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Speaker 1: On the be Dol Cast, the questions asked if movies

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Speaker 1: have women in um? Are all their discussions just boyfriends

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Speaker 1: and husbands? Do they have individualism? The patriarchy? Zef invest

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Speaker 1: start changing it with the bel Cast. Hello, and welcome

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Speaker 1: to the Bechtel Cast. My name is Caitlin Dronte, my

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Speaker 1: name is Jamie Loftus, and this is our podcast. It

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Speaker 1: is you don't wait? I want to Actually let's start

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Speaker 1: this episode with a quick call out because I went

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Speaker 1: I went to our Wikipedia page to see what number

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Speaker 1: episode this was going to be, and our Wikipedia page

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Speaker 1: it's so stopped updating it. It's been left in June.

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Speaker 1: It's just June. She whiz. I know, So I feel lost,

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Speaker 1: but we do have Wait, let me figure out their

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Speaker 1: Twitter handle? Oh yes, yes, who who very generously made

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Speaker 1: five hundred charts. Yeah, so it's on Twitter. Their handle

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Speaker 1: is without Guerrillas. But it truly is really fascinating. We

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Speaker 1: reposted it to our social media. But it kind of

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Speaker 1: just breaks down every aspect of our show, like truly

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Speaker 1: every aspect of like how has Caitlin rated movies? How

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Speaker 1: has Jamie rated movies? What is the breakdown of like

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Speaker 1: directors by gender and by race, and just basically a

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Speaker 1: really interesting look at what we've covered so far that

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Speaker 1: was genuinely helpful to us. So shout out truly some

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Speaker 1: like incredible work that is genuinely like informing and helping

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Speaker 1: our shows. So yeah, thank you you and um but

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Speaker 1: you know Wikipedia, I don't know who who We genuinely

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Speaker 1: we never knew who was keeping our Wikipedia page up

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Speaker 1: to date. But thank you for all of the work

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Speaker 1: that you did. And I think it's a beautiful tribute

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Speaker 1: to our show all the way through June. Incredible. Anyways,

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Speaker 1: Welcome to the show. Welcome to the show. This is

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Speaker 1: the Bectel Cast, in which we examine film through an

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Speaker 1: intersectional feminist lens, one movie at a time, and we

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Speaker 1: use the Bechtel test simply as a way to initiate

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Speaker 1: a larger conversation about representation. But Jamie, what's the Bechtel Test? Okay,

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Speaker 1: I do know the answer, Okay, I'm ready. It is

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Speaker 1: a media metric originally created by queer cartoonist Alice in Bechdel,

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Speaker 1: sometimes called the Bechtel Wallace test, that requires that a

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Speaker 1: piece of media do the following, and we have altered

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Speaker 1: it slightly for the purpose of our show. Um so

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Speaker 1: two named characters of a marginalized gender must talk to

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Speaker 1: each other about something other than a man for two

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Speaker 1: lines of dialogue. It doesn't usually happen in a movie.

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Speaker 1: Not enough, not enough? Have you seen Austin Powers? Sorry,

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Speaker 1: I have our Wikipedia page up and just pulling from

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Speaker 1: you know, Uh, there's a lot of movies in which

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Speaker 1: it doesn't pass. We use this as a jumping off

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Speaker 1: point for discussion. We don't spend the whole show trying

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Speaker 1: to figure out if it passes the Backtel test. Imagine

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Speaker 1: how boring that would be. I think, I think someday

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Speaker 1: we're gonna pivot to that. That would be a fun

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Speaker 1: April Fools episode is just going through a scriptic line

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Speaker 1: by line that is like the Shoshank redemption and be like,

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Speaker 1: what about this exchange? About this one? Nope, between two

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Speaker 1: men still know Well, today's episode I think, well, you know,

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Speaker 1: not to spoil anything, but I think it's gonna fair

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Speaker 1: okay ish as far as Bechtel test specifically goes. But

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Speaker 1: there's a lot to talk about because the movie is

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Speaker 1: how Stella got her groove back and a popular request,

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Speaker 1: a popular request, and of course we have a guest

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Speaker 1: joining us. She is a comedian. She is one of

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Speaker 1: the co hosts of Love About Town podcast, she's host

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Speaker 1: of Complexify on Vice, and she is our first ever

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Speaker 1: fourth time guest of the Bechtel Cast. It is can smoke. Hello, Hello.

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Speaker 1: That makes me so happy. I did not. It was

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Speaker 1: the only four guest second other guests. You have a guest,

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Speaker 1: kiss my ass. I have a fourth timer. Next time

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Speaker 1: I'm on, I get a smoking jacket. That's how this

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Speaker 1: ship works. We talked about that. We talked about that

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Speaker 1: last two year. We did. It's important that they know

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Speaker 1: there's a jacket on the way. I feel validated and

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Speaker 1: I don't know why I vindicated, but I'm going to

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Speaker 1: go with that too. Oh yeah, you should. You should

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Speaker 1: feel those things. Congratulations, it's so good to see you.

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Speaker 1: It's good to see you too. Man. This is not

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Speaker 1: important to the podcast at all, but I do love

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Speaker 1: your sweatshirt very much. It is when Bong ho one

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Speaker 1: for best picture. Right. Yes, yes, it's a quick quick

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Speaker 1: shout out. Caitlin and I were just talking about it. Uh.

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Speaker 1: This was a sweatshirt made by one of our favorite companies,

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Speaker 1: Super Hockey. It was a collaboration they did with Karen Hahn,

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Speaker 1: who's like this amazing writer who is so funny and yeah,

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Speaker 1: so they just made a Bong June Host sweatshirt and

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Speaker 1: it's my prize possessions. It's really good. Um, and that

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Speaker 1: does a little bit to foreshadow and upcoming episode we're

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Speaker 1: doing on Parasite. I certainly choose outfits based on foreshadowing future,

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Speaker 1: very strategic stuff going on here. Find all my t

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Speaker 1: shirts are flashbacks to past episode, because past episodes, because

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Speaker 1: I have several Josie and the Pussycats t shirts, I

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Speaker 1: have several Titanic shirts. I have several Paddington shirts. I

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Speaker 1: have several Star Wars shirts. I have Draassic Park shirt.

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Speaker 1: I have a several Back to the Future shirts. I

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Speaker 1: have an Indiana Joe shirt. I'm really just I have

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Speaker 1: too many graphic teas about a lot of toxic movies.

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Speaker 1: Not all of them are toxic movies, but too many

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Speaker 1: of them are. Among us doesn't have a shirt or

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Speaker 1: two referencing a toxic movie. I thought that you were

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Speaker 1: saying that the shirt you were wearing at this moment

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Speaker 1: was a reference, and I was like, deep deep blue,

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Speaker 1: See she's just wearing a blue T shirt. But I

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Speaker 1: was just like, oh, what is okay? Sorry, that's makes

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Speaker 1: you think, you know, maybe it is though, could be

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Speaker 1: could be the color. We're overdue for that episode. So yeah,

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Speaker 1: um it's okay. So Cannie, what is your relationship with

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Speaker 1: How Stella Got her groove back? So everyone in my

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Speaker 1: life saw it when I was early teens or no,

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Speaker 1: like late childhood whatever you call that, tweens. Yes, everyone

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Speaker 1: in my life was seeing it when I was a

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Speaker 1: tween and Mike cousin moved down to St. Thomas. I

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Speaker 1: think after reading the book, uh, not watching the movie,

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Speaker 1: my mom went on this very dramatic vacation where she

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Speaker 1: bought several bathing suits for it. She went to St. Thomas.

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Speaker 1: Uh So it was like a big thing that people

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Speaker 1: were talking about, and any time anyone dated a younger man,

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Speaker 1: it was like, oh, she's getting her groove back. So

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Speaker 1: this I didn't see it until this year, but it

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Speaker 1: was part of my world for twenty years before that. Sure,

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Speaker 1: have you read the book at all? I have not

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Speaker 1: read the book. I am so interested in reading it

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Speaker 1: based on the background that we discussed before this recording happened,

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Speaker 1: which we'll talk about a little bit later. Have you

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Speaker 1: read the book? I haven't read the book. I as

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Speaker 1: you know, I never read books. Well, this is this

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Speaker 1: is the this is the part where were we at

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Speaker 1: the box book cast famously remind our listeners that we

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Speaker 1: do not read the books books. I still think. I'm

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Speaker 1: I still carry so much trauma from how mad people

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Speaker 1: were after the Lord of the Rings episode, Like, we're

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Speaker 1: not a book podcast. I don't know what to say.

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Speaker 1: People were furious at us. A few people were furious

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Speaker 1: at us too for the Practical Magic episode. There was

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Speaker 1: a book. Just write that book. There is a book.

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Speaker 1: Who do we have to do an episode every week?

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Speaker 1: We can't be reading a full We don't have to.

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Speaker 1: There's a free podcast. We don't like to take it

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Speaker 1: or leave it. Oh my god, it stresses me out.

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Speaker 1: So it stresses me out so much. So just so

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Speaker 1: you know, we didn't read the book, did not read it.

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Speaker 1: But I agree that they're rewatching the movie. Maybe want

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Speaker 1: to read the book, Jamie. What is your relationship with

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Speaker 1: the movie? Uh, this is I think I have this

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Speaker 1: experience with the number of movies we've covered before. I've

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Speaker 1: seen this movie, but I saw it like on TV,

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Speaker 1: like tv as or T n T in chunks and

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Speaker 1: I never like really sat down and watched this movie

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Speaker 1: and really, um like took it all in at once.

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Speaker 1: So um, this was my first time really like giving

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Speaker 1: this movie my full attention. I knew I was like

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Speaker 1: five when it came out, so I did, so I

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Speaker 1: don't remember. I know a lot of people like my mom.

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Speaker 1: I saw it. I texted her, I was like, did

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Speaker 1: you see how Stell got her groove? Actually was like, oh, yeah,

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Speaker 1: it was a bit. It was a night out with friend.

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Speaker 1: I was like, okay, yeah, just loves a rom com

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Speaker 1: and this is you know, we're in the golden age

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Speaker 1: of rom coms here. So yeah, this was my first

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Speaker 1: time kind of really seeing it with full attention, and

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Speaker 1: I really loved it it really. I mean, I'm easily

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Speaker 1: emotionally manipulated, and this movie did take full advantage of

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Speaker 1: that at many points. But I love I loved watching it.

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Speaker 1: Was It's such a fun, different, cool movie. What about you, Caitlin. Um,

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Speaker 1: I had never seen this movie before prepping for this episode.

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Speaker 1: I'll chalk it up to if you take the even

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Speaker 1: diagram of romantic movies, either like romantic comedies or romantic dramas,

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Speaker 1: because this movie kind of falls somewhere in the middle

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Speaker 1: of that. It. Yeah, it switches tones at different moments. Yeah,

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Speaker 1: for sure. That on like one circle of the Venn

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Speaker 1: diagram and then movies that Caitlin tends to watch and enjoy. Um,

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Speaker 1: there's very little overlap its Titanic Titanic center. Yes, and

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Speaker 1: it's maybe like Mulan Rouge and Before Sunrise and then

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Speaker 1: every other romantic drama or romantic movie really of any kind.

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Speaker 1: Um is you know, I just probably haven't seen it

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Speaker 1: or don't care about it. So I had not seen

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Speaker 1: this movie, so I didn't really know what to expect.

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Speaker 1: There's a lot to unpack, there's a lot to talk about.

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Speaker 1: I can't wait. It's there's some goofy. There's some really

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Speaker 1: silly scenes that I can't wait to describe, and I'm

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Speaker 1: very excited, can't wait, can't wait? Should we just should

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Speaker 1: we dive into the recap and go from there? Yeah,

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Speaker 1: a lot happens in this Maybe a lot happens, and

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Speaker 1: yet there's sort of not a plot. Caitlyn thinks it's

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Speaker 1: too long. It's too it is too it's two hours long.

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Speaker 1: It is I'm going to agree for a rob camp

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Speaker 1: for what yet? Condense all this? Yeah, it's definitely weighs

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Speaker 1: to tighten the story. Make it ninety minutes. I don't

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Speaker 1: know why it was two hours. Okay. So we meet Stella.

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Speaker 1: That's Angela Bassett. Of course we see her at work.

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Speaker 1: She does something with stocks or money or business. And

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Speaker 1: then and then the twist Victor Garber. Victor Garber is there,

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Speaker 1: and really how Stella got her groove back comes out

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Speaker 1: in weren't you just in Titanic the year before this? Victor?

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Speaker 1: And he's like, yeah, He's like, I sure was any

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Speaker 1: questions if a movie involves water, the ocean, the planned

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Speaker 1: trip that goes awry, he doesn't even need to be

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Speaker 1: near the water, he just has, but he's there in spirit. Ye. Yes.

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Speaker 1: The point is Stella has kind of like an important

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Speaker 1: high stress job and she's very good at it. Then

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Speaker 1: we meet Stella's sisters. Angela played by Susanne Douglas, who

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Speaker 1: I'm not super familiar with her or her work, um,

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Speaker 1: But her other sister is Vanessa played by Regina King.

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Speaker 1: Sach a funny Regina King performance. Yes, she's been doing

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Speaker 1: this for so long, she's so good big the other sister. Wow.

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Speaker 1: I mean you'll get to this with the recap, but

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Speaker 1: what a bit okay? She is worth noting that she

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Speaker 1: is highly gregnant in this film. She is Greek at

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Speaker 1: with twins, with two Greg's two little Greg's swimming around

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Speaker 1: in there. Um okay. So her sisters, especially Angela, is

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Speaker 1: trying to set Stella up with a man and Stella

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Speaker 1: is like, I'm okay, I'm good. We also learned that

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Speaker 1: Stella has an eleven year old son named Quincy, and

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Speaker 1: he goes off to spend a couple of weeks with

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Speaker 1: his dad, Stella's ex husband, Walter. And while he's gone,

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Speaker 1: Stella sees a commercial for Jamaican tourism and which she

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Speaker 1: kind of like projects herself into the commercial and then

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Speaker 1: she's like, fuck it, I'm gonna call my best friend

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Speaker 1: Delilah played by Whoopie Goldberg, and she's like, let's go

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Speaker 1: to Jamaica and Delilah is like yes. So then cut

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Speaker 1: to their in Jamaica and I think it's their first

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Speaker 1: morning there. Uh. Stella is at a restaurant having breakfast

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Speaker 1: and suddenly Tay Diggs is there and he approaches her

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Speaker 1: and he's like, hello, good morning. My name is Winston Shakespeare.

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Speaker 1: And she's like, okay, great name, great name, great name. Um,

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Speaker 1: which she's like, your name is fake. And he's like, well,

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Speaker 1: what if Shakespeare was black? We don't know, which is

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Speaker 1: a very popular theory and it comes up all the time.

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Speaker 1: It came out like this. There was another like wave

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Speaker 1: of that this past year. Oh really wait, I haven't

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Speaker 1: heard this before. Maybe this year. It's it's often discussed

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Speaker 1: that Shakespeare is black and that Beethoven is black. Maybe

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Speaker 1: that's what happened this year. I think the Beethoven one

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Speaker 1: came out this year. The Shakespeare thing I remember just

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Speaker 1: generally as a thing. It's a washing that he he

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Speaker 1: was part black. Maybe the shack he wrote the Sonnet

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Speaker 1: about was part black. It's oh interesting, I'm gonna have

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Speaker 1: to do some reading on this. Hell yeah. In any case, Uh,

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Speaker 1: Winston is hot. Um big, very important, exact, really important

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Speaker 1: that we know that Winston is hot. I did write

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Speaker 1: that down. I was like, I just need to say

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Speaker 1: Taye Diggs, damn. That's all that. That's the note. He

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Speaker 1: looks great. This is like his career making role, right,

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Speaker 1: This was like his big breakout role, his first feature

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Speaker 1: I think I think like he had already done in

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Speaker 1: rent On Broadway or something before this, yeah, mostly stage.

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Speaker 1: Oh yeah, and then that's how he had met Idina Menzel,

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Speaker 1: right right right. Um. Also, I should say that my

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Speaker 1: first year of being on Twitter, which was like two,

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Speaker 1: I spent the entire first year just trying to tweet

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Speaker 1: at ta Diggs to get him to follow me, because

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Speaker 1: he follows everybody. He follows more people than follow him.

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Speaker 1: He has like some celebrities are just like what is

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Speaker 1: the strategy there? There were like articles written about it.

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Speaker 1: I don't know if anyone remembers this, but like people

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Speaker 1: were righting and like commenting all the time about how

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Speaker 1: like people are like what is Taate Diggs doing on Twitter?

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Speaker 1: He just will follow anybody. He just so he was

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Speaker 1: following tons and tons of people and they weren't you

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Speaker 1: know that some of them were people with like no

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Speaker 1: other followers. Like he was just following anybody. So I

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Speaker 1: was like, I need him to follow me. So I

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Speaker 1: was just constantly tweeting either at him or about him,

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Speaker 1: trying to get him to follow me, and it never happened.

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Speaker 1: He's to this day, Wow, he only follows people who

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Speaker 1: like don't care. Yeah, I was trying too hard. I

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Speaker 1: guess he could have just set still. And now I'm like,

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Speaker 1: just Tate Diggs follow he doesn't he there's no way

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Speaker 1: that tatg s fellows me. But you never know that's true.

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Speaker 1: I think I think we should listeners. Please help us

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Speaker 1: all get followed me Cannie Jamie. We all need to

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Speaker 1: be followed by Tay Diggs and we need your help,

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Speaker 1: so please. There's also so there's another Ta. I just

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Speaker 1: there's I saw Ta Diggs recently on television because I

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Speaker 1: shamefully watched Selling Sunset, and Ta Diggs is a very

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Speaker 1: present force on It's like a Netflix reality show about

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Speaker 1: this group of horrible women who sell real estate in

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Speaker 1: like better off of Sunset. So it's just like full

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Speaker 1: like remove your brain from your head TV. I I

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Speaker 1: enjoy it time to time. It's very silly, um, but

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Speaker 1: Taye Diggs is on the show buying a house in

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Speaker 1: the first season, and everyone's like his The central plot

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Speaker 1: of a whole episode is is Tate Diggs gonna buy

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Speaker 1: this really nice house? And then I forget if he does.

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Speaker 1: But then in the next season and the next season,

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Speaker 1: Tay Diggs is not physically there, but is present because

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Speaker 1: he seems to have had such a big, outsized influence

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Speaker 1: on season one of Selling Sunset that in season two

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Speaker 1: or possibly three, his ex girlfriend or his current girlfriend

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Speaker 1: at the time, I don't remember. All of a sudden,

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Speaker 1: she's a cast member of Selling Sunset. I don't know

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Speaker 1: why t Diggs has as an influence over what happens

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Speaker 1: on Selling but permeated that show more than you'd think.

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Speaker 1: He's a mystery that t Digs. Anyways, I'm a big fan. Yeah,

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Speaker 1: good grief. Okay. So the point is that in the story,

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Speaker 1: he is attractive, and he is twenty years old and

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Speaker 1: Stella is forty, and they figured this out right away

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Speaker 1: because he starts to hit on her and she's like,

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Speaker 1: how old are you even and he's like, I'm twenty

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Speaker 1: and she's like, cool, I am twice your age. Also

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Speaker 1: an amazing example of like, so infrequently do women get

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Speaker 1: to play their own age on screen, and Angela Bassett

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Speaker 1: is permitted to play her age in this movie. It's

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Speaker 1: I think that's so rare in awesome. Meanwhile, Tay Digs

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Speaker 1: is a little older than his character. I think he

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Speaker 1: was seven seven when he when this movie comes out

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Speaker 1: at least I think so. Anyway, he is not bothered

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Speaker 1: by the age difference, and he invites her to this

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Speaker 1: like pajama disco party that's happening that night, and she's like, um, thanks,

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Speaker 1: but no thanks. But then she goes to the dance

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Speaker 1: and they danced together all night, but she doesn't spend

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Speaker 1: the night with him. And Delilah WHOOPI Goldberg again. It

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Speaker 1: was like, Stella, why didn't you have sex with him?

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Speaker 1: Like what are you doing? You silly so and so?

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Speaker 1: And Stella is like, I don't know. He's like twenty

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Speaker 1: years younger than me. I don't know what I'm doing.

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Speaker 1: And then the next day, Stella takes a dip in

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Speaker 1: the pool and Winston's like, Hi, I'm here again. We

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Speaker 1: got a bushemy test this movie. Yeah, although have you

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Speaker 1: seen pictures of a young Steve Bush? I feel like, yes,

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Speaker 1: I had, And You're like, okay, I'm listening. I get it. Yes,

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Speaker 1: mr man who's followed me to a pool? Yes, Well,

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Speaker 1: in the movie when she's like this pool scene, Danny

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Speaker 1: Glover was in the movie and all of his scenes

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Speaker 1: get cut, but remember the part where she's like help me.

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Speaker 1: There's this like old man over there trying to hit

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Speaker 1: on me. That's Danny Glover did not know, but they

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Speaker 1: cut everything except for that kind of like wide shot

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Speaker 1: where you can't even tell it. It's also because he's

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Speaker 1: like in old makeup. They like aged him up to

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Speaker 1: make him look older, um, so you can't tell that

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Speaker 1: it's him. But anyway, they cut all of his scenes.

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Speaker 1: So she's like, this old guy is trying to hit

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Speaker 1: on me, and he's like, well, so am I And

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Speaker 1: she's like, what you're trying like someone doesn't like you

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Speaker 1: just danced with this man for six hours in a row.

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Speaker 1: When he when you arrived at the pajama party, he

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Speaker 1: stared directly at your breast for a while before looking

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Speaker 1: into your face to talk to you. And you're like,

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Speaker 1: but you're attracted to me? What? It's so rom calm now,

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Speaker 1: it's so nineties rom calm. We're like the female leaders

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Speaker 1: like momum mum me. It's like duh, yes, right, even

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Speaker 1: though I mean when they met, he like comes over

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Speaker 1: to her and he's like, let's have breakfast together. You're

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Speaker 1: so beautiful party with me. Yeah, in the moment they meet,

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Speaker 1: but she is like not aware that he is hitting

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Speaker 1: on her because she's like, wait, you want to be

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Speaker 1: intimate with me? And he's like yeah, and she's like okay.

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Speaker 1: So then cut too. They're in her hotel room and

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Speaker 1: she okay, I don't know how to describe this for

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Speaker 1: play that happens, but it's like it's awkward at first,

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Speaker 1: and then he thinks she's like in her bed, all

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Speaker 1: under the covers, lying completely still, so then he takes

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Speaker 1: off all of his clothes but surprised she's behind him,

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Speaker 1: so she like jumps on him, and then they're like

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Speaker 1: and then a weird scene, but you're like, it's hot,

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Speaker 1: but it's weird. Yes, it's goofy, and then they and

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Speaker 1: then they have sex. But then and I was getting

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Speaker 1: a little confused by this because it seems like he

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Speaker 1: kind of blows her off, or she interprets it as

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Speaker 1: being blown off because he very suddenly gets a job

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Speaker 1: and he's like not available to hang out with her

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Speaker 1: the rest of this vacation. I mean, I mean I

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Speaker 1: I kind of interpreted it where she didn't believe that

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Speaker 1: he had gotten the job, and so she's like, I'm

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Speaker 1: being blown off and he made up an excuse to

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Speaker 1: not hang out with me. Yeah, that's what I thought.

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Speaker 1: She thought, Yeah, okay, it was like an insecurity thing.

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Speaker 1: But he did get a job. But he did get

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Speaker 1: a job. Yeah, he wasn't lying. I think she assumed

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Speaker 1: that he was making up an excuse to blow her off.

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Speaker 1: But I do have a quick question. She's staying at

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Speaker 1: a resort. Why is he at the resort? Great question,

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Speaker 1: Like he's there for breakfast and he's not working there.

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Speaker 1: He's just he has a hat, like he lives with

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Speaker 1: his family kind of close. Why is he there? Why

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Speaker 1: is he there? I thought that too. I did not

375
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Speaker 1: think that. Well, he does say at one point like

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Speaker 1: I'm here trying to get a job. So I don't

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Speaker 1: know if he's just sort of lingering by the resort

378
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Speaker 1: because he ends up getting a job in the kitchen

379
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Speaker 1: is like a chef. They're like, well, you seem to

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Speaker 1: be here a lot, so would you like a job?

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Speaker 1: That seems like something my mom would suggest though, like

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00:23:41,680 --> 00:23:44,200
Speaker 1: for how to get a job, Well, you just going

383
00:23:44,240 --> 00:23:48,080
Speaker 1: there hanging out. See what happens the bound to do something?

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00:23:48,160 --> 00:23:51,760
Speaker 1: You're there, So I mean that's how a lot of

385
00:23:51,800 --> 00:23:54,280
Speaker 1: comedy clubs like they're like, oh, well, if you want

386
00:23:54,280 --> 00:23:55,920
Speaker 1: to get booked here. You just have to spend your

387
00:23:56,040 --> 00:23:58,719
Speaker 1: entire life here and then we'll maybe think about booking you.

388
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Speaker 1: Maybe there's a guy named Josh that you got to

389
00:24:01,760 --> 00:24:04,239
Speaker 1: see him. He makes people laugh so much, so we're

390
00:24:04,280 --> 00:24:09,840
Speaker 1: gonna book him. But not you remember comedy, Okay? Um?

391
00:24:12,080 --> 00:24:15,320
Speaker 1: So anyway, she's like she's pissed that that. She thinks

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Speaker 1: like she's being blown off, and she goes back home

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Speaker 1: to San Francisco, where she gets fired from her job.

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Speaker 1: She's like, no, what am I gonna do? But then

395
00:24:24,440 --> 00:24:27,399
Speaker 1: she gets a call from Winston and he's like, I

396
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Speaker 1: miss you. Come back to Jamaica, and and then cut

397
00:24:30,280 --> 00:24:35,399
Speaker 1: to she's back, very unclear of I was like, I

398
00:24:35,480 --> 00:24:38,800
Speaker 1: was like, is it summer? Like it's okay that Quincy

399
00:24:38,920 --> 00:24:43,520
Speaker 1: is Quincy skipping school to the time of this movie.

400
00:24:43,560 --> 00:24:46,080
Speaker 1: The timing of this movie is not clear because she's like, hey,

401
00:24:46,240 --> 00:24:48,479
Speaker 1: I told Quincy maybe we'd go down for the summer.

402
00:24:48,600 --> 00:24:51,240
Speaker 1: Wait when was he with his dad? How long is

403
00:24:51,240 --> 00:24:54,240
Speaker 1: their relationship before They're like, we'll get to that stuff.

404
00:24:54,280 --> 00:24:57,600
Speaker 1: But it feels like this feels all very fast. In California,

405
00:24:57,640 --> 00:25:01,560
Speaker 1: you can't tell the weather, but what right, especially because

406
00:25:01,600 --> 00:25:03,040
Speaker 1: like and yeah, we'll get to this too. But like

407
00:25:03,480 --> 00:25:05,359
Speaker 1: he moves in with her at one point and it's like,

408
00:25:05,520 --> 00:25:11,680
Speaker 1: but you've only been hanging out for two nonconsecutive weeks, Like, yeah,

409
00:25:11,840 --> 00:25:15,280
Speaker 1: I don't know anyway, So she so she returns to Jamaica,

410
00:25:15,640 --> 00:25:19,120
Speaker 1: this time with her son and niece, so she's hanging

411
00:25:19,119 --> 00:25:22,119
Speaker 1: out with Winston. He introduced Stella to his parents, but

412
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Speaker 1: it doesn't go well, like his mom comments on Stella's age,

413
00:25:26,400 --> 00:25:29,439
Speaker 1: calls her desperate stuff like that, um, And then Stella

414
00:25:29,440 --> 00:25:34,120
Speaker 1: gets word that Delilah is having a medical emergency due

415
00:25:34,200 --> 00:25:38,320
Speaker 1: to cancer, which Stella didn't know Delilah had, So Stella

416
00:25:38,560 --> 00:25:43,240
Speaker 1: returns to the US. Delilah dies, Um, Winston shows up

417
00:25:43,280 --> 00:25:46,439
Speaker 1: at the funeral, and then he moves in with Stella

418
00:25:46,560 --> 00:25:51,480
Speaker 1: like they're now they're living together again. The timeline is

419
00:25:51,560 --> 00:25:56,359
Speaker 1: very unclear because because you get some idea of time

420
00:25:56,480 --> 00:25:58,840
Speaker 1: when you find out that Whoopie Goldberg has been in

421
00:25:58,880 --> 00:26:03,840
Speaker 1: the hospital for two weeks, but then you're like, well, what,

422
00:26:04,560 --> 00:26:07,480
Speaker 1: they don't live in the same place, so I don't know,

423
00:26:07,680 --> 00:26:12,240
Speaker 1: like you, it's very unclear, right, yeah, for sure, But

424
00:26:12,320 --> 00:26:15,720
Speaker 1: he's living with her now, and some issues arise in

425
00:26:16,000 --> 00:26:21,359
Speaker 1: their relationship. The age gap is weighing on Stella in particular.

426
00:26:22,320 --> 00:26:24,920
Speaker 1: Winston is kind of self conscious about not being as

427
00:26:24,960 --> 00:26:29,040
Speaker 1: financially secure as she is, and Stella is just kind

428
00:26:29,040 --> 00:26:32,119
Speaker 1: of overall feeling sort of aimless about her life and

429
00:26:32,240 --> 00:26:36,680
Speaker 1: her career. And then Winston asks Stella to marry him,

430
00:26:37,119 --> 00:26:39,840
Speaker 1: and she does not give an answer, and a week

431
00:26:40,080 --> 00:26:42,919
Speaker 1: or so passes and he's like, well, clearly I'm not

432
00:26:43,040 --> 00:26:46,280
Speaker 1: the man you want, so I'm just gonna I'm gonna

433
00:26:46,280 --> 00:26:49,159
Speaker 1: go back to Jamaica and go to medical school. So

434
00:26:49,240 --> 00:26:52,080
Speaker 1: he packs his things up and heads to the airport.

435
00:26:52,720 --> 00:26:56,560
Speaker 1: But Stella beats him to the airport. We don't know

436
00:26:56,640 --> 00:26:59,720
Speaker 1: how good driver. There's a little okay, she's a jet.

437
00:27:00,000 --> 00:27:05,320
Speaker 1: There's a little throw away line from the radio broadcast

438
00:27:05,400 --> 00:27:08,840
Speaker 1: where we so we see Winston in the cab and

439
00:27:09,160 --> 00:27:11,600
Speaker 1: on the radio it's like, well, the one oh one

440
00:27:11,720 --> 00:27:14,480
Speaker 1: is is there's so much traffic, so if you're going

441
00:27:14,520 --> 00:27:18,040
Speaker 1: to the airport, good luck. But the two eighties, the

442
00:27:18,080 --> 00:27:22,080
Speaker 1: coast is clear, So apparently that lets the audience know

443
00:27:22,320 --> 00:27:27,560
Speaker 1: that Stella took that highway instead, and that's how she

444
00:27:27,760 --> 00:27:32,399
Speaker 1: beats him to the airport, because when he enters, she's

445
00:27:32,440 --> 00:27:35,720
Speaker 1: already there. She's looking around frantically and then they spot

446
00:27:35,760 --> 00:27:40,000
Speaker 1: each other and then she's like, yes, I will marry you,

447
00:27:40,600 --> 00:27:43,200
Speaker 1: and then they kiss and that's the end of the movie.

448
00:27:43,800 --> 00:27:46,919
Speaker 1: They're gonna live happily ever after. In my head, I'm like,

449
00:27:47,000 --> 00:27:51,440
Speaker 1: it's not gonna work out back the stress of him

450
00:27:51,480 --> 00:27:55,080
Speaker 1: being younger plus going through medical school. Also, are they

451
00:27:55,119 --> 00:27:58,479
Speaker 1: just given out admission into Stanford Medical? Like she's just like,

452
00:27:58,520 --> 00:28:02,639
Speaker 1: oh my god. What she was like, just go to

453
00:28:02,760 --> 00:28:06,600
Speaker 1: Stanford And she's like, Stanford has a medal school school, right,

454
00:28:06,640 --> 00:28:10,359
Speaker 1: why don't you just go there? No application, no waiting process,

455
00:28:10,440 --> 00:28:15,400
Speaker 1: no interviews. That's like a what That is a testament

456
00:28:15,640 --> 00:28:18,359
Speaker 1: to the power of Angela Bassett because when she said it,

457
00:28:18,400 --> 00:28:20,920
Speaker 1: I'm like, oh, yeah, why didn't he think of that

458
00:28:20,920 --> 00:28:25,760
Speaker 1: when that is objectively so ridiculous. Yeah, we're just like, oh, yeah,

459
00:28:25,800 --> 00:28:29,480
Speaker 1: that's what he'll do. Howevard's got a medical school there.

460
00:28:30,480 --> 00:28:33,560
Speaker 1: That was I was as because I forgot if they

461
00:28:33,560 --> 00:28:35,800
Speaker 1: get together at the end or not. And so after

462
00:28:35,840 --> 00:28:37,800
Speaker 1: they broke up, just when he's like, I'm going to

463
00:28:37,880 --> 00:28:40,600
Speaker 1: go to middle school school, I was sitting next to

464
00:28:40,680 --> 00:28:43,560
Speaker 1: my boyfriend and I was like, but there's doctors in

465
00:28:43,680 --> 00:28:48,880
Speaker 1: America don't go like and Angela Basset felt the same way,

466
00:28:49,040 --> 00:28:54,240
Speaker 1: because that's what Stella says. Well, let's take a quick

467
00:28:54,240 --> 00:29:03,280
Speaker 1: break and then we'll come back to discuss and we're back.

468
00:29:04,280 --> 00:29:11,440
Speaker 1: Uh where where to begin with? I feel like, so okay,

469
00:29:11,720 --> 00:29:14,560
Speaker 1: just to I guess contextualize when this movie came out,

470
00:29:14,600 --> 00:29:17,800
Speaker 1: I feel like this movie falls squarely in kind of

471
00:29:17,840 --> 00:29:21,160
Speaker 1: the golden age of rom com movies, where it's like

472
00:29:21,640 --> 00:29:24,480
Speaker 1: the nineties into the mid two thousand's. It's kind of

473
00:29:24,480 --> 00:29:27,920
Speaker 1: a ten year period where problematic rom coms are just

474
00:29:28,280 --> 00:29:32,240
Speaker 1: several times a year. There are many actresses associated with

475
00:29:32,280 --> 00:29:36,880
Speaker 1: the genre, but this is, like I now, especially after

476
00:29:36,960 --> 00:29:41,120
Speaker 1: rewatching it, I think for all of the silly things

477
00:29:41,120 --> 00:29:44,080
Speaker 1: that we're going to talk about, of which there are many,

478
00:29:44,320 --> 00:29:46,719
Speaker 1: I think it's one of the best, and it's one

479
00:29:46,760 --> 00:29:50,880
Speaker 1: of the most like grounded, interested in its main characters,

480
00:29:51,000 --> 00:29:54,240
Speaker 1: interested in subverting what you kind of think about this

481
00:29:54,360 --> 00:29:57,880
Speaker 1: genre while also doing a lot of silly things associated

482
00:29:57,920 --> 00:30:04,320
Speaker 1: with this genre. Agree yeah, Like there's she sets boundaries

483
00:30:04,320 --> 00:30:06,800
Speaker 1: in this movie in a way that I'm like, hell yeah,

484
00:30:06,960 --> 00:30:08,880
Speaker 1: Like I don't feel like a lot of characters in

485
00:30:09,000 --> 00:30:11,320
Speaker 1: rom coms are like, actually, I don't like you talk

486
00:30:11,400 --> 00:30:13,520
Speaker 1: to me like this and this is a clear issue

487
00:30:13,600 --> 00:30:15,920
Speaker 1: and let's have a discussion about it. It's like, for

488
00:30:16,280 --> 00:30:18,440
Speaker 1: some reason I made up in my head that you're

489
00:30:18,520 --> 00:30:21,200
Speaker 1: cheating on me, and now we're fighting. Like the a

490
00:30:21,200 --> 00:30:24,680
Speaker 1: lot of the disagreements that they have seemed justified in like, uh,

491
00:30:24,760 --> 00:30:29,480
Speaker 1: we set boundaries, oh, misunderstanding sort of way. Yeah. I

492
00:30:29,520 --> 00:30:32,479
Speaker 1: love that she That's like one of the best things

493
00:30:32,520 --> 00:30:35,760
Speaker 1: that you you never see if you see a woman

494
00:30:35,800 --> 00:30:38,760
Speaker 1: in a round com set a boundary, it's almost as like,

495
00:30:38,800 --> 00:30:40,920
Speaker 1: I feel like it's framed as like a challenge to

496
00:30:41,000 --> 00:30:44,440
Speaker 1: cross it, and it's no means yes situation which we

497
00:30:44,520 --> 00:30:47,560
Speaker 1: see in round comms all the time of like stay

498
00:30:47,600 --> 00:30:51,640
Speaker 1: away from me, Titanic, stay away from me, and then

499
00:30:51,800 --> 00:30:54,920
Speaker 1: he's shows up and then she's like, you're right, I

500
00:30:55,000 --> 00:30:58,360
Speaker 1: love you, and I don't know. I like that Stella.

501
00:30:58,800 --> 00:31:00,760
Speaker 1: By and large, there's a few moments where you're like,

502
00:31:00,800 --> 00:31:05,280
Speaker 1: what happened there? Uh? But I like that Stella is

503
00:31:05,440 --> 00:31:08,800
Speaker 1: I mean, not just setting boundaries with Winston, kind of

504
00:31:08,800 --> 00:31:13,080
Speaker 1: setting boundaries with everyone. She sets boundaries with her sisters,

505
00:31:13,760 --> 00:31:18,719
Speaker 1: especially Angela deserves it, who deserves it? But even Angela

506
00:31:18,800 --> 00:31:20,880
Speaker 1: kind of has that moment of like they have an

507
00:31:20,880 --> 00:31:23,840
Speaker 1: actual discussion and Angela I was, I was like, is

508
00:31:23,880 --> 00:31:27,120
Speaker 1: she going to be like a shrewd character? But then

509
00:31:27,160 --> 00:31:29,200
Speaker 1: she has a moment of they have a moment of

510
00:31:29,280 --> 00:31:33,280
Speaker 1: understanding and apology, and you can sort of understand why

511
00:31:33,560 --> 00:31:37,480
Speaker 1: Angela's worried about Stella, but also it's like, why are

512
00:31:37,520 --> 00:31:43,320
Speaker 1: you behaving so rudely? But yeah, she sets boundaries that

513
00:31:43,560 --> 00:31:46,520
Speaker 1: should not be revolutionary and around calm, but it is,

514
00:31:47,440 --> 00:31:50,880
Speaker 1: especially because I mean, I don't know still even how

515
00:31:50,960 --> 00:31:55,480
Speaker 1: much I would classify this as a rum calm, because

516
00:31:55,520 --> 00:31:58,640
Speaker 1: I mean there are humorous starts this one. Yeah, and

517
00:31:59,200 --> 00:32:01,280
Speaker 1: it takes a little bit of a tonal shift, especially

518
00:32:01,320 --> 00:32:06,200
Speaker 1: when Whoopie Goldberg dies. Okay, that did not need to

519
00:32:06,560 --> 00:32:09,720
Speaker 1: happen at all, not at all. I think that, well,

520
00:32:09,760 --> 00:32:12,960
Speaker 1: I think it happens because this is kind of loosely

521
00:32:13,080 --> 00:32:18,720
Speaker 1: autobiographical for Terry McMillan, which we'll talk about more. But um,

522
00:32:18,800 --> 00:32:23,640
Speaker 1: she mentions in some interview that I watched that around

523
00:32:23,880 --> 00:32:26,920
Speaker 1: this time in her life her best friend died, so

524
00:32:26,960 --> 00:32:30,600
Speaker 1: I think she just incorporated that into this story, but

525
00:32:30,800 --> 00:32:35,200
Speaker 1: doesn't make sense for what else happens. In the movie,

526
00:32:36,400 --> 00:32:41,400
Speaker 1: I don't know, maybe not, but I mean a lot

527
00:32:41,480 --> 00:32:44,640
Speaker 1: of rom coms there's like a very kind of tried

528
00:32:44,680 --> 00:32:49,160
Speaker 1: and true structure where it's like either um, they're usually

529
00:32:49,240 --> 00:32:51,320
Speaker 1: very hetero. So it's like the man and the woman

530
00:32:51,400 --> 00:32:55,320
Speaker 1: can't be together because they start out hating each other,

531
00:32:56,120 --> 00:32:58,880
Speaker 1: or they're starting to fall in love, but one of

532
00:32:58,920 --> 00:33:01,960
Speaker 1: them has lied to the other one about something very

533
00:33:02,040 --> 00:33:05,800
Speaker 1: significant and they'll have to come clean by you know,

534
00:33:05,920 --> 00:33:07,880
Speaker 1: the end of the second act, and what is that

535
00:33:07,920 --> 00:33:12,000
Speaker 1: going to mean for their relationship? So these are the formulas.

536
00:33:12,000 --> 00:33:16,360
Speaker 1: So this this movie doesn't fall into that formula at all.

537
00:33:16,480 --> 00:33:19,760
Speaker 1: It's more just like here, here's a woman who knows

538
00:33:19,800 --> 00:33:23,200
Speaker 1: what she wants, who's already very established in her life

539
00:33:23,240 --> 00:33:27,640
Speaker 1: because she's forty, she's a mother, and she has her

540
00:33:27,640 --> 00:33:34,240
Speaker 1: ship together. And then along comes Winston Shakespeare who is

541
00:33:34,320 --> 00:33:40,120
Speaker 1: just too hot to ignore and and he like worships her,

542
00:33:40,480 --> 00:33:43,479
Speaker 1: and she's just like, Okay, you know what I deserve this.

543
00:33:43,600 --> 00:33:48,160
Speaker 1: I deserve someone who likes me and who cares about me.

544
00:33:48,280 --> 00:33:52,560
Speaker 1: And even though do they have anything in common, they don't.

545
00:33:53,000 --> 00:33:58,160
Speaker 1: They don't, but you know, they mostly get along and

546
00:33:58,200 --> 00:34:01,360
Speaker 1: they're very attracted to each other here. So that's why

547
00:34:01,400 --> 00:34:08,120
Speaker 1: they're together. I guess, yeah, I mean, whether they are,

548
00:34:08,440 --> 00:34:10,640
Speaker 1: I mean, it's it's one of those things where I

549
00:34:10,680 --> 00:34:15,239
Speaker 1: think it speaks to how ingrained this kind of format is,

550
00:34:15,280 --> 00:34:18,520
Speaker 1: where it's like, even if you pretty much know it

551
00:34:18,560 --> 00:34:21,960
Speaker 1: doesn't make sense and a breakup between them is probably

552
00:34:22,000 --> 00:34:25,480
Speaker 1: healthier for both of them, and they basically almost make

553
00:34:25,600 --> 00:34:29,680
Speaker 1: the practical decision. You would be so upset of that

554
00:34:29,760 --> 00:34:33,239
Speaker 1: and kiss at the end because it's a movie, but

555
00:34:33,320 --> 00:34:36,960
Speaker 1: like realistically this would um most likely not work out.

556
00:34:37,200 --> 00:34:40,279
Speaker 1: But I under I mean again, it's like going into

557
00:34:40,320 --> 00:34:42,680
Speaker 1: the autobiographical stuff, which I guess we should just sort

558
00:34:42,719 --> 00:34:48,400
Speaker 1: of address at the top. So, um, this movie was

559
00:34:49,239 --> 00:34:52,640
Speaker 1: based on a novel by Terry McMillan, who we have

560
00:34:52,680 --> 00:34:55,040
Speaker 1: discussed on the show before because she's also the author

561
00:34:55,080 --> 00:34:59,640
Speaker 1: and co screenwriter of Waiting to Exhale. She is and

562
00:34:59,800 --> 00:35:03,000
Speaker 1: I con of this era and now she's still writing.

563
00:35:03,080 --> 00:35:05,440
Speaker 1: She has like some fun quotes that I want to

564
00:35:05,440 --> 00:35:08,400
Speaker 1: go to for an interview she did this year. Um,

565
00:35:08,440 --> 00:35:11,880
Speaker 1: But why her personal life is relevant to this is

566
00:35:11,880 --> 00:35:14,880
Speaker 1: because a lot of it is pulled from her own

567
00:35:15,000 --> 00:35:20,480
Speaker 1: life directly, where she went on a vacation in her

568
00:35:20,480 --> 00:35:23,680
Speaker 1: early forties, met a man who was twenty year in

569
00:35:23,719 --> 00:35:26,799
Speaker 1: his early twenties and they got married and so like

570
00:35:26,920 --> 00:35:29,799
Speaker 1: she lived out the full house, Della got her groove

571
00:35:29,880 --> 00:35:33,719
Speaker 1: up back narrative at least, and and you know in

572
00:35:33,840 --> 00:35:38,799
Speaker 1: n this is reflective of her full experience where they

573
00:35:38,840 --> 00:35:42,520
Speaker 1: get married and Terry McMillan got married to what was

574
00:35:42,600 --> 00:35:46,759
Speaker 1: his name, his name Jonathan Plumber, Jonathan Plummer. So they

575
00:35:46,760 --> 00:35:50,800
Speaker 1: do get married and as of nine they are married

576
00:35:50,960 --> 00:35:55,279
Speaker 1: and it's all good, and later on it became and

577
00:35:55,320 --> 00:35:57,719
Speaker 1: I guess, I guess like I only feel comfortable talking

578
00:35:57,719 --> 00:36:00,759
Speaker 1: about this because she was very public about discussing it

579
00:36:01,400 --> 00:36:04,520
Speaker 1: and even as of this year, was like, yeah, no regrets.

580
00:36:04,840 --> 00:36:09,080
Speaker 1: But so it turned out that their relationship was kind

581
00:36:09,120 --> 00:36:14,840
Speaker 1: of built on a lot of asterisks in that he

582
00:36:15,320 --> 00:36:19,000
Speaker 1: was a gay man and that he married her to

583
00:36:19,080 --> 00:36:22,440
Speaker 1: get I mean it was she said, and then he

584
00:36:22,480 --> 00:36:24,960
Speaker 1: sort of said it was to get a green card.

585
00:36:25,680 --> 00:36:29,319
Speaker 1: So their marriage fell apart in the early to mid

586
00:36:29,360 --> 00:36:33,800
Speaker 1: two thousands, Terry McMillan went, there's two different Oprah episodes

587
00:36:33,840 --> 00:36:38,000
Speaker 1: about it. It's all very of the era where Caitlin

588
00:36:38,040 --> 00:36:40,520
Speaker 1: and I both watched through the interviews where the first episode,

589
00:36:40,560 --> 00:36:42,680
Speaker 1: she goes on Oprah and she's like, I feel so betrayed.

590
00:36:42,719 --> 00:36:45,399
Speaker 1: I feel like, what is happening? This is so, this

591
00:36:45,480 --> 00:36:48,520
Speaker 1: is like horrible, which, yeah, that sounds like a very

592
00:36:48,560 --> 00:36:52,000
Speaker 1: interest experience. Yeah, but she goes on Oprah to be

593
00:36:52,080 --> 00:36:55,160
Speaker 1: like what the fuck? And then like five years after that,

594
00:36:55,320 --> 00:36:59,600
Speaker 1: she and Christopher or not Christopher Plumber. Oh my god, Monathan,

595
00:37:01,680 --> 00:37:05,600
Speaker 1: I would love Christopher Flummer just you know, when you're

596
00:37:05,680 --> 00:37:08,480
Speaker 1: like trying so hard not to make a mistake and

597
00:37:08,480 --> 00:37:11,720
Speaker 1: then you just make it. Um the sound of music,

598
00:37:12,040 --> 00:37:15,200
Speaker 1: How Stella Gotta Grow Back right there, one after the other,

599
00:37:15,320 --> 00:37:17,359
Speaker 1: boom boom, his biggest legacy, it was got The love

600
00:37:17,400 --> 00:37:21,200
Speaker 1: story between Terry McMillan and Christopher Plummer didn't end well. Um,

601
00:37:21,239 --> 00:37:23,920
Speaker 1: So she and her ex husband Jonathan Plummer go on

602
00:37:24,040 --> 00:37:30,000
Speaker 1: Oprah like five is years after that in and everything

603
00:37:30,080 --> 00:37:32,680
Speaker 1: is kind of cool. But they discussed their experience to

604
00:37:32,800 --> 00:37:36,839
Speaker 1: hear both perspectives, and that's kind of like a wrap on,

605
00:37:37,800 --> 00:37:41,120
Speaker 1: you know, because How Stella Gotta Grow Back is so autobiographical.

606
00:37:41,440 --> 00:37:44,040
Speaker 1: I guess that's how it really would have ended. But

607
00:37:44,239 --> 00:37:48,000
Speaker 1: this movie was made in and we didn't know what

608
00:37:48,239 --> 00:37:50,839
Speaker 1: Terry McMillan would come to know it a later time, right.

609
00:37:51,200 --> 00:37:54,520
Speaker 1: But that said Terry McMillan, I know we discussed her

610
00:37:54,560 --> 00:37:59,359
Speaker 1: on the Waiting to Xcale episode, but she's bucking awesome. Um.

611
00:37:59,640 --> 00:38:04,000
Speaker 1: She's an iconic black writer who also made the jump

612
00:38:04,080 --> 00:38:06,640
Speaker 1: into adapting her own work, which I feel like is

613
00:38:06,880 --> 00:38:11,600
Speaker 1: very rare. She she adapts it with and we all

614
00:38:11,760 --> 00:38:13,919
Speaker 1: I'm going to just breathe through it because we talked

615
00:38:13,920 --> 00:38:18,560
Speaker 1: about it on the other episode. She partners with Ron Bass,

616
00:38:18,640 --> 00:38:22,640
Speaker 1: who is like kind of a controversial white male screenwriter

617
00:38:23,560 --> 00:38:26,440
Speaker 1: who I don't I mean, make of him what you will.

618
00:38:26,480 --> 00:38:29,440
Speaker 1: I guess He's written a lot, He's co written a

619
00:38:29,440 --> 00:38:33,200
Speaker 1: lot of wonderful movies. He seems often paired with a

620
00:38:33,320 --> 00:38:37,080
Speaker 1: first time or less experienced screenwriter, but he is very

621
00:38:37,120 --> 00:38:40,279
Speaker 1: for us, straight says hat white guy. He is very

622
00:38:40,320 --> 00:38:47,000
Speaker 1: often writing on projects that are about marginalized communities, which

623
00:38:47,840 --> 00:38:50,720
Speaker 1: I don't know, I mean. He co wrote rain Man,

624
00:38:51,200 --> 00:38:54,840
Speaker 1: He adapted The Joy Luck Club with Amy Tan who

625
00:38:55,040 --> 00:38:57,200
Speaker 1: was the original and who is the author of the novel,

626
00:38:57,280 --> 00:39:00,640
Speaker 1: and then he adapted Waiting the Exhale and Stella got

627
00:39:00,680 --> 00:39:04,799
Speaker 1: her groove back with Terry McMillan, there's also like a

628
00:39:04,920 --> 00:39:08,759
Speaker 1: side controversy where there's it's speculated that all of his

629
00:39:08,840 --> 00:39:13,239
Speaker 1: screenplays are sort of written by his female assistance. That's

630
00:39:13,280 --> 00:39:17,759
Speaker 1: the whole thing. He seems somewhat controversial, but there's not

631
00:39:17,800 --> 00:39:20,239
Speaker 1: a ton written about him. I wasn't really able to

632
00:39:21,040 --> 00:39:25,839
Speaker 1: land anywhere. It's all a little sus to me. Terry

633
00:39:25,920 --> 00:39:28,960
Speaker 1: McMillan at least liked him enough to collaborate with him

634
00:39:28,960 --> 00:39:32,960
Speaker 1: a second time. This is the second collaboration, so I

635
00:39:33,000 --> 00:39:38,040
Speaker 1: don't know, let's ignore him. Terry McMillan is awesome. Yeah,

636
00:39:38,080 --> 00:39:41,600
Speaker 1: this is like partially based on her life. Yes, just

637
00:39:41,800 --> 00:39:45,080
Speaker 1: kind of two piggyback a little bit more on her

638
00:39:45,280 --> 00:39:48,040
Speaker 1: and her kind of like legacy and stuff, and that

639
00:39:48,120 --> 00:39:51,080
Speaker 1: we can kind of get back more into the specifics

640
00:39:51,120 --> 00:39:56,120
Speaker 1: of Stella. I was reading an article from The Guardian

641
00:39:56,520 --> 00:39:58,719
Speaker 1: entitled it was just sort of like um kind of

642
00:39:58,760 --> 00:40:03,080
Speaker 1: profiling Hurts and titled novelist Terry McMillan on Love, Death

643
00:40:03,160 --> 00:40:08,960
Speaker 1: and Dirty Secrets. They describe the Terry McMillan affect uh quote,

644
00:40:08,960 --> 00:40:12,680
Speaker 1: a phrase some used to describe the publishing industry discovering

645
00:40:12,680 --> 00:40:17,319
Speaker 1: how starved for relatable stories Black women are or were

646
00:40:18,080 --> 00:40:22,240
Speaker 1: which is like very I mean, Terry McMillan has written

647
00:40:22,600 --> 00:40:26,680
Speaker 1: like a few of only a small handful of movies

648
00:40:26,719 --> 00:40:30,960
Speaker 1: about like that celebrate like black womanhood and that like

649
00:40:31,480 --> 00:40:35,239
Speaker 1: celebrate black female friendship. And again like I mean we

650
00:40:35,280 --> 00:40:37,200
Speaker 1: talked about this on the Set It Off episode where

651
00:40:37,239 --> 00:40:39,879
Speaker 1: there's only like as far as like kind of more

652
00:40:39,920 --> 00:40:43,279
Speaker 1: mainstream movies go there, there's like a Girl's Trip, there's

653
00:40:43,320 --> 00:40:47,520
Speaker 1: waiting to exhale as far as like an ensemble cast

654
00:40:47,680 --> 00:40:51,520
Speaker 1: of black women like and their story, like there's just

655
00:40:51,640 --> 00:40:55,560
Speaker 1: so little so um yeah, I mean and and and

656
00:40:55,680 --> 00:40:58,920
Speaker 1: Terry McMillan and her work has like contributed to what

657
00:40:58,960 --> 00:41:02,640
Speaker 1: little there is is are is like cinematic stories, so

658
00:41:02,680 --> 00:41:05,000
Speaker 1: we are we are grateful for that. Um but yeah,

659
00:41:05,040 --> 00:41:08,279
Speaker 1: I mean it does. It goes to show how how

660
00:41:08,520 --> 00:41:12,200
Speaker 1: few of these types of stories there are. You know,

661
00:41:12,440 --> 00:41:17,279
Speaker 1: audiences want more and studios keep just not making enough.

662
00:41:18,520 --> 00:41:21,279
Speaker 1: I will say HBO makes stories for black women in

663
00:41:21,280 --> 00:41:23,759
Speaker 1: a way that I'm like, guys, look how well these

664
00:41:23,760 --> 00:41:27,080
Speaker 1: shows are doing for HBO. Just like I'm not even

665
00:41:27,080 --> 00:41:29,640
Speaker 1: asking you to be good people, just make a good

666
00:41:29,680 --> 00:41:33,600
Speaker 1: financial decision, Like all the black women I know watch TV,

667
00:41:33,840 --> 00:41:36,520
Speaker 1: if they watch movies, They go out, they do things,

668
00:41:36,520 --> 00:41:38,640
Speaker 1: they give money to black stuff. All you have to

669
00:41:38,680 --> 00:41:41,200
Speaker 1: do is make black stuff. Some of it is not good,

670
00:41:41,239 --> 00:41:43,080
Speaker 1: but we are still going to buy it, just like

671
00:41:43,160 --> 00:41:46,560
Speaker 1: it makes good economic sense because we're like, yes, that

672
00:41:46,760 --> 00:41:48,640
Speaker 1: is me, thank you, thank you. I don't have to

673
00:41:49,080 --> 00:41:51,640
Speaker 1: mentally put myself in the body of a blonde, thin,

674
00:41:51,760 --> 00:41:54,480
Speaker 1: white woman who's younger than me to have a story.

675
00:41:54,520 --> 00:41:57,480
Speaker 1: Thank you, Okay, please give this to me. Yeah, And

676
00:41:57,520 --> 00:42:00,400
Speaker 1: that's only I feel like that's been in pretty recent

677
00:42:00,480 --> 00:42:05,160
Speaker 1: years to things secure and yeah, and prior to that,

678
00:42:05,239 --> 00:42:08,160
Speaker 1: it was just like, well, let's give another you know,

679
00:42:08,400 --> 00:42:12,680
Speaker 1: white blonde person a show. Yeah, there's a lot of

680
00:42:12,800 --> 00:42:15,480
Speaker 1: Terry McMillan in the screenplay. It's hard to not bring

681
00:42:15,520 --> 00:42:19,160
Speaker 1: her up every two seconds. But she also speaks to

682
00:42:19,960 --> 00:42:22,839
Speaker 1: another thing that I think how Stella got a group

683
00:42:22,880 --> 00:42:27,640
Speaker 1: that kind of deviates from your cookie cutter romantic movie

684
00:42:27,719 --> 00:42:31,560
Speaker 1: from the late nineties um which is addressing an age

685
00:42:31,560 --> 00:42:34,640
Speaker 1: gap in text at all, especially an age gap where

686
00:42:35,120 --> 00:42:40,440
Speaker 1: the woman in the relationship is older. She spoke about

687
00:42:40,480 --> 00:42:43,520
Speaker 1: this in an interview this year where she just says, quote,

688
00:42:43,800 --> 00:42:47,360
Speaker 1: nobody talked about it back then, meaning age gaps and

689
00:42:47,400 --> 00:42:49,399
Speaker 1: she's like, at the time, for women dating a younger

690
00:42:49,440 --> 00:42:54,400
Speaker 1: man felt like a dirty secret. And so she's like, directly,

691
00:42:54,560 --> 00:42:56,680
Speaker 1: I mean, not only because it sounds like she got

692
00:42:56,719 --> 00:42:59,840
Speaker 1: a fair amount of blowback about an age gap in

693
00:42:59,840 --> 00:43:02,799
Speaker 1: her her own life, but also because it's like, well,

694
00:43:02,840 --> 00:43:05,560
Speaker 1: if she was feeling this way, she guessed correctly that

695
00:43:05,640 --> 00:43:07,799
Speaker 1: other women were feeling this way, and she'd never seen

696
00:43:07,840 --> 00:43:11,680
Speaker 1: it addressed in a in a large way that doesn't

697
00:43:12,000 --> 00:43:15,480
Speaker 1: bring a lot of that examines it without like casting shame.

698
00:43:16,360 --> 00:43:20,600
Speaker 1: I don't know, it's awesome. Well, let's let's let's talk

699
00:43:20,640 --> 00:43:24,040
Speaker 1: about this, the age gap in this movie, and kind

700
00:43:24,040 --> 00:43:27,320
Speaker 1: of I mean, we've talked at length on the podcast

701
00:43:27,400 --> 00:43:31,839
Speaker 1: about double standards when it comes to just kind of

702
00:43:31,960 --> 00:43:36,279
Speaker 1: romance across the board, for like hetero relationships in particular,

703
00:43:36,640 --> 00:43:41,759
Speaker 1: where it is deemed as being socially acceptable or more

704
00:43:41,800 --> 00:43:46,359
Speaker 1: socially acceptable for an older man to date a far

705
00:43:46,600 --> 00:43:52,720
Speaker 1: younger woman, whereas, uh, if an older woman is dating

706
00:43:52,880 --> 00:43:55,719
Speaker 1: a younger man, a lot of people take a lot

707
00:43:55,719 --> 00:43:58,600
Speaker 1: of issue with it for reasons that are of course

708
00:43:58,760 --> 00:44:03,480
Speaker 1: rooted in setism and agism. You know, society not finding

709
00:44:03,600 --> 00:44:08,520
Speaker 1: value in older women, society having rigid beauty standards that

710
00:44:08,560 --> 00:44:14,400
Speaker 1: glorify youth and demonize the natural process of aging. Uh,

711
00:44:14,400 --> 00:44:18,400
Speaker 1: you know, just reasons like that. And so in the

712
00:44:18,440 --> 00:44:22,120
Speaker 1: movie we see you know it's it's Stella is forty,

713
00:44:22,239 --> 00:44:27,040
Speaker 1: Winston is twenty. He has just finished his like four

714
00:44:27,120 --> 00:44:31,239
Speaker 1: year college degree in biology. He's kind of gearing up

715
00:44:31,239 --> 00:44:33,520
Speaker 1: to maybe go to med school, but he also doesn't

716
00:44:33,520 --> 00:44:36,040
Speaker 1: know if that's what he wants. So that's where he's

717
00:44:36,040 --> 00:44:41,160
Speaker 1: at in his life. Whereas Stella is established in her career,

718
00:44:41,400 --> 00:44:44,880
Speaker 1: which she does get fired from later, but at the

719
00:44:44,920 --> 00:44:47,800
Speaker 1: beginning of that, I will say, is like and I

720
00:44:47,880 --> 00:44:50,520
Speaker 1: think it's also seen in Waiting to Exhale, there's this

721
00:44:51,000 --> 00:44:54,960
Speaker 1: of the nineties. There's this like respectable black woman and

722
00:44:55,000 --> 00:44:58,640
Speaker 1: like she's got to be hyper competent, and they really

723
00:44:58,719 --> 00:45:01,600
Speaker 1: like she's on the phone with like three different people.

724
00:45:01,680 --> 00:45:04,120
Speaker 1: She's like telling a white assistant that she needs to

725
00:45:04,120 --> 00:45:05,799
Speaker 1: go do this and that and the other. It is

726
00:45:05,840 --> 00:45:10,399
Speaker 1: this competency porn that like informs how I was like, Oh,

727
00:45:10,440 --> 00:45:11,799
Speaker 1: this is how I'm going to be when I'm forty.

728
00:45:11,840 --> 00:45:13,560
Speaker 1: Oh my god, that's like this is what being an

729
00:45:13,560 --> 00:45:17,359
Speaker 1: adult is. Uh yeah, it's I'm happy that we're moving

730
00:45:17,400 --> 00:45:20,080
Speaker 1: away from that because that's very hard to both achieve

731
00:45:20,160 --> 00:45:24,879
Speaker 1: and maintain. But sure, yeah, yeah, but it needs it

732
00:45:24,920 --> 00:45:26,480
Speaker 1: was nice to see that when I was growing up.

733
00:45:26,920 --> 00:45:31,160
Speaker 1: Sure yeah. And and like it is like an unfair standard. Yeah,

734
00:45:32,000 --> 00:45:35,279
Speaker 1: because like you know, black women can be mediocre to

735
00:45:35,560 --> 00:45:37,719
Speaker 1: like they don't have to be like they don't have

736
00:45:37,760 --> 00:45:40,960
Speaker 1: to be these like rich awesome stockbrokers, can be semi

737
00:45:41,040 --> 00:45:44,879
Speaker 1: unemployed comedians. Yes, we can do it all. Just show

738
00:45:44,960 --> 00:45:48,959
Speaker 1: us doing all the things. Yes, thank you, Oh my god,

739
00:45:49,000 --> 00:45:52,399
Speaker 1: that that scene. I was I mean I was back

740
00:45:52,440 --> 00:45:55,640
Speaker 1: and forth on that because I totally see what you're

741
00:45:55,680 --> 00:45:58,800
Speaker 1: saying there. I And but this is also the most

742
00:45:58,840 --> 00:46:01,200
Speaker 1: I've ever seen a one and do her job and

743
00:46:01,480 --> 00:46:05,360
Speaker 1: us understand what her job is in a romance movie,

744
00:46:06,040 --> 00:46:09,480
Speaker 1: where usually it's like, Hi, I'm a curator. Don't ask

745
00:46:09,520 --> 00:46:11,560
Speaker 1: me why I'm interested in this or how I got

746
00:46:11,600 --> 00:46:14,440
Speaker 1: this job. I'm a curator. I'm a baker, and it's

747
00:46:14,480 --> 00:46:16,400
Speaker 1: like you don't know what their passion is and you

748
00:46:16,440 --> 00:46:19,040
Speaker 1: don't know, Yeah I don't, but but that that there

749
00:46:19,040 --> 00:46:21,880
Speaker 1: are two that's a it's a double edged sword where

750
00:46:22,239 --> 00:46:25,480
Speaker 1: I hadn't even considered that they're bringing it up, not

751
00:46:25,600 --> 00:46:28,960
Speaker 1: for no reason, and yeah, and I think there's a

752
00:46:28,960 --> 00:46:32,520
Speaker 1: whole other conversation to be had about her career and

753
00:46:32,600 --> 00:46:37,800
Speaker 1: her interests in making furniture. Um, so I won't dive

754
00:46:37,840 --> 00:46:39,960
Speaker 1: into that too much yet. So back to the kind

755
00:46:39,960 --> 00:46:44,560
Speaker 1: of age gap thing where so Winston approaches her. There's

756
00:46:44,680 --> 00:46:47,719
Speaker 1: never any like I'm reminded of like an episode of

757
00:46:47,760 --> 00:46:51,600
Speaker 1: thirty Rock, where like Tina Fay starts dating a much

758
00:46:51,640 --> 00:46:55,280
Speaker 1: younger man but they're both lying about their age because

759
00:46:55,320 --> 00:46:58,440
Speaker 1: it's like, oh no, so she's pretending to be like

760
00:46:59,040 --> 00:47:02,120
Speaker 1: thirty even though she's like thirty eight or something, and

761
00:47:02,160 --> 00:47:06,320
Speaker 1: he's pretending to be even though he's twenty. So there's

762
00:47:06,360 --> 00:47:08,920
Speaker 1: nothing like that in this story and how Stella got

763
00:47:08,920 --> 00:47:12,680
Speaker 1: her grow back. They are both extremely upfront about their

764
00:47:13,120 --> 00:47:17,600
Speaker 1: age right off the bat. Winston doesn't seem to have

765
00:47:17,680 --> 00:47:20,359
Speaker 1: an issue with it at all. He learns how old

766
00:47:20,440 --> 00:47:22,960
Speaker 1: she is, and he does say some stuff that he

767
00:47:23,040 --> 00:47:25,439
Speaker 1: thinks is a compliment, and it's not a compliment because

768
00:47:25,440 --> 00:47:29,160
Speaker 1: he's like, you're forty. You're too hot to be forty,

769
00:47:29,280 --> 00:47:31,880
Speaker 1: because forty year old people look like shit, is what

770
00:47:31,960 --> 00:47:36,799
Speaker 1: he's Yeah, he's like, I've never seen a forty year

771
00:47:36,840 --> 00:47:39,520
Speaker 1: old woman look as beautiful as you, and it's like,

772
00:47:39,600 --> 00:47:42,120
Speaker 1: I know you think you're complimenting her, but that's not

773
00:47:42,200 --> 00:47:45,680
Speaker 1: a compliment. Um anyway, you don't need to tear down

774
00:47:45,719 --> 00:47:48,520
Speaker 1: every other forty or your old woman that's ever existed

775
00:47:48,560 --> 00:47:52,719
Speaker 1: in the process, right um. In any case, they're both

776
00:47:52,760 --> 00:47:55,399
Speaker 1: made aware of each other's age right off the bat,

777
00:47:55,600 --> 00:48:00,840
Speaker 1: and it is something that um Stella especially struggles. She's

778
00:48:00,880 --> 00:48:04,600
Speaker 1: getting flak from nearly everybody in her life about it.

779
00:48:04,800 --> 00:48:09,839
Speaker 1: Her sister, especially Angela, is like, you cradle Robert. Delilah

780
00:48:09,840 --> 00:48:12,800
Speaker 1: teases her about it, although Delilah is also like, police

781
00:48:12,840 --> 00:48:17,680
Speaker 1: have sex with him immediately. Yeah, she's very supportive in

782
00:48:17,719 --> 00:48:21,920
Speaker 1: a short term sense. At first she's supportive of a fling,

783
00:48:22,160 --> 00:48:25,239
Speaker 1: and then when it becomes a relationship, she dies. We

784
00:48:25,280 --> 00:48:32,680
Speaker 1: don't really know, because she dies, it kills her. I do,

785
00:48:32,800 --> 00:48:35,239
Speaker 1: I do kind of. I mean I think that I

786
00:48:35,239 --> 00:48:37,720
Speaker 1: don't know. There's good parts of how this is handled

787
00:48:37,719 --> 00:48:39,359
Speaker 1: in bad parts. I feel like the fact that the

788
00:48:39,400 --> 00:48:44,680
Speaker 1: age gap is discussed so much, taking the autobiographical elements

789
00:48:44,680 --> 00:48:48,120
Speaker 1: out of it and just viewing strictly as story. The

790
00:48:48,200 --> 00:48:51,560
Speaker 1: fact to me that they are constantly talking about the

791
00:48:51,560 --> 00:48:54,360
Speaker 1: age gap has a lot to do with the gender

792
00:48:54,440 --> 00:48:58,720
Speaker 1: dynamics at play here, because we see in movies all

793
00:48:58,880 --> 00:49:03,280
Speaker 1: the time, uh, male lead who has a much younger

794
00:49:03,320 --> 00:49:06,240
Speaker 1: who has a twenty year age gap or more with

795
00:49:06,520 --> 00:49:09,279
Speaker 1: a female love interest, and most of the time it's

796
00:49:09,320 --> 00:49:12,680
Speaker 1: not even addressed, or if it is addressed, it's addressed

797
00:49:12,680 --> 00:49:16,120
Speaker 1: through a joke or some kind of like whatever. But

798
00:49:16,239 --> 00:49:20,799
Speaker 1: it's like it's a non issue. Where in those relationships

799
00:49:20,840 --> 00:49:23,400
Speaker 1: as well, age gap is like for sure. I mean,

800
00:49:23,440 --> 00:49:26,880
Speaker 1: I'm like, I'm like, how does Leonardo DiCaprio connect with

801
00:49:26,920 --> 00:49:30,760
Speaker 1: his girlfriends? I don't know, what do they talk about?

802
00:49:31,800 --> 00:49:34,520
Speaker 1: What did they there's such a I feel like we've

803
00:49:34,560 --> 00:49:36,400
Speaker 1: maybe brought it up before. But there's a really funny

804
00:49:36,400 --> 00:49:40,920
Speaker 1: clip of Leonardo DiCaprio knowing exactly what happens in season

805
00:49:40,920 --> 00:49:43,320
Speaker 1: one of Euphoria, and it's fully because he only dates

806
00:49:43,320 --> 00:49:47,839
Speaker 1: twenty two year olds that watch Euphoria. But he's like, yeah,

807
00:49:48,000 --> 00:49:51,359
Speaker 1: as it as Euphoria season one, episode five famously said,

808
00:49:51,360 --> 00:49:55,000
Speaker 1: I'm like, oh, your girlfriends are so young. Um, He's like,

809
00:49:55,080 --> 00:49:57,640
Speaker 1: my girlfriend was born the year Titanic came out, And

810
00:49:57,680 --> 00:50:03,279
Speaker 1: you're like often times, in any case, we're I'm not

811
00:50:03,360 --> 00:50:06,919
Speaker 1: here to like cast a ton of judgment on relationships

812
00:50:07,040 --> 00:50:10,520
Speaker 1: with age gaps. What I'm saying is that it does

813
00:50:10,680 --> 00:50:15,040
Speaker 1: feel very intentional, that it's when there is an older

814
00:50:15,040 --> 00:50:17,640
Speaker 1: woman and a younger man that it has brought up

815
00:50:17,920 --> 00:50:21,160
Speaker 1: constantly and brought up to shame her versus I think

816
00:50:21,160 --> 00:50:23,840
Speaker 1: when you we see it in the reverse, it's like hell, yeah, dude,

817
00:50:24,000 --> 00:50:27,440
Speaker 1: Like look what you did. So that's like a really

818
00:50:27,840 --> 00:50:31,200
Speaker 1: real thing where we've seen it in like pop culture

819
00:50:31,239 --> 00:50:34,359
Speaker 1: a ton where it's like they're kind of like mother

820
00:50:34,440 --> 00:50:38,839
Speaker 1: than like they're cougars, they're like predators, they're blah blah

821
00:50:38,840 --> 00:50:43,879
Speaker 1: blah town. Do you guys think that she would be

822
00:50:44,400 --> 00:50:46,480
Speaker 1: as villainized and do you think that some of the

823
00:50:46,480 --> 00:50:49,160
Speaker 1: plot points of this would go away if he happened

824
00:50:49,160 --> 00:50:52,719
Speaker 1: to be a rich twenty year old Oh, Because like

825
00:50:52,800 --> 00:50:54,960
Speaker 1: the thing that initiates some of their fights is like

826
00:50:55,320 --> 00:50:58,520
Speaker 1: what he can afford, what he can't afford, what he's

827
00:50:58,560 --> 00:51:01,160
Speaker 1: had access to, what he has had access to. Like

828
00:51:01,200 --> 00:51:03,759
Speaker 1: when she's on the phone talking to wi Be Goldberg,

829
00:51:03,920 --> 00:51:06,160
Speaker 1: when she goes down to Jamaica a second time, she's like,

830
00:51:06,320 --> 00:51:08,719
Speaker 1: he hasn't really done anything, and he hasn't traveled anywhere.

831
00:51:09,320 --> 00:51:11,759
Speaker 1: Should we just be dating rich twenty year olds, I guess,

832
00:51:11,840 --> 00:51:15,279
Speaker 1: is my question. It makes you think there is kind

833
00:51:15,280 --> 00:51:18,600
Speaker 1: of a class thing. But also like he's the son

834
00:51:18,719 --> 00:51:22,319
Speaker 1: of a surgeon, so he's not actually poor. He just

835
00:51:22,480 --> 00:51:26,120
Speaker 1: like isn't making any of his own money really at

836
00:51:26,120 --> 00:51:31,800
Speaker 1: this point. So it's yeah, I don't it's weird. Yeah, okay,

837
00:51:31,920 --> 00:51:34,200
Speaker 1: I'm not sure. I just want an excuse I have

838
00:51:34,239 --> 00:51:38,000
Speaker 1: this man on a lot now, I'm kidding. I No,

839
00:51:38,160 --> 00:51:41,120
Speaker 1: I mean that is like a class is I mean,

840
00:51:41,200 --> 00:51:44,960
Speaker 1: can you you already started discussing it? But like class

841
00:51:45,160 --> 00:51:48,759
Speaker 1: is a thing in this movie that it isn't. It's

842
00:51:48,760 --> 00:51:52,319
Speaker 1: only brought up kind of in one scene, kind of

843
00:51:52,520 --> 00:51:57,760
Speaker 1: where scene I really like where Stella is talking about

844
00:51:58,200 --> 00:52:00,720
Speaker 1: why does she work in the job she wants? And

845
00:52:01,120 --> 00:52:03,719
Speaker 1: it's not because it's something she was passionate about. She

846
00:52:03,800 --> 00:52:08,600
Speaker 1: was passionate about furniture question mark. But that did feel

847
00:52:08,680 --> 00:52:12,200
Speaker 1: so tacked on. You're like, okay, sure, yeah, she likes furniture.

848
00:52:12,920 --> 00:52:16,320
Speaker 1: I've ever seen a passion for furniture in a romantic

849
00:52:16,360 --> 00:52:21,200
Speaker 1: movie before, so I guess that's new groundbreaking. Yeah, but

850
00:52:21,480 --> 00:52:24,000
Speaker 1: I like the scene where she's talking about, well, I

851
00:52:24,000 --> 00:52:26,239
Speaker 1: didn't take this job because I felt passionately about it.

852
00:52:26,280 --> 00:52:30,000
Speaker 1: I took it because, like my mom was passionate about

853
00:52:30,040 --> 00:52:33,680
Speaker 1: me being lifted out of poverty. And that is a

854
00:52:33,719 --> 00:52:37,920
Speaker 1: really powerful, potent conversation that is really only kind of

855
00:52:37,920 --> 00:52:42,759
Speaker 1: addressed through the furniture storyline, but it is. It's like

856
00:52:42,800 --> 00:52:47,000
Speaker 1: she's she has I mean, look at her house. Yeah,

857
00:52:47,040 --> 00:52:51,000
Speaker 1: that's a nice she has money, and my apartment could

858
00:52:51,000 --> 00:52:54,320
Speaker 1: fit in her furniture studio, and I'm just like, wow, okay,

859
00:52:54,360 --> 00:52:57,200
Speaker 1: cocoo coockoo coo, you just have my apartment to sitting

860
00:52:57,239 --> 00:52:59,959
Speaker 1: behind your house unused. You haven't been back there in years?

861
00:53:00,080 --> 00:53:05,800
Speaker 1: Is okay? Interesting? Okay, Yeah, there's uh, poor people don't

862
00:53:05,840 --> 00:53:08,279
Speaker 1: really come into play in this movie at all, which

863
00:53:08,400 --> 00:53:12,040
Speaker 1: is kind of to me. Compounded and the fact that

864
00:53:12,080 --> 00:53:14,560
Speaker 1: it takes place at or a lot of it takes

865
00:53:14,560 --> 00:53:19,319
Speaker 1: place at a like resort, which are famously exploitative, like

866
00:53:19,560 --> 00:53:25,480
Speaker 1: take from poor people and so yeah, class this genre

867
00:53:25,760 --> 00:53:31,960
Speaker 1: just doesn't like to acknowledge poor people. Yeah, really, like,

868
00:53:32,640 --> 00:53:34,719
Speaker 1: for all the things that this movie does, right, that

869
00:53:34,840 --> 00:53:36,800
Speaker 1: is not one of them. Yeah. The closest thing I

870
00:53:36,840 --> 00:53:39,799
Speaker 1: think would be like Regina King needs to borrow three

871
00:53:39,840 --> 00:53:44,440
Speaker 1: hundred dollars because she has a job, but it's a

872
00:53:44,480 --> 00:53:46,920
Speaker 1: lower paying job and she doesn't seem to be earning

873
00:53:47,040 --> 00:53:50,400
Speaker 1: enough to make ends meet. But she drives an ambulance,

874
00:53:50,600 --> 00:53:53,360
Speaker 1: which those are some of the funniest parts of the movie.

875
00:53:53,680 --> 00:53:57,240
Speaker 1: Someone's being loaded into the ambulance clearly having a medical

876
00:53:57,280 --> 00:53:59,839
Speaker 1: emergency and they're like, come on, let's go, and she's like,

877
00:54:00,239 --> 00:54:04,520
Speaker 1: in a minute, I'm on the phone because she didn't

878
00:54:04,520 --> 00:54:07,680
Speaker 1: get you so funny all the time, she's been funny.

879
00:54:07,760 --> 00:54:11,080
Speaker 1: She can do funny everywhere. But yeah, they do kind

880
00:54:11,080 --> 00:54:14,439
Speaker 1: of like they don't even address it. But when when

881
00:54:14,480 --> 00:54:18,359
Speaker 1: Stella goes and meets Winston's parents and she's trying to

882
00:54:18,400 --> 00:54:21,080
Speaker 1: be nice because she since is the situation is awkward,

883
00:54:21,160 --> 00:54:23,160
Speaker 1: She's like, oh, can I help with anything, and the

884
00:54:23,239 --> 00:54:26,520
Speaker 1: mom very quickly asserts the workers can do that. It

885
00:54:26,600 --> 00:54:28,520
Speaker 1: was just like this weird thing that's like no, no, no no,

886
00:54:28,880 --> 00:54:32,920
Speaker 1: we're wealthy, like and it seems like she was playing

887
00:54:32,920 --> 00:54:34,839
Speaker 1: with class in that moment too, because I don't think

888
00:54:34,840 --> 00:54:38,960
Speaker 1: she knows that Stella is like a wealthy person. It

889
00:54:39,040 --> 00:54:41,320
Speaker 1: was just like it was this weird like, let's constantly

890
00:54:41,320 --> 00:54:44,920
Speaker 1: shift the dynamics so that you are not comfortable and

891
00:54:44,960 --> 00:54:48,640
Speaker 1: then the rest of that scene is Winston's mom being like,

892
00:54:49,280 --> 00:54:55,520
Speaker 1: you pathetic piece of ship dating my son, which brings

893
00:54:55,560 --> 00:54:59,000
Speaker 1: us back to the the age gap thing where like, yeah, Jamie,

894
00:54:59,040 --> 00:55:02,000
Speaker 1: you were saying, we're not here to like shame people

895
00:55:02,760 --> 00:55:06,040
Speaker 1: in relationships that have an age gap. No, And in fact,

896
00:55:06,040 --> 00:55:09,200
Speaker 1: it's like, I'm fully supportive of that. They should like

897
00:55:09,280 --> 00:55:11,520
Speaker 1: if this is a relationship they want they like each other,

898
00:55:11,640 --> 00:55:16,279
Speaker 1: like yeah, yeah, who are their families and friends to

899
00:55:16,320 --> 00:55:18,920
Speaker 1: be like this isn't okay? It's just the I think

900
00:55:18,920 --> 00:55:21,400
Speaker 1: it's just the amount of discussion that's had about it

901
00:55:21,440 --> 00:55:26,120
Speaker 1: that is, but that it's like it's indicative, and yeah,

902
00:55:26,239 --> 00:55:28,960
Speaker 1: it gets talked about a lot in this movie, but

903
00:55:29,040 --> 00:55:34,320
Speaker 1: that's only because it is very much mirroring how society

904
00:55:34,320 --> 00:55:38,600
Speaker 1: feels about this dynamic of the older woman and the

905
00:55:38,719 --> 00:55:42,959
Speaker 1: younger man, and like Stella has been conditioned to think

906
00:55:43,040 --> 00:55:46,319
Speaker 1: like this isn't okay, Like what am I doing? And

907
00:55:46,320 --> 00:55:48,759
Speaker 1: then Winston's just like I don't give a ship like

908
00:55:48,920 --> 00:55:54,600
Speaker 1: I love you, um so, but yeah, it's just it is. Yeah,

909
00:55:54,640 --> 00:55:57,520
Speaker 1: it's just interesting. It's kind of just worth noting that

910
00:55:58,719 --> 00:56:02,200
Speaker 1: so much of their conversations or about there's a when

911
00:56:02,200 --> 00:56:04,000
Speaker 1: he's in the pool. He was like, say it a

912
00:56:04,080 --> 00:56:06,239
Speaker 1: three million times that way, I never have to hear

913
00:56:06,239 --> 00:56:08,600
Speaker 1: it again about how you're twenty years older than me.

914
00:56:08,719 --> 00:56:11,360
Speaker 1: Like he keeps trying to get her to get it

915
00:56:11,360 --> 00:56:13,759
Speaker 1: out of her system because he's like, I don't care

916
00:56:13,800 --> 00:56:16,799
Speaker 1: as much as you do, and she's like, ah, but yeah,

917
00:56:16,800 --> 00:56:18,880
Speaker 1: it's only because like she is a product of her

918
00:56:18,960 --> 00:56:23,399
Speaker 1: environment of like living in a society where people don't

919
00:56:23,440 --> 00:56:28,840
Speaker 1: deem it acceptable for older women to be romantic prospects

920
00:56:28,960 --> 00:56:32,279
Speaker 1: or to be sexually viable, even though Angela Bassett is

921
00:56:32,320 --> 00:56:38,520
Speaker 1: the most beautiful woman on the planet, Like I want, okay,

922
00:56:38,520 --> 00:56:41,520
Speaker 1: I have six years to get to like she's forty, right,

923
00:56:42,400 --> 00:56:44,120
Speaker 1: Like someone's like, you look good for forty, she looks

924
00:56:44,160 --> 00:56:47,080
Speaker 1: good for all time, And I have six years to

925
00:56:47,160 --> 00:56:48,880
Speaker 1: get to that level if I'm going to meet Like

926
00:56:48,920 --> 00:56:51,719
Speaker 1: my mental projection of what forty looks like it is

927
00:56:51,760 --> 00:56:55,800
Speaker 1: in fury. I just Angela Bassett to me all time.

928
00:56:56,000 --> 00:56:59,640
Speaker 1: Like if I if I would write a movie about myself,

929
00:56:59,680 --> 00:57:02,640
Speaker 1: I would cast Angela Bassett as me today. I just

930
00:57:02,920 --> 00:57:05,799
Speaker 1: she's If you had the choice, you'd be like, yes,

931
00:57:05,840 --> 00:57:07,839
Speaker 1: Angela Bassett, I wanted to look like I can punch

932
00:57:07,880 --> 00:57:10,800
Speaker 1: someone in the face, like with barely moving my fans,

933
00:57:11,040 --> 00:57:13,640
Speaker 1: She's got the best, Like I just I love her

934
00:57:13,640 --> 00:57:18,800
Speaker 1: so much. Okay, skin is flawless. Her arms, her arms,

935
00:57:18,800 --> 00:57:21,480
Speaker 1: her arms, shoulder combination puts some Michelle Obama to shame.

936
00:57:21,600 --> 00:57:29,000
Speaker 1: And it's glorious. Everyone in this movie is unconscionably beautiful.

937
00:57:29,280 --> 00:57:36,160
Speaker 1: Like it's just it's it's rude, It's just it's yeah,

938
00:57:36,360 --> 00:57:39,520
Speaker 1: Like it's also I kept getting confused because I'm like

939
00:57:39,640 --> 00:57:42,880
Speaker 1: Angela Bassett and then also a character named Angela, how

940
00:57:43,000 --> 00:57:46,800
Speaker 1: dare you like, I don't do that? That's rude, passive aggressive.

941
00:57:46,880 --> 00:57:49,600
Speaker 1: But also I'm like, I guess you know, Terry McMillan

942
00:57:49,600 --> 00:57:51,440
Speaker 1: didn't know Angela Bassett was going to be in it,

943
00:57:51,520 --> 00:57:54,960
Speaker 1: but she should have should have. Yeah, the way that

944
00:57:55,000 --> 00:57:58,080
Speaker 1: people react, I mean, it's especially that scene with with

945
00:57:58,120 --> 00:58:02,160
Speaker 1: Winston's mother where that was a scene I didn't like,

946
00:58:02,560 --> 00:58:07,840
Speaker 1: where I know that Winston's mom is reflecting the judgment

947
00:58:07,880 --> 00:58:11,280
Speaker 1: of society at large on relationships where there's an older

948
00:58:11,280 --> 00:58:13,840
Speaker 1: woman and a younger man. But I also I didn't

949
00:58:13,880 --> 00:58:18,080
Speaker 1: like how anyone handled that scene really because in my head,

950
00:58:18,160 --> 00:58:21,080
Speaker 1: and I mean, I'm like, I who am I to

951
00:58:21,160 --> 00:58:23,880
Speaker 1: tell Stella what she should have done. But it's like

952
00:58:24,160 --> 00:58:26,440
Speaker 1: Stella has a young son herself, and I felt like

953
00:58:26,480 --> 00:58:29,760
Speaker 1: there was a meeting ground in that conversation where she's like, Okay,

954
00:58:29,800 --> 00:58:32,040
Speaker 1: I understand why you would worry about your son. I

955
00:58:32,120 --> 00:58:35,160
Speaker 1: also have a young son, but like, please consider that

956
00:58:35,280 --> 00:58:37,440
Speaker 1: your son is an adult and is making choice and like,

957
00:58:38,080 --> 00:58:40,520
Speaker 1: but the framing of his mother is just kind of

958
00:58:40,560 --> 00:58:44,480
Speaker 1: like truly like a one line of dialogue shrew like character.

959
00:58:45,760 --> 00:58:48,360
Speaker 1: And then we don't even she's never discussed again, Like

960
00:58:48,360 --> 00:58:52,760
Speaker 1: it never comes up again. Who's paying for his medical school?

961
00:58:53,240 --> 00:58:56,200
Speaker 1: I just like, did they cut him off? After that?

962
00:58:56,320 --> 00:59:00,440
Speaker 1: It doesn't seem like it. And then after Winston, his

963
00:59:00,520 --> 00:59:04,480
Speaker 1: mom completely rails against Stella. She's like outside and she's

964
00:59:04,520 --> 00:59:06,640
Speaker 1: like I've never been more humiliated in my life. And

965
00:59:06,640 --> 00:59:10,680
Speaker 1: Winston's like, don't you think you might be overreacting? And

966
00:59:10,720 --> 00:59:13,360
Speaker 1: she's like, no, she said all these things to me

967
00:59:13,400 --> 00:59:16,800
Speaker 1: and then granted, like a few seconds later, he's like, yeah,

968
00:59:16,880 --> 00:59:20,080
Speaker 1: that was out of line. I'm sorry, Like but he's

969
00:59:20,080 --> 00:59:23,480
Speaker 1: just like, I'm you're overreacting and it's like, um no,

970
00:59:23,640 --> 00:59:27,040
Speaker 1: she's not. Uh let's take another quick break, and then

971
00:59:27,080 --> 00:59:35,200
Speaker 1: we will come right back for a more discussion. Well,

972
00:59:35,360 --> 00:59:38,680
Speaker 1: something I just wanted to bring up briefly because just

973
00:59:39,440 --> 00:59:44,000
Speaker 1: for fear of sounding hypocritical, because depending on when this

974
00:59:44,080 --> 00:59:48,320
Speaker 1: episode gets released, we will either have just released or

975
00:59:48,360 --> 00:59:51,360
Speaker 1: are about to release an episode on the movie ghost World.

976
00:59:51,640 --> 00:59:56,080
Speaker 1: And in that movie, there's a relationship between a an

977
00:59:56,080 --> 00:59:59,880
Speaker 1: eighteen year old girl and a forty one year old man,

978
01:00:00,000 --> 01:00:02,240
Speaker 1: and I think is how those ages break down and

979
01:00:02,240 --> 01:00:06,480
Speaker 1: and the age gap is brought up more than which

980
01:00:06,640 --> 01:00:08,800
Speaker 1: I mean to give it the smallest amount of credit,

981
01:00:08,800 --> 01:00:12,080
Speaker 1: at least the age gap is addressed. Where did in

982
01:00:12,160 --> 01:00:15,520
Speaker 1: that kind of relationship It wouldn't even be referenced, right

983
01:00:15,680 --> 01:00:18,960
Speaker 1: And then so in that episode, we took a big

984
01:00:19,000 --> 01:00:23,240
Speaker 1: issue with the fact that, like, this sexual relationship happens

985
01:00:23,320 --> 01:00:27,920
Speaker 1: between this very young woman and an older man, whereas

986
01:00:27,920 --> 01:00:31,320
Speaker 1: on this episode, I'm like, yes, Stella, get it, go

987
01:00:31,680 --> 01:00:34,439
Speaker 1: have sex of day digs who cares at these twenty

988
01:00:34,560 --> 01:00:36,520
Speaker 1: years younger than you? And I think that has a

989
01:00:36,520 --> 01:00:38,880
Speaker 1: lot to do with So if you're like Caitlin, you're

990
01:00:38,920 --> 01:00:42,880
Speaker 1: being a hypocrite. But in my defense, um, I feel

991
01:00:42,920 --> 01:00:44,720
Speaker 1: like it has a lot to do with how each

992
01:00:44,800 --> 01:00:50,120
Speaker 1: of these movies frame those relationships because the the age

993
01:00:50,240 --> 01:00:52,520
Speaker 1: gap in the kind of the ages of these characters

994
01:00:52,520 --> 01:00:55,760
Speaker 1: are all pretty similar between these two movies, but the

995
01:00:55,800 --> 01:01:00,280
Speaker 1: circumstances are different enough. Where thora Birch's character is still

996
01:01:00,280 --> 01:01:03,880
Speaker 1: a teenager, she's only just graduated high school, she's still

997
01:01:03,920 --> 01:01:08,360
Speaker 1: taking a high school art class, whereas Winston is not

998
01:01:08,480 --> 01:01:11,480
Speaker 1: a teenager. He's a few years older and more mature.

999
01:01:12,000 --> 01:01:15,760
Speaker 1: He has finished college, he's in his twenties. So I know,

1000
01:01:16,000 --> 01:01:18,200
Speaker 1: I mean, I'm I feel conflicted about this because like,

1001
01:01:18,240 --> 01:01:20,640
Speaker 1: on one hand, I'm like, yeah, Stella, like, go have

1002
01:01:20,720 --> 01:01:23,840
Speaker 1: sex with Ta Diggs, And then I'm like Steve BOUSHEMI

1003
01:01:23,960 --> 01:01:28,240
Speaker 1: get away from Thora Birch. Yeah, I think definitely, everyone

1004
01:01:28,280 --> 01:01:29,800
Speaker 1: go back to that episode if you want to hear

1005
01:01:30,200 --> 01:01:32,200
Speaker 1: more about it. I feel the same thing. I mean,

1006
01:01:32,640 --> 01:01:34,680
Speaker 1: I don't know. I think this movie, by and large,

1007
01:01:34,680 --> 01:01:38,600
Speaker 1: I agree that Diggs is not fully mature, but is

1008
01:01:38,760 --> 01:01:43,880
Speaker 1: more mature than thora Birch's character, and ghost World putting

1009
01:01:44,000 --> 01:01:46,000
Speaker 1: one against the other I don't think really makes sense

1010
01:01:46,000 --> 01:01:50,520
Speaker 1: because they're really different relationships, yeah, and really different characters

1011
01:01:50,560 --> 01:01:54,040
Speaker 1: who are in different stages of life. But in any case, yes,

1012
01:01:54,640 --> 01:01:57,400
Speaker 1: there's a lot that I like. I I do like

1013
01:01:57,680 --> 01:02:01,880
Speaker 1: that this movie addresses his age gaps and kind of

1014
01:02:01,920 --> 01:02:04,160
Speaker 1: I mean in some that you could view as kind

1015
01:02:04,160 --> 01:02:06,800
Speaker 1: of dismissive of the younger person, where it's like there's

1016
01:02:06,840 --> 01:02:09,440
Speaker 1: Coco pups in my bed, he wants to watch the

1017
01:02:09,520 --> 01:02:11,680
Speaker 1: Lion King here. There were a couple of things that

1018
01:02:11,800 --> 01:02:14,200
Speaker 1: I was like, this doesn't feel consistent where it was

1019
01:02:14,240 --> 01:02:16,439
Speaker 1: like the Coco pups in the bed. During the call

1020
01:02:16,520 --> 01:02:18,480
Speaker 1: when he's like you should come back to Jamaica, He's

1021
01:02:18,560 --> 01:02:21,240
Speaker 1: very serious until this weird it felt tacked on thing

1022
01:02:21,240 --> 01:02:23,480
Speaker 1: where he's like and can you bring junk food? Like

1023
01:02:25,000 --> 01:02:27,840
Speaker 1: the cocoa puss, Like all that stuff just makes it like, okay,

1024
01:02:27,880 --> 01:02:29,960
Speaker 1: you guys wanted to emphasize that he was young, but

1025
01:02:30,080 --> 01:02:33,960
Speaker 1: like that that felt very tacked on for sure. Yeah.

1026
01:02:34,040 --> 01:02:37,120
Speaker 1: That that like I was like, what, he's an adult,

1027
01:02:37,200 --> 01:02:40,200
Speaker 1: he has a job, he has a biology degree. Why

1028
01:02:40,280 --> 01:02:42,280
Speaker 1: isn't it And it's like, I mean, who among us

1029
01:02:42,280 --> 01:02:48,320
Speaker 1: doesn't want us sometimes the Lion King? That's fair, I thought.

1030
01:02:48,320 --> 01:02:51,160
Speaker 1: The best the best way this was tackled was in

1031
01:02:51,200 --> 01:02:54,120
Speaker 1: the movie theater scene where he wanted to see kind

1032
01:02:54,120 --> 01:02:56,520
Speaker 1: of I guess like a movie that skewed very young

1033
01:02:56,840 --> 01:02:59,720
Speaker 1: that was like she didn't she didn't think was good.

1034
01:03:00,240 --> 01:03:05,280
Speaker 1: And then they run into her gregnant sister and her

1035
01:03:05,320 --> 01:03:09,400
Speaker 1: gregnant sisters like Judge has been in friends and they're like, oh,

1036
01:03:09,600 --> 01:03:12,000
Speaker 1: did you like that? The ending was so sad, and

1037
01:03:12,040 --> 01:03:15,640
Speaker 1: Stella was embarrassed to be like I saw this movie

1038
01:03:15,680 --> 01:03:22,040
Speaker 1: for teenagers and they were like, oh, Stella, that's wild

1039
01:03:22,120 --> 01:03:25,600
Speaker 1: to me that. Yeah, you know, like who would be like, oh,

1040
01:03:25,640 --> 01:03:29,600
Speaker 1: actually I didn't see like I didn't see Schindler's List.

1041
01:03:29,600 --> 01:03:31,840
Speaker 1: I saw my big fact Greek wedding. And then people

1042
01:03:31,880 --> 01:03:35,960
Speaker 1: are like, wow, what's wrong with you? Like how you fall?

1043
01:03:36,080 --> 01:03:40,720
Speaker 1: Young people see serious movies and older people see movies

1044
01:03:40,840 --> 01:03:44,960
Speaker 1: that are fun. Yeah, I think it was. It was

1045
01:03:45,040 --> 01:03:47,440
Speaker 1: like it was just that they went to a comedy

1046
01:03:47,760 --> 01:03:51,160
Speaker 1: and then her sister Angela was like, oh you saw

1047
01:03:50,840 --> 01:03:56,040
Speaker 1: a comedy. Also, that scene is so weird because there's

1048
01:03:56,080 --> 01:03:59,320
Speaker 1: this guy whose name either his name is Judge or

1049
01:03:59,440 --> 01:04:02,440
Speaker 1: his jaw is that he's a Judge. I'm not sure,

1050
01:04:02,880 --> 01:04:09,720
Speaker 1: but he's Judge Red Judge Reinald is there. This is

1051
01:04:09,720 --> 01:04:13,280
Speaker 1: the guy who Angela had previously tried to set Stella

1052
01:04:13,400 --> 01:04:16,080
Speaker 1: up with before, who had called her. But then you know,

1053
01:04:16,120 --> 01:04:18,040
Speaker 1: it all fizzles out when she starts having sex with

1054
01:04:18,200 --> 01:04:21,360
Speaker 1: Tay Digs. But he's there and he seems to be

1055
01:04:21,400 --> 01:04:25,000
Speaker 1: with another woman on a date. But he's like, Stella,

1056
01:04:25,160 --> 01:04:29,680
Speaker 1: let's get together sometime, let's go running, and and she's

1057
01:04:29,920 --> 01:04:33,600
Speaker 1: his date is framed to seem very frigid, but I'm like, no,

1058
01:04:33,840 --> 01:04:38,360
Speaker 1: she's totally right. Like he's he's asking another one out

1059
01:04:38,480 --> 01:04:40,560
Speaker 1: in front of her when he's on a date with

1060
01:04:40,600 --> 01:04:45,919
Speaker 1: this this other woman. Weird. Um, yes, weird. There's there's

1061
01:04:45,960 --> 01:04:48,760
Speaker 1: a few other really silly scenes to me, the four

1062
01:04:48,840 --> 01:04:52,240
Speaker 1: play scene where like Winston like tries to flirt with

1063
01:04:52,280 --> 01:04:54,560
Speaker 1: her by like putting ice on her back, and then

1064
01:04:54,640 --> 01:04:56,840
Speaker 1: Stella like freaks out and he's like, oh, I'm going

1065
01:04:56,920 --> 01:04:58,840
Speaker 1: to go to the bathroom. And then when he comes back,

1066
01:04:58,920 --> 01:05:01,960
Speaker 1: he sees what I guess she had like deliberately like

1067
01:05:02,160 --> 01:05:04,040
Speaker 1: made it so it looked like she was lying in

1068
01:05:04,080 --> 01:05:07,720
Speaker 1: the bed all covered up completely still, and he's like, well,

1069
01:05:07,760 --> 01:05:10,640
Speaker 1: I better take off my clothes then, and then she

1070
01:05:10,760 --> 01:05:13,560
Speaker 1: pounces on him from behind and then it's like all

1071
01:05:13,600 --> 01:05:16,880
Speaker 1: flirty again. I was like, I'm not sure whose four

1072
01:05:16,920 --> 01:05:19,920
Speaker 1: plague goes like this and if it's effective and if

1073
01:05:19,960 --> 01:05:22,120
Speaker 1: it works for you, fine, but I was just like,

1074
01:05:22,640 --> 01:05:26,439
Speaker 1: what is happening. I definitely felt that is a thing

1075
01:05:26,520 --> 01:05:29,160
Speaker 1: that he read in a book or a magazine, like, oh,

1076
01:05:29,240 --> 01:05:32,440
Speaker 1: you gotta try this sex move, women love it. And

1077
01:05:32,520 --> 01:05:34,520
Speaker 1: when he did that, and she's like, I swear to

1078
01:05:34,560 --> 01:05:38,680
Speaker 1: God you ever in your life. Also, this is a

1079
01:05:38,760 --> 01:05:41,280
Speaker 1: question that you guys probably asked later, But like, I

1080
01:05:41,360 --> 01:05:44,520
Speaker 1: know very few twenty year olds now who would have

1081
01:05:44,600 --> 01:05:47,640
Speaker 1: the confidence to be like, Hey, you're a lady and

1082
01:05:47,720 --> 01:05:49,880
Speaker 1: I like looking at you, and we should hang out

1083
01:05:49,920 --> 01:05:53,960
Speaker 1: more even though you're a stranger, and I will continue

1084
01:05:54,080 --> 01:05:55,720
Speaker 1: to hit on you even when you say you're not

1085
01:05:55,720 --> 01:05:58,120
Speaker 1: sure about the relationship. I feel like the twenty year

1086
01:05:58,120 --> 01:06:00,000
Speaker 1: old guys I know right now have a hard time

1087
01:06:00,320 --> 01:06:03,840
Speaker 1: even with the first part of that. I have never

1088
01:06:03,880 --> 01:06:08,360
Speaker 1: spoken to a twenty year old since I was like two,

1089
01:06:08,600 --> 01:06:10,880
Speaker 1: So I'm I don't know how they are right now.

1090
01:06:10,960 --> 01:06:13,959
Speaker 1: I don't know what they're like. There's I mean, I think, yeah,

1091
01:06:14,040 --> 01:06:18,000
Speaker 1: for this, it's tough because it's like I want to

1092
01:06:18,040 --> 01:06:21,280
Speaker 1: say one thing, but it's like I also, you also

1093
01:06:21,280 --> 01:06:24,920
Speaker 1: need to contextualize it very carefully, because I do believe

1094
01:06:25,160 --> 01:06:27,760
Speaker 1: for this relationship to make sense in the movie, you

1095
01:06:27,840 --> 01:06:31,800
Speaker 1: have to have some sort of suspension of disbelief. But

1096
01:06:31,840 --> 01:06:34,600
Speaker 1: when I say that, I'm not saying that relationships with

1097
01:06:34,760 --> 01:06:38,120
Speaker 1: age gap require suspension of disbelief. It's just how this

1098
01:06:38,160 --> 01:06:41,760
Speaker 1: one is sometimes presented to you that you're just like, what,

1099
01:06:42,120 --> 01:06:44,480
Speaker 1: like things like why is he at this resort all

1100
01:06:44,520 --> 01:06:47,720
Speaker 1: the time? Is that even allowed? It's like there's just

1101
01:06:47,960 --> 01:06:50,320
Speaker 1: a lot of little things you need to suspend in

1102
01:06:50,400 --> 01:06:52,640
Speaker 1: order for it to work where And there's kind of

1103
01:06:52,680 --> 01:06:56,160
Speaker 1: like an equally loaded discussion that I've found around this

1104
01:06:56,200 --> 01:07:00,160
Speaker 1: movie of this movie has on Rotten Tomatoes, which just

1105
01:07:00,240 --> 01:07:04,240
Speaker 1: fully ridiculous. Um, and you can just I mean, we've

1106
01:07:04,240 --> 01:07:05,959
Speaker 1: talked about it all the time, but there's so many

1107
01:07:06,040 --> 01:07:09,240
Speaker 1: corny white guye reviews of this movie that are just like,

1108
01:07:09,520 --> 01:07:13,800
Speaker 1: I don't understand. It's not I want to see this good. Yeah,

1109
01:07:13,800 --> 01:07:15,960
Speaker 1: it must be bad since it wasn't made for me.

1110
01:07:16,120 --> 01:07:19,800
Speaker 1: It's the it's kind of the typical bullshit there. But

1111
01:07:20,040 --> 01:07:23,720
Speaker 1: I saw a lot of reviews even current. Um, there's

1112
01:07:23,760 --> 01:07:26,480
Speaker 1: like an A V Club article about this when on

1113
01:07:26,720 --> 01:07:29,840
Speaker 1: the twentie anniversary two years ago, referring to it as

1114
01:07:29,920 --> 01:07:33,440
Speaker 1: like a romantic fantasy, And I feel like fantasy is

1115
01:07:33,520 --> 01:07:37,760
Speaker 1: a loaded term because it is fantastic plot wise that

1116
01:07:37,840 --> 01:07:40,800
Speaker 1: this relationship works out. But I feel like the implication

1117
01:07:40,880 --> 01:07:43,520
Speaker 1: there is that it's a fantasy for an older woman

1118
01:07:43,560 --> 01:07:47,560
Speaker 1: to be cared about and desired and loved by a

1119
01:07:47,680 --> 01:07:51,000
Speaker 1: younger man. So I don't like the way the word

1120
01:07:51,120 --> 01:07:54,640
Speaker 1: fantasy is deployed in this movie, even though I fully

1121
01:07:54,680 --> 01:07:56,920
Speaker 1: don't think their relationship is going to work for the

1122
01:07:56,960 --> 01:08:01,520
Speaker 1: reasons illustrated in the movie. But that's that's why these

1123
01:08:01,600 --> 01:08:04,800
Speaker 1: two people I don't think would be in a relationship

1124
01:08:04,800 --> 01:08:08,400
Speaker 1: that would function. Not every relationship with an age gap

1125
01:08:08,480 --> 01:08:11,440
Speaker 1: like this, Yeah, you know, it's confused. It's more to me,

1126
01:08:11,480 --> 01:08:14,560
Speaker 1: it's like, what are they compatible about. They don't seem

1127
01:08:14,600 --> 01:08:16,640
Speaker 1: to have anything in common. They don't seem to have

1128
01:08:16,720 --> 01:08:21,800
Speaker 1: that much chemistry. Like, yes, they're both extremely attractive, but like,

1129
01:08:21,840 --> 01:08:25,360
Speaker 1: actually when they're on maybe maybe I just don't know

1130
01:08:25,400 --> 01:08:27,360
Speaker 1: how to read chemistry on screen. But I'm just like,

1131
01:08:27,400 --> 01:08:32,360
Speaker 1: do they even like what? I don't know? Um, But

1132
01:08:32,600 --> 01:08:34,960
Speaker 1: the more important, I mean, they just they don't know

1133
01:08:35,080 --> 01:08:38,880
Speaker 1: common interests. What are their interests besides making furniture for

1134
01:08:38,920 --> 01:08:41,160
Speaker 1: Stella and having sex with each other and having sex

1135
01:08:41,200 --> 01:08:43,680
Speaker 1: with each other? So I think sex. I guess I

1136
01:08:43,720 --> 01:08:47,480
Speaker 1: would have just liked to see both of their characters

1137
01:08:48,000 --> 01:08:52,480
Speaker 1: developed a bit more interest in terms of like what

1138
01:08:52,479 --> 01:08:56,960
Speaker 1: what about them is compatible, which would really help me.

1139
01:08:57,200 --> 01:08:59,320
Speaker 1: I would I would be rooting for them more if

1140
01:08:59,320 --> 01:09:03,639
Speaker 1: that were the case. Yeah, but either way, I'm still like, yeah, like,

1141
01:09:03,800 --> 01:09:06,519
Speaker 1: get into that shower, Stella with all of your clothes

1142
01:09:06,560 --> 01:09:10,879
Speaker 1: on while Digs is naked. That I was like, wow,

1143
01:09:11,120 --> 01:09:13,800
Speaker 1: so a she Angela Bassett is one of the few

1144
01:09:13,800 --> 01:09:16,679
Speaker 1: people who can look good while wet, like while coming

1145
01:09:16,720 --> 01:09:18,960
Speaker 1: out of water and not looking like a dog that's

1146
01:09:19,000 --> 01:09:20,960
Speaker 1: been like hit in the face. That's how most people

1147
01:09:20,960 --> 01:09:22,840
Speaker 1: look when they are wet. She looks great when she

1148
01:09:22,880 --> 01:09:25,400
Speaker 1: does it, so that's crazy. Second thing, she decides to

1149
01:09:25,439 --> 01:09:27,320
Speaker 1: go to Jamaica, Like the next day they go to Jamaica.

1150
01:09:27,520 --> 01:09:30,639
Speaker 1: The type of braids that she have takes like ten

1151
01:09:30,800 --> 01:09:33,280
Speaker 1: hours to do. So I'm like, bitch, what are you

1152
01:09:33,320 --> 01:09:36,479
Speaker 1: talking about. That's not realistic at all to me, and

1153
01:09:36,520 --> 01:09:38,240
Speaker 1: that She's just like, yes, I will get my hair

1154
01:09:38,320 --> 01:09:42,280
Speaker 1: wet and okay, I right now have braids. These things

1155
01:09:42,400 --> 01:09:45,320
Speaker 1: hold water like. You wouldn't believe that she's gonna fucking

1156
01:09:45,400 --> 01:09:47,680
Speaker 1: a shower. And then be carried into her bed and

1157
01:09:47,720 --> 01:09:51,760
Speaker 1: then funk. They're like, her bed is soaking wet. There's

1158
01:09:51,840 --> 01:09:55,120
Speaker 1: water everywhere, there's a pool from the bathroom to her.

1159
01:09:55,720 --> 01:09:58,720
Speaker 1: It's a mess. There was not a towel in sight.

1160
01:09:58,840 --> 01:10:01,080
Speaker 1: I just this is the thing that I could not

1161
01:10:01,520 --> 01:10:04,920
Speaker 1: disbelieve she suld. We see her get her hair wet

1162
01:10:05,000 --> 01:10:08,560
Speaker 1: like three different times in the movie. She's always underwater.

1163
01:10:09,920 --> 01:10:16,840
Speaker 1: Very Wet movie. Yes, I think that is how people

1164
01:10:17,160 --> 01:10:21,439
Speaker 1: describe this moving forward her groove the Very Wet Movie. Yes.

1165
01:10:21,720 --> 01:10:23,599
Speaker 1: I mean the poster is her in front of the

1166
01:10:23,640 --> 01:10:29,280
Speaker 1: beach um exactly after she goes into the shower with him,

1167
01:10:29,439 --> 01:10:31,800
Speaker 1: which and she's also wearing all of her clothes. She's

1168
01:10:31,840 --> 01:10:33,760
Speaker 1: like wearing a sweater and she's like, I'm just going

1169
01:10:33,800 --> 01:10:35,840
Speaker 1: to step into the shower with you and we're going

1170
01:10:35,880 --> 01:10:38,640
Speaker 1: to kiss, and then it cuts to like them in

1171
01:10:38,800 --> 01:10:42,000
Speaker 1: bed and he's like, I think the implication is like

1172
01:10:42,400 --> 01:10:45,519
Speaker 1: he has fucked her so good that she's crying because

1173
01:10:45,520 --> 01:10:49,320
Speaker 1: there's like tears coming out of her. Oh. I thought

1174
01:10:49,320 --> 01:10:52,120
Speaker 1: she was crying because she was confused. I think it

1175
01:10:52,240 --> 01:10:55,960
Speaker 1: is like a last time we had like that, because

1176
01:10:56,080 --> 01:10:58,400
Speaker 1: I've ever done this in a relationship where you know,

1177
01:10:58,600 --> 01:11:01,760
Speaker 1: this is the last time where you're like, this isn't

1178
01:11:01,760 --> 01:11:03,720
Speaker 1: gonna work. We both know it's not gonna work. We're

1179
01:11:03,760 --> 01:11:07,120
Speaker 1: gonna take this one last evening together. And then it's

1180
01:11:07,600 --> 01:11:09,920
Speaker 1: like I took it as a like, well that was

1181
01:11:09,960 --> 01:11:14,880
Speaker 1: the last of it. Cry that that makes way more sense. Yeah,

1182
01:11:14,920 --> 01:11:17,960
Speaker 1: I know she is crying because she's sad because they

1183
01:11:18,760 --> 01:11:24,599
Speaker 1: she's like, we have nothing in common. Yeah. So when

1184
01:11:24,800 --> 01:11:27,600
Speaker 1: I do think that this is to Caitlin's point that

1185
01:11:27,640 --> 01:11:30,400
Speaker 1: they don't develop these characters enough. I think one thing

1186
01:11:30,479 --> 01:11:32,760
Speaker 1: that a lot of black movies in the nineties have

1187
01:11:32,880 --> 01:11:36,640
Speaker 1: to deal with is that you're trying to be respectable

1188
01:11:36,960 --> 01:11:39,439
Speaker 1: to the point where like, what are her flaws? Like

1189
01:11:39,960 --> 01:11:42,760
Speaker 1: that she likes work. It like they're very much so

1190
01:11:42,840 --> 01:11:44,920
Speaker 1: trying to make her like Nope, she's not like a

1191
01:11:44,960 --> 01:11:46,200
Speaker 1: single mom in the way that you think of a

1192
01:11:46,200 --> 01:11:48,639
Speaker 1: black single mom. No, no, no, she's very professional. Okay,

1193
01:11:48,720 --> 01:11:52,479
Speaker 1: she's also dedicated. She's also athletic. She's got good God,

1194
01:11:52,520 --> 01:11:55,960
Speaker 1: we need to know she's athletic, and she has a passion.

1195
01:11:56,360 --> 01:11:58,240
Speaker 1: Maybe she needs to return to it. But like that,

1196
01:11:58,280 --> 01:12:00,920
Speaker 1: but like she can't have some of those depths of

1197
01:12:01,040 --> 01:12:04,720
Speaker 1: character because she's so busy trying to like or the like,

1198
01:12:04,960 --> 01:12:06,920
Speaker 1: the people who wrote it, whatever, are so busy trying

1199
01:12:06,960 --> 01:12:11,360
Speaker 1: to make her seem perfect and unassailable, right, And I

1200
01:12:11,400 --> 01:12:14,720
Speaker 1: feel like that probably stems from black filmmakers trying to

1201
01:12:15,000 --> 01:12:19,280
Speaker 1: correct some of the damage that's been done regarding representation

1202
01:12:19,320 --> 01:12:22,559
Speaker 1: of black people in movies prior to this, because like,

1203
01:12:22,960 --> 01:12:26,280
Speaker 1: before this, it was, I mean, it was a lot

1204
01:12:26,280 --> 01:12:30,960
Speaker 1: of really racist archetypal characters like you know, the Mammy's

1205
01:12:31,000 --> 01:12:34,360
Speaker 1: and the Bucks and like really horrible and really damaging,

1206
01:12:34,960 --> 01:12:39,480
Speaker 1: reductive troops like that. It was also black exploitation films

1207
01:12:39,520 --> 01:12:44,840
Speaker 1: and those characters. It was black characters who were in

1208
01:12:44,960 --> 01:12:50,240
Speaker 1: movies with predominantly white casts who were there playing characters

1209
01:12:50,240 --> 01:12:53,799
Speaker 1: who were criminals or pimps or you know, just again

1210
01:12:53,840 --> 01:12:58,960
Speaker 1: all the reductive, racist representations or just an absence or

1211
01:12:58,960 --> 01:13:02,719
Speaker 1: a lack of black characters and media. So I feel

1212
01:13:02,720 --> 01:13:08,080
Speaker 1: like black filmmakers in more recent decades have had the

1213
01:13:08,280 --> 01:13:12,200
Speaker 1: burden of trying to repair some of that damage that

1214
01:13:12,400 --> 01:13:17,240
Speaker 1: was done, of course by mostly white filmmakers with really

1215
01:13:17,360 --> 01:13:21,960
Speaker 1: positive representations of black characters in their movies. And I

1216
01:13:21,960 --> 01:13:24,519
Speaker 1: feel like it just kind of lent itself to some

1217
01:13:24,760 --> 01:13:29,040
Speaker 1: black characters who were almost too perfect, who had no

1218
01:13:29,280 --> 01:13:33,840
Speaker 1: flaws and tons of wealth and awesome jobs, like the

1219
01:13:34,520 --> 01:13:38,960
Speaker 1: model minority trope. Like of yeah, because I feel like,

1220
01:13:38,960 --> 01:13:42,280
Speaker 1: I mean, there's so much from this generation of entertainment

1221
01:13:42,320 --> 01:13:44,800
Speaker 1: that I mean that was I feel like, I mean,

1222
01:13:44,880 --> 01:13:48,080
Speaker 1: aside from Bill Cosby, Like that's a lot of what

1223
01:13:48,760 --> 01:13:51,599
Speaker 1: previously a lot of the conversation around the Cosby Show

1224
01:13:51,760 --> 01:13:54,320
Speaker 1: was was was like the first or one of the

1225
01:13:54,439 --> 01:14:02,000
Speaker 1: first major black sitcoms that was popular across everywhere, but

1226
01:14:02,200 --> 01:14:05,080
Speaker 1: it was pulling from a lot of model minority like

1227
01:14:05,120 --> 01:14:08,679
Speaker 1: this is a very wealthy, you know, class privileged family.

1228
01:14:10,080 --> 01:14:12,920
Speaker 1: But then that means like, then you just have the

1229
01:14:13,479 --> 01:14:16,960
Speaker 1: like characters who don't end up being that well developed

1230
01:14:17,080 --> 01:14:20,599
Speaker 1: or who feel just a little bit more kind of

1231
01:14:20,640 --> 01:14:25,200
Speaker 1: stock character without any flaws because like which I understand

1232
01:14:25,280 --> 01:14:28,880
Speaker 1: like wanting to write characters that way, especially based on

1233
01:14:28,960 --> 01:14:33,559
Speaker 1: like the poor representation that had been seen in movies

1234
01:14:33,680 --> 01:14:36,519
Speaker 1: prior to that. But yeah, and then it just means like, Okay, well,

1235
01:14:36,520 --> 01:14:45,599
Speaker 1: then Angela Bassett is perfect. Have any flaws? Did you guys?

1236
01:14:45,760 --> 01:14:48,280
Speaker 1: This is a very specific reference, but there's an SNL

1237
01:14:48,320 --> 01:14:51,960
Speaker 1: skit where they try to make a Barbie they make

1238
01:14:52,080 --> 01:14:55,559
Speaker 1: an Asian barbie, and they like are trying so much

1239
01:14:55,600 --> 01:14:58,800
Speaker 1: not to fall into stereotypes that they're like, she has

1240
01:14:58,920 --> 01:15:03,760
Speaker 1: a chef's hat and a dog. That's it. We're not

1241
01:15:03,760 --> 01:15:06,680
Speaker 1: saying she's a cook though, We're not saying what her

1242
01:15:06,720 --> 01:15:10,600
Speaker 1: likes and interest are because we don't want. Like, I

1243
01:15:10,640 --> 01:15:14,040
Speaker 1: haven't seen that, but that sounds pretty funny. It's like

1244
01:15:14,080 --> 01:15:16,800
Speaker 1: a barbie developed by a focus group to like not

1245
01:15:16,880 --> 01:15:21,200
Speaker 1: offend anyone. It's just she has a chef's head. That

1246
01:15:22,040 --> 01:15:29,120
Speaker 1: that's the doll. That what you will, that's funny. I mean,

1247
01:15:29,160 --> 01:15:33,360
Speaker 1: it's like it's it's such a frustrating thing to feel

1248
01:15:33,360 --> 01:15:35,720
Speaker 1: like this movie is hung up on, but like, in

1249
01:15:35,880 --> 01:15:37,920
Speaker 1: context of the time it comes up, I feel like

1250
01:15:37,960 --> 01:15:43,000
Speaker 1: it does line up pretty cleanly with I mean, not

1251
01:15:43,080 --> 01:15:45,479
Speaker 1: just the genre it's then, but like a lot of

1252
01:15:45,520 --> 01:15:50,000
Speaker 1: the common tropes around black characters in the genre of

1253
01:15:50,080 --> 01:15:53,320
Speaker 1: the time. Yeah, including I mean, including the other Terry

1254
01:15:53,360 --> 01:15:58,200
Speaker 1: McMillan m adaptation we've covered, right, I mean, I will

1255
01:15:58,240 --> 01:16:01,040
Speaker 1: say I like this movie. I saw it for the

1256
01:16:01,080 --> 01:16:04,320
Speaker 1: first time this year with a bottle of wine and

1257
01:16:04,400 --> 01:16:08,679
Speaker 1: a lot of cheese, and it was perfect as God intended. Yes,

1258
01:16:08,760 --> 01:16:11,800
Speaker 1: as a mid thirties lady. This is it was right

1259
01:16:12,320 --> 01:16:14,880
Speaker 1: a shot straight to the I don't know basketball, but

1260
01:16:14,920 --> 01:16:17,280
Speaker 1: like you get it, like a three point from that line,

1261
01:16:18,000 --> 01:16:21,400
Speaker 1: nothing but net shot. It was made for me. But yeah,

1262
01:16:21,400 --> 01:16:24,040
Speaker 1: it does have I'm like she she doesn't like get

1263
01:16:24,080 --> 01:16:28,320
Speaker 1: mad or like have a problem of any Okay, right,

1264
01:16:28,800 --> 01:16:31,400
Speaker 1: I mean there are there issues with in the relationship,

1265
01:16:31,840 --> 01:16:35,599
Speaker 1: but even so, the relationship is based on what like

1266
01:16:35,640 --> 01:16:37,680
Speaker 1: what are they what are they like? What do they

1267
01:16:37,680 --> 01:16:42,880
Speaker 1: have in common? Anyway? Yeah, man, it does seem and

1268
01:16:42,880 --> 01:16:45,920
Speaker 1: and I do appreciate that he kind of realizes that

1269
01:16:45,960 --> 01:16:48,000
Speaker 1: at some point and then we still get our kind

1270
01:16:48,000 --> 01:16:52,559
Speaker 1: of irrational happy ending um, but he also kind of realizes, like,

1271
01:16:53,200 --> 01:16:57,280
Speaker 1: oh right, like I what am I doing? You know,

1272
01:16:57,360 --> 01:17:01,120
Speaker 1: It's like I've really inserted myself in Stella's life, and

1273
01:17:01,240 --> 01:17:05,760
Speaker 1: like what, I don't know, it's it's I do like that. Well,

1274
01:17:05,800 --> 01:17:08,200
Speaker 1: I do think, you know, all the characters are undeveloped

1275
01:17:08,200 --> 01:17:10,840
Speaker 1: to varying degrees. I don't know why I'm defending this

1276
01:17:10,880 --> 01:17:13,400
Speaker 1: movie so much. I really like it, Like they're less

1277
01:17:13,520 --> 01:17:16,840
Speaker 1: underdeveloped than a lot of characters in this genre, because

1278
01:17:16,880 --> 01:17:20,920
Speaker 1: like this is just the undeveloped genre where Winston. Okay,

1279
01:17:21,040 --> 01:17:23,200
Speaker 1: A choice that I thought in this movie that was

1280
01:17:23,320 --> 01:17:27,880
Speaker 1: really cool is you get like a female gaye cinematography

1281
01:17:27,920 --> 01:17:32,000
Speaker 1: approach to Taye Digs at first, though not for the

1282
01:17:32,040 --> 01:17:37,240
Speaker 1: whole movie where it's not making the like how I mean,

1283
01:17:37,320 --> 01:17:40,600
Speaker 1: like how Megan Fox and how many like you know,

1284
01:17:40,760 --> 01:17:43,640
Speaker 1: conventionally attractive women are treated on screen, where it's just

1285
01:17:43,680 --> 01:17:45,479
Speaker 1: like assumed, this is how we're gonna look at her.

1286
01:17:45,800 --> 01:17:48,479
Speaker 1: Where I feel like the cinematography choices in this movie

1287
01:17:48,479 --> 01:17:51,559
Speaker 1: are cool because we are seeing him through Stella's eyes,

1288
01:17:51,840 --> 01:17:54,880
Speaker 1: So at first she's barely listening to what he's saying.

1289
01:17:54,960 --> 01:17:58,040
Speaker 1: He's talking about medical school, but it's a slow pan

1290
01:17:58,160 --> 01:18:01,080
Speaker 1: on his body. But once she gets to know him,

1291
01:18:01,320 --> 01:18:03,680
Speaker 1: you don't really get those shots anymore because that's not

1292
01:18:03,720 --> 01:18:05,680
Speaker 1: how she's seeing him anymore. She's seeing him as a

1293
01:18:05,680 --> 01:18:09,240
Speaker 1: whole person and like there is more to him than

1294
01:18:09,360 --> 01:18:12,200
Speaker 1: I mean, and there's like he's certainly not He is

1295
01:18:12,280 --> 01:18:14,559
Speaker 1: kind of like a spoiler rich kid who's figuring out

1296
01:18:14,600 --> 01:18:17,040
Speaker 1: his ship in a lot of ways, to the point

1297
01:18:17,200 --> 01:18:19,120
Speaker 1: where I mean, who can afford to just hang out

1298
01:18:19,120 --> 01:18:22,599
Speaker 1: at a resort, like you know, yeah, those meals are

1299
01:18:22,600 --> 01:18:25,840
Speaker 1: not cheap, No, I'm just like, and then he's always like,

1300
01:18:25,880 --> 01:18:28,160
Speaker 1: I have no money. I'm like until you text your mom,

1301
01:18:28,320 --> 01:18:31,320
Speaker 1: Like what he bought her like this heavy piece, like

1302
01:18:31,360 --> 01:18:36,000
Speaker 1: this big piece of like equipment for her furniture workshop.

1303
01:18:36,080 --> 01:18:40,280
Speaker 1: He also buys her an engagement ring, likes he pays

1304
01:18:40,360 --> 01:18:42,559
Speaker 1: for that meal at that restaurant that he offers to

1305
01:18:42,560 --> 01:18:45,560
Speaker 1: pay for, which was probably upward like easily over a

1306
01:18:45,680 --> 01:18:49,000
Speaker 1: hundred dollars, Like he seems like he gets a stipend

1307
01:18:49,000 --> 01:18:52,840
Speaker 1: from his parents or that's my that's my guess. That's

1308
01:18:52,840 --> 01:18:54,920
Speaker 1: the only thing that explains it to me, which and

1309
01:18:54,960 --> 01:18:57,559
Speaker 1: I get why, like is also like I'm not totally

1310
01:18:57,600 --> 01:19:00,840
Speaker 1: comfortable with that, Like it all makes sense, but I

1311
01:19:00,920 --> 01:19:04,000
Speaker 1: like that Winston. I think Winston is given a little

1312
01:19:04,040 --> 01:19:08,080
Speaker 1: more depth and like layers to who he is and

1313
01:19:08,120 --> 01:19:11,120
Speaker 1: the way Stella sees him and grows to see him

1314
01:19:11,160 --> 01:19:17,120
Speaker 1: has more layers than most romantic movie couples. Yeah, um,

1315
01:19:17,280 --> 01:19:20,080
Speaker 1: quick note about the female gaze to just going back

1316
01:19:20,120 --> 01:19:22,800
Speaker 1: to that really quickly. The way that this movie and

1317
01:19:22,920 --> 01:19:26,839
Speaker 1: a lot of movies kind of frame the female gaze

1318
01:19:26,920 --> 01:19:29,080
Speaker 1: or like the idea of the female gaze, which you know,

1319
01:19:29,120 --> 01:19:32,800
Speaker 1: we acknowledge how heteronormative, like the male gaze and the

1320
01:19:32,800 --> 01:19:37,640
Speaker 1: female gaze is anyway her like Stella seeing just like

1321
01:19:37,760 --> 01:19:41,559
Speaker 1: looking at Tay Digs's character, and her eyes are lingering

1322
01:19:41,640 --> 01:19:46,280
Speaker 1: on his arms and his lips, whereas like the male

1323
01:19:46,360 --> 01:19:49,760
Speaker 1: gaze in most movies is like tits and ass. So

1324
01:19:49,840 --> 01:19:55,240
Speaker 1: even like the like the kind of female counterpart quote

1325
01:19:55,320 --> 01:19:59,360
Speaker 1: unquote of a gazey shot is still like more respectful.

1326
01:19:59,400 --> 01:20:04,120
Speaker 1: It's like, oh, his lips and his like his shoulders,

1327
01:20:04,240 --> 01:20:08,960
Speaker 1: and then it's it's a more intellectualized gaze. Then the

1328
01:20:09,360 --> 01:20:13,240
Speaker 1: reverse it at least involves his face, you know, like

1329
01:20:15,360 --> 01:20:21,040
Speaker 1: he's not a headless woman of Hollywood. Um, yeah, yeah,

1330
01:20:21,160 --> 01:20:23,800
Speaker 1: I mean it's I like, I I really like how

1331
01:20:23,880 --> 01:20:28,960
Speaker 1: this movie handles female gaze because sometimes it's like when

1332
01:20:29,400 --> 01:20:31,160
Speaker 1: it's kind of a one to one of like, oh

1333
01:20:31,280 --> 01:20:33,040
Speaker 1: you don't like the male gaze, well then just have

1334
01:20:33,200 --> 01:20:35,559
Speaker 1: the opposite, and it's like, well that's really what I

1335
01:20:35,600 --> 01:20:39,240
Speaker 1: asked for, um, And I feel like this movie chose

1336
01:20:39,360 --> 01:20:43,640
Speaker 1: that line pretty well. Where Like it's just it's fucking cinematography.

1337
01:20:43,720 --> 01:20:46,280
Speaker 1: Like in theory, if you're doing it right, it should

1338
01:20:46,320 --> 01:20:48,880
Speaker 1: be reflective and tell you something about what's going on

1339
01:20:48,920 --> 01:20:53,879
Speaker 1: in the movie, not just like catering to the bassist

1340
01:20:54,000 --> 01:20:57,560
Speaker 1: aspects of your audience. Like, so in that way, I

1341
01:20:57,600 --> 01:20:59,800
Speaker 1: feel like this is successful because we're seeing him through

1342
01:21:00,040 --> 01:21:06,640
Speaker 1: Della's eyes. So yeah, because I have about Whoopi Goldberg

1343
01:21:06,840 --> 01:21:10,920
Speaker 1: and how she they kill her in the movie, I

1344
01:21:12,640 --> 01:21:16,720
Speaker 1: don't like it. I I don't know. And I was

1345
01:21:16,800 --> 01:21:19,880
Speaker 1: curious about this because I don't want to if this

1346
01:21:20,000 --> 01:21:22,200
Speaker 1: is if this is an aspect that was taken from

1347
01:21:22,280 --> 01:21:24,640
Speaker 1: Terry McMillan's life, I don't want to minimize that in

1348
01:21:24,680 --> 01:21:27,760
Speaker 1: any way. I wasn't able to find any information on

1349
01:21:27,800 --> 01:21:31,840
Speaker 1: whether Delilah's character isn't any way pulled from her experience.

1350
01:21:32,640 --> 01:21:36,479
Speaker 1: So I'll just say that because I would hate to

1351
01:21:36,520 --> 01:21:39,680
Speaker 1: find out that and that's so disrespectful. But if it

1352
01:21:39,800 --> 01:21:42,320
Speaker 1: is a story choice, I don't like it. It is

1353
01:21:42,400 --> 01:21:44,719
Speaker 1: so I think that that's like one of the lazier

1354
01:21:44,800 --> 01:21:47,320
Speaker 1: things that this movie does is brings in what Whoppi

1355
01:21:47,439 --> 01:21:52,840
Speaker 1: Goldberg to be the best friend and have, like even

1356
01:21:52,920 --> 01:21:56,400
Speaker 1: for the best friend, have more to do than you know.

1357
01:21:56,520 --> 01:22:00,640
Speaker 1: It is normal, right, you get that. But then and

1358
01:22:00,680 --> 01:22:04,120
Speaker 1: it is four shadowed in the movie because when she

1359
01:22:04,160 --> 01:22:06,880
Speaker 1: says on the first trip to Jamaica, like she's kind

1360
01:22:06,880 --> 01:22:09,400
Speaker 1: of just saying vaguely ominous stuff. I'm like, oh, no,

1361
01:22:09,600 --> 01:22:13,880
Speaker 1: they're gonna She's gonna die, that's why. And and I'm like,

1362
01:22:14,240 --> 01:22:16,200
Speaker 1: it's like sitting next to my boyfriend being like, they're

1363
01:22:16,200 --> 01:22:18,960
Speaker 1: going to kill Whoopie Goldberg to teach Angela Bassett that

1364
01:22:19,040 --> 01:22:21,240
Speaker 1: she needs to live in the moment. And that's literally

1365
01:22:21,240 --> 01:22:24,639
Speaker 1: what happens. And they kill Whoopi Goldberg to teach Angela

1366
01:22:24,680 --> 01:22:26,880
Speaker 1: Bassett she has to be in the moment. Why do that?

1367
01:22:27,080 --> 01:22:31,040
Speaker 1: Don't do that? I like Wippi Goldberg a lot. She's great.

1368
01:22:31,160 --> 01:22:34,160
Speaker 1: I yes, I love I do. I do appreciate that

1369
01:22:34,200 --> 01:22:38,280
Speaker 1: the movie does dedicate real estate to both uh Stella's

1370
01:22:38,320 --> 01:22:42,400
Speaker 1: relationship with Whoopie Goldberg's character and Stella's relationship to her

1371
01:22:42,400 --> 01:22:45,320
Speaker 1: two sisters. I feel like a lot of romantic movies

1372
01:22:45,840 --> 01:22:48,640
Speaker 1: I'm thinking of like The Notebook, where it's like, do

1373
01:22:48,680 --> 01:22:51,840
Speaker 1: we meet any of Rachel mcgadam's friends or hear them talk?

1374
01:22:52,040 --> 01:22:54,959
Speaker 1: Like you're just told they exist and they're in the background.

1375
01:22:55,040 --> 01:22:57,320
Speaker 1: Sometimes Yeah, there's like that movie is just like so

1376
01:22:57,439 --> 01:23:00,600
Speaker 1: hyper focused on the on the romance, whereas like we

1377
01:23:00,720 --> 01:23:03,679
Speaker 1: see like and then also like with with Stella's son

1378
01:23:04,160 --> 01:23:07,960
Speaker 1: and like we meet her ex husband that dynamic, which

1379
01:23:08,000 --> 01:23:11,080
Speaker 1: is like that too. I love that scene. It was

1380
01:23:11,160 --> 01:23:14,679
Speaker 1: like her worst fear of, like having to show everyone

1381
01:23:14,760 --> 01:23:17,160
Speaker 1: this thing that she does have some shame around and

1382
01:23:17,240 --> 01:23:21,559
Speaker 1: everyone was flipping cool except Angela, Like everybody, yeah, They're

1383
01:23:21,600 --> 01:23:23,760
Speaker 1: all like, hey, what's up, dude. Yeah, even her ex

1384
01:23:23,840 --> 01:23:26,479
Speaker 1: husband is cool with it. Her ex husband and Tay

1385
01:23:26,560 --> 01:23:28,960
Speaker 1: Diggs have that little seed together at that Diggs kind

1386
01:23:28,960 --> 01:23:31,120
Speaker 1: of pushes back and it's like, why are you giving

1387
01:23:31,120 --> 01:23:33,240
Speaker 1: me advice? Doesn't seem like it worked out too well

1388
01:23:33,320 --> 01:23:37,160
Speaker 1: for you? Like that was great, very sweet. I really

1389
01:23:37,200 --> 01:23:42,680
Speaker 1: loved that. Okay, a couple things I just want to

1390
01:23:42,680 --> 01:23:47,799
Speaker 1: say real fast. Um, just Taye Diggs and his Jamaican

1391
01:23:47,880 --> 01:23:55,840
Speaker 1: accent inconsistent, inconsistent, Yes, some and some scenes. I'm like,

1392
01:23:55,880 --> 01:23:57,880
Speaker 1: that sounds really authentic. I think he did a good

1393
01:23:57,960 --> 01:24:01,919
Speaker 1: job there. I mean, I'm by no means next Jamaican accent,

1394
01:24:02,560 --> 01:24:04,720
Speaker 1: but it was also inconsistent enough that I was like,

1395
01:24:04,960 --> 01:24:10,240
Speaker 1: that sounded very Irish then not Jamaican. Um, so I'm

1396
01:24:10,240 --> 01:24:12,439
Speaker 1: not sure that he's doing a good job all the time.

1397
01:24:13,439 --> 01:24:16,080
Speaker 1: It seems to be. I I looked up some it

1398
01:24:16,120 --> 01:24:18,679
Speaker 1: seems to be a pretty popular opinion that the accent

1399
01:24:19,200 --> 01:24:23,320
Speaker 1: is U is perhaps good. God, I think that you know,

1400
01:24:23,640 --> 01:24:26,320
Speaker 1: you can be a great actor and probably just maybe

1401
01:24:26,320 --> 01:24:30,799
Speaker 1: not do an accent in a role. See keianu Reeves,

1402
01:24:30,880 --> 01:24:33,920
Speaker 1: see Brad Pitt. There's a lot of actors that we

1403
01:24:34,040 --> 01:24:39,920
Speaker 1: love who just have never done an accent successfully well,

1404
01:24:40,080 --> 01:24:43,160
Speaker 1: but then they're there. Are actors like a friend of

1405
01:24:43,200 --> 01:24:48,439
Speaker 1: the show, are King Alfred Molina who masters all the accent.

1406
01:24:48,520 --> 01:24:53,160
Speaker 1: He does every noone even knows he's British. He's British,

1407
01:24:53,280 --> 01:24:59,240
Speaker 1: He's British. Rash what yeah, that makes him that? I

1408
01:24:59,280 --> 01:25:01,479
Speaker 1: get it now, Jamie. I was questioning this for a

1409
01:25:01,479 --> 01:25:03,559
Speaker 1: long time. Now that you tell me that is British,

1410
01:25:03,640 --> 01:25:08,560
Speaker 1: I'm into it. It's a game changer, it really um.

1411
01:25:08,600 --> 01:25:11,559
Speaker 1: I like that white people are cast in this movie

1412
01:25:12,080 --> 01:25:16,200
Speaker 1: the way that black people are cast in most mainstream

1413
01:25:16,240 --> 01:25:19,280
Speaker 1: Hollywood movies, and that they are barely there. They're mostly

1414
01:25:19,320 --> 01:25:22,240
Speaker 1: in the background. They have very few lines of dialogue.

1415
01:25:22,240 --> 01:25:24,799
Speaker 1: I think Victor Garber is the only white person who

1416
01:25:25,520 --> 01:25:35,880
Speaker 1: says anything which name and lines of dialogue um isaac visibility. Also,

1417
01:25:36,040 --> 01:25:40,000
Speaker 1: Victor Garber is not credited in the credits of this movie,

1418
01:25:40,479 --> 01:25:43,800
Speaker 1: he's not. And then I checked on Wikipedia and it

1419
01:25:43,800 --> 01:25:46,439
Speaker 1: says Victor Garber uncredited. I'm like, damn, the year after

1420
01:25:46,479 --> 01:25:53,679
Speaker 1: Titanic uncredited this business. I think it's worth just briefly

1421
01:25:53,760 --> 01:25:55,960
Speaker 1: noting that they're okay. So they're two characters named Jack

1422
01:25:56,000 --> 01:25:59,880
Speaker 1: and Buddy, who um Delilah Whippi. Goldberg's character is like

1423
01:26:00,040 --> 01:26:03,960
Speaker 1: trying to hook her and Stella up with, and they

1424
01:26:04,080 --> 01:26:06,960
Speaker 1: their whole thing is like, look how unappealing they are.

1425
01:26:07,439 --> 01:26:09,040
Speaker 1: But the things that are done to make them seem

1426
01:26:09,080 --> 01:26:12,439
Speaker 1: unappealing is that one of them has a stutter and

1427
01:26:12,520 --> 01:26:15,600
Speaker 1: the other one is kind of chubby, So just some

1428
01:26:15,720 --> 01:26:20,160
Speaker 1: needless body and speech impediment shaming. So, you know, not great,

1429
01:26:20,160 --> 01:26:23,160
Speaker 1: but yeah, for a movie coming out in night, there

1430
01:26:23,160 --> 01:26:25,559
Speaker 1: weren't that. I mean, that was kind of the only

1431
01:26:25,600 --> 01:26:29,559
Speaker 1: like really sort of like reductive thing that I noticed.

1432
01:26:30,520 --> 01:26:34,760
Speaker 1: I like, the Buddy had enough confidence to take all

1433
01:26:34,800 --> 01:26:38,120
Speaker 1: of his clothes off at that pajama party, Like I

1434
01:26:38,720 --> 01:26:41,880
Speaker 1: was honestly scandals. I was like, if I was invited

1435
01:26:41,920 --> 01:26:43,880
Speaker 1: to a party and then everyone's tips came out, I

1436
01:26:43,880 --> 01:26:46,720
Speaker 1: would be furious that I was not warned that this

1437
01:26:46,760 --> 01:26:51,960
Speaker 1: was a tip they should have been a written that

1438
01:26:52,080 --> 01:26:54,840
Speaker 1: I might. Yeah, you have to tell me. I have

1439
01:26:54,920 --> 01:26:56,800
Speaker 1: to get the tips ready if I'm supposed to just

1440
01:26:57,040 --> 01:27:00,160
Speaker 1: throw them out there, you know. So that I was like, Ow,

1441
01:27:00,240 --> 01:27:03,439
Speaker 1: he's you know what, he loves himself and he loves

1442
01:27:03,600 --> 01:27:05,719
Speaker 1: his body, and I like that that to being show.

1443
01:27:05,920 --> 01:27:10,839
Speaker 1: Yeah that's true. Um Any does anyone have anything else

1444
01:27:10,920 --> 01:27:15,120
Speaker 1: they want to say about the movie? Let's see. Yeah,

1445
01:27:15,240 --> 01:27:18,880
Speaker 1: Justice for the Lilah. I like that we knew what

1446
01:27:19,600 --> 01:27:22,559
Speaker 1: just going off of your common and about how we like,

1447
01:27:22,720 --> 01:27:25,840
Speaker 1: not only do we know Stella support system, we also

1448
01:27:25,880 --> 01:27:29,040
Speaker 1: know at least a little bit about them. Um and

1449
01:27:29,080 --> 01:27:31,960
Speaker 1: the movie in ways that it's just like every movie

1450
01:27:32,000 --> 01:27:34,200
Speaker 1: could do this. We see what people all burg at

1451
01:27:34,240 --> 01:27:38,400
Speaker 1: her job and you're like, I know something about her. Wow.

1452
01:27:38,560 --> 01:27:43,479
Speaker 1: Her job is to stuff Calvin Klein mannequins who are

1453
01:27:43,479 --> 01:27:46,160
Speaker 1: wearing underwear, make them seem like they have bigger dicks.

1454
01:27:47,000 --> 01:27:50,880
Speaker 1: She's a high paid mannequins stylist. Baby, and I that's

1455
01:27:50,880 --> 01:27:54,559
Speaker 1: a fun, rich person job in a movie. Love it?

1456
01:27:54,960 --> 01:27:59,880
Speaker 1: Um Oh. This movie was directed by I wanted to

1457
01:28:00,000 --> 01:28:02,479
Speaker 1: bring up some behind the scenes stuff. This movie was

1458
01:28:02,520 --> 01:28:06,240
Speaker 1: directed by a black director, Kevin Rodney Sullivan. Who I

1459
01:28:06,280 --> 01:28:07,960
Speaker 1: had a lot of fun learning about because he's had

1460
01:28:08,040 --> 01:28:09,720
Speaker 1: kind of like a fun career where he started as

1461
01:28:09,720 --> 01:28:14,880
Speaker 1: a child actor and then he grew into a writer director.

1462
01:28:14,960 --> 01:28:18,080
Speaker 1: He has mostly been directing TV, but like he's directed

1463
01:28:18,640 --> 01:28:21,280
Speaker 1: every big TV show. He directed Thirty Rock episodes, he

1464
01:28:21,320 --> 01:28:24,400
Speaker 1: directed Modern Family episodes. He's directed and c I. Yes,

1465
01:28:24,520 --> 01:28:27,320
Speaker 1: he's directed How to Get Away with Murder, He's directed Riverdale.

1466
01:28:27,360 --> 01:28:31,120
Speaker 1: He's like a big shot TV director now and and

1467
01:28:31,280 --> 01:28:34,760
Speaker 1: directed this movie. So he's great. Another person I had

1468
01:28:34,760 --> 01:28:36,400
Speaker 1: a lot of fun learning about was the editor of

1469
01:28:36,439 --> 01:28:41,920
Speaker 1: this movie, a black editor named George Bowers, who I

1470
01:28:42,000 --> 01:28:44,240
Speaker 1: recommend you you just kind of dig into his life

1471
01:28:44,280 --> 01:28:46,080
Speaker 1: because he was also a filmmaker and he sounds like

1472
01:28:46,120 --> 01:28:50,439
Speaker 1: he was a really cool experimental filmmaker as well. Um, so,

1473
01:28:50,640 --> 01:28:54,960
Speaker 1: there is not a ton of women behind the scenes

1474
01:28:55,080 --> 01:28:57,680
Speaker 1: of this movie. Aside from Terry McMillan getting the co

1475
01:28:57,800 --> 01:29:00,960
Speaker 1: writing credit. There's a female produced, sir. There's a couple

1476
01:29:00,960 --> 01:29:04,519
Speaker 1: of female producers, if I remember correctly, there's a few.

1477
01:29:04,560 --> 01:29:06,680
Speaker 1: I just I don't know. I was honestly like, I

1478
01:29:06,720 --> 01:29:09,720
Speaker 1: wish that a black woman had been the director of

1479
01:29:09,800 --> 01:29:14,400
Speaker 1: this That said Kevin Rodney Sullivan seems really cool. And

1480
01:29:14,720 --> 01:29:17,559
Speaker 1: there's I saw. All I'm looking at is I'm seeing

1481
01:29:17,600 --> 01:29:22,360
Speaker 1: one producer credit and it's a lady named deb Brush Wendler. Yes. Um,

1482
01:29:22,400 --> 01:29:25,280
Speaker 1: and then I'm seeing a couple. Um. Terry McMillan was

1483
01:29:25,360 --> 01:29:31,679
Speaker 1: also an executive producer, as was Jennifer Ogdenden. Um, don't

1484
01:29:31,680 --> 01:29:33,680
Speaker 1: know how to say it. Um So a couple of

1485
01:29:33,800 --> 01:29:38,120
Speaker 1: executive producers are women's good? Yeah? Um so yeah, I

1486
01:29:38,160 --> 01:29:40,880
Speaker 1: think just taking a look at the behind the scenes

1487
01:29:40,880 --> 01:29:43,759
Speaker 1: stuff is good. This movie was reviewed in a very

1488
01:29:44,000 --> 01:29:49,799
Speaker 1: pointed way because there were simply very few, uh black

1489
01:29:49,960 --> 01:29:53,320
Speaker 1: reviewers and female reviewers that we're working at this time.

1490
01:29:53,439 --> 01:29:55,840
Speaker 1: So it's just kind of the classic like this movie

1491
01:29:55,880 --> 01:29:59,599
Speaker 1: isn't about me. I don't get it. No stars kind

1492
01:29:59,600 --> 01:30:03,280
Speaker 1: of thing. Not no stars, but like it's just very

1493
01:30:03,280 --> 01:30:06,840
Speaker 1: passive aggressive reviews. Um, I don't know. Yeah, I think

1494
01:30:06,880 --> 01:30:09,200
Speaker 1: that's all I got. I really like this movie. My

1495
01:30:09,240 --> 01:30:14,200
Speaker 1: favorite exchange is when Stella and Winston first meat and

1496
01:30:14,240 --> 01:30:17,639
Speaker 1: he's just as good morning, and she replies with are

1497
01:30:17,680 --> 01:30:21,679
Speaker 1: you a rapper? Like that's the first thing she says.

1498
01:30:22,360 --> 01:30:24,639
Speaker 1: You're like, I'm trying to get from a to be here,

1499
01:30:24,720 --> 01:30:29,200
Speaker 1: but I just can't like okay, I mean maybe she's like, okay,

1500
01:30:29,200 --> 01:30:33,519
Speaker 1: a subcategory someone that would be eating at a resort alone. Yeah,

1501
01:30:33,960 --> 01:30:37,200
Speaker 1: is that? I'm like, what, Like, he doesn't necessarily I mean,

1502
01:30:37,240 --> 01:30:39,360
Speaker 1: what does a rapper look like? But he doesn't necessarily

1503
01:30:39,840 --> 01:30:43,200
Speaker 1: look like a rapper. No, he's just eating at a

1504
01:30:43,200 --> 01:30:46,479
Speaker 1: resort alone. Yeah. I didn't even think about that. But

1505
01:30:46,520 --> 01:30:48,920
Speaker 1: that's a weird as I would be like, cool, so

1506
01:30:49,000 --> 01:30:51,000
Speaker 1: you don't want me to bother you, okay, but like

1507
01:30:51,080 --> 01:30:53,519
Speaker 1: that would be the end of the Wow, that's a

1508
01:30:53,560 --> 01:30:55,960
Speaker 1: weird ass thing for you to say. Okay, But she

1509
01:30:56,040 --> 01:30:58,600
Speaker 1: doesn't even say like hello or good morning back. She

1510
01:30:58,760 --> 01:31:00,719
Speaker 1: just he was like, good morning, are you a rapper?

1511
01:31:00,920 --> 01:31:08,120
Speaker 1: Like it's just like uh no, um I will I

1512
01:31:08,120 --> 01:31:12,439
Speaker 1: I deeply love and this is something. It's something so

1513
01:31:12,600 --> 01:31:15,920
Speaker 1: nineties and like embedded in my heart. A sex scene

1514
01:31:15,920 --> 01:31:19,240
Speaker 1: where there are gauzy white curtains fluttering in the wind.

1515
01:31:19,520 --> 01:31:22,719
Speaker 1: I think it's so important. I love it so much,

1516
01:31:22,960 --> 01:31:25,439
Speaker 1: where they payan to them and they're just gently moving

1517
01:31:25,680 --> 01:31:27,679
Speaker 1: and like only one is because that's where the fan

1518
01:31:27,960 --> 01:31:31,160
Speaker 1: that the designer is like pointed at the Yeah, oh

1519
01:31:31,240 --> 01:31:33,320
Speaker 1: it's I don't even know if these ones were esteemed.

1520
01:31:33,400 --> 01:31:35,880
Speaker 1: Sometimes you can still see the wrinkles from where they

1521
01:31:35,880 --> 01:31:38,559
Speaker 1: took it out of the packaging. But man, the gauze

1522
01:31:39,160 --> 01:31:43,799
Speaker 1: perfect very really adds a layer of sexy to the

1523
01:31:43,880 --> 01:31:47,479
Speaker 1: to the scene Caitlyn, I just I just want that

1524
01:31:47,840 --> 01:31:49,920
Speaker 1: she has such good sex that she cries. That made

1525
01:31:49,920 --> 01:31:55,240
Speaker 1: me laugh so much. I just like, why is she crying?

1526
01:31:55,360 --> 01:32:02,400
Speaker 1: I don't understand human emotion? Okay um. I guess my

1527
01:32:02,479 --> 01:32:07,160
Speaker 1: final thought would be that this feels pretty tropy for

1528
01:32:07,240 --> 01:32:09,360
Speaker 1: like any kind of romantic movie. But at the beginning

1529
01:32:09,400 --> 01:32:12,840
Speaker 1: of the movie, Stella is like, I don't care about

1530
01:32:12,880 --> 01:32:15,160
Speaker 1: meeting a man. I don't need a man. Uh, this

1531
01:32:15,240 --> 01:32:17,760
Speaker 1: is actually an exchange I really like where she and

1532
01:32:17,800 --> 01:32:20,880
Speaker 1: her sisters are getting pedicures or they're they're at a spa.

1533
01:32:21,439 --> 01:32:24,559
Speaker 1: They're talking and then like they annoy her, so Stella says,

1534
01:32:24,560 --> 01:32:27,320
Speaker 1: don't talk to me for the next two hours five

1535
01:32:27,360 --> 01:32:30,720
Speaker 1: seconds pass and then Angela, her sister, is like, you

1536
01:32:30,760 --> 01:32:36,320
Speaker 1: need a husband and your son needs a father. He's like, whoa,

1537
01:32:41,240 --> 01:32:44,800
Speaker 1: and then Stella says. Stella says, had one got rid

1538
01:32:44,840 --> 01:32:47,960
Speaker 1: of him? So glad I did. And then she's like, also, like,

1539
01:32:48,160 --> 01:32:51,120
Speaker 1: my son has a father. His name is Walter if

1540
01:32:51,160 --> 01:32:55,080
Speaker 1: you remember him, you know him? Yeah, And then and

1541
01:32:55,080 --> 01:32:57,840
Speaker 1: then she's like, you know, just because Kennedy, which is

1542
01:32:57,880 --> 01:33:01,559
Speaker 1: an Angela's husband, just because Kennedy produces, directs and stars

1543
01:33:01,560 --> 01:33:04,439
Speaker 1: and all three acts of your drama, don't fool yourself.

1544
01:33:04,640 --> 01:33:07,679
Speaker 1: Every woman doesn't need that kind of guidance. So she's

1545
01:33:07,680 --> 01:33:11,800
Speaker 1: basically saying like, I don't need a man, and that's great,

1546
01:33:12,000 --> 01:33:16,400
Speaker 1: but that is also like rom calm code for she's

1547
01:33:16,479 --> 01:33:20,120
Speaker 1: going to end up with a man by the end

1548
01:33:20,960 --> 01:33:23,519
Speaker 1: without question. Well, yeah, I guess it's I guess we

1549
01:33:23,560 --> 01:33:26,800
Speaker 1: haven't brother. Yeah, there's definitely I think because of the

1550
01:33:26,880 --> 01:33:30,440
Speaker 1: time in the genre, there's definitely echoes of like IROLLI

1551
01:33:30,840 --> 01:33:34,800
Speaker 1: like nineties girl power, where it's like I don't need

1552
01:33:34,840 --> 01:33:40,280
Speaker 1: a man, I just need a man, Like you're just like, ok,

1553
01:33:40,520 --> 01:33:42,640
Speaker 1: I just haven't met Tay Digs yet and looked at

1554
01:33:42,680 --> 01:33:45,160
Speaker 1: his arms. And suddenly as soon as that happened and

1555
01:33:45,200 --> 01:33:52,559
Speaker 1: I find out he's not a rapper, then I also

1556
01:33:52,880 --> 01:33:54,880
Speaker 1: when the movie ended, I was just like that. I

1557
01:33:55,040 --> 01:33:59,400
Speaker 1: was like, what a confusing day for Quincy her Son

1558
01:33:59,800 --> 01:34:02,480
Speaker 1: the because he has just been told like say goodbye,

1559
01:34:02,920 --> 01:34:05,519
Speaker 1: You're never going to see this man again and then

1560
01:34:05,960 --> 01:34:09,639
Speaker 1: guess what, he's your stepfather and he lives with us.

1561
01:34:09,920 --> 01:34:13,400
Speaker 1: Good night, Like oh my gosh, yeah, I wouldn't trust

1562
01:34:13,439 --> 01:34:17,200
Speaker 1: adults after that messy I know. Yeah, that's like all

1563
01:34:17,240 --> 01:34:19,760
Speaker 1: in the span of like however long it takes her

1564
01:34:19,800 --> 01:34:23,280
Speaker 1: to drive to and from the airport, they didn't act.

1565
01:34:23,400 --> 01:34:25,839
Speaker 1: Remember how he just left to move back to Jamaica.

1566
01:34:26,080 --> 01:34:29,760
Speaker 1: Well he's back and we're getting married. Yeah, and then

1567
01:34:30,040 --> 01:34:32,160
Speaker 1: she would be like, oh, you misunderstood, like she could

1568
01:34:32,200 --> 01:34:33,880
Speaker 1: just like gaslight him into being a no, no, no,

1569
01:34:33,960 --> 01:34:38,720
Speaker 1: you misunderstood. He is actually your stepfather. Now Quincy has

1570
01:34:38,760 --> 01:34:41,000
Speaker 1: to get his groove back in like the sixth grade

1571
01:34:41,080 --> 01:34:45,680
Speaker 1: or however, I do love that as a movie in

1572
01:34:45,720 --> 01:34:47,560
Speaker 1: the way that they did like a fuller house and

1573
01:34:47,640 --> 01:34:51,000
Speaker 1: a girl's world, just like how with like the kid

1574
01:34:51,080 --> 01:34:54,120
Speaker 1: gets his groove back. Yeah, he's such a sweet character.

1575
01:34:54,600 --> 01:34:57,040
Speaker 1: He is. And he makes her breakfast. So we see

1576
01:34:57,200 --> 01:35:01,880
Speaker 1: a young boy cook a young nurturing son. Yeah, and

1577
01:35:01,920 --> 01:35:03,800
Speaker 1: he's like, I want to do something and he tells him.

1578
01:35:03,880 --> 01:35:06,000
Speaker 1: He's like he's like, mom, I just want you to

1579
01:35:06,080 --> 01:35:09,720
Speaker 1: have fun while I'm gone, and like he really did. Oh.

1580
01:35:09,920 --> 01:35:11,800
Speaker 1: I just love their relationship and I like that you

1581
01:35:11,840 --> 01:35:16,160
Speaker 1: do get to see uh, and that like a a mother,

1582
01:35:16,600 --> 01:35:20,639
Speaker 1: like is a character who is like romantically viable because

1583
01:35:20,680 --> 01:35:22,720
Speaker 1: like I think a lot of movies will be like, oh,

1584
01:35:22,840 --> 01:35:26,920
Speaker 1: you have a kid, well then see uh yeah, I

1585
01:35:26,960 --> 01:35:30,519
Speaker 1: mean forty year old woman being romantically virable, viable, a

1586
01:35:30,600 --> 01:35:34,040
Speaker 1: mother being romantically violent. Like, there's so many I don't know.

1587
01:35:34,240 --> 01:35:36,200
Speaker 1: I'm just going to defend this movie to the end

1588
01:35:36,200 --> 01:35:38,559
Speaker 1: of time. Scene between them at the airport at the

1589
01:35:38,600 --> 01:35:43,080
Speaker 1: beginning made me, Karry, I loved it where he's just like, now, Mom,

1590
01:35:43,640 --> 01:35:45,960
Speaker 1: I want you to take care of yourself and I

1591
01:35:46,040 --> 01:35:48,040
Speaker 1: care about you and you're the best mom ever. And

1592
01:35:48,080 --> 01:35:50,720
Speaker 1: she's like, I'm going to go to Jamaica. You're like,

1593
01:35:50,800 --> 01:35:53,840
Speaker 1: all right, I guess I'm gonna go and get dicked

1594
01:35:53,880 --> 01:35:57,640
Speaker 1: by Tay Digs. That's what It's what my that's what

1595
01:35:57,800 --> 01:36:02,240
Speaker 1: my son was on. He's also very cool with their relationship.

1596
01:36:02,960 --> 01:36:09,200
Speaker 1: Um okay, Well, does the movie pass the Bechdel test? Definitely,

1597
01:36:09,840 --> 01:36:12,960
Speaker 1: and it's thanks to like the writing being careful to

1598
01:36:13,960 --> 01:36:19,400
Speaker 1: include her sisters and Delilah. It does pass the duvern

1599
01:36:19,400 --> 01:36:27,960
Speaker 1: A test, obviously far more handily than most movies. Movie. Yeah,

1600
01:36:29,160 --> 01:36:31,960
Speaker 1: shall shall we rate it on our nipple scale, Yes,

1601
01:36:32,080 --> 01:36:35,760
Speaker 1: let's shall zero to five nipples, based on its representation

1602
01:36:35,800 --> 01:36:42,639
Speaker 1: of women, and also just an overall examination of intersectional feminism. Um,

1603
01:36:42,680 --> 01:36:48,160
Speaker 1: I would give this film contextualizing it knowing that it

1604
01:36:48,280 --> 01:36:53,200
Speaker 1: is like a romantic movie, and based on that it

1605
01:36:53,400 --> 01:36:57,280
Speaker 1: is going to be centered around a romantic relationship and

1606
01:36:57,280 --> 01:37:01,280
Speaker 1: in this case it's a hetero romantic relationship ship. Knowing

1607
01:37:01,320 --> 01:37:03,840
Speaker 1: all of that, I think I would give it a

1608
01:37:04,560 --> 01:37:07,760
Speaker 1: three and a half or a four. Like just the

1609
01:37:07,800 --> 01:37:11,880
Speaker 1: fact that you have you see representation of an older

1610
01:37:11,920 --> 01:37:18,719
Speaker 1: woman being like worshiped and respected by this far younger man. Again,

1611
01:37:18,720 --> 01:37:23,840
Speaker 1: it's something that society was not deeming as acceptable. It's

1612
01:37:23,880 --> 01:37:27,320
Speaker 1: something that other characters were not deeming as acceptable. But

1613
01:37:27,360 --> 01:37:29,320
Speaker 1: Sell was just like, fuck it, I'm going to get

1614
01:37:29,360 --> 01:37:31,720
Speaker 1: my groove back. Okay, this and then this is how

1615
01:37:31,760 --> 01:37:33,719
Speaker 1: And I didn't even know that I didn't have my groove,

1616
01:37:34,000 --> 01:37:35,920
Speaker 1: but I'm going to get it back. And and it's

1617
01:37:36,080 --> 01:37:40,400
Speaker 1: Winston Shakespeare is gonna give it to me. Um, And

1618
01:37:40,800 --> 01:37:44,120
Speaker 1: so that and just yeah, like the the exploration of

1619
01:37:44,160 --> 01:37:48,840
Speaker 1: her relationships with her sisters and her friend Delilah and

1620
01:37:48,880 --> 01:37:53,800
Speaker 1: her son and different things to to characterize her the

1621
01:37:53,880 --> 01:37:57,280
Speaker 1: fact that maybe we could have gotten a better understanding

1622
01:37:57,280 --> 01:37:59,680
Speaker 1: of why they're in love with each other and like

1623
01:37:59,800 --> 01:38:02,679
Speaker 1: what they're compatible about. But again, that's I mean, that's

1624
01:38:02,800 --> 01:38:04,920
Speaker 1: like we said, it's pretty standard for the genre. We

1625
01:38:04,920 --> 01:38:06,800
Speaker 1: we don't know why these people are ever in love

1626
01:38:06,880 --> 01:38:08,759
Speaker 1: except that they are close to each other and they're

1627
01:38:08,760 --> 01:38:12,240
Speaker 1: both conventionally attractive. But it's like, do we ever really know,

1628
01:38:12,439 --> 01:38:16,559
Speaker 1: like why j Lo and Matthew McConaughey were in love. No,

1629
01:38:18,000 --> 01:38:20,839
Speaker 1: they were just hot and around each other. It's implicit,

1630
01:38:20,920 --> 01:38:24,280
Speaker 1: it's it's inherent to the genre. It's just hot and

1631
01:38:24,320 --> 01:38:27,479
Speaker 1: around or my least favorite twizt I knew you and

1632
01:38:27,560 --> 01:38:30,680
Speaker 1: I was a child, therefore I have to marry you

1633
01:38:33,360 --> 01:38:37,920
Speaker 1: on yes, yes, yes, so yeah, Sorry, I was on

1634
01:38:37,960 --> 01:38:40,280
Speaker 1: my nipple. Rating. Um, I'll give it, you know what

1635
01:38:40,560 --> 01:38:45,200
Speaker 1: I'll give it. I think I'll do like a A

1636
01:38:45,520 --> 01:38:49,400
Speaker 1: three and a half or four. I don't know what's

1637
01:38:49,400 --> 01:38:51,920
Speaker 1: everyone else gonna do. I need other people's influence here.

1638
01:38:52,560 --> 01:38:57,040
Speaker 1: I'm gonna do probably. I will fully admit this is

1639
01:38:57,120 --> 01:39:01,639
Speaker 1: partially just I'm rating with my emotions, but I want

1640
01:39:01,640 --> 01:39:05,559
Speaker 1: to give it a four. I just feel like this

1641
01:39:06,240 --> 01:39:10,120
Speaker 1: for the reasons we've discussed this movie doesn't do everything right,

1642
01:39:11,040 --> 01:39:14,040
Speaker 1: but there's so much about this movie that is First

1643
01:39:14,080 --> 01:39:16,800
Speaker 1: of all, I mean, if we're talking about subversions in

1644
01:39:16,800 --> 01:39:20,120
Speaker 1: the drama or to the genre, this story is pretty

1645
01:39:20,160 --> 01:39:24,720
Speaker 1: engaging and like makes sense more often than not, which

1646
01:39:24,800 --> 01:39:27,960
Speaker 1: is not something you usually get. I also, oh, something

1647
01:39:28,000 --> 01:39:31,479
Speaker 1: we didn't talk about is like this kind of one

1648
01:39:31,560 --> 01:39:36,280
Speaker 1: of the big inciting incidents in in this movie is

1649
01:39:36,320 --> 01:39:40,920
Speaker 1: that Stella wants to like she's not embarrassed or like

1650
01:39:41,000 --> 01:39:45,040
Speaker 1: ashamed of self care and like practicing self care, and

1651
01:39:45,120 --> 01:39:47,360
Speaker 1: that I mean, that's a whole the whole practice of

1652
01:39:47,360 --> 01:39:50,280
Speaker 1: self care can get kind of insidious and capitalism steeped.

1653
01:39:50,640 --> 01:39:52,760
Speaker 1: We won't go there, but on the surface level, I

1654
01:39:52,760 --> 01:39:55,160
Speaker 1: think it is really nice that the first time we

1655
01:39:55,240 --> 01:39:58,559
Speaker 1: see Stella not at work, she is, you know, like

1656
01:39:58,720 --> 01:40:02,880
Speaker 1: having a relaxing day her sisters, and this whole trip

1657
01:40:03,040 --> 01:40:07,360
Speaker 1: with Wapie Goldberg is self care and like readdefining herself

1658
01:40:07,400 --> 01:40:12,240
Speaker 1: and just seeing women, especially not young women and especially

1659
01:40:12,280 --> 01:40:16,080
Speaker 1: a black woman like prioritizing herself and being like, you

1660
01:40:16,120 --> 01:40:18,080
Speaker 1: know what, I like even though and I thought it

1661
01:40:18,120 --> 01:40:19,840
Speaker 1: was kind of a cool detail that she says she

1662
01:40:19,880 --> 01:40:21,519
Speaker 1: wants to do it and then she's like, no, I

1663
01:40:21,520 --> 01:40:23,320
Speaker 1: don't want to, and then her friend is like, no,

1664
01:40:23,439 --> 01:40:27,080
Speaker 1: we're gonna go. Like that felt really cool. Um, you

1665
01:40:27,120 --> 01:40:30,679
Speaker 1: just don't see movies like that very much, where it's

1666
01:40:30,720 --> 01:40:33,439
Speaker 1: like a woman who's very for the most part like

1667
01:40:33,479 --> 01:40:36,200
Speaker 1: without shame, being like I deserve this, like I'm going

1668
01:40:36,280 --> 01:40:40,120
Speaker 1: to take care of myself, and you know, the internalized

1669
01:40:40,320 --> 01:40:43,760
Speaker 1: shame and back and forth that comes with that is

1670
01:40:43,760 --> 01:40:45,799
Speaker 1: a very real thing. And I like that it's addressed,

1671
01:40:45,840 --> 01:40:48,280
Speaker 1: but at its heart, like this is a story of

1672
01:40:48,320 --> 01:40:53,400
Speaker 1: like self care and prioritizing yourself and recognizing that you

1673
01:40:53,400 --> 01:40:57,080
Speaker 1: can have responsibilities in life and not totally lose sight

1674
01:40:57,120 --> 01:41:00,559
Speaker 1: of who you are. And I don't get your girl, yes,

1675
01:41:00,960 --> 01:41:05,000
Speaker 1: ge'ts your good. That's where the word groove comes into play.

1676
01:41:05,160 --> 01:41:08,439
Speaker 1: And I just I found that to be very soothing

1677
01:41:08,600 --> 01:41:11,760
Speaker 1: and wonderful and nice to see in a movie for

1678
01:41:11,840 --> 01:41:15,719
Speaker 1: all of the goofy problems that we um discussed, so

1679
01:41:16,520 --> 01:41:20,240
Speaker 1: kind of for that alone, it's going to get for

1680
01:41:20,240 --> 01:41:23,120
Speaker 1: for me. And and you just don't have many black

1681
01:41:23,240 --> 01:41:26,200
Speaker 1: romance movies. And I like Terry McMillan, I like that

1682
01:41:26,200 --> 01:41:28,519
Speaker 1: this is based on a true story, even though it

1683
01:41:28,640 --> 01:41:32,800
Speaker 1: ends not like the movie, and yeah, I really like

1684
01:41:32,840 --> 01:41:36,040
Speaker 1: this movie. So I want to give two nipples to Stella,

1685
01:41:36,800 --> 01:41:41,960
Speaker 1: one nipple to Delilah r I p and I'll give

1686
01:41:42,160 --> 01:41:46,679
Speaker 1: one nipple to what was the niece's name. The niece

1687
01:41:46,720 --> 01:41:50,040
Speaker 1: I was like, why is she here? Also tells whose

1688
01:41:50,120 --> 01:41:52,400
Speaker 1: kid was that I think it's I think it's Regina

1689
01:41:52,520 --> 01:41:57,280
Speaker 1: King's daughter. I was. I just it wasn't clear to

1690
01:41:57,320 --> 01:41:59,800
Speaker 1: me which sister's kid that one. Yeah, that makes sense.

1691
01:42:00,040 --> 01:42:02,360
Speaker 1: That's a legitimate question that I never thought about. And

1692
01:42:02,400 --> 01:42:04,720
Speaker 1: she doesn't come back, but I'm like, there she is

1693
01:42:05,360 --> 01:42:10,120
Speaker 1: because Regina King. Sorry, there's a jackhammer happening behind me. Um.

1694
01:42:10,120 --> 01:42:14,040
Speaker 1: Regina King refers to like waiting on what I think

1695
01:42:14,160 --> 01:42:18,000
Speaker 1: is a child support check from like her ex partner,

1696
01:42:18,720 --> 01:42:21,840
Speaker 1: and her name is Chantelle, if I'm not mistaken, Chante.

1697
01:42:22,000 --> 01:42:24,519
Speaker 1: I think it's Yeah, I think she is Regina King's daughter.

1698
01:42:24,800 --> 01:42:27,160
Speaker 1: Like one line that she gets, I thought she was

1699
01:42:27,400 --> 01:42:29,880
Speaker 1: very engaging and funny for the one scene that she

1700
01:42:30,040 --> 01:42:35,120
Speaker 1: is in. So she gets my fourth nipple. Good for her.

1701
01:42:36,000 --> 01:42:38,320
Speaker 1: She said, Okay, it's really funny because it's the two

1702
01:42:38,400 --> 01:42:42,400
Speaker 1: kids talking in the pool. Quincy is like, oh yeah,

1703
01:42:42,479 --> 01:42:47,439
Speaker 1: like Winston's a lot younger than my mom, and and

1704
01:42:47,479 --> 01:42:50,680
Speaker 1: Shantell is like, well, how young And he's like not

1705
01:42:50,760 --> 01:42:53,439
Speaker 1: quite thirty, which is like a decade off of how

1706
01:42:53,439 --> 01:42:56,400
Speaker 1: old he actually is. But then Shantell says, oh, that's

1707
01:42:56,439 --> 01:43:01,639
Speaker 1: not young, because thirty is not young. Everybody like, um,

1708
01:43:01,840 --> 01:43:04,720
Speaker 1: so yeah, that was very funny. Um okay, so yeah,

1709
01:43:04,760 --> 01:43:07,479
Speaker 1: I'll give it four nipples as well. Most of my

1710
01:43:07,520 --> 01:43:11,280
Speaker 1: gripes with the movie are more like screenwriting based, you know,

1711
01:43:11,360 --> 01:43:14,360
Speaker 1: like it could have been a half hour shorter. You know,

1712
01:43:14,400 --> 01:43:18,320
Speaker 1: there was some weird tonal shifts that I couldn't quite

1713
01:43:18,680 --> 01:43:24,120
Speaker 1: make sense of. Um that I love Ta Diggs is accent.

1714
01:43:24,200 --> 01:43:26,720
Speaker 1: I give one of my nipples to him trying to

1715
01:43:26,840 --> 01:43:29,920
Speaker 1: do to make an accent. I'll give to to Stella,

1716
01:43:30,000 --> 01:43:33,120
Speaker 1: and I'll give one to Regina King. I am going

1717
01:43:33,160 --> 01:43:36,360
Speaker 1: to give it four nipples. One to the scene in

1718
01:43:36,400 --> 01:43:40,480
Speaker 1: the shower where Ta Diggs but is very prominent. Angela

1719
01:43:41,160 --> 01:43:43,680
Speaker 1: gets to be dressed the whole time. Um, so I'm

1720
01:43:43,680 --> 01:43:46,640
Speaker 1: going to give one nipple to that scene in particular,

1721
01:43:47,360 --> 01:43:50,919
Speaker 1: One to Regina King because she deserves everything in the world.

1722
01:43:51,520 --> 01:43:55,680
Speaker 1: One to will Be Goldberg because she's very funny in

1723
01:43:55,680 --> 01:43:58,360
Speaker 1: this way. That's like, hell, yeah, I hope that that's

1724
01:43:58,400 --> 01:44:01,920
Speaker 1: the type of friend relationships I continue to have well

1725
01:44:02,080 --> 01:44:05,040
Speaker 1: until my third forties. And hope. I mean, I don't

1726
01:44:05,040 --> 01:44:06,479
Speaker 1: want to die and I don't want my friends to do.

1727
01:44:06,680 --> 01:44:09,280
Speaker 1: But you get it. I want a good relationship with

1728
01:44:09,320 --> 01:44:12,080
Speaker 1: my friends. That is what that nipples for. And I'm

1729
01:44:12,120 --> 01:44:16,920
Speaker 1: going to say the fourth nipple two. Every time they

1730
01:44:17,000 --> 01:44:20,799
Speaker 1: yell as a group at Angela, the sister who's a jerk,

1731
01:44:21,280 --> 01:44:23,479
Speaker 1: I loved it. I enjoyed it so much. When they

1732
01:44:23,520 --> 01:44:26,760
Speaker 1: would be like shut up, Angela and everyone's like, yeah,

1733
01:44:26,800 --> 01:44:30,080
Speaker 1: you should. We don't like you. It's like, yes, you

1734
01:44:30,120 --> 01:44:33,720
Speaker 1: suck and your whole family knows it. Yeah. Stilla goes

1735
01:44:33,800 --> 01:44:36,439
Speaker 1: over to her house to be like, you disrespected my

1736
01:44:36,479 --> 01:44:39,160
Speaker 1: boyfriend yesterday and I need you to apologize, and then

1737
01:44:39,160 --> 01:44:41,240
Speaker 1: she does. She's like, I didn't mean to be rude,

1738
01:44:41,880 --> 01:44:44,360
Speaker 1: Like I'm just looking out for you. Aren't you worried

1739
01:44:44,360 --> 01:44:47,559
Speaker 1: about this? I liked that you get resolution there. Yeah,

1740
01:44:47,640 --> 01:44:49,680
Speaker 1: and so it's like, of course I'm worried about this,

1741
01:44:49,760 --> 01:44:52,040
Speaker 1: but like, you just need to be supportive. I'll be

1742
01:44:52,120 --> 01:44:55,040
Speaker 1: the worrior here. So yeah, I did. I like that

1743
01:44:55,120 --> 01:44:59,880
Speaker 1: little arc Canice thank you so much for being here

1744
01:45:00,160 --> 01:45:05,240
Speaker 1: for being our again first ever fourth time guest listeners.

1745
01:45:05,320 --> 01:45:08,600
Speaker 1: Check out our Back to the Future episode on the

1746
01:45:08,680 --> 01:45:13,679
Speaker 1: Matreon Oreo Royal episode on the main feed, as well

1747
01:45:13,720 --> 01:45:16,280
Speaker 1: as an episode that is what did we name it?

1748
01:45:16,280 --> 01:45:23,280
Speaker 1: It's like um something something in a discussion with Cannie Mobley. Anyway,

1749
01:45:23,479 --> 01:45:26,600
Speaker 1: she'll be back for her jacket. You'll be back for

1750
01:45:26,640 --> 01:45:29,160
Speaker 1: your jacket, I do. I I mean, if you guys

1751
01:45:29,600 --> 01:45:33,080
Speaker 1: happen to have a velvet smoking jacket, I would never

1752
01:45:33,160 --> 01:45:37,519
Speaker 1: turn it down, just so you know we you'll see it,

1753
01:45:37,560 --> 01:45:42,200
Speaker 1: You'll get it. Um where can people follow you online?

1754
01:45:42,200 --> 01:45:44,599
Speaker 1: What would you like to plug? So you can follow

1755
01:45:44,600 --> 01:45:47,719
Speaker 1: me online on all of the platforms at Kennie Mobley.

1756
01:45:48,120 --> 01:45:50,559
Speaker 1: I just even made a TikTok because they said that

1757
01:45:50,600 --> 01:45:53,400
Speaker 1: I had to. And it has no videos because I

1758
01:45:53,439 --> 01:45:56,200
Speaker 1: don't know how to use that app. So either look out.

1759
01:45:56,400 --> 01:45:59,719
Speaker 1: I will one day have one. Uh, it's gonna be great.

1760
01:46:00,160 --> 01:46:04,040
Speaker 1: And I have my podcast which is called Love about Town. Caitlin,

1761
01:46:04,080 --> 01:46:06,080
Speaker 1: you've been on it, Jamie, you were on Person about Town.

1762
01:46:06,080 --> 01:46:08,760
Speaker 1: But we gotta get bad for Love about Town. I'm

1763
01:46:08,840 --> 01:46:13,000
Speaker 1: now co host of Complexit Hi complex Ifi on Vice.

1764
01:46:13,680 --> 01:46:15,680
Speaker 1: So check out all that stuff and you know, just

1765
01:46:16,080 --> 01:46:20,360
Speaker 1: you know, keep your eyes peeled. I'm around, you're doing stuff.

1766
01:46:20,400 --> 01:46:28,519
Speaker 1: Look behind you? Yeah right now? No, okay, Oh well,

1767
01:46:29,360 --> 01:46:31,599
Speaker 1: thanks again so much for being here. We always love

1768
01:46:31,680 --> 01:46:35,559
Speaker 1: having you. Um. You can follow us on social media

1769
01:46:35,600 --> 01:46:40,320
Speaker 1: at Bechtel Cast. You can subscribe to our patreon ak

1770
01:46:40,600 --> 01:46:43,200
Speaker 1: Matreon and check out that Back to the Future episode

1771
01:46:43,880 --> 01:46:46,320
Speaker 1: with Kinnis, and then you can do that by going

1772
01:46:46,320 --> 01:46:49,479
Speaker 1: to patreon dot com slash becktel Cast. It's only five

1773
01:46:49,560 --> 01:46:52,320
Speaker 1: dollars a month and it gives you two bonos episodes

1774
01:46:52,400 --> 01:46:55,840
Speaker 1: plus access to the entire back catalog. And again sorry,

1775
01:46:55,840 --> 01:47:01,120
Speaker 1: if you can hear the jackhammer behind me, you can

1776
01:47:01,160 --> 01:47:03,720
Speaker 1: get our merch on t public dot com slash v

1777
01:47:03,880 --> 01:47:07,080
Speaker 1: Bechdel Casket all your favorite stuff. We also have masks

1778
01:47:07,120 --> 01:47:09,920
Speaker 1: in the store now, so if you are looking for

1779
01:47:09,960 --> 01:47:12,960
Speaker 1: a new mask to add to your dystopia collection, we

1780
01:47:13,000 --> 01:47:16,640
Speaker 1: have those as well. Um yeah, well, everyone, let's go

1781
01:47:16,680 --> 01:47:19,680
Speaker 1: and get our grooves back. What do you say? I

1782
01:47:19,760 --> 01:47:21,720
Speaker 1: lost mine? Gotta go out. I lost mine. I need

1783
01:47:21,760 --> 01:47:23,479
Speaker 1: to get my groove back. But too bad we can't

1784
01:47:23,479 --> 01:47:26,719
Speaker 1: travel where were we supposed to do? Oh? Yeah, yeah,

1785
01:47:26,760 --> 01:47:31,519
Speaker 1: I want to go to Jamaica. Alright, bye bye bye