37:30.479 Yeah, I love too that the movie manages to be 1:37:31.160 --> 1:37:36.880 very dramatic, hilarious, hilarious, but also very dramatic, and nothing 1:37:37.360 --> 1:37:42.799 that dramatic happens plot wise, like she graduates high school, 1:37:43.000 --> 1:37:45.880 dates a boy, and goes to college, you know, like 1:37:46.040 --> 1:37:48.479 and like works summer, Like. 1:37:49.960 --> 1:37:52.639 It feels so cinematic that you know. 1:37:52.760 --> 1:37:57.600 Very wholesome. But there's it's so cinematic and that's for 1:37:57.720 --> 1:38:00.680 me is the you know, she doesn't get pregnant, she 1:38:00.760 --> 1:38:03.360 doesn't go to jail, no one dies of an overdose, Like, 1:38:03.360 --> 1:38:06.880 there's no stabbings, like, but drama. And that's the brilliance 1:38:06.920 --> 1:38:09.360 of the movie and the writing, Like that's the storytelling 1:38:09.360 --> 1:38:13.479 because you're captivated and you're like feeling feelings and going 1:38:13.560 --> 1:38:16.080 through it with her, And I feel like that is 1:38:16.120 --> 1:38:19.840 the drama of teen angst. That's how heightened it can be. 1:38:20.600 --> 1:38:23.320 She's just being a teen girl going the fuck through 1:38:23.360 --> 1:38:24.840 it and clashing with her mom. 1:38:25.240 --> 1:38:29.639 And you know, the movie doesn't take any shortcuts when 1:38:29.640 --> 1:38:32.000 it comes to like this is a dramatic story, so 1:38:32.040 --> 1:38:38.080 someone has to die. Like it's just like life is dramatic, 1:38:38.520 --> 1:38:43.519 yeah and hilarious. Yeah, and the movie balances both very well. 1:38:43.760 --> 1:38:44.360 It's so good. 1:38:44.439 --> 1:38:49.240 Yeah, it's yes, well you said it perfectly where you're like, yeah, 1:38:49.280 --> 1:38:53.000 like teen girl life is everything feels. 1:38:52.760 --> 1:38:53.439 Like a movie. 1:38:53.720 --> 1:38:58.760 Yeah, everything teen ANGSTNGST. And so this is I think 1:38:58.880 --> 1:39:03.400 just in that vein Teen Girls, you know struggle. 1:39:03.160 --> 1:39:05.800 They're in the trench. They're in the trenches twenty four 1:39:05.800 --> 1:39:06.200 to seven. 1:39:06.840 --> 1:39:10.439 Truly, if you're a teen girl listening, I salute you. 1:39:10.960 --> 1:39:15.759 It does get better eventually, it will eventually eventually its hold. 1:39:15.560 --> 1:39:17.559 On another thing. 1:39:17.680 --> 1:39:20.160 I feel like I just was so impressed and like 1:39:20.240 --> 1:39:24.400 blown away by the writing of like there's no character, 1:39:24.920 --> 1:39:28.640 however small, that you don't have some level of investment in, 1:39:28.680 --> 1:39:31.000 because the script goes out of its way to like, 1:39:31.240 --> 1:39:34.879 you know, at least something about every woman who works 1:39:35.320 --> 1:39:38.519 with Estella, Like you get to know them over the 1:39:38.560 --> 1:39:42.360 course of the movie, even like in I think again, 1:39:42.439 --> 1:39:44.960 in like a less thoughtfully written movie, it would just 1:39:45.000 --> 1:39:48.640 be like background seamstress number four, but that role like 1:39:48.760 --> 1:39:51.840 doesn't exist. You learn everyone's name, you learn a little 1:39:51.840 --> 1:39:53.800 bit about them, or at least get a taste of 1:39:53.840 --> 1:39:56.880 their personality, and I feel like that just makes the 1:39:56.960 --> 1:40:00.280 payoff of this, Like it could have been a like 1:40:00.360 --> 1:40:02.479 I Am Spartacus moment where you're like, this is kind 1:40:02.479 --> 1:40:03.759 of cool, but who are these people? 1:40:04.360 --> 1:40:05.960 But it's like you know who who. 1:40:06.000 --> 1:40:09.120 These women are, and you already have gotten to know 1:40:09.240 --> 1:40:12.360 like a little bit of their history and their relationship 1:40:12.360 --> 1:40:14.840 with their co workers throughout the movie, and so it 1:40:14.920 --> 1:40:17.160 feels like, Oh, I'm in a room full of women 1:40:17.240 --> 1:40:21.280 whose lives I know something about, and now they're finally 1:40:21.320 --> 1:40:25.280 comfortable talking about their their bodies and their insecurities and 1:40:25.280 --> 1:40:29.600 their like everything, and it just felt so yeah, like 1:40:29.640 --> 1:40:33.200 the attention to detail is so awesome. 1:40:34.160 --> 1:40:37.599 Absolutely, Uh what else? 1:40:37.640 --> 1:40:38.640 What else we got going on? 1:40:38.720 --> 1:40:40.640 Sorry, I feel like I just blacked out for a 1:40:40.680 --> 1:40:42.640 second because I inhaled. 1:40:46.080 --> 1:40:47.120 So hot hot. 1:40:48.800 --> 1:40:50.040 Yeah. 1:40:50.439 --> 1:40:57.080 I want to share one last quote from the creator 1:40:57.160 --> 1:41:01.679 of this property cos of Veena Lopez. So the play 1:41:01.920 --> 1:41:06.280 seems to be a bit more focused on the on 1:41:06.400 --> 1:41:10.880 a character being undocumented for some portion of her life 1:41:10.920 --> 1:41:15.640 and the anxiety about being undocumented and being deported, and 1:41:16.200 --> 1:41:20.360 that is a focus on the play that is eliminated 1:41:20.400 --> 1:41:23.120 from the movie. So this quote, this quote is a 1:41:23.200 --> 1:41:26.160 little bit about hose Aphina talking about being undocumented, just 1:41:26.160 --> 1:41:30.240 to put that into context. But Hosephina says, quote, I 1:41:30.320 --> 1:41:32.760 was undocumented for thirteen years. I wanted to write a 1:41:32.800 --> 1:41:36.640 play to affirm my humanity because I felt so dehumanized 1:41:36.680 --> 1:41:40.120 being undocumented. I've always had issues with my weight, and 1:41:40.280 --> 1:41:43.040 one of my teachers told me not in a mean way. 1:41:43.600 --> 1:41:46.479 She thought I was a great actress, that I had 1:41:46.479 --> 1:41:49.320 the ability to play Juliet and Lady Macbeth, but no 1:41:49.320 --> 1:41:51.920 one was going to cast me as the ingenue if 1:41:51.960 --> 1:41:54.639 I didn't lose weight, because only thing girls get the lead. 1:41:55.120 --> 1:41:58.080 Men write roles and direct the movies. So I had 1:41:58.080 --> 1:42:01.559 to adhere to those standards. Wise, I'd always play the 1:42:01.600 --> 1:42:04.160 side character. I thought, Okay, if I lose the weight, 1:42:04.200 --> 1:42:07.200 then I'm going to be told by casting people that 1:42:07.280 --> 1:42:10.000 i should change my name to a white name, change 1:42:10.000 --> 1:42:12.200 my hair color. If I do this, I'm going to 1:42:12.240 --> 1:42:14.639 have to give up who I am to be an actress. 1:42:14.840 --> 1:42:19.400 I refused to do that. The problem isn't that I'm undocumented, Mexican, 1:42:19.520 --> 1:42:27.200 working class, or overweight. The problem is society. Unquote. That 1:42:27.720 --> 1:42:32.880 sentiment feels like it comes through in this movie very well, 1:42:32.960 --> 1:42:35.200 and that that's like the core of what so much 1:42:35.240 --> 1:42:40.160 of this movie is about, and it's just such a 1:42:40.160 --> 1:42:43.439 positive thing for that to be out in the world. 1:42:44.400 --> 1:42:45.880 I hell, yeah, that's. 1:42:45.760 --> 1:42:49.720 Such a nice She's so cool. The last thing I 1:42:49.760 --> 1:42:53.679 had this is not a criticism. It was just something 1:42:53.680 --> 1:42:55.920 that I is something we've talked about in the show before, 1:42:56.000 --> 1:42:58.360 and so I wanted to sort of see what y'all 1:42:58.360 --> 1:42:59.360 felt about it. 1:42:59.800 --> 1:43:01.559 I really love that this. 1:43:01.560 --> 1:43:05.840 Movie puts mother daughter relationships front and center and gives 1:43:05.880 --> 1:43:10.719 them precedents. We get a few scenes with their father, 1:43:10.920 --> 1:43:15.400 who seems to be a very nice, affable kind of guy. 1:43:16.040 --> 1:43:17.280 Yeah, real nice guy. 1:43:17.680 --> 1:43:20.200 Right, but as is their grandfather. 1:43:20.479 --> 1:43:22.240 I just feel like, I don't know, I mean, I 1:43:22.400 --> 1:43:26.040 I don't even think that I would want anything to 1:43:26.080 --> 1:43:29.360 be changed. I just think that there are moments in 1:43:30.320 --> 1:43:32.519 movies at center around mother's and daughters where it's like 1:43:32.560 --> 1:43:36.840 the dad is always like the quote unquote nicer guy. 1:43:37.600 --> 1:43:40.240 It just felt like a little I was like, okay, 1:43:40.320 --> 1:43:41.480 so well, dad. 1:43:41.320 --> 1:43:44.400 When dads are mean, they're scary, Like we're gonna get 1:43:44.439 --> 1:43:48.120 too scary territory with mean dad, right, So it's like 1:43:48.280 --> 1:43:53.240 all all the kind of baggage is rolled into Carmen, 1:43:53.840 --> 1:43:56.200 and it just like, I don't know, I mean, I 1:43:56.240 --> 1:43:59.040 didn't really feel strongly about it. I just always feel 1:43:59.080 --> 1:44:01.320 like I noticed when there's a lot of movies where 1:44:01.320 --> 1:44:03.960 it's like the dad is quote unquote the nice parent. 1:44:04.200 --> 1:44:07.519 Yeah, yeah, I would say that, yes, And that certainly 1:44:07.560 --> 1:44:10.759 is a trope that we've discussed to a large extent 1:44:10.880 --> 1:44:13.080 on the show. But I think it all depends on 1:44:13.120 --> 1:44:16.240 how the movie approaches it and how the movie actually 1:44:16.280 --> 1:44:18.479 handles it. In this movie, it didn't feel tropy. It 1:44:18.520 --> 1:44:24.040 didn't feel like it was leaning into stereotypes about a 1:44:24.120 --> 1:44:25.240 mom being. 1:44:25.439 --> 1:44:27.360 Right, what is the word I'm searching for? 1:44:27.439 --> 1:44:30.040 But she's like so, I mean, Carmen is so like 1:44:30.280 --> 1:44:34.679 contextualized and well written and like hmm, you understand, yeah, 1:44:34.720 --> 1:44:36.439 why she reacts the way she does. 1:44:36.800 --> 1:44:39.360 Right, There's all these shows like there's like I think 1:44:39.360 --> 1:44:41.759 of like the Mom, I'm like Malcolm in the Middle. 1:44:42.720 --> 1:44:47.200 Then there's like Everybody Loves Raymond, the White Debra and 1:44:47.240 --> 1:44:49.920 I love all these characters, all these women. What's the 1:44:49.960 --> 1:44:52.400 other one? But there's a bunch right like where like 1:44:52.479 --> 1:44:55.040 the mom is oh my wife and kids, the dad 1:44:55.120 --> 1:44:58.240 is like funny goofball and then the mom's kind of 1:44:58.439 --> 1:45:01.599 kind of a bitch, kind of strict, always yelling, high strung, 1:45:01.840 --> 1:45:04.000 like he's always doing stupid things to stress her out. 1:45:04.280 --> 1:45:07.599 And I feel like in this film, like Carmen is like. 1:45:07.520 --> 1:45:08.280 An anti hero. 1:45:08.960 --> 1:45:12.240 Yeah, yeah, we can't stand her and she sometimes because 1:45:12.240 --> 1:45:14.800 of the thing she says, but we still love her. 1:45:15.320 --> 1:45:18.479 And I also feel like I love that Anna's character 1:45:18.760 --> 1:45:22.440 is allowed to be kind of a brat, Like Carmen's 1:45:22.560 --> 1:45:25.040 kind of a bitch and Anna's kind of a brat. 1:45:25.439 --> 1:45:28.559 And as much as they insist that they are different, 1:45:29.080 --> 1:45:33.320 the more we see their similarities. And I feel like 1:45:33.400 --> 1:45:37.599 it's so interesting the way she pits them against each other. 1:45:37.640 --> 1:45:40.200 But it's like, oh, we're learning more about each one 1:45:40.200 --> 1:45:42.360 of them because they're the same person, you know. 1:45:43.680 --> 1:45:45.559 It is like another thing where it's like I want 1:45:45.560 --> 1:45:48.200 to see, Yeah, I feel like we're making a strong 1:45:48.240 --> 1:45:49.880 case for a sequel. I want to see what this 1:45:50.120 --> 1:45:52.920 relationship between them looks like twenty years down the line, 1:45:53.040 --> 1:45:58.080 like because I do understand like they're her parents. I mean, 1:45:58.120 --> 1:46:01.840 there's so much anxiety around on a leaving to go 1:46:01.840 --> 1:46:04.120 to college, especially across the country, and I feel like 1:46:04.120 --> 1:46:06.800 there's a subtext of like she's gonna change, she's gonna 1:46:06.800 --> 1:46:10.120 like not be the girl that we raise, and like 1:46:10.280 --> 1:46:11.160 she'll lose. 1:46:11.280 --> 1:46:13.479 Touch with who she is if she leaves. 1:46:14.040 --> 1:46:17.360 And I would love to see that relationship examined twenty 1:46:17.439 --> 1:46:18.920 years down. 1:46:19.400 --> 1:46:19.599 Ah. 1:46:19.960 --> 1:46:20.760 Yes, yeah. 1:46:20.960 --> 1:46:27.679 My last observation is, so there is another movie about 1:46:28.240 --> 1:46:32.080 like a young woman who's just graduated from high school, 1:46:32.680 --> 1:46:36.479 who lives in California and has a difficult relationship with 1:46:36.640 --> 1:46:39.760 her mother. She dates a boy and has sex for 1:46:39.800 --> 1:46:42.519 the first time, and then she goes off to college 1:46:42.640 --> 1:46:45.080 across the country. I also think in New York City 1:46:45.600 --> 1:46:49.160 and that movie is Ladybird. There's a lot of parallels here. 1:46:49.360 --> 1:46:52.040 Interesting, And Ladybird's kind of a brat. 1:46:52.640 --> 1:46:55.479 Yeah yeah, and like a lot of body stuff with 1:46:55.560 --> 1:46:57.519 the mom as well body stuff. 1:46:57.640 --> 1:46:59.920 You know, there's class commentary in that movie as well. 1:47:00.400 --> 1:47:01.280 Very similar movies. 1:47:01.320 --> 1:47:01.679 Interesting. 1:47:01.680 --> 1:47:04.679 I would say, if you like Ladybird, for sure, check 1:47:04.680 --> 1:47:07.200 out Real Women Have Curves if you haven't seen it. 1:47:07.320 --> 1:47:09.840 I think the real women have curves? Does it better? 1:47:10.360 --> 1:47:11.800 I find it to be a. 1:47:11.760 --> 1:47:13.880 More fifteen years earlier. 1:47:13.920 --> 1:47:15.320 Fifty Yeah, exactly. 1:47:15.640 --> 1:47:18.240 Yeah, I didn't make that connection, yeah, totally. 1:47:18.320 --> 1:47:21.400 So, Yeah, if you liked Ladybird. Definitely check out real 1:47:21.439 --> 1:47:24.519 women have curves if you haven't seen it. 1:47:26.080 --> 1:47:29.320 Sorry, I got caught up in my own horrible Ladybird joke, 1:47:29.360 --> 1:47:33.160 which is, instead of that boy, Jimmy, Ladybird has that boy. 1:47:32.960 --> 1:47:37.200 Timmy Oh, Timmy shallow May, Yes. 1:47:37.200 --> 1:47:41.240 Timmy shallow May, most hilarious joke of all time. 1:47:42.400 --> 1:47:43.040 And on. 1:47:44.280 --> 1:47:47.080 No, there's actually no good way to transition this, but I. 1:47:47.040 --> 1:47:49.960 Mean talking about Timothy Shalamey. I do think passes the 1:47:50.040 --> 1:47:51.360 Bechdel test. If that's where you. 1:47:51.400 --> 1:47:54.559 Were going, I don't know what is he like? 1:47:54.840 --> 1:47:57.599 You know, like this, can we even a good question? 1:47:57.760 --> 1:47:59.360 You really vouch for him? I feel like it's still 1:47:59.439 --> 1:48:02.439 kind of a miss. It eludes me, but you know, 1:48:02.479 --> 1:48:05.160 it doesn't elude me. Whether this movie passes the Bechel 1:48:05.240 --> 1:48:05.680 test or not. 1:48:06.479 --> 1:48:07.760 Yes, we did it. 1:48:08.200 --> 1:48:10.200 This movie super passes the Bexel test. 1:48:10.240 --> 1:48:13.479 It's barely even worth discussing because it passes between almost 1:48:13.520 --> 1:48:19.400 any pairing of characters that aren't men. I like we 1:48:19.560 --> 1:48:23.040 discussed before, this movie does takes a lot of care 1:48:23.200 --> 1:48:27.320 to give every character in the movie, particularly the women, 1:48:27.960 --> 1:48:31.840 a name and some information about them. So really, any 1:48:31.880 --> 1:48:36.680 interaction happening to get the factory that isn't explicitly about marriage, passes. 1:48:36.360 --> 1:48:37.000 The Bechel test. 1:48:37.000 --> 1:48:39.760 They're talking about their bodies, they're talking about school, they're 1:48:39.800 --> 1:48:42.280 talking about work, they're talking about deadlines. 1:48:41.880 --> 1:48:44.559 They're talking about taxes, they're talking about. 1:48:44.280 --> 1:48:47.639 They're just you know, dare I say it being full 1:48:47.720 --> 1:48:51.599 on people and characters the whole damn movie? 1:48:51.760 --> 1:48:52.200 Yep. 1:48:52.320 --> 1:48:55.400 And as we also touched on in the episode, this 1:48:55.680 --> 1:48:59.880 movie has just so much focus on the female character 1:49:00.280 --> 1:49:03.920 and the relationships between female characters. And while there are 1:49:04.600 --> 1:49:08.000 you know, there's a dad, there's the grandpa, there's a 1:49:08.120 --> 1:49:13.720 couple male cousins, those characters are like pretty secondary or tertiary, 1:49:13.800 --> 1:49:16.640 and it's really so much of a focus on the 1:49:16.640 --> 1:49:18.959 women and their relationships, so still. 1:49:18.720 --> 1:49:19.599 Depicted with love. 1:49:19.680 --> 1:49:23.040 It's not like they're like left by the wrisub but like, 1:49:24.280 --> 1:49:26.840 but you know, like but yes it is. It is 1:49:27.040 --> 1:49:31.120 a women's movie, and you know women that we don't 1:49:31.160 --> 1:49:34.000 usually get focused on, women who are working class, women 1:49:34.040 --> 1:49:36.320 who are immigrants, women who are people of color and 1:49:36.640 --> 1:49:40.640 Latin specifically. So it's just this movie is doing so 1:49:40.800 --> 1:49:43.439 much that no other movie of its time is doing, 1:49:44.000 --> 1:49:46.920 and still most movies now are not doing so with 1:49:47.080 --> 1:49:49.840 that in mind, another perfect transition. 1:49:50.000 --> 1:49:54.799 And do you mean the nipple scale. Yes, the only 1:49:55.000 --> 1:50:00.320 perfect metric, and it is, of course a scale of 1:50:00.640 --> 1:50:06.400 zero to five nipples based on examining the movie through 1:50:06.520 --> 1:50:08.799 an intersectional feminist lens. 1:50:09.880 --> 1:50:14.960 So you know, given all possible factors to consider, every 1:50:15.120 --> 1:50:19.160 potential factor one might consider with regards to this movie 1:50:19.400 --> 1:50:21.639 and this rating, I would give it a four. 1:50:22.040 --> 1:50:24.000 Hell yeah, yeah, I think, I mean I would go 1:50:24.080 --> 1:50:26.080 like four to four and a half. It's I was 1:50:26.120 --> 1:50:28.160 really happy to see. 1:50:27.920 --> 1:50:30.679 Like especially, I mean just the fact that like women 1:50:30.760 --> 1:50:35.000 wrote and directed and produced this and like, yeah, most 1:50:35.000 --> 1:50:36.880 of them are women of color like that, I feel like, 1:50:37.080 --> 1:50:40.000 I mean, yeah, still unheard of now and. 1:50:40.200 --> 1:50:42.679 It's still and it's a classic, like you can't. 1:50:42.840 --> 1:50:45.519 Yeah, it's I feel like real women have curves kind 1:50:45.520 --> 1:50:47.840 of yet to be topped except by real women have 1:50:47.880 --> 1:50:51.680 curves two coming out next year, yeah, pending, and then 1:50:52.360 --> 1:50:55.360 and then we also you know, bequeath you the power 1:50:55.439 --> 1:51:01.000 to gift your four nipples to any character person, an actor, 1:51:01.280 --> 1:51:05.240 production person of your choice. You can distribute in pairs 1:51:05.320 --> 1:51:09.200 or not, you know, like kind of get creative with it. 1:51:09.720 --> 1:51:12.439 Oh, this is so difficult because I want to give 1:51:12.600 --> 1:51:16.680 two each to just America and Loupe, you know, just 1:51:16.680 --> 1:51:18.559 split them up half and half. But I also want 1:51:18.600 --> 1:51:22.000 to give hos Afina two, but I only have four, 1:51:22.840 --> 1:51:25.240 you know what. I'm gonna give Loop anti Vedos two 1:51:25.400 --> 1:51:28.679 because she passed away rip. I'm going to give hos 1:51:28.680 --> 1:51:32.280 Afina Lopez two because she wrote it. She's an icon, 1:51:32.640 --> 1:51:35.400 and I'm gonna give America for one because she's the 1:51:35.520 --> 1:51:38.720 youngest and I think is still working on icon status. 1:51:39.280 --> 1:51:40.200 That's how we'll do it. 1:51:40.560 --> 1:51:43.360 I think that that was very judicious of you. That 1:51:43.520 --> 1:51:44.960 was very diple about it. 1:51:45.920 --> 1:51:46.280 Thank you. 1:51:46.640 --> 1:51:49.080 I'm gonna go forward to half and I'm gonna docket 1:51:49.320 --> 1:51:54.120 the half nipple just for making America for uncomfortable when 1:51:54.120 --> 1:51:57.759 she was seventeen. She is a living legend and a child, 1:51:58.000 --> 1:52:00.479 and I'm, you know, gonna I'm going to put that 1:52:00.560 --> 1:52:01.320 one on Lavu. 1:52:01.520 --> 1:52:03.719 No nipples for Luvu for me zero. 1:52:03.960 --> 1:52:06.000 But outside of that, I think this movie is so 1:52:06.320 --> 1:52:09.640 fucking awesome and it I mean, it was doing so 1:52:09.680 --> 1:52:11.320 many things no other movies were doing. 1:52:11.400 --> 1:52:12.719 Hosefina Lopez is an. 1:52:12.600 --> 1:52:17.400 Incredible writer and I just love every element of this movie. 1:52:17.479 --> 1:52:21.400 And I'm now an estella stand for life Hell so 1:52:21.560 --> 1:52:24.920 I'll give one nipple to Anna, one to Estella. I'll 1:52:24.920 --> 1:52:28.639 give the half to Carmen because she's doing her best. 1:52:28.960 --> 1:52:29.600 Yeah, and I. 1:52:30.240 --> 1:52:33.320 Have I have love for her. Yeah, but leave Anna 1:52:33.360 --> 1:52:39.000 and Nostella alone. I'll give one to Pancha. I loved Pancha. 1:52:39.080 --> 1:52:43.719 I feel like super underrated character, and I will give 1:52:44.040 --> 1:52:47.320 one to I should give one to Hoefina Lopez, but 1:52:47.320 --> 1:52:50.960 I'm going to give it to Hosefina Lopez playing the 1:52:51.280 --> 1:52:55.960 manager of the burger joint because that is acting. 1:52:55.800 --> 1:52:58.719 Scene Steeler, scene Steeler. 1:52:58.520 --> 1:53:02.519 Exactly where was a major Oscar snub that year? 1:53:03.120 --> 1:53:03.320 Oh? 1:53:03.360 --> 1:53:04.640 And then the last thing I wanted to say was 1:53:04.960 --> 1:53:07.960 I guess as of last year, there's a musical being 1:53:08.439 --> 1:53:12.719 written around this, so no way. Hopefully people are listening 1:53:12.760 --> 1:53:15.200 to this episode from the future and just saw real 1:53:15.240 --> 1:53:17.080 women have curves on Broadway. I feel like this would 1:53:17.080 --> 1:53:21.240 be such a good musical. Hell yeah, I love musicals, 1:53:21.360 --> 1:53:24.759 and I love musical adaptations that aren't already Disney movies, 1:53:24.880 --> 1:53:27.360 So this seems like something I would love. 1:53:27.680 --> 1:53:32.200 Yep, Caitlin, what is your writing for this flim Oh. 1:53:32.160 --> 1:53:34.639 This flim gets I would say four and a half. 1:53:35.040 --> 1:53:37.599 I was gonna give it a five before I knew 1:53:37.600 --> 1:53:41.720 about the the sketchy things that were happening, especially in 1:53:41.720 --> 1:53:45.360 that one in that one particular scene where America Ferrera 1:53:45.800 --> 1:53:51.240 expressed discomfort and then they deceived her with like yucky. 1:53:51.400 --> 1:53:56.040 But aside from that, this is such a wonderful movie. Again, 1:53:56.240 --> 1:54:02.920 a focus on women, women's stories, women's relationships, positive LATINX 1:54:03.040 --> 1:54:07.760 representation that we so rarely see in cinema, especially in 1:54:08.080 --> 1:54:13.640 this era. Messages of body positivity, of sex positivity. A 1:54:13.680 --> 1:54:17.720 focus on a working class family in Los Angeles, a 1:54:17.760 --> 1:54:20.280 side of Los Angeles that we don't tend to see 1:54:20.479 --> 1:54:25.040 or that tends to be demonized in most media. 1:54:24.920 --> 1:54:28.920 Multi generational, which I feel like we haven't like explicitly like, 1:54:29.080 --> 1:54:30.160 there's just there's so. 1:54:30.160 --> 1:54:34.880 Much and so much is accomplished, so effortlessly, so effortless. 1:54:35.200 --> 1:54:37.240 Oh my gosh, I'm so bad at that word. 1:54:37.400 --> 1:54:39.320 I think everyone has those words. 1:54:39.400 --> 1:54:42.600 It takes a lot of effort for me to say effortlessly. 1:54:43.080 --> 1:54:44.720 Wow, there we go. 1:54:47.600 --> 1:54:51.879 So much is accomplished in a movie that is less. 1:54:51.640 --> 1:54:54.080 Than an hour and a half, which we were texting 1:54:54.120 --> 1:54:56.080 about every movie should be less than an hour and 1:54:56.120 --> 1:54:58.600 a half long. If this movie can do what it 1:54:58.600 --> 1:55:02.200 does in an hour and a half. What's your excuse? 1:55:02.640 --> 1:55:06.040 I was about to say something flippant, annoying, and what's 1:55:06.080 --> 1:55:06.600 your excuse? 1:55:06.680 --> 1:55:07.280 Titanic? 1:55:08.640 --> 1:55:11.760 Okay, now that's straight up one exception. 1:55:12.120 --> 1:55:13.480 Yeah, I know, I know, I know, I know. I'm 1:55:13.480 --> 1:55:14.160 so sorry. 1:55:13.920 --> 1:55:15.640 Everyone, who are you giving your nipples to? 1:55:16.920 --> 1:55:20.600 I'm going to give my nipples to one to America Ferreira, 1:55:21.200 --> 1:55:26.720 one to Lupe ante Veros, one to Ingrid Oliu who 1:55:26.760 --> 1:55:30.720 plays Estella. I'll give one to the women who work 1:55:30.920 --> 1:55:35.240 in the clothing factory, and then my half nipple I 1:55:35.280 --> 1:55:40.240 will give to Los Angeles Public Transportation because. 1:55:40.720 --> 1:55:43.760 It's called the Metro preas owner. 1:55:45.680 --> 1:55:52.120 But generically it is public transportation. It is, and I 1:55:52.160 --> 1:55:54.720 do take it sometimes brave oky. 1:55:54.680 --> 1:55:57.160 Pray occasional red line user. 1:55:57.160 --> 1:55:59.240 Wow, I love to bully people who don't use enough 1:55:59.280 --> 1:56:02.560 public fads day. But that said, you drove me to 1:56:02.600 --> 1:56:03.640 the beach yesterday, so. 1:56:03.880 --> 1:56:07.800 It makes you think it does? It does indeed, right, 1:56:08.200 --> 1:56:12.800 So that is real women have curves. 1:56:13.040 --> 1:56:16.080 Mala, thank you so much for being here, and uh yeah, 1:56:16.080 --> 1:56:17.520 where can we find you online? 1:56:17.600 --> 1:56:18.240 Plug away? 1:56:18.720 --> 1:56:24.720 Yes, so I am on all social platforms at Mala, Underscore, Munios, 1:56:25.040 --> 1:56:28.040 m U n o Z is the last name, and 1:56:28.400 --> 1:56:31.480 you can listen to I have two podcasts out. One 1:56:31.600 --> 1:56:35.120 is called Look at Tora Radio, which is the flagship 1:56:35.160 --> 1:56:38.839 podcast that I co host with my co producer Yosa, 1:56:39.400 --> 1:56:43.760 and then my solo show, Mari Juanetta, a podcast for potheads. 1:56:43.800 --> 1:56:48.440 And we're on Apple, Apple Podcasts, Spotify, all the usual places. 1:56:48.680 --> 1:56:51.480 Hell yeah, also your stand up fucking rules. 1:56:51.680 --> 1:56:52.840 Thank you so much. 1:56:53.160 --> 1:56:57.200 Yes, and then you can follow us on Twitter and 1:56:57.240 --> 1:57:03.000 Instagram at Bechdel Cast. You can subscribe to our Matreon 1:57:03.480 --> 1:57:06.640 at Patreon dot com slash Bechdel Cast, which gives you 1:57:06.680 --> 1:57:10.840 two bonus episodes every month, along with access to the 1:57:10.920 --> 1:57:15.080 back catalog of over one hundred bonus episodes all and 1:57:15.120 --> 1:57:18.120 that is all for five dollars a month. 1:57:18.200 --> 1:57:24.600 Oh can you imagine? Can you imagine? It's actually sometimes I. 1:57:24.160 --> 1:57:26.280 Do reflect on the value and just I'm like, Wow, 1:57:26.320 --> 1:57:30.960 what a deal, what a steal? Whatere? Are we? Okay? Uh? 1:57:31.160 --> 1:57:33.160 You can also get our march at teapublic dot com 1:57:33.200 --> 1:57:38.320 slash the Bechdel Cast if you are so inclined. And 1:57:38.440 --> 1:57:41.760 with that, I mean I think we should mention we've 1:57:41.800 --> 1:57:42.800 been shirtless. 1:57:42.960 --> 1:57:45.440 Yeah. The last half of the episode, I mean, am. 1:57:45.360 --> 1:57:46.640 I gonna put my clothes back on. 1:57:47.120 --> 1:57:50.240 We'll see Carmen deal with it all right. 1:57:50.440 --> 1:57:51.400 Bye bye bye