1
00:00:00,760 --> 00:00:03,600
Speaker 1: On the beck Dol Cast, the questions asked if movies

2
00:00:03,640 --> 00:00:07,280
Speaker 1: have women in them, are all their discussions just boyfriends

3
00:00:07,280 --> 00:00:11,479
Speaker 1: and husbands, or do they have individualism? The patriarchy? Zef

4
00:00:11,640 --> 00:00:16,560
Speaker 1: in best start changing it with the Bechdel Cast. Hello,

5
00:00:16,600 --> 00:00:19,720
Speaker 1: and welcome to the Bechdel Cast. My name is Caitlin Toronte.

6
00:00:19,840 --> 00:00:23,240
Speaker 1: My name Jamie Loveday, and we are here to talk

7
00:00:23,320 --> 00:00:26,200
Speaker 1: about the representation of women in movies. That's what our

8
00:00:26,239 --> 00:00:32,680
Speaker 1: podcast is about. Hey, Caitlin, what Jamie? In case you

9
00:00:32,680 --> 00:00:34,960
Speaker 1: haven't gleaned it in the past three years, but I

10
00:00:35,000 --> 00:00:38,040
Speaker 1: didn't give you a a reference point for what I

11
00:00:38,280 --> 00:00:40,720
Speaker 1: need it. I just every once in a while, just

12
00:00:40,760 --> 00:00:44,200
Speaker 1: a jolt of adrenaline to the system. The Bechdel test

13
00:00:44,840 --> 00:00:48,840
Speaker 1: is never heard of it. I well, then start leaving

14
00:00:48,880 --> 00:00:52,000
Speaker 1: your one star reviews now, just kidding, Please don't. Only

15
00:00:52,159 --> 00:00:55,160
Speaker 1: m r as do that, and they're very good at it. Uh.

16
00:00:55,320 --> 00:00:59,480
Speaker 1: The Bechtel test is a media metric invented by cartoonist

17
00:00:59,520 --> 00:01:03,160
Speaker 1: Alison Actel, sometimes also called the Bechtel Wallace test, in

18
00:01:03,200 --> 00:01:05,760
Speaker 1: which there has to be a scene in a piece

19
00:01:05,760 --> 00:01:09,360
Speaker 1: of media where two female identifying characters with names talk

20
00:01:09,480 --> 00:01:12,120
Speaker 1: to each other for about something other than a man

21
00:01:12,480 --> 00:01:16,559
Speaker 1: for more than two lines of dialogue. Wow, I can't believe.

22
00:01:16,560 --> 00:01:18,319
Speaker 1: I've never heard of this test before. I was holding

23
00:01:18,360 --> 00:01:21,479
Speaker 1: in a burp, literally that whole sentence, and I feel

24
00:01:21,480 --> 00:01:24,160
Speaker 1: like if you rewind fifteen seconds you'll hear it. You've

25
00:01:24,240 --> 00:01:27,560
Speaker 1: been burping a lot recently. I've gone full Durst, I

26
00:01:27,600 --> 00:01:30,360
Speaker 1: really have. I don't know what's going on. I'm just

27
00:01:30,880 --> 00:01:35,160
Speaker 1: burping and telling lies. I can't stop. Well, I think

28
00:01:35,200 --> 00:01:38,160
Speaker 1: that burp conversation passed the Becktel tests, so we're after

29
00:01:38,200 --> 00:01:41,240
Speaker 1: a good start. Thank you. I mean I did mention er.

30
00:01:43,080 --> 00:01:45,479
Speaker 1: I mean I I think of Robert Durst as kind

31
00:01:45,480 --> 00:01:48,080
Speaker 1: of a genderless He's more of an idea than a man.

32
00:01:48,480 --> 00:01:52,800
Speaker 1: I think. Um so it does pass. If we are

33
00:01:52,840 --> 00:01:56,520
Speaker 1: saying that Robert Turst is an ideology, well he's sort

34
00:01:56,520 --> 00:01:59,160
Speaker 1: of like a cloud of gas. I see him much

35
00:01:59,200 --> 00:02:01,480
Speaker 1: like a burp. There you go, there you go, And

36
00:02:01,520 --> 00:02:03,800
Speaker 1: that's why he's so susceptible to them. I'm glad we

37
00:02:03,880 --> 00:02:08,160
Speaker 1: unpacked that. Um So, Yeah, this is the Bechdel cast. Uh.

38
00:02:08,760 --> 00:02:13,320
Speaker 1: We are. We are covering a much requested today. We've

39
00:02:13,320 --> 00:02:16,320
Speaker 1: been getting this request since we started. The damn cast

40
00:02:16,840 --> 00:02:19,119
Speaker 1: took us about three years, but we we got there.

41
00:02:19,560 --> 00:02:22,240
Speaker 1: We got there. Today we're covering the First Wives Club

42
00:02:22,360 --> 00:02:25,480
Speaker 1: and here to join us in our conversation a hilarious

43
00:02:25,480 --> 00:02:29,600
Speaker 1: comedian whose album called Major comes out on August sewod

44
00:02:29,919 --> 00:02:32,480
Speaker 1: and you also may remember her from our Butch Cassidy

45
00:02:32,480 --> 00:02:36,520
Speaker 1: and the Sundance Kid episode and our episode on the notebook.

46
00:02:37,360 --> 00:02:42,399
Speaker 1: It's Caitlin Guilt. That's mel It's it's nice to be here.

47
00:02:42,520 --> 00:02:44,600
Speaker 1: If you heard a strange sound in your audio, unless

48
00:02:44,600 --> 00:02:46,600
Speaker 1: that's neatly clipped, it was my dog licking my nose

49
00:02:46,639 --> 00:02:49,560
Speaker 1: a minute ago. Major. Margaret hot lives so Lin the

50
00:02:49,800 --> 00:02:54,000
Speaker 1: titular dog from my album. Yes, and what a cuteie

51
00:02:54,880 --> 00:02:57,440
Speaker 1: she really is. She's really thriving today. I saw do

52
00:02:57,520 --> 00:03:02,040
Speaker 1: some tricks anyone. Well, not to brag. She's easy to

53
00:03:02,080 --> 00:03:06,080
Speaker 1: distract with a treat and that that really begs compliance.

54
00:03:06,120 --> 00:03:08,440
Speaker 1: It works. It just works. Tiny piece of meat and

55
00:03:08,480 --> 00:03:10,160
Speaker 1: she'll do whatever I need, which is good because I

56
00:03:10,200 --> 00:03:13,280
Speaker 1: forgot her leash. What a terrible dog owner. It's a

57
00:03:13,520 --> 00:03:15,640
Speaker 1: key thing. You need to take your dog out of

58
00:03:15,680 --> 00:03:19,440
Speaker 1: the house. Evidence about it though that I'm like, I

59
00:03:19,480 --> 00:03:21,520
Speaker 1: guess this is just the dynamic. I do leave her

60
00:03:21,560 --> 00:03:23,880
Speaker 1: rough Alice as much as I can, because she's honestly better.

61
00:03:24,080 --> 00:03:26,880
Speaker 1: She's a strong independent woman. She is a strong independent woman.

62
00:03:26,919 --> 00:03:28,520
Speaker 1: She knows what she wants and what she wants us

63
00:03:28,560 --> 00:03:30,519
Speaker 1: to know where I am and if she's attached to

64
00:03:30,560 --> 00:03:34,960
Speaker 1: a leash, she knows, so the off leash nous it

65
00:03:35,000 --> 00:03:38,080
Speaker 1: makes her pull to attention. Is this podcast about my dog?

66
00:03:38,120 --> 00:03:41,160
Speaker 1: Because unless you stop me now, it is about to

67
00:03:41,200 --> 00:03:46,360
Speaker 1: be apologize my dog. My dog is a woman hater. Yes,

68
00:03:46,640 --> 00:03:48,800
Speaker 1: the one time he was allowed in this podcast studio,

69
00:03:48,920 --> 00:03:52,640
Speaker 1: he shoot through one of the audio cables and d

70
00:03:52,800 --> 00:03:57,240
Speaker 1: platform the left once again. Oh my god, that is hilarious.

71
00:03:57,280 --> 00:03:59,440
Speaker 1: I have to I really need to meet this guy.

72
00:03:59,520 --> 00:04:03,920
Speaker 1: I only on through Instagram and I am he's he's

73
00:04:03,920 --> 00:04:07,440
Speaker 1: a red deal. I'll get bit I'm in. Didn't he

74
00:04:07,480 --> 00:04:09,680
Speaker 1: also ship and piss on the floor the last time

75
00:04:09,680 --> 00:04:12,640
Speaker 1: he was here? He did ship and piss and truth

76
00:04:12,760 --> 00:04:16,719
Speaker 1: or an audio cable and and but he did the

77
00:04:16,760 --> 00:04:18,800
Speaker 1: day he was here, the day Alfred Molina was here,

78
00:04:18,839 --> 00:04:21,920
Speaker 1: and he behaved until literally the second offered Mollina left

79
00:04:21,920 --> 00:04:24,640
Speaker 1: and then he shipped and pissed again. Honestly, wasn't everybody

80
00:04:24,640 --> 00:04:27,240
Speaker 1: shopping and pissing. Though as soon as alf from Lena left,

81
00:04:27,240 --> 00:04:29,960
Speaker 1: it just everybody's body evacuated. He was just doing what

82
00:04:30,000 --> 00:04:34,080
Speaker 1: we were all thinking. That's true. So the First Wives Club?

83
00:04:36,200 --> 00:04:38,880
Speaker 1: What is your history with your relationship with the movie?

84
00:04:39,080 --> 00:04:41,120
Speaker 1: I saw it in the theaters with my mom, who

85
00:04:41,279 --> 00:04:45,040
Speaker 1: is herself a first wife. So it goes way back,

86
00:04:45,480 --> 00:04:50,719
Speaker 1: goes way back. It's fun to revisit with fresh eyes. Certainly, Jamie,

87
00:04:50,760 --> 00:04:53,840
Speaker 1: what about you, I'd never seen this movie. I feel

88
00:04:53,839 --> 00:04:56,880
Speaker 1: like this movie kind of made like has become more

89
00:04:56,960 --> 00:05:00,599
Speaker 1: popular again in the past even year or so. I

90
00:05:00,640 --> 00:05:05,960
Speaker 1: remember that Ariana Grande did a bunch of First Wives

91
00:05:06,000 --> 00:05:09,520
Speaker 1: Club like homage with her last album. There's like moments

92
00:05:09,520 --> 00:05:11,880
Speaker 1: in her video where she and her too I think

93
00:05:11,960 --> 00:05:14,160
Speaker 1: producers or they're singing on the track and they're all

94
00:05:14,200 --> 00:05:17,159
Speaker 1: wearing the white check gets in the whole bit, and

95
00:05:17,880 --> 00:05:20,560
Speaker 1: I don't know. I was excited to see it, and man,

96
00:05:20,640 --> 00:05:22,800
Speaker 1: I really enjoyed it. What a romp? What a wrong?

97
00:05:23,360 --> 00:05:25,719
Speaker 1: I'm a fan. It really was. And it starts off

98
00:05:25,720 --> 00:05:29,920
Speaker 1: in such a dark place that you're like, where what

99
00:05:30,600 --> 00:05:34,080
Speaker 1: and then it just becomes a romp so quickly. One

100
00:05:34,120 --> 00:05:37,000
Speaker 1: of my favorite things in movies just period is what

101
00:05:37,080 --> 00:05:40,760
Speaker 1: actor did the most with their one day on set,

102
00:05:41,600 --> 00:05:44,280
Speaker 1: because there is no question that Stocker Channing was on

103
00:05:44,320 --> 00:05:48,600
Speaker 1: that set uh day singular day, and with that day

104
00:05:52,320 --> 00:05:54,640
Speaker 1: to rise to the occasion in the moment. You don't

105
00:05:54,640 --> 00:05:56,440
Speaker 1: have the full month to shoot, you ain't hanging around

106
00:05:56,440 --> 00:05:58,240
Speaker 1: with the ladies the whole time. You're in your out.

107
00:05:58,240 --> 00:06:00,520
Speaker 1: I bet it was months apart from the other three

108
00:06:00,560 --> 00:06:03,640
Speaker 1: ladies were doing the filming, had nothing to do, totally

109
00:06:03,640 --> 00:06:07,360
Speaker 1: different team, like director on the phone from actually New

110
00:06:07,440 --> 00:06:10,160
Speaker 1: York because this was in l A. It was just

111
00:06:10,279 --> 00:06:13,760
Speaker 1: an incredible I love spotting those performances. I mean turned

112
00:06:13,800 --> 00:06:17,400
Speaker 1: to scream if you really need the entry level understanding

113
00:06:17,440 --> 00:06:20,599
Speaker 1: of the value of having a star on set one day,

114
00:06:21,560 --> 00:06:24,160
Speaker 1: Drew Barry more twist with having her and it's sleeve

115
00:06:24,240 --> 00:06:27,120
Speaker 1: Schreiber and scream three. I forget he doesn't scream too,

116
00:06:27,120 --> 00:06:30,400
Speaker 1: But it's so good when you have someone brilliant on

117
00:06:30,440 --> 00:06:33,800
Speaker 1: set for one day. What they turned out one of

118
00:06:33,880 --> 00:06:36,920
Speaker 1: the best scenes of the movie. It really is the gravitas,

119
00:06:37,160 --> 00:06:42,159
Speaker 1: the sadness the folks. She dies by suicide and that

120
00:06:42,360 --> 00:06:46,520
Speaker 1: is the wild in sighting incident and perhaps confusing to

121
00:06:46,560 --> 00:06:49,440
Speaker 1: say what ensues is a romp, but it's simply the truth.

122
00:06:49,520 --> 00:06:52,800
Speaker 1: It is true. Yeah, alright, what's your history? Cabin. I

123
00:06:52,839 --> 00:06:55,400
Speaker 1: hadn't seen this movie for the first time until about

124
00:06:55,440 --> 00:06:57,440
Speaker 1: a year ago because it's one of those movies that

125
00:06:57,480 --> 00:06:59,800
Speaker 1: I knew we had gotten a lot of request for

126
00:07:00,000 --> 00:07:01,560
Speaker 1: and I figured we would do it some day, so

127
00:07:01,600 --> 00:07:03,920
Speaker 1: I was like, maybe I'll just check it out early.

128
00:07:04,120 --> 00:07:07,320
Speaker 1: You know, it's familiar out loud. Yeah, So I watched

129
00:07:07,360 --> 00:07:10,200
Speaker 1: it that one time about a year ago, and it

130
00:07:10,280 --> 00:07:13,600
Speaker 1: was like, this certainly is a romp, and uh, I don't.

131
00:07:13,640 --> 00:07:17,240
Speaker 1: I don't know why I hadn't seen it before. I

132
00:07:17,240 --> 00:07:19,800
Speaker 1: guess I ten when it came out, so you know,

133
00:07:19,840 --> 00:07:23,320
Speaker 1: I wasn't necessarily the target demographic. But are you the

134
00:07:23,400 --> 00:07:28,360
Speaker 1: child of a first wife? No? My mom is uh yeah, no,

135
00:07:28,440 --> 00:07:30,720
Speaker 1: there's no easy I've realized as I asked that question,

136
00:07:30,760 --> 00:07:32,600
Speaker 1: because I'll tell you whatever you want to know about

137
00:07:32,600 --> 00:07:35,160
Speaker 1: my family and it's horrible, but I do realize that

138
00:07:35,240 --> 00:07:38,000
Speaker 1: other people don't as often, so as that question tumbled

139
00:07:38,000 --> 00:07:40,280
Speaker 1: out of my mouth. So tell me about your parental

140
00:07:40,400 --> 00:07:48,920
Speaker 1: marital they are married, should they be open questions? What's up? Gloria?

141
00:07:49,040 --> 00:07:53,440
Speaker 1: She listens to the podcast anyway my mom as I mean,

142
00:07:53,520 --> 00:07:57,000
Speaker 1: I guess she she is a first wife. But also

143
00:07:57,280 --> 00:07:58,880
Speaker 1: it was, I mean, she's a first wife, but there

144
00:07:58,920 --> 00:08:00,800
Speaker 1: hasn't been a second one yet. But she's no longer

145
00:08:01,000 --> 00:08:03,480
Speaker 1: a wife. That's a first wife. She's a first wife.

146
00:08:03,640 --> 00:08:07,200
Speaker 1: She's a first wife. And uh, she's she's I would say,

147
00:08:07,240 --> 00:08:10,800
Speaker 1: she's medium, bitter about it. Yeah, pretty healthy, It wasn't

148
00:08:10,800 --> 00:08:12,600
Speaker 1: it was, she's not. I don't think she's in the

149
00:08:12,600 --> 00:08:16,960
Speaker 1: club quite. We're in sour Orange territory, not to full women. No, yeah, yeah,

150
00:08:17,000 --> 00:08:21,760
Speaker 1: they talk the friends. Yeah, So should I just dive

151
00:08:21,800 --> 00:08:23,840
Speaker 1: into the recap and then we'll go from there. Let's

152
00:08:23,840 --> 00:08:29,080
Speaker 1: do it alright. So we open in nineteen sixty nine.

153
00:08:29,320 --> 00:08:33,880
Speaker 1: There are four best friends who are graduating from college.

154
00:08:34,000 --> 00:08:36,760
Speaker 1: They are you a soundtrack here, like a little like.

155
00:08:37,240 --> 00:08:39,040
Speaker 1: But I can't get my mouth guitar to work with

156
00:08:39,080 --> 00:08:41,840
Speaker 1: a sixties sound. I can't, I can't. I don't have

157
00:08:41,880 --> 00:08:44,880
Speaker 1: it my all along the watch Tower isn't isn't playing

158
00:08:44,960 --> 00:08:47,600
Speaker 1: right now? I was about to come in with some

159
00:08:47,760 --> 00:08:50,439
Speaker 1: Austin Powers music, but that's all sudden. It's really hard

160
00:08:50,720 --> 00:08:59,480
Speaker 1: with your mouth. Does it turns out all right? So

161
00:08:59,559 --> 00:09:05,920
Speaker 1: the friends are Cynthia, Annie, Alice, and Brenda, and then

162
00:09:05,920 --> 00:09:10,920
Speaker 1: we cut to the nineties and that's the end of

163
00:09:10,920 --> 00:09:16,200
Speaker 1: the beginning. Just like the Right this is this movie

164
00:09:16,320 --> 00:09:21,320
Speaker 1: is basically Austin Powers basically. Yes. So we're now in

165
00:09:21,320 --> 00:09:26,360
Speaker 1: the nineties and Cynthia is distraught and it's implied that

166
00:09:26,400 --> 00:09:31,160
Speaker 1: she dies by suicide. Then we cut to Annie. That's

167
00:09:31,200 --> 00:09:36,360
Speaker 1: Diane Keaton's character. She has been reconnecting with her husband Aaron,

168
00:09:36,400 --> 00:09:40,679
Speaker 1: who she's separated from, which makes her daughter Chris disappointed

169
00:09:40,720 --> 00:09:46,440
Speaker 1: because she hates her dad. Can relate personally see comments

170
00:09:46,480 --> 00:09:51,360
Speaker 1: that they made five minutes ago. And Diane Keaton is

171
00:09:51,600 --> 00:09:54,920
Speaker 1: really Diane Keaton. Actually where her name is Annie again?

172
00:09:56,520 --> 00:09:59,160
Speaker 1: Annie Hall? Oh my god, Yeah, I'm like laid on

173
00:09:59,320 --> 00:10:01,320
Speaker 1: thick white on. Yeah. I do think she has to

174
00:10:01,360 --> 00:10:03,720
Speaker 1: be named either Annie or Diana or she won't turn around.

175
00:10:05,040 --> 00:10:10,520
Speaker 1: She's like, won't her name was supposed to be. Couldn't

176
00:10:10,520 --> 00:10:15,760
Speaker 1: get her engaged. She's brilliant, she's so good at she's

177
00:10:15,840 --> 00:10:17,880
Speaker 1: really I do like to think of her as an

178
00:10:17,960 --> 00:10:22,880
Speaker 1: inattentive cat like creature. You're just like she's like, oh,

179
00:10:23,720 --> 00:10:26,120
Speaker 1: I'm not entirely sure she's from the same plane. She's

180
00:10:26,160 --> 00:10:27,480
Speaker 1: one of those are this where I'm like, you are

181
00:10:27,520 --> 00:10:30,000
Speaker 1: a vessel for an energy from far beyond. But it

182
00:10:30,120 --> 00:10:33,280
Speaker 1: is the most nervous energy I've ever seen to try

183
00:10:33,360 --> 00:10:37,400
Speaker 1: to communicate with with humans on the planet Earth. It's incredible.

184
00:10:37,440 --> 00:10:39,920
Speaker 1: This is a great part for her, though. She screams

185
00:10:39,920 --> 00:10:44,200
Speaker 1: like seven times and each one is perfect, and I

186
00:10:44,240 --> 00:10:47,280
Speaker 1: feel like it starts early. I think screaming happens really early.

187
00:10:47,559 --> 00:10:53,000
Speaker 1: It's too early, right, such a thing. Then we see

188
00:10:53,320 --> 00:10:59,120
Speaker 1: Elise Goldie Hawn's character. She is an actress who is

189
00:10:59,240 --> 00:11:02,280
Speaker 1: obsessed with trying to look young so that she can

190
00:11:02,360 --> 00:11:06,520
Speaker 1: keep getting cast in Hollywood movies. Uh. And then we

191
00:11:06,920 --> 00:11:11,040
Speaker 1: see Brenda bet Midler's character. She has a son who's

192
00:11:11,080 --> 00:11:14,839
Speaker 1: about to have a bar mitzvah. She's neatly summarized as

193
00:11:14,840 --> 00:11:18,280
Speaker 1: a Brenda. She's a Brenda. Yeah, she's a Brenda. And

194
00:11:18,320 --> 00:11:22,760
Speaker 1: then they all find out about their friend Cynthia's suicide

195
00:11:22,960 --> 00:11:27,160
Speaker 1: and the presumed motivation behind it, which was that Cynthia's

196
00:11:27,160 --> 00:11:31,239
Speaker 1: ex husband this like successful Wall Street dude just remarried

197
00:11:31,400 --> 00:11:35,480
Speaker 1: a younger woman. So Annie, Alice, and Brenda all reconnect

198
00:11:35,600 --> 00:11:38,720
Speaker 1: at Cynthia's funeral. So then they all get lunch together,

199
00:11:39,000 --> 00:11:41,720
Speaker 1: and Elice and Brenda talk about how both of their

200
00:11:41,800 --> 00:11:45,000
Speaker 1: husbands left them for younger women, and then Annie is

201
00:11:45,040 --> 00:11:50,800
Speaker 1: ill like, well, I'm still married, but we are separated.

202
00:11:51,120 --> 00:11:53,600
Speaker 1: And then they keep hanging out. They're getting more and

203
00:11:53,600 --> 00:11:57,520
Speaker 1: more drunk, and they're lamenting about how we're in full

204
00:11:57,640 --> 00:12:03,600
Speaker 1: on boogie white lady unche We're on top shelf daytime drunk.

205
00:12:03,720 --> 00:12:06,679
Speaker 1: This is it's very specific. It's no way it's past

206
00:12:06,679 --> 00:12:09,319
Speaker 1: two pm. At the height of this scene. It does

207
00:12:09,400 --> 00:12:11,480
Speaker 1: look like they're closing the restaurant, but it looks like

208
00:12:11,520 --> 00:12:14,320
Speaker 1: they're closing the restaurant for lunch to dinner service. And

209
00:12:14,360 --> 00:12:17,480
Speaker 1: it's very right out for that many glasses on the table,

210
00:12:18,840 --> 00:12:21,320
Speaker 1: and they're just, you know, lamenting about how everyone sees

211
00:12:21,360 --> 00:12:24,760
Speaker 1: them as being too old and stuff like that. So

212
00:12:27,559 --> 00:12:31,720
Speaker 1: and Diane Keaton's mom keeps insulting her for this reason.

213
00:12:32,520 --> 00:12:37,480
Speaker 1: Oh no spring Chicken, Diane. And that actress, I forget

214
00:12:37,480 --> 00:12:41,280
Speaker 1: her name, but she's so good. She's like, oh eileenckt.

215
00:12:41,440 --> 00:12:45,160
Speaker 1: Diane Keaton's mom is terrific from beginning to end. And

216
00:12:45,200 --> 00:12:47,319
Speaker 1: she's one of those perfect old ladies whose lips are

217
00:12:47,320 --> 00:12:51,120
Speaker 1: just lipstick, Like I'm not sure there's anything under theneath.

218
00:12:51,200 --> 00:12:53,480
Speaker 1: It's a perfect flesh tone, but she's painted on this

219
00:12:53,800 --> 00:12:58,720
Speaker 1: majestic mouth. She's incredible. She's every scene she steals it

220
00:12:59,520 --> 00:13:03,319
Speaker 1: so and she's been trying to make some personal progress

221
00:13:03,320 --> 00:13:07,160
Speaker 1: in therapy. Alice is in the middle of divorce proceedings

222
00:13:07,240 --> 00:13:10,839
Speaker 1: from Victor Garber, and then she later finds out that

223
00:13:11,200 --> 00:13:14,520
Speaker 1: she's being considered for a mother role in a movie.

224
00:13:14,880 --> 00:13:17,640
Speaker 1: This is around the point where I realized that Goldie

225
00:13:17,679 --> 00:13:21,680
Speaker 1: Hans character is basically just Jenna Moroney. When she freaks

226
00:13:21,679 --> 00:13:24,200
Speaker 1: out about being about auditioning to be a mother, You're like,

227
00:13:24,360 --> 00:13:28,880
Speaker 1: this character is genera Moroney toned down a little right.

228
00:13:29,080 --> 00:13:31,240
Speaker 1: She used to be married to Victor Garber a k

229
00:13:31,440 --> 00:13:35,400
Speaker 1: A our king are the hero of Titanic really which

230
00:13:35,679 --> 00:13:37,880
Speaker 1: and this really made us to realize, as we just

231
00:13:37,920 --> 00:13:40,880
Speaker 1: discussed that Victor Garber more often than not plays a villain,

232
00:13:40,920 --> 00:13:43,560
Speaker 1: which is crazy because his best and most prominent role

233
00:13:43,600 --> 00:13:48,040
Speaker 1: as being a little Sweetie Bias who who wanted there

234
00:13:48,080 --> 00:13:52,360
Speaker 1: to be enough lifeboats but was over rule and then

235
00:13:52,440 --> 00:13:56,160
Speaker 1: he because that happens, he sacrifices his hot doesn't make

236
00:13:56,280 --> 00:13:59,280
Speaker 1: him abilla that he wasn't strong enough to get more

237
00:13:59,400 --> 00:14:01,760
Speaker 1: lifeboats on the biggest boat like that. He was a

238
00:14:01,880 --> 00:14:09,960
Speaker 1: complicit bastard and I'm glad he's dead, weak knead. Okay, anyway, so, um,

239
00:14:10,320 --> 00:14:13,320
Speaker 1: you know, we're seeing all these women in their normal worlds.

240
00:14:13,720 --> 00:14:17,440
Speaker 1: And we see Brenda and she confronts her ex husband

241
00:14:18,000 --> 00:14:22,560
Speaker 1: in a store, being like, I need money, you suck

242
00:14:23,840 --> 00:14:29,360
Speaker 1: morty and then his new wife Shelly. His new wife

243
00:14:29,440 --> 00:14:32,480
Speaker 1: Shelley played by Sarah Jessica Parker shows up and then

244
00:14:32,520 --> 00:14:35,600
Speaker 1: they they boughty shame each other for a while. Oh

245
00:14:35,680 --> 00:14:39,920
Speaker 1: my gosh, I mean this movie has thanks all women

246
00:14:40,440 --> 00:14:44,920
Speaker 1: under thirty five are completely brain dead. I think it's

247
00:14:44,920 --> 00:14:47,360
Speaker 1: a fun fantasy. No, like I've I don't even I

248
00:14:47,360 --> 00:14:50,120
Speaker 1: don't hate it. But it really is a rule with

249
00:14:50,200 --> 00:14:55,760
Speaker 1: no exception. Yeah, and unless you're a lesbian lesbian, a

250
00:14:55,840 --> 00:15:00,760
Speaker 1: college educated lesbian is the exception to the rule. Always, always,

251
00:15:00,880 --> 00:15:05,600
Speaker 1: in every case. And then and his husband asks her

252
00:15:05,760 --> 00:15:08,200
Speaker 1: to dinner and she assumes that it's because he's decided

253
00:15:08,240 --> 00:15:11,920
Speaker 1: to recommit to their marriage, but actual kind of issues

254
00:15:12,000 --> 00:15:16,320
Speaker 1: and over that thing about me poisoning his food. That's okay,

255
00:15:16,640 --> 00:15:20,040
Speaker 1: she slipped that in there, and that was a weird

256
00:15:20,120 --> 00:15:23,400
Speaker 1: throw a joke. It's perfect. You're like, it's got to

257
00:15:23,480 --> 00:15:25,920
Speaker 1: come back, right, and that just doesn't well. She spends

258
00:15:26,000 --> 00:15:28,400
Speaker 1: the whole time just being like his commitment issues, you know,

259
00:15:28,600 --> 00:15:32,280
Speaker 1: his fear of of connection and you know, yeah, maybe

260
00:15:32,320 --> 00:15:34,760
Speaker 1: he got over those, but honey, the fear that you

261
00:15:34,840 --> 00:15:38,960
Speaker 1: were poisoning his food, he's not coming, He's not. That's

262
00:15:39,000 --> 00:15:41,480
Speaker 1: on the other side. Maybe he's a prequel to the

263
00:15:41,520 --> 00:15:45,840
Speaker 1: phantom thread, just sandom thread. Maybe that's he was into.

264
00:15:45,920 --> 00:15:51,320
Speaker 1: The doesn't the most brilliant advertising after it was actually dangerous,

265
00:15:52,080 --> 00:15:56,560
Speaker 1: it was sexy. She assumes we're going to get back together,

266
00:15:56,640 --> 00:15:59,480
Speaker 1: but instead he knows is that he wants a divorce.

267
00:15:59,680 --> 00:16:02,360
Speaker 1: And then Annie's therapist has sex with her, which is

268
00:16:02,400 --> 00:16:06,160
Speaker 1: the meanest thing anyone can take. The rope. Yeah, I'm

269
00:16:06,240 --> 00:16:08,000
Speaker 1: the hotel room. I'm sorry that's happy to you and

270
00:16:08,080 --> 00:16:10,560
Speaker 1: talking over that, but I did want to point out

271
00:16:10,600 --> 00:16:13,000
Speaker 1: that there's one room per robe, per hotel room, and

272
00:16:13,120 --> 00:16:17,440
Speaker 1: he's wearing it. Do your meanest thing someone can do

273
00:16:18,160 --> 00:16:20,920
Speaker 1: immediately before saying I've been cheating on you for three

274
00:16:21,000 --> 00:16:24,280
Speaker 1: months is have sex with you and then just be

275
00:16:24,360 --> 00:16:28,720
Speaker 1: like just one of one last taste and then like anyways,

276
00:16:29,120 --> 00:16:32,280
Speaker 1: I will him for eating you out as implied, but

277
00:16:32,320 --> 00:16:36,320
Speaker 1: I'm not happy about the circumstances birthday, Caitlin. Yeah, he

278
00:16:36,440 --> 00:16:38,920
Speaker 1: don't you at least that, but I still think. Yeah.

279
00:16:40,160 --> 00:16:43,200
Speaker 1: So she finds out that he's been cheating on her

280
00:16:43,320 --> 00:16:46,880
Speaker 1: with her therapist, Dr. Leslie Rosen played by Marcia gay

281
00:16:46,960 --> 00:16:50,320
Speaker 1: Harden because she walks in and it sounds like a

282
00:16:50,400 --> 00:16:57,280
Speaker 1: wondering podcast. The gals get together again and they're, you know,

283
00:16:57,480 --> 00:17:01,000
Speaker 1: all furious that their ex husbands have taken them for

284
00:17:01,080 --> 00:17:03,920
Speaker 1: granted and never appreciated all they did for them. So

285
00:17:04,520 --> 00:17:09,240
Speaker 1: the women form the First Wives Club, that's the name

286
00:17:09,280 --> 00:17:12,680
Speaker 1: of the movie. Here's where it gets wild. Did I

287
00:17:12,880 --> 00:17:16,000
Speaker 1: think going into this movie they would get office space?

288
00:17:16,640 --> 00:17:19,680
Speaker 1: Did I think that they would make an LLC for

289
00:17:19,800 --> 00:17:23,280
Speaker 1: the First Wives Club and a super clip party logo? Oh?

290
00:17:23,359 --> 00:17:27,480
Speaker 1: I loved the full door like Nickelodeon style logo they

291
00:17:28,800 --> 00:17:31,280
Speaker 1: there at the end. There was That was when I

292
00:17:31,359 --> 00:17:33,480
Speaker 1: was like, Wow, that's a huge office they've got. And

293
00:17:33,560 --> 00:17:37,520
Speaker 1: they hired in the Goldie Home just own. Yes, there

294
00:17:37,560 --> 00:17:40,400
Speaker 1: is the privilege. The youth of privilege of this movie

295
00:17:40,600 --> 00:17:43,479
Speaker 1: is wild. Uh. But then at the end, the husbands

296
00:17:43,520 --> 00:17:46,120
Speaker 1: are making out checks to the First Wives Club, which

297
00:17:46,160 --> 00:17:53,480
Speaker 1: means they've incorporated in some way, it's on their taxes. Wild, yes,

298
00:17:53,760 --> 00:17:56,879
Speaker 1: very wild. So they formed this club and they come

299
00:17:56,960 --> 00:18:00,479
Speaker 1: up with a plan to sabotage their ex husband's lives

300
00:18:00,680 --> 00:18:05,000
Speaker 1: and relationships. So that's their new full time job. I

301
00:18:05,280 --> 00:18:08,399
Speaker 1: love it and I love it. They're also just like

302
00:18:08,880 --> 00:18:12,119
Speaker 1: I feel like, it's rare to find a movie quite this,

303
00:18:12,480 --> 00:18:18,280
Speaker 1: like empoweringly petty. It's just like a full on fantasy, Like, yeah,

304
00:18:18,320 --> 00:18:21,560
Speaker 1: we all wish we had limitless money for our various

305
00:18:21,720 --> 00:18:27,440
Speaker 1: revenge projects. The money comes from the revenge. What a beautiful,

306
00:18:27,520 --> 00:18:31,320
Speaker 1: built in in real pinedom energy going on. I expect

307
00:18:31,359 --> 00:18:33,680
Speaker 1: for getting into it right, but oh yeah, we're getting

308
00:18:34,160 --> 00:18:36,359
Speaker 1: We're getting a Goldie's plan. I think Goldie plan is

309
00:18:36,400 --> 00:18:38,399
Speaker 1: my favorite plan. I love. I just love which. I

310
00:18:38,520 --> 00:18:42,040
Speaker 1: love it. I love it. So first they ask Annie's

311
00:18:42,119 --> 00:18:46,080
Speaker 1: daughter Chris, the sensible lesbian who's under three five, to

312
00:18:46,240 --> 00:18:50,360
Speaker 1: get information resumably hard to tell with the lesbian um,

313
00:18:50,640 --> 00:18:54,959
Speaker 1: to get information on Annie's ex husband Aaron, and then

314
00:18:55,000 --> 00:18:59,000
Speaker 1: at least starts repossessing and selling all the stuff that

315
00:18:59,160 --> 00:19:03,240
Speaker 1: she and her ex husband Bill Victor Garber acquired together

316
00:19:03,359 --> 00:19:06,840
Speaker 1: as a married couple, much to his dismay. And then

317
00:19:07,160 --> 00:19:10,960
Speaker 1: Brenda gets a tip that her ex husband, Morty, started

318
00:19:11,040 --> 00:19:15,159
Speaker 1: his business by selling stolen goods. So they've all got

319
00:19:15,240 --> 00:19:18,080
Speaker 1: these separate plans to seek revenge or as they keep

320
00:19:18,160 --> 00:19:21,480
Speaker 1: calling it, justice on their ex husbands, and they need

321
00:19:21,560 --> 00:19:25,119
Speaker 1: the stolen They need the books to prove that, uh,

322
00:19:25,359 --> 00:19:30,040
Speaker 1: you know, Morty is a crook. So they need a

323
00:19:30,080 --> 00:19:33,359
Speaker 1: way to get into his new condo or house or whatever.

324
00:19:33,800 --> 00:19:39,000
Speaker 1: So they orchestrate this like interior decorating Cohn to get

325
00:19:39,359 --> 00:19:43,520
Speaker 1: this high society lady Ganilla Goldberg played by Maggie Smith,

326
00:19:43,840 --> 00:19:51,320
Speaker 1: perfect to the fourth generation scammer. She's great. She's trying

327
00:19:51,359 --> 00:19:54,440
Speaker 1: to convince Sarah Jessica Parker's character to hire this guy

328
00:19:55,040 --> 00:19:59,639
Speaker 1: Duarto Felice. He was an interior decorator that Brenda works for.

329
00:20:00,160 --> 00:20:02,760
Speaker 1: They like do this whole heist thing, and they sneak

330
00:20:02,840 --> 00:20:05,879
Speaker 1: in to get the documents Hi Jinks and Soothe there's

331
00:20:05,920 --> 00:20:11,960
Speaker 1: like a scaffold. Oh my god. At two of my

332
00:20:12,040 --> 00:20:15,879
Speaker 1: favorite bits of physical comedy just period ever. First, and

333
00:20:16,040 --> 00:20:18,879
Speaker 1: definitely the more minor of the two is so the

334
00:20:18,960 --> 00:20:20,840
Speaker 1: office that they're trying to get the papers from its

335
00:20:20,920 --> 00:20:24,240
Speaker 1: upstairs which means that they've got to send a staircase

336
00:20:24,840 --> 00:20:28,040
Speaker 1: and safety first. They all reach for the banister, but

337
00:20:28,200 --> 00:20:31,520
Speaker 1: because it's an artecho home, the banister is not sturdily

338
00:20:32,320 --> 00:20:35,600
Speaker 1: affixed to the staircase itself. It's hanging from wire from

339
00:20:35,640 --> 00:20:39,040
Speaker 1: the ceiling, so it just goes everywhere, and you watch,

340
00:20:39,960 --> 00:20:42,960
Speaker 1: like collectively a hundred and twenty years almost just tumble

341
00:20:43,000 --> 00:20:47,120
Speaker 1: off the stairs. It is the best. It's all three

342
00:20:47,200 --> 00:20:51,240
Speaker 1: of them are so like perfectly cats, and they're both

343
00:20:51,400 --> 00:20:55,320
Speaker 1: they're all like really good with physical comedy. They're all screamers.

344
00:20:55,560 --> 00:20:58,879
Speaker 1: I just love it. We are also in this bit

345
00:20:58,920 --> 00:21:01,720
Speaker 1: of physical comedy that come right after the staircase is

346
00:21:01,800 --> 00:21:04,440
Speaker 1: preceded by the best Diane Keaton scream in the movie,

347
00:21:04,560 --> 00:21:06,399
Speaker 1: where she peeks over the edge of the building and

348
00:21:06,480 --> 00:21:09,320
Speaker 1: then responds with her entire body, like her whole body

349
00:21:09,400 --> 00:21:13,120
Speaker 1: makes nice like glasses flip off and then like come

350
00:21:13,160 --> 00:21:16,680
Speaker 1: back down, and then Cony hans like, I can do this.

351
00:21:16,800 --> 00:21:19,960
Speaker 1: I do all my own stunts. She's already over, she's

352
00:21:20,000 --> 00:21:25,200
Speaker 1: already in, no problem, and they have to get down

353
00:21:25,359 --> 00:21:27,840
Speaker 1: in the window washer thing, and every second of that.

354
00:21:30,720 --> 00:21:34,639
Speaker 1: So it's so good. It's everything you need to happen.

355
00:21:35,000 --> 00:21:38,280
Speaker 1: They fall right into the window of the people that

356
00:21:38,320 --> 00:21:41,040
Speaker 1: they're trying to run from. Morty and Shelley and Bronson

357
00:21:41,119 --> 00:21:43,520
Speaker 1: been shot. However, you say his name is just leading

358
00:21:43,520 --> 00:21:45,640
Speaker 1: them around the apartment, whipping them around so they don't

359
00:21:45,640 --> 00:21:47,920
Speaker 1: see them. And then in a floor below, of course,

360
00:21:47,960 --> 00:21:51,119
Speaker 1: a couple is trying to make sweet lovely to be interrupted.

361
00:21:52,160 --> 00:21:56,440
Speaker 1: The ladies huge fans. The call to at least you

362
00:21:56,560 --> 00:21:59,760
Speaker 1: look great is that? I mean, they established it because

363
00:22:00,000 --> 00:22:02,280
Speaker 1: he has fans. It at least gets told she looks great.

364
00:22:02,320 --> 00:22:05,280
Speaker 1: I mean, when Chris gets pulled in it's in a

365
00:22:05,359 --> 00:22:09,240
Speaker 1: lesbian bar. I'd love to put a put a button

366
00:22:09,280 --> 00:22:13,879
Speaker 1: in that. But yeah, man, them stopping in front of

367
00:22:13,920 --> 00:22:17,199
Speaker 1: the sex having couple was just terrific. You look great,

368
00:22:17,640 --> 00:22:20,360
Speaker 1: but I can't hear. I can't hear you look great.

369
00:22:20,760 --> 00:22:23,600
Speaker 1: And there the two of them to get the husband

370
00:22:23,640 --> 00:22:28,320
Speaker 1: and the wife so good. Oh my god, it's so fun.

371
00:22:28,840 --> 00:22:31,760
Speaker 1: But they have the documents they need now, so they

372
00:22:31,840 --> 00:22:34,359
Speaker 1: have Yeah, they had the document saying Diane Katon on

373
00:22:34,440 --> 00:22:38,639
Speaker 1: that old ass computer trying to hack where are the

374
00:22:38,760 --> 00:22:40,680
Speaker 1: tax improom? I was like, damn, can you don't know

375
00:22:40,720 --> 00:22:43,119
Speaker 1: how to use a computer. It also didn't look like

376
00:22:43,200 --> 00:22:45,840
Speaker 1: a burning It looked like something they built in paint,

377
00:22:45,920 --> 00:22:47,840
Speaker 1: and then just told her to click around in the

378
00:22:47,880 --> 00:22:52,720
Speaker 1: paint menu like real careful. Meanwhile, Chris and his daughter

379
00:22:53,040 --> 00:22:55,320
Speaker 1: is like, hey, mom, you should get back into the

380
00:22:55,400 --> 00:23:00,320
Speaker 1: advertising business. So to raise money to start it, nous

381
00:23:00,680 --> 00:23:04,880
Speaker 1: Elise sells Annie all the assets that she repossessed from

382
00:23:05,600 --> 00:23:09,560
Speaker 1: Victor Garber and her marriage, and then Annie sells them

383
00:23:09,600 --> 00:23:12,639
Speaker 1: at an auction, which Sarah Jessica Parker's character is at

384
00:23:13,240 --> 00:23:18,400
Speaker 1: buying everything, well, buying the wrong thing, because Professor McGonagall

385
00:23:18,600 --> 00:23:20,800
Speaker 1: is like, buy all the wrong things and spend all

386
00:23:20,800 --> 00:23:25,200
Speaker 1: your like she's she's being a stranger and Professor McGonagall

387
00:23:25,320 --> 00:23:27,200
Speaker 1: telling her what to do. On either side, I just

388
00:23:27,280 --> 00:23:30,040
Speaker 1: wrote I just wrote down Lacy's name during that because

389
00:23:30,040 --> 00:23:35,560
Speaker 1: I was like, she's a true scam goddess. Yes, connecting

390
00:23:35,640 --> 00:23:40,119
Speaker 1: the dots Galaxy brand style. So the wheels are in motion.

391
00:23:40,560 --> 00:23:45,240
Speaker 1: But Annie is trying to, like, you know, dig into

392
00:23:45,520 --> 00:23:50,000
Speaker 1: Elise's ex husband's Victor Garber's kind of deal and passed

393
00:23:50,040 --> 00:23:53,959
Speaker 1: but can't find anything bad on him, which upsets Elise,

394
00:23:54,040 --> 00:23:56,879
Speaker 1: and she's drunk and she's saying some nasty things and

395
00:23:57,160 --> 00:24:01,720
Speaker 1: Brenda fights back and shame things start to fall apart

396
00:24:02,000 --> 00:24:05,239
Speaker 1: in the First Wives Club, but then they realize, hey,

397
00:24:05,320 --> 00:24:08,000
Speaker 1: we shouldn't be fighting each other, we should be fighting

398
00:24:08,119 --> 00:24:13,200
Speaker 1: the patriarchy, so they refocus their anger back towards their

399
00:24:13,240 --> 00:24:18,480
Speaker 1: ex husband's and then Brenda extorts Morty, basically puts herself

400
00:24:18,520 --> 00:24:23,080
Speaker 1: in control of his like electronics business, saying like, I'm

401
00:24:23,080 --> 00:24:25,640
Speaker 1: going to take everything or I will wrat you out

402
00:24:25,680 --> 00:24:29,520
Speaker 1: for your criminal activity. And then Annie takes the money

403
00:24:29,600 --> 00:24:32,159
Speaker 1: that she earned from the auction and buys her ex

404
00:24:32,280 --> 00:24:36,280
Speaker 1: husband's advertising agency out from under him. Um and then

405
00:24:36,359 --> 00:24:39,680
Speaker 1: at Lice goes to Victor Garber, her ex husband, and says, hey,

406
00:24:40,000 --> 00:24:45,480
Speaker 1: that new girlfriend of yours, that actress lady, she is sixteen,

407
00:24:45,680 --> 00:24:49,440
Speaker 1: and he's like yeah, So then they're had to have

408
00:24:49,520 --> 00:24:53,120
Speaker 1: been a better beat there there. But my favorite part

409
00:24:53,160 --> 00:24:56,639
Speaker 1: of my favorite um like payoff of the three is

410
00:24:56,720 --> 00:25:00,520
Speaker 1: Bet Middler full on kidnapping her husband and he she says,

411
00:25:00,640 --> 00:25:03,639
Speaker 1: this is a kidnapping. He comes to he's in a

412
00:25:03,760 --> 00:25:07,080
Speaker 1: meat locker and he's confronted with his tax crimes, and

413
00:25:07,200 --> 00:25:10,240
Speaker 1: you're like, this is this is what I wanted, and

414
00:25:10,600 --> 00:25:13,080
Speaker 1: this is the revenge I was seeking I do also

415
00:25:13,160 --> 00:25:17,600
Speaker 1: love whenever Goldie Hahn is like, yeah, like your lawyer suggested,

416
00:25:18,160 --> 00:25:21,879
Speaker 1: we liquefied the assets. Here's your half, and it's a

417
00:25:21,960 --> 00:25:25,480
Speaker 1: fifty cents. She's sold all that stuff to Diane Keating's

418
00:25:25,560 --> 00:25:28,720
Speaker 1: character for a dollar. Oh, it's so good. Yeah, and

419
00:25:28,800 --> 00:25:34,120
Speaker 1: then it's just good. Okay. So they all have their

420
00:25:34,240 --> 00:25:38,040
Speaker 1: ex husbands meet them at their official office of the

421
00:25:38,080 --> 00:25:41,160
Speaker 1: First Wives Club and they're like, okay, we have you here,

422
00:25:41,200 --> 00:25:43,840
Speaker 1: and now you have to pay, and they make their

423
00:25:43,840 --> 00:25:48,119
Speaker 1: ex husbands fund a crisis center for women that they

424
00:25:48,240 --> 00:25:51,760
Speaker 1: name after their friend Cynthia. And then they throw a

425
00:25:51,840 --> 00:25:55,960
Speaker 1: big party, and the voiceover narration that Diane Keaton is

426
00:25:56,040 --> 00:26:00,119
Speaker 1: giving she's talking about how Brendan Morty they're probably going

427
00:26:00,160 --> 00:26:03,080
Speaker 1: to get back together, how at Lease is in a

428
00:26:03,200 --> 00:26:06,200
Speaker 1: new hit stage play. She's dating an actor in the play,

429
00:26:06,640 --> 00:26:09,879
Speaker 1: and that Aaron, her ex husband, was like, I'm ready

430
00:26:09,960 --> 00:26:12,840
Speaker 1: to get back together, and then she tells him to

431
00:26:12,960 --> 00:26:17,360
Speaker 1: drop dead. And then they after the party, they're all

432
00:26:17,440 --> 00:26:22,000
Speaker 1: wearing white business suits and then they start to sing

433
00:26:22,080 --> 00:26:26,240
Speaker 1: and dance, and then the dancing continues onto the street.

434
00:26:26,359 --> 00:26:31,919
Speaker 1: It's it is inspired. I honestly do cherish that scene

435
00:26:32,040 --> 00:26:34,879
Speaker 1: I never had context for like what that comes at

436
00:26:34,920 --> 00:26:37,159
Speaker 1: the end of and you're just like, oh, it just

437
00:26:37,280 --> 00:26:41,920
Speaker 1: fits perfect. We've got to take a quick break and

438
00:26:42,000 --> 00:26:50,000
Speaker 1: then we'll come right back. Let's discuss. Oh my gosh,

439
00:26:50,040 --> 00:26:52,679
Speaker 1: there's so much. I mean, I think a good jumping

440
00:26:52,720 --> 00:26:55,840
Speaker 1: off point is just to say, right off the bat,

441
00:26:56,520 --> 00:26:59,320
Speaker 1: uh that for all those movies and strengths, it is

442
00:26:59,440 --> 00:27:06,359
Speaker 1: about upper class. This is like the movie. Yes, it's

443
00:27:06,560 --> 00:27:09,520
Speaker 1: insane to the point where I'm I was curious about

444
00:27:09,560 --> 00:27:12,560
Speaker 1: like the historical context of this movie, and I didn't

445
00:27:12,560 --> 00:27:14,480
Speaker 1: do a deep dive on it. But this movie comes

446
00:27:14,520 --> 00:27:18,960
Speaker 1: out which is a big moment for Hillary Clinton, and

447
00:27:19,040 --> 00:27:20,560
Speaker 1: I feel like you can kind of feel it in

448
00:27:20,640 --> 00:27:24,680
Speaker 1: this movie. Uh. This is pre Monica Lewinsky that all

449
00:27:24,800 --> 00:27:29,920
Speaker 1: HiT's the fan, but I feel like the uh, there

450
00:27:30,040 --> 00:27:35,119
Speaker 1: there are some Hillary Clinton vibes I felt throughout this movie. Uh,

451
00:27:36,000 --> 00:27:38,680
Speaker 1: and not even in like a negative way, but like

452
00:27:38,800 --> 00:27:42,480
Speaker 1: you do feel that that like white feminist vibe through

453
00:27:42,520 --> 00:27:46,960
Speaker 1: this movie and also almost as like a predictor of

454
00:27:47,200 --> 00:27:50,280
Speaker 1: of where things go from there a deep hatred of

455
00:27:50,480 --> 00:27:54,199
Speaker 1: younger women permeate the movie. But just so, I mean,

456
00:27:54,560 --> 00:27:57,159
Speaker 1: right after bed, we recognize this is a movie that

457
00:27:57,280 --> 00:28:01,520
Speaker 1: comes from the most privileged place a woman come from. Indeed, yes,

458
00:28:01,720 --> 00:28:04,399
Speaker 1: if I had just seen this now, I couldn't connect

459
00:28:04,440 --> 00:28:07,000
Speaker 1: because I can't. I don't care about rich people or

460
00:28:07,040 --> 00:28:09,399
Speaker 1: any of their problems. So sorry, if you're rich and

461
00:28:09,480 --> 00:28:12,040
Speaker 1: you're listening, and there's a lot of media with great

462
00:28:12,040 --> 00:28:14,879
Speaker 1: performances and brilliant characters, and the stakes to me are

463
00:28:14,960 --> 00:28:19,040
Speaker 1: just also false because they're rich. And I think because

464
00:28:19,080 --> 00:28:22,359
Speaker 1: I saw this early on, it helped, so I had

465
00:28:22,400 --> 00:28:24,720
Speaker 1: a connection to it. I think actually, in a few ways,

466
00:28:24,840 --> 00:28:27,359
Speaker 1: this movie gave me an unrealistic picture of the world

467
00:28:27,440 --> 00:28:30,840
Speaker 1: because I just sort of accepted that, like, yeah, you know,

468
00:28:30,920 --> 00:28:32,640
Speaker 1: you'll have one rich friend. One of your friends will

469
00:28:32,640 --> 00:28:34,840
Speaker 1: Mary a banker. It's not weird to know someone famous,

470
00:28:35,000 --> 00:28:40,160
Speaker 1: and like, you know, you'll be fine. Brenda's character is

471
00:28:40,240 --> 00:28:42,560
Speaker 1: the one that you know, my family is the most

472
00:28:42,680 --> 00:28:46,560
Speaker 1: like an apartment. God, when goldiehun steps into Brenda's apartment

473
00:28:46,640 --> 00:28:49,840
Speaker 1: for the first time, so fucking good. I've never been

474
00:28:49,880 --> 00:28:55,680
Speaker 1: to your apartment. It's so real. I love the way,

475
00:28:55,760 --> 00:28:58,680
Speaker 1: in the condescending way that from rich people describe normal people,

476
00:28:58,920 --> 00:29:01,120
Speaker 1: but the way they sert like that's exactly what that

477
00:29:01,160 --> 00:29:03,800
Speaker 1: Brenda is there to wear bad skirts and like, you know,

478
00:29:03,920 --> 00:29:05,920
Speaker 1: the end is that her ex is still rich, so

479
00:29:06,040 --> 00:29:10,000
Speaker 1: she'll be fine. Yeah, And I think, you know, this

480
00:29:10,200 --> 00:29:14,240
Speaker 1: was a simpler, more complicated time where this was like

481
00:29:14,440 --> 00:29:18,800
Speaker 1: a bold picture for women. And I'm really glad that

482
00:29:19,000 --> 00:29:21,680
Speaker 1: it looks stated in the ways that it does right

483
00:29:21,680 --> 00:29:23,840
Speaker 1: because that just means that there's been progress, right, So

484
00:29:24,040 --> 00:29:26,720
Speaker 1: there there is, Like I'm I'm glad this movie exists.

485
00:29:26,720 --> 00:29:29,840
Speaker 1: I think it's definitely a step in the right direction

486
00:29:30,080 --> 00:29:33,200
Speaker 1: that you know, misfires in some ways, uh and plenty

487
00:29:33,200 --> 00:29:36,000
Speaker 1: of which we'll talk about, but like it is, this

488
00:29:36,280 --> 00:29:39,840
Speaker 1: was like a huge surprise of a hit of a movie,

489
00:29:39,960 --> 00:29:42,520
Speaker 1: which I think also just speaks to like how few

490
00:29:42,720 --> 00:29:47,000
Speaker 1: movies are made for women, specifically like older women. There's

491
00:29:47,000 --> 00:29:49,760
Speaker 1: a huge market for this ship. We've this had a

492
00:29:49,800 --> 00:29:53,640
Speaker 1: thirty million dollar budget and made back one million dollars.

493
00:29:53,720 --> 00:29:55,960
Speaker 1: It was a huge, huge, huge hit. And it's wild

494
00:29:56,040 --> 00:29:58,840
Speaker 1: that there's not First Wives Club to Second Wives Club,

495
00:29:59,160 --> 00:30:01,920
Speaker 1: but for something that grows so much and not get

496
00:30:02,080 --> 00:30:04,280
Speaker 1: pulled back. Although I think I just spoke a remake

497
00:30:04,320 --> 00:30:08,320
Speaker 1: into existence. My apologies, universe, let's all write it. Let's

498
00:30:08,360 --> 00:30:12,800
Speaker 1: get it right on it. I would push gently back

499
00:30:12,840 --> 00:30:15,560
Speaker 1: against the idea that this movie deeply hates younger women

500
00:30:16,240 --> 00:30:19,840
Speaker 1: because all of these stars were younger stars, like, these

501
00:30:19,880 --> 00:30:24,200
Speaker 1: aren't women who became famous at this is them reflecting back.

502
00:30:24,720 --> 00:30:26,640
Speaker 1: You know, some of them were famous as teens. Some

503
00:30:26,800 --> 00:30:28,440
Speaker 1: of them would have been that sixteen year old who

504
00:30:28,520 --> 00:30:30,960
Speaker 1: might have sued a director like not you know what,

505
00:30:31,320 --> 00:30:34,760
Speaker 1: you know what I'm saying, Uh yeah, I think it's

506
00:30:34,840 --> 00:30:37,720
Speaker 1: looking backwards. I think it's a commentary on how we

507
00:30:38,240 --> 00:30:41,400
Speaker 1: being the Hollywood or the media or people feel about

508
00:30:41,600 --> 00:30:45,720
Speaker 1: older women. That total it's a reflection back, because there's

509
00:30:45,760 --> 00:30:48,440
Speaker 1: no way to me that Goldie Hawn reflecting on being

510
00:30:48,480 --> 00:30:51,400
Speaker 1: an aging actress. I don't think she hates her younger

511
00:30:51,440 --> 00:30:53,680
Speaker 1: I don't think Bett hates her younger self. I do

512
00:30:53,880 --> 00:30:56,560
Speaker 1: think there's a weird empty target for just those like

513
00:30:57,120 --> 00:30:59,880
Speaker 1: the idea of young women who sleep with older married guy.

514
00:31:00,160 --> 00:31:03,040
Speaker 1: It's just sort of this amorphous blob in the movie

515
00:31:03,160 --> 00:31:06,040
Speaker 1: and they only take shape twice and they are both

516
00:31:06,160 --> 00:31:09,440
Speaker 1: total idiot ditzes. That's what That's what I'm more criticizing.

517
00:31:09,480 --> 00:31:11,760
Speaker 1: I don't think it has anything to do with the

518
00:31:12,360 --> 00:31:14,640
Speaker 1: actresses or anything like that, but the way that the

519
00:31:14,760 --> 00:31:19,040
Speaker 1: younger characters are written are to be vapid, absolutely stupid

520
00:31:19,160 --> 00:31:23,920
Speaker 1: and will fall for anything. Is Shelly stupid or is

521
00:31:24,000 --> 00:31:26,960
Speaker 1: she the smartest one in the More? She's definitely not

522
00:31:27,080 --> 00:31:29,800
Speaker 1: the smartest one in the movie. She's I think, smarter

523
00:31:29,880 --> 00:31:32,600
Speaker 1: than the most of the guys in the movie. She's

524
00:31:32,600 --> 00:31:35,120
Speaker 1: smarter than Victor Garber Is. She's smarter than most of

525
00:31:35,200 --> 00:31:38,000
Speaker 1: the ladies. I think she's got a number. I think

526
00:31:38,040 --> 00:31:40,720
Speaker 1: she's reading the world, and I mean she's taking a

527
00:31:40,800 --> 00:31:44,040
Speaker 1: cynical perspective from it. Her character is obviously in airhead.

528
00:31:44,080 --> 00:31:45,960
Speaker 1: She says duh and snaps her gump, but I think

529
00:31:46,000 --> 00:31:48,680
Speaker 1: in acts an act and she like the scene where

530
00:31:48,680 --> 00:31:51,000
Speaker 1: she and more Doy have a fight and she just

531
00:31:51,280 --> 00:31:53,600
Speaker 1: flips her hair, turns around and gets him to unzipped

532
00:31:53,840 --> 00:31:57,960
Speaker 1: her dress, is like, wow, your tool belt is full

533
00:31:58,400 --> 00:32:01,160
Speaker 1: and you know how to use how do you every tool?

534
00:32:01,640 --> 00:32:06,320
Speaker 1: And it I mean compliments. Sure, I mean Shelly is

535
00:32:06,320 --> 00:32:09,440
Speaker 1: a total idiot. Wait, no, Shelly's the Sarah Jessica Parker,

536
00:32:09,480 --> 00:32:13,400
Speaker 1: who's the Elizabeth. But let's face who was canonically sixteen,

537
00:32:13,480 --> 00:32:15,760
Speaker 1: So I guess we can't even really like I mean,

538
00:32:16,280 --> 00:32:19,800
Speaker 1: she was that a lie? I think that that was

539
00:32:19,920 --> 00:32:22,280
Speaker 1: like her birth certificate, but they were trying to make

540
00:32:22,360 --> 00:32:25,320
Speaker 1: something up on him, right, Oh, I don't know. I

541
00:32:25,400 --> 00:32:27,800
Speaker 1: feel like that when we watch I grew confused about

542
00:32:28,240 --> 00:32:32,080
Speaker 1: Okay yeah. Yeah. To me, it's more of a main

543
00:32:32,200 --> 00:32:37,600
Speaker 1: women were focusing on just resent that their former husbands

544
00:32:38,000 --> 00:32:42,360
Speaker 1: have all left them for younger women, because you know,

545
00:32:42,560 --> 00:32:46,800
Speaker 1: these are shitty men who value youth over anything else

546
00:32:46,840 --> 00:32:51,440
Speaker 1: than a woman. So I just understand it's the writing misfires,

547
00:32:51,720 --> 00:32:54,800
Speaker 1: and it's like kind of needlessly piling on other women

548
00:32:54,920 --> 00:32:59,280
Speaker 1: to make the character younger characters over the top materialistic

549
00:32:59,360 --> 00:33:01,600
Speaker 1: and stupid. It. I mean, in the nineties, sluts were

550
00:33:01,600 --> 00:33:04,520
Speaker 1: still sluts, right, I mean, which this movie makes very

551
00:33:04,560 --> 00:33:06,959
Speaker 1: There's a lot there would not have been an opportunity

552
00:33:07,040 --> 00:33:09,640
Speaker 1: in that time to like make those fully fledged characters

553
00:33:09,760 --> 00:33:12,440
Speaker 1: because they're man steelers and that's well yeah, and that's

554
00:33:12,440 --> 00:33:14,440
Speaker 1: like such a stock character where it's like I was

555
00:33:14,520 --> 00:33:17,400
Speaker 1: thinking back to like the new and also the new

556
00:33:17,520 --> 00:33:21,320
Speaker 1: wife is a stock character, like the younger woman that like,

557
00:33:21,440 --> 00:33:25,040
Speaker 1: I mean, I'm thinking marriage trap. Yeah, Meredith from the

558
00:33:25,080 --> 00:33:29,000
Speaker 1: Parent Trap is like peak villainous new wife that is

559
00:33:29,120 --> 00:33:32,000
Speaker 1: like trying to and it's It's like, I understand where

560
00:33:32,040 --> 00:33:42,360
Speaker 1: that sound of step more that you call them by

561
00:33:42,440 --> 00:33:50,080
Speaker 1: their whole first name caphones never came and there's never

562
00:33:50,320 --> 00:33:56,320
Speaker 1: any even though that nickname is longer. But yeah, I

563
00:33:56,320 --> 00:33:57,920
Speaker 1: mean there's a lot of things about this movie that

564
00:33:58,120 --> 00:34:01,800
Speaker 1: is like because this is a feminist text, but it

565
00:34:02,040 --> 00:34:07,520
Speaker 1: is like a very nineties feminism, a very white feminism text,

566
00:34:07,760 --> 00:34:10,640
Speaker 1: because you know, there's still a whole lot of body

567
00:34:10,760 --> 00:34:14,480
Speaker 1: shaming across the whole spectrum of like body shape and size,

568
00:34:14,800 --> 00:34:19,160
Speaker 1: mental health and suicide are not really addressed responsibly. I

569
00:34:19,160 --> 00:34:21,960
Speaker 1: would say there's there's quite a bit of slut shaming.

570
00:34:22,360 --> 00:34:25,120
Speaker 1: The only women in this movie who are people of color, well,

571
00:34:25,160 --> 00:34:27,480
Speaker 1: they're hardly I need to begin with. And if there are,

572
00:34:27,680 --> 00:34:31,080
Speaker 1: they are in either service roles or extras in the

573
00:34:31,120 --> 00:34:34,600
Speaker 1: background who don't get any lines or significance. I mean,

574
00:34:34,800 --> 00:34:40,320
Speaker 1: pretty much the gamut of uh nineties go to thoughtless

575
00:34:40,400 --> 00:34:45,480
Speaker 1: mistakes are definitely made. But one one moment, if we can,

576
00:34:45,600 --> 00:34:48,759
Speaker 1: I mean, you just named basically all of our talking points,

577
00:34:49,160 --> 00:34:54,080
Speaker 1: so I'm gonna choose one. The ways that bodies are

578
00:34:54,160 --> 00:34:56,239
Speaker 1: treated in this movie. I think that there's some good

579
00:34:56,280 --> 00:34:59,240
Speaker 1: moments and there's some some shitty moments. A good moment

580
00:34:59,320 --> 00:35:03,040
Speaker 1: I thought was towards the end when they have this blowout,

581
00:35:03,239 --> 00:35:07,800
Speaker 1: like ten minute long argument. It's like Bette Midler and

582
00:35:08,400 --> 00:35:12,200
Speaker 1: Goldi Hunter especially great in this scene, and Goldie Hunt

583
00:35:12,440 --> 00:35:16,440
Speaker 1: keeps on poking at Bette Midler about like not looking

584
00:35:16,560 --> 00:35:18,480
Speaker 1: the way that she wants her to look and having

585
00:35:18,719 --> 00:35:23,640
Speaker 1: like a body that isn't a size to like Hollywood body,

586
00:35:23,840 --> 00:35:27,520
Speaker 1: and Bette Midler snaps at her and gets really angry

587
00:35:27,600 --> 00:35:31,240
Speaker 1: and throws a golden globe, which and you don't usually

588
00:35:31,280 --> 00:35:34,520
Speaker 1: get to see, like the person who is being talked

589
00:35:34,719 --> 00:35:38,239
Speaker 1: down to by the quote unquote hottie get a chance

590
00:35:38,360 --> 00:35:41,480
Speaker 1: to respond and respond with anger, and like you get

591
00:35:41,600 --> 00:35:44,600
Speaker 1: that like cool Catharsis and like that. I thought, like

592
00:35:44,920 --> 00:35:47,239
Speaker 1: I didn't expect that to happen because they are like

593
00:35:47,760 --> 00:35:51,719
Speaker 1: subtly and unsubtly piling on to Bette Midler's appearance and

594
00:35:51,800 --> 00:35:54,680
Speaker 1: the way she's styled in all this throughout the movie.

595
00:35:54,880 --> 00:35:56,720
Speaker 1: And then but then she gets to throw a fucking

596
00:35:56,800 --> 00:35:59,600
Speaker 1: golden globe about it, and it's like leaving the funk alone.

597
00:36:00,239 --> 00:36:03,839
Speaker 1: And like I that I liked that that was cool.

598
00:36:04,040 --> 00:36:06,880
Speaker 1: That's either right before or right after a Lae says

599
00:36:07,000 --> 00:36:10,960
Speaker 1: to Brenda, what did you ever win a pie eating contest?

600
00:36:11,239 --> 00:36:18,279
Speaker 1: So it's yeah, no wonder Brenda. That's when you throw

601
00:36:18,360 --> 00:36:23,000
Speaker 1: a golden glove. And then then Goldie goes, that's old

602
00:36:23,560 --> 00:36:28,239
Speaker 1: Cloe and it hits a picture of Goldie home. It does,

603
00:36:28,480 --> 00:36:30,520
Speaker 1: and when Goldiehunk goes to clean it up, the picture

604
00:36:30,600 --> 00:36:32,480
Speaker 1: is like a portrait of her laying and smoking and

605
00:36:32,560 --> 00:36:34,880
Speaker 1: it's just Goldie hands standing there and get like the

606
00:36:35,000 --> 00:36:38,040
Speaker 1: same standing pose with cigarette. It's so good, literally, such

607
00:36:38,080 --> 00:36:40,600
Speaker 1: a perfect shot. One perfect shot. Twitter get right on

608
00:36:40,719 --> 00:36:44,400
Speaker 1: that because it is too good. It's it's I I like,

609
00:36:44,520 --> 00:36:47,080
Speaker 1: there were a lot of moments in that argument that

610
00:36:47,160 --> 00:36:49,200
Speaker 1: I thought were like really cool and cathartic and not

611
00:36:49,480 --> 00:36:52,400
Speaker 1: what you normally get to see. And also, in spite

612
00:36:52,440 --> 00:36:54,239
Speaker 1: of the fact that this movie is coming from a

613
00:36:54,680 --> 00:36:57,600
Speaker 1: big place of privilege, all these actresses are fifty and

614
00:36:57,719 --> 00:37:01,800
Speaker 1: over when this movie comes out, which is extremely irregular,

615
00:37:01,880 --> 00:37:04,120
Speaker 1: especially for a movie to be made like this and

616
00:37:04,400 --> 00:37:08,200
Speaker 1: also to be this successful. And granted, I mean, they

617
00:37:08,280 --> 00:37:11,280
Speaker 1: go to like some big names to make that happen,

618
00:37:11,719 --> 00:37:14,759
Speaker 1: but they're all over fifty and they're presented for the

619
00:37:14,880 --> 00:37:20,040
Speaker 1: most part as very sexually viable characters with agency, access

620
00:37:20,120 --> 00:37:23,120
Speaker 1: to grind, etcetera. And and that is cool. You don't

621
00:37:23,160 --> 00:37:25,879
Speaker 1: get that a lot. It is cool. I do think

622
00:37:25,960 --> 00:37:29,279
Speaker 1: also that the conversation about bodies in this movie can't

623
00:37:29,280 --> 00:37:31,040
Speaker 1: be pulled out of the context of the nineties in

624
00:37:31,120 --> 00:37:35,360
Speaker 1: which it lives. Oh the nineties, like the world positive

625
00:37:35,400 --> 00:37:41,200
Speaker 1: next time, like just the worst of the like bones

626
00:37:41,400 --> 00:37:46,080
Speaker 1: being super fashionable time where I mean Sarah just Jessica Parker.

627
00:37:46,920 --> 00:37:50,120
Speaker 1: It looks like it's just painful. It's funny. When Jason

628
00:37:50,200 --> 00:37:52,839
Speaker 1: Mowanna had his like Dad Bob picture get made fun

629
00:37:52,920 --> 00:37:55,800
Speaker 1: of recently and uh it was believe it was a

630
00:37:55,840 --> 00:37:57,920
Speaker 1: female director came to his defense and was just like,

631
00:37:58,760 --> 00:38:01,920
Speaker 1: actually having apps for a movie is like terribly unhealthy.

632
00:38:02,080 --> 00:38:05,280
Speaker 1: Like what it actually takes is this like deprivation diet

633
00:38:05,440 --> 00:38:08,879
Speaker 1: and it's not it's not good. And actors will ask

634
00:38:09,040 --> 00:38:11,680
Speaker 1: if they have to do abs and like they should

635
00:38:11,719 --> 00:38:14,400
Speaker 1: get paid more because it's horrible. And I feel like

636
00:38:14,520 --> 00:38:16,920
Speaker 1: there's a conversation that didn't happen about what women had

637
00:38:16,960 --> 00:38:19,959
Speaker 1: to do to be Sarah Jessica Parker in that movie,

638
00:38:20,360 --> 00:38:23,520
Speaker 1: Like it's why I like, I think shared Sarah Jessica

639
00:38:23,560 --> 00:38:26,120
Speaker 1: Parker is too smart to play a character that's stupid

640
00:38:26,239 --> 00:38:28,360
Speaker 1: without knowing the kind of stupid she was was a

641
00:38:28,440 --> 00:38:32,440
Speaker 1: little bit smart, Like there's a she's just not allowed

642
00:38:32,520 --> 00:38:35,080
Speaker 1: to be anything but a puff of air. And I

643
00:38:35,200 --> 00:38:38,200
Speaker 1: wonder what her first Wive Club movie would be if

644
00:38:38,280 --> 00:38:41,520
Speaker 1: you got to see her later. You know, because you're

645
00:38:41,520 --> 00:38:43,719
Speaker 1: trapped in whatever youth says you have to be in

646
00:38:43,840 --> 00:38:46,640
Speaker 1: some ways, like flashing back to the sixties and sixty nine,

647
00:38:46,680 --> 00:38:50,800
Speaker 1: graduating from college, you were away, and you know, Sarah

648
00:38:50,880 --> 00:38:53,840
Speaker 1: Jessica Parker's character and her herself, we're just trying to

649
00:38:53,960 --> 00:38:57,800
Speaker 1: be away in the fucking nineties. She's so small in

650
00:38:57,880 --> 00:39:01,920
Speaker 1: this movie, and it gets commented on because that Midler's characters,

651
00:39:01,960 --> 00:39:04,640
Speaker 1: so something like, oh, look at you. The bulimia has

652
00:39:04,680 --> 00:39:09,560
Speaker 1: certainly paid off. So she's body shaming her for her tininess.

653
00:39:09,760 --> 00:39:13,000
Speaker 1: And then Sara Jessica Parker comes right back with some

654
00:39:13,239 --> 00:39:17,360
Speaker 1: like fat shame in comments directed that Midler's characters. So

655
00:39:17,520 --> 00:39:21,920
Speaker 1: it's it's almost like women can't please anybody, including each other, too, right,

656
00:39:22,200 --> 00:39:25,840
Speaker 1: I think, I genuinely think if this movie got rebooted,

657
00:39:25,960 --> 00:39:28,279
Speaker 1: which I hope it doesn't please just pretty so uh,

658
00:39:28,400 --> 00:39:31,600
Speaker 1: an original story. But if this movie was updated, I

659
00:39:31,880 --> 00:39:35,040
Speaker 1: would be very surprised if the first wives and second

660
00:39:35,040 --> 00:39:37,240
Speaker 1: wives didn't end up speaking to each other and finding

661
00:39:37,280 --> 00:39:39,680
Speaker 1: common ground. And then I mean, it would be cooler

662
00:39:39,680 --> 00:39:41,440
Speaker 1: if the second wives were brought in on it and

663
00:39:41,680 --> 00:39:44,440
Speaker 1: they could just you know, be six deep when they

664
00:39:45,320 --> 00:39:47,600
Speaker 1: when they you know, spike on the on the guys,

665
00:39:47,800 --> 00:39:51,879
Speaker 1: because these guys get punished every way, but morally, that's

666
00:39:51,960 --> 00:39:55,200
Speaker 1: that's the other moment where it's like so so wide

667
00:39:55,280 --> 00:39:59,520
Speaker 1: privilege me that you're like, whoa, there's like the cretenza,

668
00:40:00,120 --> 00:40:03,399
Speaker 1: some really nice sculptures, Like there's an argument for I'm

669
00:40:03,440 --> 00:40:06,160
Speaker 1: pretty sure all three husbands to be or maybe not

670
00:40:06,440 --> 00:40:08,600
Speaker 1: maybe not Diane Keaton's husband, but at least two of

671
00:40:08,640 --> 00:40:11,800
Speaker 1: the husbands could be put in jail. But that is

672
00:40:12,000 --> 00:40:14,719
Speaker 1: not even really a reference. Says like, well, there's no

673
00:40:14,840 --> 00:40:18,920
Speaker 1: way that's going to happen. But one is a literal

674
00:40:19,120 --> 00:40:22,719
Speaker 1: child molester, like one is a child molester, one is

675
00:40:23,080 --> 00:40:26,960
Speaker 1: like has been like committing fraud and stealing, and they're like, well,

676
00:40:27,000 --> 00:40:28,840
Speaker 1: we're just gonna you're just gonna have to pay me

677
00:40:28,920 --> 00:40:30,480
Speaker 1: off for this. I mean, you're not going to go

678
00:40:30,600 --> 00:40:33,680
Speaker 1: to jail, you're a wealthy white business owner. But to

679
00:40:33,800 --> 00:40:36,080
Speaker 1: be fair, I think it is like wherever you are

680
00:40:36,239 --> 00:40:38,719
Speaker 1: if you don't send your paycheck to prison. Like the

681
00:40:38,880 --> 00:40:40,960
Speaker 1: funked up thing about the trajectory of this movie is

682
00:40:41,000 --> 00:40:43,040
Speaker 1: that these women's fate is still tied all to their

683
00:40:43,040 --> 00:40:46,320
Speaker 1: ex husband's. Uh and so Marty going to jail doesn't

684
00:40:46,360 --> 00:40:49,400
Speaker 1: help Morty going to jail doesn't help Bette Midler, right,

685
00:40:49,880 --> 00:40:55,120
Speaker 1: so yeah, she needs him around to write to her LLC.

686
00:40:55,520 --> 00:40:59,120
Speaker 1: The first Wives Club that blows my mind is now

687
00:40:59,160 --> 00:41:01,440
Speaker 1: I understand what you have to do to be have

688
00:41:01,560 --> 00:41:04,279
Speaker 1: a check filled out to like something that isn't your name. Yes,

689
00:41:04,440 --> 00:41:06,080
Speaker 1: it takes a lot of work. It had to have

690
00:41:06,200 --> 00:41:09,400
Speaker 1: gotten someone. Yeah, I mean, come on, they all have accounts,

691
00:41:09,400 --> 00:41:13,280
Speaker 1: They've got accountants. It's true. There's a movie Home Alone,

692
00:41:13,440 --> 00:41:15,920
Speaker 1: A shortlist of other movies made me think that you

693
00:41:16,080 --> 00:41:19,040
Speaker 1: live in big houses when you grow up, like you

694
00:41:19,160 --> 00:41:22,760
Speaker 1: just like have money, you just like have upper middle class.

695
00:41:24,160 --> 00:41:26,680
Speaker 1: There's all of the brat pack movie not yeah, the

696
00:41:26,719 --> 00:41:29,880
Speaker 1: brat pack movies, like you just have stuff, you know,

697
00:41:30,120 --> 00:41:32,080
Speaker 1: it's normal, and look at us now it's accurate. We

698
00:41:32,160 --> 00:41:35,759
Speaker 1: all have totally so many medio apartments and cars kind

699
00:41:35,840 --> 00:41:40,160
Speaker 1: of yeah, I don't have a car there there, yeah,

700
00:41:40,440 --> 00:41:43,120
Speaker 1: there is. I mean I feel like in this just place,

701
00:41:43,320 --> 00:41:46,360
Speaker 1: every like rom com or any genre adjacent is just

702
00:41:46,560 --> 00:41:51,120
Speaker 1: like at cheapest, like upper middle class. But these women

703
00:41:51,160 --> 00:41:54,280
Speaker 1: are low superpot I think they're they're like a Bette

704
00:41:54,280 --> 00:41:57,239
Speaker 1: Middler's poor. But then you're like, no, she's not. They're

705
00:41:57,280 --> 00:41:59,680
Speaker 1: all living in New York and she has like ah,

706
00:42:00,160 --> 00:42:03,480
Speaker 1: like it's everyone's fine. She has money to pay for

707
00:42:03,560 --> 00:42:06,480
Speaker 1: her the band that he wanted at her son's bar,

708
00:42:06,640 --> 00:42:10,280
Speaker 1: Miss Fun. That was the only thing Morty was willing

709
00:42:10,320 --> 00:42:14,960
Speaker 1: to pay for that. Yeah, a little guilt boy, that

710
00:42:15,120 --> 00:42:18,400
Speaker 1: Sun character did. I put a lot of myself in

711
00:42:18,680 --> 00:42:25,239
Speaker 1: him upon first viewing. Gosh, it is hard. The whole

712
00:42:25,239 --> 00:42:27,000
Speaker 1: scene where it's like you two won't even talk to

713
00:42:27,120 --> 00:42:29,880
Speaker 1: each other like been there, buddy, like just so like

714
00:42:30,400 --> 00:42:32,200
Speaker 1: and at the end it is it is a cruelty.

715
00:42:32,800 --> 00:42:35,399
Speaker 1: The last scene in that movie should be edited out

716
00:42:35,520 --> 00:42:39,480
Speaker 1: for children of divorce. If you are like the Morty

717
00:42:39,680 --> 00:42:42,800
Speaker 1: and they get back together dancing and their son is

718
00:42:42,880 --> 00:42:45,960
Speaker 1: like watching from across the dance floor. That is so

719
00:42:46,400 --> 00:42:48,840
Speaker 1: fucked up. Just like sitting next to my mom in

720
00:42:48,920 --> 00:42:54,040
Speaker 1: the theater, just like, ain't gonna happen, kid there, and

721
00:42:54,160 --> 00:42:56,040
Speaker 1: my mom doesn't sound like that she's the best there.

722
00:42:56,200 --> 00:42:59,480
Speaker 1: I mean, I'm on board. Yeah. And to continue the

723
00:43:00,040 --> 00:43:04,880
Speaker 1: body shaming talk, the other uh major besides kind of

724
00:43:05,040 --> 00:43:08,239
Speaker 1: the body shaming it takes place towards Bett Midler is

725
00:43:08,440 --> 00:43:11,640
Speaker 1: the body shaming it takes place towards Goldie Han, where

726
00:43:11,680 --> 00:43:14,280
Speaker 1: again I feel like we get a very nineties treatment

727
00:43:14,560 --> 00:43:18,719
Speaker 1: of like attitude towards plastic surgery, where Goldie Han's character

728
00:43:18,840 --> 00:43:20,799
Speaker 1: for the most part is like fuck you, I'm doing

729
00:43:20,880 --> 00:43:22,600
Speaker 1: you know, it takes takes the I think the even

730
00:43:22,680 --> 00:43:25,319
Speaker 1: referenced Share because Share was like one of the only

731
00:43:25,440 --> 00:43:28,360
Speaker 1: people who would admit to having plastic surgery and was

732
00:43:28,440 --> 00:43:30,520
Speaker 1: like really into it and teld people to funk off

733
00:43:30,960 --> 00:43:35,320
Speaker 1: Shares the best um. But Goldie Hans character is like

734
00:43:35,600 --> 00:43:38,360
Speaker 1: she'll be dodgy about it and then she'll be like, Okay,

735
00:43:38,440 --> 00:43:40,319
Speaker 1: so yes, I've had work done in blah blah blah,

736
00:43:40,320 --> 00:43:42,919
Speaker 1: it's for my job blah blah blah because and you can't.

737
00:43:42,960 --> 00:43:46,560
Speaker 1: I mean, it's it's like, especially for where her character's

738
00:43:46,719 --> 00:43:49,719
Speaker 1: arc is, she is trying to remain relevant in a

739
00:43:50,000 --> 00:43:53,480
Speaker 1: in a business that it kills older women. Uh, and

740
00:43:53,880 --> 00:43:57,640
Speaker 1: so it makes sense and uh. Diane Keaton's character is like, oh,

741
00:43:57,880 --> 00:44:01,400
Speaker 1: I don't know, you're getting stitched up in fun. You know,

742
00:44:01,480 --> 00:44:06,080
Speaker 1: it's treated as very a key or like taboo or

743
00:44:06,239 --> 00:44:08,359
Speaker 1: just like the way it's treated. And then her doctor

744
00:44:08,520 --> 00:44:11,239
Speaker 1: is like, if I put any more collagen in your lips,

745
00:44:11,280 --> 00:44:13,120
Speaker 1: you'll look like you like put your mouth on the

746
00:44:13,440 --> 00:44:17,920
Speaker 1: pool drain. But really, I mean there are some body

747
00:44:18,000 --> 00:44:21,440
Speaker 1: horror elements introduced with the plastic surgery. I don't really

748
00:44:21,440 --> 00:44:23,040
Speaker 1: mind it when the doctor says it, because that's his

749
00:44:23,160 --> 00:44:28,239
Speaker 1: job to advise on plastic surgery. But but the the

750
00:44:28,360 --> 00:44:31,160
Speaker 1: way that the other first Wives treated, at least at

751
00:44:31,239 --> 00:44:34,759
Speaker 1: first is like is literally I mean again, product of

752
00:44:34,800 --> 00:44:36,719
Speaker 1: its time. That's how my mom would have talked about

753
00:44:36,760 --> 00:44:39,040
Speaker 1: plastic surgery. That's exactly it. It's why I think that

754
00:44:39,160 --> 00:44:43,520
Speaker 1: movie is self aware, Like it's having a conversation we

755
00:44:43,719 --> 00:44:46,760
Speaker 1: have about plastic surgery, but it's having with the people

756
00:44:46,960 --> 00:44:49,720
Speaker 1: who are experiencing it. We're not standing in the grocery

757
00:44:49,760 --> 00:44:52,160
Speaker 1: store looking at a magazine and being like tisk tisk.

758
00:44:52,680 --> 00:44:54,640
Speaker 1: We get that scene, but then we get the pushback

759
00:44:54,760 --> 00:44:56,960
Speaker 1: the follow through. GOLDI Han gets to talk to you.

760
00:44:57,080 --> 00:44:59,440
Speaker 1: She's not on the magazine cover. She's at the table,

761
00:44:59,520 --> 00:45:01,759
Speaker 1: and she gets to tell you that she did this

762
00:45:02,320 --> 00:45:05,480
Speaker 1: not because of your tisskiss at the grocery pile, but

763
00:45:05,520 --> 00:45:07,719
Speaker 1: because you won't look at the magazine cover unless she

764
00:45:07,880 --> 00:45:10,759
Speaker 1: does this, she says, and that middlers saying, you call

765
00:45:10,920 --> 00:45:13,440
Speaker 1: me fat, but you ask for the whole world to

766
00:45:13,600 --> 00:45:17,719
Speaker 1: be this crazy skinny. Like both of those are reflections

767
00:45:17,760 --> 00:45:20,319
Speaker 1: of conversations we have and I see I saw it then,

768
00:45:20,600 --> 00:45:23,440
Speaker 1: like none of it feels punching down to me, aside

769
00:45:23,440 --> 00:45:26,919
Speaker 1: from the privileged whitness. I felt differently about the body

770
00:45:27,000 --> 00:45:30,440
Speaker 1: shaming parts because I feel like all of these actresses

771
00:45:31,120 --> 00:45:34,000
Speaker 1: are under the lens and have been for so long

772
00:45:34,239 --> 00:45:37,480
Speaker 1: that it's active commentary across the board. I mean, I

773
00:45:37,560 --> 00:45:40,640
Speaker 1: think the dudes do a really good job of letting

774
00:45:40,680 --> 00:45:43,960
Speaker 1: the ladies have this movie. They're kind of just vessels,

775
00:45:44,120 --> 00:45:46,399
Speaker 1: but every lady is sort of a comment on how

776
00:45:46,520 --> 00:45:49,399
Speaker 1: Hollywood treats women, down to the women of color who

777
00:45:49,440 --> 00:45:52,000
Speaker 1: are only in service roles. I think there's a self

778
00:45:52,040 --> 00:45:59,719
Speaker 1: awareness in this film that's like there are anything credit

779
00:45:59,800 --> 00:46:02,200
Speaker 1: for But I see what you're saying. But I do

780
00:46:02,360 --> 00:46:05,480
Speaker 1: think the movie is aware of that, Like in nine

781
00:46:06,280 --> 00:46:09,040
Speaker 1: they weren't going to make this movie without four white

782
00:46:09,080 --> 00:46:12,239
Speaker 1: women who were married to white men. So and they

783
00:46:12,280 --> 00:46:15,920
Speaker 1: weren't gonna make it without a beautiful star in Goldie

784
00:46:16,000 --> 00:46:18,239
Speaker 1: Hans part. And they weren't going to make it without

785
00:46:18,239 --> 00:46:22,040
Speaker 1: a huge name in Bette Midler's part. Like the same

786
00:46:22,280 --> 00:46:25,880
Speaker 1: constraints that the movie talks about are applied to the movie.

787
00:46:26,440 --> 00:46:29,680
Speaker 1: Like I mean, like Goldie Hans line where she's like,

788
00:46:29,760 --> 00:46:32,800
Speaker 1: there are only three ages for women in Hollywood, Babe

789
00:46:32,960 --> 00:46:37,080
Speaker 1: district attorney and driving misstays, yes, that's great. Yeah, and

790
00:46:37,200 --> 00:46:41,000
Speaker 1: she's right, and she's right, and those rules still applied today. Yeah,

791
00:46:41,160 --> 00:46:43,080
Speaker 1: the movie I think did the best it's could to

792
00:46:43,160 --> 00:46:46,600
Speaker 1: flip over conventions. Asking it to do all of them

793
00:46:46,880 --> 00:46:49,560
Speaker 1: is a lot in nine six, but maybe we can

794
00:46:49,640 --> 00:46:52,680
Speaker 1: observe like what it did try to comment not we

795
00:46:52,960 --> 00:46:55,759
Speaker 1: but like watching it again, I did feel like some

796
00:46:55,960 --> 00:46:58,080
Speaker 1: of it is commentary and some of it is oversight.

797
00:46:58,560 --> 00:47:01,160
Speaker 1: I think you're right they could have actors of color.

798
00:47:01,280 --> 00:47:04,799
Speaker 1: I think they casted really white. I think I mean

799
00:47:04,880 --> 00:47:06,480
Speaker 1: it's like, and we're not coming from a place of

800
00:47:06,560 --> 00:47:08,239
Speaker 1: like this is wrong, this is wrong, this is wrong.

801
00:47:08,360 --> 00:47:11,160
Speaker 1: It's it's more of I think we're coming from a

802
00:47:11,200 --> 00:47:13,919
Speaker 1: place of like this is present, is a commented upon

803
00:47:14,120 --> 00:47:16,080
Speaker 1: or not? And I think with the body shaming, some

804
00:47:16,239 --> 00:47:18,439
Speaker 1: of it is commented upon and some of it isn't.

805
00:47:18,560 --> 00:47:20,560
Speaker 1: And it's for jokes. It's cheap. There's a lot of

806
00:47:20,640 --> 00:47:22,919
Speaker 1: cheap jokes, and some of them are stronger than others,

807
00:47:23,080 --> 00:47:25,680
Speaker 1: but the ones that are less strong certainly don't carry

808
00:47:25,800 --> 00:47:28,560
Speaker 1: the whole social commentary angle that I feel is present

809
00:47:28,760 --> 00:47:30,759
Speaker 1: some of it, Like right, I mean, I think that

810
00:47:30,840 --> 00:47:33,719
Speaker 1: the Bette Miller stuff is great because there is a

811
00:47:33,760 --> 00:47:35,920
Speaker 1: payoff and she gets to respond and the same the

812
00:47:36,000 --> 00:47:38,200
Speaker 1: same thing, like you're saying, for the way that people

813
00:47:38,239 --> 00:47:41,360
Speaker 1: are kind of snipping at Goldie Han for being plastic

814
00:47:41,400 --> 00:47:42,800
Speaker 1: and having a lot of work done, and like she

815
00:47:42,960 --> 00:47:47,000
Speaker 1: gets the opportunity to respond and and just like explain

816
00:47:47,080 --> 00:47:49,200
Speaker 1: and we understand where she's coming from. And then there's

817
00:47:49,200 --> 00:47:51,560
Speaker 1: a few examples where I feel like that it excuse

818
00:47:51,680 --> 00:47:54,880
Speaker 1: cheap and it doesn't happen for sure. Yeah, I agree,

819
00:47:55,200 --> 00:47:57,160
Speaker 1: Let's take another quick break and then we'll come right

820
00:47:57,200 --> 00:48:06,239
Speaker 1: back for more discussion. And we're back what next. One

821
00:48:06,280 --> 00:48:09,279
Speaker 1: thing that I thought was also like something that I

822
00:48:09,400 --> 00:48:13,080
Speaker 1: hadn't really heard discussed in a movie before. Was like

823
00:48:13,239 --> 00:48:15,840
Speaker 1: one of the commonalities of all four of these women

824
00:48:15,960 --> 00:48:20,239
Speaker 1: and including Cynthia, is that their husbands became so successful

825
00:48:20,320 --> 00:48:24,160
Speaker 1: because of the support or some other driving force of

826
00:48:24,280 --> 00:48:26,640
Speaker 1: their wives. I think that is not something that ever

827
00:48:26,800 --> 00:48:30,520
Speaker 1: really gets discussed and probably like one of the big

828
00:48:30,680 --> 00:48:34,000
Speaker 1: strengths of this movie, where like it's uh stated that

829
00:48:34,120 --> 00:48:39,040
Speaker 1: Cynthia's husband became this big successful guy because of her connections.

830
00:48:39,800 --> 00:48:43,799
Speaker 1: Uh Annie was the one taking care of their daughter

831
00:48:43,880 --> 00:48:47,000
Speaker 1: and taking care of everything at home and super providing

832
00:48:47,080 --> 00:48:50,719
Speaker 1: for her husband while he was building his ad agency.

833
00:48:51,000 --> 00:48:54,080
Speaker 1: Brenda was working the counter at Morty's stores and doing

834
00:48:54,120 --> 00:48:57,080
Speaker 1: all the on the ground stuff. And Alice was the

835
00:48:57,200 --> 00:49:01,360
Speaker 1: one who was originally gave her like a screen partner

836
00:49:01,480 --> 00:49:04,520
Speaker 1: and and in all of his opportunities in Hollywood, and

837
00:49:04,600 --> 00:49:07,279
Speaker 1: then he immediately became a dickhead and ditch. And she's like,

838
00:49:07,320 --> 00:49:10,279
Speaker 1: I taught you everything you know about films. That's so cool.

839
00:49:10,440 --> 00:49:13,520
Speaker 1: I I like, I love that they get the chance

840
00:49:13,640 --> 00:49:17,080
Speaker 1: to like air their grievances about it because it's like, yeah,

841
00:49:17,160 --> 00:49:20,040
Speaker 1: that's fucking horrible, and it happens all the time, all

842
00:49:20,120 --> 00:49:22,800
Speaker 1: the time. Yeah, And it's and it's the movie we

843
00:49:22,920 --> 00:49:26,120
Speaker 1: don't it's the characters we don't make movies about. Every

844
00:49:26,160 --> 00:49:28,680
Speaker 1: movie is about a dude who did an amazing thing.

845
00:49:28,920 --> 00:49:31,160
Speaker 1: And there's like a wife character way in the back.

846
00:49:31,600 --> 00:49:35,920
Speaker 1: She's ever supportive or annoying exactly. And this is you know,

847
00:49:36,080 --> 00:49:38,840
Speaker 1: pulling those wives, those characters out of other films and

848
00:49:38,920 --> 00:49:42,480
Speaker 1: throwing them all together, which I love. Yeah, like form

849
00:49:42,560 --> 00:49:46,120
Speaker 1: a club they do. There's such a dark, sad streak

850
00:49:46,360 --> 00:49:51,200
Speaker 1: in the bet Midler storyline about her uncle. Carmine is

851
00:49:51,320 --> 00:49:54,920
Speaker 1: this Italian dude with connections, things that fall off the

852
00:49:54,960 --> 00:49:58,880
Speaker 1: back of trucks, access to meat lockers and such, and he,

853
00:49:59,560 --> 00:50:02,920
Speaker 1: along with Brenda's father, organized stuff to fall off trucks

854
00:50:03,000 --> 00:50:05,960
Speaker 1: for Morty's first stores so that they could get their start.

855
00:50:06,520 --> 00:50:08,480
Speaker 1: And then Carmine is so mad at Morty. You know,

856
00:50:08,560 --> 00:50:10,560
Speaker 1: what a shame. He's a dog. He treats you this way,

857
00:50:10,640 --> 00:50:13,160
Speaker 1: What a shame, and then just tells her to look

858
00:50:13,200 --> 00:50:17,120
Speaker 1: at the books and goes away. Carmine has been there

859
00:50:17,160 --> 00:50:20,040
Speaker 1: the whole time she's been broke. Carmine would invest in

860
00:50:20,120 --> 00:50:24,040
Speaker 1: a husband. Carmine won't invest in her. I didn't even think.

861
00:50:24,120 --> 00:50:27,040
Speaker 1: And they don't even get It's not like Morty goes

862
00:50:27,160 --> 00:50:29,319
Speaker 1: and carmines like I got you, babe, don't even worry

863
00:50:29,360 --> 00:50:32,640
Speaker 1: about it. Your boy's taken care of, no problem. It's

864
00:50:32,680 --> 00:50:34,840
Speaker 1: that they have to get Morty and it's still Morty

865
00:50:34,880 --> 00:50:37,400
Speaker 1: gets the money Morety gives the money right, And that

866
00:50:38,320 --> 00:50:43,680
Speaker 1: crazy how Carmine isn't a feminist icon was looking out for,

867
00:50:45,200 --> 00:50:50,600
Speaker 1: but a fun character actor so good. I also love

868
00:50:50,800 --> 00:50:52,680
Speaker 1: that we We've talked about it a little bit, but

869
00:50:52,760 --> 00:50:57,440
Speaker 1: I love that big argument scene between everyone. Um, it's

870
00:50:57,480 --> 00:50:59,600
Speaker 1: like you get you get to see so many I

871
00:50:59,680 --> 00:51:02,520
Speaker 1: feel we are kind of in a phase of like

872
00:51:02,719 --> 00:51:05,800
Speaker 1: things are all generally moving in a good direction. I

873
00:51:05,840 --> 00:51:07,440
Speaker 1: feel like we are kind of stuck in this like

874
00:51:07,920 --> 00:51:10,600
Speaker 1: film moment where there's a lot of merry sewish friendships

875
00:51:10,680 --> 00:51:14,080
Speaker 1: and like I support you no matter what. Awesome and

876
00:51:14,239 --> 00:51:17,800
Speaker 1: and here we get a lot of conflict and like

877
00:51:18,760 --> 00:51:21,080
Speaker 1: they disagree with each other a lot in this huge

878
00:51:21,280 --> 00:51:24,719
Speaker 1: argument where it makes sense that they would have grievances

879
00:51:24,800 --> 00:51:27,719
Speaker 1: to air with each other after like twenty years of

880
00:51:27,800 --> 00:51:30,040
Speaker 1: not seeing each other, and then this traumatic thing happens

881
00:51:30,040 --> 00:51:32,680
Speaker 1: to everyone and then they start a weird small business

882
00:51:33,040 --> 00:51:34,680
Speaker 1: and like, of course they're going to have to go

883
00:51:34,840 --> 00:51:37,799
Speaker 1: back to sixty nine and like, you know, yell it out,

884
00:51:38,000 --> 00:51:42,160
Speaker 1: and it's it's really cool to see them like calling

885
00:51:42,200 --> 00:51:45,080
Speaker 1: each other out for all this different ship. And and

886
00:51:45,239 --> 00:51:50,640
Speaker 1: then also and then follow that by Sad Montage, Yes,

887
00:51:50,840 --> 00:51:53,600
Speaker 1: maybe it was going to happen to our weird small business.

888
00:51:54,520 --> 00:51:59,640
Speaker 1: And then I love to forgiving a catastrophizing everything's off,

889
00:52:00,200 --> 00:52:03,800
Speaker 1: the world is over everything. Yeah, she's falling apart, and

890
00:52:03,840 --> 00:52:06,279
Speaker 1: then she calls her mom, which makes for like a

891
00:52:06,360 --> 00:52:09,120
Speaker 1: really great arc with her and her mom where she's

892
00:52:09,160 --> 00:52:11,680
Speaker 1: like things were bad and then you called me. Her

893
00:52:11,719 --> 00:52:15,160
Speaker 1: mom was like really touched because previously, like Dan King

894
00:52:15,360 --> 00:52:20,040
Speaker 1: was like my therapist said, you're controlling and she is.

895
00:52:20,280 --> 00:52:24,560
Speaker 1: She is, Yeah, she super is and on such nice stationary.

896
00:52:26,640 --> 00:52:29,080
Speaker 1: Her mom character is great. But yeah, I really liked

897
00:52:29,160 --> 00:52:31,480
Speaker 1: that arc. And then going back to that argument scene.

898
00:52:32,000 --> 00:52:36,280
Speaker 1: I love to see women's rage expressed in a movie

899
00:52:36,400 --> 00:52:40,120
Speaker 1: because women aren't allowed to be angry. According to Society

900
00:52:40,640 --> 00:52:44,560
Speaker 1: read friend of the show past guest Saya Shamali's book

901
00:52:45,040 --> 00:52:48,200
Speaker 1: Rage Becomes Her about this very topic. But yeah, I

902
00:52:48,280 --> 00:52:51,759
Speaker 1: just I love I love women's rage. I think it's hurt,

903
00:52:52,200 --> 00:52:54,279
Speaker 1: like they listen to each other. They're angry, and they

904
00:52:54,360 --> 00:52:56,920
Speaker 1: have to take distance, halt hungry, angry, lonely, tire, and

905
00:52:57,000 --> 00:52:58,839
Speaker 1: don't make a decision or start a fight if you're

906
00:52:58,880 --> 00:53:01,120
Speaker 1: any one of those four things. But they have their fight,

907
00:53:01,200 --> 00:53:04,080
Speaker 1: they step away. And then it's Diane Keaton that takes

908
00:53:04,120 --> 00:53:07,839
Speaker 1: convincing because her neuroses pushes her to think that everything's over.

909
00:53:08,040 --> 00:53:10,520
Speaker 1: But the two women who were the maddest, who actually

910
00:53:10,600 --> 00:53:13,440
Speaker 1: expressed their anger, resolved the conflict and then brought it

911
00:53:13,480 --> 00:53:16,320
Speaker 1: back around a dian in this way that works, and

912
00:53:16,400 --> 00:53:19,719
Speaker 1: Goldiehon getting sober is a little easily handled. She looks

913
00:53:19,760 --> 00:53:22,200
Speaker 1: at a large bottle and she's like, it was like

914
00:53:22,280 --> 00:53:25,120
Speaker 1: the bottom of like Carlo Rossi wine, which is what

915
00:53:25,360 --> 00:53:31,800
Speaker 1: you look at sobers, the fully empty gallon of Carlo Rossi.

916
00:53:32,080 --> 00:53:35,000
Speaker 1: That's the dark moment, but it is that should never

917
00:53:35,040 --> 00:53:36,480
Speaker 1: be empty. You should buy it and it should live

918
00:53:36,520 --> 00:53:38,320
Speaker 1: in your house. After your drink two glasses of it

919
00:53:38,440 --> 00:53:40,600
Speaker 1: and be like, no, I'm not doing this to myself.

920
00:53:41,239 --> 00:53:44,320
Speaker 1: But yeah, she just does get sober. She vacuums with

921
00:53:44,400 --> 00:53:46,360
Speaker 1: a hangover one time and it's like, you know what,

922
00:53:46,800 --> 00:53:49,440
Speaker 1: I'm putting it down too much. Yeah, they do glaze

923
00:53:49,480 --> 00:53:53,319
Speaker 1: over that. But as far as like as realistic as

924
00:53:53,520 --> 00:53:55,200
Speaker 1: a movie of the genre is ever going to get,

925
00:53:55,280 --> 00:53:58,480
Speaker 1: for like showing like a group of friends being mad

926
00:53:58,520 --> 00:54:01,319
Speaker 1: at each other, seeing like we never get to see

927
00:54:01,400 --> 00:54:04,400
Speaker 1: like what friend breakups are like because there's still no

928
00:54:04,560 --> 00:54:08,200
Speaker 1: societal rules for them other than just ghost in people.

929
00:54:09,000 --> 00:54:11,480
Speaker 1: And and then yeah, like seeing it come back together

930
00:54:11,560 --> 00:54:14,040
Speaker 1: and they takes some time and it's nice and you're like, oh,

931
00:54:14,200 --> 00:54:17,440
Speaker 1: this is so I liked it. It seems like all

932
00:54:17,560 --> 00:54:20,439
Speaker 1: the tension that it existed between them since the first

933
00:54:20,520 --> 00:54:26,759
Speaker 1: scene was aired out and resolved and felt healthy, it

934
00:54:27,320 --> 00:54:30,359
Speaker 1: does do the thing where like that's exactly the time

935
00:54:30,480 --> 00:54:32,560
Speaker 1: in a movie structure. Correct me if I'm wrong. I

936
00:54:32,560 --> 00:54:35,439
Speaker 1: don't know if anybody here's studied screenwriting, but if anybody has,

937
00:54:36,080 --> 00:54:40,360
Speaker 1: um it doesn't ring about But it's it's all too rosy.

938
00:54:40,640 --> 00:54:43,680
Speaker 1: And you've already seen seeds planted weed, seeds planted in

939
00:54:43,719 --> 00:54:45,319
Speaker 1: the garden that are going to have to get pulled out,

940
00:54:46,000 --> 00:54:48,719
Speaker 1: and it's satisfying to watch them grow because you see

941
00:54:48,760 --> 00:54:51,120
Speaker 1: it right from the beginning. And they get in a

942
00:54:51,200 --> 00:54:53,000
Speaker 1: fight right at the end of act too, and then

943
00:54:53,040 --> 00:54:56,080
Speaker 1: they do and it's perfect because it just this movie

944
00:54:56,120 --> 00:54:58,520
Speaker 1: is just a bunch of pretty little bows. Everything ties

945
00:54:58,600 --> 00:55:01,880
Speaker 1: up real nice. It happens, you know, it's great. I

946
00:55:01,960 --> 00:55:05,000
Speaker 1: think that scene pays off really really well. I really yeah,

947
00:55:05,160 --> 00:55:07,239
Speaker 1: that was like one of my favorite It's in the

948
00:55:07,320 --> 00:55:10,200
Speaker 1: performances to not just the lines. The tension is really

949
00:55:10,200 --> 00:55:12,040
Speaker 1: there between them until they blow it all up, and

950
00:55:12,080 --> 00:55:15,160
Speaker 1: then their friendship afterwards is sweeter and it's funny. The

951
00:55:15,360 --> 00:55:20,600
Speaker 1: golden middler throwing the golden globe, so throwing a golden

952
00:55:20,719 --> 00:55:26,319
Speaker 1: globe in response. It's it's incredible. I I really really

953
00:55:26,920 --> 00:55:30,360
Speaker 1: enjoyed that scene. Another thing about the Ark with Annie

954
00:55:30,440 --> 00:55:33,400
Speaker 1: and her mom. Um with Annie and her mom in

955
00:55:33,480 --> 00:55:36,600
Speaker 1: the beginning, and he's like, what if I find somebody else?

956
00:55:36,719 --> 00:55:40,200
Speaker 1: Like it's possible, because she's like, you know conte Diane Keaton, Yeah,

957
00:55:40,239 --> 00:55:45,040
Speaker 1: contemplate um contempded whether or not to like try to

958
00:55:45,080 --> 00:55:48,279
Speaker 1: make things work with her husband Aaron, And she's like, well,

959
00:55:48,400 --> 00:55:50,000
Speaker 1: you know, I don't know, what if I find someone else,

960
00:55:50,040 --> 00:55:52,440
Speaker 1: it's possible, And then her mom says, you're forty six,

961
00:55:52,560 --> 00:55:55,520
Speaker 1: you have a better chance of being slaughtered by a psychopath.

962
00:55:55,760 --> 00:56:00,040
Speaker 1: Same bad statistic from Sleepless in Seattle. Yeah, X that

963
00:56:00,200 --> 00:56:04,560
Speaker 1: they sleep Seattle say that the statistic is incorrect. Um, yeah,

964
00:56:04,640 --> 00:56:08,480
Speaker 1: another choice quote. And this is all presented as we

965
00:56:08,680 --> 00:56:11,719
Speaker 1: know that the mom is being too much, and it's

966
00:56:11,760 --> 00:56:14,880
Speaker 1: not presented as like what she's saying is correct. But

967
00:56:15,040 --> 00:56:18,160
Speaker 1: she also says, you're married, you're happy, you have a daughter.

968
00:56:18,320 --> 00:56:23,880
Speaker 1: You don't need self esteem, like Catherine, you need to

969
00:56:23,920 --> 00:56:27,080
Speaker 1: see the therapist, right, you need to go see Marcia

970
00:56:27,160 --> 00:56:30,520
Speaker 1: Gay Harden. By the way, there's like this really bizarre

971
00:56:30,680 --> 00:56:36,040
Speaker 1: like male gaze shot when we first see Marsha Harden's character,

972
00:56:36,080 --> 00:56:38,880
Speaker 1: where like the camera just like hovers on her like

973
00:56:39,080 --> 00:56:42,680
Speaker 1: pelvis for a while. There's thigh shot and then it

974
00:56:42,760 --> 00:56:44,840
Speaker 1: tilts up to her face. But it's like, okay, so

975
00:56:45,000 --> 00:56:48,520
Speaker 1: there was a male cinematographer on this movie. Anyway. It's

976
00:56:48,560 --> 00:56:51,839
Speaker 1: how you know from the first introduction of that psychiatrist

977
00:56:51,920 --> 00:56:55,480
Speaker 1: that that's who her husband is sucking. Yeah, Like, if

978
00:56:55,520 --> 00:56:58,680
Speaker 1: you're an adult watching that movie, it's like, oh, that's

979
00:56:58,680 --> 00:57:02,280
Speaker 1: who they're fucking. You just know I mean the lesbian

980
00:57:02,320 --> 00:57:03,839
Speaker 1: and now I mean and me Now is like, oh

981
00:57:04,040 --> 00:57:07,000
Speaker 1: those two should fun. But it didn't happen that way

982
00:57:07,280 --> 00:57:10,040
Speaker 1: now unfortunately not. I do hope again I'm giving this

983
00:57:10,120 --> 00:57:13,239
Speaker 1: movie so much credit because there's two ways that goes.

984
00:57:13,360 --> 00:57:15,360
Speaker 1: It's either like, get a lady with hot legs, like

985
00:57:15,520 --> 00:57:17,120
Speaker 1: we need her to look hot so we believe a

986
00:57:17,240 --> 00:57:19,800
Speaker 1: husband would sleep with her, or it's like a super

987
00:57:19,880 --> 00:57:23,080
Speaker 1: intentional shot of like, let's really lead that this lady

988
00:57:23,200 --> 00:57:26,000
Speaker 1: is fucking the husband that's also in therapy with her,

989
00:57:26,600 --> 00:57:29,160
Speaker 1: and who knows. This movie is kind of a coin toss.

990
00:57:29,280 --> 00:57:32,000
Speaker 1: That is, it's like you, it's sometimes you're just like

991
00:57:32,080 --> 00:57:35,000
Speaker 1: this could be commentary or this could be oversight, Like, yes,

992
00:57:35,600 --> 00:57:37,760
Speaker 1: it is definitely a mixed bag, and then I think

993
00:57:37,800 --> 00:57:40,200
Speaker 1: it is. I think it is mixed. It's super proud

994
00:57:40,400 --> 00:57:43,880
Speaker 1: of what it's making commentary on. Yeah, but it's hard.

995
00:57:44,000 --> 00:57:46,320
Speaker 1: It's one years later. It's kind of hard to pick

996
00:57:46,400 --> 00:57:50,880
Speaker 1: apart what which's intention is hard to identify sometimes. And

997
00:57:50,920 --> 00:57:55,120
Speaker 1: then the final arc of like the Mom Annie storyline

998
00:57:55,280 --> 00:57:57,760
Speaker 1: is Annie's mom at like the party, the celebratory party

999
00:57:57,800 --> 00:58:00,360
Speaker 1: at the end, just saying like you're not think any

1000
00:58:00,440 --> 00:58:03,240
Speaker 1: younger or thinner, you know what? I think you need

1001
00:58:04,040 --> 00:58:09,479
Speaker 1: absolutely nothing, and then Nanny's like, ah, so that was great.

1002
00:58:09,640 --> 00:58:13,320
Speaker 1: It's cute. I also going back to the Marsia guy

1003
00:58:13,360 --> 00:58:15,439
Speaker 1: Harden therapist. For a second. It was one of those

1004
00:58:15,520 --> 00:58:17,040
Speaker 1: like I don't know the last time I felt this

1005
00:58:17,080 --> 00:58:20,120
Speaker 1: in a movie where you get to see the quote

1006
00:58:20,160 --> 00:58:24,200
Speaker 1: unquote like deceitful person. Well not even quote unquote from Marsha,

1007
00:58:24,200 --> 00:58:26,560
Speaker 1: guy Harden, you should not be fucking your client. Yeah,

1008
00:58:27,560 --> 00:58:31,040
Speaker 1: that's she was bad. But you see her get hit

1009
00:58:31,120 --> 00:58:33,480
Speaker 1: in the face before you know that, and then lady,

1010
00:58:33,520 --> 00:58:35,160
Speaker 1: you're like, oh, I guess I'm glad she got hit

1011
00:58:35,200 --> 00:58:37,600
Speaker 1: in the face earlier. Like it was weird. I was like, oh,

1012
00:58:37,640 --> 00:58:39,960
Speaker 1: I don't know the last time that, like the bad

1013
00:58:40,040 --> 00:58:42,080
Speaker 1: thing happened to the villain before you knew you were

1014
00:58:42,160 --> 00:58:44,280
Speaker 1: that they were the villain, and then you were like, well, good,

1015
00:58:45,400 --> 00:58:49,040
Speaker 1: I've tried that wild. I do feel like Diane Keaton

1016
00:58:49,160 --> 00:58:51,800
Speaker 1: was supposed to be the last to know. Yeah, we do.

1017
00:58:52,160 --> 00:58:56,480
Speaker 1: Like you got her personality too, is she's she's you know,

1018
00:58:56,560 --> 00:58:59,920
Speaker 1: put up a lot of walls and intentionally deluded her

1019
00:59:00,000 --> 00:59:04,400
Speaker 1: self and in some regards, but you know who doesn't

1020
00:59:04,440 --> 00:59:06,520
Speaker 1: do that in order to remain alive at time, I've

1021
00:59:06,560 --> 00:59:09,080
Speaker 1: convince saying Keaton doesn't know she's on set and just

1022
00:59:09,200 --> 00:59:12,240
Speaker 1: sort of follow her around, just like in both fingers. Yeah,

1023
00:59:12,280 --> 00:59:16,800
Speaker 1: just like Nicholas Cage ladies. How about that Ivana Trump,

1024
00:59:19,360 --> 00:59:24,760
Speaker 1: you're like nine nineties six honny, Okay, she's there as herself,

1025
00:59:25,040 --> 00:59:29,160
Speaker 1: delivering the Familius line, don't get mad, get everything, which

1026
00:59:29,520 --> 00:59:31,760
Speaker 1: she didn't get mad. She didn't get to do that.

1027
00:59:32,960 --> 00:59:35,000
Speaker 1: You can't because Trump's dad put it on a trust

1028
00:59:35,040 --> 00:59:37,520
Speaker 1: when he was three years old to earn interests as

1029
00:59:37,560 --> 00:59:40,320
Speaker 1: a busy Yeah, it was just nice to be reminded

1030
00:59:40,360 --> 00:59:43,640
Speaker 1: that we live in hell now watching this lovely movie

1031
00:59:43,720 --> 00:59:48,480
Speaker 1: from twenty two years. Ivana Trump was a first wife,

1032
00:59:48,560 --> 00:59:50,640
Speaker 1: but then also could have been a different kind of

1033
00:59:51,000 --> 00:59:55,400
Speaker 1: first late first lady, but didn't happen that way. But

1034
00:59:55,520 --> 01:00:03,440
Speaker 1: now out like broken facsimile of her. Yes, robots somehow

1035
01:00:03,520 --> 01:00:09,240
Speaker 1: the lower model also Glorious Steinham is there playing herself.

1036
01:00:10,760 --> 01:00:13,800
Speaker 1: What can you do? You know, there's a there's a

1037
01:00:13,880 --> 01:00:17,800
Speaker 1: lot of like little nineties cameos. Yes, the movie too,

1038
01:00:18,240 --> 01:00:23,000
Speaker 1: it's rich. Should we talk about Annie's daughter, Chris and

1039
01:00:23,080 --> 01:00:27,280
Speaker 1: the sort of overall representation of queerness. Let's talk about Chris. Basically,

1040
01:00:27,680 --> 01:00:29,960
Speaker 1: what I will say, I feel like in the nineties,

1041
01:00:30,120 --> 01:00:32,040
Speaker 1: it's like coming out had to be like a thing,

1042
01:00:32,720 --> 01:00:35,360
Speaker 1: like you know, you said, everybody down. It was like

1043
01:00:35,520 --> 01:00:39,560
Speaker 1: the whole movie, And like with Chris, she just sort

1044
01:00:39,600 --> 01:00:41,360
Speaker 1: of walks in and it's it's like so early. It's

1045
01:00:41,400 --> 01:00:42,960
Speaker 1: the first time you meet her and she's coming out

1046
01:00:43,040 --> 01:00:46,360
Speaker 1: to her mom, and she's just like, beat dups. I

1047
01:00:46,520 --> 01:00:50,520
Speaker 1: loved it, eating plants on the wreck and in the

1048
01:00:50,640 --> 01:00:54,080
Speaker 1: middle of like also being criticizing her mom, like she

1049
01:00:54,200 --> 01:00:57,520
Speaker 1: basically interrupts criticizing her mom for fucking her dad again

1050
01:00:57,840 --> 01:00:59,720
Speaker 1: to come out and then returns to what she was

1051
01:00:59,720 --> 01:01:01,560
Speaker 1: stopped thing about it. And I don't know if this

1052
01:01:01,720 --> 01:01:03,560
Speaker 1: was the actress's choice because it's in the lines a

1053
01:01:03,600 --> 01:01:05,680
Speaker 1: little bit for her dad, but like she did it

1054
01:01:05,760 --> 01:01:08,360
Speaker 1: on purpose. I love it. She's just like had a plan.

1055
01:01:08,440 --> 01:01:09,760
Speaker 1: I know, I have to come out to my parents.

1056
01:01:10,160 --> 01:01:12,800
Speaker 1: What's the best worst way I could do it to them?

1057
01:01:13,040 --> 01:01:17,040
Speaker 1: Let me wrap it in an extremely personal criticism. I

1058
01:01:17,240 --> 01:01:20,880
Speaker 1: love it. I thought that seemed was so like, especially

1059
01:01:20,960 --> 01:01:25,200
Speaker 1: for its time, so cool, and it's I'm curious at

1060
01:01:25,240 --> 01:01:28,720
Speaker 1: what you guys think. I also thought because it's the

1061
01:01:28,800 --> 01:01:31,960
Speaker 1: way Diane Keaton's character deals with it. At first, she's like,

1062
01:01:32,040 --> 01:01:36,040
Speaker 1: are you sure, She's like, what do you say? Lesbian? Right?

1063
01:01:36,360 --> 01:01:40,880
Speaker 1: But but I do feel like that is how some parents,

1064
01:01:41,040 --> 01:01:44,600
Speaker 1: especially older parents, like someone born in that is a

1065
01:01:44,640 --> 01:01:49,680
Speaker 1: pretty good outcome for like bafflement but acceptance, Like it

1066
01:01:49,840 --> 01:01:52,320
Speaker 1: seemed like, you know, as much as it would be

1067
01:01:52,400 --> 01:01:55,640
Speaker 1: amazing for you know, Diane Kitton to be like, that's amazing,

1068
01:01:55,720 --> 01:01:59,360
Speaker 1: I completely accept you. Yes, this is like that's ideal obviously,

1069
01:01:59,480 --> 01:02:06,280
Speaker 1: but I felt like supportive, realistic way of showing that thoughts. Yes.

1070
01:02:06,800 --> 01:02:09,120
Speaker 1: I love the scene where they show up at the

1071
01:02:09,160 --> 01:02:12,680
Speaker 1: gay bar. Yeah, so there's a lesbian bar. First of all, bigger,

1072
01:02:12,920 --> 01:02:15,680
Speaker 1: nicer than any lesbian bar I've ever been to, which

1073
01:02:15,680 --> 01:02:20,880
Speaker 1: are determinedly like dives. But this is a like, you know,

1074
01:02:21,160 --> 01:02:25,800
Speaker 1: dance club, like ladies dancing. Uh, it's very big, it's

1075
01:02:25,840 --> 01:02:28,920
Speaker 1: all ladies. Um. Goldie Hunt is so excited because she's

1076
01:02:28,960 --> 01:02:34,880
Speaker 1: never been in a gay bar. Uh, Bette Midler, it's

1077
01:02:34,960 --> 01:02:36,680
Speaker 1: just so matter of fact about it, could not give

1078
01:02:36,720 --> 01:02:38,920
Speaker 1: a ship. I love the way her character handles it.

1079
01:02:39,360 --> 01:02:41,680
Speaker 1: They're just all examples of ways to do it right.

1080
01:02:41,800 --> 01:02:44,480
Speaker 1: Be super excited, don't give a fuck, or if you're

1081
01:02:44,520 --> 01:02:47,400
Speaker 1: that cheesy and sensitive like Diane Keaton is just stopping

1082
01:02:47,400 --> 01:02:50,800
Speaker 1: a woman walking out the door, being like you're just incredible.

1083
01:02:50,960 --> 01:02:54,760
Speaker 1: I just loved it because that's more again, like this

1084
01:02:54,880 --> 01:02:57,680
Speaker 1: movie is like my parents, like my dad, that's my dad.

1085
01:02:58,120 --> 01:03:01,439
Speaker 1: That stops what you're doing there, I like a good

1086
01:03:01,480 --> 01:03:06,160
Speaker 1: way to go. Big thumbs up, congrat congratulations, big thumbs up.

1087
01:03:06,200 --> 01:03:08,640
Speaker 1: I think is what I'll stick with. Is that what

1088
01:03:08,840 --> 01:03:11,840
Speaker 1: you like to be called big thumbs up? Is that? Okay?

1089
01:03:13,320 --> 01:03:16,440
Speaker 1: Just the sweetest. I also really enjoy it. You're not

1090
01:03:16,480 --> 01:03:18,920
Speaker 1: incredible because you're a lesbian. You just are a lesbian.

1091
01:03:19,040 --> 01:03:20,959
Speaker 1: You could still be a piece of ship, living proof.

1092
01:03:21,160 --> 01:03:24,280
Speaker 1: Like it's fine, that's such apparent thing to do. It's

1093
01:03:24,360 --> 01:03:27,320
Speaker 1: so cute. Is they're they're just like I just I,

1094
01:03:27,800 --> 01:03:30,000
Speaker 1: which is they're just saying like I don't get it,

1095
01:03:30,200 --> 01:03:34,720
Speaker 1: but I'm signed it. Like it's that scene. Was I

1096
01:03:35,320 --> 01:03:37,640
Speaker 1: in the same vein of like Diane Kean being like

1097
01:03:37,840 --> 01:03:40,960
Speaker 1: I what what? What? Like that's yeah, that scene doesn't

1098
01:03:40,960 --> 01:03:43,120
Speaker 1: punch down at all because it's that to me, is

1099
01:03:43,120 --> 01:03:46,160
Speaker 1: about freedom. A woman just didn't say that like it.

1100
01:03:46,400 --> 01:03:49,160
Speaker 1: You know, there's a like you kids, what you're up to?

1101
01:03:49,680 --> 01:03:52,520
Speaker 1: It's still I understand that perspective. I think there's this

1102
01:03:52,600 --> 01:03:55,200
Speaker 1: whole generation that like you don't say that kind of

1103
01:03:55,280 --> 01:03:57,840
Speaker 1: thing out loud. It's not just that you don't come out.

1104
01:03:58,040 --> 01:04:01,000
Speaker 1: It's like, oh no, it isn't there an underground society

1105
01:04:01,040 --> 01:04:02,960
Speaker 1: where you're supposed to be there, Like, you know, what's

1106
01:04:03,000 --> 01:04:05,280
Speaker 1: running through her head is like all the lesbians she

1107
01:04:05,400 --> 01:04:09,280
Speaker 1: knew that got married to men like and lived and

1108
01:04:10,000 --> 01:04:12,720
Speaker 1: like you know, marriages or whatever with their long term

1109
01:04:12,800 --> 01:04:16,520
Speaker 1: friends on the side. But whatever's her picture of what

1110
01:04:16,680 --> 01:04:19,760
Speaker 1: lesbian freedom is. Isn't that lesbian bar not if you

1111
01:04:19,920 --> 01:04:23,200
Speaker 1: you know, even in nineteen sixty nine and a lady

1112
01:04:23,280 --> 01:04:25,520
Speaker 1: Gay was just like, I'm a proud lesbian who will

1113
01:04:25,600 --> 01:04:28,400
Speaker 1: marry a man to satisfy my family. And people were like,

1114
01:04:28,480 --> 01:04:31,840
Speaker 1: congrat yes, proud of you. That was like, you can't fight.

1115
01:04:31,960 --> 01:04:34,600
Speaker 1: It's so hard. When they're all at lunch on the

1116
01:04:34,720 --> 01:04:38,919
Speaker 1: Southern Dandy and I'm gonna marry a generously proportioned woman. Good,

1117
01:04:39,000 --> 01:04:43,320
Speaker 1: we've got plenty, and we need you lock this down. Well,

1118
01:04:43,440 --> 01:04:46,600
Speaker 1: when they're all at lunch after Cynthia's funeral, you know,

1119
01:04:46,680 --> 01:04:51,120
Speaker 1: and they're just like and Hee is like she's talking

1120
01:04:51,120 --> 01:04:53,320
Speaker 1: about her daughter and she's like, and you know, lesbians

1121
01:04:53,360 --> 01:04:56,840
Speaker 1: are great these days, Chris, It's just perfect. I mean,

1122
01:04:56,960 --> 01:05:00,400
Speaker 1: lesbians are great nowadays, She like has it takes a

1123
01:05:00,440 --> 01:05:03,760
Speaker 1: second before saying nowadays too. It is like the perfect

1124
01:05:04,400 --> 01:05:07,840
Speaker 1: like mom desperately trying to get it, not quite getting

1125
01:05:07,880 --> 01:05:11,600
Speaker 1: it line read I thought it was. It's also it's

1126
01:05:11,600 --> 01:05:14,320
Speaker 1: a lot to ask of your parents to be excitedly

1127
01:05:14,480 --> 01:05:20,840
Speaker 1: proud of your sexuality, of your family, of your love. Absolutely,

1128
01:05:21,320 --> 01:05:24,760
Speaker 1: but like just straight up raw dog fucking no, your

1129
01:05:24,800 --> 01:05:27,000
Speaker 1: parents don't have to wave a flag for that. It's

1130
01:05:27,040 --> 01:05:29,640
Speaker 1: totally okay. If they are a little shy about, like

1131
01:05:29,960 --> 01:05:34,520
Speaker 1: the actual sex part about your sexuality, probably for the

1132
01:05:34,640 --> 01:05:38,800
Speaker 1: best that they aren't overtly enthusiastic. I mean, parents are

1133
01:05:38,920 --> 01:05:43,960
Speaker 1: that way about straight to your parents. If you're telling

1134
01:05:44,040 --> 01:05:47,440
Speaker 1: your parents something about what you do while you're having sex,

1135
01:05:48,200 --> 01:05:50,800
Speaker 1: they are allowed to be like, look, okay, hang on,

1136
01:05:51,360 --> 01:05:53,000
Speaker 1: let me get over the part where you are having

1137
01:05:53,040 --> 01:05:55,880
Speaker 1: sex with anyone or thing, and then I'll process who

1138
01:05:55,960 --> 01:05:58,080
Speaker 1: you are having sex with, what look, do what you

1139
01:05:58,160 --> 01:06:01,800
Speaker 1: want with your life, and then it. Chris is like

1140
01:06:02,080 --> 01:06:04,680
Speaker 1: a continued presence throughout the movie. She she pops up

1141
01:06:04,680 --> 01:06:07,919
Speaker 1: here and there, she's participating in the first Wives Club

1142
01:06:09,680 --> 01:06:13,160
Speaker 1: and the like scheme on her dad, who she hates again,

1143
01:06:13,280 --> 01:06:16,240
Speaker 1: I want to just read the conversation at the very

1144
01:06:16,280 --> 01:06:20,000
Speaker 1: beginning between her and her mom where she's like, oh,

1145
01:06:20,560 --> 01:06:23,040
Speaker 1: you were with that man again, weren't you. Mother. I'm

1146
01:06:23,080 --> 01:06:26,760
Speaker 1: so disappointed. And dun King's like, I know, sweetie, but

1147
01:06:26,880 --> 01:06:29,560
Speaker 1: he is your father. And then she's like, yes, but

1148
01:06:29,680 --> 01:06:32,600
Speaker 1: he's using you and you shouldn't let him. And it's like, hell, yes,

1149
01:06:33,120 --> 01:06:37,479
Speaker 1: women hating their dad representation in movies can't get enough

1150
01:06:37,560 --> 01:06:41,120
Speaker 1: of it. It's it's super fun. And he was also

1151
01:06:41,200 --> 01:06:43,480
Speaker 1: accurate to the way a daughter hates her dad, which

1152
01:06:43,520 --> 01:06:47,200
Speaker 1: is still lots him, just knows that he's knows him,

1153
01:06:47,920 --> 01:06:51,040
Speaker 1: and it's not like, you know, she's still like in

1154
01:06:51,160 --> 01:06:53,560
Speaker 1: his office. She hasn't said he's never gonna she's never

1155
01:06:53,600 --> 01:06:56,160
Speaker 1: going to talk to him again. You know, that's her dad.

1156
01:06:56,760 --> 01:06:59,800
Speaker 1: But she's also not like she's got expectations for him.

1157
01:07:00,120 --> 01:07:02,360
Speaker 1: He hasn't met. And I appreciate that. That's a kind

1158
01:07:02,400 --> 01:07:04,520
Speaker 1: of love. It's a very daughterly kind of love for

1159
01:07:04,640 --> 01:07:09,000
Speaker 1: their dad, like to do better, do as good as

1160
01:07:09,040 --> 01:07:11,640
Speaker 1: I think you should do. And then and then the

1161
01:07:11,720 --> 01:07:15,080
Speaker 1: other thing about Chris that I liked because I feel

1162
01:07:15,120 --> 01:07:18,000
Speaker 1: like people are like queer people are out at as

1163
01:07:18,080 --> 01:07:20,920
Speaker 1: jokes in movies very often, especially of this era. And

1164
01:07:21,280 --> 01:07:25,160
Speaker 1: at the beginning she tells Diane Keaton, don't tell dad,

1165
01:07:25,200 --> 01:07:27,000
Speaker 1: I'm going to tell him when I want to. At

1166
01:07:27,000 --> 01:07:29,640
Speaker 1: the end she does, and it's such a funny moment,

1167
01:07:30,280 --> 01:07:33,960
Speaker 1: and she does it too like it's just yeah, like

1168
01:07:34,320 --> 01:07:37,840
Speaker 1: Chris is fun. I mean, she's just perfect. It's like

1169
01:07:38,400 --> 01:07:40,080
Speaker 1: she says something, don't tell daddy, I want to tell

1170
01:07:40,160 --> 01:07:42,160
Speaker 1: him when the time is right, like Father's Day or

1171
01:07:42,240 --> 01:07:46,720
Speaker 1: Christmas morning. My favorite joke of the whole movie. And

1172
01:07:46,800 --> 01:07:48,440
Speaker 1: then at the end she does I forget what the

1173
01:07:48,480 --> 01:07:50,480
Speaker 1: quote is, but she comes out to him and when

1174
01:07:50,560 --> 01:07:54,400
Speaker 1: he's really when he's when he's like already he's just

1175
01:07:54,520 --> 01:07:59,360
Speaker 1: been extorted, and she's like, btw, I helped extore you. Also,

1176
01:07:59,480 --> 01:08:05,480
Speaker 1: I'm gay Ce like it's amazing, It's yeah, I enjoyed it.

1177
01:08:06,000 --> 01:08:10,880
Speaker 1: Same worth noting that this is, you know, a woman's story,

1178
01:08:11,240 --> 01:08:13,800
Speaker 1: believe it or not. But it was directed by a man,

1179
01:08:14,840 --> 01:08:17,080
Speaker 1: screenplay by a man. It was based on a novel

1180
01:08:17,120 --> 01:08:20,880
Speaker 1: by a woman, Olivia Goldsmith Um. It was produced by

1181
01:08:21,320 --> 01:08:25,400
Speaker 1: Scott Ruten and then many other almost entirely men. I

1182
01:08:25,479 --> 01:08:29,400
Speaker 1: think there's maybe one woman producing this, but it is

1183
01:08:29,600 --> 01:08:34,719
Speaker 1: still largely men behind the camera, per usual. Baby, Why

1184
01:08:34,880 --> 01:08:37,000
Speaker 1: why why do that? When this is such a female

1185
01:08:37,080 --> 01:08:42,320
Speaker 1: driven story, Caitlin, Men like money, um, also women like money.

1186
01:08:42,400 --> 01:08:47,240
Speaker 1: But you know, that's a conversation for another day. Under

1187
01:08:47,360 --> 01:08:49,280
Speaker 1: do you get thirty million dollars to make a movie

1188
01:08:49,320 --> 01:08:52,680
Speaker 1: about four women, all of them over fifty unless the

1189
01:08:52,880 --> 01:08:58,160
Speaker 1: directors a dude in a woman direct I mean we

1190
01:08:58,280 --> 01:09:01,360
Speaker 1: still barely let a woman to act wonder Woman. True.

1191
01:09:01,640 --> 01:09:05,200
Speaker 1: And it is many years later, right, and I mean

1192
01:09:05,640 --> 01:09:14,160
Speaker 1: Katherine Bigela was directing movies his first Wives Club, Violence, Violence,

1193
01:09:15,479 --> 01:09:19,080
Speaker 1: They would someone would have already hanging upside down by cycle,

1194
01:09:19,800 --> 01:09:25,360
Speaker 1: right when when like waterboarded, whenever Diane Keaton hits her therapist,

1195
01:09:25,640 --> 01:09:30,720
Speaker 1: it would have been with a machette. It's Tarantino's first

1196
01:09:33,080 --> 01:09:37,880
Speaker 1: It's just feet, it's just first Westat. I also think

1197
01:09:37,920 --> 01:09:40,640
Speaker 1: it's worth noting that, you know, while this is a

1198
01:09:40,920 --> 01:09:44,320
Speaker 1: you know, a nineties feminist text, this is still a

1199
01:09:44,360 --> 01:09:47,479
Speaker 1: movie where the women are pretty much all consumed by

1200
01:09:47,520 --> 01:09:49,800
Speaker 1: the men in their lives, Like the men are motivating

1201
01:09:49,840 --> 01:09:52,519
Speaker 1: their choices there, you know, and it is to get

1202
01:09:52,640 --> 01:09:56,680
Speaker 1: revenge or justice against the men, but it's still like

1203
01:09:57,600 --> 01:10:03,120
Speaker 1: they're being motivated and riven by men. That's definitely true,

1204
01:10:03,280 --> 01:10:07,840
Speaker 1: But I also don't mind it for what this movie is. Like,

1205
01:10:07,960 --> 01:10:11,720
Speaker 1: this movie is a revenge fantasy for women who have

1206
01:10:11,880 --> 01:10:15,800
Speaker 1: been wronged by their husbands. And if that's the audience, like,

1207
01:10:16,040 --> 01:10:18,040
Speaker 1: it would be great to see them just start a

1208
01:10:18,120 --> 01:10:21,320
Speaker 1: small business, I guess. But like, but like, this is

1209
01:10:21,400 --> 01:10:27,000
Speaker 1: a revenge fantasy franchise and just and men, but I mean,

1210
01:10:27,040 --> 01:10:30,040
Speaker 1: like men get so many of those where they like,

1211
01:10:30,200 --> 01:10:33,519
Speaker 1: there's a ba jillion movies about a man seeking out revenge,

1212
01:10:33,800 --> 01:10:38,080
Speaker 1: usually because someone killed his wife wife, but I see

1213
01:10:40,040 --> 01:10:43,880
Speaker 1: slash most movies. But like, I mean First Wives Club,

1214
01:10:43,920 --> 01:10:46,799
Speaker 1: I agree that. I mean it is like the nineties

1215
01:10:46,920 --> 01:10:49,519
Speaker 1: version of they are tied to their men culturally at

1216
01:10:49,600 --> 01:10:52,160
Speaker 1: this time. I don't think that that is too far

1217
01:10:52,280 --> 01:10:55,240
Speaker 1: off from what would have been true for many women still,

1218
01:10:56,000 --> 01:10:58,240
Speaker 1: I mean, my my mom wants to get a divorce

1219
01:10:58,320 --> 01:11:02,439
Speaker 1: in but like financially couldn't get a divorce And it

1220
01:11:02,520 --> 01:11:04,920
Speaker 1: seems like um on a in a much on a

1221
01:11:05,000 --> 01:11:08,080
Speaker 1: much more privileged level. That's true to some extent for

1222
01:11:08,200 --> 01:11:11,280
Speaker 1: these women as well. And I just I mean, yeah,

1223
01:11:11,479 --> 01:11:14,760
Speaker 1: I like that it's a revenge fantasy because that's why

1224
01:11:14,800 --> 01:11:17,599
Speaker 1: people watch this movie. That's why people watch kill Bill

1225
01:11:18,160 --> 01:11:21,960
Speaker 1: is because it is cathartic and exciting and like, no

1226
01:11:22,080 --> 01:11:23,840
Speaker 1: one's going out and doing this in real life. It

1227
01:11:23,880 --> 01:11:28,400
Speaker 1: would be far too expensive, but it is. No one

1228
01:11:28,520 --> 01:11:32,080
Speaker 1: has the resources to have a building in Manhattan to

1229
01:11:32,360 --> 01:11:37,600
Speaker 1: turn into your revenge factory. But that's a really fun fantasy.

1230
01:11:37,920 --> 01:11:39,719
Speaker 1: I wonder if the novel was written in the eighties,

1231
01:11:40,040 --> 01:11:42,960
Speaker 1: because it's got to go go eighties energy. I think

1232
01:11:43,160 --> 01:11:45,680
Speaker 1: with all the wealth having a broken down building in

1233
01:11:45,760 --> 01:11:50,200
Speaker 1: Manhattan came out in ninety two. And the screenwriter of

1234
01:11:50,520 --> 01:11:53,360
Speaker 1: this movie, I guess it's worth mentioning while he is

1235
01:11:53,439 --> 01:11:56,000
Speaker 1: a man and we have to count that against him. Uh.

1236
01:11:56,240 --> 01:12:00,160
Speaker 1: He is also the writer of Steel Magnolias and as

1237
01:12:00,160 --> 01:12:03,960
Speaker 1: of Attraction. Um so he. I mean, we we have

1238
01:12:04,040 --> 01:12:06,280
Speaker 1: not covered either of those movies, but he seems to

1239
01:12:06,360 --> 01:12:10,479
Speaker 1: be commonly tapped to write movies about I cannot wait

1240
01:12:10,600 --> 01:12:14,040
Speaker 1: for your Steel Magnolia's Day. I'm surprised it's taking us

1241
01:12:14,560 --> 01:12:18,160
Speaker 1: just everybody gets juiced. Everybody has to drink juice. One

1242
01:12:18,200 --> 01:12:20,679
Speaker 1: thing I liked. Another thing I liked about this movie

1243
01:12:20,840 --> 01:12:23,479
Speaker 1: is I liked the scene where they're in the room

1244
01:12:23,560 --> 01:12:27,400
Speaker 1: full of Open Flames, which isn't really a movie about

1245
01:12:27,560 --> 01:12:31,000
Speaker 1: friendship between women if they're not sitting in a dangerous

1246
01:12:31,120 --> 01:12:35,280
Speaker 1: room full of candles at some point drinking wine and

1247
01:12:35,560 --> 01:12:38,680
Speaker 1: hashing it out. It reminds me of the scene and

1248
01:12:38,720 --> 01:12:41,479
Speaker 1: Sisterhood of the Traveling Pants where they go to like

1249
01:12:41,720 --> 01:12:45,960
Speaker 1: the place where their mom's met and like baby gymnastics,

1250
01:12:46,080 --> 01:12:51,439
Speaker 1: pregnant Lady gymnastics, uh like once a year. I believe

1251
01:12:51,520 --> 01:12:53,800
Speaker 1: that that is what it is called. But they have

1252
01:12:53,880 --> 01:12:58,280
Speaker 1: a similar scene and in it is they talk about Cynthia,

1253
01:12:58,640 --> 01:13:01,760
Speaker 1: who I think her press since in the narrative is

1254
01:13:02,040 --> 01:13:05,200
Speaker 1: very in and out, and sometimes it gets it's this

1255
01:13:05,600 --> 01:13:08,800
Speaker 1: movie gets so rompy that you forget why they're kind

1256
01:13:08,840 --> 01:13:11,080
Speaker 1: of what motivated them to do it, but then you

1257
01:13:11,200 --> 01:13:14,800
Speaker 1: occasionally come back to grounding it of I really, I mean,

1258
01:13:14,840 --> 01:13:18,080
Speaker 1: I thought that scene was very sweet where they were

1259
01:13:18,160 --> 01:13:23,599
Speaker 1: like revisiting memories and yes, is is Cynthia's letter kind

1260
01:13:23,680 --> 01:13:26,640
Speaker 1: of just like a random Chekhov's gun to keep the

1261
01:13:26,720 --> 01:13:32,840
Speaker 1: second act moving. Sure, absolutely no one's gonna argue it's not,

1262
01:13:33,400 --> 01:13:35,840
Speaker 1: but but I did. I I liked the the and

1263
01:13:35,960 --> 01:13:40,479
Speaker 1: that's where the um Leslie Gore Karaoke is introduced is

1264
01:13:40,680 --> 01:13:43,519
Speaker 1: in the I don't know. I thought that scene was

1265
01:13:44,080 --> 01:13:46,439
Speaker 1: very sweet and it was like a nice reminder in

1266
01:13:46,479 --> 01:13:48,479
Speaker 1: the middle of the movie of like, oh, yeah, this

1267
01:13:48,760 --> 01:13:52,720
Speaker 1: is why we're here. It's so nice to see, you know,

1268
01:13:52,880 --> 01:13:57,280
Speaker 1: women bonding, women having fun in a movie, women throwing

1269
01:13:57,320 --> 01:14:00,679
Speaker 1: golden globes at each other writing Yeah, and honestly that's

1270
01:14:00,720 --> 01:14:03,040
Speaker 1: my listening. Imagine being at a place in life where

1271
01:14:03,080 --> 01:14:08,880
Speaker 1: you can have a golden globe to throw. Incredible. But yeah,

1272
01:14:08,920 --> 01:14:11,360
Speaker 1: I think it is worth at least touching on the

1273
01:14:11,800 --> 01:14:16,439
Speaker 1: representation of mental health and suicidality in this movie. Yeah.

1274
01:14:18,680 --> 01:14:21,160
Speaker 1: I don't even quite know what to say about it,

1275
01:14:21,640 --> 01:14:26,880
Speaker 1: but it's it's definitely not well informed. Let's let's just say,

1276
01:14:27,000 --> 01:14:29,400
Speaker 1: I mean it's not well informed. I think that it

1277
01:14:29,840 --> 01:14:34,000
Speaker 1: is like, you know, employing a number of tropes um

1278
01:14:34,120 --> 01:14:36,600
Speaker 1: in order to fit the exact plot of this That

1279
01:14:36,840 --> 01:14:42,519
Speaker 1: is not responsible. It it implies that a single event

1280
01:14:43,120 --> 01:14:45,439
Speaker 1: in your life would would drive you to this. It

1281
01:14:45,520 --> 01:14:49,280
Speaker 1: doesn't even really address the mental health aspect of that

1282
01:14:49,720 --> 01:14:53,240
Speaker 1: at all. Uh. There's also in that weird letter later

1283
01:14:53,320 --> 01:14:56,160
Speaker 1: where she was like, maybe it wasn't my husband, perhaps

1284
01:14:56,280 --> 01:15:00,040
Speaker 1: it was loneliness, and you're like, Okay, there, I I

1285
01:15:00,120 --> 01:15:03,839
Speaker 1: don't even know if that's in what direction of helpful

1286
01:15:03,920 --> 01:15:06,559
Speaker 1: that is. Yeah, I think that it is like another

1287
01:15:06,640 --> 01:15:12,160
Speaker 1: example of like something that should ideally be a responsible

1288
01:15:12,600 --> 01:15:18,880
Speaker 1: mental health discussion being used as a plot point, right, Yeah,

1289
01:15:19,479 --> 01:15:22,240
Speaker 1: I don't think. And I also, uh, I don't think

1290
01:15:22,280 --> 01:15:24,920
Speaker 1: it was done with intention to harm anyone, but it

1291
01:15:25,280 --> 01:15:27,640
Speaker 1: just was kind of lazy writing. Sure, and it's not

1292
01:15:27,800 --> 01:15:31,760
Speaker 1: the worst example that we've seen of like mental health

1293
01:15:32,439 --> 01:15:37,760
Speaker 1: suicidality representation, but it certainly wasn't handled the best way

1294
01:15:37,840 --> 01:15:40,280
Speaker 1: that it could have been. No, but I mean I

1295
01:15:40,560 --> 01:15:42,760
Speaker 1: also did like, and I guess I want to know

1296
01:15:42,840 --> 01:15:45,040
Speaker 1: what you guys think about this too. I did like

1297
01:15:45,320 --> 01:15:47,800
Speaker 1: even though like the way they discuss it. Again, a

1298
01:15:47,880 --> 01:15:50,479
Speaker 1: lot of the ways they discuss things is flawed, but

1299
01:15:50,920 --> 01:15:56,200
Speaker 1: it's it's it's good major suffering for no reason. She's

1300
01:15:56,200 --> 01:16:00,160
Speaker 1: suffering because we're not talking to her about the act

1301
01:16:00,160 --> 01:16:01,880
Speaker 1: that our attention is pointed at each other and not

1302
01:16:02,040 --> 01:16:04,920
Speaker 1: at the dog. And it's it's my fault because I

1303
01:16:05,000 --> 01:16:08,360
Speaker 1: spoil her and this is the result. Don't spoil your dog,

1304
01:16:08,439 --> 01:16:12,519
Speaker 1: ignore them, ignore your dogs. But but they talk about

1305
01:16:12,600 --> 01:16:15,440
Speaker 1: at that lunch, like how their friend died by suicide,

1306
01:16:15,520 --> 01:16:18,120
Speaker 1: and yeah, like I forget which character is, but one

1307
01:16:18,120 --> 01:16:20,360
Speaker 1: says why do you think she did it? And then

1308
01:16:21,040 --> 01:16:25,280
Speaker 1: they discuss it, which it is not a laser focused

1309
01:16:25,400 --> 01:16:29,200
Speaker 1: perfect discussion of mental health, um, but it is. It

1310
01:16:29,360 --> 01:16:32,360
Speaker 1: is a discussion that realistically, these women would have had.

1311
01:16:33,080 --> 01:16:36,160
Speaker 1: I wish that there was kind of a more defining

1312
01:16:36,280 --> 01:16:38,320
Speaker 1: like this is where the movie stands on this issue,

1313
01:16:38,360 --> 01:16:41,120
Speaker 1: the way it takes very strong stands on other things.

1314
01:16:41,760 --> 01:16:45,320
Speaker 1: But again, the fact that there is a discussion at all,

1315
01:16:45,560 --> 01:16:48,160
Speaker 1: even if it is definitely flawed, I was surprised that

1316
01:16:48,240 --> 01:16:51,960
Speaker 1: that discussion was even had. And then again because this

1317
01:16:52,560 --> 01:16:55,160
Speaker 1: woman's death is used as a plot point pretty I

1318
01:16:55,200 --> 01:16:59,040
Speaker 1: mean like pretty transparently. The only response to why do

1319
01:16:59,160 --> 01:17:02,479
Speaker 1: you think she did it? Was Goldie Han basically starting

1320
01:17:02,520 --> 01:17:04,880
Speaker 1: to form the First Wives Club, where she's like, well,

1321
01:17:04,960 --> 01:17:06,880
Speaker 1: she probably gave him the best years of her life,

1322
01:17:07,040 --> 01:17:10,000
Speaker 1: sacrificed her youth, always put herself last to bolster his ego,

1323
01:17:10,120 --> 01:17:12,680
Speaker 1: his drive, his ambition, and just as her dignity was

1324
01:17:12,720 --> 01:17:15,080
Speaker 1: hanging by a thread, he just lobbed it off by

1325
01:17:15,200 --> 01:17:18,439
Speaker 1: running out with some preschooler I'm guessing. And at that

1326
01:17:18,520 --> 01:17:21,439
Speaker 1: point she's already talking about herself and the discussion of

1327
01:17:21,479 --> 01:17:26,360
Speaker 1: mental health has ended, right, Yeah, that preschooler being Heather

1328
01:17:26,479 --> 01:17:31,720
Speaker 1: lock Layer. So there's there's that incredible m um. Yeah,

1329
01:17:31,760 --> 01:17:34,200
Speaker 1: is there is there anything else that anyone would like

1330
01:17:34,439 --> 01:17:39,759
Speaker 1: to talk about? I love Gonna. I think this movie

1331
01:17:40,479 --> 01:17:46,040
Speaker 1: is not perfect and wonderful. It's it's perfectly flawed. I

1332
01:17:46,160 --> 01:17:50,639
Speaker 1: think for what it misses, its heart is pretty sweet

1333
01:17:51,000 --> 01:17:53,360
Speaker 1: and it's I guess if you saw it, I don't

1334
01:17:53,439 --> 01:17:55,240
Speaker 1: know if you are a divorced or or the child

1335
01:17:55,320 --> 01:17:58,320
Speaker 1: of divorced. This movie just hit certain notes that Like

1336
01:17:58,840 --> 01:18:00,400
Speaker 1: the other thing we haven't even brought up yet is

1337
01:18:00,439 --> 01:18:03,040
Speaker 1: that it's about divorce. Like, you know, I used to

1338
01:18:03,120 --> 01:18:04,639
Speaker 1: go to movies when I was a kid my parents,

1339
01:18:04,680 --> 01:18:06,759
Speaker 1: but when I was seven, and they were about families.

1340
01:18:07,520 --> 01:18:10,439
Speaker 1: So that's like not my picture. Or if it is

1341
01:18:10,479 --> 01:18:16,200
Speaker 1: about divorce, it's like some kind of drama. Like yeah,

1342
01:18:16,560 --> 01:18:18,519
Speaker 1: Mrs staff Fire is another one that's just like so

1343
01:18:18,760 --> 01:18:23,160
Speaker 1: emotionally rought. That's it's so hard. But yeah, so many

1344
01:18:23,200 --> 01:18:26,439
Speaker 1: Hollywood movies are about like the nuclear family unit, and

1345
01:18:26,520 --> 01:18:28,400
Speaker 1: at the nineties started to crack that open, and this

1346
01:18:28,560 --> 01:18:30,400
Speaker 1: movie did it in a way that was like fun

1347
01:18:30,560 --> 01:18:34,280
Speaker 1: and the trajectory of the characters leaving you know, is out,

1348
01:18:34,520 --> 01:18:37,200
Speaker 1: not back into their relationships, except for Bet and I

1349
01:18:37,280 --> 01:18:39,120
Speaker 1: think that her intention was set from the jump of

1350
01:18:39,160 --> 01:18:41,680
Speaker 1: the movie too. After like watching it, once you've seen it,

1351
01:18:41,760 --> 01:18:44,000
Speaker 1: it's like, Wow, they plant their seeds and they all

1352
01:18:44,080 --> 01:18:48,400
Speaker 1: just grow so neatly. Uh Like, but yeah, it's I

1353
01:18:48,439 --> 01:18:50,320
Speaker 1: think it's cool. It's about divorced. I think it's cool.

1354
01:18:50,320 --> 01:18:53,000
Speaker 1: It's a bunch of ladies that aren't. I think it's

1355
01:18:53,040 --> 01:18:59,160
Speaker 1: cool that their peak their peak performances. These are brilliant actors.

1356
01:18:59,400 --> 01:19:04,280
Speaker 1: The whole cast is perfect, and everybody just is having

1357
01:19:04,360 --> 01:19:07,519
Speaker 1: so much fun. And even watching it again with this

1358
01:19:07,640 --> 01:19:09,439
Speaker 1: lens of like hous this movie made. How does it

1359
01:19:09,560 --> 01:19:11,800
Speaker 1: feel to watch? What are these performances? Like? I still

1360
01:19:11,840 --> 01:19:15,639
Speaker 1: slip into like Goldie Hawn's character and Diane Keaton's character

1361
01:19:15,760 --> 01:19:18,120
Speaker 1: is just Diane Keaton, and I'm still like, oh Annie,

1362
01:19:18,280 --> 01:19:22,519
Speaker 1: it's just so fun. It's a fun watch. It's a romp.

1363
01:19:22,760 --> 01:19:25,760
Speaker 1: I really yeah, I really loved this movie. And it

1364
01:19:25,800 --> 01:19:28,120
Speaker 1: gets the same thing wrong that white feminism gets wrong.

1365
01:19:28,400 --> 01:19:33,320
Speaker 1: So yeah, it's very reflective of itself. It's time. Yeah,

1366
01:19:33,439 --> 01:19:35,120
Speaker 1: I can't take you back in time and make you

1367
01:19:35,200 --> 01:19:37,800
Speaker 1: be a divorce kid who sees it. But let me

1368
01:19:37,880 --> 01:19:42,200
Speaker 1: tell you it really hit U. Certain moms really laughed

1369
01:19:42,240 --> 01:19:47,439
Speaker 1: harder than other moms. There there's I had like a

1370
01:19:47,520 --> 01:19:50,840
Speaker 1: few quick last things. The way the movie ends of

1371
01:19:51,000 --> 01:19:54,920
Speaker 1: the Three First Wives, it is suggested that Bette Midler

1372
01:19:55,080 --> 01:19:58,080
Speaker 1: and her husband that scene that shall not be named

1373
01:19:58,280 --> 01:20:01,360
Speaker 1: where they are probably gonna get back together, they danced together.

1374
01:20:01,479 --> 01:20:04,120
Speaker 1: And when that happened, I was like, oh no, everyone's

1375
01:20:04,160 --> 01:20:08,720
Speaker 1: not getting back together, right, No, no, no, And then thankfully, mercifully,

1376
01:20:09,120 --> 01:20:11,120
Speaker 1: no one else gets back together. We find out that

1377
01:20:11,160 --> 01:20:16,200
Speaker 1: Goldie Hawn has a younger boyfriend, amazing, and that that

1378
01:20:16,479 --> 01:20:20,040
Speaker 1: great like Diane Keaton voiceover where she was like, my husband,

1379
01:20:20,200 --> 01:20:22,360
Speaker 1: you know, said he had changed and he wanted to

1380
01:20:22,439 --> 01:20:25,000
Speaker 1: come back and I told him to go to hell,

1381
01:20:25,360 --> 01:20:29,640
Speaker 1: and it was great. Yeah. I just I wish that

1382
01:20:29,680 --> 01:20:33,280
Speaker 1: Bette Miller had just taken the business. But you know what,

1383
01:20:33,760 --> 01:20:36,920
Speaker 1: fine one for three ain't bad. You need a morty too,

1384
01:20:37,240 --> 01:20:39,280
Speaker 1: because men, as much as I love to admit it,

1385
01:20:39,400 --> 01:20:44,040
Speaker 1: have feelings like and uh like, if men can't process

1386
01:20:44,240 --> 01:20:48,600
Speaker 1: what they're experiencing, then we're perpetually fucked. Like part of

1387
01:20:48,880 --> 01:20:52,680
Speaker 1: what we'd ask men to do is fully have their emotions.

1388
01:20:53,240 --> 01:20:56,879
Speaker 1: So if Morty did go through a midlife crisis, panicked,

1389
01:20:57,040 --> 01:20:59,160
Speaker 1: didn't know what to do with his life, you know

1390
01:20:59,360 --> 01:21:01,680
Speaker 1: who knows. You can apply whatever you want on to

1391
01:21:01,840 --> 01:21:04,240
Speaker 1: his character. Was he feeling pressure, was he feeling failure?

1392
01:21:04,360 --> 01:21:07,519
Speaker 1: Was he feeling inadequacy? He expressed it. He made mistakes

1393
01:21:08,000 --> 01:21:11,040
Speaker 1: and then he made a choice to walk back those mistakes.

1394
01:21:11,080 --> 01:21:13,680
Speaker 1: Like Shelly doesn't dump him, he like leaves her in

1395
01:21:13,760 --> 01:21:16,760
Speaker 1: the lamborgaining that he's willing to walk away from Men

1396
01:21:16,880 --> 01:21:18,720
Speaker 1: need to make those journeys too, and the other two

1397
01:21:18,760 --> 01:21:22,080
Speaker 1: men do not. They remain shitty characters. So I think

1398
01:21:22,120 --> 01:21:23,960
Speaker 1: it was cool to give whether or not that should

1399
01:21:24,000 --> 01:21:25,920
Speaker 1: have gotten back together with him. It can be an

1400
01:21:25,960 --> 01:21:30,000
Speaker 1: open question for whatever your own familial issues project onto

1401
01:21:30,080 --> 01:21:33,760
Speaker 1: that scene. You can apply your own filter. But I

1402
01:21:33,840 --> 01:21:35,599
Speaker 1: was really glad that one of the male characters had

1403
01:21:35,680 --> 01:21:38,000
Speaker 1: to come face to face with his mistakes. And then

1404
01:21:38,280 --> 01:21:41,280
Speaker 1: the trajectory is that he's going to be dealing with

1405
01:21:41,439 --> 01:21:43,200
Speaker 1: that that he left, that he's going to have to

1406
01:21:43,280 --> 01:21:46,519
Speaker 1: rebuild his home, and it's not just on Bette Midler.

1407
01:21:47,000 --> 01:21:48,559
Speaker 1: Like I don't know, I thought that was a cool

1408
01:21:48,720 --> 01:21:51,320
Speaker 1: art for old Moore. True, I always, I mean, I'm

1409
01:21:51,320 --> 01:21:55,240
Speaker 1: always saying that toxic masculinity. One of the things that

1410
01:21:55,360 --> 01:21:57,920
Speaker 1: it stems from is men not being able to feel,

1411
01:21:58,080 --> 01:22:01,120
Speaker 1: process express their emotion and such a huge pressure on

1412
01:22:01,200 --> 01:22:04,360
Speaker 1: them to not And in this movie, like there's pressure

1413
01:22:04,400 --> 01:22:06,800
Speaker 1: on Morty to not have any feelings. He's supposed to

1414
01:22:06,840 --> 01:22:08,960
Speaker 1: have this perfect plastic bride. Why isn't he happy with

1415
01:22:09,080 --> 01:22:10,960
Speaker 1: his money in this new young he got all the

1416
01:22:11,040 --> 01:22:14,880
Speaker 1: toys that he was supposed to have and he's not happy. Yeah,

1417
01:22:14,960 --> 01:22:17,000
Speaker 1: I don't know that's a necessary arc. If there aren't

1418
01:22:17,040 --> 01:22:20,280
Speaker 1: more Marty's Morty's, if they're all just the other two guys,

1419
01:22:20,439 --> 01:22:24,280
Speaker 1: then there's no point in ever trying, you know. Does

1420
01:22:24,320 --> 01:22:26,519
Speaker 1: that also mean that that scene at the Animal Sarah

1421
01:22:26,600 --> 01:22:31,680
Speaker 1: Jessica Parker in the Lamborghini Victor Garber like, yeah, they're

1422
01:22:31,680 --> 01:22:33,760
Speaker 1: fucking but then like that's that was his limb, that

1423
01:22:33,840 --> 01:22:37,959
Speaker 1: was his Lamborghi. Yes, they sold the Lamborghini a Christie's

1424
01:22:38,120 --> 01:22:43,040
Speaker 1: and fucking made Sarah Jessica Parker by that's a great detail.

1425
01:22:44,160 --> 01:22:48,320
Speaker 1: The last thing was what their end game is because

1426
01:22:48,600 --> 01:22:50,479
Speaker 1: with the first wives called, I'm like, okay, they have

1427
01:22:50,600 --> 01:22:52,880
Speaker 1: one job and then where does this business. Go from

1428
01:22:52,880 --> 01:22:57,200
Speaker 1: there and opening the women's shelter for in in Cynthia's name,

1429
01:22:58,000 --> 01:23:02,040
Speaker 1: while of very bougie white feminist because they started a

1430
01:23:02,120 --> 01:23:06,679
Speaker 1: women shelter in Manhattan, Um, which is helpful to women

1431
01:23:06,840 --> 01:23:09,599
Speaker 1: exactly like them, not to I mean, not to knock

1432
01:23:09,680 --> 01:23:11,840
Speaker 1: any women shelter that's opening. But it's like that's a

1433
01:23:11,960 --> 01:23:15,439
Speaker 1: very this movie's feminism version of opening a women's shelter

1434
01:23:16,080 --> 01:23:20,360
Speaker 1: with an opulent party with Avona Trump. It's like, I

1435
01:23:20,520 --> 01:23:24,479
Speaker 1: don't love it. I do love the intention, and I

1436
01:23:24,640 --> 01:23:27,200
Speaker 1: did love that that that the story at very least

1437
01:23:27,320 --> 01:23:30,640
Speaker 1: Um says, Okay, now that they've completed this task, you

1438
01:23:30,680 --> 01:23:32,920
Speaker 1: know they've gotten their revenge, and then they move on

1439
01:23:33,120 --> 01:23:36,640
Speaker 1: to helping other people. That's cool. I like that, Like

1440
01:23:36,800 --> 01:23:39,320
Speaker 1: it's you rarely see that at the end of a

1441
01:23:39,400 --> 01:23:41,720
Speaker 1: revenge movie. You see the revenge be gotten and then

1442
01:23:41,760 --> 01:23:44,400
Speaker 1: you're like whoo who but they but you see that

1443
01:23:44,479 --> 01:23:47,920
Speaker 1: they're starting the next chapter. And I appreciate that. One thing.

1444
01:23:48,000 --> 01:23:52,240
Speaker 1: I don't do they ever go after Cynthia's husband. No,

1445
01:23:53,080 --> 01:23:57,439
Speaker 1: they should, oh yeah, oh yeah, I wonder if they

1446
01:23:57,479 --> 01:24:00,680
Speaker 1: make him give money or something. I'm in the and

1447
01:24:00,920 --> 01:24:03,720
Speaker 1: I'm just reading I read a piece on the adaptation

1448
01:24:04,040 --> 01:24:06,160
Speaker 1: in the book they do. In the book they go

1449
01:24:06,240 --> 01:24:11,040
Speaker 1: after him for insider trading, but in the movie it's not.

1450
01:24:11,200 --> 01:24:13,280
Speaker 1: I mean, but I think that Cynthia has a significantly

1451
01:24:13,320 --> 01:24:15,439
Speaker 1: smaller presence in the movie than she does in the book.

1452
01:24:15,560 --> 01:24:18,400
Speaker 1: I wouldn't be surprised, you know. Also at the very

1453
01:24:18,560 --> 01:24:22,680
Speaker 1: end um, when Sara Jessic Parker's character is being hit

1454
01:24:22,760 --> 01:24:26,640
Speaker 1: on by Victor Garber, she says something to him like, oh,

1455
01:24:26,760 --> 01:24:29,200
Speaker 1: what's going on in there? A lot of battered women

1456
01:24:29,280 --> 01:24:32,640
Speaker 1: dancing around? Which is it? I guess a joke that

1457
01:24:33,000 --> 01:24:37,320
Speaker 1: probably didn't need to be in the movie, but it

1458
01:24:37,400 --> 01:24:40,800
Speaker 1: makes her look like makes I think it's gonna play

1459
01:24:40,840 --> 01:24:43,280
Speaker 1: of shitty character. You have to be shitty. I did.

1460
01:24:43,400 --> 01:24:46,680
Speaker 1: I did giggle at how insensitive that was of her,

1461
01:24:46,760 --> 01:24:50,439
Speaker 1: because it does make sense that did two shittiest people

1462
01:24:50,520 --> 01:24:52,880
Speaker 1: and then they would end up together. I don't know.

1463
01:24:52,920 --> 01:24:55,040
Speaker 1: I didn't dislike that. No, I find myself in a

1464
01:24:55,120 --> 01:24:57,240
Speaker 1: weird I am open to being wrong about this, or

1465
01:24:57,280 --> 01:25:01,759
Speaker 1: at least a subjectively wrong. I often I am fond

1466
01:25:01,800 --> 01:25:05,439
Speaker 1: of characters people hate because they're bad people, and I'm like, yeah,

1467
01:25:05,920 --> 01:25:09,880
Speaker 1: they're bad, They're not a good person, there's character, even

1468
01:25:09,920 --> 01:25:12,840
Speaker 1: if there are moves towards redemption. They are bad and

1469
01:25:12,920 --> 01:25:15,160
Speaker 1: they will remain bad. They've done nothing to tell you

1470
01:25:15,280 --> 01:25:19,280
Speaker 1: that they are good. I loved how much Three Billboards

1471
01:25:19,320 --> 01:25:22,680
Speaker 1: split the world of new nerdy movie watchers. I fell

1472
01:25:22,760 --> 01:25:24,560
Speaker 1: in the camp who loved it, and I was in

1473
01:25:24,640 --> 01:25:27,080
Speaker 1: a theater that laughed really hard at all the things

1474
01:25:27,160 --> 01:25:28,920
Speaker 1: that I thought were funny in that movie. And I

1475
01:25:29,160 --> 01:25:32,120
Speaker 1: love Sam Rockwell's character because he's a piece of ship

1476
01:25:32,800 --> 01:25:36,760
Speaker 1: and he's I love seeing this unrepented, like it's not

1477
01:25:36,840 --> 01:25:41,120
Speaker 1: even unrepentant, because he's willingly unaware. Like that's a bad person.

1478
01:25:41,600 --> 01:25:43,400
Speaker 1: We are supposed to not like him. And the fact

1479
01:25:43,439 --> 01:25:45,640
Speaker 1: that he doesn't get his come up and is on us,

1480
01:25:45,760 --> 01:25:47,840
Speaker 1: that's like a reflection of us. We don't do that

1481
01:25:48,000 --> 01:25:50,960
Speaker 1: to bad people. We let them thrive, they continue to flourish,

1482
01:25:51,040 --> 01:25:53,519
Speaker 1: they just go on on their rampage of vengeance. Like

1483
01:25:53,640 --> 01:25:56,600
Speaker 1: that's how that movie sets off. And I totally get, like,

1484
01:25:57,080 --> 01:25:59,439
Speaker 1: how disgusting that a cop gets to be this evil

1485
01:25:59,479 --> 01:26:01,519
Speaker 1: in a movie. I'm like, it's so real. That is

1486
01:26:01,600 --> 01:26:04,760
Speaker 1: honestly accurate. And if that character relented and gave you

1487
01:26:04,800 --> 01:26:07,479
Speaker 1: a little one trickle a tear, it's the cheapest ship.

1488
01:26:08,280 --> 01:26:12,200
Speaker 1: It's like, you know, there's it's there's better performances than others.

1489
01:26:12,240 --> 01:26:13,960
Speaker 1: They don't know if there's a straight line between say

1490
01:26:14,040 --> 01:26:17,600
Speaker 1: or Jessica Parker's performance in this movie and three billboards.

1491
01:26:17,960 --> 01:26:23,639
Speaker 1: Uh found it one converted book that didn't nobody thought

1492
01:26:23,680 --> 01:26:25,840
Speaker 1: would make money that was only four old ladies, and

1493
01:26:25,960 --> 01:26:28,080
Speaker 1: one converted play that nobody thought would make money that

1494
01:26:28,160 --> 01:26:30,320
Speaker 1: was pretty much just for old ladies to make the

1495
01:26:30,400 --> 01:26:33,800
Speaker 1: mad But uh, yeah, I love a character that's really

1496
01:26:33,840 --> 01:26:36,080
Speaker 1: good at being bad, And I would be disappointed if

1497
01:26:36,120 --> 01:26:38,720
Speaker 1: Shelley said anything less shitty. But it is shitty, Like

1498
01:26:38,800 --> 01:26:41,920
Speaker 1: what an awful thing to say? I love it? Yeah,

1499
01:26:42,360 --> 01:26:44,800
Speaker 1: I love it. Hey does this movie pass the back

1500
01:26:44,880 --> 01:26:48,840
Speaker 1: to test the chance? Yeah? It does? Yeah, truly does.

1501
01:26:50,000 --> 01:26:53,160
Speaker 1: Anna and her daughter Chris, Anna and her mom Anna

1502
01:26:53,320 --> 01:26:57,800
Speaker 1: Brenda Alice. I'll talk to each other in various combinations. Um,

1503
01:26:58,200 --> 01:27:01,040
Speaker 1: Chris never talks about anyone she's talking and only talks

1504
01:27:01,040 --> 01:27:06,439
Speaker 1: about her dad like she's totally plot motivated character. Yeah.

1505
01:27:06,560 --> 01:27:08,920
Speaker 1: I think it's interesting these ladies relationships with the men

1506
01:27:09,000 --> 01:27:11,160
Speaker 1: in their life and how much it affects their decision making,

1507
01:27:11,280 --> 01:27:13,120
Speaker 1: Like you were saying that that they are really tied

1508
01:27:13,160 --> 01:27:15,800
Speaker 1: to the men's decisions in their lives, and the movie

1509
01:27:15,880 --> 01:27:20,320
Speaker 1: is kind of about them discovering agency. Uh. But I

1510
01:27:20,479 --> 01:27:25,840
Speaker 1: love these characters. I think they are unique. There's time

1511
01:27:25,920 --> 01:27:29,960
Speaker 1: stamped in both sixty nine and in ninety six, and

1512
01:27:30,080 --> 01:27:32,920
Speaker 1: I like, I'm still very fond of them. I still

1513
01:27:33,080 --> 01:27:36,200
Speaker 1: am really fond of like Bette Midler's character reminding me

1514
01:27:36,280 --> 01:27:38,360
Speaker 1: of my mom and being in a movie. I'm still

1515
01:27:38,560 --> 01:27:41,479
Speaker 1: like tickled by Goldie Hawn being a movie star, who's

1516
01:27:41,520 --> 01:27:43,720
Speaker 1: a movie star in a movie talking about being a

1517
01:27:43,800 --> 01:27:46,360
Speaker 1: movie star and all the shitty things we do to

1518
01:27:46,479 --> 01:27:52,000
Speaker 1: movie stars. And Diane Keaton's perfect. She's just ridiculously perfect

1519
01:27:52,080 --> 01:27:54,600
Speaker 1: in this movie. So the three of them together, I

1520
01:27:54,720 --> 01:27:57,639
Speaker 1: just it's dynamite. Don't if you haven't seen First Wives Club,

1521
01:27:57,640 --> 01:28:00,679
Speaker 1: I'd be surprised. But if you haven't get it, it's yeah,

1522
01:28:01,439 --> 01:28:03,560
Speaker 1: it's it's more of a hoot than I remembered. I

1523
01:28:03,640 --> 01:28:07,880
Speaker 1: laughed harder than I remember. It's the jokes land more

1524
01:28:07,960 --> 01:28:09,840
Speaker 1: often than they don't, and when they don't, they sud

1525
01:28:09,920 --> 01:28:12,439
Speaker 1: in this way that like resonates how good the rest

1526
01:28:12,520 --> 01:28:15,160
Speaker 1: were or how far we've come. You know, yeah, and

1527
01:28:15,320 --> 01:28:18,080
Speaker 1: I mean and the end, the end is genuinely very

1528
01:28:18,160 --> 01:28:23,439
Speaker 1: affecting the dance. Oh man, if you're crying in that crying.

1529
01:28:24,280 --> 01:28:27,120
Speaker 1: I have to wear sunglasses concerts because people singing makes

1530
01:28:27,160 --> 01:28:30,160
Speaker 1: me cry. So I'm stuck from the jump, like I

1531
01:28:30,280 --> 01:28:32,960
Speaker 1: cry the first time they sing and they and then

1532
01:28:33,240 --> 01:28:36,360
Speaker 1: by the end, Yeah, it's the sweetest. If you don't

1533
01:28:36,400 --> 01:28:38,560
Speaker 1: want to watch The First Wives Club, fine, but do

1534
01:28:38,840 --> 01:28:41,519
Speaker 1: go on YouTube and watch the closing scene, which you

1535
01:28:41,600 --> 01:28:44,840
Speaker 1: can do, and it's worth it. Hey, let's write the

1536
01:28:44,880 --> 01:28:48,080
Speaker 1: movie on our nipple scales zero to five nipples based

1537
01:28:48,120 --> 01:28:53,360
Speaker 1: on its representation of women. M This one's a bit

1538
01:28:53,439 --> 01:28:56,880
Speaker 1: tricky because there's a lot that it does right. There's

1539
01:28:56,880 --> 01:29:02,200
Speaker 1: a lot that it does to the stage for more

1540
01:29:02,280 --> 01:29:09,000
Speaker 1: inclusive and intersectional feminist texts to come out later. I

1541
01:29:09,080 --> 01:29:11,519
Speaker 1: wonder what wouldn't have been made if that thirty million

1542
01:29:11,560 --> 01:29:14,000
Speaker 1: dollars movie hadn't made a hundred and eighty million dollars.

1543
01:29:14,280 --> 01:29:16,120
Speaker 1: I wonder what you could draw a straight line too?

1544
01:29:16,360 --> 01:29:18,000
Speaker 1: Sorry I did interrupt with that, was like, wow, I

1545
01:29:18,200 --> 01:29:22,160
Speaker 1: want that's genuine wonder, you know. So it's you know,

1546
01:29:22,280 --> 01:29:27,320
Speaker 1: a good a good stepping stone, but also okay, thank you,

1547
01:29:28,200 --> 01:29:32,200
Speaker 1: Thank you for your guys women helping other women beautiful.

1548
01:29:32,560 --> 01:29:39,160
Speaker 1: I felt like where the roof was, I have no help.

1549
01:29:39,800 --> 01:29:45,760
Speaker 1: I wanted to just like where I was at appreciate it. Um,

1550
01:29:46,439 --> 01:29:48,360
Speaker 1: you know, just wow, I'm coming up with this all

1551
01:29:48,439 --> 01:29:49,840
Speaker 1: by myself, but I think I'm going to give it

1552
01:29:49,960 --> 01:29:56,160
Speaker 1: three nippos. Incredible. But yeah, I mean, you know, as

1553
01:29:56,240 --> 01:30:01,600
Speaker 1: we've discussed, there's three women who are middle aged. We

1554
01:30:02,080 --> 01:30:04,639
Speaker 1: never get to see women like that have their own

1555
01:30:04,760 --> 01:30:09,120
Speaker 1: story in a movie. Um, they're seeking revenge on their

1556
01:30:09,520 --> 01:30:13,680
Speaker 1: on the shitty men in their lives. That is cool. Um,

1557
01:30:13,880 --> 01:30:17,960
Speaker 1: but yeah, it is a very like hyper privileged white

1558
01:30:18,040 --> 01:30:23,320
Speaker 1: feminism story that excludes a lot of women. I do

1559
01:30:23,560 --> 01:30:27,639
Speaker 1: like the way the Chris character and queerness is handled

1560
01:30:27,680 --> 01:30:29,720
Speaker 1: for the most part. That was I think she's my

1561
01:30:29,760 --> 01:30:33,519
Speaker 1: favorite character. So that said, I will give all three

1562
01:30:33,800 --> 01:30:38,920
Speaker 1: of my nipples to Chris Annie's daughter. I do three

1563
01:30:38,960 --> 01:30:41,960
Speaker 1: as well. Wow, incredible. I had no idea you were

1564
01:30:42,000 --> 01:30:45,160
Speaker 1: going to do that. I will, you will? You always

1565
01:30:45,200 --> 01:30:47,479
Speaker 1: go first, so you never you you never get to

1566
01:30:47,560 --> 01:30:49,439
Speaker 1: You're always setting the tone, and I'm like, well let's

1567
01:30:49,479 --> 01:30:54,120
Speaker 1: mixed things up. Um okay, So yeah, I I I

1568
01:30:54,360 --> 01:30:56,840
Speaker 1: really really really enjoyed this movie, and I think it

1569
01:30:57,000 --> 01:31:00,920
Speaker 1: is like it seems like like you're saying, Caitlin Um

1570
01:31:01,600 --> 01:31:05,600
Speaker 1: that it's financial success like that. Unfortunately, we you know,

1571
01:31:05,840 --> 01:31:09,640
Speaker 1: we live in a society, right, and so so you know,

1572
01:31:09,800 --> 01:31:12,200
Speaker 1: what is financially successful will inform what gets made in

1573
01:31:12,240 --> 01:31:15,880
Speaker 1: the future. And so a movie with older women, um,

1574
01:31:16,520 --> 01:31:19,479
Speaker 1: though they are very privileged older women, but that doing

1575
01:31:19,560 --> 01:31:22,800
Speaker 1: well does pave the way for a book club for

1576
01:31:23,160 --> 01:31:28,320
Speaker 1: another movie about rich that Diane Keaton is in. I

1577
01:31:28,360 --> 01:31:30,400
Speaker 1: almost got kicked out of that screen. I was with you.

1578
01:31:30,640 --> 01:31:33,400
Speaker 1: Oh yeah, I was. Michael and I were pretty drunk.

1579
01:31:33,439 --> 01:31:35,880
Speaker 1: I also took lots of cancel wine into that movie.

1580
01:31:36,040 --> 01:31:40,280
Speaker 1: It was it's like, what are you going to do for?

1581
01:31:40,760 --> 01:31:42,600
Speaker 1: You know? And then someone hushed me. I was like,

1582
01:31:42,680 --> 01:31:46,080
Speaker 1: are you fun? Are you kidding me? Are friendless? There?

1583
01:31:46,520 --> 01:31:48,920
Speaker 1: I'm like, go watch Grace and Frankie at your house

1584
01:31:49,000 --> 01:31:51,599
Speaker 1: if this is how you feel like, I came here

1585
01:31:51,680 --> 01:31:57,840
Speaker 1: to be annoying. But anyways, first off, Club, Yeah, I mean,

1586
01:31:57,880 --> 01:32:01,280
Speaker 1: I I think it does have a place in history

1587
01:32:01,360 --> 01:32:04,920
Speaker 1: for paving the way for more inclusive movies. Um. I

1588
01:32:05,439 --> 01:32:09,320
Speaker 1: appreciate the swings it takes at social commentaries. Some of

1589
01:32:09,400 --> 01:32:12,800
Speaker 1: them really hit, others of them definitely miss in the

1590
01:32:12,920 --> 01:32:17,320
Speaker 1: modern sense. But the amount of issues that this movie

1591
01:32:17,479 --> 01:32:21,720
Speaker 1: takes on, whether they address it successfully or not, is

1592
01:32:21,880 --> 01:32:25,360
Speaker 1: kind of staggering. I mean, like we're talking about body image,

1593
01:32:25,400 --> 01:32:28,920
Speaker 1: we're talking about mental health, we're talking about queerness, we're

1594
01:32:28,960 --> 01:32:32,559
Speaker 1: talking about patriarchy, we're talking about age, like we're talking

1595
01:32:32,560 --> 01:32:35,519
Speaker 1: about money. It's like there is there is so much

1596
01:32:35,920 --> 01:32:38,560
Speaker 1: that is even. I mean, just seeing a movie this

1597
01:32:38,920 --> 01:32:43,440
Speaker 1: big and successful even attempt that many things is pretty impressive.

1598
01:32:43,520 --> 01:32:46,960
Speaker 1: And the performances are so good and I cried. And

1599
01:32:47,400 --> 01:32:51,280
Speaker 1: Victor Garber is such a dick is awful. It's so good.

1600
01:32:51,360 --> 01:32:53,960
Speaker 1: The way he's smiling at the conference table when they're

1601
01:32:53,960 --> 01:32:58,640
Speaker 1: talking divorce. Gee, I was, although there was okay in

1602
01:32:58,800 --> 01:33:01,759
Speaker 1: his first scene. In his first scene, he does say babe,

1603
01:33:02,040 --> 01:33:05,479
Speaker 1: and I was like, like, I I felt that, um.

1604
01:33:05,720 --> 01:33:08,920
Speaker 1: Also at the child molestation reveal didn't work for me,

1605
01:33:09,920 --> 01:33:14,160
Speaker 1: But if that is such a nineties reveal, um yeah,

1606
01:33:14,360 --> 01:33:17,280
Speaker 1: and and I do I still feel kind of like

1607
01:33:18,120 --> 01:33:20,720
Speaker 1: I just don't give the writers of this movie enough

1608
01:33:20,760 --> 01:33:23,120
Speaker 1: credit to think that they were giving they were doing

1609
01:33:23,240 --> 01:33:26,560
Speaker 1: subtext on how they wrote the younger female characters but

1610
01:33:26,720 --> 01:33:28,720
Speaker 1: that's just I don't know. That's that's still something I

1611
01:33:28,760 --> 01:33:30,439
Speaker 1: got stuck on. But other than that, I mean, I

1612
01:33:30,720 --> 01:33:32,880
Speaker 1: think this is an amazing movie. I look forward to

1613
01:33:32,920 --> 01:33:35,479
Speaker 1: watching it again. I hope people watch it for years

1614
01:33:35,520 --> 01:33:39,479
Speaker 1: to come. Also, you know, divorce visibility that didn't happen

1615
01:33:39,600 --> 01:33:43,599
Speaker 1: very much. Three nips just equal the one to three

1616
01:33:43,880 --> 01:33:48,680
Speaker 1: Goldie Bet Diane nipped for one. I'm passing out a

1617
01:33:48,760 --> 01:33:52,400
Speaker 1: fourth nip, but it's because I saw it then, and

1618
01:33:52,479 --> 01:33:56,280
Speaker 1: I think being fifteen and having elements of the storyline

1619
01:33:56,360 --> 01:33:59,280
Speaker 1: be close to my life except for the money part. Uh.

1620
01:34:00,000 --> 01:34:04,200
Speaker 1: It it felt to me way better than the movies

1621
01:34:04,280 --> 01:34:07,080
Speaker 1: of its era at handling what it was taking on.

1622
01:34:07,240 --> 01:34:10,400
Speaker 1: And it did take on so much. And I watched

1623
01:34:10,400 --> 01:34:12,519
Speaker 1: it at a time when movies were still like real,

1624
01:34:13,000 --> 01:34:15,200
Speaker 1: like I was in them and felt them, and like

1625
01:34:15,360 --> 01:34:17,400
Speaker 1: the story washed over me, and I wasn't watching for

1626
01:34:17,479 --> 01:34:20,439
Speaker 1: shots and angles and like thinking about the screenwriter reading

1627
01:34:20,479 --> 01:34:23,599
Speaker 1: the credits at all. Uh. It was crazy to see

1628
01:34:23,640 --> 01:34:27,680
Speaker 1: that life on screen then, and it's fun to watch now.

1629
01:34:27,840 --> 01:34:30,000
Speaker 1: And I think it's crazy that a movie that starts

1630
01:34:30,200 --> 01:34:34,400
Speaker 1: with a dear friend's death and is focused on divorce

1631
01:34:35,240 --> 01:34:38,439
Speaker 1: is like in my catalog of fun movies to watch.

1632
01:34:39,160 --> 01:34:42,160
Speaker 1: It's cool to see life be normal and crazy and

1633
01:34:42,360 --> 01:34:44,840
Speaker 1: stupid in the midst of all the big changes like

1634
01:34:44,960 --> 01:34:48,200
Speaker 1: death and divorce, because life is those ways, and those

1635
01:34:48,240 --> 01:34:50,559
Speaker 1: women had to figure out how to be themselves, how

1636
01:34:50,640 --> 01:34:52,519
Speaker 1: to be wives, how to be ex wives, how to

1637
01:34:52,600 --> 01:34:55,560
Speaker 1: be friends, how to lose someone, how to grieve, and

1638
01:34:55,640 --> 01:34:58,560
Speaker 1: they all did it like a hot mess. Um. I

1639
01:34:58,600 --> 01:35:00,720
Speaker 1: appreciate that they got to be mess I just think

1640
01:35:00,760 --> 01:35:02,840
Speaker 1: that there were There's enough going on in night. I'm

1641
01:35:02,880 --> 01:35:05,280
Speaker 1: reaching back. I'm trying. I climbed in my time travel

1642
01:35:05,360 --> 01:35:09,640
Speaker 1: machine and in four nipples for nipples, an extra one

1643
01:35:09,720 --> 01:35:12,959
Speaker 1: for christ the lesbian, and then one for all the ladies. Awesome,

1644
01:35:13,680 --> 01:35:17,880
Speaker 1: oh man, Caitly so much. I have fun, And every

1645
01:35:17,960 --> 01:35:19,760
Speaker 1: time I get to grace this seat, I feel like

1646
01:35:19,840 --> 01:35:22,120
Speaker 1: I tortured you with book Cassidy and The Sunday Kid,

1647
01:35:22,160 --> 01:35:23,880
Speaker 1: a movie I love, and then you tortured me with

1648
01:35:23,960 --> 01:35:26,600
Speaker 1: the Notebook, and I yelled about it a lot. But

1649
01:35:26,720 --> 01:35:28,479
Speaker 1: it is nice to be back. I think every this

1650
01:35:28,640 --> 01:35:31,360
Speaker 1: is just such a great movie. Kevilly, my sweet lady,

1651
01:35:31,400 --> 01:35:37,080
Speaker 1: was very excited because she loves this movie, and Kelly

1652
01:35:37,160 --> 01:35:39,400
Speaker 1: loves movies like who's afraid of Virginia Woolf. She likes

1653
01:35:39,439 --> 01:35:42,280
Speaker 1: people yelling at each other after drinking and this movie

1654
01:35:42,400 --> 01:35:44,759
Speaker 1: is like full of it. So just all the hot reads.

1655
01:35:44,880 --> 01:35:49,799
Speaker 1: Lot's a little line, where can people follow you online?

1656
01:35:49,840 --> 01:35:52,120
Speaker 1: And what would you like to plug? Oh on the online?

1657
01:35:52,160 --> 01:35:54,559
Speaker 1: I am at robot Caitlin on Twitter, I am at

1658
01:35:54,640 --> 01:35:58,920
Speaker 1: Caitlin is Tall on Instagram, Caitlin with a sea and

1659
01:35:59,000 --> 01:36:03,960
Speaker 1: all proper vowel snow wise. Uh. And I'm very excited

1660
01:36:04,040 --> 01:36:06,280
Speaker 1: that I have an album coming out on August secod.

1661
01:36:06,400 --> 01:36:08,599
Speaker 1: It's called Major, named after my dog, who you might

1662
01:36:08,680 --> 01:36:12,519
Speaker 1: have heard whining earlier in this recording. Uh. She It's

1663
01:36:12,640 --> 01:36:15,360
Speaker 1: I'm just very proud of it. It's good for all ages.

1664
01:36:15,520 --> 01:36:18,439
Speaker 1: There ain't no dirty words on it, which is kind

1665
01:36:18,479 --> 01:36:21,040
Speaker 1: of silly and exciting. I made a clean album for

1666
01:36:21,160 --> 01:36:23,439
Speaker 1: financial gain. I will be honest with you on this

1667
01:36:23,560 --> 01:36:27,639
Speaker 1: podcast that it was a financially motivated choice. I'm proud

1668
01:36:27,680 --> 01:36:30,160
Speaker 1: of the material. I think it's very good and warm,

1669
01:36:30,280 --> 01:36:34,160
Speaker 1: and also I wanted to do that and uh, I

1670
01:36:34,200 --> 01:36:36,439
Speaker 1: didn't really think about this sweet part. But right after

1671
01:36:36,479 --> 01:36:38,560
Speaker 1: the recording, a comic who was in the audience, a

1672
01:36:38,600 --> 01:36:41,439
Speaker 1: Buddy High Ben Kalina was. It was like midnight and

1673
01:36:41,720 --> 01:36:43,720
Speaker 1: they nobody had noticed that it was clean, which I

1674
01:36:43,800 --> 01:36:45,680
Speaker 1: was very relieved by. But when I mentioned it to

1675
01:36:45,760 --> 01:36:47,639
Speaker 1: the buddies I was talking to, my friend Ben pulled

1676
01:36:47,640 --> 01:36:50,519
Speaker 1: out his phone and texted his sister at midnight, like, hey,

1677
01:36:50,640 --> 01:36:53,479
Speaker 1: there's an album coming out that his cousin can listen to.

1678
01:36:54,120 --> 01:36:56,360
Speaker 1: Is a thirteen year old cousin who loves stand up

1679
01:36:56,880 --> 01:37:00,280
Speaker 1: and like isn't afraid of pish it or um, but

1680
01:37:00,400 --> 01:37:03,080
Speaker 1: also doesn't necessarily want to listen to that in the car.

1681
01:37:04,960 --> 01:37:07,080
Speaker 1: Uh So it occurred to me, it clicked that, like

1682
01:37:07,280 --> 01:37:09,640
Speaker 1: I made something that you could listen to when I

1683
01:37:09,840 --> 01:37:12,040
Speaker 1: loved stand up the most, when I would listen to

1684
01:37:12,080 --> 01:37:13,960
Speaker 1: all the dirty stuff when nobody was looking. But like

1685
01:37:14,680 --> 01:37:18,000
Speaker 1: it felt really cool, Like again, reach back in and

1686
01:37:18,120 --> 01:37:20,720
Speaker 1: just offer four little nipples, two tiny little kids out there.

1687
01:37:21,280 --> 01:37:23,320
Speaker 1: Uh so that's really cool. So yeah, you can listen

1688
01:37:23,360 --> 01:37:25,400
Speaker 1: with anybody. Um. I mean we've got a lot of

1689
01:37:25,439 --> 01:37:29,280
Speaker 1: listeners who are moms. Yeah, with your kids. If your

1690
01:37:29,320 --> 01:37:32,720
Speaker 1: child is aware of the existence of lesbian relationships, then

1691
01:37:32,840 --> 01:37:36,200
Speaker 1: they are good to go. Um. But yeah, that's it

1692
01:37:36,280 --> 01:37:38,640
Speaker 1: was really fun to record, and I actually listened to it.

1693
01:37:38,720 --> 01:37:40,840
Speaker 1: I never thought i'd listen to and I do you

1694
01:37:40,920 --> 01:37:44,160
Speaker 1: listen to the podcast? Do you listen to yourselves? As recorded?

1695
01:37:44,680 --> 01:37:46,719
Speaker 1: I edit, so I have to. You have to of course,

1696
01:37:46,840 --> 01:37:49,400
Speaker 1: what with the editing? Yeah, make me sound brilliant. Um,

1697
01:37:50,000 --> 01:37:55,040
Speaker 1: I can't listen. It's so hard. I'm like, oh, I'm stupid.

1698
01:37:56,520 --> 01:38:00,360
Speaker 1: I think everyone sound great, so yeah, perfect, But I

1699
01:38:00,439 --> 01:38:02,400
Speaker 1: was pleased with it. I can report having listened that

1700
01:38:02,439 --> 01:38:05,000
Speaker 1: I think it's pretty good. I didn't expect to gush

1701
01:38:05,040 --> 01:38:06,439
Speaker 1: this must about it, but there you go. I'm proud

1702
01:38:06,479 --> 01:38:08,360
Speaker 1: of the cell. I hope you really like it and

1703
01:38:08,479 --> 01:38:11,720
Speaker 1: don't hesitate where it can. People will be able to

1704
01:38:11,800 --> 01:38:14,639
Speaker 1: find it and buy it all over the all the things.

1705
01:38:14,720 --> 01:38:17,200
Speaker 1: It will be on the Spotify, it'll be on Apple Music, um,

1706
01:38:17,600 --> 01:38:20,519
Speaker 1: and anywhere you listen to or buy things digitally will

1707
01:38:20,520 --> 01:38:22,679
Speaker 1: be able to find it. Thank you to my label,

1708
01:38:22,720 --> 01:38:26,840
Speaker 1: Blonde Medicine for making all of that possible. I'm willing

1709
01:38:26,880 --> 01:38:28,760
Speaker 1: to be a shill for any other corporation that will

1710
01:38:28,760 --> 01:38:30,920
Speaker 1: do me papers or pay me, so stump on board.

1711
01:38:32,200 --> 01:38:35,560
Speaker 1: You can also find us on all the places that

1712
01:38:35,680 --> 01:38:39,840
Speaker 1: you find stuff, including on social media, where you can

1713
01:38:39,880 --> 01:38:43,760
Speaker 1: follow us at Pecto cast We've got our Patreon a

1714
01:38:43,880 --> 01:38:47,240
Speaker 1: k A Matreon, which is five dollars a month and

1715
01:38:47,280 --> 01:38:50,640
Speaker 1: you get to bonus episodes every month. Coming up on

1716
01:38:51,040 --> 01:38:55,000
Speaker 1: the patreon is my birthday month, August, Yes, in which

1717
01:38:55,760 --> 01:39:00,439
Speaker 1: we will be doing Jennifer's Body and Freaky Friday, So

1718
01:39:00,600 --> 01:39:04,559
Speaker 1: look forward to those. We've got merch that you can

1719
01:39:04,640 --> 01:39:08,439
Speaker 1: buy at t public dot com, slash the Bechtel Cast, all,

1720
01:39:08,640 --> 01:39:13,000
Speaker 1: all the classics, feminist icon, queer icon, feminism is the

1721
01:39:13,120 --> 01:39:16,280
Speaker 1: law now, et cetera. I have a nipple scale button

1722
01:39:16,360 --> 01:39:20,880
Speaker 1: on my jacket. Oh my good news. Where are you? Yeah?

1723
01:39:20,960 --> 01:39:23,439
Speaker 1: Other than that, let's all let's all form a club,

1724
01:39:23,880 --> 01:39:28,599
Speaker 1: shall we. Let's make an LLC tonight. Okay, I'm calling

1725
01:39:28,680 --> 01:39:34,639
Speaker 1: my accountant. Does anybody know a good account No? Bye

1726
01:39:34,720 --> 01:39:34,920
Speaker 1: bye