WEBVTT - Challengers with Princess Weekes

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<v Speaker 1>On the Bechdelcast, the questions asked if movies have women

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<v Speaker 1>in them, are all their discussions just boyfriends and husbands,

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<v Speaker 1>or do they have individualism? The patriarchy? Zeph and Best

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<v Speaker 1>start changing with the Bechdel.

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<v Speaker 2>Cast, Game Match Point, Love Tennis podcast, fucking touching fingers, Oh,

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<v Speaker 2>sweaty hugs.

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<v Speaker 3>What do you think Tashi majored in? I was wondering

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<v Speaker 3>that what did Tashi major in? Because okay, sorry for

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<v Speaker 3>just starting the episode. I just I can't stop thinking

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<v Speaker 3>about what was Tashi majoring in. Was it genuinely an

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<v Speaker 3>athlete style journey where she was doing general studies? Or

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<v Speaker 3>my guess, I feel like Tashi is she a woman

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<v Speaker 3>in stem? Is she?

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<v Speaker 2>I think she was a psych major?

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<v Speaker 3>I was gonna guess anthropology, Okay, something like that. I

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<v Speaker 3>don't know. Well, wait, let's start the episode. Okay, this

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<v Speaker 3>is I I have true clearly cannot wait to start

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<v Speaker 3>talking about challengers. Welcome to the Bechtel Cast. My name's

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<v Speaker 3>Jamie Loftus.

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<v Speaker 2>My name is Caitlin Deonte. This is our show where

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<v Speaker 2>we examine movies through an intersectional feminist lens, using the

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<v Speaker 2>Bechdel test simply as a jumping off point, Jamie, what

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<v Speaker 2>the heck is that test? Well?

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<v Speaker 3>The Bechtel test is a media metric created by friend

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<v Speaker 3>of the show queer icon Alison Bechdel, originally for her

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<v Speaker 3>comic collections to watch out for Our way back in

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<v Speaker 3>the eighties as a one off joke, as a way

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<v Speaker 3>of discussing something that is relevant to our conversation today,

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<v Speaker 3>why there was not more queer women depicted in movies,

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<v Speaker 3>and has since been you know, sort of transformed into

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<v Speaker 3>a more generalized media metric. So our version of the

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<v Speaker 3>test is it requires that two characters of a marginalized

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<v Speaker 3>gender with names speak to each other about something other

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<v Speaker 3>than a man for more than two lines of dialogue,

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<v Speaker 3>and the dialogue should mean something.

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<v Speaker 2>We think so, we think so, and.

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<v Speaker 3>What that means to you? Look, we only have one life.

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<v Speaker 3>I once had the dog in me to argue about

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<v Speaker 3>the pedantics of the Bechdel Test, But frankly, we've got

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<v Speaker 3>bigger fish to fry today because we have.

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<v Speaker 2>Got bigger balls to hit with a racket, We've got

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<v Speaker 2>bigger tennis balls to hit.

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<v Speaker 3>I will say I watched Challengers with my dog bravely,

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<v Speaker 3>and he was locked in and I was like, Wow,

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<v Speaker 3>he doesn't usually sit for movies, and it's because there's

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<v Speaker 3>tennis balls everywhere. I was, literally honest, like, why is

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<v Speaker 3>Sunny so into this movie? And it's because there's tennis

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<v Speaker 3>balls in almost every scene and that's his past a dog.

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<v Speaker 3>He is a dog.

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<v Speaker 2>Wow, makes so much sense.

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<v Speaker 3>But yes, we have an incredible returning guest, so let's

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<v Speaker 3>get her in here.

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<v Speaker 4>Oh.

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<v Speaker 2>Yes, she's a video essayist. You remember her from our

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<v Speaker 2>episodes on Wild Things, Space Jam Gone Girl. It's Princess Weeks.

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<v Speaker 3>Hi.

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<v Speaker 4>Everyone, I'm so happy to be back. And I think

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<v Speaker 4>Tashi was a marketing major.

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<v Speaker 2>Oh yeah, because we do see her do marketing me.

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<v Speaker 3>Yeah, totally makes sense. I do feel like Tashi was

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<v Speaker 3>taking college. Seriously, we just didn't get to see it

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<v Speaker 3>happening exactly.

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<v Speaker 2>The movie was not interested in that. It was like,

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<v Speaker 2>what if she is a tennis dom Yes, and that's

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<v Speaker 2>what the movie's about.

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<v Speaker 3>Thank god, And that is a compelling question.

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<v Speaker 2>Yeah yeah, Princess, tell us what your relationship with this

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<v Speaker 2>movie is.

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<v Speaker 4>Wow. I mean I just was so excited to see

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<v Speaker 4>Zendaya in a movie that had nothing to do with

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<v Speaker 4>anyone from Euphoria. That was initially the big draw, and

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<v Speaker 4>I grew up loving tennis. You know, I think every woman,

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<v Speaker 4>but especially every black girl grew up just loving the

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<v Speaker 4>Savina and Venus Williams, and so I have a lot

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<v Speaker 4>of just love for watching you know, black women in tennis,

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<v Speaker 4>and then you know the hint of bisexual men. It's

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<v Speaker 4>a siren song that'll get me every time. We didn't

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<v Speaker 4>know we were gonna have heated rivalry. So I was

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<v Speaker 4>just very much invested in, like, finally, after this sexless

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<v Speaker 4>drought that we were dealing with, with contemporary films that

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<v Speaker 4>actually have something that was erotic and interesting and like

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<v Speaker 4>for adults specifically, And so it just was this moment

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<v Speaker 4>of like, oh my god, an adult movie starring Zenda

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<v Speaker 4>that got pushed back during the pandemic. We're here, We're

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<v Speaker 4>back cinemas. Yeah.

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<v Speaker 2>I feel like Challengers walked so that heated rivalry could run.

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<v Speaker 3>It's true. It's true. Yeah, Challengers could kiss, so heated

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<v Speaker 3>rivalry could absolutely raw.

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<v Speaker 4>Fuck Thank god for that.

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<v Speaker 2>Yeah, Jamie, what about you? What's your relationship with Challengers?

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<v Speaker 3>I really like it. I really like it. I saw

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<v Speaker 3>it in theaters in Boston when it first came out.

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<v Speaker 3>Which was kind of fun because a lot of this

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<v Speaker 3>movie is shot in Boston. Yeah, this was a movie

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<v Speaker 3>that from the second I saw the trailer, which I'm

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<v Speaker 3>very excited to talk about, and I was reminded of

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<v Speaker 3>because of Princess's wonderful video essay about Challengers and about

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<v Speaker 3>Tashi Duncan.

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<v Speaker 2>She's and yours sort.

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<v Speaker 4>Of like is she?

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<v Speaker 3>But from the second I saw the trailer, I was like, Oh,

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<v Speaker 3>this is I'm in. I'm a horny. This was a

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<v Speaker 3>trip where I think I saw both Love Lives Bleeding

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<v Speaker 3>and Challengers.

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<v Speaker 4>Oh wow, which are That's a horny day.

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<v Speaker 3>It was a horny, horny time for me. I was

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<v Speaker 3>looking to escape and there were horny movies out. It

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<v Speaker 3>was great. And I feel like these two movies are

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<v Speaker 3>weirdly in conversation with each other in a way I'm

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<v Speaker 3>excited to talk about. Anyways, I love Challengers. We'll be

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<v Speaker 3>talking about it critically today.

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<v Speaker 2>But man, I turned this movie.

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<v Speaker 3>On and I've blackout.

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<v Speaker 2>I'm fucked up.

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<v Speaker 3>I get horny. And that shot of Zendia watching the

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<v Speaker 3>boys kiss oh really goals a generational a generational image.

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<v Speaker 2>I'm very excited to talk about it.

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<v Speaker 3>Also, I didn't know shit about tennis really outside of

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<v Speaker 3>watching Venus and Serena growing up until like two days

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<v Speaker 3>ago when I started getting ready for this episode, also

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<v Speaker 3>thanks in part to Princess's video, So I'm very excited

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<v Speaker 3>to live, laugh, Learn, Kitlin, what about you.

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<v Speaker 2>I also saw this movie in theaters in Oxford, England,

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<v Speaker 2>because I was there during the Shrektannic tour that Jamie

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<v Speaker 2>you tragically were not able to join me for.

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<v Speaker 3>I was in Boston witnessing death and seeing Horney movies

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<v Speaker 3>and see and those are sort of the two things

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<v Speaker 3>I was doing at that time, the.

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<v Speaker 2>Spectrum of life exactly, and so I just had sort

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<v Speaker 2>of like a free day that I didn't really have

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<v Speaker 2>anything else going on, and everyone was talking about Challengers.

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<v Speaker 2>So I went to go see it and I enjoyed

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<v Speaker 2>it a lot. I love the soundtrack, the score like

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<v Speaker 2>the music does a lot. I remember thinking that it

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<v Speaker 2>ended too abruptly and I wanted I kind of wish

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<v Speaker 2>the movie had the guts to like put them into

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<v Speaker 2>a throttle at the end or something, and I'll talk

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<v Speaker 2>more about that, but overall, I enjoyed it. This is

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<v Speaker 2>one of those movies where so sometimes when we watch

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<v Speaker 2>a movie for this podcast, and I'm prepping, and after

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<v Speaker 2>my first watch, I have pages and pages of notes

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<v Speaker 2>because it's such a cut and dry, like problematic things

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<v Speaker 2>that are very clear, and I have a lot to

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<v Speaker 2>say that is like exactly what you would expect us

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<v Speaker 2>to say on the podcast. And then there were other

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<v Speaker 2>movies where I've done my first watch and I'm like,

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<v Speaker 2>I don't know, I don't know what to make of this.

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<v Speaker 3>That's how you know he got a good one on

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<v Speaker 3>our hand?

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<v Speaker 2>Yeah, And this was this movie. And then so I

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<v Speaker 2>had that experience where I watched the whole movie and

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<v Speaker 2>then I looked at my notes and I had not

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<v Speaker 2>written a single thing down. And I was like, oh, no,

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<v Speaker 2>you were too horny. I was too horny. You're shaking

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<v Speaker 2>vibrating with horniness. And then I went out last night

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<v Speaker 2>with a friend. We got some drinks, we danced. I

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<v Speaker 2>haven't danced in ages, and I forgot how to fun

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<v Speaker 2>dancing is Wait, where'd you go this bar in? I

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<v Speaker 2>think I was in Cypr's park called Footsies.

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<v Speaker 3>Oh Footsies is so fun.

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<v Speaker 2>Yeah. Wow. I came home. I was tipsy. I was like,

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<v Speaker 2>I know exactly what I'm gonna say now, it was

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<v Speaker 2>just I just had to kind of loosen up, I think,

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<v Speaker 2>and now I have so many thoughts.

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<v Speaker 3>So this is a fascinating, Like you can watch this

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<v Speaker 3>movie with your brain fully on or your brain fully off,

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<v Speaker 3>and I feel like it's a good experience either way.

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<v Speaker 2>Absolutely, it's here's the hilarious thing. I was gonna say,

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<v Speaker 2>it's kind of you know, this movie is challenging. I

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<v Speaker 2>was to discuss I was challenged. I felt challenged by

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<v Speaker 2>this one.

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<v Speaker 3>And I also like the deep lore of this movie

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<v Speaker 3>is so fascinating in a very parasocial way. I'm so

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<v Speaker 3>curious about Selene's Song and Justin Kuritzky's as a couple,

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<v Speaker 3>Like what is going on with those two? Because this

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<v Speaker 3>is Justin Kurskis, who wrote this script, has been married

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<v Speaker 3>to it is I think most famously Selene Song's husband,

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<v Speaker 3>as it should be. But he's a great writer as well,

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<v Speaker 3>and he is like sort of we're led. I think

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<v Speaker 3>like he's he's kind of portrayed in Past Lives as

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<v Speaker 3>the writer of Boner. Remember yeah, the husband in Past

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<v Speaker 3>Lives writes a book called Boner. Justin Kritzky's also wrote

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<v Speaker 3>a novel. So I think you know, one plus one

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<v Speaker 3>often equals too equals too.

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<v Speaker 2>I mean we see a Boner in Challengers boner representation.

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<v Speaker 3>And you're like, okay, yeah, genuinely Boner was on his

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<v Speaker 3>mind exactly at this time.

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<v Speaker 4>It's giving bisexual and I and I say that as

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<v Speaker 4>a bisexual. I'm like, there's something just very like because

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<v Speaker 4>he also wrote queer, I believe, right, and so there's

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<v Speaker 4>just something kind of algebras a quah about his work

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<v Speaker 4>that I'm very like intrigued ry and I'm like, tell

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<v Speaker 4>me more.

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<v Speaker 3>Me too, Yeah, I just I'm very I don't know.

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<v Speaker 3>There's few marriages that I'm I want to know more about,

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<v Speaker 3>quite honestly, but this is one of them. Also, he was,

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<v Speaker 3>did either of you I remember watching this in like

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<v Speaker 3>high school or college.

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<v Speaker 2>The Potion Sellar video. What what is that? What is that?

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<v Speaker 3>It's like it's a very like lo Res viral video

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<v Speaker 3>from twenty eleven. It's so silly and it's justin Kurtzky,

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<v Speaker 3>he like went viral in twenty eleven for being wait.

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<v Speaker 3>I do think you should both watch it.

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<v Speaker 4>It makes me love it.

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<v Speaker 3>So it's literally it's so twenty eleven that it's a

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<v Speaker 3>joke that is based on a filter on photo booth.

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<v Speaker 4>Oh oh, photo booth. I kept so many nudes in there.

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<v Speaker 3>Oh oh, yes, I used to love this video. It's

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<v Speaker 3>so old that he wrote challenges.

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<v Speaker 4>You know what. This is why we say that, like

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<v Speaker 4>men's rights do matter, because imagine a while. Every once

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<v Speaker 4>in a while you need a man who can just

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<v Speaker 4>do something like this for you.

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<v Speaker 2>It's true, it's true.

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<v Speaker 4>I love that we have more subscribers than him, though

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<v Speaker 4>that's also reassuring, very true.

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<v Speaker 2>One day anyway, So should we take a break and

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<v Speaker 2>then come back for the recap? Let's do it. Okay,

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<v Speaker 2>So here's the recap. We are in New Rochelle, New York.

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<v Speaker 3>Ever heard of it? I hadn't.

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<v Speaker 2>I had because someone who I dated in college briefly

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<v Speaker 2>was from there. Also, speaking of okay, I forgot the

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<v Speaker 2>other part of my history with challengers. With tennis. I

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<v Speaker 2>bought a tennis racket my freshman year of college because

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<v Speaker 2>I was like, I'm going to get into tennis. I

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<v Speaker 2>took a few lessons from a sophomore student who was

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<v Speaker 2>on the men's tennis team. I took a couple lessons,

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<v Speaker 2>and I was like I'm not good at this. I

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<v Speaker 2>like it, but I'm not sure if this is the

0:13:07.520 --> 0:13:10.319
<v Speaker 2>sport for me, because if I'm not automatically great at something,

0:13:10.400 --> 0:13:14.800
<v Speaker 2>I immediately quit me too. But I kind of kept

0:13:14.800 --> 0:13:17.199
<v Speaker 2>taking lessons with him because I thought he was very hot.

0:13:17.960 --> 0:13:20.199
<v Speaker 3>Kitlyn, you have a pattern of doing this.

0:13:22.280 --> 0:13:23.120
<v Speaker 2>Yeah, you're not wrong.

0:13:23.200 --> 0:13:24.760
<v Speaker 3>You're a bit of a challenger yourself.

0:13:24.840 --> 0:13:26.520
<v Speaker 2>I'm kind of a challenger in this way.

0:13:26.640 --> 0:13:26.880
<v Speaker 4>Yeah.

0:13:26.920 --> 0:13:30.160
<v Speaker 2>And then I eventually was like, uh, I'm busy, I

0:13:30.200 --> 0:13:34.600
<v Speaker 2>can't anymore. Flash forward to four years later, I see

0:13:34.640 --> 0:13:38.040
<v Speaker 2>this guy at a bar and I was like, oh, hey,

0:13:38.240 --> 0:13:42.000
<v Speaker 2>remember me. I took tennis lessons from you, and he's like, yeah,

0:13:42.040 --> 0:13:44.800
<v Speaker 2>I remember, And I was like should we kiss or something?

0:13:44.920 --> 0:13:48.240
<v Speaker 2>And then and then I started a torrid affair with

0:13:48.320 --> 0:13:50.600
<v Speaker 2>this man. And when I say that, I mean we

0:13:51.120 --> 0:13:53.400
<v Speaker 2>had really bad sex because he was really bad at

0:13:53.440 --> 0:13:56.480
<v Speaker 2>sex a couple of times. And then I was like, wow,

0:13:56.640 --> 0:14:00.120
<v Speaker 2>I also quit this because this time, this time, you're

0:14:00.120 --> 0:14:02.640
<v Speaker 2>the one who's bad at the thing, and I'm out

0:14:02.640 --> 0:14:05.240
<v Speaker 2>of here. And so that's my hero Tennis.

0:14:05.280 --> 0:14:09.040
<v Speaker 4>Thank you for many reasons, But I just find that

0:14:09.040 --> 0:14:10.800
<v Speaker 4>that's very tashy duncan of you.

0:14:11.120 --> 0:14:13.960
<v Speaker 3>I feel like Hashi Duncan does not have time for

0:14:14.120 --> 0:14:17.640
<v Speaker 3>someone who well, actually, I don't know. Do do we

0:14:17.679 --> 0:14:20.280
<v Speaker 3>think our Donaldson is good at sex?

0:14:21.840 --> 0:14:22.400
<v Speaker 4>I think so.

0:14:22.720 --> 0:14:24.880
<v Speaker 2>I feel like he's a tender lover.

0:14:25.520 --> 0:14:28.040
<v Speaker 3>I think he's a giver. I think he's definitely a giver.

0:14:28.400 --> 0:14:30.800
<v Speaker 4>He can find the clip, but he finds it so

0:14:31.040 --> 0:14:34.160
<v Speaker 4>quickly that the appeal gets lost, you know, because she

0:14:34.400 --> 0:14:36.800
<v Speaker 4>likes the challenge. Yeah, exactly, Yes.

0:14:37.800 --> 0:14:41.200
<v Speaker 3>It was really it was really interesting like watching this

0:14:41.320 --> 0:14:43.520
<v Speaker 3>movie not just to get horny, but to really pay

0:14:43.560 --> 0:14:48.000
<v Speaker 3>attention to the relationship dynamics because I think, like, Mike

0:14:48.800 --> 0:14:50.560
<v Speaker 3>is it Mike Feist? Feist?

0:14:50.680 --> 0:14:54.120
<v Speaker 2>Is that how we say it? Fist.

0:14:54.600 --> 0:14:56.720
<v Speaker 3>I feel like his performance was talked about the least

0:14:56.880 --> 0:14:59.720
<v Speaker 3>and I understand why, but I think he's really cooking

0:14:59.720 --> 0:15:02.720
<v Speaker 3>in this he is. He plays he plays the cock

0:15:02.920 --> 0:15:03.360
<v Speaker 3>very well.

0:15:03.920 --> 0:15:08.640
<v Speaker 2>I find his relationship dynamic with Tashi very compelling and

0:15:08.680 --> 0:15:11.960
<v Speaker 2>again goals because I want to be a domb to

0:15:12.640 --> 0:15:13.200
<v Speaker 2>a man.

0:15:13.600 --> 0:15:17.720
<v Speaker 4>Sub Yeah, as my friend Sidy would say, all blonde

0:15:17.760 --> 0:15:24.200
<v Speaker 4>men should be submissive. And he has like perfect bottom face,

0:15:24.440 --> 0:15:27.160
<v Speaker 4>like it's just like it's just like you look at it,

0:15:27.200 --> 0:15:31.040
<v Speaker 4>your like absolutely, it's the big eyes his open face,

0:15:31.160 --> 0:15:33.920
<v Speaker 4>but he's like very masculine still, but there's this like

0:15:34.080 --> 0:15:36.720
<v Speaker 4>tenderness where it's like, yes, open.

0:15:36.960 --> 0:15:39.640
<v Speaker 3>He's kind of like a diabolical bottom too, because he's

0:15:39.680 --> 0:15:42.880
<v Speaker 3>always like best kind, he's scheming. I kind of Yeah,

0:15:42.920 --> 0:15:47.520
<v Speaker 3>I was so taken in by the Patrick of it all,

0:15:47.680 --> 0:15:50.000
<v Speaker 3>which is always the case. You get taken in by

0:15:50.040 --> 0:15:54.000
<v Speaker 3>the Patrick, and then, like Tashi, you dump him.

0:15:54.360 --> 0:15:56.880
<v Speaker 2>You come for the Patrick, you stay for the art.

0:15:57.360 --> 0:15:59.280
<v Speaker 3>Yeah, but then you get bored of art, you know,

0:15:59.320 --> 0:16:02.960
<v Speaker 3>it's like it's it is, and then you maybe start

0:16:03.040 --> 0:16:07.760
<v Speaker 3>dating women. And that's maybe Tashi's story. We don't know.

0:16:07.840 --> 0:16:09.440
<v Speaker 3>We don't know. We just know that at the end,

0:16:09.920 --> 0:16:14.040
<v Speaker 3>she's still blue baled. She's like, when are these men

0:16:14.080 --> 0:16:21.600
<v Speaker 3>gonna play real tennis? Yeah, they're hugging like losers. She

0:16:21.680 --> 0:16:24.360
<v Speaker 3>does not care about their relationship being resolved. She's like,

0:16:24.440 --> 0:16:25.960
<v Speaker 3>play tennis. I love her.

0:16:27.960 --> 0:16:33.120
<v Speaker 2>Okay. So we're in New Rochelle right right, it's twenty nineteen.

0:16:33.240 --> 0:16:37.760
<v Speaker 2>We are at a tennis competition sponsored by Phil's Tired Tone.

0:16:37.880 --> 0:16:40.560
<v Speaker 3>It's so random that we're in twenty nineteen, by the way,

0:16:40.640 --> 0:16:43.880
<v Speaker 3>like it is a period piece by way of like

0:16:44.240 --> 0:16:46.840
<v Speaker 3>three years. It's weird, but I thought it was kind

0:16:46.840 --> 0:16:47.200
<v Speaker 3>of fun.

0:16:47.560 --> 0:16:47.960
<v Speaker 2>Yeah.

0:16:48.000 --> 0:16:50.280
<v Speaker 3>I think it's just so that they could do hot

0:16:50.280 --> 0:16:52.800
<v Speaker 3>in here in the flashback. That's the only that's the

0:16:52.800 --> 0:16:54.520
<v Speaker 3>only reasoning I could find.

0:16:54.280 --> 0:16:55.280
<v Speaker 4>And that's worth it.

0:16:55.440 --> 0:16:56.000
<v Speaker 3>That's worth it.

0:16:56.200 --> 0:17:00.560
<v Speaker 4>Apparently that's not the song that was playing and the

0:17:00.600 --> 0:17:02.800
<v Speaker 4>scene happened because everyone was like, why isn't Day of

0:17:02.960 --> 0:17:07.320
<v Speaker 4>Dancing so like off beat offat high here? And then

0:17:07.359 --> 0:17:09.960
<v Speaker 4>she was like, it wasn't me, guys. Apparently, like when

0:17:09.960 --> 0:17:12.000
<v Speaker 4>they were filming, it was like a Bowie song or

0:17:12.000 --> 0:17:15.440
<v Speaker 4>something melodic and dreamy, and then they just put in

0:17:15.480 --> 0:17:19.040
<v Speaker 4>hot in air and close, so sday I can dance, guys,

0:17:19.160 --> 0:17:20.520
<v Speaker 4>don't let them fool you.

0:17:21.480 --> 0:17:25.800
<v Speaker 2>I love movie. Wow, that's great movie magic. Anyway, So

0:17:26.119 --> 0:17:29.240
<v Speaker 2>there it fills tire Town Challenger, and I will mention

0:17:29.359 --> 0:17:33.159
<v Speaker 2>Phil's tire Town one hundred times throughout this throughout this

0:17:33.240 --> 0:17:37.120
<v Speaker 2>recap because we keep cutting back to this match. Anyway,

0:17:37.600 --> 0:17:42.080
<v Speaker 2>we meet Patrick Zwag played by Josh O'Connor and Art

0:17:42.280 --> 0:17:48.160
<v Speaker 2>Donaldson played by Mike fight story however you se it, yeah,

0:17:48.920 --> 0:17:53.199
<v Speaker 2>who play each other in a series of matches and

0:17:53.320 --> 0:17:58.240
<v Speaker 2>watching them in the stands is Tashi Donaldson formerly Tashi

0:17:58.359 --> 0:18:03.639
<v Speaker 2>Duncan played by Zenda, who is married to Art, and

0:18:03.680 --> 0:18:09.240
<v Speaker 2>then both men look at Tashi meaningfully and we're like, hmm,

0:18:09.600 --> 0:18:11.280
<v Speaker 2>what's that all about? This movie?

0:18:11.760 --> 0:18:15.440
<v Speaker 3>Is the male gaze is back and it's in the

0:18:15.520 --> 0:18:16.480
<v Speaker 3>movie Challengers.

0:18:17.800 --> 0:18:20.560
<v Speaker 2>Yeah, we are seeing men.

0:18:21.240 --> 0:18:27.080
<v Speaker 3>Gaze and not respectfully, but I'm into it.

0:18:27.920 --> 0:18:30.560
<v Speaker 2>I don't I kind of don't mind it. We also

0:18:30.680 --> 0:18:35.040
<v Speaker 2>see tennis ball gaze. We are seeing things from the

0:18:35.040 --> 0:18:37.280
<v Speaker 2>point of view of a tennis ball. At one point,

0:18:37.400 --> 0:18:37.760
<v Speaker 2>I was.

0:18:37.720 --> 0:18:39.840
<v Speaker 3>Trying to track that because I do think that we

0:18:40.400 --> 0:18:44.479
<v Speaker 3>generally see Tashi play tennis from the male gaze, but

0:18:44.560 --> 0:18:48.159
<v Speaker 3>we do see the guys play tennis from the female gaze.

0:18:48.200 --> 0:18:50.560
<v Speaker 3>It's not like it's exclusively the male gaze. And then

0:18:50.640 --> 0:18:53.600
<v Speaker 3>occasionally we switch to the tennis balls gaze, which I

0:18:53.640 --> 0:18:54.840
<v Speaker 3>had never even considered.

0:18:55.400 --> 0:18:59.000
<v Speaker 4>It's the pan sexual gaze. Everyone is getting their own

0:18:59.160 --> 0:19:01.960
<v Speaker 4>vision of like what makes them horny, and the tennis

0:19:02.000 --> 0:19:04.040
<v Speaker 4>ball just wants to be held, you know, it wants

0:19:04.119 --> 0:19:06.800
<v Speaker 4>to be at the center of the passion.

0:19:07.720 --> 0:19:11.280
<v Speaker 3>That's where my cocker Spaniel really locked in. He's like, yeah,

0:19:11.320 --> 0:19:12.440
<v Speaker 3>what about the tennis ball.

0:19:13.600 --> 0:19:16.119
<v Speaker 4>Finally, someone talking about the main character.

0:19:17.520 --> 0:19:21.280
<v Speaker 2>A protagonist of challengers the tennis ball. Okay, Then we

0:19:21.359 --> 0:19:26.639
<v Speaker 2>cut to two weeks earlier. We learn more about Art

0:19:26.680 --> 0:19:31.080
<v Speaker 2>and Tashi. Tashi is a former tennis champ but had

0:19:31.119 --> 0:19:35.760
<v Speaker 2>to retire and end her career early after a knee injury.

0:19:36.359 --> 0:19:42.200
<v Speaker 2>She is now Art's like coach slash manager. They also

0:19:42.280 --> 0:19:46.359
<v Speaker 2>have a daughter together who loves into the Spider verse,

0:19:46.520 --> 0:19:48.399
<v Speaker 2>so you know she has great taste.

0:19:48.480 --> 0:19:51.400
<v Speaker 3>I love that was a great child representation.

0:19:53.280 --> 0:19:58.280
<v Speaker 2>Yes, we see Art play a match and lose. He

0:19:58.560 --> 0:20:03.040
<v Speaker 2>is apparently rusty after recovering from a recent injury. Tashi

0:20:03.080 --> 0:20:05.800
<v Speaker 2>tells him to get his shit together and start winning,

0:20:06.320 --> 0:20:09.199
<v Speaker 2>which is why she suggests that he plays something that

0:20:09.240 --> 0:20:14.679
<v Speaker 2>he's sure to win, such as this Phil's Tired Town challenger.

0:20:15.600 --> 0:20:19.000
<v Speaker 2>And I don't exactly know enough about tennis to know

0:20:19.160 --> 0:20:23.359
<v Speaker 2>specifically what a challenger is or what the parameters of

0:20:23.400 --> 0:20:24.400
<v Speaker 2>it are.

0:20:24.640 --> 0:20:29.480
<v Speaker 3>My understanding, because I really tried to understand tennis for this,

0:20:29.840 --> 0:20:32.520
<v Speaker 3>and I did. I stayed up late last night watching

0:20:33.320 --> 0:20:37.199
<v Speaker 3>one of many Venus and Serena docs, and I don't know.

0:20:37.240 --> 0:20:40.520
<v Speaker 3>I just like anyway, I was trying to get caught up.

0:20:40.600 --> 0:20:45.159
<v Speaker 3>A challenger I think is like a low rung pro match.

0:20:45.280 --> 0:20:48.120
<v Speaker 3>But like harder to be a lower rung. It's kind

0:20:48.119 --> 0:20:51.400
<v Speaker 3>of JV but it's still technically pro tennis.

0:20:51.560 --> 0:20:53.679
<v Speaker 2>And is it the type of thing that, depending on

0:20:53.680 --> 0:20:55.920
<v Speaker 2>how you rank in it, it can like qualify you

0:20:56.080 --> 0:20:59.880
<v Speaker 2>for one of these US open kind of things.

0:21:00.280 --> 0:21:04.480
<v Speaker 3>Yeah, because Patrick says that on his very depressing date

0:21:05.359 --> 0:21:09.520
<v Speaker 3>that poor woman, I know, but yeah, we're I think

0:21:09.560 --> 0:21:12.600
<v Speaker 3>he's saying that, like this is something that could, you know,

0:21:12.600 --> 0:21:14.919
<v Speaker 3>if you perform well, it could sort of get you

0:21:15.000 --> 0:21:18.800
<v Speaker 3>into one of those top one hundred and twenty whatever spots.

0:21:19.080 --> 0:21:24.439
<v Speaker 2>Yeah, okay, So then we cut to Patrick Zwag who

0:21:24.520 --> 0:21:27.639
<v Speaker 2>is trying to get a room at a hotel so

0:21:27.680 --> 0:21:32.760
<v Speaker 2>that he can rest before this tire Town Match Challenger

0:21:33.200 --> 0:21:36.480
<v Speaker 2>thing that he is also playing and it starts the

0:21:36.520 --> 0:21:40.360
<v Speaker 2>following day, but he's completely broke and he can't afford

0:21:40.520 --> 0:21:43.439
<v Speaker 2>to pay for the room, so he sleeps in his car.

0:21:43.960 --> 0:21:46.160
<v Speaker 2>He's hoping to win the Challenger because the winner gets

0:21:46.200 --> 0:21:49.800
<v Speaker 2>seven thousand dollars, so he's in kind of dire straits,

0:21:49.800 --> 0:21:53.280
<v Speaker 2>although we learn later that he comes from a very

0:21:53.280 --> 0:21:56.640
<v Speaker 2>well to do family, and it seems like he could

0:21:56.720 --> 0:21:59.000
<v Speaker 2>ask his family for money and then he just chooses

0:21:59.040 --> 0:22:02.520
<v Speaker 2>not to, so One of the most frustrating personality types

0:22:02.800 --> 0:22:07.679
<v Speaker 2>is rich guy. Cosplaying as poor guy is exhausting.

0:22:07.280 --> 0:22:12.400
<v Speaker 4>And it's like it's like pure early hobosexual representation. It's

0:22:12.520 --> 0:22:15.720
<v Speaker 4>just like, how does he where does he live? Underneath people?

0:22:15.960 --> 0:22:19.520
<v Speaker 3>That's how he like kind of a guy. I feel

0:22:19.520 --> 0:22:21.040
<v Speaker 3>like I met a lot of guys like this in college.

0:22:21.119 --> 0:22:24.520
<v Speaker 3>A guy that you are like, oh wow, I feel

0:22:24.520 --> 0:22:26.160
<v Speaker 3>like I have stuff in common with him, and then

0:22:26.240 --> 0:22:28.480
<v Speaker 3>later you see what his family is like, and you're like,

0:22:28.520 --> 0:22:35.840
<v Speaker 3>I cannot believe I've lent this person money. He's really frustrating,

0:22:35.920 --> 0:22:38.639
<v Speaker 3>which of course means that he's probably great at sex.

0:22:39.600 --> 0:22:44.120
<v Speaker 4>Absolutely. Also, I just love Josh O'Connor, Like, I know,

0:22:44.440 --> 0:22:48.520
<v Speaker 4>hot man, hot politics, hot girlfriend.

0:22:48.359 --> 0:22:52.640
<v Speaker 3>Like yes, wait, what's her? I just saw her out

0:22:52.720 --> 0:22:55.680
<v Speaker 3>the Saving Grace of Wuthering Eye.

0:22:56.040 --> 0:23:00.840
<v Speaker 4>Absolutely, she's so they're so good together, Irish love. And

0:23:00.920 --> 0:23:03.960
<v Speaker 4>I'm just like, that's a third I would be in between.

0:23:04.080 --> 0:23:06.359
<v Speaker 4>It's just like, I will, I'll sign up for that

0:23:07.080 --> 0:23:08.880
<v Speaker 4>challenger events.

0:23:09.160 --> 0:23:10.440
<v Speaker 3>Yes, that's your challenger.

0:23:13.840 --> 0:23:18.840
<v Speaker 2>So Patrick checks in for this tournament, where by the way,

0:23:18.960 --> 0:23:22.240
<v Speaker 2>there is Duncan Donuts representation because the woman that he

0:23:22.320 --> 0:23:26.119
<v Speaker 2>checks in with is eating a Dunk's egg and cheese

0:23:26.119 --> 0:23:27.000
<v Speaker 2>and bagel sandwich.

0:23:27.080 --> 0:23:29.119
<v Speaker 3>I was doing the same thing just this morning.

0:23:29.160 --> 0:23:30.440
<v Speaker 2>I was like, yes, we're so.

0:23:31.440 --> 0:23:34.040
<v Speaker 4>Wow is what the culture is feeling, you know.

0:23:35.600 --> 0:23:40.800
<v Speaker 2>Dunce is back. Yeah. Then we flash back to thirteen

0:23:40.880 --> 0:23:46.560
<v Speaker 2>years prior. Patrick and Art are eighteen years old. I

0:23:46.560 --> 0:23:51.359
<v Speaker 2>think they're best friends. They are playing doubles tennis together

0:23:52.040 --> 0:23:56.800
<v Speaker 2>at the Junior US Open. They win their match, and

0:23:56.840 --> 0:24:00.320
<v Speaker 2>then they watch Tashi Duncan play. They do not yet

0:24:00.440 --> 0:24:03.359
<v Speaker 2>know her, but they know of her and they're like

0:24:03.720 --> 0:24:09.879
<v Speaker 2>hubba hubba a wooga, both at how attractive she is

0:24:10.240 --> 0:24:15.960
<v Speaker 2>and also her amazing tennis skills. Because she is a champ.

0:24:17.520 --> 0:24:21.600
<v Speaker 2>They spot her at a party that night where she

0:24:22.080 --> 0:24:27.679
<v Speaker 2>is dancing offbeat too hot in here. They sprint up

0:24:27.720 --> 0:24:31.680
<v Speaker 2>to her. It is comical how they just rush her

0:24:32.320 --> 0:24:36.280
<v Speaker 2>and they're like, hey, what's up? Where Art and Patrick?

0:24:36.640 --> 0:24:40.520
<v Speaker 3>They also humiliatingly call themselves fire and Ice when they're

0:24:40.960 --> 0:24:45.400
<v Speaker 3>I know, I do feel like they capture a beautiful

0:24:45.760 --> 0:24:52.200
<v Speaker 3>like men being embarrassing together like as teenagers. It's really

0:24:52.240 --> 0:24:54.679
<v Speaker 3>captured Fire and Ice. And she's like, so, who's who

0:24:54.760 --> 0:24:55.240
<v Speaker 3>and they're.

0:24:55.040 --> 0:24:58.960
<v Speaker 4>Like yeah, It's like it's one of those things where

0:24:58.960 --> 0:25:03.119
<v Speaker 4>it's like there are moments for like, I am attracted

0:25:03.160 --> 0:25:05.119
<v Speaker 4>to men, and it just it's like it was one

0:25:05.119 --> 0:25:07.520
<v Speaker 4>of those moments where it's kind of like as painful

0:25:07.560 --> 0:25:10.479
<v Speaker 4>as it is, I'm so I would be so lost.

0:25:10.680 --> 0:25:12.439
<v Speaker 4>I would be like this would work on me. And

0:25:12.480 --> 0:25:13.080
<v Speaker 4>I hate that.

0:25:13.840 --> 0:25:16.680
<v Speaker 3>I mean especially the moment where yeah, I was like, wow,

0:25:16.720 --> 0:25:19.879
<v Speaker 3>I've pit alone in this cabin for too long, where

0:25:21.119 --> 0:25:24.280
<v Speaker 3>clearly like they're just gonna wait for her as long

0:25:24.520 --> 0:25:27.360
<v Speaker 3>as they need to for her to pay attention to them,

0:25:27.640 --> 0:25:30.359
<v Speaker 3>and it seems like they wait for hours hours, and

0:25:30.440 --> 0:25:33.239
<v Speaker 3>it is just like God being on the receiving end

0:25:33.280 --> 0:25:36.280
<v Speaker 3>of that. Even if you're like not particularly attracted to

0:25:36.320 --> 0:25:39.200
<v Speaker 3>the person doing it, it can just be like I'm

0:25:39.240 --> 0:25:44.240
<v Speaker 3>so powerful, this rocks now go away, Oh so beautiful.

0:25:44.359 --> 0:25:46.480
<v Speaker 4>It's like it's one of those things where like I'm like,

0:25:47.359 --> 0:25:51.359
<v Speaker 4>I love this. I just love I just love her power.

0:25:51.680 --> 0:25:53.400
<v Speaker 3>I love yeah, just.

0:25:53.400 --> 0:25:55.800
<v Speaker 4>The way that she like sits in her own will.

0:25:55.840 --> 0:25:58.879
<v Speaker 4>And I think that's what makes Tashi such an interesting character.

0:25:58.920 --> 0:26:01.800
<v Speaker 4>And I think just from like a character's standpoint, it's

0:26:01.800 --> 0:26:05.000
<v Speaker 4>such an interesting thing for Zendeia to do because I

0:26:05.040 --> 0:26:08.240
<v Speaker 4>think that this is something that her career really needed,

0:26:08.359 --> 0:26:10.760
<v Speaker 4>because she was going in that space where she's been

0:26:10.760 --> 0:26:14.520
<v Speaker 4>paying like young adults and like teenagers for such a

0:26:14.560 --> 0:26:17.080
<v Speaker 4>long period of time, even though she isn't like she

0:26:17.200 --> 0:26:22.480
<v Speaker 4>is thirty, and it felt like her first truly adult role.

0:26:23.080 --> 0:26:25.640
<v Speaker 4>And I just want her to find her Ryan Kugler

0:26:25.800 --> 0:26:29.600
<v Speaker 4>or her Naya da Costa who will like really take

0:26:29.680 --> 0:26:33.639
<v Speaker 4>all of her acting potential and start curating movies around

0:26:33.680 --> 0:26:35.920
<v Speaker 4>her for that potential, which I think this movie really

0:26:35.960 --> 0:26:36.560
<v Speaker 4>well does.

0:26:37.080 --> 0:26:41.080
<v Speaker 3>Yes, I'm very excited for the drama for that reason.

0:26:41.200 --> 0:26:44.600
<v Speaker 3>I'm like very curious if that utilizes her the way

0:26:44.680 --> 0:26:46.360
<v Speaker 3>she deserves to be utilized.

0:26:46.840 --> 0:26:49.440
<v Speaker 2>Is that the one that she's in with Robert Pattinson?

0:26:49.760 --> 0:26:52.679
<v Speaker 4>Yeah, okay, which as soon as I saw that casting,

0:26:52.720 --> 0:26:57.159
<v Speaker 4>I was like inspired, especially because especially because now you know,

0:26:57.800 --> 0:27:00.919
<v Speaker 4>Tom Holland is now Tom Zendaya and like locking her

0:27:01.040 --> 0:27:05.240
<v Speaker 4>down as you should, and that's he's got that art

0:27:05.359 --> 0:27:08.680
<v Speaker 4>energy in real life, Oh for sure. Yeah, and we're

0:27:08.720 --> 0:27:09.280
<v Speaker 4>rooting for it.

0:27:09.480 --> 0:27:13.480
<v Speaker 3>He really does. Yeah, It's just I love their relationship.

0:27:13.560 --> 0:27:16.240
<v Speaker 3>I love that I know basically nothing about it, and

0:27:16.359 --> 0:27:19.119
<v Speaker 3>I love they're seeing like little bits and pieces of

0:27:19.160 --> 0:27:21.919
<v Speaker 3>her and Robert Pattinson in conversation with each other. Is

0:27:21.920 --> 0:27:24.920
<v Speaker 3>so funny because she is like so clearly the adult

0:27:25.000 --> 0:27:26.440
<v Speaker 3>in the room in spite of the fact that he's

0:27:26.480 --> 0:27:29.680
<v Speaker 3>I think, like ten years older than her. Where she's

0:27:29.760 --> 0:27:33.480
<v Speaker 3>just she's so poised. I love her.

0:27:33.760 --> 0:27:36.960
<v Speaker 4>She's amazing. Actually I think she's older than him.

0:27:37.280 --> 0:27:40.760
<v Speaker 3>No, the same age, No, the same age really with

0:27:40.880 --> 0:27:42.960
<v Speaker 3>her and Tom Holland, I was talking about Robert Pattinson.

0:27:43.040 --> 0:27:43.960
<v Speaker 4>Oh, Robert Pattinson.

0:27:44.040 --> 0:27:49.680
<v Speaker 3>Yes, Oh my god, sorry, Robert Pattinson's like forty yes, yeah,

0:27:49.720 --> 0:27:51.400
<v Speaker 3>oh my gosh. He's really close to your age. He's

0:27:51.400 --> 0:27:53.000
<v Speaker 3>born on May thirteenth.

0:27:53.280 --> 0:27:56.240
<v Speaker 2>Oh yeah. We always figure this out. I always look,

0:27:57.320 --> 0:27:59.720
<v Speaker 2>this has happened on the podcast several times. I find

0:27:59.720 --> 0:28:02.160
<v Speaker 2>out his birthdays right next to mine and that we're

0:28:02.200 --> 0:28:02.879
<v Speaker 2>the same age.

0:28:03.000 --> 0:28:06.720
<v Speaker 4>I love that. Well, he's gen z emotionally, so that's why.

0:28:07.160 --> 0:28:08.840
<v Speaker 3>Yes, right right, right, right right.

0:28:09.480 --> 0:28:12.400
<v Speaker 2>Okay. So they're at this party. They wait for her

0:28:12.440 --> 0:28:16.360
<v Speaker 2>because their conversation gets cut short. They're desperate to talk

0:28:16.440 --> 0:28:19.040
<v Speaker 2>to her, so they stick around. They invite her to

0:28:19.119 --> 0:28:24.160
<v Speaker 2>hang out. She agrees. They talk about tennis, and she's

0:28:24.160 --> 0:28:28.240
<v Speaker 2>basically like, you guys are not tennis players. You think

0:28:28.240 --> 0:28:31.800
<v Speaker 2>you are but you're not. Tennis is a relationship and

0:28:31.840 --> 0:28:35.600
<v Speaker 2>that's not what you're doing when you're playing. And then

0:28:35.640 --> 0:28:38.080
<v Speaker 2>they're like, by the way, we both want your number,

0:28:38.680 --> 0:28:41.840
<v Speaker 2>and we also want you to come to our hotel

0:28:41.920 --> 0:28:48.520
<v Speaker 2>room later tonight, and she's like, yeah, okay, but she

0:28:48.760 --> 0:28:50.720
<v Speaker 2>does show up then, Yeah.

0:28:51.240 --> 0:28:54.720
<v Speaker 3>Such a great sequence that, like you see everyone's perspective

0:28:54.760 --> 0:28:56.760
<v Speaker 3>in this where they're like, she's not coming, and then

0:28:56.800 --> 0:28:58.840
<v Speaker 3>there's a knock on the door and I think Mike

0:28:59.320 --> 0:29:00.520
<v Speaker 3>does a flip over.

0:29:00.440 --> 0:29:03.760
<v Speaker 2>Himself, yeah, to get you some resaults off the bed.

0:29:03.920 --> 0:29:06.800
<v Speaker 3>But the underrated part of that sequence is when you

0:29:06.800 --> 0:29:09.840
<v Speaker 3>see Zendia hearing all of this happening and like laughing

0:29:09.840 --> 0:29:11.800
<v Speaker 3>from behind the door and then pulling it together in

0:29:11.800 --> 0:29:12.800
<v Speaker 3>time for the door to open.

0:29:12.920 --> 0:29:16.120
<v Speaker 2>It's so good cinema, so powerful.

0:29:16.360 --> 0:29:19.560
<v Speaker 4>I just I just love how thirsty they are for

0:29:19.600 --> 0:29:22.920
<v Speaker 4>her the entire time. It's just like it's just like, yes,

0:29:23.160 --> 0:29:25.840
<v Speaker 4>actually you should be thirsty for her.

0:29:28.040 --> 0:29:30.560
<v Speaker 2>One of the hottest people ever to be alive.

0:29:30.680 --> 0:29:32.920
<v Speaker 4>And just cool. Like I think also what makes the

0:29:33.000 --> 0:29:36.520
<v Speaker 4>Tashi character work is that Zandia is cool. Like Zendeia

0:29:36.640 --> 0:29:39.080
<v Speaker 4>has like that quality of her that makes her seem

0:29:39.080 --> 0:29:42.560
<v Speaker 4>intense and then also just like high glamots like, yes,

0:29:43.000 --> 0:29:44.600
<v Speaker 4>this totally makes sense.

0:29:44.720 --> 0:29:48.680
<v Speaker 2>An icon, Yeah, it's true. Okay. So she's in their

0:29:48.720 --> 0:29:52.600
<v Speaker 2>hotel room. They're kind of flirting. She asks if they've

0:29:52.640 --> 0:29:56.960
<v Speaker 2>ever hooked up with each other, and they're like, well, no,

0:29:57.200 --> 0:30:04.480
<v Speaker 2>but no, we learned that Patrick taught Art how to

0:30:04.800 --> 0:30:05.400
<v Speaker 2>jerk off.

0:30:05.680 --> 0:30:09.200
<v Speaker 3>Okay, so we have the top bottom established, got it,

0:30:09.240 --> 0:30:10.120
<v Speaker 3>got it, got it?

0:30:11.520 --> 0:30:13.560
<v Speaker 4>Just just boys being boys, you know.

0:30:14.880 --> 0:30:18.920
<v Speaker 3>Yep, I love being a teenager who does not yet

0:30:18.920 --> 0:30:22.600
<v Speaker 3>realize you're bisexual. You're just like, no, that was just

0:30:22.640 --> 0:30:24.040
<v Speaker 3>like a weird thing that happened.

0:30:24.040 --> 0:30:27.480
<v Speaker 4>Was I just taught my homeboy how to jerk off,

0:30:27.520 --> 0:30:30.040
<v Speaker 4>Like someone has to do it, right, So.

0:30:31.640 --> 0:30:33.960
<v Speaker 3>I was like no, me and my best friend would

0:30:34.000 --> 0:30:38.280
<v Speaker 3>just practice kissing to Madonna's American Life, Like it's just

0:30:38.360 --> 0:30:40.440
<v Speaker 3>sort of like so we would know how to kiss

0:30:40.480 --> 0:30:41.920
<v Speaker 3>when boys wanted to kiss us.

0:30:42.040 --> 0:30:45.040
<v Speaker 4>We just trying to keep warm in the wintertime, and

0:30:45.120 --> 0:30:49.520
<v Speaker 4>you keep warm by snuggling and making out like obviously obvious.

0:30:49.680 --> 0:30:55.480
<v Speaker 2>Just girls being girls, Yes, Okay. So then Tashi sits

0:30:55.480 --> 0:30:58.920
<v Speaker 2>on the bed and beckons for them to join her,

0:30:59.280 --> 0:31:05.000
<v Speaker 2>and they leap at the opportunity. She kisses Art, then Patrick,

0:31:05.240 --> 0:31:07.480
<v Speaker 2>then back to Art and back and forth, and then

0:31:07.560 --> 0:31:12.200
<v Speaker 2>there's a three way kiss which she backs away from.

0:31:12.400 --> 0:31:16.360
<v Speaker 2>So now it's just Art and Patrick making out and

0:31:16.400 --> 0:31:21.400
<v Speaker 2>she's loving this again. The look on her face, Oh oh,

0:31:21.480 --> 0:31:23.920
<v Speaker 2>it's gorgeous. It's just beautiful.

0:31:24.160 --> 0:31:26.480
<v Speaker 3>And I did not know so that is not in

0:31:26.520 --> 0:31:31.400
<v Speaker 3>the original script written by the potion Master. The potion

0:31:31.480 --> 0:31:35.600
<v Speaker 3>Master himself, the Passion Master himself. This was insisted upon

0:31:35.720 --> 0:31:40.000
<v Speaker 3>by queer icon Luca Guadnina, who said, who had a

0:31:40.160 --> 0:31:44.080
<v Speaker 3>very Italian way of describing why this needed to happen.

0:31:44.680 --> 0:31:48.080
<v Speaker 3>This is from an interview with the potion Master. Luca

0:31:48.160 --> 0:31:50.760
<v Speaker 3>felt it was very important that in any love triangle

0:31:50.880 --> 0:31:54.640
<v Speaker 3>all the corners touch, and I quickly realized.

0:31:54.200 --> 0:31:55.440
<v Speaker 2>He meant it literally.

0:31:56.000 --> 0:31:59.959
<v Speaker 3>I was like, oh, that's so Italian, that's beautiful.

0:32:00.360 --> 0:32:02.400
<v Speaker 4>Let him remake the Twilight movies.

0:32:04.560 --> 0:32:08.480
<v Speaker 3>Let the tips touch, is what Luca said.

0:32:09.680 --> 0:32:13.800
<v Speaker 2>Yeah. So they're making out and Tashi is loving it,

0:32:14.800 --> 0:32:17.880
<v Speaker 2>and then she goes to leave and they're like, well,

0:32:17.920 --> 0:32:21.320
<v Speaker 2>what about your number? And she says, whoever wins the

0:32:21.400 --> 0:32:25.080
<v Speaker 2>match they're competing against each other in the following day

0:32:25.640 --> 0:32:26.400
<v Speaker 2>will get.

0:32:26.360 --> 0:32:29.080
<v Speaker 3>Her number, because at the end of the day, what

0:32:29.240 --> 0:32:33.040
<v Speaker 3>Tashi Duncan wants to have sex with is Tennis's tennis. Yes,

0:32:33.120 --> 0:32:36.880
<v Speaker 3>and that is why she can never fully be satisfied

0:32:36.920 --> 0:32:39.440
<v Speaker 3>and it is an incredible it's so cool.

0:32:41.520 --> 0:32:44.120
<v Speaker 2>Okay, Then we cut to their match. They are both

0:32:44.520 --> 0:32:49.040
<v Speaker 2>desperate to win so as to get Tashi's number, but

0:32:49.240 --> 0:32:52.920
<v Speaker 2>before we know the result, we cut back to Phil's

0:32:53.080 --> 0:32:58.040
<v Speaker 2>tire Toalne Challenger. Although it's a few days before the

0:32:58.080 --> 0:33:02.840
<v Speaker 2>match where Patrick and Art each other. Patrick is on

0:33:03.000 --> 0:33:07.320
<v Speaker 2>Tinder swiping right on everyone because we learn that he

0:33:07.400 --> 0:33:11.719
<v Speaker 2>needs a place to sleep. That night, he gets a

0:33:11.920 --> 0:33:17.280
<v Speaker 2>match and goes on a date. He surprise kisses this date,

0:33:17.320 --> 0:33:20.240
<v Speaker 2>and I do not like the way that is handled.

0:33:21.160 --> 0:33:25.440
<v Speaker 2>But at the bar he sees Tashi and she's like,

0:33:25.520 --> 0:33:28.040
<v Speaker 2>what the fuck are you doing here, so we learn

0:33:28.120 --> 0:33:31.280
<v Speaker 2>that oops, they're not on good terms. We flash back

0:33:31.280 --> 0:33:35.320
<v Speaker 2>to thirteen years prior after the one on one match,

0:33:35.400 --> 0:33:39.640
<v Speaker 2>which apparently Patrick won, because now Art is prying for

0:33:39.720 --> 0:33:44.560
<v Speaker 2>details about whether or not Patrick and Tashi have had sex,

0:33:45.440 --> 0:33:49.000
<v Speaker 2>and Art says, if you do serve the ball like

0:33:49.240 --> 0:33:53.920
<v Speaker 2>I do, because he has this specific serving habit, and

0:33:54.080 --> 0:33:56.680
<v Speaker 2>if they didn't have sex, Patrick should just serve it

0:33:56.720 --> 0:33:59.760
<v Speaker 2>like himself because the whole thing here is Tashi was like,

0:34:00.000 --> 0:34:03.000
<v Speaker 2>I don't tell anyone that we're fucking because I'm embarrassed

0:34:03.000 --> 0:34:04.920
<v Speaker 2>to do what seems Yeah, I do.

0:34:04.920 --> 0:34:07.280
<v Speaker 3>Think it's kind of funny that she does seem to

0:34:07.280 --> 0:34:09.560
<v Speaker 3>be like a deal is a deal. I guess you're

0:34:09.640 --> 0:34:14.480
<v Speaker 3>my boyfriend now, Like, well, you didn't have to honor that,

0:34:14.719 --> 0:34:15.879
<v Speaker 3>but you.

0:34:15.880 --> 0:34:19.200
<v Speaker 2>Did date the fuck boy first. She well, she I

0:34:19.200 --> 0:34:23.879
<v Speaker 2>think she uses men to vicariously have sex with them

0:34:23.960 --> 0:34:25.759
<v Speaker 2>so that she can feel like she's having sex with

0:34:25.840 --> 0:34:28.200
<v Speaker 2>tennis with tennis. So she keeps Patrick around.

0:34:28.280 --> 0:34:31.480
<v Speaker 3>And this is where Tashi Duncan and my Sonny have

0:34:31.520 --> 0:34:35.200
<v Speaker 3>a lot in common in that way. Yeah, you can't

0:34:35.239 --> 0:34:37.200
<v Speaker 3>just have sex with a tennis ball, so you have

0:34:37.239 --> 0:34:40.120
<v Speaker 3>to figure out how else can you satisfy exactly.

0:34:40.200 --> 0:34:43.359
<v Speaker 2>Yeah, you have to find a human conduit by which

0:34:43.400 --> 0:34:46.640
<v Speaker 2>you can have sex with tennis. And that's what Tashi

0:34:46.680 --> 0:34:51.200
<v Speaker 2>is doing the whole movie. Okay, then Patrick serves it

0:34:51.520 --> 0:34:56.400
<v Speaker 2>like Art serves the ball, indicating that Patrick and Tashi

0:34:56.440 --> 0:35:01.640
<v Speaker 2>did indeed have sex, and Art is jealous.

0:35:01.880 --> 0:35:04.680
<v Speaker 3>No, he's fine, He's fine, that's this whole thing. He's like,

0:35:04.719 --> 0:35:10.360
<v Speaker 3>that's fine. Actually, he's so like clenched spiritually.

0:35:11.440 --> 0:35:17.840
<v Speaker 2>Yeah, yep. Then it is twelve years prior to the present,

0:35:17.920 --> 0:35:21.840
<v Speaker 2>so it's like a year after the boys have met Tashi.

0:35:22.640 --> 0:35:27.680
<v Speaker 2>Tashi and Art are both at Stanford on tennis scholarships.

0:35:27.680 --> 0:35:33.360
<v Speaker 2>It seems they're pals, though Tashi and Patrick are still dating,

0:35:34.080 --> 0:35:37.600
<v Speaker 2>much to Art's dismay because it's clear that he is

0:35:37.640 --> 0:35:42.440
<v Speaker 2>absolutely in love with her. Then Patrick comes to campus

0:35:42.480 --> 0:35:47.040
<v Speaker 2>to visit Tashi, but first he's hanging out with Art.

0:35:47.280 --> 0:35:53.439
<v Speaker 2>They're sitting very close to each other eating churros parentheses phallic. Yeah,

0:35:53.520 --> 0:35:54.319
<v Speaker 2>they're they're not.

0:35:54.920 --> 0:35:58.960
<v Speaker 3>You know, it's not subtext, it's just text text. Anytime

0:35:59.040 --> 0:36:02.520
<v Speaker 3>these guys are eating there, it's it's a full dick.

0:36:02.680 --> 0:36:06.120
<v Speaker 2>Oh it's bananas. Oh, it's true's I'm surprised they don't

0:36:06.160 --> 0:36:07.000
<v Speaker 2>eat a hot dog.

0:36:07.400 --> 0:36:10.279
<v Speaker 4>And they take a bite out of each other, like

0:36:10.280 --> 0:36:12.919
<v Speaker 4>like that's love, that's that's an indirect kiss.

0:36:14.920 --> 0:36:19.120
<v Speaker 2>Yeah, that's them making out again. Basically, Patrick senses that

0:36:19.320 --> 0:36:22.759
<v Speaker 2>Art is still into Tashi and that he's trying to

0:36:22.840 --> 0:36:25.160
<v Speaker 2>get in between them and like kind of break them up.

0:36:25.680 --> 0:36:27.000
<v Speaker 2>And Patrick is like.

0:36:26.960 --> 0:36:28.839
<v Speaker 3>He's kind of like turned on by this.

0:36:29.160 --> 0:36:33.319
<v Speaker 2>He's like he's like, honestly, this is hot and it's

0:36:33.360 --> 0:36:37.600
<v Speaker 2>making you a better tennis player. Tashi is also turned

0:36:37.600 --> 0:36:44.640
<v Speaker 2>on sexually and athletically by this love triangle situation. There's

0:36:44.640 --> 0:36:48.280
<v Speaker 2>a scene where she's trying to coach Patrick, who seems

0:36:48.320 --> 0:36:50.320
<v Speaker 2>to have just like I don't think he's in college.

0:36:50.360 --> 0:36:54.080
<v Speaker 2>I think he went straight to pro. And then we

0:36:54.239 --> 0:36:57.200
<v Speaker 2>start to see this the beginning of this sort of

0:36:57.239 --> 0:37:02.040
<v Speaker 2>like domb sub dynamic that she's projecting, where she is

0:37:02.600 --> 0:37:06.399
<v Speaker 2>the dom and she wants to coach men, tell them

0:37:06.440 --> 0:37:09.520
<v Speaker 2>what to do, tell them how to play tennis, and

0:37:09.560 --> 0:37:13.120
<v Speaker 2>she wants a submissive man to be receptive to that.

0:37:13.520 --> 0:37:17.800
<v Speaker 2>Trouble is, Patrick is not into it, so they argue

0:37:17.840 --> 0:37:21.840
<v Speaker 2>and then he leaves. Tashi goes to her match, where

0:37:21.880 --> 0:37:26.200
<v Speaker 2>she's playing great until this is when she very badly

0:37:26.320 --> 0:37:29.560
<v Speaker 2>injures her knee and Art, who is at the match,

0:37:29.840 --> 0:37:33.400
<v Speaker 2>runs to her side. Patrick shows up once he has

0:37:33.440 --> 0:37:37.520
<v Speaker 2>heard what happened, but Tashi and Art send him packing,

0:37:38.160 --> 0:37:40.480
<v Speaker 2>and now it's Tashi and Art together.

0:37:41.200 --> 0:37:43.759
<v Speaker 3>It's so interesting how like, I don't know on this

0:37:43.880 --> 0:37:48.040
<v Speaker 3>rewatch there whatever in this specific way that like someone

0:37:48.040 --> 0:37:52.120
<v Speaker 3>who knows you as you're growing up can just clock

0:37:52.200 --> 0:37:55.600
<v Speaker 3>you and clock your intentions in ways that people you

0:37:55.680 --> 0:37:58.799
<v Speaker 3>meet as an adult kind of can't no matter how

0:37:58.840 --> 0:38:03.400
<v Speaker 3>close you are to them. Patrick, while a huge asshole,

0:38:04.200 --> 0:38:07.080
<v Speaker 3>is really good at knowing what people are up to and.

0:38:07.080 --> 0:38:07.759
<v Speaker 2>Just saying it.

0:38:08.040 --> 0:38:10.960
<v Speaker 3>Because what he says to Art a few scenes earlier

0:38:11.000 --> 0:38:13.279
<v Speaker 3>of like, I know, it's like not your style to

0:38:13.400 --> 0:38:15.560
<v Speaker 3>just make a move. You're just gonna hang out in

0:38:15.640 --> 0:38:17.959
<v Speaker 3>the sidelines until I fuck up, and then you're gonna

0:38:18.000 --> 0:38:21.000
<v Speaker 3>swoop in, which is exactly what happens.

0:38:21.760 --> 0:38:24.400
<v Speaker 4>This third eye is so open. It's like he's like

0:38:24.560 --> 0:38:28.400
<v Speaker 4>he's like he only uses it for evil, evil and sex.

0:38:28.480 --> 0:38:32.200
<v Speaker 4>That's it's like, I can do two things, three things

0:38:32.239 --> 0:38:34.640
<v Speaker 4>really well, and none of them are constructive to my

0:38:34.800 --> 0:38:35.440
<v Speaker 4>men's wealth.

0:38:36.760 --> 0:38:41.040
<v Speaker 3>Right, But like he he at different points, like especially

0:38:41.080 --> 0:38:46.200
<v Speaker 3>with Art, because they're you know, the boner boys from boarding.

0:38:45.880 --> 0:38:48.800
<v Speaker 2>School or whatever. The Jerkoff Brothers.

0:38:48.880 --> 0:38:53.400
<v Speaker 3>Yeah, the Jerkoff Brothers, disgusting brothers. They're the disgusting brothers. Farness,

0:38:53.880 --> 0:38:57.279
<v Speaker 3>they're the disgusting brothers. But with Tashi too, like he

0:38:58.200 --> 0:39:02.600
<v Speaker 3>much later in the movie pretty much states the state

0:39:02.640 --> 0:39:06.360
<v Speaker 3>of her marriage after witnessing it for like twelve seconds,

0:39:06.400 --> 0:39:09.640
<v Speaker 3>and you're like, oh, well, you're not wrong.

0:39:10.920 --> 0:39:12.279
<v Speaker 2>It's all true.

0:39:12.160 --> 0:39:14.359
<v Speaker 4>And that's the worst part. There's nothing worse than your

0:39:14.360 --> 0:39:16.600
<v Speaker 4>ex being right about your life. You're like, shut up,

0:39:17.200 --> 0:39:19.080
<v Speaker 4>you don't know me, hot dog man.

0:39:21.600 --> 0:39:24.360
<v Speaker 2>Meanwhile, meanwhile, sometimes you get clocked.

0:39:24.480 --> 0:39:25.799
<v Speaker 3>You get clocked by the hot dog man.

0:39:26.120 --> 0:39:30.600
<v Speaker 2>Yeah. Then we get another quick glimpse of the Phil's

0:39:30.600 --> 0:39:34.120
<v Speaker 2>tire Town match between Art and Patrick, because the movie

0:39:34.160 --> 0:39:38.120
<v Speaker 2>again keeps periodically cutting back to this. Then we flash

0:39:38.160 --> 0:39:42.799
<v Speaker 2>back to the aftermath of Tashi's injury. She is recovering,

0:39:43.120 --> 0:39:46.560
<v Speaker 2>she's practicing with Art, but her game is not what

0:39:46.640 --> 0:39:49.200
<v Speaker 2>it used to be. It's pretty clear that her tennis

0:39:49.239 --> 0:39:54.879
<v Speaker 2>career is over, as is her relationship with Patrick, and

0:39:55.000 --> 0:40:00.279
<v Speaker 2>again Art is there to console her. Then we to

0:40:00.280 --> 0:40:04.560
<v Speaker 2>three years after that. Tashi is now coaching tennis. Art

0:40:04.600 --> 0:40:09.360
<v Speaker 2>is a rising star. He suggests she be his assistant

0:40:09.440 --> 0:40:12.080
<v Speaker 2>coach and she's like, well, what about how you're in

0:40:12.120 --> 0:40:15.799
<v Speaker 2>love with me? And he's like, TIHI, I don't know.

0:40:16.360 --> 0:40:19.000
<v Speaker 3>Also, this all happens at an Applebee's, which is great.

0:40:19.480 --> 0:40:23.640
<v Speaker 4>Yes, we love the representation of the working classes, like.

0:40:23.680 --> 0:40:28.319
<v Speaker 2>We sure do. And then he's like, hey, what if

0:40:28.400 --> 0:40:36.040
<v Speaker 2>we kiss? And she responds by going and they're making out.

0:40:37.160 --> 0:40:42.760
<v Speaker 2>Then we cut back to tire Town timeline. A little after,

0:40:42.960 --> 0:40:46.680
<v Speaker 2>Tashi and Patrick have run into each other and he

0:40:47.120 --> 0:40:50.960
<v Speaker 2>approaches her to be like, will you be my coach?

0:40:51.840 --> 0:40:57.360
<v Speaker 2>And she says, okay, here's my coaching. Quit tennis, you bitch.

0:40:58.239 --> 0:41:01.279
<v Speaker 2>And they talk a little bit about her relateationship with Art,

0:41:01.520 --> 0:41:07.680
<v Speaker 2>how she clearly resents him, and then Patrick asks if

0:41:07.800 --> 0:41:11.560
<v Speaker 2>Art knows about Atlanta and we're like, hmm, what happened there?

0:41:12.400 --> 0:41:16.600
<v Speaker 2>We flash back to eight years prior in Atlanta, where

0:41:16.840 --> 0:41:21.480
<v Speaker 2>Art and Tashi are because he's competing in the Atlanta Open,

0:41:21.800 --> 0:41:26.680
<v Speaker 2>as is Patrick. And during the tournament, Patrick runs into

0:41:26.880 --> 0:41:29.600
<v Speaker 2>Tashi late at night when she's having a drink at

0:41:29.680 --> 0:41:30.040
<v Speaker 2>a bar.

0:41:30.120 --> 0:41:33.760
<v Speaker 3>And he's also wearing her shirt because it's a shirt

0:41:33.800 --> 0:41:37.080
<v Speaker 3>she is wearing in college that he's clearly hung onto,

0:41:37.360 --> 0:41:40.200
<v Speaker 3>the shirt that says I told you, oh wow, shows

0:41:40.239 --> 0:41:44.120
<v Speaker 3>up at the hotel wearing on her shirt and you're like, oh,

0:41:44.160 --> 0:41:47.800
<v Speaker 3>he's such a slug. Yeah, he really is. He's really

0:41:47.880 --> 0:41:53.520
<v Speaker 3>testing the boundaries. I love him. He's so easy, Like

0:41:53.600 --> 0:41:56.279
<v Speaker 3>the fuck, I hate him, love it, I hate him,

0:41:56.280 --> 0:41:56.919
<v Speaker 3>but I love him.

0:41:57.160 --> 0:41:59.200
<v Speaker 4>Oh God, I'm so powerful.

0:41:59.760 --> 0:42:04.560
<v Speaker 2>They start kissing, and then a little later Art sees

0:42:04.600 --> 0:42:06.840
<v Speaker 2>the two of them, not while they're kissing, but they're

0:42:06.880 --> 0:42:11.080
<v Speaker 2>like close and cozy. He gets distracted for a moment

0:42:11.160 --> 0:42:13.720
<v Speaker 2>and when he looks back, they are gone. It seems

0:42:13.719 --> 0:42:16.560
<v Speaker 2>like they've left together. And I believe the implication is

0:42:16.640 --> 0:42:18.839
<v Speaker 2>they go to have sex with each other.

0:42:19.080 --> 0:42:23.960
<v Speaker 3>Yeah, and Art pretends he does not see it. He's

0:42:24.160 --> 0:42:26.239
<v Speaker 3>that's kind of his mode.

0:42:26.280 --> 0:42:31.160
<v Speaker 2>He's like my femdom wife or I think fiance at

0:42:31.160 --> 0:42:34.359
<v Speaker 2>this point can do whatever she wants and I can't

0:42:34.400 --> 0:42:35.640
<v Speaker 2>say a damn thing about it.

0:42:36.120 --> 0:42:37.760
<v Speaker 4>And it's true, you really can't.

0:42:38.520 --> 0:42:39.879
<v Speaker 3>That's the arrangement.

0:42:40.600 --> 0:42:41.799
<v Speaker 4>You get what you pay for.

0:42:42.520 --> 0:42:48.440
<v Speaker 2>We cut back to the night before the Art Patrick

0:42:48.640 --> 0:42:53.120
<v Speaker 2>match at the tire Town Challenger. Art tells Tashi that

0:42:53.320 --> 0:42:57.480
<v Speaker 2>he wants to quit tennis soon, that he's tired and

0:42:57.560 --> 0:43:01.279
<v Speaker 2>worn out, but he also wants thealidation one way or

0:43:01.360 --> 0:43:05.320
<v Speaker 2>another from Tashi, because again, that's his whole thing, constantly

0:43:05.360 --> 0:43:09.200
<v Speaker 2>seeking validation from her. He's like, hold me until I

0:43:09.320 --> 0:43:11.240
<v Speaker 2>fall asleep, mommy.

0:43:11.600 --> 0:43:14.480
<v Speaker 3>And she does kind of the opposite of that.

0:43:16.040 --> 0:43:18.200
<v Speaker 2>She does for a little bit, but this makes her

0:43:18.400 --> 0:43:23.560
<v Speaker 2>absolutely despondent. So after Art falls asleep, she links up

0:43:23.600 --> 0:43:26.880
<v Speaker 2>with Patrick to tell him that she wants him to

0:43:27.000 --> 0:43:29.759
<v Speaker 2>lose tomorrow so that Art will have the confidence to

0:43:29.840 --> 0:43:34.160
<v Speaker 2>keep playing. And Patrick is like, fuck you, I'm pretty

0:43:34.200 --> 0:43:36.680
<v Speaker 2>sure you came here tonight to have sex with me,

0:43:37.200 --> 0:43:39.160
<v Speaker 2>and she's like, no, I didn't. And then he's like, yes,

0:43:39.200 --> 0:43:42.839
<v Speaker 2>you did, and she's like maybe. And then as they're

0:43:42.960 --> 0:43:45.040
<v Speaker 2>sort of arguing about this, and also she spits in

0:43:45.080 --> 0:43:45.560
<v Speaker 2>his face.

0:43:45.719 --> 0:43:49.000
<v Speaker 3>Yeah. She also has like slapped him earlier this like

0:43:49.120 --> 0:43:54.360
<v Speaker 3>earlier in the day, like for the week. Everyone is

0:43:54.360 --> 0:43:55.840
<v Speaker 3>getting off on all of this.

0:43:56.200 --> 0:43:57.239
<v Speaker 4>It's so toxic.

0:43:57.680 --> 0:44:02.680
<v Speaker 2>Yeah, yep. So she spits in his face. She storms away,

0:44:03.360 --> 0:44:08.640
<v Speaker 2>but then she turns back around and they start passionately

0:44:09.200 --> 0:44:14.200
<v Speaker 2>making out. They have sex in his car, and it

0:44:14.239 --> 0:44:18.560
<v Speaker 2>seems like the agreement is basically because she fucked him,

0:44:19.120 --> 0:44:22.960
<v Speaker 2>he will agree to lose the following day to Art.

0:44:24.160 --> 0:44:27.960
<v Speaker 2>We cut back to the end of the match. It

0:44:28.120 --> 0:44:31.440
<v Speaker 2>is neck and neck. It's unclear who will win. It's

0:44:31.560 --> 0:44:35.800
<v Speaker 2>unclear whether or not Patrick will honor this agreement. Patrick

0:44:35.880 --> 0:44:39.879
<v Speaker 2>is about to serve and then he does the callback

0:44:39.920 --> 0:44:41.680
<v Speaker 2>to the thing that we saw earlier in the movie,

0:44:41.719 --> 0:44:44.800
<v Speaker 2>which is that he serves the ball like Art does,

0:44:45.000 --> 0:44:50.920
<v Speaker 2>indicating that he and Tashi recently had sex.

0:44:51.239 --> 0:44:54.040
<v Speaker 4>Everyone in my theater gasped when this happened. It was

0:44:54.200 --> 0:45:00.000
<v Speaker 4>like a miseral line.

0:44:58.320 --> 0:45:04.280
<v Speaker 2>And Art is shook to his very core. Yeah, Patrick

0:45:04.360 --> 0:45:08.840
<v Speaker 2>stars again. He wins the match, but there's one match left,

0:45:09.080 --> 0:45:10.040
<v Speaker 2>a tiebreaker.

0:45:11.400 --> 0:45:14.040
<v Speaker 3>I do love the Wikipedia summary for this. They say

0:45:14.320 --> 0:45:18.560
<v Speaker 3>during the tie break, Art and Patrick furiously trade ground strokes.

0:45:18.719 --> 0:45:25.840
<v Speaker 3>And you're like, oh, yeah, okay, the strokes.

0:45:26.280 --> 0:45:29.239
<v Speaker 2>The jerk off brothers strike again, you know when you're

0:45:29.440 --> 0:45:33.320
<v Speaker 2>you know, and the discussing brothers are furiously trading strokes.

0:45:34.560 --> 0:45:36.839
<v Speaker 4>Oh my god, they put they put a little dot

0:45:36.880 --> 0:45:39.319
<v Speaker 4>on each other's head to be like, I choose.

0:45:42.280 --> 0:45:47.160
<v Speaker 2>I I would describe it as them volleying back and forth.

0:45:47.280 --> 0:45:48.520
<v Speaker 2>But what do I know.

0:45:48.640 --> 0:45:52.640
<v Speaker 3>I mean, there's a hornier way to say that. And

0:45:52.800 --> 0:45:57.600
<v Speaker 3>one and one disgusting Wikipedia user did sound.

0:45:57.360 --> 0:46:01.160
<v Speaker 2>The way yeah, and I U. They're doing this. They're

0:46:01.200 --> 0:46:05.799
<v Speaker 2>getting closer and closer to each other, and eventually they're

0:46:05.880 --> 0:46:10.480
<v Speaker 2>so close that Art jumps up and then kind of

0:46:10.680 --> 0:46:17.600
<v Speaker 2>lands on Patrick and they're hugging. And then also Art

0:46:17.719 --> 0:46:22.240
<v Speaker 2>won the match. Just now because we cut to Tashi

0:46:22.360 --> 0:46:25.560
<v Speaker 2>and she's very, very happy, and that's how the movie ends.

0:46:26.760 --> 0:46:31.040
<v Speaker 2>So let's take a quick break and we'll come back

0:46:31.160 --> 0:46:40.480
<v Speaker 2>to discuss.

0:46:42.200 --> 0:46:46.279
<v Speaker 3>And we're back, and we're back, I mean hard to

0:46:46.320 --> 0:46:50.560
<v Speaker 3>beget princess guests choice, Where would you like to start?

0:46:51.640 --> 0:46:52.479
<v Speaker 4>Oh my god?

0:46:52.719 --> 0:46:56.440
<v Speaker 3>So we furiously trade ground strokes throughout this discussion.

0:46:58.000 --> 0:47:01.480
<v Speaker 2>What is podcasting? What is a conversation if not.

0:47:01.360 --> 0:47:09.200
<v Speaker 4>But groundstroking over the air into your ears? You know.

0:47:09.400 --> 0:47:13.840
<v Speaker 4>I think one thing I was thinking about in preparation

0:47:14.000 --> 0:47:17.000
<v Speaker 4>for this specific conversation. I know we'll get into, like

0:47:17.040 --> 0:47:21.640
<v Speaker 4>if it passes the Bechdel test later, but I wonder

0:47:22.200 --> 0:47:27.200
<v Speaker 4>what you guys feel about Tashi being often the sole

0:47:27.320 --> 0:47:31.400
<v Speaker 4>woman in the room aroung these two men, because I

0:47:31.400 --> 0:47:34.480
<v Speaker 4>feel like that in itself is like this interesting conversation

0:47:34.800 --> 0:47:38.279
<v Speaker 4>because she is arguably the most talented of the three

0:47:38.320 --> 0:47:42.640
<v Speaker 4>of them, but she's also the most marginalized, and that

0:47:42.840 --> 0:47:46.600
<v Speaker 4>really sort of plays into her relationship to both of them,

0:47:46.680 --> 0:47:49.840
<v Speaker 4>because she is sort of between these two white men,

0:47:50.440 --> 0:47:53.799
<v Speaker 4>who are, you know, gonna get more opportunities than her

0:47:53.840 --> 0:47:56.800
<v Speaker 4>no matter how talented she is, And then with her injury,

0:47:57.400 --> 0:48:01.120
<v Speaker 4>she kind of ends up having to almost lean on them.

0:48:01.160 --> 0:48:04.480
<v Speaker 4>It's like an interesting dynamic between her and the two boys.

0:48:04.480 --> 0:48:06.799
<v Speaker 4>And I find that, besides the sexiness of it. I

0:48:06.840 --> 0:48:08.799
<v Speaker 4>find it just like narratively compelling.

0:48:10.200 --> 0:48:12.839
<v Speaker 3>Yeah, I agree, I feel like I And this was

0:48:13.160 --> 0:48:17.040
<v Speaker 3>something that I was like because I watched your video,

0:48:17.440 --> 0:48:21.000
<v Speaker 3>did a bunch of tennis research, and then rewatched Challengers

0:48:21.000 --> 0:48:24.040
<v Speaker 3>because I was trying to like take the horny gauze

0:48:24.040 --> 0:48:28.560
<v Speaker 3>off of my previous viewings of it. And you said

0:48:28.560 --> 0:48:31.080
<v Speaker 3>something in your video that really stuck with me, which

0:48:31.120 --> 0:48:36.680
<v Speaker 3>is that we really only see Tashi once that isn't

0:48:36.960 --> 0:48:40.239
<v Speaker 3>in a scene with one of the guys. This is

0:48:40.280 --> 0:48:43.160
<v Speaker 3>definitely not true for the guys. We see the guys

0:48:43.280 --> 0:48:46.000
<v Speaker 3>together alone a number of times, which is why I

0:48:46.000 --> 0:48:48.840
<v Speaker 3>think they are ultimately kind of the protagonists of the movie,

0:48:48.880 --> 0:48:51.880
<v Speaker 3>even though Tashi is the central figure. But the only

0:48:51.920 --> 0:48:54.799
<v Speaker 3>time I think that we see Tashi without one of

0:48:54.840 --> 0:49:00.040
<v Speaker 3>them is when she's alone on campus after she's been injured.

0:49:00.120 --> 0:49:02.320
<v Speaker 4>The tree crying. Yeah, yes, that's.

0:49:02.200 --> 0:49:06.440
<v Speaker 3>The only time we see her certainly alone, but also

0:49:06.480 --> 0:49:10.840
<v Speaker 3>like without one of the guys. That and like the

0:49:10.960 --> 0:49:15.040
<v Speaker 3>moment she gets back from having sex with Patrick. But

0:49:15.080 --> 0:49:19.239
<v Speaker 3>that's only a couple seconds really, And it's interesting because

0:49:19.239 --> 0:49:23.360
<v Speaker 3>it's it's I don't know, I she's such a compelling

0:49:23.440 --> 0:49:26.640
<v Speaker 3>figure and because the focus of the movie is so

0:49:26.880 --> 0:49:29.799
<v Speaker 3>on the triangle, we don't really get an idea of

0:49:31.000 --> 0:49:32.920
<v Speaker 3>I don't know like that. I think it comes through

0:49:32.920 --> 0:49:35.520
<v Speaker 3>in the performance who she is outside of this dynamic,

0:49:36.400 --> 0:49:38.600
<v Speaker 3>but we don't get to see very much of that.

0:49:38.760 --> 0:49:40.880
<v Speaker 3>Although I guess you could say the same for the guys,

0:49:40.880 --> 0:49:44.160
<v Speaker 3>but they have the pre existing relationship. I don't know. Yeah,

0:49:44.200 --> 0:49:46.319
<v Speaker 3>but it really struck me that that is the only

0:49:46.400 --> 0:49:49.000
<v Speaker 3>time we see her by herself.

0:49:49.920 --> 0:49:55.560
<v Speaker 2>It does make you wonder does she have any friends

0:49:55.640 --> 0:50:00.480
<v Speaker 2>who are women, any tennis players, like athletes who are

0:50:00.520 --> 0:50:05.680
<v Speaker 2>women that she is buds with. Makes you wonder what

0:50:05.880 --> 0:50:09.240
<v Speaker 2>she's like as a mother. We see a tiny, tiny

0:50:09.280 --> 0:50:12.840
<v Speaker 2>glimpse of it when they're talking about Spider verse, but

0:50:12.920 --> 0:50:14.880
<v Speaker 2>aside from that, we see very very little of her

0:50:14.920 --> 0:50:18.400
<v Speaker 2>interactions with her daughter. We see a few interactions with

0:50:18.560 --> 0:50:21.640
<v Speaker 2>Tashi and her mother, who seems to be present in

0:50:21.680 --> 0:50:25.640
<v Speaker 2>the story because she is the caretaker of their daughter, right,

0:50:25.880 --> 0:50:28.960
<v Speaker 2>But yeah, we really don't see I mean, this movie

0:50:29.040 --> 0:50:34.080
<v Speaker 2>is just so hyper hyper focused on tennis and this

0:50:34.640 --> 0:50:39.560
<v Speaker 2>love triangles, the threuple situation or what should be a thruple,

0:50:40.400 --> 0:50:45.040
<v Speaker 2>and it just doesn't really dedicate any time to anything else,

0:50:45.080 --> 0:50:47.520
<v Speaker 2>And there's nothing inherently wrong with that, Like a lot

0:50:47.520 --> 0:50:51.919
<v Speaker 2>of stories are very hyper focused on a specific thing.

0:50:52.520 --> 0:50:55.240
<v Speaker 2>But I feel like there was still room for giving

0:50:55.320 --> 0:50:58.200
<v Speaker 2>us a little bit more of a glimpse into like

0:50:59.560 --> 0:51:02.560
<v Speaker 2>what else, Like even if it just told us is

0:51:02.600 --> 0:51:06.280
<v Speaker 2>something something as simple as what was her major? Because

0:51:06.280 --> 0:51:08.600
<v Speaker 2>she even says like, I'm going to college because I

0:51:08.640 --> 0:51:10.760
<v Speaker 2>want to learn things and I want to take classes

0:51:10.760 --> 0:51:13.560
<v Speaker 2>and I don't want my only skill in life to

0:51:13.719 --> 0:51:16.000
<v Speaker 2>be hitting a ball with a racket. But then the

0:51:16.040 --> 0:51:19.240
<v Speaker 2>movie doesn't bother to tell us, well, what is she pursuing?

0:51:19.600 --> 0:51:22.080
<v Speaker 3>Well, I do think, so I'm so on the fence

0:51:22.080 --> 0:51:23.839
<v Speaker 3>about this, and I want to know what you think

0:51:23.880 --> 0:51:27.640
<v Speaker 3>about it, Princess, because it's like that's that is definitely true.

0:51:27.680 --> 0:51:30.120
<v Speaker 3>And then I also kept like second guessing myself because

0:51:30.160 --> 0:51:33.439
<v Speaker 3>there is a lot we learn in passing and through

0:51:33.440 --> 0:51:36.040
<v Speaker 3>the performance, where like that line I don't want to

0:51:36.120 --> 0:51:37.719
<v Speaker 3>just only know how to hit a ball with a

0:51:37.800 --> 0:51:40.880
<v Speaker 3>racket is called back later when she's at the Apple

0:51:40.960 --> 0:51:43.279
<v Speaker 3>Bees with Art and she says, well, it turns out

0:51:43.320 --> 0:51:44.640
<v Speaker 3>all I know how to do is hit a ball

0:51:44.680 --> 0:51:47.280
<v Speaker 3>with a racket. And so it's like she does eventually

0:51:47.360 --> 0:51:49.799
<v Speaker 3>kind of resign herself to the idea. And I don't

0:51:49.840 --> 0:51:52.800
<v Speaker 3>think like unhappily, but like she is like that tennis

0:51:53.040 --> 0:51:56.239
<v Speaker 3>is the thing she cares about. It's not like she's

0:51:56.320 --> 0:52:01.760
<v Speaker 3>being forced to remain there. She wants to be there. Yeah,

0:52:01.840 --> 0:52:02.399
<v Speaker 3>I don't know.

0:52:02.760 --> 0:52:06.040
<v Speaker 4>I think that there's almost like a classic film quality

0:52:06.080 --> 0:52:08.320
<v Speaker 4>to the movie in a sense where like the actor

0:52:08.600 --> 0:52:12.480
<v Speaker 4>is giving backstory through their performance of it all. Yeah,

0:52:12.520 --> 0:52:16.360
<v Speaker 4>And I think that is effective. And I think also

0:52:16.600 --> 0:52:21.319
<v Speaker 4>if you know anything about women's tennis, there's a lot

0:52:21.320 --> 0:52:24.040
<v Speaker 4>of just sort of like a lot of things happening

0:52:24.080 --> 0:52:27.600
<v Speaker 4>up beneath the surface because the reality is that like

0:52:27.640 --> 0:52:29.880
<v Speaker 4>you don't really see a lot of women tennis friendships

0:52:29.920 --> 0:52:33.320
<v Speaker 4>that are like of the same generation. Like there usually

0:52:33.360 --> 0:52:35.319
<v Speaker 4>is like the older person is kind of like the

0:52:35.360 --> 0:52:37.799
<v Speaker 4>mentor figure and then the younger person's like the up

0:52:37.800 --> 0:52:39.240
<v Speaker 4>and comer, and that's the dynamic.

0:52:39.400 --> 0:52:42.120
<v Speaker 3>Like I was thinking about how like Billy Jean King's

0:52:42.120 --> 0:52:45.080
<v Speaker 3>relationship with the Williams Sisters and like stuff like that. Yeah,

0:52:45.080 --> 0:52:47.200
<v Speaker 3>it's like more of like a mentor mentee kind of deal.

0:52:47.560 --> 0:52:50.319
<v Speaker 4>Yeah, like in the Williams Sisters with like you know,

0:52:50.440 --> 0:52:53.919
<v Speaker 4>Cocoa Golf, and like Maioi Osaka, it's like there isn't

0:52:54.000 --> 0:52:57.600
<v Speaker 4>a lot of like general like rivalry tends to be

0:52:57.680 --> 0:53:00.160
<v Speaker 4>the thing that gets the more attention than like and

0:53:00.160 --> 0:53:05.759
<v Speaker 4>ship heated rivalry, and so there's this aspect of in

0:53:05.800 --> 0:53:08.160
<v Speaker 4>a certain way, it makes sense that Tashi has no

0:53:08.280 --> 0:53:13.799
<v Speaker 4>female friends because everyone is her rival, because there is

0:53:13.880 --> 0:53:16.560
<v Speaker 4>no room to like, she doesn't have like a sister

0:53:16.800 --> 0:53:19.640
<v Speaker 4>to be her doubles partner, and she's not doing doubles,

0:53:19.960 --> 0:53:22.360
<v Speaker 4>so there is no space for her to be And

0:53:22.400 --> 0:53:26.359
<v Speaker 4>it's also just very white in general, and so there

0:53:26.480 --> 0:53:29.400
<v Speaker 4>isn't there's always going to be contrasting things happening, and

0:53:29.440 --> 0:53:32.239
<v Speaker 4>I think that is like the subtext of a lot

0:53:32.320 --> 0:53:37.480
<v Speaker 4>of Tashi's experience, and it's clear from reading interviews that

0:53:37.480 --> 0:53:40.719
<v Speaker 4>that is what they were bringing to that character. But

0:53:40.800 --> 0:53:43.120
<v Speaker 4>what I do think is always an interesting question and

0:53:43.160 --> 0:53:46.160
<v Speaker 4>not necessarily criticism, is like how much of that is

0:53:46.360 --> 0:53:49.759
<v Speaker 4>known can be absorbed by the audience that doesn't have

0:53:49.840 --> 0:53:53.239
<v Speaker 4>this background knowledge of this sport, right because.

0:53:53.000 --> 0:53:56.839
<v Speaker 2>The movie doesn't delve into any of that explicitly. I mean,

0:53:56.960 --> 0:53:59.359
<v Speaker 2>I learned so much about it from your video where

0:53:59.520 --> 0:54:03.360
<v Speaker 2>you talk about like the context of a character like

0:54:03.440 --> 0:54:06.799
<v Speaker 2>Tashi coming up in the era that she does as

0:54:06.960 --> 0:54:12.160
<v Speaker 2>a black woman tennis player in the wake of Serena

0:54:12.239 --> 0:54:16.239
<v Speaker 2>and Venus Williams before them Althea Gibson. But if you

0:54:16.239 --> 0:54:19.560
<v Speaker 2>don't already know that context, it's not like the movie

0:54:19.760 --> 0:54:20.759
<v Speaker 2>tells you any of it.

0:54:20.840 --> 0:54:23.520
<v Speaker 3>So right, and it's like and it's hard because it's like,

0:54:23.560 --> 0:54:26.880
<v Speaker 3>I don't know, like I was having. It's part of

0:54:26.920 --> 0:54:30.000
<v Speaker 3>why this movie is so challenging because it's not like

0:54:30.520 --> 0:54:34.400
<v Speaker 3>the movie is giving you that context for men's tennis.

0:54:34.480 --> 0:54:37.400
<v Speaker 3>It's not giving you any context. It's just throwing you

0:54:37.480 --> 0:54:42.960
<v Speaker 3>in and being like, so you've seen a tennis match, YadA, YadA,

0:54:43.080 --> 0:54:47.600
<v Speaker 3>it's a metaphor for sex. But but yeah, I feel

0:54:47.600 --> 0:54:52.520
<v Speaker 3>like with Tashi specifically because potion Master did say specifically

0:54:53.280 --> 0:54:56.719
<v Speaker 3>that he he wrote, you know, like this was not

0:54:56.840 --> 0:55:02.520
<v Speaker 3>written for a white woman, and was later you know like, oh, well,

0:55:02.600 --> 0:55:05.080
<v Speaker 3>Zenda is interested, so now Tashi Duncan is a black woman.

0:55:05.239 --> 0:55:08.480
<v Speaker 3>Tashi Duncan was always written as a black woman. I'm

0:55:08.520 --> 0:55:11.640
<v Speaker 3>going to quote Postmaster Harry said, Tashi was always a

0:55:11.640 --> 0:55:14.560
<v Speaker 3>black woman. Patrick was always a well to do Jewish guy,

0:55:14.600 --> 0:55:16.840
<v Speaker 3>and Art was always a somewhat well to do wasp,

0:55:17.000 --> 0:55:22.040
<v Speaker 3>and so these characters were very clearly specified in the

0:55:22.080 --> 0:55:26.680
<v Speaker 3>original script, and I think that that does again like

0:55:26.719 --> 0:55:29.600
<v Speaker 3>come through. But like you're saying, princess, I think primarily

0:55:29.640 --> 0:55:32.759
<v Speaker 3>in the performance, there's a few lines of dialogue that

0:55:32.880 --> 0:55:36.200
<v Speaker 3>could give you some insight into it that I think

0:55:36.200 --> 0:55:39.319
<v Speaker 3>you shouted out in your video as well. Of when

0:55:39.520 --> 0:55:43.960
<v Speaker 3>they're about to have the big awesome kissing scene, the

0:55:44.000 --> 0:55:47.280
<v Speaker 3>two guys are talking about how they were boarding school roommates,

0:55:47.280 --> 0:55:49.600
<v Speaker 3>and they're like, did you go to boarding school trying

0:55:49.600 --> 0:55:52.680
<v Speaker 3>to be like just rich kids hanging out? And she

0:55:52.800 --> 0:55:55.319
<v Speaker 3>was like, well, no, we couldn't afford it, and even

0:55:55.400 --> 0:55:57.560
<v Speaker 3>if we could have, my parents wouldn't have wanted me

0:55:57.719 --> 0:56:02.760
<v Speaker 3>in that environment. There's one offline where she's talking about

0:56:03.239 --> 0:56:05.640
<v Speaker 3>the girl she was playing tennis against when we first

0:56:05.640 --> 0:56:10.120
<v Speaker 3>see her, who she says pretty offhand, she's like, oh,

0:56:10.120 --> 0:56:11.960
<v Speaker 3>she's you know, don't feel bad for her. She's a

0:56:12.040 --> 0:56:12.600
<v Speaker 3>racist bitch.

0:56:12.600 --> 0:56:13.120
<v Speaker 2>It's fine.

0:56:14.080 --> 0:56:17.200
<v Speaker 3>And like her character is.

0:56:17.280 --> 0:56:22.520
<v Speaker 2>Very both very specific and very left open to interpretation.

0:56:24.440 --> 0:56:27.560
<v Speaker 4>And I think that's interesting because it kind of reminds me,

0:56:27.960 --> 0:56:31.640
<v Speaker 4>in like an odd way of like Pacific rim and

0:56:31.680 --> 0:56:34.200
<v Speaker 4>how like when you have a woman of color in

0:56:34.239 --> 0:56:38.440
<v Speaker 4>a role that is not traditionally where we see women

0:56:38.520 --> 0:56:41.799
<v Speaker 4>of color. How then, does that change the way that

0:56:41.840 --> 0:56:46.400
<v Speaker 4>we operate in terms of like traditional feminist critical lens,

0:56:46.480 --> 0:56:49.799
<v Speaker 4>which while should be all encompassing, does tend to lean

0:56:50.200 --> 0:56:52.680
<v Speaker 4>towards white womanhood because I think if Tashi were a

0:56:52.719 --> 0:56:56.239
<v Speaker 4>white woman, we might be having different conversations about it,

0:56:56.280 --> 0:56:59.960
<v Speaker 4>but she isn't, and that's intentional, and that creates other

0:57:00.280 --> 0:57:05.680
<v Speaker 4>layers of conversation between everyone involved, which I just think

0:57:05.680 --> 0:57:07.520
<v Speaker 4>it is just inherently interesting, Like I think that it's

0:57:07.600 --> 0:57:10.759
<v Speaker 4>interesting to deal with the film that doesn't want to

0:57:10.760 --> 0:57:14.400
<v Speaker 4>tell you everything, but has so much in the background

0:57:14.520 --> 0:57:17.760
<v Speaker 4>of its intentionality that you can't help but want to

0:57:17.840 --> 0:57:19.840
<v Speaker 4>pull on more threads of it. So I don't think

0:57:19.880 --> 0:57:22.800
<v Speaker 4>if it is like a failing of Challengers, but I

0:57:22.840 --> 0:57:26.400
<v Speaker 4>do think it's something that I think got overlooked to

0:57:26.480 --> 0:57:29.320
<v Speaker 4>a certain degree, and that's why it got ignored when

0:57:29.320 --> 0:57:32.400
<v Speaker 4>it came to like a lot of awards stuff, because

0:57:32.440 --> 0:57:34.760
<v Speaker 4>it is a really rich film, but I feel like

0:57:34.800 --> 0:57:38.120
<v Speaker 4>people only saw the horniness and all of the kind

0:57:38.160 --> 0:57:41.720
<v Speaker 4>of like even within that holiness, any sort of like

0:57:41.800 --> 0:57:45.040
<v Speaker 4>commentary of like it's not as if Patrick is openly bisexual,

0:57:45.400 --> 0:57:47.320
<v Speaker 4>you know, like it's not as if he's flamboyant about

0:57:47.320 --> 0:57:49.560
<v Speaker 4>it and how that would impact his career and all

0:57:49.560 --> 0:57:52.080
<v Speaker 4>those other things are there, but they're not the main

0:57:52.600 --> 0:57:55.880
<v Speaker 4>focus in the way that the relationship.

0:57:55.200 --> 0:58:00.560
<v Speaker 3>Is absolutely yeah, like rewatching it with my hornygog off

0:58:00.600 --> 0:58:05.200
<v Speaker 3>and my context goggles on there. Again, it's just like

0:58:05.240 --> 0:58:10.160
<v Speaker 3>a passing moment with Patrick where he's on Tinder or

0:58:10.200 --> 0:58:13.360
<v Speaker 3>whatever app like swiping, and it's like people of all

0:58:13.400 --> 0:58:16.760
<v Speaker 3>genders are showing up, but he hesitates before swiping right

0:58:16.960 --> 0:58:19.600
<v Speaker 3>on a man. So it's like it just in a

0:58:19.680 --> 0:58:23.920
<v Speaker 3>gesture communicates like he is bisexual, but he still hasn't

0:58:23.960 --> 0:58:27.920
<v Speaker 3>like really come to terms with that. And then with Tashi,

0:58:27.960 --> 0:58:29.960
<v Speaker 3>one of the things that I really appreciated was left

0:58:30.000 --> 0:58:32.479
<v Speaker 3>open ended, and I'm curious what you both think about

0:58:32.520 --> 0:58:39.240
<v Speaker 3>it is that she is a mom who seems like

0:58:40.040 --> 0:58:44.360
<v Speaker 3>a caring mom, but her role as a mother is

0:58:44.440 --> 0:58:48.480
<v Speaker 3>not harped upon, and it seems like she is like

0:58:48.720 --> 0:58:51.560
<v Speaker 3>not her child's primary caretaker. And I didn't feel that

0:58:51.600 --> 0:58:54.520
<v Speaker 3>the movie was judging her for that. And I've very

0:58:54.640 --> 0:58:59.920
<v Speaker 3>rarely seen, you know, a central woman who has kids

0:59:00.240 --> 0:59:04.840
<v Speaker 3>that like motherhood isn't a main element of her character,

0:59:05.480 --> 0:59:10.440
<v Speaker 3>and this movie does not really prioritize that for either

0:59:10.480 --> 0:59:12.520
<v Speaker 3>of them. I mean, we see that, like clearly they

0:59:12.880 --> 0:59:17.000
<v Speaker 3>love their child, you know, Lily. I don't know what

0:59:17.160 --> 0:59:19.320
<v Speaker 3>kind of kid does Lily grow up to be growing

0:59:19.400 --> 0:59:21.640
<v Speaker 3>up in hotels with her grandma. I don't know, but

0:59:21.760 --> 0:59:26.280
<v Speaker 3>I appreciated that, you know, in a societal landscape that

0:59:26.400 --> 0:59:30.080
<v Speaker 3>is very quick to judge mothers and rarely, if ever

0:59:30.280 --> 0:59:33.000
<v Speaker 3>judges fathers, it seems like this is just a dynamic

0:59:33.040 --> 0:59:36.120
<v Speaker 3>that is presented without judgment, and then you, as the viewer,

0:59:36.200 --> 0:59:37.880
<v Speaker 3>can just make of it what you will.

0:59:39.160 --> 0:59:45.800
<v Speaker 2>I think there are many examples of Tashi being presented

0:59:46.400 --> 0:59:50.200
<v Speaker 2>in a way that we do not often see women

0:59:50.680 --> 0:59:55.360
<v Speaker 2>represented on screen, in a way that the movie does

0:59:55.400 --> 0:59:59.040
<v Speaker 2>not pass judgment on her, similar to what you're talking about, Jamie.

0:59:59.440 --> 1:00:04.880
<v Speaker 2>A few examples are there's the scene where she and

1:00:05.120 --> 1:00:10.720
<v Speaker 2>Art are at Stanford. She is dating Patrick, but Art

1:00:10.920 --> 1:00:13.800
<v Speaker 2>is clearly in love with her. He's trying to break

1:00:13.800 --> 1:00:17.080
<v Speaker 2>them up, and he says something like he's not in

1:00:17.080 --> 1:00:20.920
<v Speaker 2>love with you, and she stops in her tracks and

1:00:21.000 --> 1:00:24.400
<v Speaker 2>kind of slowly turns around and comes back, and we

1:00:24.480 --> 1:00:28.320
<v Speaker 2>are conditioned to think that a woman being told that

1:00:28.400 --> 1:00:30.880
<v Speaker 2>a man isn't in love with her will make her

1:00:30.920 --> 1:00:34.080
<v Speaker 2>be like, oh my god, oh no, this is devastating.

1:00:34.400 --> 1:00:37.720
<v Speaker 2>I can't be with someone who doesn't love me. But instead,

1:00:37.760 --> 1:00:40.520
<v Speaker 2>she says, what makes you think I want someone to

1:00:40.520 --> 1:00:42.320
<v Speaker 2>be in love with me? Did I ever say I

1:00:42.360 --> 1:00:44.880
<v Speaker 2>was in love with him? And he's like, no, you didn't,

1:00:45.600 --> 1:00:47.400
<v Speaker 2>And she's like, well, so why would I give a

1:00:47.440 --> 1:00:50.480
<v Speaker 2>fuck if he loved me or not? And he says like,

1:00:51.000 --> 1:00:52.480
<v Speaker 2>don't you think you deserve it?

1:00:52.680 --> 1:00:56.160
<v Speaker 3>Like, which is he's being so I never like really

1:00:56.160 --> 1:00:58.560
<v Speaker 3>listened to that line in contacts before. He's being so

1:00:58.760 --> 1:01:02.520
<v Speaker 3>manipulative there, he's doing a thing that like male feminists

1:01:02.600 --> 1:01:05.520
<v Speaker 3>do or they're like you deserve better, girl, and by

1:01:05.560 --> 1:01:07.720
<v Speaker 3>better I mean me specifically.

1:01:08.560 --> 1:01:11.200
<v Speaker 4>It's so manopulia, And that's the thing. I think. That's why,

1:01:11.360 --> 1:01:13.960
<v Speaker 4>like there's a lot of bias between like people who

1:01:14.040 --> 1:01:17.320
<v Speaker 4>like are and people who love Patrick. You know. Unfortunately

1:01:17.520 --> 1:01:20.920
<v Speaker 4>the dirt bag with the huge penis Lend's out like

1:01:20.960 --> 1:01:24.080
<v Speaker 4>I'm sorry, like at least he's a dirt bag. He

1:01:24.440 --> 1:01:27.240
<v Speaker 4>lives in his car, but he's funny and he's not

1:01:27.360 --> 1:01:30.640
<v Speaker 4>and he's not trying to like soft launch a relationship

1:01:30.640 --> 1:01:33.760
<v Speaker 4>while I'm with someone else through myn emotional manipulation. He

1:01:33.840 --> 1:01:35.680
<v Speaker 4>just won the tennis match like an adult.

1:01:37.480 --> 1:01:40.000
<v Speaker 3>I get it. I get it, like it's I don't know,

1:01:40.440 --> 1:01:43.720
<v Speaker 3>you can't win right where it's like having because in

1:01:43.840 --> 1:01:48.240
<v Speaker 3>Tash scenes with Patrick, it's like he is not on her.

1:01:48.400 --> 1:01:50.640
<v Speaker 3>I mean, neither of these guys are on her level remotely,

1:01:51.240 --> 1:01:53.640
<v Speaker 3>but Patrick, I think, is able to like scratch an

1:01:53.680 --> 1:01:55.959
<v Speaker 3>itch that she needs, which is someone who is going

1:01:56.040 --> 1:02:00.760
<v Speaker 3>to like challenge her and challenge her. Yeah, challenge her.

1:02:02.000 --> 1:02:03.240
<v Speaker 2>Wow, challenge hers.

1:02:03.720 --> 1:02:06.440
<v Speaker 3>Okay, we're actually recording this on International Women's Day and

1:02:06.480 --> 1:02:08.600
<v Speaker 3>that was really impactful. Challenge her.

1:02:08.840 --> 1:02:10.760
<v Speaker 4>Wow, I'm with, challenge her.

1:02:11.160 --> 1:02:11.520
<v Speaker 2>I'm with.

1:02:13.960 --> 1:02:18.360
<v Speaker 3>But he is like willing to have an argument with

1:02:18.400 --> 1:02:20.960
<v Speaker 3>her in a way she seems to want, but not

1:02:21.120 --> 1:02:23.680
<v Speaker 3>in a long term way. She does want a sub

1:02:23.960 --> 1:02:26.240
<v Speaker 3>at home, but she does want to have a guy

1:02:26.280 --> 1:02:28.080
<v Speaker 3>to argue with who has a huge dick and is

1:02:28.120 --> 1:02:32.560
<v Speaker 3>a mess And you're like, yeah, which hard to have

1:02:32.600 --> 1:02:33.479
<v Speaker 3>all these things at once.

1:02:34.880 --> 1:02:38.160
<v Speaker 2>It's a woman trying to have it all. But these

1:02:38.160 --> 1:02:40.880
<v Speaker 2>are also all of the ways in which we almost

1:02:40.920 --> 1:02:44.000
<v Speaker 2>never see women represented on screen. The fact that she

1:02:44.440 --> 1:02:47.680
<v Speaker 2>is way better at the sport that she plays than

1:02:47.920 --> 1:02:51.400
<v Speaker 2>the men around her, that she's like the best of everyone,

1:02:51.560 --> 1:02:56.760
<v Speaker 2>including all the men. The fact that she is kind

1:02:56.760 --> 1:03:01.880
<v Speaker 2>of using men to like live vicariously through them so

1:03:01.920 --> 1:03:05.720
<v Speaker 2>that she can still do tennis things. And I'm not

1:03:05.760 --> 1:03:09.680
<v Speaker 2>praising that as a good quality to have. Obviously you

1:03:09.720 --> 1:03:15.200
<v Speaker 2>should not use people. But my point is she has flaws,

1:03:15.360 --> 1:03:19.280
<v Speaker 2>she has layers. She can be messy, she can be calculating,

1:03:19.760 --> 1:03:22.160
<v Speaker 2>and we usually do not get to see a woman

1:03:22.360 --> 1:03:27.440
<v Speaker 2>portrayed in these types of ways in movies because normally

1:03:27.680 --> 1:03:31.400
<v Speaker 2>we see women who are either like perfect little angels

1:03:31.480 --> 1:03:33.880
<v Speaker 2>who would never make a mistake or do anything wrong,

1:03:34.720 --> 1:03:38.480
<v Speaker 2>or women who are given so little characterization that you

1:03:38.600 --> 1:03:42.560
<v Speaker 2>don't even know what choices they would make. So even

1:03:42.600 --> 1:03:46.680
<v Speaker 2>though Tashi is like not behaving well a lot of

1:03:46.720 --> 1:03:52.040
<v Speaker 2>the time, it's more interesting than the like nothing characters

1:03:52.080 --> 1:03:56.320
<v Speaker 2>we so often see with women in movies. So there's that.

1:03:56.880 --> 1:03:59.880
<v Speaker 2>There's the fact that she loves tennis more than she

1:04:00.200 --> 1:04:03.840
<v Speaker 2>will ever love any man, and like the men around

1:04:03.880 --> 1:04:06.280
<v Speaker 2>her do not know what to do with that exactly.

1:04:07.360 --> 1:04:09.440
<v Speaker 2>The fact that again, and I'm gonna keep harping on this,

1:04:09.520 --> 1:04:13.720
<v Speaker 2>like dom sub dynamic thing. It's not how we traditionally

1:04:13.800 --> 1:04:17.240
<v Speaker 2>think of dom sub dynamics in like the kink sphere,

1:04:17.640 --> 1:04:22.200
<v Speaker 2>but she is in her relationship with Art, the dominant

1:04:22.960 --> 1:04:27.200
<v Speaker 2>figure who is always telling him what to do, how

1:04:27.200 --> 1:04:31.160
<v Speaker 2>to play tennis, which tournaments he's gonna compete in. He

1:04:31.240 --> 1:04:35.320
<v Speaker 2>never pushes back, he just says, whatever you want, babe.

1:04:36.480 --> 1:04:38.920
<v Speaker 2>Also that scene, so there's a scene at the very

1:04:38.920 --> 1:04:41.560
<v Speaker 2>beginning where she's like, you're humiliating yourself. You need to

1:04:41.560 --> 1:04:45.360
<v Speaker 2>get your shit together, Like, let's have you do something

1:04:45.400 --> 1:04:48.320
<v Speaker 2>that you can win so that you can stop being

1:04:48.360 --> 1:04:49.280
<v Speaker 2>such a loser.

1:04:49.800 --> 1:04:49.960
<v Speaker 4>Yea.

1:04:50.080 --> 1:04:54.120
<v Speaker 2>And that scene ends with her han soloing him where

1:04:54.120 --> 1:04:58.000
<v Speaker 2>he's like, I love you and she's like, I know, and.

1:04:57.880 --> 1:05:01.160
<v Speaker 3>He kind of loves that though he kind of love that.

1:05:01.320 --> 1:05:03.320
<v Speaker 4>If it was easy, he wouldn't be there. And I

1:05:03.360 --> 1:05:05.920
<v Speaker 4>think that's sort of like what's interesting about their dynamic.

1:05:05.960 --> 1:05:09.240
<v Speaker 4>And I also love like to what you're saying, Caitlin,

1:05:09.720 --> 1:05:12.360
<v Speaker 4>I definitely feel like she resents the fact that, like,

1:05:13.280 --> 1:05:17.919
<v Speaker 4>I literally physically can't play this game anymore, and if

1:05:17.960 --> 1:05:21.080
<v Speaker 4>I could, I would, but I can't, and like and

1:05:21.120 --> 1:05:23.400
<v Speaker 4>now you're here crying about Oh, I think I want

1:05:23.400 --> 1:05:25.840
<v Speaker 4>to retire early I didn't get a chance to retire early.

1:05:26.640 --> 1:05:28.280
<v Speaker 4>You know, I didn't get a chance to even go

1:05:28.560 --> 1:05:31.360
<v Speaker 4>as far as I knew I was capable of. And

1:05:31.720 --> 1:05:34.320
<v Speaker 4>so I think part of why she finds both of

1:05:34.360 --> 1:05:37.440
<v Speaker 4>them frustrating is like, these are two guys who cannot

1:05:38.160 --> 1:05:40.760
<v Speaker 4>use their privilege to do the thing that she could

1:05:40.800 --> 1:05:43.680
<v Speaker 4>do well with less of it. Yeah, it's like it's

1:05:43.720 --> 1:05:45.760
<v Speaker 4>like it's like it's exhausting. It's like, you guys have

1:05:45.880 --> 1:05:49.360
<v Speaker 4>money and ability and the physicality, and yet you just.

1:05:49.360 --> 1:05:52.560
<v Speaker 2>Won't right and your men and you're white.

1:05:52.560 --> 1:05:55.520
<v Speaker 3>Exactly, and they're both from like well off families, and like,

1:05:55.640 --> 1:05:58.800
<v Speaker 3>I mean that is something that again like comes up

1:05:58.840 --> 1:06:02.840
<v Speaker 3>between Tashi and Art very early that I am able

1:06:02.880 --> 1:06:05.880
<v Speaker 3>to see how that is like dysfunctional for both of them,

1:06:06.320 --> 1:06:08.720
<v Speaker 3>where she is putting a lot of pressure on him

1:06:08.760 --> 1:06:12.439
<v Speaker 3>to do something he doesn't want to do anymore. He

1:06:12.560 --> 1:06:15.720
<v Speaker 3>says later, like bluntly, like I'm I know that I'm

1:06:15.760 --> 1:06:19.360
<v Speaker 3>playing for both of us. But there's a moment where

1:06:19.520 --> 1:06:22.640
<v Speaker 3>Tash is so understandably frustrated and she's like, I would

1:06:22.640 --> 1:06:26.080
<v Speaker 3>have killed for a recovery like yours, like, and she

1:06:26.320 --> 1:06:29.560
<v Speaker 3>is to some extent projecting onto him of like you recovered,

1:06:29.600 --> 1:06:33.720
<v Speaker 3>so you have to keep going. And it's I don't know,

1:06:33.840 --> 1:06:36.640
<v Speaker 3>like I if there was one thing I wish I

1:06:36.880 --> 1:06:40.240
<v Speaker 3>we had more of in this movie is like Tashi

1:06:40.720 --> 1:06:47.520
<v Speaker 3>is having to fight against so much. She's not just

1:06:47.840 --> 1:06:52.640
<v Speaker 3>fighting against massage noir that exists within this sport, She's

1:06:52.640 --> 1:06:56.920
<v Speaker 3>also fighting against her own body and like the frustration

1:06:57.240 --> 1:07:00.400
<v Speaker 3>that comes with that, and how that clearly that is

1:07:00.440 --> 1:07:05.160
<v Speaker 3>such a big turning point in her life, that and

1:07:05.160 --> 1:07:08.040
<v Speaker 3>and and in that same opening sequence again, it's like

1:07:08.080 --> 1:07:10.480
<v Speaker 3>all these like little things that they add in that

1:07:10.960 --> 1:07:12.960
<v Speaker 3>could be a full movie, but it's just like a

1:07:13.000 --> 1:07:18.600
<v Speaker 3>shot in Challengers where she is it kind of was

1:07:18.640 --> 1:07:23.360
<v Speaker 3>like giving Victoria and David Beckham to me where there's

1:07:23.400 --> 1:07:28.080
<v Speaker 3>like that we're work what but that we're like that

1:07:28.120 --> 1:07:31.680
<v Speaker 3>big like ad, that billboard ad that she's editing to

1:07:31.880 --> 1:07:34.840
<v Speaker 3>reflect that she is a part of it. So she

1:07:35.600 --> 1:07:38.360
<v Speaker 3>even though it is like not a central focus, you

1:07:38.400 --> 1:07:41.240
<v Speaker 3>can tell that the world is trying to frame her

1:07:41.360 --> 1:07:45.840
<v Speaker 3>as someone's wife and not Tashi Duncan, and she is

1:07:45.880 --> 1:07:49.920
<v Speaker 3>like having to quietly or loudly push back against that.

1:07:50.040 --> 1:07:51.160
<v Speaker 2>And I don't know, there's just like so.

1:07:51.200 --> 1:07:55.520
<v Speaker 3>Many little things that come through and like Zendia should

1:07:55.560 --> 1:08:01.000
<v Speaker 3>have been nominated for everything for this, but no one

1:08:01.040 --> 1:08:04.400
<v Speaker 3>gets nominated for erotic thrillers, so it didn't happen. But

1:08:04.600 --> 1:08:07.760
<v Speaker 3>it just like she's doing so much and the script

1:08:07.840 --> 1:08:09.800
<v Speaker 3>is doing so much too of just like these little

1:08:09.840 --> 1:08:12.080
<v Speaker 3>moments that you're like, of course she is like a

1:08:12.080 --> 1:08:15.320
<v Speaker 3>ticking time bomb. It's all so fucking frustrating.

1:08:16.320 --> 1:08:19.040
<v Speaker 4>No, And I definitely feel like I think it's interesting

1:08:19.120 --> 1:08:22.519
<v Speaker 4>because like when did Baby Girl and like all those

1:08:22.560 --> 1:08:24.479
<v Speaker 4>kind of movies start coming out, because I feel like

1:08:24.560 --> 1:08:25.639
<v Speaker 4>now we're in this place.

1:08:25.439 --> 1:08:27.479
<v Speaker 3>Where everyone around the same time, right.

1:08:27.479 --> 1:08:29.880
<v Speaker 2>Around the same time, right, yeah, late twenty twenty four

1:08:30.120 --> 1:08:32.520
<v Speaker 2>was when Baby Girl came out, I think, yeah.

1:08:32.280 --> 1:08:34.120
<v Speaker 4>And I feel like we're just getting into this place

1:08:34.160 --> 1:08:38.120
<v Speaker 4>with the erotic thriller but also this ability to understand

1:08:38.200 --> 1:08:42.439
<v Speaker 4>eroticism and affection, and I think where like it's I

1:08:42.439 --> 1:08:44.360
<v Speaker 4>don't think it's a lazy comparison to be like, you know,

1:08:44.400 --> 1:08:49.120
<v Speaker 4>Heated Rivalry and Challengers like exists in a similar timeline,

1:08:49.439 --> 1:08:51.960
<v Speaker 4>and I think the Challengers came out a little bit

1:08:51.960 --> 1:08:55.200
<v Speaker 4>closer to Hated Rivalry. People might appreciate it a little

1:08:55.200 --> 1:09:01.080
<v Speaker 4>bit more because of how like sexually earnested. It is, like,

1:09:01.120 --> 1:09:03.639
<v Speaker 4>I think what's really sweet about Art. I think there's

1:09:03.720 --> 1:09:07.840
<v Speaker 4>a sweetness to Art and Patrick's relationship that makes it

1:09:08.479 --> 1:09:12.000
<v Speaker 4>also really captivating. Like I love Tashi in between both

1:09:12.040 --> 1:09:14.800
<v Speaker 4>of them. But I also think like that that three

1:09:14.840 --> 1:09:18.840
<v Speaker 4>way kiss is so compelling because it's like it goes

1:09:18.880 --> 1:09:21.200
<v Speaker 4>on for a while. It's not like it's not like

1:09:21.240 --> 1:09:23.400
<v Speaker 4>they see it happen. They're like, oh that's good. They're

1:09:23.439 --> 1:09:26.280
<v Speaker 4>like they're going forward, they lean into it, they're going

1:09:26.360 --> 1:09:29.719
<v Speaker 4>into it, and it's just like the potential.

1:09:29.200 --> 1:09:31.679
<v Speaker 2>And they have to know that they are kissing each

1:09:31.680 --> 1:09:34.120
<v Speaker 2>other and that Tashi is not involved.

1:09:34.320 --> 1:09:38.080
<v Speaker 3>Yeah, I also had canon. I think they're lying in

1:09:38.120 --> 1:09:40.840
<v Speaker 3>that earlier in the scene where they're like they you know,

1:09:40.920 --> 1:09:44.679
<v Speaker 3>it's convenient to have the disgusting Brothers jerk off story

1:09:44.840 --> 1:09:47.960
<v Speaker 3>to support it, but I'm like, they've kissed before. That

1:09:48.040 --> 1:09:51.040
<v Speaker 3>wasn't the first kiss I was looking at over there.

1:09:52.560 --> 1:09:56.840
<v Speaker 3>It was phenomenal these boys and they're basically sort of

1:09:56.880 --> 1:09:59.479
<v Speaker 3>kissing at the end, and Tashi is sort of like whatever,

1:09:59.600 --> 1:10:02.320
<v Speaker 3>as long as because you're playing good tennis while doing

1:10:02.360 --> 1:10:06.040
<v Speaker 3>whatever you're doing, I'm not bothered by it.

1:10:06.320 --> 1:10:10.040
<v Speaker 2>Again, they they should just be in a thrupple. I

1:10:10.040 --> 1:10:12.920
<v Speaker 2>mean you mentioned this in your video, Princess, about how

1:10:13.080 --> 1:10:16.320
<v Speaker 2>all of these characters like should have read the Ethical

1:10:16.320 --> 1:10:22.000
<v Speaker 2>Slut and didn't. But like if they just embraced the

1:10:22.040 --> 1:10:27.200
<v Speaker 2>fact that Tashi wants to have sex with both of them,

1:10:27.240 --> 1:10:30.720
<v Speaker 2>because that's how she has sex with Tennis. Art and

1:10:30.760 --> 1:10:34.800
<v Speaker 2>Patrick want to kiss each other and maybe more because

1:10:34.800 --> 1:10:38.400
<v Speaker 2>there's all these moments of homo eroticism throughout the movie.

1:10:38.400 --> 1:10:40.800
<v Speaker 2>There's a part where like Patrick puts his hand on

1:10:40.920 --> 1:10:41.599
<v Speaker 2>Art's knee.

1:10:41.920 --> 1:10:45.800
<v Speaker 3>While it's awesome, there is.

1:10:46.280 --> 1:10:48.960
<v Speaker 2>There's like the mutual stretching that they do where they're

1:10:48.960 --> 1:10:52.760
<v Speaker 2>embracing each other. There's the truro eating scene where they're

1:10:52.800 --> 1:10:57.599
<v Speaker 2>sharing churros and everything they eat is phallic. Yeah, just

1:10:57.640 --> 1:11:04.200
<v Speaker 2>like all all these moments of physical closeness between them.

1:11:04.600 --> 1:11:07.240
<v Speaker 3>Well, and it's also not a mistake that like their

1:11:07.280 --> 1:11:11.280
<v Speaker 3>big confrontation at the Challenger is where they're both completely

1:11:11.360 --> 1:11:15.520
<v Speaker 3>naked and a sauna, Like the movie is not subtle.

1:11:15.200 --> 1:11:18.200
<v Speaker 4>And apply a towel over it. It's like, we know

1:11:18.320 --> 1:11:19.240
<v Speaker 4>you guys are doing.

1:11:19.520 --> 1:11:24.200
<v Speaker 2>Patrick comes in dick out, He's like, you know what

1:11:24.280 --> 1:11:24.680
<v Speaker 2>this is?

1:11:25.000 --> 1:11:28.960
<v Speaker 3>So he's like, so about how I'm fucking your wife, Like,

1:11:29.120 --> 1:11:33.000
<v Speaker 3>oh my god, they're such babies. I think that that

1:11:33.200 --> 1:11:35.960
<v Speaker 3>is like, I think all three of them kind of

1:11:36.040 --> 1:11:40.320
<v Speaker 3>do treat these relationships like a game, but the way

1:11:40.360 --> 1:11:42.680
<v Speaker 3>that they do is so specific to who the character is,

1:11:42.680 --> 1:11:46.320
<v Speaker 3>where Patrick is still kind of being a teenager, Like

1:11:46.880 --> 1:11:50.439
<v Speaker 3>it's I don't know these three, these three who knows

1:11:50.479 --> 1:11:52.680
<v Speaker 3>what the hell is going on with them? But I

1:11:52.720 --> 1:11:53.400
<v Speaker 3>but I love that.

1:11:53.439 --> 1:11:54.400
<v Speaker 2>I love to watch it.

1:11:54.760 --> 1:11:56.920
<v Speaker 3>I love whatever the hell's going on here.

1:11:57.160 --> 1:12:02.080
<v Speaker 4>I wish I could just trade like Aporia season three,

1:12:02.200 --> 1:12:05.800
<v Speaker 4>Let's just do Challengers season one, Let's just go right there.

1:12:05.880 --> 1:12:09.320
<v Speaker 3>Oh it would be so good. Another I mean, just

1:12:09.560 --> 1:12:12.479
<v Speaker 3>speaking to it is all these like little moments, but

1:12:12.880 --> 1:12:16.120
<v Speaker 3>how it does seem like Patrick in art genuinely in

1:12:16.160 --> 1:12:21.800
<v Speaker 3>different ways want Tashi's validation. Another moment that I picked

1:12:21.880 --> 1:12:25.400
<v Speaker 3>up on in this most recent watch was after she

1:12:25.680 --> 1:12:29.360
<v Speaker 3>and Patrick have sex in his car the night before

1:12:29.400 --> 1:12:35.040
<v Speaker 3>the Challenger or like the finals, he starts getting very

1:12:35.160 --> 1:12:37.760
<v Speaker 3>like postcoital affectionate with her, and he's like, I miss

1:12:37.800 --> 1:12:40.640
<v Speaker 3>watching you. Do you play tennis? You're so beautiful? And

1:12:40.680 --> 1:12:44.320
<v Speaker 3>she's like, so anyways, tennis, Like, let's talk about my

1:12:44.479 --> 1:12:48.760
<v Speaker 3>true love speaking of what I care about, Like she

1:12:48.880 --> 1:12:52.720
<v Speaker 3>just doesn't care. And I love their confrontation when she

1:12:53.200 --> 1:12:56.400
<v Speaker 3>with her bob and her sweater. It's just so great

1:12:56.720 --> 1:13:00.360
<v Speaker 3>where she says, to his face, you look like shit.

1:13:02.000 --> 1:13:06.000
<v Speaker 3>She she calls him out directly for cosplaying as a

1:13:06.080 --> 1:13:09.800
<v Speaker 3>poor person. You know, she says, like, your dreams are shit,

1:13:09.960 --> 1:13:14.840
<v Speaker 3>your garbage, and he, you know, Patrick can take shit

1:13:14.920 --> 1:13:17.879
<v Speaker 3>like that in stride, which I think is appealing to Tashi.

1:13:18.479 --> 1:13:20.439
<v Speaker 3>He seems to kind of get off on being called

1:13:20.479 --> 1:13:22.200
<v Speaker 3>a piece of shit. A lot of rich guys are

1:13:22.240 --> 1:13:25.519
<v Speaker 3>like that. But he he like gives it back to

1:13:25.560 --> 1:13:27.559
<v Speaker 3>her to say way they they did when they were

1:13:27.600 --> 1:13:29.679
<v Speaker 3>in a relationship together, and it's like, well you don't

1:13:30.160 --> 1:13:32.680
<v Speaker 3>you don't love your husband and he just wants to

1:13:32.720 --> 1:13:34.720
<v Speaker 3>eat a cheeseburger and take a nap and you hate

1:13:34.800 --> 1:13:38.040
<v Speaker 3>him for that, and she's like, well so what shrug.

1:13:38.439 --> 1:13:41.920
<v Speaker 2>I know, like her dynamic with Patrick is that he's

1:13:42.479 --> 1:13:45.479
<v Speaker 2>a brat and she's like his brat tamer. And then

1:13:45.600 --> 1:13:51.800
<v Speaker 2>with Art it's he's a simp and she's just like, yeah,

1:13:51.920 --> 1:13:53.040
<v Speaker 2>do whatever I say.

1:13:53.520 --> 1:13:54.000
<v Speaker 3>You can't.

1:13:54.080 --> 1:13:56.960
<v Speaker 4>I mean, it just so toxic. How it's just like

1:13:57.360 --> 1:13:59.280
<v Speaker 4>he's he's like, you don't love your husband, and she's like, well,

1:13:59.320 --> 1:14:01.600
<v Speaker 4>you should kill yourself. And I was just like, WHOA,

1:14:02.680 --> 1:14:07.479
<v Speaker 4>legendary really elated. She took it. She took it to hell.

1:14:07.640 --> 1:14:09.400
<v Speaker 4>He's like when they go low, I'm going to the

1:14:09.520 --> 1:14:12.280
<v Speaker 4>Winter Earth. That's like, you know, if you improve your game,

1:14:12.680 --> 1:14:14.559
<v Speaker 4>be in the ground. I was like, whoa.

1:14:15.160 --> 1:14:16.439
<v Speaker 2>It was wild.

1:14:17.520 --> 1:14:19.679
<v Speaker 3>But she and then on the other end, like another

1:14:19.720 --> 1:14:21.800
<v Speaker 3>moment with Art that I kind of forgot about that

1:14:21.840 --> 1:14:24.960
<v Speaker 3>I was like, oh my gosh, these three are so broken.

1:14:25.479 --> 1:14:30.920
<v Speaker 3>Where she leaves to cheat on him but also sort

1:14:30.960 --> 1:14:36.559
<v Speaker 3>of be his manager in a way in a like

1:14:36.920 --> 1:14:40.160
<v Speaker 3>she's sort of at works, sort of not when she's

1:14:40.200 --> 1:14:43.320
<v Speaker 3>having sex with Josha Connor, but she comes back and

1:14:43.400 --> 1:14:46.880
<v Speaker 3>he's just like sleeping next to their daughter, and that

1:14:47.160 --> 1:14:49.320
<v Speaker 3>you don't know, that really got me this time. I'm like, oh,

1:14:49.400 --> 1:14:50.920
<v Speaker 3>he just needs to feel loved.

1:14:51.520 --> 1:14:52.080
<v Speaker 4>He does.

1:14:53.400 --> 1:14:57.800
<v Speaker 2>He just wants to be held tenderly until he falls asleep.

1:14:57.560 --> 1:14:59.960
<v Speaker 3>And she does that. She like pats him on the

1:15:00.120 --> 1:15:02.080
<v Speaker 3>back for three minutes and she's like, so I have

1:15:02.200 --> 1:15:04.080
<v Speaker 3>to go. How secks with your roommate.

1:15:04.400 --> 1:15:06.640
<v Speaker 2>She's like, you're not a pile of tennis balls. So

1:15:06.680 --> 1:15:10.600
<v Speaker 2>I'm not really interested in holding you very much exactly.

1:15:10.880 --> 1:15:14.920
<v Speaker 3>Yeah, one thing I wanted to touch on that I

1:15:14.960 --> 1:15:17.880
<v Speaker 3>do think that we do have because this movie is

1:15:17.880 --> 1:15:22.080
<v Speaker 3>so hyper focused on the love triangle, and I do

1:15:22.160 --> 1:15:24.080
<v Speaker 3>think we this is the love triangle. We're used to

1:15:24.120 --> 1:15:27.400
<v Speaker 3>saying two men and a woman, not two women and

1:15:27.560 --> 1:15:30.840
<v Speaker 3>a man. But because this happens in the world of tennis,

1:15:30.880 --> 1:15:34.680
<v Speaker 3>I just wanted to touch on a Dazed article that

1:15:34.800 --> 1:15:37.080
<v Speaker 3>came out around the release of this movie by Helena

1:15:37.200 --> 1:15:42.040
<v Speaker 3>Jabrill that is specifically about women who are athletes and

1:15:42.080 --> 1:15:45.360
<v Speaker 3>their bodies. The name of the piece as Challengers missed

1:15:45.400 --> 1:15:49.479
<v Speaker 3>an opportunity to spotlight female athletes bodies, so I just

1:15:49.479 --> 1:15:50.880
<v Speaker 3>wanted to share it a little bit from that. It

1:15:50.920 --> 1:15:53.200
<v Speaker 3>is not a criticism of Zendeia. I think it's more

1:15:53.240 --> 1:15:55.800
<v Speaker 3>criticism of the fact that because there is really just

1:15:56.000 --> 1:15:58.640
<v Speaker 3>one woman athlete we get to see and know in

1:15:58.680 --> 1:16:04.439
<v Speaker 3>this movie, we lose an opportunity to explore a very

1:16:04.439 --> 1:16:10.360
<v Speaker 3>common criticism of women in sports, and also specifically Black

1:16:10.360 --> 1:16:14.760
<v Speaker 3>women in sports, which is the hyperfixation on their bodies historically.

1:16:14.840 --> 1:16:19.559
<v Speaker 3>So to share a piece of that. While watching Challengers,

1:16:19.600 --> 1:16:22.439
<v Speaker 3>I wondered why Tashi's body didn't resemble other young tennis

1:16:22.439 --> 1:16:24.960
<v Speaker 3>stars we know from real life, from Cocoa Goff and

1:16:25.080 --> 1:16:28.240
<v Speaker 3>Naomi Osaka to the young Serena and Venus Williams, all

1:16:28.280 --> 1:16:31.240
<v Speaker 3>women who help shape the character of Tashi. These sportswomen

1:16:31.280 --> 1:16:34.200
<v Speaker 3>have a more muscular and broader physique than Tashi. Challenging

1:16:34.280 --> 1:16:37.519
<v Speaker 3>idealized notions about what women should look like, even those

1:16:37.520 --> 1:16:40.479
<v Speaker 3>in Daa's portrayal of Tashi is impressive. Challengers would have

1:16:40.479 --> 1:16:43.760
<v Speaker 3>been more interesting visually and textually if the object of

1:16:43.880 --> 1:16:46.200
<v Speaker 3>Art and Patrick's desires was a woman who stood in

1:16:46.280 --> 1:16:50.200
<v Speaker 3>opposition to idealize femininity rather than conforms to it, as

1:16:50.200 --> 1:16:53.360
<v Speaker 3>so many women in sport do. From the racist redicule

1:16:53.400 --> 1:16:55.880
<v Speaker 3>that was always leveled against Serena Williams because of her

1:16:55.920 --> 1:16:58.599
<v Speaker 3>dark skin and muscular body, to the questioning of Olympic

1:16:58.680 --> 1:17:02.160
<v Speaker 3>runner casters Men's gender because of all the high levels

1:17:02.160 --> 1:17:05.559
<v Speaker 3>of testosterone in her body, all women, but especially black

1:17:05.560 --> 1:17:08.439
<v Speaker 3>women athletes, have constantly been bullied and seen as less

1:17:08.479 --> 1:17:12.040
<v Speaker 3>desirable when their bodies and behavior go against traditional ideas

1:17:12.040 --> 1:17:16.120
<v Speaker 3>of femininity. Challengers had the opportunity to confront our normative

1:17:16.200 --> 1:17:19.280
<v Speaker 3>understanding of who and what is desirable in the same way.

1:17:19.280 --> 1:17:21.599
<v Speaker 3>The film presents an alternative and queer view of how

1:17:21.680 --> 1:17:26.439
<v Speaker 3>relationships can work. So it is like in a movie

1:17:26.439 --> 1:17:31.000
<v Speaker 3>that has three characters, it's not even like necessarily a criticism,

1:17:31.040 --> 1:17:33.640
<v Speaker 3>but I did think it was like an interesting perspective

1:17:33.640 --> 1:17:39.520
<v Speaker 3>to offer because women are constantly criticized for being too muscular.

1:17:39.760 --> 1:17:43.920
<v Speaker 3>And that's where Love Lies Bleeding comes in, where a

1:17:43.960 --> 1:17:46.719
<v Speaker 3>movie that came out the same year features a queer

1:17:46.720 --> 1:17:50.920
<v Speaker 3>relationship with Kristen Stewart and Katie O'Brien, and Katie O'Brien

1:17:51.120 --> 1:17:54.160
<v Speaker 3>is a you know, like a weightlifter who looks like

1:17:54.280 --> 1:17:59.240
<v Speaker 3>a weightlifter, a bodybuilder. Yeah, yeah, so yeah, I don't know.

1:17:59.240 --> 1:18:01.840
<v Speaker 3>I thought it was an Seeing Peace and we.

1:18:01.840 --> 1:18:03.080
<v Speaker 2>Got to cover that movie.

1:18:03.360 --> 1:18:05.679
<v Speaker 4>Yeah, oh, I love that movie. That was also something

1:18:05.720 --> 1:18:07.360
<v Speaker 4>I thought about in the back of my mind because

1:18:07.400 --> 1:18:11.920
<v Speaker 4>I'm like, I get what they picked Zendaya because that

1:18:12.240 --> 1:18:16.200
<v Speaker 4>is like a star. And also Zindaa is not the

1:18:16.320 --> 1:18:22.200
<v Speaker 4>kind of actor who you necessarily can gain like a

1:18:22.280 --> 1:18:24.320
<v Speaker 4>whole amount of muscle, even though I know she did

1:18:24.360 --> 1:18:26.920
<v Speaker 4>gain some for this movie, and so it's one of

1:18:26.960 --> 1:18:28.439
<v Speaker 4>those things. It's like it's like one of those caveas

1:18:28.560 --> 1:18:30.880
<v Speaker 4>where like I wish they had more background people that

1:18:31.000 --> 1:18:32.280
<v Speaker 4>did reflect that body type.

1:18:32.320 --> 1:18:32.519
<v Speaker 3>You know.

1:18:32.600 --> 1:18:33.920
<v Speaker 4>I think that that would have been like a nice

1:18:33.960 --> 1:18:37.639
<v Speaker 4>balance to have more people or like get Cocoa Golf

1:18:37.680 --> 1:18:39.559
<v Speaker 4>for a cameo or something like that.

1:18:39.680 --> 1:18:43.240
<v Speaker 3>Totally, totally, yeah, yeah, Like I do think there was

1:18:43.360 --> 1:18:46.599
<v Speaker 3>room for in a movie that is full of small

1:18:46.680 --> 1:18:50.040
<v Speaker 3>moments that really stick with you, small moments with another

1:18:50.479 --> 1:18:56.280
<v Speaker 3>woman athlete who doesn't look necessarily like Zendia or like

1:18:56.320 --> 1:18:58.320
<v Speaker 3>a Hollywood actor could have been cool.

1:18:58.880 --> 1:18:59.280
<v Speaker 4>Yeah.

1:18:59.400 --> 1:19:02.000
<v Speaker 2>Yeah, I think the closest thing we get is that

1:19:02.040 --> 1:19:07.519
<v Speaker 2>scene where Tashi is playing at Stanford in a match

1:19:07.720 --> 1:19:10.719
<v Speaker 2>with I think a student from Pepperdine or something like that,

1:19:11.360 --> 1:19:14.160
<v Speaker 2>and the other student, who I believe is a white woman,

1:19:14.960 --> 1:19:21.000
<v Speaker 2>is like laboriously running back and forth and Tashi, by contrast,

1:19:21.360 --> 1:19:26.000
<v Speaker 2>is pretty stationary, implying that like this is effortless for Tashi.

1:19:26.200 --> 1:19:29.840
<v Speaker 2>She is like she is just crushing this woman and

1:19:29.920 --> 1:19:33.160
<v Speaker 2>the other woman is like having to work so much harder.

1:19:33.800 --> 1:19:37.040
<v Speaker 2>But that's kind of the only time we really see

1:19:37.240 --> 1:19:42.360
<v Speaker 2>another woman play tennis in the movie, and it's a

1:19:42.680 --> 1:19:46.720
<v Speaker 2>thin white woman, so it's again not doing anything to

1:19:46.920 --> 1:19:50.000
<v Speaker 2>challenger what we're talking about.

1:19:50.120 --> 1:19:53.400
<v Speaker 3>That said, it is cool and worth mentioning that Zendia

1:19:53.560 --> 1:19:57.439
<v Speaker 3>is a top line producer on this movie. I love

1:19:57.880 --> 1:20:00.720
<v Speaker 3>when women are producing their own li movies and have

1:20:00.760 --> 1:20:03.200
<v Speaker 3>a say in how they are portrayed. I feel like

1:20:03.200 --> 1:20:08.559
<v Speaker 3>you can really feel that in this movie because we

1:20:08.600 --> 1:20:12.680
<v Speaker 3>like referenced this earlier. There is a lot and I

1:20:12.680 --> 1:20:15.559
<v Speaker 3>guess I can't put my finger on exactly why I'm

1:20:15.600 --> 1:20:19.320
<v Speaker 3>not bothered by this, but like there is a lot

1:20:19.360 --> 1:20:21.760
<v Speaker 3>of male gaze in this movie, but like not in

1:20:21.840 --> 1:20:24.240
<v Speaker 3>the way that we're used to seeing it. It's maybe

1:20:24.280 --> 1:20:27.400
<v Speaker 3>it's because it's like the simping male gaze and not

1:20:27.479 --> 1:20:31.040
<v Speaker 3>be like violent male gaze. I don't know what it is,

1:20:31.200 --> 1:20:35.000
<v Speaker 3>but because we do see things from Zendea's perspective as well,

1:20:35.080 --> 1:20:37.919
<v Speaker 3>like I mean, most iconically the shot of her watching

1:20:38.400 --> 1:20:41.559
<v Speaker 3>the boys making out, but like I don't know, yeah,

1:20:41.600 --> 1:20:44.880
<v Speaker 3>the perspectives, like the camera work in this is so

1:20:46.320 --> 1:20:51.000
<v Speaker 3>good and like horny and weird and thoughtful and a

1:20:51.000 --> 1:20:52.200
<v Speaker 3>bunch of other words as well.

1:20:52.640 --> 1:20:55.040
<v Speaker 4>Yeah, I think this is the balancing of the equal

1:20:55.080 --> 1:20:59.840
<v Speaker 4>opportunity and also that Zendeia is a star that has

1:20:59.880 --> 1:21:02.800
<v Speaker 4>the power to say no to nudity, like if she

1:21:02.880 --> 1:21:05.680
<v Speaker 4>did not want to have that, I don't because she's

1:21:06.000 --> 1:21:08.320
<v Speaker 4>one of the few juds who's never been naked in Euphoria,

1:21:08.720 --> 1:21:10.639
<v Speaker 4>So I think that it kind of makes you feel

1:21:10.640 --> 1:21:13.640
<v Speaker 4>like she has power in it, kind of like with

1:21:14.040 --> 1:21:17.160
<v Speaker 4>poor Things, where it's like, is it a little gazy

1:21:17.200 --> 1:21:21.120
<v Speaker 4>at times? For sure? But because we know Zendia has

1:21:21.200 --> 1:21:24.320
<v Speaker 4>power in the industry, we can at least know that

1:21:24.479 --> 1:21:27.400
<v Speaker 4>if she felt uncomfortable, that she is someone who is

1:21:27.439 --> 1:21:31.320
<v Speaker 4>empowered to be like no, thank you totally.

1:21:31.479 --> 1:21:34.080
<v Speaker 3>And yeah, then the fact that like the four producers

1:21:34.160 --> 1:21:39.080
<v Speaker 3>credited on this movie are three women, Amy Pascal, Zendia,

1:21:39.920 --> 1:21:44.200
<v Speaker 3>Rachel O'Connor, and a queer man Luca Guadnino. Like it,

1:21:44.600 --> 1:21:46.120
<v Speaker 3>I don't know, you just do get the feeling that

1:21:46.160 --> 1:21:51.160
<v Speaker 3>you are in good hands because the male gaze, I

1:21:51.160 --> 1:21:53.000
<v Speaker 3>don't know. I think we've been so conditioned to see

1:21:53.000 --> 1:21:56.919
<v Speaker 3>it to say that seeing male gaze shots is inherently

1:21:56.960 --> 1:21:59.920
<v Speaker 3>a bad thing, because it more often than not has

1:22:00.120 --> 1:22:04.200
<v Speaker 3>ben in movies. But this is I think an outlier,

1:22:04.800 --> 1:22:08.599
<v Speaker 3>and that like it is, you know, not completely useless

1:22:08.640 --> 1:22:11.960
<v Speaker 3>to see things from a male character's perspective. It's just

1:22:12.120 --> 1:22:15.080
<v Speaker 3>nice to not feel attacked by it.

1:22:15.600 --> 1:22:17.880
<v Speaker 4>Yeah, and not everyone is getting a little bit of

1:22:17.880 --> 1:22:19.760
<v Speaker 4>it because it's like we see, we see like a

1:22:19.760 --> 1:22:22.639
<v Speaker 4>little hint of penin. We're never seeing anything more from

1:22:22.680 --> 1:22:25.480
<v Speaker 4>her that we don't see from another.

1:22:25.160 --> 1:22:29.599
<v Speaker 2>Man, right, I mean, I would argue that there are

1:22:29.640 --> 1:22:35.360
<v Speaker 2>shots of the two men that are more sexualized than

1:22:35.400 --> 1:22:39.960
<v Speaker 2>anything that we see of Tashi, especially in the final

1:22:39.960 --> 1:22:43.519
<v Speaker 2>sequence when Patrick and Art are getting closer and closer together,

1:22:43.880 --> 1:22:48.480
<v Speaker 2>they're dripping sweat. They're like, we get kind of isolated

1:22:48.520 --> 1:22:53.200
<v Speaker 2>shots of like their thighs and their arms and shoulders

1:22:53.200 --> 1:22:58.360
<v Speaker 2>and the muscles just pulsating and glistening, And to me,

1:22:58.479 --> 1:23:03.080
<v Speaker 2>that feels way more sexualized than anything that we see

1:23:02.560 --> 1:23:04.320
<v Speaker 2>of Tashi's body.

1:23:04.439 --> 1:23:06.599
<v Speaker 3>And I think you could still argue that that is

1:23:06.640 --> 1:23:09.479
<v Speaker 3>a male gaze because I think, to me, that's them

1:23:09.520 --> 1:23:13.040
<v Speaker 3>looking at each other. That's not Tash. True, Tashi is

1:23:13.080 --> 1:23:15.080
<v Speaker 3>like thinking about tennis balls.

1:23:14.720 --> 1:23:19.280
<v Speaker 2>Like she's like finally, yeah, so true.

1:23:19.360 --> 1:23:22.520
<v Speaker 4>Yeah. I think that's what makes the whole movie so refreshing,

1:23:22.560 --> 1:23:25.719
<v Speaker 4>and what makes it truly erotic is that it's erotic

1:23:25.760 --> 1:23:28.880
<v Speaker 4>for everyone. If it's only erotic for like one participant,

1:23:28.960 --> 1:23:31.480
<v Speaker 4>Like again, all those tips need to touch.

1:23:31.640 --> 1:23:34.679
<v Speaker 3>Yes, that's all tips of the triangle. It's like, Wow,

1:23:34.720 --> 1:23:35.280
<v Speaker 3>what a bar.

1:23:35.560 --> 1:23:38.840
<v Speaker 2>They need to fold in on each other and touch exactly.

1:23:39.680 --> 1:23:42.800
<v Speaker 2>Can we talk about the marketing of this movie, which

1:23:42.880 --> 1:23:45.959
<v Speaker 2>is also something that you bring up in your video essay, Princess,

1:23:46.000 --> 1:23:48.720
<v Speaker 2>but the fact that there were there was at least

1:23:48.760 --> 1:23:56.320
<v Speaker 2>one trailer that positioned Tashi as the femme fatale, the villain,

1:23:56.880 --> 1:24:02.160
<v Speaker 2>the vindictive home wrecker, and and Nelly Furtado's man Eater

1:24:02.360 --> 1:24:05.640
<v Speaker 2>is playing and what a bop of a song. But

1:24:06.160 --> 1:24:09.200
<v Speaker 2>then you watch the movie and you realize, oh, that's

1:24:10.000 --> 1:24:16.920
<v Speaker 2>not what's happening. Maybe there are traces of it kind of,

1:24:17.120 --> 1:24:20.760
<v Speaker 2>but she's a far more complicated character than that. And

1:24:20.840 --> 1:24:24.120
<v Speaker 2>I think it's just that with marketing for movies, they

1:24:24.160 --> 1:24:27.040
<v Speaker 2>have to appeal to as wide of an audience as possible,

1:24:27.200 --> 1:24:29.599
<v Speaker 2>and this is kind of a hard movie to market,

1:24:29.880 --> 1:24:32.360
<v Speaker 2>if we're being honest. So they have to figure out, Okay,

1:24:32.360 --> 1:24:34.640
<v Speaker 2>what's the hook. How are we going to sell this

1:24:35.520 --> 1:24:39.040
<v Speaker 2>because what we have in Tashi is simply a confident

1:24:39.720 --> 1:24:44.200
<v Speaker 2>and dominant woman. But that's scary to people. Absolutely, people

1:24:44.240 --> 1:24:46.439
<v Speaker 2>don't want to watch a movie about that. So how

1:24:46.479 --> 1:24:48.799
<v Speaker 2>do we take the footage we have from the movie

1:24:49.000 --> 1:24:51.519
<v Speaker 2>and put a spin on it so that it's more

1:24:51.640 --> 1:24:56.000
<v Speaker 2>sellable and more marketable. Oh, we'll make her a vindictive,

1:24:56.680 --> 1:24:57.759
<v Speaker 2>manipulative woman.

1:24:58.000 --> 1:25:00.960
<v Speaker 4>Yeah, I think it's interesting. Like both times, the first

1:25:00.960 --> 1:25:02.960
<v Speaker 4>time I watched a movie, I thought that she would

1:25:03.000 --> 1:25:06.479
<v Speaker 4>be in it more because of how heavily she is

1:25:06.600 --> 1:25:09.760
<v Speaker 4>like the face of this movie. Yeah, and I think

1:25:09.800 --> 1:25:13.120
<v Speaker 4>it's surprising how much it is about the boys because

1:25:13.120 --> 1:25:14.320
<v Speaker 4>of that, Which is not to say that she's not

1:25:14.360 --> 1:25:17.080
<v Speaker 4>an important character, Like you don't have to be in

1:25:17.120 --> 1:25:19.760
<v Speaker 4>every single shot to be important, because she's definitely like

1:25:19.960 --> 1:25:24.080
<v Speaker 4>haunting the narrative, so to speak. But it definitely like

1:25:24.200 --> 1:25:27.559
<v Speaker 4>surprised me that, like they're the ones who chase after her,

1:25:28.120 --> 1:25:31.040
<v Speaker 4>like in a lot of the sequences, like she's responding

1:25:31.160 --> 1:25:33.920
<v Speaker 4>to like like you know, they're serving the ball and

1:25:33.960 --> 1:25:35.880
<v Speaker 4>she's just serving it back at them, but at her

1:25:35.880 --> 1:25:40.120
<v Speaker 4>own speed. And I think it sometimes and I think

1:25:40.160 --> 1:25:44.200
<v Speaker 4>also because of the way that you know, fandoms will

1:25:44.720 --> 1:25:49.360
<v Speaker 4>make the female character the bad guy inherently, it's possible

1:25:49.400 --> 1:25:53.759
<v Speaker 4>to really flatten all of Tashi's nuance in the narrative

1:25:53.840 --> 1:25:55.600
<v Speaker 4>by just being like, well, she's in the way of

1:25:55.640 --> 1:25:58.519
<v Speaker 4>these two minutes, Like, no, those two men are in

1:25:58.560 --> 1:25:59.720
<v Speaker 4>the way of themselves.

1:26:00.400 --> 1:26:03.000
<v Speaker 3>Yeah, everyone is like in the way, and sometimes the

1:26:03.000 --> 1:26:04.080
<v Speaker 3>world is in the way.

1:26:04.560 --> 1:26:06.719
<v Speaker 4>Yeah, it's society.

1:26:07.240 --> 1:26:08.480
<v Speaker 2>They live in a society.

1:26:08.880 --> 1:26:11.120
<v Speaker 4>They live in a society, and I think, like that

1:26:11.200 --> 1:26:14.280
<v Speaker 4>is what's interesting about Like, yeah, it's the man eater.

1:26:15.000 --> 1:26:16.880
<v Speaker 4>Well sn M is a little bit later, but the

1:26:16.960 --> 1:26:19.920
<v Speaker 4>man eater thing is definitely very funny because I don't

1:26:19.920 --> 1:26:22.040
<v Speaker 4>think she's a man eater. I just think that she's

1:26:22.120 --> 1:26:25.920
<v Speaker 4>like hot and confident and they're overwhelmed by it.

1:26:26.240 --> 1:26:28.040
<v Speaker 3>Right, It's like I don't I mean, we are led

1:26:28.080 --> 1:26:30.920
<v Speaker 3>to believe that she, in her adult life has had

1:26:30.920 --> 1:26:33.559
<v Speaker 3>sex with two people, and it's the two guys in

1:26:33.600 --> 1:26:37.639
<v Speaker 3>this movie. Right, I don't think she's a man.

1:26:37.479 --> 1:26:40.320
<v Speaker 2>Eater necessarily, And if she is a man eater, she

1:26:40.439 --> 1:26:42.479
<v Speaker 2>is eating a man who wants to be eaten.

1:26:42.840 --> 1:26:45.439
<v Speaker 4>Yeah, she's on a nye and it's very little carb. Yeah,

1:26:45.439 --> 1:26:48.479
<v Speaker 4>because it's like it's it's it's just these two boys.

1:26:48.840 --> 1:26:49.080
<v Speaker 2>Yeah.

1:26:49.120 --> 1:26:51.559
<v Speaker 3>I think another great Tashi and Art moment where you're

1:26:51.600 --> 1:26:55.320
<v Speaker 3>just like, oh god, Art Art, Art buddy, where he's

1:26:55.400 --> 1:26:58.320
<v Speaker 3>like he's trying to take a stand and I and

1:26:58.720 --> 1:27:01.960
<v Speaker 3>I mean trying. He's trying to take a stand and

1:27:02.000 --> 1:27:07.040
<v Speaker 3>he's like, I'm quitting tennis. I'm sleepy. I don't like

1:27:07.120 --> 1:27:10.880
<v Speaker 3>it anymore. And then well and then she's like okay, fine,

1:27:11.080 --> 1:27:13.640
<v Speaker 3>and then he's he like tries to walk away from

1:27:13.640 --> 1:27:14.200
<v Speaker 3>the conversation.

1:27:14.240 --> 1:27:15.479
<v Speaker 2>He's like, but what do you think?

1:27:15.760 --> 1:27:16.320
<v Speaker 3>Is it okay?

1:27:16.400 --> 1:27:17.680
<v Speaker 2>Are you mad? Do you love me?

1:27:18.160 --> 1:27:22.000
<v Speaker 3>And like he ough, yeah, buddy, I do think And

1:27:22.040 --> 1:27:24.080
<v Speaker 3>it's like in that way, I am kind of glad

1:27:24.360 --> 1:27:29.320
<v Speaker 3>that again it feels like equal across the three of

1:27:29.360 --> 1:27:32.600
<v Speaker 3>their backgrounds. We know enough to know, you know, at

1:27:32.720 --> 1:27:34.720
<v Speaker 3>least have an idea of why they are reacting to

1:27:34.760 --> 1:27:37.160
<v Speaker 3>each other the way that they are, but we don't

1:27:37.160 --> 1:27:41.640
<v Speaker 3>get a deep look into like what are their relationships

1:27:41.720 --> 1:27:43.600
<v Speaker 3>with their parents? What I mean, I think we know

1:27:43.680 --> 1:27:46.759
<v Speaker 3>the most about Tashi because we see a fair amount

1:27:46.760 --> 1:27:49.000
<v Speaker 3>of her mom, and it's.

1:27:48.720 --> 1:27:51.320
<v Speaker 2>Very loving and care mutually respectful.

1:27:51.400 --> 1:27:55.680
<v Speaker 3>It seems like a good relationship. But but that like

1:27:56.479 --> 1:27:58.760
<v Speaker 3>I don't know, like you can kind of like project

1:27:58.840 --> 1:28:02.479
<v Speaker 3>onto these three characters in any sort of way because

1:28:02.520 --> 1:28:05.080
<v Speaker 3>you're not given too much information about them. And I

1:28:05.120 --> 1:28:08.800
<v Speaker 3>think that that is something that is maybe a like

1:28:09.240 --> 1:28:14.080
<v Speaker 3>peak TV over correction that sometimes and I think that

1:28:14.200 --> 1:28:17.120
<v Speaker 3>like I've been guilty of this of like wanting to

1:28:17.200 --> 1:28:20.840
<v Speaker 3>know more than a movie is telling me, because I

1:28:20.840 --> 1:28:23.360
<v Speaker 3>think we're so used to having things over explained to

1:28:23.439 --> 1:28:26.240
<v Speaker 3>us now in a lot of movies where there could

1:28:26.240 --> 1:28:29.360
<v Speaker 3>be an entire side movie about one character you saw

1:28:29.439 --> 1:28:32.519
<v Speaker 3>for one second and one movie ten years ago, and

1:28:33.640 --> 1:28:36.839
<v Speaker 3>you know, like, this movie is not over explaining itself

1:28:36.960 --> 1:28:39.160
<v Speaker 3>to you in a way that I think it helps

1:28:39.240 --> 1:28:41.559
<v Speaker 3>and like is makes it better?

1:28:41.880 --> 1:28:45.240
<v Speaker 2>Yeah? Yeah, does anyone have anything else they want to

1:28:45.320 --> 1:28:46.480
<v Speaker 2>talk about?

1:28:47.600 --> 1:28:50.040
<v Speaker 4>I just I just love the soundtrack as well. I

1:28:50.080 --> 1:28:51.559
<v Speaker 4>think that's the one last thing I want to say

1:28:51.560 --> 1:28:54.000
<v Speaker 4>is it's like just like the way it goes like

1:28:54.000 --> 1:28:57.400
<v Speaker 4>like every time like the sound stops and then picks

1:28:57.479 --> 1:29:00.479
<v Speaker 4>up again, it's like electrifying. It's like, yeah, I just

1:29:00.720 --> 1:29:04.440
<v Speaker 4>the fact that just didn't get nominated for Best Score blasphemy,

1:29:04.600 --> 1:29:07.920
<v Speaker 4>Like that is just like a crime, a literal crime,

1:29:08.040 --> 1:29:10.519
<v Speaker 4>Like what were you guys doing? Were you on drugs

1:29:10.520 --> 1:29:13.240
<v Speaker 4>at the time? Please share with the clouds. So that's

1:29:13.320 --> 1:29:14.800
<v Speaker 4>the one thing I will say. I'm like, I have

1:29:14.880 --> 1:29:18.599
<v Speaker 4>no idea how they could have ignored that aspect of

1:29:18.640 --> 1:29:22.800
<v Speaker 4>anything about this film. It's so bizarre. Yeah.

1:29:22.880 --> 1:29:26.080
<v Speaker 3>How many Yeah, how many soundtracks end up on like

1:29:26.120 --> 1:29:31.360
<v Speaker 3>people's regular rotation, and the Challenger soundtrack has definitely remained

1:29:31.400 --> 1:29:33.720
<v Speaker 3>in mind, and I think I'm very much not alone.

1:29:34.200 --> 1:29:37.559
<v Speaker 4>Yeah, it's like it's to me. It's like this year

1:29:37.600 --> 1:29:39.760
<v Speaker 4>the soundtrack that I'm like a gog didn't get any

1:29:39.760 --> 1:29:42.559
<v Speaker 4>nominations is like a testament of Anilee and a couple

1:29:42.600 --> 1:29:46.640
<v Speaker 4>of years ago. It's so God, I am like the

1:29:46.680 --> 1:29:50.760
<v Speaker 4>biggest evangelical of that movie. I'm like, mother, Anne is so,

1:29:51.640 --> 1:29:54.559
<v Speaker 4>but I but I it has an amazing soundtrack, and

1:29:54.560 --> 1:29:57.120
<v Speaker 4>I think so does Challengers. I'm like, these are like

1:29:57.280 --> 1:30:00.360
<v Speaker 4>such great, great stories.

1:30:00.280 --> 1:30:01.960
<v Speaker 2>We should start our own awards.

1:30:02.280 --> 1:30:04.439
<v Speaker 4>Exactly, we'll get it right.

1:30:05.720 --> 1:30:07.439
<v Speaker 2>Yeah, obviously.

1:30:08.479 --> 1:30:12.320
<v Speaker 3>Bechtel's test wise, this does pass a couple times.

1:30:12.920 --> 1:30:13.480
<v Speaker 2>Obviously.

1:30:13.680 --> 1:30:16.839
<v Speaker 3>There is one woman who is central to the narrative,

1:30:16.920 --> 1:30:19.120
<v Speaker 3>but she talks to her daughter. She talks to her mom.

1:30:19.200 --> 1:30:21.520
<v Speaker 2>She talks to her daughter about into the Spider Verse.

1:30:21.680 --> 1:30:26.839
<v Speaker 3>A fun little ZiT nod to Zendia's career, also Spider

1:30:26.880 --> 1:30:28.240
<v Speaker 3>Man background.

1:30:28.960 --> 1:30:30.879
<v Speaker 4>Her husband does Spider things.

1:30:31.160 --> 1:30:35.320
<v Speaker 3>I guess I've heard of her husband. He does spider things, right,

1:30:35.920 --> 1:30:38.759
<v Speaker 3>he seems nice.

1:30:41.200 --> 1:30:45.519
<v Speaker 2>Yeah. Well, there's that line in this movie where Patrick

1:30:45.680 --> 1:30:49.360
<v Speaker 2>is like, I'm not some lapdog who's gonna sit around

1:30:49.360 --> 1:30:51.960
<v Speaker 2>and let you punish me. I'm not Art, But maybe

1:30:52.000 --> 1:30:54.320
<v Speaker 2>you need someone like that. Maybe you want someone who's

1:30:54.360 --> 1:30:58.479
<v Speaker 2>gonna be mister Tashi Duncan. And that it seems like

1:30:58.600 --> 1:31:00.559
<v Speaker 2>that is exactly what how she wants.

1:31:00.600 --> 1:31:03.479
<v Speaker 3>Yeah, that is actually exactly what she wants. And I know,

1:31:03.720 --> 1:31:04.920
<v Speaker 3>just the man for the job.

1:31:06.120 --> 1:31:09.639
<v Speaker 2>And she is Zendia and she has mister Zendia, and

1:31:09.840 --> 1:31:13.000
<v Speaker 2>so I think that's how she lives her regular life too.

1:31:13.200 --> 1:31:15.640
<v Speaker 3>I don't thank God, who knows. We don't know, and

1:31:15.680 --> 1:31:17.439
<v Speaker 3>it's none of our business. And I love that.

1:31:18.120 --> 1:31:20.639
<v Speaker 2>Yeah, but yeah, she talks to her daughter, she talks

1:31:20.680 --> 1:31:26.160
<v Speaker 2>to her mother, talks to her mum, mostly about childcare stuff.

1:31:26.360 --> 1:31:30.400
<v Speaker 2>So yeah, these these interactions past the Bechdel test.

1:31:30.600 --> 1:31:33.519
<v Speaker 3>There is one other woman in the movie that we

1:31:33.640 --> 1:31:38.280
<v Speaker 3>haven't chatted out but just deserved better. And that's Helen,

1:31:39.280 --> 1:31:41.639
<v Speaker 3>the woman who Art goes out a date with who

1:31:41.960 --> 1:31:45.400
<v Speaker 3>for Hella, who is not treated well. And I just

1:31:45.439 --> 1:31:50.200
<v Speaker 3>wanted to shout her out as a woman who I

1:31:50.479 --> 1:31:53.519
<v Speaker 3>hope wherever she is in this fictional world, I hope

1:31:53.520 --> 1:31:55.840
<v Speaker 3>she is well, and I hope she found someone who

1:31:56.320 --> 1:31:58.560
<v Speaker 3>could listen to her finish a sentence.

1:31:58.520 --> 1:32:02.799
<v Speaker 2>Yeah, and doesn't surprise kiss her, which like, Okay, Patrick

1:32:03.120 --> 1:32:06.120
<v Speaker 2>is a complete dirt bag. He probably is the type

1:32:06.120 --> 1:32:09.040
<v Speaker 2>of man who would surprise kiss a woman. But also

1:32:09.080 --> 1:32:10.960
<v Speaker 2>I'm like, I don't know we did did we need

1:32:10.960 --> 1:32:12.760
<v Speaker 2>to see that in the movie. Couldn't we have seen

1:32:12.840 --> 1:32:14.960
<v Speaker 2>him asking for consent? He can still be a dirt

1:32:15.000 --> 1:32:16.680
<v Speaker 2>bag about it, but.

1:32:16.920 --> 1:32:18.800
<v Speaker 3>Yeah, I feel like that is almost like used as

1:32:18.800 --> 1:32:20.800
<v Speaker 3>a tool to contrast him in Art in a way

1:32:20.800 --> 1:32:25.200
<v Speaker 3>that almost wasn't necessary because Art is like mister consent.

1:32:25.479 --> 1:32:27.760
<v Speaker 3>He like in the Appleby's Parking Lite, He's like, so

1:32:27.840 --> 1:32:29.880
<v Speaker 3>I really want to kiss you, but I'm afraid that

1:32:30.200 --> 1:32:32.880
<v Speaker 3>you have a feeling, and you're like he is like

1:32:33.160 --> 1:32:38.599
<v Speaker 3>mister consent. That's kind of he's he's he's hot for consent. Yeah,

1:32:38.600 --> 1:32:40.920
<v Speaker 3>his whole and that is like again just like sorry

1:32:41.000 --> 1:32:43.599
<v Speaker 3>to like start another converence, but like it's just so

1:32:43.760 --> 1:32:48.080
<v Speaker 3>thoughtfully like written and performed, where that is always who

1:32:48.200 --> 1:32:51.160
<v Speaker 3>Art is, like from the moment he meets Tashi, he's

1:32:51.200 --> 1:32:53.960
<v Speaker 3>always the one that's like, I really admire.

1:32:53.560 --> 1:32:54.599
<v Speaker 2>Your game, Tashi.

1:32:54.800 --> 1:32:57.519
<v Speaker 3>You're very you're a very tough like he even says

1:32:57.520 --> 1:33:01.519
<v Speaker 3>to Patrick when Tashi's not even there. He's like, come on, Patrick,

1:33:01.760 --> 1:33:05.240
<v Speaker 3>she's a very remarkable young woman, and you're right now Art.

1:33:06.160 --> 1:33:07.280
<v Speaker 3>I kind of love him.

1:33:07.640 --> 1:33:09.400
<v Speaker 4>It's one of those things where like I hate it,

1:33:09.479 --> 1:33:11.680
<v Speaker 4>but I was like, that makes me so dry that

1:33:11.720 --> 1:33:14.360
<v Speaker 4>he just said that, like, not ironically, like I was

1:33:14.439 --> 1:33:16.080
<v Speaker 4>just like, no, he.

1:33:16.160 --> 1:33:18.559
<v Speaker 3>Was alone with his boy and said, she is a

1:33:18.560 --> 1:33:21.240
<v Speaker 3>remarkable young woman. And I'm like, I go, you gotta

1:33:21.280 --> 1:33:23.240
<v Speaker 3>love art. You gotta love art.

1:33:24.000 --> 1:33:26.360
<v Speaker 4>At least I didn't call her articulate. That would have

1:33:26.560 --> 1:33:28.080
<v Speaker 4>really fucked me up.

1:33:28.120 --> 1:33:36.679
<v Speaker 2>But yeah, what about our nipple scale? Though our scale

1:33:36.720 --> 1:33:39.719
<v Speaker 2>where we rate the movie based on examining it through

1:33:39.760 --> 1:33:45.799
<v Speaker 2>an intersectional feminist lens zero to five nipples. I think

1:33:46.560 --> 1:33:53.920
<v Speaker 2>because this is a movie that showcases a woman who

1:33:55.400 --> 1:34:01.080
<v Speaker 2>is I think, very complicated, very interesting, who is allowed

1:34:01.080 --> 1:34:06.440
<v Speaker 2>to be confident and dominant, and sure does she mistreat

1:34:06.520 --> 1:34:10.280
<v Speaker 2>some people along the way. Yeah, I'm not saying that

1:34:10.280 --> 1:34:15.920
<v Speaker 2>she's necessarily like someone to aspire to be, but also

1:34:16.600 --> 1:34:20.880
<v Speaker 2>I do aspire to achieve the level of dominance that

1:34:20.960 --> 1:34:24.480
<v Speaker 2>she has over men. I think I kind of struggled

1:34:24.520 --> 1:34:26.559
<v Speaker 2>with the Tashi character the first time I saw the

1:34:26.560 --> 1:34:28.960
<v Speaker 2>movie but when I rewatched it and sort of like

1:34:29.400 --> 1:34:35.080
<v Speaker 2>framed her character through that lens, I was like, wait

1:34:35.120 --> 1:34:41.000
<v Speaker 2>a minute, she's she's cooking, she's onto something. I think

1:34:41.080 --> 1:34:44.439
<v Speaker 2>I want to give this movie like I don't know,

1:34:44.880 --> 1:34:48.320
<v Speaker 2>I don't know. Is it three nipples? Is it four nipples?

1:34:48.400 --> 1:34:51.360
<v Speaker 2>Is it less? Is it more? This is a this

1:34:51.439 --> 1:34:53.840
<v Speaker 2>is a challenging one to rate.

1:34:54.400 --> 1:34:56.680
<v Speaker 4>I'm going for I'm going for too.

1:34:57.040 --> 1:34:58.599
<v Speaker 2>Yeah, Okay, me too.

1:34:59.479 --> 1:35:02.120
<v Speaker 4>Yeah. I think I think I would give it four nipples.

1:35:02.240 --> 1:35:04.800
<v Speaker 4>And I'm only taking a nipple off because she's the

1:35:04.800 --> 1:35:07.719
<v Speaker 4>only woman of color and I think that, like besides

1:35:07.760 --> 1:35:11.320
<v Speaker 4>her own child, and I would have just liked for

1:35:11.360 --> 1:35:14.439
<v Speaker 4>her to have like another relationship to like one other

1:35:14.479 --> 1:35:16.519
<v Speaker 4>person of color that's not related to her.

1:35:16.880 --> 1:35:17.240
<v Speaker 3>Yeah.

1:35:17.400 --> 1:35:19.880
<v Speaker 4>Yeah, So because of that, it gets four from an

1:35:19.880 --> 1:35:23.360
<v Speaker 4>intersectional lens. But I do think, like it's so refreshing

1:35:24.200 --> 1:35:28.120
<v Speaker 4>to watch a female character who's just behaving badly, like

1:35:28.200 --> 1:35:32.320
<v Speaker 4>Harper from Industry watches Challengers and just like this is

1:35:32.360 --> 1:35:36.360
<v Speaker 4>my inspo, Like I really love Tashi Dugan as a character,

1:35:36.439 --> 1:35:39.400
<v Speaker 4>and I think it's probably my favorite Sunday of performance

1:35:39.520 --> 1:35:45.240
<v Speaker 4>thus far because she really shows that she is a

1:35:45.280 --> 1:35:47.320
<v Speaker 4>movie star, but also has it in her to be

1:35:47.439 --> 1:35:49.719
<v Speaker 4>like this really complicated character actress.

1:35:50.080 --> 1:35:52.800
<v Speaker 3>For sure, I'm gonna go for as well. I think

1:35:52.840 --> 1:35:55.240
<v Speaker 3>for the same reasons. I think that there was definitely

1:35:55.240 --> 1:36:00.799
<v Speaker 3>a room for a relationship with Tashi and another woman,

1:36:01.000 --> 1:36:07.080
<v Speaker 3>specifically a woman in tennis that would have been interesting.

1:36:08.360 --> 1:36:11.200
<v Speaker 3>But I don't know. I mean, it's like, she's such

1:36:11.400 --> 1:36:15.920
<v Speaker 3>an incredible character. I feel like Challengers is going to

1:36:16.160 --> 1:36:18.720
<v Speaker 3>be thought of as a classic in the future, and

1:36:18.760 --> 1:36:22.840
<v Speaker 3>it's just I don't know. I love seeing Zendaya like

1:36:23.360 --> 1:36:25.439
<v Speaker 3>sort of I feel like this was her real like

1:36:26.040 --> 1:36:29.120
<v Speaker 3>I I don't know, like straddling. She does technically play

1:36:29.120 --> 1:36:31.960
<v Speaker 3>a teenager in this movie, but she's also like, but

1:36:32.439 --> 1:36:34.439
<v Speaker 3>what you really want me to see is play a

1:36:34.479 --> 1:36:38.320
<v Speaker 3>woman who is my current age, and I just know

1:36:38.439 --> 1:36:41.360
<v Speaker 3>that she's gonna do so much amazing stuff. It weirdly

1:36:41.439 --> 1:36:43.679
<v Speaker 3>reminds me a little bit, and maybe I'm just looking

1:36:43.720 --> 1:36:45.519
<v Speaker 3>for an excuse to bring up one of my favorite movies,

1:36:45.720 --> 1:36:48.280
<v Speaker 3>but it reminds me a little bit of it Tanya,

1:36:48.760 --> 1:36:51.920
<v Speaker 3>which is I think, like Margaret Robbie's comparable moment of

1:36:51.960 --> 1:36:55.120
<v Speaker 3>like I'm producing my own movies. Now I'm playing the

1:36:55.200 --> 1:36:57.479
<v Speaker 3>character you've seen me play before and I'm doing this

1:36:57.520 --> 1:36:59.720
<v Speaker 3>other thing you've never seen me do. And I just

1:36:59.760 --> 1:37:04.759
<v Speaker 3>think that, like, we'll keep saying that from her and yeah,

1:37:04.880 --> 1:37:07.759
<v Speaker 3>it's it's it's a great movie. Thank you, Potion Master,

1:37:07.880 --> 1:37:09.439
<v Speaker 3>thank you Luca, than.

1:37:09.439 --> 1:37:14.599
<v Speaker 2>You well, Princess, thank you so much for joining us,

1:37:14.760 --> 1:37:18.120
<v Speaker 2>Thank you for having me. Obviously you're welcome back anytime.

1:37:18.360 --> 1:37:20.360
<v Speaker 3>Whatever you want you bring, you bring a very different

1:37:20.400 --> 1:37:21.679
<v Speaker 3>movie to the table every time.

1:37:22.400 --> 1:37:25.000
<v Speaker 4>I know what how we collectic. I'm like, next, we're

1:37:25.040 --> 1:37:30.080
<v Speaker 4>gonna do Barry Lyndon for the boys.

1:37:30.680 --> 1:37:32.479
<v Speaker 2>We got we gotta do something for this.

1:37:32.720 --> 1:37:35.639
<v Speaker 3>I still haven't seen it. I know Candle's question mark,

1:37:35.680 --> 1:37:36.160
<v Speaker 3>That's what I know.

1:37:36.960 --> 1:37:40.080
<v Speaker 4>I saw it in theaters with a friends with a

1:37:40.160 --> 1:37:42.760
<v Speaker 4>group of friends in Houston and it had the intermission

1:37:42.800 --> 1:37:46.960
<v Speaker 4>in the middle. Perfect way to see a movie. But yeah,

1:37:47.160 --> 1:37:49.719
<v Speaker 4>call me friend of your coop brooking and needs. I'll

1:37:50.160 --> 1:37:52.759
<v Speaker 4>I'm there for you, guys. Is emotional support.

1:37:54.920 --> 1:37:58.439
<v Speaker 2>Where can people follow you? Check out your work plug away?

1:37:59.120 --> 1:38:02.240
<v Speaker 4>Yay, thank you guys so much. I love being on here.

1:38:02.400 --> 1:38:05.479
<v Speaker 4>You guys can find me on YouTube, Princess Weeks. I

1:38:05.720 --> 1:38:08.160
<v Speaker 4>just had a recent video at about Weathering Heights. I

1:38:08.200 --> 1:38:10.280
<v Speaker 4>have a video coming out by the time this is

1:38:10.280 --> 1:38:14.200
<v Speaker 4>out about the Tragic Mulatto, which is really interesting and

1:38:14.360 --> 1:38:18.920
<v Speaker 4>very academically and I uh am there and I'm on

1:38:19.000 --> 1:38:23.600
<v Speaker 4>Blue Sky also Princess m weeks with one S for

1:38:23.760 --> 1:38:26.200
<v Speaker 4>Princess because I spelled my name wrong, but I thought

1:38:26.240 --> 1:38:32.280
<v Speaker 4>it gave it character, so I kept it. And uh yeah,

1:38:32.360 --> 1:38:34.679
<v Speaker 4>I'm just so happy to talk. I just missed talking

1:38:34.680 --> 1:38:36.559
<v Speaker 4>to you guys, so I'm just happy to do that

1:38:36.640 --> 1:38:37.360
<v Speaker 4>all day long.

1:38:37.880 --> 1:38:40.880
<v Speaker 3>That's why we pod that. It is so nice to

1:38:41.080 --> 1:38:44.400
<v Speaker 3>used nice to hear your voice. And yeah, I don't know,

1:38:44.479 --> 1:38:46.120
<v Speaker 3>I feel like I see you all the time because

1:38:46.280 --> 1:38:49.519
<v Speaker 3>I have my notifications on for your channel.

1:38:50.080 --> 1:38:51.880
<v Speaker 4>That's how I feel when I hear your voices. Of course,

1:38:51.880 --> 1:38:55.360
<v Speaker 4>I subscribe to the Matreon as everyone should. It's all

1:38:55.400 --> 1:38:59.360
<v Speaker 4>good financially forward women should do. And so sometimes I'm

1:38:59.400 --> 1:39:01.680
<v Speaker 4>going to bed and listening to you guys. I'm just like,

1:39:02.240 --> 1:39:03.880
<v Speaker 4>that's so right, exactly.

1:39:05.600 --> 1:39:09.040
<v Speaker 2>And speaking of listeners, if you're not already a Matron,

1:39:09.320 --> 1:39:11.639
<v Speaker 2>get over there the hell over there.

1:39:12.120 --> 1:39:15.680
<v Speaker 3>That's where we're consistently abused by our biggest supporters.

1:39:17.200 --> 1:39:18.400
<v Speaker 4>You're Tashie Duncans.

1:39:18.720 --> 1:39:22.800
<v Speaker 3>Our Tashi Duncans are like talk about the Boondocks Saints.

1:39:23.800 --> 1:39:27.439
<v Speaker 2>Doing and we we are ur Donaldson and we have

1:39:27.520 --> 1:39:28.880
<v Speaker 2>to say, oh yes.

1:39:28.560 --> 1:39:30.839
<v Speaker 3>We're like, yes, mommy, we will talk about.

1:39:30.600 --> 1:39:31.760
<v Speaker 2>The Boondock Saints.

1:39:32.280 --> 1:39:34.240
<v Speaker 3>Yes. That's where. For five dollars a month you can

1:39:34.280 --> 1:39:37.920
<v Speaker 3>get access to two new exclusive episodes a month on

1:39:37.960 --> 1:39:41.360
<v Speaker 3>a theme usually if you're choosing, and access to over

1:39:41.400 --> 1:39:45.439
<v Speaker 3>two hundred episodes of back catalog. And it is true

1:39:45.600 --> 1:39:49.160
<v Speaker 3>that in the month of March we are doing movies

1:39:49.280 --> 1:39:53.400
<v Speaker 3>that feature Irish characters. And you all voted for the

1:39:53.439 --> 1:39:56.920
<v Speaker 3>Boondock Saints and wee beer. Oh, I have no one

1:39:56.960 --> 1:39:59.639
<v Speaker 3>but yourselves to blame, but not Barry Lyndon.

1:40:01.240 --> 1:40:06.800
<v Speaker 2>Oh wow, yeah, oh my gosh. Well, uh yeah you can.

1:40:06.880 --> 1:40:10.599
<v Speaker 2>You can find us on our Matreon, Patreon, dot com

1:40:10.600 --> 1:40:14.040
<v Speaker 2>slash Bechdel Cast. You can also follow us on Instagram.

1:40:14.320 --> 1:40:15.360
<v Speaker 3>And that's that.

1:40:16.360 --> 1:40:20.920
<v Speaker 2>Shall we shall we hit the tennis courts and have

1:40:21.040 --> 1:40:23.679
<v Speaker 2>sex with tennis just like Tashi Doug.

1:40:26.160 --> 1:40:33.360
<v Speaker 3>Yes, Bye bye bye. The Bechdel Cast is a production

1:40:33.479 --> 1:40:37.680
<v Speaker 3>of iHeartMedia, hosted and produced by me Jamie Loftus.

1:40:37.479 --> 1:40:40.960
<v Speaker 2>And me Caitlyn Durrante. The podcast is also produced by

1:40:41.080 --> 1:40:42.599
<v Speaker 2>Sophie Lichtermann and.

1:40:42.640 --> 1:40:44.960
<v Speaker 3>Edited by Caitlyn Durrante. Ever heard of them?

1:40:45.479 --> 1:40:48.920
<v Speaker 2>That's me and our logo and merch and all of

1:40:48.920 --> 1:40:52.679
<v Speaker 2>our artwork in fact are designed by Jamie Loftus Ever

1:40:52.720 --> 1:40:54.160
<v Speaker 2>heard of her? Oh My God?

1:40:54.600 --> 1:40:57.120
<v Speaker 3>And our theme song, by the way, was composed by

1:40:57.120 --> 1:40:58.280
<v Speaker 3>Mike Kaplan.

1:40:58.120 --> 1:41:01.240
<v Speaker 2>With vocals by Catherine Voskrissy.

1:41:00.800 --> 1:41:05.280
<v Speaker 3>Iconic and especial thanks to the one and only Aristotle Ascevedo.

1:41:05.800 --> 1:41:09.559
<v Speaker 2>For more information about the podcast, please visit Linktree Slash

1:41:09.600 --> 1:41:10.400
<v Speaker 2>Spectelcast