WEBVTT - BAPS with Bridget Todd

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<v Speaker 1>On the Bechdel Cast, the questions asked if movies have

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<v Speaker 1>women and them, are all their discussions just boyfriends and husbands,

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<v Speaker 1>or do they have individualism? It's the patriarchy, zeph and

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<v Speaker 1>vest start changing with the Bechdel Cast.

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<v Speaker 2>Hey, Jamie, Hey Caitlyn, do you want to open up

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<v Speaker 2>a salon slash restaurant with me?

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<v Speaker 3>Yes? I do?

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<v Speaker 2>Okay, cool, I can't do either of the things.

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<v Speaker 4>Oh well, wait till you see the dance.

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<v Speaker 2>Okay, okay, Well I'm also really good at dancing, so.

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<v Speaker 5>Let's do that. Incredible, incredible. I think that that was

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<v Speaker 5>a really that was strong. I was like, should we

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<v Speaker 5>start to deceive each other? But just in general, just

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<v Speaker 5>in life anyways, Welcome to the Bechdel Cast.

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<v Speaker 2>My name's Jamie Loftus, my name is Caitlyn Dante, and

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<v Speaker 2>this is our show where we examine movies through an

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<v Speaker 2>intersectional feminist lens, using the Bechdel test as a jumping

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<v Speaker 2>off point.

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<v Speaker 5>Absolutely true.

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<v Speaker 3>But what is that? Though?

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<v Speaker 5>Well, there's a lot of different versions of the Bechdel's test.

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<v Speaker 5>It is originally created as a joke, as a bit.

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<v Speaker 4>As a goof yes, boof, a goof.

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<v Speaker 5>Uh by Alison Bechdel in the eighties for her incredible

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<v Speaker 5>comics series Dikes to Watch Out For, often called the

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<v Speaker 5>Bechdel Wallace Test because she co created it with her

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<v Speaker 5>friend Liz Wallace. Our version of the test that we

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<v Speaker 5>use requires that two people of a marginalized gender with

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<v Speaker 5>names talk to each other about something other than a

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<v Speaker 5>man for two lines of dialogue.

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<v Speaker 4>And it should be plot impactful dialogue.

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<v Speaker 5>And that's the test. Most movies don't pass this one

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<v Speaker 5>spoiler alert does.

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<v Speaker 2>It does because the movie we're talking about today is BAPS, Yeah,

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<v Speaker 2>nineteen ninety seven. Same your Titanic came out. Sorry to

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<v Speaker 2>mention it.

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<v Speaker 5>That was my first note. It's like greatest yudent film.

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<v Speaker 5>We have a returning guest today, is it Third Ford?

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<v Speaker 3>I think time.

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<v Speaker 5>That's a jacket.

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<v Speaker 3>Yeah, I'm like Steve Martinette Saturday Night Live. Yeah.

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<v Speaker 2>Basically, yes, she's the host of Ihearts. There are no

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<v Speaker 2>girls on the Internet. It's Bridget tod welcome back.

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<v Speaker 3>Thank you for having me. I was telling Caitlin off

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<v Speaker 3>Mike that y'all could not have picked a better movie

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<v Speaker 3>for me to talk about that I feel more strongly about.

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<v Speaker 3>So I am so excited to be here.

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<v Speaker 2>Oh, we're so excited to have you tell us your

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<v Speaker 2>relationship with Baps.

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<v Speaker 3>Well, I remember very distinctly watching this for the first

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<v Speaker 3>time at a slumber party in the nineties. It was

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<v Speaker 3>one of those do you ever have memories of going

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<v Speaker 3>to Blockbuster and picking out a movie and being so

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<v Speaker 3>excited and then getting that tub of popcorn that they

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<v Speaker 3>had or you put it in the microwave. I have

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<v Speaker 3>a clear memory of my mind of like going during

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<v Speaker 3>a sleepover to rent this movie and watching it and

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<v Speaker 3>sitting on my stomach and like just loving it.

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<v Speaker 5>I love memories like that too, where it's like I

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<v Speaker 5>feel like the thing that sticks with me the strongest

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<v Speaker 5>is like the politics among usually a group of girls

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<v Speaker 5>in the Blockbuster, where you're trying to reach a consensus

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<v Speaker 5>and there's like people calling each other over from one

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<v Speaker 5>wall to the other being like that this one and

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<v Speaker 5>then you have to debate.

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<v Speaker 4>It's exciting and this is such a sleepover movie.

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<v Speaker 3>It is, and so one of the reasons why I'm

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<v Speaker 3>so excited to talk about it is that it is

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<v Speaker 3>a movie that when it came out, was like controversial.

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<v Speaker 3>People liked it, didn't like it, people had a lot

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<v Speaker 3>to say about it, and I loved it from the beginning.

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<v Speaker 3>I loved it then, I love it now. If folks

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<v Speaker 3>ever watched Real Housewives of Atlanta, there's a scene where

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<v Speaker 3>one woman is trying to humiliate another woman when she's

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<v Speaker 3>flowing a costume party, and so she's giving everybody glamorous

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<v Speaker 3>Hollywood celebrities to come dressed as It's like, oh, you

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<v Speaker 3>come dressed as Diana Ross, you come dressed as Billie

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<v Speaker 3>Holliday And she's like, I want you to come dressed

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<v Speaker 3>as halle Berry from BAPS, And it's meant to be

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<v Speaker 3>like a deep insult. So it's definitely a movie that

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<v Speaker 3>holds a lot of wow. Co Yeah, she doesn't spoiler,

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<v Speaker 3>she doesn't do she comes dressed as halle Berry and

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<v Speaker 3>Dorothy Dandridge to sort of get around it, but yeah,

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<v Speaker 3>it was like an.

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<v Speaker 2>Insult, ridiculous because halle Berry's looks in this movie iconic.

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<v Speaker 5>Yeah, the costuming is unbelievable. It helped me get around

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<v Speaker 5>a lot of plot dissonance, I.

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<v Speaker 3>Know, and I do feel like the joke of the

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<v Speaker 3>movie is supposed to be like, look how tacky these

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<v Speaker 3>women look, But there are multiple outfits and halle Berry

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<v Speaker 3>wears where I'm like, I would wear that today, no problem.

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<v Speaker 3>If that was in my closet, I will be very happy.

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<v Speaker 2>Her character Natalie Dscell reads character like they're looking terrific.

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<v Speaker 5>It's true, It's true, And I speaking to your point,

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<v Speaker 5>Bridget I was really I wasn't aware of the discourse

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<v Speaker 5>around this movie when it came out. It's always interesting

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<v Speaker 5>covering a movie that, like the way it was received,

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<v Speaker 5>was so wrong, and then having to come back around gosh,

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<v Speaker 5>this movie is my brother's age twenty seven years later,

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<v Speaker 5>scary and sort of revisit it, which I'm glad that

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<v Speaker 5>some writers have, but not as many as I would

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<v Speaker 5>have expected.

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<v Speaker 3>Yeah, to prep for this, I read Roger Ebert's original

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<v Speaker 3>review of this movie. Eviscerated it, like skewered it. It

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<v Speaker 3>was worst of lists. And I, even if I don't

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<v Speaker 3>agree with Roger Ebert, I usually love reading his reviews

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<v Speaker 3>and like he could not stand this movie.

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<v Speaker 4>Yeah, I'm excited to dig into that.

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<v Speaker 5>I don't know Roger Ebert like when he hits, he

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<v Speaker 5>hits what he misses it's so embarrassing, and I feel

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<v Speaker 5>like we have had a feud with his ghosts on

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<v Speaker 5>this show for many years.

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<v Speaker 2>Right, Well, it's the thing that we have talked about

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<v Speaker 2>quite a lot where I mean this movie. First of all,

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<v Speaker 2>it was a box office flop, unfortunately, and most critics

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<v Speaker 2>hated it. But as we've talked about a lot on

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<v Speaker 2>the show, most of the critics reviewing movies in like

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<v Speaker 2>at least major publications in ninety seven were white men.

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<v Speaker 2>This is a movie about two black women made by

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<v Speaker 2>black filmmakers, and so a lot of critics at that

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<v Speaker 2>time were like, well, this movie isn't about someone who

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<v Speaker 2>looks like me, and so therefore it's not for me,

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<v Speaker 2>and therefore I don't understand it, and I don't like it.

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<v Speaker 4>Yeah there's and they're also we can save it for later.

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<v Speaker 5>But I feel like there was a lot of like

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<v Speaker 5>respectability politics encoded into the reviews that I was reading,

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<v Speaker 5>where like it was white reviewers deciding what was appropriate

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<v Speaker 5>in terms of like how black women could be represented.

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<v Speaker 5>It was an interesting thing to get into because then

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<v Speaker 5>you also read interviews with the writer Troy Bayer, and

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<v Speaker 5>she's like, I hated Robert Townsend's directorial choices and I

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<v Speaker 5>don't like the movie, and so you're like well, a

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<v Speaker 5>lot of things are going on.

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<v Speaker 3>Yeah, that's a good point, And like, I love Robert

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<v Speaker 3>Townsend absolutely. Another movie that he had made was Hollywood Shuffle,

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<v Speaker 3>So like, he definitely has somebody who was interested in

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<v Speaker 3>playing with satire and stereotypes around culture and blackness. I

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<v Speaker 3>make a larger point, whether or not that point like

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<v Speaker 3>lands or false flat or whatever. I think he was

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<v Speaker 3>clearly doing something with this movie, and I think a

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<v Speaker 3>lot of the film reviewers maybe missed what he was doing.

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<v Speaker 3>But yeah, I read the same thing as you, Jamie,

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<v Speaker 3>that one of the screenwriters on this movie was like,

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<v Speaker 3>I hated it. I had a lot of issues with

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<v Speaker 3>the script and this and that, and so I want

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<v Speaker 3>to take that into account too. But I do think

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<v Speaker 3>that some of the reviews that make this sound like

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<v Speaker 3>it was just a vapid, cruel movie bashing working class

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<v Speaker 3>black women. I don't see that, Jamie.

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<v Speaker 2>What is your relationship with this movie?

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<v Speaker 5>I had not seen this movie before, and that's sort

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<v Speaker 5>of the beginning, middle, and an end of it.

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<v Speaker 4>I knew of it, and I.

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<v Speaker 5>Didn't know that Troy Bayer had written it. She's just

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<v Speaker 5>like a really interesting person. The more I was reading

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<v Speaker 5>about her, the Bore. I was like, she's just like

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<v Speaker 5>she started as a sesame street kid and she's like

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<v Speaker 5>Caitlin Durante Mode has.

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<v Speaker 4>A million degrees and a million things.

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<v Speaker 2>I would never mention it, but thank you for bringing

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<v Speaker 2>it up.

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<v Speaker 5>Yeah, she has lived many lives, and I thought it

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<v Speaker 5>was interesting again because I feel like so many times

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<v Speaker 5>when we cover a movie, we're like, wonder how the

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<v Speaker 5>writer felt about how the adaptation of their work translated

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<v Speaker 5>to the screen, And Trey Byer was very outspoken about it, So, yeah,

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<v Speaker 5>I hadn't seen it before. I think there's so much

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<v Speaker 5>to love about this movie. It's such a sleepover movie.

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<v Speaker 5>It's so clear who the movie's for, and everyone who

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<v Speaker 5>is vocally outspoken about this movie were nowhere near who

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<v Speaker 5>the movie's for. So I'm excited to talk about it. Caitlin,

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<v Speaker 5>what's your history?

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<v Speaker 2>I had also never seen it, though I know that

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<v Speaker 2>it's been a request on the show from like a

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<v Speaker 2>few select listeners. It's a cult classic, right, so it's

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<v Speaker 2>not something that like tons and tons and tons of

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<v Speaker 2>people are being like, you gotta cover this movie, but

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<v Speaker 2>like the people who are requesting it are like, you

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<v Speaker 2>have to do this movie. They're very fervent.

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<v Speaker 5>About Baps and Muriel's wedding, Like the listeners who want

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<v Speaker 5>it wanted badly.

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<v Speaker 3>If any of those folks are listening, who like really

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<v Speaker 3>have been requesting it, I hope I do it justice.

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<v Speaker 3>I guess I'll just say.

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<v Speaker 5>That we've brought in a three timer. We've brought in

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<v Speaker 5>a hitter.

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<v Speaker 3>Yeah.

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<v Speaker 2>No, you'll do great. This will be great, Everything will

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<v Speaker 2>be great. We're gonna live forever.

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<v Speaker 3>Yeah.

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<v Speaker 2>Should I do the recap and we'll go from there,

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<v Speaker 2>Let's do it. Okay. So we are in Decatur, Georgia.

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<v Speaker 2>We meet two friends, Nissi that's Hallie Berry and Mickey

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<v Speaker 2>that's Natalie to sell read rest in Peace. They work

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<v Speaker 2>at a soul food restaurant that's owned by Bernie Mack.

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<v Speaker 2>Loved seeing him already. You're like, I'm in, I'm in.

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<v Speaker 3>Can I say one thing about this? Yeah, not to

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<v Speaker 3>hope this is it doesn't derail things. But I just

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<v Speaker 3>want to say, Bernie mac rest in peace. Before he died,

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<v Speaker 3>he has a chronic illness, or had a chronic illness

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<v Speaker 3>called parcedosis, which my father also had. And so it's

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<v Speaker 3>near and dear to me. But folks might not know

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<v Speaker 3>that the University of Illinois Hospital Center has the Bernie

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<v Speaker 3>mac Center for Sarcarnosi's research, and I donate every year.

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<v Speaker 3>Folks should donate. Oh my god, it's an undertreated, understudied

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<v Speaker 3>chronic illness that disproportionately impacts black folks, and so it's

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<v Speaker 3>a cause that's near to me. So please donate if

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<v Speaker 3>you've got extra change. And thank you University of Illinois

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<v Speaker 3>for studying this undertreated illness.

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<v Speaker 5>Whow we will link to that. I had no idea.

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<v Speaker 3>Yeah, thank you for letting me give back.

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<v Speaker 2>What Oh, of course, yeah, we'll support So yes, Bernie

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<v Speaker 2>Mack is there. He's running the restaurant. Nissi and Mickey,

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<v Speaker 2>they're best friends. They have similar esthetics in that they

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<v Speaker 2>have really long fingernails. They're always wearing elaborate hairdoos that

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<v Speaker 2>Nissi does because she's an aspiring salon owner.

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<v Speaker 5>She's technically making sausage at the beginning. But I consider

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<v Speaker 5>that the hot dog representation of the movie as like,

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<v Speaker 5>if a hot dog doesn't show up later, this movie

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<v Speaker 5>still passes the Jamie Locktas hot dog test. Is there

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<v Speaker 5>a hot time?

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<v Speaker 2>Is there a hot dog represented on screen? And close enough,

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<v Speaker 2>I would say for this movie. So yeah, they wear

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<v Speaker 2>flashy clothes, they've got the hairdos, they've got the nails,

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<v Speaker 2>all that. On the radio, Nissi hears an announcement that

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<v Speaker 2>auditions are being held in La to cast a dancer

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<v Speaker 2>for Heavy D's dance Girl of the World, and whoever

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<v Speaker 2>is cast in this will get ten thousand dollars. And

0:11:32.480 --> 0:11:35.080
<v Speaker 2>Nisi wants to go to this audition because she hopes

0:11:35.120 --> 0:11:38.520
<v Speaker 2>to get cast and use that money to open a

0:11:38.640 --> 0:11:42.199
<v Speaker 2>hair salon slash restaurant that presumably she would do the

0:11:42.240 --> 0:11:45.920
<v Speaker 2>hair for and that McKey would be the chef at.

0:11:46.240 --> 0:11:48.040
<v Speaker 2>I think of the idea.

0:11:47.679 --> 0:11:49.600
<v Speaker 3>Do you all think it's a good idea? Like I've

0:11:49.640 --> 0:11:51.520
<v Speaker 3>been wrestling back and forth with whether or not this

0:11:51.640 --> 0:11:53.400
<v Speaker 3>is a great idea or a terrible idea.

0:11:54.200 --> 0:11:56.560
<v Speaker 4>I think it feels like it's at high risk for

0:11:56.760 --> 0:11:58.319
<v Speaker 4>like a fire.

0:12:00.160 --> 0:12:03.760
<v Speaker 5>Lots of hair and also ki yeah, right, like if

0:12:03.840 --> 0:12:07.040
<v Speaker 5>someone with like a lot of hairspray and a lot

0:12:07.080 --> 0:12:12.120
<v Speaker 5>of like grease grill, like I guess it depends on

0:12:12.160 --> 0:12:13.760
<v Speaker 5>what kind of food they're serving.

0:12:14.559 --> 0:12:16.079
<v Speaker 4>Seems like a high accident.

0:12:16.840 --> 0:12:20.920
<v Speaker 2>Well, also just seems like unsanitary and unhygienic with like

0:12:21.000 --> 0:12:24.160
<v Speaker 2>people's dander flying through the air and their hair all

0:12:24.200 --> 0:12:25.520
<v Speaker 2>over the floor and stuff.

0:12:26.040 --> 0:12:30.640
<v Speaker 5>That's true, I mean spoiler alert, they end up doing it. Yes,

0:12:30.720 --> 0:12:33.160
<v Speaker 5>So I wish we could fast forward a year. It'd

0:12:33.200 --> 0:12:35.319
<v Speaker 5>be like, so what does Osha think?

0:12:35.760 --> 0:12:39.280
<v Speaker 2>Yeah, right, where's baps too? Which is all about the

0:12:39.320 --> 0:12:40.560
<v Speaker 2>salon slash restaurant.

0:12:40.679 --> 0:12:42.760
<v Speaker 5>I also it was a twist of the movie for

0:12:42.840 --> 0:12:45.880
<v Speaker 5>me to find out that the old man came up

0:12:45.920 --> 0:12:49.959
<v Speaker 5>with the term baps. Yes, yeah, I was like, what

0:12:51.320 --> 0:12:54.760
<v Speaker 5>he was just like coining on his deathbed.

0:12:54.920 --> 0:12:57.520
<v Speaker 3>Like, yeah, he uses his will to coin the phrase.

0:12:58.760 --> 0:12:59.760
<v Speaker 5>I just didn't see.

0:12:59.559 --> 0:13:03.040
<v Speaker 2>It coming, right, because they're like, what's baps? And then

0:13:03.080 --> 0:13:05.120
<v Speaker 2>he's like black American princesses.

0:13:05.760 --> 0:13:08.600
<v Speaker 4>Yeah, I was like, wait, it was his idea.

0:13:08.800 --> 0:13:10.160
<v Speaker 2>Yeah, didn't see that coming.

0:13:10.520 --> 0:13:12.640
<v Speaker 5>And this is like true of so many rom coms.

0:13:12.679 --> 0:13:15.640
<v Speaker 5>But I just thought there was a very fun, kind

0:13:15.679 --> 0:13:20.320
<v Speaker 5>of bizarre liberal use of like a vague movie score

0:13:20.720 --> 0:13:24.800
<v Speaker 5>where sometimes like something's happening that is like plot impactful,

0:13:24.840 --> 0:13:26.920
<v Speaker 5>but not like the most serious thing in the world.

0:13:27.000 --> 0:13:31.040
<v Speaker 5>And it's like dude, dude, dude, including the entire end

0:13:31.080 --> 0:13:34.280
<v Speaker 5>of the movie, the whole last minute there's no It

0:13:34.400 --> 0:13:37.320
<v Speaker 5>was like they're just playing the score and I'm like,

0:13:37.400 --> 0:13:40.080
<v Speaker 5>I would just like to know what they're saying, because

0:13:40.080 --> 0:13:43.520
<v Speaker 5>they're saying things, m M, maybe the sound something happened.

0:13:43.640 --> 0:13:44.120
<v Speaker 5>I don't know.

0:13:44.200 --> 0:13:46.520
<v Speaker 2>And they're like, if we just put music over this

0:13:46.760 --> 0:13:51.120
<v Speaker 2>and show people's reactions, it'll be clear. Show don't tell

0:13:51.840 --> 0:13:56.720
<v Speaker 2>you know. Yeah, do you remember wire screenwriting? Okay, So

0:13:57.280 --> 0:14:02.360
<v Speaker 2>we also meet Nissi and Mickey's two boyfriends, Allie played

0:14:02.360 --> 0:14:06.360
<v Speaker 2>by Pierre Edwards that's Niecy's boyfriend, and James played by

0:14:06.400 --> 0:14:10.280
<v Speaker 2>Anthony Johnson that's Mickey's boyfriend. They're trying to start up

0:14:10.520 --> 0:14:15.520
<v Speaker 2>like a car service company, but right now they're unemployed.

0:14:16.200 --> 0:14:22.040
<v Speaker 2>They have questionable haircuts. They're kind of losers.

0:14:22.400 --> 0:14:26.840
<v Speaker 5>More importantly, they're not very nice to their girlfriends. Right

0:14:27.000 --> 0:14:28.640
<v Speaker 5>if be a loser all you want if you're a

0:14:28.640 --> 0:14:29.400
<v Speaker 5>good partner.

0:14:30.000 --> 0:14:32.800
<v Speaker 3>They are my least favorite part of this movie. I'm

0:14:32.840 --> 0:14:34.800
<v Speaker 3>sure I'll get to it, but they are my least

0:14:34.840 --> 0:14:36.040
<v Speaker 3>favorite part of this movie.

0:14:36.640 --> 0:14:39.400
<v Speaker 2>Write them out, yeah, truly.

0:14:39.480 --> 0:14:43.040
<v Speaker 5>I mean, I appreciate that Troy Byer's been outspoken about

0:14:43.040 --> 0:14:45.280
<v Speaker 5>how she feels about the final product, but I wish

0:14:45.360 --> 0:14:47.280
<v Speaker 5>she was a little more specific. I'm like, did she

0:14:47.440 --> 0:14:51.720
<v Speaker 5>want the movie to end like that? Because it feels

0:14:51.840 --> 0:14:54.880
<v Speaker 5>like the boyfriends did not deserve that.

0:14:55.480 --> 0:15:00.480
<v Speaker 2>Yeah. Anyway, So then Nissi sees another ad for the

0:15:00.640 --> 0:15:03.920
<v Speaker 2>Dance Girl of the World contest and takes it as

0:15:03.960 --> 0:15:06.680
<v Speaker 2>a sign that she and Mickey should definitely go to

0:15:06.760 --> 0:15:10.440
<v Speaker 2>the audition in LA. Before they leave, though, they go

0:15:10.520 --> 0:15:13.000
<v Speaker 2>out to a club because it's ladies night and they

0:15:13.000 --> 0:15:15.480
<v Speaker 2>get in free, and a bunch of guys want to

0:15:15.480 --> 0:15:17.760
<v Speaker 2>talk to them, but none of them want to or

0:15:17.840 --> 0:15:21.920
<v Speaker 2>can spend the money to buy them drinks, including their boyfriends.

0:15:22.400 --> 0:15:25.280
<v Speaker 2>So Nissi is all the more eager to get away

0:15:25.480 --> 0:15:28.720
<v Speaker 2>and travel to LA and hopefully meet like a rich

0:15:28.800 --> 0:15:33.640
<v Speaker 2>guy in LA. On the flight, they're trying to learn

0:15:33.680 --> 0:15:37.480
<v Speaker 2>etiquette from a book. Their hair is too big and

0:15:37.520 --> 0:15:41.720
<v Speaker 2>it's blocking everyone's view of the in flight movie, very

0:15:41.720 --> 0:15:42.320
<v Speaker 2>funny stuff.

0:15:42.320 --> 0:15:47.160
<v Speaker 5>There so many like vignettes. There's so many comedy montages.

0:15:47.320 --> 0:15:51.960
<v Speaker 5>It's like, it's nineteen ninety seven, baby, we're doing comedy montages.

0:15:52.440 --> 0:15:55.760
<v Speaker 3>True fun fact. That flight attendant who was like, can

0:15:55.800 --> 0:15:58.760
<v Speaker 3>you lower your hair? It's a severa Wilson from that TV.

0:16:00.000 --> 0:16:00.520
<v Speaker 3>Oh my god.

0:16:00.680 --> 0:16:02.920
<v Speaker 2>Yeah, a lot of good cameos in this movie, including

0:16:02.960 --> 0:16:06.240
<v Speaker 2>one we're about to see, which is LL cool J.

0:16:06.600 --> 0:16:09.160
<v Speaker 2>Because they arrive in La they're at the airport, they

0:16:09.200 --> 0:16:10.920
<v Speaker 2>accost LL cool.

0:16:10.760 --> 0:16:13.440
<v Speaker 4>J nineteen ninety seven.

0:16:14.480 --> 0:16:16.600
<v Speaker 2>They do this every time they see a famous person,

0:16:16.640 --> 0:16:19.400
<v Speaker 2>because there's a bunch of cameos sprinkled throughout the movie,

0:16:19.560 --> 0:16:22.160
<v Speaker 2>and they're always accosting whoever it is and being like,

0:16:22.480 --> 0:16:25.560
<v Speaker 2>oh my god, I'm your biggest fan, marry me, sing

0:16:25.640 --> 0:16:27.720
<v Speaker 2>for me, blah blah blah. They're always making a scene and.

0:16:27.880 --> 0:16:32.239
<v Speaker 5>Singing for me is like there's a Phantom of the Opera.

0:16:32.360 --> 0:16:35.080
<v Speaker 3>I can really relate to that scene with LL COOLJ.

0:16:35.240 --> 0:16:35.400
<v Speaker 5>Y'all.

0:16:35.440 --> 0:16:37.520
<v Speaker 3>I used to I might embarrass to say. I used

0:16:37.520 --> 0:16:40.600
<v Speaker 3>to write him letters, like I had his like pictures

0:16:40.640 --> 0:16:43.080
<v Speaker 3>on my wall, and I was so obsessed with him.

0:16:43.320 --> 0:16:45.560
<v Speaker 3>People forget like in nineteen ninety seven, he was a

0:16:45.600 --> 0:16:48.440
<v Speaker 3>real sex symbol and he made like music that was

0:16:48.480 --> 0:16:49.560
<v Speaker 3>like very sensual.

0:16:49.800 --> 0:16:51.760
<v Speaker 4>What was in the letters?

0:16:52.000 --> 0:16:54.200
<v Speaker 3>Oh, I would be like, I thought there was a

0:16:54.240 --> 0:16:57.280
<v Speaker 3>world where we might get together, So mind you, I

0:16:57.360 --> 0:17:00.680
<v Speaker 3>was like a child. So it's a lot of like

0:17:00.920 --> 0:17:03.840
<v Speaker 3>when we meet, like blah blah blah. Yeah, I was

0:17:03.880 --> 0:17:04.600
<v Speaker 3>obsessed with him.

0:17:04.840 --> 0:17:07.679
<v Speaker 5>Was it the sort of thing where like ll COOLJ

0:17:08.320 --> 0:17:12.800
<v Speaker 5>Industries would like send you something back, like fan mail stuff.

0:17:13.080 --> 0:17:16.520
<v Speaker 3>God, I wish they probably were like, let's never indulge

0:17:16.520 --> 0:17:19.480
<v Speaker 3>this child's fantasy about we're.

0:17:19.280 --> 0:17:21.360
<v Speaker 5>Putting Bridget's name on a list.

0:17:21.640 --> 0:17:23.879
<v Speaker 3>If any even knows him, I would still accept a

0:17:23.920 --> 0:17:26.480
<v Speaker 3>form letter back to this day, I would still happily

0:17:26.520 --> 0:17:26.800
<v Speaker 3>take that.

0:17:27.840 --> 0:17:31.480
<v Speaker 2>Oh, in any case. They arrive in La they head

0:17:31.520 --> 0:17:35.000
<v Speaker 2>to the audition. There's a very long line and Nissi

0:17:35.680 --> 0:17:37.960
<v Speaker 2>kind of has like a dance off with another woman

0:17:38.040 --> 0:17:41.959
<v Speaker 2>waiting in the line, which a man nearby notices.

0:17:42.480 --> 0:17:43.639
<v Speaker 5>I love the dance scene.

0:17:43.680 --> 0:17:45.760
<v Speaker 4>It's so weird, it's.

0:17:45.800 --> 0:17:48.000
<v Speaker 5>Just truly Yeah.

0:17:48.119 --> 0:17:50.560
<v Speaker 2>Then we don't see the audition, but we see her

0:17:50.560 --> 0:17:53.520
<v Speaker 2>coming out of it, and she hasn't done well. The

0:17:53.600 --> 0:17:57.439
<v Speaker 2>judges were like pass and she's feeling defeated and ready

0:17:57.480 --> 0:18:00.680
<v Speaker 2>to head back to Georgia. But then that man noticed

0:18:00.880 --> 0:18:05.439
<v Speaker 2>her earlier. His name is Antonio. He approaches Nissi and

0:18:05.480 --> 0:18:08.199
<v Speaker 2>Mickey and tells them that his boss is looking for

0:18:08.240 --> 0:18:10.879
<v Speaker 2>a dancer for a music video. It pays ten thousand

0:18:10.920 --> 0:18:14.000
<v Speaker 2>dollars and provides room and board in a mansion in

0:18:14.080 --> 0:18:15.240
<v Speaker 2>Beverly Hills.

0:18:15.160 --> 0:18:17.480
<v Speaker 4>And you're like, you're being abducted.

0:18:17.840 --> 0:18:23.120
<v Speaker 5>You're being abducted, Like this is what a scary proposal?

0:18:23.440 --> 0:18:29.720
<v Speaker 2>Yeah, and they're like, sounds great. So Antonio takes them

0:18:29.760 --> 0:18:33.679
<v Speaker 2>to the mansion where they meet this rich guy named

0:18:33.680 --> 0:18:40.720
<v Speaker 2>Isaac blakemore also his snooty butler named Manly. Nissy and

0:18:40.800 --> 0:18:44.880
<v Speaker 2>Mickey get settled in at the mansion. There's a bedet

0:18:45.000 --> 0:18:47.960
<v Speaker 2>scene where they don't know how a bidet works.

0:18:47.800 --> 0:18:50.360
<v Speaker 4>Nineteen ninety seven comedy Montage.

0:18:50.720 --> 0:18:54.080
<v Speaker 3>Yes, my first time ever seeing a bidet was this scene,

0:18:54.119 --> 0:18:56.800
<v Speaker 3>and I didn't know what a bidet was, and so

0:18:57.240 --> 0:18:58.800
<v Speaker 3>the scene I was still sort of like, so what

0:18:58.920 --> 0:19:01.439
<v Speaker 3>is the little toilet? Like? I still didn't understand like

0:19:01.560 --> 0:19:03.200
<v Speaker 3>the humor of the scene because I didn't know what

0:19:03.240 --> 0:19:03.919
<v Speaker 3>a bidet was.

0:19:04.280 --> 0:19:05.680
<v Speaker 4>I still to this day.

0:19:06.240 --> 0:19:09.480
<v Speaker 5>I mean, I guess I've I've seen them now, but

0:19:09.520 --> 0:19:11.800
<v Speaker 5>I've never I've never engaged.

0:19:11.440 --> 0:19:14.000
<v Speaker 2>I've never used one. I don't trust them.

0:19:14.320 --> 0:19:17.359
<v Speaker 5>I believe that, you know, now there's consumer bidets. You

0:19:17.400 --> 0:19:19.119
<v Speaker 5>don't need to be in the one percent to have

0:19:19.200 --> 0:19:22.399
<v Speaker 5>a bidet. I know people are evangelical about them.

0:19:22.640 --> 0:19:26.480
<v Speaker 2>I just don't know how you dry your ass, after all.

0:19:26.240 --> 0:19:29.600
<v Speaker 3>That's my question. Too, because from what I've read, it's

0:19:29.640 --> 0:19:33.280
<v Speaker 3>like more environmentally friendly and more hygienic because they're not

0:19:33.359 --> 0:19:36.679
<v Speaker 3>like using paper on your butt, but your butt gets wet,

0:19:36.920 --> 0:19:39.000
<v Speaker 3>so wouldn't you have to use what are you using

0:19:39.040 --> 0:19:39.720
<v Speaker 3>to dry your butt?

0:19:39.960 --> 0:19:41.880
<v Speaker 2>I know someone who had like one of those consumer

0:19:41.920 --> 0:19:44.399
<v Speaker 2>bidets that you just like install in your toilet and

0:19:44.440 --> 0:19:48.600
<v Speaker 2>then yeah, they had a designated butt towel. But then

0:19:48.640 --> 0:19:50.800
<v Speaker 2>it's like, so now your butt towels just hanging in

0:19:50.840 --> 0:19:53.040
<v Speaker 2>your bathroom with all your buttrooms all over it, and

0:19:53.080 --> 0:19:56.040
<v Speaker 2>I don't care how effective the bidet is. It's not

0:19:56.400 --> 0:19:58.640
<v Speaker 2>killing the bacteria from your ass.

0:19:58.840 --> 0:19:59.560
<v Speaker 3>It's just water.

0:20:00.560 --> 0:20:02.640
<v Speaker 5>And what if I'm your friend and I come over

0:20:02.760 --> 0:20:03.200
<v Speaker 5>and you're.

0:20:03.359 --> 0:20:05.800
<v Speaker 2>Accidentally touched the like what if you think it's a

0:20:05.840 --> 0:20:08.480
<v Speaker 2>hand towel and draw your hands with it.

0:20:08.480 --> 0:20:12.560
<v Speaker 5>It's like pa mints, you know how like yeah in

0:20:12.600 --> 0:20:16.600
<v Speaker 5>the urinals, you mean know, like how anytime there's like those,

0:20:16.680 --> 0:20:20.600
<v Speaker 5>like they're delicious. Unfortunately, the mints, like outside of bathrooms,

0:20:20.640 --> 0:20:23.159
<v Speaker 5>are like at restaurants and they there was like a

0:20:23.200 --> 0:20:26.399
<v Speaker 5>test for how much urine because Americans are gross and

0:20:26.440 --> 0:20:29.360
<v Speaker 5>don't wash their hands, and it was like these are

0:20:29.720 --> 0:20:34.119
<v Speaker 5>one They're just calcified p and you're like, oh no,

0:20:34.880 --> 0:20:37.199
<v Speaker 5>so you can never have them out of restaurant. If

0:20:37.200 --> 0:20:40.360
<v Speaker 5>they're just out raw, not wrapped, you can't have them.

0:20:40.359 --> 0:20:41.120
<v Speaker 5>There's pea in them.

0:20:41.400 --> 0:20:46.119
<v Speaker 3>Yeah, people are out here putting their unwashed, urine soaped hands,

0:20:46.440 --> 0:20:51.240
<v Speaker 3>raw dog into a bowl of communal mints. People.

0:20:51.960 --> 0:20:56.080
<v Speaker 5>There's science to back up peepee hands and poop poo towels.

0:20:56.480 --> 0:20:58.200
<v Speaker 5>It's a six sad world we live in.

0:20:59.400 --> 0:21:04.560
<v Speaker 2>And food in your salons and hair and your restaurants

0:21:04.600 --> 0:21:09.399
<v Speaker 2>just a mess. Don't do it, okay. So then after

0:21:09.440 --> 0:21:13.600
<v Speaker 2>the bedet scene, they sit down with Isaac, who reveals

0:21:13.640 --> 0:21:16.720
<v Speaker 2>that he isn't actually making a music video. What he

0:21:16.800 --> 0:21:21.080
<v Speaker 2>is looking for is a woman to play a particular part,

0:21:21.200 --> 0:21:25.080
<v Speaker 2>which is that Isaac's rich, elderly uncle who is dying

0:21:25.119 --> 0:21:29.600
<v Speaker 2>of cancer. His story is that he was madly in

0:21:29.640 --> 0:21:33.400
<v Speaker 2>love with this woman named Lily, but he never got

0:21:33.440 --> 0:21:36.919
<v Speaker 2>to be with her or marry her because he's white

0:21:37.040 --> 0:21:42.000
<v Speaker 2>and she was black, and his family forbid their relationship.

0:21:42.440 --> 0:21:45.840
<v Speaker 2>But now that this uncle is on his deathbed, Isaac

0:21:45.920 --> 0:21:49.440
<v Speaker 2>wants to find a woman to pretend to be Lily's granddaughter,

0:21:50.040 --> 0:21:53.360
<v Speaker 2>and so that's who he wants Nissi to play, and

0:21:53.560 --> 0:21:56.439
<v Speaker 2>Nissi and Mickey are very touched by this story, so

0:21:57.000 --> 0:21:58.320
<v Speaker 2>Nissi agrees to do it.

0:21:59.160 --> 0:22:01.359
<v Speaker 5>You could already tell, well, I mean just from like

0:22:01.600 --> 0:22:04.520
<v Speaker 5>the I don't know the actor who plays Isaac, but

0:22:04.560 --> 0:22:06.679
<v Speaker 5>you can just tell that, like he's up to no

0:22:06.800 --> 0:22:11.760
<v Speaker 5>good based on how he's like looking at people. But

0:22:12.200 --> 0:22:16.680
<v Speaker 5>already from the beginning, the plan is too weird to

0:22:16.720 --> 0:22:18.000
<v Speaker 5>not be secretly evil.

0:22:18.760 --> 0:22:21.440
<v Speaker 3>Yeah, right, if they were remaking this movie, he would

0:22:21.440 --> 0:22:25.480
<v Speaker 3>be cast, well, pre allegations he would be cast by

0:22:25.680 --> 0:22:28.480
<v Speaker 3>Armie Hammer, like a person in a movie that you're like,

0:22:28.600 --> 0:22:32.199
<v Speaker 3>don't trust him. He's bad. It's not been revealed yet.

0:22:32.240 --> 0:22:33.520
<v Speaker 3>You can just tell by his face.

0:22:33.840 --> 0:22:36.480
<v Speaker 5>Yes, I feel like Adam Brodie's playing a lot of

0:22:36.480 --> 0:22:39.120
<v Speaker 5>those parts these days. Yeah, but maybe it's just because

0:22:39.119 --> 0:22:40.639
<v Speaker 5>we're about to cover ready or not where it's like

0:22:40.680 --> 0:22:42.960
<v Speaker 5>he's a nice guy. Unless he also did that in

0:22:43.040 --> 0:22:43.960
<v Speaker 5>Promising Young Woman.

0:22:45.119 --> 0:22:48.320
<v Speaker 2>Yeah, he did it in American fiction, right, Yeah, he

0:22:48.359 --> 0:22:50.720
<v Speaker 2>plays like an agent or something, yes.

0:22:50.560 --> 0:22:53.800
<v Speaker 5>Right, Like he plays just kind of like slimeballs.

0:22:53.480 --> 0:22:56.240
<v Speaker 2>Similar character in uh Jennifer's Body too.

0:22:56.840 --> 0:22:57.520
<v Speaker 3>Yeah, oh my.

0:22:57.520 --> 0:23:00.920
<v Speaker 4>God, wow, Yeah, this is like a.

0:23:00.280 --> 0:23:01.080
<v Speaker 3>A thing with him.

0:23:01.800 --> 0:23:05.640
<v Speaker 2>Yeah, it happens a lot in horror movies where if

0:23:05.680 --> 0:23:09.960
<v Speaker 2>you need like a slimy white guy in a thriller

0:23:10.040 --> 0:23:12.400
<v Speaker 2>or a horror movie, and you will and you will

0:23:12.440 --> 0:23:15.960
<v Speaker 2>need that, you cast either Adam Brody or Justin Long.

0:23:16.600 --> 0:23:20.000
<v Speaker 5>Wow, that's true. I wonder how often they're like, Duke,

0:23:20.040 --> 0:23:24.520
<v Speaker 5>you get out to play devious short kings. We don't know,

0:23:24.760 --> 0:23:25.840
<v Speaker 5>we don't anyways.

0:23:26.119 --> 0:23:31.200
<v Speaker 2>Anyway, So the friends meet the dying uncle, Don Blake

0:23:31.280 --> 0:23:35.560
<v Speaker 2>Moore played by Martin Landau. Fun very fun at first.

0:23:35.600 --> 0:23:38.320
<v Speaker 2>He's like shocked and angry that they're there, but then

0:23:38.400 --> 0:23:42.000
<v Speaker 2>he quickly warms up to Nissi and Mickey. They have

0:23:42.080 --> 0:23:45.159
<v Speaker 2>dinner together, but Mickey's like, what the fuck is this

0:23:45.280 --> 0:23:48.840
<v Speaker 2>boring chicken? So she goes to the kitchen and whips

0:23:48.920 --> 0:23:53.119
<v Speaker 2>up some soul food and Don loves it. She keeps

0:23:53.200 --> 0:23:55.879
<v Speaker 2>making it for him for the next few days, and

0:23:55.960 --> 0:24:00.840
<v Speaker 2>it seems like his health is improving, although Manly the

0:24:00.840 --> 0:24:03.880
<v Speaker 2>butler disapproves. He still doesn't like the ladies.

0:24:04.040 --> 0:24:06.560
<v Speaker 3>This is such a great seat. I love a montage

0:24:06.760 --> 0:24:09.919
<v Speaker 3>of like a black woman is coming in and taking

0:24:10.040 --> 0:24:13.679
<v Speaker 3>charge and shaking things up like This movie does not

0:24:13.720 --> 0:24:17.080
<v Speaker 3>spare on the montages, right no, Oh my gosh.

0:24:17.119 --> 0:24:19.160
<v Speaker 5>It was kind of like, I mean, from a note

0:24:19.200 --> 0:24:22.600
<v Speaker 5>taking perspective, it was very helpful because sometimes you're like, oh,

0:24:22.640 --> 0:24:26.000
<v Speaker 5>nothing's gonna happen for a minute. Cool, I can catch

0:24:26.040 --> 0:24:27.760
<v Speaker 5>up on my not It's great, great on my first

0:24:27.800 --> 0:24:29.200
<v Speaker 5>blotch uh huh.

0:24:29.240 --> 0:24:32.320
<v Speaker 2>So, yeah, Don is feeling better and he even feels

0:24:32.400 --> 0:24:35.120
<v Speaker 2>up to taking Nissie and Mickey on a shopping spree.

0:24:35.160 --> 0:24:38.800
<v Speaker 2>So then we get a clothes trying on montage, but

0:24:39.480 --> 0:24:44.040
<v Speaker 2>nephew Isaac is lurking nearby taking pictures and it's clear

0:24:44.080 --> 0:24:46.720
<v Speaker 2>that he's up to something. And then he's talking on

0:24:46.760 --> 0:24:47.560
<v Speaker 2>the phone with someone.

0:24:47.880 --> 0:24:50.480
<v Speaker 4>He's doing like a vaguely evil phone call.

0:24:50.840 --> 0:24:51.040
<v Speaker 3>Yeah.

0:24:51.040 --> 0:24:53.280
<v Speaker 5>And then the actor, again, I don't know anything about

0:24:53.320 --> 0:24:55.080
<v Speaker 5>this actor, but he's kind of cracking me up with

0:24:55.160 --> 0:24:58.399
<v Speaker 5>the over the top evilness. Where his scene like talking

0:24:58.400 --> 0:25:00.679
<v Speaker 5>to someone on the phone being like, don't we'll be

0:25:00.960 --> 0:25:03.919
<v Speaker 5>very rich souon click, and then it like just pans

0:25:03.960 --> 0:25:08.280
<v Speaker 5>down to him and then he goes, good, all right,

0:25:08.880 --> 0:25:11.080
<v Speaker 5>you're bad amazing acting.

0:25:11.320 --> 0:25:14.359
<v Speaker 2>Yeah, it seems like he intends to like set someone

0:25:14.440 --> 0:25:16.639
<v Speaker 2>up or blackmail someone. We're not really sure what the

0:25:16.640 --> 0:25:22.200
<v Speaker 2>plan is. Meanwhile, Mickey and that guy Antonio who works

0:25:22.240 --> 0:25:25.879
<v Speaker 2>at the estate. They're having a secret affair, and Antonio

0:25:25.920 --> 0:25:28.639
<v Speaker 2>claims to be from a wealthy family in Italy and

0:25:28.680 --> 0:25:30.720
<v Speaker 2>he wants to spend all of his money on Mickey,

0:25:31.000 --> 0:25:34.159
<v Speaker 2>but he doesn't seem trustworthy either. He's also up to something.

0:25:35.240 --> 0:25:39.600
<v Speaker 2>Then Don takes Nissi and Mickey out to a fancy

0:25:39.640 --> 0:25:43.879
<v Speaker 2>dinner and they're trying to act sophisticated and classy, but

0:25:44.400 --> 0:25:49.680
<v Speaker 2>they keep seeing celebrities and they're making a scene. Then

0:25:50.280 --> 0:25:53.680
<v Speaker 2>Don wants to know more about his beloved Lily, so

0:25:54.040 --> 0:25:57.680
<v Speaker 2>Nissi like crams her mouth full of food to avoid

0:25:57.720 --> 0:26:00.000
<v Speaker 2>talking about her. She kind of like makes some stuff up.

0:26:00.119 --> 0:26:03.560
<v Speaker 2>You can't even understand her. It's very funny. Then back

0:26:03.600 --> 0:26:08.200
<v Speaker 2>at the estate, Mickey and Antonio are canoodling again, and

0:26:08.240 --> 0:26:10.080
<v Speaker 2>Antonio is like, I have a ring for you, but

0:26:10.119 --> 0:26:12.520
<v Speaker 2>it's in this safe, but I can't get it open,

0:26:12.840 --> 0:26:15.520
<v Speaker 2>and she tries to open the safe, and it's clear

0:26:15.560 --> 0:26:18.320
<v Speaker 2>that he's just trying to like get her to put

0:26:18.320 --> 0:26:20.960
<v Speaker 2>her fingerprints on the safe to incriminate her.

0:26:21.040 --> 0:26:24.119
<v Speaker 4>Later, no, I was like, Micky, he's wearing a leather glove.

0:26:24.359 --> 0:26:27.480
<v Speaker 3>Yeah. Yeah, they're canodling. They're like laying in bed and

0:26:27.520 --> 0:26:30.239
<v Speaker 3>she's like in a nighty and she's like, why are

0:26:30.240 --> 0:26:33.520
<v Speaker 3>you wearing these leather gloves? And yeah, I feel like

0:26:33.560 --> 0:26:35.880
<v Speaker 3>Mickey would be smarter than that, you would think.

0:26:36.160 --> 0:26:38.840
<v Speaker 5>There's a number of times where I's like, these women

0:26:38.880 --> 0:26:40.320
<v Speaker 5>are smart.

0:26:40.040 --> 0:26:44.360
<v Speaker 2>Like, yeah, why don't they notice that they're being deceived?

0:26:44.840 --> 0:26:47.680
<v Speaker 5>Women be being deceived in movies.

0:26:48.680 --> 0:26:51.480
<v Speaker 2>I mean not to victim blame these women.

0:26:51.480 --> 0:26:55.479
<v Speaker 5>Although you know there's some equal opportunity deception in this movie.

0:26:55.560 --> 0:26:58.760
<v Speaker 5>The women are are also deceiving Martin Landau.

0:26:59.320 --> 0:26:59.840
<v Speaker 2>That's true.

0:27:00.119 --> 0:27:02.119
<v Speaker 4>It makes you think I'm not mad about it.

0:27:02.160 --> 0:27:05.280
<v Speaker 5>And also Martin Landau's not mad about it, weirdly, and no,

0:27:05.560 --> 0:27:08.520
<v Speaker 5>he's like very down to be deceased. He's like, I've

0:27:08.560 --> 0:27:11.480
<v Speaker 5>got forty five minutes to Liz, you know whatever.

0:27:11.760 --> 0:27:12.720
<v Speaker 2>He loves it.

0:27:12.960 --> 0:27:13.560
<v Speaker 5>He seems to.

0:27:13.840 --> 0:27:17.040
<v Speaker 2>It's his kink anyway. So later that night, a burglar

0:27:17.160 --> 0:27:20.000
<v Speaker 2>comes in and knocks out Manly the butler, and it

0:27:20.040 --> 0:27:22.199
<v Speaker 2>wakes up Nissy and Mickey, so they come down and

0:27:22.280 --> 0:27:25.680
<v Speaker 2>kick the burglar's ass, and he turns out to be Antonio,

0:27:26.160 --> 0:27:30.119
<v Speaker 2>and he's in cahoots with nephew Isaac, who is trying

0:27:30.160 --> 0:27:33.680
<v Speaker 2>to defraud his uncle and take his money by claiming

0:27:33.720 --> 0:27:37.160
<v Speaker 2>that he is mentally unfit because he had brought in

0:27:37.480 --> 0:27:41.240
<v Speaker 2>two women from the quote unquote ghetto who were robbing

0:27:41.320 --> 0:27:45.560
<v Speaker 2>him every night. This is all explained by Don's lawyer,

0:27:45.720 --> 0:27:49.159
<v Speaker 2>Tracy Shaw played by Troy Bayer aka the screenwriter of

0:27:49.200 --> 0:27:53.200
<v Speaker 2>the movie, and once this is all figured out, Don

0:27:53.440 --> 0:27:57.359
<v Speaker 2>offers Nissi and Mickey each fifty thousand dollars for their trouble,

0:27:57.880 --> 0:28:01.160
<v Speaker 2>but they refuse, saying that they're there because they want

0:28:01.200 --> 0:28:04.640
<v Speaker 2>to be there, which makes Don trust them even more.

0:28:05.320 --> 0:28:10.200
<v Speaker 2>He takes them out dancing, but the guilt of lying

0:28:10.280 --> 0:28:13.800
<v Speaker 2>to Don about being the granddaughter of his beloved Lily

0:28:14.160 --> 0:28:17.040
<v Speaker 2>is really weighing on Nissi, so she writes a letter

0:28:17.080 --> 0:28:20.560
<v Speaker 2>to Don and plans to give it to him and

0:28:20.560 --> 0:28:24.879
<v Speaker 2>then like leave the estate shortly thereafter. But before they

0:28:24.920 --> 0:28:28.640
<v Speaker 2>can do that, the butler manly, who has warmed up

0:28:28.680 --> 0:28:30.280
<v Speaker 2>to Nissi and Mickey.

0:28:30.480 --> 0:28:30.720
<v Speaker 3>Also.

0:28:30.760 --> 0:28:33.959
<v Speaker 5>I thought that was a fun subversion, the butler being nice.

0:28:34.080 --> 0:28:36.879
<v Speaker 5>You always expect him to be dastardly.

0:28:36.680 --> 0:28:39.200
<v Speaker 2>Yeah, and he is at first, but then he's like, wow,

0:28:39.280 --> 0:28:42.800
<v Speaker 2>we like the Sam soap opera. Let's be best friends.

0:28:43.160 --> 0:28:47.760
<v Speaker 2>It didn't take much kind of love that he has

0:28:48.120 --> 0:28:52.720
<v Speaker 2>arranged for Nissi and Mickey's boyfriends Ali and James to

0:28:53.040 --> 0:28:56.080
<v Speaker 2>come to the estate, and these guys are trying to

0:28:56.080 --> 0:28:58.920
<v Speaker 2>get their act together so that they can like deserve

0:28:59.720 --> 0:29:05.520
<v Speaker 2>these women. But meanwhile, Don suddenly collapses and he's rushed

0:29:05.560 --> 0:29:06.360
<v Speaker 2>to the hospital.

0:29:06.720 --> 0:29:11.720
<v Speaker 5>He dances himself to death. The issue of his health

0:29:12.120 --> 0:29:13.840
<v Speaker 5>is a little all over the place of the movie,

0:29:13.840 --> 0:29:16.520
<v Speaker 5>because we're introduced to him as if he does not

0:29:16.640 --> 0:29:18.200
<v Speaker 5>have a lot of time to live, but then he's

0:29:18.320 --> 0:29:21.720
<v Speaker 5>very sprightly for a while. He's briefly brought back to

0:29:22.080 --> 0:29:26.920
<v Speaker 5>full health by Mickey's cooking ostensibly yeah, and then has

0:29:26.960 --> 0:29:28.520
<v Speaker 5>a very steep decline.

0:29:28.520 --> 0:29:30.720
<v Speaker 4>It's very like movie health.

0:29:30.640 --> 0:29:31.960
<v Speaker 2>Right exactly.

0:29:32.440 --> 0:29:32.960
<v Speaker 3>Yeah.

0:29:33.080 --> 0:29:37.400
<v Speaker 2>So then Nisi goes to the hospital and she's trying

0:29:37.440 --> 0:29:40.880
<v Speaker 2>to tell Don that she's not really Lily's granddaughter, but

0:29:41.080 --> 0:29:43.760
<v Speaker 2>he dies before she can get the words out, and

0:29:43.800 --> 0:29:48.640
<v Speaker 2>then the attorney, Tracy informs them that Don already knew

0:29:49.000 --> 0:29:51.680
<v Speaker 2>that she wasn't Lily's granddaughter because he was aware that

0:29:51.720 --> 0:29:55.520
<v Speaker 2>Lily never had any children. He just cared about Nissi

0:29:55.880 --> 0:29:58.920
<v Speaker 2>and McKee out of the kindness of his heart. He

0:29:59.080 --> 0:30:03.240
<v Speaker 2>just enjoyed the company. Then Tracy is like, by the way,

0:30:03.560 --> 0:30:07.200
<v Speaker 2>here's Don's last will and testament in which he leaves

0:30:07.280 --> 0:30:10.600
<v Speaker 2>everything to his baps okaya.

0:30:11.000 --> 0:30:14.760
<v Speaker 5>A thing he made up. It's three minutes before passing away,

0:30:14.840 --> 0:30:18.880
<v Speaker 5>which I just feel like we cannot overlook. Yeah, I

0:30:18.920 --> 0:30:22.160
<v Speaker 5>think that there's an argument that, like there's sort of

0:30:22.240 --> 0:30:26.840
<v Speaker 5>a finndom element to mister Blakemore because.

0:30:27.200 --> 0:30:29.680
<v Speaker 4>And I love it. I've never seen anything like it

0:30:29.720 --> 0:30:30.880
<v Speaker 4>in the movie where he's.

0:30:30.720 --> 0:30:35.160
<v Speaker 5>Just like knowingly being deceived, but he's like, let's party,

0:30:35.480 --> 0:30:39.320
<v Speaker 5>let's let's have fun. In the end, he tries to

0:30:39.360 --> 0:30:42.920
<v Speaker 5>give them one hundred thousand dollars collectively at one point,

0:30:43.000 --> 0:30:45.920
<v Speaker 5>like hmmm, he's just kind of down to clown that

0:30:46.040 --> 0:30:46.880
<v Speaker 5>mister Blakemore.

0:30:47.400 --> 0:30:49.719
<v Speaker 3>I kind of get it, Like he's got money. His

0:30:49.880 --> 0:30:53.600
<v Speaker 3>nephew is like trying to take advantage of him. I

0:30:53.600 --> 0:30:55.720
<v Speaker 3>think he's got money and he knows he's about to die,

0:30:55.760 --> 0:30:58.000
<v Speaker 3>so it's like I may as well having a good time,

0:30:58.080 --> 0:31:00.400
<v Speaker 3>like eating soul food and dancing at the club with

0:31:00.560 --> 0:31:01.160
<v Speaker 3>these women.

0:31:01.640 --> 0:31:03.080
<v Speaker 2>That's how I did go out.

0:31:03.360 --> 0:31:05.600
<v Speaker 5>Yeah, I respect it. I mean, and it's like, I'm

0:31:05.600 --> 0:31:07.800
<v Speaker 5>sure if we knew more about him, because he runs

0:31:07.880 --> 0:31:10.600
<v Speaker 5>a fabric business, a textile business. I'm like, for sure,

0:31:10.840 --> 0:31:14.080
<v Speaker 5>you know, if he's that rich, he's exploiting someone. Yeah,

0:31:14.080 --> 0:31:17.200
<v Speaker 5>but this is a Cinderella story and he is the

0:31:17.680 --> 0:31:21.640
<v Speaker 5>benevolent rich guy who's kind of getting Finn dambed. I

0:31:21.680 --> 0:31:22.360
<v Speaker 5>don't hate it.

0:31:22.360 --> 0:31:27.880
<v Speaker 2>Right, Speaking of Cinderella, Natalie decel Red is in Brandy

0:31:27.960 --> 0:31:31.560
<v Speaker 2>Cinderella also from this year, from nineteen ninety seven or

0:31:31.600 --> 0:31:32.840
<v Speaker 2>was that a different year?

0:31:32.960 --> 0:31:35.960
<v Speaker 5>I believe so, Yeah, yeah, this is nineteen ninety seven.

0:31:36.040 --> 0:31:39.080
<v Speaker 5>She plays one of the stepsisters, Minerva.

0:31:39.200 --> 0:31:42.200
<v Speaker 3>Right, She's so great, Like, I feel like she never

0:31:42.240 --> 0:31:44.960
<v Speaker 3>got her due. But I feel like if you were

0:31:44.960 --> 0:31:48.480
<v Speaker 3>watching black sitcoms in the nineties, you've seen her in everything.

0:31:49.040 --> 0:31:51.280
<v Speaker 3>She was such a gem and I just, yeah, it

0:31:51.320 --> 0:31:53.520
<v Speaker 3>makes me sad that she's no longer with us because

0:31:53.800 --> 0:31:55.880
<v Speaker 3>her current would probably be really popping today.

0:31:56.080 --> 0:32:00.440
<v Speaker 5>Yeah, I remember her from Eve he would ever watch, Yes, yes,

0:32:01.280 --> 0:32:04.920
<v Speaker 5>even Cinderella also before we cut the brake. Yeah, because

0:32:05.080 --> 0:32:07.720
<v Speaker 5>Natalie des cel Reads no longer with us, halle Berry.

0:32:07.720 --> 0:32:09.680
<v Speaker 5>I didn't see this at the time she passed away,

0:32:09.760 --> 0:32:12.600
<v Speaker 5>but halle Berry posted like a really sweet tribute to

0:32:12.640 --> 0:32:13.960
<v Speaker 5>her when she passed.

0:32:14.120 --> 0:32:15.080
<v Speaker 4>And I want to share it.

0:32:15.120 --> 0:32:15.680
<v Speaker 5>Really quick.

0:32:16.040 --> 0:32:16.920
<v Speaker 2>Yeah, she said.

0:32:17.000 --> 0:32:17.240
<v Speaker 3>Quote.

0:32:17.320 --> 0:32:20.640
<v Speaker 5>Natalie represented actual black women, not what black women are

0:32:20.680 --> 0:32:24.240
<v Speaker 5>perceived to be. For that, she was often underrated, passed over,

0:32:24.480 --> 0:32:27.360
<v Speaker 5>deprived of the platform she truly deserved. But her light

0:32:27.440 --> 0:32:29.560
<v Speaker 5>continues to shine through the people who grew up watching her,

0:32:29.640 --> 0:32:31.240
<v Speaker 5>the people who knew her best, and those of us

0:32:31.280 --> 0:32:34.680
<v Speaker 5>who loved her. I'll love you forever, my sweet friends.

0:32:34.720 --> 0:32:38.080
<v Speaker 5>So nice, beautiful, and you can just feel in this movie,

0:32:38.160 --> 0:32:40.400
<v Speaker 5>even when the movie is weird and kind of off

0:32:40.400 --> 0:32:44.880
<v Speaker 5>the rails, that like they're having fun. They're definitely having

0:32:45.400 --> 0:32:46.120
<v Speaker 5>a hell of a time.

0:32:46.240 --> 0:32:50.720
<v Speaker 2>Oh yeah, anyways, Natalie des Sell, we love her. So

0:32:50.880 --> 0:32:56.840
<v Speaker 2>the movie ends with Niscy and Mickey inheriting Don's fortune.

0:32:57.360 --> 0:33:00.480
<v Speaker 2>Nephew Isaac is there being like what.

0:33:00.120 --> 0:33:01.720
<v Speaker 3>The heck no?

0:33:03.480 --> 0:33:07.480
<v Speaker 2>And then this new fortune they have enabled Nissi and

0:33:08.160 --> 0:33:11.760
<v Speaker 2>Mickey to open up their salon slash restaurant in Beverly

0:33:11.840 --> 0:33:16.920
<v Speaker 2>Hills called Lily's with a Z. Also, Ali and James

0:33:17.000 --> 0:33:20.160
<v Speaker 2>have opened up their car service. Also, Dennis Rodman is.

0:33:20.120 --> 0:33:22.720
<v Speaker 4>There as a cameo nineteen ninety seven.

0:33:23.920 --> 0:33:29.040
<v Speaker 2>They all live happily ever after that's the movie. Let's

0:33:29.080 --> 0:33:41.320
<v Speaker 2>take a quick break and we'll come back to discuss

0:33:41.960 --> 0:33:42.840
<v Speaker 2>and we're back.

0:33:43.000 --> 0:33:43.800
<v Speaker 3>We're back.

0:33:44.000 --> 0:33:48.280
<v Speaker 5>Maybe where shall we start? I mean, Bridget, if you

0:33:48.360 --> 0:33:50.360
<v Speaker 5>have a strong instinct, I feel like we've already also

0:33:50.480 --> 0:33:53.320
<v Speaker 5>sort of started to talk about how this movie was received.

0:33:53.840 --> 0:33:56.280
<v Speaker 3>I think that's a good place to start. So I

0:33:56.320 --> 0:33:58.160
<v Speaker 3>felt this way when I watched it, and it was

0:33:58.200 --> 0:34:00.640
<v Speaker 3>even more clear to me be watching it today, which

0:34:00.680 --> 0:34:04.200
<v Speaker 3>is that this movie at times, I can understand how

0:34:04.200 --> 0:34:06.360
<v Speaker 3>people think, like, oh, it's making fun of these working

0:34:06.400 --> 0:34:09.720
<v Speaker 3>class black women. However, to me, this is a movie

0:34:09.760 --> 0:34:13.759
<v Speaker 3>about black women who have goals and dreams and who

0:34:13.840 --> 0:34:17.520
<v Speaker 3>like can really visualize and do the work to get

0:34:17.560 --> 0:34:20.600
<v Speaker 3>them to those dreams. And the thing that gets them

0:34:20.600 --> 0:34:23.439
<v Speaker 3>to their goals and their dreams is like their creativity,

0:34:23.560 --> 0:34:27.560
<v Speaker 3>their ingenuity, right. Like there's a scene when they first

0:34:27.719 --> 0:34:29.759
<v Speaker 3>get into the car, the limo when they're going to

0:34:29.800 --> 0:34:32.279
<v Speaker 3>the mansion and they take off their wigs and they're

0:34:32.320 --> 0:34:35.920
<v Speaker 3>gonna do a whole different hairdew and it's like that's creativity, right, Like.

0:34:36.280 --> 0:34:38.479
<v Speaker 3>I don't think the movie is trying to make fun

0:34:38.520 --> 0:34:39.799
<v Speaker 3>of that. I think the movie is trying to be

0:34:39.920 --> 0:34:42.279
<v Speaker 3>like the reason why these women are the kind of

0:34:42.320 --> 0:34:44.160
<v Speaker 3>women who would take a flight to La to try

0:34:44.200 --> 0:34:47.919
<v Speaker 3>to get on Heavy D's music video and say yes

0:34:47.960 --> 0:34:51.360
<v Speaker 3>to these authors that seem kind of outlandish. Is because

0:34:51.440 --> 0:34:55.040
<v Speaker 3>they are creative. Is because they like possess these qualities

0:34:55.360 --> 0:34:57.040
<v Speaker 3>that are the reason why they address the way they

0:34:57.120 --> 0:34:58.880
<v Speaker 3>do and also are the reason when they go for

0:34:58.920 --> 0:35:02.799
<v Speaker 3>their goals. I see this as a movie about dreamers

0:35:02.920 --> 0:35:05.719
<v Speaker 3>and the creativity and foresight that it takes to really

0:35:05.840 --> 0:35:07.960
<v Speaker 3>architect a life for yourself based on that dream.

0:35:08.280 --> 0:35:11.560
<v Speaker 5>Hell yeah, yeah. There is so much that was like

0:35:11.680 --> 0:35:14.399
<v Speaker 5>lost in the way that the movie was received because

0:35:14.400 --> 0:35:17.840
<v Speaker 5>they're super motivated. There's a piece I found that was

0:35:17.880 --> 0:35:20.680
<v Speaker 5>in Refinery twenty nine back in twenty eighteen, Remember then

0:35:22.640 --> 0:35:26.840
<v Speaker 5>No by An Cohen that sort of examines the critical

0:35:26.880 --> 0:35:29.799
<v Speaker 5>response versus how she felt, which is very similar to

0:35:29.840 --> 0:35:31.200
<v Speaker 5>how you feel, Bridget.

0:35:30.880 --> 0:35:33.080
<v Speaker 4>And also, I mean it's it reads.

0:35:32.840 --> 0:35:36.399
<v Speaker 5>Very clearly, and it feels really condescending the way that

0:35:36.480 --> 0:35:40.440
<v Speaker 5>this criticism comes off, because, in like the Ebert reviews,

0:35:40.880 --> 0:35:44.640
<v Speaker 5>the motivation and how active they are in the story

0:35:44.960 --> 0:35:47.880
<v Speaker 5>is not mentioned. The fact that they are motivated and

0:35:47.920 --> 0:35:50.640
<v Speaker 5>have dreams aren't mentioned. I think that the way it's

0:35:50.640 --> 0:35:53.120
<v Speaker 5>dealt in the movie can be a little like Uneven

0:35:53.480 --> 0:35:55.960
<v Speaker 5>and the way that the movie prescribes their ending is weird.

0:35:56.040 --> 0:35:58.719
<v Speaker 5>Although I am glad they got their salon restaurant. That

0:35:58.760 --> 0:36:04.719
<v Speaker 5>probably wasn't a good business idea, but that whole sort

0:36:04.760 --> 0:36:09.279
<v Speaker 5>of saga is fascinating. And what a Cohen sort of

0:36:09.320 --> 0:36:13.439
<v Speaker 5>digs into here is this movie is clearly a part

0:36:13.560 --> 0:36:18.520
<v Speaker 5>of the very nineties rags to riches women's story, but

0:36:18.560 --> 0:36:21.000
<v Speaker 5>it's one of the few rags to riches story about

0:36:21.080 --> 0:36:24.760
<v Speaker 5>black women, and it's received as I mean, and I

0:36:24.840 --> 0:36:27.880
<v Speaker 5>bravely still have not seen Pretty Women in my life,

0:36:28.600 --> 0:36:31.560
<v Speaker 5>so I have to take everyone else's word for how

0:36:32.040 --> 0:36:34.560
<v Speaker 5>much this movie, especially in the montage, just kind of

0:36:34.560 --> 0:36:38.080
<v Speaker 5>reflects things that happen in Pretty Women. What Ann Cohen

0:36:38.160 --> 0:36:40.960
<v Speaker 5>is arguing is that the reception of this movie is

0:36:41.160 --> 0:36:44.160
<v Speaker 5>when Halle Berry and Natalie des Seller doing it, it's

0:36:44.400 --> 0:36:47.960
<v Speaker 5>portrayed as trashy. When Julia Roberts is doing the same

0:36:48.080 --> 0:36:53.440
<v Speaker 5>thing on Rodeo Drive, it's presented as unbelievably charming, and

0:36:53.560 --> 0:36:57.479
<v Speaker 5>how that is mask off racist in the same era

0:36:57.719 --> 0:37:00.640
<v Speaker 5>of sleepover movies, and like.

0:37:00.680 --> 0:37:03.920
<v Speaker 3>In Pretty Woman, I hadn't clocked that comparison, but I

0:37:03.920 --> 0:37:05.759
<v Speaker 3>think it's a good one. It's funny I was just

0:37:05.800 --> 0:37:09.120
<v Speaker 3>listening to Tina Fey on Las Culturista's and she was like,

0:37:09.360 --> 0:37:12.080
<v Speaker 3>when I was watching Pretty Woman, me and my cousin

0:37:12.120 --> 0:37:14.239
<v Speaker 3>would be like, are we the only people who have

0:37:14.360 --> 0:37:17.439
<v Speaker 3>realized that, like, as a sex worker, it's probably going

0:37:17.520 --> 0:37:19.840
<v Speaker 3>great this time because it's Richard Gear, but there's probably

0:37:19.880 --> 0:37:22.160
<v Speaker 3>other stories that you're not hearing from her work that

0:37:22.200 --> 0:37:24.880
<v Speaker 3>are like maybe not so great and not so rack.

0:37:25.560 --> 0:37:29.120
<v Speaker 3>But yeah, I think that Pretty Woman example is an

0:37:29.200 --> 0:37:33.480
<v Speaker 3>interesting one because it's like who's come up story do

0:37:33.600 --> 0:37:37.200
<v Speaker 3>we celebrate? And who's come up story is like just

0:37:37.239 --> 0:37:41.480
<v Speaker 3>like fodder for laughs, I guess, And yeah, I just

0:37:41.600 --> 0:37:44.520
<v Speaker 3>I almost think that what some of these reviewers who

0:37:44.520 --> 0:37:46.520
<v Speaker 3>didn't like the movie, not all of them, but what

0:37:46.560 --> 0:37:48.759
<v Speaker 3>some of them are actually saying is like, if you

0:37:48.840 --> 0:37:52.239
<v Speaker 3>are a working class woman who dresses flashy and has

0:37:52.280 --> 0:37:55.880
<v Speaker 3>really long nails and your indicator Georgia, it is absurd

0:37:56.280 --> 0:37:58.319
<v Speaker 3>that you would think you could go to LA and

0:37:58.360 --> 0:38:00.600
<v Speaker 3>like dance at a heavy D video or like make

0:38:00.640 --> 0:38:02.399
<v Speaker 3>it or have some sort of dream. It almost seems

0:38:02.440 --> 0:38:05.440
<v Speaker 3>like what they're actually saying in their mask off moments

0:38:05.440 --> 0:38:09.600
<v Speaker 3>in these reviews is like that premise is what is unbelievable,

0:38:09.960 --> 0:38:12.719
<v Speaker 3>not that the movie is like making fun of them

0:38:12.760 --> 0:38:14.880
<v Speaker 3>or whatever. It almost kind of reveals the way that

0:38:15.000 --> 0:38:17.000
<v Speaker 3>they're kind of like putting a negativity on that. Does

0:38:17.040 --> 0:38:17.600
<v Speaker 3>that make sense?

0:38:17.880 --> 0:38:22.279
<v Speaker 5>Yeah, yeah, no, absolutely, it's so weird reading them where

0:38:22.320 --> 0:38:25.399
<v Speaker 5>it's clear that like Roger Ebert feels that he is

0:38:25.600 --> 0:38:30.120
<v Speaker 5>doing a righteous thing while still clearly putting in a

0:38:30.120 --> 0:38:33.000
<v Speaker 5>lot of his own biases. And it's also like, it's

0:38:33.000 --> 0:38:35.800
<v Speaker 5>also fine to not love a sleepover a movie. I

0:38:35.800 --> 0:38:38.160
<v Speaker 5>think that there's also a gendered aspect to this, but

0:38:38.239 --> 0:38:43.400
<v Speaker 5>it's far more likely for again the Pretty Woman in comparison,

0:38:43.440 --> 0:38:45.680
<v Speaker 5>because I was just looking at the original marketing for

0:38:45.760 --> 0:38:49.080
<v Speaker 5>this movie, and it's very clear in how they're marketing

0:38:49.280 --> 0:38:51.480
<v Speaker 5>baps who they want to go see it, because the

0:38:51.640 --> 0:38:56.160
<v Speaker 5>tagline is these pretty women are Clueless, and you're like, okay,

0:38:56.320 --> 0:39:01.479
<v Speaker 5>well even say in the tage, yeah, they drop two

0:39:01.600 --> 0:39:03.000
<v Speaker 5>similar movies in the tag line.

0:39:03.040 --> 0:39:05.200
<v Speaker 4>You're like, okay, so this is like all the same thing,

0:39:05.400 --> 0:39:06.520
<v Speaker 4>but movies like.

0:39:06.440 --> 0:39:09.319
<v Speaker 5>Pretty Women and Clueless are far more likely to be

0:39:09.880 --> 0:39:12.759
<v Speaker 5>you know, escalated to like, well, this is actually like

0:39:12.840 --> 0:39:13.680
<v Speaker 5>a pretty.

0:39:13.400 --> 0:39:16.960
<v Speaker 4>Good movie quote unquote, and yeah.

0:39:16.719 --> 0:39:19.759
<v Speaker 5>That's just racist and unfair and I don't even think

0:39:19.760 --> 0:39:21.920
<v Speaker 5>this is like an amazing movie, but it's not what

0:39:22.000 --> 0:39:26.080
<v Speaker 5>it's like. Holding it to that standard is silly.

0:39:26.000 --> 0:39:28.160
<v Speaker 3>Right, Yeah, I completely agree, And the fact of the

0:39:28.200 --> 0:39:32.240
<v Speaker 3>matter is that, like it has endured culturally, and so again,

0:39:32.360 --> 0:39:34.359
<v Speaker 3>I love this movie. I'm not gonna pretend like it's

0:39:34.719 --> 0:39:37.799
<v Speaker 3>the most groundbreaking, the best movie ever. I had my

0:39:37.880 --> 0:39:40.799
<v Speaker 3>issues with it, but the fact that it has maintained

0:39:40.880 --> 0:39:44.080
<v Speaker 3>this cultural legacy shows that there was something going on.

0:39:44.120 --> 0:39:46.000
<v Speaker 3>Like I even read that they were thinking about turning

0:39:46.040 --> 0:39:49.160
<v Speaker 3>it into a stage adaptation, which if they did that,

0:39:49.280 --> 0:39:52.080
<v Speaker 3>it would be a hit, no doubt. In my mind,

0:39:52.480 --> 0:39:53.240
<v Speaker 3>it would kill.

0:39:54.080 --> 0:39:57.200
<v Speaker 5>It's a Cinderella story. It literally is a Cinderella story.

0:39:57.480 --> 0:40:02.360
<v Speaker 5>There's so many really good, like be fun nineties rags

0:40:02.360 --> 0:40:05.680
<v Speaker 5>to riches stories, and this should be more discussed. I

0:40:05.719 --> 0:40:08.640
<v Speaker 5>hope that this movie experiences resurgence, and that would be

0:40:08.680 --> 0:40:11.760
<v Speaker 5>the perfect way to do it. Is like this movie

0:40:11.800 --> 0:40:14.160
<v Speaker 5>is screaming to be adapted into a musical.

0:40:14.760 --> 0:40:18.120
<v Speaker 3>Yeah, And I do think like there are topics that

0:40:18.160 --> 0:40:20.839
<v Speaker 3>are dealt with in the movie with humor that are

0:40:21.040 --> 0:40:25.480
<v Speaker 3>like very real pieces of cultural discourse in the black community,

0:40:25.520 --> 0:40:28.360
<v Speaker 3>like the montage when Mickey is making the food and

0:40:28.360 --> 0:40:31.440
<v Speaker 3>they're like, oh, the nutrition is said that this food

0:40:31.520 --> 0:40:33.839
<v Speaker 3>clogs the arteries and she's like, no, not the way

0:40:33.880 --> 0:40:36.279
<v Speaker 3>that I make it. And I know it's played for

0:40:36.320 --> 0:40:40.120
<v Speaker 3>a laugh, but like there are today like conversations about

0:40:40.560 --> 0:40:42.440
<v Speaker 3>soul food and whether or not it's healthy and this

0:40:42.520 --> 0:40:45.440
<v Speaker 3>idea that like, oh, well, collar greens are very similar

0:40:45.520 --> 0:40:47.680
<v Speaker 3>to kale, but one of those foods enjoy is like

0:40:47.719 --> 0:40:50.640
<v Speaker 3>a connotation of being health food and one doesn't, even

0:40:50.680 --> 0:40:53.200
<v Speaker 3>though they're like practically the same thing. That is a

0:40:53.360 --> 0:40:56.160
<v Speaker 3>very real cultural conversation that has endured today, and the

0:40:56.160 --> 0:40:59.600
<v Speaker 3>movie like plays with that and has a discourse about

0:40:59.640 --> 0:41:02.000
<v Speaker 3>that in a humorous way. Albeit but like I think

0:41:02.040 --> 0:41:04.480
<v Speaker 3>there are more serious things going on in this film

0:41:04.600 --> 0:41:07.200
<v Speaker 3>than some of these critics may be clocked.

0:41:07.000 --> 0:41:10.520
<v Speaker 4>Which is like part of what makes Robert Townsend such

0:41:10.560 --> 0:41:14.160
<v Speaker 4>an amazing filmmaker. Because we covered Hollywood Shuffle of Gosh

0:41:14.200 --> 0:41:14.600
<v Speaker 4>a couple.

0:41:14.480 --> 0:41:18.279
<v Speaker 5>Of years ago. Now yeah, oh nice, But that's like

0:41:18.680 --> 0:41:21.279
<v Speaker 5>what he's great at is like finding a way to

0:41:21.320 --> 0:41:24.960
<v Speaker 5>talk about hyper specific like have these conversations in a

0:41:25.000 --> 0:41:29.279
<v Speaker 5>comedy montage versus like a very didactic, serious thing. Like

0:41:29.400 --> 0:41:31.880
<v Speaker 5>it just feels very Robert townsendy, but I wanted to

0:41:31.920 --> 0:41:37.520
<v Speaker 5>just share Troy Bayer's feelings on the adaptation, partially just

0:41:37.520 --> 0:41:42.160
<v Speaker 5>because I love drama and because you're messy, because I

0:41:42.280 --> 0:41:44.759
<v Speaker 5>do love reading about drama, and I think it is

0:41:44.800 --> 0:41:47.000
<v Speaker 5>really interesting where like this is the sort of quote

0:41:47.000 --> 0:41:50.880
<v Speaker 5>that you always want the confirmation of, but you very

0:41:50.960 --> 0:41:53.359
<v Speaker 5>rarely actually get. And it just feels like a kind

0:41:53.400 --> 0:41:56.000
<v Speaker 5>of a good lesson for writers in general, because it

0:41:56.000 --> 0:42:00.080
<v Speaker 5>seems like what the issue ultimately was with Troy Byer

0:42:00.080 --> 0:42:03.440
<v Speaker 5>and Robert Townsend is that Robert Townsend is generally a

0:42:03.480 --> 0:42:07.440
<v Speaker 5>writer director and seemed to be on set very comfortable

0:42:07.640 --> 0:42:10.200
<v Speaker 5>adjusting stuff as he went because he was adjusting his

0:42:10.239 --> 0:42:12.160
<v Speaker 5>own writing. But in this case, this is the first

0:42:12.160 --> 0:42:15.719
<v Speaker 5>movie he directed that was not written by him, and

0:42:15.760 --> 0:42:19.120
<v Speaker 5>it seems like he used that same approach of like, well,

0:42:19.200 --> 0:42:21.440
<v Speaker 5>I don't quite like how that works, We're going to

0:42:21.480 --> 0:42:24.600
<v Speaker 5>adjust it. That ended up, in Troy Bayer's opinion, kind

0:42:24.600 --> 0:42:29.360
<v Speaker 5>of meaningfully affecting what she had written, which is an interesting,

0:42:29.440 --> 0:42:32.480
<v Speaker 5>hyper specific kind of problem that I don't think indicates

0:42:32.480 --> 0:42:35.080
<v Speaker 5>any ill will on Robert Townsend's part, but it's just interesting.

0:42:35.239 --> 0:42:39.279
<v Speaker 5>So Troy Byer gave an interview the year after this

0:42:39.360 --> 0:42:41.640
<v Speaker 5>came out, as she was promoting a movie that she

0:42:41.680 --> 0:42:45.000
<v Speaker 5>had written and directed after being unhappy with how BAPS

0:42:45.000 --> 0:42:49.560
<v Speaker 5>had gone, called Let's Talk About Sex. So here's her quote.

0:42:50.239 --> 0:42:52.480
<v Speaker 5>When I saw the final cut, I was so devastated

0:42:52.480 --> 0:42:54.840
<v Speaker 5>because I really believed that my words had not honestly

0:42:54.920 --> 0:42:57.439
<v Speaker 5>made it onto the screen. The director was a writer

0:42:57.520 --> 0:42:59.560
<v Speaker 5>director himself, and it was the first time he directed

0:42:59.560 --> 0:43:02.160
<v Speaker 5>someone else is writing. He took the liberty of changing

0:43:02.200 --> 0:43:04.239
<v Speaker 5>stuff as he shot the film. At the end of

0:43:04.280 --> 0:43:06.120
<v Speaker 5>the day, when I saw the film, I hated it.

0:43:06.360 --> 0:43:08.080
<v Speaker 5>It was really embarrassed, and it was too late for

0:43:08.120 --> 0:43:10.160
<v Speaker 5>me to take my name off the picture. Then I

0:43:10.200 --> 0:43:11.360
<v Speaker 5>got killed by critics.

0:43:11.560 --> 0:43:12.480
<v Speaker 4>Me the writer.

0:43:13.000 --> 0:43:14.879
<v Speaker 5>I thought, I'm just going to take the money from

0:43:14.880 --> 0:43:17.120
<v Speaker 5>this awful experience and put it into my own film.

0:43:17.160 --> 0:43:19.000
<v Speaker 5>I'm going to direct it and make sure my words

0:43:19.239 --> 0:43:21.759
<v Speaker 5>make it to the screen. If the critics try to

0:43:21.840 --> 0:43:23.719
<v Speaker 5>kill me, now, there's nothing they can say that's going

0:43:23.800 --> 0:43:25.640
<v Speaker 5>to hurt me, because I know I did my very best.

0:43:25.880 --> 0:43:28.399
<v Speaker 5>Those are my words on screen, and I stand by them.

0:43:28.719 --> 0:43:32.320
<v Speaker 5>I took the money from BAPS to make my movie Wow,

0:43:33.080 --> 0:43:35.920
<v Speaker 5>which is also I mean, I don't know I'm on.

0:43:36.120 --> 0:43:39.080
<v Speaker 5>I think team everybody here. This is also like Troy

0:43:39.120 --> 0:43:44.160
<v Speaker 5>Byer's first screenwriting credit. She started as an actor. She

0:43:44.280 --> 0:43:49.080
<v Speaker 5>has since gotten a master's degree in eco liberation and

0:43:49.160 --> 0:43:53.120
<v Speaker 5>community psychology and a doctorate in clinical psychology.

0:43:53.239 --> 0:43:55.879
<v Speaker 4>Wow, she's written like, she's.

0:43:55.680 --> 0:44:00.120
<v Speaker 5>Truly very very interesting. She's written self help books. She

0:44:00.280 --> 0:44:04.000
<v Speaker 5>was married to the guy that produced all of the

0:44:04.040 --> 0:44:08.520
<v Speaker 5>Saw movies for fifteen years. You're just like iconic. I know, know,

0:44:08.800 --> 0:44:11.799
<v Speaker 5>I was pretty thrilled to find out that there is

0:44:11.960 --> 0:44:16.040
<v Speaker 5>a direct BAPS to Saw connection, But I don't know.

0:44:16.080 --> 0:44:19.120
<v Speaker 5>I mean, I don't think that that takes away from

0:44:19.480 --> 0:44:22.200
<v Speaker 5>the movie, because it did just seem like a creative

0:44:22.440 --> 0:44:24.480
<v Speaker 5>chafing and kind of like a lesson that a lot

0:44:24.520 --> 0:44:27.560
<v Speaker 5>of writers learn and why a lot of writers become

0:44:27.600 --> 0:44:30.040
<v Speaker 5>directors is because that shit will happen.

0:44:30.600 --> 0:44:33.600
<v Speaker 4>But I just wanted to share that. And also, she's

0:44:33.640 --> 0:44:35.320
<v Speaker 4>in the movie, which is wild.

0:44:35.360 --> 0:44:37.080
<v Speaker 2>She's in the movie, so I wonder if she like

0:44:37.200 --> 0:44:41.000
<v Speaker 2>observed scenes where she's like, this isn't how I wrote this.

0:44:41.400 --> 0:44:42.759
<v Speaker 3>Oh God, what are you doing?

0:44:42.880 --> 0:44:43.400
<v Speaker 2>Robert?

0:44:44.000 --> 0:44:47.400
<v Speaker 5>Like my skin crawl? I'd be so stressed. There's like

0:44:47.520 --> 0:44:50.439
<v Speaker 5>things that I'm credited as having written and I've seen

0:44:50.480 --> 0:44:53.680
<v Speaker 5>the episode and been like, huh, well, I guess I

0:44:53.719 --> 0:44:54.120
<v Speaker 5>wrote that.

0:44:54.680 --> 0:44:56.720
<v Speaker 3>Does it happen a lot in the biz.

0:44:57.120 --> 0:45:00.880
<v Speaker 5>Yeah, it's definitely been my And I don't mean like

0:45:01.040 --> 0:45:04.880
<v Speaker 5>there's nothing, but like there's you know, especially in like

0:45:05.120 --> 0:45:07.799
<v Speaker 5>sitcom writing, where there's like jokes that were there that

0:45:07.840 --> 0:45:09.799
<v Speaker 5>you're like, I didn't write that or I don't know.

0:45:09.840 --> 0:45:11.920
<v Speaker 5>So anytime someone's like, well the writing of this, the

0:45:11.960 --> 0:45:14.719
<v Speaker 5>writer should have been thinking, I'm like just putting it

0:45:14.760 --> 0:45:18.160
<v Speaker 5>out there, very likely they did not write that. And

0:45:18.200 --> 0:45:20.720
<v Speaker 5>there's also jokes I've really enjoyed that I've been credited

0:45:20.760 --> 0:45:22.560
<v Speaker 5>with that absolutely were not me.

0:45:23.400 --> 0:45:25.440
<v Speaker 3>So it goes both ways. Yeah, it just goes.

0:45:25.760 --> 0:45:27.640
<v Speaker 4>You do end up getting credit that you don't deserve

0:45:27.680 --> 0:45:28.000
<v Speaker 4>as well.

0:45:28.080 --> 0:45:32.200
<v Speaker 2>So let's take another quick break and we'll come back

0:45:32.280 --> 0:45:46.759
<v Speaker 2>for more discussion, and we're back. Something I really appreciate

0:45:46.840 --> 0:45:53.280
<v Speaker 2>about this movie is that it centers to black female friends.

0:45:53.320 --> 0:45:56.560
<v Speaker 2>There's so few movies about I mean female friendship in

0:45:56.560 --> 0:46:00.760
<v Speaker 2>general and then specifically black female friendship. And it feels

0:46:00.760 --> 0:46:04.879
<v Speaker 2>like a really real, authentic friendship because you see them

0:46:05.320 --> 0:46:07.879
<v Speaker 2>supporting each other, they're lifting each other up. But it's

0:46:07.880 --> 0:46:10.040
<v Speaker 2>not as though they're like always agreeing on everything. Like

0:46:10.080 --> 0:46:13.160
<v Speaker 2>we see them disagree about how to handle things, we

0:46:13.200 --> 0:46:16.480
<v Speaker 2>see them trying to hold each other accountable for something,

0:46:16.640 --> 0:46:22.799
<v Speaker 2>usually how they're conducting themselves around a celebrity. Yes, it's

0:46:22.920 --> 0:46:26.279
<v Speaker 2>like them, you know, they're challenging each other, they're disagreeing,

0:46:26.320 --> 0:46:30.000
<v Speaker 2>but they're also ultimately just like very loving and supportive

0:46:30.200 --> 0:46:33.319
<v Speaker 2>of each other. And they're so funny together. Like, I

0:46:33.480 --> 0:46:36.520
<v Speaker 2>love to see women be funny in movies because it

0:46:36.880 --> 0:46:40.720
<v Speaker 2>seldom is allowed to happen because until like pretty recently,

0:46:40.840 --> 0:46:43.480
<v Speaker 2>it felt like women were not ever written to be

0:46:43.560 --> 0:46:47.879
<v Speaker 2>the funny characters in comedy movies. They were like the Killjoys,

0:46:47.920 --> 0:46:51.359
<v Speaker 2>the shrews, because they were often movies written by men

0:46:51.480 --> 0:46:54.800
<v Speaker 2>who were bringing in all of their biases. It's usually

0:46:54.840 --> 0:46:57.120
<v Speaker 2>the men who get to be the funny ones in

0:46:57.600 --> 0:47:01.239
<v Speaker 2>comedy movies. But like Halle Berry and Natalie desseil Read

0:47:01.320 --> 0:47:05.520
<v Speaker 2>are clowning in almost every scene, like the physical humor,

0:47:06.160 --> 0:47:10.120
<v Speaker 2>the jokes, Like everything is just so funny.

0:47:10.200 --> 0:47:14.279
<v Speaker 5>It's so goofy. I love it. And the fact I

0:47:14.320 --> 0:47:16.880
<v Speaker 5>feel like a lot of that is likely attributable to

0:47:16.920 --> 0:47:19.160
<v Speaker 5>the fact that a black woman wrote this.

0:47:19.400 --> 0:47:20.279
<v Speaker 2>Yeah for sure.

0:47:20.360 --> 0:47:24.279
<v Speaker 4>Yeah, and their friendship is so supportive.

0:47:24.520 --> 0:47:26.200
<v Speaker 5>I like that. I feel like it's very often in

0:47:26.200 --> 0:47:29.960
<v Speaker 5>a friendship movie where you get like one front turns

0:47:29.960 --> 0:47:31.600
<v Speaker 5>on the other and it's like, I'm gonna have this

0:47:31.719 --> 0:47:35.120
<v Speaker 5>come up by myself and fuck you. It's like Raven

0:47:35.400 --> 0:47:39.640
<v Speaker 5>during the Cheetah Girls. Yeah, she's like, I'm the star.

0:47:40.560 --> 0:47:44.840
<v Speaker 5>But even when the other one is not making great choices,

0:47:45.040 --> 0:47:47.400
<v Speaker 5>they are always supportive of each other. There's never a

0:47:47.520 --> 0:47:51.040
<v Speaker 5>question that, like one person's success is not going to

0:47:51.040 --> 0:47:53.200
<v Speaker 5>be the other person's success. And I think that that's

0:47:53.360 --> 0:47:57.280
<v Speaker 5>really beautiful thing that, Yeah, you just like rarely get

0:47:57.560 --> 0:48:00.080
<v Speaker 5>in a movie about women, because we're so conditioned to

0:48:00.120 --> 0:48:01.640
<v Speaker 5>think that women will turn on each other.

0:48:02.040 --> 0:48:06.440
<v Speaker 2>Yeah, they'll be petty, they'll backstab each other, Yeah, all

0:48:06.440 --> 0:48:08.000
<v Speaker 2>that kind of stuff, because those are the stories that

0:48:08.040 --> 0:48:12.120
<v Speaker 2>are written by men and that's what we're used to seeing.

0:48:12.120 --> 0:48:16.120
<v Speaker 2>But yeah, there's never any moment like that. They're just

0:48:16.440 --> 0:48:19.000
<v Speaker 2>there for each other every step of the way. I

0:48:19.080 --> 0:48:22.279
<v Speaker 2>also want to note that there is more body diversity

0:48:22.320 --> 0:48:26.360
<v Speaker 2>in this movie than you normally see. Because Mickey is fat,

0:48:26.520 --> 0:48:31.319
<v Speaker 2>there's no attention drawn to that. It's just completely normalized

0:48:31.360 --> 0:48:33.920
<v Speaker 2>a very normal part of her character. I wonder if

0:48:33.920 --> 0:48:37.040
<v Speaker 2>there is an argument to be made that, like she's

0:48:37.120 --> 0:48:42.040
<v Speaker 2>the one who is like the cook, she cooks soul food,

0:48:42.280 --> 0:48:45.400
<v Speaker 2>and you know, the thin one does hair and is

0:48:45.440 --> 0:48:49.839
<v Speaker 2>like more focused on like a kind of beauty oriented thing,

0:48:50.000 --> 0:48:53.600
<v Speaker 2>and if there's some kind of like veiled thing there.

0:48:53.719 --> 0:48:55.759
<v Speaker 2>But I think you'd almost kind of have to read

0:48:55.800 --> 0:48:59.160
<v Speaker 2>into that to like reach that conclusion, because at least

0:48:59.160 --> 0:49:01.520
<v Speaker 2>on like the surface or the way it's presented, it

0:49:01.560 --> 0:49:04.960
<v Speaker 2>just like all feels very normalized, at least to me.

0:49:05.239 --> 0:49:07.640
<v Speaker 3>Yeah, I would agree, and I would also even go

0:49:07.719 --> 0:49:11.080
<v Speaker 3>further and say that like in the nineties and today,

0:49:11.160 --> 0:49:13.760
<v Speaker 3>it's so easy to be like, oh, well, halle Berry

0:49:13.800 --> 0:49:16.720
<v Speaker 3>is the thin one, and so she has the fleshed

0:49:16.719 --> 0:49:19.239
<v Speaker 3>out in her world. She has the romantic partner. But

0:49:19.280 --> 0:49:22.400
<v Speaker 3>they're both kind of given like they both have partners.

0:49:22.400 --> 0:49:24.160
<v Speaker 3>I don't like either of their partners, but they both

0:49:24.200 --> 0:49:27.480
<v Speaker 3>have like a romantic arc. And I did notice there

0:49:27.480 --> 0:49:29.960
<v Speaker 3>were a couple of places where it would be very

0:49:30.000 --> 0:49:33.839
<v Speaker 3>easy to have Mickey be the one who was doing

0:49:33.920 --> 0:49:36.960
<v Speaker 3>physical things, like the scene with the bidet it splashes

0:49:37.040 --> 0:49:38.960
<v Speaker 3>up in halle Berry's face, and I think in a

0:49:38.960 --> 0:49:41.880
<v Speaker 3>lot of movies it was like, oh haha, have the

0:49:41.920 --> 0:49:44.960
<v Speaker 3>funny fat friend do something really physical, And this movie

0:49:45.200 --> 0:49:48.040
<v Speaker 3>takes I think takes intention to lean away from that

0:49:48.120 --> 0:49:49.319
<v Speaker 3>a little bit at times.

0:49:50.080 --> 0:49:55.120
<v Speaker 2>For sure, it's like equal opportunity slapstick, physical right comedy. Also,

0:49:55.320 --> 0:49:57.759
<v Speaker 2>I think in a lot of movies it would have

0:49:57.960 --> 0:50:02.840
<v Speaker 2>been the case where the you know, thin, traditionally beautiful

0:50:02.880 --> 0:50:07.520
<v Speaker 2>by Western beauty standards character would be the protagonist and

0:50:07.560 --> 0:50:10.080
<v Speaker 2>then her friend would be like the quote unquote sidekick

0:50:10.120 --> 0:50:12.359
<v Speaker 2>who doesn't have any kind of subplot of her own

0:50:12.480 --> 0:50:15.279
<v Speaker 2>or any scenes where it's just focusing on her. But

0:50:15.560 --> 0:50:19.040
<v Speaker 2>she also has that like separate love story kind of

0:50:19.080 --> 0:50:22.040
<v Speaker 2>thing with Antonio, who of course ends up being like

0:50:22.160 --> 0:50:25.640
<v Speaker 2>awful and desaitful. But we see a number of scenes

0:50:25.800 --> 0:50:29.200
<v Speaker 2>where the focus of the scene is on Mickey and

0:50:29.320 --> 0:50:31.040
<v Speaker 2>Nissi is nowhere to be seen.

0:50:31.360 --> 0:50:33.600
<v Speaker 5>Right, and there's like never any I don't know, I

0:50:33.840 --> 0:50:36.719
<v Speaker 5>feel like often when a fat character, especially during this era,

0:50:36.920 --> 0:50:42.000
<v Speaker 5>is given a love interest, it's like in this condescending way,

0:50:42.120 --> 0:50:46.839
<v Speaker 5>but like you also just have Natalie to sell and

0:50:46.920 --> 0:50:48.360
<v Speaker 5>she fucking rocks and.

0:50:48.440 --> 0:50:51.640
<v Speaker 2>His course, yeah she's the cutest.

0:50:51.360 --> 0:50:54.800
<v Speaker 5>But it does feel like rare. And again, the movie

0:50:55.080 --> 0:50:59.360
<v Speaker 5>is written by a woman like there's nothing for me

0:50:59.400 --> 0:51:01.839
<v Speaker 5>at least that zim Mickey's story that feels like a

0:51:01.880 --> 0:51:05.880
<v Speaker 5>reflection of her body. I do feel like, even though

0:51:06.160 --> 0:51:10.560
<v Speaker 5>we have dual protagonists here, that Nissie is ultimately more

0:51:10.760 --> 0:51:15.600
<v Speaker 5>so the protagonist than Mickey. Yeah, because we get like,

0:51:15.960 --> 0:51:17.640
<v Speaker 5>I don't know, it felt a little uneven to me,

0:51:18.160 --> 0:51:22.560
<v Speaker 5>which doesn't necessarily feel pointed. Also, halle Berry's.

0:51:22.360 --> 0:51:27.000
<v Speaker 4>Famous, and I think she was quite famous by this point, right, So.

0:51:27.120 --> 0:51:29.160
<v Speaker 3>It's funny that you would ask to like she was

0:51:29.320 --> 0:51:32.279
<v Speaker 3>getting famous. But at this time we had not sort

0:51:32.280 --> 0:51:34.920
<v Speaker 3>of accepted that halle Berry was a star star, and

0:51:35.000 --> 0:51:39.640
<v Speaker 3>so she had done interesting the Spike Lee movie Jungle Fever,

0:51:39.719 --> 0:51:42.440
<v Speaker 3>where she plays Samuel L. Jackson's girlfriend and she's like

0:51:42.760 --> 0:51:45.640
<v Speaker 3>heavily drug addicted and it's very sad. She's in that

0:51:45.680 --> 0:51:48.799
<v Speaker 3>movie Losing Isaiah, where she's another person who has kind

0:51:48.800 --> 0:51:50.640
<v Speaker 3>of a sad trajectory in the movie.

0:51:50.760 --> 0:51:52.239
<v Speaker 5>She's in The Flint Stone.

0:51:52.280 --> 0:51:56.680
<v Speaker 3>That's right, she's the like sexy secretary alongside Billy Zane.

0:51:57.000 --> 0:51:58.520
<v Speaker 3>She turns out to be like the bad guy in

0:51:58.520 --> 0:51:59.000
<v Speaker 3>that movie.

0:51:59.400 --> 0:52:03.799
<v Speaker 5>Not to spoil Hockley, Yes, and her character's name is

0:52:03.960 --> 0:52:07.920
<v Speaker 5>Sharon stone seteeny amazing.

0:52:08.040 --> 0:52:10.560
<v Speaker 2>She's also on Boomerang in ninety two.

0:52:11.320 --> 0:52:15.000
<v Speaker 5>So she's like famous but maybe not leading lady famous yet.

0:52:15.080 --> 0:52:15.719
<v Speaker 5>Is that where we're at?

0:52:15.719 --> 0:52:17.640
<v Speaker 3>That's what I would put it. Yeah, yeah, yeah, she's

0:52:17.680 --> 0:52:20.719
<v Speaker 3>sort of getting there. But like I think that if

0:52:20.719 --> 0:52:23.399
<v Speaker 3>there was like a star attached to this movie, it

0:52:23.440 --> 0:52:24.560
<v Speaker 3>was halle Berry.

0:52:24.640 --> 0:52:26.799
<v Speaker 5>Right, because I was like, where is halle Berry in

0:52:26.840 --> 0:52:28.360
<v Speaker 5>her career at this point? Okay, so she's not like,

0:52:28.480 --> 0:52:31.000
<v Speaker 5>it's not Peek halle Berry quite yet.

0:52:31.239 --> 0:52:31.640
<v Speaker 3>Correct.

0:52:31.640 --> 0:52:33.759
<v Speaker 4>I feel like that's maybe early two thousands either way.

0:52:34.200 --> 0:52:36.160
<v Speaker 5>Yeah, I feel like Nissi does kind of get the

0:52:36.239 --> 0:52:39.680
<v Speaker 5>edge in terms of the attention that the movie pays

0:52:39.920 --> 0:52:43.120
<v Speaker 5>and think it like clicked for me meaningfully, even though

0:52:43.120 --> 0:52:45.760
<v Speaker 5>it's like it's not like Mickey is in it less,

0:52:45.800 --> 0:52:49.200
<v Speaker 5>but Nissi's story kind of takes precedence more. Her relationship

0:52:49.200 --> 0:52:52.479
<v Speaker 5>with mister Blake Moore is closer and the movie puts

0:52:52.480 --> 0:52:57.759
<v Speaker 5>more emphasis on it, and her relationship with her boyfriend

0:52:57.800 --> 0:53:01.320
<v Speaker 5>from home is given way more president because when Mickey's

0:53:01.320 --> 0:53:04.200
<v Speaker 5>boyfriend comes back, James, you're sort of like, who is

0:53:04.239 --> 0:53:04.960
<v Speaker 5>this guy again?

0:53:05.760 --> 0:53:08.319
<v Speaker 4>But we've been hearing about Nissy's boyfriend the whole time.

0:53:08.400 --> 0:53:08.600
<v Speaker 3>True.

0:53:09.040 --> 0:53:11.239
<v Speaker 5>In that scene in the car, I was like, they're

0:53:11.239 --> 0:53:13.840
<v Speaker 5>gonna do it, They're gonna do it. Where she's like

0:53:13.880 --> 0:53:15.719
<v Speaker 5>I've been in love with someone from day one. I

0:53:15.760 --> 0:53:18.360
<v Speaker 5>was like, I've only ever seen this man yell at you.

0:53:18.800 --> 0:53:21.200
<v Speaker 2>Yeah, no, No, the.

0:53:21.200 --> 0:53:24.640
<v Speaker 3>Time to talk about how much I hate the boyfriends, Yeah,

0:53:24.960 --> 0:53:28.399
<v Speaker 3>lay into them. So I like a lot about this movie,

0:53:28.640 --> 0:53:31.680
<v Speaker 3>But the thing I cannot stand is the boyfriends and

0:53:31.719 --> 0:53:33.480
<v Speaker 3>the scene at the end. I feel like this comes

0:53:33.520 --> 0:53:35.439
<v Speaker 3>up in movies that y'all talk about a lot, where

0:53:36.080 --> 0:53:39.520
<v Speaker 3>Mickey and Nissi have this like trajectory where they learn

0:53:39.560 --> 0:53:42.000
<v Speaker 3>a lot about themselves, they have a lot of developments

0:53:42.040 --> 0:53:45.919
<v Speaker 3>all of that. Meanwhile, all Nisy's boyfriend does is, I guess,

0:53:45.920 --> 0:53:49.000
<v Speaker 3>get his driver's license and cut his hair and that

0:53:49.120 --> 0:53:52.960
<v Speaker 3>like that's meant to be like, oh he is good

0:53:53.040 --> 0:53:55.759
<v Speaker 3>enough for me now. Poor Mickey, her boyfriend doesn't do

0:53:55.800 --> 0:53:58.239
<v Speaker 3>anything but cry and be like I want to take

0:53:58.280 --> 0:54:00.719
<v Speaker 3>you out to dinner and then fall into a As

0:54:00.719 --> 0:54:04.280
<v Speaker 3>far as we know, he has no character arc, no development.

0:54:04.320 --> 0:54:06.120
<v Speaker 3>He has just come back and is just crying at.

0:54:06.040 --> 0:54:09.320
<v Speaker 4>Her, and he also like insults her multiple points.

0:54:09.400 --> 0:54:12.080
<v Speaker 5>I think he's the only example I don't well, actually

0:54:12.080 --> 0:54:15.240
<v Speaker 5>which boyfriend was it. It's either her boyfriend or Niezy's

0:54:15.239 --> 0:54:19.719
<v Speaker 5>boyfriend in the Club Winner's Still in Georgia that like

0:54:19.800 --> 0:54:22.880
<v Speaker 5>calls her a heifer and like is like, that's the

0:54:22.920 --> 0:54:25.000
<v Speaker 5>only example I could find in the movie that like

0:54:25.600 --> 0:54:28.480
<v Speaker 5>her like sizes commented on in any way, and it's

0:54:28.520 --> 0:54:33.080
<v Speaker 5>by someone that loves her question mark like hate it. Fuck.

0:54:34.080 --> 0:54:37.080
<v Speaker 3>I think what's going on here is a trope that

0:54:37.160 --> 0:54:38.880
<v Speaker 3>was like very popular in the nineties. It's still a

0:54:38.880 --> 0:54:41.120
<v Speaker 3>thing now, but like, I think we're getting away from it,

0:54:41.160 --> 0:54:44.880
<v Speaker 3>which is like, it is much better to be just

0:54:44.920 --> 0:54:47.520
<v Speaker 3>with somebody than single, right. I think that either of

0:54:47.520 --> 0:54:49.560
<v Speaker 3>these two women, especially at the end when they get

0:54:49.600 --> 0:54:51.920
<v Speaker 3>the money, would be much better off without either of

0:54:51.920 --> 0:54:54.120
<v Speaker 3>these two scrubs. But I think in the universe of

0:54:54.120 --> 0:54:57.520
<v Speaker 3>this movie, they're like, oh, well, better to have somebody

0:54:57.520 --> 0:55:00.719
<v Speaker 3>who calls you a heifer than nobody, And yeah, I

0:55:00.760 --> 0:55:03.080
<v Speaker 3>just I hate that so much. They would be much

0:55:03.120 --> 0:55:04.880
<v Speaker 3>better off without either of those guys.

0:55:05.080 --> 0:55:09.520
<v Speaker 2>Yes, for sure. I don't know why they're they're at all,

0:55:10.800 --> 0:55:13.160
<v Speaker 2>or if they need to be there at the beginning

0:55:13.200 --> 0:55:17.680
<v Speaker 2>to signify like these women don't have a full understanding

0:55:17.840 --> 0:55:21.480
<v Speaker 2>of their worth yet. But then they learn that and

0:55:21.520 --> 0:55:24.279
<v Speaker 2>they learn that they're better off without these guys, and

0:55:24.320 --> 0:55:26.080
<v Speaker 2>they dump them and then they're written out of the

0:55:26.120 --> 0:55:27.960
<v Speaker 2>movie for the rest of the movie. But why do

0:55:28.080 --> 0:55:30.000
<v Speaker 2>they come back and why do they have like a

0:55:30.040 --> 0:55:33.400
<v Speaker 2>redemption arc? And I think it's implied that, like the

0:55:33.440 --> 0:55:36.120
<v Speaker 2>cars in their car service business that they start up

0:55:36.200 --> 0:55:39.080
<v Speaker 2>are the same cars from the estate, so they just

0:55:39.120 --> 0:55:43.040
<v Speaker 2>like get those cars for free, and then they're like,

0:55:43.160 --> 0:55:45.640
<v Speaker 2>here's our business now, and it's like, no, you guys

0:55:45.680 --> 0:55:48.360
<v Speaker 2>don't deserve any of this. You treat your girlfriends poorly,

0:55:48.800 --> 0:55:50.399
<v Speaker 2>and you need to get the fuck out of here.

0:55:50.680 --> 0:55:53.560
<v Speaker 3>Yes, like the girls had an arc that led to

0:55:53.600 --> 0:55:56.759
<v Speaker 3>them getting the money, so presumably the guys are just

0:55:56.920 --> 0:55:59.560
<v Speaker 3>taking some of their money to start their and the

0:55:59.600 --> 0:56:02.600
<v Speaker 3>cars to start their business, which was lofty to begin with.

0:56:02.680 --> 0:56:05.000
<v Speaker 3>And we're meant to swoon like I don't I don't

0:56:05.040 --> 0:56:08.359
<v Speaker 3>like it. Y'all can keep that it stinks. Yeah.

0:56:08.440 --> 0:56:12.120
<v Speaker 5>No, that was really really frustrating, And even with the

0:56:12.160 --> 0:56:16.200
<v Speaker 5>way that their loser coded feels also very like kind.

0:56:15.960 --> 0:56:21.280
<v Speaker 4>Of entrenched in class presentation too, because really.

0:56:21.000 --> 0:56:25.880
<v Speaker 5>All that's changed when niece's boyfriend whose name escapes me

0:56:26.000 --> 0:56:29.759
<v Speaker 5>and will continue to that's okay when he no h

0:56:30.640 --> 0:56:33.840
<v Speaker 5>make his boyfriend al Ali. When Ali comes back, all

0:56:33.960 --> 0:56:36.960
<v Speaker 5>that's really changed is how he's presenting himself. He's presenting

0:56:37.080 --> 0:56:40.080
<v Speaker 5>himself in a more upper class quote unquote respectable way.

0:56:40.160 --> 0:56:42.600
<v Speaker 5>But it's like, yeah, that doesn't change how you have

0:56:42.719 --> 0:56:46.040
<v Speaker 5>treated her this entire time. And it feels like this

0:56:46.160 --> 0:56:48.960
<v Speaker 5>sort of other side of a Cinderella come up narrative

0:56:49.000 --> 0:56:52.880
<v Speaker 5>where it's like if a guy learns how to dress

0:56:53.040 --> 0:56:59.520
<v Speaker 5>differently like they're richer, then all is forgiven and it

0:56:59.600 --> 0:57:02.640
<v Speaker 5>implies that like that makes him a better person, and

0:57:02.680 --> 0:57:05.880
<v Speaker 5>he does treat her better once he's wearing nicer clothes.

0:57:06.000 --> 0:57:08.120
<v Speaker 5>It's just like nith.

0:57:08.760 --> 0:57:10.799
<v Speaker 2>Very nineties mentality.

0:57:11.160 --> 0:57:14.480
<v Speaker 3>Yeah, there is like a thing that happens within the

0:57:14.560 --> 0:57:18.240
<v Speaker 3>universe of the film with Mickey and Nissi too, where

0:57:18.560 --> 0:57:21.120
<v Speaker 3>as the film goes on, their clothes and their hair

0:57:21.120 --> 0:57:23.560
<v Speaker 3>and their nails and their teeth get like less and

0:57:23.600 --> 0:57:26.160
<v Speaker 3>less and less outlandish. You might be like, oh, well,

0:57:26.200 --> 0:57:28.440
<v Speaker 3>they're in Beverly Hills, so they're just and they go shopping,

0:57:28.480 --> 0:57:31.120
<v Speaker 3>so they're you know, learning how to fit in with

0:57:31.160 --> 0:57:33.840
<v Speaker 3>where they're at. But within the universe of the film.

0:57:34.200 --> 0:57:37.080
<v Speaker 3>I do have a question of, like, well, is the

0:57:37.080 --> 0:57:38.520
<v Speaker 3>film trying to be like, oh, the way they were

0:57:38.600 --> 0:57:41.280
<v Speaker 3>dressed at the beginning is bad, and now that they're

0:57:41.360 --> 0:57:45.200
<v Speaker 3>dressed more conservative, it's good. And her boyfriend cut his

0:57:45.320 --> 0:57:47.680
<v Speaker 3>perm and so that's good, and now they are a match.

0:57:47.920 --> 0:57:51.040
<v Speaker 3>Because again I recognize that the way that they dress

0:57:51.040 --> 0:57:53.120
<v Speaker 3>in the beginning is like over the top, but like,

0:57:53.600 --> 0:57:55.400
<v Speaker 3>I don't think it's bad, and I don't think it's

0:57:55.440 --> 0:57:57.920
<v Speaker 3>like says something about who they are. And I wonder

0:57:57.920 --> 0:58:01.080
<v Speaker 3>if the movie is maybe saying something different, Yeah, I'm.

0:58:00.920 --> 0:58:04.040
<v Speaker 5>With you on this journey with you, because I mean

0:58:04.320 --> 0:58:07.040
<v Speaker 5>up until that point where the ending, also, all of

0:58:07.080 --> 0:58:09.520
<v Speaker 5>the stuff about their dreams coming true happens during the credits,

0:58:09.520 --> 0:58:13.480
<v Speaker 5>and you're like why why why? But yeah, like that

0:58:13.600 --> 0:58:19.040
<v Speaker 5>aesthetic change felt pointed when that was like something I

0:58:19.120 --> 0:58:21.400
<v Speaker 5>up to that point had really liked about the movie

0:58:21.600 --> 0:58:24.760
<v Speaker 5>was even though they are deceiving, mister Blake Moore.

0:58:24.720 --> 0:58:28.280
<v Speaker 2>I mean, rich white men should be tricked.

0:58:29.400 --> 0:58:32.360
<v Speaker 5>It's truly a victimist crime. He likes it, and he yeah,

0:58:32.440 --> 0:58:36.800
<v Speaker 5>it turns him on. So whatever, Like it seems like

0:58:36.880 --> 0:58:39.680
<v Speaker 5>everyone is okay with the deception that they're involved with

0:58:39.760 --> 0:58:41.920
<v Speaker 5>even though there's like brief you know, just speaking to

0:58:41.960 --> 0:58:44.320
<v Speaker 5>like the kind of random unevenness of the movie where

0:58:44.320 --> 0:58:46.560
<v Speaker 5>halle Berry is like racked with guilt in some scenes

0:58:46.600 --> 0:58:49.280
<v Speaker 5>and then other scenes she's like my whatever, Like I'm

0:58:49.320 --> 0:58:51.600
<v Speaker 5>on the side of my whatever. But either way, like

0:58:51.720 --> 0:58:56.640
<v Speaker 5>outside of that sort of plot contrivance, they're themselves for

0:58:56.680 --> 0:59:00.800
<v Speaker 5>the whole movie. They're not like adjusting who are They're

0:59:00.840 --> 0:59:02.920
<v Speaker 5>not I think, outside of like a few kind of

0:59:03.400 --> 0:59:06.640
<v Speaker 5>jokes that again I thought was interesting and I didn't

0:59:06.640 --> 0:59:08.160
<v Speaker 5>miss that they didn't get into it more. But like

0:59:08.360 --> 0:59:11.240
<v Speaker 5>halle Berry has like an etiquette book, and etiquette books

0:59:11.240 --> 0:59:15.200
<v Speaker 5>are so entrenched in how to act like a respectable

0:59:15.320 --> 0:59:20.560
<v Speaker 5>white woman, and that's just what that whole cottage industry is,

0:59:20.920 --> 0:59:24.560
<v Speaker 5>especially the further back in time you go. But that's

0:59:24.720 --> 0:59:28.480
<v Speaker 5>dropped immediately and they're themselves the whole movie, and they

0:59:28.520 --> 0:59:31.840
<v Speaker 5>are appreciated for being themselves. And so to see that

0:59:31.880 --> 0:59:35.040
<v Speaker 5>little aesthetic change at the end felt like, well, they

0:59:35.040 --> 0:59:37.280
<v Speaker 5>were like loved and accepted for who they were.

0:59:39.040 --> 0:59:41.440
<v Speaker 2>Yeah, it feels like the movie doesn't kind of misses

0:59:41.480 --> 0:59:44.600
<v Speaker 2>an opportunity to comment on the fact that like, yes,

0:59:44.640 --> 0:59:47.800
<v Speaker 2>they feel the pressure to adhere to this like standard

0:59:47.800 --> 0:59:52.120
<v Speaker 2>of propriety that is very much put forth by like

0:59:52.680 --> 0:59:57.920
<v Speaker 2>wealthy white society, and that they're like trying to adhere

0:59:57.960 --> 1:00:00.439
<v Speaker 2>to it. Either from an etiquette point of view. There's

1:00:00.440 --> 1:00:05.080
<v Speaker 2>like scenes where someone says, like, oh, how are you,

1:00:05.520 --> 1:00:08.360
<v Speaker 2>and then like Mickey responds and like the way that

1:00:08.400 --> 1:00:12.440
<v Speaker 2>she traditionally would, and then Nissie cuts in to be like, no,

1:00:12.560 --> 1:00:15.720
<v Speaker 2>we're doing very well, thank you, like in a very

1:00:15.760 --> 1:00:19.240
<v Speaker 2>like proper kind of way. But yeah, they usually abandoned

1:00:19.280 --> 1:00:22.960
<v Speaker 2>that sort of like etiquette propriety stuff that they were

1:00:23.040 --> 1:00:25.280
<v Speaker 2>trying to learn and then they just behave like themselves.

1:00:25.360 --> 1:00:28.320
<v Speaker 2>But as far as like they're esthetic choices, which is

1:00:28.400 --> 1:00:31.960
<v Speaker 2>like one of the most memorable things about their characters,

1:00:32.000 --> 1:00:34.720
<v Speaker 2>and like the poster is like very much like look

1:00:34.800 --> 1:00:37.200
<v Speaker 2>at them and their flashy outfits and they're wacky hair

1:00:37.280 --> 1:00:40.040
<v Speaker 2>jews and stuff like that. That gets more and more toned

1:00:40.160 --> 1:00:45.360
<v Speaker 2>down throughout the movie, and I feel like the movie

1:00:45.720 --> 1:00:49.800
<v Speaker 2>doesn't fully comment on like, ye, well, why are they

1:00:49.960 --> 1:00:55.080
<v Speaker 2>like leaning into adhering to these like standards of propriety

1:00:55.600 --> 1:00:59.280
<v Speaker 2>when that's not who they are, Like, that's not how

1:00:59.280 --> 1:01:01.959
<v Speaker 2>they want to present themselves. And it just sort of like, yeah,

1:01:01.960 --> 1:01:05.600
<v Speaker 2>well they're just doing it the end. So I wish

1:01:05.680 --> 1:01:08.360
<v Speaker 2>there had been more like thoughtful examination of that.

1:01:08.840 --> 1:01:11.480
<v Speaker 3>Yeah, And I think that their aesthetic choices are such

1:01:11.520 --> 1:01:13.760
<v Speaker 3>a big part of this movie and something that I

1:01:13.800 --> 1:01:16.840
<v Speaker 3>was really and I would also want for the movie

1:01:17.280 --> 1:01:19.960
<v Speaker 3>to sort of take stock of that a little bit differently,

1:01:19.960 --> 1:01:22.320
<v Speaker 3>the same as you. And I also like a quote

1:01:22.360 --> 1:01:24.280
<v Speaker 3>that was looming large in my mind when I was

1:01:24.320 --> 1:01:27.920
<v Speaker 3>rewatching this was from this fashion designer Narsha Willis, who

1:01:28.080 --> 1:01:31.120
<v Speaker 3>used to do these shirts that say ghetto until proven

1:01:31.200 --> 1:01:34.600
<v Speaker 3>fashionable because you're meant to think that these outfits are

1:01:34.600 --> 1:01:37.360
<v Speaker 3>outlandish and over the top, but if they were wearing

1:01:37.400 --> 1:01:40.800
<v Speaker 3>them today, like on TikTok or on Instagram, they would

1:01:40.800 --> 1:01:46.080
<v Speaker 3>absolutely kill. And so my god, yeah would they like kill?

1:01:46.360 --> 1:01:49.240
<v Speaker 3>And so I do think like it goes back to

1:01:49.240 --> 1:01:51.640
<v Speaker 3>what I was saying about, like when I saw this

1:01:51.720 --> 1:01:54.640
<v Speaker 3>movie as a youth, to me, it felt like, uh,

1:01:54.680 --> 1:01:59.080
<v Speaker 3>sometimes over the top celebration of the ways that sometimes

1:01:59.120 --> 1:02:02.720
<v Speaker 3>these fashion choices can be so creative, so like on

1:02:02.840 --> 1:02:07.240
<v Speaker 3>another level, so future forward, just so doing their own creative,

1:02:07.280 --> 1:02:09.960
<v Speaker 3>distinct different thing that certainly took creative know how to

1:02:10.000 --> 1:02:13.560
<v Speaker 3>get there, and today in twenty twenty four, that is

1:02:13.600 --> 1:02:16.640
<v Speaker 3>like even more salient, but within the universe of the film. Again,

1:02:16.720 --> 1:02:19.240
<v Speaker 3>I agree with you, Caitlin. I don't know that they

1:02:19.280 --> 1:02:22.640
<v Speaker 3>are aware of the ways in which people like me

1:02:22.680 --> 1:02:24.800
<v Speaker 3>are watching it and being like, oh my god, there's trendsetters,

1:02:24.840 --> 1:02:26.240
<v Speaker 3>you know. Yeah, right.

1:02:26.960 --> 1:02:29.520
<v Speaker 5>It feels like a very like having it both ways,

1:02:29.560 --> 1:02:33.200
<v Speaker 5>where it's like the movie obviously knows that they look incredible,

1:02:33.640 --> 1:02:36.440
<v Speaker 5>but it's also undercut by like, but this is like

1:02:37.040 --> 1:02:40.040
<v Speaker 5>can't be quote unquote like low class incredible, where you're like, no,

1:02:40.200 --> 1:02:44.520
<v Speaker 5>this is like really influential fashion. And the outfits at

1:02:44.520 --> 1:02:47.040
<v Speaker 5>the end, you know, they look great because they're gorgeous,

1:02:47.040 --> 1:02:49.680
<v Speaker 5>but what is that that's a pantsuit?

1:02:50.000 --> 1:02:50.960
<v Speaker 3>It's not them.

1:02:51.160 --> 1:02:51.960
<v Speaker 4>Yeah, it's like a.

1:02:52.000 --> 1:02:55.680
<v Speaker 5>Hillary Clinton outfit, you know, like it's I don't I

1:02:55.720 --> 1:02:56.560
<v Speaker 5>don't love it.

1:02:56.560 --> 1:03:00.960
<v Speaker 2>It's especially frustrating considering that, like so much of American

1:03:01.400 --> 1:03:06.280
<v Speaker 2>pop culture, which permeates like global pop culture as far

1:03:06.320 --> 1:03:11.320
<v Speaker 2>as just clothes and media and all that kind of

1:03:11.360 --> 1:03:15.680
<v Speaker 2>stuff is invented by black people and black women, So

1:03:16.720 --> 1:03:18.800
<v Speaker 2>it's like, well, then why are they toning it down?

1:03:19.000 --> 1:03:19.840
<v Speaker 3>Like ugh?

1:03:20.160 --> 1:03:23.040
<v Speaker 5>I mean, also that's invented the fact that the term

1:03:23.360 --> 1:03:26.720
<v Speaker 5>baps like that existed prior to this movie, and it

1:03:26.800 --> 1:03:30.520
<v Speaker 5>is so just I don't know, like weird, maybe tongue

1:03:30.520 --> 1:03:33.760
<v Speaker 5>in cheek to just attribute it to Martin Landau and

1:03:33.920 --> 1:03:36.600
<v Speaker 5>this is very much a term that came out of

1:03:36.640 --> 1:03:38.920
<v Speaker 5>the black community. But they're like, no, it's basically Martin

1:03:39.000 --> 1:03:41.200
<v Speaker 5>Landa's idea. He was dying one day and was like,

1:03:41.480 --> 1:03:44.480
<v Speaker 5>guess what I had just thought of? Anyways, Yeah, I

1:03:44.520 --> 1:03:47.480
<v Speaker 5>don't know. There's other tropes that this movie subscribes to

1:03:47.640 --> 1:03:51.280
<v Speaker 5>that I am more tempted to attribute to, like the

1:03:51.320 --> 1:03:56.520
<v Speaker 5>Cinderella genre we're in where there is like devious nephew, right,

1:03:56.640 --> 1:04:00.000
<v Speaker 5>But ultimately the two old white men in this movie

1:04:00.160 --> 1:04:04.360
<v Speaker 5>are great guys that deserve the best, which is very

1:04:04.400 --> 1:04:08.360
<v Speaker 5>like part I think of mister Bald from Annie or whatever.

1:04:08.480 --> 1:04:09.520
<v Speaker 4>Who's mister Bald.

1:04:09.640 --> 1:04:10.280
<v Speaker 5>What's his name?

1:04:11.120 --> 1:04:14.439
<v Speaker 4>Oh, mister Noah hair I can't think of his name.

1:04:14.840 --> 1:04:19.000
<v Speaker 5>Daddy wore Bucks, yes, right, like just someone that you're like,

1:04:19.200 --> 1:04:21.760
<v Speaker 5>the way that they got this money has to be evil.

1:04:21.880 --> 1:04:24.640
<v Speaker 5>You can't get this much money doing something good for

1:04:24.680 --> 1:04:28.480
<v Speaker 5>the world. But in the world of this rags to

1:04:28.600 --> 1:04:32.640
<v Speaker 5>riches story, they are this benevolent force that has to

1:04:32.680 --> 1:04:35.480
<v Speaker 5>be on the side of our protagonist, which is often

1:04:35.800 --> 1:04:41.360
<v Speaker 5>a young woman or girl. Rich white old man gives

1:04:41.440 --> 1:04:44.600
<v Speaker 5>young women a lot of money. You know, I'd accept it.

1:04:44.760 --> 1:04:47.600
<v Speaker 5>But this is very much a formula that exists, and

1:04:47.600 --> 1:04:49.760
<v Speaker 5>I feel like the Martin Landau character being at the

1:04:49.880 --> 1:04:53.000
<v Speaker 5>end of the day a nice old man. It falls

1:04:53.120 --> 1:04:54.080
<v Speaker 5>cleanly into that.

1:04:54.400 --> 1:04:56.560
<v Speaker 3>What do we think he did for a living? Or like,

1:04:56.640 --> 1:04:57.960
<v Speaker 3>how do you think he made his millions?

1:04:58.200 --> 1:05:01.480
<v Speaker 5>They said fabrics and I was like, oh, yeah, which

1:05:01.560 --> 1:05:06.880
<v Speaker 5>I'm like that, So I'm not optimistic about his like labor.

1:05:07.080 --> 1:05:11.920
<v Speaker 2>Right, the labor practices, I'm sure very exploitative.

1:05:11.280 --> 1:05:12.840
<v Speaker 5>But we're not supposed to think about.

1:05:12.560 --> 1:05:15.680
<v Speaker 4>That no or any movie like it.

1:05:16.200 --> 1:05:16.320
<v Speaker 3>Right.

1:05:16.640 --> 1:05:19.000
<v Speaker 2>I would like to draw some parallels between this movie

1:05:19.080 --> 1:05:24.919
<v Speaker 2>and Eddie murphy Haunted Mansion, because both movies, yeah, friend,

1:05:25.400 --> 1:05:30.360
<v Speaker 2>thank you so much. Both movies involve a rich white

1:05:30.520 --> 1:05:35.800
<v Speaker 2>guy who was in love with a black woman and

1:05:36.000 --> 1:05:41.959
<v Speaker 2>the family disapproved and she ends up gone in a way,

1:05:42.120 --> 1:05:43.960
<v Speaker 2>and we're not really sure what happens to.

1:05:44.000 --> 1:05:47.040
<v Speaker 5>Her, even know if she's alive or not. Are they

1:05:47.080 --> 1:05:48.920
<v Speaker 5>going to say if she's alive? Is he going to

1:05:48.960 --> 1:05:50.080
<v Speaker 5>ask if she's alive?

1:05:50.280 --> 1:05:53.360
<v Speaker 2>I thought maybe Lily would show up me at some point,

1:05:53.400 --> 1:05:55.240
<v Speaker 2>but no, we're not really sure.

1:05:55.240 --> 1:05:57.520
<v Speaker 4>Right, it seems like pointed that they weren't saying that

1:05:57.600 --> 1:05:58.360
<v Speaker 4>she had died.

1:05:58.720 --> 1:05:58.959
<v Speaker 3>Yeah.

1:05:59.120 --> 1:06:00.400
<v Speaker 5>I was like, Oh, she's gonna come back at the

1:06:00.520 --> 1:06:02.960
<v Speaker 5>end to be like halle Berry, you impostor.

1:06:03.920 --> 1:06:05.320
<v Speaker 2>But she doesn't.

1:06:05.560 --> 1:06:07.920
<v Speaker 4>We will die with that mystery.

1:06:08.000 --> 1:06:10.960
<v Speaker 2>We don't know we will, And I wanted to Mansion

1:06:10.960 --> 1:06:15.320
<v Speaker 2>at least we know that that woman does very dead die.

1:06:15.520 --> 1:06:19.440
<v Speaker 2>But anyway, Also, there's like a butler in both stories

1:06:19.640 --> 1:06:23.960
<v Speaker 2>who's like, they play out very differently in the two movies,

1:06:24.080 --> 1:06:26.920
<v Speaker 2>but there is a butler who's like very loyal to

1:06:27.840 --> 1:06:32.320
<v Speaker 2>his rich white guy boss. And you know, so I

1:06:32.320 --> 1:06:33.800
<v Speaker 2>think that's where the parallels end.

1:06:34.000 --> 1:06:36.400
<v Speaker 4>But that's still I mean, but yeah, the butler in

1:06:36.560 --> 1:06:39.120
<v Speaker 4>Haunted Mansion ends up being quite evil.

1:06:38.880 --> 1:06:41.920
<v Speaker 2>Evil Yeah yeah, yeah, he gets dragged to hell.

1:06:41.880 --> 1:06:46.160
<v Speaker 4>Playing Butler Stereo times Justice for Butler's.

1:06:47.720 --> 1:06:52.080
<v Speaker 5>Sorry. I'm on Daddy Warbucks's Wikipedia.

1:06:52.600 --> 1:06:54.840
<v Speaker 3>Actually we're gonna say Daddy warbucks dot com.

1:06:55.160 --> 1:06:58.200
<v Speaker 4>I was like, what did Daddy Warbucks do bad?

1:06:58.360 --> 1:07:01.520
<v Speaker 5>He was an industrialist, but his Wikipedia page is very

1:07:01.520 --> 1:07:04.280
<v Speaker 5>funny and he is not real. He eventually became a

1:07:04.320 --> 1:07:08.120
<v Speaker 5>foreman in the rolling mill, married Missus Warbucks and worked

1:07:08.120 --> 1:07:09.959
<v Speaker 5>and planned for a family and house of their own.

1:07:10.240 --> 1:07:17.240
<v Speaker 5>When Daddy began they call him daddy throughout. When Daddy

1:07:17.280 --> 1:07:20.480
<v Speaker 5>began to make big money during World War One, his

1:07:20.560 --> 1:07:22.160
<v Speaker 5>marital happiness was lost.

1:07:22.800 --> 1:07:24.200
<v Speaker 4>You're like, oh, no.

1:07:24.080 --> 1:07:25.120
<v Speaker 3>Daddy, Daddy.

1:07:25.240 --> 1:07:29.440
<v Speaker 2>No, also a foreman in a mill. Who is this

1:07:29.520 --> 1:07:30.960
<v Speaker 2>Billy's aid from Titanic?

1:07:31.280 --> 1:07:36.400
<v Speaker 5>Yeah, it is villain coded uh, Daddy. That's basically who

1:07:37.000 --> 1:07:41.320
<v Speaker 5>Martin Lantau is in this. They keep going uncle, he's uncle, Daddy,

1:07:41.520 --> 1:07:44.200
<v Speaker 5>He's daddy, And that's fine.

1:07:44.680 --> 1:07:48.640
<v Speaker 2>Yeah, does anyone have anything else they'd like to talk about?

1:07:49.280 --> 1:07:51.320
<v Speaker 3>I just had one other note, which is that some

1:07:51.360 --> 1:07:54.320
<v Speaker 3>of the references in this movie were so first of all,

1:07:54.400 --> 1:07:57.760
<v Speaker 3>very of an era, but also so tight. When the

1:07:57.960 --> 1:08:01.680
<v Speaker 3>girls are fighting Antonio, they think he's burglar and they're like,

1:08:01.800 --> 1:08:04.240
<v Speaker 3>I'm gonna do them like Tyson, and she's like, oh,

1:08:04.280 --> 1:08:06.160
<v Speaker 3>you didn't see the last fight because you were in

1:08:06.160 --> 1:08:08.800
<v Speaker 3>the kitchen getting popcorn. That Do you remember how in

1:08:08.840 --> 1:08:12.160
<v Speaker 3>the nineties Tyson was known for like these big hyped

1:08:12.200 --> 1:08:14.959
<v Speaker 3>boxing matches would only last for like thirty seconds because

1:08:14.960 --> 1:08:19.559
<v Speaker 3>he would knock people out. Oh, I remember distinctly. My

1:08:19.640 --> 1:08:22.320
<v Speaker 3>parents had a fight party and my dad went to

1:08:22.360 --> 1:08:24.320
<v Speaker 3>get burgers off the grill, and when he came back,

1:08:24.360 --> 1:08:26.360
<v Speaker 3>the fight was over and they had paid, like I

1:08:26.360 --> 1:08:28.320
<v Speaker 3>don't know however much money back then, one hundred dollars

1:08:28.439 --> 1:08:30.280
<v Speaker 3>or something to get the fight on pay per view.

1:08:30.280 --> 1:08:32.080
<v Speaker 3>And it was like, well, I guess you missed it.

1:08:32.360 --> 1:08:35.040
<v Speaker 4>Oh wow, okay, I did not.

1:08:35.680 --> 1:08:39.479
<v Speaker 3>Know that some of these references are so tight, and so.

1:08:39.640 --> 1:08:44.120
<v Speaker 2>Just like, yeah, it's good, it's good. Unfortunately, one of

1:08:44.200 --> 1:08:47.880
<v Speaker 2>my favorite jokes is from one of the Loser boyfriends.

1:08:48.600 --> 1:08:52.920
<v Speaker 2>But it's when Mickey's boyfriend James is saying, how oh,

1:08:52.960 --> 1:08:55.720
<v Speaker 2>when we got to dinner, you know, we have to

1:08:55.760 --> 1:08:58.360
<v Speaker 2>watch other people eat and he's crying and he's like,

1:08:58.840 --> 1:08:59.800
<v Speaker 2>I want to eat too.

1:09:01.880 --> 1:09:04.000
<v Speaker 3>So okay, that was a pretty good line. I'll give

1:09:04.040 --> 1:09:04.439
<v Speaker 3>him that.

1:09:04.439 --> 1:09:05.280
<v Speaker 2>That's a good joke.

1:09:05.800 --> 1:09:08.599
<v Speaker 5>He had one moment, had one moment, and then he

1:09:08.720 --> 1:09:13.360
<v Speaker 5>Leonardo DiCaprio and fell into a body of water fully clothed.

1:09:13.600 --> 1:09:15.760
<v Speaker 3>Wait, is that a Leonardo dicaprioism.

1:09:16.160 --> 1:09:19.519
<v Speaker 2>Yes, In every movie he's basically he will end up

1:09:19.600 --> 1:09:21.880
<v Speaker 2>in a body of water with all of his clothes on.

1:09:22.680 --> 1:09:27.400
<v Speaker 2>I made a super cut to this effect. It's stunning

1:09:27.640 --> 1:09:29.439
<v Speaker 2>and if you want to watch it, you should come

1:09:29.520 --> 1:09:33.439
<v Speaker 2>to our Shrek Tannic tour in the UK because we

1:09:33.520 --> 1:09:35.599
<v Speaker 2>will be showing it at the show.

1:09:36.280 --> 1:09:38.400
<v Speaker 4>Really great plug opportunity.

1:09:38.520 --> 1:09:43.400
<v Speaker 5>Yeah, that was masterful, Thank you so much, thank you.

1:09:43.720 --> 1:09:46.200
<v Speaker 5>The only other thing I had was just again pulling

1:09:46.200 --> 1:09:49.479
<v Speaker 5>from that Refinery twenty nine article that opens with just

1:09:49.640 --> 1:09:52.599
<v Speaker 5>a couple of statistics that illustrates how like we've been

1:09:52.600 --> 1:09:56.719
<v Speaker 5>talking about this whole episode, how this is a rare

1:09:57.200 --> 1:10:01.040
<v Speaker 5>movie that centers black women and also so allows them

1:10:01.080 --> 1:10:05.080
<v Speaker 5>to have fun and be goofy, and how rare that is.

1:10:05.160 --> 1:10:08.040
<v Speaker 5>And then that countered with the other thing we've been

1:10:08.080 --> 1:10:12.640
<v Speaker 5>talking about, which is how hyper critical and overly critical

1:10:12.880 --> 1:10:17.519
<v Speaker 5>critics tend to be of movies that don't really exist

1:10:17.720 --> 1:10:21.040
<v Speaker 5>very often. Yeah, how An Cohen opens the article is

1:10:21.080 --> 1:10:25.040
<v Speaker 5>with these stats that I thought, what interesting. Hollywood released

1:10:25.080 --> 1:10:28.559
<v Speaker 5>approximately one hundred and forty three movies in nineteen ninety seven.

1:10:29.200 --> 1:10:32.760
<v Speaker 5>Of those, just seventeen starred a black performer in the

1:10:32.800 --> 1:10:35.880
<v Speaker 5>top billing. Most of those roles, as with men in

1:10:35.920 --> 1:10:38.800
<v Speaker 5>black double team money talks, most wanted and switched back,

1:10:39.000 --> 1:10:42.439
<v Speaker 5>were given to black men opposite white male co leads.

1:10:43.000 --> 1:10:46.880
<v Speaker 5>Others like Amistad focused on a historic slavery narrative, so

1:10:46.920 --> 1:10:49.920
<v Speaker 5>that there's only really a couple of movies each year,

1:10:50.080 --> 1:10:54.679
<v Speaker 5>especially at this time, that centers strictly black characters at all,

1:10:54.960 --> 1:10:58.439
<v Speaker 5>much less black women. The only other ensemble movies that

1:10:58.479 --> 1:11:01.679
<v Speaker 5>came out, we've actually covered one us Love Jones and

1:11:01.760 --> 1:11:02.360
<v Speaker 5>Soul Food.

1:11:03.240 --> 1:11:07.240
<v Speaker 4>So yeah, I just like speaks to like this movie.

1:11:07.479 --> 1:11:08.639
<v Speaker 5>Does it have its faults?

1:11:08.920 --> 1:11:09.160
<v Speaker 3>Yes?

1:11:09.360 --> 1:11:12.599
<v Speaker 5>Yeah, it's also a goofy comedy from nineteen ninety seven.

1:11:12.760 --> 1:11:16.080
<v Speaker 2>It's an extremely goofy movie, I would say.

1:11:16.320 --> 1:11:19.759
<v Speaker 3>I would say that as well representation as a goofy

1:11:19.800 --> 1:11:23.559
<v Speaker 3>black girl. We need representation for our goofy corny asses

1:11:23.640 --> 1:11:27.200
<v Speaker 3>to like engage in some screwball hijakes on screen.

1:11:27.800 --> 1:11:31.960
<v Speaker 5>Yeah, we need more hijacks, more hijis. Yeah, I think

1:11:31.960 --> 1:11:33.639
<v Speaker 5>that was all I had. Does anyone else have anything?

1:11:34.320 --> 1:11:34.719
<v Speaker 2>Nope?

1:11:35.200 --> 1:11:36.879
<v Speaker 5>This movie passes the Bechdel test.

1:11:37.320 --> 1:11:41.960
<v Speaker 2>Yes it does. The women are talking now and then

1:11:42.080 --> 1:11:47.000
<v Speaker 2>about their boyfriends or about don or Antonio, but they

1:11:47.040 --> 1:11:50.519
<v Speaker 2>also talk about hair, they talk about food, they talk

1:11:50.560 --> 1:11:53.519
<v Speaker 2>about opening up their business, they talk about dancing, they

1:11:53.520 --> 1:11:57.320
<v Speaker 2>talk about being in la all that kind of stuff.

1:11:57.760 --> 1:12:01.840
<v Speaker 2>So handily passing what about our nipple scale, though, where

1:12:01.920 --> 1:12:03.800
<v Speaker 2>we rate the movie on a scale of zero to

1:12:03.840 --> 1:12:09.600
<v Speaker 2>five nipples based on examining it through an intersectional feminist lens.

1:12:10.520 --> 1:12:12.519
<v Speaker 2>I'm tempted to go like a three and a half

1:12:12.720 --> 1:12:15.559
<v Speaker 2>or a four on this one. I love that this

1:12:15.640 --> 1:12:21.000
<v Speaker 2>is a movie made by black filmmakers that features and

1:12:21.080 --> 1:12:27.360
<v Speaker 2>centers a friendship between two black women that is fun

1:12:27.640 --> 1:12:32.559
<v Speaker 2>and light and there's a distinct lack of tragedy, which, again,

1:12:32.640 --> 1:12:34.559
<v Speaker 2>like as we were just kind of hinting at, so

1:12:34.600 --> 1:12:40.240
<v Speaker 2>many stories, especially from this era, that centered black characters

1:12:40.280 --> 1:12:43.920
<v Speaker 2>were like rife with the tragedy of the black experience,

1:12:44.080 --> 1:12:47.400
<v Speaker 2>and this movie is just like all about like it's

1:12:47.439 --> 1:12:50.040
<v Speaker 2>a Cinderella story, as we've been saying, like it's a

1:12:50.080 --> 1:12:54.439
<v Speaker 2>fairy tale, and it's just like so fun to watch

1:12:54.560 --> 1:12:59.320
<v Speaker 2>these characters. And I don't know why the boyfriends are

1:12:59.360 --> 1:13:02.720
<v Speaker 2>there right them out of the story. There's some like

1:13:02.920 --> 1:13:06.800
<v Speaker 2>kind of class implications that I don't love, but other

1:13:06.840 --> 1:13:10.799
<v Speaker 2>than that, it's just like such a fun movie about

1:13:11.080 --> 1:13:14.200
<v Speaker 2>two black women who are best friends and they're grifting

1:13:14.280 --> 1:13:17.360
<v Speaker 2>a rich white guy and that's what should happen all

1:13:17.400 --> 1:13:17.800
<v Speaker 2>the time.

1:13:18.439 --> 1:13:22.639
<v Speaker 4>So and I just can't enough how much he's loving

1:13:22.720 --> 1:13:23.200
<v Speaker 4>the grift.

1:13:23.560 --> 1:13:24.400
<v Speaker 5>Yeah, I love it.

1:13:24.680 --> 1:13:28.880
<v Speaker 2>He's obsessed. So I'm gonna give it four nipples. I

1:13:28.920 --> 1:13:32.880
<v Speaker 2>am sad on Troy Buyer's behalf that she didn't like

1:13:32.920 --> 1:13:37.080
<v Speaker 2>the final product and felt that her story and her

1:13:37.080 --> 1:13:43.000
<v Speaker 2>words in the screenplay were not properly translated to film.

1:13:43.320 --> 1:13:47.360
<v Speaker 2>But despite that, it's still a fun, enjoyable movie for me.

1:13:47.600 --> 1:13:51.760
<v Speaker 2>So I'm going to go four nipples, and I will

1:13:51.760 --> 1:13:57.599
<v Speaker 2>split them between Troy Buyer, halle Berry, and Natalie des

1:13:57.600 --> 1:13:58.080
<v Speaker 2>sill Read.

1:13:58.760 --> 1:14:01.080
<v Speaker 5>I think like a three and a half because I

1:14:01.200 --> 1:14:05.000
<v Speaker 5>really feel Troy Byer's pain here and being like, it's

1:14:05.040 --> 1:14:07.600
<v Speaker 5>my big break. I've been acting for years, this is

1:14:07.640 --> 1:14:10.760
<v Speaker 5>my big screenwriting break. Black women so infrequently get to

1:14:11.400 --> 1:14:14.880
<v Speaker 5>write anything on a scale like this and then to

1:14:15.120 --> 1:14:18.360
<v Speaker 5>watch it and be like, oh, my heart is with her.

1:14:18.439 --> 1:14:20.920
<v Speaker 5>And also I think that there's so much to love

1:14:20.920 --> 1:14:24.639
<v Speaker 5>about this movie. It's so fun. It centers black women

1:14:24.680 --> 1:14:26.840
<v Speaker 5>and their friendship in ways that we almost never see

1:14:26.840 --> 1:14:30.080
<v Speaker 5>in movies. Even now. The ways that I find it

1:14:30.120 --> 1:14:34.200
<v Speaker 5>frustrating are very of its time, mostly the boyfriends. Honestly, like,

1:14:34.320 --> 1:14:37.479
<v Speaker 5>I think that it didn't become permissible until sometime in

1:14:37.520 --> 1:14:42.160
<v Speaker 5>the two thousands. For a protagonist who is a straight

1:14:42.240 --> 1:14:46.599
<v Speaker 5>woman to end up not with a man, even if

1:14:46.720 --> 1:14:49.920
<v Speaker 5>that man is not good for her, She's got to

1:14:50.000 --> 1:14:53.240
<v Speaker 5>end up with somebody, and that is the case here.

1:14:53.320 --> 1:14:55.880
<v Speaker 5>But I feel like, if you can cut through that noise,

1:14:56.360 --> 1:15:01.439
<v Speaker 5>it's just like, the performances are so funny. I love Like,

1:15:01.479 --> 1:15:04.080
<v Speaker 5>if we don't get to see halle Berry do comedy ever,

1:15:04.800 --> 1:15:08.880
<v Speaker 5>which is I feel like the dancing audition line scene alone,

1:15:08.960 --> 1:15:14.280
<v Speaker 5>You're like, well, we deserved more of halle Berry comedy movies.

1:15:14.600 --> 1:15:19.600
<v Speaker 5>And Natalie dcell is a master comic actor. She's amazing,

1:15:19.760 --> 1:15:22.400
<v Speaker 5>and I wish she had more to do here. I

1:15:22.400 --> 1:15:25.120
<v Speaker 5>wish that there was like more of an even protagonist

1:15:25.479 --> 1:15:29.080
<v Speaker 5>situation here. But I love to see her. I love her.

1:15:29.200 --> 1:15:33.559
<v Speaker 5>It's so wild that she was in two really fun, amazing,

1:15:33.720 --> 1:15:37.680
<v Speaker 5>very different Cinderella stories that centered black women in the

1:15:37.720 --> 1:15:42.840
<v Speaker 5>same year. Good for You in nineteen ninety seven and Yeah,

1:15:42.840 --> 1:15:46.560
<v Speaker 5>I hate the boyfriends, love the baps. Three and a

1:15:46.600 --> 1:15:47.680
<v Speaker 5>half nipples.

1:15:47.800 --> 1:15:52.920
<v Speaker 2>Put that on a shirt.

1:15:51.200 --> 1:15:53.720
<v Speaker 3>I would buy it. Hell yeah, is it out of

1:15:53.760 --> 1:15:54.439
<v Speaker 3>five nips?

1:15:54.800 --> 1:15:55.719
<v Speaker 2>Out of five nips?

1:15:55.840 --> 1:15:58.920
<v Speaker 3>Yes, I'm gonna go for Obviously, I have a soft

1:15:58.920 --> 1:16:00.880
<v Speaker 3>spot for this movie. I feel any movie that you

1:16:00.960 --> 1:16:04.120
<v Speaker 3>watched with your head cradled on your hands on your

1:16:04.120 --> 1:16:06.559
<v Speaker 3>tummy while kicking your feet at a slumber party, you

1:16:06.560 --> 1:16:10.479
<v Speaker 3>can only go solo. I agree. I do feel for

1:16:10.560 --> 1:16:13.519
<v Speaker 3>the screenwriter, and I'm really happy that she spoke up.

1:16:13.560 --> 1:16:16.120
<v Speaker 3>I would love to see her original version of this movie,

1:16:16.160 --> 1:16:18.640
<v Speaker 3>like what was her vision. I also a sucker for

1:16:18.680 --> 1:16:21.679
<v Speaker 3>a movie that has a lot of random cameos people

1:16:21.960 --> 1:16:24.960
<v Speaker 3>of an era playing themselves. You know, I don't think

1:16:25.080 --> 1:16:27.320
<v Speaker 3>it's heavy v is in the movie. Yeah. So, like

1:16:27.479 --> 1:16:29.280
<v Speaker 3>there's a one scene where they go to dinner and

1:16:29.280 --> 1:16:31.880
<v Speaker 3>it's like every celebrity ever is having dinner has the

1:16:31.880 --> 1:16:38.080
<v Speaker 3>same reservation time. So I love all the fun nineties cameos. Yeah, yeah,

1:16:38.120 --> 1:16:40.320
<v Speaker 3>I just I love a screwball comedy, and I just

1:16:40.320 --> 1:16:43.320
<v Speaker 3>get the sense that the two leads were like off

1:16:43.360 --> 1:16:46.000
<v Speaker 3>screen and on screen like friends. You just can you

1:16:46.000 --> 1:16:48.719
<v Speaker 3>can just send a work from them that is really delightful.

1:16:48.800 --> 1:16:52.559
<v Speaker 2>So I'll go for Oh beautiful Bridget, thank you so

1:16:52.640 --> 1:16:54.840
<v Speaker 2>much for joining us again. It's always such a treat

1:16:54.880 --> 1:16:56.880
<v Speaker 2>to have you come back anytime.

1:16:57.080 --> 1:16:59.000
<v Speaker 3>Oh my god, thank you for having this. You know,

1:16:59.120 --> 1:17:02.040
<v Speaker 3>this was such a great way to spend my getting

1:17:02.040 --> 1:17:04.320
<v Speaker 3>to watch baths and then talk about it thoughtfully for

1:17:04.439 --> 1:17:06.439
<v Speaker 3>an hour, like thank you, this is a gift.

1:17:07.720 --> 1:17:09.960
<v Speaker 5>We're so happy to do it, Like it's this movie

1:17:09.960 --> 1:17:12.400
<v Speaker 5>put me in a great mood, right I have finished.

1:17:12.400 --> 1:17:15.519
<v Speaker 5>Pacheco was like, I, oh god, it's so hard to

1:17:15.520 --> 1:17:16.360
<v Speaker 5>be in a great mood.

1:17:16.640 --> 1:17:19.200
<v Speaker 4>At this movie put me in a great mood truly.

1:17:19.880 --> 1:17:23.120
<v Speaker 2>Where can people check out your work? Follow you on

1:17:23.160 --> 1:17:24.400
<v Speaker 2>social media, et cetera.

1:17:24.840 --> 1:17:27.920
<v Speaker 3>Yeah, you can check out my podcast on iHeartRadio called

1:17:27.960 --> 1:17:30.719
<v Speaker 3>There Are No Girls on the Internet. You can later

1:17:30.760 --> 1:17:32.360
<v Speaker 3>this month, depending on when this comes out, you can

1:17:32.400 --> 1:17:34.679
<v Speaker 3>listen to another podcast that I have with Next Chapter

1:17:34.760 --> 1:17:38.440
<v Speaker 3>Podcasts called Beef, where we are digging into the juiciest

1:17:38.520 --> 1:17:43.000
<v Speaker 3>historical rivalries that you've never heard of. Well, yeah, you

1:17:43.000 --> 1:17:45.200
<v Speaker 3>can find me on Instagram at bridget Marie and DC,

1:17:45.400 --> 1:17:48.320
<v Speaker 3>on Twitter at Bridget Marie, on Blue Sky at Bridget tad,

1:17:48.520 --> 1:17:53.280
<v Speaker 3>or on TikTok at Bridget makes Pods very nice.

1:17:53.800 --> 1:17:56.040
<v Speaker 2>I just learned what Blue Sky was. How did I

1:17:56.479 --> 1:17:57.280
<v Speaker 2>miss it?

1:17:57.760 --> 1:18:00.439
<v Speaker 5>I have an account and I posted once and then

1:18:00.479 --> 1:18:03.360
<v Speaker 5>I was like, all right, get them done, and you

1:18:03.479 --> 1:18:03.840
<v Speaker 5>did it.

1:18:04.000 --> 1:18:06.360
<v Speaker 3>My New Year's reolution was to use Twitter less. So

1:18:06.360 --> 1:18:08.840
<v Speaker 3>that's I'm trying to like play with blue Sky more.

1:18:08.880 --> 1:18:10.280
<v Speaker 3>So maybe I'll see all there.

1:18:10.520 --> 1:18:14.280
<v Speaker 2>Hell yeah, yeah, see you there anyway. You can follow

1:18:14.360 --> 1:18:20.160
<v Speaker 2>us on Patreon aka r Matreon at patreon dot com

1:18:20.200 --> 1:18:23.800
<v Speaker 2>slash Bechtyl Cast. We released two episodes every month, plus

1:18:23.840 --> 1:18:27.680
<v Speaker 2>you'll get access to our back catalog of over one

1:18:27.760 --> 1:18:30.679
<v Speaker 2>hundred and fifty episodes at this point, all for five

1:18:30.720 --> 1:18:31.439
<v Speaker 2>dollars a month.

1:18:31.640 --> 1:18:33.160
<v Speaker 5>If you live in the UK, you can come see

1:18:33.240 --> 1:18:37.080
<v Speaker 5>us on tour. We're gonna be touring throughout the UK

1:18:37.360 --> 1:18:41.240
<v Speaker 5>in number of cities, more days to come in late May,

1:18:41.439 --> 1:18:43.240
<v Speaker 5>so check that out. And you can also get our

1:18:43.280 --> 1:18:47.599
<v Speaker 5>merch at teapoplic dot com slash the Bechtel Cast.

1:18:47.800 --> 1:18:50.360
<v Speaker 2>That's right. Links to all of that stuff, including the

1:18:50.400 --> 1:18:55.120
<v Speaker 2>ticket links for our tour, are at linktree slash Bechtel Cast.

1:18:55.320 --> 1:18:58.599
<v Speaker 2>So scoot over there, grab those tickets, grab that merch,

1:18:58.680 --> 1:19:03.160
<v Speaker 2>wear it to the show, et cetera, and yeah, we'll

1:19:03.200 --> 1:19:05.200
<v Speaker 2>see you later. Wow, amazing dismount.

1:19:05.680 --> 1:19:08.599
<v Speaker 5>I have a reservation along with every famous person at

1:19:08.600 --> 1:19:12.360
<v Speaker 5>Beverly Hills at the restaurant Parselon, So if you'd like

1:19:12.479 --> 1:19:15.120
<v Speaker 5>to join me and scream at various celebrities.

1:19:15.680 --> 1:19:17.640
<v Speaker 2>That's for a yeah, And I'm gonna go there and

1:19:17.640 --> 1:19:19.840
<v Speaker 2>be like, oh my god, Jamie Loftis, I love you,

1:19:20.000 --> 1:19:20.679
<v Speaker 2>I love your book.

1:19:20.760 --> 1:19:24.840
<v Speaker 5>Raw Dogs, be like easy, easy, I'm just trying to

1:19:24.960 --> 1:19:25.639
<v Speaker 5>eat hair.

1:19:27.800 --> 1:19:31.960
<v Speaker 3>They hated Dennis Radman for they Yes, we'll do, We'll do,

1:19:32.760 --> 1:19:34.640
<v Speaker 3>Bye Bye bye.

1:19:38.040 --> 1:19:41.320
<v Speaker 2>The Bechdel Cast is a production of iHeartMedia, hosted by

1:19:41.400 --> 1:19:45.280
<v Speaker 2>Caitlin Derante and Jamie Loftis, produced by Sophie Lichterman, edited

1:19:45.360 --> 1:19:48.559
<v Speaker 2>by Mola Board. Our theme song was composed by Mike

1:19:48.640 --> 1:19:53.000
<v Speaker 2>Kaplan with vocals by Catherine Vosskrosenski. Our logo in merch

1:19:53.200 --> 1:19:56.120
<v Speaker 2>is designed by Jamie Loftis and a special thanks to

1:19:56.160 --> 1:20:00.599
<v Speaker 2>Aristotle Acevedo. For more information about the podcast, please visit

1:20:00.640 --> 1:20:02.160
<v Speaker 2>linktree slash Bechtelcast