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Speaker 1: On the beck Doll Cast, the questions asked if movies

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

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

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Speaker 1: start changing it with the beck del Cast. Hey, Jamie,

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Speaker 1: Hey Caitlin, it's me, your mean old babysitter, and and

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Speaker 1: I have a list of rules and a list of

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Speaker 1: chores for you to do, okay, such as talk about movies.

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Speaker 1: Oh see, I thought you were going to do uh.

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Speaker 1: I thought you were gonna do Rose Lindsay. And I

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Speaker 1: thought that I was going to have to reply to you.

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Speaker 1: I'm right on top of that, Caitlin. Oh that makes

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Speaker 1: more sense because that is way more what the movie

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Speaker 1: is about than the babysitter being dead. So I kind

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Speaker 1: of fumbled it. Yeah, it's about learning to navigate your

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Speaker 1: way through life as a girl boss when you're when

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Speaker 1: you're a liar. I love it. And you know, start early.

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Speaker 1: It's never too soon. You know, when you're seventeen with

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Speaker 1: your hot dog job and us start selling uniforms to

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Speaker 1: members of a gigantic chemical conglomerate, something they go out

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Speaker 1: of the way to tell us about. For some reason,

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Speaker 1: I love this movie uh, welcome to the Bechtel Cast.

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Speaker 1: My name's Jamie Loftus and I'm I'm right on top

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Speaker 1: of that, Caitlin. Thank you so much, Jamie. And my

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Speaker 1: name is Caitlin Darante and I'm your boss and your

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Speaker 1: babysitter and your mom. And this is our podcast in

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Speaker 1: which we examine movies through an intersectional feminist lens, using

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Speaker 1: the Bechtel test simply as a jumping off point to

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Speaker 1: initiate a larger conversation. But Jamie, what is the Bechtel test? Well,

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Speaker 1: I'm right on top of that, Caitlin, I can tell

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Speaker 1: you what it is. This is about to not pass

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Speaker 1: the Bechtel test. But is that what men say when

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Speaker 1: they're having sex with you? I'm right on top of that, Kate, alright,

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Speaker 1: moving right along. And then and then I turn around

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Speaker 1: and they're dead, just like the baby, and they just

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Speaker 1: slumped to the ground. I don't. I don't have sex

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Speaker 1: as much as I watched Julia Child and then stop

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Speaker 1: smoking so much weed. This movie rocks, okay. The Bechtel

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Speaker 1: Test is a media matric created by queer cartoonist Alice

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Speaker 1: and Bechtel, sometimes called the Bechtel Wallace test originally made

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Speaker 1: as a bit of a goof a bit of a

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Speaker 1: bit for comics she made in the eighties a bit

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Speaker 1: a bit of a bit, but has since become a

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Speaker 1: very popular way of analyzing media. Lots of versions of

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Speaker 1: the test. Here's ours. We require that piece of media

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Speaker 1: have two characters of a marginalized gender with names who

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Speaker 1: speak to each other about something other than a man

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Speaker 1: for two lines of dialogue, and it should be a

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Speaker 1: narratively impactful uh line of dialogues such as such as,

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Speaker 1: I'm right on top of that rose, and thank you

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Speaker 1: Jamie for being right on top of explaining the Bechtel tests.

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Speaker 1: Was an incredible job. I'm so impressed. Actually I am not.

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Speaker 1: I did none of the prep for this episode today.

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Speaker 1: I had Kimmy Robertson do it for me. Did you

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Speaker 1: Did you delegate it to a colleague who is obsessed

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Speaker 1: with doing busy work? Yeah? Sorry? I actually took advantage

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Speaker 1: of the most vulnerable person in the workplace I could

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Speaker 1: find and was rewarded for it. So yeah, yeah, yeah, yeah, cool,

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Speaker 1: good job. There's only two people in our workplace. I'm like,

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Speaker 1: I don't know who. We don't have a Kimmy robertson,

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Speaker 1: maybe we should know we shouldn't get an employee and

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Speaker 1: exploit them. What am I talking about. Let's get this

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Speaker 1: episode started, yes by introducing our wonderful guest. She's a

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Speaker 1: film critic for The New York Times and host of

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Speaker 1: the podcast Unspoiled. It's Amy Nicholson. Hello everybody, and welcome.

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Speaker 1: It's so nice to be here. I've been I've been

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Speaker 1: wanting to tell you, you you know, like my podcast since

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Speaker 1: we started, because we were going through the a fight

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Speaker 1: top one and then like realizing we could get rid

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Speaker 1: of a lot of them. We absolutely asked the graduate. Yes,

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Speaker 1: I loved you guys going hard on the movie. I

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Speaker 1: hate that movie so much. That movie sucks, so fuck

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Speaker 1: you the Graduate. It's gone. Thank you brings me so

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Speaker 1: much joy. It's so bad and Unspooled is incredible. Thank

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Speaker 1: you so you brought us. Don't tell mom the Babysitters Dead.

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Speaker 1: What is your relationship your history with this movie. Yeah,

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Speaker 1: I was thinking about that, and I was thinking, I

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Speaker 1: think this might be one of the first movies I

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Speaker 1: ever saw in a theater. Maybe you know, I'm a

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Speaker 1: child was alive in the eighties, but I don't remember

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Speaker 1: a ton of the eighties, and we didn't go to

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Speaker 1: movies a lot when I was a kid, but I'm

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Speaker 1: pretty sure I saw this around the time that I

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Speaker 1: saw Home Alone, and I have loved this movie deeply

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Speaker 1: since I was a child. I watched a lot of

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Speaker 1: TV instead, so I watched Married Children all the time,

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Speaker 1: and the idea that there was a movie with Bundy

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Speaker 1: was the coolest thing in the world. And I thought

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Speaker 1: this movie was the coolest thing in the world. And

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Speaker 1: I still kind of do think it's one of the

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Speaker 1: coolest movies in the world. Hell yeah, have you guys

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Speaker 1: seen it before? What's your whole thing? I had not

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Speaker 1: seen it before, And so coming into this movie, this

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Speaker 1: and the other classic babysitter movie of well, I guess

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Speaker 1: that maybe there's a handful because there's like the Babysitter

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Speaker 1: Club movie, which I also haven't seen, but I did

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Speaker 1: read those books. And then there's Adventures in Babysitting, which

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Speaker 1: was maybe what like five or six years before you

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Speaker 1: I've still never seen that one, also with Keith Coogan.

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Speaker 1: Oh is he in it? Also? Wow, he's really niche.

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Speaker 1: Babysitter content Getting Getting typecast and Baby Baby Set brutal,

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Speaker 1: So I have seen that one, but I missed all

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Speaker 1: of those movies as a as a youth, so I

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Speaker 1: hadn't seen Don't Tell Mom the Babysitters Dead until I

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Speaker 1: started prepping for this episode, and I didn't love it. Um,

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Speaker 1: it's okay, it's okay to be wrong every once in

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Speaker 1: a while. It's okay. Thank you, thank you for giving

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Speaker 1: me permission to be wrong. But I just I found

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Speaker 1: all of the characters very irritating, even the ones you're

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Speaker 1: supposed to be rooting for and um, And I think

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Speaker 1: it's because I resent movies that are clearly for like

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Speaker 1: teens and kids that are like all the adults in

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Speaker 1: this movie suck and the kids are awesome. I know

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Speaker 1: I'm getting old because watching those movies as an adult,

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Speaker 1: I get like, very unreasonably annoyed about movies like that.

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Speaker 1: So that's kind of my That was my reaction to this.

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Speaker 1: But I think this movie does, like addresses some interesting

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Speaker 1: things that I was not expecting it to address, So

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Speaker 1: I'm excited to talk about it. Jamie, what about you?

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Speaker 1: What's your relationship with this movie? Also very recent, but

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Speaker 1: I had the opposite takeaway from this movie. I watched

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Speaker 1: this movie for the first time. In some point in Lockdown,

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Speaker 1: I was in the mood for something silly and did

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Speaker 1: not really like I didn't know. I'm trying to think

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Speaker 1: of movies where there's like this kind of comparable effect

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Speaker 1: where the title of the movie has kind of nothing

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Speaker 1: to do with what happens in the movie. But I

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Speaker 1: was ready for a whole like I don't know, Weekend

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Speaker 1: that Bernie's babysit or high Jinks or something, and not

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Speaker 1: like Girl Boss, Working Girl. But I really really enjoyed it.

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Speaker 1: When I saw it, I was like surprised at the

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Speaker 1: number of things that this movie tries to take on

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Speaker 1: while staying pretty silly and um, I thought, I don't know,

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Speaker 1: I guess I would. We can get into it in

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Speaker 1: the discussion, but I would argue that not all the

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Speaker 1: adults in this movie suck um, or or that there

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Speaker 1: are at least some I think that all the adult

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Speaker 1: men in this movie suck, and that doesn't bother me

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Speaker 1: for sure, But I think Rose Lindsay is um It's

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Speaker 1: a character that we can root for, and even you know,

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Speaker 1: I was okay, I think my in battle watching this

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Speaker 1: movie with analysis. Outside of early nineties tropes that we'll

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Speaker 1: talk about is I was trying to get a gauge

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Speaker 1: for like how people feel about their mom, and their

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Speaker 1: mom is such a polarizing character even it seems like

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Speaker 1: with fans of this movie, where there are some people

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Speaker 1: who are like, you know, their mom's supposed to be

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Speaker 1: thirty six in the movie and has five kids in

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Speaker 1: a house that is absolutely falling apart. Uh, and she

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Speaker 1: does funk off to Australia, and some people think that

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Speaker 1: that is practice and amazing, and other people think that

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Speaker 1: that is negligion. And I was like, oh, I guess

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Speaker 1: I was off. I had a crisis last night where

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Speaker 1: I was like, oh, I was yeah. I always sort

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Speaker 1: of thought that's not great parenting, but then I'm like,

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Speaker 1: maybe that's my internal misogyny. But then I'm like, no,

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Speaker 1: I think it's bad parenting. You shouldn't just go to

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Speaker 1: Australia when you have kid as young as yeah, five

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Speaker 1: kids ranging from I don't know, the youngest one seems

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Speaker 1: to be like seven, yeah, and then there's like old

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Speaker 1: she left them with a full on stranger. One thing

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Speaker 1: about people in this movie is they don't check resume,

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Speaker 1: is they don't vet how could you it was the nineties.

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Speaker 1: I think it's great gen X parenting because, like, I

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Speaker 1: know we're going to get into all of this, but

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Speaker 1: like that mom has had it, and I would say

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Speaker 1: as much as the not all of the adults suck,

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Speaker 1: at least not Rose. I think the kids do kind

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Speaker 1: of suck. And I'm like, if I was that mom,

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Speaker 1: absolutely I'm getting out of here, like I'm over it.

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Speaker 1: Nobody helps her. She's so mad. I know we'll get

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Speaker 1: into this, but I need that needed to be said. Also,

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Speaker 1: to be clear, I don't think that Rose sucks. It's

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Speaker 1: more like every adult in the movie is presented in

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Speaker 1: a particular way. Many some of them are like mean

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Speaker 1: and conniving, nagging, but Rose is just kind of like clueless.

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Speaker 1: I mean, she's very nice, and she's like a supportive

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Speaker 1: boss since she seems good to work for. But just

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Speaker 1: the way that every adult is presented in a rather

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Speaker 1: cartoonish and usually unflattering way, I feel like that's that's

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Speaker 1: sort of my I don't know, it depends on the movie.

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Speaker 1: My mileage with that sort of varies, but sometimes I

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Speaker 1: like my favorite movie when I was a kid for

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Speaker 1: a while was Jimmy neutron because all the parents suck

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Speaker 1: and then they're kidnapped by aliens. I mean, I think

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Speaker 1: this is a movie about how growing up sucks, and

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Speaker 1: nobody ever goes up that much. In Rose can still

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Speaker 1: be swede and bubbleheaded and easily distracted. True, I mean relatable. Yall?

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Speaker 1: Shall I do the recap and we'll go from there.

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Speaker 1: Let's do it right. So we meet Swell, who you

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Speaker 1: eventually learn is a that's a nickname for Sue Ellen,

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Speaker 1: which is a name. I was like, I'm sorry, her

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Speaker 1: name is Swell. I was very confused for a while.

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Speaker 1: But Swell is played by Christina Applegate. She just graduated

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Speaker 1: from high school and she thinks she's about to have

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Speaker 1: a fun summer of freedom because her mom is about

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Speaker 1: to leave for Australia to go with I think her

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Speaker 1: boyfriend for two months. Yeah. I like to think that

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Speaker 1: there's an alternate timeline of like when the mom gets back.

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Speaker 1: I'm always like and what was she up to out there?

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Speaker 1: Like what did she We know that she's had a

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Speaker 1: big fashion change at least something something in her core

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Speaker 1: has been alot. She's a she's a freeer woman. But

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Speaker 1: she says, I've had a very rough thirty seven years

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Speaker 1: and I need a break. Yeah yeah, Mom, she good

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Speaker 1: for her. I like that she has I like an

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Speaker 1: eat prey love while her children's lives are falling apart. Okay,

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Speaker 1: so Swell thinks she's going to have all this freedom

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Speaker 1: this summer, But surprise, her mom has hired a babysitter,

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Speaker 1: Mrs Sturak, to look after Swell and her four younger

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Speaker 1: siblings for the summer. Much too, Swells dismay. Mrs Sturic

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Speaker 1: seems like a sweet old lady at first, but as

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Speaker 1: soon as their mom leaves, she reveals that she's actually

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Speaker 1: very mean, and she has a tyrant, a list of

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Speaker 1: rules and chores for Swell and her siblings, who are

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Speaker 1: Walter he's the youngest, Melissa, I think his next youngest.

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Speaker 1: She's a bit of a you know, quote unquote tomboy.

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Speaker 1: Then there's Zach, who's like a tween. He seems like

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Speaker 1: he's maybe like twelve or so. He's very romantic. He

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Speaker 1: has a girlfriend he really likes. He's also the kid

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Speaker 1: that sells Kiana Reeves the surfboard and point break no Way.

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Speaker 1: Yeah wow. Gotta love nineties kid actors um and then

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Speaker 1: there's Kenny, who seems only a little bit younger than Swell.

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Speaker 1: He's probably like sixteen, maybe fifteen. Um, he's like a

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Speaker 1: kind of rebel teen punk kid. You know it's weird.

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Speaker 1: It's like they give the ages for the kids on Wikipedia,

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Speaker 1: and I don't know about you, guys, I have like

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Speaker 1: a total blindness for kid ages. Like I couldn't tell

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Speaker 1: you how any kid is. No clue. They say the

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Speaker 1: youngest kid is eleven, it's started eleven, and then like

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Speaker 1: the girl is twelve, and then the heart drop is fourteen,

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Speaker 1: and then it doesn't bother saying with Kenny's but he

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Speaker 1: could drive. I assume that that is simply not correct.

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Speaker 1: There's no way that Walter is eleven that no. I

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Speaker 1: was at Target yesterday, um, buying a baby shar gag. Okay, yeah,

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Speaker 1: I'm pretty wealthy. Uh, but I was. I had like

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Speaker 1: a half hour to kill some I'm like, all right,

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Speaker 1: I'm just going to sit in the Starbucks area of

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Speaker 1: Target and kill some time. There were these two kids

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Speaker 1: next to me who I could not I was trying

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Speaker 1: to figure out how old they were, had no idea,

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Speaker 1: but they were actively planning to shoplift the whole and

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Speaker 1: it was so fun to listen to them because they

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Speaker 1: were just like not not setting themselves up for success.

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Speaker 1: I was rooting for them steal from a big box store,

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Speaker 1: of course, but they one of them just kept like

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Speaker 1: hissing at the other. Yeah, man, everything has barcodes on it. Okay,

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Speaker 1: stop asking me. What were they prioritizing? What are the

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Speaker 1: kids these days into? As far as I know, the

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Speaker 1: plan was to steal a bunch of Halloween candy. I

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Speaker 1: think bigger I know I And then but then when

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Speaker 1: they left, there was a mysterious they had. They were

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Speaker 1: looking at TikTok. They did a TikTok dance. This sounds

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Speaker 1: like a vision I had, but they were they were real.

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Speaker 1: And then they had like a can of shaving cream

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Speaker 1: with them, which they also may have stolen, and they

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Speaker 1: put a bunch of shaving cream all over the table

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Speaker 1: they had been sitting at. And then they stole Halloween

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Speaker 1: candy and uh disappeared into the America Halloween. If they

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Speaker 1: wait a couple of weeks, they're gonna get Halloween candy

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Speaker 1: for free. Steal a steal a DVD. I guess they

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Speaker 1: don't know how to work DVDs, but steal something they

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Speaker 1: could sell for candy, steal something smaller st v D.

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Speaker 1: I know they were. They were absolutely blowing up. Wow.

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Speaker 1: I like that story though, but I was like, they

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Speaker 1: are these kids like eight or are they fourteen? Like?

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Speaker 1: I have no idea. It's it's hard. I really can't

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Speaker 1: tell children. But I'd refuse to believe that Walter is

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Speaker 1: as old as eleven. That doesn't seem right at all. Okay,

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Speaker 1: So Mrs Derek is mean and a tyrant, and so

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Speaker 1: Swell goes to confront her about her authoritarian rule, and

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Speaker 1: when she does that, Swell discovers that the babysitters dead.

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Speaker 1: She must have died in her sleep, and the siblings

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Speaker 1: realized that if they call, their mom will be notified

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Speaker 1: and come back home. And they don't want their mom

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Speaker 1: to come back home just yet. They want to have freedom,

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Speaker 1: so they decide to leave Mrs Directs body on the

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Speaker 1: doorstep of the mortuary and then spend the next two

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Speaker 1: months taking advantage of their mom being gone. They're horrible, like, yeah,

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Speaker 1: they're not good, they're bad kids. But so the next morning,

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Speaker 1: Swell goes to buy groceries with the money their mom

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Speaker 1: had left to Mrs Sturk to like buy food and

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Speaker 1: for spending money and stuff. But the envelope is empty,

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Speaker 1: and they realized that Mrs Dorrick must have, you know,

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Speaker 1: just like had the money on her when they left

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Speaker 1: her body at the mortuary. So they don't have access

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Speaker 1: to that money anymore. So Swell now needs to get

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Speaker 1: a job, so she goes to work at a place

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Speaker 1: called clown Dog, which is a fast food joint. Can

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Speaker 1: you imagine how that makes me feel? To see I

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Speaker 1: was thinking about you the whole time, Jamie, so as

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Speaker 1: I I was thinking about your respect for the meat.

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Speaker 1: Thanks Fred there. I have been to if if we

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Speaker 1: have any listeners in Albuquerque in a greater Albuquerque area,

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Speaker 1: they do have a place called clown Dog hot Dog Curler,

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Speaker 1: and I wonder if it was inspired by this movie

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Speaker 1: because it opened after it came out. Also there the

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Speaker 1: hot dogs clown Dog in Albuquerque are not chili dogs

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Speaker 1: as this fake one is. It's very fucked Their whole

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Speaker 1: thing is like we make fucked up hot dogs. And

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Speaker 1: I got this thing they're called the three ring Circus.

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Speaker 1: That was like a hot dog with onion rings and

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Speaker 1: like spaghettios. Okay, I'm listening and like a third circular.

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Speaker 1: It was so nasty. And then it was like and

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Speaker 1: they're like, no, it's clown it's a joke, Like this

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Speaker 1: is what I have to eat. It obviously different kind

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Speaker 1: of clown Dog place. No, but you're touching on something

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Speaker 1: I think we're gonna wind up talking about in this movie.

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Speaker 1: Presenting something disgusting and then being like it's a joke.

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Speaker 1: I'm kidding, right, yes, oh yeah, because that's the that's

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Speaker 1: the whole gust the perports line. Yeah, um and the job.

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Speaker 1: Swell does not like the job, and she quits it

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Speaker 1: almost immediately, but not before she meets Brian, another teen

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Speaker 1: worker at clown Dog, played by Josh Charles So. Then

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Speaker 1: Swell goes to apply for a receptionist job at a

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Speaker 1: clothing manufacturing company with a resume that she copied and

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Speaker 1: pasted from a book, and there she meets Rose, the

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Speaker 1: senior vice president of operations, who hires her on the

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Speaker 1: spot to be her executive administrative assistant, which is a

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Speaker 1: phrase they repeat forty seven times throughout the movie. I

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Speaker 1: really like, I think there is like a lot of

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Speaker 1: good satire of like corporate life in this movie, and

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Speaker 1: It felt very on point first for someone to just

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Speaker 1: like meet someone that they sort of liked and they're like, yeah,

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Speaker 1: I'll hire you over this person who's worked here for

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Speaker 1: years because I just don't like them for reasons, and

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Speaker 1: thus enemies are made. Vital vital enemies are made in

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Speaker 1: this film, Yes, exactly. So what happens is that this

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Speaker 1: executive administrative assistant position was supposed to go to this woman, Caroline,

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Speaker 1: but Carolyn is mean and Rose doesn't like her or

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Speaker 1: went to work with her, which is why she gives

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Speaker 1: a job to Swell. So Rose shows Swell around the office.

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Speaker 1: She introduces her to Gus, which is Rose's colleague slash boyfriend,

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Speaker 1: although they have a mutually unexclusive relationship as they define it.

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Speaker 1: So then Swell and her siblings go out to eat

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Speaker 1: at I think according to scholarly journal wikipe Ch Cheese,

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Speaker 1: he's in the background. Oh, I didn't even notice. Yes,

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Speaker 1: the locations in this movie were really like Taylor made

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Speaker 1: to thrill me. I was gonna say, not to blow

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Speaker 1: up your spot, Jamie, but I feel like it's all

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Speaker 1: of your major food groups hot dog from hot dog

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Speaker 1: to check e cheese pizza. They aren't a Chuck e Cheese. Um,

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Speaker 1: you can see for all my Chucky Cheese heads, you

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Speaker 1: can see the early nineties Chuck suit, the one that

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Speaker 1: always looked crusty in the background of a few scenes.

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Speaker 1: I love that. Okay. So they're leaving Chucky Cheese and

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Speaker 1: as they're leaving, a few drag queens steal their car,

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Speaker 1: a k Mrs Dorex car that Swell had been driving around.

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Speaker 1: So Swell calls Brian, the guy she met at clown Dog,

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Speaker 1: for a ride and then he asks her on a

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Speaker 1: date and she says yes. Then Swell goes to her

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Speaker 1: first day at her job at the clothing company, but

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Speaker 1: she she's in over her head. She asks another assistant, Kathy,

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Speaker 1: to help her with the Q E D report a k.

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Speaker 1: She basically has Cathy do part of her job for her,

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Speaker 1: and it's Kimmy Robertson from Twin Peaks. Okay, that's okay,

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Speaker 1: I know. I was like, am I supposed to know

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Speaker 1: this name that Jimmy's saying? Like it's just her voice? Yeah,

358
00:21:06,160 --> 00:21:10,439
Speaker 1: for sure, I recognize her now, Okay. So then Swell

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Speaker 1: discovers that the mean receptionist woman Caroline, is Brian's older sister.

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Speaker 1: Oh no. She also meets Bruce, who is played by

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Speaker 1: David du Koffney. He was not expecting to be in

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Speaker 1: this movie, especially in a role this um small and

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Speaker 1: small pick and sleazy. Yes, right before he was he

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Speaker 1: was not anything at this point, right heall good cheekbones man,

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Speaker 1: right exactly. Yeah, so he's an asshole and he's also

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Speaker 1: Caroline's boyfriend because there's a lot of inter office dating

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Speaker 1: at this company. Yeah. Well, there's also no HR department

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Speaker 1: that I was able to find, which is because they

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Speaker 1: would have been really busy if they right, if they

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Speaker 1: had thought to hire. So meanwhile, Swell learns that she

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Speaker 1: won't be paid for two weeks, but they've run out

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Speaker 1: of food at home. And then Swell learns about petty

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Speaker 1: cash in her desk and takes some of it to

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Speaker 1: buy groceries. Her plan is to borrow it and then

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Speaker 1: pay it back when she gets her first paycheck. Um.

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Speaker 1: And then meanwhile at home, Swell is assuming more and

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Speaker 1: more of kind of like a mother slash guardian role

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Speaker 1: for her younger siblings. She's supportive when they need it,

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00:22:25,480 --> 00:22:28,160
Speaker 1: she disciplines them when they need it. Stuff like that.

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Speaker 1: Back at the office, Swells starts to get the hang

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Speaker 1: of things. Uh Gus takes Swell to lunch. He's a

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00:22:36,080 --> 00:22:40,800
Speaker 1: disgusting creep. Swell also goes on a couple dates with Brian,

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Speaker 1: but she won't tell him where she works, partially because

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Speaker 1: Caroline is his sister, and he gets upset that she

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Speaker 1: won't be honest and forthcoming with him, so he storms off.

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Speaker 1: She's upset about that. She's upset that she has had

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Speaker 1: to take on all these you know, adult responsibility ease

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Speaker 1: when she feels she should be enjoying her youth. And

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Speaker 1: You're just like, at this point, You're like, these kids

390
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Speaker 1: hate their mom because this is getting so dire. Um,

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Speaker 1: they must really hate their mom. I did, like, I

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00:23:14,760 --> 00:23:17,440
Speaker 1: feel like a lesser movie, and I know we'll get

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Speaker 1: into the Swell and Brian relationship, but I feel like

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Speaker 1: a lesser movie would have her really like, you know,

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Speaker 1: like she's upset that they sort of break up, but

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Speaker 1: she's also like, but I have things to do. And

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Speaker 1: then Brian just disappears from the movie for the next

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Speaker 1: half hour because she she has shipped to deal with

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Speaker 1: and so she just um like a real like a

400
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Speaker 1: real single mom girl boss compartmentalizes it and forges ahead.

401
00:23:41,640 --> 00:23:46,000
Speaker 1: She takes her bubble bass. She complains about how nobody

402
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Speaker 1: in the house, none of her none of her younger

403
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Speaker 1: siblings care respect the work that she's doing. She just

404
00:23:51,480 --> 00:23:53,800
Speaker 1: gets on with it anyways, because that's the rule. And

405
00:23:53,840 --> 00:23:56,800
Speaker 1: she's got so much to deal with because meanwhile her

406
00:23:56,840 --> 00:24:00,400
Speaker 1: siblings steal a lot of the petty cash. They buy

407
00:24:00,560 --> 00:24:05,960
Speaker 1: home entertainment system, Zack buys a diamond for his girlfriend,

408
00:24:06,600 --> 00:24:10,040
Speaker 1: They buy some other stuff. Also, Walter falls off the

409
00:24:10,160 --> 00:24:13,280
Speaker 1: roof because he's trying to do something with the antenna

410
00:24:13,359 --> 00:24:15,359
Speaker 1: for the new TV. He has to go to the

411
00:24:15,400 --> 00:24:22,280
Speaker 1: hospital nineties injury. Yeah, Kenny is being an insolent little

412
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Speaker 1: ship all the time. And then meanwhile at work, Caroline

413
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Speaker 1: is trying to dig up dirt on Swell to get

414
00:24:28,600 --> 00:24:32,720
Speaker 1: her fired. Gus continues to be creepy. Also, sales are

415
00:24:32,760 --> 00:24:36,040
Speaker 1: way down at the company where like Rose was trying

416
00:24:36,080 --> 00:24:38,600
Speaker 1: to make this deal to sell uniforms to a school,

417
00:24:39,000 --> 00:24:41,240
Speaker 1: but they lose that account and now the company might

418
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Speaker 1: go under, So things are really falling apart for Swell

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Speaker 1: and Friends. Eats an eminem off the floor, which, uh

420
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Speaker 1: is maybe one of my favorite parts of the movie Wild.

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Speaker 1: So things are falling apart, but Swell gets an idea

422
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Speaker 1: to make the uniforms that they design and sell, make them,

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00:25:00,080 --> 00:25:03,720
Speaker 1: you know, snazzier and more fashionable, and and to put

424
00:25:03,760 --> 00:25:08,640
Speaker 1: on a runway show to impress possible clients. And her

425
00:25:08,680 --> 00:25:11,240
Speaker 1: boss Rose thinks this is a great idea, and she's like,

426
00:25:11,280 --> 00:25:13,280
Speaker 1: rent a banquet hall and pay for it with the

427
00:25:13,320 --> 00:25:16,359
Speaker 1: petty cash, which of course is all gone, and Swell

428
00:25:16,480 --> 00:25:20,040
Speaker 1: can't reveal that, so she's like, let's just have the

429
00:25:20,080 --> 00:25:24,760
Speaker 1: fashion show in my house. So then Swell has her

430
00:25:24,800 --> 00:25:28,520
Speaker 1: siblings clean up the house because it's a mess, and

431
00:25:28,600 --> 00:25:31,320
Speaker 1: everyone rallies and they managed to put on a nice

432
00:25:31,560 --> 00:25:35,160
Speaker 1: event and the fashion show is going well, but oh no,

433
00:25:35,800 --> 00:25:39,359
Speaker 1: Caroline and Bruce have discovered that Swell is only seventeen,

434
00:25:39,920 --> 00:25:43,639
Speaker 1: so they try to blow up her spot at the event.

435
00:25:43,880 --> 00:25:46,840
Speaker 1: This is also when Brian shows up to profess his

436
00:25:47,160 --> 00:25:53,080
Speaker 1: love for Swell via like the truck the drug the

437
00:25:53,119 --> 00:25:57,399
Speaker 1: circus truck Um. And it's also when Swell and her

438
00:25:57,440 --> 00:26:02,119
Speaker 1: siblings Mom comes back a week really from Australia, so

439
00:26:02,200 --> 00:26:05,719
Speaker 1: everything you know, falls apart for a moment, and Swell

440
00:26:05,800 --> 00:26:08,560
Speaker 1: admits that she's only seventeen. She's not ready for all

441
00:26:08,600 --> 00:26:12,280
Speaker 1: of this responsibility. She's in way over her head. And

442
00:26:12,359 --> 00:26:16,320
Speaker 1: while her mom is upset that she threw a big

443
00:26:16,359 --> 00:26:19,479
Speaker 1: party and things have gone off the rails, she's like,

444
00:26:19,520 --> 00:26:23,359
Speaker 1: wait a minute, the house looks good and everything actually

445
00:26:23,440 --> 00:26:25,639
Speaker 1: kind of seems to be under control, even though my

446
00:26:25,720 --> 00:26:30,320
Speaker 1: youngest son has a broken leg. Um. Rose is also

447
00:26:30,359 --> 00:26:36,000
Speaker 1: impressed with Swell and no one is actually that mad,

448
00:26:36,160 --> 00:26:39,200
Speaker 1: and then Swell and Brian kiss and makeup, and then

449
00:26:39,520 --> 00:26:43,919
Speaker 1: the movie ends with swells mom being like, Hey, whatever

450
00:26:44,000 --> 00:26:47,200
Speaker 1: happened to the babysitter? And then we cut to two

451
00:26:47,200 --> 00:26:51,400
Speaker 1: guys visiting her grave thanking her for the money that

452
00:26:51,480 --> 00:26:54,199
Speaker 1: she left them a k a. They found the cash

453
00:26:54,240 --> 00:26:59,280
Speaker 1: that was on her body, and they even do have

454
00:26:59,400 --> 00:27:02,560
Speaker 1: gambled it all the way in Vegas, and that money

455
00:27:02,600 --> 00:27:07,040
Speaker 1: could have gone towards feeding children. Tragic. So that's the

456
00:27:07,119 --> 00:27:09,359
Speaker 1: end of the movie. Let's take a quick break and

457
00:27:09,359 --> 00:27:21,159
Speaker 1: then we'll come back to discuss and we are back. Okay,

458
00:27:21,160 --> 00:27:23,280
Speaker 1: where do we want to start? I don't know. There's

459
00:27:23,320 --> 00:27:26,520
Speaker 1: actually kind of a lot of different aspects of this

460
00:27:26,600 --> 00:27:30,160
Speaker 1: movie worth discussing. Does anything jump out to you right away? Abe?

461
00:27:30,880 --> 00:27:33,000
Speaker 1: You know, I would say, if there's one like top

462
00:27:33,080 --> 00:27:35,399
Speaker 1: line thing that jumps out at me in this in

463
00:27:35,440 --> 00:27:37,240
Speaker 1: this movie, and it's it's a phrase I didn't know

464
00:27:37,280 --> 00:27:39,600
Speaker 1: when I saw this for the first time that this

465
00:27:39,680 --> 00:27:43,560
Speaker 1: is a movie about a young woman discovering invisible labor

466
00:27:43,760 --> 00:27:48,240
Speaker 1: that all women do, that her mother has been carrying

467
00:27:48,280 --> 00:27:50,679
Speaker 1: this burden of the house. Nobody has been seeing the

468
00:27:50,720 --> 00:27:54,120
Speaker 1: mother's labor. Nobody cares about the mother's labor. This house

469
00:27:54,240 --> 00:27:58,080
Speaker 1: is trashed, nobody's helping her with the dishes. The mother's like, fine,

470
00:27:58,119 --> 00:28:01,439
Speaker 1: I'm gonna do some visible pleasure for myself. Screw you guys,

471
00:28:01,920 --> 00:28:04,600
Speaker 1: and then sue well and realizes, oh ship, this world

472
00:28:04,720 --> 00:28:08,560
Speaker 1: is not fair to the expectations it puts on women,

473
00:28:08,800 --> 00:28:14,119
Speaker 1: and nobody will help me, and realizing how much adulthood sucks.

474
00:28:14,160 --> 00:28:15,200
Speaker 1: Like one of one of the things one of the

475
00:28:15,280 --> 00:28:17,679
Speaker 1: jokes I love about the Petty Cash is like she

476
00:28:17,800 --> 00:28:19,720
Speaker 1: just assumed she'll get her first paycheck and then pay

477
00:28:19,760 --> 00:28:22,240
Speaker 1: it all back in full and then even without her

478
00:28:22,280 --> 00:28:25,720
Speaker 1: family stealing from her, just like they did from their mom.

479
00:28:25,800 --> 00:28:29,800
Speaker 1: She finds out about taxes and she's like, what's this taxes?

480
00:28:30,320 --> 00:28:32,119
Speaker 1: I mean, I find a love it very relatable as

481
00:28:32,119 --> 00:28:34,119
Speaker 1: the person who remembers getting my first office job and

482
00:28:34,160 --> 00:28:36,640
Speaker 1: being like, what do you mean I have medical benefits.

483
00:28:36,640 --> 00:28:40,240
Speaker 1: I don't even know what that is, right, Like, yeah,

484
00:28:40,320 --> 00:28:44,200
Speaker 1: I I agree, and I like that to a lesser extent,

485
00:28:44,360 --> 00:28:47,640
Speaker 1: I like that this movie is very much Swells movie,

486
00:28:47,680 --> 00:28:50,080
Speaker 1: but you do also get a little bit of the

487
00:28:50,160 --> 00:28:54,240
Speaker 1: invisible labor understanding from Kenny to even though he's still

488
00:28:54,280 --> 00:28:57,440
Speaker 1: like I would argue, he's still almost a complete and

489
00:28:57,480 --> 00:29:01,160
Speaker 1: total asshole the whole movie, because it's like this combination

490
00:29:01,440 --> 00:29:06,840
Speaker 1: of he behaves very traditionally masculine in that he has

491
00:29:06,880 --> 00:29:09,360
Speaker 1: no issue with calling his sister the mainest thing he

492
00:29:09,400 --> 00:29:12,480
Speaker 1: can think of, and he doesn't apologize for anything, but

493
00:29:13,520 --> 00:29:16,400
Speaker 1: he also learned, but he's I I think it's kind

494
00:29:16,400 --> 00:29:18,960
Speaker 1: of cool that the movie puts him in the role

495
00:29:19,080 --> 00:29:23,320
Speaker 1: of having to keep the house together and like realizing

496
00:29:23,320 --> 00:29:26,560
Speaker 1: that you can't just funk off, or like someone will

497
00:29:26,600 --> 00:29:30,720
Speaker 1: get hurt like Walter gets hurt, or like you will starve.

498
00:29:32,960 --> 00:29:35,160
Speaker 1: I just I don't know. This movie is so campy

499
00:29:35,200 --> 00:29:41,120
Speaker 1: and funny that it's like, via watching Julia Child's PBS broadcast,

500
00:29:41,600 --> 00:29:44,920
Speaker 1: a young Stoner learns that he should finish high school

501
00:29:45,240 --> 00:29:49,520
Speaker 1: you're just like, yeah, cool, great, good for him. He

502
00:29:49,600 --> 00:29:53,400
Speaker 1: learns about brie and room macky creole mushrooms, like he's

503
00:29:53,440 --> 00:29:56,360
Speaker 1: like leveled up when he starts catering. I like, an,

504
00:29:56,360 --> 00:29:58,560
Speaker 1: you're right, I mean, And it's kind of arbitrary that

505
00:29:58,640 --> 00:30:01,400
Speaker 1: it divides out this way where it's like a woman

506
00:30:01,440 --> 00:30:04,120
Speaker 1: in the workforce, man keeping the hearth because they flip

507
00:30:04,160 --> 00:30:06,480
Speaker 1: a pizza box right, like they flipped like a frozen

508
00:30:07,120 --> 00:30:09,880
Speaker 1: to decide who's gonna work, and it just works out

509
00:30:09,920 --> 00:30:11,640
Speaker 1: this way where like they wind up in kind of

510
00:30:11,680 --> 00:30:16,160
Speaker 1: the quote unquote opposite stereotypical roles of like she being

511
00:30:16,200 --> 00:30:19,800
Speaker 1: the supporter, him having to keep you know, the kids fed,

512
00:30:19,800 --> 00:30:21,640
Speaker 1: which he does a terrible job at for most of

513
00:30:21,680 --> 00:30:25,440
Speaker 1: the entire movie because he's hanging out with his buddies. Hellhound, Skull,

514
00:30:25,720 --> 00:30:28,800
Speaker 1: lizard in mole. Those are their names. I didn't even

515
00:30:28,840 --> 00:30:31,560
Speaker 1: catch that. Those are their names. Oh yeah, when they're

516
00:30:31,600 --> 00:30:33,880
Speaker 1: like valets at the end, they have hellhound and skull

517
00:30:33,920 --> 00:30:40,320
Speaker 1: and lizard like on their name tags. Honestly iconic. Um yeah,

518
00:30:40,320 --> 00:30:42,640
Speaker 1: I found that. And then there's one scene in particular

519
00:30:42,680 --> 00:30:46,000
Speaker 1: that really helps to like fully demonstrate this towards the

520
00:30:46,120 --> 00:30:50,880
Speaker 1: end where Swell and Kenny have an argument where Kenny

521
00:30:51,200 --> 00:30:53,600
Speaker 1: is like, oh, you're always working. You didn't even call

522
00:30:53,680 --> 00:30:55,880
Speaker 1: to say you'd be home late, and you know, I

523
00:30:55,960 --> 00:30:58,040
Speaker 1: was working all day on this cast role, and you

524
00:30:58,080 --> 00:31:00,520
Speaker 1: didn't even mention how nice the house looks. And when

525
00:31:00,600 --> 00:31:02,400
Speaker 1: was the last time we even went out to dinner.

526
00:31:02,480 --> 00:31:05,040
Speaker 1: You don't appreciate me. And she's like, why go out

527
00:31:05,080 --> 00:31:07,400
Speaker 1: there and bust my ask to earn money for us

528
00:31:07,400 --> 00:31:09,440
Speaker 1: and put food on the table, And it's it's an

529
00:31:09,520 --> 00:31:13,200
Speaker 1: argument we've seen before, but it would be traditionally between

530
00:31:13,680 --> 00:31:17,080
Speaker 1: a mother and a father, so like not teen brother

531
00:31:17,160 --> 00:31:19,680
Speaker 1: and sister. But the movie is like, very clearly and

532
00:31:19,760 --> 00:31:24,160
Speaker 1: like for comedic effect, mapping those dynamics onto these like

533
00:31:24,200 --> 00:31:26,200
Speaker 1: teen siblings. But it is like kind of you know,

534
00:31:26,280 --> 00:31:30,440
Speaker 1: quote unquote gender swapped in terms of traditional gender roles

535
00:31:30,440 --> 00:31:34,200
Speaker 1: and expectations, where Swell is like the quote unquote man

536
00:31:34,360 --> 00:31:38,240
Speaker 1: or father because she's the breadwinner, and Kenny is the like,

537
00:31:38,280 --> 00:31:41,360
Speaker 1: you know, quote unquote woman or mother because he's doing

538
00:31:41,880 --> 00:31:47,320
Speaker 1: domestic and like caretaking work, which I wasn't really expecting

539
00:31:47,400 --> 00:31:50,160
Speaker 1: for the movie to acknowledge. So I found that really interesting.

540
00:31:50,200 --> 00:31:52,320
Speaker 1: And this movie does a lot of cool stuff I

541
00:31:52,360 --> 00:31:55,360
Speaker 1: don't know like and and also that I mean, I

542
00:31:55,360 --> 00:31:58,560
Speaker 1: don't know. I guess that they don't maybe this isn't

543
00:31:58,600 --> 00:32:02,640
Speaker 1: a criticism, but they don't like explicitly say that at

544
00:32:02,680 --> 00:32:05,440
Speaker 1: any point that but like that this is like they're

545
00:32:05,440 --> 00:32:08,120
Speaker 1: falling apart at doing these respective jobs and their mom

546
00:32:08,200 --> 00:32:11,880
Speaker 1: was expected to do both of those jobs at once. Amy.

547
00:32:12,000 --> 00:32:15,120
Speaker 1: I like your take on the mom being like fuck

548
00:32:15,160 --> 00:32:18,280
Speaker 1: you guys, Like I'm out of here, because it's like

549
00:32:18,920 --> 00:32:21,080
Speaker 1: they can't you know, it's like there to be fair

550
00:32:21,160 --> 00:32:24,920
Speaker 1: their kids, but like they can't last you know, six

551
00:32:24,960 --> 00:32:28,240
Speaker 1: weeks doing what she does and they're only doing half

552
00:32:28,280 --> 00:32:32,280
Speaker 1: of it. And I like that it's sort of this, um,

553
00:32:32,360 --> 00:32:34,360
Speaker 1: I don't know. I I don't mind that the movie

554
00:32:34,480 --> 00:32:38,360
Speaker 1: isn't super critical and doesn't place a ton of value

555
00:32:38,360 --> 00:32:40,800
Speaker 1: a judgment on the mom. And that's why this like

556
00:32:40,880 --> 00:32:43,680
Speaker 1: debate exists. Is it just you sort of bring your

557
00:32:43,720 --> 00:32:48,360
Speaker 1: own baggage and opinions on parenting to the table. Yeah,

558
00:32:48,400 --> 00:32:51,000
Speaker 1: there's even that like tiny throwaway line because you're right,

559
00:32:51,040 --> 00:32:53,680
Speaker 1: she the mom is doing everybody's part, and like somebody

560
00:32:53,880 --> 00:32:55,400
Speaker 1: lines so I forget which a kid, but they're like

561
00:32:55,440 --> 00:32:57,320
Speaker 1: I wish dad was around and she just goes, no,

562
00:32:57,480 --> 00:33:01,520
Speaker 1: you don't. That's all we know about how their family was,

563
00:33:01,840 --> 00:33:05,360
Speaker 1: but that that house is a trash heat of disaster

564
00:33:05,440 --> 00:33:07,360
Speaker 1: of muldi bread and newspapers everywhere. But if it was

565
00:33:07,400 --> 00:33:10,640
Speaker 1: worse when their husband, the dad, was there, how bad

566
00:33:10,800 --> 00:33:14,280
Speaker 1: must it have been? Right now, there's also that moment

567
00:33:14,320 --> 00:33:16,880
Speaker 1: with I think the last time the dad comes up

568
00:33:16,960 --> 00:33:20,160
Speaker 1: is right after they've decided to get rid of the

569
00:33:20,200 --> 00:33:24,880
Speaker 1: babysitter's body, and I think like Swell says something to

570
00:33:24,960 --> 00:33:27,680
Speaker 1: Kenny where she's one of them, asked like she'll be

571
00:33:27,720 --> 00:33:29,960
Speaker 1: called that, and the other kid is just like, no,

572
00:33:30,240 --> 00:33:33,720
Speaker 1: he would not give a ship. That doesn't care. That's right,

573
00:33:33,800 --> 00:33:36,320
Speaker 1: dad doesn't care. And you know, I appreciate that has

574
00:33:36,320 --> 00:33:38,880
Speaker 1: a screenwriting choice because it would be so easy to

575
00:33:38,920 --> 00:33:41,400
Speaker 1: just make the dad dead or something. And the mom's

576
00:33:41,440 --> 00:33:44,560
Speaker 1: like a said widow and like maybe she gets this,

577
00:33:44,680 --> 00:33:47,520
Speaker 1: like get her grew back in austin Land stuff, But

578
00:33:47,680 --> 00:33:49,600
Speaker 1: like that the movie makes it part of casually being

579
00:33:49,600 --> 00:33:53,320
Speaker 1: like the dad's alive and he doesn't care. That's brutal.

580
00:33:53,440 --> 00:33:56,280
Speaker 1: I respect how brutal that is, right, and that there's

581
00:33:56,320 --> 00:33:59,760
Speaker 1: just like there are I don't know they're Caitlin to

582
00:34:00,040 --> 00:34:03,040
Speaker 1: Urban to make you like this movie. There need to

583
00:34:03,120 --> 00:34:06,600
Speaker 1: see there. I might on top of that too, we're

584
00:34:06,600 --> 00:34:09,040
Speaker 1: going to do it because there are like a lot

585
00:34:09,160 --> 00:34:13,600
Speaker 1: of like interesting like little some versions of like what

586
00:34:13,719 --> 00:34:17,280
Speaker 1: you expect of like teenage characters. Also, I really liked

587
00:34:17,360 --> 00:34:20,200
Speaker 1: the um I guess it's like this is just gonna

588
00:34:20,200 --> 00:34:23,160
Speaker 1: be a long conversation about Swell because that is like

589
00:34:23,560 --> 00:34:25,239
Speaker 1: she's just all over the place in this movie. But

590
00:34:25,280 --> 00:34:29,120
Speaker 1: I like that at the beginning of the movie she's like,

591
00:34:29,520 --> 00:34:32,600
Speaker 1: I don't really know if I want to go to college,

592
00:34:32,680 --> 00:34:36,760
Speaker 1: Like that is something that you don't usually hear about,

593
00:34:36,840 --> 00:34:39,839
Speaker 1: especially in a way that like her mom is concerned,

594
00:34:39,920 --> 00:34:42,160
Speaker 1: but like you know, she can't really control what her

595
00:34:42,320 --> 00:34:45,800
Speaker 1: her kid decides. I really like that conversation between Brian

596
00:34:45,880 --> 00:34:49,719
Speaker 1: and Swell where they're like, well, I like this, but

597
00:34:49,800 --> 00:34:51,800
Speaker 1: like do I want to, you know, get in debt

598
00:34:51,880 --> 00:34:54,080
Speaker 1: forever about it? I don't know, like I would rather.

599
00:34:54,239 --> 00:34:56,400
Speaker 1: And I was like, yeah, this is like all teenagers

600
00:34:56,400 --> 00:34:58,960
Speaker 1: should have this discussion with each other, because there's like

601
00:34:59,680 --> 00:35:02,000
Speaker 1: I don't the only way I didn't like where that landed,

602
00:35:02,080 --> 00:35:05,000
Speaker 1: even though it's probably like I guess, more realistic, but

603
00:35:05,280 --> 00:35:08,000
Speaker 1: at the end of like, swell, take that damn job.

604
00:35:08,120 --> 00:35:11,120
Speaker 1: What are you thinking you want to get into fashion

605
00:35:11,160 --> 00:35:14,360
Speaker 1: school debt? You were making thirty seven thousand dollars a

606
00:35:14,400 --> 00:35:19,279
Speaker 1: year in yeah, and so what if you lied to

607
00:35:19,320 --> 00:35:21,200
Speaker 1: get the job, but you were doing a pretty good

608
00:35:21,280 --> 00:35:26,520
Speaker 1: job at it. Care Also, I think I like the idea.

609
00:35:26,840 --> 00:35:30,680
Speaker 1: Well maybe I don't. I like the idea that from

610
00:35:30,719 --> 00:35:33,439
Speaker 1: a glance, this movie is about, you know, a young

611
00:35:33,680 --> 00:35:37,080
Speaker 1: woman who like learns responsibility and she kind of takes

612
00:35:37,120 --> 00:35:40,239
Speaker 1: control of things and she becomes you know, sort of

613
00:35:40,280 --> 00:35:43,000
Speaker 1: like a leader in a in a sense, and and like,

614
00:35:43,080 --> 00:35:44,719
Speaker 1: you know, things that we can be like woo who

615
00:35:45,040 --> 00:35:47,799
Speaker 1: it's a a girl doing stuff. But then she yeah,

616
00:35:47,880 --> 00:35:49,880
Speaker 1: like you she said, Jimmie, like becomes a girl boss.

617
00:35:49,920 --> 00:35:54,040
Speaker 1: And I don't know, but the point is, um, what

618
00:35:54,080 --> 00:35:57,839
Speaker 1: was my point? No, I don't remember it, going back

619
00:35:57,920 --> 00:36:00,719
Speaker 1: though to that scene, so like yeah, and then like

620
00:36:00,760 --> 00:36:03,040
Speaker 1: her and Brian are talking about and they're like, oh,

621
00:36:03,080 --> 00:36:05,480
Speaker 1: I thought that my parents, like our parents had like

622
00:36:05,480 --> 00:36:08,720
Speaker 1: a college fund for us, And it turns out they don't.

623
00:36:08,719 --> 00:36:11,840
Speaker 1: But you can assume it's because like they're lower middle

624
00:36:11,880 --> 00:36:15,320
Speaker 1: class and they can't afford to stave up for college

625
00:36:15,320 --> 00:36:18,640
Speaker 1: even in the early nineties. Yeah, I mean, I'll be honest,

626
00:36:18,680 --> 00:36:21,359
Speaker 1: that straight up happened to me, Like my parents will

627
00:36:21,400 --> 00:36:23,360
Speaker 1: made my whole life. They were saving from my college

628
00:36:23,400 --> 00:36:26,040
Speaker 1: and then marched my senior year after I'd only applied

629
00:36:26,080 --> 00:36:28,759
Speaker 1: to expensive private schools. They're like, oh, we had to

630
00:36:28,800 --> 00:36:31,480
Speaker 1: spend that. We're so sorry. I was like one similar

631
00:36:31,520 --> 00:36:34,280
Speaker 1: deal here, samilar I want to bet a state school,

632
00:36:34,280 --> 00:36:36,400
Speaker 1: which I love. I've like, do it again all over again,

633
00:36:36,520 --> 00:36:38,440
Speaker 1: then wind up with any fraction of college debt. But

634
00:36:38,520 --> 00:36:41,440
Speaker 1: oh my god, okay, oh wait, we can't talk. I'm

635
00:36:41,440 --> 00:36:43,239
Speaker 1: so sorry we can't talk about this date scene though

636
00:36:43,239 --> 00:36:45,000
Speaker 1: that we keep talking about that saying the most important

637
00:36:45,000 --> 00:36:49,399
Speaker 1: word in it, which is grunion. I had to look

638
00:36:49,440 --> 00:36:51,880
Speaker 1: up with a grunion. Did someone tell me what a

639
00:36:51,880 --> 00:36:55,600
Speaker 1: Grunnian is? You guys, the Grunian stuff happens here. Y'all

640
00:36:55,640 --> 00:36:58,200
Speaker 1: can go grun in this year, like yeah, gren Like

641
00:36:58,239 --> 00:36:59,680
Speaker 1: if you go to like Venice Beach, then am on,

642
00:36:59,719 --> 00:37:01,160
Speaker 1: it could be each I forget what time of beer

643
00:37:01,160 --> 00:37:04,040
Speaker 1: it is. I've done it once. These little fish wiggle

644
00:37:04,040 --> 00:37:05,640
Speaker 1: out and they come and they hop around on the

645
00:37:05,640 --> 00:37:06,960
Speaker 1: sand in the middle of the night, and like if

646
00:37:07,000 --> 00:37:08,160
Speaker 1: you go down there the ones time I win. I

647
00:37:08,160 --> 00:37:09,800
Speaker 1: remember it was like a party of people are drinking

648
00:37:09,800 --> 00:37:12,800
Speaker 1: beer waiting for the grunion to show up. Whoa, yeah,

649
00:37:12,840 --> 00:37:14,799
Speaker 1: it's a real deal. And the gun. You know, they

650
00:37:14,800 --> 00:37:19,840
Speaker 1: don't bone like us, but right there they're not horny. Um,

651
00:37:20,160 --> 00:37:23,680
Speaker 1: that's so cool. Okay, cool, that's good to know. Yeah,

652
00:37:23,680 --> 00:37:26,400
Speaker 1: we live in Grunnian country. This is the Greunian zone.

653
00:37:26,560 --> 00:37:31,319
Speaker 1: You might even call it Grunian Canyon. Oh god, thank you,

654
00:37:31,360 --> 00:37:34,160
Speaker 1: thank you so much. That was good. Oh wait, I

655
00:37:34,200 --> 00:37:36,759
Speaker 1: remember my Um the point I was going to make

656
00:37:37,200 --> 00:37:41,239
Speaker 1: the reason Generally, I like swells character and I like

657
00:37:41,520 --> 00:37:44,440
Speaker 1: the journey she goes through. I don't have a problem

658
00:37:44,480 --> 00:37:49,200
Speaker 1: with that, except that she takes credit for Cathy's work

659
00:37:49,239 --> 00:37:51,600
Speaker 1: and never like follows back up with Kathy to be like,

660
00:37:51,600 --> 00:37:53,239
Speaker 1: oh my god, Like I feel like she's not like

661
00:37:53,280 --> 00:37:57,240
Speaker 1: expressing enough gratitude for her and she's taking advantage of Kathy,

662
00:37:57,360 --> 00:38:00,840
Speaker 1: never giving the credit she's due. And big thing for

663
00:38:00,840 --> 00:38:04,040
Speaker 1: this episode is justice for Kathy. I agree with you

664
00:38:04,080 --> 00:38:07,480
Speaker 1: on that. I think there's a deleted scene where like

665
00:38:07,640 --> 00:38:10,440
Speaker 1: at the end of the movie, Sue Ellen tells Rose

666
00:38:10,440 --> 00:38:12,080
Speaker 1: and Ros like, please keep working for me. She's like

667
00:38:12,120 --> 00:38:14,400
Speaker 1: you need to hire Kathy. But I think they deleted that,

668
00:38:14,440 --> 00:38:17,440
Speaker 1: and they probably should have kept that. That would have

669
00:38:18,040 --> 00:38:20,839
Speaker 1: endeared me to both of them more because I sort

670
00:38:20,840 --> 00:38:23,600
Speaker 1: of that knowing that there's a deleted scene that sort

671
00:38:23,600 --> 00:38:26,759
Speaker 1: of clarifies it a little, because it's also like they

672
00:38:26,800 --> 00:38:29,640
Speaker 1: go through the trouble of like having Kathy be there,

673
00:38:29,800 --> 00:38:32,200
Speaker 1: so it seems like something is there's going to be

674
00:38:32,239 --> 00:38:35,279
Speaker 1: some sort of resolution with her, and there just isn't. Oh,

675
00:38:35,760 --> 00:38:38,600
Speaker 1: I wish that that was Cannon, because that does seem

676
00:38:38,640 --> 00:38:41,879
Speaker 1: like one of the few, like I mean, I guess

677
00:38:41,960 --> 00:38:46,239
Speaker 1: you could you could argue that, like Caroline Desert, I

678
00:38:46,440 --> 00:38:49,400
Speaker 1: think Caroline should just go work for another company. Honestly,

679
00:38:49,480 --> 00:38:52,400
Speaker 1: she's she's very she's very diabolical, and I think a

680
00:38:52,400 --> 00:38:55,160
Speaker 1: lot of companies need that. So I think she would

681
00:38:55,200 --> 00:38:58,200
Speaker 1: do great elsewhere. And she's very angry and condescending, and

682
00:38:58,360 --> 00:39:03,640
Speaker 1: she's like personal and l the way she's so mean.

683
00:39:04,440 --> 00:39:07,759
Speaker 1: I do like that. That was another thing that we

684
00:39:07,800 --> 00:39:10,000
Speaker 1: talked about, you know, sometimes where it's like, oh, these

685
00:39:10,000 --> 00:39:13,200
Speaker 1: two women who just irrationally dislike each other. But I

686
00:39:13,760 --> 00:39:16,200
Speaker 1: don't know, I felt like Caroline's character, you don't know

687
00:39:16,239 --> 00:39:18,799
Speaker 1: exactly why she's so angry, but it feels like more

688
00:39:18,960 --> 00:39:21,120
Speaker 1: in the way of like you don't know exactly why

689
00:39:21,160 --> 00:39:24,440
Speaker 1: their dad sucks, but it's like I had enough information.

690
00:39:24,560 --> 00:39:28,640
Speaker 1: And there's so many relationships between different sets of women

691
00:39:28,880 --> 00:39:31,160
Speaker 1: in this movie. They're all white women, which will get

692
00:39:31,200 --> 00:39:34,640
Speaker 1: to but there are so many different types of women

693
00:39:34,719 --> 00:39:37,640
Speaker 1: in this script that like having one who was like

694
00:39:37,960 --> 00:39:41,520
Speaker 1: grouchy and shitty like didn't bug me too much because

695
00:39:41,560 --> 00:39:44,360
Speaker 1: in that same office you have Rose and you have Kathy,

696
00:39:44,480 --> 00:39:49,680
Speaker 1: and they're all like really really different, uh flavors of

697
00:39:49,680 --> 00:39:53,400
Speaker 1: of person. But yeah, Kathy deserved better and she was

698
00:39:53,960 --> 00:39:56,600
Speaker 1: what a sweetheart where she was like, oh, yeah, I

699
00:39:56,640 --> 00:39:58,239
Speaker 1: put in for that job, but it must not have

700
00:39:58,280 --> 00:40:01,880
Speaker 1: been good enough. And I hope that I hope that

701
00:40:01,920 --> 00:40:05,160
Speaker 1: they gave her the promotion and they gave her a raise,

702
00:40:05,280 --> 00:40:08,799
Speaker 1: because it's not like like the only thing that I mean,

703
00:40:08,880 --> 00:40:12,480
Speaker 1: Swellen was good at delegating, but that's like a classic

704
00:40:12,520 --> 00:40:14,799
Speaker 1: I feel like that's part of the It felt like

705
00:40:14,840 --> 00:40:17,040
Speaker 1: that was like part of the corporate satire they were

706
00:40:17,080 --> 00:40:19,160
Speaker 1: trying to get at. That kind of goes away by

707
00:40:19,200 --> 00:40:20,839
Speaker 1: the end because by the end, I think you were

708
00:40:20,840 --> 00:40:23,719
Speaker 1: supposed to believe that Swell was good at her job

709
00:40:24,080 --> 00:40:26,920
Speaker 1: when she really wasn't. She just figured out how to

710
00:40:26,960 --> 00:40:31,080
Speaker 1: like fake it better, right, which can be a useful skill.

711
00:40:31,440 --> 00:40:33,480
Speaker 1: But yeah, because that is one of the ways that

712
00:40:33,520 --> 00:40:36,040
Speaker 1: Caroline tries to write her out. She's like, Kathy has

713
00:40:36,080 --> 00:40:38,200
Speaker 1: been doing all the q EAT reports and it's supposed

714
00:40:38,200 --> 00:40:40,759
Speaker 1: to be like Dune Dune done, but instead Rose is

715
00:40:40,840 --> 00:40:45,120
Speaker 1: like delegation amazing girl boss behavior, which I think is

716
00:40:45,160 --> 00:40:48,080
Speaker 1: really funny and I kind of want to say not

717
00:40:48,160 --> 00:40:51,359
Speaker 1: in Caroline's defense, but if you look at this movie

718
00:40:51,400 --> 00:40:53,960
Speaker 1: from her point of view, she's not wrong. She was

719
00:40:54,000 --> 00:40:56,880
Speaker 1: in line for a job this unqualified girl who strikes

720
00:40:56,880 --> 00:40:58,839
Speaker 1: her as a phony. She can't prove it, but she

721
00:40:58,960 --> 00:41:01,959
Speaker 1: has a sense that this role is not right. She's

722
00:41:02,000 --> 00:41:05,920
Speaker 1: right about that too, you know, she's like she's justly aggrieved,

723
00:41:06,360 --> 00:41:08,840
Speaker 1: but she's like playing the game in the wrong way.

724
00:41:09,200 --> 00:41:11,640
Speaker 1: She's playing the game of like this is what's right

725
00:41:11,680 --> 00:41:14,640
Speaker 1: and fair, and this office is like, but what about

726
00:41:14,640 --> 00:41:18,600
Speaker 1: what's charming and funny? And she doesn't get that. Yeah,

727
00:41:18,680 --> 00:41:21,640
Speaker 1: and she's also so mean that no one wants to

728
00:41:21,719 --> 00:41:24,800
Speaker 1: interact with her except for David D. Kofney, which is

729
00:41:24,840 --> 00:41:28,160
Speaker 1: not the worst problem in the world to be fair

730
00:41:28,320 --> 00:41:30,760
Speaker 1: that I would I would accept that problem. Oh no,

731
00:41:30,920 --> 00:41:33,000
Speaker 1: I have to go home and have sex with David

732
00:41:33,040 --> 00:41:39,279
Speaker 1: dicofany damn my life job so hard. Uh yeah. The

733
00:41:39,320 --> 00:41:41,759
Speaker 1: Caroline character, I mean, and I like that, Like you

734
00:41:41,800 --> 00:41:45,279
Speaker 1: get certain humanizing aspects of her where it's like she

735
00:41:45,360 --> 00:41:48,719
Speaker 1: has a good relationship with her brother and like you

736
00:41:48,800 --> 00:41:52,680
Speaker 1: see her give him again, like maybe if you're this

737
00:41:52,760 --> 00:41:54,719
Speaker 1: deep in the movie, you're like, no, I want to

738
00:41:54,760 --> 00:41:56,759
Speaker 1: Swell and Brian to end up together, which's like I

739
00:41:56,800 --> 00:42:00,840
Speaker 1: don't really care, but like Caroline gives him good advice.

740
00:42:00,920 --> 00:42:03,359
Speaker 1: She's like, yeah, it seems like something's off with this girl.

741
00:42:03,440 --> 00:42:05,360
Speaker 1: You should like just move on with your life. And

742
00:42:05,400 --> 00:42:07,760
Speaker 1: I was like, you know what, Caroline, pretty good advice.

743
00:42:07,960 --> 00:42:10,399
Speaker 1: That's why I have more information than you, and you're

744
00:42:10,480 --> 00:42:13,200
Speaker 1: right about that. And of course he's a teenager so

745
00:42:13,239 --> 00:42:15,040
Speaker 1: he doesn't listen. But I was like, you know, Caroline,

746
00:42:15,040 --> 00:42:17,880
Speaker 1: you're you're right. I mean, she's she's pretty on point

747
00:42:17,880 --> 00:42:20,880
Speaker 1: about everything. I think it's just the the delivery of

748
00:42:20,920 --> 00:42:25,399
Speaker 1: the information. Um yeah, just she's still at the phase

749
00:42:25,480 --> 00:42:28,320
Speaker 1: of life where she thinks that she lives in a meritocracy.

750
00:42:29,160 --> 00:42:31,879
Speaker 1: I get that very much. I remember the first time

751
00:42:31,880 --> 00:42:34,080
Speaker 1: I got like I got pulled over a ticket when

752
00:42:34,120 --> 00:42:36,160
Speaker 1: I was in college, and like a cop said that

753
00:42:36,880 --> 00:42:40,000
Speaker 1: a train crossing signal was crossing and it wasn't, but

754
00:42:40,040 --> 00:42:42,680
Speaker 1: they said of like ran across signal that was like flashing.

755
00:42:43,040 --> 00:42:45,000
Speaker 1: Absolutely wasn't like a bar would have gone down. I

756
00:42:45,000 --> 00:42:47,120
Speaker 1: couldn't have even done it, but they pulled me over

757
00:42:47,120 --> 00:42:49,520
Speaker 1: for it anyway. And I remember like going to the

758
00:42:49,520 --> 00:42:52,959
Speaker 1: courtroom and being like, you know, eighteen to like tell

759
00:42:53,000 --> 00:42:56,759
Speaker 1: them what the truth was and realizing nobody care and

760
00:42:56,800 --> 00:42:58,880
Speaker 1: I had to pay the ticket anyway, and being like

761
00:42:59,080 --> 00:43:01,840
Speaker 1: so upset going to this like Oklahoma court house and

762
00:43:01,840 --> 00:43:03,560
Speaker 1: crying to my dad on the phone, like what do

763
00:43:03,600 --> 00:43:05,239
Speaker 1: you mean you can't just tell the truth as an

764
00:43:05,239 --> 00:43:09,480
Speaker 1: adult and people listen. It's so I feel you, Caroline,

765
00:43:09,480 --> 00:43:12,040
Speaker 1: like I get that moment, right, But also to kind

766
00:43:12,040 --> 00:43:15,719
Speaker 1: of like what you're saying about the Brian relationship. I

767
00:43:15,760 --> 00:43:18,840
Speaker 1: like that this movie doesn't make us have to believe

768
00:43:18,880 --> 00:43:21,520
Speaker 1: that this is like their love of a lifetime. It's

769
00:43:21,520 --> 00:43:25,279
Speaker 1: like summer Romance gives a ship, you know what I mean,

770
00:43:25,400 --> 00:43:28,160
Speaker 1: not like it's not They're not pulling some sort of

771
00:43:28,280 --> 00:43:30,560
Speaker 1: John Hughes punch. We're supposed to believe that this is

772
00:43:30,600 --> 00:43:36,040
Speaker 1: like yeah, yeah, yeah, And I do like, I I

773
00:43:36,080 --> 00:43:39,759
Speaker 1: don't mind that relationship. For like most of the movie,

774
00:43:39,760 --> 00:43:42,880
Speaker 1: there's a few moments where you're like, what it seems

775
00:43:42,920 --> 00:43:45,920
Speaker 1: like a bit much, But I like that, Um, it

776
00:43:46,000 --> 00:43:48,759
Speaker 1: doesn't feel shoehorned in for me, like a lot of

777
00:43:48,800 --> 00:43:53,640
Speaker 1: like romance subplots can, because it's like Brian sort of

778
00:43:53,840 --> 00:43:56,840
Speaker 1: is like this plot stand in for like Sue Ellen

779
00:43:57,160 --> 00:43:59,400
Speaker 1: being able to still be a kid and like be

780
00:43:59,480 --> 00:44:03,440
Speaker 1: able to be goofy and have fun and like almost

781
00:44:03,640 --> 00:44:06,560
Speaker 1: sort of be herself, which we don't which she doesn't

782
00:44:06,600 --> 00:44:09,400
Speaker 1: have anywhere else because her friends are gone and heard

783
00:44:09,600 --> 00:44:13,279
Speaker 1: and she's in gridlocked traffic for six hours a day.

784
00:44:13,520 --> 00:44:17,040
Speaker 1: So I I like that they found, you know, like

785
00:44:17,080 --> 00:44:19,279
Speaker 1: a way to show like but she's still a kid

786
00:44:19,680 --> 00:44:22,120
Speaker 1: and like should be allowed to be a kid, like

787
00:44:22,160 --> 00:44:24,279
Speaker 1: when they literally go to a toy store so they

788
00:44:24,280 --> 00:44:28,160
Speaker 1: can play on the kid toys. It's directing wise, what

789
00:44:28,200 --> 00:44:30,680
Speaker 1: I appreciate that. And this film is directed by dude,

790
00:44:30,719 --> 00:44:34,200
Speaker 1: you know, it's directed by um Steven Herrick, who actually

791
00:44:34,239 --> 00:44:35,400
Speaker 1: did a lot of he had Like he's one of

792
00:44:35,440 --> 00:44:38,000
Speaker 1: those people I think of as like the eighties a

793
00:44:38,120 --> 00:44:40,239
Speaker 1: tour that you didn't pay any attention to, Like he

794
00:44:40,320 --> 00:44:42,800
Speaker 1: interroded like you know, Critters and Bill and Taed and

795
00:44:42,880 --> 00:44:44,719
Speaker 1: Mighty Ducks, but you're like you're never like, oh yeah,

796
00:44:44,840 --> 00:44:47,399
Speaker 1: Steven Herrick, you don't really think about it. But like

797
00:44:47,920 --> 00:44:50,200
Speaker 1: I respect that he's a guy shooting this scene where

798
00:44:50,280 --> 00:44:54,120
Speaker 1: Christina Applegate, like the hot chick from Married with Children,

799
00:44:54,640 --> 00:44:57,239
Speaker 1: is bouncing on a bouncy ball in a low cut

800
00:44:57,239 --> 00:44:59,719
Speaker 1: short with spikes all over it, and there's not one

801
00:44:59,719 --> 00:45:02,799
Speaker 1: shot of her boobs. Do you know there's not the

802
00:45:02,880 --> 00:45:05,920
Speaker 1: littlest bit of like, let's watch her bounce, Let's really

803
00:45:06,000 --> 00:45:11,960
Speaker 1: watch her bounce. Yeah, men doing the bare minimum. I

804
00:45:12,000 --> 00:45:15,760
Speaker 1: respect that bare minimum at least when it's there. Thank you,

805
00:45:15,680 --> 00:45:18,280
Speaker 1: you know, I hear you. I'm also seeing Stephen Harrick

806
00:45:18,440 --> 00:45:22,960
Speaker 1: directed the Glenn Close live action A hundred one Dalmatians.

807
00:45:24,160 --> 00:45:28,840
Speaker 1: That alone, that's very spot good for him. Okay, yeah, no,

808
00:45:29,000 --> 00:45:32,400
Speaker 1: I agree. I like that. I don't know like Swell

809
00:45:33,120 --> 00:45:37,960
Speaker 1: is I think a really well realized character where like

810
00:45:38,200 --> 00:45:42,720
Speaker 1: she's definitely not perfect, she funks up all the time,

811
00:45:43,000 --> 00:45:47,080
Speaker 1: she isn't buzzling, and she's be buzzling she's taking credit

812
00:45:47,160 --> 00:45:49,960
Speaker 1: for work she didn't do. She's not good at ur

813
00:45:50,560 --> 00:45:54,919
Speaker 1: her job, but there's but I don't know. She's also

814
00:45:54,960 --> 00:46:00,480
Speaker 1: a teenager, Like teenagers like, yeah, kids mature decisions often times,

815
00:46:00,640 --> 00:46:03,400
Speaker 1: and I like that the movie like gives her space

816
00:46:03,480 --> 00:46:05,719
Speaker 1: to kind of like be a funk up and like

817
00:46:05,800 --> 00:46:09,160
Speaker 1: not know what she's doing because there I'm trying to.

818
00:46:09,200 --> 00:46:11,480
Speaker 1: I mean, I feel like there's a lot of especially

819
00:46:11,480 --> 00:46:16,000
Speaker 1: when they're as like conventionally beautiful as Christina Applegate, Like

820
00:46:16,120 --> 00:46:18,960
Speaker 1: you often get these characters who are young women that

821
00:46:19,000 --> 00:46:22,640
Speaker 1: they're like, well, why bother writing this character? Like we

822
00:46:22,760 --> 00:46:25,719
Speaker 1: have a hot actress doing it? So who cares? But

823
00:46:25,800 --> 00:46:28,400
Speaker 1: like there's a ton of lawyers to who Swell is.

824
00:46:28,480 --> 00:46:31,239
Speaker 1: And she does like grow a lot, but not like

825
00:46:31,320 --> 00:46:33,279
Speaker 1: so much that it's unrealistic. I feel like the only

826
00:46:33,320 --> 00:46:36,600
Speaker 1: man realistic thing. She like completely gets the way with

827
00:46:36,640 --> 00:46:38,640
Speaker 1: it to the point where she gets to like say

828
00:46:38,800 --> 00:46:40,719
Speaker 1: that as like one of the last lines in the

829
00:46:40,760 --> 00:46:43,000
Speaker 1: movie where he's like, how do you think you're going

830
00:46:43,040 --> 00:46:44,600
Speaker 1: to get away with it? And she's like, well, I

831
00:46:44,680 --> 00:46:51,000
Speaker 1: basically did. When I told my boyfriend we are going

832
00:46:51,040 --> 00:46:52,560
Speaker 1: to come on and talk about this movie which I

833
00:46:52,560 --> 00:46:55,319
Speaker 1: made him much during Pandemic. He'd never seen it. He

834
00:46:55,440 --> 00:46:59,200
Speaker 1: brought up this weekend, this interview he saw with Christina Applegate.

835
00:46:59,360 --> 00:47:00,759
Speaker 1: I don't know if it was like recent when she's

836
00:47:00,760 --> 00:47:03,000
Speaker 1: talking about being and her actress or like at the time,

837
00:47:03,400 --> 00:47:05,600
Speaker 1: but they're asking her how she played Kelly Bundy and

838
00:47:05,640 --> 00:47:07,560
Speaker 1: married to children at the same time, Like how how

839
00:47:07,640 --> 00:47:10,840
Speaker 1: she played an idiot bimbo, And she said, I don't

840
00:47:10,880 --> 00:47:12,880
Speaker 1: think of her as stupid. I think of her as

841
00:47:12,880 --> 00:47:15,759
Speaker 1: a person with a short attention span and that she

842
00:47:15,880 --> 00:47:17,840
Speaker 1: found a way into that character that wasn't I'm going

843
00:47:17,880 --> 00:47:20,120
Speaker 1: to mock this character. I'm gonna let you laugh at

844
00:47:20,120 --> 00:47:22,840
Speaker 1: this character. This character is your like typical blonde bimbo.

845
00:47:23,320 --> 00:47:26,160
Speaker 1: She is just a person who it's easily distracted, and

846
00:47:26,160 --> 00:47:29,000
Speaker 1: like found this way around it that allowed her to

847
00:47:29,200 --> 00:47:31,960
Speaker 1: love and respect the person she's being. And I think

848
00:47:31,960 --> 00:47:33,960
Speaker 1: that that's I mean, she's like fourteen fifteen, I think

849
00:47:34,000 --> 00:47:37,319
Speaker 1: when she started that show, so that I think that's

850
00:47:37,320 --> 00:47:39,640
Speaker 1: a glimpse into her as an actress, even as a

851
00:47:39,680 --> 00:47:42,200
Speaker 1: teenage actress. She's like a legit teenager when she makes

852
00:47:42,239 --> 00:47:46,319
Speaker 1: this movie. Yeah, she's cool. I really like her me too.

853
00:47:46,440 --> 00:47:48,919
Speaker 1: The one thing though, I'm at at. I don't blame

854
00:47:48,960 --> 00:47:51,360
Speaker 1: her for this. I blame like maybe her agent, maybe

855
00:47:51,400 --> 00:47:54,319
Speaker 1: the production designer, maybe the director. I have this real

856
00:47:54,320 --> 00:47:56,480
Speaker 1: pet peeve about this kind of thing happening. Where do

857
00:47:56,520 --> 00:47:59,280
Speaker 1: you know, Like we see her driver's license at one point,

858
00:48:00,040 --> 00:48:02,880
Speaker 1: and if you pause her driver's license, it gives a

859
00:48:02,960 --> 00:48:07,319
Speaker 1: height and a weight that is definitely not true. Do

860
00:48:07,360 --> 00:48:10,080
Speaker 1: you know what I mean? No, I didn't look at

861
00:48:10,080 --> 00:48:13,200
Speaker 1: that a lower weight than she Yeah, would probably be

862
00:48:13,440 --> 00:48:16,680
Speaker 1: an absolutely lower weight than a person alive could be,

863
00:48:17,200 --> 00:48:20,600
Speaker 1: right at that, like at her height end weight. You're like, no,

864
00:48:21,440 --> 00:48:23,239
Speaker 1: I just remember that thing being like rampant when I

865
00:48:23,280 --> 00:48:26,440
Speaker 1: was a little kid, like male characters giving girls weights

866
00:48:26,440 --> 00:48:29,839
Speaker 1: because they don't understand how much girls really wait and

867
00:48:29,880 --> 00:48:31,880
Speaker 1: you're like, no, that's not it. Like there's a Christopher

868
00:48:31,880 --> 00:48:33,560
Speaker 1: Pike book that I read around the same time where

869
00:48:33,560 --> 00:48:36,760
Speaker 1: they're there's like the hot girl and like her chubby

870
00:48:36,840 --> 00:48:38,880
Speaker 1: friend who's like called chubby the whole way through the

871
00:48:38,920 --> 00:48:41,120
Speaker 1: movie or all the way through the book, and then

872
00:48:41,160 --> 00:48:42,880
Speaker 1: like halfway through the book they reveal her weight and

873
00:48:42,880 --> 00:48:45,479
Speaker 1: it's like a hundred and thirty pounds, and you're like, what,

874
00:48:46,280 --> 00:48:48,560
Speaker 1: it's a stuff like that is always stuck with me,

875
00:48:48,880 --> 00:48:51,239
Speaker 1: but that that happens on her license and I want

876
00:48:51,280 --> 00:48:53,080
Speaker 1: to say, it's probably like the agent being like, let's

877
00:48:53,080 --> 00:48:55,040
Speaker 1: make I don't nobody knows what weights are. Let's just

878
00:48:55,080 --> 00:48:59,399
Speaker 1: make it tidy. She's one hundred pounds, right, Okay, I'll

879
00:48:59,440 --> 00:49:02,239
Speaker 1: say they say she's five six, and I'm like, what,

880
00:49:02,840 --> 00:49:07,719
Speaker 1: um that probably not she would be dead. Yeah. I

881
00:49:07,760 --> 00:49:09,799
Speaker 1: think we last talked about that where because I have

882
00:49:09,880 --> 00:49:14,520
Speaker 1: a similar thing where like so many like little things

883
00:49:14,560 --> 00:49:16,200
Speaker 1: like that when I was a kid, stuck with me

884
00:49:16,440 --> 00:49:19,279
Speaker 1: truly forever. It sounds like a joke, but it's real,

885
00:49:19,400 --> 00:49:23,080
Speaker 1: but a lot of my teenage eating disorder struggles could

886
00:49:23,120 --> 00:49:26,640
Speaker 1: be traced to, like, amongst other things, but a very

887
00:49:26,680 --> 00:49:29,359
Speaker 1: specific line of dialogue in an episode of Family Guy.

888
00:49:29,960 --> 00:49:32,279
Speaker 1: It's not great, But I think the last time we

889
00:49:32,360 --> 00:49:36,120
Speaker 1: discussed this was in Bridget Jones because the weights they

890
00:49:36,120 --> 00:49:39,680
Speaker 1: give in Bridget Jones as attributing to like this is

891
00:49:39,719 --> 00:49:44,320
Speaker 1: a deviant weight is just so absurd. It's a perfectly

892
00:49:44,360 --> 00:49:49,080
Speaker 1: healthy weight that she is, but they presented like it's inexcusable,

893
00:49:49,160 --> 00:49:52,200
Speaker 1: like an unhealthy and unattractive and just like all this

894
00:49:52,840 --> 00:49:57,840
Speaker 1: you know, normative bullshit that that did a number on

895
00:49:57,880 --> 00:50:00,879
Speaker 1: a lot of people. I didn't notice the Yeah, god,

896
00:50:00,960 --> 00:50:03,200
Speaker 1: damn it, I know, but that stuff does get stuck in.

897
00:50:03,200 --> 00:50:05,720
Speaker 1: You remember reading a book once that described a character

898
00:50:06,800 --> 00:50:08,160
Speaker 1: it was like the dude and the girly had a

899
00:50:08,160 --> 00:50:11,359
Speaker 1: crush and described her stomach as being quote not just

900
00:50:11,560 --> 00:50:15,279
Speaker 1: flat but concave it like being eleven and reading that

901
00:50:15,360 --> 00:50:17,719
Speaker 1: being like, Oh, that's a beauty idea. What Oh, that's

902
00:50:17,719 --> 00:50:23,360
Speaker 1: what I have to strive to achieve. Yeah, so movies,

903
00:50:23,440 --> 00:50:25,360
Speaker 1: you did it in a movie that I think subverts

904
00:50:25,400 --> 00:50:31,000
Speaker 1: a lot of hyperfeminine stereotypes. They still got that in America,

905
00:50:31,080 --> 00:50:33,120
Speaker 1: to damn it. I guess the worst things in this

906
00:50:33,160 --> 00:50:35,200
Speaker 1: movie are just in like the tiny visual things, Like

907
00:50:35,239 --> 00:50:36,880
Speaker 1: I think it's almost at the very end of the

908
00:50:36,880 --> 00:50:39,480
Speaker 1: movie where you go back to Kenny's bedroom, which has

909
00:50:39,520 --> 00:50:41,400
Speaker 1: been like the site of horror, Like I feel like

910
00:50:41,440 --> 00:50:45,759
Speaker 1: the movie implies that Kenny's bedroom killed the babysitter. The

911
00:50:45,760 --> 00:50:49,320
Speaker 1: babysitter because he's got like it's so terrific it boobies

912
00:50:49,400 --> 00:50:52,560
Speaker 1: and skulls and weed and pizza crust on the record

913
00:50:52,600 --> 00:50:55,759
Speaker 1: player kills the babysitter shouldn't even met Kenny. She never

914
00:50:55,840 --> 00:50:59,200
Speaker 1: met Kenny, but his like room was so crazy. But

915
00:50:59,280 --> 00:51:01,600
Speaker 1: you go back to a room later and like, I

916
00:51:01,600 --> 00:51:03,040
Speaker 1: don't know why, it's like an angle. I think you

917
00:51:03,080 --> 00:51:05,480
Speaker 1: don't see the rest of the movie, but you're like, oh, man,

918
00:51:05,600 --> 00:51:08,760
Speaker 1: Kenny has a Confederate flag on his wall. I noticed

919
00:51:08,800 --> 00:51:11,040
Speaker 1: that too, and I was like, what, I didn't notice that.

920
00:51:12,280 --> 00:51:14,600
Speaker 1: It's right at the end. I'm like, oh man, it's

921
00:51:14,640 --> 00:51:17,759
Speaker 1: already becoming a better dude. And you're like, what, why

922
00:51:17,840 --> 00:51:19,560
Speaker 1: was that there in the first place. They live into

923
00:51:19,560 --> 00:51:24,520
Speaker 1: southern California, Like yeah, I mean fucking racist pieces of

924
00:51:24,560 --> 00:51:29,480
Speaker 1: shit are everywhere. Yeah, I mean, look at the news

925
00:51:29,520 --> 00:51:33,000
Speaker 1: in Los Angeles this morning. Um, this will make no

926
00:51:33,040 --> 00:51:36,600
Speaker 1: sense to people listening to the episode. Uh, we'll figure

927
00:51:36,600 --> 00:51:41,680
Speaker 1: it out. Let's take a quick break and come back

928
00:51:41,719 --> 00:51:52,680
Speaker 1: for more discussion, and we're back. Uh, can we? I

929
00:51:52,760 --> 00:51:56,160
Speaker 1: want to get into Rose lindsay world, but before we

930
00:51:56,280 --> 00:52:00,479
Speaker 1: do so, I just wanted to touch on the babysitter. Yes,

931
00:52:00,800 --> 00:52:06,040
Speaker 1: really quick. Now, she's not long for this world. Uh,

932
00:52:06,160 --> 00:52:11,200
Speaker 1: and she is absolutely evil, Like for the for the

933
00:52:11,239 --> 00:52:13,839
Speaker 1: one minute we get to know her, I feel like

934
00:52:14,160 --> 00:52:16,759
Speaker 1: I feel like the most memorable thing that she does

935
00:52:16,960 --> 00:52:20,040
Speaker 1: outside of just like who what is the name of

936
00:52:20,040 --> 00:52:22,520
Speaker 1: the I want to shout out the actor who played

937
00:52:22,680 --> 00:52:25,040
Speaker 1: her because it was a great switch. I love that

938
00:52:25,040 --> 00:52:27,560
Speaker 1: to use the Twilight Zone music cue that was to

939
00:52:27,600 --> 00:52:29,920
Speaker 1: indicate that she was about to become a cartoon villain

940
00:52:30,400 --> 00:52:33,399
Speaker 1: eat a Rice Marin Like she was great as Mr

941
00:52:33,600 --> 00:52:36,000
Speaker 1: rac Um. I feel like the most memorable thing she

942
00:52:36,040 --> 00:52:41,520
Speaker 1: does for our purposes is makes Melissa wear a little

943
00:52:41,560 --> 00:52:46,960
Speaker 1: pink dress and wants her to be so rigidly feminine

944
00:52:47,080 --> 00:52:52,120
Speaker 1: and finds it disgusting that Melissa plays baseball, which no

945
00:52:52,160 --> 00:52:53,880
Speaker 1: one else in the family does. Everyone else in the

946
00:52:53,920 --> 00:52:57,120
Speaker 1: family is at least even though they like they're like

947
00:52:57,160 --> 00:52:59,719
Speaker 1: siblings and they can't stand each other, they at least

948
00:52:59,719 --> 00:53:04,000
Speaker 1: see like fundamentally respectful of who everyone is. Like they're

949
00:53:04,000 --> 00:53:07,719
Speaker 1: not making fun of each other. But anyways, as far

950
00:53:07,719 --> 00:53:10,680
Speaker 1: as Mr Rock goes like, there are I'm trying to

951
00:53:10,880 --> 00:53:16,600
Speaker 1: like the evil old lady thing is uh, it's a trip. Yeah,

952
00:53:16,640 --> 00:53:19,399
Speaker 1: they shoot her in this way. There are a couple

953
00:53:19,400 --> 00:53:21,759
Speaker 1: of points in this movie where I was like, did

954
00:53:21,800 --> 00:53:24,920
Speaker 1: this director make pizza commercials? Due to be like can

955
00:53:24,960 --> 00:53:27,720
Speaker 1: they shoot her in that kind of like monstrous fish

956
00:53:27,760 --> 00:53:31,320
Speaker 1: eye lens that I always associate with like eighties and

957
00:53:31,440 --> 00:53:34,480
Speaker 1: nineties pizza commercials. So it's like whoa in your face.

958
00:53:34,800 --> 00:53:36,840
Speaker 1: I mean the intro to like those kind of looney

959
00:53:36,880 --> 00:53:39,279
Speaker 1: tune grandma thing that you see going on. She's like

960
00:53:39,320 --> 00:53:42,600
Speaker 1: the annoid, Like she's basically like the commercial pizza nooid,

961
00:53:42,719 --> 00:53:46,280
Speaker 1: but a grandma. It is like just making her hideous,

962
00:53:46,800 --> 00:53:51,200
Speaker 1: the baggy stockings like intro baggy stocking. First, they really

963
00:53:51,239 --> 00:53:54,680
Speaker 1: do not present her favorably, and the fact that she

964
00:53:55,400 --> 00:53:59,800
Speaker 1: is the oldest character and you know that she's and

965
00:54:00,000 --> 00:54:02,480
Speaker 1: an old woman, and that they call her an old

966
00:54:02,520 --> 00:54:07,480
Speaker 1: hag several times, and they really, you know, just some

967
00:54:07,600 --> 00:54:11,719
Speaker 1: ages choices were mad. Yeah, I don't know, we've we've

968
00:54:11,719 --> 00:54:13,520
Speaker 1: talked about it, and they show plenty of times of

969
00:54:13,560 --> 00:54:18,200
Speaker 1: just how older women are more often made a joke

970
00:54:18,440 --> 00:54:23,919
Speaker 1: of versus given any sort of characterization. And I mean

971
00:54:23,960 --> 00:54:26,960
Speaker 1: that's like a lot of women characters across the board

972
00:54:27,000 --> 00:54:29,359
Speaker 1: of all ages, but I feel like older women specifically,

973
00:54:29,440 --> 00:54:32,640
Speaker 1: it's it's more common to either like turn it into

974
00:54:33,440 --> 00:54:37,399
Speaker 1: body horror or just a very simplistic judgment value, and

975
00:54:37,480 --> 00:54:41,960
Speaker 1: in Msteric's case, it's both. So I'm trying to think

976
00:54:42,000 --> 00:54:46,480
Speaker 1: of the last time, the last movie we I don't know. Anyways,

977
00:54:46,480 --> 00:54:49,360
Speaker 1: she's not long for the movie, and the movie doesn't

978
00:54:49,680 --> 00:54:53,040
Speaker 1: dwell on it really. Once she's gone, she's really and

979
00:54:53,080 --> 00:54:55,200
Speaker 1: truly gone, and then all of a sudden, it's like

980
00:54:55,360 --> 00:55:00,479
Speaker 1: teenage working girl, right. But I just want to mention that, Yeah, yeah,

981
00:55:00,600 --> 00:55:03,000
Speaker 1: there wasn't. Earlier draft two of the script, I think

982
00:55:03,040 --> 00:55:04,840
Speaker 1: she was nicer. I think that was one of the

983
00:55:04,840 --> 00:55:07,960
Speaker 1: notes when it was starting to get put into actual production,

984
00:55:08,120 --> 00:55:10,839
Speaker 1: was like, I think the original scripts well and only

985
00:55:10,840 --> 00:55:15,560
Speaker 1: had two siblings, and the babysitter wasn't that terrible? And

986
00:55:15,600 --> 00:55:17,440
Speaker 1: I think when they finally made it, they're like, she

987
00:55:17,520 --> 00:55:20,000
Speaker 1: needs more siblings, and we have to make this babysitter

988
00:55:20,120 --> 00:55:25,160
Speaker 1: meaner because otherwise it's almost too sad. It's cruel, way

989
00:55:25,200 --> 00:55:27,799
Speaker 1: too cruel of the They probably have to justify them,

990
00:55:27,840 --> 00:55:30,719
Speaker 1: like dumping her at the mortuary, so they're like, oh, well,

991
00:55:30,760 --> 00:55:34,680
Speaker 1: if the babysitters really mean that kind of quote unquote

992
00:55:34,719 --> 00:55:39,000
Speaker 1: justifies these kids, you know, just dumping her body at

993
00:55:39,080 --> 00:55:41,239
Speaker 1: least they live in saying she's a nice old lady,

994
00:55:41,280 --> 00:55:45,840
Speaker 1: which is a lie, but that is a very funny,

995
00:55:45,920 --> 00:55:50,040
Speaker 1: like last joke that her tombstone says nice old lady.

996
00:55:51,160 --> 00:55:53,279
Speaker 1: And it's funny because like one of the things that

997
00:55:53,320 --> 00:55:55,160
Speaker 1: she does it so awful is she comes up with

998
00:55:55,200 --> 00:55:58,200
Speaker 1: like the chore chart, you know, and actually, like Sue

999
00:55:58,200 --> 00:55:59,920
Speaker 1: Ellen just winds up having it come up with the

1000
00:56:00,040 --> 00:56:02,120
Speaker 1: short chart. Right. So not that I think this movie

1001
00:56:02,239 --> 00:56:05,239
Speaker 1: is like apologizing for the way it treats Msteric, but

1002
00:56:05,280 --> 00:56:07,440
Speaker 1: I think it is like, you know, honestly, these kids

1003
00:56:07,480 --> 00:56:09,960
Speaker 1: are horrible and they do need short charts, and she

1004
00:56:10,080 --> 00:56:13,920
Speaker 1: wasn't wrong. Yeah, she made some points in her brief tenure,

1005
00:56:14,520 --> 00:56:17,840
Speaker 1: though I do appreciate. So we see something that she

1006
00:56:17,920 --> 00:56:21,279
Speaker 1: does to each of the kids to demonstrate just how

1007
00:56:21,320 --> 00:56:25,200
Speaker 1: evil she is. She's like, Walter, read an entire cyclopedia

1008
00:56:25,280 --> 00:56:29,040
Speaker 1: and give me a report tomorrow morning. My aunt used

1009
00:56:29,120 --> 00:56:34,640
Speaker 1: to do that. She interrupts a little date between Zach

1010
00:56:34,719 --> 00:56:37,799
Speaker 1: and his girlfriend, who he will later buy a diamond four.

1011
00:56:38,000 --> 00:56:41,920
Speaker 1: She calls his girlfriend to trollop yes pretty hard, and

1012
00:56:41,960 --> 00:56:45,480
Speaker 1: then like physically abuses Zack by kind of like yanking

1013
00:56:45,560 --> 00:56:49,640
Speaker 1: him by the ear. Again. She looks at Kenny's room

1014
00:56:49,800 --> 00:56:51,719
Speaker 1: and then dies because of it. But to be fair,

1015
00:56:51,800 --> 00:56:53,759
Speaker 1: if I walked into someone's room and I saw a

1016
00:56:53,800 --> 00:56:57,200
Speaker 1: Confederate flag, I would maybe at least pass out. I know,

1017
00:56:57,320 --> 00:57:00,160
Speaker 1: but you know that wasn't what she thought it was

1018
00:57:00,239 --> 00:57:03,000
Speaker 1: booby because we don't we don't see that in that scene.

1019
00:57:03,040 --> 00:57:05,480
Speaker 1: She right, she was like, oh my god, boobs drop

1020
00:57:05,520 --> 00:57:09,600
Speaker 1: over dead. Kenny was so horny that she died. But

1021
00:57:09,719 --> 00:57:11,600
Speaker 1: a lot of these things are framed as like, oh

1022
00:57:11,600 --> 00:57:14,520
Speaker 1: my god, look she used like enforcing ridiculous things on

1023
00:57:14,680 --> 00:57:17,280
Speaker 1: these kids. And one of those is she tries to

1024
00:57:17,400 --> 00:57:22,160
Speaker 1: enforce this this idea of like femininity onto Melissa, because

1025
00:57:22,360 --> 00:57:25,560
Speaker 1: Melissa had been established as again like a quote unquote

1026
00:57:25,600 --> 00:57:29,520
Speaker 1: tomboy who likes to, you know, play sports and dresses

1027
00:57:29,600 --> 00:57:32,800
Speaker 1: and kind of you know, a gender neutral or masculine way.

1028
00:57:33,080 --> 00:57:36,120
Speaker 1: And she's like, no, no, no, little girls should dress

1029
00:57:36,200 --> 00:57:38,760
Speaker 1: and act like little girls. And so she puts around

1030
00:57:38,760 --> 00:57:40,880
Speaker 1: this pink frilly dressed, this big bow in her hair,

1031
00:57:41,040 --> 00:57:44,280
Speaker 1: and it's almost exactly like the Mary Poppins outfit. I

1032
00:57:44,280 --> 00:57:46,080
Speaker 1: think they like the girl friend Mary POPPINSS. I think

1033
00:57:46,160 --> 00:57:48,640
Speaker 1: it's like that, but pink even worse. I think at

1034
00:57:48,680 --> 00:57:51,480
Speaker 1: least Mary Poppins girls were like blue. But I think

1035
00:57:51,520 --> 00:57:54,280
Speaker 1: it's like, I'm I'm your old school nanny and this

1036
00:57:54,360 --> 00:57:58,680
Speaker 1: is what's appropriate in the year of our Lord Ninete. Right,

1037
00:57:59,000 --> 00:58:02,280
Speaker 1: So Mrs Deck flicting these rigid gender norms on a

1038
00:58:02,360 --> 00:58:06,920
Speaker 1: character who doesn't conform to prescribed norms of gender presentation,

1039
00:58:07,320 --> 00:58:10,640
Speaker 1: at least in terms of clothing, and the movie framing

1040
00:58:10,640 --> 00:58:14,840
Speaker 1: the babysitter's behavior and rigid thinking as a bad thing

1041
00:58:14,960 --> 00:58:17,920
Speaker 1: for her to have done. I was like, Oh, another

1042
00:58:18,120 --> 00:58:22,400
Speaker 1: progressive thing I wasn't expecting from this movie. And honestly,

1043
00:58:22,520 --> 00:58:24,240
Speaker 1: like you know, we were talking about the gender in

1044
00:58:24,360 --> 00:58:26,959
Speaker 1: version between like Kenny and Sue Ellen, I think there's

1045
00:58:26,960 --> 00:58:31,120
Speaker 1: one with the siblings too, because of the three younger siblings.

1046
00:58:31,160 --> 00:58:33,440
Speaker 1: You know, Walter is just the TV kid, but you

1047
00:58:33,480 --> 00:58:35,800
Speaker 1: have like the girl who's obsessed with sports and the

1048
00:58:35,840 --> 00:58:38,040
Speaker 1: boy who's obsessed with romance. And I think that's a

1049
00:58:38,800 --> 00:58:40,880
Speaker 1: flip flop too. Would be so much easier for it

1050
00:58:40,920 --> 00:58:42,520
Speaker 1: to be like the boys the jock and she's the

1051
00:58:42,840 --> 00:58:46,520
Speaker 1: mooney one, but they flipped that. Yeah, And he's like Cynthia,

1052
00:58:46,560 --> 00:58:49,760
Speaker 1: you're my moon goddess, and he's sweet about it. He's

1053
00:58:49,800 --> 00:58:52,640
Speaker 1: a big romantic true right. Like you pointed out the

1054
00:58:52,640 --> 00:58:54,200
Speaker 1: twilights of music, he get that kind of back to

1055
00:58:54,240 --> 00:58:56,920
Speaker 1: back in a row of like twilights on music. Then

1056
00:58:56,960 --> 00:58:59,400
Speaker 1: he's with his girlfriend and they're playing Casa Blanca music

1057
00:58:59,800 --> 00:59:01,800
Speaker 1: and then they like she goes into the room and

1058
00:59:01,840 --> 00:59:05,400
Speaker 1: suddenly it's like psycho music. These are probably my first

1059
00:59:05,440 --> 00:59:07,720
Speaker 1: exposures to all of these songs when I was a kid,

1060
00:59:08,280 --> 00:59:11,480
Speaker 1: and so um so props to that too, preparing me

1061
00:59:11,520 --> 00:59:14,360
Speaker 1: for Casa Blanca. That's the sound of romance because that's

1062
00:59:14,360 --> 00:59:17,800
Speaker 1: when Cynthia was his moon goddess. Right, I didn't even

1063
00:59:17,920 --> 00:59:21,880
Speaker 1: put that together. That like Zach's obsession with with romance,

1064
00:59:22,080 --> 00:59:25,760
Speaker 1: and that's I like. And then as for Walter's obsession

1065
00:59:25,840 --> 00:59:29,320
Speaker 1: with vintage game shows, can't really account for it, but

1066
00:59:29,520 --> 00:59:32,360
Speaker 1: happy for him anyways, Yeah, good for him, and I

1067
00:59:32,400 --> 00:59:35,080
Speaker 1: like that this is like a little little thing. But

1068
00:59:35,240 --> 00:59:41,080
Speaker 1: with Melissa's character who apparently that actress is a known

1069
00:59:41,440 --> 00:59:45,680
Speaker 1: kind of iconic modern scream queen Danielle Harris. She had

1070
00:59:45,720 --> 00:59:48,760
Speaker 1: been in oh yeah, as young as she looks here.

1071
00:59:49,160 --> 00:59:52,000
Speaker 1: She had already done two really gnarly Halloween movies before

1072
00:59:52,040 --> 00:59:55,720
Speaker 1: this came out, nary one where she's like, I believe

1073
00:59:55,720 --> 00:59:58,439
Speaker 1: the lords that she's Jamie Lee Curtis is like orphaned daughter,

1074
00:59:58,520 --> 01:00:01,160
Speaker 1: and so Michael Myers is going after her I've seen them.

1075
01:00:01,200 --> 01:00:04,600
Speaker 1: They're very humudinous and they're terrible. I can't tell the

1076
01:00:04,680 --> 01:00:07,960
Speaker 1: four from five at all. Wait no four, actually wait

1077
01:00:08,000 --> 01:00:09,840
Speaker 1: there to forest credit. Four has a lot of like

1078
01:00:09,880 --> 01:00:11,880
Speaker 1: girls dressed like Kelly Bundy, and it's kind of fun.

1079
01:00:11,920 --> 01:00:14,400
Speaker 1: Five is just awful. But but yeah, she is a

1080
01:00:14,440 --> 01:00:18,960
Speaker 1: total scream queen. She's so cute in this movie. But

1081
01:00:19,000 --> 01:00:22,440
Speaker 1: what I like about Melissa's character, it's just like it's

1082
01:00:22,440 --> 01:00:25,920
Speaker 1: such a simple thing, but like whatever, she she's like

1083
01:00:26,080 --> 01:00:30,720
Speaker 1: gender neutral or sort of masculine style, and but she's

1084
01:00:30,760 --> 01:00:34,840
Speaker 1: still like a little asshole. She's a little stinker. And uh,

1085
01:00:34,920 --> 01:00:39,280
Speaker 1: it's not because she defies gender norms. She's just whatever

1086
01:00:39,560 --> 01:00:43,840
Speaker 1: eleven or something. And I like that her her mini

1087
01:00:44,040 --> 01:00:46,920
Speaker 1: arc in this because the younger kids don't have as

1088
01:00:47,000 --> 01:00:49,800
Speaker 1: much of an arc, which is fine, but her mini

1089
01:00:49,920 --> 01:00:51,920
Speaker 1: arc is that she just really wants someone to come

1090
01:00:51,960 --> 01:00:55,040
Speaker 1: to one of her baseball games. And it's such like

1091
01:00:55,080 --> 01:00:58,480
Speaker 1: a sweet, like latic key kid problem of like your

1092
01:00:58,480 --> 01:01:01,840
Speaker 1: parents are just like her mom is too busy to go.

1093
01:01:02,960 --> 01:01:04,560
Speaker 1: Is she a little harsh at the beginning of the

1094
01:01:04,600 --> 01:01:07,000
Speaker 1: movie where she's like, little legal be there next summer.

1095
01:01:07,080 --> 01:01:11,880
Speaker 1: I'm fucking off to Australia, you know whatever. But um,

1096
01:01:12,000 --> 01:01:14,640
Speaker 1: I like that her little mini arc is complete because

1097
01:01:14,720 --> 01:01:17,440
Speaker 1: Kenny goes to her game, he cheers her on and

1098
01:01:17,480 --> 01:01:20,760
Speaker 1: he's proud of her. It's nice, it's cute. I was

1099
01:01:20,800 --> 01:01:24,120
Speaker 1: reading an article actually with her with with Daniel Harris

1100
01:01:24,160 --> 01:01:26,880
Speaker 1: when she where She was saying, as they were filming

1101
01:01:26,920 --> 01:01:30,120
Speaker 1: this movie, she had the biggest crush on you know,

1102
01:01:30,160 --> 01:01:33,280
Speaker 1: her brother, Christopher Petit, who plays like Zach the heartthrob guy,

1103
01:01:33,320 --> 01:01:36,560
Speaker 1: but he had the biggest crush on Christina Applegate. It's

1104
01:01:36,600 --> 01:01:39,720
Speaker 1: so like it never came to fruition, but that when

1105
01:01:39,720 --> 01:01:42,120
Speaker 1: they were a little older, they actually did get to

1106
01:01:42,160 --> 01:01:46,000
Speaker 1: go on a couple of dates right before he did

1107
01:01:46,160 --> 01:01:49,320
Speaker 1: die very young of a drug overdose, which is said

1108
01:01:49,320 --> 01:01:52,720
Speaker 1: he's one of the kind of generation of nineties boy

1109
01:01:52,880 --> 01:01:56,240
Speaker 1: kids who really got run ragged and didn't make it

1110
01:01:56,240 --> 01:01:58,880
Speaker 1: through the decade. Like, um, the one that always sticks

1111
01:01:58,880 --> 01:02:02,840
Speaker 1: out to me is Jonathan Brandis. It's like this this

1112
01:02:02,920 --> 01:02:05,720
Speaker 1: was my generation of sexual awakening. So like Jonathan Brandis

1113
01:02:05,720 --> 01:02:08,800
Speaker 1: and this kid were like my heart and Leo they're

1114
01:02:08,800 --> 01:02:12,360
Speaker 1: like my heart throbs, but most of them didn't make it.

1115
01:02:12,440 --> 01:02:14,840
Speaker 1: And like it's I find it really interesting because we

1116
01:02:14,840 --> 01:02:17,600
Speaker 1: talked so much about like what happens to young actresses

1117
01:02:17,640 --> 01:02:19,840
Speaker 1: and how much they really really do get put through

1118
01:02:19,880 --> 01:02:24,400
Speaker 1: the ringer. But the young nineties boys all got really

1119
01:02:24,480 --> 01:02:27,360
Speaker 1: left and all wound up with like you know, addiction

1120
01:02:27,400 --> 01:02:29,919
Speaker 1: problems or most of them, and it's like really rough

1121
01:02:29,960 --> 01:02:34,560
Speaker 1: and they all kind of vanished from the cultural memory. Which, yeah,

1122
01:02:34,560 --> 01:02:36,680
Speaker 1: I always think about River Phoenix. He was a little

1123
01:02:37,440 --> 01:02:42,360
Speaker 1: before that, but the same same they're probably going out

1124
01:02:42,360 --> 01:02:45,080
Speaker 1: for a lot of the same roles. Like I think

1125
01:02:45,160 --> 01:02:47,840
Speaker 1: they've heard Leo I think refer to it once that

1126
01:02:47,960 --> 01:02:51,680
Speaker 1: like the kids he always saw in his auditions, a

1127
01:02:51,720 --> 01:02:54,280
Speaker 1: lot of them died because they were all competing with

1128
01:02:54,400 --> 01:02:59,600
Speaker 1: Leo for most of their parts and stuff. That's so yeah,

1129
01:02:59,640 --> 01:03:02,560
Speaker 1: I I don't know. As the more time that goes on,

1130
01:03:02,640 --> 01:03:06,960
Speaker 1: I'm just like, child stardom should be illegal. I just

1131
01:03:07,840 --> 01:03:11,560
Speaker 1: don't believe that there's an ethical version of it. But

1132
01:03:11,560 --> 01:03:14,880
Speaker 1: but we would be remiss not to say a shout

1133
01:03:14,880 --> 01:03:17,560
Speaker 1: out to Titanic. We're going to bring up Leo anyway,

1134
01:03:18,200 --> 01:03:21,200
Speaker 1: that's my favorite movie. We need to wedge in a

1135
01:03:21,240 --> 01:03:24,520
Speaker 1: Titanic reference at least once an episode. I made sure

1136
01:03:24,560 --> 01:03:27,360
Speaker 1: that Titanic stayed on our list, by the way, for Unspoiled.

1137
01:03:27,360 --> 01:03:29,960
Speaker 1: I think that movie is amazing and I will not

1138
01:03:30,120 --> 01:03:33,280
Speaker 1: broke anybody who tries to say that that movie is

1139
01:03:33,320 --> 01:03:35,640
Speaker 1: badly written, Like are you kidding me? Every single time

1140
01:03:35,640 --> 01:03:39,640
Speaker 1: I watched that movie, What a perfect movie. There, I

1141
01:03:39,720 --> 01:03:42,640
Speaker 1: was realizing, okay, last Common and then I promise we'll

1142
01:03:42,640 --> 01:03:49,160
Speaker 1: get to Rose Lindsay, Um, I realized Rose Rose. I

1143
01:03:49,200 --> 01:03:52,160
Speaker 1: was thinking the other day about how I always have

1144
01:03:52,480 --> 01:03:56,280
Speaker 1: wanted a nickname to stick for me. It has not happened,

1145
01:03:56,440 --> 01:04:00,000
Speaker 1: but when it has happened, it's been Jim or Jim

1146
01:04:00,840 --> 01:04:03,920
Speaker 1: and I love that. And I realized that I feel

1147
01:04:03,920 --> 01:04:07,080
Speaker 1: like people take me more seriously when they're calling me Jim,

1148
01:04:07,120 --> 01:04:08,760
Speaker 1: And I was like, why do I feel that way?

1149
01:04:08,800 --> 01:04:11,600
Speaker 1: Outside of like people just tend to take masculine people

1150
01:04:11,600 --> 01:04:14,800
Speaker 1: more seriously. And I think it's because of all the

1151
01:04:14,840 --> 01:04:17,600
Speaker 1: Titanic Behind the Scenes FEATURETTS I watched when I was

1152
01:04:17,640 --> 01:04:22,080
Speaker 1: a kid, where everyone's talking about Jim Cameron so reverently,

1153
01:04:22,160 --> 01:04:24,600
Speaker 1: and they're like, well, what Jim says, girls, And I was,

1154
01:04:24,680 --> 01:04:27,200
Speaker 1: I think it's just stuck with me, And so when

1155
01:04:27,200 --> 01:04:30,560
Speaker 1: I'm in Jim mode, people listen to me. I always

1156
01:04:30,600 --> 01:04:32,480
Speaker 1: find that so fascinating when there's a director that you

1157
01:04:32,560 --> 01:04:34,560
Speaker 1: know by one name, but everybody who knows him in

1158
01:04:34,600 --> 01:04:36,720
Speaker 1: person calls him something else. It feels like a power

1159
01:04:37,080 --> 01:04:41,560
Speaker 1: like James Cameron Jim Jim, like well to to the

1160
01:04:41,600 --> 01:04:44,760
Speaker 1: people he was screaming at twenty six hours a day,

1161
01:04:44,880 --> 01:04:50,520
Speaker 1: he was just Jim. Okay, Rose lindsay, yes, we gotta

1162
01:04:50,560 --> 01:04:54,440
Speaker 1: get to the gal herself. Now. I know I've thrown

1163
01:04:54,440 --> 01:04:57,680
Speaker 1: around the word girl boss um quite a bit early

1164
01:04:57,880 --> 01:05:01,120
Speaker 1: the episode. I do feel like that term is um

1165
01:05:01,240 --> 01:05:04,320
Speaker 1: arriving at its um. I don't know, I'm I'm becoming

1166
01:05:05,560 --> 01:05:08,600
Speaker 1: the term. Well, I do think that there is still,

1167
01:05:08,720 --> 01:05:12,400
Speaker 1: uh the sexism that is implied within that term has

1168
01:05:12,440 --> 01:05:14,800
Speaker 1: sort of gotten muddled over the last couple of years.

1169
01:05:14,840 --> 01:05:17,200
Speaker 1: Where when I first started using that term, it was

1170
01:05:17,240 --> 01:05:20,640
Speaker 1: like supposed to be a shorthand for like woman who

1171
01:05:20,720 --> 01:05:25,120
Speaker 1: is complicit in the crimes of capitalism in order to

1172
01:05:25,200 --> 01:05:28,200
Speaker 1: like survive at a higher level. But I feel like

1173
01:05:28,240 --> 01:05:31,160
Speaker 1: it has since kind of just like turned into a

1174
01:05:31,200 --> 01:05:35,560
Speaker 1: castaway phrase that is just used to describe like a

1175
01:05:35,640 --> 01:05:39,240
Speaker 1: woman in a position of authority who I personally don't like,

1176
01:05:39,440 --> 01:05:43,120
Speaker 1: which I think is something that happens now it's been Karen,

1177
01:05:43,320 --> 01:05:47,240
Speaker 1: I think a little bit yeah, where it's like, you know,

1178
01:05:47,480 --> 01:05:50,280
Speaker 1: I'm I'm not going to write an essay about it,

1179
01:05:50,360 --> 01:05:52,480
Speaker 1: but I feel like the way that it was when

1180
01:05:52,520 --> 01:05:55,000
Speaker 1: we started using it firstus how people kind of weaponize

1181
01:05:55,040 --> 01:05:58,760
Speaker 1: it now is not great. However, I do think that

1182
01:05:59,440 --> 01:06:03,240
Speaker 1: to some ex sent Rose Lindsay fits the original intention

1183
01:06:03,400 --> 01:06:08,400
Speaker 1: of the term. But I also like her, so it's hard.

1184
01:06:09,320 --> 01:06:15,080
Speaker 1: She's working in the fashion industry, so like, you know,

1185
01:06:15,360 --> 01:06:20,440
Speaker 1: like you're like, okay, inherently exploitative. Um, she's making uniform

1186
01:06:20,520 --> 01:06:23,320
Speaker 1: you know, it's her job to make sure that they're

1187
01:06:23,320 --> 01:06:26,800
Speaker 1: selling uniforms to a chemical company, although apparently they also

1188
01:06:26,800 --> 01:06:30,560
Speaker 1: need to sell stuff to a school, which didn't make

1189
01:06:30,600 --> 01:06:33,720
Speaker 1: sense to me if they are chemical company subsidiary. But

1190
01:06:33,920 --> 01:06:36,680
Speaker 1: I don't know the company. The manufacturing company was a

1191
01:06:36,720 --> 01:06:40,120
Speaker 1: subsidiary of the chemical company, and so and then they

1192
01:06:41,000 --> 01:06:45,640
Speaker 1: the manufacturers just sell uniforms to anything that needs a uniform,

1193
01:06:45,880 --> 01:06:50,880
Speaker 1: like a school or workplace. Right, like a Cisco I get,

1194
01:06:51,960 --> 01:06:53,439
Speaker 1: I don't even know what Cisco does. I just feel

1195
01:06:53,440 --> 01:06:56,560
Speaker 1: like Cisco does every right, it's very I was like,

1196
01:06:56,600 --> 01:06:58,800
Speaker 1: it's a very business e business, and that I don't

1197
01:06:58,880 --> 01:07:02,320
Speaker 1: understand what is going on or what everyone's job is.

1198
01:07:02,640 --> 01:07:05,520
Speaker 1: But Rose as a person, I think it is like

1199
01:07:05,560 --> 01:07:10,400
Speaker 1: a really cool character that like satirizes a lot of

1200
01:07:10,440 --> 01:07:13,600
Speaker 1: like nineties corporate culture. And then also like I was

1201
01:07:13,800 --> 01:07:18,920
Speaker 1: surprised at how empathetic and gentle the writers are with her,

1202
01:07:19,160 --> 01:07:21,720
Speaker 1: Like I feel like a lesser movie she would have

1203
01:07:21,800 --> 01:07:26,240
Speaker 1: like gone with Gus's word above above Swells. I feel

1204
01:07:26,240 --> 01:07:29,120
Speaker 1: like a lesser movie would have like formed this weird

1205
01:07:29,320 --> 01:07:32,040
Speaker 1: rivalry between them, whether Swell liked it or not. But

1206
01:07:32,280 --> 01:07:36,320
Speaker 1: Roses like very cool about the whole thing, which kind

1207
01:07:36,360 --> 01:07:40,000
Speaker 1: of makes sense for like, she's you know, I guess

1208
01:07:40,040 --> 01:07:42,200
Speaker 1: she can't tell when someone's a child versus they're not,

1209
01:07:42,280 --> 01:07:47,080
Speaker 1: but apparently neither can we and U and I like that.

1210
01:07:47,600 --> 01:07:49,920
Speaker 1: I don't know, I like. I like that she is

1211
01:07:50,120 --> 01:07:54,280
Speaker 1: very in Swell's corner and like is you know, tells

1212
01:07:54,320 --> 01:07:58,280
Speaker 1: Gus to fuck off and advocates for Swell over her

1213
01:07:58,320 --> 01:08:01,440
Speaker 1: relationship with Gus. I think it's nice. Yeah, she is

1214
01:08:01,960 --> 01:08:05,680
Speaker 1: sweet and supportive of her employee and believes her when

1215
01:08:05,720 --> 01:08:08,360
Speaker 1: she says like, yeah, your boyfriend is hitting on me

1216
01:08:08,400 --> 01:08:10,320
Speaker 1: and being a creep and then he's like, who are

1217
01:08:10,320 --> 01:08:12,760
Speaker 1: you going to believe me or a kid, and she's like,

1218
01:08:12,840 --> 01:08:15,640
Speaker 1: I'm going to believe the kid. And then she forgives

1219
01:08:16,040 --> 01:08:19,000
Speaker 1: swell Like I love that she forgives s weall. She

1220
01:08:19,080 --> 01:08:21,120
Speaker 1: was like, yeah, you'll grow out of it, like it's

1221
01:08:21,200 --> 01:08:23,559
Speaker 1: just so cute. I don't know. Yeah, and she's still

1222
01:08:23,560 --> 01:08:25,559
Speaker 1: giving a mentor her feel like we can get dinner

1223
01:08:25,640 --> 01:08:27,120
Speaker 1: even if you're not going to work for me, like

1224
01:08:27,360 --> 01:08:30,040
Speaker 1: I see you, I'll write you a college recommendation letter.

1225
01:08:30,479 --> 01:08:32,280
Speaker 1: And I think they do film her in ways where

1226
01:08:32,320 --> 01:08:35,400
Speaker 1: you can see that she is actually respected at her job.

1227
01:08:35,439 --> 01:08:37,120
Speaker 1: One of the one of the first real shots we

1228
01:08:37,120 --> 01:08:39,040
Speaker 1: get of her at work is like she's seated at

1229
01:08:39,040 --> 01:08:41,680
Speaker 1: her desk in a red outfit I think red or

1230
01:08:41,800 --> 01:08:43,759
Speaker 1: or and she's always like matching her hair to her clothes,

1231
01:08:43,760 --> 01:08:46,439
Speaker 1: which I think is so fun. But she's seated and

1232
01:08:46,520 --> 01:08:49,160
Speaker 1: at her desk is surrounded by people trying to get

1233
01:08:49,160 --> 01:08:51,360
Speaker 1: her attention, trying to be like we need you, we

1234
01:08:51,400 --> 01:08:53,000
Speaker 1: need you, we need you. Like they film her in

1235
01:08:53,040 --> 01:08:57,280
Speaker 1: power positions there, which I respect, And actually I kind

1236
01:08:57,280 --> 01:08:58,839
Speaker 1: of like that they work for like a giant subsidy,

1237
01:08:58,880 --> 01:09:00,439
Speaker 1: because I don't think Rose is like a fool that

1238
01:09:00,479 --> 01:09:02,479
Speaker 1: they're working in high fashion, Like this isn't Devil Wears

1239
01:09:02,520 --> 01:09:05,080
Speaker 1: product where there's glamor here like Roses sort of like

1240
01:09:05,280 --> 01:09:07,360
Speaker 1: there's not glamour. What are you talking about? Like the

1241
01:09:07,400 --> 01:09:10,479
Speaker 1: idea that fashion isn't all glamour. I think it keeps

1242
01:09:10,479 --> 01:09:13,320
Speaker 1: this film to me from being like Roger Ebert said

1243
01:09:13,320 --> 01:09:15,160
Speaker 1: this was like fantasy wish fulfillment, and I'm like, what

1244
01:09:15,160 --> 01:09:16,960
Speaker 1: are you talking about. She gets a job it's actually

1245
01:09:16,960 --> 01:09:20,519
Speaker 1: not that glamorous, and she finds out about taxes. I

1246
01:09:20,600 --> 01:09:23,160
Speaker 1: was like, does he think that? Like what does Roger

1247
01:09:23,200 --> 01:09:29,800
Speaker 1: Ebert young women want? Yeah? But also I think there's

1248
01:09:29,880 --> 01:09:32,960
Speaker 1: like you get these glimpses of Rose as a person

1249
01:09:33,160 --> 01:09:36,519
Speaker 1: who you know has had to make some compromises in

1250
01:09:36,560 --> 01:09:37,960
Speaker 1: her life. Like one are the ones I find really

1251
01:09:38,000 --> 01:09:41,639
Speaker 1: sad is when gust the sleeves bag who's always hitting

1252
01:09:41,640 --> 01:09:44,519
Speaker 1: on you know so well and then being like just kidding,

1253
01:09:45,280 --> 01:09:48,080
Speaker 1: fuck me, just kidding. But when he invites her way

1254
01:09:48,120 --> 01:09:50,960
Speaker 1: for the weekend, She's like Rose's real statement of it

1255
01:09:51,040 --> 01:09:54,200
Speaker 1: is she says, like shades of real intimacy, like she's

1256
01:09:54,240 --> 01:09:57,000
Speaker 1: been I think a little starred for what actual grown

1257
01:09:57,080 --> 01:10:00,439
Speaker 1: up connection is because she's just in this working thing,

1258
01:10:00,439 --> 01:10:02,120
Speaker 1: and I don't know if it's coming on, Like working

1259
01:10:02,160 --> 01:10:05,840
Speaker 1: women can't find love, but like she's settling for little things,

1260
01:10:05,960 --> 01:10:07,880
Speaker 1: you know, but she's excited about it at the same

1261
01:10:07,960 --> 01:10:13,080
Speaker 1: time she's happy about shades of real intimacy. It's such

1262
01:10:13,080 --> 01:10:16,599
Speaker 1: a complicated because it's like I can't like get myself

1263
01:10:16,640 --> 01:10:19,800
Speaker 1: in to be like I don't really like I feel

1264
01:10:19,840 --> 01:10:23,559
Speaker 1: like it's so open to interpretation how to take because

1265
01:10:24,160 --> 01:10:27,760
Speaker 1: it's definitely a real thing that like women in straight

1266
01:10:27,800 --> 01:10:31,160
Speaker 1: relationships are constantly asked to kind of settle for crumbs

1267
01:10:31,800 --> 01:10:35,200
Speaker 1: in situations like that, and I like that, Like yeah,

1268
01:10:35,200 --> 01:10:36,960
Speaker 1: like like you're saying, I mean she you get like

1269
01:10:37,000 --> 01:10:40,160
Speaker 1: a lot of different like a lot of like what's

1270
01:10:40,320 --> 01:10:42,840
Speaker 1: frustrating about the relationship and what's unfair to her, And

1271
01:10:42,880 --> 01:10:45,160
Speaker 1: also like they don't shy away from the fact that

1272
01:10:45,200 --> 01:10:49,719
Speaker 1: like she wants to fuck, and like there's she wants

1273
01:10:49,720 --> 01:10:53,439
Speaker 1: a relationship with Gus. Yes, but she's also extremely horny.

1274
01:10:53,640 --> 01:10:56,640
Speaker 1: She has not like the Grunians. No, but yeah, he

1275
01:10:56,680 --> 01:10:59,200
Speaker 1: gave her a forty eight hour orgasm, which I find

1276
01:10:59,280 --> 01:11:01,639
Speaker 1: very hard to believe meeting Gusts and seeing how clueless

1277
01:11:01,640 --> 01:11:03,640
Speaker 1: he is to what women actually think. I don't know

1278
01:11:03,680 --> 01:11:05,479
Speaker 1: how a guy can be that out of reading body

1279
01:11:05,560 --> 01:11:09,559
Speaker 1: language and give Rose at orgasm unclear, but she seems

1280
01:11:09,600 --> 01:11:13,639
Speaker 1: that happy. Also, I'm clear that line where she says,

1281
01:11:14,360 --> 01:11:16,760
Speaker 1: every girl over have a cucumber in the house. Is

1282
01:11:16,760 --> 01:11:19,200
Speaker 1: that about I bags or is that about sex? I

1283
01:11:19,200 --> 01:11:22,080
Speaker 1: think she's saying, you're gonna want to suck that cucumber.

1284
01:11:22,360 --> 01:11:26,719
Speaker 1: Um Rose does say some like some very inappropriate things

1285
01:11:27,560 --> 01:11:32,719
Speaker 1: to her employee. I was thinking that, But then also,

1286
01:11:32,840 --> 01:11:35,880
Speaker 1: I mean, and this all whatever. Rose does not know

1287
01:11:36,120 --> 01:11:39,000
Speaker 1: that Swell as a kid, and Swell does initiate those

1288
01:11:39,040 --> 01:11:43,040
Speaker 1: conversations in most cases, should Rose reply by being like

1289
01:11:43,120 --> 01:11:46,720
Speaker 1: I just came for an entire weekend. Definitely not. But

1290
01:11:46,800 --> 01:11:49,920
Speaker 1: Swell Swell is like repeatedly and if we know why,

1291
01:11:50,200 --> 01:11:53,799
Speaker 1: because she's trying to gauge like what Rose and Guss

1292
01:11:53,800 --> 01:11:57,439
Speaker 1: relationship is. But Swell is bringing that up and like

1293
01:11:57,520 --> 01:12:01,000
Speaker 1: kind of pushing the conversation along. So it is inappropriate,

1294
01:12:01,000 --> 01:12:03,600
Speaker 1: But I don't think it was like inappropriate in a

1295
01:12:03,840 --> 01:12:06,960
Speaker 1: in a void like it seems like Swell was open

1296
01:12:07,040 --> 01:12:10,400
Speaker 1: to having the conversation. And it's also daffy. Have you

1297
01:12:10,400 --> 01:12:13,439
Speaker 1: ever had a free our orgasm? No, I've never been

1298
01:12:13,439 --> 01:12:19,240
Speaker 1: to Santa Barbara, Right, there's a few the few, like

1299
01:12:19,320 --> 01:12:21,559
Speaker 1: there's a few like great lines in this or the same,

1300
01:12:21,680 --> 01:12:23,760
Speaker 1: Like it's in the middle of a disgusting scene, but

1301
01:12:23,800 --> 01:12:26,920
Speaker 1: when when the waiter asks Swell what she wants to

1302
01:12:27,000 --> 01:12:29,160
Speaker 1: drink and he's like sweet or dry and she goes

1303
01:12:29,760 --> 01:12:33,439
Speaker 1: a little little bit of both. Yeah, because I love

1304
01:12:33,479 --> 01:12:35,920
Speaker 1: that she's like studying Vogue magazine in order to figure

1305
01:12:35,920 --> 01:12:38,200
Speaker 1: out what an adult woman is, because there's like a

1306
01:12:38,280 --> 01:12:40,920
Speaker 1: dress up element to what she thinks adulthood. Is that

1307
01:12:41,000 --> 01:12:42,880
Speaker 1: montage where she's trying to get dressed for the first

1308
01:12:42,920 --> 01:12:45,639
Speaker 1: time for work and all the bows are too big

1309
01:12:45,680 --> 01:12:48,120
Speaker 1: and the lady buns and this power suit montage of

1310
01:12:48,160 --> 01:12:50,320
Speaker 1: like what women were supposed to wear the office looks

1311
01:12:50,320 --> 01:12:52,760
Speaker 1: so goofy on her and she's trying to figure her look.

1312
01:12:52,800 --> 01:12:55,120
Speaker 1: And then yeah, like reading I mean I did that

1313
01:12:55,200 --> 01:12:57,559
Speaker 1: was like a suburban kid in Texas reading Vogue magazine

1314
01:12:57,600 --> 01:13:00,160
Speaker 1: to figure out like what adults did you know? And

1315
01:13:00,200 --> 01:13:03,800
Speaker 1: I'm like, also, have you guys ever had vermouth as

1316
01:13:03,800 --> 01:13:05,680
Speaker 1: a grown up? I only started drinking it recently, and

1317
01:13:05,720 --> 01:13:09,280
Speaker 1: it's really nice. I feel like we got rainwashed by

1318
01:13:09,320 --> 01:13:11,280
Speaker 1: like James Bond movies that you're not supposed to get

1319
01:13:11,320 --> 01:13:15,240
Speaker 1: near Vermouth? Vermouth is wonderful. What does it taste like?

1320
01:13:15,280 --> 01:13:17,120
Speaker 1: Because I I just think of it as like in

1321
01:13:17,160 --> 01:13:19,240
Speaker 1: the same way I put it in a category of

1322
01:13:19,320 --> 01:13:24,400
Speaker 1: like that's not for me, mouth, brandy, et cetera, I

1323
01:13:24,439 --> 01:13:28,080
Speaker 1: would call it complicated wine. Like I don't I don't

1324
01:13:28,080 --> 01:13:29,679
Speaker 1: know if I don't know if you live near Los

1325
01:13:29,720 --> 01:13:33,000
Speaker 1: VELAs or like No Figure a bistro by likes three.

1326
01:13:33,280 --> 01:13:36,559
Speaker 1: They have vermouth on their happy ar menu white black

1327
01:13:36,600 --> 01:13:39,040
Speaker 1: and red or white white black, I mean right, pink white,

1328
01:13:39,080 --> 01:13:40,680
Speaker 1: pink and red. And it's just if you want to

1329
01:13:40,720 --> 01:13:43,240
Speaker 1: try it out in a happy other price you feel

1330
01:13:43,280 --> 01:13:46,479
Speaker 1: really sophisticated drinking vermouth on the rocks. Jamie, let's go

1331
01:13:46,680 --> 01:13:49,040
Speaker 1: vermouth on the rocks. I wouldn't say that out loud.

1332
01:13:49,560 --> 01:13:53,880
Speaker 1: There's that sounds so nice. There's some orders that I

1333
01:13:53,960 --> 01:13:55,960
Speaker 1: just that you're just like the first time I said

1334
01:13:56,000 --> 01:14:00,200
Speaker 1: I'll have the salmon. I'll never forget it was that

1335
01:14:00,400 --> 01:14:04,080
Speaker 1: the American Girl Doll Cafe. But they had salmon, and

1336
01:14:04,160 --> 01:14:06,360
Speaker 1: I ordered it, all right. I forgot that that was

1337
01:14:06,400 --> 01:14:10,120
Speaker 1: one of your other food groups. They do hot dogs,

1338
01:14:10,160 --> 01:14:15,760
Speaker 1: chucky cheese, and girl Doll Cafe at the Grove unfortunately,

1339
01:14:16,040 --> 01:14:18,640
Speaker 1: but you know that just gave me a sentiment. I

1340
01:14:18,680 --> 01:14:20,600
Speaker 1: think when I became an adult and start living on

1341
01:14:20,640 --> 01:14:23,720
Speaker 1: my own, I was ordering salmon and feeling so impossibly

1342
01:14:23,760 --> 01:14:26,280
Speaker 1: sophisticated because we had fish sticks when I was a kid.

1343
01:14:26,280 --> 01:14:29,000
Speaker 1: I didn't eat salmon, right, and I thought salmon was

1344
01:14:29,080 --> 01:14:31,960
Speaker 1: so glamorous, and then I was embarrassed. I thought it

1345
01:14:31,960 --> 01:14:33,639
Speaker 1: was glamorous, and I didn't eat it for a long time.

1346
01:14:33,640 --> 01:14:35,840
Speaker 1: And now I'm back full salmon returned to the fall.

1347
01:14:36,760 --> 01:14:39,639
Speaker 1: I love salmon. It's one return to the fault. It rocks.

1348
01:14:39,920 --> 01:14:42,880
Speaker 1: And uh, you know, if you can get a reservation

1349
01:14:42,920 --> 01:14:46,920
Speaker 1: an American girl Doll cafe, which is genuinely challenging, um,

1350
01:14:46,960 --> 01:14:52,160
Speaker 1: it's pretty good there. Hell yeah, okay, I wanted to

1351
01:14:52,240 --> 01:14:54,920
Speaker 1: We've touched on this already. But as far as the

1352
01:14:55,040 --> 01:15:00,120
Speaker 1: Gusts character, let's talk about I think it bears mentioning

1353
01:15:00,400 --> 01:15:03,599
Speaker 1: that if that sentence made sense, my brain is not

1354
01:15:03,920 --> 01:15:08,280
Speaker 1: fully cooperating with me today. But I appreciate because I

1355
01:15:08,280 --> 01:15:11,160
Speaker 1: feel like this is the rare movie of this era

1356
01:15:11,320 --> 01:15:15,559
Speaker 1: that presents a character who is a predator and engaging

1357
01:15:15,560 --> 01:15:19,599
Speaker 1: in very predatory behavior that The movie also recognizes as

1358
01:15:19,640 --> 01:15:24,280
Speaker 1: predatory behavior because so many movies from this era show

1359
01:15:24,439 --> 01:15:28,080
Speaker 1: a character, usually a man, being very creepy and predatory.

1360
01:15:28,200 --> 01:15:30,640
Speaker 1: But the movie is like, he just likes her, He

1361
01:15:30,720 --> 01:15:34,200
Speaker 1: just likes her. It's great, this is romantic, right, but

1362
01:15:34,320 --> 01:15:38,000
Speaker 1: this guy is being extremely predatory. And you know, it

1363
01:15:38,080 --> 01:15:42,120
Speaker 1: shows Swell constantly being like you have the wrong idea.

1364
01:15:42,200 --> 01:15:45,400
Speaker 1: I am not interested in you, like, stay away from me.

1365
01:15:45,720 --> 01:15:48,800
Speaker 1: You're making me uncomfortable, and then every time she says

1366
01:15:48,840 --> 01:15:51,320
Speaker 1: something like that, he'll be like, oh, you got the

1367
01:15:51,320 --> 01:15:53,920
Speaker 1: wrong idea. I was just kidding, you know, like lighten up.

1368
01:15:53,960 --> 01:15:56,320
Speaker 1: It was just a joke, which is such a like

1369
01:15:56,479 --> 01:15:58,000
Speaker 1: I was like, oh, I don't know if I've ever

1370
01:15:58,040 --> 01:16:00,360
Speaker 1: seen it like laid out that clear really in a

1371
01:16:00,400 --> 01:16:02,599
Speaker 1: movie before, because that's such a thing, especially when it's

1372
01:16:02,600 --> 01:16:05,920
Speaker 1: like his interest there is like he wants to hit

1373
01:16:06,080 --> 01:16:09,880
Speaker 1: on someone who works for him, he wants to cheat

1374
01:16:09,920 --> 01:16:12,439
Speaker 1: and his girlfriend, but he also wants to protect himself

1375
01:16:12,439 --> 01:16:15,680
Speaker 1: above all else and have grounds to like accuse her

1376
01:16:15,840 --> 01:16:19,320
Speaker 1: of lying like down the line, and so it's just

1377
01:16:19,360 --> 01:16:21,639
Speaker 1: like that like knee jerk of like I'm just joking,

1378
01:16:21,640 --> 01:16:23,600
Speaker 1: I'm just joking. I'm just joking and it becomes like

1379
01:16:23,640 --> 01:16:27,000
Speaker 1: his catchphrase. And I love it because it's the PG

1380
01:16:27,120 --> 01:16:30,840
Speaker 1: thirteen movie. She can't shoot his dick off, but she can.

1381
01:16:31,479 --> 01:16:34,000
Speaker 1: She can water gun. She make him look like he

1382
01:16:34,040 --> 01:16:37,840
Speaker 1: pissed himself with a water gun. Yeah, he says the

1383
01:16:37,960 --> 01:16:42,200
Speaker 1: grossest line of dialogue I've ever heard in a movie,

1384
01:16:42,240 --> 01:16:45,680
Speaker 1: and I don't even want to repeat it. Here is

1385
01:16:45,720 --> 01:16:52,360
Speaker 1: it about? Okay? He says, a woman gets older, she matures,

1386
01:16:52,360 --> 01:17:00,559
Speaker 1: she ripens, juices start flowing. I'm flowing up. It's just gusting.

1387
01:17:00,880 --> 01:17:03,719
Speaker 1: I do want to shout out that actor John gets

1388
01:17:03,760 --> 01:17:09,720
Speaker 1: for Um being so like almost alarmingly good at like

1389
01:17:09,960 --> 01:17:12,240
Speaker 1: just like the face he's made, because it is like

1390
01:17:13,080 --> 01:17:15,559
Speaker 1: whatever like we've it doesn't bother me in this case,

1391
01:17:15,600 --> 01:17:19,559
Speaker 1: but the sort of like sexual harassment the guy um,

1392
01:17:19,600 --> 01:17:23,439
Speaker 1: and that's his whole character and it's like every shitty

1393
01:17:23,520 --> 01:17:26,080
Speaker 1: thing that you could do he does. And he even

1394
01:17:26,120 --> 01:17:30,719
Speaker 1: makes that like what is that like comedy movie sexual

1395
01:17:30,760 --> 01:17:33,400
Speaker 1: harassment face where like there's an eyebrow thing happening and

1396
01:17:33,439 --> 01:17:36,000
Speaker 1: there's like a teeth thing happening, and he's like like

1397
01:17:36,120 --> 01:17:39,160
Speaker 1: and just being and their lips look wet, like even

1398
01:17:39,200 --> 01:17:41,680
Speaker 1: if they're not licking their lips. You can imagine that

1399
01:17:41,720 --> 01:17:44,240
Speaker 1: they're licking their lips. Yeah, yeah, you're just like, Sobo

1400
01:17:44,280 --> 01:17:46,880
Speaker 1: needs to towel this man off, Like what is going on?

1401
01:17:47,000 --> 01:17:52,320
Speaker 1: He's like breathing heavily, so disgusting. And so the actor

1402
01:17:52,880 --> 01:17:57,720
Speaker 1: nailed it hopefully not method uh but yeah that was

1403
01:17:58,280 --> 01:18:00,479
Speaker 1: and and and I like that. It's like we're clear

1404
01:18:00,520 --> 01:18:05,479
Speaker 1: that like Swell is being extremely direct and not that

1405
01:18:05,520 --> 01:18:07,479
Speaker 1: she has to be in this situation, but she's also

1406
01:18:07,640 --> 01:18:12,120
Speaker 1: concerned about Rose getting fucked over because she cares about Rose,

1407
01:18:12,320 --> 01:18:15,400
Speaker 1: and so not only is she trying to you know,

1408
01:18:15,479 --> 01:18:18,200
Speaker 1: protect herself from this guy, she also wants to do

1409
01:18:18,240 --> 01:18:21,320
Speaker 1: what she can to like inform and protect her friend,

1410
01:18:21,479 --> 01:18:24,280
Speaker 1: which is, um, I think, a cool thing to do.

1411
01:18:24,360 --> 01:18:26,800
Speaker 1: I like her relationship with Rose so much, and I

1412
01:18:26,840 --> 01:18:29,360
Speaker 1: also like so I think the last thing I have

1413
01:18:29,400 --> 01:18:31,920
Speaker 1: to say about Rose is just again with the scene

1414
01:18:31,920 --> 01:18:34,720
Speaker 1: where she eats the eminem's off the floor and they

1415
01:18:34,720 --> 01:18:37,360
Speaker 1: think that the company is going to go under. This

1416
01:18:37,439 --> 01:18:38,680
Speaker 1: is like I don't even think this is like a

1417
01:18:38,720 --> 01:18:41,839
Speaker 1: gender thing. But like in movies with like high power

1418
01:18:42,160 --> 01:18:45,080
Speaker 1: or like with high pressure workplaces, I feel like very

1419
01:18:45,080 --> 01:18:48,200
Speaker 1: often everyone who works there thinks that this is the

1420
01:18:48,200 --> 01:18:50,479
Speaker 1: most important thing in the world, and like my life

1421
01:18:50,479 --> 01:18:52,880
Speaker 1: will collapse if I don't work at this company. But

1422
01:18:53,040 --> 01:18:57,000
Speaker 1: Rose is sort of like this fucking sucks, Like I

1423
01:18:57,040 --> 01:19:00,679
Speaker 1: need the money, I need the consistent paycheck, but it's

1424
01:19:00,720 --> 01:19:04,240
Speaker 1: just a job. I'll get another job. And I was like, yeah,

1425
01:19:04,640 --> 01:19:07,719
Speaker 1: like I've felt whatever, Like there is like a certain

1426
01:19:07,760 --> 01:19:10,479
Speaker 1: amount of privilege to that, but that that is a

1427
01:19:10,560 --> 01:19:14,160
Speaker 1: very privileged white person thing to say. But also I

1428
01:19:14,240 --> 01:19:17,160
Speaker 1: do like that. I don't know, like, but I think

1429
01:19:17,160 --> 01:19:20,360
Speaker 1: that my counterpoint to that is like a career woman

1430
01:19:21,040 --> 01:19:23,719
Speaker 1: stock character, Like it seems like Roses at the beginning,

1431
01:19:24,040 --> 01:19:26,000
Speaker 1: who actually is just like I just want to make

1432
01:19:26,120 --> 01:19:28,320
Speaker 1: enough money to live, Like I don't give a shit

1433
01:19:28,400 --> 01:19:31,960
Speaker 1: about this company specifically. I don't mind that, no, And

1434
01:19:32,000 --> 01:19:34,280
Speaker 1: I think I think the movie makes a point of

1435
01:19:34,320 --> 01:19:36,640
Speaker 1: actually expanding it a little bit, where like in that

1436
01:19:36,680 --> 01:19:39,439
Speaker 1: whole stretch it is the company going over. It's not

1437
01:19:39,479 --> 01:19:41,400
Speaker 1: just like Rose being like, oh fine whatever, blah blah

1438
01:19:41,400 --> 01:19:43,439
Speaker 1: blah blah blah. One of the things Rose has to

1439
01:19:43,479 --> 01:19:44,880
Speaker 1: do is she has to go down to like the

1440
01:19:44,920 --> 01:19:48,720
Speaker 1: garment area and fire Franklin, the guy from one flew

1441
01:19:48,680 --> 01:19:51,599
Speaker 1: over the Cuckoo's nest who is an older man, and like,

1442
01:19:51,680 --> 01:19:54,000
Speaker 1: who knows if Franklin is going to land on his feet,

1443
01:19:54,520 --> 01:19:56,640
Speaker 1: but like I think you know to go to like

1444
01:19:56,720 --> 01:19:59,360
Speaker 1: this actually is affecting people, and poor Franklin he only

1445
01:19:59,400 --> 01:20:03,200
Speaker 1: gets like two scenes, but like it's sad if they

1446
01:20:03,720 --> 01:20:08,040
Speaker 1: take it there at least yeah, and they're like, I mean,

1447
01:20:08,080 --> 01:20:12,559
Speaker 1: this movie has like a very clear class that it

1448
01:20:12,600 --> 01:20:15,920
Speaker 1: wants to criticize and take a look at, which is

1449
01:20:15,960 --> 01:20:20,640
Speaker 1: like by and large, the like I guess middle to

1450
01:20:20,840 --> 01:20:24,559
Speaker 1: upper middle white collar class, which is mostly in this

1451
01:20:24,600 --> 01:20:26,960
Speaker 1: movie in particular a lot of white people, which is

1452
01:20:27,040 --> 01:20:28,960
Speaker 1: like it takes place in the l A area. There's

1453
01:20:29,040 --> 01:20:31,880
Speaker 1: like never any reason for that to be the case,

1454
01:20:32,400 --> 01:20:34,880
Speaker 1: but yeah, I mean it's it's I think one of

1455
01:20:34,880 --> 01:20:38,880
Speaker 1: the only like less elegant transitions out of not that

1456
01:20:38,920 --> 01:20:42,040
Speaker 1: this is like a movie I would describe as very elegant,

1457
01:20:42,400 --> 01:20:47,400
Speaker 1: but um how when Swell like I feel like there's

1458
01:20:47,439 --> 01:20:50,920
Speaker 1: a level of at least naivete maybe like some class

1459
01:20:50,960 --> 01:20:54,240
Speaker 1: privilege as well when Swell quits clown dogs so abruptly,

1460
01:20:54,960 --> 01:20:59,960
Speaker 1: where that is more like wish fulfillment than anything else

1461
01:21:00,160 --> 01:21:03,599
Speaker 1: in in this movie for for me, as like, oh yeah,

1462
01:21:03,640 --> 01:21:05,640
Speaker 1: like I had a million jobs like that when I

1463
01:21:05,680 --> 01:21:08,000
Speaker 1: was like in my teens into my like early to

1464
01:21:08,040 --> 01:21:11,240
Speaker 1: mid twenties, and to just be able to be like, wait,

1465
01:21:11,280 --> 01:21:14,400
Speaker 1: this is fucking gross. I hate this. I'm leaving. Like

1466
01:21:15,000 --> 01:21:18,200
Speaker 1: there's a definitely an amount of privilege to her doing

1467
01:21:18,240 --> 01:21:21,160
Speaker 1: that that the movie doesn't seem interested in really analyzing.

1468
01:21:21,200 --> 01:21:25,360
Speaker 1: And because she is like an attractive young white woman,

1469
01:21:25,840 --> 01:21:29,280
Speaker 1: she's able to, you know, execute the con in the

1470
01:21:29,280 --> 01:21:31,519
Speaker 1: way that the con needs to be executed for the

1471
01:21:31,560 --> 01:21:34,759
Speaker 1: movie to work. It's true. But also when she quits

1472
01:21:34,800 --> 01:21:37,879
Speaker 1: like that, like it's in a way I think they

1473
01:21:37,920 --> 01:21:39,519
Speaker 1: give you one beat where it's not like totally a

1474
01:21:39,640 --> 01:21:43,320
Speaker 1: victimless quitting, because then when she hangs out with Brian later,

1475
01:21:43,720 --> 01:21:45,439
Speaker 1: it's like, oh, you had to clean up all the

1476
01:21:45,520 --> 01:21:48,400
Speaker 1: mess that I walked out on. They at least don't

1477
01:21:48,439 --> 01:21:51,000
Speaker 1: let it end on the like Tida no consequences. It's like, Oh,

1478
01:21:51,000 --> 01:21:52,920
Speaker 1: this kind of nice guy who I feel like at

1479
01:21:52,920 --> 01:21:55,680
Speaker 1: the beginning's almost coded as beneath what she would think

1480
01:21:55,680 --> 01:21:58,439
Speaker 1: she should be dating. Maybe you know, like a guy

1481
01:21:58,439 --> 01:22:00,840
Speaker 1: who's like working for living. He had to clean up

1482
01:22:00,880 --> 01:22:03,960
Speaker 1: after her. Yeah, it's not like it's not like the

1483
01:22:04,000 --> 01:22:05,920
Speaker 1: deepest thing in the world. But it's like I find

1484
01:22:05,920 --> 01:22:07,680
Speaker 1: it interesting when they take those moments to shoehorn that

1485
01:22:07,800 --> 01:22:09,960
Speaker 1: little thing, and that makes it a little more realistic.

1486
01:22:10,720 --> 01:22:12,880
Speaker 1: And like Brian still works there at the end of

1487
01:22:12,960 --> 01:22:16,000
Speaker 1: the movie, like it seems like he and Caroline's family

1488
01:22:16,080 --> 01:22:21,679
Speaker 1: are from a lower class than swell And and her family,

1489
01:22:22,320 --> 01:22:26,080
Speaker 1: which if we're going back to like Caroline, that you know,

1490
01:22:26,120 --> 01:22:29,519
Speaker 1: makes her even more righteously outraged as like this, you know,

1491
01:22:29,680 --> 01:22:33,839
Speaker 1: this faker teenager from like an upper middle class family

1492
01:22:34,080 --> 01:22:36,960
Speaker 1: is like taking a job that Caroline is better qualified for.

1493
01:22:37,560 --> 01:22:40,559
Speaker 1: You know, That's that kind of class outrage is very

1494
01:22:40,680 --> 01:22:45,880
Speaker 1: relatable in an environment where Rose is, you know, literally

1495
01:22:45,880 --> 01:22:49,000
Speaker 1: just picking someone who seems nice and kind of reminds

1496
01:22:49,000 --> 01:22:52,120
Speaker 1: her of herself, and because Caroline does not remind her

1497
01:22:52,160 --> 01:22:54,840
Speaker 1: of herself, she does not qualify for the job. Probably

1498
01:22:54,840 --> 01:22:56,800
Speaker 1: same for Cathy. Also, Rose is just kind of being

1499
01:22:56,880 --> 01:23:00,000
Speaker 1: lazy in that situation, which also happens in corporate environment

1500
01:23:00,400 --> 01:23:03,559
Speaker 1: all the time. Yeah, she's like Vasser come to Gassan

1501
01:23:03,640 --> 01:23:06,800
Speaker 1: and Calvin Klein, He's like she's very label conscious, like

1502
01:23:06,840 --> 01:23:11,519
Speaker 1: you went to Yeah, And I will say one thing

1503
01:23:11,520 --> 01:23:13,960
Speaker 1: about the happy ending that I think is really funny though,

1504
01:23:14,280 --> 01:23:19,720
Speaker 1: is like those outfits that save the whole company. Though,

1505
01:23:19,760 --> 01:23:25,360
Speaker 1: like basically Harley Quinn goes to high school, outfits are

1506
01:23:25,520 --> 01:23:27,479
Speaker 1: absolutely going to take the company because this movie is

1507
01:23:27,520 --> 01:23:31,439
Speaker 1: coming out in like Nirvana never Mind is about to

1508
01:23:31,680 --> 01:23:34,839
Speaker 1: hit stores, and as soon as that hit stores, nobody

1509
01:23:34,920 --> 01:23:37,000
Speaker 1: is going to be wearing these pink nurses outfits and

1510
01:23:37,080 --> 01:23:40,080
Speaker 1: Roger Rabbit ing like that moment is over, like they're

1511
01:23:40,080 --> 01:23:41,960
Speaker 1: gonna put all their money in these costumes and then

1512
01:23:42,000 --> 01:23:43,479
Speaker 1: no kid is going to wear them because they're gonna

1513
01:23:43,479 --> 01:23:45,880
Speaker 1: want to wear flannel. But I apprecially that her friends

1514
01:23:45,880 --> 01:23:49,040
Speaker 1: all rally behind her, including the only black character in

1515
01:23:49,080 --> 01:23:53,160
Speaker 1: the film, her one her one friend Katrina is it Katrina?

1516
01:23:53,200 --> 01:23:55,880
Speaker 1: I can't remember which which friend it is. The movie

1517
01:23:55,920 --> 01:23:59,680
Speaker 1: doesn't care enough to let the audience know what her

1518
01:23:59,760 --> 01:24:01,960
Speaker 1: name is, because I did. If they did give us

1519
01:24:01,960 --> 01:24:04,360
Speaker 1: her name, I didn't catch it. They do, but it's

1520
01:24:04,400 --> 01:24:06,439
Speaker 1: just like in a rush. She like introduces them one

1521
01:24:06,439 --> 01:24:09,400
Speaker 1: by one and it's like Nicole Katrina. But then she's

1522
01:24:09,400 --> 01:24:11,479
Speaker 1: like panicking because Brian is running by, and it's like

1523
01:24:11,680 --> 01:24:14,000
Speaker 1: I think her friend just walks out. She's like, thank you, Katrina.

1524
01:24:14,080 --> 01:24:16,160
Speaker 1: All right, we're good bye bye, Becky, We're done here.

1525
01:24:16,400 --> 01:24:21,120
Speaker 1: Yeah yeah, yeah, yeah, yes, this is a very white movie. Yeah,

1526
01:24:21,160 --> 01:24:23,960
Speaker 1: which there's like no reason for that to be true.

1527
01:24:24,000 --> 01:24:27,760
Speaker 1: And I think that the only like friend of Swells

1528
01:24:27,800 --> 01:24:31,000
Speaker 1: that even has a role outside of just being like

1529
01:24:31,160 --> 01:24:36,439
Speaker 1: hi is the one that ends up dating Kenny question Mark. Yeah,

1530
01:24:36,439 --> 01:24:39,519
Speaker 1: oh wait, this is a question I had how old

1531
01:24:39,640 --> 01:24:43,280
Speaker 1: is Brian? Because there's one point where he's like, oh,

1532
01:24:43,360 --> 01:24:45,599
Speaker 1: let's go to this thing and then she's like, well,

1533
01:24:45,600 --> 01:24:48,120
Speaker 1: I can't I'm not twenty one. And he's like, oh yeah, Bomber,

1534
01:24:48,160 --> 01:24:51,080
Speaker 1: I'm like, wait, how old are you? I think I

1535
01:24:51,160 --> 01:24:54,080
Speaker 1: understood that is he's like, oh shoot, yeah, I also

1536
01:24:54,160 --> 01:24:57,040
Speaker 1: can't go because I'm also not twenty he's her aid,

1537
01:24:57,200 --> 01:25:01,280
Speaker 1: because I mean, assuming if we're operating under the assumption

1538
01:25:01,320 --> 01:25:04,920
Speaker 1: that like he just graduated from high school, he's about

1539
01:25:04,920 --> 01:25:07,000
Speaker 1: to start college, because he talks about how he wants

1540
01:25:07,040 --> 01:25:09,840
Speaker 1: to go for like marine biology or something, I understood

1541
01:25:09,840 --> 01:25:13,080
Speaker 1: it as he also just graduated from high school, so

1542
01:25:13,200 --> 01:25:15,559
Speaker 1: neither of them can go okay because that because I

1543
01:25:15,600 --> 01:25:17,439
Speaker 1: also I was like, oh, they're around the same age,

1544
01:25:17,880 --> 01:25:20,200
Speaker 1: and then he was like, oh that sucks you can't go.

1545
01:25:20,240 --> 01:25:22,320
Speaker 1: I was like, are you like twenty seven? Like, what

1546
01:25:23,280 --> 01:25:24,920
Speaker 1: what do you think about that line that they have

1547
01:25:25,200 --> 01:25:28,000
Speaker 1: towards the end where they're like having their reconciliation talk

1548
01:25:28,680 --> 01:25:30,640
Speaker 1: and I don't remember if he says that, if she

1549
01:25:30,720 --> 01:25:32,680
Speaker 1: says it, but one of them says, we didn't break up.

1550
01:25:32,720 --> 01:25:35,800
Speaker 1: We had a fight. Oh. She says that. She's like,

1551
01:25:36,160 --> 01:25:38,679
Speaker 1: we didn't break up, we had a fight. And also

1552
01:25:39,160 --> 01:25:41,240
Speaker 1: if you thought we broke up, you must have also

1553
01:25:41,280 --> 01:25:45,400
Speaker 1: thought that we were together. And he's like yeah, and okay.

1554
01:25:45,400 --> 01:25:47,080
Speaker 1: So his whole thing is that he's not very good

1555
01:25:47,080 --> 01:25:51,120
Speaker 1: at open and clear communication, as demonstrated, but that swell

1556
01:25:51,439 --> 01:25:56,240
Speaker 1: is either she's lying. Yes. A scene that kind of

1557
01:25:56,240 --> 01:25:58,200
Speaker 1: stuck out to me, and this is a quick moment,

1558
01:25:58,240 --> 01:26:01,080
Speaker 1: but they're kind of like gearing up to kiss and

1559
01:26:01,120 --> 01:26:05,599
Speaker 1: he's like talking. He's like, oh, here comes the moment

1560
01:26:06,640 --> 01:26:09,760
Speaker 1: where we might be romantic, and she's like, yeah, I

1561
01:26:09,800 --> 01:26:12,080
Speaker 1: like that moment. And then he's like, all, but I

1562
01:26:12,200 --> 01:26:14,679
Speaker 1: ruined it because we talked about it, and talking about

1563
01:26:14,720 --> 01:26:17,519
Speaker 1: it always ruins the moment. And then there's a beat

1564
01:26:17,560 --> 01:26:19,680
Speaker 1: and then she walks up to him and gives him

1565
01:26:19,720 --> 01:26:23,920
Speaker 1: a kiss, and I basically him being like talking about

1566
01:26:23,960 --> 01:26:26,559
Speaker 1: it ruins the moment. I think people should talk about

1567
01:26:26,680 --> 01:26:29,240
Speaker 1: kissing before they kiss. I think people should be like, look,

1568
01:26:29,240 --> 01:26:31,880
Speaker 1: can I kiss you? Do I have your consent? Maybe

1569
01:26:31,880 --> 01:26:33,479
Speaker 1: it does ruin the moment for a lot of people,

1570
01:26:33,600 --> 01:26:37,719
Speaker 1: but I think that we should all be talking about

1571
01:26:37,760 --> 01:26:43,320
Speaker 1: kissing and then kiss. Yeah, always, every kiss, every single

1572
01:26:43,400 --> 01:26:49,320
Speaker 1: kids you have with everybody, know, but like your home life. No,

1573
01:26:49,560 --> 01:26:53,400
Speaker 1: but like in those moments where you're like, what's the vibe,

1574
01:26:53,600 --> 01:26:57,440
Speaker 1: I'm not sure you know it's I think it's helpful

1575
01:26:57,520 --> 01:26:59,800
Speaker 1: because there's so many moments where like we see us

1576
01:26:59,800 --> 01:27:02,280
Speaker 1: a was kissing a movie because no one because people

1577
01:27:02,280 --> 01:27:06,640
Speaker 1: are just like making assumptions, and I'm pro talking about it. Well,

1578
01:27:06,640 --> 01:27:08,599
Speaker 1: like in the Graduate. What I hate about the kiss

1579
01:27:08,640 --> 01:27:10,360
Speaker 1: and the graduate, To bring it back to the hatred

1580
01:27:10,360 --> 01:27:14,080
Speaker 1: of the graduate for a second, is like Dustin Hoffman's

1581
01:27:14,080 --> 01:27:16,120
Speaker 1: first kiss with Mrs Robinson in the Graduates, Like they're

1582
01:27:16,160 --> 01:27:17,720
Speaker 1: up in the hotel room, right, and it's sort of

1583
01:27:17,760 --> 01:27:19,120
Speaker 1: like awkward, and they've been like in the bar and

1584
01:27:19,160 --> 01:27:21,560
Speaker 1: now they're up in the hotel room. She inhales a

1585
01:27:21,640 --> 01:27:26,559
Speaker 1: cigarette and then he kisses her before she exhales, and

1586
01:27:26,600 --> 01:27:28,960
Speaker 1: then and then she exhales, and it's played as kind

1587
01:27:29,000 --> 01:27:31,559
Speaker 1: of like a joke, like ha ha, look how awkward

1588
01:27:31,600 --> 01:27:33,559
Speaker 1: he is. But that's the moment where to me, I

1589
01:27:33,680 --> 01:27:36,559
Speaker 1: turn on this on this movie because I'm like, Mrs

1590
01:27:36,640 --> 01:27:39,479
Speaker 1: Robinson could date any of those hot guys downstairs who

1591
01:27:39,520 --> 01:27:41,519
Speaker 1: were checking her out when she walked in. Why is

1592
01:27:41,560 --> 01:27:43,120
Speaker 1: she going to have sex with this guy who can't

1593
01:27:43,120 --> 01:27:46,479
Speaker 1: even kiss her? Right? Like, it's such a right, right,

1594
01:27:46,520 --> 01:27:49,040
Speaker 1: It's like why that guy is such a klutz. It's

1595
01:27:49,040 --> 01:27:51,040
Speaker 1: like a comedy moment that makes it just be like

1596
01:27:51,280 --> 01:27:53,080
Speaker 1: she could do so much better. She should just leave.

1597
01:27:54,600 --> 01:27:57,400
Speaker 1: The whole movie is just a fucking disaster. I can't

1598
01:27:57,400 --> 01:28:01,520
Speaker 1: stand it. In the case of this Kissed though I

1599
01:28:01,560 --> 01:28:03,639
Speaker 1: agree that you're saying Calin, I feel like there should

1600
01:28:03,640 --> 01:28:06,120
Speaker 1: be better consent talks and movies. In this way, it

1601
01:28:06,200 --> 01:28:09,800
Speaker 1: felt like a clumsy teenager thing where like I feel

1602
01:28:09,800 --> 01:28:12,080
Speaker 1: like by him saying like, oh, the moment and then

1603
01:28:12,120 --> 01:28:14,600
Speaker 1: she acknowledged the moment, I feel like that was a

1604
01:28:14,640 --> 01:28:17,920
Speaker 1: discussion of it was an awkward teenage one and it

1605
01:28:17,960 --> 01:28:21,000
Speaker 1: wasn't the explicit like can I kiss you, which you

1606
01:28:21,040 --> 01:28:23,439
Speaker 1: know would be ideal, but I don't know it for

1607
01:28:23,520 --> 01:28:27,000
Speaker 1: my it didn't make me feel like it was inappropriate

1608
01:28:27,080 --> 01:28:29,519
Speaker 1: or uncomfortable because they were both like, oh, there was

1609
01:28:29,560 --> 01:28:32,840
Speaker 1: the moment and we're like, seventeen, we suck. And I

1610
01:28:32,920 --> 01:28:34,720
Speaker 1: was like, would I have been capable of better when

1611
01:28:34,720 --> 01:28:37,800
Speaker 1: I was seventeen? Certainly not. Yeah. The first thing she

1612
01:28:37,800 --> 01:28:39,800
Speaker 1: says is I hate this moment, and then she thinks

1613
01:28:39,840 --> 01:28:41,840
Speaker 1: she hurt his feelings, and he's like, I don't mean

1614
01:28:41,880 --> 01:28:43,960
Speaker 1: I hate this, you know, but she hates the self

1615
01:28:43,960 --> 01:28:47,080
Speaker 1: consciousness of it. Yeah. I guess where I'm coming from

1616
01:28:47,200 --> 01:28:50,679
Speaker 1: is think about who the intended audience was for this movie.

1617
01:28:50,800 --> 01:28:52,840
Speaker 1: It's like young people. It's kids. It's like, you know,

1618
01:28:52,920 --> 01:28:55,400
Speaker 1: teens and tweens, and if they see a movie where

1619
01:28:55,439 --> 01:28:58,599
Speaker 1: someone's like talking about it ruins the moment. I don't know,

1620
01:28:59,040 --> 01:29:02,160
Speaker 1: I mean, because that's not necessarily true. And again I

1621
01:29:02,160 --> 01:29:05,759
Speaker 1: think we should normalize checking in with a person before,

1622
01:29:06,200 --> 01:29:10,320
Speaker 1: you know, like a first kiss. But ultimately, the characters

1623
01:29:10,760 --> 01:29:13,080
Speaker 1: do check in, they do talk to each other about it,

1624
01:29:13,200 --> 01:29:17,520
Speaker 1: and the moment doesn't get ruined because they do kiss.

1625
01:29:18,320 --> 01:29:21,200
Speaker 1: So and we should question how many Grunnion died for

1626
01:29:21,240 --> 01:29:23,080
Speaker 1: this kiss because they do pan down and there's all

1627
01:29:23,120 --> 01:29:26,000
Speaker 1: these Grunnians flopping around their feet, and I hope the

1628
01:29:26,040 --> 01:29:28,840
Speaker 1: Grunnian population is doing well. And I will say I

1629
01:29:28,880 --> 01:29:30,960
Speaker 1: took a second while we were doing this podcast to

1630
01:29:31,040 --> 01:29:34,400
Speaker 1: google Grunnian Run and it actually happens about every other

1631
01:29:34,439 --> 01:29:37,799
Speaker 1: weekend from March to July. So no kidding, I'm saying

1632
01:29:38,400 --> 01:29:43,240
Speaker 1: next spring, next year, run run is all yeah. Um.

1633
01:29:43,280 --> 01:29:45,720
Speaker 1: I was wanted to touch on a few behind the

1634
01:29:45,760 --> 01:29:52,839
Speaker 1: scenes things for this movie very white. Behind the scenes,

1635
01:29:53,080 --> 01:29:57,840
Speaker 1: there is a female co writer who was primarily a

1636
01:29:57,920 --> 01:30:02,080
Speaker 1: novelist still is primarily novelist, teaches creative writing all over

1637
01:30:02,120 --> 01:30:05,160
Speaker 1: the place. But Tara as on I hope I'm saying

1638
01:30:05,200 --> 01:30:09,479
Speaker 1: that correctly, was also a writer on Doogie Houser, as

1639
01:30:09,680 --> 01:30:12,840
Speaker 1: was Neil Landau, the other credited writer. So I think

1640
01:30:12,880 --> 01:30:16,160
Speaker 1: that this that they just met on Dookie house Er

1641
01:30:16,400 --> 01:30:19,960
Speaker 1: and then we're like, we gotta vega movie. Um. But

1642
01:30:20,080 --> 01:30:22,559
Speaker 1: I do think that if this movie was written by

1643
01:30:22,560 --> 01:30:24,839
Speaker 1: two dudes, that very likely would have been quite different.

1644
01:30:24,960 --> 01:30:28,920
Speaker 1: And I liked I like this script by and large.

1645
01:30:29,200 --> 01:30:34,120
Speaker 1: And then there's also an iconic woman producer on this

1646
01:30:34,160 --> 01:30:39,719
Speaker 1: project as well, Julia phillips Um, who was the first

1647
01:30:39,840 --> 01:30:44,280
Speaker 1: woman producer to win the Oscar for best picture back

1648
01:30:44,280 --> 01:30:47,400
Speaker 1: in the Day for the Sting. This is like one

1649
01:30:47,439 --> 01:30:50,960
Speaker 1: of her like less famous movies, but it's the last

1650
01:30:51,000 --> 01:30:53,960
Speaker 1: one that she produced. But she also produced like Close

1651
01:30:54,040 --> 01:30:59,120
Speaker 1: Encounters and Taxi Driver and all these famous movies. So

1652
01:30:59,240 --> 01:31:02,800
Speaker 1: I wonder if there's any Julia Phillips and Rose right owned.

1653
01:31:02,800 --> 01:31:05,519
Speaker 1: If Julia Phillips was, like I get being a working

1654
01:31:05,520 --> 01:31:08,640
Speaker 1: woman in kind of like a weird corporate male environment

1655
01:31:09,360 --> 01:31:12,519
Speaker 1: and how to be heard, I would like to think that, like, yeah,

1656
01:31:12,560 --> 01:31:14,880
Speaker 1: I like that there's female producers. She would at least

1657
01:31:14,880 --> 01:31:16,880
Speaker 1: given the script read and given her notes on Rose,

1658
01:31:16,920 --> 01:31:19,280
Speaker 1: I'm certain of that, and I want to believe that

1659
01:31:19,200 --> 01:31:22,240
Speaker 1: that's true. I hope so too. I also want to say,

1660
01:31:22,320 --> 01:31:25,520
Speaker 1: like some of the reviews of this, like Jane Cisco

1661
01:31:25,880 --> 01:31:29,120
Speaker 1: voted this movie one of the year's worst films, and

1662
01:31:29,200 --> 01:31:32,000
Speaker 1: I just don't understand on what planet you would say

1663
01:31:32,040 --> 01:31:35,360
Speaker 1: that this is one of the years worst films. It

1664
01:31:35,439 --> 01:31:37,680
Speaker 1: is still heavily rotten on Rotten Tomatoes, which to me

1665
01:31:37,760 --> 01:31:39,040
Speaker 1: is like I feel like I see this a lot

1666
01:31:39,080 --> 01:31:42,280
Speaker 1: as a critic, where like movies about female friendship just

1667
01:31:42,320 --> 01:31:45,439
Speaker 1: are not that's the whole subplot is not recognized at

1668
01:31:45,439 --> 01:31:48,080
Speaker 1: all by critics, and there's like, it's girls wearing clothes

1669
01:31:48,160 --> 01:31:50,920
Speaker 1: and putting buns in their hair. How lame? And they

1670
01:31:51,000 --> 01:31:54,000
Speaker 1: miss all of the stuff that's interesting that happens time

1671
01:31:54,000 --> 01:31:55,960
Speaker 1: and time again. I get met to even thinking about

1672
01:31:55,960 --> 01:31:57,960
Speaker 1: like Vampire Academy, where all the reviews of that were

1673
01:31:57,960 --> 01:32:00,360
Speaker 1: like why isn't there more vampire killing? And you're like,

1674
01:32:00,360 --> 01:32:03,040
Speaker 1: it's a movie about teenage girls in their friendship. What

1675
01:32:03,080 --> 01:32:06,080
Speaker 1: are you talking about? But that's boring to me, so

1676
01:32:06,560 --> 01:32:10,320
Speaker 1: so I hate it. Yeah. And also another critic, Peter Trevor's,

1677
01:32:10,400 --> 01:32:13,120
Speaker 1: he had this line in it he called Christina Applegate

1678
01:32:13,200 --> 01:32:18,080
Speaker 1: the quote unflatteringly photographed Applegate another thing in which I'm like,

1679
01:32:18,240 --> 01:32:20,920
Speaker 1: what the only thing I can think of is like

1680
01:32:21,000 --> 01:32:22,840
Speaker 1: in the climactic scene where she's in that you know,

1681
01:32:23,120 --> 01:32:25,960
Speaker 1: black dress and she has the cool little black ribbons

1682
01:32:25,960 --> 01:32:27,600
Speaker 1: in her hair or black bows. I don't even know

1683
01:32:27,640 --> 01:32:30,000
Speaker 1: what those are, they film her in a way where

1684
01:32:30,000 --> 01:32:32,519
Speaker 1: you can see that, like Christina Applegate has arm hair,

1685
01:32:33,479 --> 01:32:37,040
Speaker 1: and like maybe that's what annoyed annoyed the critic is like,

1686
01:32:37,240 --> 01:32:39,559
Speaker 1: women aren't supposed to have arm hair. How dare they

1687
01:32:39,560 --> 01:32:40,920
Speaker 1: film her in a way where you can see that

1688
01:32:40,960 --> 01:32:43,880
Speaker 1: she's a mammalian creature, but like, that's the only thing

1689
01:32:44,000 --> 01:32:47,040
Speaker 1: I think of where she's unflatteringly photographed because it's Christina Applegate.

1690
01:32:47,080 --> 01:32:50,840
Speaker 1: What are you talking about that? Right? That's so that

1691
01:32:50,880 --> 01:32:54,120
Speaker 1: reminds me. I mean, that's happens so often, and I

1692
01:32:54,160 --> 01:32:56,719
Speaker 1: can't imagine how frustrating it is to be a critic

1693
01:32:56,760 --> 01:33:00,400
Speaker 1: and have to like contest with that still just like

1694
01:33:00,560 --> 01:33:03,639
Speaker 1: fucking wild um. But I always think about how like

1695
01:33:04,160 --> 01:33:07,479
Speaker 1: male critics compulsion to only be able to see movies

1696
01:33:07,520 --> 01:33:11,000
Speaker 1: about women in the framework of movies they've already seen

1697
01:33:11,040 --> 01:33:13,600
Speaker 1: about men, Like Caitlin. We talked about this in the

1698
01:33:13,680 --> 01:33:15,840
Speaker 1: Now and Then episode a couple of years ago. How

1699
01:33:16,160 --> 01:33:18,360
Speaker 1: Now and Then was like panned because they're like, it's

1700
01:33:18,400 --> 01:33:21,439
Speaker 1: just stand by Me for girls, and it's like, no,

1701
01:33:21,600 --> 01:33:24,720
Speaker 1: it's just a movie about girls, like what what is

1702
01:33:24,760 --> 01:33:27,880
Speaker 1: wrong with you? Or like when Book spart was, I mean,

1703
01:33:27,920 --> 01:33:30,519
Speaker 1: that was well reviewed, but I think was like girls

1704
01:33:30,520 --> 01:33:36,000
Speaker 1: super bad, and you're like, like, the only argument for

1705
01:33:36,040 --> 01:33:38,960
Speaker 1: that is that there's two members of the same family.

1706
01:33:40,080 --> 01:33:43,600
Speaker 1: But it's like it's just people just don't like when, um,

1707
01:33:43,640 --> 01:33:47,200
Speaker 1: when women are friends, it makes them nervous because we're

1708
01:33:47,360 --> 01:33:51,559
Speaker 1: we're telling, we're telling secrets, and the secrets will bring

1709
01:33:51,600 --> 01:33:57,040
Speaker 1: down society as we're going. So it's uh. In this essay,

1710
01:33:57,080 --> 01:34:00,679
Speaker 1: I will it's bestenating. This is only TANGI untily related.

1711
01:34:00,680 --> 01:34:02,160
Speaker 1: But I was thinking about it a lot this weekend

1712
01:34:02,160 --> 01:34:05,879
Speaker 1: because there's this film that just opened, The Luckiest Girl Alive.

1713
01:34:06,360 --> 01:34:08,120
Speaker 1: But if y'all are aware, it's like a Mila Kunist

1714
01:34:08,160 --> 01:34:10,040
Speaker 1: movie they just opened up on Netflix. It's based on

1715
01:34:10,080 --> 01:34:13,240
Speaker 1: a book that came out in about it. This is

1716
01:34:13,240 --> 01:34:15,320
Speaker 1: not a spoiler. A girl who like in high school,

1717
01:34:15,760 --> 01:34:17,960
Speaker 1: was gang raped and then immediately after there was a

1718
01:34:17,960 --> 01:34:20,280
Speaker 1: school shooting, and one of her rapists is like the

1719
01:34:20,320 --> 01:34:23,439
Speaker 1: hero of the school shooting, and like, how does that

1720
01:34:23,439 --> 01:34:25,000
Speaker 1: play out in her life after that? And the way

1721
01:34:25,040 --> 01:34:27,600
Speaker 1: that this character plays it out is like being a

1722
01:34:27,600 --> 01:34:30,679
Speaker 1: girl boss. It's like literally a girl boss movie about

1723
01:34:30,680 --> 01:34:34,680
Speaker 1: somebody who that can't process her trauma. The key to

1724
01:34:34,760 --> 01:34:37,960
Speaker 1: this movie, like is that it's like specifically set in

1725
01:34:38,000 --> 01:34:42,040
Speaker 1: two thousand fifteen, and so it's about pre me Too

1726
01:34:42,160 --> 01:34:44,640
Speaker 1: and what that world was like. But it got all

1727
01:34:44,680 --> 01:34:48,040
Speaker 1: these negative reviews from people who weren't really conscious of

1728
01:34:48,080 --> 01:34:50,519
Speaker 1: the fact that it was or why it was. Why

1729
01:34:50,560 --> 01:34:53,120
Speaker 1: that was important, and everyone's like she's just being a

1730
01:34:53,160 --> 01:34:55,400
Speaker 1: shallow girl boss, and I'm like, that's the point. It's

1731
01:34:55,439 --> 01:34:57,920
Speaker 1: about how we were trained to process trauma before we

1732
01:34:57,920 --> 01:35:00,360
Speaker 1: were allowed to talk about it more openly. And I

1733
01:35:00,400 --> 01:35:02,439
Speaker 1: just always find that fascinating when like a film is

1734
01:35:02,479 --> 01:35:05,439
Speaker 1: about something but people don't realize it's about that right

1735
01:35:05,680 --> 01:35:08,480
Speaker 1: anyway on my mind right now, because it's like fascinating

1736
01:35:08,520 --> 01:35:11,880
Speaker 1: to go back to like recent period piece history. I

1737
01:35:11,920 --> 01:35:14,479
Speaker 1: didn't know that that movie had had come out or

1738
01:35:14,479 --> 01:35:16,400
Speaker 1: what it was about. I only saw that people were

1739
01:35:16,479 --> 01:35:19,599
Speaker 1: like feeling a kind of way about it, Yeah, which

1740
01:35:19,720 --> 01:35:21,599
Speaker 1: I mean, I get if you're not watching it through

1741
01:35:21,640 --> 01:35:24,840
Speaker 1: the lens of but it's like there's no other reason

1742
01:35:24,880 --> 01:35:27,280
Speaker 1: for that movie to be said in except if they're

1743
01:35:27,320 --> 01:35:31,640
Speaker 1: making a point about how to process stuff pre pre

1744
01:35:32,240 --> 01:35:34,880
Speaker 1: being able to talk about it more openly. Yeah, right right,

1745
01:35:35,120 --> 01:35:38,080
Speaker 1: Which is something that I think that like don't tell

1746
01:35:38,200 --> 01:35:43,360
Speaker 1: like the Rose Lindsay character toes the line of somewhat

1747
01:35:43,439 --> 01:35:48,120
Speaker 1: successfully because you know through certain exchanges that she certainly

1748
01:35:48,160 --> 01:35:51,360
Speaker 1: benefits from class privilege, she certainly benefits from white privilege,

1749
01:35:51,880 --> 01:35:56,760
Speaker 1: and also she is still contending with sexism and like

1750
01:35:56,840 --> 01:35:59,840
Speaker 1: discrimination in her workplace and like ask to work harder,

1751
01:36:00,080 --> 01:36:03,840
Speaker 1: diminishing returns, and like both of those things are true.

1752
01:36:03,920 --> 01:36:06,599
Speaker 1: It doesn't make the you know, way she uses her

1753
01:36:06,640 --> 01:36:12,120
Speaker 1: privilege any better, but it just contextualizes it. Although like

1754
01:36:12,600 --> 01:36:17,080
Speaker 1: I don't know, I know other I feel like this

1755
01:36:17,160 --> 01:36:19,679
Speaker 1: is to me emotionally, the last movie of the eighties,

1756
01:36:20,160 --> 01:36:23,879
Speaker 1: and then we go into it feels very like remember

1757
01:36:24,000 --> 01:36:29,040
Speaker 1: Ronald Reagan. But we are getting a remake at least,

1758
01:36:29,280 --> 01:36:31,719
Speaker 1: and I haven't Yeah, they haven't announced that of the casting.

1759
01:36:31,720 --> 01:36:34,040
Speaker 1: The only casting that I've seen so far is that

1760
01:36:34,200 --> 01:36:37,120
Speaker 1: Rose is going to be played by Tyra Banks. Interesting.

1761
01:36:37,360 --> 01:36:40,680
Speaker 1: Oh and that and that just reminds me that we

1762
01:36:40,720 --> 01:36:44,840
Speaker 1: still haven't done our life size episode and that is

1763
01:36:44,920 --> 01:36:48,320
Speaker 1: important to me. Um, I can, I mean Tyra Banks

1764
01:36:48,360 --> 01:36:51,639
Speaker 1: can certainly girl boss it up all day. That's she's

1765
01:36:51,640 --> 01:36:55,360
Speaker 1: been doing it for decades. That's yeah. Um. The lesson

1766
01:36:55,400 --> 01:36:58,360
Speaker 1: I want to briefly mention is the scene in which

1767
01:36:58,800 --> 01:37:02,920
Speaker 1: three drag queen steal their car, which they stole from.

1768
01:37:02,960 --> 01:37:05,920
Speaker 1: This is strict, but like they come out of Chucky Cheese.

1769
01:37:06,479 --> 01:37:11,080
Speaker 1: Three drag queens are stealing queens at Chucky Cheese, like

1770
01:37:11,720 --> 01:37:15,479
Speaker 1: not sure in full drag for a moment I was like,

1771
01:37:15,680 --> 01:37:19,360
Speaker 1: is this a really weird too long food reference? But

1772
01:37:19,400 --> 01:37:21,439
Speaker 1: then I'm like, no, that movie came out several years

1773
01:37:21,479 --> 01:37:26,360
Speaker 1: after the point is they're the only like queer characters

1774
01:37:26,400 --> 01:37:28,559
Speaker 1: in the entire movie. And then you see them doing

1775
01:37:29,040 --> 01:37:31,760
Speaker 1: something wrong, Um there thieves, and I was like, I

1776
01:37:31,760 --> 01:37:34,680
Speaker 1: don't that's not even a stereotype, Like what is what

1777
01:37:34,840 --> 01:37:38,160
Speaker 1: is happening? I just ended up thinking like that was

1778
01:37:38,600 --> 01:37:42,160
Speaker 1: fucking weird, Like that was a weird decision to have made.

1779
01:37:42,560 --> 01:37:46,639
Speaker 1: But like, and this is again like absolute crumbs, but

1780
01:37:47,400 --> 01:37:50,320
Speaker 1: like the meanest thing that's said about them is like, hey,

1781
01:37:50,400 --> 01:37:53,559
Speaker 1: those drag queens are stealing our car, which is technically true,

1782
01:37:53,680 --> 01:37:57,080
Speaker 1: that is what happens. They're not saying the wrong thing, no,

1783
01:37:57,160 --> 01:38:00,400
Speaker 1: they but like what Yeah, I didn't don't know what

1784
01:38:00,439 --> 01:38:02,240
Speaker 1: to make of that. Who is the third one? Like

1785
01:38:02,280 --> 01:38:04,200
Speaker 1: one of them is Maryland, one of them is lives,

1786
01:38:04,760 --> 01:38:07,160
Speaker 1: But then there's one in polka dots with like curly hair,

1787
01:38:07,280 --> 01:38:09,280
Speaker 1: and I was like, who's that one? Right? I also

1788
01:38:09,439 --> 01:38:13,639
Speaker 1: couldn't place her. I wasn't sure. That wasn't like Dolly Parton, wasn't.

1789
01:38:14,120 --> 01:38:16,479
Speaker 1: That's why I was wondering, But I didn't see comically

1790
01:38:16,520 --> 01:38:19,120
Speaker 1: large boobs, but it does happen really fast. It was

1791
01:38:19,120 --> 01:38:22,200
Speaker 1: a very big that was just not sure. Yeah, and

1792
01:38:22,200 --> 01:38:25,000
Speaker 1: then I mean that would have been well, I mean,

1793
01:38:25,120 --> 01:38:28,280
Speaker 1: who knows, but theoretically that could have been a fun

1794
01:38:28,400 --> 01:38:30,639
Speaker 1: cut away for the end as well, like where did

1795
01:38:30,680 --> 01:38:34,040
Speaker 1: they go in the damn buick? Right? I kind of

1796
01:38:34,080 --> 01:38:36,559
Speaker 1: wish they had gotten the money instead of the random

1797
01:38:37,439 --> 01:38:41,080
Speaker 1: mortuary employees, but you know that's true. That would have

1798
01:38:41,080 --> 01:38:44,680
Speaker 1: been wonderful had been under the floorboards or something, right, like,

1799
01:38:44,760 --> 01:38:48,719
Speaker 1: then we could cut to them and Mr Derek would

1800
01:38:48,720 --> 01:38:52,000
Speaker 1: have hated that, and that's what we want, ye But yeah,

1801
01:38:52,080 --> 01:38:56,280
Speaker 1: I I also I wrote, I just was like, well,

1802
01:38:56,360 --> 01:38:58,360
Speaker 1: I guess that that's something that happened in the movie.

1803
01:38:58,760 --> 01:39:01,240
Speaker 1: Like the only thing I had was like, there's no

1804
01:39:01,400 --> 01:39:08,640
Speaker 1: other identifiably queer characters in the movie, not for I

1805
01:39:08,640 --> 01:39:12,679
Speaker 1: don't know, but who knows? Okay, I think that that's why?

1806
01:39:12,880 --> 01:39:16,120
Speaker 1: Is there anything else anyone wanted to touch on it?

1807
01:39:16,200 --> 01:39:18,519
Speaker 1: For me? The only last thing I can think of

1808
01:39:18,640 --> 01:39:21,479
Speaker 1: is that I appreciate this movie is making fun of

1809
01:39:22,120 --> 01:39:25,800
Speaker 1: corporate speak of ninety one that is now dead, Like interfacing.

1810
01:39:25,920 --> 01:39:28,080
Speaker 1: It makes such a big joke about the word interfacing.

1811
01:39:29,400 --> 01:39:32,160
Speaker 1: It interfacing has now been retired, so it means that

1812
01:39:32,240 --> 01:39:36,479
Speaker 1: you know, touch base read whatever whatever we say now zooming,

1813
01:39:36,600 --> 01:39:41,080
Speaker 1: circle back, circle back. Yes, someday it will end, or

1814
01:39:41,120 --> 01:39:43,559
Speaker 1: we could bring back interfacing, which is actually what we're

1815
01:39:43,560 --> 01:39:49,880
Speaker 1: doing right now. I love to interface with my friends. Okay,

1816
01:39:49,920 --> 01:39:52,360
Speaker 1: my last two little things. I liked the line did

1817
01:39:52,360 --> 01:39:56,360
Speaker 1: he just read dianetics or something that was fun about

1818
01:39:56,360 --> 01:39:58,400
Speaker 1: the hot talk And then they were like, no, he's

1819
01:39:58,400 --> 01:40:00,559
Speaker 1: addicted to pills, and I was like, oh about maybe

1820
01:40:00,720 --> 01:40:05,240
Speaker 1: Mr But Mr Egg also an amazing character name who's

1821
01:40:05,320 --> 01:40:10,320
Speaker 1: yelling at to smile more like he's a villain. And

1822
01:40:10,320 --> 01:40:12,400
Speaker 1: then there's also a moment at the very end because

1823
01:40:12,720 --> 01:40:17,320
Speaker 1: the character's name is Caroline. Am I Caroline? Okay, there's

1824
01:40:17,320 --> 01:40:19,800
Speaker 1: a moment in the last scene of the movie where

1825
01:40:20,000 --> 01:40:24,439
Speaker 1: Josh Charles says Caroline. He just says Caroline. He says

1826
01:40:24,479 --> 01:40:27,519
Speaker 1: the wrong character name in the last scene about the

1827
01:40:27,640 --> 01:40:31,600
Speaker 1: character who's supposed to be a sister, and that that

1828
01:40:31,760 --> 01:40:34,479
Speaker 1: just made me laugh that no one got a d

1829
01:40:34,720 --> 01:40:36,960
Speaker 1: R for for that because he just says straight up

1830
01:40:37,000 --> 01:40:40,320
Speaker 1: the wrong name and she's like, yep, uh huh um,

1831
01:40:40,800 --> 01:40:47,360
Speaker 1: it's great. Well, speaking of female characters with names, and

1832
01:40:47,439 --> 01:40:49,680
Speaker 1: sometimes maybe they talk to each other. What I'm saying is,

1833
01:40:49,800 --> 01:40:54,960
Speaker 1: does this movie pass the Bechdel test? Yeah, instantly almost. Yeah.

1834
01:40:55,200 --> 01:41:00,679
Speaker 1: Swallow talks to Rose obviously, a lot, talks to Caroline. Yeah.

1835
01:41:00,800 --> 01:41:07,400
Speaker 1: Lots of conversations and combinations of characters that passed her Mom, Melissa,

1836
01:41:08,080 --> 01:41:10,640
Speaker 1: her group of friends when they're shopping, and like you

1837
01:41:10,640 --> 01:41:13,240
Speaker 1: can see that, like she's she can't buy all the

1838
01:41:13,360 --> 01:41:15,760
Speaker 1: jewelry that her friends can buy, can buy, she's like

1839
01:41:15,760 --> 01:41:18,000
Speaker 1: a little poorer than then. The first thing we see

1840
01:41:18,040 --> 01:41:19,880
Speaker 1: her do is like pick up some gold beads and

1841
01:41:19,920 --> 01:41:24,000
Speaker 1: she can't buy them. Are you kidding me? But they're

1842
01:41:24,000 --> 01:41:26,200
Speaker 1: like I can do anything. I'm a free woman. And

1843
01:41:26,200 --> 01:41:28,559
Speaker 1: they're not being like boys boys boys. They're talking about

1844
01:41:28,600 --> 01:41:35,160
Speaker 1: like doing cool ship together. They're talking on going to Europe, Europe, Europe, Europe. Yeah,

1845
01:41:36,080 --> 01:41:40,559
Speaker 1: it very much passes you go, you go movie. But

1846
01:41:40,680 --> 01:41:45,240
Speaker 1: what about the only movie metric that's important flawless perfect

1847
01:41:45,360 --> 01:41:48,519
Speaker 1: the nipple scale where we write movies on a scale

1848
01:41:48,560 --> 01:41:52,640
Speaker 1: of zero to five nipples based on just looking at

1849
01:41:52,720 --> 01:41:59,040
Speaker 1: it through an intersectional feminist lens. I would say, because

1850
01:41:59,120 --> 01:42:01,840
Speaker 1: there are not that many movies and certainly not of

1851
01:42:01,920 --> 01:42:08,400
Speaker 1: this era that are about what's effectively a single mom

1852
01:42:08,439 --> 01:42:13,080
Speaker 1: trying to balance work, parenting, and a social life, and

1853
01:42:13,200 --> 01:42:17,439
Speaker 1: like empathizing with her when she doesn't totally pull it off,

1854
01:42:17,520 --> 01:42:20,840
Speaker 1: which is cool, and because you know, again like she's

1855
01:42:20,840 --> 01:42:23,960
Speaker 1: not literally a single mom, but that's the role that

1856
01:42:24,000 --> 01:42:26,479
Speaker 1: she ends up taking on through most of the movie.

1857
01:42:26,840 --> 01:42:30,240
Speaker 1: I find that very cool that this is a movie

1858
01:42:30,920 --> 01:42:35,720
Speaker 1: about that, even though she's a seventeen year old who

1859
01:42:35,800 --> 01:42:40,360
Speaker 1: is faking a lot of this stuff. Um, but still

1860
01:42:40,479 --> 01:42:43,880
Speaker 1: still an interesting topic to examine that, you know, we

1861
01:42:43,920 --> 01:42:46,720
Speaker 1: should see more of. Yeah, and just other things that

1862
01:42:46,760 --> 01:42:49,960
Speaker 1: we talked about, you know, the movie showing a sexual

1863
01:42:50,000 --> 01:42:53,720
Speaker 1: predator character and actually framing him that way. But then

1864
01:42:53,760 --> 01:42:56,800
Speaker 1: there's other things like, uh, you know, the way the

1865
01:42:57,240 --> 01:43:03,360
Speaker 1: movie makes the only like old woman a horrible monster,

1866
01:43:04,360 --> 01:43:07,840
Speaker 1: the extreme whiteness of the movie. Things like that, um,

1867
01:43:07,920 --> 01:43:11,160
Speaker 1: that are very tropy. I don't know. Maybe I would

1868
01:43:11,200 --> 01:43:15,320
Speaker 1: give this like a three three nipples. Let's go with that,

1869
01:43:15,680 --> 01:43:21,719
Speaker 1: and I'll give one to Swell, I'll give one to

1870
01:43:21,800 --> 01:43:26,080
Speaker 1: her mom. I'm I'm like team mom for being like,

1871
01:43:26,160 --> 01:43:29,680
Speaker 1: you know what, you kids are unappreciative of all of

1872
01:43:29,760 --> 01:43:34,320
Speaker 1: my labor and I need a break from you, So

1873
01:43:34,439 --> 01:43:37,200
Speaker 1: here's the worst babysitter in the world to take care

1874
01:43:37,240 --> 01:43:39,720
Speaker 1: of you instead. And then definitely my last nipple goes

1875
01:43:39,760 --> 01:43:43,679
Speaker 1: to Kathy again. Justice for Cathy, who deserved so much

1876
01:43:43,720 --> 01:43:47,800
Speaker 1: more gratitude and appreciation and credit for the work that

1877
01:43:47,880 --> 01:43:53,439
Speaker 1: she did, which she never gets on screen. So big

1878
01:43:53,479 --> 01:43:58,000
Speaker 1: fan of Kathy, Justice for her. I'm gonna go three

1879
01:43:58,000 --> 01:44:00,479
Speaker 1: point five, maybe even three point seven five of them

1880
01:44:00,479 --> 01:44:04,640
Speaker 1: feeling nuts, but also three yeah, very precise science. But

1881
01:44:04,720 --> 01:44:08,960
Speaker 1: I think this movie is doing so much right, especially

1882
01:44:08,960 --> 01:44:11,760
Speaker 1: for its time, and still manage it manages to be

1883
01:44:11,800 --> 01:44:14,080
Speaker 1: like a really can't be fun movie to watch. I

1884
01:44:14,120 --> 01:44:16,320
Speaker 1: feel like I'm going three point seven five. Maybe everyone's

1885
01:44:16,320 --> 01:44:19,400
Speaker 1: going to be upset with me, but I but it's

1886
01:44:19,439 --> 01:44:22,120
Speaker 1: my it's my life. That's what I learned from the mom.

1887
01:44:22,120 --> 01:44:25,200
Speaker 1: Fuck you FU fuck you who I'm responsible to I'm

1888
01:44:25,320 --> 01:44:28,960
Speaker 1: leaving um okay. No. I think that, like, yeah, a

1889
01:44:29,000 --> 01:44:34,600
Speaker 1: movie whose premise is based in having empathy for a

1890
01:44:34,640 --> 01:44:39,439
Speaker 1: single working mom who is not getting it completely right

1891
01:44:39,760 --> 01:44:42,040
Speaker 1: but has her heart in the right place is a

1892
01:44:42,080 --> 01:44:45,519
Speaker 1: cool thing. I think that it's you know, fixation on

1893
01:44:45,960 --> 01:44:49,880
Speaker 1: the white upper middle class is very typical and unchallenging

1894
01:44:49,960 --> 01:44:53,479
Speaker 1: of the time. You know, like there are movies that

1895
01:44:53,600 --> 01:44:55,680
Speaker 1: do a far better job of you know, like there

1896
01:44:55,680 --> 01:44:59,040
Speaker 1: should be more satires and comedic satires of the working

1897
01:44:59,040 --> 01:45:02,280
Speaker 1: class and like of uh, the non white working class,

1898
01:45:02,360 --> 01:45:06,280
Speaker 1: and this is just not one of those movies. Um.

1899
01:45:06,320 --> 01:45:08,479
Speaker 1: And you know, I think that there was room in

1900
01:45:08,479 --> 01:45:12,280
Speaker 1: in the movie to address that stuff a little more.

1901
01:45:12,439 --> 01:45:14,880
Speaker 1: But you get so much. You get you get the

1902
01:45:15,400 --> 01:45:17,640
Speaker 1: creep being called out as a creep, she gets to

1903
01:45:17,680 --> 01:45:20,960
Speaker 1: shoot him in the dick, like, you know, we have

1904
01:45:21,040 --> 01:45:26,040
Speaker 1: women believing each other about creeps, which you never see. Yeah,

1905
01:45:26,200 --> 01:45:28,320
Speaker 1: I think this movie is just really fun. Maybe I'm

1906
01:45:28,439 --> 01:45:30,439
Speaker 1: scaling it a little too high because I just really

1907
01:45:30,520 --> 01:45:32,599
Speaker 1: enjoy it, But I'm gonna go three point seven five

1908
01:45:33,320 --> 01:45:36,240
Speaker 1: and I'm gonna give one to Swell. I'm gonna give

1909
01:45:36,320 --> 01:45:39,400
Speaker 1: one to r I'm gonna give one to Dolores and

1910
01:45:39,400 --> 01:45:43,840
Speaker 1: who framed Roger Rabbit because that's Joanna Cassidy's best part ever.

1911
01:45:44,600 --> 01:45:49,080
Speaker 1: And I give one to Tara Eisen and then I'll

1912
01:45:49,080 --> 01:45:53,759
Speaker 1: give the last point seven five to Melissa. Oh yeah, Melissa,

1913
01:45:54,840 --> 01:45:57,400
Speaker 1: love Melissa. I wish we got more from her. Amy,

1914
01:45:57,439 --> 01:45:59,479
Speaker 1: what do you think I'll go higher than everybody. I'm

1915
01:45:59,479 --> 01:46:03,000
Speaker 1: gonna go for point to five nipples because I think

1916
01:46:03,360 --> 01:46:06,880
Speaker 1: this movie does so much right without drawing attention to

1917
01:46:06,920 --> 01:46:09,880
Speaker 1: the fact that it's doing everything right. There's nothing in

1918
01:46:09,920 --> 01:46:12,479
Speaker 1: this movie that, for a millisecond, feels like a vitamin

1919
01:46:12,880 --> 01:46:17,040
Speaker 1: or a lecture about you know, gender roles in society.

1920
01:46:17,360 --> 01:46:19,639
Speaker 1: Not a single bit of it is like, oh, here's

1921
01:46:19,680 --> 01:46:21,360
Speaker 1: where we tell you guys how to really live your life.

1922
01:46:21,400 --> 01:46:23,240
Speaker 1: There's nothing preachy in this moment. I think. I think

1923
01:46:23,240 --> 01:46:26,840
Speaker 1: this movie speaks to kids, young adults, me at my

1924
01:46:26,920 --> 01:46:30,080
Speaker 1: current age on just like a fun level, representing the

1925
01:46:30,080 --> 01:46:32,680
Speaker 1: way that the world both is, you know, which is

1926
01:46:32,800 --> 01:46:34,840
Speaker 1: a lot of labor, a lot of unfair stuff, a

1927
01:46:34,920 --> 01:46:36,360
Speaker 1: lot of grunt work that you have to do, a

1928
01:46:36,400 --> 01:46:38,040
Speaker 1: lot of people getting taken advantage of, a lot of

1929
01:46:38,040 --> 01:46:40,840
Speaker 1: people getting rewarded for the wrong reasons. All those things

1930
01:46:40,880 --> 01:46:43,400
Speaker 1: are true, and it doesn't hide any of that, and

1931
01:46:43,439 --> 01:46:46,439
Speaker 1: it doesn't sugarcoat anything. It doesn't make working look like wonderful.

1932
01:46:46,520 --> 01:46:48,559
Speaker 1: You know. It's not like a movie where a girl

1933
01:46:48,560 --> 01:46:50,599
Speaker 1: gets a job and suddenly she has the high heels

1934
01:46:50,600 --> 01:46:53,519
Speaker 1: and the wardrobe like this is. I think I've really

1935
01:46:53,600 --> 01:46:55,880
Speaker 1: lived in movie about what it is like to get

1936
01:46:55,960 --> 01:46:58,200
Speaker 1: your first job and how hard it is and how

1937
01:46:58,280 --> 01:47:01,200
Speaker 1: like strange the working world is. And I think it

1938
01:47:01,320 --> 01:47:05,120
Speaker 1: both calls the corporate world on its bullshit and shows

1939
01:47:05,120 --> 01:47:07,720
Speaker 1: what it's really like. What I like about these kids

1940
01:47:07,800 --> 01:47:09,679
Speaker 1: is I feel like the kids are all actual, authentic

1941
01:47:09,760 --> 01:47:11,960
Speaker 1: kids and they're not like scrubby or shiny, and none

1942
01:47:12,000 --> 01:47:14,599
Speaker 1: of them sound like fake kids to me, Like nobody

1943
01:47:14,640 --> 01:47:18,760
Speaker 1: is too idealized, nobody is too shiny. Yeah, definitely, the

1944
01:47:18,840 --> 01:47:22,280
Speaker 1: Mrster comes out of a pizza commercial. But other than that, like,

1945
01:47:23,320 --> 01:47:25,720
Speaker 1: I don't think there are many kids movies like this

1946
01:47:25,880 --> 01:47:28,160
Speaker 1: that gets so many things right. And I always want

1947
01:47:28,160 --> 01:47:30,200
Speaker 1: to take a really strong stance in pointing out these

1948
01:47:30,280 --> 01:47:33,160
Speaker 1: kids movies that do make the right choice every time

1949
01:47:33,160 --> 01:47:36,000
Speaker 1: there's a lazier choice. There's so many lazy choices that

1950
01:47:36,040 --> 01:47:38,120
Speaker 1: could have been made in this movie doesn't do any

1951
01:47:38,160 --> 01:47:40,600
Speaker 1: of them, doesn't do any of them down, from like

1952
01:47:40,640 --> 01:47:42,880
Speaker 1: the romance, crazy One, being the little kid, the Little Boy,

1953
01:47:43,560 --> 01:47:47,040
Speaker 1: and so for that, you know, for being a movie

1954
01:47:47,080 --> 01:47:50,120
Speaker 1: that to me felt like kind of an artext for

1955
01:47:50,200 --> 01:47:52,519
Speaker 1: oh is this how the world works? Great? Okay, I

1956
01:47:52,560 --> 01:47:54,840
Speaker 1: get it, you're warning me, And also you're not putting

1957
01:47:54,840 --> 01:48:00,080
Speaker 1: me in a box. That's magical. And I feel like, yeah, kids, me,

1958
01:48:00,080 --> 01:48:01,800
Speaker 1: they are so important because it's how we start to

1959
01:48:01,800 --> 01:48:04,880
Speaker 1: see the world. And so yeah, there's nothing in this

1960
01:48:04,960 --> 01:48:06,560
Speaker 1: that I think would turn a kid off, and I

1961
01:48:06,560 --> 01:48:08,439
Speaker 1: think would like lay them out for what to expect

1962
01:48:08,800 --> 01:48:11,240
Speaker 1: and show them what's unfair, and maybe people will go

1963
01:48:11,280 --> 01:48:13,400
Speaker 1: to the workplace and be a little bit nicer to

1964
01:48:13,560 --> 01:48:16,880
Speaker 1: the you know, to the poor, poor poor said um

1965
01:48:17,000 --> 01:48:20,000
Speaker 1: Cathy's of the world, and maybe the Cathy's of the

1966
01:48:20,040 --> 01:48:25,880
Speaker 1: world see this movie and they're like, wait, yeah, exactly.

1967
01:48:26,520 --> 01:48:28,400
Speaker 1: I'm taking off my point seven five because I do

1968
01:48:28,479 --> 01:48:31,240
Speaker 1: agree on like the bizarre whiteness of l A, which

1969
01:48:31,320 --> 01:48:33,680
Speaker 1: was never true and wasn't true then, and l A

1970
01:48:33,800 --> 01:48:35,400
Speaker 1: is about and you know, I didn't you want about

1971
01:48:35,400 --> 01:48:37,840
Speaker 1: to enter a moment of really reckoning with the racial

1972
01:48:37,840 --> 01:48:39,559
Speaker 1: things that have been whitewashed over in this in this

1973
01:48:39,680 --> 01:48:42,960
Speaker 1: city for sure. Amy, thank you so much for for

1974
01:48:43,120 --> 01:48:45,120
Speaker 1: coming on the show and for bringing us this movie.

1975
01:48:45,160 --> 01:48:47,639
Speaker 1: This was so fun. Oh this is my pleasure, Caitlin, Jamie.

1976
01:48:47,680 --> 01:48:49,200
Speaker 1: Has been so fun to be here, So thank you

1977
01:48:49,240 --> 01:48:52,400
Speaker 1: for having me aboard. Come back anytime. I'd love to.

1978
01:48:52,880 --> 01:48:56,280
Speaker 1: This is so fun where can people follow you online?

1979
01:48:56,520 --> 01:48:59,000
Speaker 1: Check out your writing, check out anything that you would

1980
01:48:59,000 --> 01:49:02,639
Speaker 1: like to plug. Oh yeah, my social media handles are

1981
01:49:02,720 --> 01:49:05,320
Speaker 1: the Amy Nicholson. I'm right now, Really we're going. I

1982
01:49:05,360 --> 01:49:07,320
Speaker 1: think I'm only on Twitter for twenty four hours a week,

1983
01:49:07,360 --> 01:49:10,680
Speaker 1: which is highly recommend It's so nice. I log in

1984
01:49:10,760 --> 01:49:13,519
Speaker 1: on Thursday and I log out Friday morning, and then

1985
01:49:13,560 --> 01:49:15,280
Speaker 1: you get to be oblivious the rest of the week.

1986
01:49:15,880 --> 01:49:18,280
Speaker 1: Whatever is important, people will eventually tell you over a

1987
01:49:18,280 --> 01:49:21,599
Speaker 1: beer and yeah, yeah, I read for The New York

1988
01:49:21,600 --> 01:49:23,800
Speaker 1: Times and my podcast is Unspoiled with Paul Sheer, where

1989
01:49:23,840 --> 01:49:28,439
Speaker 1: we just did Jennifer's Body in Midsummer, which I love

1990
01:49:28,520 --> 01:49:31,840
Speaker 1: talking about Midsummer in terms of like trauma, bad boyfriends,

1991
01:49:31,880 --> 01:49:37,400
Speaker 1: or boyfriends who just cannot handle because they are immature. Yes,

1992
01:49:37,600 --> 01:49:41,799
Speaker 1: we had a similar discussion on our main Treon, which,

1993
01:49:41,880 --> 01:49:45,920
Speaker 1: speaking of you can follow us on social media at

1994
01:49:45,920 --> 01:49:48,760
Speaker 1: spectel Cast on Instagram and Twitter. You can subscribe to

1995
01:49:48,840 --> 01:49:53,800
Speaker 1: our Matreon at patreon dot com, slash specktel Cast, in

1996
01:49:53,840 --> 01:49:58,240
Speaker 1: which we have covered both Midsummer and Jennifer's Body as

1997
01:49:58,280 --> 01:50:02,320
Speaker 1: bonus episodes on the Matreon. All for five dollars a month,

1998
01:50:02,400 --> 01:50:06,040
Speaker 1: you get access to the back catalog and two new

1999
01:50:06,200 --> 01:50:10,200
Speaker 1: episodes every single month, and you can get merch at

2000
01:50:10,200 --> 01:50:13,880
Speaker 1: t public dot com slash the Bechdel Cast. Holiday is

2001
01:50:13,880 --> 01:50:19,080
Speaker 1: coming up, you know, so there's that link. Um okay

2002
01:50:19,280 --> 01:50:22,120
Speaker 1: with that, Let's let's all head on down to the

2003
01:50:22,160 --> 01:50:28,600
Speaker 1: graveyard and steal some corpses money. Yeah. Thanks, nice old lady,

2004
01:50:28,600 --> 01:50:30,799
Speaker 1: Thanks for starak. Bye bye,