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

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

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Speaker 1: or do they have individualism? It's a patriarchy, zeph and

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Speaker 1: vest start changing it with the Bechdel Cast.

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Speaker 2: Hey, Caitlin, do you want this donut? By the way,

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Speaker 2: I don't respect women.

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Speaker 3: I mean, yes, I want a donut, but not from

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Speaker 3: someone who doesn't. Oh wait, what does she say? I

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Speaker 3: forget what Vanessa says in that me.

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Speaker 2: Oh my god, I read it. I donate donuts with

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Speaker 2: boys who exploit women. This is what she says. Yeah,

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Speaker 2: so that's my response to you, and the world shook

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Speaker 2: on its axis in that moment when that sentence was

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Speaker 2: written down. Welcome to the Bechdel Cast. My name is

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Speaker 2: Jamie Loftis, my.

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Speaker 3: Name is Caitlin Dronte, and this is our show where

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Speaker 3: we examine movies through an intersectional feminist lens, using the

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Speaker 3: Bechdel test simply as a jumping off point to initiate

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Speaker 3: larger conversations about representation. Jamie, what is the Bechdel Test?

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Speaker 2: Well, I can tell you please, just as we have

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Speaker 2: for many years, so many the bechel test is a

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Speaker 2: media metric originally created by where cartoonist Alison Bechtel and

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Speaker 2: her amazing collection likes to Watch out for. It is

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Speaker 2: often called the Bechdel Wallace test because it was co

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Speaker 2: created with her friend Liz Wallace. Lots of versions of

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Speaker 2: this test. It was originally created as a bit, but

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Speaker 2: it has sort of become a very prominent media metric.

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Speaker 2: We're going to be talking about a lot of media

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Speaker 2: metrics today. The version of the Bechdel test that we

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Speaker 2: use requires that there be two characters of a marginalized

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Speaker 2: gender with names who speak to each other about something

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Speaker 2: other than a man for more than two lines of dialogue,

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Speaker 2: and it should be plot relevant. Nothing like Hi, do

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Speaker 2: you want a cappuccino? No, although in this movie that

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Speaker 2: can be plot relevant. It depends.

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Speaker 3: It's sort of important to the story.

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Speaker 2: What is the obscenity judge quote that I can never remember?

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Speaker 2: I know it when I see it?

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Speaker 3: Oh about porn? Yeah?

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Speaker 2: Yes, anyways, let's move let's move forward.

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Speaker 3: Yes, So today we have such an exciting guest. We're

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Speaker 3: so happy to finally have her on the show. She's

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Speaker 3: a Nigerian American writer, culture critic, former columnist, and author

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Speaker 3: of the book Fat Off Fat on a Big Bitch Manifesto.

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Speaker 3: You've seen a writing featured in outlets like Entertainment Weekly, Essence,

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Speaker 3: Glamdam Paper, b Et, huff Post, MTV News, The Route,

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Speaker 3: and many many more. She's also the creator and co

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Speaker 3: creator of a number of different media tests that we're

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Speaker 3: also going to talk about. It's Clarkisha Kent. Well, Oh.

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Speaker 4: Y'all doing good?

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Speaker 2: How are you?

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Speaker 4: I am good? I'm good. It's a long Monday.

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Speaker 3: Yes, it truly is. It's raining very heavily in La

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Speaker 3: right now, and I feel like the loud rain noises

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Speaker 3: are going to pick up on my microphone.

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Speaker 2: It's an ASMR episode. You know, we're gonna make do Carcasia.

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Speaker 2: We're so excited to have you on the show. We've

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Speaker 2: talked about the Kent Test on the show before and

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Speaker 2: you've just been like, I guess we have been hoping

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Speaker 2: to talk with forever. So thank you for being here, Thank.

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Speaker 4: You for having me. I really appreciate it. I'm very excited.

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Speaker 3: Yeah, we're excited to have you. And yeah, tell us

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Speaker 3: more about the Kent test and then the test that

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Speaker 3: you co created with Sydney skuy G The Kelly and

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Speaker 3: kat test.

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Speaker 4: Yeah, so can test is you know straightforward.

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Speaker 5: I would say it's a spiritual sister to the bagdel test,

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Speaker 5: like it's aiming for the same thing, right, Like, hey,

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Speaker 5: you I.

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Speaker 4: Hate women.

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Speaker 5: Very obvious, but you know I like to say that

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Speaker 5: Americans like obvious things fed back to them. Right, So

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Speaker 5: you can say, for example, racism is bad, and black

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Speaker 5: people in healthcare and suffer a lot because racism is bad,

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Speaker 5: They won't believe you to come back. We just feeds

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Speaker 5: the paper to say, hey, we interviewed like twenty black

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Speaker 5: people and they said racism is bad and healthcare. You

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Speaker 5: know you need something on paper an the headline. Yeah,

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Speaker 5: I use something on paper, right, So for me, that's

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Speaker 5: what it was like. We know that media hates women,

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Speaker 5: they treat us poorly, et cetera, et cetera, Right, but

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Speaker 5: like when you don't have it on paper, it's easier

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Speaker 5: for folks to gats like you.

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Speaker 4: So that's what the contest was kind of born out of. Right.

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Speaker 5: So it was like specifically, you know, I wanted to

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Speaker 5: focus on black women for first and foremost, but also

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Speaker 5: tangentially women of color, right, So.

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Speaker 4: I was like, hey, our repen media is very terrible.

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Speaker 5: And while I'm very iffy, like I wrote my book about,

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Speaker 5: you know, representation matters because we're you know, we're in

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Speaker 5: twenty twenty four now, We're not in like Obama.

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Speaker 4: Era resentation of politics.

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Speaker 5: Right, It's still one of those things where, like for better,

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Speaker 5: for worse, media will very much influence a public perception

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Speaker 5: of certain people, certain groups, et cetera. Right, So that's

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Speaker 5: what the cantest is for. I was like, hey, they

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Speaker 5: portray us poorly. This happened actually very far reaching consequences

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Speaker 5: for us. So I was like, I'm gonna get this

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Speaker 5: on paper and I'm gonna walk through different pieces. I'm

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Speaker 5: gonna make it accessible so that other people can use

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Speaker 5: it right beyond me, right, and be like, hey, no,

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Speaker 5: I watched this thing.

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Speaker 4: Even though it's my favorite movie.

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Speaker 5: I noticed like they treated this black female character really

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Speaker 5: bad and it loved the bad taste in my mouth.

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Speaker 5: But I didn't know how to say until you know, again,

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Speaker 5: I've had this piece of paper in front of me.

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Speaker 5: So the test actually was born out of what happened

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Speaker 5: to Nicobahari and Sleepy Hollow.

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Speaker 3: Oh yes, we've talked about that on the episode we

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Speaker 3: did on Miss genteenth. Yeah.

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Speaker 4: Yeah.

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Speaker 5: Actually, the especially the very last practeria on the test

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Speaker 5: talks about it in terms of like turning a black

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Speaker 5: female character into a sacrifice in a way that honestly

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Speaker 5: on characteristic of them. Like, yeah, it was very ugly,

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Speaker 5: and like after that happened, I was like, all right, I'm.

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Speaker 4: Gonna I'm gonna put this on paper. So that's kind

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Speaker 4: of what happened.

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Speaker 5: Obviously, you know, when we get into you like the

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Speaker 5: medium will look at today we can go over the

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Speaker 5: requirements of the tests. But you know who was born

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Speaker 5: out of and for the Killing Cat Test again spiritual

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Speaker 5: cousin to the Can Test. I created with Sydney Skatje,

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Speaker 5: who's a prominent fat the British activist.

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Speaker 4: I consider them a great friend. It's fucking funny too.

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Speaker 5: So the test was born out of once again very

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Speaker 5: poor presentation for fat people media. Once again focusing on women,

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Speaker 5: but you know also other marginalized genders.

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Speaker 4: In this case, we did want to.

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Speaker 5: Include white women because the fat rep for them is

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Speaker 5: also not great. Now again my focus is going to

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Speaker 5: be you know, black women are women of color, but

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Speaker 5: I'm gonna include that too because some of the media

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Speaker 5: is very ugly, especially if y'all remember because we liked

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Speaker 5: the same age early two thousands media very bad, very bad,

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Speaker 5: very bad for us, very bad.

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Speaker 4: It was very bad.

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Speaker 2: The shallow how era, yeah, is very very dark.

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Speaker 3: Yeah.

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Speaker 2: Yeah.

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Speaker 5: The name points to specifically more recent fat characters, which

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Speaker 5: would be like Kelly Fort Insecure and Cap from Euphoria. Yeah,

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Speaker 5: a lot of it was there, a similar similar overlap

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Speaker 5: to the Kent tests, but like also like hyper specific

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Speaker 5: stuff that goes into you know, styling for fat characters,

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Speaker 5: which is really important to close it. They put us

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Speaker 5: in right, Yeah, our family dynamics, our relationships, very particular

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Speaker 5: tropes too, so we tried to go into a little

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Speaker 5: more detail. But yeah, that was born last year, like

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Speaker 5: I want to say, right before that, my book came out,

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Speaker 5: so that this was fun, It was fun nice.

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Speaker 2: And what is the public response to both of the tests, Bennet?

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Speaker 2: It seems I mean, like I know that the second

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Speaker 2: test is newer, but the Kent test I feel like

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Speaker 2: it's just like a part of film discussion now, like

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Speaker 2: it does make a marked difference.

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Speaker 5: Yeah, it because it came out in twenty eighteen, which

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Speaker 5: was the year Black Fans There came out. So that

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Speaker 5: was actually the movie I graded on it and the

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Speaker 5: second with Widows.

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Speaker 4: Both guys loved that.

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Speaker 5: I loved that for me, right, and you know, it's

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Speaker 5: definitely evolved because I remember I published it in conjunction

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Speaker 5: with my Quality for Her Who's run By I think

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Speaker 5: Claramony at the time, and you know, it was part

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Speaker 5: of a larger package, right, but the testa so just

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Speaker 5: kind of took on a life of its own. It's

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Speaker 5: just like, okay, well I'm the star here, I'm Beyonce

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Speaker 5: of this thing, so.

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Speaker 4: I'm out of here.

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Speaker 2: But just god took off.

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Speaker 5: So it also came out on International Women's Day, so

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Speaker 5: I think that helped to like with the black profile.

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Speaker 5: So since then, like you said, it is out there.

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Speaker 5: You know, people talk about it, you know, shows like this.

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Speaker 5: I've seen it come up in different like articles, journals,

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Speaker 5: I see it pop up in people's dissertations, you know,

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Speaker 5: and like you know, like high school, high school, middle school,

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Speaker 5: you know, classrooms will also like college classrooms, like very

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Speaker 5: sophisticated people drawing theory alongside the test. So that's been

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Speaker 5: definitely interesting, very humbling. So I'm just like, wow, they

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Speaker 5: got pretty far.

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Speaker 3: So that's incredible.

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Speaker 5: Yeah, I'm happy about that because we have to give

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Speaker 5: people the tools to do better. And that was also

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Speaker 5: an important part of the test too, because you know,

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Speaker 5: I know that people are like, you give it numbers

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Speaker 5: instead of like a past failed thing. I'm like, yeah,

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Speaker 5: because it's not about past fail It's about I mean,

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Speaker 5: if you fail, then we obviously still got talked.

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Speaker 4: Right, But it's not about that.

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Speaker 5: It's about the fact that, like, you need to notice

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Speaker 5: your own biases, right, Like I got my own right.

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Speaker 5: Everybody has them, and I think refusing to name them

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Speaker 5: makes it worse, you know, it makes it worse less

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Speaker 5: and fester. So that's what the test was about, Like, yeah,

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Speaker 5: you can have all the goodwill, you.

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Speaker 4: Can have all the great intentions, like trying to make.

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Speaker 5: What diverse characters I put in quotations for obvious reasons, Right,

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Speaker 5: there was characters, But like if I go watch them

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Speaker 5: and they're like some of the worst stereotypical characters anyone

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Speaker 5: can come up with, then your attention doesn't really mean anything, right.

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Speaker 3: Right, exactly. Yeah, inclusion doesn't automatically mean that it's good inclusion.

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Speaker 3: It's still a matter of like making sure that it's

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Speaker 3: meaningful and handled responsibly. That's something I really appreciate about

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Speaker 3: the Kent Test is how thorough it is and how

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Speaker 3: many different criteria you use to evaluate, because, as we

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Speaker 3: often talk about on this show, like the Bechdel Test

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Speaker 3: is a useful tool for the basis of a very

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Speaker 3: very basic conversation. You know, it can springboard into other conversations,

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Speaker 3: but it's very baseline. And people seem to still have

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Speaker 3: a misunderstanding about its role in our show, and I

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Speaker 3: get it. We did accidentally name the show after it,

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Speaker 3: but it.

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Speaker 2: Was like, twenty sixteen. Can't be held accountable for what

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Speaker 2: I did in twenty sixteen?

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Speaker 3: Yeah, truly. The people will be like, oh, so you

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Speaker 3: must have liked that movie because it passed to the

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Speaker 3: Bechdel Test, right, And I'm like, what, No, not like

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Speaker 3: it's not like the be All end. So I appreciate

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Speaker 3: how thorough the Kent Test is and its examination of media, and.

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Speaker 2: The Kent Test is very relevant to the movie we're

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Speaker 2: talking about today. We are covering the two thousand and

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Speaker 2: five and boy is it two thousand and five movie

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Speaker 2: Beauty Shop, a Queen Latifa vehicle, directed by Billy Woodruff,

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Speaker 2: written by Kate Lanier and Norman Vance Junior Klarkisha, what

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Speaker 2: is your history with this movie?

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Speaker 5: First of all, it's you know, it's a Queen Latifa movie,

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Speaker 5: and I love Queenlatifa. I would like watch her absolutely anything.

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Speaker 5: Is she's a special Where she was describing like paying

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Speaker 5: drying on a wall, I would be there because she's

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Speaker 5: very talented, and you know, this is one of her

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Speaker 5: earlier movies and all over it to lie it was

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Speaker 5: a spinoff of you know, the Barbershop movies, and I'm

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Speaker 5: actually quite we didn't get no sequel or you know,

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Speaker 5: third way, we didn't get into that, and I'm like,

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Speaker 5: I know, So it's a very formative movie for me too, because,

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Speaker 5: like I said, you know, early two thousands, Fat Rep

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Speaker 5: was horrendous, honestly a comm against humanity. And you know,

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Speaker 5: so there's some people out there that only some money

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Speaker 5: for therapy bills behind that kind of era. But you know,

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Speaker 5: Queen Latie for that era is very important because she

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Speaker 5: was like I don't gonna want to even say unintentionally,

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Speaker 5: because I feel like when black women do stuff, it's

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Speaker 5: always intentional, even if it's like very understated. So for her,

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Speaker 5: I feel like she functioned that eras like this like

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Speaker 5: countercultural thing, like okay, y'all trying to make sad people

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Speaker 5: look bad, you want us to feel bad, et cetera,

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Speaker 5: et cetera. No, that's not what I'm here for someone

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Speaker 5: to put out these movies because she had that, she

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Speaker 5: had the last Holiday. There's a couple of other ones.

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Speaker 5: It's not more problematic than others. But you know, you know,

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Speaker 5: she put out these movies. She had these these interesting fashions.

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Speaker 4: She always casts these hot asthmen as her love instruments. Yes,

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Speaker 4: it was really great, So I'm.

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Speaker 5: Just gonna be a special place in my heart. And yeah,

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Speaker 5: it also was for me super enjoyable. But because like

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Speaker 5: people that you would have never die of showing up

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Speaker 5: in the movie, like there's her diamond, Afy Woodard.

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Speaker 4: Then you got Andy McDowell, then you got Kevin By.

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Speaker 5: Kevin went movies for fun, you know when they were fun.

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Speaker 4: Haven't fun?

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Speaker 2: Yeah, so yes, we have like a child rapper little JJ.

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Speaker 2: I mean we have this movie has everything. It has

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Speaker 2: Octavia Spencer in a very small role before she was

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Speaker 2: really famous. Like, yeah, this movie really put me in

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Speaker 2: such a specific place. I was like I am in

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Speaker 2: seventh grade and.

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Speaker 3: Yeah, Jamie, what's your relationship with the movie.

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Speaker 2: I feel like we've covered a lot of these movies

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Speaker 2: and the show recently. This was a sleepover movie for me.

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Speaker 2: I've seen it at a number of sleepovers in middle school.

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Speaker 2: I feel like it was on TV a lot as

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Speaker 2: well later on. I haven't seen a second Barbershop movie

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Speaker 2: where I know Gena's character is introduced, so I cannot

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Speaker 2: speak to the Barbershop expanded universe, but I've seen the

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Speaker 2: first Barbershop movie and then yeah, Beauty Shop. I feel

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Speaker 2: like it was just an obvious pick because it's two

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Speaker 2: thousand and five and it's a Queen Latifa movie, so

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Speaker 2: I was really excited about it. Hadn't seen it in

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Speaker 2: easily a decade, probably more before getting ready for this episode,

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Speaker 2: and I was like, what do I remember about this movie?

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Speaker 2: I remember Alfrey Woodard starting to recite Phenomenal Woman at

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Speaker 2: the drop of a hat, and I remember little JJ,

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Speaker 2: the child rapper, because I think I was like, he's

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Speaker 2: cute and everything else I forgot, So I I it

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Speaker 2: was a fun revisit ed. There's this shit little stuff

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Speaker 2: to talk about, but it's nostalgic. It feels like you're saying, Clerkisha,

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Speaker 2: like this movie is you know, flawed, but it's fun.

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Speaker 2: It's like I just I really enjoyed it. I also

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Speaker 2: did not realize it was Kevin Bacon until like a

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Speaker 2: half hour in. Yes, I was like.

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Speaker 5: Once we used to have fun these movies. I love

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Speaker 5: that we can't do that now.

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Speaker 2: Like I Kevin Veagan, would he take on these highlights now?

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Speaker 2: I know? And I think like Kevin Bacon and Queen

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Speaker 2: Latifa right now are on like crime procedurals, like they're not.

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Speaker 2: Let's get Beauty Shop too. I don't need the crime

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Speaker 2: procedurals anyways, Kitlyn, what's your history with Beauty Shop and

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Speaker 2: the Barbershop Expanded Universe?

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Speaker 3: Pretty brief? I had never seen Beauty Shop before prepping

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Speaker 3: for this episode. I had seen the first barber Shop,

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Speaker 3: but that's kind of where it begins and ends. So

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Speaker 3: I've seen Beauty Shop twice now, and I also rewatched

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Speaker 3: Barber Shop just to see kind of how the two compare.

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Speaker 3: If there was any like notable things to say, I

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Speaker 3: have a couple thoughts on it, but yeah, other than that,

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Speaker 3: I hadn't seen it. But I do love Queen Latifa soul.

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Speaker 3: It's always a pleasure to watch her. We just covered

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Speaker 3: Valentine's Day, in which she has a very small role

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Speaker 3: that it like does not do her justice at all.

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Speaker 3: So it was a breath of fresh air to be

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Speaker 3: able to actually like watch her in a starring role

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Speaker 3: and just see all the talent that she has to offer.

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Speaker 2: She's the best. I was trying to think of if

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Speaker 2: there's other franchises. I feel like this has definitely happened,

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Speaker 2: but I couldn't think of one off the top of

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Speaker 2: my head where there was like a very male centered

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Speaker 2: franchise like Barbershop. And I say this with love because

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Speaker 2: I really love this movie. Like they kind of missus

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Speaker 2: pac Man the spinoff where they're like, here's girl this

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Speaker 2: movie you.

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Speaker 3: Like Ocean's eight from the Oceans eleven, twelve, and thirteen franchise.

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Speaker 2: Yeah, it's a thing. It's a thing, and we should

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Speaker 2: have had two of them.

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Speaker 4: Truly, me is a better movie.

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Speaker 5: I agree, there's still like some problematic aspects obviously, but

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Speaker 5: like in comparison to Barbershop, right.

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Speaker 6: Yeah, yeah, So let's take a quick break.

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Speaker 3: We'll come back for the recap and then we'll discuss.

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Speaker 3: So we'll be right back and we're back all right.

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Speaker 3: So here is the recap for Beauty Shop two thousand

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Speaker 3: and five. We are in Atlanta. We meet Gina that's

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Speaker 3: Queen Latifa's character, and her daughter Vanessa played by Paige Heard.

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Speaker 3: They live with Gina's mother in law, Paulette played by

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Speaker 3: Laura Hayes, and her daughter Darnell played by Kisha Knight Polliam.

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Speaker 3: She's in her twenties, I think. And we see Gina

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Speaker 3: drop her daughter Vanessa off at a private arts school,

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Speaker 3: and then Gina goes to work at a beauty salon

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Speaker 3: owned by a man named Horror. And this is Kevin

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Speaker 3: Bacon like you've never seen or heard him.

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Speaker 6: Before or since, I don't think, I think not yeah,

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Speaker 6: And his thing is that he's very shitty and condescending

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Speaker 6: to Gina, and Gina has aspirations of owning her own

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Speaker 6: beauty shop.

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Speaker 3: She also makes her own special hair conditioner that one

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Speaker 3: of her clients, Joanne played by Mina Suvari, just swears by.

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Speaker 3: She also uses this conditioner on another client, Terry played

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Speaker 3: by Andy McDowell, and they're loving this homemade conditioner. We

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Speaker 3: also meet Gina's colleague Lynn, played by Alicia Silverstone who

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Speaker 3: wants to be a stylist, but right now her job

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Speaker 3: at Jorges Salon is to shampoo the clients. So everyone

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Speaker 3: wants much more than this provincial life.

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Speaker 2: Basically, as I was watching this, I was like, Wow,

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Speaker 2: I don't understand stand how hair salons work. I was like,

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Speaker 2: is shampoo a job? I didn't realize.

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Speaker 3: I've only ever been shampooed by the same person who

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Speaker 3: then like cuts or styles my hair, so I didn't

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Speaker 3: know that was a separate job.

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Speaker 2: Maybe it's like, if you have enough money, there's someone

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Speaker 2: whose job is just shampoo. I don't know. My hair

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Speaker 2: looks like shit, Like I just don't know. No, it doesn't, Jamie, Well,

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Speaker 2: it's okay, I accept it, but it does.

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Speaker 3: Okay, all right. Then we see a scene where Gina's daughter,

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Speaker 3: Vanessa plays piano. She's prepping for an upcoming recital. We

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Speaker 3: learned that Vanessa's dad used to play, but he has

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Speaker 3: passed away, so Gina is a widow. Back at the salon,

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Speaker 3: Jorge gets upset with Gina about something unreasonable, and she's

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Speaker 3: had enough of him, so Gina quits and then starts

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Speaker 3: investigating how to open up her own beauty shop. She

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Speaker 3: goes to the bank for a loan she gets it's

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Speaker 3: rejected by a white lady banker who appears to have

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Speaker 3: a crush on one of her colleagues. So then Gina

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Speaker 3: gives her a makeover and it changes the banker's mind

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Speaker 3: and she approves alone for thirty thousand dollars, which is

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Speaker 3: like over one hundred thousand less than what Gina is

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Speaker 3: hoping for, which means that the only thing Gina can

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Speaker 3: afford is a pretty rundown though still functioning beauty shop,

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Speaker 3: and she buys it. Gina, Vanessa, Paulette, and Darnell fix

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Speaker 3: up the shop, although there's still this like big hole

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Speaker 3: in the ceiling with all of these electrical wires sticking

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Speaker 3: out and this loud piano music can be heard coming

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Speaker 3: from upstairs. So Gina calls an electrician, Joe played by

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Speaker 3: Jamon Hansu, to come and fix the wires, and then

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Speaker 3: we're like, okay, love interest for Gina alert.

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Speaker 2: Yeah, I want this to become a movie trough. Why

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Speaker 2: didn't like the hot guy that plays piano through your

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Speaker 2: broken ceiling become a movie trope? It's such a good idea.

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Speaker 3: Yes, it's also such a convenient relationship.

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Speaker 4: Right, have one, like we're creative.

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Speaker 3: Like I don't know, I don't know what happened.

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Speaker 2: I love just like the writers sitting and being like, okay, okay, okay,

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Speaker 2: there's a hole in the ceiling. What is the best

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Speaker 2: thing to put in a hole in the ceiling? A

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Speaker 2: beautiful man playing piano? Done, Let's proceed.

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Speaker 3: Right, because again, it's a very convenient relationship. He lives upstairs,

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Speaker 3: he's the one playing piano. Her daughter Vanessa plays the piano.

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Speaker 3: So it's like, wow, everything's connected, hot stepdad alert. Yeah.

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Speaker 3: The next day, the stylists, who were already renting space

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Speaker 3: at the existing salon, they show up to work, so

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Speaker 3: we meet a few of them, Chanelle played by Golden Brooks,

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Speaker 3: Miss Josephine played by Alfrey Woodard, and Ida played by

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Speaker 3: Sherry Shepherd, who who, by the way, is extremely gregnant. Yes,

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Speaker 3: that is her whole thing. Have you with greg Yes?

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Speaker 3: And Gina has also hired Lynn, the Alicia Silverstone character,

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Speaker 3: but a couple of the other stylists, whose names are

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Speaker 3: Mercedes and Portia, don't want to work with a white woman,

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Speaker 3: so they bail and can you blame them? Based on

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Speaker 3: Alicia Silverstone's conduct. After that, we'll talk about it. Yeah,

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Speaker 3: Then Gina's beauty shop officially opens. Some clients from the

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Speaker 3: old shop come in, and Gina does her best to

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Speaker 3: convince them that they should keep coming to her beauty shop.

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Speaker 3: We see just everyone, all the stylists getting into the

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Speaker 3: swing of things again. Lynn is doing very like Cringey

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Speaker 3: White Lady nonsense. There's also this kid, Willie played by

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Speaker 3: Little JJ, who's selling candy bars to raise money for

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Speaker 3: his music video that he's gonna shoot, which just turns

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Speaker 3: out to be him shooting footage of women's butts. So

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Speaker 3: that's interesting.

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Speaker 2: I felt a pang of shame realizing that this was

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Speaker 2: the part of the movie I remembered the most. I

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Speaker 2: blame my child brain.

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Speaker 3: But yeah, I wrote him down in my notes as

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Speaker 3: Patriarchy the Kid, because we always talk about Patriarchy the

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Speaker 3: Guy on this show, but this is a new twist

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Speaker 3: on it. We've got Patriarchy the Kid.

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Speaker 2: If you can vanquish Patriarchy the Guy. But yeah, Patriarchy

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Speaker 2: the Kid, I haven't seen that one.

430
00:23:33,920 --> 00:23:39,199
Speaker 3: Yeah innovation anyway. So meanwhile, Jorge has found out that

431
00:23:39,359 --> 00:23:42,440
Speaker 3: Gina has opened her own shop and he's not happy

432
00:23:42,480 --> 00:23:47,600
Speaker 3: about it, especially after Gina poaches Terry aka Andy McDowell

433
00:23:47,720 --> 00:23:53,359
Speaker 3: as a client. Then we meet Catfish Rita, who regularly

434
00:23:53,400 --> 00:23:56,840
Speaker 3: stops by the shop to sell her home cooked food.

435
00:23:57,520 --> 00:24:01,199
Speaker 3: We also see an inspector from the state board, so

436
00:24:01,359 --> 00:24:05,600
Speaker 3: he's bureaucracy the guy. He comes by and slaps Gina

437
00:24:05,720 --> 00:24:09,600
Speaker 3: with a fine for having trash in the alleyway, which

438
00:24:09,800 --> 00:24:12,760
Speaker 3: was about to be picked up by this guy named

439
00:24:13,240 --> 00:24:18,520
Speaker 3: James played by Bryce Wilson, who is an ex con.

440
00:24:18,760 --> 00:24:21,400
Speaker 3: But Gina doesn't care about that, and she hires him

441
00:24:21,400 --> 00:24:26,000
Speaker 3: because she admires his braid work, and so he starts

442
00:24:26,040 --> 00:24:29,040
Speaker 3: working at the shop, and all of the stylists and

443
00:24:29,119 --> 00:24:33,399
Speaker 3: all of the customers think James is so hot, but

444
00:24:33,800 --> 00:24:37,720
Speaker 3: because of reductive stereotypes, they suspect he might be gay.

445
00:24:37,760 --> 00:24:41,600
Speaker 2: It really was like it felt like a comprehensive list

446
00:24:42,560 --> 00:24:47,399
Speaker 2: of reductive two thousand and five stereotypes around gay men. Like,

447
00:24:47,600 --> 00:24:50,440
Speaker 2: just when you think they had played every hit, there

448
00:24:50,520 --> 00:24:53,040
Speaker 2: was another one that I didn't even remember. Was a

449
00:24:53,040 --> 00:24:59,359
Speaker 2: thing like he watches Oprah, Like it's just unbelievably weird

450
00:24:59,480 --> 00:25:03,880
Speaker 2: and specif and two thousand and five in the pejorative way.

451
00:25:04,240 --> 00:25:09,439
Speaker 3: Yes, exactly. Then Gina's sister in law, Darnell, gets in

452
00:25:09,480 --> 00:25:13,040
Speaker 3: trouble with the law because she was riding around on

453
00:25:13,080 --> 00:25:17,400
Speaker 3: her boyfriend's motorcycle, which turned out to be stolen, so

454
00:25:17,920 --> 00:25:21,800
Speaker 3: she goes to jail. Gina bails her out of jail,

455
00:25:22,280 --> 00:25:25,400
Speaker 3: and so to pay her back, Darnell starts working at

456
00:25:25,400 --> 00:25:28,840
Speaker 3: the beauty shop. Also, Octavia Spencer's there in a quick

457
00:25:28,880 --> 00:25:33,520
Speaker 3: scene where Chanelle makes a fat phobic remark to her,

458
00:25:34,320 --> 00:25:39,160
Speaker 3: and then that's all we get from Mockdavius Spencer, although

459
00:25:39,480 --> 00:25:43,959
Speaker 3: I wanted to point out the connection of So Gina

460
00:25:44,080 --> 00:25:49,040
Speaker 3: has a photograph of Madame CJ. Walker, who's like her icon.

461
00:25:49,720 --> 00:25:53,320
Speaker 3: She has that image hanging in her beauty shop. And

462
00:25:53,560 --> 00:25:58,399
Speaker 3: of course Madame CJ. Walker was the first American woman

463
00:25:58,480 --> 00:26:00,479
Speaker 3: who is like a self made millionaire. She made her

464
00:26:00,520 --> 00:26:04,160
Speaker 3: fortune selling cosmetics and hair care products specifically for black women.

465
00:26:04,760 --> 00:26:08,520
Speaker 3: And of course, Octavius Spencer played her in the Netflix

466
00:26:08,600 --> 00:26:16,000
Speaker 3: series Self Made. So way full circle. Okay, So then

467
00:26:16,040 --> 00:26:19,359
Speaker 3: there's an electrical emergency at the shop.

468
00:26:19,840 --> 00:26:23,000
Speaker 2: There's a plot emergency. We've got to get the hot

469
00:26:23,040 --> 00:26:25,400
Speaker 2: guy over here to fix the plot emergency.

470
00:26:25,760 --> 00:26:28,800
Speaker 3: Yeah, she calls Joe. He comes and sets up like

471
00:26:28,880 --> 00:26:32,879
Speaker 3: a backup generator, but she still gets another fine from

472
00:26:33,320 --> 00:26:37,000
Speaker 3: the State Board inspector guy, and if she gets one

473
00:26:37,000 --> 00:26:40,320
Speaker 3: more citation, the shop will be shut down. So the

474
00:26:40,359 --> 00:26:44,600
Speaker 3: steaks are high. Also, she and Joe are kind of vibing,

475
00:26:45,480 --> 00:26:50,320
Speaker 3: and there's one point where Gina's daughter Vanessa goes upstairs

476
00:26:50,320 --> 00:26:53,480
Speaker 3: to play piano with Joe, and then Gina goes upstairs too,

477
00:26:53,560 --> 00:26:58,600
Speaker 3: and then they're vibing some more, and then business continues

478
00:26:58,680 --> 00:27:03,760
Speaker 3: as usual. Joanne, that's the Mina Suvari character, she reappears

479
00:27:03,920 --> 00:27:06,919
Speaker 3: and tells Gina that she's going to hook her up

480
00:27:07,000 --> 00:27:11,680
Speaker 3: with a deal to sell Gina's homemade conditioner to Cover Girl,

481
00:27:12,520 --> 00:27:15,320
Speaker 3: and Gina's like, that's amazing, which.

482
00:27:15,359 --> 00:27:18,320
Speaker 2: Was very exciting. And also I was like, Discover Girl,

483
00:27:18,680 --> 00:27:19,800
Speaker 2: do they have hair.

484
00:27:19,600 --> 00:27:21,000
Speaker 3: Prayer care products?

485
00:27:21,200 --> 00:27:25,919
Speaker 2: Not that I know of, it doesn't matter, but I

486
00:27:26,080 --> 00:27:28,280
Speaker 2: did pause and Google. I was like, did I miss

487
00:27:29,080 --> 00:27:31,560
Speaker 2: they were trying to get into it. Gina was going

488
00:27:31,600 --> 00:27:33,160
Speaker 2: to be their gateway into hair care?

489
00:27:33,320 --> 00:27:36,520
Speaker 3: Sure? Was this also the time the Queen Latifa was

490
00:27:36,560 --> 00:27:39,160
Speaker 3: like one of the faces of Cover Girl.

491
00:27:39,400 --> 00:27:41,760
Speaker 5: Yeah, I want to say yes or right before because

492
00:27:41,760 --> 00:27:44,480
Speaker 5: I remember her foundation. I was like the one of

493
00:27:44,520 --> 00:27:46,960
Speaker 5: the first ones I got because all of the few

494
00:27:47,080 --> 00:27:50,119
Speaker 5: that had shades that were dark as me. So I

495
00:27:50,160 --> 00:27:53,879
Speaker 5: was just like, all right, buy your shit. Loved it

496
00:27:53,920 --> 00:27:57,160
Speaker 5: for me, but yeah, either then or right before, differently.

497
00:27:56,960 --> 00:27:59,240
Speaker 3: Yeah, I figured there it must be some connection between

498
00:27:59,320 --> 00:28:02,360
Speaker 3: like her being like one of the faces of Cover

499
00:28:02,480 --> 00:28:05,040
Speaker 3: Girl and why that's in this movie.

500
00:28:05,359 --> 00:28:07,760
Speaker 2: Yeah, she started working with Cover Girl in two thousand

501
00:28:07,800 --> 00:28:08,359
Speaker 2: and one.

502
00:28:08,880 --> 00:28:12,280
Speaker 3: Well there you go in any case, So this deal

503
00:28:12,640 --> 00:28:16,119
Speaker 3: is like kind of on the table, and Gina's very

504
00:28:16,119 --> 00:28:18,960
Speaker 3: excited about it. She takes all the stylists out to

505
00:28:19,080 --> 00:28:23,360
Speaker 3: a club to celebrate. Joe shows up because Vanessa invited

506
00:28:23,440 --> 00:28:26,840
Speaker 3: him because we have another kid trying to set up

507
00:28:26,920 --> 00:28:32,040
Speaker 3: their parents with a love story. So Joe and Gina dance,

508
00:28:32,680 --> 00:28:36,840
Speaker 3: and then James and Lynn dance and they also start

509
00:28:36,840 --> 00:28:41,720
Speaker 3: making out, and everyone's like, hmm, I guess James isn't gay.

510
00:28:42,040 --> 00:28:43,240
Speaker 2: Do do do do do do do do?

511
00:28:44,440 --> 00:28:48,640
Speaker 5: Just like, uh, you yet you miss napped because he

512
00:28:48,720 --> 00:28:50,280
Speaker 5: was a humfold Yeah.

513
00:28:50,280 --> 00:28:55,400
Speaker 3: Right, yeah. Don't make assumptions about people's sexuality or gender

514
00:28:55,840 --> 00:28:56,280
Speaker 3: or anything.

515
00:28:56,400 --> 00:28:59,200
Speaker 2: And of course it's presented as a binary like there's

516
00:28:59,240 --> 00:29:03,560
Speaker 2: no in this world. A conversation around bisexuality pants. Actually

517
00:29:03,640 --> 00:29:07,000
Speaker 2: like that is not a part of the two thousand

518
00:29:07,000 --> 00:29:08,800
Speaker 2: and five movie Years.

519
00:29:08,400 --> 00:29:13,040
Speaker 3: Certainly not so Yeah, they start dating and then Joe

520
00:29:13,080 --> 00:29:17,840
Speaker 3: and Gina go home together and they kiss on the lips.

521
00:29:18,400 --> 00:29:19,040
Speaker 2: Woo.

522
00:29:19,840 --> 00:29:24,120
Speaker 3: The next day, that kid Willie who's always again videotaping

523
00:29:24,200 --> 00:29:29,280
Speaker 3: women's butts, he sees Orgey pay off the inspector from

524
00:29:29,560 --> 00:29:32,880
Speaker 3: the state board and it becomes clear that Jorge is

525
00:29:32,920 --> 00:29:35,520
Speaker 3: responsible for all these finds that Gina has been getting

526
00:29:35,560 --> 00:29:37,920
Speaker 3: and that he's trying to shut down her shop, and

527
00:29:38,000 --> 00:29:40,360
Speaker 3: Willie catches all of this on his video camera.

528
00:29:40,720 --> 00:29:42,880
Speaker 2: Again, I love this plot, contrive it.

529
00:29:43,080 --> 00:29:43,640
Speaker 3: It's great.

530
00:29:43,760 --> 00:29:48,160
Speaker 2: They're like, who knew that the creepy kid with a

531
00:29:48,240 --> 00:29:52,160
Speaker 2: cam corridor was a plant to catch Kevin Bacon up

532
00:29:52,200 --> 00:29:54,760
Speaker 2: to no good? It's just such movie logic.

533
00:29:54,800 --> 00:29:55,200
Speaker 4: I love it.

534
00:29:56,240 --> 00:29:59,280
Speaker 3: I feel like the parallel in barber Shop is the

535
00:29:59,320 --> 00:30:03,560
Speaker 3: two guys who keep lugging around the ATM that they stole,

536
00:30:03,800 --> 00:30:05,560
Speaker 3: and then it ends up paying off at the end

537
00:30:05,600 --> 00:30:08,680
Speaker 3: because it's like, oh, there's a reward if you find

538
00:30:08,720 --> 00:30:14,400
Speaker 3: the ATM and that saves the shop. So anyway, movies,

539
00:30:16,120 --> 00:30:18,760
Speaker 3: this movie feels like a movie. You know, it's been

540
00:30:18,840 --> 00:30:22,360
Speaker 3: said all right, So then Gina is trying to still

541
00:30:22,400 --> 00:30:25,440
Speaker 3: close this deal of selling her conditioner to Cover Girl,

542
00:30:25,800 --> 00:30:30,880
Speaker 3: but then Joanne gets into an argument with Lynn and

543
00:30:31,040 --> 00:30:36,760
Speaker 3: Chanelle in the shop. After Joanne assaults James and Joanne

544
00:30:36,760 --> 00:30:39,560
Speaker 3: is making a scene, she wants Chanelle to be fired,

545
00:30:40,160 --> 00:30:45,880
Speaker 3: but Gina refuses to fire her, so Joanne calls the

546
00:30:45,920 --> 00:30:49,680
Speaker 3: deal with Cover Girl off and storms out. And then

547
00:30:49,840 --> 00:30:53,520
Speaker 3: that night someone I wasn't sure if it was implied

548
00:30:53,560 --> 00:30:55,800
Speaker 3: to be Joanne or if it's implied to be Jorge

549
00:30:56,040 --> 00:31:00,960
Speaker 3: or who exactly does this, but someone vandalizes the beauty

550
00:31:00,960 --> 00:31:05,280
Speaker 3: shop definitely define poor Okay, but that scene takes place

551
00:31:05,360 --> 00:31:09,160
Speaker 3: immediately after Joanne storms out, So I'm like, was it her, Like,

552
00:31:09,360 --> 00:31:12,040
Speaker 3: was she so angry about this that she It was

553
00:31:12,080 --> 00:31:13,120
Speaker 3: a little unclear to me.

554
00:31:13,120 --> 00:31:18,400
Speaker 2: But yeah, and Joanne like basically disappears after that anyway. Yeah,

555
00:31:18,480 --> 00:31:20,680
Speaker 2: I also thought it was horrorhe but yeah, there's so

556
00:31:20,720 --> 00:31:23,840
Speaker 2: many devious people to uh choo start at this point.

557
00:31:24,000 --> 00:31:27,040
Speaker 3: True, if you're a blonde, white person in this movie,

558
00:31:27,120 --> 00:31:29,960
Speaker 3: you're doing something bad in basically every scene.

559
00:31:30,640 --> 00:31:31,920
Speaker 2: It's true.

560
00:31:32,640 --> 00:31:37,160
Speaker 3: So the next day is Vanessa's piano recital and Gina

561
00:31:37,240 --> 00:31:39,160
Speaker 3: goes to it, but she has all this other stuff

562
00:31:39,200 --> 00:31:42,400
Speaker 3: weighing on her mind, the vandalism and the deal being

563
00:31:42,440 --> 00:31:45,400
Speaker 3: called off with cover Girl. But when she comes back

564
00:31:45,480 --> 00:31:49,200
Speaker 3: to the shop, the stylists have cleaned and fixed the

565
00:31:49,240 --> 00:31:52,520
Speaker 3: place back up. Even so Gina is like, I don't

566
00:31:52,520 --> 00:31:54,760
Speaker 3: know if we can keep the shop going, like there's

567
00:31:54,800 --> 00:31:58,640
Speaker 3: not enough money. We're struggling. But then a woman bursts

568
00:31:58,640 --> 00:32:00,880
Speaker 3: in the shop. She's about to go to a wedding,

569
00:32:01,520 --> 00:32:06,200
Speaker 3: and Gina fixes her up and uses her conditioner on her,

570
00:32:06,400 --> 00:32:09,280
Speaker 3: and everything's great. And let's put a pin.

571
00:32:09,200 --> 00:32:12,160
Speaker 2: In that this movie is really well written. I just

572
00:32:12,280 --> 00:32:13,240
Speaker 2: there's so many.

573
00:32:13,120 --> 00:32:16,280
Speaker 3: Play Chekhov's radio host.

574
00:32:16,880 --> 00:32:21,360
Speaker 2: Just like Chekhov's kid with a cam corner, right, Because

575
00:32:21,800 --> 00:32:24,840
Speaker 2: before we find out who this woman is who is

576
00:32:24,840 --> 00:32:28,200
Speaker 2: about to go to this wedding, Willie comes in and

577
00:32:28,240 --> 00:32:32,360
Speaker 2: gives Gina the tape of George colluding with the inspector guy.

578
00:32:32,680 --> 00:32:36,280
Speaker 3: So Gina goes to Jorge and confronts him and she's like, nice,

579
00:32:36,320 --> 00:32:39,160
Speaker 3: try bitch, You're a loser and I'm a winner. And

580
00:32:39,280 --> 00:32:42,760
Speaker 3: then they're at the shop again, and it turns out

581
00:32:42,920 --> 00:32:45,720
Speaker 3: that the woman who came in to get fixed up

582
00:32:45,920 --> 00:32:49,520
Speaker 3: before the wedding is this radio host Helen played by

583
00:32:49,560 --> 00:32:52,840
Speaker 3: Adel Gibbons, who they always listen to in the shop.

584
00:32:53,360 --> 00:32:57,000
Speaker 3: And Helen shouts out Gina and her shop and her conditioner.

585
00:32:57,320 --> 00:32:58,360
Speaker 2: We're all cheering.

586
00:32:59,080 --> 00:33:04,880
Speaker 3: It's great, everything's fine, everything's good. She's got publicity and

587
00:33:05,680 --> 00:33:09,840
Speaker 3: the shop is gonna be a okay. So that's the movie.

588
00:33:10,080 --> 00:33:24,200
Speaker 3: Let's take another quick break and we'll come back to discuss.

589
00:33:23,560 --> 00:33:27,600
Speaker 2: And we're back. Where to begin? Calrqaysia, Is there anything

590
00:33:27,640 --> 00:33:30,040
Speaker 2: that jumps out to you or you'd like to start?

591
00:33:30,360 --> 00:33:34,120
Speaker 5: So? I will say that I like the movie's very colorful.

592
00:33:34,680 --> 00:33:37,680
Speaker 5: Color has been drained from all our movies as of late.

593
00:33:38,280 --> 00:33:39,120
Speaker 4: I don't like it.

594
00:33:38,920 --> 00:33:42,960
Speaker 5: It's very technically fitting with the time, was very dystoping, right,

595
00:33:43,360 --> 00:33:46,040
Speaker 5: So I love it. It's super colorful and like I

596
00:33:46,040 --> 00:33:48,320
Speaker 5: think we talked about right before we started the episode,

597
00:33:48,640 --> 00:33:52,239
Speaker 5: the cast love to cast is just again people that

598
00:33:52,360 --> 00:33:55,920
Speaker 5: you wouldn't expectively just showing up, like you said me

599
00:33:55,920 --> 00:34:00,360
Speaker 5: a Safari enemy, Dow, Kevin Bacon, every Wordard Okay Via

600
00:34:00,640 --> 00:34:02,920
Speaker 5: Spencer Like, people kept showing up and I was like,

601
00:34:02,960 --> 00:34:04,479
Speaker 5: this is great, this is great.

602
00:34:04,920 --> 00:34:06,680
Speaker 4: So I loved it for that reason.

603
00:34:06,720 --> 00:34:08,360
Speaker 5: I also loved that it was you know, because I

604
00:34:08,400 --> 00:34:10,279
Speaker 5: did used to like the Barbershop, so I loved that

605
00:34:10,320 --> 00:34:11,640
Speaker 5: it was a spin off, like it was a nice

606
00:34:11,640 --> 00:34:15,120
Speaker 5: constutu thing going. And like I said, this movie, I've

607
00:34:15,160 --> 00:34:18,520
Speaker 5: done it before in my like Twitter spaces before, you know,

608
00:34:19,160 --> 00:34:23,120
Speaker 5: the rab Bastard Block, the Blackform. But yeah, I had

609
00:34:23,160 --> 00:34:26,360
Speaker 5: definitely passed the Kent test with like flying colors, like

610
00:34:26,440 --> 00:34:28,120
Speaker 5: eight out of eight excellent.

611
00:34:28,600 --> 00:34:32,120
Speaker 4: So yeah, again it's like for me like top ten movies.

612
00:34:32,360 --> 00:34:35,719
Speaker 5: So I'm definitely excited to get into like further discussion.

613
00:34:35,920 --> 00:34:38,640
Speaker 3: Yeah, I was curious how it would fare on the

614
00:34:38,719 --> 00:34:42,239
Speaker 3: Kent test. But because it's a movie about camaraderie and

615
00:34:42,280 --> 00:34:48,160
Speaker 3: friendship among black women. It's a movie about a black

616
00:34:48,200 --> 00:34:53,200
Speaker 3: woman being a business owner and an entrepreneur, and also

617
00:34:53,640 --> 00:34:58,280
Speaker 3: an examination of the obstacles she's up against in a racist,

618
00:34:58,360 --> 00:35:01,440
Speaker 3: classiest world being a black businesiness owner. We see the

619
00:35:01,480 --> 00:35:05,040
Speaker 3: scene where you know, she can't get approved for the

620
00:35:05,080 --> 00:35:08,279
Speaker 3: business loan at the bank. At first, she's told by

621
00:35:09,000 --> 00:35:11,279
Speaker 3: the white banker that she doesn't have the adequate you know,

622
00:35:11,360 --> 00:35:16,640
Speaker 3: like credit, collateral or capital. But we know that black

623
00:35:16,680 --> 00:35:20,840
Speaker 3: people are often denied loans for businesses and mortgages and

624
00:35:20,880 --> 00:35:25,759
Speaker 3: everything because of systemic racism, and then she's only approved

625
00:35:25,920 --> 00:35:29,120
Speaker 3: for a loan that's a very small fraction of what

626
00:35:29,880 --> 00:35:34,600
Speaker 3: she initially requested. So all these things that she's up against,

627
00:35:34,960 --> 00:35:37,800
Speaker 3: including also the white guy that she works for towards

628
00:35:37,800 --> 00:35:40,600
Speaker 3: the beginning of the movie, who doesn't value her work,

629
00:35:40,640 --> 00:35:45,520
Speaker 3: he feels threatened by her. He constantly undermines her. There's

630
00:35:46,000 --> 00:35:50,520
Speaker 3: the bureaucracy, the guy, the white guy who's always coming

631
00:35:50,520 --> 00:35:53,239
Speaker 3: in and like slapping her with fines. I like that

632
00:35:53,280 --> 00:35:56,919
Speaker 3: the movie explores all that in a meaningful way.

633
00:35:57,480 --> 00:36:01,279
Speaker 2: Yeah, while still very much remaining a too Like I

634
00:36:01,320 --> 00:36:03,960
Speaker 2: think this movie has a very light touch, but it's

635
00:36:04,080 --> 00:36:06,960
Speaker 2: not evasive in a way that I think a lot

636
00:36:06,960 --> 00:36:09,600
Speaker 2: of movies are. Because I mean, even in the scene

637
00:36:09,600 --> 00:36:13,080
Speaker 2: at the bank that you're describing, like Gina says explicitly

638
00:36:13,239 --> 00:36:16,160
Speaker 2: like she knows why she is not being given a

639
00:36:16,200 --> 00:36:19,800
Speaker 2: fair shot at this bank load, like it is very clear,

640
00:36:19,880 --> 00:36:22,239
Speaker 2: and even then she doesn't get what she asked for

641
00:36:22,400 --> 00:36:25,240
Speaker 2: and that she deserved and that a white business person

642
00:36:25,280 --> 00:36:27,879
Speaker 2: would very likely get without a lot of.

643
00:36:27,800 --> 00:36:32,759
Speaker 3: Struggle, any pushback. Yeah. Also that banker is like, you know,

644
00:36:33,239 --> 00:36:36,640
Speaker 3: you can apply for a credit card instead of throwing

645
00:36:36,719 --> 00:36:40,319
Speaker 3: around your race card. And then when Gina approaches her

646
00:36:40,320 --> 00:36:43,120
Speaker 3: in the bathroom, she's like, don't kill me. She's afraid that.

647
00:36:43,200 --> 00:36:46,480
Speaker 3: She's like, it's like violence on her. I'll just like, get.

648
00:36:46,320 --> 00:36:51,360
Speaker 2: This, this racist banker got a free haircut. It's not fair,

649
00:36:52,040 --> 00:36:54,399
Speaker 2: but it gets the beauty shot.

650
00:36:54,960 --> 00:36:55,200
Speaker 4: Yeah.

651
00:36:55,920 --> 00:36:59,440
Speaker 2: In any case, I was really happy to see. I

652
00:36:59,440 --> 00:37:01,440
Speaker 2: don't know, I think just like when I think of

653
00:37:01,600 --> 00:37:06,800
Speaker 2: movies from this era that have a cast that mostly women,

654
00:37:07,239 --> 00:37:09,680
Speaker 2: I'm like, this is great. I wonder how they're gonna

655
00:37:10,200 --> 00:37:13,279
Speaker 2: somehow make it about a man anyways, because I feel

656
00:37:13,320 --> 00:37:14,879
Speaker 2: like we see that a lot, but that doesn't really

657
00:37:14,920 --> 00:37:18,040
Speaker 2: happen here. I liked that. I mean even in the

658
00:37:18,280 --> 00:37:21,600
Speaker 2: like Little JJ and Gina's daughter, I thought that they

659
00:37:21,640 --> 00:37:25,000
Speaker 2: were going to force, you know, a child romance, but

660
00:37:25,080 --> 00:37:29,319
Speaker 2: it's like that is mercifully avoided. And this is a

661
00:37:29,440 --> 00:37:32,440
Speaker 2: rare example. I think that we're often like you can

662
00:37:32,480 --> 00:37:33,920
Speaker 2: cut out the love story. It's not a big deal.

663
00:37:34,000 --> 00:37:36,520
Speaker 2: But I really like this love story. I think it's sweet.

664
00:37:36,840 --> 00:37:38,719
Speaker 2: I don't think it gets in the way. Like I

665
00:37:38,760 --> 00:37:42,160
Speaker 2: think where I get frustrated with love story plots is

666
00:37:42,200 --> 00:37:44,160
Speaker 2: when it all of a sudden is taking up all

667
00:37:44,200 --> 00:37:47,840
Speaker 2: the air in the movie, but here it's like Gina

668
00:37:48,400 --> 00:37:52,680
Speaker 2: deserves love. He's a great guy, he's obsessed with her,

669
00:37:52,800 --> 00:37:53,640
Speaker 2: he's hot.

670
00:37:53,560 --> 00:37:56,440
Speaker 3: He's so supportive, and.

671
00:37:56,560 --> 00:37:59,080
Speaker 2: He's not like on screen so much that he all

672
00:37:59,080 --> 00:38:01,840
Speaker 2: of a sudden sort of is taking over the movie

673
00:38:02,080 --> 00:38:06,000
Speaker 2: above the community of women. And so I'm like, I'm

674
00:38:06,000 --> 00:38:06,880
Speaker 2: fine with it. I like it.

675
00:38:06,960 --> 00:38:11,280
Speaker 3: Yeah, but I'm also like, let Queen Latifah be gay

676
00:38:11,600 --> 00:38:15,520
Speaker 3: in more movies. If she does have to be in

677
00:38:15,560 --> 00:38:21,239
Speaker 3: a hetero relationship in a movie, who better than Jaimon Hansu, Right?

678
00:38:21,280 --> 00:38:21,480
Speaker 7: Who?

679
00:38:21,520 --> 00:38:24,960
Speaker 2: Also I think married Kimoraly Simmons shortly after this, if

680
00:38:24,960 --> 00:38:28,680
Speaker 2: I'm recalling my Komoraly Simmons history correctly.

681
00:38:28,920 --> 00:38:31,319
Speaker 5: Oh, I don't know if they're ever officially married, but

682
00:38:31,360 --> 00:38:34,640
Speaker 5: like they were together while a long time.

683
00:38:34,760 --> 00:38:40,080
Speaker 2: Yeah, yeah, because he was like on her show, right, Okay,

684
00:38:40,800 --> 00:38:44,719
Speaker 2: Wow two thousand Sprain, it's coming back. This movie really

685
00:38:44,719 --> 00:38:47,600
Speaker 2: did bring back some like regressed like thoughts that just

686
00:38:47,640 --> 00:38:52,320
Speaker 2: like were collecting dust like information about Komoralley Simmons, who's

687
00:38:52,360 --> 00:38:54,600
Speaker 2: also in this movie in a very two thousand and

688
00:38:54,600 --> 00:38:57,600
Speaker 2: five cameo. But yeah, I mean I think that this

689
00:38:57,680 --> 00:39:00,919
Speaker 2: movie does a great job at like remaining centered on

690
00:39:01,239 --> 00:39:05,759
Speaker 2: the characters that are advertised, which almost never happens. Do

691
00:39:05,800 --> 00:39:07,520
Speaker 2: we want to talk about sort of the women who

692
00:39:07,520 --> 00:39:09,920
Speaker 2: work at the shop. Yeah, we have a lot of

693
00:39:09,920 --> 00:39:14,040
Speaker 2: people to choose from, and again, like distinct personality is

694
00:39:14,080 --> 00:39:16,880
Speaker 2: it everyone has their own, which I feel like is

695
00:39:17,520 --> 00:39:20,000
Speaker 2: also very true of the barbershop movies. But I just

696
00:39:20,040 --> 00:39:23,279
Speaker 2: like it's beauty shop and I like women better, so

697
00:39:23,400 --> 00:39:26,040
Speaker 2: this is good. Yeah, I mean I feel like everyone

698
00:39:26,160 --> 00:39:29,879
Speaker 2: has within the shop. It's more like this is the

699
00:39:30,160 --> 00:39:32,440
Speaker 2: woman who does this, This is the woman who does this.

700
00:39:32,640 --> 00:39:36,400
Speaker 2: But that's very I don't know, ensemble comedy ish, right,

701
00:39:36,680 --> 00:39:39,360
Speaker 2: I felt like outside of the Linn stuff, which we

702
00:39:39,400 --> 00:39:43,200
Speaker 2: should probably get into, I mean, all of the women

703
00:39:43,280 --> 00:39:45,759
Speaker 2: are really cool. I like that. Like, I don't know,

704
00:39:45,840 --> 00:39:48,960
Speaker 2: for the most part, like it just felt very community

705
00:39:49,280 --> 00:39:55,480
Speaker 2: like people giving each other shit. I enjoyed it. Lynn, Okay,

706
00:39:56,960 --> 00:40:00,279
Speaker 2: where do we start. There are other movies that have

707
00:40:00,760 --> 00:40:03,520
Speaker 2: done this. I can't remember what movies we've talked about

708
00:40:03,560 --> 00:40:07,080
Speaker 2: that half, but that like it seems like there is

709
00:40:07,120 --> 00:40:13,680
Speaker 2: the suggestion that, like the racism that Gina faced at

710
00:40:13,840 --> 00:40:17,520
Speaker 2: Jorgees and also in the world as we've seen at

711
00:40:17,520 --> 00:40:21,040
Speaker 2: the bank, in all these different situations is comparable to

712
00:40:22,040 --> 00:40:26,839
Speaker 2: Lynn at Gina's Beauty Shop, and it does not work

713
00:40:26,880 --> 00:40:28,920
Speaker 2: at all because that's not true.

714
00:40:29,280 --> 00:40:34,200
Speaker 3: Yeah, I was a little confused by that choice.

715
00:40:34,600 --> 00:40:37,200
Speaker 2: I'm opening the floor to the Linn situation.

716
00:40:37,440 --> 00:40:40,320
Speaker 5: You know again oral two thousands shit right, So people

717
00:40:40,480 --> 00:40:46,279
Speaker 5: their racial politics is very what you know what one

718
00:40:46,280 --> 00:40:47,920
Speaker 5: of those things were Like, No, I feel like it

719
00:40:47,960 --> 00:40:49,759
Speaker 5: definitely could be written better because I know what they're

720
00:40:49,760 --> 00:40:52,960
Speaker 5: trying to say, what it's saying it very badly. One

721
00:40:52,960 --> 00:40:54,719
Speaker 5: of those things where it's just like, you know, you

722
00:40:54,760 --> 00:40:57,360
Speaker 5: can't be someone who is not a member of the community,

723
00:40:57,480 --> 00:40:59,839
Speaker 5: right and thinks that you're going to just be touch

724
00:40:59,880 --> 00:41:01,000
Speaker 5: of people's.

725
00:41:00,800 --> 00:41:01,759
Speaker 4: Head and hair, right.

726
00:41:02,160 --> 00:41:04,040
Speaker 5: Like, I don't know about other people, but like for me,

727
00:41:04,239 --> 00:41:07,200
Speaker 5: you know, I am what's definite. I'm not jeering, but

728
00:41:07,239 --> 00:41:09,960
Speaker 5: I was like born here firmly in the States. You know,

729
00:41:10,000 --> 00:41:13,640
Speaker 5: I grew up in a very strong, robust, very tight

730
00:41:13,719 --> 00:41:17,040
Speaker 5: knit Black American community, and you know a lot of

731
00:41:17,120 --> 00:41:18,919
Speaker 5: us are just like, you know, if we don't fuck

732
00:41:18,960 --> 00:41:21,399
Speaker 5: with you, you can't touch our head. Like that's the whole thing,

733
00:41:21,640 --> 00:41:24,839
Speaker 5: Like you cannot touch our head. Nope, hair and nope.

734
00:41:24,880 --> 00:41:28,040
Speaker 5: It's a very intimate thing for someone to just you know,

735
00:41:28,360 --> 00:41:31,160
Speaker 5: putting their hands in your hair, doing whatever, right, so

736
00:41:31,760 --> 00:41:35,319
Speaker 5: I could get the distrust of this life random white

737
00:41:35,360 --> 00:41:38,359
Speaker 5: girl coming here, she's about to touch my head, Like

738
00:41:38,400 --> 00:41:41,839
Speaker 5: I don't know, I don't know. So I understand what

739
00:41:41,880 --> 00:41:44,160
Speaker 5: they were trying to say in the fact that you know,

740
00:41:44,200 --> 00:41:46,400
Speaker 5: she would have to play ball with the community and

741
00:41:46,440 --> 00:41:50,080
Speaker 5: you know, like really plug in. Now how they end

742
00:41:50,160 --> 00:41:53,960
Speaker 5: up praying it was beards, So this was like, you know,

743
00:41:54,480 --> 00:41:56,839
Speaker 5: trying to give her like this halfway black saying because

744
00:41:57,000 --> 00:41:59,279
Speaker 5: she is Southern, so she had that going for her.

745
00:41:59,320 --> 00:42:00,080
Speaker 4: So I don't know why she.

746
00:42:00,040 --> 00:42:03,840
Speaker 5: Didn't just lean into day, but like it's weird like

747
00:42:05,000 --> 00:42:08,040
Speaker 5: halfway black picasto, but not fully right.

748
00:42:08,239 --> 00:42:10,120
Speaker 4: You know, she's there.

749
00:42:10,400 --> 00:42:13,960
Speaker 2: We recently covered Save the Last Dance, and it very

750
00:42:14,000 --> 00:42:16,560
Speaker 2: much reminded me. I mean, it wasn't as bad as

751
00:42:16,600 --> 00:42:20,440
Speaker 2: the Julia Styles makeover from or It's just a different

752
00:42:20,480 --> 00:42:23,319
Speaker 2: flavor of bad. Like I don't know, but I was like,

753
00:42:23,440 --> 00:42:27,400
Speaker 2: this was something that happened in movies in the two thousands.

754
00:42:27,640 --> 00:42:30,799
Speaker 2: Is I agree with the cl Like the way that

755
00:42:31,280 --> 00:42:35,759
Speaker 2: Lynn talks is very like all lives matterie where she's

756
00:42:35,800 --> 00:42:38,959
Speaker 2: like I've done everyone's hair black, white and polka dot.

757
00:42:39,000 --> 00:42:42,680
Speaker 2: I'm like, that's all lives matter rhetoric. Like that's like

758
00:42:43,040 --> 00:42:44,680
Speaker 2: you're I don't know, you.

759
00:42:44,719 --> 00:42:46,880
Speaker 5: Were missing the entire point, like you were in you know,

760
00:42:46,920 --> 00:42:49,640
Speaker 5: you're not poor had shop anymore where like not even

761
00:42:49,719 --> 00:42:52,000
Speaker 5: in the clientele is like white, Like no, you are

762
00:42:52,320 --> 00:42:57,919
Speaker 5: Gina's shop where nine the client til is black, and like.

763
00:42:57,880 --> 00:43:01,160
Speaker 4: They don't know you. So so yeah, you're.

764
00:43:01,040 --> 00:43:05,080
Speaker 5: Gonna get some looks, gonna get some you know, standoffish,

765
00:43:05,320 --> 00:43:06,440
Speaker 5: clipped responses.

766
00:43:07,000 --> 00:43:08,200
Speaker 4: Yeah, it's one of those things. Were lying.

767
00:43:08,239 --> 00:43:11,880
Speaker 5: You know, I didn't mind some of the hairstyles, but others.

768
00:43:11,960 --> 00:43:13,799
Speaker 5: Was like you're doing a lot, you know, it's just

769
00:43:13,920 --> 00:43:17,160
Speaker 5: enough to like display that you have these skills and

770
00:43:17,280 --> 00:43:20,160
Speaker 5: leave it at dat, like focus on the skills, like

771
00:43:20,239 --> 00:43:24,000
Speaker 5: you're trying to do this weird black cosplays like it

772
00:43:24,160 --> 00:43:27,720
Speaker 5: wasn't needed. But like I said, two thousands racial pots

773
00:43:27,880 --> 00:43:30,960
Speaker 5: is really weird. Like it's really weird even from certain

774
00:43:31,000 --> 00:43:34,719
Speaker 5: black stars and black celebrities. Lord notes, Oh and that

775
00:43:34,760 --> 00:43:37,319
Speaker 5: could be its a whole different, like honestly episode and

776
00:43:37,360 --> 00:43:39,120
Speaker 5: show true.

777
00:43:39,160 --> 00:43:41,480
Speaker 3: Well, I want to take a little detour because I

778
00:43:41,800 --> 00:43:44,680
Speaker 3: wrote out the beats of Lynn's story just to be like,

779
00:43:44,880 --> 00:43:47,319
Speaker 3: what are any of these choices? But the detoy I

780
00:43:47,320 --> 00:43:51,360
Speaker 3: want to take is who made this movie? Who wrote

781
00:43:51,520 --> 00:43:55,359
Speaker 3: the movie? And so there's a story by credit by

782
00:43:55,880 --> 00:43:59,520
Speaker 3: Elizabeth Hunter. She is a black woman who has worked

783
00:43:59,520 --> 00:44:02,640
Speaker 3: mostly into as a writer and producer. I don't know

784
00:44:02,800 --> 00:44:08,120
Speaker 3: to what extent she wrote any draft of a script

785
00:44:08,400 --> 00:44:11,840
Speaker 3: or what exactly her involvement is, but she's credited with

786
00:44:11,920 --> 00:44:15,319
Speaker 3: a story by credit. The two credited screenwriters of this

787
00:44:15,440 --> 00:44:21,200
Speaker 3: movie are Norman Vance Junior, who is another writer mostly

788
00:44:21,239 --> 00:44:25,280
Speaker 3: working in TV. He's a black man, and then Kate Vanier.

789
00:44:26,000 --> 00:44:28,520
Speaker 3: We have talked about her before on this show, on

790
00:44:28,560 --> 00:44:32,720
Speaker 3: the set It Off episode, because she is a white

791
00:44:32,800 --> 00:44:37,040
Speaker 3: woman who wrote a bunch of movies with predominantly black casts.

792
00:44:37,520 --> 00:44:40,560
Speaker 3: She wrote the screenplay for set it Off, She wrote

793
00:44:40,640 --> 00:44:43,360
Speaker 3: the Tina Turner biopic What's Love Got to Do With It?

794
00:44:43,960 --> 00:44:47,120
Speaker 3: She wrote Crazy Sexy Cool, the TLC story, She wrote Glitter,

795
00:44:47,280 --> 00:44:50,279
Speaker 3: and she wrote Glitter. We have to remember that she

796
00:44:50,440 --> 00:44:53,760
Speaker 3: did write Glitter. She's got some crimes under her belt.

797
00:44:54,200 --> 00:44:56,640
Speaker 2: She has to answer for it. I haven't seen Bitter

798
00:44:56,680 --> 00:44:57,239
Speaker 2: in a long time.

799
00:44:57,360 --> 00:44:59,920
Speaker 3: And as we talked about on the set It Off episode,

800
00:45:00,480 --> 00:45:06,000
Speaker 3: she like defended these movies she written by saying, like, well,

801
00:45:06,480 --> 00:45:10,440
Speaker 3: I know black people, and I love black people, so

802
00:45:10,520 --> 00:45:13,880
Speaker 3: that gives me permission to write black stories as if

803
00:45:14,120 --> 00:45:17,839
Speaker 3: they're my own stories to tell. So that is one

804
00:45:17,880 --> 00:45:20,440
Speaker 3: of the co writers of this movie. So with that

805
00:45:20,600 --> 00:45:24,840
Speaker 3: in mind, let's return back to some of these other topics.

806
00:45:24,920 --> 00:45:27,400
Speaker 3: So going back to Lynn to speak to what you

807
00:45:27,400 --> 00:45:31,759
Speaker 3: were saying Clarkisha about like the reluctance to trust her

808
00:45:32,280 --> 00:45:37,520
Speaker 3: from the clientele and the other stylists at the beauty shop, Like, yes,

809
00:45:37,640 --> 00:45:43,800
Speaker 3: that absolutely tracks, and her conduct. Lynn's conduct, her desperate

810
00:45:43,800 --> 00:45:47,080
Speaker 3: attempt to try to fit in by doing like weird

811
00:45:47,320 --> 00:45:51,440
Speaker 3: appropriate of stuff like that also tracks because that is

812
00:45:51,480 --> 00:45:54,960
Speaker 3: a lot of white people behavior that we see a

813
00:45:55,000 --> 00:45:55,920
Speaker 3: lot of the time.

814
00:45:56,000 --> 00:45:59,960
Speaker 2: But it's not done critically exactly it happened.

815
00:46:00,080 --> 00:46:03,359
Speaker 3: And in fact, her arc is that all the black

816
00:46:03,400 --> 00:46:08,400
Speaker 3: people in the shop encourage her to keep appropriating and

817
00:46:09,040 --> 00:46:13,160
Speaker 3: change her hairstyle and like talk a certain way, and

818
00:46:13,200 --> 00:46:16,520
Speaker 3: then it lands her this black boyfriend who for as

819
00:46:16,600 --> 00:46:20,880
Speaker 3: much as I enjoy the romance between Gina and Joe,

820
00:46:21,080 --> 00:46:24,160
Speaker 3: I'm like, what is this romance between Lynn and James,

821
00:46:24,239 --> 00:46:26,600
Speaker 3: I don't understand because.

822
00:46:26,360 --> 00:46:29,600
Speaker 2: It's also caught in the crossfire of the homophobic triph

823
00:46:29,640 --> 00:46:31,680
Speaker 2: that's going on. So it's just yeah, like a perfect

824
00:46:31,719 --> 00:46:35,200
Speaker 2: storm of two thousand and five movie flaws.

825
00:46:35,840 --> 00:46:40,799
Speaker 3: Yeah, so her character's arc in like the way because

826
00:46:40,840 --> 00:46:43,960
Speaker 3: at first, like when she's engaging in all this like

827
00:46:44,040 --> 00:46:49,360
Speaker 3: appropriative behavior, we cut to Alfre Woodard and she Shephard

828
00:46:49,440 --> 00:46:51,800
Speaker 3: like giving her looks and being like what the fuck

829
00:46:52,000 --> 00:46:55,839
Speaker 3: is she doing? But then by the end they're like, yeah,

830
00:46:55,880 --> 00:46:57,959
Speaker 3: this is actually awesome what you're doing.

831
00:46:58,000 --> 00:47:02,320
Speaker 2: On board the other end of that, we have the

832
00:47:02,400 --> 00:47:08,840
Speaker 2: Mina Suvari character who assaults James just like full on,

833
00:47:08,960 --> 00:47:12,760
Speaker 2: although I would guess that the politics of the sexual

834
00:47:12,760 --> 00:47:15,440
Speaker 2: politics of two thousand and five probably would not say that,

835
00:47:16,760 --> 00:47:20,719
Speaker 2: but that's definitely what happens. That micro interaction I thought

836
00:47:20,760 --> 00:47:24,640
Speaker 2: was really interesting for they didn't like because like she

837
00:47:25,560 --> 00:47:29,160
Speaker 2: grabs his butt as he's walking past her. Already she

838
00:47:29,360 --> 00:47:33,120
Speaker 2: just assaulted him, and then Lynn calls her out on it,

839
00:47:33,200 --> 00:47:38,399
Speaker 2: but only because James is her boyfriend, not because Mina

840
00:47:38,440 --> 00:47:43,480
Speaker 2: Savari just assaulted someone like and again, very very uncritical

841
00:47:43,600 --> 00:47:47,040
Speaker 2: and it's more like, oh, you're jealous, and like, no,

842
00:47:47,160 --> 00:47:51,520
Speaker 2: you just committed a crime, Like what again? Two thousand

843
00:47:51,560 --> 00:47:54,840
Speaker 2: and five. But yeah, Mina Savari is really oscillating between

844
00:47:54,920 --> 00:47:58,200
Speaker 2: like a full on villain. But then she also makes

845
00:47:58,239 --> 00:48:01,279
Speaker 2: the connection with cover Girl like that was all over

846
00:48:01,320 --> 00:48:01,800
Speaker 2: the place.

847
00:48:02,719 --> 00:48:04,640
Speaker 4: I mean, actually very true to life.

848
00:48:04,719 --> 00:48:06,560
Speaker 5: It's why I'm being honest with you, and you know,

849
00:48:06,640 --> 00:48:10,600
Speaker 5: dealing with white women, especially in these professional capacities right

850
00:48:11,360 --> 00:48:13,719
Speaker 5: very you know, doctor Jeko, mister Hyde type shit.

851
00:48:14,440 --> 00:48:16,960
Speaker 4: So it actually made sense that she was like that.

852
00:48:17,520 --> 00:48:20,520
Speaker 5: And then for you know, Lynn and her, I'm really

853
00:48:20,520 --> 00:48:23,359
Speaker 5: glad you kind of putting them on this like spectrum,

854
00:48:23,520 --> 00:48:25,680
Speaker 5: right because you have Lynn, Like, let's be honest, Lynn's

855
00:48:25,680 --> 00:48:26,719
Speaker 5: given white trash.

856
00:48:26,560 --> 00:48:29,839
Speaker 4: Like let's keep it up. But she's given white trash, right,

857
00:48:30,160 --> 00:48:31,200
Speaker 4: and then you got men up.

858
00:48:31,400 --> 00:48:33,839
Speaker 5: I forgot her character's name, but she given like even

859
00:48:33,840 --> 00:48:36,200
Speaker 5: know was waspy white, that.

860
00:48:36,120 --> 00:48:38,080
Speaker 3: Kind of thing, upscale kind of.

861
00:48:38,239 --> 00:48:42,200
Speaker 5: So it makes sense that they will be like fighting

862
00:48:42,280 --> 00:48:45,319
Speaker 5: over this person for like the wrong reason. Honestly, for me,

863
00:48:45,320 --> 00:48:49,839
Speaker 5: it's given like plantation politics, like hey, that's that's fine.

864
00:48:50,000 --> 00:48:52,120
Speaker 4: You know, I own that you can't be touched and

865
00:48:52,160 --> 00:48:53,560
Speaker 4: that's my property. That's what's given.

866
00:48:53,600 --> 00:48:56,640
Speaker 5: I was like, ew, like what again, because like you said,

867
00:48:56,640 --> 00:48:59,960
Speaker 5: it's beauty shop that it's very quick, it's very subtle,

868
00:49:00,160 --> 00:49:03,120
Speaker 5: but it's like it's just like, hey, do you do

869
00:49:03,160 --> 00:49:06,200
Speaker 5: you see what we're doing with this right? So for me,

870
00:49:06,239 --> 00:49:08,680
Speaker 5: I was just like, no, that character makes absolute sense.

871
00:49:08,920 --> 00:49:13,560
Speaker 3: Especially yeah, that she's the type of white woman who

872
00:49:13,600 --> 00:49:17,840
Speaker 3: will like engage with black people even give them her money,

873
00:49:18,040 --> 00:49:20,600
Speaker 3: you know, her business as long as it serves her.

874
00:49:20,640 --> 00:49:24,000
Speaker 3: But the second anyone challenges her.

875
00:49:24,280 --> 00:49:27,240
Speaker 2: Or I mean, she demands that someone gets fire later.

876
00:49:27,400 --> 00:49:31,880
Speaker 3: Very Karen behavior. And she's not demanding that Lynn that

877
00:49:32,040 --> 00:49:35,680
Speaker 3: the Alicia Silverson character gets fired another white woman. She's

878
00:49:35,719 --> 00:49:39,799
Speaker 3: demanding that Chanelle, a black woman, get fired, and Gina's like, no,

879
00:49:40,120 --> 00:49:43,239
Speaker 3: get the fuck out of my shop. So yeah, the

880
00:49:43,400 --> 00:49:48,120
Speaker 3: Mina Sufari character, her behavior also tracked. We're just seeing

881
00:49:48,160 --> 00:49:52,600
Speaker 3: like different versions of white women white women ing in

882
00:49:52,640 --> 00:49:55,840
Speaker 3: this movie between Lynn and between Joanne I think is

883
00:49:55,880 --> 00:49:56,880
Speaker 3: her character's name.

884
00:49:56,960 --> 00:50:01,239
Speaker 2: And Andy McDowell's character too, who like kind of ends

885
00:50:01,320 --> 00:50:05,560
Speaker 2: up skating through the movie and then we have the

886
00:50:05,680 --> 00:50:09,720
Speaker 2: whole butt prosthetic at the end that I did not remember.

887
00:50:10,280 --> 00:50:14,000
Speaker 2: But with Andy McDowell, there are a series of like

888
00:50:14,120 --> 00:50:16,600
Speaker 2: microaggressions that she does. I mean, I feel like the

889
00:50:16,600 --> 00:50:20,319
Speaker 2: one that stood out for me, was trying to bring

890
00:50:20,400 --> 00:50:24,840
Speaker 2: up Janet Jackson in an insulting way, which is a

891
00:50:25,080 --> 00:50:28,960
Speaker 2: very early two thousands talking point, but like, if you

892
00:50:29,000 --> 00:50:30,879
Speaker 2: were alive in the early two thousands, you can tell

893
00:50:30,880 --> 00:50:34,440
Speaker 2: exactly what the writers are doing. Where like she's basically

894
00:50:34,920 --> 00:50:39,400
Speaker 2: regurgitating the white media narrative around Janet Jackson that completely

895
00:50:39,840 --> 00:50:43,520
Speaker 2: blamed her and literally called her crazy. And it just

896
00:50:43,760 --> 00:50:47,520
Speaker 2: all these horrible, untrue things that on a long enough

897
00:50:47,560 --> 00:50:52,880
Speaker 2: timeline that narrative has shifted. But Andy McDowell is a

898
00:50:52,920 --> 00:50:56,080
Speaker 2: white woman, first of all, trying to connect with a

899
00:50:56,160 --> 00:50:59,279
Speaker 2: room full of black women by insulting Janet jack Like,

900
00:50:59,680 --> 00:51:03,319
Speaker 2: it just this is like unbelievably misguided. And in that case,

901
00:51:03,360 --> 00:51:06,080
Speaker 2: if like the movie knows that and Annie McDowell is

902
00:51:06,120 --> 00:51:09,440
Speaker 2: wrong and she has to, like you, get her shit

903
00:51:09,560 --> 00:51:12,160
Speaker 2: together kind of not that she necessarily does.

904
00:51:12,120 --> 00:51:15,160
Speaker 3: But and then another part of her character is at

905
00:51:15,200 --> 00:51:20,560
Speaker 3: first she's like catfish rita your soul food, No thanks,

906
00:51:20,640 --> 00:51:23,760
Speaker 3: I don't eat like that, and then she comes around.

907
00:51:23,840 --> 00:51:27,680
Speaker 3: It almost honestly feels like to some degree this movie

908
00:51:27,760 --> 00:51:31,640
Speaker 3: is more interested in a few of the character arcs

909
00:51:31,680 --> 00:51:34,920
Speaker 3: of the white women than it is of Because I

910
00:51:34,920 --> 00:51:38,719
Speaker 3: would love to have seen more of a subplot of

911
00:51:39,040 --> 00:51:43,480
Speaker 3: Alfrey Woodard's or Sherry Shepherd or what's the actor who

912
00:51:43,520 --> 00:51:47,840
Speaker 3: plays Chanelle Golden Golden Brooks, Like, where are their little

913
00:51:48,560 --> 00:51:51,760
Speaker 3: vignettes of their interior lives. We know that Sherry Shepherd's

914
00:51:51,840 --> 00:51:54,879
Speaker 3: character is pregnant, but we don't really know much else

915
00:51:54,920 --> 00:51:57,600
Speaker 3: about it except that she's also like horny for every

916
00:51:57,640 --> 00:52:01,560
Speaker 3: other man she sees. Pretty funny, but like I felt

917
00:52:01,600 --> 00:52:04,640
Speaker 3: those characters were a little underdeveloped. I would have loved

918
00:52:04,640 --> 00:52:08,239
Speaker 3: to see more of their interior lives and more of

919
00:52:08,320 --> 00:52:10,640
Speaker 3: just like their relationships with each other. But I feel

920
00:52:10,680 --> 00:52:13,240
Speaker 3: like there's a lot of real estate in the story

921
00:52:13,280 --> 00:52:18,200
Speaker 3: given to these white women like b characters that I

922
00:52:18,200 --> 00:52:21,400
Speaker 3: don't know if that was an attempt to quote unquote

923
00:52:21,480 --> 00:52:26,280
Speaker 3: make this movie more marketable to a wide spread audience,

924
00:52:26,560 --> 00:52:29,600
Speaker 3: I not sure, But it plays out in a way

925
00:52:29,640 --> 00:52:33,400
Speaker 3: that reads weird, and it's focusing on characters who I

926
00:52:33,440 --> 00:52:35,840
Speaker 3: don't care about, and I would rather see more of

927
00:52:35,880 --> 00:52:36,320
Speaker 3: the others.

928
00:52:36,760 --> 00:52:39,560
Speaker 2: Yeah, I don't think we necessarily needed a gradient of

929
00:52:39,760 --> 00:52:44,919
Speaker 2: types of white women this movie. We do get more

930
00:52:44,960 --> 00:52:49,279
Speaker 2: of an arc for Keisha Knight William's character Darnell, where

931
00:52:49,320 --> 00:52:51,000
Speaker 2: I feel like this movie. I mean again, I think

932
00:52:51,200 --> 00:52:54,320
Speaker 2: I totally agree. Where I would have liked more detailed

933
00:52:54,800 --> 00:52:56,919
Speaker 2: arcs for their women within the shop, we do get

934
00:52:57,040 --> 00:53:00,520
Speaker 2: some decent time with the family outside the shop.

935
00:53:00,560 --> 00:53:01,120
Speaker 3: That true.

936
00:53:01,320 --> 00:53:05,120
Speaker 2: I don't know. I enjoyed that where you know, Gina

937
00:53:05,239 --> 00:53:10,239
Speaker 2: and Darnell have this like antagonistic but loving, very familial

938
00:53:10,880 --> 00:53:14,640
Speaker 2: relationship even though it's very plotty. I liked when Darnell

939
00:53:14,760 --> 00:53:17,520
Speaker 2: came back to the shop and did want to work

940
00:53:17,560 --> 00:53:20,399
Speaker 2: with Gina. I don't know, I wish like I don't

941
00:53:20,440 --> 00:53:22,799
Speaker 2: have that much to say about Darnell, but she did

942
00:53:22,800 --> 00:53:25,960
Speaker 2: have an arc. I liked her, and I really like

943
00:53:26,200 --> 00:53:30,520
Speaker 2: Gina's daughter. I think that's the story between her. Gina

944
00:53:30,640 --> 00:53:35,000
Speaker 2: and Joe is so sweet and Kayla and I have

945
00:53:35,000 --> 00:53:37,480
Speaker 2: talked to Billy Tis about like, when you put a

946
00:53:37,480 --> 00:53:39,879
Speaker 2: precocious child in the movie, it can go a lot

947
00:53:39,920 --> 00:53:46,360
Speaker 2: of ways. Yes, you real back, it can be grating,

948
00:53:46,680 --> 00:53:50,080
Speaker 2: but I really thought that that balance was really sweet.

949
00:53:50,160 --> 00:53:53,920
Speaker 2: I love the jazz that Joe teaches her comes back

950
00:53:54,160 --> 00:53:56,320
Speaker 2: like that kind of brings the two of them together.

951
00:53:57,320 --> 00:53:59,680
Speaker 2: I loved it, and I love that she says my

952
00:53:59,680 --> 00:54:02,759
Speaker 2: favorite line in the movie, I don't eat donuts with

953
00:54:02,800 --> 00:54:03,880
Speaker 2: boys who exploit women.

954
00:54:05,360 --> 00:54:08,880
Speaker 3: Okay, can we talk about that kid real quick because

955
00:54:09,520 --> 00:54:14,799
Speaker 3: the patriarchy. The kid Willie played by Little JJ. So,

956
00:54:15,200 --> 00:54:19,279
Speaker 3: as we've discussed, he's going around shooting footage with his

957
00:54:19,360 --> 00:54:23,680
Speaker 3: little handheld video camera. He's always shooting women's butts, making

958
00:54:23,760 --> 00:54:28,080
Speaker 3: comments on women's bodies in general. He routinely gets called

959
00:54:28,120 --> 00:54:31,920
Speaker 3: out for it, Vanessa, that quote they already shared, Jamie,

960
00:54:32,040 --> 00:54:34,880
Speaker 3: and then Gina says something like, don't come back here

961
00:54:34,960 --> 00:54:37,200
Speaker 3: until you learn how to speak to a lady. But

962
00:54:37,840 --> 00:54:40,800
Speaker 3: he doesn't listen. He keeps coming back. But it feels

963
00:54:40,840 --> 00:54:44,680
Speaker 3: like such a contradictory choice to have that behavior of

964
00:54:44,760 --> 00:54:49,759
Speaker 3: him objectifying and sexualizing women be called out. But then

965
00:54:49,800 --> 00:54:52,719
Speaker 3: the movie does the same exact thing by having a

966
00:54:52,760 --> 00:54:57,239
Speaker 3: bunch of like this male gay cinematography that specifically focuses

967
00:54:57,280 --> 00:55:01,840
Speaker 3: on women's butts. It also has women making shamy comments

968
00:55:01,880 --> 00:55:03,520
Speaker 3: about other women's bodies.

969
00:55:04,040 --> 00:55:09,200
Speaker 2: There's a lot of early two thousands fixation on plastic surgery.

970
00:55:09,560 --> 00:55:10,680
Speaker 2: Plastic surgery.

971
00:55:10,800 --> 00:55:15,120
Speaker 3: Yeah, and then also, like the kid, ultimately the fact

972
00:55:15,160 --> 00:55:19,320
Speaker 3: that he was filming women's butts is a good thing actually,

973
00:55:19,440 --> 00:55:21,799
Speaker 3: because if he wasn't doing that, he would have never

974
00:55:21,840 --> 00:55:25,359
Speaker 3: gotten that footage that incriminates Kevin Bacon, so.

975
00:55:25,680 --> 00:55:28,040
Speaker 2: I didn't think of it that way. But yeah, that's

976
00:55:28,080 --> 00:55:30,319
Speaker 2: not great. He was right to do that.

977
00:55:32,560 --> 00:55:36,200
Speaker 3: So I just found his character frustrating overall.

978
00:55:36,520 --> 00:55:39,759
Speaker 2: According to my little brother, he was doing serviceable work

979
00:55:39,840 --> 00:55:42,759
Speaker 2: over at all that and so maybe this just wasn't

980
00:55:42,760 --> 00:55:46,680
Speaker 2: Little JJ's big moment. His moment was on all that fair.

981
00:55:47,160 --> 00:55:51,200
Speaker 5: I appreciate him not sugarcoating, as you said, patriarchy the kid,

982
00:55:51,480 --> 00:55:53,520
Speaker 5: because again, it is usually just being like, oh, this

983
00:55:53,680 --> 00:55:57,880
Speaker 5: adult male popped out nowhere and he's a misogynistic ass.

984
00:55:58,120 --> 00:56:01,200
Speaker 5: But you know that doesn't happen until they become adults.

985
00:56:01,200 --> 00:56:03,080
Speaker 5: I'm like, no, that's not the case. And for me,

986
00:56:03,200 --> 00:56:06,760
Speaker 5: you know, I have them showing that, you know, because

987
00:56:07,000 --> 00:56:10,840
Speaker 5: I don't like movies that try to sanitize human behavior,

988
00:56:11,239 --> 00:56:13,239
Speaker 5: like now, they don't show it to me and try

989
00:56:13,239 --> 00:56:15,120
Speaker 5: to glorify it because you know, you know, there's some

990
00:56:15,200 --> 00:56:16,560
Speaker 5: piece of me to do that. They're like, oh, this

991
00:56:16,960 --> 00:56:19,239
Speaker 5: is terrible, but you know they're an anti hero. I

992
00:56:19,280 --> 00:56:23,680
Speaker 5: don't want to watch that ship. But I appreciate things

993
00:56:23,680 --> 00:56:26,759
Speaker 5: like that because I remember recently, I think you saw

994
00:56:26,800 --> 00:56:29,839
Speaker 5: the little announcement about tweaks that being made to a

995
00:56:29,880 --> 00:56:33,600
Speaker 5: certain character and a certain production with a kid who

996
00:56:33,600 --> 00:56:35,279
Speaker 5: has an air on his head. I'm not gonna say

997
00:56:35,280 --> 00:56:40,440
Speaker 5: it because I'm not trying to get them, but you know,

998
00:56:40,800 --> 00:56:43,319
Speaker 5: they were trying to make a key change to one

999
00:56:43,360 --> 00:56:46,160
Speaker 5: of the main characters because they're like, oh, you know

1000
00:56:46,680 --> 00:56:49,120
Speaker 5: him in the original series, Like he started off as

1001
00:56:49,239 --> 00:56:51,960
Speaker 5: very misogynistic and we want to da da da da, but.

1002
00:56:51,960 --> 00:56:55,120
Speaker 4: Why he is a young boy. That's what they do.

1003
00:56:55,200 --> 00:56:57,239
Speaker 5: That's not to excuse it, but like you need to

1004
00:56:57,239 --> 00:57:00,319
Speaker 5: be able to show that trajectory because you know, his

1005
00:57:00,400 --> 00:57:03,479
Speaker 5: team ends up being girls and both of them, both

1006
00:57:03,480 --> 00:57:06,240
Speaker 5: his sister and the new teammate, put him in his place,

1007
00:57:06,640 --> 00:57:09,919
Speaker 5: so then he has to start reshaping his world view

1008
00:57:10,200 --> 00:57:13,360
Speaker 5: about you know, girls and women, right, Like it's the

1009
00:57:13,400 --> 00:57:15,480
Speaker 5: thing we talked about earlier in the show where we

1010
00:57:15,480 --> 00:57:17,640
Speaker 5: talked about biases, right, Like, clearly he was born with

1011
00:57:17,640 --> 00:57:20,440
Speaker 5: his bias because of like you know, his tribe and

1012
00:57:20,480 --> 00:57:23,760
Speaker 5: what their gifts to seeing women do, right, but like

1013
00:57:24,000 --> 00:57:25,920
Speaker 5: just not your tribe, Like this is not that time.

1014
00:57:26,040 --> 00:57:30,440
Speaker 5: So you're supposed to show him shifting after being checked,

1015
00:57:30,680 --> 00:57:32,040
Speaker 5: but not just them. But you know, later in the

1016
00:57:32,080 --> 00:57:35,800
Speaker 5: series by other really awesome and very dynamic women and girls.

1017
00:57:35,880 --> 00:57:39,000
Speaker 4: Right, So I like when movies and media are like

1018
00:57:39,080 --> 00:57:40,160
Speaker 4: real about this shit.

1019
00:57:40,280 --> 00:57:42,360
Speaker 5: But also don't try to be like it's okay, because

1020
00:57:42,360 --> 00:57:45,040
Speaker 5: it wasn't okay. Right, Like he said, he did get

1021
00:57:45,360 --> 00:57:47,880
Speaker 5: routinely called out on it. Now I wish somebody would

1022
00:57:47,880 --> 00:57:52,520
Speaker 5: took his camera, but right, you know, you know, but yeah, no, I.

1023
00:57:52,480 --> 00:57:55,040
Speaker 4: Do appreciate that, Like, no, let's don't sugarcrowd it because

1024
00:57:55,040 --> 00:57:55,520
Speaker 4: this was how.

1025
00:57:56,440 --> 00:57:59,440
Speaker 3: The behavior is called out, Yes, at the very least,

1026
00:57:59,480 --> 00:58:03,240
Speaker 3: and this other show that shall not be named. It's

1027
00:58:03,280 --> 00:58:07,320
Speaker 3: important to show arcs like that because yes, many young

1028
00:58:07,400 --> 00:58:10,880
Speaker 3: men and boys, they're a product of their environment, and

1029
00:58:10,920 --> 00:58:14,000
Speaker 3: their environment is patriarchy, so they learn things that need

1030
00:58:14,000 --> 00:58:18,640
Speaker 3: to be unlearned, and it's important to show people unlearning

1031
00:58:18,680 --> 00:58:23,120
Speaker 3: their biases and so to make an adjustment that ignores that.

1032
00:58:23,440 --> 00:58:28,120
Speaker 2: Like yeah, particularly in media for kids too. Yeah, watching

1033
00:58:28,160 --> 00:58:31,920
Speaker 2: a character that you love unlearned that in real time

1034
00:58:32,200 --> 00:58:34,200
Speaker 2: is genuinely motivational.

1035
00:58:35,720 --> 00:58:40,040
Speaker 3: What else? Does anyone have anything else they'd like to discuss?

1036
00:58:40,520 --> 00:58:43,880
Speaker 2: I don't have too much else. I just wanted to

1037
00:58:43,880 --> 00:58:48,520
Speaker 2: shout out the director Bill Wooddriff, who we often cover

1038
00:58:48,840 --> 00:58:52,680
Speaker 2: the music video director to feature director Pipeline. Some of

1039
00:58:53,120 --> 00:58:57,400
Speaker 2: the most prolific music video directors of the nineties into

1040
00:58:57,440 --> 00:59:01,880
Speaker 2: the two thousands, like Truly name a popular act at

1041
00:59:01,920 --> 00:59:05,360
Speaker 2: this time, particularly Black musical acts at this time. He

1042
00:59:05,920 --> 00:59:10,360
Speaker 2: directed Truly Everybody ninety seven, big year for him. I

1043
00:59:10,400 --> 00:59:13,600
Speaker 2: just wanted to shout out his ninety seven because the

1044
00:59:13,680 --> 00:59:16,560
Speaker 2: hits are great. He did a Backstreet Boys music video

1045
00:59:16,600 --> 00:59:18,960
Speaker 2: this year, he did an Outcast music video. He did

1046
00:59:19,160 --> 00:59:22,960
Speaker 2: genu Wine, he did Usher, You Make Me Wanna, He

1047
00:59:23,040 --> 00:59:26,000
Speaker 2: did Salt and Peppa, Are You Ready? And he did

1048
00:59:26,040 --> 00:59:29,080
Speaker 2: Celine Dion My Heart Will Go On in nineteen ninety seven.

1049
00:59:29,360 --> 00:59:32,080
Speaker 3: I mean, the Titanic connection is.

1050
00:59:32,720 --> 00:59:37,640
Speaker 2: Every found the Titanic Connection, It's everything. But he also,

1051
00:59:38,040 --> 00:59:43,080
Speaker 2: I mean directed his first movie, which I haven't watched

1052
00:59:43,080 --> 00:59:47,200
Speaker 2: in forever, But he also directed Honey and the various

1053
00:59:47,520 --> 00:59:51,840
Speaker 2: movies in the Honey Expanded universe. So just wanted to

1054
00:59:52,240 --> 00:59:56,160
Speaker 2: shout him out. Still working today, Clerkisha, Is there anything

1055
00:59:56,200 --> 00:59:57,200
Speaker 2: else you wanted to touch on?

1056
00:59:57,960 --> 01:00:00,680
Speaker 5: I just want to dig up the movie for it's

1057
01:00:01,120 --> 01:00:03,520
Speaker 5: very vast representations of black women.

1058
01:00:04,280 --> 01:00:06,120
Speaker 4: We don't get that as much anymore.

1059
01:00:06,240 --> 01:00:09,200
Speaker 5: I think there are there are some talents in Black

1060
01:00:09,240 --> 01:00:12,400
Speaker 5: Hollywood that are trying to reverse that. You know, I'll

1061
01:00:12,400 --> 01:00:15,360
Speaker 5: shout out like Easter Ray Quintin Brunston, like they're really

1062
01:00:15,360 --> 01:00:18,160
Speaker 5: trying to like over time, trying to like in their

1063
01:00:18,200 --> 01:00:20,800
Speaker 5: own way, right, because it's not the responsibility, right, Like

1064
01:00:21,040 --> 01:00:24,600
Speaker 5: they're trying to like kind of like drag us back

1065
01:00:24,720 --> 01:00:27,960
Speaker 5: from like what our current landscape looks like, which is like,

1066
01:00:28,040 --> 01:00:32,520
Speaker 5: you know, the biracial woman standing in for like.

1067
01:00:32,640 --> 01:00:33,760
Speaker 4: Every black woman ever.

1068
01:00:34,280 --> 01:00:37,840
Speaker 5: The aggressive colorism that kind of is really pervasive unfortunately

1069
01:00:37,920 --> 01:00:40,400
Speaker 5: in a lot of our work because some of these

1070
01:00:40,440 --> 01:00:43,520
Speaker 5: male creatives apparently have to work out their ego on

1071
01:00:43,600 --> 01:00:48,320
Speaker 5: screen and you know, I guess they're comitties and attractions

1072
01:00:48,320 --> 01:00:52,080
Speaker 5: on screen, right, So I appreciate I've always appreciate Queen

1073
01:00:52,120 --> 01:00:55,360
Speaker 5: Latifa's work for like displaying black women in you know,

1074
01:00:56,000 --> 01:01:00,840
Speaker 5: various ways, and also across various generations too, you know,

1075
01:01:01,000 --> 01:01:04,680
Speaker 5: because the young, the old, the middle age, Like the

1076
01:01:04,720 --> 01:01:09,760
Speaker 5: movie has like everybody there, yeah, different shades to body

1077
01:01:09,840 --> 01:01:14,400
Speaker 5: sizes because like I said, it's not as commonplace anymore,

1078
01:01:14,440 --> 01:01:17,680
Speaker 5: which makes me sad to say, but yeah, it's one

1079
01:01:17,720 --> 01:01:19,520
Speaker 5: of my favorite movies for that reason because like you

1080
01:01:19,600 --> 01:01:22,480
Speaker 5: just see like different generations of women coming together to

1081
01:01:23,000 --> 01:01:25,680
Speaker 5: make Gina's dream come true, which is big fucking you.

1082
01:01:26,280 --> 01:01:28,720
Speaker 3: Yeah, I kind of wish there were more of these two.

1083
01:01:28,720 --> 01:01:31,920
Speaker 3: But you see scenes where they're all chatting about something.

1084
01:01:31,920 --> 01:01:34,680
Speaker 3: There's a scene where they're talking about like do you

1085
01:01:34,760 --> 01:01:38,560
Speaker 3: get your pubic hair waxed or do you leave it natural?

1086
01:01:39,080 --> 01:01:41,360
Speaker 2: Also very two thousands discussion.

1087
01:01:42,320 --> 01:01:46,640
Speaker 3: Then that like transitions into a conversation about like ooh, men,

1088
01:01:46,680 --> 01:01:50,480
Speaker 3: who cry? Is that acceptable or not? They come down

1089
01:01:50,480 --> 01:01:52,960
Speaker 3: on the side of no, and so you know, very

1090
01:01:53,000 --> 01:01:58,040
Speaker 3: two thousand and five interpretation of that. But I love

1091
01:01:58,080 --> 01:02:01,480
Speaker 3: the scenes of just like their comrade and them laughing

1092
01:02:01,520 --> 01:02:05,440
Speaker 3: together and reciting phenomenal woman together and just like all

1093
01:02:05,480 --> 01:02:10,720
Speaker 3: of those moments were really special. And also, Queen Lativa

1094
01:02:10,760 --> 01:02:15,240
Speaker 3: has done so many like ensemble movies with a black

1095
01:02:15,320 --> 01:02:20,160
Speaker 3: cast between set it off this movie Girl's Trip. I'm

1096
01:02:20,160 --> 01:02:23,600
Speaker 3: sure I'm forgetting some but like she's the queen of

1097
01:02:23,600 --> 01:02:26,520
Speaker 3: that and I didn't even mean to make that pun Wow.

1098
01:02:27,040 --> 01:02:30,240
Speaker 2: Look at you humiliated. I think the last thing I

1099
01:02:30,240 --> 01:02:34,440
Speaker 2: wanted to shout out was that Queen Latifa produced this

1100
01:02:34,560 --> 01:02:37,120
Speaker 2: movie as well, which I feel like we are always

1101
01:02:37,120 --> 01:02:39,240
Speaker 2: trying to make sure we're talking about behind the camera

1102
01:02:39,320 --> 01:02:41,840
Speaker 2: as well, and I think, I mean, I would be

1103
01:02:42,720 --> 01:02:45,440
Speaker 2: comfortable betting that a lot of what this movie does

1104
01:02:45,600 --> 01:02:49,880
Speaker 2: right is because she also had control behind the camera,

1105
01:02:50,680 --> 01:02:52,520
Speaker 2: So I wanted to shut that out as well as

1106
01:02:52,560 --> 01:02:54,960
Speaker 2: one of the first I think the first project that

1107
01:02:55,080 --> 01:02:58,800
Speaker 2: she produced in her movie career was Bringing Down the House,

1108
01:02:59,200 --> 01:03:03,080
Speaker 2: which a mot and sort of from there on out,

1109
01:03:03,200 --> 01:03:05,920
Speaker 2: she produced all of the movies that she was starring

1110
01:03:06,040 --> 01:03:09,200
Speaker 2: in at least, and I feel like that is reflected

1111
01:03:09,240 --> 01:03:13,640
Speaker 2: in this movie, like her character is in charge. There

1112
01:03:13,720 --> 01:03:16,400
Speaker 2: is like no point where I don't know, like the

1113
01:03:16,480 --> 01:03:20,280
Speaker 2: tropes of the era can't really touch Queen Latifa in

1114
01:03:20,360 --> 01:03:23,240
Speaker 2: her movie for the most part. And I think that

1115
01:03:23,240 --> 01:03:27,040
Speaker 2: that is like a really important thing for movie stars,

1116
01:03:27,120 --> 01:03:30,000
Speaker 2: especially marginalized movie stars, to have, is like control over

1117
01:03:30,080 --> 01:03:35,760
Speaker 2: their image and how they're portrayed because you cannot trust producers,

1118
01:03:36,160 --> 01:03:38,680
Speaker 2: like so you have to be one yourself kind of.

1119
01:03:39,760 --> 01:03:43,400
Speaker 3: And I was reading different interviews with her and her

1120
01:03:43,440 --> 01:03:46,959
Speaker 3: intentions with this movie, and she's like, yeah, to spin

1121
01:03:47,000 --> 01:03:49,440
Speaker 3: off from barber Shop, but I wanted to make it

1122
01:03:49,440 --> 01:03:53,920
Speaker 3: its own thing and showcase black women, and like the

1123
01:03:53,960 --> 01:03:58,640
Speaker 3: intentions are clear. I had one last little thing I

1124
01:03:58,680 --> 01:04:02,040
Speaker 3: wanted to chat about and I'm curious on everyone's thoughts

1125
01:04:02,080 --> 01:04:05,400
Speaker 3: on this. But in theory, this is a movie about

1126
01:04:06,160 --> 01:04:09,600
Speaker 3: people who work with mostly black hair. A few of

1127
01:04:09,600 --> 01:04:14,000
Speaker 3: the clients are these white these awful white women, but

1128
01:04:14,040 --> 01:04:16,560
Speaker 3: it's mostly black clientele, and I feel like there was

1129
01:04:17,040 --> 01:04:21,560
Speaker 3: more of an opportunity to see black hair being styled,

1130
01:04:21,600 --> 01:04:23,600
Speaker 3: and I feel like the movie doesn't necessarily take a

1131
01:04:23,600 --> 01:04:27,280
Speaker 3: lot of those opportunities, especially for seeing black women who

1132
01:04:27,360 --> 01:04:30,960
Speaker 3: wear their hair natural. It might be a reflection of

1133
01:04:31,000 --> 01:04:31,600
Speaker 3: like the.

1134
01:04:31,640 --> 01:04:34,000
Speaker 4: Era, definitely reflection of that era.

1135
01:04:34,240 --> 01:04:36,960
Speaker 5: We don't get to the what I call modern natural

1136
01:04:36,960 --> 01:04:39,960
Speaker 5: hair movement, because natural hair has come in and out,

1137
01:04:40,000 --> 01:04:43,280
Speaker 5: you know, and out of times. But more recent movement,

1138
01:04:43,280 --> 01:04:46,000
Speaker 5: I would have said, like early twenty teens.

1139
01:04:46,080 --> 01:04:47,560
Speaker 4: I might be a little bit off by a couple

1140
01:04:47,560 --> 01:04:47,960
Speaker 4: of years.

1141
01:04:48,000 --> 01:04:50,800
Speaker 5: So we weren't really there yet. We were still stuck

1142
01:04:50,840 --> 01:04:53,000
Speaker 5: on you know, the hair crack, the relaxsuit. We're still

1143
01:04:53,000 --> 01:04:55,520
Speaker 5: stuck on that thing. And I remember, you know, even

1144
01:04:55,680 --> 01:04:58,360
Speaker 5: at that time when you started telling people that you

1145
01:04:58,440 --> 01:05:02,840
Speaker 5: had stopped using relax because it's giving you obvious perm

1146
01:05:02,880 --> 01:05:06,680
Speaker 5: what we call perm scabs, you know, and then later

1147
01:05:06,800 --> 01:05:09,920
Speaker 5: found out to be giving people cancer as a lot

1148
01:05:09,920 --> 01:05:13,120
Speaker 5: of us suspective, right, you know when even when you

1149
01:05:13,120 --> 01:05:14,880
Speaker 5: were like, yeah, I don't use that stuff anymore, they'd

1150
01:05:14,880 --> 01:05:15,840
Speaker 5: be like, what.

1151
01:05:16,200 --> 01:05:19,080
Speaker 4: Like how do you start your hair otherwise, like isn't

1152
01:05:19,080 --> 01:05:19,720
Speaker 4: it like hard?

1153
01:05:19,880 --> 01:05:23,640
Speaker 5: And you know that's a complex discussion that we usually

1154
01:05:23,640 --> 01:05:25,640
Speaker 5: have within our community. Boy, it's one of those things

1155
01:05:25,640 --> 01:05:28,120
Speaker 5: where like a lot of that rhetoric is very driven

1156
01:05:28,200 --> 01:05:30,440
Speaker 5: by you know, white bee standards.

1157
01:05:30,040 --> 01:05:32,920
Speaker 4: Unfortunately, right, But yeah, no, I agree with you.

1158
01:05:33,160 --> 01:05:36,400
Speaker 5: Their their definitely technically was more of an opportunity, but

1159
01:05:36,520 --> 01:05:40,200
Speaker 5: because of the hair politics at the time, they weren't

1160
01:05:40,200 --> 01:05:42,400
Speaker 5: gonna I think the most they would have done is

1161
01:05:42,480 --> 01:05:44,640
Speaker 5: like if you've ever been to like a black beat shop,

1162
01:05:44,680 --> 01:05:48,880
Speaker 5: they have like the the very creative stack styles of

1163
01:05:49,040 --> 01:05:52,040
Speaker 5: hair and curls that are stacked up. You got the

1164
01:05:52,120 --> 01:05:54,280
Speaker 5: you know, like not quite the bang, but you got

1165
01:05:54,280 --> 01:05:56,320
Speaker 5: the hair hang you know, hair hanging in front their face.

1166
01:05:56,440 --> 01:06:01,320
Speaker 5: And it's just like really marvelous example of like honestly

1167
01:06:01,720 --> 01:06:07,200
Speaker 5: black people using geometry to like bills like these styles

1168
01:06:07,320 --> 01:06:09,560
Speaker 5: stack them up on their head like is real creative shit.

1169
01:06:09,840 --> 01:06:11,640
Speaker 5: But yeah, no, I agree with you, and that like

1170
01:06:11,680 --> 01:06:14,120
Speaker 5: there there was a way to put more of those

1171
01:06:14,120 --> 01:06:16,720
Speaker 5: styles in there, even if you weren't focusing on the

1172
01:06:16,800 --> 01:06:20,240
Speaker 5: natural aspect for like obvious reasons. But yeah, that explains

1173
01:06:20,240 --> 01:06:20,640
Speaker 5: someone dead.

1174
01:06:20,920 --> 01:06:22,920
Speaker 3: Yeah that makes sense and all the more reason we

1175
01:06:22,960 --> 01:06:24,200
Speaker 3: need Beauty Shop too.

1176
01:06:25,040 --> 01:06:27,800
Speaker 2: All things that could have been addressed in Beauty Shop

1177
01:06:27,840 --> 01:06:30,760
Speaker 2: to two thousand and seven, which for some reason we

1178
01:06:30,840 --> 01:06:31,520
Speaker 2: did not get.

1179
01:06:31,800 --> 01:06:34,760
Speaker 3: Was that like in development and it just didn't happen or.

1180
01:06:35,120 --> 01:06:37,080
Speaker 2: No, that was just the year I think it would

1181
01:06:37,120 --> 01:06:37,520
Speaker 2: have come out.

1182
01:06:37,600 --> 01:06:38,480
Speaker 3: I see it, see.

1183
01:06:38,360 --> 01:06:41,800
Speaker 2: It two years later. That's when sequels come out.

1184
01:06:42,160 --> 01:06:46,920
Speaker 3: That's true. Well, Beauty Shop to twenty twenty five, just

1185
01:06:46,920 --> 01:06:48,320
Speaker 3: putting it out there in the world.

1186
01:06:48,640 --> 01:06:49,960
Speaker 2: I'll take it. I would love it.

1187
01:06:51,600 --> 01:06:54,000
Speaker 4: Yeah, I'll love too. I'm just like, none of you

1188
01:06:54,040 --> 01:06:57,080
Speaker 4: are dead, so let's you know, let's yeah.

1189
01:06:57,200 --> 01:06:58,040
Speaker 3: You're all still kicking.

1190
01:06:58,200 --> 01:06:58,760
Speaker 4: Yeah.

1191
01:06:58,800 --> 01:07:01,880
Speaker 3: One last thing. The radio host at the very beginning,

1192
01:07:01,920 --> 01:07:04,200
Speaker 3: because like you see her like Vio her voiceover and

1193
01:07:04,240 --> 01:07:08,120
Speaker 3: just like her in the booth, like doing broadcasts throughout

1194
01:07:08,160 --> 01:07:11,280
Speaker 3: the movie, and at the very beginning, DJ Helen is

1195
01:07:11,360 --> 01:07:16,400
Speaker 3: like that Michael Vick so hot, right, and it's like, yep,

1196
01:07:16,440 --> 01:07:18,720
Speaker 3: it's two thousand and five, yes, I know.

1197
01:07:18,840 --> 01:07:24,880
Speaker 2: It's like, wait, that's not how that sentence ends today.

1198
01:07:23,240 --> 01:07:31,640
Speaker 2: That's yeah, what a time to be alive. Let's talk

1199
01:07:31,680 --> 01:07:35,880
Speaker 2: about a number of tests. This movie very much passes

1200
01:07:35,920 --> 01:07:38,600
Speaker 2: the Bechtel test to the point where it's like it

1201
01:07:38,720 --> 01:07:41,000
Speaker 2: just does. I mean, like you were just sort of

1202
01:07:41,000 --> 01:07:44,680
Speaker 2: flisting off kitline. I mean the women in this story.

1203
01:07:44,760 --> 01:07:48,040
Speaker 2: I mean there's a many conversations between women that we're

1204
01:07:48,080 --> 01:07:49,880
Speaker 2: moving the plot ahead. There's also just a lot of

1205
01:07:49,920 --> 01:07:54,200
Speaker 2: conversations between women, women of different races, different classes, different

1206
01:07:54,200 --> 01:07:58,640
Speaker 2: body types. This movie has every kind of conversation between women,

1207
01:07:58,760 --> 01:08:00,720
Speaker 2: which so rare.

1208
01:08:00,880 --> 01:08:01,960
Speaker 3: It's great true.

1209
01:08:02,120 --> 01:08:04,600
Speaker 2: But I'd also like to talk about the contest because

1210
01:08:04,600 --> 01:08:08,000
Speaker 2: you mentioned Quirkysha that it is a full on pass.

1211
01:08:08,280 --> 01:08:10,440
Speaker 4: Yeah, it does pass it eight out of eight. So

1212
01:08:10,720 --> 01:08:12,200
Speaker 4: just to go over it.

1213
01:08:12,280 --> 01:08:16,160
Speaker 5: So the contest has points, so all the way from

1214
01:08:16,160 --> 01:08:19,240
Speaker 5: like A to G right. So first one is must

1215
01:08:19,240 --> 01:08:22,400
Speaker 5: not solely be a walking stereotype or truck, and he's

1216
01:08:22,439 --> 01:08:24,880
Speaker 5: not focused on white character. And if it's like you know,

1217
01:08:24,960 --> 01:08:27,840
Speaker 5: expansive piece of media, then multiple right, But in this case,

1218
01:08:27,920 --> 01:08:30,720
Speaker 5: I focus on mainly Gina and then you know a

1219
01:08:30,760 --> 01:08:33,120
Speaker 5: couple other people, so you know, Gina's not a walking,

1220
01:08:33,439 --> 01:08:37,439
Speaker 5: talking black stereotype. So We're good, right, must have their

1221
01:08:37,479 --> 01:08:40,400
Speaker 5: own plot or near to arc. She got it so

1222
01:08:40,439 --> 01:08:42,800
Speaker 5: on someone that's been her whole thing. She wants to

1223
01:08:42,800 --> 01:08:47,040
Speaker 5: get off from Jorge Thumb really straightforward stuff. Mass must

1224
01:08:47,120 --> 01:08:50,160
Speaker 5: not solely be included in the narrative for just for

1225
01:08:50,240 --> 01:08:54,240
Speaker 5: holding down a male character. No, we got an opposite

1226
01:08:54,400 --> 01:08:56,920
Speaker 5: Joeys hold her down, which I appreciate, you know.

1227
01:08:57,360 --> 01:08:58,559
Speaker 4: No, this is her story.

1228
01:08:59,080 --> 01:09:02,759
Speaker 5: He's her nice successory slash dessert as share would say,

1229
01:09:03,000 --> 01:09:06,599
Speaker 5: not to share famous tours love her. No, he's just

1230
01:09:06,640 --> 01:09:08,840
Speaker 5: there as you know nice looks like get and but

1231
01:09:08,880 --> 01:09:11,960
Speaker 5: it's her. It's the genus show right so past and

1232
01:09:12,000 --> 01:09:14,720
Speaker 5: then you have must not slowly be included in the

1233
01:09:14,800 --> 01:09:18,280
Speaker 5: narrative to prop of white female character once again, is

1234
01:09:18,360 --> 01:09:18,920
Speaker 5: Gina's show?

1235
01:09:19,560 --> 01:09:20,400
Speaker 4: Do they show up?

1236
01:09:20,640 --> 01:09:23,599
Speaker 5: Yes, but you know this is this is her thing,

1237
01:09:23,680 --> 01:09:26,479
Speaker 5: So no, she's not there to hold up, you know,

1238
01:09:27,000 --> 01:09:28,280
Speaker 5: or be some character.

1239
01:09:28,000 --> 01:09:29,720
Speaker 4: Development for you know, a white girl.

1240
01:09:29,800 --> 01:09:32,800
Speaker 5: Right right, then, we have must not so exist in

1241
01:09:32,800 --> 01:09:34,800
Speaker 5: the film slash piece of media for the purpose of

1242
01:09:34,800 --> 01:09:39,400
Speaker 5: speedisulation aside from JJP and JJ again, that's not what

1243
01:09:39,520 --> 01:09:43,160
Speaker 5: this movie is about. Right again, you know this is

1244
01:09:43,479 --> 01:09:46,000
Speaker 5: her show. She's trying to make her dream come true.

1245
01:09:46,080 --> 01:09:48,639
Speaker 5: She's trying to keep her shop open because one thing

1246
01:09:48,960 --> 01:09:51,400
Speaker 5: to like open it. You know, so many businesses open

1247
01:09:51,439 --> 01:09:53,479
Speaker 5: per year, but how many people like how many stay

1248
01:09:53,479 --> 01:09:56,320
Speaker 5: open and like for the same period of time.

1249
01:09:56,400 --> 01:09:58,400
Speaker 4: So that's her whole focus the whole movie.

1250
01:09:58,600 --> 01:10:01,439
Speaker 5: So past then we have must have at least one

1251
01:10:01,479 --> 01:10:04,639
Speaker 5: interaction with another black woman or woman of color. Duh,

1252
01:10:05,720 --> 01:10:09,519
Speaker 5: whole cats that whole cats like you. She'd turn and

1253
01:10:09,600 --> 01:10:12,320
Speaker 5: talk to I don't know, the water girl, and like,

1254
01:10:12,439 --> 01:10:14,320
Speaker 5: you know Keisha right there, you know, there are people

1255
01:10:14,320 --> 01:10:16,240
Speaker 5: outside the shop she interacts with.

1256
01:10:16,439 --> 01:10:19,439
Speaker 2: Yeah, I also love that in the world have made

1257
01:10:19,479 --> 01:10:25,200
Speaker 2: up jobs. Cappuccino girl, a job. It's great, great after school.

1258
01:10:24,960 --> 01:10:29,080
Speaker 4: Job, it's perfect. I was like, I love that. So yeah,

1259
01:10:29,280 --> 01:10:30,400
Speaker 4: definitely pass.

1260
01:10:30,439 --> 01:10:32,600
Speaker 5: And then obviously there's an additional point here that I

1261
01:10:32,640 --> 01:10:34,280
Speaker 5: put in tests where it's just like it's always going

1262
01:10:34,320 --> 01:10:37,599
Speaker 5: to be bonus if the women are not immediately related,

1263
01:10:38,080 --> 01:10:41,640
Speaker 5: which again passes, because you know, even though Darnell is

1264
01:10:41,640 --> 01:10:45,000
Speaker 5: the thing, you know, she all the other women in Salona,

1265
01:10:45,040 --> 01:10:48,679
Speaker 5: people that she interacts with routinely, and they're not blood related, right,

1266
01:10:48,880 --> 01:10:51,160
Speaker 5: So there's that in the last one must not be

1267
01:10:51,240 --> 01:10:53,639
Speaker 5: the go to character sacrifice in the film slash piece

1268
01:10:53,640 --> 01:10:55,479
Speaker 5: of media. We won't even have to talk about it

1269
01:10:55,640 --> 01:10:58,760
Speaker 5: here because none of that happens. No one wants laying

1270
01:10:58,760 --> 01:11:02,280
Speaker 5: down their life for random white person. Again, this is

1271
01:11:02,320 --> 01:11:04,920
Speaker 5: her movie, you know, she's kicking it and then trying

1272
01:11:04,960 --> 01:11:06,960
Speaker 5: to you know, be successful in this world.

1273
01:11:07,280 --> 01:11:09,240
Speaker 4: So yeah, literally eight eight.

1274
01:11:09,439 --> 01:11:11,960
Speaker 5: I didn't have no notes aside from the ones we

1275
01:11:12,080 --> 01:11:15,680
Speaker 5: kind of already discussed, which again are part of you know,

1276
01:11:15,800 --> 01:11:20,760
Speaker 5: the problematic two thousand and five canon of terrible movie trope, which.

1277
01:11:21,720 --> 01:11:24,400
Speaker 3: And then how does the movie fair on the Kelly

1278
01:11:24,439 --> 01:11:25,320
Speaker 3: and Cat test?

1279
01:11:25,680 --> 01:11:28,200
Speaker 5: So the Kelly Cat tests on a grave Shaw real

1280
01:11:28,280 --> 01:11:31,160
Speaker 5: quick because technically in me and Sid haven't taken it

1281
01:11:31,200 --> 01:11:33,920
Speaker 5: on like a full run through a lot of these

1282
01:11:33,960 --> 01:11:39,479
Speaker 5: movies because, as you probably suspect, a lot of them

1283
01:11:39,520 --> 01:11:43,400
Speaker 5: are just downright BD. So just be like they're just

1284
01:11:43,400 --> 01:11:47,240
Speaker 5: being like okay, zero or one or like max like three,

1285
01:11:47,360 --> 01:11:50,160
Speaker 5: you know, And for this test is actually out twelve

1286
01:11:50,360 --> 01:11:54,000
Speaker 5: versus like eight in terms of yeah, so I'll read

1287
01:11:54,040 --> 01:11:57,519
Speaker 5: the description real quick and then points right.

1288
01:11:57,840 --> 01:12:01,200
Speaker 4: So, the Kelley and Cat test is a media litmus test.

1289
01:12:01,120 --> 01:12:03,679
Speaker 5: Designed to determine whether a piece of media has provided

1290
01:12:03,680 --> 01:12:08,000
Speaker 5: the audience with thoughtful representation of fat black women and

1291
01:12:08,200 --> 01:12:09,120
Speaker 5: or non men.

1292
01:12:09,360 --> 01:12:11,400
Speaker 4: Black is a brackets So like I said, you know,

1293
01:12:11,520 --> 01:12:13,280
Speaker 4: does include other women, right.

1294
01:12:13,840 --> 01:12:17,760
Speaker 5: This test is named after Kelly Prenni of Insecure and

1295
01:12:17,800 --> 01:12:21,320
Speaker 5: Ca Hernandez of Euphoria, both of whom were subject to

1296
01:12:21,360 --> 01:12:25,320
Speaker 5: fat phobic treatment on their respective shows. Fat Phobia is

1297
01:12:25,360 --> 01:12:28,640
Speaker 5: in a version of hostility or disdain for fatness or

1298
01:12:28,680 --> 01:12:33,680
Speaker 5: fat people. So skipping down, you know, to the criteria,

1299
01:12:33,760 --> 01:12:37,200
Speaker 5: like I said, the least something can get zero, most

1300
01:12:37,200 --> 01:12:40,559
Speaker 5: of them get twelve points, right, so number one, the

1301
01:12:40,640 --> 01:12:43,719
Speaker 5: character will be immediately disqualified if they're merely a skinny

1302
01:12:43,800 --> 01:12:45,960
Speaker 5: or thin actor in a fat suit. Like, we don't

1303
01:12:45,960 --> 01:12:49,360
Speaker 5: even have to like ZM zero done, We don't even

1304
01:12:49,360 --> 01:12:51,320
Speaker 5: have to go into it. And then you know, since

1305
01:12:51,320 --> 01:12:54,479
Speaker 5: we're using Gina will take her through tests, right, So

1306
01:12:54,720 --> 01:12:57,760
Speaker 5: must have their own character arc. Got it must not

1307
01:12:57,800 --> 01:13:00,839
Speaker 5: be included in the narrative to really for a skinny

1308
01:13:00,880 --> 01:13:03,479
Speaker 5: and or life skinned person's care dark no.

1309
01:13:03,600 --> 01:13:04,639
Speaker 4: Got it good.

1310
01:13:05,280 --> 01:13:11,160
Speaker 5: Therefore must not be referred to as big, bone, voluptuous, curvy, fluffy, husky,

1311
01:13:11,160 --> 01:13:14,200
Speaker 5: plus sized, or sick at any point of the narrative.

1312
01:13:14,960 --> 01:13:17,600
Speaker 5: I don't think she was referred to as that, so

1313
01:13:17,680 --> 01:13:21,200
Speaker 5: I think she still passes. I do think I remember

1314
01:13:21,320 --> 01:13:24,280
Speaker 5: like big bone being thrown around. I'm not entirely sure.

1315
01:13:24,320 --> 01:13:26,240
Speaker 5: I'd have to go back and like really listening closely.

1316
01:13:26,560 --> 01:13:30,880
Speaker 3: Other characters' size is commented on by different people, but

1317
01:13:30,920 --> 01:13:33,439
Speaker 3: I don't know if any of it's specifically directed. Although

1318
01:13:34,040 --> 01:13:38,000
Speaker 3: the kid really says something like you're thick something, I

1319
01:13:38,040 --> 01:13:39,200
Speaker 3: don't know if that counts.

1320
01:13:39,000 --> 01:13:44,600
Speaker 5: Patriarchy the child, so then we'll be like, God, damn it,

1321
01:13:44,640 --> 01:13:45,800
Speaker 5: patriarchy the child.

1322
01:13:46,439 --> 01:13:47,920
Speaker 4: But yeah, technically, yeah, that would be.

1323
01:13:48,439 --> 01:13:51,240
Speaker 5: So we're you know, back down to too. And the

1324
01:13:51,240 --> 01:13:53,120
Speaker 5: point of that too, because I know people will ask.

1325
01:13:53,200 --> 01:13:54,960
Speaker 5: The point of that too is to make you know,

1326
01:13:55,040 --> 01:13:58,240
Speaker 5: fat is not a dirty word. It been made word

1327
01:13:58,520 --> 01:14:02,040
Speaker 5: because of people, obie, but you know it's fat is

1328
01:14:02,080 --> 01:14:03,120
Speaker 5: a neutral descriptor.

1329
01:14:03,439 --> 01:14:06,599
Speaker 4: It's like saying short, skinny, whatever.

1330
01:14:06,640 --> 01:14:10,240
Speaker 5: It's just people's own biases have been attached to it. Absolutely,

1331
01:14:10,280 --> 01:14:13,519
Speaker 5: So then we have must not easily be dismissed as

1332
01:14:13,680 --> 01:14:17,120
Speaker 5: a common sapphobic and or colors trope. Like we mentioned

1333
01:14:17,160 --> 01:14:19,599
Speaker 5: with the cat test, Gina doesn't really have that issue

1334
01:14:19,600 --> 01:14:22,400
Speaker 5: because she's like a three dimensional being. You know, I

1335
01:14:22,439 --> 01:14:24,360
Speaker 5: do want to make it clear that tropes are not

1336
01:14:24,560 --> 01:14:28,200
Speaker 5: hearingly bad. But if your character literally is like four

1337
01:14:28,360 --> 01:14:31,040
Speaker 5: tropes in a trench coat, Danny, you've got some problems,

1338
01:14:32,280 --> 01:14:35,160
Speaker 5: not some problems like you're in but you definitely are

1339
01:14:35,200 --> 01:14:36,080
Speaker 5: not a great writer.

1340
01:14:36,479 --> 01:14:38,240
Speaker 2: Like where's the character? Yeah?

1341
01:14:38,320 --> 01:14:41,360
Speaker 4: Yeah, like what are we doing? So now next one?

1342
01:14:41,479 --> 01:14:45,120
Speaker 5: Six should have at least one romantic interest if it's

1343
01:14:45,240 --> 01:14:48,519
Speaker 5: relevant to the piece of media's or raw Drey two.

1344
01:14:48,880 --> 01:14:52,880
Speaker 5: So man for Joe's hot ass is there and you know,

1345
01:14:53,000 --> 01:14:56,000
Speaker 5: like we commented on, he is a nice little treat,

1346
01:14:56,560 --> 01:14:57,479
Speaker 5: not the main course.

1347
01:14:57,600 --> 01:14:58,599
Speaker 4: We love that for her.

1348
01:14:59,200 --> 01:15:02,759
Speaker 3: A lot of movies that do afford a fat character

1349
01:15:03,040 --> 01:15:06,639
Speaker 3: a love interest, they are paired with another fat person,

1350
01:15:06,720 --> 01:15:09,200
Speaker 3: as if to say, oh, only fat people would be

1351
01:15:09,240 --> 01:15:13,680
Speaker 3: attracted to other fat people and never any other combination.

1352
01:15:14,120 --> 01:15:19,599
Speaker 3: And the Joe character is a muscular sin man who

1353
01:15:19,640 --> 01:15:23,120
Speaker 3: is very attracted to Queen Latifah. And it was a

1354
01:15:23,160 --> 01:15:25,120
Speaker 3: refreshing thing to see.

1355
01:15:25,240 --> 01:15:28,400
Speaker 5: Yeah, and I want to add here that Sidney particular

1356
01:15:28,479 --> 01:15:31,600
Speaker 5: one to make sure that it should be noted that

1357
01:15:31,760 --> 01:15:34,400
Speaker 5: you know, since we're thinking about like being sex inclusive

1358
01:15:34,400 --> 01:15:37,639
Speaker 5: and gender exclusive, right, there are people that aren't interested

1359
01:15:37,680 --> 01:15:42,200
Speaker 5: in romance or they're there asexual. But you know, we

1360
01:15:42,240 --> 01:15:44,519
Speaker 5: also put it after like being like you know, but

1361
01:15:44,640 --> 01:15:47,640
Speaker 5: you have to be careful with that because again you

1362
01:15:47,720 --> 01:15:50,760
Speaker 5: might fall into that territory of black tropes where we're

1363
01:15:50,800 --> 01:15:54,240
Speaker 5: talking about like the Mammy or someone else, some other

1364
01:15:54,240 --> 01:15:56,760
Speaker 5: female character whose they are sexless. Right, So it's a

1365
01:15:56,840 --> 01:15:59,400
Speaker 5: really delicate like dance. Now, if you're a good writer,

1366
01:15:59,560 --> 01:16:01,200
Speaker 5: you should be fine, but as we know, it's a

1367
01:16:01,240 --> 01:16:04,200
Speaker 5: lot of bad writers out there. So yeah, so next

1368
01:16:04,439 --> 01:16:06,600
Speaker 5: must have at least one interaction with you know, the

1369
01:16:06,640 --> 01:16:10,240
Speaker 5: fat person. I would say, every woman in that film

1370
01:16:10,360 --> 01:16:13,160
Speaker 5: has you know, various body shapes, so she does at

1371
01:16:13,160 --> 01:16:16,400
Speaker 5: some point interact with them. You know, there's our Tavius Spencer.

1372
01:16:17,240 --> 01:16:20,160
Speaker 5: I would even add the radio host, you know. And

1373
01:16:20,200 --> 01:16:21,760
Speaker 5: it's not a thing where it's like, oh my god,

1374
01:16:21,840 --> 01:16:23,000
Speaker 5: look they're interacting.

1375
01:16:23,080 --> 01:16:23,920
Speaker 4: It's just very.

1376
01:16:24,320 --> 01:16:28,040
Speaker 3: Normal, normalized. Yeah, she talks to Sherry Shepherd.

1377
01:16:28,840 --> 01:16:32,559
Speaker 5: Again, bonus point if they're not related, which they aren't.

1378
01:16:32,680 --> 01:16:35,280
Speaker 5: You know, they're kicking it, but they're not related, So

1379
01:16:35,320 --> 01:16:37,400
Speaker 5: then we have it must not.

1380
01:16:37,400 --> 01:16:38,760
Speaker 4: Be subject to photicization.

1381
01:16:39,600 --> 01:16:43,320
Speaker 5: So that's a little difficult with JJ being there unfortunately,

1382
01:16:43,439 --> 01:16:47,080
Speaker 5: so we can't give this point it's not her fault,

1383
01:16:47,280 --> 01:16:48,439
Speaker 5: it's fault.

1384
01:16:48,760 --> 01:16:50,800
Speaker 4: It's Oh but you know, he dire.

1385
01:16:51,760 --> 01:16:55,000
Speaker 5: If we were to subtract him, she would have been

1386
01:16:55,040 --> 01:16:58,200
Speaker 5: fine because, like I said, it's not all that for

1387
01:16:58,240 --> 01:17:01,320
Speaker 5: her to literally focus on her very important goal of

1388
01:17:01,360 --> 01:17:02,599
Speaker 5: being like, you know, a business woman.

1389
01:17:02,680 --> 01:17:05,320
Speaker 4: Right, So there's that nine.

1390
01:17:05,600 --> 01:17:08,120
Speaker 5: Must show no high profixations when it comes to food

1391
01:17:08,200 --> 01:17:11,880
Speaker 5: and or exercise. This one was been very important to

1392
01:17:11,920 --> 01:17:14,599
Speaker 5: me and Sid because there's a lot of media out there.

1393
01:17:14,880 --> 01:17:17,599
Speaker 5: If you know, if a fat woman gets lucky enough

1394
01:17:17,640 --> 01:17:22,120
Speaker 5: to like leave a show or film, there's some big

1395
01:17:22,320 --> 01:17:24,360
Speaker 5: like marathon she's training for.

1396
01:17:26,640 --> 01:17:30,160
Speaker 4: Yes, yes, yes, it's really bad, Like there's some big.

1397
01:17:29,960 --> 01:17:31,960
Speaker 2: There's whole movies about that. Oh my god.

1398
01:17:32,200 --> 01:17:35,120
Speaker 5: Yeah, even happened to Kelly at one point where she

1399
01:17:35,360 --> 01:17:37,559
Speaker 5: was like trying to train for something, and I was like.

1400
01:17:37,960 --> 01:17:41,280
Speaker 4: Do y'all see how see like, wem not the only

1401
01:17:41,320 --> 01:17:42,000
Speaker 4: one who sees this.

1402
01:17:42,040 --> 01:17:44,840
Speaker 5: I'm the only one, okay, but yeah, No, we were

1403
01:17:45,000 --> 01:17:47,080
Speaker 5: very much sick of that. I was like, I don't

1404
01:17:47,120 --> 01:17:50,160
Speaker 5: want to hear nothing about no fucking marathon, no exercise,

1405
01:17:50,560 --> 01:17:51,559
Speaker 5: no gym, didn't.

1406
01:17:51,479 --> 01:17:52,920
Speaker 4: No gym that I don't want to hear by no

1407
01:17:53,040 --> 01:17:55,040
Speaker 4: fucking food.

1408
01:17:54,960 --> 01:17:56,799
Speaker 2: Just be normal person.

1409
01:17:57,439 --> 01:18:00,640
Speaker 5: Yeah. Now, obviously you know life's come for then you know,

1410
01:18:00,960 --> 01:18:03,320
Speaker 5: people can also do with some things, like you know,

1411
01:18:03,680 --> 01:18:05,760
Speaker 5: eds when it comes to food, right, But like a

1412
01:18:05,760 --> 01:18:07,439
Speaker 5: lot of times that's not what they're talking about.

1413
01:18:07,560 --> 01:18:09,400
Speaker 4: A lot of these riders are just going straight to

1414
01:18:09,560 --> 01:18:11,400
Speaker 4: like gluttonous tar you know, very.

1415
01:18:11,439 --> 01:18:13,439
Speaker 3: Like the stereotypes.

1416
01:18:13,640 --> 01:18:16,400
Speaker 4: Yeah, territory. And I'm like, but so you just not

1417
01:18:17,120 --> 01:18:18,160
Speaker 4: you're not really serious.

1418
01:18:18,400 --> 01:18:20,880
Speaker 3: Yeah, you gave this no thought. You just took what

1419
01:18:20,960 --> 01:18:24,400
Speaker 3: you already think, you know, and then put it in

1420
01:18:24,479 --> 01:18:25,120
Speaker 3: the movie.

1421
01:18:25,400 --> 01:18:27,360
Speaker 2: And again it feels like the sort of situation where

1422
01:18:27,400 --> 01:18:29,920
Speaker 2: if the nuance is there, you can feel it, and

1423
01:18:30,080 --> 01:18:32,639
Speaker 2: it is most often not not there.

1424
01:18:33,360 --> 01:18:37,760
Speaker 5: Yeah, so there's that's so obviously Gina is not once

1425
01:18:37,800 --> 01:18:39,439
Speaker 5: again not conserved that shit.

1426
01:18:39,920 --> 01:18:41,800
Speaker 4: Nope, just to run her.

1427
01:18:41,760 --> 01:18:45,280
Speaker 5: Business, so she good, dear ten must have access to

1428
01:18:45,320 --> 01:18:50,040
Speaker 5: adequate soling. Even though we all feel ways about early

1429
01:18:50,080 --> 01:18:55,840
Speaker 5: two thousand sactions for the times she looked good for that, Yes,

1430
01:18:56,040 --> 01:18:59,240
Speaker 5: in the context of two thousand and five she looked.

1431
01:18:59,880 --> 01:19:02,720
Speaker 2: Just have to remember that it was a moment in time.

1432
01:19:02,840 --> 01:19:06,439
Speaker 5: Yeah, you know, for the time period she was in

1433
01:19:06,479 --> 01:19:07,360
Speaker 5: the fashions.

1434
01:19:07,520 --> 01:19:10,880
Speaker 4: So now I would have been like girl, what do

1435
01:19:10,960 --> 01:19:14,800
Speaker 4: you have one? But currently I mean not curently at

1436
01:19:14,840 --> 01:19:15,200
Speaker 4: the time.

1437
01:19:15,400 --> 01:19:18,679
Speaker 5: Great, right, so she was fine, must have at least

1438
01:19:18,680 --> 01:19:20,840
Speaker 5: one supportive parents slash frontal figure.

1439
01:19:21,160 --> 01:19:21,599
Speaker 4: She did.

1440
01:19:21,800 --> 01:19:25,200
Speaker 5: Actually it was a little hard on Darnall or whatever

1441
01:19:25,560 --> 01:19:27,960
Speaker 5: Latin for obviously too, because Darnell did need to get

1442
01:19:28,000 --> 01:19:28,559
Speaker 5: her shit together.

1443
01:19:28,640 --> 01:19:30,640
Speaker 4: I'm like, why do you run around with these no

1444
01:19:30,720 --> 01:19:33,120
Speaker 4: good black girl get it together?

1445
01:19:33,840 --> 01:19:36,519
Speaker 5: But you know, yeah, she did have a supportive parent

1446
01:19:36,600 --> 01:19:37,519
Speaker 5: slash frontal figure.

1447
01:19:38,120 --> 01:19:39,760
Speaker 4: I forget forget her name, but.

1448
01:19:39,880 --> 01:19:44,960
Speaker 8: You know, yeah her mother in law, right, yes, yeah,

1449
01:19:45,040 --> 01:19:48,719
Speaker 8: so really just encouraging her to keep pursuing her dreams

1450
01:19:48,760 --> 01:19:53,479
Speaker 8: despite the obvious and you know, systemic obstacles that were

1451
01:19:53,560 --> 01:19:54,400
Speaker 8: placed in front of her.

1452
01:19:54,479 --> 01:19:56,479
Speaker 4: Right. So, yeah, passes.

1453
01:19:57,120 --> 01:20:00,519
Speaker 5: So we got the last one, which must have at

1454
01:20:00,600 --> 01:20:03,519
Speaker 5: least five to ten minutes of dialogue in the standard

1455
01:20:03,560 --> 01:20:07,519
Speaker 5: thirty minute episode, ten to fifteen minutes of dialogue in

1456
01:20:07,520 --> 01:20:10,559
Speaker 5: the standard sixty minute episode, and at least the fourth

1457
01:20:10,680 --> 01:20:11,520
Speaker 5: of the total.

1458
01:20:11,320 --> 01:20:12,320
Speaker 4: Run time of the film.

1459
01:20:12,720 --> 01:20:14,240
Speaker 5: I remember people ask the first of all, I suly

1460
01:20:14,320 --> 01:20:19,839
Speaker 5: she passes, right, but yeah, people usually ask me about

1461
01:20:19,880 --> 01:20:22,759
Speaker 5: that and SID two and they're like, why.

1462
01:20:22,560 --> 01:20:24,679
Speaker 4: Did you feel the need to include that in particular

1463
01:20:24,720 --> 01:20:25,960
Speaker 4: because it's very specific.

1464
01:20:26,040 --> 01:20:30,200
Speaker 5: Right, the contest doesn't mention no run times or dialogue

1465
01:20:30,280 --> 01:20:32,720
Speaker 5: or things like that, right, But for here it was

1466
01:20:32,760 --> 01:20:37,200
Speaker 5: important because mainly because of Cat in the first season Euphoria,

1467
01:20:37,520 --> 01:20:41,439
Speaker 5: she has her own very rich, if not mildly disturbing arc.

1468
01:20:41,600 --> 01:20:44,200
Speaker 5: You know, keep one hundred because it was moldly disturbing.

1469
01:20:44,240 --> 01:20:46,599
Speaker 5: But I was like, you know, but it was an arc. Yes,

1470
01:20:46,720 --> 01:20:49,680
Speaker 5: fat people don't have to be perfect angelic character as

1471
01:20:49,760 --> 01:20:51,519
Speaker 5: we'd be doing some fucked up shit too.

1472
01:20:51,439 --> 01:20:56,680
Speaker 4: Right, So very very strong, obvious, rich arc.

1473
01:20:57,280 --> 01:21:01,439
Speaker 5: And we get to season two and if she gets

1474
01:21:01,880 --> 01:21:04,640
Speaker 5: to talk for two minutes in an episode, it's a

1475
01:21:04,680 --> 01:21:05,160
Speaker 5: big deal.

1476
01:21:05,360 --> 01:21:09,360
Speaker 4: Like that's how sharp and ugly the drop off was.

1477
01:21:09,600 --> 01:21:12,320
Speaker 5: You know, there are rumors that you know, Sam was

1478
01:21:12,360 --> 01:21:15,400
Speaker 5: beefing with her behind the scenes. Obviously I try to

1479
01:21:15,439 --> 01:21:18,160
Speaker 5: respect her because you know, it's complex with actors and

1480
01:21:18,240 --> 01:21:21,040
Speaker 5: these really weird producers and show runs and directors, and

1481
01:21:21,160 --> 01:21:23,479
Speaker 5: you know, they still got to work, so I respect them,

1482
01:21:23,520 --> 01:21:25,280
Speaker 5: not really if they won don't want to put their

1483
01:21:25,320 --> 01:21:26,880
Speaker 5: business on front street, I respect that.

1484
01:21:27,040 --> 01:21:28,240
Speaker 4: But you know, it's very.

1485
01:21:28,080 --> 01:21:31,120
Speaker 5: Clear that some funck shit was going on because it

1486
01:21:31,200 --> 01:21:34,000
Speaker 5: impacted how often she showed up and how long she

1487
01:21:34,080 --> 01:21:37,959
Speaker 5: showed up. She had no discernible arc that whole season,

1488
01:21:39,120 --> 01:21:40,760
Speaker 5: no discernible arc at all.

1489
01:21:40,920 --> 01:21:42,320
Speaker 4: It was very yarn.

1490
01:21:42,160 --> 01:21:45,679
Speaker 5: Because like when she was one of my favorite reasons

1491
01:21:45,760 --> 01:21:48,200
Speaker 5: for the first season, like I tune, I was like, Okay,

1492
01:21:48,240 --> 01:21:48,960
Speaker 5: what's Kat doing?

1493
01:21:49,439 --> 01:21:51,719
Speaker 4: Is she being the anti fat friend again?

1494
01:21:51,800 --> 01:21:54,640
Speaker 5: I love that for me, Like I remember part of

1495
01:21:54,680 --> 01:21:57,080
Speaker 5: the show where you know Maddie, you know, then her

1496
01:21:57,479 --> 01:22:01,000
Speaker 5: friend cast her to event and Cat is just like

1497
01:22:01,080 --> 01:22:04,120
Speaker 5: basically like they don't have toportizations.

1498
01:22:05,080 --> 01:22:09,439
Speaker 4: And I was like, finally a bad fat friend.

1499
01:22:10,360 --> 01:22:14,320
Speaker 5: I've waited so long for this and finally I got it.

1500
01:22:14,560 --> 01:22:19,280
Speaker 4: Yes, terrible love that for herself. Please more.

1501
01:22:19,960 --> 01:22:23,080
Speaker 5: Yeah, but that's where that last one comes from, like

1502
01:22:23,120 --> 01:22:27,160
Speaker 5: the very sharp, ugly decline of her screen presence. So

1503
01:22:27,200 --> 01:22:30,519
Speaker 5: obviously here Gena passes a Flying Colors because she is

1504
01:22:30,600 --> 01:22:34,719
Speaker 5: the main character. There, you know, other characters, you know, tertiary, secondary,

1505
01:22:34,760 --> 01:22:36,320
Speaker 5: but she's the main character.

1506
01:22:36,720 --> 01:22:39,840
Speaker 4: So she passes. So let me, let's count it up.

1507
01:22:39,880 --> 01:22:44,920
Speaker 4: Let's count it up. Drum dram bro nine ten So.

1508
01:22:44,880 --> 01:22:48,840
Speaker 7: We got ten, ten out of twelve or ten out

1509
01:22:48,880 --> 01:22:54,800
Speaker 7: of twelve, very hearty pass right, So obviously we got

1510
01:22:54,920 --> 01:22:56,160
Speaker 7: again zero to twelve.

1511
01:22:56,760 --> 01:22:59,760
Speaker 4: So zero to one is reprehensible.

1512
01:23:00,320 --> 01:23:04,040
Speaker 5: We're like, reprehensible, get this ship off my screen, like what?

1513
01:23:04,840 --> 01:23:07,120
Speaker 5: So then we got two to four. We call it

1514
01:23:07,200 --> 01:23:09,960
Speaker 5: laughable because you know, attempt was made.

1515
01:23:10,400 --> 01:23:11,160
Speaker 4: Was it a good one?

1516
01:23:11,600 --> 01:23:11,760
Speaker 1: Not?

1517
01:23:11,960 --> 01:23:12,280
Speaker 5: Really?

1518
01:23:13,200 --> 01:23:15,720
Speaker 4: Is there hope for you? Maybe I don't know you.

1519
01:23:18,600 --> 01:23:21,280
Speaker 5: Then we got five to seven. We called it passable.

1520
01:23:21,680 --> 01:23:25,360
Speaker 5: We're like, hey, this guy has some good bones. You're

1521
01:23:25,400 --> 01:23:28,639
Speaker 5: not like one hundred terrible. You do need to work

1522
01:23:28,640 --> 01:23:30,719
Speaker 5: on yourself. You to have a come to juice moment,

1523
01:23:30,840 --> 01:23:33,000
Speaker 5: a bunch of bises about fat people.

1524
01:23:33,120 --> 01:23:33,200
Speaker 1: Like.

1525
01:23:34,320 --> 01:23:36,439
Speaker 5: Then we have eight to ten, which is you know

1526
01:23:36,439 --> 01:23:40,080
Speaker 5: where you shop would fall. It's credible, you did a

1527
01:23:40,080 --> 01:23:43,519
Speaker 5: lot of work. It looks good. You know, there were

1528
01:23:43,640 --> 01:23:46,639
Speaker 5: just some some minor points you couldn't get over unfortunately,

1529
01:23:46,680 --> 01:23:49,639
Speaker 5: And like we talked about in this movie, technically, Gina

1530
01:23:49,720 --> 01:23:53,280
Speaker 5: the character is not a fault for the lost points.

1531
01:23:53,360 --> 01:23:57,280
Speaker 5: It's like of the people around her that get abducted.

1532
01:23:57,640 --> 01:23:59,679
Speaker 5: And that's sometimes how life is. Like you do everything

1533
01:23:59,760 --> 01:24:03,200
Speaker 5: right if somebody go along and kind of like true,

1534
01:24:03,320 --> 01:24:05,880
Speaker 5: So yeah, good, she's good, Like the.

1535
01:24:05,840 --> 01:24:06,519
Speaker 4: Film was good.

1536
01:24:06,600 --> 01:24:09,200
Speaker 5: And then obviously we have eleven to twelve, which highest

1537
01:24:09,280 --> 01:24:12,000
Speaker 5: which we call marvelous, like perfect.

1538
01:24:11,600 --> 01:24:12,799
Speaker 4: Ten out of ten, no notes.

1539
01:24:13,280 --> 01:24:15,920
Speaker 5: I don't know if there is a movie out there

1540
01:24:16,080 --> 01:24:19,880
Speaker 5: that could score twelve. I would really have to get

1541
01:24:19,920 --> 01:24:22,240
Speaker 5: with sin and be like, do we think there's something

1542
01:24:22,280 --> 01:24:25,280
Speaker 5: out there that can do it?

1543
01:24:25,360 --> 01:24:28,320
Speaker 4: I don't know. I think the highest we will to

1544
01:24:28,439 --> 01:24:30,799
Speaker 4: me get if.

1545
01:24:30,600 --> 01:24:34,080
Speaker 5: We look at I guess currently existing media would probably

1546
01:24:34,120 --> 01:24:35,559
Speaker 5: be like the ten.

1547
01:24:36,320 --> 01:24:40,120
Speaker 4: Maybe maybe eleven. Maybe on a good day. I don't

1548
01:24:40,120 --> 01:24:42,439
Speaker 4: know who was seen your twelve, but I could be wrong.

1549
01:24:42,800 --> 01:24:45,080
Speaker 3: I feel like this movie would have gotten to twelve

1550
01:24:45,280 --> 01:24:48,559
Speaker 3: were it not for the little JJ character.

1551
01:24:49,360 --> 01:24:52,639
Speaker 2: I know, we really and we're coming down hard on him, but.

1552
01:24:52,600 --> 01:24:55,320
Speaker 3: Look, but look, he made some choices.

1553
01:24:55,439 --> 01:24:59,040
Speaker 2: He was holding us back lots of points.

1554
01:24:59,160 --> 01:25:03,040
Speaker 3: Well, I think brings us to our nipple scale, a

1555
01:25:03,120 --> 01:25:08,280
Speaker 3: metric of our very own that is, you know, really

1556
01:25:08,360 --> 01:25:12,880
Speaker 3: prestigious and really well thought out and carefully named and

1557
01:25:12,920 --> 01:25:15,559
Speaker 3: all that important stuff. But we rate the movie on

1558
01:25:15,600 --> 01:25:19,960
Speaker 3: a scale of zero to five nipples based on examining

1559
01:25:20,080 --> 01:25:24,599
Speaker 3: the movie through an intersectional feminist lens. So even though

1560
01:25:24,640 --> 01:25:28,400
Speaker 3: we've talked about some of the pretty dated things that

1561
01:25:28,560 --> 01:25:32,360
Speaker 3: the movie does here and they're considering it fares so

1562
01:25:32,479 --> 01:25:36,320
Speaker 3: well on both of your tests, Clarkisha, I'm inclined to

1563
01:25:36,320 --> 01:25:40,080
Speaker 3: give it like a four four nipples. I'll dock it

1564
01:25:40,160 --> 01:25:42,160
Speaker 3: for the stuff that we talked about, such as like

1565
01:25:43,120 --> 01:25:47,360
Speaker 3: the lack of critical thinking when it came to Lynn's arc,

1566
01:25:47,520 --> 01:25:52,799
Speaker 3: and like how she ultimately is represented in the movie,

1567
01:25:53,080 --> 01:25:54,800
Speaker 3: and a few other things like that. But at the

1568
01:25:54,880 --> 01:25:56,400
Speaker 3: end of the day, this is a movie about a

1569
01:25:56,400 --> 01:25:59,760
Speaker 3: black woman getting out from under the oppressive force that

1570
01:25:59,840 --> 01:26:03,679
Speaker 3: it is her white boss, and opening up her own

1571
01:26:03,720 --> 01:26:08,759
Speaker 3: shop and having her own autonomy and financial independence, and

1572
01:26:09,520 --> 01:26:13,960
Speaker 3: employing mostly black women and having camaraderie with them, and

1573
01:26:14,000 --> 01:26:16,599
Speaker 3: being a really good boss and a good mother and

1574
01:26:16,760 --> 01:26:19,920
Speaker 3: just a good friend all around. And it's stuff that

1575
01:26:19,960 --> 01:26:23,240
Speaker 3: we so seldom see in mainstream movies. So it was

1576
01:26:23,439 --> 01:26:27,160
Speaker 3: very refreshing to see all of that. So I'm gonna

1577
01:26:27,240 --> 01:26:33,760
Speaker 3: land on four nipples, and I'll split them between Queen Latifah.

1578
01:26:34,680 --> 01:26:38,080
Speaker 3: I'll give one to Sherry Shepherd because I enjoy her

1579
01:26:38,200 --> 01:26:43,160
Speaker 3: very much. I will give one to Alfree Wodard of course,

1580
01:26:43,960 --> 01:26:48,559
Speaker 3: and you know what, Golden Brooks gets my last one.

1581
01:26:48,960 --> 01:26:52,040
Speaker 2: Hell yeah, I'll go for I want to go four

1582
01:26:52,080 --> 01:26:55,400
Speaker 2: and a half because it's so much fun. I don't know.

1583
01:26:55,439 --> 01:26:58,200
Speaker 2: I don't know. I'm gonna go four point two five

1584
01:26:58,479 --> 01:27:00,920
Speaker 2: just to be in an argument with my self for

1585
01:27:00,960 --> 01:27:02,920
Speaker 2: no reason. But now I think this movie is so

1586
01:27:04,120 --> 01:27:06,599
Speaker 2: the fact that, I mean, building on what we've been

1587
01:27:06,600 --> 01:27:08,840
Speaker 2: talking about, what you just said, Katelyn, the fact that

1588
01:27:09,320 --> 01:27:13,720
Speaker 2: this movie tackles so much and it is still a comedy.

1589
01:27:13,920 --> 01:27:18,680
Speaker 2: It is like, it addresses a lot of systemic racism,

1590
01:27:19,160 --> 01:27:23,800
Speaker 2: it addresses misogyny and misogyn wire specifically, and it is

1591
01:27:24,040 --> 01:27:28,240
Speaker 2: still very much a comedy and it's an ensemble cod

1592
01:27:28,280 --> 01:27:30,200
Speaker 2: It's just like all of these things that I miss

1593
01:27:30,200 --> 01:27:33,559
Speaker 2: in movies so much and is a really good case

1594
01:27:33,560 --> 01:27:37,240
Speaker 2: study for how much a comedy is equipped to handle,

1595
01:27:37,560 --> 01:27:40,800
Speaker 2: like and I think that there is. We're just sort

1596
01:27:40,840 --> 01:27:44,200
Speaker 2: of starting to get back to movies like that, and

1597
01:27:44,200 --> 01:27:46,799
Speaker 2: I really really hope we keep getting them, especially movies

1598
01:27:46,840 --> 01:27:48,960
Speaker 2: like this that we have a nearly all the cast

1599
01:27:49,040 --> 01:27:51,960
Speaker 2: of all black women, And it's just I don't know,

1600
01:27:51,960 --> 01:27:54,880
Speaker 2: I feel like sometimes you hear critics talk like this

1601
01:27:54,920 --> 01:27:57,120
Speaker 2: is not possible, and it's like, well, but but it

1602
01:27:57,200 --> 01:28:00,000
Speaker 2: happened almost twenty years ago, and it happened before it's

1603
01:28:00,120 --> 01:28:04,200
Speaker 2: happened since, Like I would love movies like beauty Shop

1604
01:28:04,240 --> 01:28:07,040
Speaker 2: to be really and fully back, you know, docking the movie,

1605
01:28:07,040 --> 01:28:10,680
Speaker 2: like we've talked about for the regressive stereotypes or of

1606
01:28:10,760 --> 01:28:14,639
Speaker 2: the time, mostly docking for the homophobia and a little

1607
01:28:14,640 --> 01:28:17,760
Speaker 2: bit of the body politics this movie has. But it

1608
01:28:17,800 --> 01:28:20,480
Speaker 2: is kind of like it just speaks to like the

1609
01:28:20,520 --> 01:28:24,880
Speaker 2: power of Queen Latifa that none of these stereotypes touch her.

1610
01:28:25,479 --> 01:28:28,599
Speaker 2: They sometimes touch other characters, but Queen Latifa is just

1611
01:28:28,720 --> 01:28:31,120
Speaker 2: like she is such a star, like she produces her

1612
01:28:31,120 --> 01:28:33,280
Speaker 2: own work. I also want to hand it to this

1613
01:28:33,360 --> 01:28:37,719
Speaker 2: movie for having a pretty diverse team behind the camera,

1614
01:28:37,760 --> 01:28:40,320
Speaker 2: which we don't often have. Yeah, we have a black director,

1615
01:28:40,400 --> 01:28:42,639
Speaker 2: we have you know, the Kate Lanier of it all.

1616
01:28:43,200 --> 01:28:45,840
Speaker 2: You can listen to our set it Off episode or

1617
01:28:46,280 --> 01:28:49,000
Speaker 2: or more on that. But Norman's advanced junior is still

1618
01:28:49,040 --> 01:28:52,240
Speaker 2: a very successful working TV writer today. You know, I

1619
01:28:52,280 --> 01:28:55,280
Speaker 2: think that it would have been meaningful and would make

1620
01:28:55,400 --> 01:28:57,800
Speaker 2: a lot of sense for this movie to have had

1621
01:28:57,880 --> 01:29:01,920
Speaker 2: a black woman in a rectorial role because we still

1622
01:29:02,040 --> 01:29:05,679
Speaker 2: so rarely have that, especially you know, movies with big

1623
01:29:05,800 --> 01:29:07,880
Speaker 2: budgets or you know, this movie has had twenty five

1624
01:29:07,880 --> 01:29:10,280
Speaker 2: million dollar budget, big for a comedy of the time.

1625
01:29:11,160 --> 01:29:14,519
Speaker 2: But there's just so much to love about this movie.

1626
01:29:14,600 --> 01:29:17,599
Speaker 2: It made me excited to watch it again next time.

1627
01:29:17,640 --> 01:29:21,120
Speaker 2: It's such a comfort movie. And yeah, so I'm going

1628
01:29:21,200 --> 01:29:24,479
Speaker 2: to go four point two five nipples. I might just

1629
01:29:24,520 --> 01:29:26,360
Speaker 2: go for I don't know, four point two five. Sure

1630
01:29:26,920 --> 01:29:30,360
Speaker 2: to give one to Queen Latifah. I'm going to give

1631
01:29:30,920 --> 01:29:37,120
Speaker 2: one to Alfred Woodard one to Vanessa because I really

1632
01:29:37,160 --> 01:29:40,400
Speaker 2: loved her, and it's so hard to have a child

1633
01:29:40,479 --> 01:29:45,320
Speaker 2: prodigy not make me deeply annoyed. So good for her.

1634
01:29:45,640 --> 01:29:48,120
Speaker 3: She was really playing that piano. They weren't faking it.

1635
01:29:48,320 --> 01:29:50,720
Speaker 2: She was really playing. I know, I love. Yeah, there

1636
01:29:50,760 --> 01:29:54,040
Speaker 2: was no cutback to like clearly adult arms or like

1637
01:29:54,200 --> 01:29:59,320
Speaker 2: James Cameron's hands drawing. Any had to get in there.

1638
01:29:59,320 --> 01:30:01,200
Speaker 3: I had to get another t Titanic reference in there.

1639
01:30:01,240 --> 01:30:04,240
Speaker 2: You sorry? And then the rest goes to to Sherry

1640
01:30:04,280 --> 01:30:08,400
Speaker 2: Shepherd and the fictional little Greg she was carrying. Oh yes,

1641
01:30:08,479 --> 01:30:12,599
Speaker 2: of course, what would you rate this movie?

1642
01:30:12,920 --> 01:30:15,040
Speaker 4: I'll definitely give you like four point five. You know,

1643
01:30:15,120 --> 01:30:17,439
Speaker 4: I usually create either like an whole or half that

1644
01:30:19,400 --> 01:30:21,840
Speaker 4: I'm terrible. Then i'll really be petty.

1645
01:30:21,920 --> 01:30:26,040
Speaker 5: I'll be like it was a zero point one eight too,

1646
01:30:26,160 --> 01:30:29,160
Speaker 5: Like I'll just be making up, like because I hate

1647
01:30:29,200 --> 01:30:29,599
Speaker 5: your movies.

1648
01:30:30,160 --> 01:30:33,479
Speaker 4: Yeah, but yeah, So definitely four point five. I would

1649
01:30:33,520 --> 01:30:37,759
Speaker 4: say the half would go to the radio. I forget,

1650
01:30:38,680 --> 01:30:42,200
Speaker 4: but I thank you. Oh yeah, because I appreciate her.

1651
01:30:42,280 --> 01:30:45,200
Speaker 5: I appreciate on people in powerful positions, pull people on

1652
01:30:45,240 --> 01:30:48,839
Speaker 5: because that's what we're supposed to Tony and Morris's birthday

1653
01:30:49,000 --> 01:30:50,000
Speaker 5: was just yesterday.

1654
01:30:50,040 --> 01:30:51,839
Speaker 4: I love her down. It's one of my favorite authors.

1655
01:30:51,920 --> 01:30:54,880
Speaker 5: And she has this quote and accusly on paraphrazing, but

1656
01:30:54,920 --> 01:30:56,880
Speaker 5: in the course she basically talks about, you know, when

1657
01:30:56,920 --> 01:30:59,599
Speaker 5: you get to these fancy jobs, get to these positions

1658
01:30:59,600 --> 01:31:02,280
Speaker 5: you always manifested or prayed for, you need to make

1659
01:31:02,320 --> 01:31:04,680
Speaker 5: sure you hold the door open for somebody else, or

1660
01:31:04,720 --> 01:31:06,439
Speaker 5: you said someone else up, or you put someone else

1661
01:31:06,479 --> 01:31:08,400
Speaker 5: else on otherwise, if you know what was is four

1662
01:31:08,800 --> 01:31:11,400
Speaker 5: So I love that Helen did that. She was like, hey,

1663
01:31:11,439 --> 01:31:14,320
Speaker 5: she did me solid. I'm gonna return to favor Now.

1664
01:31:14,400 --> 01:31:17,280
Speaker 5: Obviously she she's not in most of the movie, just

1665
01:31:17,360 --> 01:31:20,360
Speaker 5: those small parts, but you know, she changes Gena's life

1666
01:31:20,880 --> 01:31:22,720
Speaker 5: by doing that. So I'm like, you getta do a

1667
01:31:22,760 --> 01:31:27,720
Speaker 5: twenty five girl. Definitely giving one to Gina. She's a superstar.

1668
01:31:28,680 --> 01:31:33,599
Speaker 5: So I would give the second one to I would

1669
01:31:33,640 --> 01:31:36,920
Speaker 5: say halfrey Wood's character too. I just love when she

1670
01:31:37,000 --> 01:31:39,559
Speaker 5: puts out into the the phenomenal woman.

1671
01:31:40,280 --> 01:31:42,240
Speaker 2: That's I think it's like three different times.

1672
01:31:42,320 --> 01:31:42,800
Speaker 4: It's great.

1673
01:31:44,160 --> 01:31:47,120
Speaker 5: I love that for her. I would give it to

1674
01:31:47,439 --> 01:31:48,560
Speaker 5: once again Vanessa.

1675
01:31:49,080 --> 01:31:49,960
Speaker 4: She's so fun.

1676
01:31:50,320 --> 01:31:53,160
Speaker 5: She's also so like quick, very witty, like when she

1677
01:31:53,280 --> 01:31:55,920
Speaker 5: puts Jaj in his place is.

1678
01:31:55,920 --> 01:31:58,760
Speaker 4: Very like, oh bam, and they didn't linger. She's just like, hey,

1679
01:31:58,760 --> 01:32:01,200
Speaker 4: I don't know the fuck with you, You're not right.

1680
01:32:01,320 --> 01:32:05,639
Speaker 5: And then it's not this big moment of like, look, hey,

1681
01:32:05,760 --> 01:32:08,960
Speaker 5: I'm rejecting patriarchy. The kid like no, she's just like, hey,

1682
01:32:09,320 --> 01:32:10,880
Speaker 5: I've seen how you interact with other people.

1683
01:32:11,280 --> 01:32:12,000
Speaker 4: I don't like you.

1684
01:32:12,400 --> 01:32:14,720
Speaker 2: I've got a parent trap to take care of every hair.

1685
01:32:14,760 --> 01:32:16,080
Speaker 4: I don't have to like I'm not.

1686
01:32:17,720 --> 01:32:22,759
Speaker 5: So that'll be three. So the last one I'm gonna

1687
01:32:22,800 --> 01:32:28,160
Speaker 5: lean Sherry, gonna lean Sherry. You know she does a lot,

1688
01:32:28,400 --> 01:32:30,000
Speaker 5: but you know, I do love that. You know, she's

1689
01:32:30,040 --> 01:32:34,080
Speaker 5: just this pregnant woman who's very like sex positive, very

1690
01:32:34,120 --> 01:32:37,120
Speaker 5: fucking funny. She and then her names that she wants

1691
01:32:37,120 --> 01:32:39,280
Speaker 5: to name her children is just fucking ridiculous, but you

1692
01:32:39,320 --> 01:32:40,439
Speaker 5: just gotta go along with it.

1693
01:32:40,439 --> 01:32:42,799
Speaker 4: Because that's her right. I wouldn't give it to Goldie,

1694
01:32:42,840 --> 01:32:44,320
Speaker 4: but like, her character is very.

1695
01:32:44,200 --> 01:32:46,600
Speaker 5: Grating in terms of like some of the you know,

1696
01:32:46,680 --> 01:32:49,639
Speaker 5: regressive politics that we talked about the show. And even

1697
01:32:49,640 --> 01:32:51,919
Speaker 5: though I don't like meanness of already in this movie,

1698
01:32:52,400 --> 01:32:55,240
Speaker 5: like her hyperfixation on her titties is very weird to

1699
01:32:55,280 --> 01:32:58,080
Speaker 5: me because I'm just like, listen, they look good, like

1700
01:32:58,160 --> 01:32:59,960
Speaker 5: fuck her, but day look look.

1701
01:32:59,800 --> 01:33:02,479
Speaker 2: At one in a hand mirror in one shot.

1702
01:33:02,640 --> 01:33:06,080
Speaker 4: I was like, you had for the time, right, because

1703
01:33:06,120 --> 01:33:10,000
Speaker 4: we know how some of those how bad something they

1704
01:33:10,040 --> 01:33:10,599
Speaker 4: can go wrong?

1705
01:33:11,400 --> 01:33:13,639
Speaker 5: Yeah, yeah, you know a little watch, there's a whole

1706
01:33:13,640 --> 01:33:17,120
Speaker 5: thing around them. I'm sure y'all remember. But yeah, we

1707
01:33:17,280 --> 01:33:20,280
Speaker 5: give it to Sherry. She's so funny and she's so sweet.

1708
01:33:20,640 --> 01:33:24,120
Speaker 3: There's a fun little anecdote. I was watching a couple

1709
01:33:24,160 --> 01:33:27,120
Speaker 3: of videos where Queen Lativa and Cherry Shepherd are talking

1710
01:33:27,160 --> 01:33:30,840
Speaker 3: either on a Queen Lativa show or on Cherry Shepherd Show,

1711
01:33:30,840 --> 01:33:35,040
Speaker 3: but anyway, they're recounting this story about how Sherry was

1712
01:33:35,120 --> 01:33:39,560
Speaker 3: doing a scene that the producers wanted to cut because

1713
01:33:39,720 --> 01:33:42,479
Speaker 3: they deemed it too silly, and it was a scene

1714
01:33:42,520 --> 01:33:45,120
Speaker 3: between her and Alfrey Woodard and she's like, well, allfree

1715
01:33:45,120 --> 01:33:48,439
Speaker 3: Woodard isn't silly. I'm the silly one, so clearly, like

1716
01:33:48,520 --> 01:33:51,280
Speaker 3: it's me and my performance that they don't like. And

1717
01:33:51,360 --> 01:33:53,559
Speaker 3: then so she was like feeling really bad about it,

1718
01:33:53,680 --> 01:33:55,639
Speaker 3: and you know, didn't want the scene to be cut,

1719
01:33:55,720 --> 01:33:58,080
Speaker 3: but it wasn't up to her. And then Queen Latifa

1720
01:33:58,120 --> 01:34:00,960
Speaker 3: like knocks on her trailer door to be like, do

1721
01:34:01,080 --> 01:34:04,120
Speaker 3: you do the scene the way you want to do it, like,

1722
01:34:04,400 --> 01:34:09,240
Speaker 3: don't suppress any silliness, like be the performer you want

1723
01:34:09,280 --> 01:34:12,479
Speaker 3: to be, and I'll fight for this scene to stay

1724
01:34:12,640 --> 01:34:15,920
Speaker 3: in the movie. And they did and it worked out,

1725
01:34:16,120 --> 01:34:19,800
Speaker 3: and Sherry Shepherd was forever grateful about it. I don't

1726
01:34:19,840 --> 01:34:22,400
Speaker 3: know specifically what scene they were talking about, but yeah,

1727
01:34:22,479 --> 01:34:24,080
Speaker 3: well I'm not totally sure.

1728
01:34:24,240 --> 01:34:26,360
Speaker 2: It's a comedy. There's no such thing.

1729
01:34:26,520 --> 01:34:29,160
Speaker 3: Right exactly. I'm like, why wouldn't you leave a silly

1730
01:34:29,160 --> 01:34:31,479
Speaker 3: scene in a comedy? But anyways, so yeah, it was

1731
01:34:31,560 --> 01:34:34,120
Speaker 3: just like this moment of Queen Latifa lifting her up

1732
01:34:34,240 --> 01:34:39,920
Speaker 3: and supporting her creative vision and it was really sweet.

1733
01:34:40,040 --> 01:34:43,360
Speaker 2: Love it. And that's the power of being a producer too,

1734
01:34:43,479 --> 01:34:46,439
Speaker 2: is you can advocate for your co stars in a

1735
01:34:46,479 --> 01:34:48,600
Speaker 2: way that the other producers aren't going to do.

1736
01:34:49,560 --> 01:34:53,160
Speaker 3: Yeah, well, Clark Kisha, thank you so much for joining us.

1737
01:34:53,400 --> 01:34:54,439
Speaker 3: It was such a treat.

1738
01:34:54,760 --> 01:34:55,639
Speaker 2: This was so fun.

1739
01:34:55,680 --> 01:34:57,679
Speaker 3: Come back anytime for any movie.

1740
01:34:58,200 --> 01:34:59,840
Speaker 4: Thank you for having me. I really appreciate it.

1741
01:35:00,000 --> 01:35:03,639
Speaker 3: Where can people check out your work you're writing, follow

1742
01:35:03,680 --> 01:35:05,360
Speaker 3: you on social media, et cetera.

1743
01:35:05,600 --> 01:35:06,640
Speaker 2: Read your book?

1744
01:35:07,160 --> 01:35:10,519
Speaker 5: Oh thank you so, my book Off on a Big

1745
01:35:10,560 --> 01:35:14,360
Speaker 5: Bitch Manifesto is out. Obviously, I prefer you buy from

1746
01:35:14,400 --> 01:35:17,519
Speaker 5: the famous press website, which is who published it. You know,

1747
01:35:17,600 --> 01:35:20,880
Speaker 5: you can get it Barne's novel on Amazon Books a million,

1748
01:35:20,960 --> 01:35:25,320
Speaker 5: you get mostly anywhere. Also, support your local library if

1749
01:35:25,360 --> 01:35:27,360
Speaker 5: you're in a position where you can online my book.

1750
01:35:27,520 --> 01:35:30,040
Speaker 5: That is okay, girl, I get it. We in a

1751
01:35:30,280 --> 01:35:34,080
Speaker 5: super recession, all right. But make sure you support your

1752
01:35:34,160 --> 01:35:37,360
Speaker 5: local library because they will have it, whether it's the

1753
01:35:37,400 --> 01:35:40,479
Speaker 5: hard copy or an e book, or they have like

1754
01:35:40,520 --> 01:35:41,160
Speaker 5: the audiobooks.

1755
01:35:41,280 --> 01:35:43,160
Speaker 4: I did do that too, They will have it.

1756
01:35:43,320 --> 01:35:46,599
Speaker 5: Support your local library, get a library card, make sure

1757
01:35:46,640 --> 01:35:48,599
Speaker 5: they don't get shut down. It is one of our

1758
01:35:48,640 --> 01:35:52,000
Speaker 5: final third spaces. People get complaining about third spaces disappearing.

1759
01:35:52,400 --> 01:35:56,400
Speaker 5: That's one and she needs all help. She's on her

1760
01:35:56,439 --> 01:35:59,640
Speaker 5: last live, especially the New York Yes, so there's that.

1761
01:36:00,080 --> 01:36:00,479
Speaker 3: Mm hmm.

1762
01:36:00,600 --> 01:36:04,120
Speaker 5: Yeah, there's also you can find me on you know, Twitter,

1763
01:36:04,600 --> 01:36:06,680
Speaker 5: which is Twitter. I'm not gonna ever call it x

1764
01:36:06,840 --> 01:36:11,560
Speaker 5: no so Twitter, I'm so you know at Ironald Date Underscore.

1765
01:36:12,320 --> 01:36:14,280
Speaker 5: I go back and forth and from Keith the account,

1766
01:36:14,320 --> 01:36:17,400
Speaker 5: so we don't see it really depends, you know, Instagram

1767
01:36:17,439 --> 01:36:20,599
Speaker 5: at Clarkisha Kent, and then I'm on High Social too.

1768
01:36:20,640 --> 01:36:23,040
Speaker 4: I haven't been there a little bit, but yeah, I'm

1769
01:36:23,040 --> 01:36:24,400
Speaker 4: on there also with Clarkisha Kent.

1770
01:36:25,000 --> 01:36:28,920
Speaker 5: My website is currently down for construction right now because

1771
01:36:28,960 --> 01:36:31,360
Speaker 5: I got to move some stuff around, but you usually

1772
01:36:31,400 --> 01:36:31,960
Speaker 5: can find.

1773
01:36:31,760 --> 01:36:34,360
Speaker 4: Me there as well. Www dot clarkishcampt.

1774
01:36:34,960 --> 01:36:35,400
Speaker 3: Amazing.

1775
01:36:35,840 --> 01:36:38,080
Speaker 2: Thank you so much for joining us today. This has

1776
01:36:38,280 --> 01:36:40,960
Speaker 2: like truly been years in the making. We're really happy

1777
01:36:41,280 --> 01:36:44,360
Speaker 2: you're here. Yes, you can find us all over the

1778
01:36:44,360 --> 01:36:48,200
Speaker 2: place at Twitter, Instagram, at Bechdelcast, you can follow our

1779
01:36:48,320 --> 01:36:52,519
Speaker 2: Patreon aka Matreon. Five dollars a month gets you two

1780
01:36:52,560 --> 01:36:56,240
Speaker 2: bonus episodes a month and access to over one hundred

1781
01:36:56,280 --> 01:36:59,880
Speaker 2: and fifty episodes of back catalog. Yeah.

1782
01:37:00,400 --> 01:37:03,519
Speaker 3: You can also go to our link tree link tree

1783
01:37:03,720 --> 01:37:07,160
Speaker 3: slash Bechdel Cast, where you will find tickets to oh,

1784
01:37:07,240 --> 01:37:10,920
Speaker 3: I don't know an upcoming tour we're doing in the UK,

1785
01:37:11,680 --> 01:37:14,439
Speaker 3: and it's not just any tour, it's the Shrek Tannic Tour,

1786
01:37:14,520 --> 01:37:18,479
Speaker 3: where we are covering either Titanic or Shrek, the most

1787
01:37:18,479 --> 01:37:23,559
Speaker 3: important movies of our age. And you can get those

1788
01:37:23,600 --> 01:37:26,840
Speaker 3: tickets and we'll see you there. And then our merch

1789
01:37:26,920 --> 01:37:30,479
Speaker 3: is at teapublic dot com slash the Bechdel Cast. And

1790
01:37:31,320 --> 01:37:33,519
Speaker 3: with that, should we all go to the beauty shop

1791
01:37:33,760 --> 01:37:35,200
Speaker 3: and get our hair done.

1792
01:37:35,479 --> 01:37:42,040
Speaker 6: Li'st it okay, Bye bye.

1793
01:37:42,080 --> 01:37:45,360
Speaker 3: The Bechdel Cast is a production of iHeartMedia, hosted by

1794
01:37:45,439 --> 01:37:49,320
Speaker 3: Caitlin Derante and Jamie Loftis, produced by Sophie Lichterman, edited

1795
01:37:49,439 --> 01:37:52,599
Speaker 3: by Mola Board. Our theme song was composed by Mike

1796
01:37:52,720 --> 01:37:56,640
Speaker 3: Kaplan with vocals by Catherine Voss Grossenski. Our logo and

1797
01:37:56,760 --> 01:37:59,920
Speaker 3: merch is designed by Jamie Loftis and a special thing

1798
01:38:00,160 --> 01:38:04,280
Speaker 3: to Aristotle Acevedo. For more information about the podcast, please

1799
01:38:04,400 --> 01:38:06,240
Speaker 3: visit linktree Slash Bechtelcast