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Speaker 1: On the Bechde cast, the questions asked if movies have

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Speaker 1: women and them, are all their discussions just boyfriends and husbands,

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Speaker 1: or do they have individualism? The patriarchy zeph and Beast

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Speaker 1: start changing with the Bechdel cast.

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Speaker 2: Hey, Jamie, Hey Caitlyn, want to go to the Titty

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Speaker 2: Twister with me and have a couple drinks?

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Speaker 3: Conceptually, yes, in reality I'm not so sure.

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Speaker 4: I don't know.

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Speaker 3: I mean, getting past the door guy alone seems pretty

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Speaker 3: existentially stressful.

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Speaker 2: I mean, weren't you just so drawn in by cheech

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Speaker 2: Maren's speech about pussy?

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Speaker 3: Yeah, I can't get in until cheech Maren breaks the

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Speaker 3: fourth wall about pussy. I like, as as kind of

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Speaker 3: like yucky as that speech is. I do wish that

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Speaker 3: more movies included cheech marin breaking the fourth wall, a

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Speaker 3: long protracted speech about pussy.

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Speaker 4: I would not hate that.

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Speaker 3: I would maybe have some notes on like the dial,

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Speaker 3: maybe not let Quentin Tarantino write about pussy.

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Speaker 4: Anymore, even I would say.

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Speaker 3: But but yes, I do support in general that happening.

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Speaker 3: What if that happen at the entrance to the Chamber

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Speaker 3: of Secrets, you know, like anytime you're entering the big

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Speaker 3: mysterious location. Cheech Baron was just there with his like

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Speaker 3: pussy speech. What's another big like any haunted house movie?

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Speaker 3: The Haunted Mansion. Eddie Murphy can't.

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Speaker 4: Enter until he gets.

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Speaker 2: And then Eddie Murphy punches the shit out of Cheech

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Speaker 2: Marin before he goes inside.

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Speaker 5: I mean, I'm not never happy to see Cheese take

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Speaker 5: a punch, but something to consider for future. He's still alive, right, yeah, Okay,

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Speaker 5: he's old but kicking and in the Cars franchise, which

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Speaker 5: I always forget and warranted peating.

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Speaker 2: Yes, we just haven't covered a Cars movie yet, have we?

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Speaker 4: I think? Yeah.

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Speaker 3: The fact that we got eight whole years into our

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Speaker 3: feminist podcast without discussing cars, I just don't know how

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Speaker 3: it happened.

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Speaker 4: The time just slips away.

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Speaker 2: Well, just you wait, listeners for Cars or February.

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Speaker 4: Welcome to the Bechdel Cast. My name is Jamie Loftis.

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Speaker 2: My name is Caitlin Dorante. This is our show where

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Speaker 2: we examine movies through an intersectional feminist lens, using the

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Speaker 2: Bechdel test simply as a jumping off point. We've talked

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Speaker 2: about it so many times at this point, so you know,

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Speaker 2: look it up. Go back to a previous episode. I

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Speaker 2: feel like we just got to get into it today.

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Speaker 3: I like that we've like gotten to the era where

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Speaker 3: we're like, we're not going to explain what it is anymore.

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Speaker 3: It will come up once in like ninety minutes and

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Speaker 3: that's it, right.

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Speaker 2: I mean again, we've been on for eight years. In

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Speaker 2: that time, we have not talked about cars, but we

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Speaker 2: have explained our version of the Bechdel Test easily five

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Speaker 2: five hundred times literally. So we're just gonna move past

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Speaker 2: it today and just bring in our guest for this

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Speaker 2: episode on From Dusk Till Dawn nineteen ninety six, Robert

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Speaker 2: Rodriguez film. Our guest is a producer and writer at

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Speaker 2: Game Grumps. You know her from our episodes on John

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Speaker 2: Wick Raw Found Atomic Blonde. This is the fifth appearance

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Speaker 2: five Timers Club. It's Vanessa Gerrera, Yo, welcome back.

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Speaker 6: The first time I heard the cheech Maren pussy speech,

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Speaker 6: I had watched this movie on cable with my mom

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Speaker 6: and they dubbed over it by calling it kitty, and

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Speaker 6: my mom didn't love that. I kept repeating apple Pie

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Speaker 6: Kitty around the house.

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Speaker 3: Stopping wet kitty, chicken, kitty horse, Kitty Wait. That is

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Speaker 3: so I love a TV Yes, edit anecdote, that's the greatest.

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Speaker 2: There's a lot of them for movies written by Tarantino,

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Speaker 2: specifically because there's the my name's Buck and I like

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Speaker 2: to party.

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Speaker 3: Yeah, yep, classic, Yeah, I mean he does if nothing

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Speaker 3: else right, movies designed that are very difficult to broadcast.

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Speaker 2: So, Vanessa, what is your relationship with From Dusk Till Dawn?

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Speaker 6: So the first time I saw this movie, it was

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Speaker 6: at a very long hair rushing session with my mother,

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Speaker 6: as I have long and ridiculous curly hair, and this

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Speaker 6: movie was on cable and my mom is it one

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Speaker 6: for gore and violence, but she does love Cheech Marin

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Speaker 6: and George Clooney. So we just sat and watched this

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Speaker 6: entire movie in a day, and I ended up falling

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Speaker 6: in love with it. And I looked up Robert Rodriguez

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Speaker 6: and watched everything he had ever done and told my

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Speaker 6: parents I wanted to get into entertainment and they said

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Speaker 6: over my day body, But jokes on them. I ended

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Speaker 6: up working for Robert Rodriguez anyway. So this was a

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Speaker 6: big gateway film for me for both a lot of

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Speaker 6: genre film and then the idea that just anybody could

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Speaker 6: make something. So that was like instrumental to me. And yeah,

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Speaker 6: this is a very fundamental film for me. And every

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Speaker 6: time I watch it, I find more and more reasons

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Speaker 6: to be grossed up by contin Tarantino.

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Speaker 4: Yes, yes, gosh, I mean, and I do like that.

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Speaker 3: I mean, on a longer timeline, Robert Ariguez sort of

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Speaker 3: took the authorial role in this franchise instead of Tarantino

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Speaker 3: continuing to write it.

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Speaker 4: Because as you're watching this, you're like, they.

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Speaker 3: Should have just let him rewrite the movie if he

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Speaker 3: was going to direct it, Like it's unfair to make

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Speaker 3: him direct some of this dialogue. I know that they're

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Speaker 3: they're bros, but come.

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Speaker 2: On, yeah, come on.

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Speaker 6: Wow.

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Speaker 2: I didn't realize this was such an important movie to you, Vanessa.

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Speaker 6: It was. And it's really funny because it was like

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Speaker 6: the first time I saw my mom indulge anything that

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Speaker 6: was like willfully gross. So I learned a little bit

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Speaker 6: about my mom that day where I was like, oh,

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Speaker 6: you're kind of a weirdo too.

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Speaker 2: I love those moments. I went to see Team America

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Speaker 2: World Police in theaters with my mom. No way that

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Speaker 2: has an extended like puppet sex scene. There's a scene

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Speaker 2: where a puppet's puking for several minutes, and I was

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Speaker 2: like sitting next to my mom and she wasn't like

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Speaker 2: scandalized by it really, so I was like, Okay, my

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Speaker 2: mom sent to some freak shit. Cool Jamie, what's your

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Speaker 2: relationship with the movie.

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Speaker 4: I had not seen this movie before. I was I

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Speaker 4: don't know.

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Speaker 7: Why, just the cards and of her, the stars, whatever

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Speaker 7: metaphor I was reaching for there, it didn't happen. Although

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Speaker 7: I would consider myself a Robert Reveguez fan, which probably

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Speaker 7: sounds like fake fan because I have not seen this movie,

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Speaker 7: but I've seen many of his movies.

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Speaker 4: I read his book.

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Speaker 3: I really love his book, in particular Revel Without a Crew.

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Speaker 4: Have you read it? It's so good, It's the classic.

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Speaker 4: It's very inspiring.

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Speaker 3: I've seen his.

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Speaker 4: His first feature. I don't know.

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Speaker 3: I've seen a lot of Roveguez movies this last year,

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Speaker 3: so I'm filling in the blanks in my knowledge. I think,

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Speaker 3: like a lot of people, I came in to Robert

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Speaker 3: Rodriguez and his family era. I was there for the

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Speaker 3: Spy Kids, SPI Kids two, Island of Lost Dreams, Spike

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Speaker 3: Kids three D Game Over, and of course Shark Boy

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Speaker 3: and lave A Girl, which we should cover someday but

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Speaker 3: have gone on to, you know, like a launch his

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Speaker 3: not that spi Kids is not an actual movie, it's

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Speaker 3: in fact a classic, but his adult movies. But this

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Speaker 3: was my first time with this movie. I know we've

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Speaker 3: covered Sin City in the past. I mean we've covered

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Speaker 3: his work. I was, this is like sidebar, but I

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Speaker 3: did not realize his like fealty to the Spy Kids universe.

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Speaker 4: He still directs every Spy Kids movie.

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Speaker 3: Yes he does, including the ones that like don't feature

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Speaker 3: any of the original cast, the ones where they like

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Speaker 3: recast Antonio Banderaz with Joel McHale.

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Speaker 2: Like what I didn't Okay, I didn't even know there

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Speaker 2: were Spy Kids movies past the third one.

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Speaker 3: There was one last year Caitlin Get Ready for Your

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Speaker 3: and Robert Rodriguez. I mean they're part of his expanded universe.

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Speaker 3: But I just think it's very cool. But he still

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Speaker 3: is like, no, I'm another director. Yes, he is the

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Speaker 3: ultimate spy Kid. Anyways, this movie, I really like the

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Speaker 3: second half and the first half I was like, when

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Speaker 3: is it gonna When is something gonna get gross?

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Speaker 4: When it's something I get scary. What am I watching?

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Speaker 3: I do I like this?

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Speaker 4: No?

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Speaker 3: And then all of a sudden, almost at the exact

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Speaker 3: halfway mark, I really liked it until the end.

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Speaker 4: So it was a journey. It's a very weird movie.

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Speaker 6: It is.

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Speaker 4: Yeah, I don't think I've.

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Speaker 3: Ever quite seen a movie take this heart of a

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Speaker 3: turn that deep into the movie.

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Speaker 4: But I'm excited to talk about it. Yeah, Caitlin, what

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Speaker 4: is your history with this movie?

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Speaker 2: I had seen it once before and it was something

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Speaker 2: I always wanted to rewatch because I remember enjoying it

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Speaker 2: at the time. This was probably twenty ish years ago

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Speaker 2: that I saw it for the first time, and the

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Speaker 2: things I remember the most of the things that were

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Speaker 2: like seared into my brain for all time were Selma

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Speaker 2: Hayak being the hottest person in the world.

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Speaker 4: This movie hasn't been done before since.

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Speaker 2: I remember the big midpoint reveal because it sort of

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Speaker 2: comes out of nowhere. For something like, for example, Jurassic Park,

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Speaker 2: where suddenly you know, big scary things are attacking everyone.

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Speaker 2: That's heavily foreshadowed earlier on, so it doesn't come out

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Speaker 2: of nowhere this movie, truly, You're just like, oh, it's

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Speaker 2: vampires now, oh okay, and it is it's that shot.

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Speaker 3: Where Samahayak turns into a snake vampire right yeah again, Like,

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Speaker 3: while there are criticisms to be made of this movie,

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Speaker 3: like the cheech Marin thing, I would like a lot

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Speaker 3: of movies to make that same choice.

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Speaker 2: And then of course I remembered the dick gun. Yes, ah,

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Speaker 2: couldn't forget that. The dick guns, sex machines, sex machines.

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Speaker 2: Dick gun seared into my memory for all times.

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Speaker 6: Played by the incredible Tomas Savini.

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Speaker 4: Yeah, yeah, I really appreciated him. So I love the band.

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Speaker 3: When the band, I think the image that will be

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Speaker 3: seared into my brain forever is when the band's instruments

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Speaker 3: turned into.

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Speaker 4: Just like guy's body parts little there's a.

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Speaker 3: Little skeleton moroccos I really like pause that scene to

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Speaker 3: be like, ooh, what's going on back here? Because like, yeah,

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Speaker 3: they were not doing it halfway. I had a little

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Speaker 3: freaky body horror instrument.

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Speaker 4: It was awesome.

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Speaker 2: See I only noticed the guitar, the torso guitars.

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Speaker 4: You gotta slid down. Yeah, they they got They got

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Speaker 4: really silly with it. It was really fun.

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Speaker 2: Nice. So anyway, I wanted to rewatch this movie, not

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Speaker 2: remembering much about it aside from those specific things, and

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Speaker 2: upon rewatching it, I had a very similar experience to you,

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Speaker 2: Jamie as far as hated the first half. It's a

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Speaker 2: slog It's just full of all these problematic, nasty things.

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Speaker 4: It like feels like a Tarantino movie for the first half.

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Speaker 2: Yeah, and then it gets really fun. Yeah, so I'm

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Speaker 2: excited to talk about it. Let's take a quick break

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Speaker 2: and then get into the recap, shall we. And we're

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Speaker 2: back and were throwing back drinks at the Titty Twister,

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Speaker 2: ready to recap from dusk till dawn. I'll place a

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Speaker 2: content warning at the top here for rape and violence

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Speaker 2: against swimming, because that is those are the identifying characteristics

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Speaker 2: of Quentin Tarantino's character. We'll get into it, but.

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Speaker 3: Wait before we has anyone ever seen the clip? When

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Speaker 3: I told my boyfriend I was watching this, he was like,

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Speaker 3: have you seen.

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Speaker 4: The George Gluney interview for this movie? And then he

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Speaker 4: showed me and it really made me laugh and re

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Speaker 4: endeared me to George Flutey.

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Speaker 2: Wait, what does he say?

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Speaker 4: It's very funny? I guess that he is. It's for

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Speaker 4: the press junket for this movie, and he's talking about

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Speaker 4: how he got the role.

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Speaker 3: And he's like, I guess Quentin Tarantino was watching Er

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Speaker 3: and saw me and was like, whoa, I look so

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Speaker 3: much like that guy.

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Speaker 4: We could be brothers.

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Speaker 6: Oh my god.

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Speaker 4: And then George Clee keeps.

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Speaker 3: Going He's like and I just was like, I don't

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Speaker 3: really think so, but I'm interested in the.

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Speaker 4: Movie, Like that's how we got the part.

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Speaker 3: It's like like Tarantino thought he and Cludey looked so

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Speaker 3: much alike they could be brothers, and that's why that happened. Delusional,

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Speaker 3: so embarrassing, that's humiliating.

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Speaker 2: I mean, Tarantino is such an embarrassing shitty person, Zionist freak.

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Speaker 4: So you know, for the most embarrassing living people.

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Speaker 3: But that was just really like, I it's a very

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Speaker 3: funny interview clip because George Clotney is not pretending to

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Speaker 3: respect the thought of looking like Tarantina remote.

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Speaker 2: So there's that anyways, So I'm glad I know that

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Speaker 2: that's very funny. The movie opens on a Texas ranger

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Speaker 2: going into a liquor store to buy a couple of

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Speaker 2: things from the clerk, and when he goes to use

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Speaker 2: the restroom. We find out that the store is in

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Speaker 2: the middle of being robbed and hijacked by two brothers,

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Speaker 2: Seth and Richard slash Richie Gecko played by George Clooney

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Speaker 2: and his identical twin brother gwentin Tarantino, respectively.

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Speaker 3: Casting directors everywhere, We're like, we've got to get these

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Speaker 3: two guys next to each other.

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Speaker 4: They're twins.

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Speaker 2: They had just robbed a bank and they're on their

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Speaker 2: way to Mexico, and the whole thing turns into this

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Speaker 2: violent shootout after Ritchie, who is a loose cannon, shoots

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Speaker 2: the Texas Ranger. After this, Seth and Richie leave mostly unscathed.

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Speaker 2: They get in their car and drive off. We also

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Speaker 2: learn that they have a hostage who they took from

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Speaker 2: the bank robbery, who they've trapped in the trunk of

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Speaker 2: their car. The brothers stop at a motel and get

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Speaker 2: a room. They bring the hostage inside. This is a

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Speaker 2: woman named Gloria. Seth steps out for a moment and

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Speaker 2: when he comes back, he disc covers that his brother,

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Speaker 2: Richie had raped and murdered Gloria, and he's very pissed

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Speaker 2: at Richard, but not enough to not keep hanging out

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Speaker 2: with him. Meanwhile, we meet a family who is on

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Speaker 2: a road trip in their motor home. The dad is

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Speaker 2: Jacob Fuller, played by Harvey Keitel of National Treasure Fame,

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Speaker 2: his most famous role.

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Speaker 4: Yes, I think he would want that to be what

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Speaker 4: you went with.

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Speaker 2: Yes, I think so, yeah, as well as his two kids,

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Speaker 2: who are teens maybe early twenties. Kate seems to be

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Speaker 2: like nineteen twenty perhaps she's played by Juliette Lewis, and

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Speaker 2: her brother Scott, who I think is maybe like sixteen seventeen,

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Speaker 2: played by Ernest Low. Their mother has recently passed away

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Speaker 2: and it has made Jacob, who is a pastor, question

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Speaker 2: his faith in God, so that's some backstory for them.

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Speaker 2: They end up stopping at the same motel that Seth

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Speaker 2: and Richie are at, who barge into the family's room,

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Speaker 2: hold them at gunpoint, and force them to drive the

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Speaker 2: brothers across the border into Mexico in their motor home.

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Speaker 2: The plan for the brothers is to cross into Mexico,

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Speaker 2: meet up at a specific rendezvous point with this guy

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Speaker 2: named Carlos, who is going to give them sanctuary in

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Speaker 2: a place called El Ray in exchange for some percentage

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Speaker 2: of the money they robbed from the bank. There's a

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Speaker 2: tense moment at border patrol with an officer played by

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Speaker 2: Cheech marin his first of three characters who he plays

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Speaker 2: in the movie.

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Speaker 4: He's really going full Norbit in this movie.

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Speaker 6: Yes, yes, which we can all hope to in our

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Speaker 6: acting careers, go full Norbit.

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Speaker 4: We all deserve a orbit moment, that's right.

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Speaker 2: So there's this tense moment where they almost get found

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Speaker 2: out because Ritchie is being impulsive and insecure again. But

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Speaker 2: they make it across into Mexico and they head to

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Speaker 2: the rendezvous point, which is a bar called the Titty Twister,

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Speaker 2: which is open from dusk till dawn. Hey, that's the

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Speaker 2: name of the movie.

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Speaker 3: I will say the neon Titty Twister sign pretty iconic.

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Speaker 6: Pretty great, Yes, very cool.

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Speaker 2: Yes. So the plan is for Seth, Richie and the

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Speaker 2: family of three to go inside and just like drink

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Speaker 2: and hang out until Carlos arrives and takes the brothers

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Speaker 2: to Lray, at which point they plan to let the

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Speaker 2: family go free. They arrive at the Titty Twister. It's

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Speaker 2: this like titty bar slash dive for bikers and truckers,

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Speaker 2: cheech Marin is out front playing his setecond character named

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Speaker 2: Chet Pussy. Oh, given a speech.

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Speaker 4: I did not know that was that character's name.

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Speaker 6: His god given names.

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Speaker 2: Yep, and right, you know, he's giving his famous pussy monologue.

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Speaker 2: And for some reason I couldn't quite tell why, but

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Speaker 2: Seth punches the shit out of Chet Pussy and then

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Speaker 2: Ritchie like kicks him while he's down, and this will

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Speaker 2: pay off later. But they go inside. It's rowdy, there's

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Speaker 2: lots of testosterone. There are nude women dancing. The place

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Speaker 2: is full of characters. We've got Danny Trejo as the bartender.

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Speaker 2: We've got a guy named sex Machine who has the

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Speaker 2: dick gun. There's this like big dude who Seth almost

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Speaker 2: gets into a bar fight with.

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Speaker 4: And if you're wondering, hmm, we're in a stripper bar.

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Speaker 3: How long is it going to take for a woman

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Speaker 3: to speak in this space where gender parody is fairly prominent?

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Speaker 3: And it will take outside, Juliette lewis.

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Speaker 4: A really long time, like a freakishly long time.

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Speaker 3: Yes, correct, women will not speak or really even make

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Speaker 3: eye contact or act as if there are anything but

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Speaker 3: said dressing for a good twenty.

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Speaker 6: Minutes, they'll hiss and gral before they speak.

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Speaker 3: Even Selma Hyak, there is like a long stretch where

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Speaker 3: I mean like she is certainly present, she's like performing,

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Speaker 3: it's incredible, But for a while she just sort of

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Speaker 3: stands there and does not seem to be listening or

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Speaker 3: reacting to the dialogue.

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Speaker 4: This hat and you're just like garantina whatever whatever.

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Speaker 2: Right, Okay, So the two brothers and the family of

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Speaker 2: three sit down and start drinking, though the family is

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Speaker 2: reluctant at first. They are still the hostages of these

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Speaker 2: two you know, maniacal brothers. Then Selma Hayak comes out.

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Speaker 2: She's a dancer named Santanico Pandemonium. Great name, a reference

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Speaker 2: to a horror movie from the seventies.

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Speaker 6: I think, yeah, nunsploitation movie.

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Speaker 4: Right, We've got to cover some nunsploitation on the show.

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Speaker 4: That would be such a blast.

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Speaker 2: Yeah, we'll get there. But she's doing a very sexy

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Speaker 2: dance with this big snake wrapped around her, and all

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Speaker 2: the men are like a wooa, And she finishes her

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Speaker 2: show and just then Chet Pussy comes back in along

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Speaker 2: with bartender Danny Trejo and the big dude from earlier,

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Speaker 2: and they all gang up on Seth and Richie, who

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Speaker 2: fight back and kill these three guys, except they don't

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Speaker 2: kill them because they're already dead. Because twist, they're all vampires, and.

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Speaker 4: All of a sudden, the movie is so awesome and

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Speaker 4: great and we love it.

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Speaker 2: Yes, yes, exactly. It's at this point where things get fun,

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Speaker 2: and it turns out everyone who works at this bar

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Speaker 2: is a vampire. All the dancers, including Santanico Pandemonium, who

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Speaker 2: transforms into reptile vampire and bites Richard, killing him, Danny, Trejoe,

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Speaker 2: and Cheech Marin all the others reveal their true vampire

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Speaker 2: forms and start attacking and feeding on the non vampire patrons.

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Speaker 2: Some of the patrons fight back, such as Seth, Jacob

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Speaker 2: and his family, sex Machine, and this guy named Frost

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Speaker 2: played by Fred Williamson. This group is basically like the

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Speaker 2: last ones standing after this whole initial vampire frenzy.

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Speaker 3: I really love that exchange between Juliette Lewis and sex Machine.

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Speaker 2: Oh my god, it's so funny. He's like, what's your name?

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Speaker 2: She's like, Kate, what's yours? Sex Machine? Nice to meet you, right,

375
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Speaker 2: you too?

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Speaker 3: And there's always like it's just unspoken allyship, we will

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Speaker 3: not be asking follow up questions at this time.

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Speaker 4: I love it.

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Speaker 2: Yeah, that's great.

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Speaker 6: We are a band of brothers.

381
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Speaker 2: Yes, then Richard Richie comes back as a vampire and

382
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Speaker 2: Seth has to kill his own brother and he's sad

383
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Speaker 2: about it. But I'm like, yes, please end this character

384
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Speaker 2: once and for all, get him out of the movie.

385
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Speaker 4: I have a genuine question for the zoom call.

386
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Speaker 3: Yeah, putting our nineteen ninety six goggles on, are we

387
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Speaker 3: supposed to be sad to see him go? I felt

388
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Speaker 3: like we maybe are supposed to feel ambivalent about it.

389
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Speaker 3: Even at the time of release.

390
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Speaker 6: I don't know.

391
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Speaker 4: I wasn't clear of this.

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Speaker 6: He's kind of designed to be cannon fodder. Like he's

393
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Speaker 6: so revolting and just like such a constant problem and

394
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Speaker 6: has no redeeming qualities that it's kind of easy to

395
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Speaker 6: throw him out first because you're like, Okay, well now

396
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Speaker 6: the stakes are high, and I know what it means,

397
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Speaker 6: but I'm not like that bummed.

398
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Speaker 4: It does like serve to advance. George Pluony's character is

399
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Speaker 4: like advancing towards God or whatever they're doing in the.

400
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Speaker 3: Back half, Like right, okay, because I just was I

401
00:23:13,560 --> 00:23:15,280
Speaker 3: was doubting myself for a second where I was like,

402
00:23:15,840 --> 00:23:18,080
Speaker 3: in the present day, you're like, yeah, bye, but like

403
00:23:18,480 --> 00:23:18,960
Speaker 3: I didn't know.

404
00:23:19,280 --> 00:23:21,440
Speaker 4: It seemed like we were supposed to go fairly ambivalent

405
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Speaker 4: towards it even at the.

406
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Speaker 2: Time, right, But at the same time, I was like, well,

407
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Speaker 2: wouldn't it carry more emotional weight if the first character

408
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Speaker 2: to die was someone who we did care about and

409
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Speaker 2: we're sad to see go? And I was like, wow,

410
00:23:35,440 --> 00:23:38,440
Speaker 2: Tarantino is such a bad screenwriter for not like ensuring

411
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Speaker 2: that that's the case. But I can also see, like, oh,

412
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Speaker 2: to establish how high the stakes are, we off a

413
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Speaker 2: character that we weren't meant to care about, But yeah,

414
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Speaker 2: I don't really. It's kind of I was struggling with

415
00:23:51,040 --> 00:23:51,520
Speaker 2: that as well.

416
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Speaker 3: It's really hard to put yourself in the creative mind

417
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Speaker 3: of someone who thinks they look like George Plooney.

418
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Speaker 4: Yes, So I just kind of was a little puzzled

419
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Speaker 4: on that.

420
00:24:02,760 --> 00:24:06,120
Speaker 2: And who wrote himself a character that Salma Hayek would

421
00:24:06,480 --> 00:24:11,120
Speaker 2: put her foot in his mouth and like drizzled whiskey

422
00:24:11,320 --> 00:24:14,119
Speaker 2: down it and he's like gobbling that all up, and

423
00:24:14,200 --> 00:24:20,080
Speaker 2: I'm just like, sir, you self indulgent motherfucker. Anyway. Okay,

424
00:24:20,400 --> 00:24:24,960
Speaker 2: so we've got this group. They've just killed Richie, who

425
00:24:25,000 --> 00:24:28,840
Speaker 2: turned into a vampire. Then they hear a bunch of

426
00:24:28,920 --> 00:24:33,600
Speaker 2: flapping wings outside. These are vampires in bat form trying

427
00:24:33,680 --> 00:24:36,320
Speaker 2: to break into the bar. Then a few of the

428
00:24:36,480 --> 00:24:40,520
Speaker 2: other patrons who had been bitten moments earlier come back

429
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Speaker 2: as vampires. So there's another round of killing the vampires.

430
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Speaker 2: But then sex Machine gets bitten, so we know that

431
00:24:48,640 --> 00:24:50,919
Speaker 2: he will soon turn, but.

432
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Speaker 4: He keeps it quiet. He's not trying to go.

433
00:24:53,840 --> 00:24:56,119
Speaker 2: I love that scene too, and he's like try he

434
00:24:56,280 --> 00:24:59,439
Speaker 2: realizes like his hands are transforming and his fangs are

435
00:24:59,480 --> 00:25:01,600
Speaker 2: coming out. He's like trying to hide it and like

436
00:25:01,720 --> 00:25:04,520
Speaker 2: be coy in a really goofy way. I thought that

437
00:25:04,600 --> 00:25:05,200
Speaker 2: was really funny.

438
00:25:05,760 --> 00:25:06,959
Speaker 4: This is a great performance.

439
00:25:09,000 --> 00:25:12,720
Speaker 2: So then the group kind of chats the pit and

440
00:25:12,800 --> 00:25:15,800
Speaker 2: figures out what do we know about these vampires? How

441
00:25:15,840 --> 00:25:18,080
Speaker 2: do we kill them? What weapons do we have at

442
00:25:18,119 --> 00:25:22,240
Speaker 2: our disposal? And they realize their best weapon is Jacob,

443
00:25:22,600 --> 00:25:28,080
Speaker 2: since he's a pastor, a mean, motherfucking servant of God

444
00:25:29,000 --> 00:25:33,560
Speaker 2: to be exact to fight these demons from hell. Then

445
00:25:33,600 --> 00:25:36,440
Speaker 2: we get the scene where sex Machine turns into a

446
00:25:36,560 --> 00:25:42,320
Speaker 2: vampire and bites Frost and Jacob Before he turns, Frost

447
00:25:42,680 --> 00:25:45,760
Speaker 2: flings sex machine into the door, busting it open, so

448
00:25:46,040 --> 00:25:50,479
Speaker 2: all the bats fly in as Seth, Kate, and Scott

449
00:25:50,720 --> 00:25:55,359
Speaker 2: take refuge in a storage cellar. Jacob is still in

450
00:25:55,440 --> 00:25:57,879
Speaker 2: the bar area for a moment, but he's able to

451
00:25:58,119 --> 00:26:01,119
Speaker 2: fend off this horde of vampires and join up with

452
00:26:01,560 --> 00:26:06,200
Speaker 2: Seth and his kids, And then he makes Kate and

453
00:26:06,359 --> 00:26:11,600
Speaker 2: Scott promise that when he inevitably turns, they will kill him,

454
00:26:11,920 --> 00:26:16,800
Speaker 2: and they reluctantly agree. Then they arm themselves with whatever

455
00:26:17,000 --> 00:26:19,480
Speaker 2: they can find in the storage area. They figure out

456
00:26:19,560 --> 00:26:24,000
Speaker 2: that these vampires kill like it's a bar for bikers

457
00:26:24,040 --> 00:26:28,240
Speaker 2: and truckers specifically, because like it's just like people passing

458
00:26:28,320 --> 00:26:33,240
Speaker 2: through and they can kill and steal whatever they were hauling.

459
00:26:33,880 --> 00:26:38,399
Speaker 2: So there's crates of like crossbows and super soakers that

460
00:26:38,480 --> 00:26:42,160
Speaker 2: they fill up with holy water that Jacob has blessed.

461
00:26:42,560 --> 00:26:43,040
Speaker 2: Stuff like that.

462
00:26:43,280 --> 00:26:46,320
Speaker 6: I love the implication with the crossbow, because the crossbow

463
00:26:46,400 --> 00:26:48,320
Speaker 6: comes in a box that shaped like a coffin at

464
00:26:48,359 --> 00:26:52,360
Speaker 6: the crossmit, the implication that a vampire hunter came through,

465
00:26:53,280 --> 00:26:55,080
Speaker 6: was killed and they robbed his shit.

466
00:26:55,320 --> 00:26:57,919
Speaker 2: Oh, yeah, I didn't even make that connection.

467
00:26:58,040 --> 00:27:01,479
Speaker 3: But yeah, I also felt for for poor Scott who

468
00:27:01,560 --> 00:27:05,119
Speaker 3: I mean, I know that he does have like a

469
00:27:05,240 --> 00:27:08,240
Speaker 3: powerful weapon, but the fact that he's somehow like saddled

470
00:27:08,280 --> 00:27:09,480
Speaker 3: with a super soaker, it.

471
00:27:09,560 --> 00:27:12,840
Speaker 4: Just was humiliating. Yeah, just like and it wasn't even

472
00:27:12,880 --> 00:27:14,159
Speaker 4: a powerful super soaker.

473
00:27:14,240 --> 00:27:16,639
Speaker 2: It was like a I, of all those weapons, I

474
00:27:16,720 --> 00:27:19,520
Speaker 2: would have wanted the super soaker the most because I

475
00:27:19,600 --> 00:27:21,520
Speaker 2: know how to handle a super I don't know how

476
00:27:21,560 --> 00:27:22,760
Speaker 2: to shoot a crossbow.

477
00:27:23,040 --> 00:27:26,120
Speaker 3: You have a license, you have a license to kill

478
00:27:26,240 --> 00:27:28,920
Speaker 3: with a super soaker full of holy water, like a

479
00:27:29,000 --> 00:27:30,840
Speaker 3: supercacer full of holy water.

480
00:27:31,080 --> 00:27:32,399
Speaker 4: Is very funny.

481
00:27:32,520 --> 00:27:35,040
Speaker 3: I'm it's funny, but it just was funny when anytime

482
00:27:35,080 --> 00:27:37,000
Speaker 3: they were cutting to him, You're like, damn, he really

483
00:27:37,119 --> 00:27:39,720
Speaker 3: got the short end of the weapon. Stick Kate looks

484
00:27:39,800 --> 00:27:42,080
Speaker 3: so cool and he has a super soaker.

485
00:27:42,720 --> 00:27:44,920
Speaker 4: Anyways, I like it.

486
00:27:45,320 --> 00:27:49,120
Speaker 2: Okay, So they arm themselves and they go back into

487
00:27:49,200 --> 00:27:52,720
Speaker 2: the bar, killing vampires along the way. They rip off

488
00:27:52,960 --> 00:27:56,320
Speaker 2: sex Machin's head. He comes back as like a dog

489
00:27:56,680 --> 00:28:00,680
Speaker 2: vampire or something, so there's like a showdown with him.

490
00:28:01,000 --> 00:28:06,080
Speaker 2: There's a showdown with vampire Frost. Then Jacob finally turns

491
00:28:06,800 --> 00:28:10,159
Speaker 2: and bites his son, Scott, who retaliates and kills Jacob

492
00:28:10,320 --> 00:28:13,879
Speaker 2: just like he promised he would. Then vampires start tearing

493
00:28:14,080 --> 00:28:18,040
Speaker 2: Scott apart, so Kate kills her brother to save him

494
00:28:18,160 --> 00:28:21,560
Speaker 2: from you know, becoming a demon. So now it's just

495
00:28:22,240 --> 00:28:27,160
Speaker 2: Seth and Kate and dozens of vampires are descending on them.

496
00:28:27,680 --> 00:28:30,080
Speaker 2: But then they realize the sun is coming up. It's

497
00:28:30,520 --> 00:28:35,480
Speaker 2: a dawn ever heard of it? So they shoot a

498
00:28:35,520 --> 00:28:38,320
Speaker 2: bunch of holes in the walls, so the beams of

499
00:28:38,400 --> 00:28:43,040
Speaker 2: sunlight come in and burn and explode the vampires, so

500
00:28:43,240 --> 00:28:48,360
Speaker 2: they're saved. And then Carlos finally shows up, also played

501
00:28:48,480 --> 00:28:56,000
Speaker 2: by Cheech Maren. Yes, yeah, and so Seth and Kate

502
00:28:56,520 --> 00:29:01,120
Speaker 2: say goodbye. Seth heads off with Carlos, Kate drives off

503
00:29:01,320 --> 00:29:03,680
Speaker 2: in the motor home, and then we get this final

504
00:29:03,800 --> 00:29:07,400
Speaker 2: reveal that the Titty Twister was built on the remains

505
00:29:07,600 --> 00:29:12,440
Speaker 2: of a presumably as tech pyramid, surrounded by dozens of

506
00:29:12,520 --> 00:29:16,760
Speaker 2: like discarded semi trucks from all the truckers the vampires killed.

507
00:29:17,240 --> 00:29:20,360
Speaker 2: So that's the movie. Yes, let's take a quick break

508
00:29:20,600 --> 00:29:33,440
Speaker 2: and we'll come back to discuss where shall we start?

509
00:29:33,760 --> 00:29:36,680
Speaker 6: Oh boy, I do want to say that at the end,

510
00:29:36,760 --> 00:29:39,040
Speaker 6: not only were they killed by holes in the wall,

511
00:29:39,120 --> 00:29:42,760
Speaker 6: but a disco ball, Yes, which is the funniest way

512
00:29:42,800 --> 00:29:43,760
Speaker 6: to kill a vampire.

513
00:29:44,080 --> 00:29:47,600
Speaker 3: So good, such a good last minute edition. And it

514
00:29:47,720 --> 00:29:49,680
Speaker 3: was like plant it was there the whole time and

515
00:29:49,800 --> 00:29:51,200
Speaker 3: it never even gotcurd to me.

516
00:29:51,600 --> 00:29:55,040
Speaker 6: Chekhov's discoll ball exactly really good.

517
00:29:55,600 --> 00:29:59,360
Speaker 3: All of the like practical effects and like the turn

518
00:29:59,520 --> 00:30:03,360
Speaker 3: that the movie he takes is so fucking good. Like

519
00:30:03,520 --> 00:30:06,600
Speaker 3: and the fact that Robert Rodriguez was I think like

520
00:30:06,680 --> 00:30:09,920
Speaker 3: twenty seven to twenty eight when he made this is

521
00:30:10,920 --> 00:30:13,680
Speaker 3: anytime I read about Robert Rodriguez's career, you're.

522
00:30:13,600 --> 00:30:16,680
Speaker 4: Just like, how dare you be so awesome?

523
00:30:17,080 --> 00:30:20,960
Speaker 3: So or like it's just really incredible that just how

524
00:30:21,400 --> 00:30:24,840
Speaker 3: creative and innovative he was so young.

525
00:30:25,600 --> 00:30:29,520
Speaker 4: Yeah, the practical effects are nuts, it's so good.

526
00:30:30,960 --> 00:30:31,120
Speaker 6: Yeah.

527
00:30:31,160 --> 00:30:35,000
Speaker 2: So a little bit of development context for this movie.

528
00:30:35,520 --> 00:30:39,040
Speaker 2: The story was conceived by a guy named Robert Kurtzman,

529
00:30:39,600 --> 00:30:44,080
Speaker 2: who wrote the treatment for the film in the late eighties. Basically,

530
00:30:44,160 --> 00:30:46,959
Speaker 2: he wrote it because he wanted to create a story

531
00:30:47,360 --> 00:30:53,320
Speaker 2: that his special effects studio could make. So he's like,

532
00:30:53,440 --> 00:30:56,640
Speaker 2: I want to make like a special effects heavy movie

533
00:30:57,560 --> 00:31:01,360
Speaker 2: and he hired Tarantino to write the script. This was

534
00:31:01,400 --> 00:31:05,400
Speaker 2: Tarantino's first paid writing assignment. This was nineteen ninety at

535
00:31:05,440 --> 00:31:08,400
Speaker 2: this point, and he's like, yeah, I'll do it if

536
00:31:08,600 --> 00:31:12,720
Speaker 2: you provide the makeup for my movie Reservoir Dogs. So

537
00:31:13,000 --> 00:31:18,880
Speaker 2: they had this little reciprocity kind of thing. Kurtzman originally

538
00:31:18,920 --> 00:31:22,280
Speaker 2: wanted to direct the movie, but he hadn't directed a

539
00:31:22,320 --> 00:31:26,760
Speaker 2: future before, so they were like, let's get someone who has,

540
00:31:27,160 --> 00:31:32,440
Speaker 2: you know, made a movie before. So then Tarantino basically

541
00:31:32,600 --> 00:31:35,760
Speaker 2: was like, how about this Robert Rodriguez, guy, I think

542
00:31:35,800 --> 00:31:38,920
Speaker 2: he'd be perfect. At this point, Merri Max was involved.

543
00:31:39,320 --> 00:31:44,360
Speaker 2: So unfortunately Harvey Weinstein is part of this. But it

544
00:31:44,480 --> 00:31:47,920
Speaker 2: started shooting in ninety four, so that's kind of the

545
00:31:48,000 --> 00:31:51,480
Speaker 2: context for the conception and development of this movie. So

546
00:31:51,600 --> 00:31:56,200
Speaker 2: it's a lot of men and you can tell.

547
00:31:56,720 --> 00:31:58,440
Speaker 6: Oh, it's entirely non union too.

548
00:31:59,120 --> 00:32:00,840
Speaker 4: Yes, yes, we've.

549
00:32:00,880 --> 00:32:06,480
Speaker 3: Really threw me for a loop with a nineteen million

550
00:32:06,520 --> 00:32:11,920
Speaker 3: dollar budget. You're just like the maths where show show

551
00:32:11,960 --> 00:32:13,120
Speaker 3: me how this makes.

552
00:32:13,040 --> 00:32:17,320
Speaker 4: Any possible feasible sense. I don't know. I mean, yeah,

553
00:32:17,720 --> 00:32:21,560
Speaker 4: I it this feels like the like we were saying earlier,

554
00:32:21,720 --> 00:32:22,080
Speaker 4: like the.

555
00:32:22,720 --> 00:32:28,880
Speaker 3: Front half of this movie feels so Tarantino, who we've

556
00:32:29,000 --> 00:32:35,440
Speaker 3: talked about, like unfortunately extensively on this show since we covered.

557
00:32:35,200 --> 00:32:38,280
Speaker 4: Him last last year. We're saying he's a.

558
00:32:38,400 --> 00:32:42,400
Speaker 3: Huge fucking Zionist. He sucks in this way that we

559
00:32:42,600 --> 00:32:46,200
Speaker 3: haven't mentioned recently, I don't think. But even outside of that,

560
00:32:46,320 --> 00:32:50,560
Speaker 3: it's he's so frustrating as a writer because I don't know.

561
00:32:50,640 --> 00:32:52,600
Speaker 4: There's certain male writers. It's not like I want to

562
00:32:52,720 --> 00:32:56,120
Speaker 4: give them benefit of the doubt, but like, I know.

563
00:32:56,120 --> 00:32:57,800
Speaker 3: There are certain writers who are men who I'm like,

564
00:32:57,920 --> 00:33:01,840
Speaker 3: I truly don't believe you can write a care competently.

565
00:33:01,360 --> 00:33:02,080
Speaker 4: Who is not a man.

566
00:33:02,920 --> 00:33:06,440
Speaker 3: But Tarantino, we know that's not true. Like Jackie Brown

567
00:33:06,520 --> 00:33:09,480
Speaker 3: comes out the year after this, Yes, like we know

568
00:33:09,800 --> 00:33:13,960
Speaker 3: he can write women intelligently and thoughtfully if he wants to.

569
00:33:14,520 --> 00:33:16,520
Speaker 3: So for this script, you're just like, oh, he just

570
00:33:16,680 --> 00:33:20,520
Speaker 3: like didn't want to, Like you have Kate, but that

571
00:33:20,840 --> 00:33:21,400
Speaker 3: is it and.

572
00:33:21,480 --> 00:33:23,200
Speaker 4: Even she's like pretty undercooked.

573
00:33:23,440 --> 00:33:25,400
Speaker 3: It's on the writing end, and like it, and he

574
00:33:25,640 --> 00:33:27,840
Speaker 3: like has way more interest in and I know he's

575
00:33:27,880 --> 00:33:30,840
Speaker 3: pulling from grindhouse stuff, but it's like do something with it, man,

576
00:33:31,120 --> 00:33:33,920
Speaker 3: like you know, because again we know he can do that,

577
00:33:34,520 --> 00:33:37,640
Speaker 3: but he's just like choosing not to hear so, I mean,

578
00:33:37,800 --> 00:33:43,640
Speaker 3: his writing, especially pre midpoint, I just found like unbelievably

579
00:33:43,680 --> 00:33:45,520
Speaker 3: frustrating because you know he can do better and he's

580
00:33:45,560 --> 00:33:45,760
Speaker 3: just not.

581
00:33:46,720 --> 00:33:50,240
Speaker 6: Oh yeah, Like we remember Kate as this like really interesting,

582
00:33:50,320 --> 00:33:53,640
Speaker 6: strong character, but that's more at testament to Juliet Lewis's

583
00:33:53,680 --> 00:33:56,800
Speaker 6: performance and it is her actual character. The way it's written,

584
00:33:57,760 --> 00:33:58,120
Speaker 6: I mean.

585
00:33:58,040 --> 00:34:01,040
Speaker 3: It's so frustrating. Yeah, I And Juliet Lewis does a

586
00:34:01,080 --> 00:34:03,440
Speaker 3: great job, Like I feel like she like makes a

587
00:34:03,720 --> 00:34:06,800
Speaker 3: meal of the part with more than is even on

588
00:34:07,200 --> 00:34:11,160
Speaker 3: the page. But also you're like you have Selma Hayek

589
00:34:11,800 --> 00:34:15,400
Speaker 3: and you didn't give her anything to do outside of

590
00:34:15,480 --> 00:34:17,560
Speaker 3: this like less than ten minute stretch.

591
00:34:18,040 --> 00:34:20,800
Speaker 4: I kept waiting for her to come back, okay, waiting

592
00:34:20,840 --> 00:34:23,640
Speaker 4: for her to like reappear out of the goo. She

593
00:34:23,800 --> 00:34:25,000
Speaker 4: never ungoos.

594
00:34:25,480 --> 00:34:28,719
Speaker 2: No, she never ungoos. But yeah, just to speak a

595
00:34:28,760 --> 00:34:32,080
Speaker 2: little bit more to that the first half, which again

596
00:34:32,440 --> 00:34:36,799
Speaker 2: and Tarantino is very all over the place, as we've

597
00:34:37,040 --> 00:34:41,400
Speaker 2: been suggesting as far as like sometimes he'll put in

598
00:34:41,480 --> 00:34:44,279
Speaker 2: a lot of effort and he'll write something like kill Bill,

599
00:34:44,480 --> 00:34:47,959
Speaker 2: or he'll write Jackie Brown and then other times he'll

600
00:34:48,560 --> 00:34:51,200
Speaker 2: write himself into the movie where he's saying the N

601
00:34:51,280 --> 00:34:55,040
Speaker 2: word dozens of times a lah pulp fiction, or he

602
00:34:55,080 --> 00:34:58,279
Speaker 2: writes this movie that's like full The opening scene is

603
00:34:58,440 --> 00:35:03,520
Speaker 2: just like an Ablest diatribe for five minutes, and then

604
00:35:03,600 --> 00:35:06,719
Speaker 2: you have a bunch of characters dropping all these racist

605
00:35:07,040 --> 00:35:12,680
Speaker 2: slurs and homophobic slurs, and the fact that his own

606
00:35:12,920 --> 00:35:17,080
Speaker 2: character that he wrote for himself is a rapist creep

607
00:35:17,560 --> 00:35:21,440
Speaker 2: who like hallucinates a scene where Kate asks him to

608
00:35:21,520 --> 00:35:24,319
Speaker 2: perform oral sex on her, and then that's brought back

609
00:35:24,520 --> 00:35:28,800
Speaker 2: and it's just like to what end? I don't understand

610
00:35:28,840 --> 00:35:32,279
Speaker 2: a lot of these choices, And like part of me

611
00:35:32,400 --> 00:35:35,520
Speaker 2: is like, okay, well, the characters who go on this

612
00:35:35,960 --> 00:35:39,560
Speaker 2: like Ablest rant at the beginning, is that to justify

613
00:35:39,840 --> 00:35:42,880
Speaker 2: them being murdered shortly after? Because those two characters are

614
00:35:42,920 --> 00:35:46,520
Speaker 2: shot and killed, And it's like, okay, well, were they

615
00:35:46,560 --> 00:35:48,960
Speaker 2: written that way so that we won't feel bad when

616
00:35:49,040 --> 00:35:54,000
Speaker 2: they die? But it just I don't really understand a

617
00:35:54,040 --> 00:35:56,759
Speaker 2: lot of the choices. And I think that Tarantino just

618
00:35:56,840 --> 00:36:02,280
Speaker 2: like has a tendency to revel in Lord Ablest, racist

619
00:36:02,560 --> 00:36:05,960
Speaker 2: homophobic diatribes because we see him do it in several

620
00:36:06,000 --> 00:36:07,520
Speaker 2: of his movies, so I don't know.

621
00:36:07,680 --> 00:36:09,640
Speaker 6: He has a very nihilistic view of like what the

622
00:36:09,719 --> 00:36:10,920
Speaker 6: general public thinks.

623
00:36:11,880 --> 00:36:12,960
Speaker 2: Yeah, yeah, I don't know.

624
00:36:13,280 --> 00:36:16,040
Speaker 4: Vanessa, How did this story age for you? Because you

625
00:36:16,200 --> 00:36:17,279
Speaker 4: have connection to it?

626
00:36:18,280 --> 00:36:18,400
Speaker 3: Uh?

627
00:36:18,719 --> 00:36:24,080
Speaker 6: The first half age like milk Uh, both like the

628
00:36:24,160 --> 00:36:29,320
Speaker 6: Tarantinois of it all. And I'm not saying that like

629
00:36:29,560 --> 00:36:32,920
Speaker 6: a bad person has to be a likable character, but

630
00:36:33,120 --> 00:36:37,800
Speaker 6: sometimes things feel like at least from Tarantinos and self indulgent,

631
00:36:37,840 --> 00:36:40,359
Speaker 6: where it's like, oh, I can do this because I can.

632
00:36:40,560 --> 00:36:44,799
Speaker 6: No one's really stopping me. And it's gross. And here's

633
00:36:44,840 --> 00:36:47,840
Speaker 6: the thing. Both halves of these this movie are gross.

634
00:36:47,880 --> 00:36:49,880
Speaker 6: The first half is gross and the second half is gross.

635
00:36:50,080 --> 00:36:51,640
Speaker 6: But the first half is gross in a way that

636
00:36:51,719 --> 00:36:54,040
Speaker 6: makes you feel weird in your skin, and the second

637
00:36:54,040 --> 00:36:57,600
Speaker 6: half is gross in the way that's like grimy, gritty,

638
00:36:58,120 --> 00:36:59,840
Speaker 6: like just the kind of thing that you actually like

639
00:37:00,040 --> 00:37:04,759
Speaker 6: out of an exploitation film. And it's so interesting to

640
00:37:04,840 --> 00:37:10,440
Speaker 6: me how these two halves conflict against each other, cause again,

641
00:37:10,560 --> 00:37:12,800
Speaker 6: the second half takes everything that you like out of

642
00:37:12,920 --> 00:37:16,080
Speaker 6: like Grindhouse into it, and in the first half it's

643
00:37:16,280 --> 00:37:18,719
Speaker 6: just like, oh, it's everything that was like embarrassing and

644
00:37:18,760 --> 00:37:20,560
Speaker 6: shameful about the genre in the first place.

645
00:37:20,920 --> 00:37:27,320
Speaker 4: Right, Yeah, I it it's weird because it's, like you're saying, Vanessa.

646
00:37:27,000 --> 00:37:30,440
Speaker 3: Both halves of this movie are very heavily referential to

647
00:37:30,520 --> 00:37:34,759
Speaker 3: stuff that came before it, but like couldn't feel more

648
00:37:34,880 --> 00:37:37,680
Speaker 3: different in how it ages.

649
00:37:37,880 --> 00:37:40,200
Speaker 4: I don't know. I mean, the Ritchie character feels like.

650
00:37:41,080 --> 00:37:44,600
Speaker 3: Sort of the most logical place to start, where like

651
00:37:45,040 --> 00:37:48,239
Speaker 3: we've all established no one's really sad to see him

652
00:37:48,280 --> 00:37:50,240
Speaker 3: go then and now I think in like a modern

653
00:37:50,520 --> 00:37:54,560
Speaker 3: audience this would get a like full on cheer yea.

654
00:37:54,520 --> 00:37:56,120
Speaker 4: From the crowd when he's off.

655
00:37:56,800 --> 00:37:59,560
Speaker 3: But even so, I mean just a really knowingly to

656
00:37:59,640 --> 00:38:04,440
Speaker 3: spit a character who it makes sense that the George.

657
00:38:04,200 --> 00:38:06,320
Speaker 4: Clooney has a connection to. But it's just like it

658
00:38:06,480 --> 00:38:10,000
Speaker 4: just I don't know, I felt like nothing was.

659
00:38:10,160 --> 00:38:15,239
Speaker 3: Subverted by this character existing. And if Tarantino's whole thing

660
00:38:15,360 --> 00:38:20,200
Speaker 3: is that he's referencing these old niche genres and subverting

661
00:38:20,280 --> 00:38:23,480
Speaker 3: things or adding things or modernizing them, this like didn't

662
00:38:23,800 --> 00:38:27,560
Speaker 3: do that, I don't think, And in a way where

663
00:38:27,840 --> 00:38:31,440
Speaker 3: I think, like again, with the exception of Kate, every

664
00:38:31,480 --> 00:38:35,759
Speaker 3: woman we meet in this movie dies or is constantly

665
00:38:35,840 --> 00:38:39,320
Speaker 3: I mean, in Kid's case, constantly under the threat of violence,

666
00:38:39,440 --> 00:38:41,399
Speaker 3: even if they don't even if.

667
00:38:41,320 --> 00:38:42,320
Speaker 4: They aren't killed by it.

668
00:38:42,400 --> 00:38:45,040
Speaker 3: The way that characters like Gloria are the way I mean,

669
00:38:45,520 --> 00:38:48,839
Speaker 3: and it's it's more fun when the way you die

670
00:38:48,960 --> 00:38:51,759
Speaker 3: is that you are a vampire who turns into goo.

671
00:38:52,400 --> 00:38:56,279
Speaker 3: Far easier to get on board with. But even so, yeah,

672
00:38:56,360 --> 00:38:58,520
Speaker 3: I don't, I don't know. I just it felt like,

673
00:38:58,800 --> 00:39:03,120
Speaker 3: you know, women were largely set dressing in this world

674
00:39:03,920 --> 00:39:06,680
Speaker 3: and with in the case of Rodriguez.

675
00:39:06,120 --> 00:39:09,000
Speaker 4: And Tarantino, they know how to not do that, so

676
00:39:09,120 --> 00:39:11,200
Speaker 4: it feels more deliberate that they're choosing to.

677
00:39:12,440 --> 00:39:18,520
Speaker 2: Yeah, the Richie character being this like predator, this rapist,

678
00:39:19,560 --> 00:39:23,520
Speaker 2: which his brother Seth challenges and says, what's wrong with you?

679
00:39:24,239 --> 00:39:27,279
Speaker 2: This is not okay, I don't go around doing this.

680
00:39:27,480 --> 00:39:30,480
Speaker 2: Why are you doing this? But again he's like, but

681
00:39:31,080 --> 00:39:35,360
Speaker 2: let's go to Mexico and hang out forever, so not

682
00:39:35,560 --> 00:39:39,480
Speaker 2: challenging him enough. And now we have this looming threat

683
00:39:39,880 --> 00:39:43,799
Speaker 2: for Kate, the only like major character in the movie

684
00:39:43,960 --> 00:39:48,320
Speaker 2: who is a woman, this threat that she might be

685
00:39:48,520 --> 00:39:53,680
Speaker 2: sexually assaulted by this guy, and for what, Like there's

686
00:39:53,760 --> 00:39:57,840
Speaker 2: already enough tension with the brothers abducting this family and

687
00:39:57,920 --> 00:40:02,640
Speaker 2: holding them hostage, there's tenshion and in this imminent vampire

688
00:40:03,400 --> 00:40:06,640
Speaker 2: attack kind of thing. So like I just don't know,

689
00:40:06,880 --> 00:40:09,280
Speaker 2: like why make it a point to make the only

690
00:40:10,000 --> 00:40:14,520
Speaker 2: major character who's a woman feel unsafe in that context

691
00:40:14,600 --> 00:40:18,000
Speaker 2: when like the movie's about something else, it's about vampire.

692
00:40:18,040 --> 00:40:20,680
Speaker 6: I just it's played for a bit too. Yeah, Like

693
00:40:20,760 --> 00:40:24,319
Speaker 6: it's played for laughs, like ha ha ha. This creep

694
00:40:24,360 --> 00:40:26,879
Speaker 6: won't stop looking at this young girl and imagining weird

695
00:40:26,880 --> 00:40:29,120
Speaker 6: shit about her. And like they even have that like

696
00:40:29,440 --> 00:40:31,520
Speaker 6: conversation where he's like, oh, did you want me to

697
00:40:31,600 --> 00:40:34,640
Speaker 6: actually do that? And she's just like okay, dude, whatever,

698
00:40:35,000 --> 00:40:37,879
Speaker 6: and she's so scared. It's played for laughs.

699
00:40:38,200 --> 00:40:40,840
Speaker 3: Right, and that never I kept waiting for that to

700
00:40:41,040 --> 00:40:43,880
Speaker 3: like come back or have the fact that he was

701
00:40:43,960 --> 00:40:49,160
Speaker 3: like hallucinating these interactions have a narrative impact.

702
00:40:49,320 --> 00:40:51,239
Speaker 4: But you're right, it was just a joke, Like it

703
00:40:51,440 --> 00:40:53,680
Speaker 4: was isn't this hilarious that this guy.

704
00:40:53,640 --> 00:40:59,520
Speaker 3: Is so delusionally abusive that he assumes that women are

705
00:40:59,560 --> 00:41:02,279
Speaker 3: giving can sent for him to do something that they

706
00:41:02,360 --> 00:41:06,200
Speaker 3: haven't set Like, it's just so many levels of fucked

707
00:41:06,280 --> 00:41:10,239
Speaker 3: and irritating and I don't know. Yeah, I feel like

708
00:41:10,280 --> 00:41:12,600
Speaker 3: the threat of sexual violence did not need to be

709
00:41:13,280 --> 00:41:15,480
Speaker 3: hanging over Kate the way it did for the stakes

710
00:41:15,520 --> 00:41:18,080
Speaker 3: to stay high, like you're saying Klan right.

711
00:41:18,680 --> 00:41:20,880
Speaker 2: And then as far as the other women who we

712
00:41:21,239 --> 00:41:27,080
Speaker 2: do see again, most of them are nameless set dressing

713
00:41:27,680 --> 00:41:33,120
Speaker 2: nude dancers, so there's all kinds of heavy objectification and sexualization.

714
00:41:33,920 --> 00:41:36,960
Speaker 2: And then these women are brutalized in a way that

715
00:41:37,040 --> 00:41:41,200
Speaker 2: feels different when the like man vampires are killed. It

716
00:41:41,239 --> 00:41:45,160
Speaker 2: feels like the movie is again like reveling in men

717
00:41:45,440 --> 00:41:51,600
Speaker 2: inflicting violence on these women vampires, and it feels like

718
00:41:51,800 --> 00:41:56,320
Speaker 2: the movie finds them to be, you know, disposable beings

719
00:41:56,360 --> 00:41:58,959
Speaker 2: to be killed, not just because they're vampires, but also

720
00:41:59,040 --> 00:42:01,560
Speaker 2: because they are sex workers. And it's like, oh, yeah,

721
00:42:01,600 --> 00:42:04,680
Speaker 2: we can easily cast them off and kill them in

722
00:42:04,800 --> 00:42:08,880
Speaker 2: a very exploitative way because they are sex workers. And

723
00:42:10,120 --> 00:42:14,760
Speaker 2: the problematic stuff carries on into the like fun second half.

724
00:42:14,880 --> 00:42:18,040
Speaker 2: The second half isn't immune to a lot of the

725
00:42:18,120 --> 00:42:20,040
Speaker 2: problematic stuff we see earlier on.

726
00:42:20,800 --> 00:42:22,800
Speaker 4: But I guess the only thing, because I agree that

727
00:42:22,840 --> 00:42:25,759
Speaker 4: they do dye in very exploited ways, the only thing

728
00:42:25,800 --> 00:42:28,000
Speaker 4: that made me feel better is that everyone dies.

729
00:42:28,560 --> 00:42:33,239
Speaker 3: Yes, So it wasn't like they were uniquely God, this

730
00:42:33,400 --> 00:42:36,359
Speaker 3: is like so depressive, but like they weren't uniquely dead.

731
00:42:36,640 --> 00:42:38,239
Speaker 3: But I do agree that the way that they were,

732
00:42:38,440 --> 00:42:43,040
Speaker 3: you know, framed and killed like drew emphasis to their

733
00:42:43,080 --> 00:42:44,880
Speaker 3: bodies and all this stuff. But I was glad that

734
00:42:44,920 --> 00:42:47,640
Speaker 3: at least I was like, if they're dying, we're taking

735
00:42:47,719 --> 00:42:50,600
Speaker 3: everyone out, and that at least the movie does subscribe

736
00:42:51,360 --> 00:42:55,000
Speaker 3: to that. But again, it's like, the only women in

737
00:42:55,080 --> 00:43:00,920
Speaker 3: the story with any narrative agency is Selma in theory

738
00:43:01,560 --> 00:43:03,960
Speaker 3: very briefly, although she is.

739
00:43:04,120 --> 00:43:05,160
Speaker 4: I was shocked that.

740
00:43:05,239 --> 00:43:08,279
Speaker 3: I was like, we gave her this unbelievable setup where

741
00:43:08,360 --> 00:43:10,600
Speaker 3: she's like hotter than anyone's ever been in a movie

742
00:43:10,640 --> 00:43:14,600
Speaker 3: before her since, and then she just turns to goo

743
00:43:15,360 --> 00:43:18,400
Speaker 3: in like a second. It just felt like she was

744
00:43:18,440 --> 00:43:21,520
Speaker 3: set up to be so powerful, and it just feels

745
00:43:21,560 --> 00:43:24,879
Speaker 3: like that's well, that shows how the movie feels about her,

746
00:43:25,719 --> 00:43:28,360
Speaker 3: and we people of the future know she is like

747
00:43:28,440 --> 00:43:31,680
Speaker 3: an unbelievable actress and should have. But even the way

748
00:43:31,719 --> 00:43:33,440
Speaker 3: her character is set up, you expect her to be

749
00:43:33,719 --> 00:43:37,160
Speaker 3: She's like the queen, She's powerful really, then she's like

750
00:43:37,400 --> 00:43:40,640
Speaker 3: one like Bop on the head from The Phantom of

751
00:43:40,680 --> 00:43:41,840
Speaker 3: the Opera chandelier, Like.

752
00:43:42,160 --> 00:43:44,120
Speaker 2: It was just so, how does that even kill her?

753
00:43:44,480 --> 00:43:46,800
Speaker 2: Like it's not even clear why she dies from a

754
00:43:46,920 --> 00:43:48,680
Speaker 2: chandelier falling on her.

755
00:43:49,000 --> 00:43:51,480
Speaker 6: No, she just melts into goether. And it's crazy because,

756
00:43:51,480 --> 00:43:54,239
Speaker 6: like Robert Rodriguez is capable of giving her more to do.

757
00:43:54,760 --> 00:43:58,600
Speaker 6: Desperado was a feast of Selma Hayek, Like we got

758
00:43:58,760 --> 00:44:02,120
Speaker 6: to see all of her acting chops in that movie

759
00:44:02,239 --> 00:44:05,440
Speaker 6: and like different nuances to her because she's like, you know,

760
00:44:05,719 --> 00:44:07,040
Speaker 6: kind of on the side of the villain but not

761
00:44:07,120 --> 00:44:09,040
Speaker 6: really whatever. But like we get to see more of

762
00:44:09,080 --> 00:44:13,479
Speaker 6: Selma Hayek in another Robert Rodriguez movie. So the fact

763
00:44:13,480 --> 00:44:18,600
Speaker 6: that she's so severely underutilized in something where her introduction

764
00:44:18,840 --> 00:44:21,040
Speaker 6: is so interesting is ridiculous to me.

765
00:44:21,520 --> 00:44:24,520
Speaker 2: Yeah, right, it seems like she's being set up to

766
00:44:24,600 --> 00:44:27,480
Speaker 2: be like the big bad Yes, And there's a part

767
00:44:27,520 --> 00:44:33,040
Speaker 2: where she has like cornered Seth and she's like, I'm

768
00:44:33,120 --> 00:44:36,719
Speaker 2: gonna make you my little servant, my little lap dog,

769
00:44:37,760 --> 00:44:40,600
Speaker 2: blah blah blah. And I thought that that was like

770
00:44:40,719 --> 00:44:42,560
Speaker 2: that would have been such a cool thing where if

771
00:44:42,800 --> 00:44:49,400
Speaker 2: for if not Seth, some character she had like taken prisoner,

772
00:44:49,880 --> 00:44:52,040
Speaker 2: and I don't know, maybe if it happens to sex

773
00:44:52,160 --> 00:44:55,239
Speaker 2: machine or something, but like that would let her be

774
00:44:55,400 --> 00:44:59,160
Speaker 2: a character for longer, that would also heighten the stakes

775
00:44:59,600 --> 00:45:03,560
Speaker 2: of the whole situation. But instead, it's like, you're gonna

776
00:45:03,560 --> 00:45:06,840
Speaker 2: be my slave. Welcome to slavery, she says to Seth,

777
00:45:07,239 --> 00:45:10,760
Speaker 2: and then he says, no, thanks, I already had a wife.

778
00:45:11,440 --> 00:45:14,160
Speaker 3: And it's like, wow, I fact that that's how she's

779
00:45:14,400 --> 00:45:15,560
Speaker 3: vaporized in to Goo.

780
00:45:16,080 --> 00:45:20,560
Speaker 2: You're just like, ah, wow, it's And then I want

781
00:45:20,600 --> 00:45:26,759
Speaker 2: to speak to how this role affected her career in

782
00:45:27,640 --> 00:45:32,720
Speaker 2: the years after this. She speaks to being very heavily

783
00:45:32,840 --> 00:45:36,120
Speaker 2: type cast in movies. Upon the release of this movie,

784
00:45:36,520 --> 00:45:41,600
Speaker 2: she was sent like countless roles for stripper characters, and

785
00:45:41,680 --> 00:45:44,160
Speaker 2: of course, not that there's anything inherently wrong with a

786
00:45:44,560 --> 00:45:49,560
Speaker 2: stripper role, but to be typecast as that and not

787
00:45:49,840 --> 00:45:53,560
Speaker 2: seen for anything else or not considered for any other

788
00:45:53,640 --> 00:45:56,720
Speaker 2: type of role, that's a different story. She also speaks

789
00:45:56,760 --> 00:46:00,560
Speaker 2: to just more about, you know, being limited in the

790
00:46:00,680 --> 00:46:04,680
Speaker 2: roles that she was offered. I'm pulling from an interview

791
00:46:05,000 --> 00:46:08,759
Speaker 2: with GQ that she did, I think last year or

792
00:46:08,800 --> 00:46:12,520
Speaker 2: pretty recently. She says, quote I was typecast for a

793
00:46:12,600 --> 00:46:15,480
Speaker 2: long time, my entire life. I wanted to do comedy,

794
00:46:15,800 --> 00:46:18,680
Speaker 2: and people wouldn't give me comedies. I couldn't land a

795
00:46:18,760 --> 00:46:21,080
Speaker 2: role until I met Adam Sandler, who put me in

796
00:46:21,200 --> 00:46:26,600
Speaker 2: a comedy Parentheses twenty tens grown ups, okay, feminist masterpiece,

797
00:46:27,400 --> 00:46:30,280
Speaker 2: but I was in my forties. They said you're sexy,

798
00:46:30,360 --> 00:46:32,120
Speaker 2: so you're not allowed to have a sense of humor.

799
00:46:33,040 --> 00:46:35,239
Speaker 2: Not only are you not allowed to be smart, but

800
00:46:35,360 --> 00:46:38,760
Speaker 2: you were not allowed to be funny in the nineties unquote.

801
00:46:38,800 --> 00:46:42,560
Speaker 2: And she's speaking like specifically about the role she played

802
00:46:42,760 --> 00:46:46,400
Speaker 2: in From Dusk Till Dawn, leading to being typecast for

803
00:46:46,760 --> 00:46:50,719
Speaker 2: many many years after this, and then apparently she wanted

804
00:46:50,719 --> 00:46:53,960
Speaker 2: to do comedies this whole time, and then Adam Sandler

805
00:46:54,760 --> 00:46:57,520
Speaker 2: saw the comedic potential in her thing.

806
00:46:58,880 --> 00:47:00,400
Speaker 4: I mean, and she has I mean, thankfully.

807
00:47:00,560 --> 00:47:03,560
Speaker 3: I mean, I hate that it took so long if

808
00:47:03,600 --> 00:47:05,000
Speaker 3: that's what she wanted to do, because she has been

809
00:47:05,040 --> 00:47:07,040
Speaker 3: in a lot of comedies in the last ten years.

810
00:47:07,120 --> 00:47:08,600
Speaker 3: It seems like if that's what she wanted to do,

811
00:47:08,760 --> 00:47:12,320
Speaker 3: she's finally has this sort of freedom to do so.

812
00:47:12,640 --> 00:47:17,000
Speaker 3: But like, ugh, that's so sad because she doesn't she

813
00:47:17,040 --> 00:47:19,399
Speaker 3: gives an amazing performance in this movie, and it feels

814
00:47:19,440 --> 00:47:20,400
Speaker 3: like she's punished for it.

815
00:47:20,960 --> 00:47:21,160
Speaker 2: Yeah.

816
00:47:21,480 --> 00:47:25,239
Speaker 3: I also I was curious about the Vanessa your thoughts

817
00:47:25,280 --> 00:47:28,480
Speaker 3: on like the lore behind this movie because we about

818
00:47:28,520 --> 00:47:32,000
Speaker 3: I think almost ten years ago now Robert Rodriguez did

819
00:47:32,160 --> 00:47:37,360
Speaker 3: I think two seasons of a serialized TV show based

820
00:47:37,400 --> 00:47:40,719
Speaker 3: on the World from Dusk Till Dawn that I think

821
00:47:41,000 --> 00:47:45,400
Speaker 3: more intentionally builds out the lore of the vampires and

822
00:47:45,560 --> 00:47:50,200
Speaker 3: really roots it in Mexican and Aztec mythology, which this

823
00:47:50,320 --> 00:47:52,879
Speaker 3: movie does not really seem to be doing. It kind

824
00:47:52,920 --> 00:47:59,839
Speaker 3: of seems like Tarantino guaranteininging his way around it as

825
00:48:00,000 --> 00:48:01,160
Speaker 3: it's a horror expert.

826
00:48:01,320 --> 00:48:03,920
Speaker 4: How does the like vampire lure feel to you?

827
00:48:04,880 --> 00:48:07,680
Speaker 6: Well, on one end, I like that when they went

828
00:48:07,719 --> 00:48:10,880
Speaker 6: with vampires, even though they didn't like look like your

829
00:48:10,960 --> 00:48:13,680
Speaker 6: typical vampires, they had like the vampire rules to follow,

830
00:48:13,680 --> 00:48:16,080
Speaker 6: because as an audience, it's like such an easy shorthand

831
00:48:16,120 --> 00:48:18,440
Speaker 6: for us to be like, oh, we know exactly what

832
00:48:18,520 --> 00:48:20,960
Speaker 6: they have to do, we know exactly what vampire rules are,

833
00:48:21,280 --> 00:48:24,080
Speaker 6: steak are like all that good shit. It's a really

834
00:48:24,160 --> 00:48:26,200
Speaker 6: easy way for the audience to be like, I know

835
00:48:26,320 --> 00:48:32,520
Speaker 6: what's happening. I enjoy the mixing it into like as

836
00:48:32,680 --> 00:48:37,640
Speaker 6: tech culture because I think when it comes to like

837
00:48:37,719 --> 00:48:40,800
Speaker 6: things like as tech or mayand culture, there's so little

838
00:48:41,520 --> 00:48:44,000
Speaker 6: that like the main public knows about that you can

839
00:48:44,080 --> 00:48:46,680
Speaker 6: like weave something like that into it. And also like

840
00:48:46,760 --> 00:48:48,759
Speaker 6: both of them have pretty bloody pass with like human

841
00:48:48,800 --> 00:48:51,000
Speaker 6: sacrifice and things like that, so it's like not that

842
00:48:51,120 --> 00:48:53,080
Speaker 6: far of a stretch for an audience to be like, okay,

843
00:48:53,280 --> 00:48:58,120
Speaker 6: maybe vampirism. Although when it's Robert Rodriguez handling it, I

844
00:48:58,400 --> 00:49:01,160
Speaker 6: like it more than the idea of like Tarantino using

845
00:49:01,200 --> 00:49:05,640
Speaker 6: in a shorthand because Robert Rodriguez handling it, that's just

846
00:49:05,719 --> 00:49:10,440
Speaker 6: a guy who like already likes Mexican culture and like

847
00:49:11,280 --> 00:49:15,480
Speaker 6: enjoys extrapolating on that kind of lore. When it's Tarantino

848
00:49:15,600 --> 00:49:20,320
Speaker 6: handling it, he's just a dipshit and right, so it

849
00:49:20,480 --> 00:49:23,200
Speaker 6: feels very different, Right, Yeah.

850
00:49:23,239 --> 00:49:24,959
Speaker 3: I was sort of curious about that because I feel

851
00:49:24,960 --> 00:49:28,640
Speaker 3: like there are tropes present in the movie that seems

852
00:49:28,719 --> 00:49:32,719
Speaker 3: like is sort of course corrected in the series, which

853
00:49:33,120 --> 00:49:35,279
Speaker 3: I don't think any of us have seen, but just

854
00:49:35,360 --> 00:49:38,200
Speaker 3: based on like interviews Rodriguez did around like how did

855
00:49:38,280 --> 00:49:39,920
Speaker 3: you want to reimagine the lore to work for the

856
00:49:40,000 --> 00:49:42,920
Speaker 3: TV show. But like you're saying, Vanessa, it's not like

857
00:49:43,880 --> 00:49:49,640
Speaker 3: you would necessarily trust Tarantino to handle lore that exists

858
00:49:49,719 --> 00:49:52,880
Speaker 3: out of Hollywood. That seems to be like sort of

859
00:49:52,960 --> 00:49:56,759
Speaker 3: where he can deal with lore. I don't know. It's

860
00:49:56,800 --> 00:50:00,520
Speaker 3: interesting because you do have the trope of the like

861
00:50:00,760 --> 00:50:03,399
Speaker 3: kind of ancient burial ground trope that we've talked about

862
00:50:03,400 --> 00:50:07,239
Speaker 3: in other horror movies. That is, we've most often seen

863
00:50:07,320 --> 00:50:13,200
Speaker 3: applied to indigenous American tribes. And I mean how it is,

864
00:50:13,320 --> 00:50:17,840
Speaker 3: usually a house is built on a native burial ground

865
00:50:18,360 --> 00:50:21,640
Speaker 3: and then things happen to white people that are scary,

866
00:50:21,880 --> 00:50:25,239
Speaker 3: and that's like kind of what happens in this movie also,

867
00:50:25,440 --> 00:50:27,600
Speaker 3: But there's more going on than there is in your

868
00:50:27,680 --> 00:50:29,680
Speaker 3: average horror movie. There's more thoughtfulness.

869
00:50:29,960 --> 00:50:30,360
Speaker 4: I don't know.

870
00:50:30,600 --> 00:50:34,360
Speaker 2: It almost feels like Tarantino was like, what's an interesting

871
00:50:34,440 --> 00:50:37,440
Speaker 2: little button I can put on the end of this

872
00:50:37,600 --> 00:50:40,600
Speaker 2: without giving it any kind of thought about the implications

873
00:50:40,840 --> 00:50:42,840
Speaker 2: or yeah, anything like that.

874
00:50:43,600 --> 00:50:45,959
Speaker 4: Didn't need it, No, no, you don't.

875
00:50:46,960 --> 00:50:52,239
Speaker 2: Robert Rodriguez has spoken about the lack of positive representation

876
00:50:52,560 --> 00:50:56,719
Speaker 2: of LATINX characters in Hollywood. How he has made a

877
00:50:56,800 --> 00:51:01,080
Speaker 2: concerted effort to change that. But it also feels to

878
00:51:01,160 --> 00:51:06,399
Speaker 2: me like there are stereotypes present of LATINX people perpetuated

879
00:51:06,600 --> 00:51:10,800
Speaker 2: in this movie. The various cheech marin characters, for example,

880
00:51:11,560 --> 00:51:16,239
Speaker 2: the way that Selma Hayek is heavily sexualized, the way

881
00:51:16,320 --> 00:51:20,640
Speaker 2: that Latina actresses often are in movies like It struck

882
00:51:20,760 --> 00:51:25,200
Speaker 2: me that there are stereotypes present, and you can, I'm

883
00:51:25,200 --> 00:51:28,560
Speaker 2: sure chalk those up to Tarantino's writing, but I was

884
00:51:28,640 --> 00:51:31,120
Speaker 2: just curious about, like, is it just like the nineteen

885
00:51:31,200 --> 00:51:34,960
Speaker 2: ninety six of it all? Was Robert Rodriguez not in

886
00:51:35,040 --> 00:51:39,040
Speaker 2: a position to be able to make changes or you know.

887
00:51:39,480 --> 00:51:43,120
Speaker 6: So when I say this, I want to clarify that

888
00:51:43,320 --> 00:51:46,120
Speaker 6: I am not a monolith for an entire people. I

889
00:51:46,880 --> 00:51:49,800
Speaker 6: have my own personal opinion on this, and this is

890
00:51:49,840 --> 00:51:51,920
Speaker 6: not like the opinion of every Latin American person, But

891
00:51:52,000 --> 00:51:54,560
Speaker 6: this is just an observation that I've made a lot

892
00:51:54,640 --> 00:51:57,880
Speaker 6: of the times when representation doesn't exist, you take the

893
00:51:57,960 --> 00:52:02,319
Speaker 6: little scraps of it that does, and you, I don't

894
00:52:02,320 --> 00:52:04,480
Speaker 6: want to say explain away, but you kind of like

895
00:52:04,920 --> 00:52:09,000
Speaker 6: deal with the stereotypes that go along with it because

896
00:52:09,000 --> 00:52:11,800
Speaker 6: you're like, well, at least it exists, because like, growing

897
00:52:11,840 --> 00:52:14,320
Speaker 6: up in a Latin American family, we like things like

898
00:52:14,440 --> 00:52:17,279
Speaker 6: speedy Gonzales and Nacho libre and things that were like

899
00:52:17,960 --> 00:52:21,200
Speaker 6: quote unquote maybe like not necessarily the most peacey thing,

900
00:52:21,360 --> 00:52:24,520
Speaker 6: but it was like, but nothing else exists, nothing else

901
00:52:24,600 --> 00:52:27,800
Speaker 6: exists where we were there in the first place. And

902
00:52:28,800 --> 00:52:31,279
Speaker 6: it's a lot like almost like queer representation too, where

903
00:52:31,320 --> 00:52:34,120
Speaker 6: like the only early representations we had were like the

904
00:52:34,280 --> 00:52:38,480
Speaker 6: very like fruity, highly effeminate, like over the top characters.

905
00:52:38,560 --> 00:52:40,680
Speaker 2: But it's like, but that's all we had, right, the

906
00:52:40,760 --> 00:52:43,360
Speaker 2: queer coded villains, and yes, such.

907
00:52:43,560 --> 00:52:47,880
Speaker 6: And I think with a lot of like early Latin characters,

908
00:52:48,600 --> 00:52:51,560
Speaker 6: we would take what we can get, and a lot

909
00:52:51,640 --> 00:52:57,120
Speaker 6: of those were characters that now are deemed more politically uncorrect.

910
00:52:57,960 --> 00:53:02,680
Speaker 2: Yeah, we were just talking about that on a recent

911
00:53:03,120 --> 00:53:07,040
Speaker 2: Matreon episode on sixteen Candles, regarding the long duck Down

912
00:53:07,200 --> 00:53:12,520
Speaker 2: character and how there were certain viewers of the movie

913
00:53:13,080 --> 00:53:17,160
Speaker 2: who were, like, including the actor who played that character,

914
00:53:17,880 --> 00:53:21,040
Speaker 2: admitting to not really realizing how racist of our portrayal

915
00:53:21,080 --> 00:53:24,560
Speaker 2: that character was because there was so little other representation

916
00:53:25,040 --> 00:53:29,120
Speaker 2: of Asian characters in mainstream Hollywood cinema. I mean, like

917
00:53:29,880 --> 00:53:34,880
Speaker 2: tropes beget tropes, beget tropes, right, So it's like a

918
00:53:34,960 --> 00:53:40,759
Speaker 2: cyclical thing that exists until the cycle is broken, which

919
00:53:40,800 --> 00:53:46,840
Speaker 2: it only recently started to be broken well in Hollywood.

920
00:53:47,080 --> 00:53:49,600
Speaker 3: And I think that, I mean, I guess because I

921
00:53:50,239 --> 00:53:52,719
Speaker 3: noticed the tropes you're talking about as well, Kitlan, I

922
00:53:52,800 --> 00:53:54,719
Speaker 3: feel like, I mean, even if we're talking about this

923
00:53:55,000 --> 00:54:01,359
Speaker 3: moment in movies and general power dynamics, Tino definitely has

924
00:54:02,160 --> 00:54:06,640
Speaker 3: the power over Rodriguez as a filmmaker at the point

925
00:54:06,680 --> 00:54:10,239
Speaker 3: where pulp fiction was so huge, this is like his

926
00:54:10,920 --> 00:54:15,440
Speaker 3: I would be really curious how their collaborations operated at

927
00:54:15,520 --> 00:54:20,120
Speaker 3: this time, and like, did Rodriguez give a lot of

928
00:54:20,840 --> 00:54:23,960
Speaker 3: like creative input was he Like, it seems like there

929
00:54:24,040 --> 00:54:26,320
Speaker 3: is collaboration going on, but I'm kind of unclear on

930
00:54:26,480 --> 00:54:27,040
Speaker 3: what it is.

931
00:54:28,040 --> 00:54:28,800
Speaker 4: Yeah, I don't know.

932
00:54:28,840 --> 00:54:32,160
Speaker 3: I mean, like I trust Rodriguez, and like you're saying, Vanessa,

933
00:54:32,200 --> 00:54:36,160
Speaker 3: we know that like as time goes on, he prioritizes

934
00:54:36,239 --> 00:54:38,120
Speaker 3: this more and more in his work as he becomes

935
00:54:38,239 --> 00:54:41,040
Speaker 3: more powerful. But I just wonder if, yeah, like if

936
00:54:41,080 --> 00:54:46,000
Speaker 3: there was to some extent like negotiations or like compromises

937
00:54:46,040 --> 00:54:48,879
Speaker 3: that had to be made to even have the movie made.

938
00:54:49,360 --> 00:54:50,960
Speaker 3: The way it was.

939
00:54:51,239 --> 00:54:51,759
Speaker 4: I don't know.

940
00:54:52,000 --> 00:54:54,280
Speaker 3: I mean, I think that the thing that really stood

941
00:54:54,320 --> 00:54:58,040
Speaker 3: out to me in particular, I mean, just because of

942
00:54:58,800 --> 00:55:01,600
Speaker 3: what we looked for on our show, is how Latin

943
00:55:01,680 --> 00:55:04,680
Speaker 3: women are treated, in particular in this movie, where I mean,

944
00:55:05,200 --> 00:55:07,840
Speaker 3: the only two women we get to even know with

945
00:55:08,239 --> 00:55:13,000
Speaker 3: names are Sama Hyk's character, who is heavily objectified and

946
00:55:13,040 --> 00:55:16,759
Speaker 3: then immediately turns to go after I mean, and I

947
00:55:16,880 --> 00:55:19,000
Speaker 3: do love a bonk on the head kill. It always

948
00:55:19,040 --> 00:55:23,680
Speaker 3: makes me laugh, but be serious, and then Gloria, whose

949
00:55:23,800 --> 00:55:24,239
Speaker 3: death is.

950
00:55:24,520 --> 00:55:25,560
Speaker 4: Far more brutal.

951
00:55:25,800 --> 00:55:28,000
Speaker 3: And I don't know, I mean, the only thing that

952
00:55:28,120 --> 00:55:29,880
Speaker 3: I can say for it is I'm glad that it

953
00:55:30,000 --> 00:55:33,160
Speaker 3: happened off screen, because I think that there are.

954
00:55:33,560 --> 00:55:37,719
Speaker 6: Some movies that would not do that, but no, they'd

955
00:55:37,760 --> 00:55:38,239
Speaker 6: indulge in it.

956
00:55:38,920 --> 00:55:41,880
Speaker 3: Yeah, And so it's like outside of that, though, like

957
00:55:42,080 --> 00:55:44,920
Speaker 3: what can we even say? Because she you know, and

958
00:55:45,440 --> 00:55:48,880
Speaker 3: all the women in the story sort of serve for

959
00:55:49,480 --> 00:55:54,200
Speaker 3: a good period of time to characterize how Richie and

960
00:55:54,360 --> 00:55:59,560
Speaker 3: sets values are different, because Seth theoretically would not assault

961
00:55:59,800 --> 00:56:03,120
Speaker 3: and kill a woman unless he absolutely had to, and

962
00:56:03,360 --> 00:56:06,239
Speaker 3: Richie thinks it's fun. And so it's like, I don't know,

963
00:56:06,400 --> 00:56:09,440
Speaker 3: like obviously, you know, they're set dressing their objects even

964
00:56:09,480 --> 00:56:10,680
Speaker 3: when they are characters.

965
00:56:11,360 --> 00:56:12,600
Speaker 4: And I would even apply.

966
00:56:12,480 --> 00:56:16,560
Speaker 3: That to Kate to some extent for a good portion

967
00:56:17,560 --> 00:56:22,279
Speaker 3: of the movie. But I don't know, I mean, I

968
00:56:23,480 --> 00:56:27,120
Speaker 3: it's tricky because I think you're totally right, Vanessa is

969
00:56:27,239 --> 00:56:31,160
Speaker 3: like it's almost a thirty year old movie, Like there

970
00:56:31,280 --> 00:56:33,800
Speaker 3: was not a lot of representation at the time. And

971
00:56:34,280 --> 00:56:37,959
Speaker 3: it's not as if Rodriguez went on to like show

972
00:56:38,120 --> 00:56:41,920
Speaker 3: active contempt for Latin characters in his work, like it

973
00:56:42,040 --> 00:56:44,640
Speaker 3: only continued to grow from there.

974
00:56:44,920 --> 00:56:48,640
Speaker 6: But yeah, and this is not a knock on Rodriguez

975
00:56:48,840 --> 00:56:52,040
Speaker 6: or how the movie handled it, but in general, Latin

976
00:56:52,040 --> 00:56:56,600
Speaker 6: American media growing up not great about women. A lot

977
00:56:56,680 --> 00:56:58,800
Speaker 6: of the women I saw on TV, especially in like

978
00:56:59,000 --> 00:57:01,719
Speaker 6: comedy context were like a guy dressed as a baby

979
00:57:01,800 --> 00:57:04,680
Speaker 6: and a girl in a bikini, and that stretched out

980
00:57:04,719 --> 00:57:08,600
Speaker 6: to like the weather or news reporting, where like the

981
00:57:08,680 --> 00:57:11,040
Speaker 6: standards for what a woman looked like on TV was

982
00:57:11,400 --> 00:57:13,920
Speaker 6: so different for what a like, a man can be

983
00:57:14,160 --> 00:57:16,800
Speaker 6: the ugliest, loubbiest thing, but a girl had to have

984
00:57:17,080 --> 00:57:19,600
Speaker 6: a six pack and like show it off in order

985
00:57:19,680 --> 00:57:21,920
Speaker 6: to even exist on network at television it was it

986
00:57:22,080 --> 00:57:23,120
Speaker 6: was ridiculous.

987
00:57:23,480 --> 00:57:27,040
Speaker 4: God, the patriarchy so depressing.

988
00:57:27,360 --> 00:57:30,240
Speaker 3: I'm glad, Selama. Hi, I mean we're covering it's a

989
00:57:30,280 --> 00:57:32,720
Speaker 3: big Sela High week on the pod because we're recording

990
00:57:33,200 --> 00:57:35,480
Speaker 3: our episode of Frida later this week.

991
00:57:35,640 --> 00:57:36,160
Speaker 6: Oh my god.

992
00:57:36,640 --> 00:57:37,480
Speaker 4: Yeah, we're excited.

993
00:57:37,560 --> 00:57:40,880
Speaker 3: Yes, but yeah, I mean it's fascinating finding Selma hYP

994
00:57:41,000 --> 00:57:43,120
Speaker 3: at this point in her career too, where she's just

995
00:57:43,200 --> 00:57:47,880
Speaker 3: breaking through in American movies and just knowing watching now

996
00:57:48,080 --> 00:57:52,360
Speaker 3: like how unbelievably talented and also how comparatively underused she is.

997
00:57:53,440 --> 00:57:55,560
Speaker 4: It's just a lot.

998
00:57:55,680 --> 00:58:00,120
Speaker 3: But like you're saying, Vanessa, like Rodriguez eventually acknowledges that

999
00:58:00,200 --> 00:58:02,400
Speaker 3: she's like the most talented person in the world by

1000
00:58:02,440 --> 00:58:04,640
Speaker 3: giving her a better role, but the fact that she

1001
00:58:04,720 --> 00:58:06,400
Speaker 3: had to fight for it that hard just feels very,

1002
00:58:08,320 --> 00:58:09,320
Speaker 3: I want to say, of the time.

1003
00:58:09,360 --> 00:58:12,640
Speaker 4: But I know that it's still a very real problem. Now, Yeah,

1004
00:58:13,240 --> 00:58:15,640
Speaker 4: should we get to Kate and Scott.

1005
00:58:16,360 --> 00:58:19,160
Speaker 2: The kids, Yeah, let's do it. The spy kids.

1006
00:58:20,160 --> 00:58:24,440
Speaker 4: They kind of are proto spy kids, you could say.

1007
00:58:25,040 --> 00:58:29,720
Speaker 2: Hmm, I feel as though they're both a bit underwritten.

1008
00:58:30,440 --> 00:58:30,840
Speaker 6: Yes, And.

1009
00:58:32,880 --> 00:58:37,560
Speaker 2: What I was noticing about Kate is that I was clocking, like, Okay,

1010
00:58:37,640 --> 00:58:40,280
Speaker 2: how often does she have to be saved by a

1011
00:58:40,480 --> 00:58:45,000
Speaker 2: man versus does she ever save a man when the

1012
00:58:45,320 --> 00:58:51,240
Speaker 2: you know vampires unleash and it seems pretty even split Yeah,

1013
00:58:51,320 --> 00:58:54,200
Speaker 2: as far as she is saved. But then there's that

1014
00:58:54,280 --> 00:58:56,920
Speaker 2: big moment towards the end when sex Machine is a

1015
00:58:57,080 --> 00:59:00,360
Speaker 2: dog vampire question Mark and he's about to kill Seth,

1016
00:59:01,000 --> 00:59:05,000
Speaker 2: but she like pulls up with her crossbow and she's like,

1017
00:59:05,200 --> 00:59:09,440
Speaker 2: I got this and kills sex Machine once and for all,

1018
00:59:09,920 --> 00:59:10,880
Speaker 2: saving Seth.

1019
00:59:11,160 --> 00:59:13,160
Speaker 4: And I did that like ten years ago. People would

1020
00:59:13,160 --> 00:59:16,360
Speaker 4: be like, isn't that a marriage suit? And you're like, well, look.

1021
00:59:16,200 --> 00:59:19,240
Speaker 3: At the you know movies this movie is referencing. I'm

1022
00:59:19,320 --> 00:59:23,320
Speaker 3: just not worried about it. I like that she's using

1023
00:59:23,600 --> 00:59:25,160
Speaker 3: a scary weapon, like.

1024
00:59:25,440 --> 00:59:30,040
Speaker 2: Ready, and look at the other characters who are men,

1025
00:59:30,640 --> 00:59:36,479
Speaker 2: such as Jacob and Scott does right, Well, Scott only has.

1026
00:59:36,440 --> 00:59:36,960
Speaker 4: A water gun.

1027
00:59:37,000 --> 00:59:40,240
Speaker 3: I actually do believe he's he has the license to

1028
00:59:40,280 --> 00:59:40,680
Speaker 3: wield that.

1029
00:59:41,040 --> 00:59:46,439
Speaker 2: But Jacob, right, but Jacob has a shotgun that he's

1030
00:59:46,520 --> 00:59:51,360
Speaker 2: suddenly using expertly, even though he's a pastor. You've got Seth,

1031
00:59:51,440 --> 00:59:56,160
Speaker 2: who you know, he's a you know, professional bank robber,

1032
00:59:56,320 --> 00:59:58,840
Speaker 2: so he might know weapons and tools more, but he

1033
00:59:58,880 --> 01:00:00,920
Speaker 2: also like has this I don't even know what that

1034
01:00:01,080 --> 01:00:04,200
Speaker 2: thing is. It sounds like a chainsaw, but it looks

1035
01:00:04,280 --> 01:00:08,480
Speaker 2: like a giant drilled thing that he sticks a wooden

1036
01:00:08,520 --> 01:00:10,920
Speaker 2: stake into, and it's like, how does he know how

1037
01:00:10,960 --> 01:00:13,760
Speaker 2: to use that? So yeah, like every character just suddenly

1038
01:00:13,840 --> 01:00:19,800
Speaker 2: becomes this like a action movie hero and you're like, yep, fine.

1039
01:00:19,880 --> 01:00:23,640
Speaker 3: Yeah, I appreciate the Mary Sue conversation, but sometimes I

1040
01:00:23,720 --> 01:00:26,920
Speaker 3: feel like, well, do we also ask when men randomly

1041
01:00:27,040 --> 01:00:28,240
Speaker 3: know how to use things?

1042
01:00:28,360 --> 01:00:31,360
Speaker 2: And yeah, for sure, I like it's weird because like,

1043
01:00:31,720 --> 01:00:35,479
Speaker 2: you can criticize Mary Sue characters, but you can also

1044
01:00:35,800 --> 01:00:41,280
Speaker 2: criticize the criticism of Mary Sue characters because like that

1045
01:00:41,480 --> 01:00:42,760
Speaker 2: there's a double standard there.

1046
01:00:42,960 --> 01:00:44,360
Speaker 4: We've come a long way.

1047
01:00:46,880 --> 01:00:49,920
Speaker 3: Yeah, I generally liked Kate's character. I just felt like

1048
01:00:50,040 --> 01:00:53,280
Speaker 3: there were certain like we've talked about before, I don't

1049
01:00:53,320 --> 01:00:56,480
Speaker 3: think that the constant threat of sexual violence over her

1050
01:00:57,240 --> 01:01:01,640
Speaker 3: needed to be there to maintaining the stakes. Like that

1051
01:01:01,920 --> 01:01:06,360
Speaker 3: felt just kind of clearly exploitative and just there because

1052
01:01:06,400 --> 01:01:10,400
Speaker 3: it could be there. But you know, I just I

1053
01:01:10,440 --> 01:01:12,320
Speaker 3: felt like it just removed agency from her.

1054
01:01:12,920 --> 01:01:15,479
Speaker 4: Thankfully, she does get to do stuff in the back

1055
01:01:15,560 --> 01:01:18,280
Speaker 4: half of the movie. But I also felt like.

1056
01:01:18,560 --> 01:01:21,120
Speaker 3: I don't know, this is like a smaller point, but

1057
01:01:21,240 --> 01:01:25,680
Speaker 3: the fact that we're told that Jacob is having a

1058
01:01:25,760 --> 01:01:28,920
Speaker 3: crisis of faith because he just lost his wife. His

1059
01:01:29,080 --> 01:01:31,920
Speaker 3: wife also the things that are hanging in the balance

1060
01:01:31,960 --> 01:01:34,120
Speaker 3: for Jacob for a while is the death of one

1061
01:01:34,160 --> 01:01:36,800
Speaker 3: woman and the threat of sexual violence over another, which is.

1062
01:01:37,240 --> 01:01:39,360
Speaker 4: Love those steaks for him.

1063
01:01:39,560 --> 01:01:44,040
Speaker 3: But the fact that, like the grief over his wife,

1064
01:01:44,560 --> 01:01:48,640
Speaker 3: only narratively impacts Jacob, we never get any insight to

1065
01:01:48,760 --> 01:01:54,600
Speaker 3: how it's affecting the kids, which felt weird and felt

1066
01:01:54,760 --> 01:02:00,200
Speaker 3: like just a very clear, intuitive opportunity to give more

1067
01:02:00,280 --> 01:02:02,920
Speaker 3: insight into both Kate and Scott, like how are they

1068
01:02:03,800 --> 01:02:07,240
Speaker 3: dealing with this loss? How did they feel about it?

1069
01:02:07,600 --> 01:02:10,000
Speaker 3: But really the only thing we get the most we

1070
01:02:10,160 --> 01:02:12,400
Speaker 3: get with Kate in the first half of the movie

1071
01:02:12,480 --> 01:02:14,760
Speaker 3: is that conversation she has with Jacob at the diner,

1072
01:02:15,640 --> 01:02:20,000
Speaker 3: where she is basically just asking Jacob questions about himself

1073
01:02:20,080 --> 01:02:23,120
Speaker 3: and asking questions about his crisis of faith. He doesn't

1074
01:02:23,120 --> 01:02:25,400
Speaker 3: ask her anything about how she is doing with the

1075
01:02:25,480 --> 01:02:28,480
Speaker 3: loss of her parent. The movie doesn't really have any

1076
01:02:28,560 --> 01:02:32,280
Speaker 3: interest in how that loss affects anyone except Jacob because

1077
01:02:33,320 --> 01:02:37,200
Speaker 3: that advances the plot in the third act with George Clooney,

1078
01:02:37,280 --> 01:02:40,920
Speaker 3: and they're weird, you know, like god thing, So I

1079
01:02:41,000 --> 01:02:42,919
Speaker 3: found that to be frustrating.

1080
01:02:43,360 --> 01:02:45,080
Speaker 4: Yes, And then there's Scott.

1081
01:02:45,720 --> 01:02:49,000
Speaker 6: Scott has such an interesting dynamic built in too, where

1082
01:02:49,040 --> 01:02:52,320
Speaker 6: it's like, oh, Scott's adopted, and like what relationship did

1083
01:02:52,360 --> 01:02:54,280
Speaker 6: he have with his mom? And like what relationship does

1084
01:02:54,360 --> 01:02:57,160
Speaker 6: he have with Kate and where does he like feel

1085
01:02:57,240 --> 01:02:59,640
Speaker 6: like he fits into this world? And he's just kind

1086
01:02:59,640 --> 01:03:01,760
Speaker 6: of a character the entire time.

1087
01:03:02,520 --> 01:03:03,400
Speaker 4: It's so frustrating.

1088
01:03:03,400 --> 01:03:07,280
Speaker 3: And then he's just like unceremoniously killed off at the

1089
01:03:07,400 --> 01:03:11,120
Speaker 3: very end, which I found, like it just it. Yeah, again,

1090
01:03:11,120 --> 01:03:13,280
Speaker 3: there were so many opportunities with Scott that like that

1091
01:03:13,480 --> 01:03:17,760
Speaker 3: was one of the few things I was like interested

1092
01:03:17,920 --> 01:03:20,680
Speaker 3: in possibly seeing explored by this movie. Not that you

1093
01:03:20,720 --> 01:03:24,160
Speaker 3: would trust Tarantino to do it, but like the fact

1094
01:03:24,280 --> 01:03:30,000
Speaker 3: that you know, the Robber brothers are you know, being

1095
01:03:30,280 --> 01:03:33,240
Speaker 3: very racist towards Scott, they're being very hateful towards him,

1096
01:03:33,680 --> 01:03:36,200
Speaker 3: and Jacob and Scott are both sort of holding their

1097
01:03:36,240 --> 01:03:39,680
Speaker 3: ground and are like fuck you, like we're a family.

1098
01:03:39,840 --> 01:03:43,240
Speaker 3: This is what this is. And I mean, as complicated

1099
01:03:43,440 --> 01:03:45,880
Speaker 3: we don't know very much about the adoption. We don't

1100
01:03:45,880 --> 01:03:48,080
Speaker 3: know very much about Scott at all. And it's not

1101
01:03:48,240 --> 01:03:50,160
Speaker 3: like it's the job of this movie to harp on

1102
01:03:50,280 --> 01:03:51,960
Speaker 3: it like they're a family.

1103
01:03:51,800 --> 01:03:55,160
Speaker 4: That's it. But I just sort of the fact that

1104
01:03:55,240 --> 01:03:55,520
Speaker 4: that is.

1105
01:03:55,640 --> 01:03:59,440
Speaker 3: I appreciated that that was very deliberately set up, but

1106
01:03:59,600 --> 01:04:02,040
Speaker 3: then the fact that we go on to learn nothing

1107
01:04:02,120 --> 01:04:04,840
Speaker 3: about Scott when there's so much about him that is

1108
01:04:04,920 --> 01:04:09,800
Speaker 3: interesting and with Kate, like they've just lost their mom,

1109
01:04:10,480 --> 01:04:13,880
Speaker 3: but like, for whatever reason, it's not supposed to be important,

1110
01:04:14,080 --> 01:04:17,320
Speaker 3: and like Scott, I feel like sort of retreats into

1111
01:04:17,360 --> 01:04:20,480
Speaker 3: the background of the movie more and more as it

1112
01:04:20,840 --> 01:04:23,760
Speaker 3: goes on, where it's clear that, like you know, it's

1113
01:04:23,800 --> 01:04:26,000
Speaker 3: I feel like it's a pretty clearly telegraph that Kate

1114
01:04:26,160 --> 01:04:28,800
Speaker 3: is going to be our final girl. And once that

1115
01:04:28,920 --> 01:04:32,040
Speaker 3: becomes clear, if like Scott becomes less and less important,

1116
01:04:32,800 --> 01:04:36,840
Speaker 3: which sucks because he's a very interesting character and yeah,

1117
01:04:36,920 --> 01:04:39,440
Speaker 3: by the time he's sort of just like torn to

1118
01:04:39,520 --> 01:04:43,600
Speaker 3: shreds by the end, it just felt very anticlimactic and

1119
01:04:43,960 --> 01:04:46,080
Speaker 3: like we could have really been set up to like,

1120
01:04:46,240 --> 01:04:48,560
Speaker 3: even if we do have to lose him in the

1121
01:04:48,720 --> 01:04:51,920
Speaker 3: rules of this movie, I feel like if we obviously,

1122
01:04:51,960 --> 01:04:53,720
Speaker 3: if we got to know him better, it would have

1123
01:04:53,880 --> 01:04:55,800
Speaker 3: had more impact. But I felt like it sort of

1124
01:04:56,520 --> 01:04:58,720
Speaker 3: was a little hollow in the way that it was presented.

1125
01:04:59,280 --> 01:05:02,520
Speaker 2: Right you barely see the two siblings interacting, and you

1126
01:05:02,560 --> 01:05:06,640
Speaker 2: don't really get a sense of their relationship either, which

1127
01:05:07,000 --> 01:05:11,880
Speaker 2: seems strange. It just yeah, it feels like the writing

1128
01:05:12,520 --> 01:05:17,560
Speaker 2: just thinks as most of these characters as an afterthought.

1129
01:05:17,600 --> 01:05:19,680
Speaker 2: And it's also just curious to me why we would

1130
01:05:19,760 --> 01:05:25,680
Speaker 2: like open on the you know, bank robber brothers, since

1131
01:05:25,760 --> 01:05:32,040
Speaker 2: they're not the people were necessarily rooting for. Aren't we

1132
01:05:32,120 --> 01:05:34,440
Speaker 2: rooting for Jacob and his family as this sort of

1133
01:05:34,520 --> 01:05:39,120
Speaker 2: like protagonistic central force of the movie, Like why wouldn't

1134
01:05:39,120 --> 01:05:39,840
Speaker 2: we open on them?

1135
01:05:40,280 --> 01:05:42,680
Speaker 3: And maybe this is just like it's very possible that

1136
01:05:42,800 --> 01:05:45,040
Speaker 3: this movie was not designed for us to think this

1137
01:05:45,160 --> 01:05:48,880
Speaker 3: hard about it, But like I was curious by the end.

1138
01:05:48,960 --> 01:05:52,960
Speaker 4: I was like, I don't know, Like Kate, you just

1139
01:05:53,000 --> 01:05:55,560
Speaker 4: would imagine her whole family is dead.

1140
01:05:56,640 --> 01:06:01,600
Speaker 3: Why did she display more loyalty an interest in her

1141
01:06:01,760 --> 01:06:05,200
Speaker 3: kidnapper then the fact that her whole family is dead,

1142
01:06:05,640 --> 01:06:08,120
Speaker 3: Like it just felt it worked as a final girl

1143
01:06:08,240 --> 01:06:10,320
Speaker 3: beat because this is like a beat that we're very

1144
01:06:10,480 --> 01:06:14,520
Speaker 3: used to seeing, but like she has and I did

1145
01:06:14,600 --> 01:06:17,520
Speaker 3: at least again it's like peanuts, but like I did

1146
01:06:17,640 --> 01:06:20,880
Speaker 3: appreciate that they're not like and now she and Seth

1147
01:06:20,920 --> 01:06:24,680
Speaker 3: are gonna see what happens in this like awesome. You know,

1148
01:06:25,240 --> 01:06:27,600
Speaker 3: I'm glad that that happened. I don't think it was

1149
01:06:27,680 --> 01:06:30,720
Speaker 3: necessary for his character to have to draw the boundary.

1150
01:06:30,800 --> 01:06:33,320
Speaker 3: That felt like a weird thing where he's like.

1151
01:06:33,520 --> 01:06:36,760
Speaker 2: Babe, babe, why does she even ask to go with him?

1152
01:06:37,320 --> 01:06:37,800
Speaker 4: I don't.

1153
01:06:37,920 --> 01:06:39,880
Speaker 3: I mean, I guess it's like, well, I mean, you know,

1154
01:06:40,560 --> 01:06:42,520
Speaker 3: as opposed to having nobody in the world, I can

1155
01:06:42,680 --> 01:06:46,360
Speaker 3: understand why that would be positioned, but it's just like

1156
01:06:46,880 --> 01:06:51,440
Speaker 3: so emotionless next to like the amount of loss she's experienced.

1157
01:06:51,480 --> 01:06:53,240
Speaker 3: And by the end, I feel like she's almost acting

1158
01:06:53,360 --> 01:06:57,520
Speaker 3: more familiar and like more in tune with Seth than

1159
01:06:57,600 --> 01:07:01,560
Speaker 3: she did with her own family. I don't know, Yes, yeah,

1160
01:07:01,920 --> 01:07:04,360
Speaker 3: like where did that come from? You don't know this

1161
01:07:04,600 --> 01:07:06,520
Speaker 3: man and he's only presented.

1162
01:07:06,440 --> 01:07:08,160
Speaker 2: Danger to you and he abducted you.

1163
01:07:08,480 --> 01:07:08,680
Speaker 3: Yeah.

1164
01:07:08,760 --> 01:07:08,960
Speaker 2: Yeah.

1165
01:07:09,320 --> 01:07:13,440
Speaker 6: It was very silly that they'd even imply that Kate

1166
01:07:13,520 --> 01:07:16,120
Speaker 6: would want to go with him at that point instead

1167
01:07:16,160 --> 01:07:19,480
Speaker 6: of like I don't know any ideas about self preservation

1168
01:07:20,360 --> 01:07:21,040
Speaker 6: right now.

1169
01:07:22,280 --> 01:07:24,040
Speaker 3: It just I feel like, yeah, the end beat like

1170
01:07:24,160 --> 01:07:28,600
Speaker 3: really hit home how underthought her entire character was. Even

1171
01:07:28,600 --> 01:07:32,040
Speaker 3: though she did have like increasing agency, she did get

1172
01:07:32,120 --> 01:07:35,800
Speaker 3: the like she was a great fighter. She lives till

1173
01:07:35,880 --> 01:07:38,320
Speaker 3: the end. She survives, but so much of it just

1174
01:07:38,440 --> 01:07:42,000
Speaker 3: like doesn't scan if you think about it too hard.

1175
01:07:43,120 --> 01:07:43,360
Speaker 4: Yeah.

1176
01:07:43,720 --> 01:07:46,000
Speaker 2: Worth mentioning too that not only is she under this

1177
01:07:46,200 --> 01:07:50,760
Speaker 2: like looming thread of sexual violence from Richie, but there's

1178
01:07:50,760 --> 01:07:54,120
Speaker 2: also that scene where the first cheech Marin character comes

1179
01:07:54,240 --> 01:07:59,160
Speaker 2: into the motor home because he's like border patrol investigating

1180
01:07:59,200 --> 01:08:03,640
Speaker 2: what's going on. He opens the bathroom when and granted

1181
01:08:03,720 --> 01:08:06,240
Speaker 2: she's like pretending to use the bathroom, but she also

1182
01:08:06,360 --> 01:08:08,840
Speaker 2: like has her pants down and she's sitting on the

1183
01:08:08,960 --> 01:08:12,560
Speaker 2: toilet and he's leering at her for like a long time,

1184
01:08:12,680 --> 01:08:15,520
Speaker 2: a long time, and she's like, close the fucking door, dude,

1185
01:08:15,760 --> 01:08:18,840
Speaker 2: And then he continues leering at her as he very

1186
01:08:19,160 --> 01:08:24,240
Speaker 2: slowly closes the door. So every time she turns around,

1187
01:08:24,400 --> 01:08:31,760
Speaker 2: there's some predatory man leering at her and hallucinating about her.

1188
01:08:32,439 --> 01:08:35,600
Speaker 2: And I mean it's tricky because it's not like this

1189
01:08:35,800 --> 01:08:38,880
Speaker 2: is unrealistic you know, in the real world, women are

1190
01:08:38,960 --> 01:08:42,719
Speaker 2: regularly under the threat of sexual violence from men because

1191
01:08:42,760 --> 01:08:46,400
Speaker 2: of rape culture. But again, if you're going to include

1192
01:08:46,439 --> 01:08:50,559
Speaker 2: that in the movie, say something about it or condemn

1193
01:08:50,840 --> 01:08:55,040
Speaker 2: it or something. But again, it's usually just there in

1194
01:08:55,160 --> 01:08:58,599
Speaker 2: this movie as like a weird jokey thing that adds

1195
01:08:59,120 --> 01:08:59,720
Speaker 2: nothing to the.

1196
01:09:01,000 --> 01:09:02,120
Speaker 4: Yeah, but that's it.

1197
01:09:02,240 --> 01:09:04,640
Speaker 3: I mean, I feel like I'm like being so but

1198
01:09:04,760 --> 01:09:07,240
Speaker 3: it's like I really did, especially the back half once

1199
01:09:07,320 --> 01:09:08,560
Speaker 3: the vampire stuff kicks in.

1200
01:09:08,760 --> 01:09:10,200
Speaker 4: I really do enjoy this movie.

1201
01:09:11,320 --> 01:09:14,680
Speaker 3: I like that the that the story sort of evolves

1202
01:09:14,760 --> 01:09:20,640
Speaker 3: to include more like I guess non Tarantino lore, that

1203
01:09:20,840 --> 01:09:23,880
Speaker 3: it grows towards something that's always sort of encouraging to

1204
01:09:24,040 --> 01:09:27,360
Speaker 3: just know when you're you know, doing dispatches from the

1205
01:09:27,439 --> 01:09:30,120
Speaker 3: future that you know.

1206
01:09:30,240 --> 01:09:33,280
Speaker 4: And then it's tricky because it's like it's such a

1207
01:09:33,360 --> 01:09:36,000
Speaker 4: flawed movie. I really, I don't know.

1208
01:09:36,200 --> 01:09:39,320
Speaker 3: I just the first half is so this was such

1209
01:09:39,320 --> 01:09:41,439
Speaker 3: a bomber to me. And then I've never felt so

1210
01:09:41,680 --> 01:09:44,080
Speaker 3: surprised to be in a good mood by the time

1211
01:09:44,160 --> 01:09:46,640
Speaker 3: the movie ended, because I was just like so not

1212
01:09:46,840 --> 01:09:47,840
Speaker 3: into the first half.

1213
01:09:48,360 --> 01:09:53,719
Speaker 2: Right, Yeah, does anyone have any other thoughts about the movie?

1214
01:09:54,520 --> 01:09:56,439
Speaker 6: My mind just keeps going back to that disco ball

1215
01:09:57,439 --> 01:09:57,960
Speaker 6: so good.

1216
01:09:58,280 --> 01:09:59,080
Speaker 4: It's so good.

1217
01:10:00,280 --> 01:10:02,040
Speaker 6: It's such a good indicator of like the things that

1218
01:10:02,160 --> 01:10:05,280
Speaker 6: does work about this movie when it thinks about, like, oh,

1219
01:10:05,439 --> 01:10:09,920
Speaker 6: what are some like upgraded new for the nineteen ninety

1220
01:10:09,960 --> 01:10:13,800
Speaker 6: six ways to like eliminate a vampire. It's it's so

1221
01:10:14,479 --> 01:10:18,479
Speaker 6: fun in that aspect and such a welcome relief after

1222
01:10:18,680 --> 01:10:21,120
Speaker 6: like the first half of the movie being like what

1223
01:10:21,320 --> 01:10:24,559
Speaker 6: woman will succumb to sexual violence? Getting something as doofy

1224
01:10:24,640 --> 01:10:30,120
Speaker 6: as like reciprocating steak is such a breath of fresh air.

1225
01:10:30,560 --> 01:10:33,680
Speaker 3: Yeah. The only other thing I had was just like

1226
01:10:34,000 --> 01:10:39,000
Speaker 3: quickly referencing Frost as a character who's also like a

1227
01:10:39,120 --> 01:10:42,160
Speaker 3: Vietnam veteran, which the movie goes way out of its

1228
01:10:42,240 --> 01:10:47,800
Speaker 3: way to make note of the PTSD he's experiencing as

1229
01:10:47,840 --> 01:10:50,040
Speaker 3: a Vietnam veteran, which I know is like also a

1230
01:10:50,680 --> 01:10:52,760
Speaker 3: I don't know, like a reference to other movies and

1231
01:10:52,840 --> 01:10:55,560
Speaker 3: other genres and all this stuff. But because he's the

1232
01:10:55,640 --> 01:10:59,800
Speaker 3: only black character in the movie, just felt worth kind

1233
01:10:59,800 --> 01:11:01,960
Speaker 3: of out and that that he kind of like turns

1234
01:11:02,040 --> 01:11:05,040
Speaker 3: into like stranger thinks vagina monster.

1235
01:11:04,920 --> 01:11:05,840
Speaker 4: By the end of the movie.

1236
01:11:06,120 --> 01:11:06,439
Speaker 6: He does.

1237
01:11:06,800 --> 01:11:10,479
Speaker 3: Yeah, he really does turn into like mister pussy Mouth,

1238
01:11:10,520 --> 01:11:12,200
Speaker 3: and I like, well, I just wish I knew him

1239
01:11:12,240 --> 01:11:12,880
Speaker 3: a little better.

1240
01:11:14,080 --> 01:11:16,719
Speaker 2: Oh, I was reading that is like he has bat face.

1241
01:11:17,120 --> 01:11:21,680
Speaker 2: Sure well, also like some of the vampires look human ish,

1242
01:11:21,880 --> 01:11:25,280
Speaker 2: but then they just have like distorted features, like vampire

1243
01:11:25,320 --> 01:11:27,160
Speaker 2: features on their face, and then other ones are like

1244
01:11:27,320 --> 01:11:31,760
Speaker 2: full demons with like full demon bodies. And I'm like, oh,

1245
01:11:31,920 --> 01:11:35,880
Speaker 2: who are these vampires and what's up with them? The

1246
01:11:35,960 --> 01:11:38,639
Speaker 2: last thing I had? And I'm curious what the rest

1247
01:11:38,680 --> 01:11:41,840
Speaker 2: of you think about this. But as soon as they

1248
01:11:41,880 --> 01:11:45,599
Speaker 2: get to Mexico, this movie does something that a lot

1249
01:11:45,680 --> 01:11:49,000
Speaker 2: of movies do, which is put a yellow filter on

1250
01:11:49,640 --> 01:11:51,760
Speaker 2: the thing. This is something that I don't think has

1251
01:11:51,840 --> 01:11:54,240
Speaker 2: come up on the show a lot, but it has

1252
01:11:54,320 --> 01:11:59,800
Speaker 2: been discussed heavily where movies with scenes that are set

1253
01:12:00,120 --> 01:12:04,000
Speaker 2: in the Global South tend to put this yellow filter

1254
01:12:05,280 --> 01:12:09,800
Speaker 2: like over the movie to other these places and to

1255
01:12:10,280 --> 01:12:13,639
Speaker 2: suggest that, you know, these places are hot and dirty

1256
01:12:13,880 --> 01:12:18,080
Speaker 2: and uncivilized and things like that. You could argue that

1257
01:12:18,479 --> 01:12:23,200
Speaker 2: them entering Mexico and driving to the bar coincides with

1258
01:12:24,080 --> 01:12:28,240
Speaker 2: dusk from the titular from dusk till dawn, and maybe

1259
01:12:28,360 --> 01:12:32,040
Speaker 2: that's why there's this yellow hue because the sun is setting.

1260
01:12:32,880 --> 01:12:36,639
Speaker 2: But because there's such a history of movies doing.

1261
01:12:36,520 --> 01:12:38,920
Speaker 4: This, I was just right.

1262
01:12:39,120 --> 01:12:40,599
Speaker 2: It was something I noticed well.

1263
01:12:40,680 --> 01:12:43,600
Speaker 3: And the fact that that's like when the magical elements

1264
01:12:44,160 --> 01:12:46,519
Speaker 3: enter the story, I feel like it is implied that

1265
01:12:47,520 --> 01:12:52,800
Speaker 3: Mexico like is whatever, Like there's less law.

1266
01:12:53,920 --> 01:12:56,120
Speaker 4: It's like it's just like implied that it's.

1267
01:12:56,360 --> 01:12:58,040
Speaker 3: You know, just like a lot of tropes that we

1268
01:12:58,120 --> 01:13:00,880
Speaker 3: see all of the time of like once you cross

1269
01:13:00,920 --> 01:13:04,080
Speaker 3: the border, you're home free, you can do anything you want.

1270
01:13:04,160 --> 01:13:04,680
Speaker 4: And then it's like.

1271
01:13:04,760 --> 01:13:09,439
Speaker 3: Visually presented in this very particular way as well. And

1272
01:13:09,560 --> 01:13:14,360
Speaker 3: then the survivors of the whole ordeal are two white characters,

1273
01:13:14,640 --> 01:13:15,879
Speaker 3: like it's.

1274
01:13:15,800 --> 01:13:19,439
Speaker 2: You know, all the people of color perish by the end,

1275
01:13:19,760 --> 01:13:20,519
Speaker 2: they're all goo.

1276
01:13:21,040 --> 01:13:23,479
Speaker 4: Goo, everyone's goo. Does a household Goo?

1277
01:13:23,680 --> 01:13:26,160
Speaker 3: And I'm like, does the I was kind of curious,

1278
01:13:26,200 --> 01:13:28,080
Speaker 3: I'm like, does the did each twister.

1279
01:13:28,040 --> 01:13:29,439
Speaker 4: Like reset every night?

1280
01:13:29,600 --> 01:13:32,599
Speaker 3: That was sort of the feeling I was getting. Oh yeah,

1281
01:13:33,080 --> 01:13:35,479
Speaker 3: I sort of wondered if just like the goo rises

1282
01:13:35,720 --> 01:13:38,280
Speaker 3: when dusk falls again and they just sort of don't

1283
01:13:38,360 --> 01:13:42,479
Speaker 3: like it's a groundhog day vampire goo, because you're like,

1284
01:13:42,560 --> 01:13:44,040
Speaker 3: surely this would have happened sooner.

1285
01:13:45,680 --> 01:13:48,719
Speaker 2: Yeah, I feel like every night they just kill whoever

1286
01:13:48,960 --> 01:13:50,880
Speaker 2: whatever patrons have come into the bar.

1287
01:13:51,080 --> 01:13:52,720
Speaker 4: But I guess it would make me feel better to

1288
01:13:52,880 --> 01:13:53,639
Speaker 4: know that. I guess.

1289
01:13:53,840 --> 01:13:55,559
Speaker 2: I think it's implied that this was the first time

1290
01:13:55,640 --> 01:13:57,880
Speaker 2: there's goo because this is the first time that any

1291
01:13:58,000 --> 01:14:01,800
Speaker 2: vampires are dying. Only the vampires are killing the patrons,

1292
01:14:02,320 --> 01:14:05,840
Speaker 2: sucking their blood, and then discarding their bodies somewhere. So

1293
01:14:06,000 --> 01:14:09,360
Speaker 2: this is like the first gou incident because this is

1294
01:14:09,400 --> 01:14:13,080
Speaker 2: the first time the humans fight back. Curious, this is

1295
01:14:13,120 --> 01:14:14,920
Speaker 2: my head canon. I don't know if this is true

1296
01:14:15,000 --> 01:14:15,600
Speaker 2: or not, like.

1297
01:14:15,640 --> 01:14:17,040
Speaker 4: Curious or and curious or I guess.

1298
01:14:17,080 --> 01:14:18,960
Speaker 3: I just like in my mind, I guess when the

1299
01:14:19,000 --> 01:14:20,960
Speaker 3: movie ended, I was like, oh, so this is just

1300
01:14:21,040 --> 01:14:22,320
Speaker 3: gonna happen again tomorrow.

1301
01:14:22,479 --> 01:14:23,639
Speaker 4: But maybe that's not true.

1302
01:14:24,240 --> 01:14:25,880
Speaker 2: Well, are there any vampires left?

1303
01:14:26,000 --> 01:14:26,040
Speaker 3: No?

1304
01:14:26,520 --> 01:14:28,360
Speaker 6: Yeah, I just I sort of thought.

1305
01:14:28,240 --> 01:14:30,360
Speaker 3: When dusk fell they rose from the goo. Maybe I

1306
01:14:30,439 --> 01:14:32,960
Speaker 3: just don't know enough about vampires. Oh see, I thought

1307
01:14:32,960 --> 01:14:33,559
Speaker 3: the goo just.

1308
01:14:33,600 --> 01:14:35,120
Speaker 4: Sort of like read persons.

1309
01:14:35,880 --> 01:14:37,479
Speaker 2: No, I think they're permanently goo.

1310
01:14:37,640 --> 01:14:38,599
Speaker 6: I think their goo forever.

1311
01:14:39,200 --> 01:14:41,080
Speaker 4: Damn tough break.

1312
01:14:43,160 --> 01:14:45,479
Speaker 2: Well about that bachtel test.

1313
01:14:46,880 --> 01:14:48,800
Speaker 4: Oh boy, the movie.

1314
01:14:48,640 --> 01:14:54,320
Speaker 2: Doesn't pass any people of marginalized genders do not speak

1315
01:14:54,400 --> 01:15:00,280
Speaker 2: to each other. I don't think and that's the end that.

1316
01:15:01,000 --> 01:15:03,920
Speaker 4: Yeah, No, I I don't think so.

1317
01:15:04,920 --> 01:15:07,360
Speaker 2: But our nipple scale, where we rate the movie on

1318
01:15:07,520 --> 01:15:10,679
Speaker 2: a scale of zero to five nipples based on examining

1319
01:15:10,720 --> 01:15:16,519
Speaker 2: the movie through an intersectional feminist lens, it's like a

1320
01:15:16,680 --> 01:15:21,920
Speaker 2: point five for me. It's not high at all based

1321
01:15:22,080 --> 01:15:28,320
Speaker 2: on everything we discussed, no need to really re hash

1322
01:15:28,439 --> 01:15:30,719
Speaker 2: it all. I think I'll give it a half nipple

1323
01:15:30,920 --> 01:15:37,439
Speaker 2: and it will go to the torso guitar or the

1324
01:15:37,520 --> 01:15:41,519
Speaker 2: dick gun. Then my two favorite props, Yeah, I like

1325
01:15:41,960 --> 01:15:43,040
Speaker 2: my head canon.

1326
01:15:42,920 --> 01:15:45,960
Speaker 3: Is that there is a like Hustler style b plot

1327
01:15:46,080 --> 01:15:48,519
Speaker 3: going on inside of the Titty Twister that we are

1328
01:15:48,720 --> 01:15:54,080
Speaker 3: just not privy to, and that the dancers at this

1329
01:15:54,200 --> 01:15:59,719
Speaker 3: club do have something cooking. But based on what we have, yeah,

1330
01:15:59,840 --> 01:16:04,559
Speaker 3: I guess I guess I'll go one because I like Robert.

1331
01:16:04,880 --> 01:16:08,639
Speaker 3: I guess I just But in terms of yeah, intersexual feminism,

1332
01:16:08,760 --> 01:16:10,880
Speaker 3: I mean there's there's really not much to be had.

1333
01:16:10,960 --> 01:16:15,479
Speaker 3: The only character that we see character is even remotely

1334
01:16:15,680 --> 01:16:19,200
Speaker 3: and as we've discussed, not particularly well, is like a

1335
01:16:19,320 --> 01:16:23,200
Speaker 3: young Christian white girl who goes on to become the

1336
01:16:23,320 --> 01:16:26,519
Speaker 3: final girl. Outside of that, there's just no interest in

1337
01:16:28,120 --> 01:16:32,599
Speaker 3: showing women doing things at all, and even the one

1338
01:16:32,680 --> 01:16:35,479
Speaker 3: character who does get to do things spends the entire

1339
01:16:35,640 --> 01:16:38,840
Speaker 3: first half of the movie threatened by sexual violence and

1340
01:16:39,000 --> 01:16:42,000
Speaker 3: really made to feel a frightened way that like, isn't

1341
01:16:42,479 --> 01:16:46,320
Speaker 3: necessary plot wise, Yeah, Tarantino wrote it.

1342
01:16:46,840 --> 01:16:47,720
Speaker 6: We know.

1343
01:16:48,040 --> 01:16:50,640
Speaker 3: It's just like we know both of these directors are

1344
01:16:50,720 --> 01:16:53,960
Speaker 3: capable of much more, and I feel like that's part

1345
01:16:54,000 --> 01:16:57,000
Speaker 3: of what I am rating on a harsher curve. And

1346
01:16:57,080 --> 01:17:01,080
Speaker 3: the fact that this even remotely Hindu Salma jayaks for

1347
01:17:01,280 --> 01:17:05,200
Speaker 3: for even one second makes it all the more difficult.

1348
01:17:05,280 --> 01:17:10,400
Speaker 4: Anyways. I love spy kids yea, and I love Once

1349
01:17:10,439 --> 01:17:12,040
Speaker 4: upon a Time in Mexico, and.

1350
01:17:12,080 --> 01:17:15,320
Speaker 3: I love Machete. And this movie does get one nipple

1351
01:17:15,400 --> 01:17:20,080
Speaker 3: from me, and I will give it to Samahayak because

1352
01:17:20,560 --> 01:17:23,720
Speaker 3: she deserves it and she should be in as many

1353
01:17:24,439 --> 01:17:28,240
Speaker 3: middling Adam Sandler comedies as she chooses.

1354
01:17:30,920 --> 01:17:31,760
Speaker 2: Vanessa, how about you?

1355
01:17:32,520 --> 01:17:37,479
Speaker 6: I give it one nipple. And that is because both

1356
01:17:37,560 --> 01:17:42,479
Speaker 6: Salmahayak and Juliet Lewis are doing so much more than

1357
01:17:42,800 --> 01:17:45,400
Speaker 6: is being asked of them. They're doing so much more

1358
01:17:45,479 --> 01:17:49,919
Speaker 6: than the script calls for and giving life to characters

1359
01:17:49,960 --> 01:17:54,160
Speaker 6: that would otherwise just simply exist to further the plot

1360
01:17:54,240 --> 01:17:59,160
Speaker 6: of men. So for these two beautiful flowers growing amongst

1361
01:17:59,160 --> 01:18:02,320
Speaker 6: the concrete, I give one nipple.

1362
01:18:03,080 --> 01:18:07,280
Speaker 3: Incredible five time our guests, Vanessa, thank you so much

1363
01:18:07,360 --> 01:18:08,240
Speaker 3: for coming back.

1364
01:18:08,520 --> 01:18:09,639
Speaker 6: I had such a good time.

1365
01:18:09,800 --> 01:18:12,000
Speaker 4: Oh my gosh, we were so excited to talk about

1366
01:18:12,000 --> 01:18:12,600
Speaker 4: this movie with you.

1367
01:18:12,880 --> 01:18:16,280
Speaker 3: And again, come back anytime, whatever feels right, Just let

1368
01:18:16,400 --> 01:18:17,040
Speaker 3: us know the movie.

1369
01:18:17,280 --> 01:18:17,719
Speaker 4: We're ready.

1370
01:18:17,800 --> 01:18:18,400
Speaker 6: I would love to.

1371
01:18:19,680 --> 01:18:22,400
Speaker 2: Where can people follow you on social media? Check out

1372
01:18:22,520 --> 01:18:23,679
Speaker 2: your work, etc.

1373
01:18:25,000 --> 01:18:28,120
Speaker 6: Uh. You can find me under any ss Guerrero on

1374
01:18:28,280 --> 01:18:32,800
Speaker 6: Twitter and sns Guerrero on everything else. I show run

1375
01:18:32,880 --> 01:18:35,320
Speaker 6: and produce a show called ten Minute Power Hour that

1376
01:18:35,439 --> 01:18:39,439
Speaker 6: is on The Grumps every Monday at nine o'clock. Please

1377
01:18:39,520 --> 01:18:45,360
Speaker 6: watch that. It pays for my life. And gosh, I

1378
01:18:45,439 --> 01:18:47,479
Speaker 6: think that's all I really have coming up right now.

1379
01:18:47,560 --> 01:18:49,320
Speaker 6: I feel like there are other things I'm forgetting at

1380
01:18:49,360 --> 01:18:51,000
Speaker 6: the moment, but they'll come to me eventually.

1381
01:18:52,280 --> 01:18:52,720
Speaker 4: Hell yeah.

1382
01:18:53,280 --> 01:18:56,880
Speaker 2: And you can follow us on Instagram at bech Podcast,

1383
01:18:57,320 --> 01:19:01,840
Speaker 2: on our Patreon aka Matreon at patron dot com slash

1384
01:19:01,880 --> 01:19:04,880
Speaker 2: Bechdel Cast, where you get two bonus episodes every month

1385
01:19:05,400 --> 01:19:09,200
Speaker 2: centering around a genius theme that Jamie and I cook

1386
01:19:09,280 --> 01:19:13,080
Speaker 2: up and then deliver on. And that's five dollars a month.

1387
01:19:13,200 --> 01:19:17,320
Speaker 2: And this month, for Spooky Season, we are doing Pearl

1388
01:19:17,640 --> 01:19:19,240
Speaker 2: and the Exorcist.

1389
01:19:19,640 --> 01:19:24,840
Speaker 4: Yes, so fucking ready possessed by the devil or ego.

1390
01:19:25,520 --> 01:19:29,080
Speaker 4: And it just goes on from there. And you can

1391
01:19:29,120 --> 01:19:29,879
Speaker 4: get our merch.

1392
01:19:29,760 --> 01:19:33,200
Speaker 3: At teapuble dot com Slash the Bechdel Cast for all

1393
01:19:33,280 --> 01:19:38,120
Speaker 3: of your merchandising needs. And with that, let's get into

1394
01:19:38,240 --> 01:19:41,519
Speaker 3: our camper that is now empty of our entire family

1395
01:19:42,600 --> 01:19:45,920
Speaker 3: and right off into the distance to an uncertain future.

1396
01:19:46,000 --> 01:19:49,679
Speaker 2: What do you say, Let's do it? Bye bye bye.

1397
01:19:54,520 --> 01:19:57,800
Speaker 2: The Bechdel Cast is a production of iHeartMedia, hosted by

1398
01:19:57,880 --> 01:20:02,720
Speaker 2: Caitlin Derante and Jamie Loftus, Sophie Lichtermann, edited by Molaboord.

1399
01:20:03,200 --> 01:20:06,320
Speaker 2: Our theme song was composed by Mike Kaplan with vocals

1400
01:20:06,400 --> 01:20:10,360
Speaker 2: by Katherine Voskresenski. Our logo and merch is designed by

1401
01:20:10,439 --> 01:20:14,519
Speaker 2: Jamie Loftus and a special thanks to Aristotle Assevedo. For

1402
01:20:14,640 --> 01:20:18,640
Speaker 2: more information about the podcast, please visit linktree slash Bechtelcast