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

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

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

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Speaker 1: changing it with the Betel Cast. Welcome to the Bechtel Cast.

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

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Speaker 1: and you know the deal. This is our podcast about

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Speaker 1: the portrayal of women in movies. We use the Bechtel

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Speaker 1: test as a jumping off point to initiate a larger conversation,

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Speaker 1: treatment and representation. Yes, Jamie, have a question. Yes, please?

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Speaker 1: What is the Bechtel Test? Oh? I'm so glad? Do

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Speaker 1: you asked her? It was like three years later. I'm like,

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Speaker 1: I don't understand it. What have you said it? And

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Speaker 1: then I was like, that's not fair, sames, unrestupid. Well

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Speaker 1: okay for Jamie fruit just you from my reference. Yes,

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Speaker 1: it is a media metric created by cartoonist Alison Bechtel,

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Speaker 1: sometimes called the Bechtel Wallace test, in which two female

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Speaker 1: identifying characters with names must speak to each other about

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Speaker 1: something other than a man, and by our metric, it

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Speaker 1: has to be at least a two line exchange of dialogue, right,

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Speaker 1: I think it'd be easy. Usually it's not. I mean,

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Speaker 1: look at the Oscar nominees. Well what if so I

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Speaker 1: hope someone like slides into our d M s and

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Speaker 1: it's like Ford v. Ferrari pass the Bechdel test. You eve,

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Speaker 1: but I didn't see it. What if it did? What if?

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Speaker 1: What if the cars identifies, you know, and they rammed

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Speaker 1: each other? Boats do canonically canonically, But I don't know.

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Speaker 1: We'll see. Yeah, if anyone knows if Ford v. Ferrari

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Speaker 1: passed the Beckdel test? What a wild ride? That movie?

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Speaker 1: What ride? Yeah? Because cars? Because cars, you know what

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Speaker 1: cars are. I'm really excited for both their guests and

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Speaker 1: the movie we're covering today. We've been getting this request

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Speaker 1: since we started the show, and we were just kind

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Speaker 1: of just waiting for the for the for the right

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Speaker 1: guests to come along. So I'm very excited. We're doing

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Speaker 1: Sister Act. We're doing Sister Act. We're gonna deviate a

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Speaker 1: little bit from the format because our guests. We're gonna

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Speaker 1: ask some questions, an interview a little bit. We gotta

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Speaker 1: get to know where you go. Because she is an

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Speaker 1: urban planner, a community advocate. She served as executive director

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Speaker 1: of Time's Up Entertainment, and currently she is running for

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Speaker 1: Los Angeles City Council District four are election where it's

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Speaker 1: literally sitting. It's in District four at this very moment,

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Speaker 1: the election for which is on March three. It's Nythia Rahman. Hi, welcome, Hi,

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Speaker 1: I'm so happy to be here. Okay, we're also just

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Speaker 1: for our listeners. Were recording literally at Caitlin's house in

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Speaker 1: District four right now. I mostly came because I think

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Speaker 1: both of the our constituents, So yeah, one podcast. It's

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Speaker 1: a real grassroots movement. So if you're an l A

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Speaker 1: listener and you live in that district, perc your ears

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Speaker 1: up extra. But everyone just okay, yeah I did. They

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Speaker 1: were so excited you're here. We're so happy. We're big

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Speaker 1: fans likewise, so um yeah, I want to just start

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Speaker 1: about by talking about what motivated you to run for

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Speaker 1: city council. What what you know made the decision to

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Speaker 1: leave your day job and uh start campaigning. Well, it

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Speaker 1: was not It's definitely not something I've been thinking about

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Speaker 1: my whole life, so it was a big decision for me. Um.

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Speaker 1: I also have two little kids. I have four year

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Speaker 1: old twins. They're very cute right now after initial hard,

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Speaker 1: hard period when they were infants, but now they're they're people.

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Speaker 1: They're adorable, they're so fun and the campaign takes me

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Speaker 1: away from them a lot um. And I left a

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Speaker 1: very good job at a very exciting job at times

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Speaker 1: up to come do this. But I'm running for two reasons.

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Speaker 1: One is I was pretty angry about how the city

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Speaker 1: was responding to the issue of homelessness, uh and the

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Speaker 1: broader housing crisis that homeless this is just you know,

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Speaker 1: one part of and I I started a homeless coalition

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Speaker 1: in my neighborhood. I worked at city Hall a few

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Speaker 1: years ago and wrote a report about the city's response

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Speaker 1: on homelessness. And my report at that time found that

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Speaker 1: the city was already spending more than a hundred million

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Speaker 1: dollars on homelessness, but that the majority of the money

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Speaker 1: was actually going to putting homeless individuals in jail and

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Speaker 1: then releasing them, a policy which is both incredibly cruel

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Speaker 1: and ineffective. So you can see by the growth of

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Speaker 1: homelessness in Los Angeles five years later. At that time

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Speaker 1: there were twenty three thousand people experiencing homelessness. Now there's

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Speaker 1: almost thirty seven thousand in the city of Los Angeles,

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Speaker 1: so it's grown by fourteen thousand and five years, which

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Speaker 1: is a staggering increase. And to me, you know, I

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Speaker 1: left city hall. I had twins, I left the workforce

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Speaker 1: for a little while. But while I was at home,

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Speaker 1: I helped start this homeless coalition in my neighborhood which

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Speaker 1: actually serves Los Filas as well, uh and it's called CELA.

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Speaker 1: We started as a group of neighbors who were get

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Speaker 1: together doing volunteer outreach and getting to know people who

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Speaker 1: lived on the streets and in our neighborhoods. So Los

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Speaker 1: Fila's Silver Lake Echo Park, a bunch of neighborhoods that

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Speaker 1: were right near the river. There's a lot of encampments

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Speaker 1: near the river, and these were all our areas where

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Speaker 1: there were no people experiencing homelessness living out outdoors before

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Speaker 1: at all. This was new, and so I think a

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Speaker 1: group of people who were like, what do we do?

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Speaker 1: You know, this is happening, and we don't know what

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Speaker 1: to do. We got together and started doing outreach and

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Speaker 1: we would go out and talk to people who were

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Speaker 1: living in encampments get to know them by name, we'd

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Speaker 1: bring food and water, and we would try and learn

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Speaker 1: from them, you know, more about them and their stories

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Speaker 1: and how they ended up there, but also what was

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Speaker 1: preventing them from getting back into stable housing. And as

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Speaker 1: we learned about the situation that they experienced on the ground,

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Speaker 1: what we realized was that the city had made it

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Speaker 1: incredibly difficult once they were experiencing homelessness for them to

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Speaker 1: actually get back into housing. So in that whole region,

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Speaker 1: so we served an area stretching from Los Filas all

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Speaker 1: the way to Cyprus Park, So if you know l A,

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Speaker 1: that's a huge area of the city. There was no

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Speaker 1: walk in shelter beds, There was not a single shower

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Speaker 1: that they could go use. There was not a really

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Speaker 1: a bathroom where they were welcomed. There was not a

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Speaker 1: drop in case manager. Like if you wanted help and

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Speaker 1: you wanted to talk to somebody to get the help

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Speaker 1: that you needed, whether it be case management work, whether

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Speaker 1: it be mental health support, whether it be addiction counseling,

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Speaker 1: whatever it is that you needed help with, it was

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Speaker 1: not available for you anywhere in this entire area. So

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Speaker 1: I started looking at the system that we had created

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Speaker 1: around homelessness and I knew this from my work at

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Speaker 1: city Hall, but it was made so much more real

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Speaker 1: to me once I was looking at it from the

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Speaker 1: perspective of someone who was actually experiencing homelessness. Was that

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Speaker 1: the system we set up in l A was not

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Speaker 1: really designed to help people. It was designed basically by

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Speaker 1: people who don't care about this issue. And I just thought, here,

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Speaker 1: I am, I have a full time job, I have

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Speaker 1: two little kids, and all these other volunteers who are

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Speaker 1: weren't running the SELA program also do. And we kept

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Speaker 1: asking the city for a drop in center with a

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Speaker 1: shower and uh you know, a hot meal and access

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Speaker 1: to case management for the area. They ignored us. They

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Speaker 1: wouldn't even meet with us, Our council members wouldn't even

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Speaker 1: really meet with us. Finally, we did it ourselves. We

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Speaker 1: raised money, we we applied for grants, we held a fundraiser,

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Speaker 1: and we started operating a one day a week drop

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Speaker 1: in center, which has now grown to four sites, yeah

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Speaker 1: in in Silver Lake. And I just started thinking, if

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Speaker 1: the people who were in power felt any amount of

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Speaker 1: the sense of urgency that I do, and that you know,

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Speaker 1: all of these other volunteers did around this issue, I

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Speaker 1: think we would just be facing a very different situation

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Speaker 1: in Los Angeles. So that's when I started thinking about

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Speaker 1: running UM. And I'm you know, I'm trained as an

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Speaker 1: urban planner. I've thought about cities, and I've worked on

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Speaker 1: cities for pretty much my entire career except for my

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Speaker 1: time at times up so and the more I thought

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Speaker 1: about it, the more it made sense. And then the

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Speaker 1: second reason is actually that I wanted to run, was

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Speaker 1: because this election is actually an incredible opportunity, Like we

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Speaker 1: have a chance right now to invite a lot more

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Speaker 1: people into the municipal election, which is historically had very

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Speaker 1: very low participation rates in Los Angeles. Now it's going

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Speaker 1: to coincide with the federal election for the first time,

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Speaker 1: so it's on Super Tuesday. Yeah, and I'm sure everyone's

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Speaker 1: planning to vote on Super Tuesday, So we have an

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Speaker 1: opportunity to invite a lot more people into the municipal

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Speaker 1: political process to say, like, when you're going out there

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Speaker 1: and voting for whoever you want to vote for, you

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Speaker 1: should care about this and you can transform what you

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Speaker 1: see around you, like what you look, what you see

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Speaker 1: on the streets, and of l a, what you see

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Speaker 1: here right now. If this is not acceptable to you,

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Speaker 1: and I know it's not to most people. Our message

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Speaker 1: to them is you have a moment right now to

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Speaker 1: completely transform. It's so exciting. We're very, very very grateful

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Speaker 1: you're running because truly like every like um, I mean

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Speaker 1: you can you can check out Nathia's website and Nadia

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Speaker 1: for the city dot com for all of your policies

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Speaker 1: in detail. But it just it seems like it's just

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Speaker 1: stands to improve literally, I mean, everyone's life in district force.

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Speaker 1: So we're excited about it. Um. I think something that

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Speaker 1: our listeners are always trying to figure out, um, how

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Speaker 1: to do, is is do you have any I guess

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Speaker 1: advice for like the average citizen who's just trying to

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Speaker 1: be more involved and be more engaged in local issues especially.

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Speaker 1: I think that yeah, like you were saying that, I

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Speaker 1: mean super Tuesday, Um, is such a huge opportunity for awareness. Um,

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Speaker 1: what can the average person do to be engaged specifically

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Speaker 1: in l A or anywhere. I mean, let's let's go

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Speaker 1: for l A. Well, I think, yeah, I would just

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Speaker 1: dig into a little bit more this idea that part

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Speaker 1: of the reason why we have an l A that

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Speaker 1: feels right now incredibly hostile to lower income residents, whether

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Speaker 1: it be looking through how we serve our homeless residents,

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Speaker 1: or whether it be looking at how we're dealing with

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Speaker 1: a massive increase in rental prices that has far outpaced incomes,

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Speaker 1: Like our city can do a lot to help tenants,

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Speaker 1: our city can do a lot to help people who

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Speaker 1: are on the verge of becoming homeless. And over and

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Speaker 1: over again, they have looked away from those powers and responsibilities.

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Speaker 1: And I feel like, I think if you're somebody who's

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Speaker 1: living in l A particularly, I think it's really important

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Speaker 1: to understand what powers are local officials have, whether it

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Speaker 1: be at the council or whether it be at the supervisors,

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Speaker 1: and get involved in those races and make sure that

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Speaker 1: we're voting in candidates whose values you believe in and trust,

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Speaker 1: because right now, we have a political system in Los

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Speaker 1: Angeles that's really ossified, you know it is. It's like

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Speaker 1: like I've been interacting with it now and it feels

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Speaker 1: like you're up against some It's like whenever I deal

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Speaker 1: with any aspect of the traditional system, it feels like

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Speaker 1: I have gone back in time to three decades. Terrifying.

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Speaker 1: It's like all men like, there's only two elected representatives

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Speaker 1: out of eighteen total electives at City Hall, so fifteen

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Speaker 1: council members and city attorney, mayor and a city controller,

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Speaker 1: so only two out of those out of that teen

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Speaker 1: our women. It's just like very clubby culture where everybody

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Speaker 1: knows each other, but just a little bit of engagement

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Speaker 1: from residents could completely transform that and it has so

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Speaker 1: in recent weeks and months we've seen both of the

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Speaker 1: city and the county that advocacy by either homelessness advocates

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Speaker 1: who want to see a reduction in punitive responses to

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Speaker 1: homelessness and push for a more compassionate response have shown

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Speaker 1: up at city Hall and protested and changed policy, which yeah,

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Speaker 1: which is incredible. And then at the county level, we've

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Speaker 1: seen this huge criminal justice reform movement that has actually

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Speaker 1: stopped the construction of a three point five billion dollar

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Speaker 1: meant it was called a mental health jail. I mean

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Speaker 1: it was a mental health facility, but it was really

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Speaker 1: another big jail. And now there have another measure on

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Speaker 1: the ballot called Measure Are, which everyone should get informed about.

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Speaker 1: But in both of those situations, we've seen that involvement

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Speaker 1: engagement by residents can change things and it doesn't take uch,

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Speaker 1: you know. So if you can show up to like one,

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Speaker 1: get on a mailing list, show up to one protest,

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Speaker 1: you know, and just having those numbers, invite a couple

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Speaker 1: of friends to it, and then go to brunch afterwards,

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Speaker 1: it yeah, exactly, you know. So so even little things

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Speaker 1: like I I love doing service, like I love the

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Speaker 1: idea of and we invite lots of volunteers in the

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Speaker 1: coalition that I started here in silver Lake and Los

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Speaker 1: VELAs to come in and make food or too, you know,

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Speaker 1: set up that whole shower program that we do weekly,

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Speaker 1: and that's a great opportunity. But if you want to

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Speaker 1: change the systems that result in us having to do

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Speaker 1: that kind of volunteer work week after week, then you

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Speaker 1: have to go to city Hall or you have to

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Speaker 1: go to the Board of Supervisors and like show up

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Speaker 1: in protest and make the change that's going to change

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Speaker 1: the system. So that's what I would say to people

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Speaker 1: who are getting involved, is like, get informed and get

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Speaker 1: involved in advocacy because that can transform the city. Absolutely. Okay, cool,

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Speaker 1: thank you so much. It was I feel like I'm

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Speaker 1: talking We're way too long this We are asking you questions.

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Speaker 1: But that's how that works. You shouldn't have a sign

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Speaker 1: or something where you're like, you know, just like scrite

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Speaker 1: your nose and you're like, we're also, I mean, just

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Speaker 1: because of what our show is about, We're we're curious

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Speaker 1: about your time with time's up. And um, what what

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Speaker 1: was that experience like in what coming from city hall

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Speaker 1: to being a stay at home mom to going two

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Speaker 1: times of what sort of brought you there? Um? What

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Speaker 1: brought me there was not particularly exciting. I just somebody

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Speaker 1: sent me the job listing, and but I think they

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Speaker 1: wanted me because I'm guessing I don't have a lot

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Speaker 1: of insight, but I think they were excited about the

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Speaker 1: fact that I had taken advocacy and transformed it into

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Speaker 1: either concrete programs or concrete policy changes in the past,

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Speaker 1: and I think they were hoping that I could do

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Speaker 1: something similar there, which, UM, I'm very proud to say

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Speaker 1: that we did so. In the in the year a

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Speaker 1: little more than a year that I was the e D,

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Speaker 1: we put together this incredible mentorship program for the executive

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Speaker 1: and producer pipeline. Um. Yeah, and we actually took the

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Speaker 1: money for that came out of Less Moon Vesta's settlement

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Speaker 1: love that knife. So we had an opportunity to apply

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Speaker 1: for that money. So I was like, we have this

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Speaker 1: amazing program already in place. I applied for that funding

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Speaker 1: and we were able to set it up and it

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Speaker 1: was incredible. We have an incredible group of people who

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Speaker 1: are associated with it, but essentially supports people who don't

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Speaker 1: necessarily have the industry connections as who are assistants or

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Speaker 1: junior executives in that pipeline and gives them this incredible

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Speaker 1: network and an intensive mentorship relationship to help them move ahead.

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Speaker 1: And it was a really cool program. And it's also

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Speaker 1: it has a very unique thing which I think is

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Speaker 1: relevant in the context of this pay up Hollywood, you know,

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Speaker 1: this movement to talk about how a little. So we

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Speaker 1: had a ten tho dollar stipend in program that would

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Speaker 1: be given to anyone who was selected for it, because

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Speaker 1: we knew that if you came in and we're getting

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Speaker 1: paid minimum wage or whatever these you know, agencies or

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Speaker 1: production companies pay you, you wouldn't necessarily have the money

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Speaker 1: to go out and have drinks, which is where you

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Speaker 1: like make the relationships that get you, you know. So

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Speaker 1: I think it was a program that was designed really

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Speaker 1: well but also really acknowledge the realities of Hollywood and

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Speaker 1: what it takes to get ahead in the industry. Um.

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Speaker 1: And we had a couple of other week just released

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Speaker 1: these resources for performers on sets telling you exactly what

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Speaker 1: your rights are when you go out and do an audition. Yeah,

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Speaker 1: and we that we compiled all these resources from different

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Speaker 1: places and I kicked started that project and it was

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Speaker 1: released after I left. But it was very very important

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Speaker 1: to me that people who were new to the industry

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Speaker 1: knew not just what their rights were, but where they

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Speaker 1: could turn if they needed help. So we did that. UM.

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Speaker 1: But I would say my broader experience of being at

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Speaker 1: times up was really fascinating because as an relative outsider

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Speaker 1: to the entertainment industry and someone who had come from

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Speaker 1: an advocacy nonprofit background, I was and I don't know

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Speaker 1: whether your experience you're both like in then you consider

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Speaker 1: yourselves in the industry, right, yes, yeah, well I maybe,

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Speaker 1: I mean I would be curious about your experience, But

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Speaker 1: I felt like the industry is really conservative. I mean

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Speaker 1: I think, yeah, it feels like a vested interest in

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Speaker 1: like making it not look that way. But then once

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Speaker 1: you actually start to talk to people, You're like, oh,

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Speaker 1: this is actually very fucked up interesting, Okay, cool. Yeah,

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Speaker 1: And I think like the Times Up moment and movement

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Speaker 1: and the me too activism and a lot of organizing

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Speaker 1: that's now happened not related to Times Up necessarily, although

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Speaker 1: some of it did happen under the Times Up umbrella

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Speaker 1: around like women of color coming together or different groups

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Speaker 1: that have kind of been ignored or left out in

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Speaker 1: some ways. I feel like that is pushing for some changes.

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Speaker 1: But I was kind of surprised at how conservative the

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Speaker 1: industry was and how a lot of it I think

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Speaker 1: is related to the way in which you get a job,

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Speaker 1: so you tolerate abuse because if you speak out, not

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Speaker 1: just sexual misconduct, but any like just like somebody yelling

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Speaker 1: at you or throwing stuff from whatever, aggressively long working

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Speaker 1: hours or whatever it is, because your next job depends

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Speaker 1: on this person's referral, right, And that's that's basically like

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Speaker 1: you're a freelancer, but you're in a union if you're lucky, Yeah,

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Speaker 1: if you're lucky, but it and in a fairly small

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Speaker 1: industry where everybody knows each other. And that's just a

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Speaker 1: recipe for I think really bad can be a recipe

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Speaker 1: for really bad working conditions. So I was really excited

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Speaker 1: to be in a position where we were bringing workers

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Speaker 1: together and talking about workers rights, you know. And I

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Speaker 1: think it sometimes entertainment industry people didn't think about themselves

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Speaker 1: as workers and didn't think about themselves as having workers

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Speaker 1: rights because that's like a different you know. And so

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Speaker 1: it's like exciting to be like, hey, you're a writer,

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Speaker 1: but that's work. Yeah, that's where you deserve to be

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Speaker 1: treated in a particular way. So it was it was cool.

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Speaker 1: It was a really exciting moment in Yeah, history, I

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Speaker 1: guess exciting to be a part of it and play

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Speaker 1: some small role in in it. That's so amazing. Yeah,

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Speaker 1: is there is there anything else you would like for

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Speaker 1: us to touch on before we start talking sister act?

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Speaker 1: And I guess I would just say to the residents

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Speaker 1: of Los Angeles, Yes, you look around. You see a

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Speaker 1: city that I think is really struggling. We have a

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Speaker 1: massive homelessness crisis. We have rising rents, we have bad air,

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Speaker 1: we have unsafe streets, and I could go on and

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Speaker 1: on and on, but all of these things are solvable,

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Speaker 1: and all of these things are completely surmountable if we

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Speaker 1: have the right people in office. And I'm here to

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Speaker 1: tell you that you deserve better, and I feel like

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Speaker 1: that probably applies to most cities in the US, Like,

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Speaker 1: it's not this is not an l A specific thing. There.

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Speaker 1: If you don't live in l A, get informed, damn

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Speaker 1: deserve better too. Yes, I can't wait to vote for you.

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Speaker 1: So thank you for happy that you're here. Um. Oh,

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Speaker 1: and I had one I had one fun question, okay,

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Speaker 1: which is, okay, so you have two young kids at um,

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Speaker 1: what is something that you like because we're always trying

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Speaker 1: to like our whole show is just basically like the

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Speaker 1: media that messed with our brains as children and talking

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Speaker 1: about it now, is there something that you can watch

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Speaker 1: for your kids that you're like, I feel good about this.

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Speaker 1: So my kids actually only have watched with any desire.

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Speaker 1: Two things. One is Daniel Tiger, which is the cartoon

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Speaker 1: does derived from Mr Rogers Neighborhood. It is so simplistic

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Speaker 1: and it's so sweet and lovely and it's so boring.

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Speaker 1: But I can't I can't have you see it. Yeah,

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Speaker 1: like babysat kids watching Daniel Tiger and like, well, nothing,

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Speaker 1: you know, it's nothing bad is happening, but what is happening? Right? Um?

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Speaker 1: And the only other thing that they watch and I

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Speaker 1: have a boy and a girl, boy and girl twins,

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Speaker 1: and the only other thing that they watch is Frozen. Alright,

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Speaker 1: I mean that's we've covered that. You know it does

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Speaker 1: pretty well, sister ed you love to see it. Uh so,

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Speaker 1: I mean we're always just looking to because we're like,

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Speaker 1: we don't know what to recommend to parents who listened

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Speaker 1: to the show. Um so if you if you haven't

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Speaker 1: heard of Daniel Tiger or Frozen, now are the two

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Speaker 1: humans in America who haven't heard of froz? Yes, you

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Speaker 1: gotta check it out. People can't can't stop talking about it.

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Speaker 1: I haven't did you see this? I didn't see the

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Speaker 1: second one. I did see the second one from Molina

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Speaker 1: voices of character, There's there's an interesting conversation to be

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Speaker 1: had about that movie as well. Maybe we'll get to

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Speaker 1: it someday. All right, great, in the meantime, listen to

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Speaker 1: our Frozen one episode. Everybody. Actually, I'll down I didn't

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Speaker 1: know you had done for I'll download that and listen

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Speaker 1: to it. But but now let's let's let's pivot into

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Speaker 1: the rest of the show. We're talking about Sister app

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Speaker 1: that's right before we do. Let's take a quick break first,

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Speaker 1: and then we'll be right back. We're back. Okay, So

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Speaker 1: we're talking Sister Act. It's a movie. It can what

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Speaker 1: what's a movie? Now? Hold on, now, hold on, bear

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Speaker 1: with me. We're today, we're talking about we're talking about

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Speaker 1: a feature length film. Uh. It came out in It

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Speaker 1: stars Whoopie Goldberg. It's called Sister Act. Uh. Nittia, what

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Speaker 1: is your experience with this movie? When did you first

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Speaker 1: see it your relationship? Shoot, I don't even I've seen

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00:21:34,840 --> 00:21:39,359
Speaker 1: it so many times. I was rewatched it before coming

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Speaker 1: here today, and I realized I knew lines, I knew

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Speaker 1: you know, like I have watched you know, I've just

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Speaker 1: it's been so much a part of like rerun go

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Speaker 1: Home on the couch, Oh, Sister Acts on. I'm gonna

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Speaker 1: watch it again from I'm like, if if anyone has

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Speaker 1: ever just like had TBS, you've seen this movie, Like

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Speaker 1: there there were certain moments where I had, like I

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Speaker 1: have a similar experience with it where I really liked

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Speaker 1: it when I was a kid, and then just like

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Speaker 1: as I got older, I just would like see it

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Speaker 1: every once in a while until like some point in

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Speaker 1: the movies I'm like, oh, that's a commercial break, you know,

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Speaker 1: like like that kind of movie that's on TV all

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Speaker 1: the time. Yeah, I don't know. I never watched it

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Speaker 1: with like any critical lens before. I just was like,

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Speaker 1: I like it, and I was so pleasantly surprised watching

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Speaker 1: it with a critical lens. There's so much to love

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Speaker 1: about this movie. So it's just romp and had a

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Speaker 1: ten on the Caitlin Rompo Meter What's your History. I

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Speaker 1: had seen it, I believe once when it came out

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Speaker 1: at a drive in movie theater. I would have been

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Speaker 1: about six. That sounds like such a fun but because

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Speaker 1: I was, well, here's the thing, I was young and rambunctious,

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Speaker 1: and because we were in the confines of a car

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Speaker 1: and not like in a theater where we had to

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Speaker 1: respect other people's you know, time and attention, I don't

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Speaker 1: think I paid any attention to the movie. Um whoopsies.

429
00:23:03,119 --> 00:23:05,520
Speaker 1: So I felt like I hadn't really seen this movie

430
00:23:06,080 --> 00:23:08,359
Speaker 1: for the first time until about a year ago, and

431
00:23:08,400 --> 00:23:11,600
Speaker 1: I was like, I haven't seen I've seen doubt that

432
00:23:11,680 --> 00:23:15,480
Speaker 1: others not the Yeah, the Sister movie. It's a Sister

433
00:23:15,520 --> 00:23:18,520
Speaker 1: Act is there was I have a whole thing because

434
00:23:18,560 --> 00:23:21,159
Speaker 1: I was like, maybe, unfortunately Doubt is for some reason

435
00:23:21,160 --> 00:23:24,080
Speaker 1: one of my favorite movies. It's so depressing, but there's

436
00:23:24,119 --> 00:23:27,639
Speaker 1: the right reaction that yeah, that is I really I

437
00:23:27,640 --> 00:23:29,520
Speaker 1: don't like. I came out when I was fifteen, and

438
00:23:29,560 --> 00:23:33,800
Speaker 1: I saw it in theaters twice. Why. I couldn't tell you, um,

439
00:23:33,880 --> 00:23:35,800
Speaker 1: but there were a lot of them like, oh, this

440
00:23:35,880 --> 00:23:38,879
Speaker 1: is just like Doubt without all the problems. Yeah, it

441
00:23:39,000 --> 00:23:41,679
Speaker 1: really is. You've got your maryl character, You've got your

442
00:23:41,680 --> 00:23:44,679
Speaker 1: Amy Adams character, thankfully you don't have your Philippine war

443
00:23:44,720 --> 00:23:49,800
Speaker 1: Hoffman character. And that's the makings of a fun movie. True.

444
00:23:49,840 --> 00:23:51,840
Speaker 1: So yeah, I had only seen this movie really for

445
00:23:51,880 --> 00:23:54,840
Speaker 1: the first time until like about a year ago, um,

446
00:23:54,880 --> 00:23:57,400
Speaker 1: because I was like, I can't have I never seen

447
00:23:57,880 --> 00:24:01,440
Speaker 1: do I what is Sister Act? So I watched it

448
00:24:01,440 --> 00:24:03,919
Speaker 1: and I was like, what a fun movie? Like I

449
00:24:03,960 --> 00:24:06,159
Speaker 1: didn't realize that was the story. I thought that like

450
00:24:06,400 --> 00:24:09,480
Speaker 1: Whoopi Goldberg was already a nun. I didn't realize that

451
00:24:09,520 --> 00:24:11,919
Speaker 1: she was like in hiding as a nun. So I

452
00:24:11,960 --> 00:24:14,840
Speaker 1: was like, oh, what fun I do? I do always

453
00:24:14,880 --> 00:24:18,560
Speaker 1: forget that there is a murder Writers and then like

454
00:24:18,600 --> 00:24:21,920
Speaker 1: two seconds later the music gets very silly. Yes, yes,

455
00:24:21,920 --> 00:24:23,440
Speaker 1: it's like they're like, oh, she's got to get out

456
00:24:23,440 --> 00:24:26,120
Speaker 1: of there. It's like do do do? Do Do? Do? Right?

457
00:24:26,280 --> 00:24:30,800
Speaker 1: The nineties were wild? Okay, so should do the recap

458
00:24:30,800 --> 00:24:34,720
Speaker 1: and we'll go from there. Okay, So we first see

459
00:24:35,040 --> 00:24:38,879
Speaker 1: Dolores van Cartier. That's, of course Whoopi Goldberg as a

460
00:24:38,960 --> 00:24:42,399
Speaker 1: kid in Catholic school. She's not taking it seriously. We

461
00:24:42,520 --> 00:24:45,159
Speaker 1: cut to her as an adult. Then she's a lounge

462
00:24:45,359 --> 00:24:49,040
Speaker 1: singer in Reno, Nevada. Ever heard of it? Sort of?

463
00:24:49,960 --> 00:24:52,000
Speaker 1: I hadn't really seen. I'm like, this movie made me

464
00:24:52,040 --> 00:24:54,320
Speaker 1: want to go to Reno. I've never been. Um, I've

465
00:24:54,359 --> 00:24:57,240
Speaker 1: seen a lot of seasons of Reno one and that

466
00:24:57,280 --> 00:25:00,720
Speaker 1: makes me not want to go to Reno. I would agree, Yeah, yeah,

467
00:25:00,960 --> 00:25:02,280
Speaker 1: isn't that where you go to get like an old

468
00:25:02,320 --> 00:25:04,800
Speaker 1: timey divorce or something that used to be like the

469
00:25:04,840 --> 00:25:08,840
Speaker 1: hot spot for like I think you can have to

470
00:25:08,840 --> 00:25:13,360
Speaker 1: go anywhere in Nevada, right, I think so? I think

471
00:25:13,400 --> 00:25:15,720
Speaker 1: that like that was I feel like I've I don't know,

472
00:25:15,800 --> 00:25:18,160
Speaker 1: I think that's the movie. The women they go to Reno,

473
00:25:18,560 --> 00:25:22,160
Speaker 1: I think, yes, they do that movie is so weird. Yeah,

474
00:25:22,240 --> 00:25:24,440
Speaker 1: we have to do it someday. Anyway, if you want

475
00:25:24,440 --> 00:25:26,800
Speaker 1: to get married very quickly or divorced very quickly, go

476
00:25:26,920 --> 00:25:31,240
Speaker 1: to Nevada anyway. So that's where she's based and she

477
00:25:31,560 --> 00:25:36,520
Speaker 1: is together with Vince Laracca. That's Harvey Kitel's character, playing

478
00:25:36,600 --> 00:25:41,280
Speaker 1: the type fame. But everywhere, um, he has his wife,

479
00:25:41,320 --> 00:25:43,880
Speaker 1: he's he's married to someone else, uh, and doesn't want

480
00:25:43,920 --> 00:25:46,520
Speaker 1: to leave her for Dolores. So she's like, screw it,

481
00:25:46,560 --> 00:25:48,639
Speaker 1: I'm leaving you and I'm getting out of here. But

482
00:25:48,760 --> 00:25:50,680
Speaker 1: right when she goes to tell him that she's leaving,

483
00:25:50,920 --> 00:25:56,640
Speaker 1: she witnesses him and his goons murdering another goon of his. So,

484
00:25:56,920 --> 00:26:01,040
Speaker 1: not wanting any witnesses to his crime, Vince sends his

485
00:26:01,119 --> 00:26:03,480
Speaker 1: goons after Dolores to kill her, and then the fun

486
00:26:03,600 --> 00:26:09,199
Speaker 1: music starts playing. She's like, yeah, she gets out, she

487
00:26:09,240 --> 00:26:12,159
Speaker 1: gets away. She goes to the police and they're like, wait,

488
00:26:12,280 --> 00:26:17,960
Speaker 1: you're with Vince Laracca. He's this big organized crime guy

489
00:26:18,040 --> 00:26:19,840
Speaker 1: and we're trying to put him away. So if you're

490
00:26:19,840 --> 00:26:23,040
Speaker 1: willing to testify, we can do that. In the meantime,

491
00:26:23,080 --> 00:26:26,000
Speaker 1: we have to put you in witness protection until this

492
00:26:26,080 --> 00:26:29,320
Speaker 1: court date you got the movie, there's got to be

493
00:26:29,359 --> 00:26:33,920
Speaker 1: a movie. So Lieutenant Souther puts her in a convent

494
00:26:34,119 --> 00:26:37,639
Speaker 1: in San Francisco and she has to pretend to be

495
00:26:37,800 --> 00:26:41,119
Speaker 1: a nun and the high jinks in Sue Baby, Um

496
00:26:41,280 --> 00:26:49,080
Speaker 1: Reverend Mother, they's so good. Reverend Mother played by Maggie Smith.

497
00:26:49,560 --> 00:26:52,560
Speaker 1: She's the only one who knows who Dolores really is,

498
00:26:52,680 --> 00:26:55,719
Speaker 1: and everyone else in the convent thinks that she is

499
00:26:56,359 --> 00:27:00,160
Speaker 1: a nun named Sister Mary Clarence. She's basically Mary all

500
00:27:00,240 --> 00:27:07,680
Speaker 1: in doubt for all my Doubta Smiths, she's your Oh yes,

501
00:27:07,720 --> 00:27:09,720
Speaker 1: that's I see. I couldn't have remembered that. And it's

502
00:27:09,720 --> 00:27:14,680
Speaker 1: allegedly my favorite movie. Um. So she meets the other nuns,

503
00:27:14,720 --> 00:27:19,760
Speaker 1: including Mary Patrick who is Cathy and Jimie. She's very cheerful,

504
00:27:20,240 --> 00:27:23,680
Speaker 1: and then there's a young nun who is dressed differently

505
00:27:23,720 --> 00:27:26,280
Speaker 1: and I don't know enough about Catholicism to know why.

506
00:27:26,440 --> 00:27:32,760
Speaker 1: I don't know either. She is a Sister Mary Robert Jr. Nun. Yeah,

507
00:27:33,080 --> 00:27:34,919
Speaker 1: it's like when you're like a brownie and then like

508
00:27:34,960 --> 00:27:37,000
Speaker 1: a junie, and like a daisy, and then a brownie

509
00:27:37,080 --> 00:27:41,280
Speaker 1: and then a Catholic or like shot just like the

510
00:27:41,280 --> 00:27:45,399
Speaker 1: Girl Scouts. Basically the Catholic church. It operates, uh, just

511
00:27:45,560 --> 00:27:51,000
Speaker 1: like Horrible the Girl Scouts. And then we see them

512
00:27:51,320 --> 00:27:54,080
Speaker 1: in like the church service. The nuns are singing and acchoir.

513
00:27:54,200 --> 00:27:58,680
Speaker 1: They're really bad. No one's attending the services. Reverend Mother

514
00:27:58,720 --> 00:28:01,400
Speaker 1: doesn't want any of the nun is going outside because

515
00:28:01,440 --> 00:28:04,640
Speaker 1: it's a dangerous neighborhood I guess, or she she thinks

516
00:28:04,680 --> 00:28:08,920
Speaker 1: it is um And then Dolores is trying to adjust

517
00:28:08,960 --> 00:28:11,000
Speaker 1: to all of this, but she's not good at being

518
00:28:11,040 --> 00:28:16,040
Speaker 1: a nun. Believe she was born to stand out. Meanwhile,

519
00:28:16,400 --> 00:28:21,320
Speaker 1: Vince realizes that Lieutenant South there must have Dolores, so

520
00:28:21,359 --> 00:28:23,800
Speaker 1: he puts out like a hit on her for a

521
00:28:23,800 --> 00:28:26,280
Speaker 1: lot of money. So now a bunch of like sleazy

522
00:28:26,320 --> 00:28:29,160
Speaker 1: bad guys are out looking for her. And then there's

523
00:28:29,200 --> 00:28:31,679
Speaker 1: a rat in the police department. Someone is leaking info

524
00:28:31,760 --> 00:28:35,040
Speaker 1: to the bad guys. Like plot, they're just like I

525
00:28:35,119 --> 00:28:38,440
Speaker 1: guess I just mostly want to see the nuns. Yeah,

526
00:28:38,520 --> 00:28:41,560
Speaker 1: I guess there's got to be a climax to the movie. Yeah.

527
00:28:41,920 --> 00:28:47,200
Speaker 1: And then back at the convent, Reverend Mother is like, hey, Dolores,

528
00:28:47,320 --> 00:28:49,920
Speaker 1: since you have a background of music, you're going to

529
00:28:50,080 --> 00:28:52,640
Speaker 1: join the choir and she does it sound like a

530
00:28:52,640 --> 00:28:54,600
Speaker 1: punishment and like that sounds like the best part of

531
00:28:54,600 --> 00:28:59,600
Speaker 1: being a nun. And she helps the nuns become better singers.

532
00:28:59,600 --> 00:29:04,720
Speaker 1: She kind helps update the music choices, she's mixing genres,

533
00:29:05,360 --> 00:29:07,880
Speaker 1: she's giving I love that like long scene where she's

534
00:29:07,920 --> 00:29:11,240
Speaker 1: like coaching them and they're listening and she's, Oh, it's

535
00:29:11,280 --> 00:29:15,560
Speaker 1: so good. And then because their music is so exciting

536
00:29:15,600 --> 00:29:19,520
Speaker 1: now it's bringing people into the church and people are

537
00:29:19,760 --> 00:29:23,320
Speaker 1: actually fill the butts, are filling the seats. There's very

538
00:29:23,400 --> 00:29:25,840
Speaker 1: like moments where you know, like in a movie where

539
00:29:25,880 --> 00:29:28,840
Speaker 1: they're like young people enter and they're dressed in a

540
00:29:28,960 --> 00:29:32,400
Speaker 1: very like young person way. There's a lot of young

541
00:29:32,520 --> 00:29:35,840
Speaker 1: people enter moments, and the and the reverence like, oh,

542
00:29:36,040 --> 00:29:42,280
Speaker 1: young people are entering, Welcome young I was like, oh, man,

543
00:29:42,360 --> 00:29:44,640
Speaker 1: it's like I don't know what the costume design situation was,

544
00:29:44,680 --> 00:29:47,560
Speaker 1: but I'm like, oh, definitely a young person palette going

545
00:29:47,600 --> 00:29:49,960
Speaker 1: on here. What was also weird was that I feel

546
00:29:50,000 --> 00:29:52,280
Speaker 1: like style has come back around so that when the

547
00:29:52,320 --> 00:29:55,200
Speaker 1: young people entered, I was like, I want that right.

548
00:29:56,520 --> 00:29:58,520
Speaker 1: And this also, this movie takes place in San Francisco.

549
00:29:58,560 --> 00:30:01,120
Speaker 1: I spent a lot of time being like, where are they.

550
00:30:01,360 --> 00:30:03,040
Speaker 1: I don't like, we were just my boyfriend and I

551
00:30:03,080 --> 00:30:05,920
Speaker 1: were just like they could be. Um, I don't know,

552
00:30:06,000 --> 00:30:10,160
Speaker 1: I didn't guess San Francisco. And then at some point, yeah,

553
00:30:10,240 --> 00:30:12,680
Speaker 1: I think there was a shot at the Golden Gate Bridge. Yeah,

554
00:30:12,800 --> 00:30:17,920
Speaker 1: and so that was the only yeah, right. And it's

555
00:30:17,960 --> 00:30:20,600
Speaker 1: also at this time that they're going out into San Francisco,

556
00:30:20,720 --> 00:30:23,640
Speaker 1: into the neighborhood and their help trying to turn it around.

557
00:30:23,720 --> 00:30:25,800
Speaker 1: There's a porn store and they're like, don't go in here.

558
00:30:26,280 --> 00:30:29,960
Speaker 1: And then then the pope hears about how good the

559
00:30:30,040 --> 00:30:32,360
Speaker 1: choir is, and he's like, I'm gonna come see a

560
00:30:32,360 --> 00:30:35,720
Speaker 1: concert because popes are are good. They're good, and they

561
00:30:37,600 --> 00:30:41,840
Speaker 1: they're fine, they're fine, great judges of music. Yeah, for sure,

562
00:30:42,200 --> 00:30:45,040
Speaker 1: I was like, this is a this is a happening, Pope, right.

563
00:30:45,880 --> 00:30:49,600
Speaker 1: But it's also at this time when Lieutenant Southor is like, hey,

564
00:30:49,640 --> 00:30:52,200
Speaker 1: we got you your court date, Dolores. You don't have

565
00:30:52,280 --> 00:30:55,800
Speaker 1: to really be in the convent anymore. But then it's

566
00:30:55,840 --> 00:30:59,720
Speaker 1: also at this point where Vince finds out where Dolores

567
00:31:00,160 --> 00:31:04,440
Speaker 1: is because because of the mall right, and then you're like, right,

568
00:31:04,760 --> 00:31:12,800
Speaker 1: the it pays off, so shocked. I forgot. Yeah, So

569
00:31:12,960 --> 00:31:16,360
Speaker 1: Vince sends his goons to kidnap Dolores and bring her

570
00:31:16,360 --> 00:31:19,600
Speaker 1: back to Reno, and then the nuns find out that

571
00:31:19,880 --> 00:31:22,800
Speaker 1: Dolores isn't actually a nun, so then they chartered a

572
00:31:22,840 --> 00:31:26,960
Speaker 1: helicopter to fly to Reno to help save her. And

573
00:31:27,000 --> 00:31:30,840
Speaker 1: then there's this whole big chase scene Dolores punches the

574
00:31:30,920 --> 00:31:37,600
Speaker 1: d goons and the nuts j hijinks more silly music,

575
00:31:38,080 --> 00:31:41,320
Speaker 1: and then finally the cops stop the bad guys and

576
00:31:41,400 --> 00:31:44,240
Speaker 1: arrest them, and then the nuns go back to San

577
00:31:44,240 --> 00:31:49,160
Speaker 1: Francisco to their concert for the poem and he loves

578
00:31:49,280 --> 00:31:53,600
Speaker 1: it standing ovations so good. And then at the end

579
00:31:53,640 --> 00:31:56,320
Speaker 1: I forgot the end, there's like that freeze frame and

580
00:31:56,360 --> 00:31:59,400
Speaker 1: then it switches to a People magazine and it's like,

581
00:31:59,520 --> 00:32:04,280
Speaker 1: guess what like Witness Protection None or whatever it is.

582
00:32:04,560 --> 00:32:07,400
Speaker 1: It's like, what a silly, fun way to end a movie.

583
00:32:08,120 --> 00:32:10,440
Speaker 1: So yeah, that's the story. That's the story. Where should

584
00:32:10,440 --> 00:32:13,200
Speaker 1: we start? I just wanted to start with a fun

585
00:32:13,280 --> 00:32:16,280
Speaker 1: fact that I learned, yes, which is the actor who

586
00:32:16,280 --> 00:32:19,960
Speaker 1: plays Pope John Paul the Second in this movie. I

587
00:32:20,000 --> 00:32:21,960
Speaker 1: was like, oh, who is this? I've never heard of

588
00:32:21,960 --> 00:32:25,720
Speaker 1: this person. Apparently his entire career was playing Pope John

589
00:32:25,720 --> 00:32:29,400
Speaker 1: Paul the Second in various things. He's credited on like

590
00:32:29,760 --> 00:32:33,120
Speaker 1: twenty things, and it's all Pope John Paul the Second.

591
00:32:33,360 --> 00:32:36,120
Speaker 1: He was Pope John Paul the Second on Alf he was,

592
00:32:37,200 --> 00:32:39,680
Speaker 1: he was on Ali McBeal as the Pope. He was

593
00:32:39,720 --> 00:32:41,680
Speaker 1: on Murphy Brown as the Pope. He was on Golden

594
00:32:41,720 --> 00:32:43,880
Speaker 1: Girls as the Pope. He was on everything, and is

595
00:32:43,920 --> 00:32:46,680
Speaker 1: he in the Two Popes? He was, No, he's dead.

596
00:32:47,800 --> 00:32:51,160
Speaker 1: So they had to get Anthony Hopkins. I have no idea. Yeah,

597
00:32:51,200 --> 00:32:53,880
Speaker 1: they called maybe he was like a pope impersonator. That

598
00:32:53,960 --> 00:32:56,040
Speaker 1: was his job. And then someone just saw him and

599
00:32:56,160 --> 00:32:58,160
Speaker 1: was like, oh, you should just play the pope where

600
00:32:58,160 --> 00:33:01,960
Speaker 1: we just have you standing saying anything. And by all accounts,

601
00:33:01,960 --> 00:33:04,440
Speaker 1: the Pope thought he did a great job. They're like,

602
00:33:04,960 --> 00:33:09,120
Speaker 1: he was like, that's a good representation of me, the Pope. UM.

603
00:33:09,200 --> 00:33:12,400
Speaker 1: So that's well, that's I guess that's all I have

604
00:33:12,480 --> 00:33:15,520
Speaker 1: to say. Thank you so much. UM for me, I

605
00:33:15,560 --> 00:33:19,800
Speaker 1: thought this movie held up quite well, and I think

606
00:33:20,040 --> 00:33:22,160
Speaker 1: it has a lot to do with it only being

607
00:33:22,440 --> 00:33:25,480
Speaker 1: being rated PG, so there's not a lot of like

608
00:33:26,000 --> 00:33:27,680
Speaker 1: because a lot of the movies that end up being

609
00:33:27,880 --> 00:33:31,560
Speaker 1: especially comedies that end up being wildly problematic and toxic

610
00:33:32,040 --> 00:33:35,840
Speaker 1: because they have freer reigin to make, you know, just

611
00:33:36,200 --> 00:33:40,560
Speaker 1: racist jokes and homophobic jokes because there are rated and

612
00:33:40,560 --> 00:33:43,040
Speaker 1: stuff like that. I don't know if that's the only

613
00:33:43,080 --> 00:33:45,920
Speaker 1: reason why it holds up very well, but I'm like, oh,

614
00:33:46,120 --> 00:33:48,320
Speaker 1: you know, this is a movie for like kids and families,

615
00:33:48,400 --> 00:33:51,720
Speaker 1: and I've watched it more than once with my mom. Yeah,

616
00:33:52,600 --> 00:34:00,240
Speaker 1: it's such a pure whatever it's on TV. They're really

617
00:34:00,320 --> 00:34:04,280
Speaker 1: is something for everyone for everybody. Uh. It directed by oh,

618
00:34:04,320 --> 00:34:07,000
Speaker 1: I want to get his name right, Emil Ardelino, who

619
00:34:07,080 --> 00:34:10,600
Speaker 1: also directed Dirty Dancing, his other big So he's this

620
00:34:10,640 --> 00:34:14,840
Speaker 1: guy's just churning out classics. It was also I was

621
00:34:15,000 --> 00:34:17,440
Speaker 1: watching it, I was almost I waited to do the

622
00:34:17,480 --> 00:34:19,520
Speaker 1: research until I just want to have fun watching it,

623
00:34:19,960 --> 00:34:21,759
Speaker 1: And I was like, this movie is so good that

624
00:34:21,800 --> 00:34:23,920
Speaker 1: I think it may have even been written by a woman.

625
00:34:24,480 --> 00:34:27,719
Speaker 1: But it wasn't. It was written by a man who

626
00:34:27,719 --> 00:34:30,760
Speaker 1: did a good job imagine it. But then I also

627
00:34:30,800 --> 00:34:33,319
Speaker 1: read that it went through a few different rewrites. Some

628
00:34:33,360 --> 00:34:35,719
Speaker 1: of the screenwriters who were brought on Carry Fisher was

629
00:34:35,920 --> 00:34:41,840
Speaker 1: Carry Fisher and Nancy Myers, So which is carry Fisher

630
00:34:41,880 --> 00:34:44,080
Speaker 1: has punched up some of the some of the best

631
00:34:44,160 --> 00:34:46,680
Speaker 1: movies that you never think she was involved in. It's true,

632
00:34:46,760 --> 00:34:50,360
Speaker 1: she's the coolest, but yeah, I mean this movie largely

633
00:34:50,440 --> 00:34:55,000
Speaker 1: is just about it's very female driven. The men are

634
00:34:55,080 --> 00:34:59,360
Speaker 1: either the pope, the priest who's in a couple of scenes,

635
00:34:59,440 --> 00:35:02,200
Speaker 1: and then the of guys. But aside from that, it's

636
00:35:02,239 --> 00:35:06,480
Speaker 1: like just a very female driven story. You know, Whoopie

637
00:35:06,480 --> 00:35:11,239
Speaker 1: Goldberg is the lead is peek here. Yes, she's a

638
00:35:11,280 --> 00:35:15,640
Speaker 1: peak of her Whoopie Goldberg like powers. And I loved that.

639
00:35:15,920 --> 00:35:18,080
Speaker 1: I remember I look, you know, I was watching it,

640
00:35:18,120 --> 00:35:22,000
Speaker 1: and I remember seeing her in the movie and she's

641
00:35:22,320 --> 00:35:25,799
Speaker 1: this you know, sexual being, you know, who's the love

642
00:35:25,880 --> 00:35:30,040
Speaker 1: interest for Harvey Keitel. And I remember being really excited

643
00:35:30,080 --> 00:35:32,040
Speaker 1: that there was a I don't know that just I

644
00:35:32,080 --> 00:35:34,200
Speaker 1: was like, oh, excited that, you know, I'm dark skinned,

645
00:35:34,239 --> 00:35:38,200
Speaker 1: and just to see her as this like very attractive

646
00:35:39,200 --> 00:35:42,120
Speaker 1: you know, and I don't know, it was great. It

647
00:35:42,239 --> 00:35:43,920
Speaker 1: was like really exciting to see that when I was

648
00:35:44,000 --> 00:35:46,799
Speaker 1: young and totally and it was an audience. It was

649
00:35:46,840 --> 00:35:49,000
Speaker 1: not directed just towards black audiences. I mean, it was

650
00:35:49,080 --> 00:35:51,600
Speaker 1: for everybody. And you know, and that and that was

651
00:35:51,640 --> 00:35:58,440
Speaker 1: exciting for me. I remember that. That's great. Yeah, and

652
00:35:58,520 --> 00:36:02,160
Speaker 1: I also read that this was originally written for Bette Midler,

653
00:36:02,320 --> 00:36:04,959
Speaker 1: who you know that it's been a fine It would

654
00:36:04,960 --> 00:36:06,680
Speaker 1: have been a good movie, I'm sure. Still, but like,

655
00:36:06,800 --> 00:36:11,160
Speaker 1: Whoopie kills it. She kills it. She absolutely kills it.

656
00:36:11,160 --> 00:36:13,560
Speaker 1: It's so good. And and what you said, Mathea goes

657
00:36:13,600 --> 00:36:20,600
Speaker 1: to show like why casting diverse casts is important for representation. Yeah, yeah,

658
00:36:20,640 --> 00:36:26,440
Speaker 1: this is like, you know, when did Friends start airing? Fo? Yeah?

659
00:36:27,680 --> 00:36:29,640
Speaker 1: So later, but still, you know, like I think it

660
00:36:29,680 --> 00:36:34,239
Speaker 1: took Friends how many seasons to have a oh yeah

661
00:36:34,280 --> 00:36:37,680
Speaker 1: with like a black love interest? So long? Yeah, yeah,

662
00:36:38,120 --> 00:36:41,319
Speaker 1: it's I mean it's like, yeah, Whoopy, the impact of

663
00:36:41,320 --> 00:36:44,200
Speaker 1: Whoopie could I mean, we could go on for days.

664
00:36:44,360 --> 00:36:47,880
Speaker 1: She's amazing. She's done like such good advocacy over the

665
00:36:47,960 --> 00:36:50,359
Speaker 1: years too. And but just like, yeah, just by like

666
00:36:50,719 --> 00:36:54,560
Speaker 1: being herself and owning this role and like being sexual,

667
00:36:54,760 --> 00:36:59,160
Speaker 1: being capable of being like just like strong willed, and

668
00:36:59,320 --> 00:37:02,200
Speaker 1: especially in this movie that's built around sisterhood, is like

669
00:37:02,360 --> 00:37:06,200
Speaker 1: so cool and impactful. And I was really excited that

670
00:37:06,239 --> 00:37:10,600
Speaker 1: they didn't have a romantic moment between the police officer,

671
00:37:11,239 --> 00:37:14,239
Speaker 1: and yeah, it seems like there were a few moments

672
00:37:14,239 --> 00:37:16,239
Speaker 1: where I'm like, are they going to do it? I

673
00:37:16,280 --> 00:37:22,560
Speaker 1: was relieved that we're just mutually respectful. Yeah right, it

674
00:37:22,560 --> 00:37:25,800
Speaker 1: would have been like pretty inappropriate had they gotten together.

675
00:37:26,600 --> 00:37:30,120
Speaker 1: It would have blown the case. First of all, yes, exactly,

676
00:37:30,480 --> 00:37:35,759
Speaker 1: that's a great point problem for prosecuting Harvey Channel to

677
00:37:35,880 --> 00:37:38,720
Speaker 1: offer a bit of criticism about not necessarily the movie,

678
00:37:38,760 --> 00:37:41,279
Speaker 1: but his character. He sort of does blow it when

679
00:37:41,320 --> 00:37:44,200
Speaker 1: he's like there's a scene where like Harvey Kitel and

680
00:37:44,280 --> 00:37:48,279
Speaker 1: his goons are like walking around and then Lieutenant South

681
00:37:48,320 --> 00:37:53,080
Speaker 1: there's like, hey, you're going down. I got you. You

682
00:37:53,120 --> 00:37:56,680
Speaker 1: know something's going something happened and I'm going to get you.

683
00:37:56,760 --> 00:37:59,640
Speaker 1: And why would he be so confident if he didn't

684
00:37:59,760 --> 00:38:03,720
Speaker 1: have of Dolores and his protections. And that's what gets

685
00:38:03,840 --> 00:38:06,280
Speaker 1: Harvey Keitel to be like, oh he must have Dolores,

686
00:38:06,320 --> 00:38:08,319
Speaker 1: we have to go kill her. So it's just like

687
00:38:08,440 --> 00:38:12,000
Speaker 1: his like male ego was just it's part of why

688
00:38:12,160 --> 00:38:18,239
Speaker 1: what he was in even more danger. South should get

689
00:38:18,239 --> 00:38:21,040
Speaker 1: his ego under control. But did you? I mean, I

690
00:38:21,040 --> 00:38:27,520
Speaker 1: thought his character was really cool and in so yeah,

691
00:38:27,600 --> 00:38:30,600
Speaker 1: we're it's like I feel like they were almost And

692
00:38:30,640 --> 00:38:32,799
Speaker 1: I'm like, maybe this is just like speaking to how

693
00:38:32,960 --> 00:38:35,480
Speaker 1: a lot of movies like how we've been like like

694
00:38:35,560 --> 00:38:38,200
Speaker 1: unconsciously trained to interpret movies. But I thought that he

695
00:38:38,280 --> 00:38:41,120
Speaker 1: was going to be positioned as a love interest strictly

696
00:38:41,160 --> 00:38:44,760
Speaker 1: because he was nice to her, like that doesn't bode

697
00:38:44,760 --> 00:38:47,640
Speaker 1: well for m but youth written because he was just

698
00:38:47,760 --> 00:38:52,719
Speaker 1: like nice to her, like he was sympathetic to her situation,

699
00:38:52,920 --> 00:38:55,080
Speaker 1: Like there were some moments where he's like, well, deal

700
00:38:55,120 --> 00:38:57,239
Speaker 1: with it, but in general, like he came to her

701
00:38:57,280 --> 00:38:59,719
Speaker 1: show when he was like, hey, probably don't do this.

702
00:38:59,719 --> 00:39:01,680
Speaker 1: Here's was like okay, but are you gonna come? He's

703
00:39:01,719 --> 00:39:04,480
Speaker 1: like yeah, looks pretty cool. Like you just seemed like

704
00:39:04,520 --> 00:39:08,040
Speaker 1: a supportive, kind person, and so yeah, when I kept

705
00:39:08,160 --> 00:39:09,680
Speaker 1: thinking him like, oh, I think he's good to be

706
00:39:09,800 --> 00:39:11,759
Speaker 1: the loved interest, I'm like, I think I just think

707
00:39:11,800 --> 00:39:15,239
Speaker 1: that because when men are kind to women, especially in

708
00:39:15,360 --> 00:39:18,000
Speaker 1: movies of this time, you're kind of trained to think

709
00:39:18,040 --> 00:39:20,640
Speaker 1: that they're going to want something out of it, I guess.

710
00:39:20,920 --> 00:39:23,399
Speaker 1: And it's just that such a common like studio note

711
00:39:23,400 --> 00:39:25,799
Speaker 1: to be like, wait, there's not a hetero romance in

712
00:39:25,800 --> 00:39:27,960
Speaker 1: this movie, Well, then what are we even doing? Put

713
00:39:28,000 --> 00:39:30,600
Speaker 1: it in there, I hope. And and that also, I mean,

714
00:39:31,200 --> 00:39:33,719
Speaker 1: we can't say this for sure, but I just know

715
00:39:33,880 --> 00:39:36,680
Speaker 1: that like historically, Whoopie Goberg has always had a lot

716
00:39:36,719 --> 00:39:39,640
Speaker 1: of say on like what goes into her star vehicles

717
00:39:39,640 --> 00:39:43,000
Speaker 1: and what doesn't. So she also has a lot of

718
00:39:43,120 --> 00:39:46,880
Speaker 1: you know power where you have to imagine that suggestion

719
00:39:47,040 --> 00:39:49,520
Speaker 1: was made and then I mean it didn't fit into

720
00:39:49,520 --> 00:39:53,040
Speaker 1: the story, you didn't need it. And and also she's

721
00:39:53,080 --> 00:39:59,200
Speaker 1: got to stay a nun, right right, so Southey doesn't

722
00:39:59,440 --> 00:40:05,920
Speaker 1: stand a chance against God. Maybe that's the love storright there. Right,

723
00:40:05,920 --> 00:40:08,800
Speaker 1: she does get married to Jesus, So there's still a

724
00:40:09,000 --> 00:40:16,040
Speaker 1: heatero romance in this movie. Great points. We gotta take

725
00:40:16,040 --> 00:40:23,799
Speaker 1: another quick break, but then we'll come right back and

726
00:40:23,960 --> 00:40:27,719
Speaker 1: we're back. Um. Something I wanted to touch on is

727
00:40:27,920 --> 00:40:31,080
Speaker 1: so we do often see in a lot of movies

728
00:40:31,560 --> 00:40:37,000
Speaker 1: women being kidnapped. Danzel fridged things like that. Um, there

729
00:40:37,160 --> 00:40:40,760
Speaker 1: is a kidnapping in this movie, but normally the movies

730
00:40:40,920 --> 00:40:44,319
Speaker 1: we tend to see, and especially you know, action and

731
00:40:44,360 --> 00:40:48,319
Speaker 1: superhero movies. Um, when a woman is kidnapped, it's to

732
00:40:48,440 --> 00:40:51,080
Speaker 1: raise the stakes for the male hero and then he

733
00:40:51,120 --> 00:40:53,400
Speaker 1: has to go and rescue her and to like be

734
00:40:53,520 --> 00:40:57,120
Speaker 1: more heroic. In this movie, two women are kidnapped, Um,

735
00:40:57,200 --> 00:41:01,319
Speaker 1: and whoop, he saves them both. Yeah, for she saves

736
00:41:01,360 --> 00:41:04,319
Speaker 1: she helps Mary Robert escape and get away, and then

737
00:41:04,480 --> 00:41:07,920
Speaker 1: Dolores gets away on her own. Um. I'm impressed that

738
00:41:07,960 --> 00:41:11,360
Speaker 1: you can keep all the names of the nuns because

739
00:41:12,120 --> 00:41:16,680
Speaker 1: I just I mean, I just watched it, watched it already,

740
00:41:16,719 --> 00:41:29,399
Speaker 1: like who the bangs? Exactly? Where is the spinoff Bangs Nune?

741
00:41:29,600 --> 00:41:32,240
Speaker 1: We already have? What is it? What is the Cool Pope?

742
00:41:32,320 --> 00:41:34,839
Speaker 1: What's that show? There was the Young Pope and now

743
00:41:34,880 --> 00:41:37,560
Speaker 1: it's called Now there's a spinoff called I think it's

744
00:41:37,560 --> 00:41:42,000
Speaker 1: like the New Pope. Give the people Bangs Nuns? We

745
00:41:42,040 --> 00:41:45,440
Speaker 1: need banks nuns. Yes, none, none. Representation has been down

746
00:41:45,480 --> 00:41:49,480
Speaker 1: since the nineties, It's true, except for doubt. Let's not

747
00:41:49,560 --> 00:41:53,840
Speaker 1: that's doubt erasure. That was embarrassing. But yeah, that that

748
00:41:53,960 --> 00:41:57,520
Speaker 1: whole sequence is again you're sort of like knowing the

749
00:41:57,560 --> 00:41:59,239
Speaker 1: time that came out, You're like, oh, no, is that

750
00:41:59,400 --> 00:42:02,400
Speaker 1: you know? Is it like you half expected South to

751
00:42:03,040 --> 00:42:05,040
Speaker 1: you know, burst in or just based on what you've

752
00:42:05,040 --> 00:42:09,320
Speaker 1: seen before. But and I feel like because it is

753
00:42:09,360 --> 00:42:12,160
Speaker 1: still a testament to like Whoopi Goldberg, where you just

754
00:42:12,200 --> 00:42:14,240
Speaker 1: always get the feeling whenever you see her on screen

755
00:42:14,480 --> 00:42:17,640
Speaker 1: that she is going to be able to save herself

756
00:42:17,680 --> 00:42:21,160
Speaker 1: like she and and that scene where she is able

757
00:42:21,200 --> 00:42:25,200
Speaker 1: to get Mary Robert to tumble out of the car

758
00:42:25,920 --> 00:42:29,880
Speaker 1: and not die, not die, that could have ended very badly.

759
00:42:30,160 --> 00:42:35,600
Speaker 1: Well that she did it when they slowed and she's Okay,

760
00:42:35,640 --> 00:42:38,040
Speaker 1: go save yourself, I'll take care of her. This is

761
00:42:38,040 --> 00:42:41,040
Speaker 1: not your problem, right, I'm like, oh, she's maybe she's

762
00:42:41,040 --> 00:42:44,520
Speaker 1: done this before. Reno seems wild, but she's able to

763
00:42:44,640 --> 00:42:47,800
Speaker 1: save her friend and then yeah, and then save herself

764
00:42:47,800 --> 00:42:51,200
Speaker 1: like it. That's that's how you know. There is the

765
00:42:51,239 --> 00:42:54,560
Speaker 1: moment at the very end when Harvey Citel is about

766
00:42:54,600 --> 00:42:57,880
Speaker 1: to shoot her and then um South comes in and

767
00:42:57,880 --> 00:43:00,480
Speaker 1: shoots him instead. So technically that's a bit of a rescue.

768
00:43:00,520 --> 00:43:03,160
Speaker 1: But because we've already seen what be getaway on her

769
00:43:03,160 --> 00:43:06,560
Speaker 1: own twice now, already at the very beginning and then

770
00:43:06,680 --> 00:43:09,239
Speaker 1: again at the end, it didn't feel like, oh, she's

771
00:43:09,280 --> 00:43:11,239
Speaker 1: like constantly being damned. What are saved by a man?

772
00:43:11,440 --> 00:43:14,160
Speaker 1: And also like that's his job as a police officer

773
00:43:14,560 --> 00:43:17,440
Speaker 1: to like yeahs like the first time we've seen like

774
00:43:17,520 --> 00:43:19,839
Speaker 1: it was like we gotta see South or succeed. At

775
00:43:19,880 --> 00:43:23,760
Speaker 1: some point he's just been accidentally selling her out movie

776
00:43:24,000 --> 00:43:28,879
Speaker 1: by being a good friend. Um. Another thing I think

777
00:43:28,960 --> 00:43:31,960
Speaker 1: is worth talking about is a big component of this

778
00:43:32,000 --> 00:43:36,680
Speaker 1: movie is like female relationships and female friendships that develop. Um,

779
00:43:36,719 --> 00:43:41,120
Speaker 1: there are some relationships between women where there is some

780
00:43:41,200 --> 00:43:45,200
Speaker 1: tension which we're always like careful to analyze and say, Okay,

781
00:43:45,200 --> 00:43:47,960
Speaker 1: well is it warranted or is there any context for

782
00:43:48,320 --> 00:43:50,839
Speaker 1: because yeah, it's like sometimes we'll see I think like

783
00:43:51,000 --> 00:43:53,400
Speaker 1: a kind of modern trend that will sometimes see is

784
00:43:53,440 --> 00:43:56,879
Speaker 1: like like movies full of female relationships where there's never

785
00:43:56,920 --> 00:43:58,959
Speaker 1: been a problem and you're like, well, this doesn't feel

786
00:43:59,000 --> 00:44:01,680
Speaker 1: really either. What I really liked about this movie is

787
00:44:01,680 --> 00:44:06,560
Speaker 1: that with these female relationships, you are generally getting enough

788
00:44:06,840 --> 00:44:10,320
Speaker 1: context on the character to understand where because it's like

789
00:44:10,360 --> 00:44:13,200
Speaker 1: that the relationship between Maggie Smith and Whoopi Goldberg could

790
00:44:13,239 --> 00:44:17,319
Speaker 1: have been so like reductive and basic and this none

791
00:44:17,360 --> 00:44:21,680
Speaker 1: is mean, This Nune is fun. But with even with

792
00:44:21,719 --> 00:44:24,800
Speaker 1: Maggie Smith's character, you get a like that scene towards

793
00:44:24,880 --> 00:44:27,879
Speaker 1: the end where she explains where she's coming from and

794
00:44:27,920 --> 00:44:32,080
Speaker 1: like she has these insecurities about being obsolete and not belonging,

795
00:44:32,120 --> 00:44:34,520
Speaker 1: and you're just like, oh, you know, you get the

796
00:44:34,760 --> 00:44:37,520
Speaker 1: end to her character, and I feel like you kind

797
00:44:37,520 --> 00:44:39,120
Speaker 1: of get the same for Dolorous for the most part.

798
00:44:39,120 --> 00:44:42,719
Speaker 1: Two for sure, so nice and all the other nuns

799
00:44:42,719 --> 00:44:45,560
Speaker 1: are so nice to her, just immediately love her. They

800
00:44:45,640 --> 00:44:49,000
Speaker 1: love her, they welcome her, They follow her out to

801
00:44:49,400 --> 00:44:53,399
Speaker 1: the bar crosser there as like God, these nuns are

802
00:44:53,440 --> 00:44:55,879
Speaker 1: so desperate to do something, because the second they were like, wait,

803
00:44:55,920 --> 00:44:59,319
Speaker 1: where's she going? We should go probably go to this

804
00:44:59,360 --> 00:45:03,520
Speaker 1: biker bar. I did have one question. Is Maggie Smith

805
00:45:03,520 --> 00:45:07,120
Speaker 1: the British actress? Yes, yes, okay, but it's it's funny

806
00:45:07,120 --> 00:45:09,120
Speaker 1: because in a lot of movies, I feel like with

807
00:45:09,239 --> 00:45:11,520
Speaker 1: nuns not I haven't seen as probably as many as you,

808
00:45:11,760 --> 00:45:19,160
Speaker 1: but too well, I haven't seen doubts, you know. That's fine. Yeah,

809
00:45:19,200 --> 00:45:22,720
Speaker 1: I feel like nuns often have British accents for some reason.

810
00:45:23,160 --> 00:45:25,320
Speaker 1: But maybe it was just because Maggie. Because it was

811
00:45:25,360 --> 00:45:28,800
Speaker 1: both Maggie Smith and the priest who was he was Irish?

812
00:45:28,920 --> 00:45:31,279
Speaker 1: Yeah he was, yeah, he was not. Yeah. The two

813
00:45:31,320 --> 00:45:33,880
Speaker 1: heads of the church were not American, but they were

814
00:45:33,880 --> 00:45:37,680
Speaker 1: in San Francisco, and no effort was really made to

815
00:45:37,800 --> 00:45:41,480
Speaker 1: feel like here. I do think that there is sometimes

816
00:45:41,520 --> 00:45:45,040
Speaker 1: this like dufus brain thing in American culture where they're like, Okay,

817
00:45:45,040 --> 00:45:47,200
Speaker 1: how do we make this character sound authoritative? Let's just

818
00:45:47,280 --> 00:45:50,840
Speaker 1: hire someone British like probably like they're they should have

819
00:45:50,880 --> 00:45:53,840
Speaker 1: hired out for Molina. We should that's true there, I

820
00:45:53,880 --> 00:45:56,160
Speaker 1: mean that we're okay. In addition to Banks and non

821
00:45:56,200 --> 00:45:58,279
Speaker 1: we needed a choke. This sounds like a show that

822
00:45:58,280 --> 00:46:03,400
Speaker 1: would exist American one. You put American before anything, it

823
00:46:03,560 --> 00:46:08,960
Speaker 1: probably exists already or good how many shows the good Doctor,

824
00:46:09,040 --> 00:46:12,359
Speaker 1: the Good Wife, you need, the good nuns, the bad nun?

825
00:46:13,400 --> 00:46:17,520
Speaker 1: Um that also bad teacher? Yeah, I guess bad also bad?

826
00:46:18,000 --> 00:46:20,680
Speaker 1: There's other bads? Right or is it just or like

827
00:46:20,719 --> 00:46:23,719
Speaker 1: the Something Girl, Bad Boys? But then there's also a

828
00:46:23,719 --> 00:46:29,760
Speaker 1: movie called good Boys. Yeah? Yeah, what is going on people?

829
00:46:31,440 --> 00:46:35,160
Speaker 1: There's there's also the Blank Girl. There's so many The

830
00:46:35,200 --> 00:46:41,240
Speaker 1: Blank Girl, the New Girl, the Danish Girl, others, amongst

831
00:46:41,280 --> 00:46:46,919
Speaker 1: other titles. See that great point that just happened? Um,

832
00:46:47,000 --> 00:46:50,480
Speaker 1: but yeah, Nydia, like you're saying, the relationship among the

833
00:46:50,560 --> 00:46:55,319
Speaker 1: nuns is so like there is sometimes conflict, but for

834
00:46:55,360 --> 00:46:57,799
Speaker 1: the most part they're all rooting for each other, and

835
00:46:57,800 --> 00:47:03,000
Speaker 1: you get that relationship with Bangs None and and Dolores

836
00:47:03,160 --> 00:47:05,960
Speaker 1: where she brings that cute little daisy clock. You're like, Oh,

837
00:47:06,080 --> 00:47:10,520
Speaker 1: she's so weird, so weird, she's so weird. She looks

838
00:47:10,520 --> 00:47:12,960
Speaker 1: like she's in her twenties, but maybe she's actually fourteen.

839
00:47:13,680 --> 00:47:15,520
Speaker 1: She gave you fourteen or forty. And you're like, I

840
00:47:15,560 --> 00:47:18,160
Speaker 1: wouldn't be surprised when she brought the clock. Was when

841
00:47:18,200 --> 00:47:22,600
Speaker 1: I was like, yeah, I thought that Dolorous was very

842
00:47:22,800 --> 00:47:27,360
Speaker 1: patient with her. An adult woman brings you a daisy?

843
00:47:27,719 --> 00:47:31,120
Speaker 1: How do you react? I read this whole article and I, oh,

844
00:47:31,160 --> 00:47:33,000
Speaker 1: I should I should pull it up because I don't

845
00:47:33,000 --> 00:47:37,600
Speaker 1: remember what it was called or the source, so you know. Um,

846
00:47:37,640 --> 00:47:41,600
Speaker 1: but it's shipping Dolores and Mary Robert and how they

847
00:47:41,600 --> 00:47:43,920
Speaker 1: have a lesbian relationship and if it's like a coded

848
00:47:44,000 --> 00:47:48,480
Speaker 1: lesbian relationship throughout the movie. Um, some convincing points were made. Listen,

849
00:47:48,520 --> 00:47:52,759
Speaker 1: I'm down, I'm down, and she and she saves Mary

850
00:47:52,800 --> 00:47:54,640
Speaker 1: Robert and the Mary Robert runs back to the common

851
00:47:54,680 --> 00:47:57,120
Speaker 1: and she's like, Dolores is my best friend. We have

852
00:47:57,200 --> 00:48:00,400
Speaker 1: to go to Reno and everyone is like yes, there's

853
00:48:00,920 --> 00:48:05,160
Speaker 1: no discussion I love that scene where they Catholic guilt

854
00:48:05,680 --> 00:48:11,440
Speaker 1: the helicopter pilot. It's also funny to me. I felt

855
00:48:11,480 --> 00:48:16,040
Speaker 1: like the level of religiosity and the fact that people

856
00:48:16,040 --> 00:48:19,120
Speaker 1: wouldn't shoot a nun, the fact that like a helicopter

857
00:48:19,200 --> 00:48:24,800
Speaker 1: pilot would be unable to resist the advances of nuns

858
00:48:24,840 --> 00:48:28,440
Speaker 1: guilting him, like it was so taken for granted. Do

859
00:48:28,480 --> 00:48:30,920
Speaker 1: you think if that was a plot twist now that

860
00:48:31,040 --> 00:48:34,520
Speaker 1: everyone would be like, yes, that works. I don't know.

861
00:48:35,000 --> 00:48:37,120
Speaker 1: I'm like, I feel like if I was faced with

862
00:48:37,280 --> 00:48:40,520
Speaker 1: an aggressive none, I would probably do what she said,

863
00:48:40,640 --> 00:48:43,920
Speaker 1: but I wouldn't. I mean, yeah, I agree like this movie.

864
00:48:44,000 --> 00:48:46,719
Speaker 1: I mean, first of all, is a great propaganda film

865
00:48:46,719 --> 00:48:48,680
Speaker 1: for the Catholic Church. Makes it look like a blast.

866
00:48:48,800 --> 00:48:52,640
Speaker 1: I mean it is a blast. There are no problems.

867
00:48:53,200 --> 00:48:55,839
Speaker 1: I mean I've never seen one there. I mean just

868
00:48:55,880 --> 00:49:00,359
Speaker 1: like bury your Spotlight DVD or whatever. Um. But but yeah,

869
00:49:00,400 --> 00:49:04,239
Speaker 1: it comes out with yeah, like the assumption that the

870
00:49:04,400 --> 00:49:09,239
Speaker 1: entire city of San Francisco is Catholic and suffering from

871
00:49:09,239 --> 00:49:11,640
Speaker 1: deep Catholic guilt and they will they will die for

872
00:49:11,640 --> 00:49:14,680
Speaker 1: Anne at the drop of that which is I don't know.

873
00:49:14,719 --> 00:49:18,920
Speaker 1: I mean, there there are some and none of them particularly, Like,

874
00:49:19,000 --> 00:49:22,120
Speaker 1: I don't think they're really like quote unquote problematic. I

875
00:49:22,160 --> 00:49:24,240
Speaker 1: just think that they do feel very of their time,

876
00:49:24,400 --> 00:49:30,040
Speaker 1: like assuming that everyone is religious and easily manipulated by

877
00:49:30,120 --> 00:49:35,480
Speaker 1: religious figures. The kind of world with no race that

878
00:49:35,600 --> 00:49:37,279
Speaker 1: this movie has written in that I feel like it's

879
00:49:37,360 --> 00:49:39,560
Speaker 1: kind of a hallmark of the nineties where it's just

880
00:49:40,040 --> 00:49:43,319
Speaker 1: basically any character in this movie could be played by

881
00:49:43,320 --> 00:49:47,600
Speaker 1: anyone of any race, and that topic is just kind

882
00:49:47,600 --> 00:49:52,040
Speaker 1: of just not addressed in this particular movie. Um, although

883
00:49:52,040 --> 00:49:54,520
Speaker 1: I would say that one of the things about Maggie

884
00:49:54,560 --> 00:49:57,520
Speaker 1: Smith's character, she's like, the nuns aren't allowed to go outside,

885
00:49:57,560 --> 00:50:00,160
Speaker 1: it's too dangerous. And when you finally get shot to

886
00:50:00,200 --> 00:50:05,279
Speaker 1: the neighborhood this quote dangerous neighborhood, it's predominantly black. So

887
00:50:05,400 --> 00:50:10,800
Speaker 1: it's like, okay, well you're that's Maggie Smith is racist.

888
00:50:10,800 --> 00:50:15,120
Speaker 1: It's what we're saying. God damn it, Maggie Smith is racist. Yeah,

889
00:50:15,400 --> 00:50:18,640
Speaker 1: so yeah, that could have been avoided. Yes. Um, the

890
00:50:18,640 --> 00:50:22,000
Speaker 1: other thing that I I my little you know, ding

891
00:50:22,120 --> 00:50:26,120
Speaker 1: went off. The word hooker gets repeated a couple of

892
00:50:26,160 --> 00:50:32,640
Speaker 1: times very nineties nineties language. Yeah, there there was an

893
00:50:32,640 --> 00:50:36,720
Speaker 1: any like don't don't consume point and you know, porns

894
00:50:36,719 --> 00:50:40,080
Speaker 1: have its pregeous movie that like goes with the like

895
00:50:40,520 --> 00:50:43,480
Speaker 1: very catholic because I feel like this was a movie

896
00:50:43,560 --> 00:50:48,000
Speaker 1: that church groups could go to. Yeah and so, but

897
00:50:48,080 --> 00:50:51,720
Speaker 1: also like I grew up completely secular, and I movies

898
00:50:51,800 --> 00:50:55,520
Speaker 1: with religious components often don't appeal to me or you know,

899
00:50:55,600 --> 00:50:59,040
Speaker 1: I'm not drawn to them necessarily. Um, but I felt

900
00:50:59,040 --> 00:51:01,640
Speaker 1: like this movie was all weirdly secular enough that I

901
00:51:01,760 --> 00:51:04,040
Speaker 1: was like, I can get on board with this. This

902
00:51:04,120 --> 00:51:07,480
Speaker 1: is fun. I'm having a great time. Plus the great music.

903
00:51:08,120 --> 00:51:10,360
Speaker 1: Music is so good. I will have to I have

904
00:51:10,440 --> 00:51:13,200
Speaker 1: to say that when they were singing the first reproduced

905
00:51:13,320 --> 00:51:19,239
Speaker 1: song reproduced under Whoopy Goldbergs production, fun, what a fun Yeah.

906
00:51:19,320 --> 00:51:21,440
Speaker 1: And then they're doing the hymn and then they break

907
00:51:21,480 --> 00:51:25,200
Speaker 1: into the more the clapping and the rhythmic portions, and

908
00:51:25,239 --> 00:51:29,800
Speaker 1: then people just start walking in off the streets. The

909
00:51:29,840 --> 00:51:33,160
Speaker 1: young came in. But I will say at that moment,

910
00:51:33,160 --> 00:51:35,520
Speaker 1: I don't know whether I'm particularly emotional right now or what,

911
00:51:35,600 --> 00:51:40,880
Speaker 1: but I was like, music does your night? It was

912
00:51:40,960 --> 00:51:43,279
Speaker 1: it was man, I was so ready to cry for

913
00:51:43,320 --> 00:51:45,760
Speaker 1: that moment because it's, yeah, you see the youth outside

914
00:51:45,800 --> 00:51:48,760
Speaker 1: and they're like, what's that beautiful music? Oh, what's that?

915
00:51:48,760 --> 00:51:51,920
Speaker 1: That's the church. I'm like, I'm getting propagated. I love it.

916
00:51:52,120 --> 00:51:55,200
Speaker 1: I love it so much. There was I mean, I

917
00:51:55,239 --> 00:51:57,000
Speaker 1: was like, maybe I'll go back to church, and then

918
00:51:57,040 --> 00:52:00,839
Speaker 1: I was like, no, wait, hold on um, but it works. Man.

919
00:52:01,120 --> 00:52:04,920
Speaker 1: At the church where we do the shower program in Silver,

920
00:52:04,960 --> 00:52:07,480
Speaker 1: like Silvery Community Church, they have beautiful music. It's like

921
00:52:07,560 --> 00:52:12,520
Speaker 1: folk music, and it's just gorgeous. I've taken my kids

922
00:52:12,520 --> 00:52:14,600
Speaker 1: there a couple of times. I mean, we're not I

923
00:52:14,680 --> 00:52:18,359
Speaker 1: wasn't raised Christian, we're not deeply you know, I don't

924
00:52:18,360 --> 00:52:21,759
Speaker 1: practice any particular religion deeply right now. But yeah, it's

925
00:52:21,800 --> 00:52:25,120
Speaker 1: just so beautiful and lovely to be in the presence

926
00:52:25,160 --> 00:52:26,880
Speaker 1: of music with all these other people. I mean, I

927
00:52:26,920 --> 00:52:30,000
Speaker 1: guess that's going to a concert, but yeah, but like

928
00:52:30,040 --> 00:52:32,160
Speaker 1: it's I don't know, but it's also spiritually, you know,

929
00:52:32,200 --> 00:52:35,120
Speaker 1: it's connected to a higher Yeah, and their music is

930
00:52:35,120 --> 00:52:37,160
Speaker 1: what brings the pope and he's like, I've heard about

931
00:52:37,200 --> 00:52:41,240
Speaker 1: your great choir command. I really like that scene where

932
00:52:41,480 --> 00:52:45,560
Speaker 1: where Dolores, you know, where Maggie Smith is about to say,

933
00:52:45,680 --> 00:52:48,640
Speaker 1: you know, we can't sing again. Just like the nuns

934
00:52:48,640 --> 00:52:52,080
Speaker 1: are so game for whatever. When there's like that vote

935
00:52:52,080 --> 00:52:54,239
Speaker 1: where Maggie Smith's like should we do boring music or

936
00:52:54,239 --> 00:52:57,080
Speaker 1: fun music? All the nuns are like fun music, and

937
00:52:57,120 --> 00:53:02,120
Speaker 1: Maggie's like okay. Then she like almost resigns because again

938
00:53:02,200 --> 00:53:04,600
Speaker 1: she's like feeling kind of inadequate and a rule. But

939
00:53:04,640 --> 00:53:07,160
Speaker 1: then it's like, no, I do I have to stay.

940
00:53:07,520 --> 00:53:10,120
Speaker 1: Everyone has like a nice little arc. You also have

941
00:53:10,200 --> 00:53:14,200
Speaker 1: that relationship that I really like between Dolores and Sister

942
00:53:14,280 --> 00:53:16,880
Speaker 1: Mary Lazarus, who had been the head of the choire.

943
00:53:17,160 --> 00:53:21,080
Speaker 1: She's the choir and and right at the very beginning

944
00:53:21,120 --> 00:53:24,560
Speaker 1: of their interactions, she's like, I see what's happening. You

945
00:53:24,680 --> 00:53:27,200
Speaker 1: got brought in as a ringer. You're trying to replace me.

946
00:53:27,280 --> 00:53:30,319
Speaker 1: But then when she sees that Whoopee is like knows

947
00:53:30,360 --> 00:53:32,560
Speaker 1: what she's doing. She knows music, she knows where to

948
00:53:32,600 --> 00:53:35,080
Speaker 1: position the people, she knows what notes or what notes,

949
00:53:35,160 --> 00:53:38,040
Speaker 1: and she's like, oh, I'm gonna step down. You're clearly

950
00:53:38,080 --> 00:53:40,680
Speaker 1: better at this um. And there's I feel like that

951
00:53:40,719 --> 00:53:43,920
Speaker 1: could have been in a lesser movie. They would have

952
00:53:43,960 --> 00:53:46,720
Speaker 1: tried to like pit those women against each other and

953
00:53:46,960 --> 00:53:49,520
Speaker 1: just like had her be like no, no, this is

954
00:53:49,680 --> 00:53:53,640
Speaker 1: my thing. But she she like, she's like, no, you

955
00:53:53,680 --> 00:53:56,080
Speaker 1: have the skills, this is your background. And then they

956
00:53:56,160 --> 00:54:01,560
Speaker 1: become friends and they together when they eat ice cream.

957
00:54:01,760 --> 00:54:04,000
Speaker 1: That it was a very nice scene. There was some

958
00:54:04,080 --> 00:54:08,360
Speaker 1: confusion around time for me in the movie. Interesting because

959
00:54:08,760 --> 00:54:10,719
Speaker 1: you know, they when we first see the church, it's

960
00:54:10,800 --> 00:54:14,920
Speaker 1: under construction. They have all the scaffolding there and right,

961
00:54:15,200 --> 00:54:18,759
Speaker 1: you know. And then the implication is that by increasing

962
00:54:19,040 --> 00:54:21,759
Speaker 1: people who are coming into the church, people are passing

963
00:54:22,200 --> 00:54:25,440
Speaker 1: the hat and putting in more money, we're able to

964
00:54:25,480 --> 00:54:28,359
Speaker 1: finish the repairs at the church. But that would take

965
00:54:28,400 --> 00:54:30,480
Speaker 1: a long It would take a long time. How I

966
00:54:30,520 --> 00:54:33,120
Speaker 1: guess it comes down to those montages of like how

967
00:54:33,200 --> 00:54:34,880
Speaker 1: much ground are we cover? Because there was like a

968
00:54:34,920 --> 00:54:39,480
Speaker 1: few long montages of like nuns doing various but the

969
00:54:39,480 --> 00:54:42,200
Speaker 1: whole time they were supposed to wait for the court

970
00:54:42,280 --> 00:54:45,160
Speaker 1: date was two months and then yeah, and then and

971
00:54:45,200 --> 00:54:47,480
Speaker 1: then the lieutenant calls her and says, I got it

972
00:54:47,680 --> 00:54:51,640
Speaker 1: speeded up so it a month. In a month, they

973
00:54:51,640 --> 00:54:55,319
Speaker 1: were able to increase attendance at the church enough to

974
00:54:55,800 --> 00:55:01,560
Speaker 1: raise ten dollars or more. I are a contractor, finished

975
00:55:01,560 --> 00:55:04,040
Speaker 1: the repairs enough how that the Pope could come in

976
00:55:04,120 --> 00:55:07,560
Speaker 1: and be totally impressed and went over the youth of

977
00:55:07,600 --> 00:55:13,240
Speaker 1: all of San Francisco. They've saved them. I mean Delor.

978
00:55:13,400 --> 00:55:17,560
Speaker 1: She's a she's a quick operator. She really solved Catholicism.

979
00:55:17,920 --> 00:55:19,880
Speaker 1: And in the beginning it was also interesting because she

980
00:55:19,920 --> 00:55:25,000
Speaker 1: was like a failed lounge singer but incredibly successful. Sometimes

981
00:55:25,000 --> 00:55:28,880
Speaker 1: you just have to find a caller, you know, it's

982
00:55:29,920 --> 00:55:34,360
Speaker 1: that's beautiful. Oh no, I think I have more varied

983
00:55:34,400 --> 00:55:39,080
Speaker 1: religious issues than I realized. Um yeah, I'm trying to

984
00:55:39,080 --> 00:55:41,080
Speaker 1: think of other I mean, oh, something I did want

985
00:55:41,080 --> 00:55:42,600
Speaker 1: to bring up. So I bring this up a lot

986
00:55:42,800 --> 00:55:46,000
Speaker 1: on the show. But usually, UM, I wouldn't even say

987
00:55:46,000 --> 00:55:48,960
Speaker 1: that this movie is marketed specifically at women. I think

988
00:55:48,960 --> 00:55:52,120
Speaker 1: that it's kind of a general movie. Will be Goldberg

989
00:55:52,200 --> 00:55:54,840
Speaker 1: is such a huge star at this time. This movie

990
00:55:54,920 --> 00:55:58,800
Speaker 1: was hugely successful. Um I had a thirty one million

991
00:55:58,800 --> 00:56:01,000
Speaker 1: dollar budget and it made two wounder thirty one million

992
00:56:01,080 --> 00:56:04,600
Speaker 1: dollars at the box office. So like the movie was,

993
00:56:04,960 --> 00:56:08,000
Speaker 1: it seems like everyone was seeing it. But we do find,

994
00:56:08,360 --> 00:56:12,840
Speaker 1: especially when um the film critic pool was less diverse

995
00:56:13,440 --> 00:56:16,839
Speaker 1: that movies that are directed at general audiences and then

996
00:56:16,920 --> 00:56:20,279
Speaker 1: usually specifically women or people who are not whatever the

997
00:56:20,480 --> 00:56:23,080
Speaker 1: white male critic don't get as good a review. Somehow,

998
00:56:23,120 --> 00:56:27,320
Speaker 1: this movie only has round to me, which hurts my feelings, like,

999
00:56:27,360 --> 00:56:31,120
Speaker 1: how does it not have? And we have I have?

1000
00:56:31,239 --> 00:56:35,080
Speaker 1: I found a quote from our noted enemy, Roger Ebert,

1001
00:56:35,520 --> 00:56:38,000
Speaker 1: who always has the dumbest takes in spite of being

1002
00:56:38,040 --> 00:56:41,000
Speaker 1: the most famous film critic of all time. Here's what

1003
00:56:41,040 --> 00:56:42,600
Speaker 1: do you have to say about his direct I found

1004
00:56:42,640 --> 00:56:44,920
Speaker 1: to be very fusing. He said, this movie is a

1005
00:56:44,960 --> 00:56:48,840
Speaker 1: little bit low key and contemplative and a little too thoughtful,

1006
00:56:49,000 --> 00:56:52,120
Speaker 1: which I didn't like. I was like, what he didn't

1007
00:56:52,160 --> 00:56:56,000
Speaker 1: like that the movie was thinking about things. It's like, now,

1008
00:56:56,080 --> 00:56:59,800
Speaker 1: hold on, there's a point to all this, so that

1009
00:57:00,360 --> 00:57:02,920
Speaker 1: you know, so don't with the point bank don't always

1010
00:57:02,920 --> 00:57:06,800
Speaker 1: trust Rotten Tomatoes some of the old guy has weighing

1011
00:57:06,840 --> 00:57:09,360
Speaker 1: in or but I would even take issue with the

1012
00:57:09,440 --> 00:57:12,520
Speaker 1: characterization of the movie. It's too thoughtful, right if it

1013
00:57:12,640 --> 00:57:17,520
Speaker 1: it's a wrong, it's just immediate music. It's a it's

1014
00:57:17,520 --> 00:57:24,520
Speaker 1: a musical right with with multiple musical montages, right all rule.

1015
00:57:25,520 --> 00:57:27,720
Speaker 1: I don't know, I don't I don't know what was

1016
00:57:27,760 --> 00:57:29,800
Speaker 1: going on with him, but he was not he didn't

1017
00:57:29,800 --> 00:57:32,840
Speaker 1: seem to be he didn't like fun. He seemed to

1018
00:57:32,960 --> 00:57:36,200
Speaker 1: not fun. You get the vibe from all of his

1019
00:57:36,600 --> 00:57:41,240
Speaker 1: reviews of like, why wasn't this Taxi Driver? I'm like,

1020
00:57:41,720 --> 00:57:46,080
Speaker 1: if it's not taxi driver two stars like um now,

1021
00:57:46,120 --> 00:57:51,080
Speaker 1: and then wasn't exactly like stand by Me because costead

1022
00:57:51,880 --> 00:57:57,400
Speaker 1: stand by Me for girls stars? Um So anyways, just

1023
00:57:57,440 --> 00:58:00,720
Speaker 1: another reflection on the state of film criticism this time.

1024
00:58:02,440 --> 00:58:05,720
Speaker 1: Did you have any other that's kind of it? I have. Surprisingly,

1025
00:58:06,720 --> 00:58:09,600
Speaker 1: I really don't have too much of a bad word

1026
00:58:09,600 --> 00:58:11,600
Speaker 1: to say about this mo. Now. I have to say

1027
00:58:11,640 --> 00:58:15,600
Speaker 1: that I'm so grateful that as part of my campaign duties,

1028
00:58:17,040 --> 00:58:21,880
Speaker 1: I had to rewatch Sister Act, and it should be

1029
00:58:21,880 --> 00:58:26,080
Speaker 1: a job qualification. It was such a pleasure because there's

1030
00:58:26,120 --> 00:58:29,480
Speaker 1: so much to do right now. But I was like, whoa, whoa, whoa.

1031
00:58:30,600 --> 00:58:33,480
Speaker 1: I will set a side time for Sister I need

1032
00:58:33,520 --> 00:58:38,520
Speaker 1: to watch this. Don't disturb me. I'm rewatching Sister Act.

1033
00:58:39,800 --> 00:58:42,440
Speaker 1: Sometimes my mom will call me and I'm like, sorry,

1034
00:58:42,560 --> 00:58:44,400
Speaker 1: I've got too much work to do right now. I

1035
00:58:44,440 --> 00:58:49,720
Speaker 1: have to go watch the Social Network. I understand why

1036
00:58:50,040 --> 00:58:52,480
Speaker 1: my parents don't think this is a job. I get it.

1037
00:58:52,560 --> 00:58:55,040
Speaker 1: I get it, I get it. But I'm a worker

1038
00:58:56,960 --> 00:59:01,760
Speaker 1: and you have rights. Yes, we need to a podcast union.

1039
00:59:01,840 --> 00:59:05,600
Speaker 1: We need a unionize. Honestly we should. Does this movie

1040
00:59:05,880 --> 00:59:10,440
Speaker 1: pass the Vectel test tons, I think almost more than

1041
00:59:10,480 --> 00:59:15,640
Speaker 1: any movie we've ever covered. There's whole scenes that passed

1042
00:59:15,760 --> 00:59:19,600
Speaker 1: the Bechtel test. Um. I believe that the scene where

1043
00:59:19,720 --> 00:59:22,720
Speaker 1: Sister Mary Robert brings in the weird daisy besides mentioning

1044
00:59:22,840 --> 00:59:26,480
Speaker 1: her brother one time, that entire scene passes the Bectel test,

1045
00:59:26,560 --> 00:59:30,040
Speaker 1: which is like virtually unheard of. Yeah, no, I mean

1046
00:59:30,080 --> 00:59:33,360
Speaker 1: I was like, so the pope, do the nuns even

1047
00:59:33,400 --> 00:59:36,960
Speaker 1: talk about another man? I mean Help or God or Jesus.

1048
00:59:37,320 --> 00:59:41,320
Speaker 1: But yeah, most of the male characters are unseen because

1049
00:59:41,320 --> 00:59:45,360
Speaker 1: they're Jesus and God. So I do like, how okay,

1050
00:59:45,440 --> 00:59:48,160
Speaker 1: So there's one scene. There's a few scenes where the

1051
00:59:48,440 --> 00:59:52,520
Speaker 1: priest is present. I do like how kind of generally

1052
00:59:52,560 --> 00:59:54,880
Speaker 1: sidelined he is. But there is that one scene where like,

1053
00:59:55,280 --> 00:59:57,720
Speaker 1: and I don't necessarily know entirely how to feel about this,

1054
00:59:57,800 --> 01:00:01,440
Speaker 1: but there's a scene between um, the reverend mother or

1055
01:00:01,560 --> 01:00:07,240
Speaker 1: mother reverend I don't know, Maggie Smith and Dolores, and Um,

1056
01:00:07,320 --> 01:00:10,840
Speaker 1: she's yelling at Dolores for this is pop music. This

1057
01:00:10,880 --> 01:00:13,680
Speaker 1: is secular music. Uh. And then the priest comes in.

1058
01:00:14,200 --> 01:00:17,680
Speaker 1: He's like, no, I'm going to undermine your authority here

1059
01:00:17,880 --> 01:00:22,560
Speaker 1: and be like hey, like he was on Dolores, I

1060
01:00:22,600 --> 01:00:25,640
Speaker 1: thought that he just like for me, kind of was

1061
01:00:26,120 --> 01:00:28,800
Speaker 1: on board with the nun hive mind of like we

1062
01:00:28,880 --> 01:00:31,200
Speaker 1: love what we called burg will do whatever she says,

1063
01:00:31,640 --> 01:00:33,360
Speaker 1: so and that, I mean, I see what you're saying.

1064
01:00:33,680 --> 01:00:35,800
Speaker 1: But I was like, they should be singing fun music

1065
01:00:36,400 --> 01:00:40,680
Speaker 1: or why am I watching um? But yes, yeah, big, big,

1066
01:00:41,360 --> 01:00:45,800
Speaker 1: many passes, many passes between many combinations of characters. Yeah.

1067
01:00:45,880 --> 01:00:47,960
Speaker 1: Usually if there's two women on screen talking to each other,

1068
01:00:48,000 --> 01:00:50,320
Speaker 1: it'll pass the metal test at some point in the car.

1069
01:00:50,400 --> 01:00:52,320
Speaker 1: And that's most of the scenes of the movie. So

1070
01:00:52,520 --> 01:00:56,280
Speaker 1: this movie is truly it's the one feminist text we've

1071
01:00:56,520 --> 01:01:00,280
Speaker 1: We've found it distract as our feminist text. I of it.

1072
01:01:00,400 --> 01:01:03,000
Speaker 1: I was so happy. I mean, it's a sister in

1073
01:01:03,040 --> 01:01:06,840
Speaker 1: the title. What do you expect? I'm so excited that

1074
01:01:06,880 --> 01:01:09,240
Speaker 1: we covered this movie today. Really may be so happy.

1075
01:01:09,760 --> 01:01:11,920
Speaker 1: Let's write it. Yes, rate it on our nipple scale.

1076
01:01:12,320 --> 01:01:15,400
Speaker 1: We have a scale of zero to five nipples in

1077
01:01:15,400 --> 01:01:18,720
Speaker 1: which we rate it based on its representation and treatment

1078
01:01:18,760 --> 01:01:23,120
Speaker 1: of women. I'm gonna go with a solid like four

1079
01:01:23,160 --> 01:01:26,280
Speaker 1: and a half, And there's just a few of those

1080
01:01:26,360 --> 01:01:30,080
Speaker 1: little like nineties jokes and like, you know, uses of

1081
01:01:30,160 --> 01:01:35,520
Speaker 1: certain words and you know, like black neighborhood equals dangerous neighborhood.

1082
01:01:36,080 --> 01:01:39,160
Speaker 1: But it was far less problematic than I would have

1083
01:01:39,200 --> 01:01:43,560
Speaker 1: expected if a movie from the early nineties. It's about

1084
01:01:43,920 --> 01:01:48,760
Speaker 1: it's a movie about a woman being accepted into this sisterhood.

1085
01:01:48,800 --> 01:01:52,800
Speaker 1: And and even though she's like at the beginning, she's like,

1086
01:01:52,880 --> 01:01:54,720
Speaker 1: I don't like this, all the nuns are still like,

1087
01:01:54,800 --> 01:01:56,600
Speaker 1: but you're so great, and you're so good at being

1088
01:01:56,600 --> 01:01:58,680
Speaker 1: a nun, and we like you so much. Everyone this

1089
01:01:58,800 --> 01:02:02,680
Speaker 1: movie is so accepting of each other, so very supportive. Yeah,

1090
01:02:02,920 --> 01:02:05,960
Speaker 1: and the one female relationship where there is tension is

1091
01:02:06,040 --> 01:02:09,800
Speaker 1: contextualize and like everyone comes around by the end. So yeah,

1092
01:02:09,840 --> 01:02:13,480
Speaker 1: it's just it's a beautiful story about sisterhood and we

1093
01:02:13,520 --> 01:02:15,720
Speaker 1: need more of them. So I would give this four

1094
01:02:15,720 --> 01:02:19,960
Speaker 1: and half nipples and give one to Whoopee, one to

1095
01:02:20,200 --> 01:02:25,040
Speaker 1: Maggie Smith, one to her bangs the bangs of the Bangs, none, none,

1096
01:02:25,240 --> 01:02:29,280
Speaker 1: and I'll give one to Kathy Najimie, and I'll give

1097
01:02:29,920 --> 01:02:33,240
Speaker 1: one to Lieutenant South there love it. Yeah, I'm gonna

1098
01:02:33,240 --> 01:02:34,400
Speaker 1: do four and a half to two. I think that

1099
01:02:34,480 --> 01:02:37,680
Speaker 1: this this movie just made me so happy. And no

1100
01:02:37,840 --> 01:02:44,120
Speaker 1: movies hold up. In this movie, like holds up never happens.

1101
01:02:44,320 --> 01:02:48,080
Speaker 1: It's so I just love how there were so many

1102
01:02:48,160 --> 01:02:51,920
Speaker 1: opportunities for their writing to kind of turn women against

1103
01:02:51,960 --> 01:02:55,400
Speaker 1: each other, but it really never takes that option. And

1104
01:02:55,440 --> 01:02:58,520
Speaker 1: like the sisters are on board the whole time. They're

1105
01:02:58,520 --> 01:03:00,880
Speaker 1: there to support each other. And when there's a reveal

1106
01:03:00,920 --> 01:03:04,560
Speaker 1: of like Dolores isn't who she says she is, they're like,

1107
01:03:04,760 --> 01:03:07,360
Speaker 1: who cares she was kidnapped? We're going to arena? Like

1108
01:03:07,400 --> 01:03:11,560
Speaker 1: it's just it's so I just like I'm getting emotional

1109
01:03:11,720 --> 01:03:16,880
Speaker 1: um there. I mean, there's very low um representation of

1110
01:03:17,400 --> 01:03:20,840
Speaker 1: women behind the camera here, which is like something to

1111
01:03:20,920 --> 01:03:25,080
Speaker 1: just be aware of. There's one credited female producer, but

1112
01:03:25,240 --> 01:03:28,840
Speaker 1: it's you know, directed, written by editor, cinematography. The whole

1113
01:03:28,840 --> 01:03:31,200
Speaker 1: bit is kind of men across the board. Just something

1114
01:03:31,560 --> 01:03:33,000
Speaker 1: that we try to be aware of. But the story

1115
01:03:33,000 --> 01:03:36,000
Speaker 1: itself and the actors that are there, it's just it's

1116
01:03:36,000 --> 01:03:38,360
Speaker 1: just the best. So four and a half two will

1117
01:03:38,440 --> 01:03:43,200
Speaker 1: be one of Maggie, one of Cathy and half to banks. Yeah,

1118
01:03:43,640 --> 01:03:45,880
Speaker 1: I'm you know, I probably not because I haven't done

1119
01:03:45,880 --> 01:03:47,280
Speaker 1: this as much as you guys, but I'm gonna give

1120
01:03:47,320 --> 01:03:52,040
Speaker 1: it five nipples. Uh, and just look at the disgusting clue.

1121
01:03:52,200 --> 01:03:55,720
Speaker 1: We were like just because yeah, like I expected this

1122
01:03:55,800 --> 01:03:58,760
Speaker 1: to be yeah, expected it not to hold up as well,

1123
01:03:59,000 --> 01:04:01,960
Speaker 1: and I was Yeah, I was so happy to be

1124
01:04:02,000 --> 01:04:03,920
Speaker 1: able to watch a movie like this. It was just

1125
01:04:04,080 --> 01:04:07,640
Speaker 1: so happy and it gave me an adult rated joy.

1126
01:04:07,720 --> 01:04:09,560
Speaker 1: Do I have to assign the nipples to people? If

1127
01:04:09,560 --> 01:04:12,400
Speaker 1: you want to? I would, I would, I would follow

1128
01:04:12,480 --> 01:04:15,760
Speaker 1: you and we're assigning in your nipple assignments, spreading the

1129
01:04:15,880 --> 01:04:19,200
Speaker 1: nipples across the board. Plenty of sisters, plenty of nipples.

1130
01:04:19,240 --> 01:04:22,560
Speaker 1: I'll give the pope and one of my nipples. Yeah,

1131
01:04:22,640 --> 01:04:26,200
Speaker 1: good for you, didn't get any well, Nathia, thank you

1132
01:04:26,240 --> 01:04:28,400
Speaker 1: so much for being here, Thank you for having me.

1133
01:04:28,480 --> 01:04:30,880
Speaker 1: Tell us what you want to plug. Where can people

1134
01:04:30,880 --> 01:04:34,080
Speaker 1: find you on social media? Oh yeah, yeah, so I

1135
01:04:34,160 --> 01:04:36,440
Speaker 1: meant Nitia for the City dot com. But if you

1136
01:04:36,480 --> 01:04:39,240
Speaker 1: use social media, follow us on Twitter. Nittia v Raman.

1137
01:04:39,640 --> 01:04:41,440
Speaker 1: That's an I T h y A and my last

1138
01:04:41,520 --> 01:04:43,480
Speaker 1: name is r A m A and not not quite

1139
01:04:43,480 --> 01:04:46,040
Speaker 1: like the noodle. Um. But if you know, if you

1140
01:04:46,160 --> 01:04:48,840
Speaker 1: just google Nitia City Council, I'm the only Nitia running

1141
01:04:48,840 --> 01:04:53,400
Speaker 1: for city council. Imagine that. Um. And we're on Instagram

1142
01:04:53,400 --> 01:04:56,280
Speaker 1: and Natia for the city as well. And um, definitely

1143
01:04:56,320 --> 01:04:58,000
Speaker 1: if you're in l A, please look me up, come

1144
01:04:58,040 --> 01:05:00,760
Speaker 1: out to canvas. Um. We have a huge volunteer army

1145
01:05:00,800 --> 01:05:02,800
Speaker 1: that's knocking on every door in the district to try

1146
01:05:02,800 --> 01:05:05,920
Speaker 1: and get people excited about this election and how they

1147
01:05:05,920 --> 01:05:09,240
Speaker 1: can expect change in the city. Um. Yeah, so look

1148
01:05:09,440 --> 01:05:11,800
Speaker 1: look me up, come out, come meet us. And when

1149
01:05:11,840 --> 01:05:16,840
Speaker 1: when's the election again? March three? And vote? Ever come

1150
01:05:16,840 --> 01:05:18,840
Speaker 1: out and vote, yes exactly. I'm sure everyone's going to

1151
01:05:18,880 --> 01:05:21,960
Speaker 1: be voting for the primaries. You should be well not

1152
01:05:22,400 --> 01:05:25,720
Speaker 1: stop bothering our listeners about it. Um. Yeah, thank you

1153
01:05:25,760 --> 01:05:27,960
Speaker 1: so much for making the time and and and carving

1154
01:05:28,000 --> 01:05:30,720
Speaker 1: Sister Act into your schedule. Yes, thank you for giving

1155
01:05:30,760 --> 01:05:33,960
Speaker 1: me the opportunity to carve Sister Act into my schedule anytime.

1156
01:05:35,200 --> 01:05:38,959
Speaker 1: Very grateful. Thank you. Guys. Where's Sisterhood right now? Yes? Yes,

1157
01:05:39,080 --> 01:05:43,560
Speaker 1: this is the Sisterhood of the Traveling Act. Where's that movie? Okay,

1158
01:05:44,000 --> 01:05:46,720
Speaker 1: you can follow us all the normal places Twitter, Instagram,

1159
01:05:46,720 --> 01:05:48,680
Speaker 1: et cetera. At Bechtel Cast. You can go to our

1160
01:05:48,720 --> 01:05:53,520
Speaker 1: website bechtel cast dot com for our show dates and episodes.

1161
01:05:54,520 --> 01:05:57,360
Speaker 1: Our patren aka Matreon is five dollars a month to

1162
01:05:57,560 --> 01:06:00,880
Speaker 1: bonus episodes every month, plus the entire back atalogue. And

1163
01:06:01,240 --> 01:06:03,800
Speaker 1: I think that's about it. Yeah, thank you so much.

1164
01:06:04,560 --> 01:06:06,320
Speaker 1: Thank you. Byfi