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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did.

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Speaker 2: My name is Millie.

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Speaker 1: To Jericho, I'm Daniel Henderson, and we're here to talk

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Speaker 1: about a film with you once again.

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Speaker 2: Hello Danielle, Hello Millie, how are you? I'm good?

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Speaker 1: Actually, can I tell you something that's really exciting. It's

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Speaker 1: about to happen. So, you know, Halloween is just around

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Speaker 1: the corner, and my friends are going to gather together

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Speaker 1: to go to a Reba McIntyre themed corn maze.

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Speaker 3: Oh what.

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Speaker 2: I know? Corn? You believe it? It's true.

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Speaker 1: Apparently the country music star slash sitcom actress Reba McIntyre

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Speaker 1: is like partnering with all of these rural corn mazes

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Speaker 1: and they're all over the country apparently. But like, so

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Speaker 1: basically the farmers or whoever create the corn maze have

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Speaker 1: done like a Reba McIntyre themed corn maze.

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Speaker 2: So it's like her face and her name.

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Speaker 1: It's so weird, and I'm like, I cannot wait to

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Speaker 1: go to this.

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Speaker 2: So we're going all growing.

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Speaker 3: I cannot wait for you to go. And I swear

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Speaker 3: if there's not at least one part of this experience

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Speaker 3: that is not just a young girl in a red

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Speaker 3: velvet trim dress being pimped out by her mother. I

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Speaker 3: will be furious because what is more hollow? What's his halloween?

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Speaker 1: More?

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Speaker 3: Then I might have been born just plain white tracks

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Speaker 3: for fancy? Wasn't my name exactly exactly?

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Speaker 1: I'm gonna have to get over my fear of corn

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Speaker 1: mazes though, I mean, I I'm terrified about being stuck

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Speaker 1: in a corn maze.

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Speaker 2: Have you ever felt that?

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Speaker 1: Or like a labyrinth, any kind of labyrinth from the

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Speaker 1: shining or hedge maze, something like that.

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Speaker 3: I'm more freaked out by labyrinth with a corn maze.

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Speaker 3: I'm like, oh, I could just bust through here, Like

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Speaker 3: it won't be pretty and it might hurt, but I

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Speaker 3: could get out.

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Speaker 1: But then I don't know, what if you're not in

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Speaker 1: a proper word, what if it takes you a long

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Speaker 1: time to bust out of the corn.

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Speaker 3: But what if you bust out in the wrong direction

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Speaker 3: and you go deeper into the corn? That could happen.

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Speaker 1: Yeah, Or maybe there's some kind are there, like weird

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Speaker 1: critters that live in a corn, Like there's certain corn

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Speaker 1: bugs or.

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Speaker 3: Something famously where the chupicabra sets up shop.

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Speaker 2: Well, anyway, there's a lot I'm excited.

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Speaker 1: I mean, listen, every year around time I get really

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Speaker 1: you know, there's like a feeling in the air, and

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Speaker 1: everybody loves Halloween, and there's all kinds of like outdoor

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Speaker 1: fall activities, and so I don't know, I'm excited about

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Speaker 1: this weird Reba McIntire corn maze, and I will text you.

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Speaker 1: I'll drop a pin and then I'll text you when

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Speaker 1: I get out of it, so.

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Speaker 3: You'll be dropping a pin and I'll call the cops

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Speaker 3: and be like, I'm in New York. I don't actually

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Speaker 3: know where she is or if this will make sense

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Speaker 3: to y'all. She's in the middle of the field. I

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Speaker 3: have no lawn suit in latitude. But can you just

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Speaker 3: send someone to this corn to this Riba corn maze.

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Speaker 1: Send a drone and find out, Like I think she

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Speaker 1: might be stuck in like RIBA's nostril. I think her

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Speaker 1: and her friends are stuck in RIBA's nose.

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Speaker 3: This is also a good point. It better be in

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Speaker 3: the shape of her face, the outline of Reba's face.

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Speaker 1: Yeah, if you listen, if you google this, all of

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Speaker 1: the corn mazes does. All the designs are different, some

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Speaker 1: of them have her face. I think a lot of

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Speaker 1: them have her face, but then some of them are

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Speaker 1: just like writing that's like we love Youriba or whatever.

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Speaker 1: So I hope we have a face. The one we're

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Speaker 1: going to I believe has a face.

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Speaker 3: So if you go to one that has a face,

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Speaker 3: just stay on the lip. Just stay close to that

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Speaker 3: top lip. It's so thin, yeah, that like you'll just

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Speaker 3: instantly crest whatever opening you need to from the top lip.

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Speaker 2: I know a thing or two about a thin upper lip.

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Speaker 1: By the way, well, I just wanted to tell you

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Speaker 1: that information. So what else is going on with you?

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Speaker 3: I am thrilled that you're going to this corn maze.

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Speaker 3: There's definitely some haunted rides around here that I don't

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Speaker 3: think I'm gonna do, because just living in my hometown

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Speaker 3: is haunted enough. Like, oh I I drive on my

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Speaker 3: high school three or four times a week. That's that's

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Speaker 3: enough haunting for me. Spooky, Oh yeah, but I definitely

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Speaker 3: have been thinking speaking of spooky, I am wondering. So

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Speaker 3: usually I will I will sugarcoat it or blanket statement

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Speaker 3: and just say that the internet is a failed experiment.

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Speaker 3: But I don't think the internet is a failed experiment

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Speaker 3: because I follow too many cat accounts for that to

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Speaker 3: be true. But the only social media I use is Instagram.

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Speaker 3: Now I used to be on all of them, I'm

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Speaker 3: only on Instagram now. I think that social media is

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Speaker 3: a failed experiment, and I'm kind of like I would think,

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Speaker 3: I'm more inclined to think so, because I joined threads

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Speaker 3: for about a minute and then I was like, now

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Speaker 3: I don't want to do this. And a couple of

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Speaker 3: my friends saw me join threads and they're like, what

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Speaker 3: the fuck. We've been trying to get you to join

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Speaker 3: blue Sky for months, and I was like, I'm not

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Speaker 3: doing that either. And now Twitter is x and run

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Speaker 3: by a monster, and I just in my opinion and

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Speaker 3: I just feel like social media might be a bad idea.

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Speaker 2: Yeah, I definitely think it's a bad idea.

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Speaker 1: I think it's definitely a failed experiment, bad idea, ruining

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Speaker 1: the world, et cetera.

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Speaker 3: But then what do we do about it? Because I

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Speaker 3: was just get to be thinking too about connection and

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Speaker 3: how nice it is to like connect to my friend

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Speaker 3: who lives in Spain and who I haven't seen in

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Speaker 3: a long time, and you know, to kind of I

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Speaker 3: don't know, I just took day to days and memes

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Speaker 3: and weird shit to you and Sarah and my friend Amy,

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Speaker 3: and like, I just I don't know what we do

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Speaker 3: without it now, but something has to change. So I'm wondering,

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Speaker 3: if you could redo social media, how would you redo it?

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Speaker 2: Oh my gosh, that's a lot.

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Speaker 3: That would be a hpvy question. And listeners you can

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Speaker 3: you can weigh into, but like, I don't know, I

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Speaker 3: just think we need to come up with a better way.

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Speaker 1: I had to tell you, I think that. I think

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Speaker 1: it's just because of my age. I think it's my experience.

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Speaker 1: But like I will forever love live journal, and I

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Speaker 1: feel like live journal was the perfect way to communicate, yeah,

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Speaker 1: with people, because it was basically like going back to

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Speaker 1: blog and writing. You could comment on people's posts, but

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Speaker 1: you couldn't. There wasn't too much functionality. It was just

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Speaker 1: like a blank slate for people to post words and

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Speaker 1: pictures and you had a little bit of personality in

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Speaker 1: the bio, you know, on the bio page, but that

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Speaker 1: was it. I mean, I think the thing about social

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Speaker 1: media now that's so hard to deal with is that

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Speaker 1: there's so much functionality. There's so many things that can

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Speaker 1: cause potential bad vibes or something, you know, like when

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Speaker 1: people started liking, Like do you remember when like we

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Speaker 1: lived in a world where people didn't react to comments.

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Speaker 3: Yes, or post even if you wanted to react to

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Speaker 3: a post, you had to put a whole comment on

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Speaker 3: there with your actually user name.

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Speaker 2: Yeah.

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Speaker 1: So I mean I feel like that created bad vibes

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Speaker 1: when we were able to do those things, because people

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Speaker 1: just started chasing the likes, right, and it motivated them

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Speaker 1: to be even more debased than they are simply posting

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Speaker 1: their thoughts.

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Speaker 2: So, I don't know, I feel like if.

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Speaker 1: We if I could recalibrate this or restart it, I

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Speaker 1: would just make it super basic, not a lot of functionality,

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Speaker 1: just like a way for people to communicate with each

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Speaker 1: other without there being any kind of like weird qualifications

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Speaker 1: like that, you know what I mean.

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Speaker 3: I think that's a great fucking idea. It's a beautiful start.

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Speaker 3: I fully agree. I think likes brought a level of

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Speaker 3: lookism and clout chasing that I just don't love. And

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Speaker 3: I also think if you sign up, if I had

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Speaker 3: to redo all of social media, I think if you

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Speaker 3: sign up for any kind of social media account, you

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Speaker 3: should have to sign up with like your social security

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Speaker 3: numbers tied to it, not for tracking purposes or selling

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Speaker 3: a shit, because I would also remove ads. I think

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Speaker 3: ads fuck people up definitely, But I think like bringing

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Speaker 3: money in commerce into it fucked up social media for sure.

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Speaker 3: But I think you should have to sign up with

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Speaker 3: something that's completely identifiable so that no matter if you

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Speaker 3: change your username, if you change whatever, people can always

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Speaker 3: know who you actually are if they like click a

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Speaker 3: button like reveal true, sell for something, yeah, and then

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Speaker 3: you can see like, oh my god, it's my own

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Speaker 3: uncle telling me that on a piece of shit or

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Speaker 3: whatever it is.

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Speaker 2: Yeah.

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Speaker 3: Like, I think the anonymity of social media, combined with

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Speaker 3: the likes and the cloud chasing of this, that's what

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Speaker 3: fucked it all up. And we gave people too much power.

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Speaker 3: The anonymity of social media is not useful.

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Speaker 1: No, You're absolutely right because it I think obviously the

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Speaker 1: anonymity part is what creates the trolls and the and

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Speaker 1: the things that are literally ruining our world.

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Speaker 3: Yeah.

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Speaker 2: Right, And if you were to make people like, how

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Speaker 2: would you do it?

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Speaker 4: Though?

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Speaker 2: And now I'm thinking about this because I'm like, would.

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Speaker 1: You assign a social media account to every citizen and

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Speaker 1: then on their eighteenth birthday, they would have to like

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Speaker 1: use their social It's like a social security card would

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Speaker 1: be like a social media security card.

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Speaker 3: Oh that sounds worse somehow. I mean, I I that's

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Speaker 3: just what I was pitching, for sure, but like it

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Speaker 3: sounds worse, but it sounds like maybe useful. I don't know.

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Speaker 3: I just I don't know how. I don't trust that

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Speaker 3: we can create respectable citizens anymore. Like I don't trust

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Speaker 3: that we can just assume that people left to their

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Speaker 3: own devices will do the good or right or kind thing,

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Speaker 3: so I think, But I also feel like, oh god,

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Speaker 3: the idea of like monitoring social media seems like a

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Speaker 3: pain in the ass. I don't know. I don't know,

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Speaker 3: but I think being a fake person or having a

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Speaker 3: level of fakeness. I'm curious as to what listeners think

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Speaker 3: how it can be useful, because it might be useful

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Speaker 3: in a way that I'm not just not privy too,

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Speaker 3: because I'm a gremlin who lives in the woods. But

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Speaker 3: maybe you're like, oh, I have a work account, and

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Speaker 3: I have a you know of things I post for

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Speaker 3: work and things I post on my Finsta because I

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Speaker 3: don't want my coworkers to see and like, I get that,

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Speaker 3: Like we have Finsta accounts because you know, we need

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Speaker 3: some privacy with just us and our friends. Oh not

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Speaker 3: everything is public.

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Speaker 2: Yeah, absolutely.

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Speaker 1: And Plus the other thing too about a fensto is

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Speaker 1: like you can create your own timeline of.

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Speaker 2: Or you know, your feet or whatever.

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Speaker 1: So if on a Finista account, it's this wonderful universe

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Speaker 1: of all of the design blogs and you know, art

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Speaker 1: museum accounts that I love, right, Like, it's like I'm

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Speaker 1: not really following very many people except for my family

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Speaker 1: and some close friends, but the rest of it is

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Speaker 1: stuff where I'm like, oh, this is such a pleasant

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Speaker 1: account because there's no news.

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Speaker 2: It's completely of my creation.

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Speaker 1: I guess I could technically do that on my you know,

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Speaker 1: forward facing account, but I'm also following people back and

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Speaker 1: so there's a lot of that where I'm following people

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Speaker 1: that I'm not necessarily BFFs with, just people that I

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Speaker 1: know here and there even strangers, ye, right, So I

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Speaker 1: don't know, like because of that, I'm like, I don't

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Speaker 1: know the fence to you got to lean on it

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Speaker 1: sometimes because it's a happy space in my own creation.

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Speaker 3: Maybe each social media account comes with a public and

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Speaker 3: private function like Instagram close friends, so you can switch

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Speaker 3: and post things so you can stay on the same

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Speaker 3: account and be who you are, but not post everything

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Speaker 3: publicly because I kind of do that on my my

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Speaker 3: forward facing Instagram account. But that's maybe what I'm questioning,

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Speaker 3: because I feel like we're entering a time of the

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Speaker 3: year where I'm just going to be inside a lot

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Speaker 3: more and scrolling a lot more, and I know that

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Speaker 3: and I'm not looking forward to it. So but I

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Speaker 3: definitely cultivate a pretty basic and clean looking Instagram account,

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Speaker 3: like I've unfollowed. At one point, I unfollowed a ton

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Speaker 3: of people just because I felt like I only wanted

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Speaker 3: to see stuff from people, not because I dislike them,

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Speaker 3: but I just only wanted to fit, like actually see

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Speaker 3: stuff in my eyeballs from people I knew and from

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Speaker 3: our accounts and things like that. But I also archive

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Speaker 3: my Instagram every year, so I only leave up like

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Speaker 3: three or four pictures from the year before because I

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Speaker 3: feel like there's something I archive them so that I

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Speaker 3: can have access to those memories if I want to.

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Speaker 3: But I think it's weird that everyone has access to

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Speaker 3: all of your memories all the time, Yeah, because it change,

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Speaker 3: and change is a person, and like it's not clear

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Speaker 3: in the ways in which you've changed if you're just

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Speaker 3: constantly posting stuff and a lot of people don't give

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Speaker 3: you that leeway. They're like, well, I followed you and

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Speaker 3: you were really into SKA, So if you stop posting

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Speaker 3: about SKA and only start posting Tears for Fears video clips,

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Speaker 3: I'd feel like I don't know who you are anymore.

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Speaker 3: So I don't think it gives room for evolution. I

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Speaker 3: don't know. Maybe I'm overthinking. This is not a possibility

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Speaker 3: that I'm overthinking this.

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Speaker 1: I've you know, I love, I love and overthinking. I

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Speaker 1: love an overthinking moment. Not gonna lie, but I.

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Speaker 2: Will say I think.

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Speaker 1: Yeah, I think your Instagram is way more curatorial than mine,

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Speaker 1: and I don't really know why mine isn't.

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Speaker 2: I think I just gave up. You know.

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Speaker 1: It's like people who are like, oh, I just got

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Speaker 1: too much spam and now I have fourteen thousand unread

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Speaker 1: emails and I can't stop it. It's just who I

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Speaker 1: am now. It's kind of how I feel about my

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Speaker 1: social media. I feel like I don't know. I mean,

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Speaker 1: I do think that our having it once in a while.

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Speaker 3: It is probably a.

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Speaker 1: Good idea just to I don't know, maybe take away

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Speaker 1: the things, like you said that aren't like top of

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Speaker 1: mind or irrelevant anymore. I mean, you definitely do it

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Speaker 1: when you break up with someone, or like you got

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Speaker 1: to go through and remove all the photos of your

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Speaker 1: ex's of course, but I don't know, Yeah, I mine

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Speaker 1: is kind of a mess. I have no curatorial lens

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Speaker 1: on my Instagram account.

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Speaker 2: I'm just posting like.

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Speaker 1: Dumb movie clips and the occasional picture of my dog,

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Speaker 1: and you know, that's kind of it.

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Speaker 3: But that's the thing. I don't think it has to

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Speaker 3: be curatorial for it to be good or to make

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Speaker 3: sense to the person who's posting. I think that's I

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Speaker 3: think it's still a great extension of you that we

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Speaker 3: get to see those things as well. I just think

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Speaker 3: that you know you don't want do you want everyone

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Speaker 3: forever looking at a picture like looking at a post

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Speaker 3: from wild at Heart for one hundred years? I don't know,

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Speaker 3: Like I don't know.

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Speaker 1: Well, but also that's I think the difference I think

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Speaker 1: for me is like the concept of an Instagram being

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Speaker 1: good or not, Like I never think about my Instagram

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Speaker 1: in terms of like qualitative ways, Like I'm like, oh,

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Speaker 1: I don't know if this is good or pleasing or interesting.

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Speaker 1: I'm just posting it's like a scrap book of my

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Speaker 1: stupid ass life, you know.

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Speaker 2: But I do have friends who are.

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Speaker 1: They have very popular Instagram accounts because it's very like

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Speaker 1: visually pleasing, and they don't post pictures of themselves.

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Speaker 2: They post pictures of you.

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Speaker 1: Know, artsy things and you know, and and their their

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Speaker 1: Instagram is more designed to invite strangers to it, right.

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Speaker 2: Because that's kind of I'm I am the opposite.

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Speaker 1: I'm like, this is just a place where I goof

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Speaker 1: around type of thing exactly.

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Speaker 3: Yeah, I don't know who follows me or why, and

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Speaker 3: it's not the focus of me posting. So I think

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Speaker 3: that's a big part of it too, is that I'm

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Speaker 3: not trying to garner an audience and I am just

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Speaker 3: posting things that are scrap bookie. But I think that's

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Speaker 3: also why I archive, because if it's a scrap book,

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Speaker 3: then I should only be keeping things up there that

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Speaker 3: I want to remember, yeah, and not what everyone wants

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Speaker 3: to remember. So I don't know, just been thinking about

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Speaker 3: it as the days grow colder and the Reba mazes

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Speaker 3: creep in. How would I redo social media?

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Speaker 1: I know, I I personally think that we should just

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Speaker 1: have one social media account.

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Speaker 2: I don't like all of the different ones.

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Speaker 3: Also an incredible, incredible change to be made. You get

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Speaker 3: one fucking account to post your blog, post your fucking instagrams,

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Speaker 3: your fucking whatever. Like I agree, there's two. There's too

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Speaker 3: much out there. Maybe that's what started this process for

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Speaker 3: me because I was like, I don't want to be

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Speaker 3: on any of this shit. There's like blue Sky threads,

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Speaker 3: blah blah, and I'm like, I don't care about any

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Speaker 3: of it anymore.

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Speaker 1: I know, and it sucks because you just like I

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00:18:13,400 --> 00:18:16,440
Speaker 1: don't use I have so many apps on my phone.

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Speaker 2: I have a Like I was the other day. I

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Speaker 2: was like, oh, I forgot.

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Speaker 1: I had a Snapchat. What in the world, Like I

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Speaker 1: had a Snapchat? And then I was like, what did

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Speaker 1: I don't post on Snapchat. The only time I ever

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Speaker 1: go into Snapchat is when I'm using their filters with

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Speaker 1: my nephews, right because they have like dumb you know,

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Speaker 1: filters where your face pops up and like, no, like

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Speaker 1: some kind of you're like the baby from Hard Boiled

347
00:18:43,440 --> 00:18:47,159
Speaker 1: or something. And they're just like when you look.

348
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Speaker 3: At us when you open the Beavis and butt Head

349
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Speaker 3: filter with your nephews. It's very funny.

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Speaker 2: Yes, but here's the thing.

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Speaker 1: I never I will play around with those filters, but

352
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Speaker 1: then I never post them in Snapchat. I usually download

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Speaker 1: them to my phone and then put the video on Instagram.

354
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Speaker 3: Up.

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00:19:02,040 --> 00:19:06,040
Speaker 2: It's so dumb. It's such a dumb thing. They have

356
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Speaker 2: a bunch of apps.

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Speaker 3: Good, we need one app, some way to log even

358
00:19:11,920 --> 00:19:15,240
Speaker 3: if you're not publicly using your real name, really kept,

359
00:19:15,640 --> 00:19:17,919
Speaker 3: but some way to log behind the scenes in the

360
00:19:17,960 --> 00:19:20,080
Speaker 3: back end that you are a real person, so that

361
00:19:20,080 --> 00:19:23,520
Speaker 3: if you feel like trollin, it might stop you from trolling.

362
00:19:24,560 --> 00:19:27,200
Speaker 3: And we definitely need to We just need to streamline

363
00:19:27,240 --> 00:19:29,000
Speaker 3: this shit. I agree.

364
00:19:29,280 --> 00:19:33,560
Speaker 1: Well, what can I ask you? What is your favorite

365
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Speaker 1: What was the best time you had on a social

366
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Speaker 1: media app in your life?

367
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Speaker 3: Live journals high up there, because I still have friends

368
00:19:42,359 --> 00:19:44,560
Speaker 3: that I met on live journal ops, so I think

369
00:19:44,600 --> 00:19:49,119
Speaker 3: that's part of it. But I kind of had I

370
00:19:49,119 --> 00:19:52,359
Speaker 3: think I had the best time on og Tumblr.

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Speaker 2: I was gonna say, like, you got a book out

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Speaker 2: of that Tumblr.

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Speaker 3: It's amazing, and it wasn't fun like Mike experience with

374
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Speaker 3: feminist Ryan Gosling was not fun. I'm glad I did it.

375
00:20:04,400 --> 00:20:06,640
Speaker 3: It was definitely part of my homework and it helped

376
00:20:06,680 --> 00:20:08,760
Speaker 3: me get through grad school, and I'm glad that other

377
00:20:08,800 --> 00:20:11,160
Speaker 3: people got something out of it. But it was as

378
00:20:11,240 --> 00:20:13,119
Speaker 3: fun as it was because it's such a It was

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Speaker 3: such a visually oriented social media experience. So I loved that,

380
00:20:18,200 --> 00:20:20,240
Speaker 3: like just seeing new things and finding like just it

381
00:20:20,320 --> 00:20:24,119
Speaker 3: was so great for a visually minded person. But I

382
00:20:24,160 --> 00:20:26,399
Speaker 3: have never received so many, so much hateful shit in

383
00:20:26,440 --> 00:20:27,200
Speaker 3: my entire life.

384
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Speaker 2: What like on feminist Wine Gosling, Are you serious?

385
00:20:30,680 --> 00:20:32,359
Speaker 3: Yeah, yeah, well I didn't.

386
00:20:32,760 --> 00:20:34,280
Speaker 2: I didn't a lot of guys or something.

387
00:20:34,600 --> 00:20:38,680
Speaker 3: Oh that's what you would think, but no, well they

388
00:20:38,800 --> 00:20:41,160
Speaker 3: just didn't engage, like we hate feminists, we hate this shit,

389
00:20:41,240 --> 00:20:43,959
Speaker 3: We're not coming. I'm a great stay away. It was

390
00:20:44,359 --> 00:20:47,720
Speaker 3: a lot of people policing what I was saying and

391
00:20:47,760 --> 00:20:49,680
Speaker 3: telling me that I was doing feminism wrong.

392
00:20:50,800 --> 00:20:51,520
Speaker 2: Oh jeez.

393
00:20:52,560 --> 00:20:55,880
Speaker 3: And I didn't put my own face up there at all.

394
00:20:56,080 --> 00:20:59,640
Speaker 3: The only time I posted or anyone knew who I was,

395
00:20:59,800 --> 00:21:02,280
Speaker 3: like who was doing this behind the scenes is when

396
00:21:02,280 --> 00:21:05,199
Speaker 3: I wrote the book and I had a party for

397
00:21:05,280 --> 00:21:08,280
Speaker 3: the release of the book at Housing Works, and then

398
00:21:08,280 --> 00:21:11,639
Speaker 3: people were like, oh, you're a black woman, maybe we

399
00:21:11,640 --> 00:21:13,800
Speaker 3: should stop yelling at you for the things you're posting

400
00:21:13,800 --> 00:21:18,280
Speaker 3: about intersectional feminism. But it was kind of an interesting

401
00:21:18,320 --> 00:21:21,040
Speaker 3: experiment because nobody really knew who I was at first,

402
00:21:21,680 --> 00:21:24,000
Speaker 3: and so they just said any old shit they wanted

403
00:21:24,040 --> 00:21:25,879
Speaker 3: to me, assuming I was like, I don't know a

404
00:21:25,880 --> 00:21:29,159
Speaker 3: white woman in the Midwest, I don't know, but they

405
00:21:29,200 --> 00:21:32,879
Speaker 3: said some vile, fucking shit and really honestly made that

406
00:21:32,960 --> 00:21:38,720
Speaker 3: experience so bad for me that I look at that

407
00:21:38,720 --> 00:21:43,159
Speaker 3: book on my shelf now and I like cringe, Like

408
00:21:43,200 --> 00:21:45,480
Speaker 3: I just have instant bad feelings looking at my own

409
00:21:45,520 --> 00:21:50,200
Speaker 3: work because people made that experience so unbelievably shitty for.

410
00:21:50,240 --> 00:21:55,320
Speaker 2: Me that really bumps me out. Danielle, Yeah, it was.

411
00:21:55,480 --> 00:21:57,280
Speaker 3: It was bummed me out too, because I'm like, I thought,

412
00:21:57,280 --> 00:22:00,159
Speaker 3: I'm just doing something funny and cool, and I It's

413
00:22:00,200 --> 00:22:03,359
Speaker 3: got so like, just waves and waves of hate all

414
00:22:03,440 --> 00:22:05,080
Speaker 3: day long. And I could have handled it if it

415
00:22:05,119 --> 00:22:07,560
Speaker 3: was from some fucking chump who was like, I don't

416
00:22:07,680 --> 00:22:09,040
Speaker 3: like women, and I'm like, yeah, I know, I live

417
00:22:09,040 --> 00:22:12,399
Speaker 3: in America, nobody likes women. But it was coming from

418
00:22:12,440 --> 00:22:15,760
Speaker 3: inside the house and that made me feel It was

419
00:22:15,800 --> 00:22:17,640
Speaker 3: the first time I kind of looked at and turned

420
00:22:17,640 --> 00:22:20,600
Speaker 3: the lens on whether or not social media it was

421
00:22:20,640 --> 00:22:22,399
Speaker 3: a good idea because I'm like, oh, these are a

422
00:22:22,400 --> 00:22:24,560
Speaker 3: bunch of like minded people saying the most hateful shit

423
00:22:24,600 --> 00:22:26,160
Speaker 3: in the world to me right now as a way

424
00:22:26,200 --> 00:22:29,560
Speaker 3: to make themselves feel better or they feel like they

425
00:22:29,560 --> 00:22:33,679
Speaker 3: deserve this opportunity that I've created for myself more than

426
00:22:33,720 --> 00:22:37,720
Speaker 3: I do. So it sucks. It sucks, and people's you know,

427
00:22:37,760 --> 00:22:40,320
Speaker 3: in the wake of the Barbie movie coming out, a

428
00:22:40,400 --> 00:22:42,240
Speaker 3: lot of people were tagging me in a lot of

429
00:22:42,240 --> 00:22:44,760
Speaker 3: posts about feminist Ryan Gossling, and it kind of made

430
00:22:44,800 --> 00:22:46,760
Speaker 3: me want to cry because it's like, I don't have

431
00:22:46,960 --> 00:22:50,000
Speaker 3: good feelings about this, Like I can't engage with you

432
00:22:50,040 --> 00:22:54,359
Speaker 3: guys about this at all because you made it awful

433
00:22:54,440 --> 00:22:59,040
Speaker 3: for me. So that's when I first started thinking maybe

434
00:22:59,080 --> 00:23:01,840
Speaker 3: social media wasn't the best, But Tumblr was a pretty

435
00:23:02,320 --> 00:23:05,040
Speaker 3: aside from that, Tumblr was probably my favorite experience because

436
00:23:05,040 --> 00:23:07,439
Speaker 3: I got to just see a bunch of shit and

437
00:23:07,440 --> 00:23:09,920
Speaker 3: I followed a bunch of knitters and like people who

438
00:23:10,640 --> 00:23:12,399
Speaker 3: did the same kind of crafts that I did, so

439
00:23:12,440 --> 00:23:14,439
Speaker 3: I found a lot of cool patterns that way and

440
00:23:14,560 --> 00:23:16,760
Speaker 3: just got to like see things in real time and

441
00:23:16,800 --> 00:23:18,760
Speaker 3: do knitt alongs and like it was fun. It was

442
00:23:18,800 --> 00:23:22,960
Speaker 3: fun aside from the most popular part of Tumblr that

443
00:23:23,000 --> 00:23:23,520
Speaker 3: I created.

444
00:23:23,600 --> 00:23:27,840
Speaker 1: Yeah, well listen, I'm with you. I'm over it. I

445
00:23:27,880 --> 00:23:33,320
Speaker 1: wish we could go back to the days where creating

446
00:23:33,440 --> 00:23:37,159
Speaker 1: a avatar from a film or TV show that I

447
00:23:37,240 --> 00:23:41,000
Speaker 1: was into for live journal was the highlight of my

448
00:23:41,080 --> 00:23:41,760
Speaker 1: fucking day.

449
00:23:43,560 --> 00:23:44,840
Speaker 2: It was real simple back then.

450
00:23:45,080 --> 00:23:49,560
Speaker 3: So but basically, yes, I agree, And I don't even

451
00:23:49,600 --> 00:23:51,680
Speaker 3: want to. I don't want to be like the police

452
00:23:51,720 --> 00:23:54,000
Speaker 3: of anything or say like this is the way it

453
00:23:54,000 --> 00:23:55,560
Speaker 3: should be done or else like, I don't want to

454
00:23:55,560 --> 00:23:57,719
Speaker 3: sound like old and crotchety in that way. But I

455
00:23:57,840 --> 00:24:00,560
Speaker 3: definitely think there's I hope that there's some change on

456
00:24:00,600 --> 00:24:04,200
Speaker 3: the horizon where somebody can practice do in a practical way,

457
00:24:04,240 --> 00:24:09,080
Speaker 3: make social media a little bit more fun and less vile,

458
00:24:10,280 --> 00:24:12,000
Speaker 3: or find a way to get rid of it and

459
00:24:12,040 --> 00:24:14,240
Speaker 3: have people still be able to maintain their sanity and

460
00:24:14,240 --> 00:24:16,679
Speaker 3: their livelihoods and whatever else they use social media for.

461
00:24:16,960 --> 00:24:28,480
Speaker 1: Yeah, agreed, Agreed. Speaking of hate coming from inside the house.

462
00:24:29,000 --> 00:24:33,440
Speaker 3: Yeah, we have a theme this week, and this one

463
00:24:33,520 --> 00:24:35,040
Speaker 3: is all us. So you got to tell them what

464
00:24:35,080 --> 00:24:35,320
Speaker 3: it is.

465
00:24:35,400 --> 00:24:41,520
Speaker 1: Yes, So the name of this theme is called we

466
00:24:41,600 --> 00:24:46,960
Speaker 1: Hate It When Our Friends Become Successful, which, as you know,

467
00:24:47,000 --> 00:24:52,080
Speaker 1: as a Morrisey song title, not that I can done Morrisey, obviously,

468
00:24:52,119 --> 00:24:55,720
Speaker 1: I'm not doing that, but I'm using the title to

469
00:24:55,880 --> 00:25:02,800
Speaker 1: explain the theme, which is a theme about professional jealousy,

470
00:25:03,520 --> 00:25:11,960
Speaker 1: women who are envious of other women, basically jealousy amongst women,

471
00:25:12,440 --> 00:25:14,879
Speaker 1: professional jealousy primarily.

472
00:25:15,880 --> 00:25:21,760
Speaker 3: But yeah, that concept solid, solid, yeah, And I think

473
00:25:22,160 --> 00:25:24,800
Speaker 3: it's I love when my friends are successful, Like I

474
00:25:24,880 --> 00:25:27,800
Speaker 3: actually love it and push for it and try to help,

475
00:25:27,840 --> 00:25:31,520
Speaker 3: and I know you do too. But it's also very

476
00:25:31,600 --> 00:25:35,760
Speaker 3: much a trope and film, even especially prior to people

477
00:25:36,160 --> 00:25:39,560
Speaker 3: discussing the Bechdel Test at large, it was definitely a

478
00:25:39,640 --> 00:25:42,320
Speaker 3: common trope in films that women were just jealous all

479
00:25:42,359 --> 00:25:45,520
Speaker 3: the time. So I think it's like going back to

480
00:25:45,560 --> 00:25:48,040
Speaker 3: look at something like a historical artifact to kind of

481
00:25:48,040 --> 00:25:53,560
Speaker 3: look at these films. But I think it's useful well well.

482
00:25:53,600 --> 00:25:54,480
Speaker 2: And also.

483
00:25:55,680 --> 00:26:00,119
Speaker 1: I think both these films touch upon the topic of money,

484
00:26:00,440 --> 00:26:04,720
Speaker 1: which is a very very sensitive subject for everyone.

485
00:26:06,200 --> 00:26:10,800
Speaker 2: And I think that I'd be lying if.

486
00:26:10,640 --> 00:26:15,320
Speaker 1: I said that I haven't been thinking about money a

487
00:26:15,359 --> 00:26:19,679
Speaker 1: lot lately, especially this year, being that you know, I

488
00:26:19,720 --> 00:26:24,400
Speaker 1: was laid off for my full time job and it's

489
00:26:24,440 --> 00:26:27,399
Speaker 1: thrown me in a total tail spin. Like in a

490
00:26:27,440 --> 00:26:29,320
Speaker 1: lot of ways, I have to admit that I have

491
00:26:29,400 --> 00:26:34,880
Speaker 1: to admit that I'm in a state of anxiety, low

492
00:26:35,000 --> 00:26:42,159
Speaker 1: level anxiety, I would say, and slight panic about finances, stability.

493
00:26:42,280 --> 00:26:44,160
Speaker 2: All of the thing is the upheaval that.

494
00:26:44,119 --> 00:26:46,080
Speaker 1: Happens when you get laid off from a job or

495
00:26:46,119 --> 00:26:49,879
Speaker 1: when you're in between jobs or you're not working, and.

496
00:26:51,280 --> 00:26:56,440
Speaker 2: I start thinking about stability and security in terms.

497
00:26:56,200 --> 00:26:59,679
Speaker 1: Of my age, yes, right, And I think that's another

498
00:26:59,800 --> 00:27:02,879
Speaker 1: part to this, is that this is both these movies

499
00:27:02,920 --> 00:27:06,720
Speaker 1: are dealing with people who have homes and families and

500
00:27:06,920 --> 00:27:10,440
Speaker 1: are you know, for the most part middle aged, I

501
00:27:10,440 --> 00:27:13,320
Speaker 1: would say, you know, at least like thirties and forties, right,

502
00:27:14,960 --> 00:27:18,400
Speaker 1: And there's this idea of like what you should have

503
00:27:18,640 --> 00:27:22,040
Speaker 1: by a certain point, like how are you an adult?

504
00:27:22,080 --> 00:27:23,160
Speaker 2: How are you successful?

505
00:27:23,920 --> 00:27:27,439
Speaker 1: And I think that that is a huge topic for everyone,

506
00:27:27,520 --> 00:27:31,520
Speaker 1: but especially for women too, yeah, because there's sometimes this

507
00:27:33,600 --> 00:27:37,040
Speaker 1: ensuredness about where you're supposed to be in life. And

508
00:27:38,720 --> 00:27:40,679
Speaker 1: I mean I think, especially as you get older, you

509
00:27:40,760 --> 00:27:41,760
Speaker 1: really think about it.

510
00:27:42,480 --> 00:27:46,199
Speaker 3: Absolutely, and as two women who are kind of bucking

511
00:27:46,200 --> 00:27:48,240
Speaker 3: the system in that way where we're not going the

512
00:27:48,240 --> 00:27:52,480
Speaker 3: traditional route of having a partner to rely on having children,

513
00:27:52,640 --> 00:27:56,199
Speaker 3: having you know, a specific career that we can count on,

514
00:27:56,760 --> 00:28:00,560
Speaker 3: I think it heightens the anxiety quite a bit. Yeah,

515
00:28:01,200 --> 00:28:03,920
Speaker 3: as freeing as it can be as well, it heightens

516
00:28:03,960 --> 00:28:06,560
Speaker 3: the anxiety at times like this where we're you know,

517
00:28:06,640 --> 00:28:09,679
Speaker 3: unemployed or on strike or what have you. And I

518
00:28:09,800 --> 00:28:11,840
Speaker 3: like that in both of our films. I think in

519
00:28:11,880 --> 00:28:13,840
Speaker 3: your film, we get to see so many different ways

520
00:28:13,840 --> 00:28:16,600
Speaker 3: of how that looks and plays out for women, And

521
00:28:16,640 --> 00:28:18,760
Speaker 3: in my film, I think I really like that it

522
00:28:18,840 --> 00:28:22,760
Speaker 3: takes a very sharp look at women who are forgotten,

523
00:28:23,320 --> 00:28:27,240
Speaker 3: women who are homemakers who maybe don't have a full

524
00:28:27,280 --> 00:28:31,840
Speaker 3: time career, and how they play out that jealousy is

525
00:28:32,680 --> 00:28:34,760
Speaker 3: through the lens of comedy. But I think there's also

526
00:28:34,760 --> 00:28:37,200
Speaker 3: a lot of really poignant shit that this movie actually

527
00:28:37,400 --> 00:28:40,000
Speaker 3: also says that I maybe didn't realize when I was

528
00:28:40,040 --> 00:28:41,840
Speaker 3: watching it at eleven years old.

529
00:28:41,920 --> 00:28:45,760
Speaker 1: One hundred percent, Holy shit, My mind was blown.

530
00:28:46,600 --> 00:28:50,760
Speaker 3: Yeah. Yeah, And I think one thought that I had,

531
00:28:50,920 --> 00:28:53,080
Speaker 3: which I don't know if you thought this as well,

532
00:28:53,120 --> 00:28:55,440
Speaker 3: but one thought that I had watching it. I've seen

533
00:28:55,480 --> 00:28:59,040
Speaker 3: this movie my movie so many times, but never before

534
00:28:59,080 --> 00:29:01,400
Speaker 3: did I make the connect with the fact that I'm

535
00:29:01,440 --> 00:29:05,840
Speaker 3: pretty sure this planted a lot of little feminist seeds

536
00:29:05,840 --> 00:29:09,000
Speaker 3: for me before I even knew what it was. Yep,

537
00:29:09,880 --> 00:29:13,080
Speaker 3: because this idea of revenge and that men can't treat

538
00:29:13,160 --> 00:29:16,520
Speaker 3: you like shit and walk all over you was completely

539
00:29:16,560 --> 00:29:21,040
Speaker 3: new to me when I first watched this movie, and

540
00:29:21,080 --> 00:29:23,240
Speaker 3: I locked onto a lot of that shit, like, oh,

541
00:29:23,280 --> 00:29:24,520
Speaker 3: I didn't know that was possible.

542
00:29:25,560 --> 00:29:29,040
Speaker 1: Yeah, I mean, listen, I'm gonna be completely honest with you.

543
00:29:29,200 --> 00:29:33,400
Speaker 1: I literally just realized that the director was Susan Settleman.

544
00:29:33,920 --> 00:29:35,880
Speaker 1: Like when I was a kid, I didn't know Susan

545
00:29:35,920 --> 00:29:38,840
Speaker 1: Settleman at all. But you know, obviously over the years,

546
00:29:38,880 --> 00:29:40,600
Speaker 1: I love a lot of her movies. But I was like,

547
00:29:41,200 --> 00:29:43,960
Speaker 1: oh my gosh, like this is I'm not going to

548
00:29:44,000 --> 00:29:47,280
Speaker 1: call it a feminist masterpiece, but it's definitely like more

549
00:29:47,360 --> 00:29:50,200
Speaker 1: feminist than I ever thought it was in the past.

550
00:29:51,000 --> 00:29:53,560
Speaker 2: And I have a lot to say about it, obviously.

551
00:29:53,200 --> 00:29:54,840
Speaker 1: Because I hadn't seen it since I was a kid,

552
00:29:54,920 --> 00:29:57,080
Speaker 1: and then I just have a lot to say about

553
00:29:57,360 --> 00:29:59,120
Speaker 1: Roseanne and everything.

554
00:29:59,240 --> 00:30:03,320
Speaker 2: I just I cannot wait to talk about your film.

555
00:30:03,760 --> 00:30:06,520
Speaker 1: I think this week, you know, is gonna be interesting

556
00:30:06,600 --> 00:30:09,320
Speaker 1: because again I feel like this is a personal theme,

557
00:30:09,360 --> 00:30:12,760
Speaker 1: at least for me. Yeah, and anytime the themes are personal,

558
00:30:13,920 --> 00:30:15,160
Speaker 1: we process more.

559
00:30:15,720 --> 00:30:20,720
Speaker 3: I think, strap in, that's going strapping?

560
00:30:20,920 --> 00:30:23,200
Speaker 2: Am I going first?

561
00:30:23,800 --> 00:30:24,080
Speaker 3: Yep?

562
00:30:25,160 --> 00:30:25,480
Speaker 2: Okay?

563
00:30:26,240 --> 00:30:28,719
Speaker 1: And as I'm doing that, I'm gonna take this knitting

564
00:30:28,720 --> 00:30:31,600
Speaker 1: needle that I've never used and itch my back.

565
00:30:34,160 --> 00:30:35,880
Speaker 3: I thought you, I'm gonna take this knitting needle that

566
00:30:35,920 --> 00:30:38,560
Speaker 3: I've never used for anything other than murder.

567
00:30:38,320 --> 00:30:39,840
Speaker 1: And I'm sticking in my I know I had to

568
00:30:39,880 --> 00:30:46,640
Speaker 1: itch my back. Okay, Oh my god, I have knitting needles.

569
00:30:46,680 --> 00:30:50,520
Speaker 1: I've never knitted in my fucking life.

570
00:30:51,280 --> 00:30:52,240
Speaker 2: I can't breathe.

571
00:30:53,680 --> 00:30:54,880
Speaker 3: That is killing me.

572
00:30:58,720 --> 00:31:00,880
Speaker 1: God. So my movie for the theme we hate it

573
00:31:00,920 --> 00:31:03,440
Speaker 1: When our Friends Become Successful is a movie from two

574
00:31:03,480 --> 00:31:06,000
Speaker 1: thousand and six. It was written and directed by Nicole

575
00:31:06,080 --> 00:31:08,560
Speaker 1: Halloff Center and it's called Friends with Money.

576
00:31:09,520 --> 00:31:11,800
Speaker 4: I would feel a lot better about giving you the

577
00:31:11,880 --> 00:31:15,560
Speaker 4: money if you went to a therapist, you buy your

578
00:31:15,880 --> 00:31:20,120
Speaker 4: two year old daughter eighty dollars shoes from France, and

579
00:31:20,320 --> 00:31:21,840
Speaker 4: you just you've given me a hard time.

580
00:31:22,040 --> 00:31:23,920
Speaker 2: So I think everybody knows my now that I love

581
00:31:24,360 --> 00:31:25,520
Speaker 2: Nicole hulloff Center.

582
00:31:26,400 --> 00:31:29,720
Speaker 1: We did one of her movies way way back on

583
00:31:29,760 --> 00:31:31,600
Speaker 1: our second episode.

584
00:31:31,720 --> 00:31:34,960
Speaker 3: Oh my god, that was our second episode.

585
00:31:35,200 --> 00:31:40,520
Speaker 1: Yeah, it was called Changing Female Friendships, and I talked

586
00:31:40,560 --> 00:31:42,920
Speaker 1: about the movie Walking and Talking, which is one of

587
00:31:43,000 --> 00:31:46,280
Speaker 1: my all time favorite films. Her movies are mussy for me,

588
00:31:46,440 --> 00:31:48,920
Speaker 1: like anytime they come out, I go to the theater.

589
00:31:48,760 --> 00:31:49,880
Speaker 2: If I if I have to.

590
00:31:50,080 --> 00:31:55,160
Speaker 1: But I love her movies, and you know, she's known

591
00:31:55,200 --> 00:32:00,000
Speaker 1: for these kind of smaller independent style films about relationship

592
00:32:00,120 --> 00:32:02,880
Speaker 1: ships and families and friendships and stuff. And they're just

593
00:32:03,000 --> 00:32:05,640
Speaker 1: filled with these like tiny little moments that I really

594
00:32:05,680 --> 00:32:10,400
Speaker 1: connect to and identify with. And the protagonists are always.

595
00:32:10,320 --> 00:32:11,400
Speaker 2: Women, which I love.

596
00:32:12,560 --> 00:32:16,240
Speaker 1: But as I was reading about her, you know, there's

597
00:32:16,280 --> 00:32:18,160
Speaker 1: a there's a couple of really good there's I think

598
00:32:18,160 --> 00:32:21,480
Speaker 1: there's a New Yorker piece about her, but there's a

599
00:32:21,480 --> 00:32:25,440
Speaker 1: couple of different videos I watched and stuff she well,

600
00:32:25,440 --> 00:32:29,360
Speaker 1: I forgot about this when she was young. Apparently her

601
00:32:29,400 --> 00:32:33,360
Speaker 1: parents got divorced and then her mom remarried a guy

602
00:32:33,640 --> 00:32:37,479
Speaker 1: who produced all the Woody Allen films. Oh wow, So

603
00:32:38,360 --> 00:32:41,000
Speaker 1: she spent a lot of time on movie sets, which

604
00:32:41,040 --> 00:32:45,200
Speaker 1: I think obviously helped her in her later career, but

605
00:32:45,720 --> 00:32:48,600
Speaker 1: she went to film school at NYU and Columbia. She

606
00:32:48,720 --> 00:32:53,160
Speaker 1: worked at a video store at one point and actually

607
00:32:53,160 --> 00:32:54,200
Speaker 1: didn't realize this either.

608
00:32:54,280 --> 00:32:56,000
Speaker 2: This is a good fact.

609
00:32:56,280 --> 00:32:58,760
Speaker 1: She was actually the original director of Can You Ever

610
00:32:58,800 --> 00:33:01,280
Speaker 1: Forgive Me, which we talk talked about on our Was

611
00:33:01,320 --> 00:33:03,480
Speaker 1: it a bonus episode? I think we talked about that movie,

612
00:33:04,360 --> 00:33:06,640
Speaker 1: but then you know, Mary o'heller obviously went on to

613
00:33:06,680 --> 00:33:08,480
Speaker 1: make that movie, but I thought it was really interesting

614
00:33:08,600 --> 00:33:12,800
Speaker 1: that she was at one point attached to that film.

615
00:33:12,840 --> 00:33:17,200
Speaker 1: A one sentenced synopsis of Friends with Money. Four female

616
00:33:17,280 --> 00:33:21,720
Speaker 1: friends navigate family life and each other's different financial situations.

617
00:33:23,160 --> 00:33:23,720
Speaker 3: They sure do.

618
00:33:24,800 --> 00:33:25,239
Speaker 2: That's it.

619
00:33:25,520 --> 00:33:31,400
Speaker 1: So this movie stars maybe the best crew of my

620
00:33:31,440 --> 00:33:35,240
Speaker 1: all time favorite actresses who are playing the most obnoxious

621
00:33:35,240 --> 00:33:43,880
Speaker 1: people alive. So you've got the protagonist of this film, Olivia,

622
00:33:44,600 --> 00:33:49,440
Speaker 1: who was played by Jennifer Aniston. And it's revealed at

623
00:33:49,480 --> 00:33:54,320
Speaker 1: the beginning of the film that Olivia used to be

624
00:33:54,360 --> 00:33:57,200
Speaker 1: a teacher, and she was a pretty good one by

625
00:33:57,240 --> 00:34:00,480
Speaker 1: all accounts, but she couldn't take it anymore and she quit.

626
00:34:01,000 --> 00:34:04,120
Speaker 1: And now she is cleaning houses for a living and

627
00:34:04,200 --> 00:34:06,280
Speaker 1: smoking pot on her time off.

628
00:34:07,280 --> 00:34:14,759
Speaker 3: Yeah, and using her clients vibrators, very very strange. I

629
00:34:14,800 --> 00:34:19,520
Speaker 3: have to say, I am, I don't care how good

630
00:34:19,560 --> 00:34:22,359
Speaker 3: you are at cleaning. You are not ever good enough

631
00:34:22,360 --> 00:34:25,000
Speaker 3: at cleaning to use someone else's vibrator that you are

632
00:34:25,040 --> 00:34:26,480
Speaker 3: not in a sexual relationship with.

633
00:34:27,680 --> 00:34:28,719
Speaker 2: I would never dare.

634
00:34:28,800 --> 00:34:31,120
Speaker 1: I don't care if it was soaking in pine sal

635
00:34:31,320 --> 00:34:38,200
Speaker 1: for a week, that is not not yours, that's not yours,

636
00:34:38,480 --> 00:34:41,120
Speaker 1: that's someone else's, especially right out of the drawer.

637
00:34:43,360 --> 00:34:45,000
Speaker 2: Well, that's the thing.

638
00:34:45,760 --> 00:34:49,760
Speaker 1: Olivia is kind of in a transitional period traps. She's

639
00:34:50,680 --> 00:34:53,319
Speaker 1: obsessed with this married guy she had this two month

640
00:34:53,320 --> 00:34:56,279
Speaker 1: affair with, and now she'll just randomly call him and

641
00:34:56,360 --> 00:34:56,839
Speaker 1: hang up.

642
00:34:57,000 --> 00:34:59,680
Speaker 2: And one of her friends.

643
00:34:59,280 --> 00:35:02,200
Speaker 1: Convinces her to go out with her personal trainer, who

644
00:35:02,280 --> 00:35:03,720
Speaker 1: was played by Scott Kahn.

645
00:35:05,760 --> 00:35:07,080
Speaker 2: We know who Scott con is.

646
00:35:07,920 --> 00:35:11,320
Speaker 3: Rest in Peace James Kahn. Rest in Peace is Daddy

647
00:35:11,520 --> 00:35:15,560
Speaker 3: Deadlifting Deadlifting Jimmy Kahn a short lived experiment because he

648
00:35:15,640 --> 00:35:16,279
Speaker 3: died on us.

649
00:35:17,600 --> 00:35:26,520
Speaker 1: We deadlifted your daddy, Scott. But his his character is

650
00:35:26,560 --> 00:35:27,920
Speaker 1: a terrible dickhead.

651
00:35:28,280 --> 00:35:30,239
Speaker 2: Okay he she And.

652
00:35:30,200 --> 00:35:32,759
Speaker 1: Here's the thing, she just kind of accepts it, right,

653
00:35:32,840 --> 00:35:36,160
Speaker 1: She's just like, okay, he sucks, Like I'll just go

654
00:35:36,280 --> 00:35:39,799
Speaker 1: with it. And that's the thing is that you're sort

655
00:35:39,840 --> 00:35:43,359
Speaker 1: of unclear on whether or not Olivia is happy or unhappy.

656
00:35:43,800 --> 00:35:46,360
Speaker 1: You know, maybe it's a bit of both. I will

657
00:35:46,400 --> 00:35:50,080
Speaker 1: say that you may have to suspend your disbelief a

658
00:35:50,080 --> 00:35:53,799
Speaker 1: little that Jennifer Aniston could play character like this. I

659
00:35:53,840 --> 00:35:57,040
Speaker 1: actually think she does an okay job at it. Yeah,

660
00:35:57,120 --> 00:36:00,800
Speaker 1: you know, she's not Rachel from Friends in this at all,

661
00:36:01,400 --> 00:36:04,239
Speaker 1: but that's her character, and she's kind of the protagonist

662
00:36:04,360 --> 00:36:05,680
Speaker 1: of Friends with money.

663
00:36:06,440 --> 00:36:07,920
Speaker 2: And then the thing about it is.

664
00:36:07,880 --> 00:36:11,600
Speaker 1: That her three girlfriends are way more financially secure than

665
00:36:11,640 --> 00:36:12,000
Speaker 1: she is.

666
00:36:12,280 --> 00:36:13,600
Speaker 2: They're all married with kids.

667
00:36:13,960 --> 00:36:17,959
Speaker 1: You've got Catherine Keener who plays her friend Christine. She's

668
00:36:18,480 --> 00:36:21,640
Speaker 1: a successful screenwriter and she works with her husband David,

669
00:36:21,640 --> 00:36:25,440
Speaker 1: who is also an asshole. I'll point that out. In

670
00:36:25,520 --> 00:36:29,120
Speaker 1: the beginning of the film, they the two of them

671
00:36:29,120 --> 00:36:31,440
Speaker 1: have basically decided that they want to add a second

672
00:36:31,480 --> 00:36:35,719
Speaker 1: story onto their house, and now all their neighbors hate

673
00:36:35,719 --> 00:36:40,239
Speaker 1: their guts because they're like blocking the view. And oh,

674
00:36:40,280 --> 00:36:43,880
Speaker 1: did I mention that this movie. I believe this movie

675
00:36:43,920 --> 00:36:48,920
Speaker 1: takes place in Santa Monica, California, So you'll have to

676
00:36:48,960 --> 00:36:52,799
Speaker 1: remember that because obviously those are that's the community where

677
00:36:52,800 --> 00:36:54,799
Speaker 1: there would be rich assholes who would care about the

678
00:36:54,840 --> 00:36:55,439
Speaker 1: ocean view.

679
00:36:55,680 --> 00:36:59,360
Speaker 3: Ya. It's a very specific part of the La lifestyle.

680
00:37:00,200 --> 00:37:03,560
Speaker 1: Yes, So they've pissed off everybody around them because they're

681
00:37:03,760 --> 00:37:06,240
Speaker 1: they're greedy and they want to build a second story

682
00:37:06,280 --> 00:37:09,279
Speaker 1: in their house. So then you have Jane, who is

683
00:37:09,280 --> 00:37:14,480
Speaker 1: played by Francis McDormand, and she is a very successful

684
00:37:14,520 --> 00:37:18,920
Speaker 1: fashion designer of women's clothing. It's sort of like Free

685
00:37:18,920 --> 00:37:22,920
Speaker 1: People meets Anthropology. I know they're the same company, by

686
00:37:22,920 --> 00:37:29,080
Speaker 1: the way. I just found that out recently. But you know,

687
00:37:29,160 --> 00:37:34,000
Speaker 1: it's that middle aged, rich lady look style, do you

688
00:37:34,040 --> 00:37:36,960
Speaker 1: know what I'm saying? Like a lot of tunics and

689
00:37:37,080 --> 00:37:39,799
Speaker 1: uh scarves and.

690
00:37:39,719 --> 00:37:44,640
Speaker 3: Whatnotses and uh bohoic heats.

691
00:37:45,520 --> 00:37:52,000
Speaker 1: Bo ho chic for damn sure. That's Jane's fashion line.

692
00:37:51,840 --> 00:37:52,480
Speaker 3: To a tee.

693
00:37:52,760 --> 00:37:59,360
Speaker 1: So her husband is this very sweet British guy who

694
00:37:59,440 --> 00:38:04,759
Speaker 1: everybody is convinced it's gay because he loves Kashmere and

695
00:38:04,800 --> 00:38:06,719
Speaker 1: he always gets hit on by men.

696
00:38:07,400 --> 00:38:10,040
Speaker 2: It's just he's like the running joke in the film, right.

697
00:38:10,120 --> 00:38:12,840
Speaker 3: That is the weirdest plot point to me. I gotta

698
00:38:12,880 --> 00:38:15,640
Speaker 3: say it is such a weird plot point that everywhere

699
00:38:15,800 --> 00:38:21,000
Speaker 3: that these seemingly progressive people cannot stop talking about and

700
00:38:21,320 --> 00:38:23,520
Speaker 3: like in a gossipy way, like do you think our

701
00:38:23,560 --> 00:38:24,839
Speaker 3: friend's husband might be gay?

702
00:38:25,800 --> 00:38:28,879
Speaker 1: I mean, here's what I'll say to that point. Number one,

703
00:38:28,920 --> 00:38:35,320
Speaker 1: it's two thousand and six, right, Number two, people still

704
00:38:35,360 --> 00:38:42,200
Speaker 1: do that. People still think their friends' husbands are gay

705
00:38:42,320 --> 00:38:46,239
Speaker 1: sometimes what Oh yeah, I mean, I'm not saying that

706
00:38:46,360 --> 00:38:50,840
Speaker 1: I've participated in that, but like, I think people still

707
00:38:50,920 --> 00:38:53,760
Speaker 1: believe that. I think I think there is a certain

708
00:38:54,200 --> 00:38:58,960
Speaker 1: type of person who would be like, hey, this her

709
00:38:59,040 --> 00:38:59,759
Speaker 1: husband is gay.

710
00:39:00,160 --> 00:39:04,400
Speaker 2: He's not out of the closet yet. I definitely think that.

711
00:39:05,120 --> 00:39:08,040
Speaker 3: Well, I will say to the credit in the film,

712
00:39:08,080 --> 00:39:12,120
Speaker 3: at least they discuss it in terms of whether or

713
00:39:12,120 --> 00:39:13,240
Speaker 3: not their friend is happy.

714
00:39:14,200 --> 00:39:15,200
Speaker 2: I see. Yep.

715
00:39:15,719 --> 00:39:18,320
Speaker 3: So I think that's kind of the thing that takes

716
00:39:18,360 --> 00:39:21,440
Speaker 3: it from being super cruel, like it takes it or

717
00:39:21,480 --> 00:39:23,319
Speaker 3: it takes it away from being super cruel and turns

718
00:39:23,360 --> 00:39:26,040
Speaker 3: it into more of an exercise of like, well, if

719
00:39:26,080 --> 00:39:27,719
Speaker 3: this is true, we'll just deal with it, but we

720
00:39:27,760 --> 00:39:29,120
Speaker 3: wish that they would just deal with it so they

721
00:39:29,120 --> 00:39:30,480
Speaker 3: could be happy. Well.

722
00:39:30,640 --> 00:39:33,799
Speaker 1: Yeah, and that of course is the theme of the film. Ultimately, right,

723
00:39:34,600 --> 00:39:37,319
Speaker 1: the other thing about Jane is that she's kind of

724
00:39:37,320 --> 00:39:39,279
Speaker 1: in the middle of a midlife crisis. I would say

725
00:39:39,320 --> 00:39:42,840
Speaker 1: she stops washing her hair because she's too tired to

726
00:39:43,040 --> 00:39:43,560
Speaker 1: wash her hair.

727
00:39:43,800 --> 00:39:45,759
Speaker 2: Her arms get hired, it hurts her.

728
00:39:46,000 --> 00:39:48,839
Speaker 1: Yeah, her arms get tired. Her arms get tired, which

729
00:39:48,880 --> 00:39:53,640
Speaker 1: is so funny. And she starts freaking out in public

730
00:39:53,719 --> 00:39:57,920
Speaker 1: on people who are taking her parking spots and cutting

731
00:39:58,280 --> 00:39:59,160
Speaker 1: in line in front of her.

732
00:39:59,200 --> 00:39:59,920
Speaker 2: It's kind of a.

733
00:40:01,800 --> 00:40:04,399
Speaker 1: Like a I guess in the modern context, it would

734
00:40:04,440 --> 00:40:05,640
Speaker 1: be like somebody filmed.

735
00:40:05,320 --> 00:40:08,080
Speaker 2: To Karen on an airplane or something, you.

736
00:40:08,080 --> 00:40:08,520
Speaker 3: Know what I mean.

737
00:40:08,560 --> 00:40:10,600
Speaker 1: It's like one of those type of things that's happening

738
00:40:10,600 --> 00:40:13,560
Speaker 1: with her. At one point, though, I have to say

739
00:40:13,600 --> 00:40:18,560
Speaker 1: this shocked me. Her husband mentions that she's forty three

740
00:40:18,640 --> 00:40:24,680
Speaker 1: years old, and I was like, oh, I'm older than her. Okay,

741
00:40:26,200 --> 00:40:32,800
Speaker 1: let me put this knitting needle in my eyeball now why.

742
00:40:33,400 --> 00:40:36,360
Speaker 1: I was like, I'm older than Frances McDorman and friends

743
00:40:36,360 --> 00:40:41,360
Speaker 1: with money, and she's having a midlife crisis and freaking

744
00:40:41,400 --> 00:40:45,600
Speaker 1: out an old navy Holy.

745
00:40:45,360 --> 00:40:53,120
Speaker 3: Shit, it's a little too close to home.

746
00:40:53,040 --> 00:40:53,720
Speaker 2: Too close.

747
00:40:54,719 --> 00:40:57,840
Speaker 1: And then you finally have Joan Cusack, right. She plays

748
00:40:57,880 --> 00:41:01,640
Speaker 1: this character named Franny. She is a very wealthy, stay

749
00:41:01,640 --> 00:41:04,240
Speaker 1: at home mom. Right, She clearly has the most money

750
00:41:04,239 --> 00:41:08,120
Speaker 1: out of her friend group, but she also has issues

751
00:41:08,120 --> 00:41:11,160
Speaker 1: with spending a lot of money on things like children's shoes,

752
00:41:11,440 --> 00:41:15,880
Speaker 1: which I agree, don't spend one hundred dollars on children's shoes.

753
00:41:16,520 --> 00:41:19,040
Speaker 3: Oh. I love her husband, who's played by Greg Jerman

754
00:41:19,120 --> 00:41:21,480
Speaker 3: and who was weirdly everywhere at this point in the

755
00:41:21,719 --> 00:41:23,600
Speaker 3: early two thousands, Like I feel like he was in

756
00:41:23,640 --> 00:41:26,040
Speaker 3: every TV show, every movie where he's like, well, no,

757
00:41:26,239 --> 00:41:28,680
Speaker 3: this is the time you should be buying her these

758
00:41:28,719 --> 00:41:31,480
Speaker 3: expensive shoes because you know, her feet are forming and growing,

759
00:41:31,520 --> 00:41:33,360
Speaker 3: and she looks at him like he has a pineapple

760
00:41:33,360 --> 00:41:34,879
Speaker 3: growing out of his head. She's like, are you fucking

761
00:41:34,920 --> 00:41:37,279
Speaker 3: kidding me? These shoes are going to be worthless in

762
00:41:37,320 --> 00:41:38,800
Speaker 3: two months. Yeah.

763
00:41:39,160 --> 00:41:40,799
Speaker 2: Yeah.

764
00:41:40,880 --> 00:41:45,959
Speaker 1: And so once you have all of the characters laid out,

765
00:41:46,600 --> 00:41:49,160
Speaker 1: you start to kind of understand what the movie's actually about,

766
00:41:49,200 --> 00:41:53,840
Speaker 1: which is this It's this notion of these couples, of

767
00:41:53,880 --> 00:41:59,479
Speaker 1: these people having these secret conversations amongst themselves about their friends, right,

768
00:42:00,120 --> 00:42:04,000
Speaker 1: and it's this thing where everybody is desperately trying to

769
00:42:04,040 --> 00:42:09,000
Speaker 1: convince themselves that they're normal and decent by pointing out

770
00:42:09,520 --> 00:42:11,480
Speaker 1: the problems that their friends.

771
00:42:11,160 --> 00:42:14,319
Speaker 2: Are having in their lives, you know.

772
00:42:15,680 --> 00:42:19,439
Speaker 1: And I felt like that is a very real thing.

773
00:42:19,680 --> 00:42:22,480
Speaker 1: I mean that I participate in it. I know what

774
00:42:22,560 --> 00:42:26,120
Speaker 1: happens in my life. I'm I'm definitely the single friend

775
00:42:26,160 --> 00:42:29,200
Speaker 1: that all my married friends talk about and worry about.

776
00:42:29,280 --> 00:42:33,200
Speaker 2: I'm sure, yeah, you know. And again, a.

777
00:42:33,160 --> 00:42:36,760
Speaker 1: Lot of the conversation seems to be about money, which

778
00:42:36,800 --> 00:42:40,280
Speaker 1: is that you know, like, for example, Franny being the

779
00:42:40,320 --> 00:42:43,799
Speaker 1: most wealthy out of her friends, you know, she has

780
00:42:43,880 --> 00:42:45,720
Speaker 1: a lot of money to throw around. She's like able

781
00:42:45,760 --> 00:42:48,759
Speaker 1: to donate millions of dollars to things, and everyone's like,

782
00:42:49,800 --> 00:42:52,600
Speaker 1: you know, should she be donating this to this? And

783
00:42:52,640 --> 00:42:54,759
Speaker 1: why doesn't she give her money to this? And then

784
00:42:54,760 --> 00:43:00,560
Speaker 1: there's this whole story element where they buy a table

785
00:43:00,640 --> 00:43:03,759
Speaker 1: at this als benefit in their community and it's like

786
00:43:04,680 --> 00:43:07,400
Speaker 1: tens of thousands of dollars and everybody's like, why are

787
00:43:07,440 --> 00:43:08,399
Speaker 1: we going to this thing?

788
00:43:08,600 --> 00:43:13,200
Speaker 2: Like this is so shishi and bougie and.

789
00:43:13,120 --> 00:43:15,440
Speaker 3: This, and why don't they just give the money directly

790
00:43:15,440 --> 00:43:18,520
Speaker 3: to als? Like right, why are we having this big

791
00:43:18,560 --> 00:43:22,560
Speaker 3: show about it instead of just donating the money directly

792
00:43:22,600 --> 00:43:24,040
Speaker 3: to als treatments?

793
00:43:24,760 --> 00:43:27,160
Speaker 1: Well, and it's funny because Frannie, in a weird way,

794
00:43:27,320 --> 00:43:31,080
Speaker 1: kind of tells them why they do that. Like she's

795
00:43:31,080 --> 00:43:34,160
Speaker 1: basically like, you pay a shit ton of money for

796
00:43:34,200 --> 00:43:37,920
Speaker 1: the table, and then they give that money to the

797
00:43:37,960 --> 00:43:44,759
Speaker 1: ALS Foundations, Meaning there's a layer of something that needs

798
00:43:44,800 --> 00:43:49,279
Speaker 1: to happen for rich people, you know, to be able

799
00:43:49,280 --> 00:43:50,240
Speaker 1: to donate things.

800
00:43:50,280 --> 00:43:54,160
Speaker 2: And I was like, that's fucking real. I guess. I mean,

801
00:43:54,200 --> 00:43:56,239
Speaker 2: I don't know. I've never done that in my life.

802
00:43:56,320 --> 00:43:58,400
Speaker 2: I've never known.

803
00:43:58,480 --> 00:44:01,760
Speaker 1: Bought a ten thousand dollars banquet table at an event,

804
00:44:01,880 --> 00:44:04,560
Speaker 1: nor have I even been to one, to be honest,

805
00:44:04,640 --> 00:44:09,759
Speaker 1: I've never attended one of those galas. But you know,

806
00:44:10,120 --> 00:44:11,719
Speaker 1: it's that kind of thing where she's just like, yeah,

807
00:44:11,760 --> 00:44:13,680
Speaker 1: I mean, it would be great if that were the case,

808
00:44:13,760 --> 00:44:17,400
Speaker 1: but you're like, be real, be real, these are rich people.

809
00:44:17,640 --> 00:44:20,359
Speaker 3: Yeah, you know, this is how it's done. Is they

810
00:44:20,360 --> 00:44:22,680
Speaker 3: need to be coerced and ended being good people?

811
00:44:23,880 --> 00:44:30,480
Speaker 1: Yes, And listen, there have been many other Nicole Holoff

812
00:44:30,600 --> 00:44:33,440
Speaker 1: Center films that are about that, Like she this is

813
00:44:33,480 --> 00:44:37,360
Speaker 1: not the first time she's talked about that concept, like

814
00:44:37,480 --> 00:44:42,359
Speaker 1: charitable donations and stuff, And you know, I think that's

815
00:44:42,440 --> 00:44:43,920
Speaker 1: kind of a theme.

816
00:44:43,680 --> 00:44:45,279
Speaker 2: In her work is.

817
00:44:47,280 --> 00:44:50,840
Speaker 1: You know, middle class or upper middle class people who

818
00:44:52,680 --> 00:44:56,359
Speaker 1: are guilty about that, like the guilt that you have

819
00:44:56,560 --> 00:45:01,000
Speaker 1: of being middle class, which is I think really interesting.

820
00:45:01,080 --> 00:45:03,200
Speaker 1: But I will say that for this film in particular,

821
00:45:03,840 --> 00:45:06,319
Speaker 1: I don't think I've ever seen a movie that talks

822
00:45:06,360 --> 00:45:11,520
Speaker 1: about money in this way, like it can be really

823
00:45:11,560 --> 00:45:14,800
Speaker 1: hard to make significantly less money than your friends.

824
00:45:16,239 --> 00:45:20,560
Speaker 3: Yes, there's a point I think in everyone's adulthood or

825
00:45:20,560 --> 00:45:26,120
Speaker 3: adult life where suddenly you're no longer just paying for

826
00:45:26,160 --> 00:45:28,319
Speaker 3: the meal that you purchased. Everyone wants to split the

827
00:45:28,320 --> 00:45:32,080
Speaker 3: bill evenly, and if you're the person who is not

828
00:45:32,200 --> 00:45:35,480
Speaker 3: earning as much, it's very fraught because you're like, why

829
00:45:35,520 --> 00:45:38,160
Speaker 3: am I paying an equal amount when you all had

830
00:45:38,160 --> 00:45:42,920
Speaker 3: steak dinners or salmon or whatever and I just had

831
00:45:42,920 --> 00:45:44,880
Speaker 3: a salad. And I know a lot of people a

832
00:45:44,920 --> 00:45:46,680
Speaker 3: lot of films make fun of that as well, But

833
00:45:47,480 --> 00:45:50,480
Speaker 3: that is a very real progression in adult life, when

834
00:45:50,520 --> 00:45:52,800
Speaker 3: you start to realize that you're earning less than people,

835
00:45:53,239 --> 00:45:55,320
Speaker 3: and it starts coming out in social ways, which I

836
00:45:55,360 --> 00:45:58,919
Speaker 3: think this film also addresses really well. And the fact

837
00:45:58,920 --> 00:46:02,880
Speaker 3: that like Jennifer Andison's character is running a scam on

838
00:46:03,080 --> 00:46:05,600
Speaker 3: just getting the sample size of the nice on my

839
00:46:05,640 --> 00:46:09,160
Speaker 3: favorite makeups and moisturizers that she wants to use because

840
00:46:09,160 --> 00:46:13,760
Speaker 3: she cannot afford the full sized jar. That's real.

841
00:46:13,920 --> 00:46:17,239
Speaker 1: Yeah, that's a technique that I know very well, by

842
00:46:17,280 --> 00:46:19,759
Speaker 1: the way. And my favorite part of that is she

843
00:46:19,800 --> 00:46:22,879
Speaker 1: goes home and she puts them all up on.

844
00:46:22,840 --> 00:46:23,560
Speaker 2: A little shelf.

845
00:46:23,880 --> 00:46:27,720
Speaker 1: Yeah, Like she places her little samples, her little chel bottles,

846
00:46:27,760 --> 00:46:31,879
Speaker 1: her little land Combe bottles on a shelf, and it's

847
00:46:31,920 --> 00:46:34,160
Speaker 1: like a little luxury in her life that she that

848
00:46:34,239 --> 00:46:36,040
Speaker 1: she loves and she because she can't.

849
00:46:35,880 --> 00:46:37,960
Speaker 2: Afford the full sized version. I've been there, you know.

850
00:46:38,520 --> 00:46:40,359
Speaker 2: And that's the thing is like these little nuances.

851
00:46:41,520 --> 00:46:44,760
Speaker 1: I I just I love it because it's so real

852
00:46:44,920 --> 00:46:47,279
Speaker 1: and it's, you know, stuff that I've thought about and

853
00:46:47,600 --> 00:46:51,200
Speaker 1: have have experienced in my life. But ultimately, I think

854
00:46:51,480 --> 00:46:53,920
Speaker 1: what you figure out is that, guess what, everyone is

855
00:46:54,040 --> 00:46:54,719
Speaker 1: fucked up.

856
00:46:55,360 --> 00:46:57,719
Speaker 2: Everyone has problems that they keep to.

857
00:46:57,719 --> 00:47:00,640
Speaker 3: Themselves, you know, completely.

858
00:47:00,719 --> 00:47:03,440
Speaker 1: But as this movie rolls out, you begin to realize

859
00:47:03,480 --> 00:47:05,680
Speaker 1: that more and more that you're saying, Okay, well maybe

860
00:47:05,800 --> 00:47:10,880
Speaker 1: money isn't happiness, and everybody believes that it is, but

861
00:47:10,920 --> 00:47:11,560
Speaker 1: it's actually not.

862
00:47:11,920 --> 00:47:13,440
Speaker 2: And how do people navigate that?

863
00:47:13,719 --> 00:47:18,120
Speaker 1: And you know, this character of Olivia being the one

864
00:47:18,200 --> 00:47:23,560
Speaker 1: that maybe is in an actual kind of tailspin about

865
00:47:23,560 --> 00:47:25,319
Speaker 1: her life potentially but maybe not.

866
00:47:25,440 --> 00:47:26,200
Speaker 2: I mean you never know.

867
00:47:26,520 --> 00:47:29,600
Speaker 1: Her friends think she is, her friends think that she's

868
00:47:29,640 --> 00:47:31,400
Speaker 1: spiraling out, but maybe she's not.

869
00:47:31,640 --> 00:47:34,960
Speaker 2: And so that's that's a very to me, I think,

870
00:47:35,000 --> 00:47:35,719
Speaker 2: a very like.

871
00:47:37,520 --> 00:47:41,520
Speaker 1: Nice idea that happens, which is, you know, even though

872
00:47:41,640 --> 00:47:46,759
Speaker 1: this is like a really like biting, painful movie about

873
00:47:47,040 --> 00:47:49,520
Speaker 1: other people's lives and what other people think other people

874
00:47:49,520 --> 00:47:51,640
Speaker 1: are up to, it ends up, you know, kind of

875
00:47:51,680 --> 00:47:55,040
Speaker 1: in that way where you're like, well, you think too

876
00:47:55,120 --> 00:47:58,520
Speaker 1: much because maybe some people aren't unhappy.

877
00:47:58,440 --> 00:48:00,360
Speaker 3: And maybe some people don't want what you have or

878
00:48:00,360 --> 00:48:03,359
Speaker 3: what you want, right, Yeah, And I think it's it's

879
00:48:03,440 --> 00:48:07,840
Speaker 3: also an interesting another interesting facet of it to me

880
00:48:07,920 --> 00:48:11,319
Speaker 3: too is this notion of pity and who gets to

881
00:48:11,320 --> 00:48:14,720
Speaker 3: be pitied and they're constantly like Nicole hall Off Centers

882
00:48:14,800 --> 00:48:19,960
Speaker 3: is definitely always transversing that line and going really swiftly

883
00:48:20,040 --> 00:48:22,440
Speaker 3: back and forth between who gets to be pitied or not,

884
00:48:22,480 --> 00:48:26,120
Speaker 3: because you would think, like obviously Olivia is a source

885
00:48:26,160 --> 00:48:28,399
Speaker 3: of pity for a lot of her friends, where they're

886
00:48:28,440 --> 00:48:32,120
Speaker 3: just really at odds with like how do we help her, like,

887
00:48:32,160 --> 00:48:34,200
Speaker 3: how do we help her become us or have at

888
00:48:34,320 --> 00:48:37,480
Speaker 3: least a better life with a better job and where

889
00:48:37,520 --> 00:48:40,399
Speaker 3: she's making more money. But then she also pities them,

890
00:48:40,440 --> 00:48:42,719
Speaker 3: and she's like looking at these relationships that are so

891
00:48:42,880 --> 00:48:44,880
Speaker 3: fucked and she's like, why would you put yourself in

892
00:48:45,760 --> 00:48:49,080
Speaker 3: the path of this just to have money or just

893
00:48:49,120 --> 00:48:51,879
Speaker 3: to have this semblance of a life that you think

894
00:48:51,920 --> 00:48:55,320
Speaker 3: you should be striving for when it clearly makes you unhappy?

895
00:48:55,960 --> 00:48:58,799
Speaker 3: Because I think the thing that they don't discuss specifically,

896
00:48:58,840 --> 00:49:00,440
Speaker 3: but like, these are people who seem to have known

897
00:49:00,480 --> 00:49:03,120
Speaker 3: each other for a long time, like at least college possibly,

898
00:49:04,960 --> 00:49:08,200
Speaker 3: so she's kind of pitying what they've become as well.

899
00:49:08,280 --> 00:49:10,560
Speaker 3: Even though they do have money, they don't have happiness,

900
00:49:10,560 --> 00:49:12,759
Speaker 3: they don't have security, they don't have a lot of

901
00:49:12,800 --> 00:49:14,160
Speaker 3: things that are valuable to her.

902
00:49:15,200 --> 00:49:19,080
Speaker 1: Yeah, and they don't have passion in their relationships and stuff.

903
00:49:19,120 --> 00:49:22,680
Speaker 1: I mean, it's it's very complicated. Everybody's fucked up, you know.

904
00:49:22,760 --> 00:49:25,279
Speaker 1: I think that's kind of what I get out of

905
00:49:25,360 --> 00:49:28,040
Speaker 1: this film a lot. And I mean, to me, this

906
00:49:28,080 --> 00:49:29,840
Speaker 1: is the type of film. I mean, I feel like

907
00:49:30,680 --> 00:49:33,040
Speaker 1: this is the type of film I really gravitate towards

908
00:49:33,080 --> 00:49:37,680
Speaker 1: because it's just like a small slice of life story

909
00:49:38,239 --> 00:49:42,359
Speaker 1: about adults, you know, centered around these kind of nuances

910
00:49:42,560 --> 00:49:46,839
Speaker 1: of people in their relationships. And I love that it's

911
00:49:47,040 --> 00:49:50,120
Speaker 1: centered around middle aged women and their thoughts and their feelings,

912
00:49:50,200 --> 00:49:52,040
Speaker 1: and that their husbands are more or less kind of

913
00:49:52,040 --> 00:49:57,680
Speaker 1: supporting roles in the film completely, you know, which I

914
00:49:57,680 --> 00:50:00,839
Speaker 1: think is really great. And you know, I don't know,

915
00:50:01,040 --> 00:50:03,359
Speaker 1: I just love this movie. It really like.

916
00:50:05,320 --> 00:50:06,719
Speaker 2: It really makes me laugh.

917
00:50:06,800 --> 00:50:08,440
Speaker 1: Like there's this scene, one of my favorite scenes in

918
00:50:08,440 --> 00:50:11,279
Speaker 1: the movie is when Francis McDorman is pulling up to

919
00:50:11,320 --> 00:50:14,320
Speaker 1: the convenience store and that lady pulls into her space

920
00:50:14,320 --> 00:50:19,279
Speaker 1: and as it turns out, her son is her son

921
00:50:19,400 --> 00:50:25,279
Speaker 1: is like one of Francis mcdormand's son's playmates, and you know,

922
00:50:25,320 --> 00:50:27,680
Speaker 1: it's clear that this lady is like some arrogant mom

923
00:50:27,719 --> 00:50:30,839
Speaker 1: that has never met the Francis McDorman character. And then

924
00:50:30,880 --> 00:50:32,759
Speaker 1: she's just like, yeah, your son was at my house

925
00:50:32,800 --> 00:50:36,040
Speaker 1: and he ate two big meals and he broke a

926
00:50:36,160 --> 00:50:41,280
Speaker 1: mug and he said that you let him watch Desperate Housewives.

927
00:50:42,080 --> 00:50:44,360
Speaker 3: Like the best part of that scene is the woman

928
00:50:44,440 --> 00:50:46,480
Speaker 3: just gets back in her car. She's like, we're not

929
00:50:46,520 --> 00:50:47,520
Speaker 3: doing this today.

930
00:50:48,440 --> 00:50:53,160
Speaker 1: But like it made me remember about being a kid

931
00:50:53,160 --> 00:50:56,080
Speaker 1: and about going over to somebody's house and like eating

932
00:50:56,120 --> 00:50:58,759
Speaker 1: all their food or something that was such a grievance

933
00:50:59,200 --> 00:51:01,040
Speaker 1: that was such a events for people.

934
00:51:03,360 --> 00:51:05,319
Speaker 3: We weren't allowed to do it. It's like, you better

935
00:51:05,360 --> 00:51:07,440
Speaker 3: pack a fucking lunch. You're coming to my house. The

936
00:51:07,480 --> 00:51:09,359
Speaker 3: most she'll get is the fucking peeb and jay.

937
00:51:10,600 --> 00:51:12,600
Speaker 2: I remember when I was in high school and I

938
00:51:12,680 --> 00:51:14,440
Speaker 2: used to have like all my guy friends come over.

939
00:51:14,600 --> 00:51:17,239
Speaker 1: We'd be like, you know whatever, smoking weed, and then

940
00:51:17,600 --> 00:51:19,680
Speaker 1: they would just decimate the pantry in my mom and

941
00:51:19,760 --> 00:51:20,319
Speaker 1: dad's house.

942
00:51:21,040 --> 00:51:23,360
Speaker 2: And my mom and dad is like, we are feeding

943
00:51:23,440 --> 00:51:25,560
Speaker 2: these boys. Do you know that.

944
00:51:26,960 --> 00:51:29,840
Speaker 1: We have to spend hundreds of dollars in groceries because

945
00:51:29,840 --> 00:51:34,040
Speaker 1: of your boyfriends? And I'm like, they're not my boyfriends.

946
00:51:34,040 --> 00:51:36,279
Speaker 1: But I'm also like yeah, because we were high and

947
00:51:36,280 --> 00:51:38,040
Speaker 1: we ate a lot. I don't know, Mom, I'm good,

948
00:51:38,719 --> 00:51:40,480
Speaker 1: but they were. It was just like a huge thing,

949
00:51:40,560 --> 00:51:42,680
Speaker 1: like do their parents know that they come here and

950
00:51:42,680 --> 00:51:45,200
Speaker 1: they eat all of our food?

951
00:51:45,840 --> 00:51:50,919
Speaker 3: They just wreck shop? Oh no, I love that. I

952
00:51:50,960 --> 00:51:53,239
Speaker 3: loved that scene because she's just going on, She's going

953
00:51:53,320 --> 00:51:56,960
Speaker 3: all like falling down where She's like, she's kind of

954
00:51:57,000 --> 00:51:59,080
Speaker 3: sick of being invisible to people, even though she has

955
00:51:59,120 --> 00:52:02,520
Speaker 3: a stunning career as a very well known fashion designer

956
00:52:02,560 --> 00:52:05,560
Speaker 3: and people in her life do know her. She's pretty.

957
00:52:05,640 --> 00:52:09,960
Speaker 3: She's feeling pretty invisible and pretty, you know, stuck. And

958
00:52:10,640 --> 00:52:12,600
Speaker 3: there's a great scene where her at the farmer's market

959
00:52:13,000 --> 00:52:17,600
Speaker 3: and she's kind of laughing at this baby's names so sweet,

960
00:52:18,400 --> 00:52:20,399
Speaker 3: and she's with Olivia, and Olivia's like, what the fuck

961
00:52:20,440 --> 00:52:22,360
Speaker 3: are you doing? And you can kind of see that

962
00:52:22,400 --> 00:52:25,000
Speaker 3: she feels isolated even in that way, like in her

963
00:52:25,040 --> 00:52:27,360
Speaker 3: sense of humor or what she's finding, you know, is

964
00:52:27,400 --> 00:52:29,600
Speaker 3: funny to her or interesting to her. She's just kind

965
00:52:29,600 --> 00:52:33,879
Speaker 3: of an isolated person who is letting those feelings leak

966
00:52:33,960 --> 00:52:35,920
Speaker 3: out all over the place as the movie goes on.

967
00:52:36,000 --> 00:52:40,920
Speaker 1: Yeah, yeah, good's she's removing the filter. Yeah, you know,

968
00:52:40,960 --> 00:52:43,520
Speaker 1: she's basically like, I don't give a fuck anymore, you know,

969
00:52:43,800 --> 00:52:47,640
Speaker 1: which is real? So I don't know that I obviously

970
00:52:47,680 --> 00:52:50,839
Speaker 1: I was really wanting to do this movie. I might

971
00:52:50,840 --> 00:52:52,880
Speaker 1: have created the theme around it, to be honest, but

972
00:52:52,960 --> 00:52:56,480
Speaker 1: I this is my favorite one. This is my favorite

973
00:52:56,560 --> 00:53:00,120
Speaker 1: Nicole hell Off Center movie, I think, and I think

974
00:53:00,120 --> 00:53:04,399
Speaker 1: it's under scene, I would say, I think a lot

975
00:53:04,400 --> 00:53:07,319
Speaker 1: of a lot more people need to see it or

976
00:53:07,320 --> 00:53:10,640
Speaker 1: should see it. But also, like in her catalog, it's

977
00:53:10,800 --> 00:53:13,919
Speaker 1: for some reason a lot of people forget about this one.

978
00:53:13,960 --> 00:53:16,440
Speaker 1: I think, yeah, and I love it so much, and

979
00:53:16,480 --> 00:53:17,560
Speaker 1: I think it's for the theme.

980
00:53:17,600 --> 00:53:18,280
Speaker 2: It's everything.

981
00:53:18,440 --> 00:53:21,680
Speaker 3: So it's such a great movie. I think. I am

982
00:53:21,760 --> 00:53:27,040
Speaker 3: so bothered by the ending of the movie. But up

983
00:53:27,120 --> 00:53:31,960
Speaker 3: until that point it is truly and it's even including

984
00:53:32,000 --> 00:53:35,920
Speaker 3: the ending, it's still a beautiful and stunning film. But

985
00:53:36,000 --> 00:53:39,280
Speaker 3: the end of it bothers me so much.

986
00:53:39,840 --> 00:53:43,160
Speaker 2: It's divisive, for sure. I wish we could reveal it.

987
00:53:43,200 --> 00:53:45,560
Speaker 1: You're just gonna have to watch it and then email

988
00:53:45,680 --> 00:53:49,680
Speaker 1: us Yeah, yeah, okay, you want to move on to

989
00:53:49,760 --> 00:53:50,320
Speaker 1: your movie.

990
00:53:50,360 --> 00:53:51,120
Speaker 2: I can't wait.

991
00:53:51,600 --> 00:53:54,760
Speaker 3: Yes. So. My film was released in nineteen eighty nine.

992
00:53:55,640 --> 00:53:57,359
Speaker 3: It was based on the book The Life and Loves

993
00:53:57,400 --> 00:54:00,319
Speaker 3: of a She Devil by Fay Weldon. The screenplay is

994
00:54:00,320 --> 00:54:03,319
Speaker 3: Why Barry Strugatz and Mark R. Burns, and it was

995
00:54:03,360 --> 00:54:07,880
Speaker 3: directed by Susan Seidelman. My movie is She Devil just

996
00:54:08,000 --> 00:54:12,080
Speaker 3: just serves those who serve themselves. I can weirdly quote

997
00:54:12,120 --> 00:54:15,560
Speaker 3: this movie beat for beat. I've seen it so many time.

998
00:54:15,560 --> 00:54:18,439
Speaker 3: It was just on HBO or cable, like all the time,

999
00:54:18,480 --> 00:54:20,839
Speaker 3: after school, all the time.

1000
00:54:21,040 --> 00:54:22,399
Speaker 2: Yep, so all the time.

1001
00:54:23,239 --> 00:54:26,960
Speaker 3: One thing I will say about Susan Seidelman, who you

1002
00:54:27,000 --> 00:54:32,840
Speaker 3: should absolutely look up. She's stunning director in indie, director, producer,

1003
00:54:33,600 --> 00:54:38,839
Speaker 3: and she's directed things like Smithereens, Desperately Seeking Susan and

1004
00:54:38,880 --> 00:54:44,759
Speaker 3: making Mister Right. She's very prolific. And the other thing

1005
00:54:44,800 --> 00:54:46,799
Speaker 3: that I want you to keep in mind as we

1006
00:54:46,880 --> 00:54:49,840
Speaker 3: discuss this film is that the man at the center

1007
00:54:49,960 --> 00:54:55,120
Speaker 3: of the controversy is Ed Bagley Junior. Just get an

1008
00:54:55,160 --> 00:54:58,319
Speaker 3: image of Ed Bagley Junior in your mind, and there

1009
00:54:58,320 --> 00:55:04,480
Speaker 3: are two women animum, two women destroying themselves for Ed

1010
00:55:04,600 --> 00:55:06,200
Speaker 3: Bagley Jr.

1011
00:55:06,880 --> 00:55:09,520
Speaker 1: Okay, I'm so glad you brought this up at the

1012
00:55:09,560 --> 00:55:14,319
Speaker 1: top because I literally said to myself. I said this

1013
00:55:14,360 --> 00:55:17,600
Speaker 1: to myself when I was watching at this time. Has

1014
00:55:17,960 --> 00:55:21,160
Speaker 1: Ed Begley Junior ever fucked.

1015
00:55:20,800 --> 00:55:22,160
Speaker 2: This much in film?

1016
00:55:23,040 --> 00:55:23,759
Speaker 4: Ah?

1017
00:55:23,920 --> 00:55:25,200
Speaker 3: Never before? Never again.

1018
00:55:26,200 --> 00:55:29,920
Speaker 1: I was like, he is a straight up stud in

1019
00:55:30,000 --> 00:55:33,520
Speaker 1: this film, and I'm like, has this happened before?

1020
00:55:35,400 --> 00:55:37,560
Speaker 3: Not to him? And has it not to him?

1021
00:55:37,719 --> 00:55:40,440
Speaker 2: And he went direspect dude, no disrespect, no.

1022
00:55:40,440 --> 00:55:42,880
Speaker 3: Disrespect at all. But he went right from this movie

1023
00:55:42,880 --> 00:55:46,160
Speaker 3: into obsessing over electric cars before electric cars were cool,

1024
00:55:47,120 --> 00:55:49,359
Speaker 3: so I can't imagine they were even gonna let him

1025
00:55:49,360 --> 00:55:52,879
Speaker 3: fuck in any movies after that for a long time.

1026
00:55:52,920 --> 00:55:55,759
Speaker 2: And he is, there are so many sex scenes with him.

1027
00:55:55,800 --> 00:55:58,480
Speaker 2: I'm like, what in the damn world.

1028
00:56:00,040 --> 00:56:03,160
Speaker 3: Y's credit, he's pretty fucking ripped, But he's Ed Bagley Jr.

1029
00:56:03,560 --> 00:56:09,359
Speaker 3: The entire time, the entire fucking time. So my one

1030
00:56:09,400 --> 00:56:15,480
Speaker 3: sentence synopsis of this movie is, after a frumpy housewife

1031
00:56:15,520 --> 00:56:20,920
Speaker 3: discovers her husband's philandering, cheating ways, she goes on a

1032
00:56:20,960 --> 00:56:28,640
Speaker 3: goddamn rampage. She'd really says, she goes on a subversive,

1033
00:56:28,680 --> 00:56:33,920
Speaker 3: secret rampage. So the cast is awesome. We have Meryl

1034
00:56:33,960 --> 00:56:38,000
Speaker 3: Streep who plays Mary Fisher, this romance novelist who's at

1035
00:56:38,000 --> 00:56:41,960
Speaker 3: the center of the controversy of this affair. Roseanne Barr

1036
00:56:42,080 --> 00:56:45,640
Speaker 3: plays Ruth Patchett again, this kind of frumpy stay at

1037
00:56:45,680 --> 00:56:49,360
Speaker 3: home housewife who's doing her best. And Ed Bagley Junior

1038
00:56:49,520 --> 00:56:54,560
Speaker 3: is Bob, who is the philanderer. And we also have

1039
00:56:54,680 --> 00:56:59,239
Speaker 3: Linda Hunt in this movie, Sylvia Miles. There's one of

1040
00:56:59,280 --> 00:57:04,319
Speaker 3: my favorite weird appearances in this film in a minor role,

1041
00:57:04,480 --> 00:57:07,600
Speaker 3: is a Martinez. He plays this guy named Garcia, but

1042
00:57:07,719 --> 00:57:13,239
Speaker 3: I knew him from Days of Our Lives, which I

1043
00:57:13,320 --> 00:57:16,560
Speaker 3: watched religiously around the same time this movie came out.

1044
00:57:17,080 --> 00:57:19,240
Speaker 3: I would always tune into Days of Our Lives all

1045
00:57:19,280 --> 00:57:23,080
Speaker 3: summer long, and then was really sad when September rolled

1046
00:57:23,120 --> 00:57:27,280
Speaker 3: around and I could no longer follow my favorite soap.

1047
00:57:27,520 --> 00:57:29,959
Speaker 3: I did attempt to tape it. I attempted to tape

1048
00:57:30,000 --> 00:57:33,040
Speaker 3: it and just never could find like an hour to

1049
00:57:33,080 --> 00:57:35,680
Speaker 3: watch it at night because my grandma was always watching

1050
00:57:35,680 --> 00:57:39,280
Speaker 3: Wheel of Fortune and Jeopardy and then into her weird shows.

1051
00:57:39,320 --> 00:57:42,760
Speaker 3: So A Martinez did it, playing the fucking wildest character.

1052
00:57:47,080 --> 00:57:49,400
Speaker 3: So with the crux of this film, we have Roseanne

1053
00:57:49,440 --> 00:57:52,200
Speaker 3: Barr playing Ruth. And you have to also remember that

1054
00:57:52,280 --> 00:57:57,280
Speaker 3: at this point in time, Roseanne Barr was a lightning

1055
00:57:57,320 --> 00:58:00,720
Speaker 3: rot of controversy in this country, even more so than

1056
00:58:00,760 --> 00:58:03,800
Speaker 3: she would eventually become. Like a couple of years ago,

1057
00:58:04,560 --> 00:58:09,600
Speaker 3: she was considered foul. She was really, you know, it's

1058
00:58:09,680 --> 00:58:13,840
Speaker 3: kind of vile for her comedy and her focus on

1059
00:58:13,920 --> 00:58:18,400
Speaker 3: working class families and working class people, and she just

1060
00:58:18,440 --> 00:58:20,840
Speaker 3: didn't look the part and wasn't going to look the

1061
00:58:20,880 --> 00:58:25,000
Speaker 3: part of the typical TV star, film star. So she

1062
00:58:25,080 --> 00:58:26,920
Speaker 3: got a lot of shit, and a lot of it

1063
00:58:27,000 --> 00:58:31,000
Speaker 3: was unnecessary shit, simply for being who she was and

1064
00:58:31,040 --> 00:58:33,680
Speaker 3: looking the way she looked and having a TV a

1065
00:58:33,720 --> 00:58:37,600
Speaker 3: popular TV show that discussed the trials and tribulations of

1066
00:58:37,640 --> 00:58:38,600
Speaker 3: the working class people.

1067
00:58:39,400 --> 00:58:41,760
Speaker 1: I want to say, like that was like the first

1068
00:58:42,160 --> 00:58:45,480
Speaker 1: thing that I remembered about watching this movie again was

1069
00:58:46,040 --> 00:58:48,600
Speaker 1: I mean, this was like, I feel like this movie

1070
00:58:49,360 --> 00:58:55,120
Speaker 1: was setting up a conversation about you know, who America

1071
00:58:55,520 --> 00:58:57,800
Speaker 1: thought that Roseanne Barr was. Was she was just like

1072
00:58:57,840 --> 00:59:04,680
Speaker 1: this gross pig woman and who wasn't feminine and was

1073
00:59:05,560 --> 00:59:10,240
Speaker 1: you know, like foul mouthed and shrill and loud, And

1074
00:59:10,400 --> 00:59:12,960
Speaker 1: I felt like this movie was making a comment about that.

1075
00:59:13,040 --> 00:59:15,320
Speaker 1: I feel like, you know, they were basically like, well,

1076
00:59:16,480 --> 00:59:19,040
Speaker 1: you know, this is we're taking all.

1077
00:59:18,880 --> 00:59:20,640
Speaker 2: Of these things that you think about her, and we're

1078
00:59:20,680 --> 00:59:21,080
Speaker 2: making it.

1079
00:59:21,040 --> 00:59:25,720
Speaker 1: Into a character, and you know we're gonna discuss it,

1080
00:59:25,840 --> 00:59:29,440
Speaker 1: which I think, you know, is pretty interesting. I mean,

1081
00:59:29,480 --> 00:59:32,840
Speaker 1: I don't know, like, again, we're in this situation now.

1082
00:59:32,880 --> 00:59:37,320
Speaker 2: I think that kind of who she is now.

1083
00:59:39,000 --> 00:59:41,960
Speaker 1: Is a lot different obviously than who she was back then,

1084
00:59:42,000 --> 00:59:46,600
Speaker 1: and it I feel like she was pretty revolutionary.

1085
00:59:45,880 --> 00:59:47,800
Speaker 2: Back then yeah, you know what I mean, Like she

1086
00:59:48,040 --> 00:59:51,080
Speaker 2: was to me, you know, like really.

1087
00:59:52,600 --> 00:59:55,600
Speaker 1: Fucking this, fucking the system a little bit in this way,

1088
00:59:55,800 --> 00:59:58,320
Speaker 1: in this way that she was like, I'm not apologizing

1089
00:59:58,400 --> 00:59:59,680
Speaker 1: for who I am and what I look like and

1090
00:59:59,720 --> 01:00:01,360
Speaker 1: what I dress like, and I don't care if I'm

1091
01:00:01,720 --> 01:00:06,080
Speaker 1: demurring this and that, which I thought was great, you know,

1092
01:00:06,160 --> 01:00:08,920
Speaker 1: And of course now a lot different.

1093
01:00:09,120 --> 01:00:13,760
Speaker 3: Oh yeah, she's completely indefensible now, like completely defensible now.

1094
01:00:14,280 --> 01:00:16,480
Speaker 3: But I think she's the way that she started courting

1095
01:00:16,560 --> 01:00:21,200
Speaker 3: controversy at this stage in her career, it just only

1096
01:00:21,200 --> 01:00:24,000
Speaker 3: got it got worse. It just kept rolling like a

1097
01:00:24,040 --> 01:00:29,160
Speaker 3: fucking unstoppable train downhill, but at its apex, at its

1098
01:00:29,560 --> 01:00:32,360
Speaker 3: you know, right in this moment when this film came out,

1099
01:00:32,800 --> 01:00:37,120
Speaker 3: it was just what made her socially unacceptable and indefensible

1100
01:00:37,360 --> 01:00:40,480
Speaker 3: to most people was how she looked and what she

1101
01:00:41,160 --> 01:00:44,760
Speaker 3: chose to discuss and again planting all these little feminist seeds.

1102
01:00:44,760 --> 01:00:49,000
Speaker 3: For me, for sure, Yeah, And I think that the

1103
01:00:49,240 --> 01:00:51,560
Speaker 3: the other thing that's really remarkable about that for me,

1104
01:00:51,600 --> 01:00:54,560
Speaker 3: and the reason I mention it is that I don't

1105
01:00:54,680 --> 01:00:57,880
Speaker 3: think this movie could have been made with any other cast.

1106
01:00:58,000 --> 01:01:02,240
Speaker 3: Like the casting is pretty perfect. When you consider the

1107
01:01:02,280 --> 01:01:05,320
Speaker 3: subject matter of the film. So I kind of I

1108
01:01:05,360 --> 01:01:08,320
Speaker 3: always like a movie that feels like, oh, that could

1109
01:01:08,320 --> 01:01:11,760
Speaker 3: have only happened in that moment with those actors or

1110
01:01:11,800 --> 01:01:15,120
Speaker 3: with that one actor, and it doesn't happen very often,

1111
01:01:15,200 --> 01:01:18,040
Speaker 3: but I like that this movie gives me that feeling

1112
01:01:18,400 --> 01:01:21,360
Speaker 3: like you can't remake it at this point with anyone else.

1113
01:01:21,440 --> 01:01:25,360
Speaker 3: You can't. There's it's a totally it's from a totally

1114
01:01:25,360 --> 01:01:27,960
Speaker 3: different time and can only have been made. I think

1115
01:01:28,160 --> 01:01:30,040
Speaker 3: with the cast that it was made with, it was

1116
01:01:30,120 --> 01:01:31,640
Speaker 3: kind of designed for them.

1117
01:01:32,920 --> 01:01:33,760
Speaker 2: Yeah, totally.

1118
01:01:34,360 --> 01:01:36,960
Speaker 3: So Ruth is you know, at the start of the film,

1119
01:01:37,120 --> 01:01:39,840
Speaker 3: she's super happy to be getting jazzed up to go

1120
01:01:39,880 --> 01:01:41,640
Speaker 3: out because she is a housewife. She doesn't get to

1121
01:01:41,680 --> 01:01:44,120
Speaker 3: go out very often. She lives in the suburbs of

1122
01:01:44,120 --> 01:01:46,320
Speaker 3: New York with her family. Her husband works in New

1123
01:01:46,360 --> 01:01:49,520
Speaker 3: York City, he's an accountant, and they're going out to

1124
01:01:49,560 --> 01:01:53,800
Speaker 3: some gala and her husband, Bob, like I said, is

1125
01:01:54,160 --> 01:02:00,000
Speaker 3: just this like philandering pervert accountant, like a gentleman pervert

1126
01:02:00,080 --> 01:02:05,400
Speaker 3: of New York. And we come to find out eventually

1127
01:02:06,000 --> 01:02:08,720
Speaker 3: that he never wanted to marry Ruth. He married her

1128
01:02:08,720 --> 01:02:11,080
Speaker 3: because she got pregnant and his parents kind of forced

1129
01:02:11,160 --> 01:02:13,120
Speaker 3: him into it, so he hasn't been happy with her

1130
01:02:13,720 --> 01:02:16,560
Speaker 3: from the beginning, which, again, the thing that is stunning

1131
01:02:16,600 --> 01:02:19,600
Speaker 3: to me about this film is Ruth fucking knows that,

1132
01:02:20,000 --> 01:02:21,720
Speaker 3: but she has tried to make a life in a

1133
01:02:21,760 --> 01:02:26,560
Speaker 3: family regardless, and she loves him. She knows he's never

1134
01:02:26,600 --> 01:02:28,880
Speaker 3: loved her, but she loves him enough and loves their

1135
01:02:28,920 --> 01:02:32,560
Speaker 3: family enough to try to make it, make a life

1136
01:02:32,600 --> 01:02:34,280
Speaker 3: for all of them, and she takes a lot of

1137
01:02:34,320 --> 01:02:37,240
Speaker 3: pride in it. So they're super jazz to go to

1138
01:02:37,280 --> 01:02:42,000
Speaker 3: this gala. They go to this event, and who is

1139
01:02:42,040 --> 01:02:46,280
Speaker 3: in attendance but the one and only Mary Fisher, who

1140
01:02:46,440 --> 01:02:51,320
Speaker 3: is a premier romance novelist. She lives in a pink

1141
01:02:51,440 --> 01:02:54,880
Speaker 3: mansion in the Hamptons. She looks like she kind of

1142
01:02:55,320 --> 01:02:57,640
Speaker 3: is like an early prototype for Sonya from The Real

1143
01:02:57,680 --> 01:03:01,160
Speaker 3: Housewives of New York if anyone watches that franchise and

1144
01:03:01,800 --> 01:03:05,240
Speaker 3: has her. Her mother is in a home and she's

1145
01:03:05,320 --> 01:03:08,120
Speaker 3: hired a living sex worker as a butler, so she

1146
01:03:08,320 --> 01:03:11,040
Speaker 3: is just like she talks in this kind of breathy voice.

1147
01:03:11,160 --> 01:03:14,160
Speaker 3: And it's Meryl Streep, who is so fucking funny in

1148
01:03:14,200 --> 01:03:17,480
Speaker 3: this movie, and she is just like living her sexiest

1149
01:03:17,600 --> 01:03:22,400
Speaker 3: goddamn life. So Ruth spills wine on Mary at this gala,

1150
01:03:22,840 --> 01:03:25,400
Speaker 3: and that brings Bob over, and Bob kind of comes

1151
01:03:25,440 --> 01:03:28,160
Speaker 3: over just to scold Ruth for being such a klutz,

1152
01:03:28,440 --> 01:03:30,959
Speaker 3: and then he locks eyes with Mary Fisher and they

1153
01:03:31,000 --> 01:03:34,400
Speaker 3: fall in love right away. So he ends up giving

1154
01:03:34,440 --> 01:03:37,120
Speaker 3: her a lift home, and Ruth is in the back

1155
01:03:37,160 --> 01:03:41,120
Speaker 3: seat while they're driving Mary home, and he drops his

1156
01:03:41,240 --> 01:03:44,440
Speaker 3: wife off first at the end of their development, doesn't

1157
01:03:44,440 --> 01:03:47,680
Speaker 3: even walk her to the fucking door, and then basically

1158
01:03:47,960 --> 01:03:51,520
Speaker 3: drives seventy five miles away to Mary's house, where they

1159
01:03:51,880 --> 01:03:55,840
Speaker 3: immediately fuck, to the consternation of her butler, who is

1160
01:03:55,960 --> 01:03:57,680
Speaker 3: absolutely waiting for her to come home in his like

1161
01:03:57,720 --> 01:04:01,280
Speaker 3: satin pajama get up, which is so funny to me.

1162
01:04:02,520 --> 01:04:08,320
Speaker 3: So Ruth basically is she knows in her bones that

1163
01:04:08,400 --> 01:04:12,200
Speaker 3: he is having an affair with Mary. And she's at

1164
01:04:12,240 --> 01:04:15,080
Speaker 3: home that night reading one of Mary's books and just

1165
01:04:15,840 --> 01:04:19,840
Speaker 3: like chunking through a box of Dunkin Donuts. And the

1166
01:04:19,880 --> 01:04:22,680
Speaker 3: next morning she's making breakfast and he comes home and

1167
01:04:22,720 --> 01:04:25,440
Speaker 3: she's got like eight hundred orange halves on the counter

1168
01:04:25,520 --> 01:04:29,240
Speaker 3: with squeezing fresh juice and shit, and Bob is thrilled

1169
01:04:29,280 --> 01:04:31,520
Speaker 3: because he's like, oh yeah, like he makes up a lie.

1170
01:04:31,560 --> 01:04:33,680
Speaker 3: He's like, oh yeah, my tire blue out in the expressway.

1171
01:04:33,720 --> 01:04:37,800
Speaker 3: But now I am Mary Fisher's business manager, like I'm

1172
01:04:37,880 --> 01:04:40,280
Speaker 3: her accountant. But because she's such a big client, now

1173
01:04:40,320 --> 01:04:44,920
Speaker 3: I can level up to business manager. And Ruth is like, yeah,

1174
01:04:45,080 --> 01:04:47,920
Speaker 3: while I'm home doing all the plumbing and lawnmowing, you're

1175
01:04:47,960 --> 01:04:52,400
Speaker 3: fucking this new client of yours. And with wild abandoned

1176
01:04:52,400 --> 01:04:59,120
Speaker 3: on a round bed, there's one funny scene because the

1177
01:04:59,200 --> 01:05:01,520
Speaker 3: kids are also very, very funny. So you've got Nicolette

1178
01:05:01,560 --> 01:05:03,560
Speaker 3: who's just this kind of, you know, just kind of

1179
01:05:03,560 --> 01:05:09,720
Speaker 3: braddy teenage girl character, and Andy, her son, who's truly

1180
01:05:10,720 --> 01:05:13,920
Speaker 3: a protos psychotic like he there's a scene in a

1181
01:05:13,920 --> 01:05:16,960
Speaker 3: grocery store where she's like, I'm gonna make dinner for

1182
01:05:17,560 --> 01:05:19,720
Speaker 3: your dad, and you know, his parents are coming for

1183
01:05:19,840 --> 01:05:23,360
Speaker 3: like your grandparents are coming for dinner. And as she

1184
01:05:23,400 --> 01:05:26,040
Speaker 3: and Nicolette are looking at this recipe in a magazine,

1185
01:05:26,040 --> 01:05:30,160
Speaker 3: Andy is just stabbing milk cartons, like just walking past

1186
01:05:30,280 --> 01:05:33,800
Speaker 3: and stabbing all these milk cartons. And he goes home

1187
01:05:33,800 --> 01:05:35,880
Speaker 3: and he's playing with his Gerbil and he's just like

1188
01:05:35,920 --> 01:05:39,000
Speaker 3: this little fucked up eighties kid, which again I don't

1189
01:05:39,040 --> 01:05:41,200
Speaker 3: think we get to see very much anymore, and I

1190
01:05:41,320 --> 01:05:44,720
Speaker 3: kind of appreciated how wild he was.

1191
01:05:45,440 --> 01:05:47,440
Speaker 2: Oh yeah, amazing.

1192
01:05:47,720 --> 01:05:50,040
Speaker 3: Oh So they're in the grocery store and you know,

1193
01:05:50,320 --> 01:05:52,800
Speaker 3: Ruth is stressed the fuck out trying to make this meal,

1194
01:05:53,600 --> 01:05:57,320
Speaker 3: and she's burning things, and Bob comes home late and

1195
01:05:57,360 --> 01:05:59,360
Speaker 3: she's trying to get dressed and she's just kind of

1196
01:05:59,360 --> 01:06:01,560
Speaker 3: like seething and shaking and fuming, and she's having the

1197
01:06:01,560 --> 01:06:04,480
Speaker 3: worst night of her fucking life. And when the parents

1198
01:06:04,480 --> 01:06:07,560
Speaker 3: come over and she finally starts rolling things out of

1199
01:06:07,560 --> 01:06:10,880
Speaker 3: the kitchen, she trips and almost drops the whole cheese plate.

1200
01:06:11,440 --> 01:06:16,640
Speaker 3: And then when she unveils the main dish, the pista

1201
01:06:16,840 --> 01:06:20,360
Speaker 3: is the staunce. Her son's gerbil is baked on top

1202
01:06:20,400 --> 01:06:24,720
Speaker 3: of this, like bisk soup. It's so gnarly looking, it's

1203
01:06:24,760 --> 01:06:28,320
Speaker 3: so gross. So Bob fucking flips out. He's had it.

1204
01:06:28,640 --> 01:06:30,760
Speaker 3: And this is what sets off the trajectory of the film,

1205
01:06:30,760 --> 01:06:34,960
Speaker 3: because he basically tells her he's leaving, and the reason

1206
01:06:35,000 --> 01:06:38,600
Speaker 3: he's leaving is that there are only four assets that

1207
01:06:38,640 --> 01:06:42,680
Speaker 3: he has in his life. His home, his family, his career,

1208
01:06:42,800 --> 01:06:47,200
Speaker 3: and his freedom. But Ruth is the only liability. So

1209
01:06:47,280 --> 01:06:50,680
Speaker 3: he leaves and Ruth is crying and she's upset. She

1210
01:06:50,760 --> 01:06:53,160
Speaker 3: lets herself be mad for a minute, and the next

1211
01:06:53,200 --> 01:06:56,240
Speaker 3: morning the kids go to school and she takes the

1212
01:06:56,280 --> 01:06:59,400
Speaker 3: dog and kind of secures the dog safely outside of

1213
01:06:59,400 --> 01:07:05,160
Speaker 3: the house, and then she quickly sets to work destroying

1214
01:07:05,320 --> 01:07:08,640
Speaker 3: everything that matters to Bob from that list of four things,

1215
01:07:08,640 --> 01:07:13,360
Speaker 3: his home, his career, his freedom, and his family. The

1216
01:07:13,400 --> 01:07:16,360
Speaker 3: home is easy because she just burns it the fuck down,

1217
01:07:16,480 --> 01:07:22,240
Speaker 3: like spectacularly burns this house down. She's overloading circuits, she's

1218
01:07:22,240 --> 01:07:24,720
Speaker 3: got aerosols in the microwave, she's got a fucking hair

1219
01:07:24,800 --> 01:07:26,760
Speaker 3: dryer on the bed under some pillows.

1220
01:07:27,640 --> 01:07:35,680
Speaker 1: So this is a core childhood memory for me. The shot,

1221
01:07:36,200 --> 01:07:39,200
Speaker 1: it's definitely green screen. If you can see it now,

1222
01:07:39,240 --> 01:07:42,760
Speaker 1: you're like, oh, this is literally the actress Roseanne Bar

1223
01:07:43,240 --> 01:07:45,680
Speaker 1: walking in front of a green screen of a house

1224
01:07:45,680 --> 01:07:50,880
Speaker 1: blowing up. But that part is like a core childhood

1225
01:07:50,880 --> 01:07:57,400
Speaker 1: memory seared in my brain of this smirking Roseanne Bar character,

1226
01:07:58,880 --> 01:08:05,840
Speaker 1: like wearing those like dude drop glasses walking away from

1227
01:08:05,840 --> 01:08:07,560
Speaker 1: an exploding house.

1228
01:08:09,800 --> 01:08:14,040
Speaker 3: It's so fucking good. It's so it's also burned in

1229
01:08:14,120 --> 01:08:16,760
Speaker 3: my brain. Also, like the out that she's wearing everything.

1230
01:08:17,000 --> 01:08:20,800
Speaker 3: I'm like everything, her hairstyle, and she before she blows

1231
01:08:20,880 --> 01:08:24,360
Speaker 3: up the house, she takes Mary's file out of Bob's

1232
01:08:24,800 --> 01:08:27,679
Speaker 3: file cabinet, and she also takes a picture of her family,

1233
01:08:28,760 --> 01:08:32,439
Speaker 3: and then she's out the fucking door and she's like goodbye.

1234
01:08:32,640 --> 01:08:36,000
Speaker 3: She puts a fucking knife in the blender, Like, I'm like,

1235
01:08:36,080 --> 01:08:38,559
Speaker 3: she's a shit that I've never even considered could be

1236
01:08:38,720 --> 01:08:41,519
Speaker 3: part of what destroyed her home. She has thought this

1237
01:08:41,600 --> 01:08:44,479
Speaker 3: shit out. She takes the fucking smoke her alarm off

1238
01:08:44,520 --> 01:08:47,080
Speaker 3: with a hammer, like it is just a very impressive

1239
01:08:47,120 --> 01:08:50,680
Speaker 3: scene at to start off her path of destruction. So

1240
01:08:50,720 --> 01:08:52,760
Speaker 3: when the kids come home from school, they're like, what

1241
01:08:52,840 --> 01:08:54,760
Speaker 3: the fuck, where's our shit? And she's like everything is

1242
01:08:54,760 --> 01:08:57,519
Speaker 3: burnt down, And they get in the cab and drive

1243
01:08:57,640 --> 01:09:00,920
Speaker 3: directly to Mary's house where she dropped the kids off

1244
01:09:01,439 --> 01:09:04,719
Speaker 3: with Bob and Mary. And Bob and Mary. This scene

1245
01:09:04,800 --> 01:09:07,360
Speaker 3: is so funny to me for a couple of reasons.

1246
01:09:07,880 --> 01:09:10,360
Speaker 3: Bob and Mary are in her indoor pool and she's

1247
01:09:10,400 --> 01:09:12,160
Speaker 3: got like a little tent around a part of it,

1248
01:09:12,200 --> 01:09:14,760
Speaker 3: and it's filled with bubbles, which is already weird enough.

1249
01:09:15,360 --> 01:09:17,360
Speaker 3: The funniest fucking part of the scene to me is

1250
01:09:17,360 --> 01:09:20,799
Speaker 3: when Andy's just standing there staring at them, and Bob's

1251
01:09:20,840 --> 01:09:22,760
Speaker 3: like running away to chase Ruth and kind of be like,

1252
01:09:22,800 --> 01:09:24,920
Speaker 3: what the fuck are you doing? And she's telling them

1253
01:09:24,920 --> 01:09:27,639
Speaker 3: the house burned down and the kids are basically yours now,

1254
01:09:28,000 --> 01:09:30,559
Speaker 3: and Meryl Streep just like tries to cover herself with

1255
01:09:30,600 --> 01:09:34,799
Speaker 3: bubbles and swim away like a weird little luckness monster.

1256
01:09:35,000 --> 01:09:38,920
Speaker 3: It's so fucking funny. But yeah, Ruth crosses off the

1257
01:09:38,960 --> 01:09:41,479
Speaker 3: first things, the first two things on his list in

1258
01:09:41,760 --> 01:09:44,800
Speaker 3: quick succession. She's like, the house is burned down, and

1259
01:09:44,880 --> 01:09:46,760
Speaker 3: here's your family. You love them so much? Here they

1260
01:09:46,760 --> 01:09:47,760
Speaker 3: are You fucking deal with it?

1261
01:09:48,360 --> 01:09:50,160
Speaker 2: Yeah, I fucking love it.

1262
01:09:50,439 --> 01:09:52,880
Speaker 3: Then she does my favorite thing where she takes a

1263
01:09:52,920 --> 01:09:55,960
Speaker 3: new name and she goes to work at the nursing

1264
01:09:56,000 --> 01:10:01,360
Speaker 3: home where Mary's mother lives, and the name she chooses

1265
01:10:01,400 --> 01:10:06,360
Speaker 3: is Vesta Rose. She loves roses, and she quickly learns

1266
01:10:06,400 --> 01:10:09,160
Speaker 3: from the woman managing this home that the thing that

1267
01:10:09,160 --> 01:10:12,840
Speaker 3: they can't stand more than anything is bedwetters, like it

1268
01:10:12,920 --> 01:10:17,280
Speaker 3: is unforgivable. So she also learns that they've been sedating

1269
01:10:17,439 --> 01:10:20,679
Speaker 3: all of the residents, and then she meets Hooper, who's

1270
01:10:20,680 --> 01:10:26,639
Speaker 3: played by Linda Hunt, incredibly iconic actress. And Hooper's really

1271
01:10:26,760 --> 01:10:29,280
Speaker 3: quiet and small and meek, and she's been working there

1272
01:10:29,320 --> 01:10:32,559
Speaker 3: for over twenty years and just seems to be kind

1273
01:10:32,560 --> 01:10:35,759
Speaker 3: of resigned to her fate in life as somebody behind

1274
01:10:35,800 --> 01:10:38,320
Speaker 3: the scenes, and she just does what she's told. She's

1275
01:10:38,439 --> 01:10:42,800
Speaker 3: very much like a soldier in that way. Well, Ruth

1276
01:10:43,360 --> 01:10:46,320
Speaker 3: has her own fucking plan and she replaces the sedatives

1277
01:10:46,320 --> 01:10:50,160
Speaker 3: with vitamins, gets all these old fucks up up and moving.

1278
01:10:51,000 --> 01:10:52,160
Speaker 3: They're playing soccer.

1279
01:10:53,920 --> 01:10:55,920
Speaker 2: Oh it's such a good scene.

1280
01:10:55,960 --> 01:10:58,000
Speaker 1: I don't know why that scene makes me so happy,

1281
01:10:58,400 --> 01:11:01,800
Speaker 1: because it's like the idea of like, oh, here are

1282
01:11:01,840 --> 01:11:06,000
Speaker 1: all these like medicated older women whose families. You know,

1283
01:11:06,120 --> 01:11:10,040
Speaker 1: the messaging is that their families have left them in

1284
01:11:10,080 --> 01:11:14,559
Speaker 1: this home and they were basically like drug to deal

1285
01:11:14,600 --> 01:11:20,200
Speaker 1: with it. And you know, essentially, Vesta Rose is like,

1286
01:11:20,479 --> 01:11:23,840
Speaker 1: fuck that, Like they can have full lives in here.

1287
01:11:23,960 --> 01:11:26,200
Speaker 1: It doesn't have to be sad, and she you know,

1288
01:11:26,360 --> 01:11:29,320
Speaker 1: basically they're like out there kicking the soccer ball.

1289
01:11:29,120 --> 01:11:31,360
Speaker 2: And everyone's like having a great time, and I'm just

1290
01:11:31,400 --> 01:11:34,200
Speaker 2: like that makes me so happy. I don't know, I

1291
01:11:34,240 --> 01:11:35,719
Speaker 2: love it. It's so sweet.

1292
01:11:35,720 --> 01:11:39,160
Speaker 3: It's so sweet, truly, and you know that, like, my

1293
01:11:39,200 --> 01:11:41,960
Speaker 3: grandma's in a home, So that's always something I thought

1294
01:11:42,000 --> 01:11:44,320
Speaker 3: about when I was putting my own grandmother into care

1295
01:11:44,479 --> 01:11:46,960
Speaker 3: And you know, obviously this is the worst example of

1296
01:11:46,960 --> 01:11:49,479
Speaker 3: what a care home could look like. But it's not

1297
01:11:49,520 --> 01:11:51,559
Speaker 3: out of the ordinary, it's not out of possibility. So

1298
01:11:51,600 --> 01:11:54,200
Speaker 3: she just takes it among herself to really be a

1299
01:11:54,240 --> 01:11:56,680
Speaker 3: savior in that moment. I think that's why we both

1300
01:11:56,720 --> 01:12:01,080
Speaker 3: feel like it's so it's such an uplifting scene because

1301
01:12:01,080 --> 01:12:05,960
Speaker 3: she's saving these these these residents, but she's also saving

1302
01:12:06,520 --> 01:12:09,519
Speaker 3: Hooper and showing Hooper that like, there's another way to

1303
01:12:09,560 --> 01:12:11,639
Speaker 3: do your job, there's another way to live, there's another

1304
01:12:11,640 --> 01:12:16,040
Speaker 3: way to be here. So as she's everyone is kind

1305
01:12:16,040 --> 01:12:21,280
Speaker 3: of woken up. She starts talking to Mary's mother, Missus Fisher,

1306
01:12:22,000 --> 01:12:25,760
Speaker 3: and getting kind of the dirt and the scoop on

1307
01:12:26,560 --> 01:12:29,960
Speaker 3: what their relationship is, but also what Mary came from.

1308
01:12:30,479 --> 01:12:33,240
Speaker 3: And the mother is fucking hilarious. She's body and she

1309
01:12:33,479 --> 01:12:37,800
Speaker 3: curses and she's just like like fuck this and fuck her,

1310
01:12:38,120 --> 01:12:41,280
Speaker 3: and you know, blah blah blahha. But she's basically giving

1311
01:12:41,320 --> 01:12:44,200
Speaker 3: the scoop on Mary and what a terrible daughter she is.

1312
01:12:44,920 --> 01:12:48,599
Speaker 3: And Ruth kind of encourages her and is like, well,

1313
01:12:48,640 --> 01:12:50,559
Speaker 3: you could go see her, like you have rights, you

1314
01:12:50,600 --> 01:12:52,160
Speaker 3: can go see her on Sundal. I'll help you make

1315
01:12:52,160 --> 01:12:59,799
Speaker 3: the arrangements. And the minute missus Fisher leaves, Ruth dumps

1316
01:12:59,840 --> 01:13:05,560
Speaker 3: in entire a bed pans worth of urine on her bed. Ah,

1317
01:13:05,800 --> 01:13:07,719
Speaker 3: so she is set in the stage for the fact

1318
01:13:07,760 --> 01:13:10,439
Speaker 3: that missus Fisher is not gonna be allowed to come back.

1319
01:13:10,920 --> 01:13:13,519
Speaker 3: And at this point we cut back to Mary and

1320
01:13:13,640 --> 01:13:16,400
Speaker 3: Mary Fisher is in hell like she is trying to

1321
01:13:16,520 --> 01:13:18,360
Speaker 3: she can't work. It's too noisy for her to work.

1322
01:13:18,400 --> 01:13:20,320
Speaker 3: The kids are fucking playing the radio and talking on

1323
01:13:20,360 --> 01:13:24,040
Speaker 3: a party line all day. The dogs are fighting. Well,

1324
01:13:24,080 --> 01:13:26,880
Speaker 3: her dog dies by accident. When she tells Andy to

1325
01:13:26,880 --> 01:13:29,400
Speaker 3: throw a stick. She's like, give that stick, like, drop

1326
01:13:29,439 --> 01:13:31,600
Speaker 3: that stick, leave the dogs alone. So he throws it

1327
01:13:31,640 --> 01:13:34,479
Speaker 3: and her dog goes over a fucking cliff as she passed.

1328
01:13:34,600 --> 01:13:37,160
Speaker 1: You know that that You know that hit me real hard?

1329
01:13:38,400 --> 01:13:42,040
Speaker 1: Any type of like little White dog in a movie

1330
01:13:42,720 --> 01:13:45,559
Speaker 1: I connect to instantly, and I was like, this is

1331
01:13:45,640 --> 01:13:46,439
Speaker 1: so sad.

1332
01:13:46,560 --> 01:13:50,080
Speaker 2: And then she had like the little grave marker made.

1333
01:13:51,000 --> 01:13:53,599
Speaker 3: She has like a fucking mausoleum built for the dog

1334
01:13:54,560 --> 01:13:56,040
Speaker 3: in the middle of the yard.

1335
01:13:56,960 --> 01:13:59,160
Speaker 2: I was like, Yo, that's me. That's gonna be me.

1336
01:13:59,320 --> 01:14:00,000
Speaker 2: Let's get Sarah.

1337
01:14:00,920 --> 01:14:03,680
Speaker 3: Oh my god, Oh it's so funny. It is so

1338
01:14:03,840 --> 01:14:06,559
Speaker 3: fucking funny. And her maid is pissed off because her

1339
01:14:06,560 --> 01:14:10,080
Speaker 3: maid is like, I was hired to work for you,

1340
01:14:10,240 --> 01:14:13,439
Speaker 3: and now I've got your fucking lover and his kids

1341
01:14:13,439 --> 01:14:15,840
Speaker 3: and your mother and all and two dogs, and like,

1342
01:14:15,880 --> 01:14:18,200
Speaker 3: the maid eventually quits because she's like this is balls,

1343
01:14:18,680 --> 01:14:22,559
Speaker 3: and Garcia also is like, I'm fucking retired. Like I'm

1344
01:14:22,640 --> 01:14:24,920
Speaker 3: a butler, I'm not a maid. I'm I'm He's like

1345
01:14:24,960 --> 01:14:26,800
Speaker 3: swimming in a pool being like, fuck you if we're

1346
01:14:26,800 --> 01:14:29,400
Speaker 3: not gonna get down and bone that was my actual

1347
01:14:29,479 --> 01:14:34,080
Speaker 3: job and you don't need that anymore. So Bob, because

1348
01:14:34,320 --> 01:14:39,080
Speaker 3: he's like, now Mary has become what Ruth used to be,

1349
01:14:39,200 --> 01:14:41,559
Speaker 3: which is the woman who maintains his life. He starts

1350
01:14:41,560 --> 01:14:43,960
Speaker 3: stepping out again. So you see Bob cheating and his

1351
01:14:44,320 --> 01:14:46,439
Speaker 3: business is growing, and he's cheating all over the place

1352
01:14:47,200 --> 01:14:51,200
Speaker 3: while Mary is in hell. And then her mother has

1353
01:14:51,240 --> 01:14:53,479
Speaker 3: to stay with her because this woman from the care

1354
01:14:53,520 --> 01:14:55,320
Speaker 3: home calls and is like, yo, she pissed the bed.

1355
01:14:55,400 --> 01:14:58,840
Speaker 3: She can't come back. So she is having this Like

1356
01:14:59,600 --> 01:15:01,080
Speaker 3: the only I think I can equate it to is

1357
01:15:01,120 --> 01:15:05,080
Speaker 3: another eighties movie that I love, Mad House with John Larrickett,

1358
01:15:05,360 --> 01:15:09,080
Speaker 3: of course, and it's like she's just having this cavalcade

1359
01:15:09,160 --> 01:15:11,120
Speaker 3: of people who are coming into her house that she

1360
01:15:11,120 --> 01:15:13,360
Speaker 3: can't get rid of, who are ruining her fucking life

1361
01:15:13,400 --> 01:15:14,639
Speaker 3: and ruining her fucking house.

1362
01:15:15,120 --> 01:15:18,719
Speaker 1: Oh man, that the scene of when she finally flips

1363
01:15:18,760 --> 01:15:22,120
Speaker 1: the fuck out on the kids, like when they're watching

1364
01:15:22,120 --> 01:15:25,200
Speaker 1: that big, big TV and she comes in and she's

1365
01:15:25,280 --> 01:15:27,680
Speaker 1: just like throwing shit, and then Ed Begley Junior comes

1366
01:15:27,720 --> 01:15:30,519
Speaker 1: in and then she throws them against a what is

1367
01:15:30,560 --> 01:15:33,599
Speaker 1: it like a Papa is on looking Charity falls backwards.

1368
01:15:33,600 --> 01:15:34,320
Speaker 2: Like that whole scene.

1369
01:15:34,400 --> 01:15:37,599
Speaker 1: I was like, Yo, Merril is so good at physical comedy.

1370
01:15:37,760 --> 01:15:40,840
Speaker 3: Oh my god, so good at it. She's so good.

1371
01:15:40,840 --> 01:15:43,960
Speaker 3: She's like Bob like after she just like yells at

1372
01:15:43,960 --> 01:15:47,960
Speaker 3: the kids, it is like like smashing her mom. She's like, Mom,

1373
01:15:48,040 --> 01:15:50,639
Speaker 3: sit the fuck down, shut the fuck up. Bob comes

1374
01:15:50,640 --> 01:15:52,840
Speaker 3: in and she just slams them against the fucking chair.

1375
01:15:52,920 --> 01:15:53,880
Speaker 2: It's so good.

1376
01:15:54,160 --> 01:15:58,080
Speaker 3: Oh yeah, she eventually loses her goddamn mind. But before

1377
01:15:58,120 --> 01:16:01,160
Speaker 3: that can happen, we had we still have of two

1378
01:16:01,320 --> 01:16:05,839
Speaker 3: important things to cross off Bob's list. So Vestig gets fired.

1379
01:16:05,920 --> 01:16:10,759
Speaker 3: Vesta Rose Ruth gets fired for letting the urine incident slide.

1380
01:16:11,360 --> 01:16:12,720
Speaker 3: She hops on a bus to go back to the

1381
01:16:12,720 --> 01:16:15,599
Speaker 3: city and Hooper joins her. And the secret about Hooper

1382
01:16:15,760 --> 01:16:18,120
Speaker 3: is that because she's been working for twenty plus years

1383
01:16:18,160 --> 01:16:20,920
Speaker 3: with little to no expenses, she has like fifty thousand

1384
01:16:20,920 --> 01:16:23,200
Speaker 3: dollars in the bank. So they go to the city

1385
01:16:23,720 --> 01:16:27,120
Speaker 3: and they start a fucking employment agency. They buy a

1386
01:16:27,120 --> 01:16:31,559
Speaker 3: building and they decide to start an em employment agency

1387
01:16:31,800 --> 01:16:33,920
Speaker 3: in New York City for women who the world has

1388
01:16:34,080 --> 01:16:39,200
Speaker 3: thrown away. So she essentially Ruth is turning these women

1389
01:16:39,600 --> 01:16:42,799
Speaker 3: who are just like her into her own little private

1390
01:16:43,040 --> 01:16:45,880
Speaker 3: army because these women are now going to be working

1391
01:16:46,040 --> 01:16:50,439
Speaker 3: all over the fucking city. So she destroys Bob's career

1392
01:16:51,280 --> 01:16:54,520
Speaker 3: by sending in this like hot to trot data processor

1393
01:16:55,280 --> 01:16:58,400
Speaker 3: bookkeeper who he clearly has an affair with, and then

1394
01:16:58,400 --> 01:17:00,719
Speaker 3: she sends proof of the affair to marriage and Mary

1395
01:17:00,880 --> 01:17:04,679
Speaker 3: freaks the fuck out. But then she destroys his freedom

1396
01:17:04,920 --> 01:17:07,559
Speaker 3: by having after Olivia this woman that she has sent

1397
01:17:07,640 --> 01:17:12,719
Speaker 3: to work for him. After Olivia is dumped by him,

1398
01:17:13,960 --> 01:17:17,720
Speaker 3: she helps Ruth embezzle a bunch of money and move

1399
01:17:17,760 --> 01:17:21,080
Speaker 3: it from his client's accounts to his private account. And

1400
01:17:21,240 --> 01:17:24,320
Speaker 3: the greatest thing about this scene is watching Ruth and

1401
01:17:24,360 --> 01:17:27,680
Speaker 3: Olivia skulk around this building in their disguises, because they

1402
01:17:27,680 --> 01:17:29,840
Speaker 3: have these like big scarves and big coats and it's

1403
01:17:29,920 --> 01:17:34,160
Speaker 3: kind of like hilarious to watch. And he gets tossed

1404
01:17:34,160 --> 01:17:37,719
Speaker 3: in jail for embezzlement and the movie doesn't end there,

1405
01:17:38,160 --> 01:17:43,480
Speaker 3: but it's pretty fucking great to see a revenge fantasy

1406
01:17:43,640 --> 01:17:47,160
Speaker 3: like this actually work, and to see that in the

1407
01:17:47,240 --> 01:17:51,639
Speaker 3: process of the revenge, it wasn't just about taking him down.

1408
01:17:52,280 --> 01:17:55,200
Speaker 3: It was about watching Ruth find her purpose and build

1409
01:17:55,240 --> 01:17:58,760
Speaker 3: herself up. Yeah. So I know that this is a

1410
01:17:58,800 --> 01:18:03,640
Speaker 3: stretch in the theme of friends with money, because you know,

1411
01:18:03,680 --> 01:18:06,400
Speaker 3: I'm talking about Mary Fisher, who comes into the movie

1412
01:18:06,439 --> 01:18:09,439
Speaker 3: with a lot of money already. I think the reason

1413
01:18:09,479 --> 01:18:12,080
Speaker 3: I picked it and I was thinking of this marriage

1414
01:18:12,080 --> 01:18:14,200
Speaker 3: and how you know, most most people feel like they're

1415
01:18:14,240 --> 01:18:17,280
Speaker 3: friends with the people they marry, and watching him become

1416
01:18:17,320 --> 01:18:20,880
Speaker 3: more and more successful and earn more and more money

1417
01:18:21,000 --> 01:18:24,679
Speaker 3: and have an astoundingly much better life than he ever

1418
01:18:24,760 --> 01:18:27,559
Speaker 3: gave her after he's kind of used her and thrown

1419
01:18:27,600 --> 01:18:29,200
Speaker 3: her out. So that was why I picked it for

1420
01:18:29,240 --> 01:18:29,599
Speaker 3: the theme.

1421
01:18:30,360 --> 01:18:30,799
Speaker 2: Yeah.

1422
01:18:30,880 --> 01:18:33,920
Speaker 1: Plus I have to say, I mean for the theme,

1423
01:18:34,800 --> 01:18:40,120
Speaker 1: I feel like it's the movie changed courses about what

1424
01:18:40,320 --> 01:18:44,559
Speaker 1: the message was, which was great because it's like I think,

1425
01:18:44,600 --> 01:18:49,960
Speaker 1: at the beginning, you know, the Ruth character does she

1426
01:18:50,200 --> 01:18:51,519
Speaker 1: is jealous of Mary Fisher.

1427
01:18:51,840 --> 01:18:53,240
Speaker 2: She wishes that she had her.

1428
01:18:53,200 --> 01:18:58,640
Speaker 1: Money and her fame and her you know, beauty and

1429
01:18:58,680 --> 01:19:04,360
Speaker 1: all these things. And when you first you know, when

1430
01:19:04,360 --> 01:19:06,640
Speaker 1: you first catch women that she's going to basically like

1431
01:19:07,120 --> 01:19:13,120
Speaker 1: raise hell against her ex husband, You're thinking, oh, it's

1432
01:19:13,160 --> 01:19:16,400
Speaker 1: because she's jealous of Mary and she wants to ruin Mary.

1433
01:19:17,600 --> 01:19:21,320
Speaker 2: But as it turns out, she's not. She ends up not.

1434
01:19:21,360 --> 01:19:25,840
Speaker 1: Following through on that impulse to blame the woman, yes,

1435
01:19:26,479 --> 01:19:30,080
Speaker 1: you know, and she ends up like, you know, actually

1436
01:19:30,240 --> 01:19:32,400
Speaker 1: like helping other women at the end of the film,

1437
01:19:32,439 --> 01:19:37,320
Speaker 1: which I very much appreciated. Did not catch that when

1438
01:19:37,320 --> 01:19:39,040
Speaker 1: I was a kid, I exactly.

1439
01:19:39,439 --> 01:19:42,000
Speaker 3: That is so important because that's the poignant part of

1440
01:19:42,040 --> 01:19:44,240
Speaker 3: the movie where she puts the blame where it belongs,

1441
01:19:44,280 --> 01:19:47,679
Speaker 3: which is on this fucking man. Who is out here

1442
01:19:48,200 --> 01:19:51,759
Speaker 3: doing this to several women. He is using women all

1443
01:19:51,840 --> 01:19:54,400
Speaker 3: over the place to fuel his own life and career.

1444
01:19:55,240 --> 01:19:58,719
Speaker 3: And she, like you said, starts out being jealous of Mary,

1445
01:19:59,000 --> 01:20:03,040
Speaker 3: turns it into fuel and fans the fire against the

1446
01:20:03,120 --> 01:20:06,120
Speaker 3: person who fucking deserves it. And that was not something

1447
01:20:06,120 --> 01:20:09,680
Speaker 3: I caught on to as a kid either, And I

1448
01:20:09,720 --> 01:20:11,960
Speaker 3: couldn't understand as a kid why it was so exciting

1449
01:20:12,000 --> 01:20:14,960
Speaker 3: for me to watch her take him down. And as

1450
01:20:15,000 --> 01:20:18,759
Speaker 3: an adult, I fully understand why is excited to watch

1451
01:20:18,760 --> 01:20:21,120
Speaker 3: her not just take him down, but again, like she

1452
01:20:21,160 --> 01:20:23,519
Speaker 3: finds her own purpose and uses it to help women.

1453
01:20:23,640 --> 01:20:25,240
Speaker 3: I just I love this fucking movie.

1454
01:20:25,840 --> 01:20:28,800
Speaker 1: Yeah yeah, so I feel like for the theme, it

1455
01:20:28,840 --> 01:20:33,000
Speaker 1: actually fits pretty well, So don't just credit yourself. It

1456
01:20:33,560 --> 01:20:37,280
Speaker 1: actually works a lot. And that's you know, essentially. I

1457
01:20:37,320 --> 01:20:40,519
Speaker 1: think what the two have in common is that these are,

1458
01:20:40,640 --> 01:20:45,519
Speaker 1: you know, stories about women who are jealous of each other,

1459
01:20:45,760 --> 01:20:47,720
Speaker 1: who want each other's.

1460
01:20:47,400 --> 01:20:49,080
Speaker 2: Success and fame and that kind of stuff.

1461
01:20:49,120 --> 01:20:50,840
Speaker 1: And then you know, the rest of the movie plays

1462
01:20:50,840 --> 01:20:54,120
Speaker 1: out in different ways slightly, but you know, that topic,

1463
01:20:54,240 --> 01:20:56,800
Speaker 1: I think is what we wanted to talk about this.

1464
01:20:56,720 --> 01:21:00,240
Speaker 3: Week, right completely. I'm so glad we did it. I'm

1465
01:21:00,240 --> 01:21:01,599
Speaker 3: so glad we did it well.

1466
01:21:01,600 --> 01:21:05,160
Speaker 1: I gotta tell you, I am so glad that I

1467
01:21:05,240 --> 01:21:08,880
Speaker 1: rewatched She Devil. Holy shit, It's like a revelation to me.

1468
01:21:09,040 --> 01:21:11,639
Speaker 1: I was like, I didn't know any of this stuff.

1469
01:21:11,800 --> 01:21:15,040
Speaker 1: I didn't realize Susan Sadomon directed it. I you know,

1470
01:21:16,680 --> 01:21:19,120
Speaker 1: I brought up all these feelings I had about Roseanne

1471
01:21:19,160 --> 01:21:20,120
Speaker 1: Barr in the eighties.

1472
01:21:20,160 --> 01:21:23,519
Speaker 2: Like, I was like, this is such a rich text.

1473
01:21:24,800 --> 01:21:27,880
Speaker 1: I don't know why, And it never occurred to me

1474
01:21:27,880 --> 01:21:29,600
Speaker 1: as a child that it would be this rich of

1475
01:21:29,640 --> 01:21:30,040
Speaker 1: a text.

1476
01:21:30,080 --> 01:21:33,000
Speaker 3: I'm just saying, and now you're you're writing a book

1477
01:21:33,000 --> 01:21:34,559
Speaker 3: on it, clearly you should.

1478
01:21:34,680 --> 01:21:35,280
Speaker 1: Oh.

1479
01:21:35,400 --> 01:21:37,479
Speaker 2: I feel like I need to read this Fay Weldon

1480
01:21:37,520 --> 01:21:39,320
Speaker 2: book read that. I've never read it.

1481
01:21:39,360 --> 01:21:41,000
Speaker 3: Now I want to read it. I want to especially

1482
01:21:41,040 --> 01:21:44,599
Speaker 3: see if it's as funny as the movie is, because

1483
01:21:44,600 --> 01:21:48,040
Speaker 3: the movie is so funny. Yeah that I'm kind of wondering, like,

1484
01:21:48,160 --> 01:21:50,200
Speaker 3: was the book also funnier? Was the book more of

1485
01:21:50,240 --> 01:21:51,240
Speaker 3: a like Revenge read?

1486
01:21:52,160 --> 01:21:54,880
Speaker 1: Okay, we're gonna have to start a two person book

1487
01:21:54,880 --> 01:21:55,680
Speaker 1: club and read this.

1488
01:21:55,640 --> 01:21:56,599
Speaker 3: Book for sure.

1489
01:21:57,280 --> 01:22:01,280
Speaker 1: For sure, now that we're headed in we are definitely

1490
01:22:01,320 --> 01:22:02,599
Speaker 1: going to have this book club.

1491
01:22:02,680 --> 01:22:04,440
Speaker 3: So you can read it, read it on the ribamese

1492
01:22:04,479 --> 01:22:07,240
Speaker 3: read it on a haunted hay ride.

1493
01:22:07,840 --> 01:22:10,400
Speaker 1: We'll be reading a book at a chord maze for sure.

1494
01:22:11,080 --> 01:22:13,400
Speaker 1: That is just style.

1495
01:22:13,640 --> 01:22:16,440
Speaker 3: Well, we have some movies for next week, but first,

1496
01:22:17,040 --> 01:22:18,400
Speaker 3: but first.

1497
01:22:18,080 --> 01:22:20,320
Speaker 1: If you would like to email us, we are at

1498
01:22:20,360 --> 01:22:22,160
Speaker 1: I Saw what you Did pot at gmail dot com,

1499
01:22:22,600 --> 01:22:25,960
Speaker 1: send us questions for the bonus episodes, and if you

1500
01:22:26,040 --> 01:22:31,280
Speaker 1: want to write physical letters, please find our peelbox address

1501
01:22:31,600 --> 01:22:34,240
Speaker 1: on our lik tree on the Instagram page.

1502
01:22:34,400 --> 01:22:37,080
Speaker 3: And you can leave us a voicemail now to play

1503
01:22:37,120 --> 01:22:38,960
Speaker 3: on the show. Guys, did you know that you can

1504
01:22:39,040 --> 01:22:41,080
Speaker 3: leave us a fucking voicemail? All you have to do

1505
01:22:41,160 --> 01:22:44,240
Speaker 3: is record a voicemail on your phone and email it

1506
01:22:44,280 --> 01:22:46,759
Speaker 3: to I Saw what you Did pot at gmail dot com.

1507
01:22:47,320 --> 01:22:49,920
Speaker 3: Please make it sixty seconds or less and record it

1508
01:22:49,960 --> 01:22:52,000
Speaker 3: in a quiet space. If you don't do either of

1509
01:22:52,080 --> 01:22:53,280
Speaker 3: those things, we ain't playing it.

1510
01:22:54,080 --> 01:22:55,400
Speaker 2: Sure sure.

1511
01:22:56,800 --> 01:23:04,880
Speaker 1: Also our social media accounts, uh what weird?

1512
01:23:05,000 --> 01:23:08,479
Speaker 3: Full circle after the top of the episode discussion.

1513
01:23:09,640 --> 01:23:12,280
Speaker 1: We are at I saw a pot ont, Instagram and Twitter.

1514
01:23:12,840 --> 01:23:14,519
Speaker 1: I gotta tell you I'm in the process now of

1515
01:23:14,640 --> 01:23:17,080
Speaker 1: possibly starting a blue Sky account. So if you're a

1516
01:23:17,080 --> 01:23:21,439
Speaker 1: Blue Sky person, we'll probably be on there and also

1517
01:23:21,439 --> 01:23:23,040
Speaker 1: we have merch go to the I Saw what You

1518
01:23:23,080 --> 01:23:25,600
Speaker 1: did section of the Exactly Right Shop to find it.

1519
01:23:27,320 --> 01:23:32,439
Speaker 3: Yes, and our bonus episodes are new on the third

1520
01:23:32,479 --> 01:23:35,040
Speaker 3: Thursday of every month, and then every couple of weeks

1521
01:23:35,080 --> 01:23:38,719
Speaker 3: we are releasing our old bonus episodes into the main feed.

1522
01:23:38,760 --> 01:23:42,960
Speaker 3: They're no longer behind a paywall, so a couple of times. Yeah,

1523
01:23:43,040 --> 01:23:45,000
Speaker 3: every once in a while you get to hear is

1524
01:23:45,040 --> 01:23:47,040
Speaker 3: like two or three times a month, two or three

1525
01:23:47,080 --> 01:23:47,559
Speaker 3: times a week.

1526
01:23:47,720 --> 01:23:52,479
Speaker 1: That is right, Oh my gosh, next week it's going

1527
01:23:52,560 --> 01:23:53,080
Speaker 1: to be good.

1528
01:23:53,640 --> 01:23:54,599
Speaker 2: Tell them yea yay.

1529
01:23:55,960 --> 01:24:00,760
Speaker 3: I cannot fucking wait for us to watch Candy Man

1530
01:24:00,800 --> 01:24:04,479
Speaker 3: from nineteen ninety two and Silence of the Lambs from

1531
01:24:04,560 --> 01:24:05,599
Speaker 3: nineteen ninety one.

1532
01:24:06,479 --> 01:24:08,800
Speaker 2: I'm making Motorcycle Hands.

1533
01:24:09,360 --> 01:24:13,240
Speaker 3: The most terrifying year of our lives. Our young lives

1534
01:24:13,400 --> 01:24:16,760
Speaker 3: were ruined between nineteen ninety one and nineteen ninety.

1535
01:24:16,520 --> 01:24:22,519
Speaker 2: Two, just that entire year span. We lived so much

1536
01:24:22,640 --> 01:24:24,320
Speaker 2: life and we didn't even know it.

1537
01:24:25,200 --> 01:24:27,640
Speaker 1: Danielle has always a fucking pleasure doing this podcast with you.

1538
01:24:27,920 --> 01:24:30,000
Speaker 2: God damn love it s letter.

1539
01:24:36,720 --> 01:24:39,799
Speaker 3: This has been an exactly right production produced by Casey O'Brien.

1540
01:24:40,080 --> 01:24:43,600
Speaker 3: Episode mixing and theme music by Tom Bryfogel, artwork by

1541
01:24:43,680 --> 01:24:47,679
Speaker 3: Garrett Ross. Our executive producers are Georgia Hartstart Caring, Til Gareff,

1542
01:24:47,680 --> 01:24:50,400
Speaker 3: and Daniel Kramer. You can follow us on Instagram and

1543
01:24:50,479 --> 01:24:53,320
Speaker 3: Twitter at I Saw pod, and you can email us

1544
01:24:53,360 --> 01:24:55,479
Speaker 3: at I Saw What You Did Pod at gmail