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

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

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Speaker 1: husbands or do they have individualism the patriarchy? Zef and

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Speaker 1: best start changing it with the Bell Cast. Jamie, I've

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Speaker 1: got the eyes, I've got the teeth, I've got Look

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Speaker 1: out the window, I've got the car, Look at the

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Speaker 1: look at the window of the basement. I just dragged

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Speaker 1: you into to yell at you in after nearly trying

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Speaker 1: to suffocate you to death. It's me, Nicholas Cage. I'm

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Speaker 1: just in my uncle's movie right now and one of

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Speaker 1: my most dialed back performances of my career. Oddly enough,

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Speaker 1: isn't that? I thought that too, And I was like,

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Speaker 1: that is shocking because he is being so weird. Well, Caitlin,

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Speaker 1: now that you have yelled all of your qualifications of

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Speaker 1: why I should marry you, I guess I will settle

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Speaker 1: for you, not once, but twice. To you so much.

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Speaker 1: I love that love our future together. Hello and welcome

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

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

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Speaker 1: we take a look at your favorite movies using an

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Speaker 1: intersectional feminist lens, using the Bechdel Test as a jumping

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Speaker 1: off point for a discussion. Caitlin, what is I mean?

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Speaker 1: You got the eyes, you've got the teeth, you get

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Speaker 1: the hair, you get the car, which is true, I

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Speaker 1: don't have the car. You do have the car, and

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Speaker 1: you always have. You really rely on me. I kind

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Speaker 1: of do to get from point A to point beat.

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Speaker 1: Sometimes they do art imitating life. Yeah, you're the knick

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Speaker 1: cage in our relationship, which I don't know what that says.

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Speaker 1: I'm honored. So we use the Becktel test as a

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Speaker 1: jumping off point for discussion. But Caitlin, what is that anyways?

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Speaker 1: The Bechtel test is a media metric created by queer

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Speaker 1: cartoonist Alison Bechtel, sometimes called the Bechtel Wallace Test. There

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Speaker 1: are many different variations of the test. The one that

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Speaker 1: we use is that two people of any marginalized gender

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Speaker 1: have to have names, and they must speak to each

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Speaker 1: other about something other than a man for at least

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Speaker 1: two lines of dialogue, and ideally for us, it's maybe

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Speaker 1: more meaningful conversation to the narrative. If that happens, we

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Speaker 1: are cheering. We are clapping, we're celebrating, we're saying we

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Speaker 1: love it. Yes, Queen go girl boss. Way to have

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Speaker 1: a conversation. Yeah, especially if it's in a movie that

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Speaker 1: is directed by a man, because you just don't see

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Speaker 1: it coming. Oh my gosh, I cannot believe Francis Ford

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Speaker 1: Coppola directed this movie. What a weird choice. He really

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Speaker 1: pulled this one out. I wouldn't. There are a few

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Speaker 1: we were talking about this earlier. There's like a few

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Speaker 1: shots in this movie that you're like, oh, yeah, this

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Speaker 1: is a Coppola movie where like when the cake is

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Speaker 1: rushing towards her, You're like, oh right, that guy that

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Speaker 1: first mirrorsing. Yeah, scene that is supposedly in a mirror

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Speaker 1: that is not a mirror. Not a mirror? Right? Okay.

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Speaker 1: I was like, are my eyes just failing me right now?

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Speaker 1: Or is this two actors who are pretending to mirror

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Speaker 1: each other? Okay? Good. There's so much going on. We're

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Speaker 1: covering Peggy Sue got married today, and we have a

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Speaker 1: returning guest that we're so thrilled to have back. Let's

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Speaker 1: let's get her in the mix. Baby. She's a comedian,

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Speaker 1: she's got a new special coming out and a new album,

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Speaker 1: both called stay Cation. You remember her from our episode

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Speaker 1: on Groundhog Day. It's Jacky Cation. Yeah, it's me. I

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Speaker 1: feel welcome, we welcome love having you here. Yeah, and

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Speaker 1: Staycations out. It's so out. It's been out for like

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Speaker 1: three weeks. It is out currently. Okay, but it's super fun.

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Speaker 1: It's free. Find it. My last name, stay the words

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Speaker 1: stay cation, K S H I and do whatever you want.

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Speaker 1: But incredible. Yeah, it's out there. It's in the world.

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Speaker 1: There's no excuse not to listen to it. Watch it.

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Speaker 1: It's free, Jackie. What is your relationship with Peggy Sue

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Speaker 1: got married? My relationship is a little complicated. My brother

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Speaker 1: Russ is a delightful human being in many ways and

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Speaker 1: a button bush or in other ways because he's my brother.

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Speaker 1: But he loves movies and honestly loves some terrible movies.

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Speaker 1: He has been known to say out loud, if it

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Speaker 1: has one good scene, I'll watch it, and you're like,

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Speaker 1: that is a low bar, my friend. But he is

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Speaker 1: an econ professor. He did an episode of The Dork

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Speaker 1: Forest about Hallmark movies where he showed me his spreadsheets

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Speaker 1: last Christmas. His spreadsheet. Yeah, yeah, he did a great

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Speaker 1: spreadsheet about how much they cost to make, who got

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Speaker 1: most of the money, who were the recurring directors and

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Speaker 1: actors and actresses, and uh, yeah, it's pretty outstanding, and

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Speaker 1: this is one of his favorite movies. Really, how weird

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Speaker 1: is that stand? He says that he calls it an

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Speaker 1: adult back to the future. Okay, that's interesting. I would

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Speaker 1: call it a less fun back to the future, right,

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Speaker 1: which is a way of saying adults, right, And it

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Speaker 1: has I mean the thing about this movie that was fascinating.

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Speaker 1: I mean, there's so many things that are fascinating about

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Speaker 1: this movie, but those tiny scenes of the powerlessness and

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Speaker 1: the repetition of women in this thing. He's like he

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Speaker 1: also called it sort of he said it was like diner,

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Speaker 1: but it was only about the women. Yeah, I can

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Speaker 1: see that. There's so much about this movie that's fascinating too,

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Speaker 1: because it does take like such a high concept premise

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Speaker 1: and focus it so much, and it like chooses to

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Speaker 1: focus on things that are pretty like pragmatic and mundane.

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Speaker 1: It's very interesting because a movie like Back to the

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Speaker 1: Future is largely focused on the external goal of trying

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Speaker 1: to get Marty McFly back to his timeline in so

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Speaker 1: it's very like rompy and plotty, whereas this movie takes

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Speaker 1: that high concept like you said, Jamie, but it's like,

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Speaker 1: but let's explore the character arc. It's more of a

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Speaker 1: character studying than anything. I love. I kind of love it,

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Speaker 1: Like yeah, by the time he was to talking about it,

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Speaker 1: I was like, yeah, no, it is kind of a

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Speaker 1: great movie. I mean just because she goes into this

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Speaker 1: thing and you can't change time, so she's going to

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Speaker 1: make this mistake again, but the character herself has changed

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Speaker 1: fundamentally because of whatever time travel coma whatever, this was right,

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Speaker 1: and she comes out of it more in charge, like

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Speaker 1: because she went in going I feel humility. Remember that

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Speaker 1: line it was do you feel humiliated? Do you feel

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Speaker 1: less than? Do you feel worseless? And good? Good because

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Speaker 1: that's how she felt when when Nicholas Cage went with

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Speaker 1: Janet and and she comes out of it with more power.

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Speaker 1: I think that's an interesting argument. I would argue the

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Speaker 1: other the opposite, or really I think there's so many ways.

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Speaker 1: I'm still kind of figuring out how I feel about

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Speaker 1: how this movie goes, because I feel like there is

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Speaker 1: a way to read it where you're like, oh, this

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Speaker 1: is the first time I saw it, it made me

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Speaker 1: sad at the end, But then the second time I

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Speaker 1: saw it, it didn't make me as like, it's just

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Speaker 1: I don't know. I really like taking a huge premise

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Speaker 1: and then taking it in a weird direction, because this

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Speaker 1: is just like a woman in her early forties taking

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Speaker 1: a look at the choices she's made in her life

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Speaker 1: so far in a back to the future style premise,

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Speaker 1: which is like so weird, but it's but it's I've

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Speaker 1: never seen anything like it. And I saw this movie.

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Speaker 1: I saw this movie in nine in the movie theater,

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Speaker 1: and I was infuriated. It was sad, it was it

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Speaker 1: was I found her kind of pathetic and irritata and

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Speaker 1: I was like, why did you make these choices? But

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Speaker 1: watching it again, I was like every single person in

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Speaker 1: that in that timeline, we're like, we'll marry me and

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Speaker 1: go work at this chicken farm for me so that

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Speaker 1: I could write, Marry me and support me while I'm

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Speaker 1: a musician, Marry me and give me great tech ideas

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Speaker 1: so that we could be billionaires, and which that would

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Speaker 1: have been the option I would have gone with. It's

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Speaker 1: like I'm going with panty hose guy exactly. And then

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Speaker 1: every like her parents and her and her mom and

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Speaker 1: her grandmother, and you know, there was nobody who's who

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Speaker 1: said don't get married, nobody who said are you going

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Speaker 1: to go to college? Nobody said what do you want

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Speaker 1: to do? Ever? Right, So I left that movie the

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Speaker 1: first time going you And the second time I watched

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Speaker 1: it last night, I was like, this is a real

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Speaker 1: slice of life of some Americana here, because it was

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Speaker 1: n right. Her dad is in the fucking hat business.

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Speaker 1: Do you know when men stopped wearing hats nineteen sixty one?

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Speaker 1: So fucked? He is so fucked And he just bought

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Speaker 1: an etzel because they stopped wearing hats because John John

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Speaker 1: Kennedy did wear hats, So hats went completely out. So

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Speaker 1: if you owned a hat business, you were for cutted.

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Speaker 1: Flowing my mind, that is so like there, I'm excited

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Speaker 1: to kind of dig into that side of it and

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Speaker 1: like kind of the historical because that was something that

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Speaker 1: stood out to me as well of like something that

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Speaker 1: is frustrating to witness but also seems authentic to that

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Speaker 1: time of like she and it made me wish ultimately

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Speaker 1: that we had spent a little more time in the

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Speaker 1: eighties with her because I feel like the movie started

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Speaker 1: in such a cool, strong place where it's like she's,

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Speaker 1: you know, kind of torn between this you know, middle

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Speaker 1: class white woman eighties paradigm of like do I want

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Speaker 1: to be a liberated woman? Do I want to strike

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Speaker 1: out on my own? Or do I want to stay

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Speaker 1: in this domestic situation and figure out who I am? There?

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Speaker 1: And she has one friend on each side, and right

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Speaker 1: with Nicolas Cage in a wig, who's like, I think

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Speaker 1: twenty two in this movie, but he's playing whatever, Like,

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Speaker 1: but I I like that pushing Paul and Sophia Coppola. Yeah, Baby.

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Speaker 1: Sophia played her younger sister. Jim Carrie's in it. Helen Hunt.

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Speaker 1: Isn't it? Helen Hot? Joan Allen? Isn't it? Yeah? Was

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Speaker 1: that Wilford Brimley wasn't Maybe? Maybe I might be wrong.

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Speaker 1: I played her grandfather, who had that great line, why

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Speaker 1: have a lodge if you can't have funny hats or something?

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Speaker 1: That was a great they're obsessed with hats? Um. Yeah.

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Speaker 1: I just like, there's there's so much going on. I'm

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Speaker 1: excited to get into it because this My history with

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Speaker 1: this movie is that I had never seen it before.

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Speaker 1: I just knew that I liked Kathleen Turner and that

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Speaker 1: I was going to like it based on the fact

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Speaker 1: that I liked Kathleen Turner, which did bear out as expected.

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Speaker 1: She's so amazing. But I I, yeah, I knew very

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Speaker 1: very little about this movie. I feel like it's a

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Speaker 1: movie that's maybe, um, I don't know, if it's like

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Speaker 1: you know, under it's not very discussed. I don't think true,

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Speaker 1: but I think it's very worthy of discussion. Like once

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Speaker 1: I watched it was like, oh, there's a there's a

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Speaker 1: lot of there's a lot of ship to chew on

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Speaker 1: in this one. I'm very excited to talk about it.

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Speaker 1: And I even though so much of it made me sad,

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Speaker 1: I liked the movie and I'm glad that it exists,

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Speaker 1: and it exists kind of the way that it does

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Speaker 1: because it feels like such a almost like a weird

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Speaker 1: kind of like little historical document of taking a woman

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Speaker 1: who you meet her at this crossroads and then you

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Speaker 1: go back and get context for like, well how do

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Speaker 1: you get there? Which is cool, and I'm like, you

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Speaker 1: don't especially, I mean, I just don't expect that in

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Speaker 1: a Francis for a couple of movie is to get

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Speaker 1: like a deep character study of a middle aged woman.

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Speaker 1: Didn't know. I didn't know, didn't yet, did not call

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Speaker 1: it and everybody, And I thought the depiction of what

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Speaker 1: seventeen year olds are kind of like was kind of

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Speaker 1: great too. In the fact of all this emotion and

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Speaker 1: all this angst, I was like, yeah, not not for

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Speaker 1: a hundred dollars. When I go back, they were real horny.

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Speaker 1: It was stressful to watch, sup horny, super emotional. Confused Cait,

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Speaker 1: what's your history with this movie? I had also never

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Speaker 1: seen it. I was a big fan of again Back

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Speaker 1: to the Future throughout my whole life and still today,

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Speaker 1: But for some reason, a similar movie with a similar

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Speaker 1: premise that came out one year later I didn't see.

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Speaker 1: It's a very different movie. I mean, I think the

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Speaker 1: main plot of Back to the Future is don't be

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Speaker 1: attracted to your son, and like the main thing is like,

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Speaker 1: don't do it. It's it's like that. That is the

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Speaker 1: message is that you know, it's weird, it's not okay,

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Speaker 1: be careful who you fall in love with in high

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Speaker 1: school because it might be your time traveling son, which is,

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Speaker 1: you know, a very specific and not very relatable theme

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Speaker 1: but hilarious weird plu hilarious, weird. It's very very strange

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Speaker 1: and yeah, this movie, this movie explores a far more

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Speaker 1: in theory compelling character arc. But again, the way her

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Speaker 1: art still kind of pans out is up for debate.

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Speaker 1: I think it is compelling. I think it's something can

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Speaker 1: be depressing and compelling at the same time. Absolutely, it

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Speaker 1: just made me sad the way it pans out. But well,

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Speaker 1: we'll get we'll get there. In the meantime, I will

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Speaker 1: do the recap. Okay, Jackie for to jump in at

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Speaker 1: any time. Yes, okay, So it is nineteen again. This

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Speaker 1: movie comes out in but we open its we meet

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Speaker 1: Peggy Sue. That's Kathleen Turner. She is getting ready for

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Speaker 1: her of your high school reunion. She and her I

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Speaker 1: guess early twenties daughter, Beth Helen Hunt are talking about

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Speaker 1: best dad slash Peggy Sue's ex husband or soon to

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Speaker 1: be ex husband, Charlie. I went into this movie completely cold,

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Speaker 1: and so at the first scene I didn't note that

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Speaker 1: she travels back in time in it, So I was like,

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Speaker 1: why do these people keep saying that they're forty five?

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Speaker 1: They're very obviously not um, but I did like that. UM.

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Speaker 1: I feel like there are so many movies that, um,

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Speaker 1: there are so many movies that if there's a time jump,

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Speaker 1: like the facial changes will be so distractingly large that

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Speaker 1: you can't even really engage with the movie. But instead,

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Speaker 1: I like that the casting split the difference and they're like, well,

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Speaker 1: we're going to cast people in their late twenties early thirties,

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Speaker 1: so they kind of don't look like a teenager and

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Speaker 1: they kind of don't look like a forty five year old.

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Speaker 1: But like you could buy into either and it's fine.

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Speaker 1: It's like it's a very community theater approach, and I

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Speaker 1: think it works right. So Peggy Sue and her daughter

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Speaker 1: are talking about Charlie, who we see on a commercial

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Speaker 1: on TV. He is played by Nicholas Cage. Peggy Sue

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Speaker 1: hates and resents him because he was cheating on her

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Speaker 1: throughout their marriage, which has led to them getting divorced.

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Speaker 1: Then she heads to the reunion and we meet a

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Speaker 1: lot of her friends from when she was in high school,

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Speaker 1: such as Carol Maddie. Maddie is Joan Allen Walter played

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Speaker 1: by Jim Carey. Also this guy Richard Norvik who used

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Speaker 1: to be a nerd, and now he's a millionaire. I

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Speaker 1: sort of forgot that when a nerd becomes a millionaire

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Speaker 1: that didn't used to be a scary thing in a movie.

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Speaker 1: It used to just be like a thing that happened,

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Speaker 1: where now you're like, oh no, Elon Musk, you have

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Speaker 1: to get away from this person. But at this time

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Speaker 1: it was like, oh no, he's lovable, right, right, He's

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Speaker 1: he's just he's the lovable UM six US guy who

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Speaker 1: got pushed around in high school. Right. Reminds me of

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Speaker 1: Alan Cummings character in Romeo Michelle's High School Reunion. Yeah,

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Speaker 1: oh yeah, exactly, also directed by Coppola. Yes, could you imagine?

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Speaker 1: Oh my goodness. So, Peggy Sue is talking to her friends.

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Speaker 1: She tells them about how her marriage fell apart. She

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Speaker 1: explains that she and Charlie got married too young, and

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Speaker 1: they ended up presenting each other for all the things

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Speaker 1: they feel they missed out on. Peggy Sue never even

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Speaker 1: dated anybody else. She mentions this guy, Michael fitz Simmons,

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Speaker 1: who she wishes she had gone to bed with in

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Speaker 1: high school when she had the chance. She says, if

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Speaker 1: she knew then what she knows now she do things

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Speaker 1: a lot differently, is so self aware from the moment

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Speaker 1: one she knows exactly why her divorces. I'm like, are

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Speaker 1: you in therapy? Like you're killing and she's like, I

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Speaker 1: know exactly why. She's like, I hold anger for him,

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Speaker 1: but also, you know, neither of us got to explore

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Speaker 1: lives before we settled down. She's emotionally intelligent, that Peggy su.

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Speaker 1: I like her. Truly, I wish she'd had a better husband, right,

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Speaker 1: I wish she had chosen such a mess of a kid.

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Speaker 1: You know, it is in some ways it is a

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Speaker 1: Shakespearean tragedy because imagine picking the same loser twice frustrating,

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Speaker 1: and that loser is Charlie, who right then shows up

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Speaker 1: at the reunion. It's awkward between him and Peggy Sue.

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Speaker 1: Then the reunion Alexa King and Queen. Richard Norvik is

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Speaker 1: the King and Peggy Sue is the Queen. But as

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Speaker 1: she's giving her acceptance speech, she faints because women be fainting.

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Speaker 1: And then I know that women be fainting, women be fainting,

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Speaker 1: But I liked this faint. I don't know what it

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Speaker 1: was about this, I mean, I do know what it was.

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Speaker 1: It was like it was just scary for him for

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Speaker 1: a minute. Like, I feel like that scene did a

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Speaker 1: good job of putting you in her head of like,

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Speaker 1: because times women be fainting and a void. But I

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Speaker 1: was like, at least in this I understood why she

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Speaker 1: was faint. It worked for me too. Yeah. Yeah, and

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Speaker 1: you got to move the plot forward, so good for

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Speaker 1: her them faint, The plot must go on, that's true.

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Speaker 1: She got a bonker head, or the movie can't start,

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Speaker 1: can't happen. So when she wakes up, it is nineteen sixty.

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Speaker 1: She is in high school again. Her friends are there,

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Speaker 1: Charlie is there. She has the memories and consciousness of

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Speaker 1: her fully adult self, but everyone perceives her as her

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Speaker 1: high school self, even though she is visibly in her thirties. Right,

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Speaker 1: And he has always looked forty always, Yes, I don't

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Speaker 1: care if he was twenty years old. He has always

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Speaker 1: looked forward to even though he's twenty two. In this

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Speaker 1: he did. Yeah, what a goony looking dude, man, he

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Speaker 1: I was. I mean, I will get into this a

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Speaker 1: little later, but there was a lot of like sparring

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Speaker 1: about how the production of this movie went, and like

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Speaker 1: Kathleen Turner and Nicholas Cage ended up getting into a

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Speaker 1: lawsuit over stet like there was some interesting stuff going on.

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Speaker 1: It sounds like everyone was being messy. This is just

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Speaker 1: a messy. Yeah. So then Peggy Sue's friends take her home.

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Speaker 1: She reconnects with her mom, her younger sister Nancy played

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Speaker 1: by Sofia Coppola. Because nepotism, she reconnects with her dad,

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Speaker 1: who also gets her in trouble for getting drunk because

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Speaker 1: she's like, I'm forty three. I can drink whiskey straight

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Speaker 1: from the bottle and he's like, no, you're a teenager. Anyway.

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Speaker 1: The next day, Charlie picks her up to go to

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Speaker 1: school and he's like, hey, remember how we talked about

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Speaker 1: how we should see other people. I think it's a

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Speaker 1: good idea to do after graduation. That way I can

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Speaker 1: focus on my music for a while and then we

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Speaker 1: can settle down and get married. And she's like, fuck it,

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Speaker 1: let's break up now. And it's the best line because

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Speaker 1: you're like, oh, good, good, She's not gonna do this again,

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Speaker 1: right right right, which makes it so I'm like, oh,

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Speaker 1: you're so close. It's so like and I get it

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Speaker 1: because sometimes you you you break up with someone, you're like,

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Speaker 1: this isn't right, and then you date a different person

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Speaker 1: and you're like, oh, this sucks in a totally different way.

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Speaker 1: But then date a third person. Don't go back to

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Speaker 1: the first person. There's always a third person out there

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Speaker 1: that's going to hurt you in a in a new

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Speaker 1: and interesting way. If you're gonna build and then and

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Speaker 1: then a fourth person, and then a fifth person, and

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Speaker 1: so on and so and it'll go on and you'll

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Speaker 1: never find someone the literal story of my life. So

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Speaker 1: then she is not dating Charlie anymore. So she's kind

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Speaker 1: of like focusing on school for some reason. She's uh,

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Speaker 1: she flunks an algebra test. She admires that classmate Michael

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Speaker 1: fitz Simmons, who she wanted to bang back in high school.

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Speaker 1: He has some hot takes on literature, and she's like, wow,

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Speaker 1: he's so intellectual. Well it's Caraway. Oh my god, You're

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Speaker 1: just like I don't like kemming Way. Like Carraway. I

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00:21:07,080 --> 00:21:10,720
Speaker 1: was like, they're the same guy. One has bowls and

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Speaker 1: the other one is like the Roadman and LSD. And

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Speaker 1: you're like, shut it's so, I mean, it's Kevin j O'Connor. Right, Yes,

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Speaker 1: it's so funny because I feel like the movie has

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00:21:22,520 --> 00:21:24,400
Speaker 1: to keep telling you he's a good writer, because when

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Speaker 1: you hear him talk, you're like, this sucks. They also

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Speaker 1: have to tell you that he's good looking. And because

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Speaker 1: you're like that guy, like the picture of him running,

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Speaker 1: You're like, what is with his face anyway? So, I

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Speaker 1: mean there's classically good looking, and then there's Nicolas Cage

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Speaker 1: movie good looking, so you gotta have some. I mean,

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Speaker 1: Jim Carrey's in this thing, So Jim Carrey is looking

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Speaker 1: beautiful as usual. Nicolas Cage, it's really actively distancing himself

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Speaker 1: from how he looks in this movie, which I also

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Speaker 1: is reading production notes about where he's like whatever, uncle,

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Speaker 1: uncle Daddy, Like I want to wear a wig and

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Speaker 1: fake teeth and talk like Gumby And he was like,

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Speaker 1: oky dog, Nick, do whatever you want, have a career

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Speaker 1: on me. And Kathleen Turner was fuming, right, She's like,

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Speaker 1: there's not a chance she would go with this guy

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Speaker 1: ever anybody. He's such a dweep. Wait, Jamie real quick, Yeah,

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Speaker 1: Jim Carrey hot, you say question mark? I was gonna

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Speaker 1: I was gonna let it go, But I are you kidna?

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Speaker 1: I'm sorry? Are we not all on the same page

385
00:22:31,880 --> 00:22:36,120
Speaker 1: about Jim Carrey hot and interesting? I feel like if

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Speaker 1: you saw young Jim Carey and you didn't know he

387
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Speaker 1: was Jim Carey, you would say hot. That's my opinion.

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Speaker 1: Not for me. There might have been a window when

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Speaker 1: you saw Jim Carrey and you're like, that guy has

390
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Speaker 1: given me the Peter Tingles and then that's enough. But look,

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Speaker 1: I've been known to have eccentric tastes. But I say

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Speaker 1: I've I've said it before. I don't know if I've

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Speaker 1: ever said it on the show, but I'm glad we're

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Speaker 1: putting out on wax. Jim Carrey hot. Okay, you're alone there,

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Speaker 1: so sorry, sorry call um. Anyway, so we're we're told

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Speaker 1: that this Michael fitz Simmons guy is brilliant and hot

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Speaker 1: and Kathleen Turner likes him, so we're like, okay, I guess.

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Speaker 1: Then Peggy Sue approaches Richard Norfolk, the current NERD future millionaire.

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Speaker 1: She asks him if time travel is possible, and then

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Speaker 1: she convinces him that she has time traveled from twenty

401
00:23:34,119 --> 00:23:37,200
Speaker 1: five years in the future. I like that he believes her.

402
00:23:37,280 --> 00:23:40,399
Speaker 1: That's so sweet in such a nice moment. I do

403
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Speaker 1: wish there are multiple moments in the we'll get into this,

404
00:23:43,560 --> 00:23:47,119
Speaker 1: but in the flashback, I feel like the eighties premise

405
00:23:47,119 --> 00:23:48,720
Speaker 1: sets you up for a movie that's going to be

406
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Speaker 1: about her relationships with her female friends, but then once

407
00:23:51,880 --> 00:23:54,359
Speaker 1: you go back to the sixties, it's all about these

408
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Speaker 1: three guys. I was hoping you had spend more time

409
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Speaker 1: with the with with the three friends here, but I

410
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Speaker 1: also like that Richard believes her, yeah yeah, and then

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Speaker 1: one friend disappears entirely. There's a character named Rosalie who

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Speaker 1: will also discuss, but she appears in the flash forward

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Speaker 1: and it's kind of introduces like a close friend of hers,

414
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Speaker 1: and then she's like not there in there she married to, right,

415
00:24:20,680 --> 00:24:24,040
Speaker 1: because the movie keeps defining women by who they are

416
00:24:24,320 --> 00:24:27,399
Speaker 1: or who will they will be married to, but we

417
00:24:27,440 --> 00:24:31,000
Speaker 1: don't know anything about her character named Rosalie Testa, but

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Speaker 1: then she like doesn't appear at all in the flash

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Speaker 1: I don't know that was I think that was like

420
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Speaker 1: my my actual like writing disappointment. It was like that

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Speaker 1: you were just focusing on like kind of Richard, Michael,

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00:24:42,600 --> 00:24:45,200
Speaker 1: and Charlie. I mean and you do get the relationship

423
00:24:45,240 --> 00:24:47,120
Speaker 1: with her mother and her sister, like it's it's not

424
00:24:47,320 --> 00:24:49,720
Speaker 1: just them, but in terms of like at school, it

425
00:24:49,800 --> 00:24:53,080
Speaker 1: kind of was like mar Carol more Maddie, that relationship

426
00:24:53,119 --> 00:24:55,400
Speaker 1: with her sister was kind of cool, you know where

427
00:24:55,440 --> 00:24:57,600
Speaker 1: I was just like where She's like, I regret You're like,

428
00:24:58,119 --> 00:25:01,239
Speaker 1: I wanted to know, how did you break that? What

429
00:25:01,280 --> 00:25:03,439
Speaker 1: did you do to Nancy? Right that you don't hang

430
00:25:03,480 --> 00:25:05,960
Speaker 1: out with her anymore, You're busy hanging out with Charlie.

431
00:25:06,119 --> 00:25:09,240
Speaker 1: I thought that maybe Nancy had died, like the way

432
00:25:09,240 --> 00:25:11,000
Speaker 1: that she's so excited to see Nancy, and like what

433
00:25:11,080 --> 00:25:13,480
Speaker 1: happened to Nancy and the current the current time? Do

434
00:25:13,560 --> 00:25:16,359
Speaker 1: we know? Do we ever find out? I would like

435
00:25:16,400 --> 00:25:19,200
Speaker 1: to know. I think a more interesting version of this

436
00:25:19,240 --> 00:25:23,800
Speaker 1: movie would be you spend more time in learning about

437
00:25:24,040 --> 00:25:28,760
Speaker 1: Peggy Sue's kind of broken life and failed relationships and

438
00:25:28,800 --> 00:25:32,080
Speaker 1: then her traveling back. One of them can be a

439
00:25:32,200 --> 00:25:35,480
Speaker 1: romantic relationship, fine, but it should be like a bunch

440
00:25:35,520 --> 00:25:37,800
Speaker 1: of different areas of her life and a bunch of

441
00:25:37,800 --> 00:25:41,280
Speaker 1: different relationships that like she has to with all of

442
00:25:41,320 --> 00:25:44,119
Speaker 1: this hindsight, she can now figure out like how to

443
00:25:44,160 --> 00:25:46,119
Speaker 1: repair this or how to not make the mistakes in

444
00:25:46,160 --> 00:25:47,840
Speaker 1: the first place, you know, stuff like that. But instead

445
00:25:47,880 --> 00:25:50,919
Speaker 1: it's just like I'm going to date one guy and

446
00:25:50,960 --> 00:25:54,439
Speaker 1: then kind of another guy, and then be friends with

447
00:25:54,480 --> 00:25:57,200
Speaker 1: a third guy and give him give him a bunch

448
00:25:57,280 --> 00:26:03,840
Speaker 1: of million dollar tech ideas, and then the end anyway,

449
00:26:04,080 --> 00:26:08,560
Speaker 1: Um okay, So she has convinced Richard Norvik that she's

450
00:26:08,600 --> 00:26:11,480
Speaker 1: a time traveler and this is the beginning of a

451
00:26:11,520 --> 00:26:15,719
Speaker 1: friendship with him. Meanwhile, Charlie is trying to win Peggy

452
00:26:15,840 --> 00:26:20,200
Speaker 1: Sue back. He takes her to a party. She sees

453
00:26:20,400 --> 00:26:24,520
Speaker 1: him perform music, and she's kind of smitten again, even

454
00:26:24,560 --> 00:26:28,240
Speaker 1: though she's like, his music ambitions are going nowhere because

455
00:26:28,359 --> 00:26:32,800
Speaker 1: he's an appliance salesman in twenty five years. Um well,

456
00:26:32,840 --> 00:26:35,800
Speaker 1: I thought that that seed did his when he's um

457
00:26:35,920 --> 00:26:38,879
Speaker 1: he works at a record store and she's like, do

458
00:26:38,920 --> 00:26:41,160
Speaker 1: you know anything about classical music and he's like, nope,

459
00:26:41,240 --> 00:26:45,720
Speaker 1: sales a sales right, you know, essentially he's a salesman.

460
00:26:45,840 --> 00:26:49,480
Speaker 1: Yeah he is not a musician, which is like tells

461
00:26:49,480 --> 00:26:52,240
Speaker 1: you everything you need to know about him. But but

462
00:26:52,480 --> 00:26:57,240
Speaker 1: his life story is so sad too, where it's his

463
00:26:57,640 --> 00:27:01,240
Speaker 1: God where that scene at the end when we get

464
00:27:01,280 --> 00:27:03,520
Speaker 1: to the end of this movie. The last ten minutes

465
00:27:03,560 --> 00:27:07,399
Speaker 1: of this movie are such whiplash. Like I watched the

466
00:27:07,440 --> 00:27:09,840
Speaker 1: last ten movie minutes back a few times because I

467
00:27:09,880 --> 00:27:12,920
Speaker 1: was like, is there any world where I can interpret

468
00:27:12,960 --> 00:27:16,360
Speaker 1: this as like good for them? I just couldn't get there.

469
00:27:16,680 --> 00:27:18,800
Speaker 1: What we know is that they all lived, and Helen

470
00:27:18,880 --> 00:27:21,720
Speaker 1: Hunt seems to ever shipped together. But the thing is

471
00:27:21,720 --> 00:27:25,520
Speaker 1: is it's so weird because to back up a little bit,

472
00:27:25,600 --> 00:27:29,640
Speaker 1: when she drinks all that whiskey and then finds out

473
00:27:29,680 --> 00:27:32,159
Speaker 1: that he's and we find out he buys an ed

474
00:27:32,200 --> 00:27:33,760
Speaker 1: sol and then we find out that he's in the

475
00:27:33,800 --> 00:27:37,600
Speaker 1: head industry and um, and then like a couple of

476
00:27:37,640 --> 00:27:40,919
Speaker 1: scenes later, she comes home and her mom is selling

477
00:27:40,960 --> 00:27:45,760
Speaker 1: her jewelry. Oh I missed that. Oh there's this tiny

478
00:27:45,800 --> 00:27:47,960
Speaker 1: scene where she's like, I'm gonna vote Democrat. Don't tell

479
00:27:48,000 --> 00:27:52,800
Speaker 1: your dad. She was talking to a pawnbroker, right, So

480
00:27:53,040 --> 00:27:56,200
Speaker 1: her dad is a guy who cannot get his act

481
00:27:56,240 --> 00:27:59,840
Speaker 1: together either. It's the all the men in this thing

482
00:28:00,000 --> 00:28:04,680
Speaker 1: except for Wilford Brimley, if that was um, seemed like

483
00:28:05,000 --> 00:28:10,119
Speaker 1: just not really great dudes, right, who have these grandiose

484
00:28:10,200 --> 00:28:14,479
Speaker 1: ideas of themselves that never manifest and the women around

485
00:28:14,520 --> 00:28:18,120
Speaker 1: them are picking up like she's always done for Charley,

486
00:28:18,400 --> 00:28:20,840
Speaker 1: I thought that that was I totally agree, like that

487
00:28:21,320 --> 00:28:23,960
Speaker 1: setting up. Her dad is like this guy that obviously

488
00:28:24,000 --> 00:28:26,560
Speaker 1: she loves very much, and like even when he like

489
00:28:26,680 --> 00:28:29,480
Speaker 1: makes the reckless purchase that clearly puts the family into

490
00:28:29,520 --> 00:28:32,159
Speaker 1: debt of getting this car, she's like, Oh, you always

491
00:28:32,160 --> 00:28:34,760
Speaker 1: do stuff like this, and like when you're it's so interesting.

492
00:28:35,200 --> 00:28:36,879
Speaker 1: Just like the little moments in this movie that I

493
00:28:36,960 --> 00:28:39,160
Speaker 1: really like, a lot of them are with her family

494
00:28:39,240 --> 00:28:41,040
Speaker 1: and maybe wish that you saw her family in the

495
00:28:41,040 --> 00:28:43,600
Speaker 1: eighties or at least knew what sort of became of them,

496
00:28:43,800 --> 00:28:46,640
Speaker 1: right right, because she has a son right where is

497
00:28:46,680 --> 00:28:50,760
Speaker 1: he at? Scott was not named after Wilford Brimley, but

498
00:28:50,880 --> 00:28:55,240
Speaker 1: the daughter named after the grand God. But it's like,

499
00:28:55,280 --> 00:28:58,840
Speaker 1: you see, you see why she's kind of attracted to

500
00:28:58,960 --> 00:29:01,760
Speaker 1: I mean whatever, it's kind of an hereditary thing. She's

501
00:29:01,880 --> 00:29:04,760
Speaker 1: used to a guy who really puts on a show

502
00:29:05,520 --> 00:29:08,440
Speaker 1: and then has the woman in his life pick up

503
00:29:08,480 --> 00:29:11,200
Speaker 1: and tolerate stuff after him. And I like that little

504
00:29:11,240 --> 00:29:13,760
Speaker 1: moment with her mom that I think might be in

505
00:29:13,840 --> 00:29:16,880
Speaker 1: that same scene or in a similar scene where her

506
00:29:16,920 --> 00:29:21,280
Speaker 1: mom is sort of gently warning her against this personality

507
00:29:21,360 --> 00:29:23,360
Speaker 1: type where she's like, you have to learn how to

508
00:29:23,400 --> 00:29:25,720
Speaker 1: stand up to Charlie because we've just seen a scene

509
00:29:25,920 --> 00:29:29,200
Speaker 1: where she is quietly cleaning up her husband's mess, and

510
00:29:29,200 --> 00:29:31,200
Speaker 1: it's clear she doesn't want that for her daughter. And

511
00:29:31,240 --> 00:29:33,719
Speaker 1: that's such a generational thing, I feel like, especially for

512
00:29:33,800 --> 00:29:38,600
Speaker 1: these two generations of you can't fix this problem loudly

513
00:29:38,720 --> 00:29:42,520
Speaker 1: or that's not customary, but she wants a better relationship

514
00:29:42,520 --> 00:29:45,480
Speaker 1: for her daughter than she had for herself, and then

515
00:29:45,480 --> 00:29:48,000
Speaker 1: it doesn't happen, and it's so sad, Like it's just

516
00:29:48,080 --> 00:29:52,000
Speaker 1: so sad. But there is a recurring theme that does

517
00:29:52,080 --> 00:29:55,560
Speaker 1: sort of sell the fact that we all just go

518
00:29:55,640 --> 00:29:58,040
Speaker 1: through life and then at the end of it, you

519
00:29:58,080 --> 00:30:01,920
Speaker 1: can't really change anything, so you have to be psyched

520
00:30:01,960 --> 00:30:04,600
Speaker 1: about the things that you do still love like that

521
00:30:04,600 --> 00:30:07,600
Speaker 1: that you did, right, And she always talks about missing

522
00:30:07,640 --> 00:30:11,400
Speaker 1: your kids. Yes, I do like that. Yeah, And that

523
00:30:11,480 --> 00:30:13,680
Speaker 1: was kind of beautiful, and it was just it was

524
00:30:13,800 --> 00:30:17,640
Speaker 1: also in the moment, like in the time, it made

525
00:30:17,640 --> 00:30:21,920
Speaker 1: you go, yeah, you know, of course, that's all you're accomplishing,

526
00:30:22,000 --> 00:30:25,200
Speaker 1: is you you brought a couple of kids and and

527
00:30:25,640 --> 00:30:30,640
Speaker 1: they aren't a mess. I guess, right, And that's like,

528
00:30:30,720 --> 00:30:34,280
Speaker 1: I hope Scott doesn't work for Crazy Charley. I hope

529
00:30:34,320 --> 00:30:38,880
Speaker 1: Scott has a music career. Yeah, it's I was. There's

530
00:30:38,920 --> 00:30:41,640
Speaker 1: so much about Peggy too that it's like we are

531
00:30:41,720 --> 00:30:45,440
Speaker 1: never and I wonder how, I guess, I'm curious of

532
00:30:45,920 --> 00:30:49,960
Speaker 1: what you both think of. Like, she's never presented as

533
00:30:50,200 --> 00:30:55,360
Speaker 1: someone who is particularly ambitious. That's that's strictly attributed to

534
00:30:55,400 --> 00:30:59,400
Speaker 1: her husband, who had a huge ambition and failed in

535
00:30:59,400 --> 00:31:02,160
Speaker 1: a spectacul other way and took out his anger at

536
00:31:02,200 --> 00:31:06,000
Speaker 1: failing on Peggy sue. We're never told that she has

537
00:31:06,040 --> 00:31:11,600
Speaker 1: a particular ambition, but she's also very emotionally intelligent and

538
00:31:11,680 --> 00:31:15,160
Speaker 1: highly motivated to understand the choices she's made in her life,

539
00:31:15,280 --> 00:31:19,240
Speaker 1: but none of them are in relation to her work

540
00:31:19,400 --> 00:31:21,480
Speaker 1: or like we're told that she I think owns a

541
00:31:21,520 --> 00:31:26,400
Speaker 1: baker question right, Yeah, that's right, she owned a bakery, right,

542
00:31:26,440 --> 00:31:29,400
Speaker 1: we know nothing about that. I forgot about that. Yeah.

543
00:31:29,480 --> 00:31:32,680
Speaker 1: I feel like it's a little complicated because it's like not,

544
00:31:32,680 --> 00:31:35,880
Speaker 1: not everyone has huge career ambitions and that's not like

545
00:31:35,920 --> 00:31:38,920
Speaker 1: a prerequisite for being a person, And that's like okay

546
00:31:39,000 --> 00:31:41,280
Speaker 1: to see reflected on screen. For someone that isn't like

547
00:31:41,320 --> 00:31:44,280
Speaker 1: I want to have this huge fucking career and do this,

548
00:31:44,280 --> 00:31:47,200
Speaker 1: this and this. But I was I was kind of like,

549
00:31:47,720 --> 00:31:51,720
Speaker 1: but like, nothing, you know nothing outside of your romantic

550
00:31:51,720 --> 00:31:54,560
Speaker 1: relationship you want to examine. Yeah, it was jarring that

551
00:31:54,640 --> 00:31:59,400
Speaker 1: nobody asked her right, that she never said anything like

552
00:31:59,440 --> 00:32:02,600
Speaker 1: there's a scene where she's with Michael and they're gonna

553
00:32:02,600 --> 00:32:05,680
Speaker 1: have sex and she's like, all right, I want to

554
00:32:05,680 --> 00:32:08,560
Speaker 1: be a dancer, and then he's like, let's go to

555
00:32:08,680 --> 00:32:11,600
Speaker 1: Utah and you can raise chickens for me, and she's

556
00:32:11,760 --> 00:32:16,440
Speaker 1: and you're like, you want to dance? Counter offer? Yeah,

557
00:32:16,600 --> 00:32:19,000
Speaker 1: since Wind does that? Is that if she does want

558
00:32:19,000 --> 00:32:21,920
Speaker 1: to dance, I would love that. But is that true

559
00:32:22,080 --> 00:32:24,000
Speaker 1: or is that just like her being like silly in

560
00:32:24,040 --> 00:32:27,880
Speaker 1: the moment we know nothing about just don't ye right right,

561
00:32:27,880 --> 00:32:31,320
Speaker 1: Like we don't know enough about her kind of backstory

562
00:32:31,480 --> 00:32:36,000
Speaker 1: or like any of her her ambitions or or just interests.

563
00:32:36,160 --> 00:32:37,680
Speaker 1: It would have it would have been cool to just

564
00:32:37,800 --> 00:32:40,280
Speaker 1: explicitly know, you know, because it's like, even if the

565
00:32:40,320 --> 00:32:43,280
Speaker 1: answer to that question is like, what I want in

566
00:32:43,320 --> 00:32:47,440
Speaker 1: life is to enjoy my family and my friends and

567
00:32:47,560 --> 00:32:50,360
Speaker 1: to like work as much as I need to but

568
00:32:50,480 --> 00:32:53,200
Speaker 1: like work isn't the most important thing to me. But

569
00:32:53,280 --> 00:32:56,400
Speaker 1: it's just like, tell us, what does she want besides

570
00:32:57,120 --> 00:33:01,920
Speaker 1: to understand Charlie who sucks? Because there are some genuine

571
00:33:01,960 --> 00:33:05,720
Speaker 1: beautiful moments in this movie, and some real cool nuggets

572
00:33:05,720 --> 00:33:09,360
Speaker 1: and some revelatory moments of of of stuff. But this

573
00:33:09,600 --> 00:33:14,960
Speaker 1: movie genuinely feels like I'm watching real time someone make

574
00:33:15,000 --> 00:33:20,120
Speaker 1: bad life decisions. Yeah, it feels like a real slice

575
00:33:20,160 --> 00:33:23,080
Speaker 1: of life where you're like, this is a life I

576
00:33:23,120 --> 00:33:26,040
Speaker 1: didn't want to see a slice of and parts of

577
00:33:26,080 --> 00:33:29,120
Speaker 1: it are very beautiful. And so I get why my

578
00:33:29,160 --> 00:33:33,320
Speaker 1: brother loves this movie because he has such eclectic taste,

579
00:33:33,320 --> 00:33:37,480
Speaker 1: Like he loves every kind of movie from Hallmark Movies,

580
00:33:38,040 --> 00:33:42,480
Speaker 1: two like Cinema, pair of Dees, like foreign films, and

581
00:33:42,720 --> 00:33:46,920
Speaker 1: he likes right now he's into German musicals whatever from

582
00:33:46,920 --> 00:33:50,960
Speaker 1: the sixties. Anyway, Um, but I will say that, yeah,

583
00:33:51,120 --> 00:33:54,120
Speaker 1: I just I do want it to have a good ending, though.

584
00:33:54,160 --> 00:33:56,920
Speaker 1: I want her to come back and be able to

585
00:33:56,920 --> 00:34:00,480
Speaker 1: say to Charlie, I need some time. I don't want

586
00:34:00,480 --> 00:34:03,080
Speaker 1: to be with you. You could come over on Sunday

587
00:34:03,080 --> 00:34:05,440
Speaker 1: for lunch with your kids in the house you paid for.

588
00:34:06,800 --> 00:34:10,960
Speaker 1: It's so like yeah, it's so I think that you say,

589
00:34:11,080 --> 00:34:13,400
Speaker 1: maybe I'm trying to, you know, overly empathize with this

590
00:34:13,440 --> 00:34:18,520
Speaker 1: person who doesn't exist, which I've been known to do.

591
00:34:18,800 --> 00:34:21,560
Speaker 1: But um, but yeah, like a slice of life from

592
00:34:21,560 --> 00:34:23,400
Speaker 1: a life you don't necessarily want to see a slice

593
00:34:23,400 --> 00:34:25,799
Speaker 1: of I feel like sums up this entire movie in

594
00:34:25,640 --> 00:34:28,160
Speaker 1: a in a way where you're where even and it's

595
00:34:28,200 --> 00:34:30,960
Speaker 1: like you see these kind of close brushes that she

596
00:34:31,040 --> 00:34:33,440
Speaker 1: has with something more, but then she has no interest

597
00:34:33,480 --> 00:34:36,080
Speaker 1: in it, like even there. Oh, I wrote at some

598
00:34:36,120 --> 00:34:39,320
Speaker 1: point in my notes, like that thing about her giving

599
00:34:39,880 --> 00:34:44,040
Speaker 1: Richard the idea for pantyhose and then her becoming like

600
00:34:44,560 --> 00:34:46,799
Speaker 1: the like he has the science and she could have

601
00:34:46,840 --> 00:34:49,200
Speaker 1: the business acumen, and he literally says to her like,

602
00:34:49,239 --> 00:34:51,040
Speaker 1: you're amazing, you could do this, We could do this.

603
00:34:51,080 --> 00:34:53,040
Speaker 1: You're like, That's the whole movie that I would want

604
00:34:53,040 --> 00:34:57,000
Speaker 1: to watch, is them stealing the idea for pantyhose and

605
00:34:57,760 --> 00:35:01,000
Speaker 1: like seeing how that affected the few your timeline. But

606
00:35:01,080 --> 00:35:03,040
Speaker 1: it is like the way that even the way that

607
00:35:03,120 --> 00:35:05,920
Speaker 1: time is treated in this movie is kind of depressing

608
00:35:05,960 --> 00:35:09,120
Speaker 1: because it's treated like, well, no matter what she does

609
00:35:09,160 --> 00:35:12,719
Speaker 1: differently here, this is an exercise for her internally, it's

610
00:35:12,719 --> 00:35:14,879
Speaker 1: not going to affect anything in her future. It's never

611
00:35:14,920 --> 00:35:18,160
Speaker 1: even suggested that it might change anything in her future,

612
00:35:18,680 --> 00:35:22,520
Speaker 1: well in the existing timeline. But I would posit that

613
00:35:22,560 --> 00:35:25,440
Speaker 1: she comes back stronger. I would positive that she has

614
00:35:25,560 --> 00:35:29,400
Speaker 1: learned from this history and has come back stronger. But

615
00:35:29,520 --> 00:35:31,560
Speaker 1: she does look at the end of the movie like

616
00:35:31,600 --> 00:35:34,839
Speaker 1: she's going to make the same mistake. Right she is.

617
00:35:35,640 --> 00:35:38,680
Speaker 1: I think she comes back with more, I guess, just

618
00:35:38,719 --> 00:35:42,520
Speaker 1: like a clearer understanding and more. She comes back wiser.

619
00:35:42,800 --> 00:35:45,759
Speaker 1: But the choice that she makes is what makes me

620
00:35:45,880 --> 00:35:51,439
Speaker 1: argue that she's kind of succumbing to I don't even know,

621
00:35:51,719 --> 00:35:56,640
Speaker 1: like cultural expectations or something. It's so it's like, I

622
00:35:56,680 --> 00:35:58,920
Speaker 1: don't know what. Maybe there's a maybe there's a German

623
00:35:58,920 --> 00:36:03,000
Speaker 1: word for this where it's like she goes back, gets

624
00:36:03,239 --> 00:36:07,000
Speaker 1: so much more information, really really thinks about it, and

625
00:36:07,040 --> 00:36:09,359
Speaker 1: then makes the same bed. So she's making a more

626
00:36:09,440 --> 00:36:14,200
Speaker 1: informed version of it's more sympathetic the first time when

627
00:36:14,239 --> 00:36:16,200
Speaker 1: she's a kid and she doesn't know any better, but

628
00:36:16,239 --> 00:36:18,600
Speaker 1: she's like, no, I'm forty two years old and I've

629
00:36:18,640 --> 00:36:21,400
Speaker 1: really looked at all of my choices and I've decided

630
00:36:21,440 --> 00:36:26,080
Speaker 1: that this fucking guy is all that I'm going to Yeah,

631
00:36:26,200 --> 00:36:30,799
Speaker 1: and you're like, goodness, let me finish the recap really quick.

632
00:36:32,360 --> 00:36:34,759
Speaker 1: We've had half the discussion already. That's true. That's true.

633
00:36:34,760 --> 00:36:37,399
Speaker 1: It will make our jobs easier later. Okay, So where

634
00:36:37,520 --> 00:36:41,920
Speaker 1: was I? Um, Charlie is charming her, she's getting horny

635
00:36:41,960 --> 00:36:44,520
Speaker 1: about it. There's a scene where she suggests they have sex.

636
00:36:45,200 --> 00:36:48,279
Speaker 1: He's like, what I thought we were going to wait

637
00:36:48,320 --> 00:36:52,360
Speaker 1: till marriage and we are like, wait, this character is

638
00:36:52,400 --> 00:36:55,760
Speaker 1: a teenager and her characters and her forties and it's

639
00:36:55,800 --> 00:37:00,560
Speaker 1: absolutely not okay either way. He freaks out and takes

640
00:37:00,560 --> 00:37:04,320
Speaker 1: her home. So then Peggy starts to pursue Michael fitz

641
00:37:04,320 --> 00:37:08,239
Speaker 1: Simmons the like I love Jack Caroat guy and Jack

642
00:37:08,280 --> 00:37:13,440
Speaker 1: Carroak fanboy. They bond, they smoke pot, they kiss, and

643
00:37:13,480 --> 00:37:15,840
Speaker 1: then do they have sex or is it implied that

644
00:37:15,880 --> 00:37:21,640
Speaker 1: they see It's implied that the one starry night, right, okay, Yeah,

645
00:37:21,840 --> 00:37:23,879
Speaker 1: they have so much sex she gets a whole book

646
00:37:23,920 --> 00:37:29,120
Speaker 1: about it. Yes, right, yikes, he loved that night. Yeah

647
00:37:29,160 --> 00:37:32,080
Speaker 1: he really. It's it's stuck with him. Yeah, that's the

648
00:37:32,080 --> 00:37:34,440
Speaker 1: only thing that it changes in the timeline. Isn't it

649
00:37:34,480 --> 00:37:39,200
Speaker 1: that the Starry Night gets that reminded me. Maybe this

650
00:37:39,360 --> 00:37:42,480
Speaker 1: is a reference for no one. Um. There was an

651
00:37:42,560 --> 00:37:46,239
Speaker 1: Aaron Carter music video and Aaron Carter Carter song called

652
00:37:46,280 --> 00:37:48,560
Speaker 1: how I Beat Shack? Do you remember this song, Caitlin,

653
00:37:49,239 --> 00:37:52,319
Speaker 1: I'm sorry, okay. It's Aaron Carter. Nick Carter's little brother

654
00:37:52,360 --> 00:37:54,960
Speaker 1: from the Bacty Boys. He's probably nine or ten. He

655
00:37:55,000 --> 00:37:57,759
Speaker 1: made a little song, a little song, a great song

656
00:37:58,200 --> 00:38:00,839
Speaker 1: called how I Beat Shack. It was about him having

657
00:38:00,840 --> 00:38:04,279
Speaker 1: a dream about beating Shaquille O'Neil and basketball. There's a

658
00:38:04,320 --> 00:38:06,440
Speaker 1: fun twist at the end of the music video and

659
00:38:06,600 --> 00:38:09,040
Speaker 1: song where he wakes up. He's like, it was all

660
00:38:09,040 --> 00:38:11,560
Speaker 1: a dream. I can't believe it. I didn't. I a tiny,

661
00:38:11,640 --> 00:38:15,160
Speaker 1: little nine year old boy didn't beat Seaquille O'Neil at basketball.

662
00:38:15,600 --> 00:38:19,279
Speaker 1: But then he wakes up in a jersey that says

663
00:38:19,320 --> 00:38:24,520
Speaker 1: Shaquille O'Neil, suggesting that perhaps he did beat shack. The

664
00:38:24,600 --> 00:38:30,080
Speaker 1: Starry Night dedication is for me, the inspiration for the

665
00:38:30,160 --> 00:38:32,239
Speaker 1: music video for How I Beat Shack by Aaron Carter.

666
00:38:32,280 --> 00:38:35,680
Speaker 1: I'll link it in the description. It's a delight. Have

667
00:38:35,760 --> 00:38:40,480
Speaker 1: you guys seen the Katie Perry Pokemon song called Electric

668
00:38:40,760 --> 00:38:44,719
Speaker 1: Yes Wait, Yes, Yes, yes, yes, man. There's It's also

669
00:38:44,880 --> 00:38:52,160
Speaker 1: music is magic Wow. And then there's Katie Perry saking

670
00:38:52,280 --> 00:38:56,080
Speaker 1: electric and it is I mean she loves Pokemon. I'm

671
00:38:56,080 --> 00:39:00,400
Speaker 1: not going to say she should anyway, She's really pressing

672
00:39:00,440 --> 00:39:04,839
Speaker 1: it in the most interesting ways she could think of. Okay,

673
00:39:05,000 --> 00:39:10,480
Speaker 1: So the Peggy Sue keeps hanging out with Richard. She

674
00:39:10,600 --> 00:39:13,239
Speaker 1: helps him invent some stuff that she knows will be

675
00:39:13,239 --> 00:39:17,240
Speaker 1: popular in the eighties, and then she also boxes spoon boxes.

676
00:39:17,719 --> 00:39:22,680
Speaker 1: She also gets the idea to invent pantyhose. Then Charlie

677
00:39:22,760 --> 00:39:25,680
Speaker 1: comes around and apologizes for freaking out the night before,

678
00:39:26,200 --> 00:39:28,239
Speaker 1: so she's kind of like, do I take him back

679
00:39:28,360 --> 00:39:32,160
Speaker 1: or not. Her friends and her talk about their futures

680
00:39:32,239 --> 00:39:36,000
Speaker 1: and who they might marry, and they're supposed to grow

681
00:39:36,080 --> 00:39:37,959
Speaker 1: up on our cul de sac with their kids growing

682
00:39:38,000 --> 00:39:39,880
Speaker 1: up next to each other. But when when in the

683
00:39:39,920 --> 00:39:42,759
Speaker 1: beginning of the movie she goes to the reunion, it

684
00:39:42,800 --> 00:39:46,000
Speaker 1: doesn't feel like she has spent twenty five years with

685
00:39:46,040 --> 00:39:49,680
Speaker 1: these people. No doesn't. She hasn't seen it doesn't, which

686
00:39:49,680 --> 00:39:51,480
Speaker 1: I think it's kind of a fun detail. Is like,

687
00:39:51,560 --> 00:39:53,480
Speaker 1: of course, the way you say things are going to

688
00:39:53,520 --> 00:39:56,640
Speaker 1: be when you're seventeen with your best friends is unfortunately

689
00:39:57,320 --> 00:40:02,080
Speaker 1: famously never how it goes. You felt like, what was

690
00:40:02,120 --> 00:40:04,080
Speaker 1: it the hell and Hunt character who's like, I'm sucking

691
00:40:04,080 --> 00:40:06,040
Speaker 1: off to New York or wherever and I'm having a

692
00:40:06,040 --> 00:40:09,279
Speaker 1: whole sex in the city side quest like everyone's going

693
00:40:09,320 --> 00:40:11,759
Speaker 1: to go off and do their own things. And then

694
00:40:12,040 --> 00:40:14,160
Speaker 1: you're I don't know, I am still pretty close with

695
00:40:14,160 --> 00:40:15,840
Speaker 1: my friends from high school, but not like, you know,

696
00:40:15,960 --> 00:40:19,400
Speaker 1: living on the same street clothes. Oh sure, I talked

697
00:40:19,400 --> 00:40:22,640
Speaker 1: to one friend from high school, and the rest I

698
00:40:22,680 --> 00:40:26,000
Speaker 1: know nothing about what their current situation is. They come

699
00:40:26,000 --> 00:40:28,800
Speaker 1: out after about twenty five years, you meet them again,

700
00:40:29,400 --> 00:40:33,080
Speaker 1: and then you're like, oh, you're okay, you grew up

701
00:40:33,320 --> 00:40:36,840
Speaker 1: in the ensuing twenty five years, you're no longer that jackass.

702
00:40:36,840 --> 00:40:38,359
Speaker 1: I mean, I don't know that I would ever want

703
00:40:38,400 --> 00:40:40,960
Speaker 1: to see Vicky Emberts again. That's because she made me

704
00:40:41,000 --> 00:40:45,200
Speaker 1: eat dirt junior High. So God should beat the hell

705
00:40:45,239 --> 00:40:47,359
Speaker 1: out of me and jam my face into the munth

706
00:40:47,880 --> 00:40:52,200
Speaker 1: is an anti Vicky podcast. Fuck Vicky ended up at

707
00:40:52,200 --> 00:40:55,680
Speaker 1: the cop shop you guys anyway, Um, it was the

708
00:40:55,960 --> 00:40:58,239
Speaker 1: it was the seventies. It was the seventies, we said,

709
00:40:58,280 --> 00:41:07,640
Speaker 1: cop shop. Lord anyway, anyway, how does it end well?

710
00:41:07,880 --> 00:41:11,480
Speaker 1: Speaking of violence? Um, and then then there's a scene

711
00:41:11,480 --> 00:41:16,880
Speaker 1: where Charlie considers smothering Piggy Sue with her pillow while

712
00:41:17,000 --> 00:41:21,320
Speaker 1: she's sleeping because he is upset that she was hanging

713
00:41:21,320 --> 00:41:24,319
Speaker 1: out with Michael fitz Simmons. They have a fight. She

714
00:41:24,360 --> 00:41:27,080
Speaker 1: tries to break it off again, knowing it doesn't work

715
00:41:27,080 --> 00:41:29,000
Speaker 1: out for them in the future, but he's like, I

716
00:41:29,040 --> 00:41:32,000
Speaker 1: love you, but then he storms off. The weird thing

717
00:41:32,280 --> 00:41:34,440
Speaker 1: is when he shakes her when they're in the basement.

718
00:41:34,880 --> 00:41:38,920
Speaker 1: Oh my god, that's set felt actually very much more violent.

719
00:41:39,000 --> 00:41:40,640
Speaker 1: I thought that the pillow might a been a joke,

720
00:41:41,400 --> 00:41:45,440
Speaker 1: but the shaky hard to say as dangerous. Yeah, that

721
00:41:45,560 --> 00:41:49,080
Speaker 1: was like, that was a very scary thing to do.

722
00:41:49,400 --> 00:41:53,239
Speaker 1: I was like, is there violence in their future relationship?

723
00:41:53,560 --> 00:41:55,719
Speaker 1: If this guy is gonna shake her? Well, it's like,

724
00:41:55,880 --> 00:41:58,359
Speaker 1: I mean, I might be extrapolating. The second he asked

725
00:41:58,360 --> 00:42:01,080
Speaker 1: her to go to the basement, It's like, this is

726
00:42:01,120 --> 00:42:04,680
Speaker 1: where I'm gonna lose the body, right right? Yeah, that

727
00:42:04,760 --> 00:42:07,960
Speaker 1: I mean that there are so many reasons for the

728
00:42:07,960 --> 00:42:10,400
Speaker 1: odds to be stacked against Charlie is like a viable

729
00:42:10,880 --> 00:42:12,279
Speaker 1: I mean, there's so many reasons for her to break

730
00:42:12,320 --> 00:42:15,000
Speaker 1: up with Charlie before we even go to nineteen sixty.

731
00:42:15,920 --> 00:42:18,560
Speaker 1: But that one I was just like, this is if

732
00:42:18,560 --> 00:42:21,400
Speaker 1: she ends up with him, which I was convinced for

733
00:42:21,440 --> 00:42:24,319
Speaker 1: most of the movie that she would not. I thought

734
00:42:24,320 --> 00:42:26,640
Speaker 1: that she would do. Uh, you know, I'm going to

735
00:42:26,760 --> 00:42:29,239
Speaker 1: be single for a while. I'm going to figure something.

736
00:42:29,239 --> 00:42:31,279
Speaker 1: I'm going to figure myself out. I'm gonna take some

737
00:42:31,400 --> 00:42:37,439
Speaker 1: time and not and not less than twenty seconds. Yeah yeah, wait,

738
00:42:37,520 --> 00:42:39,719
Speaker 1: fresh out of a concussion and you're like, yeah, this

739
00:42:39,760 --> 00:42:42,960
Speaker 1: is a great time to agree to go back with

740
00:42:43,040 --> 00:42:47,279
Speaker 1: your piece of shit husband. Give her a day, Charlie,

741
00:42:47,400 --> 00:42:50,400
Speaker 1: come on, Yeah, we're almost there. First, there needs to

742
00:42:50,440 --> 00:42:56,800
Speaker 1: be Freemasons and their time trouble ritual um while hats

743
00:42:56,480 --> 00:42:59,200
Speaker 1: lots and lots of hats. So weird, Okay. So then

744
00:42:59,320 --> 00:43:02,760
Speaker 1: Peggy Soup bakes things off with Michael Fitzsimmons and goes

745
00:43:02,880 --> 00:43:05,879
Speaker 1: back to Charlie and they talk about his musical ambitions

746
00:43:05,960 --> 00:43:07,960
Speaker 1: and she seems to be warming up to him again,

747
00:43:08,640 --> 00:43:11,839
Speaker 1: but she's also freaking out about still being stuck in

748
00:43:12,120 --> 00:43:15,880
Speaker 1: nineteen sixty. So then Richard Norvik is like, well, you

749
00:43:15,920 --> 00:43:21,279
Speaker 1: can change your destiny and marry me, and she's like, now, yeah,

750
00:43:21,320 --> 00:43:25,319
Speaker 1: which is fair enough, A right fair. Then Peggy Sue

751
00:43:25,400 --> 00:43:29,480
Speaker 1: visits her grandparents because made me cry, right because in

752
00:43:29,520 --> 00:43:32,640
Speaker 1: her present they have died long ago, and her parents

753
00:43:32,920 --> 00:43:37,880
Speaker 1: everybody it seems that way. Yeah, and maybe Nancy, maybe Nancy.

754
00:43:37,920 --> 00:43:40,400
Speaker 1: We're not sure. Either she's on the outsit Nancy or

755
00:43:40,560 --> 00:43:43,680
Speaker 1: Nancy died. I'm like, what was there a fire? Like,

756
00:43:43,840 --> 00:43:47,400
Speaker 1: I think she's just maybe estranged from Nancy. But anyway,

757
00:43:47,480 --> 00:43:50,400
Speaker 1: she tells her grandparents that she time traveled and they

758
00:43:50,440 --> 00:43:54,120
Speaker 1: also believe her. She's like, I miss my children. There's

759
00:43:54,120 --> 00:43:57,360
Speaker 1: also this locket that she has that has pictures of

760
00:43:57,400 --> 00:44:01,839
Speaker 1: her children as babies or so she inks, question Mark, Um,

761
00:44:02,239 --> 00:44:04,440
Speaker 1: well no, no, because the locket in the beginning of

762
00:44:04,440 --> 00:44:07,759
Speaker 1: the movie, they were color pictures of her babies. When

763
00:44:07,800 --> 00:44:10,600
Speaker 1: he actually gives her the locket, it's black and white

764
00:44:10,640 --> 00:44:14,560
Speaker 1: pictures and them as babies. Yeah, they just looked the

765
00:44:14,600 --> 00:44:17,439
Speaker 1: same because once a boy was a girl and they

766
00:44:17,480 --> 00:44:20,880
Speaker 1: are breeding and whatever. Okay, yeah, that was confusing to me,

767
00:44:21,480 --> 00:44:27,680
Speaker 1: super creader breeder logic. But it turns out that Peggy

768
00:44:27,719 --> 00:44:34,200
Speaker 1: Sue's grandpa is in a Masonic cult. In the Freemasons films,

769
00:44:34,239 --> 00:44:40,640
Speaker 1: and America, and they they perform this ritual to send

770
00:44:40,920 --> 00:44:44,279
Speaker 1: her back to her present, but before that can happen,

771
00:44:44,400 --> 00:44:47,880
Speaker 1: Charlie comes in and snatches her away and they all

772
00:44:47,960 --> 00:44:51,600
Speaker 1: just go get the cards. It worked, right, as far

773
00:44:51,640 --> 00:44:56,040
Speaker 1: as they're concerned. They helped a teen woman who's actually

774
00:44:56,080 --> 00:45:02,239
Speaker 1: in her thirties time travel that didn't happen. Instead, Charlie

775
00:45:02,400 --> 00:45:05,520
Speaker 1: is still like, hey, marry me. I can support you.

776
00:45:05,560 --> 00:45:07,680
Speaker 1: My dad gave me ten percent of his business. And

777
00:45:07,760 --> 00:45:10,000
Speaker 1: she's like, no way, I'm not, you know, out of

778
00:45:10,000 --> 00:45:13,439
Speaker 1: my mind enough to to marry you twice. But then

779
00:45:13,600 --> 00:45:17,440
Speaker 1: he gives her her beloved locket and then he's like,

780
00:45:18,000 --> 00:45:21,760
Speaker 1: I love you and she's like, wait, I love you too, Charlie.

781
00:45:21,920 --> 00:45:24,400
Speaker 1: You're like, na, no, I know. And then she wakes

782
00:45:24,440 --> 00:45:26,960
Speaker 1: back up and you know what sends her back in time?

783
00:45:27,600 --> 00:45:32,879
Speaker 1: That Dick sends her back in time? Because isn't that

784
00:45:32,880 --> 00:45:36,640
Speaker 1: the like Greenhouse? She gets fucking pregnant in right, does she? Like?

785
00:45:36,920 --> 00:45:39,600
Speaker 1: I think I think Nick Cage is Dick sends her

786
00:45:39,640 --> 00:45:46,040
Speaker 1: catapulting through time and space, which I would believe. God, yeah, um.

787
00:45:46,120 --> 00:45:50,759
Speaker 1: So then she wakes up in like in a hospital bed.

788
00:45:51,160 --> 00:45:55,200
Speaker 1: Charlie is there professing his love for her, and she's like, wow,

789
00:45:55,280 --> 00:45:58,040
Speaker 1: you never gave up on me. And then she invites

790
00:45:58,120 --> 00:45:59,920
Speaker 1: him over for dinner and it seems like they're going

791
00:46:00,120 --> 00:46:04,719
Speaker 1: to get back together. She is literally all he has.

792
00:46:04,760 --> 00:46:09,480
Speaker 1: She is literally the only constant in his life. Yeah,

793
00:46:09,719 --> 00:46:13,360
Speaker 1: she deserves better. We did miss We did miss uh.

794
00:46:13,440 --> 00:46:15,440
Speaker 1: When she goes with Michael to the R and B

795
00:46:15,600 --> 00:46:19,480
Speaker 1: to the black club and sees the him singing R

796
00:46:19,560 --> 00:46:22,359
Speaker 1: and B and then she wrote a hit song that

797
00:46:22,440 --> 00:46:24,239
Speaker 1: was I was like, is it the Beatles? What does

798
00:46:24,320 --> 00:46:26,640
Speaker 1: she stealing? It sounded like she was trying to write

799
00:46:26,680 --> 00:46:28,960
Speaker 1: the Beatles and he couldn't execute it, and she's like,

800
00:46:30,280 --> 00:46:33,480
Speaker 1: musician right, And he changed all the ouze to yeahs

801
00:46:33,600 --> 00:46:37,640
Speaker 1: or all the yeahs touz I love you, yeah yeah,

802
00:46:37,680 --> 00:46:40,719
Speaker 1: and he changed him to ouze and you're like, oh

803
00:46:40,760 --> 00:46:45,040
Speaker 1: my god, no instincts. At least Richard took her word

804
00:46:45,120 --> 00:46:50,279
Speaker 1: for it and invented pantyhose or whatever. So, yes, my

805
00:46:50,360 --> 00:46:56,399
Speaker 1: favorite invention from history, um, the legs egg it might

806
00:46:56,440 --> 00:46:59,759
Speaker 1: have been him. Let's take a quick break and then

807
00:46:59,800 --> 00:47:11,000
Speaker 1: we will come back to continue discussing. And we are back,

808
00:47:11,320 --> 00:47:14,760
Speaker 1: all right, So we have already discussed a good chunk

809
00:47:14,880 --> 00:47:17,640
Speaker 1: of the movie. I guess, since we've already discussed it

810
00:47:17,719 --> 00:47:20,920
Speaker 1: so much, let's let's put a little bow on this

811
00:47:20,960 --> 00:47:25,319
Speaker 1: discussion about her marriage, maybe because I think we've we've

812
00:47:25,360 --> 00:47:28,520
Speaker 1: been discussing it throughout the recap. I did find, I mean,

813
00:47:28,800 --> 00:47:32,480
Speaker 1: the last ten minutes of this movie, where you're spending

814
00:47:32,520 --> 00:47:34,680
Speaker 1: half of it with her and Charlie in the sixties

815
00:47:34,719 --> 00:47:36,560
Speaker 1: at half of it with her and Charlie in the eighties,

816
00:47:36,800 --> 00:47:40,600
Speaker 1: just made me so profoundly sad for her, and in

817
00:47:40,640 --> 00:47:43,400
Speaker 1: a way that it's like, I'm so sad about what happens,

818
00:47:43,400 --> 00:47:45,200
Speaker 1: but I don't think that it makes it, you know,

819
00:47:45,400 --> 00:47:48,280
Speaker 1: a bad movie. It's just like, wow, what a bleak,

820
00:47:49,040 --> 00:47:51,160
Speaker 1: you know, this is something that happens. I mean, of course,

821
00:47:51,239 --> 00:47:56,080
Speaker 1: like particularly women who grew up in the environment that

822
00:47:56,080 --> 00:47:58,719
Speaker 1: we're seeing her grow up in, where the idea that

823
00:47:58,760 --> 00:48:02,000
Speaker 1: she could do something on her own is never floated, suggested,

824
00:48:02,120 --> 00:48:04,760
Speaker 1: encouraged in any way shape or for him. The only

825
00:48:04,800 --> 00:48:08,560
Speaker 1: way that she is like, uh, you know, spoken to,

826
00:48:08,719 --> 00:48:09,920
Speaker 1: is like, well, who are you going to marry? And

827
00:48:09,920 --> 00:48:12,920
Speaker 1: how are you going to survive? Basically, and and so

828
00:48:13,000 --> 00:48:15,320
Speaker 1: you're given the context of why she makes these really

829
00:48:15,360 --> 00:48:19,319
Speaker 1: sad choices. But this first scene where I mean it's

830
00:48:19,360 --> 00:48:21,360
Speaker 1: just so sad for both of them, where you're like,

831
00:48:21,360 --> 00:48:23,040
Speaker 1: oh god, you guys are both just like such a

832
00:48:23,080 --> 00:48:25,840
Speaker 1: prisoner of this era where Nick Cage comes into the

833
00:48:25,880 --> 00:48:30,080
Speaker 1: greenhouse after yeah, like smuggling her out and like physically

834
00:48:30,200 --> 00:48:33,200
Speaker 1: like he's too. I don't like how he is touching

835
00:48:33,200 --> 00:48:36,080
Speaker 1: her the whole movie. I don't like it smuggles are

836
00:48:36,080 --> 00:48:38,359
Speaker 1: into this greenhouse and then says some of the most

837
00:48:38,400 --> 00:48:41,400
Speaker 1: depressing should've ever heard. He's like, look, I just decided today,

838
00:48:41,400 --> 00:48:43,840
Speaker 1: I'm going to give up on my dream. My dream

839
00:48:43,880 --> 00:48:46,719
Speaker 1: is dead. The dream is dead, and I'll get you

840
00:48:46,760 --> 00:48:49,200
Speaker 1: pregnant right now, and then the dream will be double dead.

841
00:48:49,360 --> 00:48:51,560
Speaker 1: What do you say? Like, it's what if? What if

842
00:48:51,560 --> 00:48:54,239
Speaker 1: I just gave up on fucking everything right now? Is

843
00:48:54,239 --> 00:48:57,560
Speaker 1: that sexy to you? Yes? Or no? And that's and

844
00:48:57,600 --> 00:49:00,480
Speaker 1: then and then you flash forward and then and then

845
00:49:00,480 --> 00:49:03,640
Speaker 1: it's like it's almost scary where she's like she says

846
00:49:03,680 --> 00:49:06,359
Speaker 1: in both of these scenes, she says no, and then

847
00:49:06,440 --> 00:49:08,360
Speaker 1: she thinks about it for one second, and then she

848
00:49:08,360 --> 00:49:11,600
Speaker 1: says yes, Okay, that happens in the sixties, and then

849
00:49:12,520 --> 00:49:16,760
Speaker 1: the dick catapults her, and then she's in the hospital

850
00:49:16,840 --> 00:49:20,080
Speaker 1: room and the same thing happens again, where he's like,

851
00:49:20,480 --> 00:49:23,480
Speaker 1: I love you, You're the best. What do you say, like,

852
00:49:23,600 --> 00:49:27,800
Speaker 1: let's try it again, and she says yeah. She basically

853
00:49:27,840 --> 00:49:29,520
Speaker 1: says like I need some time. I want to think

854
00:49:29,560 --> 00:49:31,799
Speaker 1: about it, and then he like kind of pouts in

855
00:49:31,840 --> 00:49:34,000
Speaker 1: the same way he did in nineteen sixty, and then

856
00:49:34,040 --> 00:49:36,400
Speaker 1: she says, Okay, fine, actually you can come over tomorrow.

857
00:49:36,400 --> 00:49:38,000
Speaker 1: And it's implied that they're going to get back together,

858
00:49:38,200 --> 00:49:41,000
Speaker 1: and it's like, oh, so you learned nothing, Peggy, Sue,

859
00:49:41,120 --> 00:49:45,360
Speaker 1: you learned nothing. Well, the weirdest thing for me was

860
00:49:45,440 --> 00:49:49,040
Speaker 1: that she he asked her to marry her in nineteen

861
00:49:49,080 --> 00:49:52,240
Speaker 1: sixty and she goes, no, you gave up your dreams.

862
00:49:52,320 --> 00:49:55,240
Speaker 1: You're gonna resent me for it, and it's gonna poison

863
00:49:55,280 --> 00:49:57,680
Speaker 1: our entire relationship. And then you're gonna get with Janet

864
00:49:58,360 --> 00:50:02,800
Speaker 1: And he's like, you're nuts. You're a hysterical woman saying

865
00:50:02,800 --> 00:50:06,279
Speaker 1: things that aren't true, and she was like, am I

866
00:50:07,280 --> 00:50:09,800
Speaker 1: And then she's like, all right, I guess we'll get together.

867
00:50:10,320 --> 00:50:13,160
Speaker 1: But I do think that the locket thing triggered that

868
00:50:13,200 --> 00:50:15,920
Speaker 1: thing that is that is reiterated through the entire movie

869
00:50:15,960 --> 00:50:18,880
Speaker 1: where the only thing she's proud of are those two kids,

870
00:50:20,040 --> 00:50:22,479
Speaker 1: and that I think it's that more than the dick

871
00:50:22,880 --> 00:50:25,719
Speaker 1: that catapults her back into that relationship. Yeah, that was

872
00:50:25,760 --> 00:50:30,520
Speaker 1: my read as well. I have this question if there

873
00:50:30,520 --> 00:50:35,480
Speaker 1: had been different casting. Wipe your mind of Nicholas Cage

874
00:50:35,520 --> 00:50:39,360
Speaker 1: and his weird hair and teeth issues, and it's Tom

875
00:50:39,440 --> 00:50:44,160
Speaker 1: Cruise and they cast Tom Cruise or Michael J. Box,

876
00:50:45,120 --> 00:50:47,120
Speaker 1: I think it would be a little different. I mean,

877
00:50:47,200 --> 00:50:50,000
Speaker 1: I still, ultimately the way it's written, I can't see

878
00:50:50,040 --> 00:50:53,040
Speaker 1: myself ever being like she should end up with Charlie.

879
00:50:53,280 --> 00:50:56,319
Speaker 1: I do think that if it was perform I don't

880
00:50:56,320 --> 00:51:00,000
Speaker 1: think Nicolas Cage's performance really helps you in endearing your

881
00:51:00,040 --> 00:51:02,680
Speaker 1: self to this character in any way. Like, it's more

882
00:51:02,960 --> 00:51:08,120
Speaker 1: he's impossible to root for. He's impossible, he's unlikable. It

883
00:51:08,200 --> 00:51:11,080
Speaker 1: is ridiculous. Well, this is something we notice on the

884
00:51:11,120 --> 00:51:15,080
Speaker 1: show a lot, where like if and we have formerly

885
00:51:15,080 --> 00:51:18,040
Speaker 1: called it the Steve Bushemy test. You know, we're tweaking

886
00:51:18,160 --> 00:51:22,160
Speaker 1: the the name, but let me inside, that's not nice,

887
00:51:21,960 --> 00:51:25,000
Speaker 1: change it. But the idea is that if usually a

888
00:51:25,040 --> 00:51:31,319
Speaker 1: male character is exhibiting creepy stoker ish predatory behavior. A

889
00:51:31,360 --> 00:51:36,000
Speaker 1: lot of times a movie will present that behavior as

890
00:51:36,080 --> 00:51:38,640
Speaker 1: being actually cute and charming as long as it's a

891
00:51:38,680 --> 00:51:42,200
Speaker 1: classically handsome man who is doing it. But if you,

892
00:51:42,200 --> 00:51:49,240
Speaker 1: you know, plug in right, then it's more noticeable for

893
00:51:49,480 --> 00:51:53,920
Speaker 1: people to see that it is actually the creepy stoker

894
00:51:54,000 --> 00:51:57,520
Speaker 1: ish behavior that it is no matter who is displaying it.

895
00:51:57,960 --> 00:52:00,319
Speaker 1: But the movie is trying to suggest that, oh no,

896
00:52:00,400 --> 00:52:04,799
Speaker 1: it's actually charming when Ryan Gosling threatens to jump off

897
00:52:04,800 --> 00:52:08,279
Speaker 1: a ferris wheel in the Notebook to try to get

898
00:52:08,400 --> 00:52:11,719
Speaker 1: Rachel McAdams to go out with him, etcetera. So it's

899
00:52:11,760 --> 00:52:15,600
Speaker 1: like this movie doesn't maybe doesn't recognize because it's like, such,

900
00:52:15,680 --> 00:52:17,920
Speaker 1: I mean, and I like Nick Cage a lot, but

901
00:52:18,040 --> 00:52:21,080
Speaker 1: like it is such a nepotism casting choice to do

902
00:52:21,760 --> 00:52:25,040
Speaker 1: um that maybe the movie doesn't recognize that they're actively

903
00:52:25,080 --> 00:52:27,959
Speaker 1: demonstrating this test that we've been talking about for years

904
00:52:27,960 --> 00:52:31,359
Speaker 1: of like what if we did put someone deeply unlikable

905
00:52:31,480 --> 00:52:34,160
Speaker 1: in the romantic hero position, how do you feel? And

906
00:52:34,239 --> 00:52:37,719
Speaker 1: the answer is not great not wanting Kathleen to end

907
00:52:37,800 --> 00:52:42,280
Speaker 1: up with them, because conversely, she's in Romancing the Stone

908
00:52:43,480 --> 00:52:48,080
Speaker 1: with Michael Douglas and Michael Douglas is not, oh you

909
00:52:48,080 --> 00:52:50,840
Speaker 1: haven't seen Romancing the Stone, well, that that would be

910
00:52:50,880 --> 00:52:56,799
Speaker 1: an excellent choice, because it's he's not great either, He's

911
00:52:56,840 --> 00:53:00,399
Speaker 1: a mess, right yeah, And they spend most the movie

912
00:53:00,440 --> 00:53:02,560
Speaker 1: hating each other, but then, of course what happens at

913
00:53:02,560 --> 00:53:06,920
Speaker 1: the end They fall in love and kiss, so the

914
00:53:06,960 --> 00:53:10,799
Speaker 1: classic Hollywood formula. But for me, the big thing with

915
00:53:10,880 --> 00:53:15,960
Speaker 1: this movie is setting up this idea that she feels

916
00:53:16,000 --> 00:53:18,080
Speaker 1: she missed out on some stuff and it led to

917
00:53:18,200 --> 00:53:21,960
Speaker 1: resentment in her marriage, which for Charlie manifests as him

918
00:53:22,000 --> 00:53:24,640
Speaker 1: having affairs. And she even says, you know, if I

919
00:53:24,760 --> 00:53:28,200
Speaker 1: knew then what I know now, I'd have done things differently.

920
00:53:28,239 --> 00:53:30,279
Speaker 1: But then she doesn't do things differently. She makes the

921
00:53:30,280 --> 00:53:33,720
Speaker 1: same mistake. But and then she's given this second chance

922
00:53:33,760 --> 00:53:37,480
Speaker 1: where she time travels back to her high school self,

923
00:53:37,560 --> 00:53:40,719
Speaker 1: and then she uses it to make out and have

924
00:53:40,880 --> 00:53:44,600
Speaker 1: sex with a teenager. Like let's not forget that that

925
00:53:44,719 --> 00:53:47,279
Speaker 1: is that's to but it's like, but I mean, just

926
00:53:47,320 --> 00:53:50,120
Speaker 1: like the core thing of like everyone is like, oh,

927
00:53:50,120 --> 00:53:51,560
Speaker 1: what if I could do this over? But if I

928
00:53:51,600 --> 00:53:53,239
Speaker 1: have a second chance, and it's like, but what if

929
00:53:53,280 --> 00:53:56,719
Speaker 1: you just fucked up in the exact same way like

930
00:53:56,800 --> 00:53:58,520
Speaker 1: that is, But I don't think that's what the movie

931
00:53:58,600 --> 00:54:02,399
Speaker 1: is saying. Though I don't think the movie but that's

932
00:54:02,400 --> 00:54:06,959
Speaker 1: what's happening. The movie is positing like, oh, but there's

933
00:54:06,960 --> 00:54:09,840
Speaker 1: such a good match and it just took her needing

934
00:54:09,880 --> 00:54:12,080
Speaker 1: to go to travel back through time and see how

935
00:54:12,120 --> 00:54:15,239
Speaker 1: devoted he was to her for her to realize that

936
00:54:15,360 --> 00:54:17,920
Speaker 1: they should be together. I think that's like what the

937
00:54:17,960 --> 00:54:21,399
Speaker 1: movie is saying. I think, yeah, we're watching this and

938
00:54:21,560 --> 00:54:25,120
Speaker 1: just like noticing this missed opportunity for her to go

939
00:54:25,520 --> 00:54:29,320
Speaker 1: back and like learn things about herself and to discover

940
00:54:30,120 --> 00:54:33,640
Speaker 1: new interests and discover things that she did miss out

941
00:54:33,640 --> 00:54:36,240
Speaker 1: on and then she can actually pursue now, but instead

942
00:54:36,320 --> 00:54:40,160
Speaker 1: is just like, no, she should make this horrible mistake twice.

943
00:54:40,320 --> 00:54:42,640
Speaker 1: And and the weird thing is she said is is

944
00:54:42,680 --> 00:54:45,400
Speaker 1: she's a forty two year old woman and we see

945
00:54:45,440 --> 00:54:49,839
Speaker 1: her using her knowledge of psychology and and maturity and

946
00:54:49,880 --> 00:54:55,920
Speaker 1: growth to shut down the asshole woman, the woman who's yeah, yeah,

947
00:54:55,960 --> 00:54:58,960
Speaker 1: but she's she's an asshole in the eighties and she's

948
00:54:59,000 --> 00:55:01,839
Speaker 1: an asshole in the six so she never gets better.

949
00:55:02,280 --> 00:55:05,680
Speaker 1: But Peggy Sho uses her her maturity and and her

950
00:55:05,800 --> 00:55:07,600
Speaker 1: the knowledge of being a forty two year old woman

951
00:55:07,600 --> 00:55:11,000
Speaker 1: to shut her down in high school and the bad teacher.

952
00:55:12,600 --> 00:55:16,680
Speaker 1: But she also uses that same forty two year olderness

953
00:55:16,880 --> 00:55:21,200
Speaker 1: to get to sleep with Michael what's his face? And

954
00:55:21,960 --> 00:55:25,600
Speaker 1: he's creepy, and that's creepy. And I don't think I

955
00:55:25,719 --> 00:55:30,080
Speaker 1: really thought about that until you said that that was creepy, Caitlin,

956
00:55:30,160 --> 00:55:32,880
Speaker 1: So I think you're right. But well, the movie doesn't

957
00:55:32,920 --> 00:55:35,760
Speaker 1: present it that way at all. But again, because she's

958
00:55:35,800 --> 00:55:41,200
Speaker 1: in her like forty three, forty two whatever year old consciousness,

959
00:55:41,239 --> 00:55:43,520
Speaker 1: that she has all of those memories, all that wisdom,

960
00:55:44,000 --> 00:55:46,399
Speaker 1: she's has the mind of a forty three year old

961
00:55:46,400 --> 00:55:49,480
Speaker 1: and she's having sex with a teenager and that it's gross,

962
00:55:49,520 --> 00:55:51,520
Speaker 1: and she does that with two different characters because it's

963
00:55:51,640 --> 00:55:55,000
Speaker 1: not and it's like, even if it's consent legal, it's

964
00:55:55,480 --> 00:55:57,719
Speaker 1: fucking weird. And I think that's the thing that we've

965
00:55:58,080 --> 00:56:00,480
Speaker 1: we've talked about that in so many episodes because it's

966
00:56:00,520 --> 00:56:03,320
Speaker 1: just like this little sneaky Hollywood trick that is used constantly.

967
00:56:03,520 --> 00:56:08,040
Speaker 1: It's like in this movie, it also is downplayed by

968
00:56:08,080 --> 00:56:10,600
Speaker 1: the casting choice, which is like both of these actors

969
00:56:10,640 --> 00:56:12,960
Speaker 1: are in their late twenties early thirties, so it looks

970
00:56:13,440 --> 00:56:17,640
Speaker 1: completely above board consent wise, it looks okay, right, consent wise,

971
00:56:17,719 --> 00:56:20,960
Speaker 1: and it's a woman doing it to a man, which

972
00:56:21,040 --> 00:56:24,239
Speaker 1: I don't know, I mean, as it's become because it

973
00:56:24,320 --> 00:56:27,800
Speaker 1: was never it used to. I remember when I was

974
00:56:27,840 --> 00:56:30,560
Speaker 1: a kid, guys been like, if I could get some

975
00:56:30,680 --> 00:56:33,839
Speaker 1: older woman, you know what it means, that would be great,

976
00:56:33,880 --> 00:56:36,800
Speaker 1: and you're just like, no, no, it's still not okay.

977
00:56:36,840 --> 00:56:39,239
Speaker 1: And then and then sometimes in the eighties or late

978
00:56:39,280 --> 00:56:42,040
Speaker 1: eighties or the nineties, it started coming out with women

979
00:56:42,080 --> 00:56:47,000
Speaker 1: teachers sleeping with their boys students and adult men going no,

980
00:56:47,160 --> 00:56:50,160
Speaker 1: that's that's the rite of passage, such a thing, And

981
00:56:50,239 --> 00:56:52,840
Speaker 1: it's become more and more like, no, it's still in

982
00:56:52,880 --> 00:56:58,520
Speaker 1: a predatory it's super predatory. And but yeah, it is

983
00:56:58,560 --> 00:57:03,160
Speaker 1: this Hollywood trick that they're playing in because it's a

984
00:57:03,200 --> 00:57:06,439
Speaker 1: woman and it's somehow okay. And there's so many yeah,

985
00:57:06,480 --> 00:57:09,480
Speaker 1: so many like media I mean that, I mean, we

986
00:57:09,480 --> 00:57:11,279
Speaker 1: we don't even have time to get fully into it.

987
00:57:11,320 --> 00:57:15,280
Speaker 1: But the whole you know, like long and media tale

988
00:57:15,480 --> 00:57:18,320
Speaker 1: of like tolerating that and presenting it as a right

989
00:57:18,400 --> 00:57:19,960
Speaker 1: of passage. I feel like that has so much to

990
00:57:20,080 --> 00:57:23,400
Speaker 1: do with it is like, because you know, media of

991
00:57:23,440 --> 00:57:28,040
Speaker 1: all times presented this as like, oh well, in certain cases, um,

992
00:57:28,080 --> 00:57:30,840
Speaker 1: it can be predatory. But but when it's an older

993
00:57:30,880 --> 00:57:35,040
Speaker 1: woman praying on younger boy, generally, well that's just a

994
00:57:35,120 --> 00:57:37,280
Speaker 1: rite of passage and you should be grateful that it's happening.

995
00:57:37,720 --> 00:57:40,080
Speaker 1: Or if it's an older man in Gigi, I don't

996
00:57:40,080 --> 00:57:45,400
Speaker 1: know if you ever so musical, but um, it's an

997
00:57:45,400 --> 00:57:48,240
Speaker 1: older man without with a girl who's twelve eleven years

998
00:57:48,280 --> 00:57:50,360
Speaker 1: old when he meets her and he essentially is she's

999
00:57:50,360 --> 00:57:53,840
Speaker 1: being groomed for a guy just like him, and then

1000
00:57:53,880 --> 00:57:57,000
Speaker 1: they get married and then it's this the greatest love

1001
00:57:57,080 --> 00:57:59,680
Speaker 1: story in the world. My four year old great aunt

1002
00:57:59,720 --> 00:58:02,280
Speaker 1: was just talking to me last weekend about how much

1003
00:58:02,320 --> 00:58:05,560
Speaker 1: she loved that movie. Such a beautiful story, and I

1004
00:58:05,680 --> 00:58:10,400
Speaker 1: was like, run it back, we'll link podcast in the description.

1005
00:58:10,680 --> 00:58:14,040
Speaker 1: You know that I have a historical note that I

1006
00:58:14,040 --> 00:58:17,360
Speaker 1: don't know if it'll derail us from the actual back dol,

1007
00:58:17,920 --> 00:58:21,200
Speaker 1: But um, it's you know, it's nineteen sixty, he's seventeen

1008
00:58:21,280 --> 00:58:25,320
Speaker 1: years old. Why doesn't he go to Vietnam? He doesn't

1009
00:58:25,320 --> 00:58:29,680
Speaker 1: go to college? Interesting, Charlie, Yeah, whoa is he a

1010
00:58:29,760 --> 00:58:32,840
Speaker 1: draft dodger on top of everything. Yeah, he dodged the draft.

1011
00:58:34,040 --> 00:58:36,400
Speaker 1: I mean, not the worst thing, but yeah, hard hard

1012
00:58:36,440 --> 00:58:40,919
Speaker 1: to say. Well, I had a historical note as well.

1013
00:58:40,960 --> 00:58:43,920
Speaker 1: I mean this, this movie clearly is making the choice

1014
00:58:43,960 --> 00:58:48,800
Speaker 1: to I mean, it's so hyper focused on Peggy Sue's

1015
00:58:49,320 --> 00:58:51,760
Speaker 1: a very specific corner of Peggy Sue's life that I

1016
00:58:51,800 --> 00:58:54,080
Speaker 1: feel like, you know, you're given this something that we

1017
00:58:54,120 --> 00:58:56,320
Speaker 1: see in a lot of movies. It's very like rosy

1018
00:58:56,520 --> 00:59:00,240
Speaker 1: look at the past, especially with this era. I feel

1019
00:59:00,240 --> 00:59:01,600
Speaker 1: like you get it a lot with the fifties. This

1020
00:59:01,640 --> 00:59:05,360
Speaker 1: is technically nine, but it looks like the fifties where

1021
00:59:05,960 --> 00:59:09,240
Speaker 1: there's no real acknowledgment of like social upheaval, like you're

1022
00:59:09,280 --> 00:59:11,520
Speaker 1: just saying, Jackie, like there's all of these you know,

1023
00:59:11,600 --> 00:59:14,760
Speaker 1: it's you're in an American white suburb and it's presented

1024
00:59:14,760 --> 00:59:18,439
Speaker 1: as like now these were the days, which always when

1025
00:59:18,480 --> 00:59:21,120
Speaker 1: when I see this now, it always feels a little

1026
00:59:21,120 --> 00:59:23,320
Speaker 1: insidious because it's like, well, it's so much has to

1027
00:59:23,360 --> 00:59:26,160
Speaker 1: be raised for us to just like live in this

1028
00:59:26,400 --> 00:59:31,160
Speaker 1: basically like poster this kind of like false version of reality.

1029
00:59:31,560 --> 00:59:36,160
Speaker 1: Um that again, it's like this movie has it's it's

1030
00:59:36,160 --> 00:59:38,680
Speaker 1: so bizarre to me that I can, Like, it's just

1031
00:59:38,720 --> 00:59:40,960
Speaker 1: bizarre to me the direction this movie chooses to go,

1032
00:59:41,000 --> 00:59:45,960
Speaker 1: because it's so like specific where it goes that and

1033
00:59:46,120 --> 00:59:48,200
Speaker 1: it feels like kind of a lot of these stories

1034
00:59:49,160 --> 00:59:52,960
Speaker 1: opportunities are left along the way because it's so focused

1035
00:59:52,960 --> 00:59:57,440
Speaker 1: on Peggy sus How like why Peggy Sue got married?

1036
00:59:57,480 --> 01:00:00,840
Speaker 1: That is, the movies only int mentioned that that is

1037
01:00:00,840 --> 01:00:03,920
Speaker 1: its mission? Why did she get married? When it's like

1038
01:00:03,960 --> 01:00:07,120
Speaker 1: there is like I mean, there's a ton of stuff

1039
01:00:07,120 --> 01:00:10,480
Speaker 1: going on that could have been integrated into the story

1040
01:00:10,920 --> 01:00:13,400
Speaker 1: in a more interesting way. I was honestly surprised that

1041
01:00:13,600 --> 01:00:17,440
Speaker 1: because it did feel like there was room for commentary

1042
01:00:17,640 --> 01:00:21,360
Speaker 1: on the values of the sixties and how maybe those

1043
01:00:21,440 --> 01:00:24,520
Speaker 1: values clash with the more modern values of the eighties,

1044
01:00:24,760 --> 01:00:28,680
Speaker 1: or like you know, how Peggy Sue with her knowledge

1045
01:00:28,720 --> 01:00:32,240
Speaker 1: of history, how you know she could have some takes

1046
01:00:34,000 --> 01:00:37,400
Speaker 1: right something like that. But the movie doesn't bother to

1047
01:00:37,400 --> 01:00:39,840
Speaker 1: go in that direction at all. And not to say

1048
01:00:39,840 --> 01:00:43,560
Speaker 1: that like every movie has to have like biting socio

1049
01:00:43,600 --> 01:00:46,440
Speaker 1: political commentary or something like that, but the movie just

1050
01:00:46,480 --> 01:00:49,280
Speaker 1: completely ignores it. And the only for example, the only

1051
01:00:49,560 --> 01:00:52,360
Speaker 1: people of color in the entire movie, which takes place

1052
01:00:52,440 --> 01:00:55,320
Speaker 1: during the civil rights movement are kind of in the

1053
01:00:55,360 --> 01:00:59,880
Speaker 1: background seen on stage with Nick Cage because he's secretly

1054
01:01:00,360 --> 01:01:04,320
Speaker 1: he secretly performs at like an R and B club sometimes,

1055
01:01:04,760 --> 01:01:06,840
Speaker 1: which is just presented as like something that makes him

1056
01:01:07,120 --> 01:01:10,640
Speaker 1: quote unquote cool because of his proximity to black culture,

1057
01:01:10,680 --> 01:01:14,560
Speaker 1: and then it's just dropped. Would have been cool for

1058
01:01:14,640 --> 01:01:19,480
Speaker 1: the movie to explore and comment on the cultural landscape

1059
01:01:19,480 --> 01:01:23,240
Speaker 1: of the sixties and how it compares to the culture

1060
01:01:23,360 --> 01:01:26,920
Speaker 1: of the mid eighties, especially since Peggy Sue would be

1061
01:01:27,000 --> 01:01:30,760
Speaker 1: viewing the sixties that she's in right now through this

1062
01:01:30,840 --> 01:01:34,600
Speaker 1: more modern eighties lens that she just came from. But

1063
01:01:34,760 --> 01:01:38,640
Speaker 1: that's not what the movie is about. I guess, uh,

1064
01:01:38,800 --> 01:01:42,000
Speaker 1: let's take a quick break and we'll be right back

1065
01:01:42,080 --> 01:01:51,680
Speaker 1: with more discussion. I just want to like close out

1066
01:01:51,720 --> 01:01:56,439
Speaker 1: my thoughts on the just bizarro direction of this movie takes,

1067
01:01:56,520 --> 01:01:59,520
Speaker 1: especially because again, what's what to me feels like is

1068
01:01:59,560 --> 01:02:03,720
Speaker 1: being said up is her being given this second chance

1069
01:02:03,880 --> 01:02:09,400
Speaker 1: to discover some interests, discover some ambitions, to learn about herself,

1070
01:02:09,440 --> 01:02:12,880
Speaker 1: to not make the same mistake over again with Charlie,

1071
01:02:13,120 --> 01:02:15,720
Speaker 1: And it feels like that's really the direction it's going

1072
01:02:15,800 --> 01:02:20,120
Speaker 1: to go in. When she's giving this speech too. I

1073
01:02:20,160 --> 01:02:23,840
Speaker 1: think it's Richard when he proposes to her and he's like,

1074
01:02:23,840 --> 01:02:26,120
Speaker 1: you know, you can change your destiny and you know,

1075
01:02:26,160 --> 01:02:28,920
Speaker 1: marry me instead, and she's just like, no, Peggy Sue

1076
01:02:28,920 --> 01:02:31,520
Speaker 1: got married case close. And then she says, I don't

1077
01:02:31,520 --> 01:02:34,479
Speaker 1: want to marry anyone I know, as if to say,

1078
01:02:34,520 --> 01:02:38,080
Speaker 1: like she has been defined by the fact that she

1079
01:02:38,160 --> 01:02:40,720
Speaker 1: got married very young, and she doesn't want to be

1080
01:02:40,800 --> 01:02:44,920
Speaker 1: defined that way anymore. The movie is like setting up

1081
01:02:44,920 --> 01:02:48,480
Speaker 1: this arc where Peggy Sue realizes that her value has

1082
01:02:48,760 --> 01:02:52,800
Speaker 1: more than just her relationship with Charlie and that she's

1083
01:02:52,840 --> 01:02:54,840
Speaker 1: like gonna discover all this stuff about herself. But then

1084
01:02:54,840 --> 01:02:58,000
Speaker 1: it just ends with her realizing that she's actually loved

1085
01:02:58,160 --> 01:03:00,280
Speaker 1: Charlie this whole time and that she should get back

1086
01:03:00,360 --> 01:03:06,280
Speaker 1: together with him, right, and how is anything going to change? Right? Right?

1087
01:03:06,320 --> 01:03:09,240
Speaker 1: I mean it felt like a haze Code moment almost

1088
01:03:09,280 --> 01:03:12,560
Speaker 1: at the end where where like he and she invites

1089
01:03:12,640 --> 01:03:15,760
Speaker 1: him over to the house. Right, It's either that or

1090
01:03:15,800 --> 01:03:19,680
Speaker 1: it's like is this an existential piece? You're like, you can,

1091
01:03:20,080 --> 01:03:23,840
Speaker 1: you can search the world for answers, but but you

1092
01:03:23,880 --> 01:03:27,400
Speaker 1: know you're you're fucked, baby, You're fucked, Like you're just like,

1093
01:03:28,960 --> 01:03:32,440
Speaker 1: this is your destiny. It's so bleak, And I want

1094
01:03:32,480 --> 01:03:35,440
Speaker 1: to be clear that, like, as we've always said, a

1095
01:03:35,520 --> 01:03:39,760
Speaker 1: woman having a hetero relationship with a man is not

1096
01:03:40,320 --> 01:03:44,880
Speaker 1: anti feminist, Like we are just simply commenting on the

1097
01:03:44,920 --> 01:03:48,120
Speaker 1: cultural expectation that a woman should get married to a

1098
01:03:48,120 --> 01:03:49,960
Speaker 1: man or must be married to a man. Well, and

1099
01:03:50,040 --> 01:03:53,520
Speaker 1: I think it's the lack of anything else is what

1100
01:03:53,560 --> 01:03:55,520
Speaker 1: I'm concerned with here. It's like, you know, whatever, a

1101
01:03:55,600 --> 01:03:58,520
Speaker 1: relationship is a wonderful part of any life if it's

1102
01:03:58,560 --> 01:04:00,480
Speaker 1: if it's good, and it's what you want. But it's like,

1103
01:04:00,840 --> 01:04:03,920
Speaker 1: but this is the defining event of her life, and

1104
01:04:04,080 --> 01:04:06,480
Speaker 1: she resents that, she seems to resent that, but then

1105
01:04:06,480 --> 01:04:09,680
Speaker 1: the movie has her continued to be defined by it

1106
01:04:09,760 --> 01:04:12,040
Speaker 1: at the end, and it just like it's so dissonant

1107
01:04:12,120 --> 01:04:14,840
Speaker 1: and weird. It's so weird. It makes me so sad

1108
01:04:14,880 --> 01:04:17,320
Speaker 1: for her, right, it makes it weird. It makes it

1109
01:04:17,360 --> 01:04:21,840
Speaker 1: weird and sad. Even if there are some amazing filmmaking,

1110
01:04:21,880 --> 01:04:26,080
Speaker 1: there's some really cool storytelling within it that that really

1111
01:04:26,120 --> 01:04:30,880
Speaker 1: does an amazing job showing us some depth to these characters.

1112
01:04:31,240 --> 01:04:33,800
Speaker 1: Like I I don't want to watch it, but I'm

1113
01:04:33,800 --> 01:04:37,680
Speaker 1: more interested in a movie about her mother, you know,

1114
01:04:38,000 --> 01:04:41,320
Speaker 1: like her mother just making ends meet, chipped beef with

1115
01:04:41,400 --> 01:04:48,080
Speaker 1: Ruda Vegas, her father's favorite that that you know what

1116
01:04:48,160 --> 01:04:50,880
Speaker 1: it feels. It feels like she's making ends meet, and

1117
01:04:50,960 --> 01:04:53,960
Speaker 1: she's convinced Peggy Sue his dad that that's his favorite,

1118
01:04:54,880 --> 01:05:01,120
Speaker 1: and right, I can't. It's very Yeah, it is like

1119
01:05:01,160 --> 01:05:04,080
Speaker 1: a very very strange I mean, I've just never seen

1120
01:05:04,120 --> 01:05:06,320
Speaker 1: a movie like it. It's so high concept and yet

1121
01:05:06,440 --> 01:05:10,320
Speaker 1: so preoccupied with something, and the ending is so like,

1122
01:05:10,360 --> 01:05:14,560
Speaker 1: you just don't expect a Back to the Future style premise.

1123
01:05:14,840 --> 01:05:16,800
Speaker 1: They came out right after Back to of the Future

1124
01:05:16,840 --> 01:05:20,800
Speaker 1: to end in this kind of sad way, like why

1125
01:05:20,840 --> 01:05:22,280
Speaker 1: has it ended? So say, I know that the movie

1126
01:05:22,320 --> 01:05:25,000
Speaker 1: doesn't want you to think it's sad, but even if

1127
01:05:25,040 --> 01:05:26,600
Speaker 1: even if you don't think it's sad, it's a very

1128
01:05:26,720 --> 01:05:30,440
Speaker 1: quiet ending to a very high concept story. There's no

1129
01:05:30,760 --> 01:05:33,560
Speaker 1: like Deloreans, there's no end, the loop is closed, there's

1130
01:05:33,560 --> 01:05:38,120
Speaker 1: not gonna be Peggy's got married to, Like I'm trying

1131
01:05:38,200 --> 01:05:40,640
Speaker 1: to imagine what a Peggy's got married too. She goes

1132
01:05:40,680 --> 01:05:43,440
Speaker 1: back in time it's actually now the seventies, and she

1133
01:05:43,600 --> 01:05:46,600
Speaker 1: just thinks everything's going great, but he's sleeping with Janet.

1134
01:05:46,880 --> 01:05:48,959
Speaker 1: And then at the end she's like, well, I guess

1135
01:05:49,000 --> 01:05:51,160
Speaker 1: I'm just gonna stay married to him again, and then

1136
01:05:51,160 --> 01:05:54,160
Speaker 1: it'll just keep happening and happening. God, it's so depressing,

1137
01:05:54,280 --> 01:05:57,200
Speaker 1: poor Peggy sus. A few stray because I know we're

1138
01:05:57,280 --> 01:05:59,560
Speaker 1: running short on time, a few straight things that I

1139
01:05:59,600 --> 01:06:03,600
Speaker 1: wanted to note. Um, so, I think we're already kind

1140
01:06:03,600 --> 01:06:06,320
Speaker 1: of touched on this, but I felt like the beginning

1141
01:06:06,320 --> 01:06:09,320
Speaker 1: of the movie gave her a pretty interesting connection to

1142
01:06:09,560 --> 01:06:11,360
Speaker 1: the women she went to school with, and then that

1143
01:06:11,440 --> 01:06:13,800
Speaker 1: kind of went under examined in the sixties. They to

1144
01:06:13,840 --> 01:06:15,560
Speaker 1: the point where there's a joke made about it, like

1145
01:06:15,640 --> 01:06:18,840
Speaker 1: she Peggy Sue asks her friends to spend a night

1146
01:06:18,880 --> 01:06:21,360
Speaker 1: with her, some time with her, and they're like ha

1147
01:06:21,360 --> 01:06:23,800
Speaker 1: ha ha no, And then you never get that scene

1148
01:06:23,880 --> 01:06:27,200
Speaker 1: of them talking to each other really like so that

1149
01:06:27,280 --> 01:06:30,000
Speaker 1: was a bummer. Literally, they're sitting in three chairs going

1150
01:06:30,480 --> 01:06:34,600
Speaker 1: did you screw Michael? And that's the only real moment

1151
01:06:34,640 --> 01:06:37,160
Speaker 1: they have. And then it's it's date night. Walter is

1152
01:06:37,160 --> 01:06:39,840
Speaker 1: coming over and you're like and she's like, let's have

1153
01:06:39,920 --> 01:06:42,240
Speaker 1: a sleepover, let's hang out, and they're like, grow up,

1154
01:06:42,320 --> 01:06:45,240
Speaker 1: grow up, and then that's it, like, which is like

1155
01:06:45,320 --> 01:06:46,960
Speaker 1: a funny joke, but I was like, oh, we're and

1156
01:06:47,000 --> 01:06:49,200
Speaker 1: then we're just never going to see them talk again. Interesting.

1157
01:06:49,240 --> 01:06:52,280
Speaker 1: It makes me want to see Diner because if if

1158
01:06:52,320 --> 01:06:54,960
Speaker 1: this is like my brother thinks, this is the woman

1159
01:06:55,160 --> 01:07:00,320
Speaker 1: version of Diner, I've never seen Dinner. I've never seen Diner.

1160
01:07:00,400 --> 01:07:04,240
Speaker 1: But but this movie, I feel like this movie doesn't

1161
01:07:04,440 --> 01:07:07,440
Speaker 1: deliver on the relationships with women that are set up,

1162
01:07:07,480 --> 01:07:11,000
Speaker 1: because I really liked that when she goes to the

1163
01:07:11,080 --> 01:07:14,200
Speaker 1: high school reunion, she goes to her female friends right

1164
01:07:14,240 --> 01:07:16,880
Speaker 1: away and they start gassing her up there like, Oh,

1165
01:07:16,920 --> 01:07:18,840
Speaker 1: that's great that you're getting a divorce, do you blah

1166
01:07:18,840 --> 01:07:21,160
Speaker 1: blah blah. It's really nice. And then also when she

1167
01:07:21,200 --> 01:07:23,439
Speaker 1: goes back to the sixties, the first people she wants

1168
01:07:23,440 --> 01:07:26,120
Speaker 1: to see are her mother and her sister, and like

1169
01:07:26,400 --> 01:07:28,800
Speaker 1: she you know, kind of blows Charlie off at first.

1170
01:07:28,800 --> 01:07:30,160
Speaker 1: She's like, I don't want to see you. I see

1171
01:07:30,160 --> 01:07:31,840
Speaker 1: you all the time. I want to see my mom

1172
01:07:31,880 --> 01:07:33,480
Speaker 1: and I want to see my sister, and I want

1173
01:07:33,520 --> 01:07:36,400
Speaker 1: to have like this bond and like the same thing

1174
01:07:36,480 --> 01:07:39,360
Speaker 1: with her grandma. Like she has very very strong connections

1175
01:07:39,360 --> 01:07:41,000
Speaker 1: to the women in the story, but you just don't

1176
01:07:41,000 --> 01:07:43,160
Speaker 1: really get to see they don't play out or have

1177
01:07:43,240 --> 01:07:46,480
Speaker 1: an arc with them. You only see the ark with Charlie, right,

1178
01:07:48,400 --> 01:07:51,640
Speaker 1: So that was a big bummer. Um. Yeah, does anyone

1179
01:07:51,680 --> 01:07:55,640
Speaker 1: have any other thoughts about the movie? I like that

1180
01:07:55,760 --> 01:07:58,240
Speaker 1: it has a quiet ending. I like that that feels

1181
01:07:58,240 --> 01:08:02,240
Speaker 1: more cheerful than more of the same. Yeah, I like

1182
01:08:02,320 --> 01:08:04,440
Speaker 1: to think. But I'm a lady in the Tiger catec

1183
01:08:04,560 --> 01:08:07,880
Speaker 1: person and where I want I wanted to be the

1184
01:08:07,960 --> 01:08:10,720
Speaker 1: lady I want her to have. Like what she's learned

1185
01:08:10,760 --> 01:08:14,680
Speaker 1: is she's got better boundaries now with Charlie. That's what

1186
01:08:14,840 --> 01:08:17,719
Speaker 1: I hope happens when when we stop watching. I mean,

1187
01:08:17,960 --> 01:08:20,679
Speaker 1: I hope, I hope that at least there's an adjustment made.

1188
01:08:20,720 --> 01:08:23,440
Speaker 1: I mean, if she really wants to stay that relationship.

1189
01:08:24,360 --> 01:08:27,160
Speaker 1: But I just we'll know if it's going to happen here.

1190
01:08:27,320 --> 01:08:29,640
Speaker 1: I love that she loves her kids though that it

1191
01:08:29,840 --> 01:08:31,280
Speaker 1: is nice, and she seems to have a really good

1192
01:08:31,280 --> 01:08:34,559
Speaker 1: relationship with her daughter, and we see that actually on screen.

1193
01:08:34,760 --> 01:08:37,280
Speaker 1: Yeah her Oh I love that first scene where her

1194
01:08:37,360 --> 01:08:39,559
Speaker 1: daughter is like, Mom, you've got this, You're hot, wear

1195
01:08:39,640 --> 01:08:41,680
Speaker 1: your weird dress, and she's like, all right, I'll do

1196
01:08:41,840 --> 01:08:46,120
Speaker 1: It's cute. I take comfort in this since the ending

1197
01:08:46,479 --> 01:08:49,760
Speaker 1: it's kind of ambiguous. We don't know for sure if

1198
01:08:49,800 --> 01:08:52,280
Speaker 1: they will get back together, even though the movie is

1199
01:08:52,320 --> 01:08:56,480
Speaker 1: clearly heavily in playing that. But because it doesn't explicitly

1200
01:08:56,600 --> 01:08:59,599
Speaker 1: state that, and we don't like see like a scene

1201
01:08:59,600 --> 01:09:02,320
Speaker 1: where they are renewing their wedding vowels or something like that,

1202
01:09:02,439 --> 01:09:05,360
Speaker 1: or they don't sign the divorce papers. Maybe it is

1203
01:09:05,439 --> 01:09:08,920
Speaker 1: just that she's like, Okay, you can come hang out

1204
01:09:09,000 --> 01:09:12,760
Speaker 1: with our children and we can try to like be

1205
01:09:12,920 --> 01:09:17,080
Speaker 1: on friendly terms. But I'm gonna go I'm gonna turn

1206
01:09:17,160 --> 01:09:21,000
Speaker 1: this bakery into a into a awesome gig. What about

1207
01:09:21,120 --> 01:09:24,280
Speaker 1: the bakery? Where does this fucking bakery come from? Sho

1208
01:09:24,360 --> 01:09:27,840
Speaker 1: And then they take time out in the like they

1209
01:09:27,840 --> 01:09:29,920
Speaker 1: make a point in the eighties for her to say, oh,

1210
01:09:29,920 --> 01:09:33,160
Speaker 1: are you the manager? No, I own the bakery, and

1211
01:09:33,200 --> 01:09:36,160
Speaker 1: you're like, so you own a bakery, Like, why couldn't

1212
01:09:36,200 --> 01:09:38,879
Speaker 1: that be something that you always wanted from the sixties?

1213
01:09:38,960 --> 01:09:41,880
Speaker 1: So we can give this woman something that she wants

1214
01:09:41,920 --> 01:09:43,760
Speaker 1: to own a bakery. It's the most rom com thing

1215
01:09:43,760 --> 01:09:46,519
Speaker 1: in the world, but fucking whatever, give her bakery. Have

1216
01:09:46,600 --> 01:09:51,840
Speaker 1: her want that, Like jeez. Anyways, Yes, such a bizarre ending,

1217
01:09:51,920 --> 01:09:57,439
Speaker 1: and the freaking weird like eleventh hour Freemason's time travel

1218
01:09:57,720 --> 01:10:00,439
Speaker 1: ritual they perform is not even the weirdest part. Okay,

1219
01:10:00,560 --> 01:10:03,400
Speaker 1: I thought that was that was I mean, Freemasons are

1220
01:10:03,600 --> 01:10:06,280
Speaker 1: like chaotic evil, but I thought that was a very

1221
01:10:06,320 --> 01:10:09,559
Speaker 1: fun I mean, that was another thing that I was like, Oh,

1222
01:10:09,640 --> 01:10:11,600
Speaker 1: couple of movie. Okay, I guess, but maybe this is

1223
01:10:11,640 --> 01:10:13,760
Speaker 1: where does it come from? It feels so out of

1224
01:10:13,760 --> 01:10:15,479
Speaker 1: place in this movie. I mean, I didn't hate it.

1225
01:10:15,520 --> 01:10:18,200
Speaker 1: I think it's very funny that this is randomly at

1226
01:10:18,200 --> 01:10:21,639
Speaker 1: the end of the movie, but totally another dissonant thing.

1227
01:10:24,000 --> 01:10:29,439
Speaker 1: The movie does pass the Bechtel test. We see Peggy

1228
01:10:29,479 --> 01:10:32,639
Speaker 1: Sue talking to her sister about board games. We see

1229
01:10:32,640 --> 01:10:35,400
Speaker 1: her talking to her mom about different things like her

1230
01:10:35,479 --> 01:10:40,280
Speaker 1: hair and her clothes and her grandma. I think most

1231
01:10:40,320 --> 01:10:43,040
Speaker 1: of the conversations she has with her friends don't pass

1232
01:10:43,080 --> 01:10:47,280
Speaker 1: because they're always talking about boys. My favorite scene that

1233
01:10:47,320 --> 01:10:49,439
Speaker 1: does not pass the Bechtel test is when her mom

1234
01:10:49,640 --> 01:10:52,680
Speaker 1: is like, have you ever heard of a penis? And

1235
01:10:52,720 --> 01:10:55,360
Speaker 1: Pekysu was like yeah, and her mom was like, well,

1236
01:10:55,439 --> 01:11:01,320
Speaker 1: stay away from them, right, iconic Hilary. But even though

1237
01:11:01,320 --> 01:11:04,280
Speaker 1: a lot of scenes between women they are talking about men,

1238
01:11:04,400 --> 01:11:08,280
Speaker 1: there are a fair number that do pass the Bechdel test.

1239
01:11:08,520 --> 01:11:12,760
Speaker 1: So yes, there's that. It ain't nothing. Ain't nothing. As

1240
01:11:12,800 --> 01:11:17,559
Speaker 1: far as our scale, the nipple scale, in which we

1241
01:11:18,000 --> 01:11:22,960
Speaker 1: evaluate the movie from an intersectional feminist lens zero to

1242
01:11:23,040 --> 01:11:28,320
Speaker 1: five nipples, I would give this. Oh gosh, I'll give

1243
01:11:28,360 --> 01:11:31,840
Speaker 1: it a one and a half. What what's gotten the five?

1244
01:11:32,640 --> 01:11:36,000
Speaker 1: Very few things? Almost nothing And we don't even stand

1245
01:11:36,040 --> 01:11:39,280
Speaker 1: by all of our fives over time, I think like, mo,

1246
01:11:39,439 --> 01:11:45,479
Speaker 1: wanna got a five? Have they gotten zeros? We've given zeros,

1247
01:11:45,479 --> 01:11:49,880
Speaker 1: We've given negative nipples. Um, if you can do free

1248
01:11:49,880 --> 01:11:53,960
Speaker 1: form jazz on the I mean it's on the scale. Yes,

1249
01:11:54,200 --> 01:11:56,880
Speaker 1: I'm giving it a one and a half because I

1250
01:11:56,920 --> 01:12:00,240
Speaker 1: like Peggy Stu as a character. I like that we

1251
01:12:00,320 --> 01:12:06,720
Speaker 1: see this emotionally intelligent woman who is confident in herself,

1252
01:12:06,840 --> 01:12:10,680
Speaker 1: and it's just that all of her potential is squandered

1253
01:12:10,760 --> 01:12:14,680
Speaker 1: because the movie has her make choices that don't even

1254
01:12:14,760 --> 01:12:17,840
Speaker 1: align with the character that they developed for her. It

1255
01:12:17,880 --> 01:12:20,559
Speaker 1: doesn't make sense, Like I feel like there's another twenty

1256
01:12:20,600 --> 01:12:25,880
Speaker 1: minutes of this movie. Yeah, maybe there is. Maybe there is.

1257
01:12:25,920 --> 01:12:27,880
Speaker 1: I read that there was a lot of this movie

1258
01:12:27,960 --> 01:12:30,200
Speaker 1: that didn't it was shot very quickly, and that it

1259
01:12:30,240 --> 01:12:32,679
Speaker 1: sounds like there were there was stuff that either wasn't

1260
01:12:32,680 --> 01:12:36,479
Speaker 1: shot or didn't make the movie, including the character. And

1261
01:12:36,520 --> 01:12:39,160
Speaker 1: I think also the only disabled character we see in

1262
01:12:39,200 --> 01:12:42,320
Speaker 1: the movie Rosalie, who was in the beginning and then

1263
01:12:42,400 --> 01:12:44,800
Speaker 1: it's cut from I think that she was supposed to

1264
01:12:44,800 --> 01:12:48,240
Speaker 1: be in the whole movie. I read, but there wasn't

1265
01:12:48,320 --> 01:12:51,200
Speaker 1: time or I got cut. I mean, and again it's like,

1266
01:12:51,200 --> 01:12:53,120
Speaker 1: and I don't believe that that character is played by

1267
01:12:53,160 --> 01:12:55,559
Speaker 1: a disabled actor. And yeah, I don't know. There there

1268
01:12:55,600 --> 01:12:57,280
Speaker 1: were threads that you're just like, well, where did that

1269
01:12:57,320 --> 01:12:59,880
Speaker 1: person go? Where did that story go? Right? I want

1270
01:12:59,880 --> 01:13:01,840
Speaker 1: to believe that there was more, but I don't know.

1271
01:13:02,280 --> 01:13:04,400
Speaker 1: Right there, there's got to be, but what with what

1272
01:13:04,400 --> 01:13:07,160
Speaker 1: we're given, it's dissonant and it doesn't make any sense.

1273
01:13:07,400 --> 01:13:11,880
Speaker 1: And like Peggy, Sue is a level headed character who

1274
01:13:11,920 --> 01:13:15,560
Speaker 1: seems to understand herself very well and understand her surroundings,

1275
01:13:15,640 --> 01:13:19,479
Speaker 1: and yet the movie makes her make this choice to

1276
01:13:19,560 --> 01:13:23,519
Speaker 1: get back with Charlie, even though it doesn't seem like

1277
01:13:23,800 --> 01:13:27,160
Speaker 1: that character would make that choice. But Hollywood is like

1278
01:13:27,240 --> 01:13:30,720
Speaker 1: we need a happy ending, and a happy ending is

1279
01:13:30,760 --> 01:13:34,679
Speaker 1: when two hetero people kiss and are in love, even

1280
01:13:34,720 --> 01:13:39,200
Speaker 1: if the man is terrible, even if we've been spending

1281
01:13:39,240 --> 01:13:42,120
Speaker 1: two hours realizing why this is a bad idea for

1282
01:13:42,160 --> 01:13:45,880
Speaker 1: both of them. What a treat. So yeah, it feels

1283
01:13:45,920 --> 01:13:48,599
Speaker 1: like a very like of the era. I think if

1284
01:13:48,640 --> 01:13:51,240
Speaker 1: like this were to me remade today, it would be

1285
01:13:51,320 --> 01:13:54,160
Speaker 1: like again the thing that I pitched, like Peggy Sue

1286
01:13:54,240 --> 01:13:59,080
Speaker 1: being like, wow, hindsight is and that guy sucks and

1287
01:13:59,120 --> 01:14:02,000
Speaker 1: I'm not gonna get back with him and I'm gonna

1288
01:14:02,240 --> 01:14:06,680
Speaker 1: learn how to invent boom boxes myself. I don't need

1289
01:14:06,720 --> 01:14:08,760
Speaker 1: a man. Interesting because it could have been that in

1290
01:14:08,880 --> 01:14:10,880
Speaker 1: eight six to like it kind of could have gone

1291
01:14:10,880 --> 01:14:13,200
Speaker 1: either way in that era, and this this one uh

1292
01:14:13,720 --> 01:14:16,320
Speaker 1: just does not. It didn't. I was thinking of my

1293
01:14:16,400 --> 01:14:18,920
Speaker 1: mom the whole time, and I'm like, well, at least

1294
01:14:18,960 --> 01:14:21,640
Speaker 1: my mom made a different choice in her one timeline

1295
01:14:21,840 --> 01:14:25,679
Speaker 1: at some point, you know, she actually did do the divorce. Yeah,

1296
01:14:25,880 --> 01:14:30,160
Speaker 1: she actually made a divorce, like like, was the right idea? Yea,

1297
01:14:30,360 --> 01:14:32,840
Speaker 1: she was, Yeah, Peggy, she was right from the get go,

1298
01:14:33,240 --> 01:14:37,599
Speaker 1: get out. Yeah, you still do have your kids, right, right,

1299
01:14:37,640 --> 01:14:39,680
Speaker 1: you don't lose your kids, if you get it, if

1300
01:14:39,720 --> 01:14:43,040
Speaker 1: you divorce Nicholas Cage. That is just famously a truth

1301
01:14:43,080 --> 01:14:45,639
Speaker 1: of this world. Right, look at it. Look at Elvis

1302
01:14:45,640 --> 01:14:50,519
Speaker 1: Presley's daughter exactly. Oh right, I forgot about that. Gosh

1303
01:14:50,760 --> 01:14:54,240
Speaker 1: so too. Nipples or sorry, nipple and half nipples. I'll

1304
01:14:54,280 --> 01:14:58,040
Speaker 1: give one to Kathleen Turner and I will give the

1305
01:14:58,320 --> 01:15:04,000
Speaker 1: half nipple to Helen Hunt, her daughter who's in the

1306
01:15:04,040 --> 01:15:09,000
Speaker 1: movie for four minutes. I'm gonna do. I think I'll

1307
01:15:09,000 --> 01:15:11,559
Speaker 1: go to for this. We didn't get to talk much

1308
01:15:11,560 --> 01:15:15,400
Speaker 1: about the production, but this movie was written by a

1309
01:15:15,439 --> 01:15:17,960
Speaker 1: married couple, one of us, so there there is a

1310
01:15:18,000 --> 01:15:21,920
Speaker 1: woman co writer on this movie. I think that it is,

1311
01:15:22,760 --> 01:15:25,040
Speaker 1: you know, unique, that there is a Francis Ford Copela

1312
01:15:25,080 --> 01:15:29,160
Speaker 1: movie that's the character study of a woman in her forties. Uh,

1313
01:15:29,360 --> 01:15:31,920
Speaker 1: that is scraps, but I do think it is. It

1314
01:15:32,040 --> 01:15:36,360
Speaker 1: is interesting. I I am so depressed by what happens

1315
01:15:36,400 --> 01:15:39,320
Speaker 1: to be yous. Do I want better for her? Um?

1316
01:15:39,360 --> 01:15:42,040
Speaker 1: But I do appreciate that, you know, she is the

1317
01:15:42,120 --> 01:15:44,720
Speaker 1: character that we learn inside and out, even when we

1318
01:15:44,760 --> 01:15:48,320
Speaker 1: find her frustrating, even when we're like, you're fucking up

1319
01:15:48,360 --> 01:15:51,160
Speaker 1: so bad. I feel like the reason that we're so

1320
01:15:51,240 --> 01:15:53,600
Speaker 1: frustrated that she's sucking up so bad. Is because we

1321
01:15:53,640 --> 01:15:55,960
Speaker 1: really get to know her, We get to like see

1322
01:15:56,000 --> 01:15:59,880
Speaker 1: I feel like there's often in stories like this it's like, oh,

1323
01:16:00,240 --> 01:16:02,519
Speaker 1: she's the protagonist, but then you spend the whole movie

1324
01:16:02,560 --> 01:16:06,080
Speaker 1: learning about like her boyfriend's family for some reason, and

1325
01:16:06,600 --> 01:16:08,559
Speaker 1: this movie does not go that way. You really do

1326
01:16:08,760 --> 01:16:11,960
Speaker 1: learn who Peggy Sue is, where she comes from, the

1327
01:16:11,960 --> 01:16:15,040
Speaker 1: culture she came up in, and why that culture, you know,

1328
01:16:15,120 --> 01:16:17,759
Speaker 1: motivated her to funk her life up with Nicolas Cage.

1329
01:16:17,920 --> 01:16:20,360
Speaker 1: It's not a happy story. I know we're supposed to

1330
01:16:20,360 --> 01:16:22,720
Speaker 1: think it is. I don't think it is, but I

1331
01:16:22,760 --> 01:16:26,040
Speaker 1: but I was really I don't know. I mean, I

1332
01:16:26,080 --> 01:16:28,160
Speaker 1: feel like this movie has to be doing something right

1333
01:16:28,200 --> 01:16:30,960
Speaker 1: if I'm so sad for Peggy Sue at the end

1334
01:16:30,960 --> 01:16:36,120
Speaker 1: of the movie. Right. So a uniquely bleak take on

1335
01:16:36,200 --> 01:16:39,559
Speaker 1: a time traveling movie. I don't know that I will

1336
01:16:39,560 --> 01:16:42,679
Speaker 1: want to watch it again soon. But I love Kathleen Turner.

1337
01:16:43,280 --> 01:16:45,639
Speaker 1: I liked seeing her in a role like this. Just

1338
01:16:45,680 --> 01:16:48,720
Speaker 1: watch Romancing the Stone with Me or More of the

1339
01:16:48,840 --> 01:16:52,840
Speaker 1: Roses where they kill each other and she throws Michael

1340
01:16:52,880 --> 01:16:59,200
Speaker 1: Douglas's hand off of her dying body, like, holy shit,

1341
01:17:00,040 --> 01:17:03,280
Speaker 1: part of the Roses is brutal. Actually, I don't recommend it.

1342
01:17:04,320 --> 01:17:08,000
Speaker 1: Danny DeVito directed it, oh right, I did know, Okay, okay,

1343
01:17:08,000 --> 01:17:10,320
Speaker 1: so I haven't seen it, but I didn't know that

1344
01:17:10,360 --> 01:17:12,600
Speaker 1: he directed it because I think that Polly Platt was

1345
01:17:12,640 --> 01:17:17,599
Speaker 1: supposed to direct it originally. Um okay, So so yeah,

1346
01:17:17,720 --> 01:17:20,280
Speaker 1: I'll go to I think it's an interesting character study

1347
01:17:20,320 --> 01:17:24,599
Speaker 1: that made me want to die. Um so. And also,

1348
01:17:24,680 --> 01:17:26,880
Speaker 1: you know, Super White movie didn't need to be. There

1349
01:17:26,880 --> 01:17:30,800
Speaker 1: were story opportunities to, you know, do other stuff than

1350
01:17:31,000 --> 01:17:33,599
Speaker 1: this movie just didn't do. I'm gonna give one nipple

1351
01:17:33,600 --> 01:17:35,519
Speaker 1: to Kathleen Turner and then I'm gonna give the other

1352
01:17:35,640 --> 01:17:38,800
Speaker 1: nipple to Penny Marshall, who almost directed this movie. And

1353
01:17:38,840 --> 01:17:40,719
Speaker 1: I would have loved to see the Penny Marshall version

1354
01:17:40,880 --> 01:17:45,160
Speaker 1: of this movie same too. Smokes. What a different movie

1355
01:17:45,200 --> 01:17:47,280
Speaker 1: that would have been, and it would have done. It

1356
01:17:47,280 --> 01:17:49,880
Speaker 1: would have solved my problem, which is Nicholas Cage being

1357
01:17:49,920 --> 01:17:58,839
Speaker 1: in it at all? Right, right, yeah, I just because

1358
01:17:58,880 --> 01:18:02,479
Speaker 1: of how beautifully some of it was and and how

1359
01:18:03,160 --> 01:18:05,439
Speaker 1: these there were these nuggets in it that kind of

1360
01:18:05,479 --> 01:18:08,960
Speaker 1: reminded me of Jaws in the way that it has

1361
01:18:09,000 --> 01:18:14,120
Speaker 1: these background stories, these complete stories that are in the background.

1362
01:18:14,200 --> 01:18:16,400
Speaker 1: The hat thing I didn't notice until my brother told

1363
01:18:16,400 --> 01:18:18,439
Speaker 1: me about it, But I'll tell you that hat thing.

1364
01:18:18,520 --> 01:18:20,799
Speaker 1: The fact that the guys in the freaking hat business

1365
01:18:21,200 --> 01:18:25,160
Speaker 1: in nineteen sixty and buys an Edzel and she sells

1366
01:18:25,160 --> 01:18:29,400
Speaker 1: his jewelry, this jewelry business, and that sort of that

1367
01:18:29,560 --> 01:18:33,479
Speaker 1: tiny plot of that, and the and the you know,

1368
01:18:33,640 --> 01:18:37,120
Speaker 1: just sort of these like really weird kind of and

1369
01:18:37,160 --> 01:18:39,599
Speaker 1: the and the the draft thing, and they were just

1370
01:18:39,640 --> 01:18:44,880
Speaker 1: sort of there were interesting parts of the movie that

1371
01:18:44,880 --> 01:18:46,920
Speaker 1: that I liked it. I'm gonna give it two and

1372
01:18:46,960 --> 01:18:51,479
Speaker 1: a half nipples. I'm gonna go halfway because I'm glad

1373
01:18:51,520 --> 01:18:54,799
Speaker 1: I watched it again because I had such a visceral

1374
01:18:54,880 --> 01:18:57,479
Speaker 1: when I saw it on the list of possible movies

1375
01:18:57,520 --> 01:19:01,720
Speaker 1: to watch, I was like, that damn movie. But so

1376
01:19:01,760 --> 01:19:03,559
Speaker 1: who might give the nipples to? I guess I'm giving

1377
01:19:03,600 --> 01:19:06,160
Speaker 1: him to Kathleen Turn And then I have to give

1378
01:19:06,200 --> 01:19:08,840
Speaker 1: it to I gotta give it to the mom, the

1379
01:19:08,880 --> 01:19:12,120
Speaker 1: actress who played the momb And I think I'm going

1380
01:19:12,160 --> 01:19:14,960
Speaker 1: to do kind of a trifecta. I liked, I'd like,

1381
01:19:15,439 --> 01:19:18,840
Speaker 1: uh Sofia Coppola sure I did. I thought she did

1382
01:19:18,840 --> 01:19:20,240
Speaker 1: a good job. I'm gonna give it to the to

1383
01:19:20,360 --> 01:19:24,600
Speaker 1: the generations. I almost would grandmother, gonna go, little sister, Yeah,

1384
01:19:24,640 --> 01:19:27,320
Speaker 1: go a little Sophia. Well, Jackie, thank you so much

1385
01:19:27,360 --> 01:19:30,960
Speaker 1: for coming back and discussing this movie with us. What

1386
01:19:31,080 --> 01:19:34,280
Speaker 1: a treat it's It was so fun. What a deep dive.

1387
01:19:34,400 --> 01:19:37,439
Speaker 1: You guys do it every movie. I love it. Thank

1388
01:19:37,479 --> 01:19:40,080
Speaker 1: you for coming on, come back any time, bring us,

1389
01:19:40,200 --> 01:19:44,200
Speaker 1: bring us another wild card. We're ready. And if either

1390
01:19:44,240 --> 01:19:46,000
Speaker 1: of you want to be on the dork Forest, you're

1391
01:19:46,000 --> 01:19:50,799
Speaker 1: always welcome to be on the dork Forest. Gosh, speaking

1392
01:19:50,800 --> 01:19:53,840
Speaker 1: of the dork Forest, tell us about your podcasts, tell

1393
01:19:53,920 --> 01:19:56,080
Speaker 1: us about your special in your album and and all

1394
01:19:56,120 --> 01:19:59,519
Speaker 1: that stuff. I have a podcast called the dork Forest.

1395
01:19:59,640 --> 01:20:03,800
Speaker 1: We're our sixteenth year of of of different episodes where

1396
01:20:03,800 --> 01:20:06,360
Speaker 1: people talk about they love the dork Forest. Could be

1397
01:20:06,400 --> 01:20:08,519
Speaker 1: about anything. It could be about bees, It could be

1398
01:20:08,560 --> 01:20:11,160
Speaker 1: about Canada, it could be about Bob Dylan. We I

1399
01:20:11,240 --> 01:20:14,080
Speaker 1: just did a Sandman LARPing. It could be so nerdy.

1400
01:20:14,600 --> 01:20:18,639
Speaker 1: It's a live action role playing uh five games covering

1401
01:20:18,720 --> 01:20:22,760
Speaker 1: Neil game in Sandman over fifteen twenty years and it

1402
01:20:22,840 --> 01:20:26,280
Speaker 1: was amazing, so we ever done Chuck e Cheese? No,

1403
01:20:26,880 --> 01:20:30,439
Speaker 1: but I would love to do Chuck e Cheese. Caitlin,

1404
01:20:30,520 --> 01:20:32,360
Speaker 1: what would you? What might you? What do you got?

1405
01:20:32,400 --> 01:20:36,439
Speaker 1: Oh my gosh, Paddington Bearing, Paddington Bear. Yes, I would

1406
01:20:36,479 --> 01:20:40,439
Speaker 1: love that. I didn't have not seen either of the movies.

1407
01:20:40,760 --> 01:20:43,200
Speaker 1: She'll sit you down, She'll sit you down, all right?

1408
01:20:43,680 --> 01:20:46,800
Speaker 1: Hooked me up? And then so that's the dork Forest.

1409
01:20:46,840 --> 01:20:49,040
Speaker 1: And then I do a podcast with Lori Kilmartin every

1410
01:20:49,040 --> 01:20:52,640
Speaker 1: week where we discuss stand up comedy and we celebrate

1411
01:20:52,720 --> 01:20:54,800
Speaker 1: and bitch about it. And so we do a little

1412
01:20:54,800 --> 01:20:57,439
Speaker 1: we do our own little Beckel test with it, and

1413
01:20:57,640 --> 01:20:59,680
Speaker 1: it turns out stand up comedy fails it on a

1414
01:21:00,000 --> 01:21:04,040
Speaker 1: regular And then I have yeah, five albums out there,

1415
01:21:04,080 --> 01:21:08,040
Speaker 1: all streaming on Pandora, Amazon iTunes, They're playing on siries

1416
01:21:08,240 --> 01:21:10,960
Speaker 1: x am uh. Spotify just took him down because of

1417
01:21:11,000 --> 01:21:13,280
Speaker 1: some sort of I wanted more than four hundreds of

1418
01:21:13,280 --> 01:21:16,920
Speaker 1: a cent for every spin, well as how Dare I

1419
01:21:17,400 --> 01:21:20,080
Speaker 1: and so? But the new Special and then the album

1420
01:21:20,120 --> 01:21:23,160
Speaker 1: which is of the same name is called Staycation Get It.

1421
01:21:23,439 --> 01:21:24,960
Speaker 1: We were all home for a little bit and my

1422
01:21:25,040 --> 01:21:28,760
Speaker 1: last name is Cation and it's a mask that it

1423
01:21:28,880 --> 01:21:31,519
Speaker 1: was and it did did good on the list, and

1424
01:21:31,600 --> 01:21:35,440
Speaker 1: it's super fun and it's free, So YouTube google staycation

1425
01:21:35,840 --> 01:21:38,760
Speaker 1: s t A y K S h I N and

1426
01:21:38,800 --> 01:21:40,439
Speaker 1: you can watch for free on YouTube or you can

1427
01:21:40,479 --> 01:21:42,360
Speaker 1: listen to it wherever you like. And thank you very

1428
01:21:42,400 --> 01:21:44,920
Speaker 1: much for having me on the best. Thank you so

1429
01:21:45,040 --> 01:21:49,479
Speaker 1: much for coming back. You can find us online cross

1430
01:21:49,560 --> 01:21:53,479
Speaker 1: platforms except for Facebook Facebook. You can find us at

1431
01:21:53,600 --> 01:21:57,000
Speaker 1: Bechdel Cast on Instagram, which is owned by Facebook, but

1432
01:21:57,120 --> 01:22:00,000
Speaker 1: you can also find us on Twitter, which also sucks. Uh.

1433
01:22:00,000 --> 01:22:02,880
Speaker 1: You can also join our patreon ak Matreon, where we

1434
01:22:03,240 --> 01:22:05,360
Speaker 1: for five dollars a month you can get to bonus

1435
01:22:05,400 --> 01:22:08,960
Speaker 1: episodes based on a theme that we choose or you

1436
01:22:09,040 --> 01:22:12,760
Speaker 1: choose and we ignore. So we're we're finally going to

1437
01:22:12,840 --> 01:22:15,679
Speaker 1: get around to covering those Jane Austen movies. Just you

1438
01:22:15,760 --> 01:22:19,680
Speaker 1: wait any day? Now? Do you wait for austin August?

1439
01:22:19,800 --> 01:22:25,439
Speaker 1: Which couldn't happen anytime? And that's at patreon dot com

1440
01:22:25,520 --> 01:22:29,000
Speaker 1: slash spectol Cast. You can go to t public dot

1441
01:22:29,000 --> 01:22:33,720
Speaker 1: com slash the pectol cast to rob some merch and um,

1442
01:22:33,760 --> 01:22:37,320
Speaker 1: I guess let's all time travel back in time to

1443
01:22:37,439 --> 01:22:41,000
Speaker 1: our senior year in high school and see what lessons

1444
01:22:41,000 --> 01:22:43,360
Speaker 1: we might learn. You couldn't pay me to do it.

1445
01:22:44,160 --> 01:22:45,599
Speaker 1: Bye bye bye,