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Speaker 1: On the bed cast, the questions asked if movies have

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

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Speaker 1: or do they have individualism? The patriarchy, Zef and Vast

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Speaker 1: start changing it with the beck Del cast. Welcome, thank

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Speaker 1: you for drumming. Hi Jamie, hiy. So let's start by

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Speaker 1: saying again, thank you for coming to the live show.

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Speaker 1: We're talking about the notebook. You have been given Bechtel

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Speaker 1: cast bingo board cards, but we can't say boards, bingo boards,

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Speaker 1: bingo boards. I keep bingo board. I had this whole

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Speaker 1: plan where I was gonna keep saying bingo board moment.

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Speaker 1: Oh just in now, but also in the future. I

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Speaker 1: was like, I think we're gonna have all these bingo

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Speaker 1: board moments when we're like together, we for sure will, right. Okay,

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Speaker 1: So you got bingo boards, so we're gonna be talking

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Speaker 1: for a while, and if we say anything, you've got

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Speaker 1: your boards, You've got your writing utensils. The first person too,

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Speaker 1: I guess the rules of Bengo is a diagonal, horizontal

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Speaker 1: or vertical five in a row yellow Bechtel. That was

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Speaker 1: Aristotle's idea, and now everyone can find it on your board.

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Speaker 1: So yeah, I mean get great. We between Kalen and I,

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Speaker 1: we have about twenty five thoughts that go on a

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Speaker 1: loop and they're all on that Bengo board. So so

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Speaker 1: the winner will get a prize. UM. Shout out to

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Speaker 1: our fan at Danny Cavalier, who created the Spectel Bingo board,

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Speaker 1: so thank you. It was utilizing it. Yeah, and then

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Speaker 1: he was like, to prove the concept. I've really listened

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Speaker 1: to twelve episodes and lost Bengo at all of them. So,

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Speaker 1: but you guys are gonna win. Someone's gonna win anyway.

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Speaker 1: But around up the plus, has everybody here seen you?

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Speaker 1: Give it up? If you've seen the notebook? All right,

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Speaker 1: we've got some horny people in the audience. I like it.

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Speaker 1: Clap it up. If you have not seen the notebook,

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Speaker 1: don't be ashamed. Okay, so we've got a few people. Okay, cool,

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Speaker 1: We've got a lot to talk about. If you haven't

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Speaker 1: seen the notebook, we will, I mean, Caitlin is extremely

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Speaker 1: good at recapping things, so we will. We will guide

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Speaker 1: you through it, and we're gonna have We're gonna have

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Speaker 1: a killer time. I'm so excited for our guest too. Yes,

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Speaker 1: let's figure out. Yeah, she's a comedian. You know her

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Speaker 1: from our Butch Cassidy and the Sundance Kid episode all right,

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Speaker 1: and she wrote for the upcoming Misfits and Monsters. It's

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Speaker 1: going to be coming out on True TV. Give it

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Speaker 1: up for Caitlin gil Okay again to Caitlin's in one stage.

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Speaker 1: I don't know how similar our voices are, but I

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Speaker 1: am Caitlin Gil yes, and I am Caitlin Drante. We

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Speaker 1: forgot to introduce ourselves. Oh I'm little Jamie. I just

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Speaker 1: show up to I'm Skatelin Guilt the roller skate and

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Speaker 1: Grandma you'd like to fuck right love it? Oh my gosh,

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Speaker 1: I okay. First of all, I'm looking over your shoulder,

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Speaker 1: Kitlin uh Durante, Oh god, okay, looking over your shoulder,

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Speaker 1: Caitlin Durante, as I always am. And you've got how

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Speaker 1: many pages of notes today? Seven? Seven? And I'm sorry

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Speaker 1: I say that's a full note book. Good night, everybody,

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Speaker 1: Thank you very much, thank you. And that was a

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Speaker 1: full discussion. Eleven point font what's you're saying at one

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Speaker 1: point five one? Baby margins are slim? Caitlin's got a

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Speaker 1: lot of thoughts on this. I have exactly I don't.

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Speaker 1: I don't want to give you a bingo board moment whatever.

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Speaker 1: First of all, a man just yelled do it to me.

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Speaker 1: I'll gonna come up. No, Okay, I did. For all

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Speaker 1: you bingo borders out there, I did watch this movie

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Speaker 1: this morning, and I have exactly eight bullet points. I

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Speaker 1: got out a bottle of water, but I peeled the

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Speaker 1: label off so I knew which one was mine. That's

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Speaker 1: how prepared I am. That's not true very much. Degrees

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Speaker 1: of prepared a fast spectrum of preparedness. I watched the

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Speaker 1: movie three times, so for the podcast, let's clarify you

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Speaker 1: have seen it many times independently, only a couple before this. Okay,

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Speaker 1: don't don't. That's freeing, that's feude, fude in fud. We're

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Speaker 1: just giving them away and borne al from Milena. Okay,

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Speaker 1: I will just get it out at the top. Alfam

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Speaker 1: Billina in this movie could have played Rachel mcadam's twirly

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Speaker 1: mustache Dad for sure. For sure, because the mother is

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Speaker 1: a big character and we'll talk about her a lot,

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Speaker 1: But twirly mustache Dad. Isn't it for like three seconds

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Speaker 1: that he's always just like doing a twirly he's like,

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Speaker 1: you know, talking to a pool boy. I see, that's

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Speaker 1: like all he does. Like there's one and where he

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Speaker 1: talks to a poor man in another scene where he

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Speaker 1: talks to the sandwich with like crayfish on, it doesn't

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Speaker 1: pass the Backtel tests. If a guy with a twirly

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Speaker 1: mustache talks to a sandwich. I suggest we revised the rules.

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Speaker 1: What does that mustache smell like? I'm speaking of the

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Speaker 1: Bechtel test. I wonder, just out of curiosity, is there

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Speaker 1: anyone who has never listened to an episode of the

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Speaker 1: Bechtel Cast and are therefore very confused by everything that's

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Speaker 1: happened so far. Don't be afraid. They're nice. Oh we've

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Speaker 1: got a little hand. Okay, what if you really had

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Speaker 1: a little party. He's got a regular size hand? Thank you? Did?

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Speaker 1: Did someone bring you hi? Okay? Well, welcome, welcome. So

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Speaker 1: we will define the Bechtel Cast for you and you alone.

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Speaker 1: The best is fluid, beautiful, gorgeous. And the test does

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Speaker 1: have several interpretations. We use a very specific one. Yes,

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Speaker 1: the Bechtel test applied to for our sake movies. It

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Speaker 1: requires that there are two women who have names. Their

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Speaker 1: characters have names. They speak to each other, and their

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Speaker 1: conversation cannot be about a man. That is the test.

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Speaker 1: The Bechtel cast, we that's are sort of jumping off point.

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Speaker 1: We talk about the portrayal of women in movies, one

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Speaker 1: movie at a time. I do think it's funny that

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Speaker 1: sometimes people are like, oh, yeah, that's just the podcast

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Speaker 1: where you decide, Like, do you think we take an

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Speaker 1: hour deciding if one conversation takes tonight? I feel like

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Speaker 1: we could though. We Yeah, because we started a pre debate.

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Speaker 1: We did. We warmed up. Yeah. I asked whether or

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Speaker 1: not you guys think the notebook passes the test, and

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Speaker 1: we will, Well, well let's save it. Save it talking

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Speaker 1: away a twist, I do. As soon as I started

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Speaker 1: this segue, I was like, these two have a plan,

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Speaker 1: and I am like trying to be at the hot

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Speaker 1: shot guest all like, hey, guys, how about a guide

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Speaker 1: our conversation a little bit. You have seven pages of

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Speaker 1: eleven font note with slim. Margree basically brought a manifesto,

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Speaker 1: and I'm here like, why don't I throw out a

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Speaker 1: pitch for a topic. You've got this covered, We'll get there.

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Speaker 1: I think that, Yeah, you're the UNI Bomber. I'm the

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Speaker 1: UNI Bomber's friend. He didn't have any UNA. I know

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Speaker 1: that doesn't mean one. I just wanted it to mean one.

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Speaker 1: It means university Bomber because that's where he started. He

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Speaker 1: was ruined in a university. Anyway, don't I get a

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Speaker 1: university shout out to Kazynski. I have a Kazynski sweatshirt.

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Speaker 1: I was robbed of a Bechtel Bingo board moment when

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Speaker 1: I said speaking universities, take it home. To have a

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Speaker 1: master's degree from Boston University? What in screenwriting? Where from

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Speaker 1: Boston University? UNI bomber adjacent a master's degree? Indeed? Okay,

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Speaker 1: let's talk about the notebook? Shall we the notebook? Yes, Caitlyn,

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Speaker 1: you saw it recently. I had not seen the notebook,

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Speaker 1: and I did for this podcast. So that tells you

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Speaker 1: how deeply am willing sacrifice for the two of you.

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Speaker 1: Thank you so much, right, Jamie, when did you see it?

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Speaker 1: I saw this. I watched this movie with my grandma

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Speaker 1: on T N T. Let's say in two thousand and seven.

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Speaker 1: I think we watched it with commercials in Massachusetts and

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Speaker 1: two thousand. I remember at that time, I was like,

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Speaker 1: this is dumb. I don't love is. I was like

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Speaker 1: a big hot topic shopper, and I didn't really believe

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Speaker 1: in love if it wasn't directly related to Jack and Sally.

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Speaker 1: So so I did see that it, didn't care for it,

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Speaker 1: and didn't see it again until this morning, and I

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Speaker 1: watched it twice and I cried so much. Did you watch?

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Speaker 1: I got very I mean, and I've become a very

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Speaker 1: emotional adult. No, but I did, and I saw it,

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Speaker 1: and I was, I was. This was one of those

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Speaker 1: episodes where I was fully going and expecting to unequivvocally hate.

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Speaker 1: Have a problem with every element of this movie, and

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Speaker 1: there's mistakes were certainly made. We will discuss them. But

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Speaker 1: it did far better than I expect it because I

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Speaker 1: forgot forgot almost everything. Yes, so I think that takes

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Speaker 1: us to the recap and then we'll get into the discussion.

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Speaker 1: So the notebook, if you have not seen it, um

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Speaker 1: we open on two old people, Duke and unnamed old

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Speaker 1: woman who lives in a nursing home. They call him

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Speaker 1: Duke because they they're just like, what if it's not

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Speaker 1: Ryan Gosling parentheses old? Yeah, it's confusing. I guess that's

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Speaker 1: his nickname. They really could have. We could have used

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Speaker 1: a nickname reveal toward the end of the movie. They

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Speaker 1: they didn't do that. It would have been handy after

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Speaker 1: you know, you get you'll get there in the recap,

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Speaker 1: but there would have been a time to give him

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Speaker 1: a nickname. And frankly, I want to know why they

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Speaker 1: call him Duke. There's a story that doesn't come out

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Speaker 1: of nowhere. You don't just reading the paper one day,

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Speaker 1: you're Duke. Now He's never He's never referred to as

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Speaker 1: Duke in the earlier events of the movie. So something

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Speaker 1: happens between ages like and seventy. He becomes Duke. Good

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Speaker 1: life crisis, buys a boat, Call me Duke. Yeah exactly.

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Speaker 1: So our friend Duke visits this old woman and he

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Speaker 1: reads her a story from the notebook a notebook. Oh

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Speaker 1: I just I write, Yeah? Did you just want to

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Speaker 1: hear out why the movie is called the Notebook? I wouldn't.

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Speaker 1: It was a notebook as much as it was aleatherbound journal.

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Speaker 1: But that's not a leatherbound journal in theater's Mealentine's Day.

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Speaker 1: They just figured that out. Yea, yeah, happy. So, so

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Speaker 1: Duke reads this man a story from the book, and

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Speaker 1: the leather bounds up. The story is about Noah and Ali.

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Speaker 1: They are a couple of young people who meet for

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Speaker 1: the first time in ninety Noah is poor, he's a

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Speaker 1: poor boy, and he works at the lumber yard. When

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Speaker 1: do we want to introduce the fact that this is

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Speaker 1: like Titanic? Basically, there's a lot of As you go

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Speaker 1: through the recap, Oh god, these fucking bingo borders. I

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Speaker 1: don't know why were we gave it to you? Sorry,

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Speaker 1: like so gross of you to participate like we asked.

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Speaker 1: But do as you listen through the recap, there's so

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Speaker 1: many parallels that we will break down in detail. We

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Speaker 1: sure will so. Ali in the meantime is a rich

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Speaker 1: girl and her family is in town for the summer.

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Speaker 1: Noah pursues Ali, and she is resistant at first, and

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Speaker 1: we will don't forget to percent talk about it. He's

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Speaker 1: got a little news. He's hat. He's wearing a hat.

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Speaker 1: I love how I love like the interesting little choices

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Speaker 1: that people will make to make an actor who's clearly

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Speaker 1: like in his late twenties seem like a teenagers like

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Speaker 1: I just put a little newsy tat on him, just

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Speaker 1: like young make those pants bag year. That'll cut off

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Speaker 1: about five years, slouch a little bit and go oh man.

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Speaker 1: So he's pursuing her. She is not into it at first,

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Speaker 1: but eventually he wins her over and then they start dating.

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Speaker 1: But it's the summer before she's going to leave for college,

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Speaker 1: so she's about to leave for college, and they break

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Speaker 1: up because he's like, I don't see how we're gonna

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Speaker 1: make it work. I'm too poor. And then a few

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Speaker 1: years pass, Noah bidses like old plantation house and meanwhile

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Speaker 1: also goes to World War two? Ever heard of it?

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Speaker 1: Everyone's on their bingo boards. I guess world War two?

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Speaker 1: One World War two references on the bingo board. He

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Speaker 1: goes to war, his friend dies, he comes back, He

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Speaker 1: goes back, and he fits. He buys this old plantation

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Speaker 1: home that he was like, Ali and I are going

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Speaker 1: to live here because we're gonna be together forever. Psych

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Speaker 1: but that is what happens. Uh sorry, I just to

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Speaker 1: all everything. So he he makes this house all nice,

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Speaker 1: and then someone takes a picture of it in the

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Speaker 1: paper and then Ali sees it, except that meanwhile she's

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Speaker 1: found another man, James Marson. Yes, okay, the people some

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Speaker 1: people would disagree. I think Gosling to Marsden upgrade, That's

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Speaker 1: what I think. Yes, Yeah, James Marson is like cartoonishly handsome,

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Speaker 1: which is why he plays a cartoon What an upgrade.

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Speaker 1: Not only that actor is, but that character. Yeah, the characters,

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Speaker 1: majorly James Marson. God, it's like, like, what does he

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Speaker 1: do to his eyebrows or are they just like that?

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Speaker 1: It's just crazy, It's amazing. One of the parallels to

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Speaker 1: Titanic is that he has great eyebrows. Cal Hockley great eyelashes.

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Speaker 1: All right, what if Billy Zane was in both of

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Speaker 1: these movies? What if he was the connecting thread The

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Speaker 1: Notebook a movie about a notebook. So she's used his

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Speaker 1: picture in the paper, she faints because women be fainting,

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Speaker 1: and then in her wedding dress, and she decides to

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Speaker 1: go and see him, to pay him a visit because

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Speaker 1: it's been seven years and their relationship broke off kind

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Speaker 1: of abruptly. Oh and there's a whole thing where he

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Speaker 1: wrote her a letter every single day for a year

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Speaker 1: and her mom intercepted all those letters, so she never

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Speaker 1: got them and she didn't know that he was writing

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Speaker 1: to her, which honestly you lazy checked the mail once

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Speaker 1: a year. Yeah, get here, get up earlier and yeah

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Speaker 1: you see the mom getting the mail and it's like, yeah,

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Speaker 1: it's about two. She's fully dressed the same early. It's

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Speaker 1: not like she has the mail guy delivering stuff on

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Speaker 1: the low. He's delivering it regularly, right. So she approaches

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Speaker 1: him and she's like, hey, how how are you? And

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Speaker 1: he was like, I've been drunk for a long time.

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Speaker 1: To be fair, he's lost everyone, his dad and for Brith. Basically,

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Speaker 1: we'll get there. His name is Finn, but it's like

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Speaker 1: his name's and he died in nineteen twelve. Why is

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Speaker 1: he in this movie? So Ali and Noah reconnect, but

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Speaker 1: she's like, oh do I stay with my James Marsin Like,

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Speaker 1: just just so you know, Kitlen gill is fully I

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Speaker 1: was making the finger inserted into the fist sex implication

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Speaker 1: motion because they do it. That's when they do it.

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Speaker 1: That's the part of the movie where they do it.

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Speaker 1: It's true. If you're looking at the fast forward to

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Speaker 1: a really boring milk toast love scene, that's you gotta

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Speaker 1: go to about two thirds not even a nippy, not

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Speaker 1: even a nippy. There was gonna be a nippy. Yes,

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Speaker 1: they have sex, and she's like, wait a minute, Do

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Speaker 1: I stay with Lawn my James marsden fiance or Lawn

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Speaker 1: is James Marsin For the purpose of this podcast, we'll

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Speaker 1: be calling him James Marsden obviously, or do I go

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Speaker 1: back with Noah Ryan Gosling and honestly, because he makes

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Speaker 1: her come and and James Marsden doesn't, well, I don't

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Speaker 1: see it. Well, after they have sex, she's like, so

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Speaker 1: that's what I've been missing. I think there's because she

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Speaker 1: like how she is like losing her purity. I definitely

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Speaker 1: thought she had an between her knees until she went

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Speaker 1: back to see Noah. But that that's a very different interpretation.

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Speaker 1: That does have different The last spring, I think that

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Speaker 1: was her. I think she was having really boring sex. Okay,

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Speaker 1: so that so and that I would buy that that

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Speaker 1: she was basically telling James Marsden that she was a

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Speaker 1: virgin and wanted to wait for a marriage. I don't

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Speaker 1: even know even if that was like a little proper ship,

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Speaker 1: like this is a dude who asked her parents first

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Speaker 1: and all that, Like, I can't say for sure. It's

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Speaker 1: just that was my interpretation, because there was there was

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Speaker 1: nothing about that sex scene that implied in any way

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Speaker 1: that she would come from what he was doing. I

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Speaker 1: do not believe she was like that he had the

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Speaker 1: focus or dexterity to accomplish. No, it's stunted, a little joking,

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Speaker 1: and she's like, so that's what I've been missing out

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Speaker 1: on on this whole time. And then he turns to

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Speaker 1: her and I was like, yeah, it's all kind of

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Speaker 1: love scene where someone strong is carrying someone tiny, which

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Speaker 1: inevitably ends in the tiny person being pressed up against

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Speaker 1: the wall, and in this case it was like a cabinet.

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Speaker 1: There's nothing she's you cannot come with a handle sticking

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Speaker 1: in your back and like, yeah, okay, cool, you dragged me,

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Speaker 1: Like we're off the wall now and now we're just

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Speaker 1: in your ghostly ass plantation trying to fuck in the

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Speaker 1: same room we couldn't fucking when we were seventeen. What

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Speaker 1: do you remember how romantic it was to go back

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Speaker 1: to where you first tried to funk when you were seventeen.

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Speaker 1: Drive your car to your parents driveway and just sitting

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Speaker 1: it fumbling. Yeah, hard pass, hard pass. Yeah. I guess

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Speaker 1: we should all go back to that oh one Ford

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Speaker 1: focus that we were all in at one time. Okay,

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Speaker 1: so I kind of misinterpreted what happened. Now I think

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Speaker 1: that's open either way. We're still at the recap. So

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Speaker 1: she is like, yeah, I'm gonna pick Noah because he's

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Speaker 1: my first love. And she does confront her mom about

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Speaker 1: the whole letter thing and her mom was like shrug

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Speaker 1: and her mom. Her mom reveals that not only did

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Speaker 1: she hide the letters, but she did it in spite

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Speaker 1: of the fact that she herself harbored a young summer love.

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Speaker 1: That she still occasionally goes back to watch work in

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Speaker 1: his rock quarry from her fucking convertible Plymouth with her

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Speaker 1: like Gucci's on or whatever if that was a thing

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Speaker 1: in seven just watching this dude like shovel Rocks, it

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Speaker 1: looks at your daughter like I love her father, but

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Speaker 1: I'd still that graveled guy. That was the question, because

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Speaker 1: at the end of that scene he looks over, I'm like,

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Speaker 1: does he recognize her? And it's like, oh, yeah, we

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Speaker 1: used to hook up. And now forty years later, she

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Speaker 1: still comes and stares at me shovel Rocks. Sometime, in

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Speaker 1: case you're wondering if I've got that good dick or not.

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Speaker 1: Women be staring at me shoveling rocks four decades on.

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Speaker 1: Wax mustache guy outside like shoveling the driveway, like, I

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Speaker 1: don't know why she asked me to do this. She's

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Speaker 1: so aroused. When I come back in, wax mustache guy

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Speaker 1: comes like coins or like because he looks like an

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Speaker 1: extra from the Greatest Showman, Like he fully looks like

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Speaker 1: a magician who's gotten lost. It's just but she's she

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Speaker 1: loves him. Yeah. So the mom takes Ali to the

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Speaker 1: quarry or whatever, and it's like, I do once love

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Speaker 1: to pour and it's basically the end of the year.

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Speaker 1: And then she's like, make the right choice and then

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Speaker 1: drops her daughter off at the fully restored plantation mansion

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Speaker 1: the poor lives in so hard air quotes around poor

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Speaker 1: at home listeners. Right, so, and then at some point

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Speaker 1: in the story, it's revealed remember Duke and the old

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Speaker 1: woman who is hearing the story. Turns out Duke is

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Speaker 1: Noah and the old lady is Alip gasping. But the

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Speaker 1: reason that he is recounting this story to her is

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Speaker 1: that she has dementia and she's lost her memory. So

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Speaker 1: he reads the story to her to help her remember

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Speaker 1: their love for each other from the note book, it

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Speaker 1: turns out from the leatherbound journal, and then sometimes it

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Speaker 1: works and she remembers, and then they die together. I

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Speaker 1: totally forgot that there's this like rapid fire fifteen minute

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Speaker 1: ending where like she remembers, she sundowns, he has a

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Speaker 1: heart attack. He goes to see her in the ward

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Speaker 1: that she's now trapped in because he's not there to

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Speaker 1: read to her. I guess he like shovels out and

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Speaker 1: a nurse is like, sir, you're not allowed to walk around,

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Speaker 1: and I'm definitely gonna leave to get coffee and let

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Speaker 1: you wink winks. He goes in to see his ailing wife,

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Speaker 1: who wakes up in full cognizance. Hi, honey, good to

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Speaker 1: see you know. Uh, do you think our love could

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Speaker 1: kill us together? He crawls into bed, and that poor

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Speaker 1: nurse comes back to work in the morning, like I

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Speaker 1: can't whistle into the microphone, but she is a whistling

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Speaker 1: carrying a cup of coffee, Like I wonder where those

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Speaker 1: old people who are in love are. Pushes open the door, corpses, blackout,

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Speaker 1: credits roll. Sorry there are birds first, and then credits

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Speaker 1: roll a lot of swans, a lot of bird for

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Speaker 1: I thought they were geese, and I was like, are

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Speaker 1: we to believe that writing consoling has been a goose

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Speaker 1: that apparently we are. We missed it, we didn't. You

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Speaker 1: can't cap the birds. But the movie opens on this lay.

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Speaker 1: I love to notice in a movie, like when the

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Speaker 1: editor's name pops up in the opening credits, like what

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Speaker 1: scene was there? Because that's obviously a choice. The editor

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Speaker 1: chooses that, or like director of photography, and all of

364
00:22:12,400 --> 00:22:15,920
Speaker 1: them are just like glorious birds, like everyone who edited

365
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Speaker 1: or had a like a saying how the picture looks?

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Speaker 1: Opens to swan soaring. The movie goes through and they're

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Speaker 1: at the beach and Ali's like, what has be incarnated

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Speaker 1: as a bird? No, it's like that's weird, except fine,

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Speaker 1: you're a bird. I'm a bird. And then when Ali

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Speaker 1: comes back to see you now after after he's rebuilt

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Speaker 1: the house, he's like, come with me. I'm not gonna

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Speaker 1: tell you where, but it's probably dangerous. I consistently endanger you.

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Speaker 1: And then took her on a boat to see ducks.

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Speaker 1: They look at ducks, at rains, then their land. It's like,

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Speaker 1: let's die together. They die together. Camera pulls out of

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Speaker 1: the nursing home, fucking birds, like, did we need this

377
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Speaker 1: book end? I hope somebody. I hope a camera, like

378
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Speaker 1: a b unit camera guy got shot on so hard.

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Speaker 1: I hope that there is someone in the theater in

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Speaker 1: two thousand four who just like wailed like and there's

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Speaker 1: bird like that really made that tied the movie together

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Speaker 1: for them. I will say I decided to view that

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Speaker 1: from like a bitter on relence. There's no reason to

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Speaker 1: It is beautifully shot. It's some gorgeous immagery way to go, like, yeah,

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Speaker 1: be a bird. I guess that's a very free way

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Speaker 1: you imagine your dead parents, which is what that movie

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Speaker 1: makes you do at the end. So cool. Yeah great.

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Speaker 1: Here's another question I had because there is a moment

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Speaker 1: in the Old People's Story where all of their kids

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Speaker 1: and grandkids show up, but Ali doesn't realize that because

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Speaker 1: she has dementia, and so Duke it's just like dude,

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Speaker 1: I like to think he joined a middle aged man's

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Speaker 1: basketball week and he's like, I'm Duke. He got Duke's

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Speaker 1: jersey from last year and he's Duke now. Yeah, But

395
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Speaker 1: there's like a brief conversation after Ali takes her nap

396
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Speaker 1: or she like she leaves the scene and all the

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Speaker 1: kids are talking to to Noah and they're like, oh,

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Speaker 1: Mom doesn't remember us of that. I'm like, have you

399
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Speaker 1: read this weird, long handwritten story about your parents? Fucking Like,

400
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Speaker 1: do they know the notebook story? I feel like they

401
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Speaker 1: all do. I feel like they all know. Like, hey,

402
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Speaker 1: when we first tried to lose our virginity, it was confusing,

403
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Speaker 1: but Tanya, years later, we raw dogg hard. I hope

404
00:24:15,040 --> 00:24:17,560
Speaker 1: there's some explanation for why those kids were so fucked

405
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Speaker 1: up and cold. They're seriously only in the movie to

406
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Speaker 1: be like mom doesn't recognize me, and then immediately be

407
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Speaker 1: like dead leave mom, she's boring. Will help like they don't,

408
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Speaker 1: and then they just take off, never to be seen again.

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Speaker 1: That was the part in the movie where I genuinely

410
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Speaker 1: because it is for some reason intentionally ambiguous for a while,

411
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Speaker 1: who the identity of the old man is. Once the

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Speaker 1: kids were so like fuck her, leave her, I was like,

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Speaker 1: maybe he's actually James Marston. And the kids know that

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Speaker 1: their dad has no self respect and that she's been

415
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Speaker 1: in love with Ryan Gosling the whole time, and they're like,

416
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Speaker 1: you've blown your life on this lady. James Marsden has

417
00:25:04,040 --> 00:25:06,040
Speaker 1: to go read the book about how she fell in

418
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Speaker 1: love with Ryan Gosling to get her to remember it

419
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Speaker 1: every single day. He has to be like, so you

420
00:25:14,119 --> 00:25:16,000
Speaker 1: want to hear this story about how you don't love

421
00:25:16,040 --> 00:25:20,680
Speaker 1: me again? Although you know I wouldn't put it past Marsden.

422
00:25:20,760 --> 00:25:25,440
Speaker 1: He's a class act, alright, So onto. So in this

423
00:25:25,480 --> 00:25:29,520
Speaker 1: page of Caitlin's notes, there's some highlighting, and there's different shades.

424
00:25:29,720 --> 00:25:32,920
Speaker 1: There's a what would you call this a table? It's

425
00:25:33,200 --> 00:25:36,960
Speaker 1: a bit of a lavender shaded box. The box. It's

426
00:25:37,160 --> 00:25:38,919
Speaker 1: very so what I've done here. So the first thing

427
00:25:38,960 --> 00:25:42,879
Speaker 1: I wanted to talk about is the first fifteen minutes

428
00:25:42,920 --> 00:25:47,160
Speaker 1: of the movie and how problematic they are. I will

429
00:25:47,440 --> 00:25:50,320
Speaker 1: quote my girlfriend here who watched this with me. I

430
00:25:50,359 --> 00:25:52,160
Speaker 1: love her so much. Thank you. That was very kind

431
00:25:52,200 --> 00:25:56,760
Speaker 1: of you. Get it up for a love, Kelly. Let's

432
00:25:56,800 --> 00:26:01,479
Speaker 1: die in the same senior home. Gurnee someday hands told

433
00:26:02,880 --> 00:26:06,800
Speaker 1: I get writing that notebook, girl. Uh, but she looked

434
00:26:06,800 --> 00:26:08,560
Speaker 1: over and she was like, so get ready, because I'm

435
00:26:08,560 --> 00:26:11,440
Speaker 1: pretty sure this movie is responsible for all the problems

436
00:26:11,440 --> 00:26:13,919
Speaker 1: that women have had with men for the past fourteen years,

437
00:26:13,960 --> 00:26:17,560
Speaker 1: like this problematic setup. This fifteen minutes is why men

438
00:26:17,600 --> 00:26:20,600
Speaker 1: are so confused about what we actually want and why

439
00:26:20,640 --> 00:26:23,320
Speaker 1: women are letting dudes crawl onto their carnival rides. I

440
00:26:23,359 --> 00:26:26,879
Speaker 1: guess right, yeah, walk us through it because it The

441
00:26:26,920 --> 00:26:32,920
Speaker 1: first fifteen minutes is like, so we open in ninety

442
00:26:33,119 --> 00:26:37,440
Speaker 1: there at a carnival. Noah sees Ali from a distance,

443
00:26:37,440 --> 00:26:41,919
Speaker 1: she's riding bumper cars. He I'm pretty sure we witnessed

444
00:26:41,960 --> 00:26:44,560
Speaker 1: her getting the CT that cost her later brain traumpa.

445
00:26:45,760 --> 00:26:49,480
Speaker 1: This is that's foreshadowing as hard as those birds. Amazing.

446
00:26:49,880 --> 00:26:52,240
Speaker 1: You can map this scene directly on Titanic as well,

447
00:26:52,320 --> 00:26:55,040
Speaker 1: for when Jackson's rose for the first time on the

448
00:26:55,040 --> 00:26:57,520
Speaker 1: Titanic deck at a distance and it's like, who is

449
00:26:57,680 --> 00:27:01,040
Speaker 1: rich girl? And then then his friend is like, that

450
00:27:01,200 --> 00:27:04,679
Speaker 1: is rich girl. She is rich and then he says me,

451
00:27:04,840 --> 00:27:09,600
Speaker 1: must have her. That basically happens in this scene as West. Indeed,

452
00:27:10,000 --> 00:27:13,359
Speaker 1: so he's leering at her. She gets out of her

453
00:27:13,359 --> 00:27:16,040
Speaker 1: bumper car. He like runs up to her and says,

454
00:27:16,440 --> 00:27:19,760
Speaker 1: do you want to dance? She responds no, why not

455
00:27:20,480 --> 00:27:25,359
Speaker 1: because I don't want to? And then they go off. Jeez,

456
00:27:26,400 --> 00:27:29,639
Speaker 1: so fucking ambiguous. I don't want to look could that

457
00:27:29,720 --> 00:27:33,520
Speaker 1: possibly mean? So then they get on a ferris wheel,

458
00:27:33,560 --> 00:27:37,560
Speaker 1: Ali and this other guy and no it jumps onto

459
00:27:37,600 --> 00:27:41,680
Speaker 1: the seat that they are in and she screams, get

460
00:27:41,680 --> 00:27:46,840
Speaker 1: off me, don't touch me, and then he himself. They're like,

461
00:27:46,920 --> 00:27:50,040
Speaker 1: go away, and the ferris wheel operators like you can't

462
00:27:50,119 --> 00:27:53,040
Speaker 1: sit there, and he stops the ferris wheel. So in

463
00:27:53,119 --> 00:27:56,560
Speaker 1: order to resolve that situation, he instead he climbs out

464
00:27:56,600 --> 00:28:00,640
Speaker 1: of the seat and hangs from the fort swheel guy

465
00:28:01,160 --> 00:28:05,120
Speaker 1: Noah hangs from probably thirty to forty ft in the air.

466
00:28:05,359 --> 00:28:09,920
Speaker 1: His news, he's caap, totally intact. The ferris wheel operator

467
00:28:10,000 --> 00:28:12,680
Speaker 1: is just like, yes, fine, this is not a liability.

468
00:28:12,720 --> 00:28:15,080
Speaker 1: I will let this happen. I definitely shouldn't have just

469
00:28:15,119 --> 00:28:17,399
Speaker 1: waited for their car to come to the ground before

470
00:28:17,440 --> 00:28:20,240
Speaker 1: I stopped the ride. I made a good plan by

471
00:28:20,280 --> 00:28:23,439
Speaker 1: stopping it while he was suspended in mid air. Also,

472
00:28:23,520 --> 00:28:25,920
Speaker 1: there's this other guy in the scene with Ali the

473
00:28:25,960 --> 00:28:28,560
Speaker 1: whole time, who we understand to be like her friend,

474
00:28:29,119 --> 00:28:32,680
Speaker 1: who is demonized by the movie hard as like when

475
00:28:32,760 --> 00:28:35,520
Speaker 1: Noah first is like, dance with me and she's like no,

476
00:28:35,720 --> 00:28:38,600
Speaker 1: and then the guy's like, hey, leave her alone, like

477
00:28:38,640 --> 00:28:42,520
Speaker 1: the movie would have you believe, what an asshole. I'm like, no,

478
00:28:42,640 --> 00:28:49,160
Speaker 1: that's hurt, that's someone she knows. Yeah. So he's now

479
00:28:49,480 --> 00:28:52,120
Speaker 1: hanging from a ferris wheel forty ft in the air,

480
00:28:52,640 --> 00:28:55,840
Speaker 1: and he says, now, will you go out with me?

481
00:28:56,240 --> 00:29:01,920
Speaker 1: She says what? No? No, no, no, and then his

482
00:29:02,000 --> 00:29:06,480
Speaker 1: friends like, we're just you play all parts the friend

483
00:29:06,520 --> 00:29:09,440
Speaker 1: who the movie thinks as an asshole. It's like, apel,

484
00:29:09,560 --> 00:29:17,080
Speaker 1: she just told you. Noah says why not? Ali says

485
00:29:17,280 --> 00:29:21,160
Speaker 1: I don't know because I don't want to, and then

486
00:29:21,280 --> 00:29:24,480
Speaker 1: he lets go of one hand and now he's dank

487
00:29:25,960 --> 00:29:33,080
Speaker 1: myself super stable, no red flex here, and then e

488
00:29:33,320 --> 00:29:45,800
Speaker 1: from Entourage is like, just go out with him. That's Fabrizio, right, Finn. She,

489
00:29:46,200 --> 00:29:49,840
Speaker 1: because he's threatening to kill himself, play kates him by

490
00:29:49,880 --> 00:29:51,800
Speaker 1: being like, okay, fine, I'll go out with you and

491
00:29:52,040 --> 00:29:56,480
Speaker 1: we can end the movie right here. So weird. This

492
00:29:56,520 --> 00:30:00,280
Speaker 1: poor guy approached me and like and then it's like

493
00:30:02,360 --> 00:30:06,920
Speaker 1: just fell from a ferres feel to his death. Anyways,

494
00:30:07,600 --> 00:30:11,160
Speaker 1: I'm going to Sarah Lawrence next year. And then he

495
00:30:11,200 --> 00:30:13,120
Speaker 1: was all smug about it, and he was just like, oh,

496
00:30:13,200 --> 00:30:15,720
Speaker 1: don't do me. Any favors, like, fine, I'll go out

497
00:30:15,760 --> 00:30:19,040
Speaker 1: with you. And then she takes his pants off, which

498
00:30:19,120 --> 00:30:20,560
Speaker 1: I don't know what to make of that. We can

499
00:30:20,600 --> 00:30:22,640
Speaker 1: get into it later. He's trying to get some sorty

500
00:30:22,680 --> 00:30:24,320
Speaker 1: I mean that. I was like, at least she did

501
00:30:24,400 --> 00:30:28,240
Speaker 1: something to give herself the upper hand. I don't understand.

502
00:30:28,280 --> 00:30:29,960
Speaker 1: I was like, did she take his dick out? In?

503
00:30:30,000 --> 00:30:34,200
Speaker 1: Like she didn't? She didn't. Yeah, that whole scene is

504
00:30:34,200 --> 00:30:38,280
Speaker 1: is a nightmare and is like totally textbook giving young

505
00:30:38,400 --> 00:30:42,400
Speaker 1: men the wrong idea and giving young women the wrong

506
00:30:42,440 --> 00:30:46,400
Speaker 1: idea of like, here's the beginning to a beautiful love story.

507
00:30:47,240 --> 00:30:48,760
Speaker 1: A man would be the rest of your life. You're

508
00:30:48,760 --> 00:30:52,520
Speaker 1: going to become a swan with this man, for sure, right,

509
00:30:52,640 --> 00:30:55,520
Speaker 1: Like if a guy harasses you having never met you

510
00:30:55,560 --> 00:30:59,040
Speaker 1: and he's wearing a horrendous hat, this is the man

511
00:30:59,080 --> 00:31:02,000
Speaker 1: who will hold your hands as you die, Like, it's

512
00:31:02,040 --> 00:31:05,719
Speaker 1: not good, right, Because then in the next scene he

513
00:31:05,760 --> 00:31:09,080
Speaker 1: sees her walking down the street. He sprints up to

514
00:31:09,160 --> 00:31:11,520
Speaker 1: her and he's like, Oh, I'm really sorry. That was

515
00:31:11,560 --> 00:31:13,920
Speaker 1: stupid for me to crawl on a ferris wheel, but

516
00:31:14,040 --> 00:31:16,480
Speaker 1: I had to do it. I was drawn to you.

517
00:31:16,880 --> 00:31:18,440
Speaker 1: I thought he was about to say, like I was

518
00:31:18,720 --> 00:31:23,280
Speaker 1: very drunk or high. He was like, I was drawn

519
00:31:23,480 --> 00:31:27,880
Speaker 1: to I was like, so that's not an excuse at all. Yeah,

520
00:31:27,920 --> 00:31:31,400
Speaker 1: I was drunk, perfectly reasonable. I was drawn. Do you

521
00:31:31,520 --> 00:31:36,240
Speaker 1: running running in the other direction? Leaving, fleeing? And then

522
00:31:36,280 --> 00:31:38,640
Speaker 1: he goes, hey, how about that date? And she's like

523
00:31:38,680 --> 00:31:40,880
Speaker 1: what date? And he's like the date you agree to

524
00:31:41,320 --> 00:31:45,200
Speaker 1: and she says no, and he's like you did. You

525
00:31:45,320 --> 00:31:47,800
Speaker 1: promised you swore it, and then she's like, I changed

526
00:31:47,840 --> 00:31:51,640
Speaker 1: my mind. But she's like flirting with him now, and

527
00:31:51,680 --> 00:31:54,840
Speaker 1: they're always flirting. Well, that's the thing is like, even

528
00:31:54,880 --> 00:31:59,280
Speaker 1: in the middle of these super weird, stocky scenes, she starts,

529
00:31:59,280 --> 00:32:01,600
Speaker 1: like her character starts to engage it just a little

530
00:32:01,600 --> 00:32:04,480
Speaker 1: bit and just a little bit, until you, as a

531
00:32:04,760 --> 00:32:08,160
Speaker 1: like thirteen year old watching this with your grandma, let's

532
00:32:08,200 --> 00:32:13,640
Speaker 1: just say, are fully gaslighted and being like, oh yeah

533
00:32:13,720 --> 00:32:17,440
Speaker 1: this if someone is horrible to you, that's a freaking yes.

534
00:32:18,040 --> 00:32:20,240
Speaker 1: That's just because then the scene ends with he's like,

535
00:32:20,280 --> 00:32:21,800
Speaker 1: what's it going to take to change your mind? And

536
00:32:21,840 --> 00:32:24,680
Speaker 1: she's like, love that he'll figure something out. I guess,

537
00:32:25,000 --> 00:32:27,760
Speaker 1: he splits he didn't. He. I actually thought they might

538
00:32:27,800 --> 00:32:30,560
Speaker 1: have written these lines for her, and they switched sides

539
00:32:30,680 --> 00:32:32,840
Speaker 1: that day because he winds up saying like, I'll be

540
00:32:32,880 --> 00:32:34,200
Speaker 1: anything you want me to be. You want me to

541
00:32:34,240 --> 00:32:36,000
Speaker 1: be smart, you want me to be strong, you want

542
00:32:36,000 --> 00:32:37,520
Speaker 1: me what do you want? You want me to be

543
00:32:37,600 --> 00:32:38,880
Speaker 1: a big guy. I'll be a big guy. And then

544
00:32:38,880 --> 00:32:42,720
Speaker 1: she's like, you're dumb. I can be that like instantly,

545
00:32:42,800 --> 00:32:45,720
Speaker 1: just like I will make myself literally anything you tell

546
00:32:45,800 --> 00:32:48,120
Speaker 1: me to be. I am a slate for you to

547
00:32:48,200 --> 00:32:51,520
Speaker 1: draw upon. I am but a canvas. You are the

548
00:32:51,600 --> 00:32:54,200
Speaker 1: brush you like painting. Right Wait, I don't find that

549
00:32:54,200 --> 00:32:55,720
Speaker 1: out until I take you to the middle of the

550
00:32:55,760 --> 00:33:05,360
Speaker 1: street and make you lay down, And she does. Right,

551
00:33:05,720 --> 00:33:08,120
Speaker 1: can I break down this date? Because they go on

552
00:33:08,160 --> 00:33:10,520
Speaker 1: a date, they go to a movie with friends. They

553
00:33:10,520 --> 00:33:12,480
Speaker 1: sit apart from each other. He leaps across seats to

554
00:33:12,520 --> 00:33:14,360
Speaker 1: be next to her. Apparently she's fine with that. He

555
00:33:14,480 --> 00:33:16,800
Speaker 1: stares at her, not the movie and just watches her

556
00:33:16,800 --> 00:33:20,080
Speaker 1: eat popcorn. Again, totally fine. Who isn't comfortable with a

557
00:33:20,120 --> 00:33:22,800
Speaker 1: man lustily staring at you as you like move buttered

558
00:33:22,800 --> 00:33:25,200
Speaker 1: greasy fingers to your mouth. They leave the movie. They

559
00:33:25,200 --> 00:33:27,080
Speaker 1: decided to walk together. Finn is like you and love

560
00:33:27,160 --> 00:33:29,200
Speaker 1: now and they're like, oh maybe, and they walk into

561
00:33:29,240 --> 00:33:32,239
Speaker 1: the street. He uh tells her, you don't know what

562
00:33:32,280 --> 00:33:35,200
Speaker 1: you like, you don't know what you're doing. I'm condensing

563
00:33:35,200 --> 00:33:37,240
Speaker 1: this conversation, but that is the thesis, like, what do

564
00:33:37,280 --> 00:33:38,680
Speaker 1: you like to do for fun? Oh? What your parents

565
00:33:38,680 --> 00:33:41,480
Speaker 1: tell you? That's stupid, You're stupid. And then it's like,

566
00:33:41,520 --> 00:33:43,520
Speaker 1: you don't take any risks. Come here and take the

567
00:33:43,640 --> 00:33:45,640
Speaker 1: risk I tell you to take, whether it's what you

568
00:33:45,680 --> 00:33:47,880
Speaker 1: want to do or not. I'm gonna show you how

569
00:33:47,920 --> 00:33:49,960
Speaker 1: to be free. And it's by stepping into this cage

570
00:33:50,000 --> 00:33:54,200
Speaker 1: that I'm building for you us. One of the most

571
00:33:54,400 --> 00:33:58,080
Speaker 1: romantic scenes in the movie, Oh yeah, precious, he lays

572
00:33:58,080 --> 00:33:59,400
Speaker 1: down in the middle of the street to watch the

573
00:33:59,480 --> 00:34:01,240
Speaker 1: lights change, like he used to do with his dad.

574
00:34:01,280 --> 00:34:03,360
Speaker 1: I don't know, get a nickel, go to the goddamn movies.

575
00:34:04,800 --> 00:34:06,560
Speaker 1: He gets her to lay down, and she thought. She

576
00:34:06,760 --> 00:34:08,520
Speaker 1: loses herself in the moment. You know what I do

577
00:34:08,640 --> 00:34:10,759
Speaker 1: for fun? You know what ive? I love painting? Hong

578
00:34:10,840 --> 00:34:13,439
Speaker 1: Kong beep car coming doesn't slow down even a little

579
00:34:13,440 --> 00:34:15,279
Speaker 1: bit as they laip out of the road. Oh so

580
00:34:15,360 --> 00:34:17,520
Speaker 1: what it takes for you to realize that you like painting?

581
00:34:17,680 --> 00:34:20,799
Speaker 1: Is to be seconds from death. Honey, loosen up. You're

582
00:34:20,840 --> 00:34:23,600
Speaker 1: not doing good. But that whole first date is like,

583
00:34:23,680 --> 00:34:26,120
Speaker 1: your ambitions are wrong. Do what I tell you to do.

584
00:34:26,239 --> 00:34:28,080
Speaker 1: You don't know how to think for yourself, but I'll

585
00:34:28,080 --> 00:34:30,560
Speaker 1: tell you some options. Choose between the one I tell

586
00:34:30,600 --> 00:34:33,239
Speaker 1: you was right. Also laid down in traffic. That's the day.

587
00:34:33,840 --> 00:34:36,320
Speaker 1: Well in the movie, in the notebook, the next page

588
00:34:36,320 --> 00:34:37,960
Speaker 1: it cuts back to the old people and it's like,

589
00:34:38,000 --> 00:34:40,840
Speaker 1: and they were inseparable after that, Like that's what it

590
00:34:40,880 --> 00:34:45,719
Speaker 1: took Jesus Christ. Well, let's backtrack a minute, because while

591
00:34:45,800 --> 00:34:48,560
Speaker 1: this movie does not have a surprise kiss, I don't

592
00:34:48,560 --> 00:34:50,719
Speaker 1: know if that's one of the Bengo things. It does

593
00:34:50,760 --> 00:34:53,120
Speaker 1: not have a surprise kiss. This movie, I would argue,

594
00:34:53,160 --> 00:34:57,960
Speaker 1: has a surprise date because Noah's like, hey, Finn, arrange

595
00:34:58,120 --> 00:35:00,920
Speaker 1: this thing so that I can hang out with Ali,

596
00:35:01,080 --> 00:35:03,160
Speaker 1: and then they all go to the movies. It's like

597
00:35:03,320 --> 00:35:06,279
Speaker 1: Finn and her friend Sarah and then Noah and Ali

598
00:35:06,400 --> 00:35:10,080
Speaker 1: and he shows up and she's visibly uncomfortable. She's like,

599
00:35:10,280 --> 00:35:13,200
Speaker 1: what's he doing here? She's not happy that he's there.

600
00:35:13,239 --> 00:35:17,680
Speaker 1: But some point in the movie something switches. We do

601
00:35:17,760 --> 00:35:20,920
Speaker 1: not understand why this happens, but suddenly she's okay with him,

602
00:35:21,280 --> 00:35:23,640
Speaker 1: and then there's the traffic scene. Though I think that

603
00:35:23,640 --> 00:35:26,279
Speaker 1: that's where we're supposed to be, Like Bond is like

604
00:35:26,280 --> 00:35:28,640
Speaker 1: when they when this horrible thing happened, like yeah, but

605
00:35:28,840 --> 00:35:31,239
Speaker 1: the fact that she agrees to go to that point

606
00:35:31,280 --> 00:35:32,680
Speaker 1: with him because he's like, you want to go for

607
00:35:32,719 --> 00:35:36,520
Speaker 1: a walk and she's like okay, sure, and it's like how,

608
00:35:36,560 --> 00:35:41,640
Speaker 1: like what what? Unclear? Like their Nicholas Sparks is clearly

609
00:35:41,640 --> 00:35:47,360
Speaker 1: a very stable man who is definitely kissed a girl before,

610
00:35:49,760 --> 00:35:55,080
Speaker 1: and every wait a story he tells has an uncanny

611
00:35:55,320 --> 00:35:59,520
Speaker 1: vale quality of like and the girl just comes around.

612
00:36:00,000 --> 00:36:03,200
Speaker 1: He's he's wearing a hat. Wait, I know what it is.

613
00:36:03,280 --> 00:36:05,680
Speaker 1: I know what it is. So she enters the movie

614
00:36:05,680 --> 00:36:07,279
Speaker 1: being like, oh, I don't want to hang out with

615
00:36:07,320 --> 00:36:11,160
Speaker 1: this guy. I'm sitting several people away from him. She

616
00:36:11,239 --> 00:36:15,080
Speaker 1: watches that movie. The movie tricks her and it's like, Oh,

617
00:36:15,280 --> 00:36:18,040
Speaker 1: this is how romance is supposed to be. It's supposed

618
00:36:18,080 --> 00:36:23,359
Speaker 1: to be a man praying on you and not ever.

619
00:36:23,560 --> 00:36:25,640
Speaker 1: But I'm tended now because that's what they were watching.

620
00:36:25,640 --> 00:36:27,680
Speaker 1: I don't know right which I mean, it's sad to

621
00:36:27,719 --> 00:36:34,120
Speaker 1: say any movie that came out ever, is pro predatory

622
00:36:34,320 --> 00:36:38,080
Speaker 1: stalking if it was in theaters in I'm not sure

623
00:36:38,080 --> 00:36:42,560
Speaker 1: it had a progressive discourse on intersectional feminism. And then

624
00:36:42,600 --> 00:36:45,680
Speaker 1: I just laid out in traffic and wait, I prince

625
00:36:45,760 --> 00:36:47,880
Speaker 1: to come. Yeah, so that's why I think up. But

626
00:36:47,960 --> 00:36:49,920
Speaker 1: she saw the movie and then she got because movies

627
00:36:49,960 --> 00:36:53,080
Speaker 1: are very influential, she was like, oh, I guess this

628
00:36:53,320 --> 00:36:55,440
Speaker 1: is how romance is supposed to be. So it is.

629
00:36:55,480 --> 00:36:59,640
Speaker 1: I mean, it's very like predatory stalking start to this

630
00:37:00,080 --> 00:37:03,719
Speaker 1: relationship in this movie. And that is so common in

631
00:37:03,760 --> 00:37:07,080
Speaker 1: all romance movies and all rom coms specifically. And I

632
00:37:07,360 --> 00:37:09,839
Speaker 1: want to make a point to not like, I think

633
00:37:09,840 --> 00:37:13,120
Speaker 1: that people are so often shamed for enjoying rom comms

634
00:37:13,120 --> 00:37:15,920
Speaker 1: and romantic movies in a way that like dudes are

635
00:37:15,960 --> 00:37:20,279
Speaker 1: not shamed for enjoying like transformer style movies. And so

636
00:37:20,320 --> 00:37:22,800
Speaker 1: it's like, if you love romantic movies, awesome. There's a

637
00:37:22,880 --> 00:37:25,200
Speaker 1: lot of parts of these movies that I like choked

638
00:37:25,280 --> 00:37:28,400
Speaker 1: up at and thought was like extremely beautiful, But I

639
00:37:28,440 --> 00:37:33,080
Speaker 1: didn't because I have no emotions. You're welcome, Okay, she's

640
00:37:33,120 --> 00:37:38,640
Speaker 1: pandering to the bingo boards. But but but like the

641
00:37:39,040 --> 00:37:42,840
Speaker 1: predatory stocking narrative is so prevalent in both of these

642
00:37:42,840 --> 00:37:45,000
Speaker 1: genres to the point where it's like, I mean, I

643
00:37:45,040 --> 00:37:47,200
Speaker 1: can draw in an example in my own life of

644
00:37:47,239 --> 00:37:51,520
Speaker 1: like a dude pursuing me pretty reluctantly when it's clear

645
00:37:51,520 --> 00:37:55,040
Speaker 1: it's like, oh, you've just seen this movie, Like that's

646
00:37:55,080 --> 00:37:58,279
Speaker 1: weird when you spot quotes like in somebody's terms like

647
00:37:58,520 --> 00:38:01,360
Speaker 1: terrifying pursuit of you were recognized, like are you getting

648
00:38:01,360 --> 00:38:03,439
Speaker 1: a boom box right now and coming to my house right?

649
00:38:03,480 --> 00:38:05,560
Speaker 1: I feel like that's where you got it. And the

650
00:38:05,560 --> 00:38:07,080
Speaker 1: thing that bumps me out about it is that I

651
00:38:07,120 --> 00:38:11,200
Speaker 1: do love romance. I love infatuation, and I totally by

652
00:38:11,239 --> 00:38:14,080
Speaker 1: seeing someone being so taken they just have to talk

653
00:38:14,080 --> 00:38:17,040
Speaker 1: to him, and like finding a love that you're so

654
00:38:17,120 --> 00:38:20,360
Speaker 1: passionate about even those circumstances in your life are unsure,

655
00:38:20,840 --> 00:38:25,240
Speaker 1: Like that's such a real and beautiful situation, Like falling

656
00:38:25,239 --> 00:38:27,160
Speaker 1: in love young and figuring out a way to see

657
00:38:27,200 --> 00:38:30,839
Speaker 1: it through your adulthood and your seniorhood. That's such a

658
00:38:30,880 --> 00:38:34,040
Speaker 1: beautiful story. And it is terrible that these are the

659
00:38:34,040 --> 00:38:37,480
Speaker 1: dominant narratives in them, Like there are absolutely ways to

660
00:38:37,520 --> 00:38:39,440
Speaker 1: meet the love of your life at a carnival that

661
00:38:39,520 --> 00:38:43,320
Speaker 1: aren't endangering a woman and then manipulating her in the

662
00:38:43,440 --> 00:38:45,640
Speaker 1: dating you it could start with a candy apple, Like,

663
00:38:45,760 --> 00:38:49,080
Speaker 1: let's just resource like, you've got a lot of excellent

664
00:38:49,080 --> 00:38:52,240
Speaker 1: things available to shortage of setups, no shortage of props.

665
00:38:52,719 --> 00:38:54,799
Speaker 1: You've got a lot of stuff. Like the first thing

666
00:38:54,800 --> 00:38:56,439
Speaker 1: is you can do with the carnival. His friend Finn

667
00:38:56,440 --> 00:38:58,120
Speaker 1: wins a twiny toy at like one of those like

668
00:38:58,200 --> 00:39:00,960
Speaker 1: hammer hit a thing real hard, like we know that

669
00:39:01,120 --> 00:39:03,680
Speaker 1: strong boy. Yeah no, what goes on to build a fight,

670
00:39:03,719 --> 00:39:07,600
Speaker 1: a war and build a house with his fucking hands,

671
00:39:07,640 --> 00:39:11,080
Speaker 1: Like you had so many choices that weren't that. It's

672
00:39:11,120 --> 00:39:13,480
Speaker 1: a bummer that more of these movies because I love

673
00:39:13,520 --> 00:39:15,160
Speaker 1: that heart. I do like this movie. It's a good

674
00:39:15,160 --> 00:39:18,319
Speaker 1: movie with great performances. I wish that's what they weren't perform, Like,

675
00:39:18,360 --> 00:39:20,239
Speaker 1: I wish there was something better that they could have

676
00:39:20,239 --> 00:39:23,040
Speaker 1: been doing. Right. A few chunks of this movie that

677
00:39:23,200 --> 00:39:26,440
Speaker 1: play into those tropes in such a direct way, and

678
00:39:26,480 --> 00:39:29,040
Speaker 1: then other chunks of this movie that are so beautiful

679
00:39:29,280 --> 00:39:31,239
Speaker 1: that it's just like I wish that, Yeah, if this

680
00:39:31,280 --> 00:39:34,600
Speaker 1: movie has started and been framed in a different way,

681
00:39:34,640 --> 00:39:37,680
Speaker 1: that would have been like more realistic than what we see.

682
00:39:38,520 --> 00:39:41,360
Speaker 1: It would have been like way easier to digest the

683
00:39:41,360 --> 00:39:44,360
Speaker 1: rest of the movie totally. But instead, Yeah, the movie

684
00:39:44,640 --> 00:39:48,919
Speaker 1: like frames is like very stocking. Predatory behavior is romantic.

685
00:39:49,400 --> 00:39:50,960
Speaker 1: I did want to say we were talking about this

686
00:39:51,000 --> 00:39:54,040
Speaker 1: in the car over, not to justify this setup at all,

687
00:39:54,120 --> 00:39:55,880
Speaker 1: because it is bad and this movie came out in

688
00:39:55,880 --> 00:40:02,960
Speaker 1: two thousand four and it feels right. But I have

689
00:40:03,040 --> 00:40:05,000
Speaker 1: been thinking about this a lot every time I see

690
00:40:05,040 --> 00:40:08,160
Speaker 1: like a periods that movie of like, how so many

691
00:40:08,239 --> 00:40:11,480
Speaker 1: couples in this period of time their beginning of their

692
00:40:11,520 --> 00:40:15,160
Speaker 1: love story is very predatory and creepy. I think that

693
00:40:15,200 --> 00:40:17,120
Speaker 1: if a lot of like if anyone knows of like

694
00:40:17,120 --> 00:40:24,319
Speaker 1: how their grandparents met, guaranteed terrifying. My grandparents, my paternal grandparents,

695
00:40:24,320 --> 00:40:26,080
Speaker 1: and my dad told me this after both of them

696
00:40:26,120 --> 00:40:28,200
Speaker 1: had died, and in the middle of telling me the

697
00:40:28,200 --> 00:40:32,560
Speaker 1: story was like, oh, this is how my grandparents met.

698
00:40:32,760 --> 00:40:37,040
Speaker 1: My grandmother fifteen years old walking her infant sister around

699
00:40:37,120 --> 00:40:41,880
Speaker 1: in a carriage outside, brought to Massachusetts nineties beautiful. A

700
00:40:42,000 --> 00:40:45,440
Speaker 1: man eight to ten years her senior, my future grandfather,

701
00:40:46,440 --> 00:40:50,840
Speaker 1: spotsor from behind, cat calls her, says hey, that your baby.

702
00:40:51,360 --> 00:40:55,480
Speaker 1: She turns to him says no. He says, cool, want

703
00:40:55,480 --> 00:40:58,279
Speaker 1: to go on a date this weekend. They're married for

704
00:40:58,360 --> 00:41:02,719
Speaker 1: five million years, just like imagine marrying the first man

705
00:41:02,760 --> 00:41:07,200
Speaker 1: who cat called you, like I just I expected better off.

706
00:41:07,280 --> 00:41:10,840
Speaker 1: Well in the notebook, we see like all the times

707
00:41:10,880 --> 00:41:15,239
Speaker 1: that she either says a flat out no or I

708
00:41:15,280 --> 00:41:18,680
Speaker 1: don't want to or don't touch me. She says it

709
00:41:18,800 --> 00:41:22,960
Speaker 1: like eight times. And why Like movie basically like teaches

710
00:41:23,280 --> 00:41:29,600
Speaker 1: men like, oh, just push past the no like emotional yeah,

711
00:41:29,760 --> 00:41:32,839
Speaker 1: to like ignore the no because eventually she'll give in.

712
00:41:32,960 --> 00:41:35,440
Speaker 1: Just wear her down and it's going to be romantic.

713
00:41:35,480 --> 00:41:39,280
Speaker 1: Like that's the horrible, irresponsible message that so many fucking

714
00:41:39,360 --> 00:41:42,320
Speaker 1: movies send. I never find the movie to Brownie points

715
00:41:42,360 --> 00:41:44,480
Speaker 1: that I didn't expect one the scene where they try

716
00:41:44,520 --> 00:41:46,320
Speaker 1: to do it and can't. I think they did that

717
00:41:46,320 --> 00:41:48,839
Speaker 1: pretty well with them stripping in front of each other.

718
00:41:48,840 --> 00:41:53,080
Speaker 1: But I'm old and apparently very frigid. Uh. But they

719
00:41:53,200 --> 00:41:54,960
Speaker 1: so they try to get it down like in their

720
00:41:55,000 --> 00:41:57,560
Speaker 1: Summer of Love when they're young. They try to boe

721
00:41:57,840 --> 00:42:00,720
Speaker 1: and she gets nervous and very chat in the middle,

722
00:42:00,960 --> 00:42:03,960
Speaker 1: and he I think there's like a physical expression of

723
00:42:03,960 --> 00:42:07,759
Speaker 1: frustration of like, oh like, which is understandable. Uh, but

724
00:42:07,840 --> 00:42:09,919
Speaker 1: he like rolls over and they just talk for a minute.

725
00:42:10,080 --> 00:42:12,799
Speaker 1: He's not mad, he's not pouty. He doesn't ask her

726
00:42:12,800 --> 00:42:14,799
Speaker 1: a bunch of shitty. He says, we don't have to

727
00:42:14,800 --> 00:42:17,000
Speaker 1: do this if you don't want to. Yep. I think

728
00:42:17,000 --> 00:42:19,640
Speaker 1: that's bonus points. They're a teenagers who have been rubbing

729
00:42:19,640 --> 00:42:21,680
Speaker 1: on each other all summer. Like, this is a tough moment,

730
00:42:21,760 --> 00:42:24,880
Speaker 1: heart conversation. I thought that that was well handled. Also,

731
00:42:25,080 --> 00:42:30,960
Speaker 1: when you're in the movie Lawn, what a gentleman like

732
00:42:31,480 --> 00:42:35,560
Speaker 1: la that she winds up ditching and in the scene

733
00:42:35,640 --> 00:42:39,680
Speaker 1: in which she ditches him, she is expressing her emotions,

734
00:42:39,760 --> 00:42:44,200
Speaker 1: perhaps clearly for almost the first time in the film. Uh,

735
00:42:44,760 --> 00:42:49,440
Speaker 1: when she was saying no to Rye and don't touch me.

736
00:42:50,320 --> 00:42:53,279
Speaker 1: But she's honest. She tells him that she's like, hey, Lan,

737
00:42:53,320 --> 00:42:54,760
Speaker 1: I'm gonna go on a trip. I have to figure

738
00:42:54,800 --> 00:42:57,000
Speaker 1: some sh it out before we get married. That's pretty honest.

739
00:42:57,320 --> 00:42:59,160
Speaker 1: Don't have to be specific yet you're not. You don't

740
00:42:59,160 --> 00:43:01,760
Speaker 1: know what you're doing yet. Once Lon is like figuring

741
00:43:01,920 --> 00:43:03,520
Speaker 1: it out, she comes to him and talks to him,

742
00:43:03,600 --> 00:43:07,320
Speaker 1: is honest. Bonus point and his reaction is pretty tempered.

743
00:43:07,320 --> 00:43:08,719
Speaker 1: I could kill him, like a punch him in the

744
00:43:08,719 --> 00:43:10,160
Speaker 1: nose where I could leave you. But none of those

745
00:43:10,160 --> 00:43:12,040
Speaker 1: are really good because they don't give me you like,

746
00:43:12,160 --> 00:43:15,719
Speaker 1: oh you're like good job. Even before that, whenever she's saying, hey,

747
00:43:15,800 --> 00:43:17,839
Speaker 1: I have I have to go take care of some things.

748
00:43:17,840 --> 00:43:20,600
Speaker 1: I'm going to go to seawood or whatever, then it's

749
00:43:20,640 --> 00:43:26,960
Speaker 1: called world the tank. In this world, Rachel make out

750
00:43:26,960 --> 00:43:33,000
Speaker 1: into love with a whale shape of water so fast

751
00:43:33,440 --> 00:43:40,720
Speaker 1: Jamie started sells open and fishman to activated. My legs

752
00:43:40,719 --> 00:43:45,360
Speaker 1: are double crossing a like wrapped around each other, trying

753
00:43:45,400 --> 00:43:49,239
Speaker 1: not to have to change my clothes. The fish is

754
00:43:49,320 --> 00:43:55,640
Speaker 1: so hot. Say please sit in a movie with a

755
00:43:55,680 --> 00:43:58,080
Speaker 1: lot of negative like narratives that there were at least

756
00:43:58,080 --> 00:44:00,239
Speaker 1: a couple of points where dudes and ladies can learned

757
00:44:00,239 --> 00:44:02,600
Speaker 1: some good ship. Well and yeah, like the scene whenever

758
00:44:02,640 --> 00:44:04,840
Speaker 1: she's just like I have to go take care of

759
00:44:04,880 --> 00:44:06,799
Speaker 1: some things and he's like, oh, you're getting cold feet

760
00:44:06,800 --> 00:44:08,520
Speaker 1: and she's like no, He's like, but that's totally normal,

761
00:44:08,560 --> 00:44:10,920
Speaker 1: Like take as much time as you need, do whatever

762
00:44:10,960 --> 00:44:13,040
Speaker 1: you have to do. Like he's very supportive. I feel

763
00:44:13,040 --> 00:44:15,520
Speaker 1: like it would have been very easy for this movie

764
00:44:15,560 --> 00:44:19,040
Speaker 1: to paint that character is like they're just lazy, easy whatever,

765
00:44:19,160 --> 00:44:22,160
Speaker 1: like he's abusive, or he's mean, or he's distant or

766
00:44:22,280 --> 00:44:24,239
Speaker 1: any number of things. And I think this is one

767
00:44:24,280 --> 00:44:27,560
Speaker 1: of the because by and large the Titanic parallels, which

768
00:44:27,600 --> 00:44:30,640
Speaker 1: we should break down, by and large, the ways that

769
00:44:30,719 --> 00:44:32,640
Speaker 1: it's the same are like in a way that is

770
00:44:32,880 --> 00:44:35,480
Speaker 1: Titanic gets the edge, but in this way, I think

771
00:44:35,520 --> 00:44:38,560
Speaker 1: it's really interesting to present the guy she's going to

772
00:44:38,600 --> 00:44:41,640
Speaker 1: marry as a good guy because it makes her choice

773
00:44:41,719 --> 00:44:44,399
Speaker 1: harder and it makes it more interesting to watch, where

774
00:44:44,480 --> 00:44:48,520
Speaker 1: like cal Billy Zane, no one's going to fall in

775
00:44:48,600 --> 00:44:54,640
Speaker 1: love with this guy there, he's a mess, and and

776
00:44:54,640 --> 00:44:57,200
Speaker 1: and so it makes it so clear, you know, it's like, oh,

777
00:44:57,239 --> 00:44:59,680
Speaker 1: well then these two characters should be together, no question.

778
00:45:00,040 --> 00:45:02,240
Speaker 1: But it is kind of like hard as an audience

779
00:45:02,239 --> 00:45:05,960
Speaker 1: member to be like, oh, she's she's caught between a

780
00:45:06,000 --> 00:45:12,640
Speaker 1: great guy and Ryan Goslin in a house, and and

781
00:45:12,680 --> 00:45:14,520
Speaker 1: so it is like kind of more interesting to watch.

782
00:45:14,560 --> 00:45:16,319
Speaker 1: I did want to get back to that virginity scene

783
00:45:16,320 --> 00:45:18,960
Speaker 1: because I thought it was so I was so pleasantly

784
00:45:18,960 --> 00:45:22,239
Speaker 1: surprised at how well done it was, where yeah, I mean,

785
00:45:22,280 --> 00:45:26,840
Speaker 1: you just see like positive communication between teenagers in a

786
00:45:26,920 --> 00:45:31,560
Speaker 1: sexual situation, which is like, um, what there, but it's good.

787
00:45:31,600 --> 00:45:33,879
Speaker 1: And then also another I didn't like climb on top

788
00:45:33,920 --> 00:45:35,480
Speaker 1: of her and then hang off of her and then

789
00:45:35,560 --> 00:45:39,600
Speaker 1: let go of one hand, like just do it? Come on, yeah,

790
00:45:39,719 --> 00:45:43,680
Speaker 1: call back to their meeting. But it was it was good.

791
00:45:43,680 --> 00:45:46,719
Speaker 1: I mean the fact that they're basically like, they're like,

792
00:45:46,800 --> 00:45:49,400
Speaker 1: let's lose our virginity in this haunted house. It's like

793
00:45:49,440 --> 00:45:51,839
Speaker 1: that I'm gonna buy and make pretty for you, right,

794
00:45:51,960 --> 00:45:58,200
Speaker 1: so we can sucking this less haunted house later hot place.

795
00:45:58,280 --> 00:46:00,799
Speaker 1: Ten years of four plays, I made out with an

796
00:46:00,800 --> 00:46:03,359
Speaker 1: abandoned farmhouse. Never promised me he'd painted white and put

797
00:46:03,360 --> 00:46:05,160
Speaker 1: shutters on it. I should have held out for something

798
00:46:05,160 --> 00:46:07,239
Speaker 1: better in middle school, you know, proms to making out

799
00:46:07,239 --> 00:46:09,400
Speaker 1: in a farmhouse, though it was crazy, drink a lot

800
00:46:09,400 --> 00:46:13,719
Speaker 1: of peach snaps in that weird building. Nine. Should we

801
00:46:13,760 --> 00:46:16,759
Speaker 1: take this time to discuss be parallels between I think

802
00:46:16,760 --> 00:46:18,399
Speaker 1: it would be a good time to point the fact

803
00:46:18,400 --> 00:46:21,120
Speaker 1: that you have a dark gray box with a white

804
00:46:21,200 --> 00:46:26,879
Speaker 1: font all bald some underlined. I don't know why you're

805
00:46:27,200 --> 00:46:31,160
Speaker 1: shaming me for my amazing organizational skills there's this okay,

806
00:46:31,200 --> 00:46:34,080
Speaker 1: so fan theory, and then we fact checked it right

807
00:46:34,120 --> 00:46:37,799
Speaker 1: before we we came on stage. My original theory was

808
00:46:37,880 --> 00:46:42,360
Speaker 1: that Nicholas Sparks wrote the book The Notebook right after

809
00:46:42,520 --> 00:46:47,000
Speaker 1: seeing Titanic, because so much of it is like seen

810
00:46:47,200 --> 00:46:49,399
Speaker 1: by scene, kind of the same thing in a lot

811
00:46:49,440 --> 00:46:52,680
Speaker 1: of places. But then we found out because as we

812
00:46:52,760 --> 00:46:57,239
Speaker 1: all know, Titanic came out in December, the Notebook the

813
00:46:57,280 --> 00:47:02,440
Speaker 1: Book came out in six So new fan theory by

814
00:47:02,520 --> 00:47:09,760
Speaker 1: Kaitlin Gill is that James Cameron stole the Notebook because

815
00:47:09,800 --> 00:47:12,080
Speaker 1: he had to shoehorn a love story into his weird

816
00:47:12,120 --> 00:47:16,600
Speaker 1: boat movie. And I I like that. I think I

817
00:47:16,640 --> 00:47:18,560
Speaker 1: think that could be very I know that that's true,

818
00:47:18,560 --> 00:47:20,640
Speaker 1: that they shoehned a love story. I mean, I think

819
00:47:20,640 --> 00:47:22,839
Speaker 1: that's kind of common knowledge about Titanic because you wind

820
00:47:22,840 --> 00:47:24,720
Speaker 1: in a movie with fancy boats and things that went underwater.

821
00:47:24,760 --> 00:47:26,640
Speaker 1: But they were like, no, that's not a movie, and

822
00:47:26,680 --> 00:47:28,640
Speaker 1: he was like, love story and they were like, forty

823
00:47:28,640 --> 00:47:33,759
Speaker 1: million dollars bring insane. That famous Hollywood line push a

824
00:47:33,800 --> 00:47:38,239
Speaker 1: button a carbonite block just comes at rome. So there

825
00:47:38,320 --> 00:47:40,879
Speaker 1: is so there is so much all right, starting with

826
00:47:41,160 --> 00:47:44,480
Speaker 1: the framing device of an old person telling a story

827
00:47:44,600 --> 00:47:49,439
Speaker 1: that takes place many decades earlier. Poor boy sees rich

828
00:47:49,520 --> 00:47:55,120
Speaker 1: girl with reddish hair, Instantly enamored with her, they meet

829
00:47:55,160 --> 00:47:58,400
Speaker 1: and vollmov very quickly. In Titanic it's a matter of

830
00:47:59,000 --> 00:48:02,359
Speaker 1: a day, poor boy teaches rich girl how to not

831
00:48:02,440 --> 00:48:05,919
Speaker 1: be such a stuffy rich girl. Poor boy like re

832
00:48:06,080 --> 00:48:09,200
Speaker 1: educates rich girl because in in both of these movies,

833
00:48:09,280 --> 00:48:12,920
Speaker 1: poor people are cute people. They play the spoons on

834
00:48:12,960 --> 00:48:15,960
Speaker 1: their porch or under the deck of a boat, the

835
00:48:16,000 --> 00:48:19,200
Speaker 1: Difficulties of the Port. I just want to give you

836
00:48:19,239 --> 00:48:23,440
Speaker 1: a soundtrack for the Port conn Well, not exact dancing

837
00:48:23,760 --> 00:48:28,080
Speaker 1: is in both movies. The news He's had dancing. It's like, oh,

838
00:48:28,120 --> 00:48:31,399
Speaker 1: poor people be dancing in newsies hats all the time,

839
00:48:31,840 --> 00:48:35,960
Speaker 1: never mind the fact that they're fucking dying like they're whatever.

840
00:48:37,360 --> 00:48:40,960
Speaker 1: Then we've got rich girl has fiancee who is a

841
00:48:41,080 --> 00:48:45,600
Speaker 1: rich boy. Rich girl's family disapproves of poor boy in

842
00:48:45,680 --> 00:48:49,359
Speaker 1: that exact same scene where they have a meal with

843
00:48:49,400 --> 00:48:52,239
Speaker 1: the poor boy and they're like for being poor. Yeah,

844
00:48:52,239 --> 00:48:55,200
Speaker 1: They're like, so you're poor, and he's like, yeah, being

845
00:48:55,239 --> 00:48:59,520
Speaker 1: poor is cute, and they're like, well, we don't think

846
00:48:59,520 --> 00:49:03,640
Speaker 1: it's cute, and then the rich girls like, oh my god,

847
00:49:03,880 --> 00:49:06,480
Speaker 1: I'm so sorry. Let's go dance in a Newsy's hat,

848
00:49:06,600 --> 00:49:09,400
Speaker 1: and that is how it. Both movies got a dinner

849
00:49:09,480 --> 00:49:14,840
Speaker 1: scene in The Notebook starts with waxy mustache Da telling

850
00:49:14,880 --> 00:49:18,359
Speaker 1: like a joke, being like, oh, we're all a bunch

851
00:49:18,400 --> 00:49:23,239
Speaker 1: of millionaires and yet we live with several whores. He's

852
00:49:23,239 --> 00:49:29,160
Speaker 1: a feminist icon. We can all create icon. James Marsden

853
00:49:29,200 --> 00:49:31,640
Speaker 1: in this movie is a feminist icon. But yeah, I

854
00:49:31,760 --> 00:49:34,719
Speaker 1: was um. He's a little creepy when he's all on

855
00:49:34,760 --> 00:49:38,560
Speaker 1: the cement plaster and it's like like he meets at

856
00:49:38,760 --> 00:49:41,000
Speaker 1: because she's a nurse in New York, and then he

857
00:49:41,040 --> 00:49:43,080
Speaker 1: comes back from the world busted up. He's got a

858
00:49:43,200 --> 00:49:45,000
Speaker 1: bruce face, so you don't always cute yet, and he's

859
00:49:45,000 --> 00:49:47,200
Speaker 1: in a big claster thing so you don't always fit yet,

860
00:49:47,239 --> 00:49:49,480
Speaker 1: and he just like she like half flifts him up

861
00:49:49,480 --> 00:49:51,920
Speaker 1: and he's like getting into his bed pan presumably he's

862
00:49:51,960 --> 00:49:56,359
Speaker 1: cut to blow his waist like, and she's like, you're

863
00:49:56,360 --> 00:49:58,920
Speaker 1: a zombie. No, He's like, someday I won't be. And

864
00:49:58,960 --> 00:50:01,160
Speaker 1: the next thing it's like comic fancy car, I'm better

865
00:50:01,239 --> 00:50:06,040
Speaker 1: come here, and the twist is I'm James Marson, and

866
00:50:06,080 --> 00:50:09,320
Speaker 1: she's like, Okay, sounds good. He's like, I'm James Marson. Okay,

867
00:50:09,600 --> 00:50:12,960
Speaker 1: James Morrison is we have to say the owner of

868
00:50:13,000 --> 00:50:18,480
Speaker 1: a cotton plantation in ninety so like there's other stuff

869
00:50:18,520 --> 00:50:20,600
Speaker 1: going on with his view. We haven't even talked about

870
00:50:20,600 --> 00:50:23,080
Speaker 1: the Bechdel test part, which also is problematic with the

871
00:50:23,360 --> 00:50:26,120
Speaker 1: time period in the South. But we'll get there, Truman

872
00:50:26,200 --> 00:50:30,520
Speaker 1: to get there, because I we do. Because this, yeah,

873
00:50:31,120 --> 00:50:35,480
Speaker 1: just a couple more Titanic parallels, but I want to

874
00:50:35,520 --> 00:50:39,640
Speaker 1: get through. Rich girl and poor boy drink beer together.

875
00:50:40,719 --> 00:50:45,080
Speaker 1: Poor boys friend whose name begins with f dies tragically.

876
00:50:45,840 --> 00:50:49,640
Speaker 1: This is my favorite, am This is my Finn dies

877
00:50:49,680 --> 00:50:53,919
Speaker 1: in World War Two. Fabrize Ceo dies via Titanic smokestack.

878
00:50:54,320 --> 00:50:58,720
Speaker 1: It's basically the same thing. But there's one key difference

879
00:50:58,840 --> 00:51:01,200
Speaker 1: between the two movies that in the Notebook the old

880
00:51:01,200 --> 00:51:04,840
Speaker 1: people die at the end, and in Titanic Rose simply

881
00:51:05,280 --> 00:51:08,719
Speaker 1: falls asleep and has a dream. She can we just

882
00:51:08,920 --> 00:51:11,520
Speaker 1: round of applause. Who thinks that she dies at the

883
00:51:11,600 --> 00:51:16,359
Speaker 1: end of Titanic agrees that she falls asleep and has

884
00:51:16,400 --> 00:51:18,200
Speaker 1: a dream. I'm actually I thought I was with you

885
00:51:18,200 --> 00:51:20,919
Speaker 1: there in one person clapping in the back dream. Yeah,

886
00:51:21,200 --> 00:51:27,800
Speaker 1: thank you everyone. Because the credits of Titanic, you just

887
00:51:27,840 --> 00:51:31,160
Speaker 1: see Bill Paxton like holding up an old banket just

888
00:51:31,280 --> 00:51:37,920
Speaker 1: off the top of the boat, sticks down with the jewel. Oh,

889
00:51:39,239 --> 00:51:41,920
Speaker 1: rest in Paradise. One of the things that I wanted

890
00:51:41,960 --> 00:51:44,800
Speaker 1: to bring up. And this isn't specifically about any female characters,

891
00:51:44,840 --> 00:51:49,240
Speaker 1: but it is about the portrayal of men and masculinity

892
00:51:49,440 --> 00:51:53,600
Speaker 1: because the relationship between Noah and his dad is actually

893
00:51:53,640 --> 00:51:56,919
Speaker 1: like very positive and healthy and like a very nice

894
00:51:56,960 --> 00:52:00,239
Speaker 1: portrayal of that father son relationship in him. It that

895
00:52:00,280 --> 00:52:03,400
Speaker 1: we almost never see in movies, especially of a movie

896
00:52:03,880 --> 00:52:06,560
Speaker 1: of this kind. It's a period piece, it takes place

897
00:52:06,600 --> 00:52:09,560
Speaker 1: in the South, they're poor. A lot of movies I

898
00:52:09,560 --> 00:52:12,480
Speaker 1: think would be like have an emotionally abusive or physically

899
00:52:12,480 --> 00:52:16,000
Speaker 1: abusive father or he And that's also just like crazy

900
00:52:16,080 --> 00:52:18,400
Speaker 1: writing that we see a lot is like the daddy

901
00:52:18,680 --> 00:52:23,440
Speaker 1: is bad, mustache dad is Also he's got that kind

902
00:52:23,440 --> 00:52:26,879
Speaker 1: of like charming evil of the South where like, you're

903
00:52:26,960 --> 00:52:30,240
Speaker 1: positive he's racist and he's definitely misogynist, but he's also

904
00:52:30,400 --> 00:52:34,280
Speaker 1: overtly sweet to everyone, and he's never like even unkind

905
00:52:34,320 --> 00:52:36,279
Speaker 1: to his daughter, and you don't see a lot of him,

906
00:52:36,280 --> 00:52:38,440
Speaker 1: but what that actor manages to portray as kind of

907
00:52:38,440 --> 00:52:40,840
Speaker 1: that dad's thing of like I know what you're doing

908
00:52:41,000 --> 00:52:44,000
Speaker 1: and I know you might get hurt, but like I

909
00:52:44,080 --> 00:52:46,239
Speaker 1: love you. There's I know it's very small, but I

910
00:52:46,280 --> 00:52:47,879
Speaker 1: kind of got like a little there's a little scene

911
00:52:47,880 --> 00:52:49,640
Speaker 1: where he's just on the porch where and she gets home.

912
00:52:49,680 --> 00:52:51,680
Speaker 1: My favorite take in the movie is Rachel McAdams being

913
00:52:51,840 --> 00:52:54,760
Speaker 1: scared of her father, like she jumps. He doesn't realize

914
00:52:54,880 --> 00:52:56,759
Speaker 1: he's there as she walks onto the porch and gives

915
00:52:56,800 --> 00:52:58,680
Speaker 1: a great jump take that I want to loop in

916
00:52:58,719 --> 00:53:01,319
Speaker 1: a gift that I would never stop watching. Um. But

917
00:53:01,520 --> 00:53:03,400
Speaker 1: he's just sort of he's paternal in a way that

918
00:53:03,440 --> 00:53:05,200
Speaker 1: isn't negative in a movie where it would have been

919
00:53:05,239 --> 00:53:07,920
Speaker 1: really easy, Joan Allen is the more complex parmental figure

920
00:53:08,120 --> 00:53:10,560
Speaker 1: for Allie. Her mom is definitely the one who is

921
00:53:10,600 --> 00:53:15,719
Speaker 1: more protective for complex reasons too. By the way, I'm

922
00:53:15,760 --> 00:53:17,879
Speaker 1: not the first to express this sentiment, but I will

923
00:53:17,880 --> 00:53:20,759
Speaker 1: give myself credit for novel phrasing. I'm convinced that there's

924
00:53:20,800 --> 00:53:23,080
Speaker 1: a phone in Joan Allen's house that just rings every

925
00:53:23,080 --> 00:53:25,480
Speaker 1: time Hollywood needs a distressed mother. It's just like a

926
00:53:25,520 --> 00:53:29,320
Speaker 1: hotline directly to only her. And if she's not already

927
00:53:29,320 --> 00:53:31,279
Speaker 1: on a set being a mom who's sad, she has

928
00:53:31,320 --> 00:53:33,880
Speaker 1: to go to another set immediately. They're like als and

929
00:53:34,000 --> 00:53:37,920
Speaker 1: Janny's busy. But that dad isn't so bad either, And

930
00:53:37,960 --> 00:53:40,480
Speaker 1: there's good male friendships except for like trying to you know,

931
00:53:40,560 --> 00:53:42,239
Speaker 1: set your dude up with a date with a girl

932
00:53:42,280 --> 00:53:44,279
Speaker 1: who doesn't want to go on that date. Aside from

933
00:53:44,320 --> 00:53:48,480
Speaker 1: that problematic, like, you know, it's not the worst toxic masculinity,

934
00:53:48,520 --> 00:53:52,000
Speaker 1: it's like romance toxicity. It's somehow different for both men

935
00:53:52,040 --> 00:53:55,359
Speaker 1: and women. Yeah, I mean aside for her because it's

936
00:53:55,400 --> 00:53:57,200
Speaker 1: like a guy with a great dad, a girl with

937
00:53:57,280 --> 00:53:59,440
Speaker 1: parents who don't and care about her, who seems to

938
00:53:59,520 --> 00:54:02,040
Speaker 1: have a level head right, Like they're onto something here.

939
00:54:02,120 --> 00:54:05,000
Speaker 1: Their kids would like there's no trauma in their background

940
00:54:05,040 --> 00:54:08,320
Speaker 1: that makes them irresponsible with romance. There's something like whatever,

941
00:54:08,320 --> 00:54:10,360
Speaker 1: I don't know if it's cultural. There's just something about

942
00:54:10,400 --> 00:54:13,600
Speaker 1: the circumstance of romance that makes them be totally evil

943
00:54:13,640 --> 00:54:18,520
Speaker 1: Turts like you know what with a great dad who

944
00:54:18,520 --> 00:54:20,800
Speaker 1: like reads some poetry, hanging from one arm on a

945
00:54:20,840 --> 00:54:24,440
Speaker 1: ferris wheel, like there's a disconnect, Like you've read poems,

946
00:54:24,480 --> 00:54:27,520
Speaker 1: you've read sonnets, you should have some idea of how

947
00:54:27,560 --> 00:54:30,280
Speaker 1: to treat a lady. Where's your bouquet of Posey's, dude?

948
00:54:30,600 --> 00:54:32,520
Speaker 1: Like how many of those? If you take a hike

949
00:54:33,120 --> 00:54:37,080
Speaker 1: famous Walt Whitman poem about hanging off of Carnival and

950
00:54:39,160 --> 00:54:44,040
Speaker 1: then she was mine. The romance is broken. Maybe not

951
00:54:44,040 --> 00:54:47,040
Speaker 1: not families, I guess. I don't know. I did really

952
00:54:47,080 --> 00:54:50,560
Speaker 1: like the father character and like actually was his father

953
00:54:50,640 --> 00:54:53,279
Speaker 1: because yeah, because I forgot that he died and I

954
00:54:53,320 --> 00:54:57,040
Speaker 1: was like, yeah, that was that was so quick that

955
00:54:57,239 --> 00:54:59,400
Speaker 1: seat of the funeral because they know his father passed

956
00:54:59,440 --> 00:55:01,120
Speaker 1: us after they were store the house together, and he

957
00:55:01,320 --> 00:55:03,680
Speaker 1: is uh. They expressed that by saying it out loud.

958
00:55:03,719 --> 00:55:05,840
Speaker 1: And then there's like a two second flash, almost like

959
00:55:05,840 --> 00:55:08,319
Speaker 1: a coke appearing in a movie theater trailer. To like

960
00:55:08,360 --> 00:55:10,879
Speaker 1: get you thirsty, they just throw up a flash card

961
00:55:10,880 --> 00:55:13,520
Speaker 1: of a funeral. It's like ten people in black suits

962
00:55:13,560 --> 00:55:15,280
Speaker 1: facing a hole in the ground, and then it's gone.

963
00:55:15,320 --> 00:55:18,120
Speaker 1: I just picture like the director being like, fun we

964
00:55:18,120 --> 00:55:20,360
Speaker 1: need a scene in the funeral. Everybody get your suits

965
00:55:20,360 --> 00:55:25,600
Speaker 1: and go outside. Staffers and suits. There's there is like,

966
00:55:25,680 --> 00:55:27,480
Speaker 1: and that's the only thing you see of the funeral.

967
00:55:27,800 --> 00:55:31,399
Speaker 1: It's like people leaving the funeral. It's not even them

968
00:55:31,440 --> 00:55:34,120
Speaker 1: at It's like they're like, well that was sad. The

969
00:55:34,160 --> 00:55:36,439
Speaker 1: way this movie YadA YadA, YadA, is everything that isn't

970
00:55:36,480 --> 00:55:39,319
Speaker 1: their relationship. It is totally focused on the two of

971
00:55:39,360 --> 00:55:40,879
Speaker 1: them and whether or not they're going to stay together

972
00:55:40,880 --> 00:55:42,520
Speaker 1: other the World War two is just like, I don't know,

973
00:55:43,400 --> 00:55:46,200
Speaker 1: it's like we're going to ore, We're back. That's the

974
00:55:46,200 --> 00:55:49,640
Speaker 1: whole thing. They're like, Fabrizio died. That's too bad. There

975
00:55:51,520 --> 00:55:54,120
Speaker 1: there there was I. They do fast forward a lot

976
00:55:54,160 --> 00:55:56,600
Speaker 1: of stuff, but I feel like they still care. They

977
00:55:56,840 --> 00:55:59,279
Speaker 1: the characters still developed as if all of those things

978
00:55:59,280 --> 00:56:02,280
Speaker 1: are happening. But because we're only talking about the relationship

979
00:56:02,360 --> 00:56:05,839
Speaker 1: beats sometimes when we cut foward, we're like, whoa, why

980
00:56:06,000 --> 00:56:10,720
Speaker 1: is Ryan gosl like an alcoholic? And then you're like, wait,

981
00:56:10,800 --> 00:56:14,520
Speaker 1: he loves everyone he loved died, that's why. And now

982
00:56:14,560 --> 00:56:18,320
Speaker 1: only has this this haunted plantation and a war widow

983
00:56:18,400 --> 00:56:20,920
Speaker 1: to thing. Oh what we got to talk about the

984
00:56:20,920 --> 00:56:26,759
Speaker 1: war widow? She was disservista. There's a pun there. Where

985
00:56:26,760 --> 00:56:30,239
Speaker 1: are we? How's everyone doing on their bingo boards we've

986
00:56:30,280 --> 00:56:33,839
Speaker 1: got Okay, okay, I feel like, um, there are no

987
00:56:33,960 --> 00:56:37,319
Speaker 1: cats in this movie. Cats have eight nipples. This has

988
00:56:37,360 --> 00:56:40,839
Speaker 1: been cat facts with Kaitlyn does that. I don't think

989
00:56:40,960 --> 00:56:46,719
Speaker 1: there are any cats. There's a noticeable there's just ducks.

990
00:56:46,920 --> 00:56:50,480
Speaker 1: I like the scene where um Martha shot who is

991
00:56:50,840 --> 00:56:55,719
Speaker 1: Noah's I guess buddy, Like he clearly does not take

992
00:56:55,719 --> 00:56:57,799
Speaker 1: her very seriously and it is not serious about her.

993
00:56:58,000 --> 00:57:00,440
Speaker 1: This is this is like in the future, well not

994
00:57:00,600 --> 00:57:02,719
Speaker 1: like well, like you know, it's after he's restored the house.

995
00:57:02,760 --> 00:57:05,439
Speaker 1: He's in a big old plantation mansion. All dead dad's

996
00:57:05,440 --> 00:57:07,399
Speaker 1: in the backyard. I guess wherever you put your old

997
00:57:07,400 --> 00:57:10,160
Speaker 1: people when you're poor but have a mansion. Uh, all

998
00:57:10,239 --> 00:57:16,320
Speaker 1: of Noah's hamsters and also his father. But yes, there's

999
00:57:16,360 --> 00:57:18,840
Speaker 1: a lady a couple towns over who swings by for

1000
00:57:18,920 --> 00:57:21,640
Speaker 1: a little sad time boody call. It's just sad people boning.

1001
00:57:21,640 --> 00:57:24,200
Speaker 1: Who hasn't been that's yeah, we've all been there. But

1002
00:57:24,240 --> 00:57:28,240
Speaker 1: in the scene in which she and Ali meet, there's

1003
00:57:28,280 --> 00:57:30,440
Speaker 1: just an understanding of like, oh, you're the person that

1004
00:57:30,480 --> 00:57:32,280
Speaker 1: he used to love. Oh, you're the person that he

1005
00:57:32,320 --> 00:57:34,960
Speaker 1: currently sucks. Nice to come on in. I feel like,

1006
00:57:35,040 --> 00:57:37,640
Speaker 1: I mean, they're both very mature about another. Plandy point

1007
00:57:37,680 --> 00:57:39,280
Speaker 1: I forgot for this movie where two women don't call

1008
00:57:39,360 --> 00:57:41,400
Speaker 1: each other's side out like an episode of Cheaters. Says

1009
00:57:41,520 --> 00:57:43,200
Speaker 1: comes by like, oh, I've heard a lot about You've

1010
00:57:43,200 --> 00:57:44,960
Speaker 1: heard a lot about you too. Let's go in while

1011
00:57:45,000 --> 00:57:47,880
Speaker 1: it's daylight and you're gonna leave when it's nighttime. YadA, YadA, YadA.

1012
00:57:47,920 --> 00:57:50,919
Speaker 1: Conversations that happened inside. I guess, but I just think,

1013
00:57:50,960 --> 00:57:54,040
Speaker 1: like I think again, like lazy writing would have had

1014
00:57:54,080 --> 00:57:56,680
Speaker 1: them just like be very petty and jealous at each other.

1015
00:57:56,760 --> 00:57:59,840
Speaker 1: But realistically, I don't want to meet my fun buddies,

1016
00:58:00,040 --> 00:58:02,680
Speaker 1: love of their life. I will say if I'm sucking

1017
00:58:02,720 --> 00:58:04,920
Speaker 1: him because my husband died in the same war, this

1018
00:58:05,040 --> 00:58:08,160
Speaker 1: dude came back from there, that's a whole other movie.

1019
00:58:08,320 --> 00:58:11,240
Speaker 1: It's like the war Vett fucking the War Widow is

1020
00:58:11,280 --> 00:58:13,919
Speaker 1: a whole other kind of romance. Like she's not there

1021
00:58:13,920 --> 00:58:15,280
Speaker 1: to stay. What are you going to do? Live in

1022
00:58:15,280 --> 00:58:17,200
Speaker 1: the eyes of the memory that the war that your

1023
00:58:17,280 --> 00:58:19,640
Speaker 1: husband didn't come back. Yeah, tell me again what the

1024
00:58:19,640 --> 00:58:22,640
Speaker 1: war was, like, I don't think that's gonna ca The

1025
00:58:22,680 --> 00:58:25,080
Speaker 1: notebook does not care about the war, all the winter whatever.

1026
00:58:25,120 --> 00:58:27,400
Speaker 1: The opposite of a spring the summer romances. This is

1027
00:58:27,440 --> 00:58:31,160
Speaker 1: the dark, cold season's romance. The notebook does not care

1028
00:58:31,240 --> 00:58:33,560
Speaker 1: about World War two to the point where why did

1029
00:58:33,560 --> 00:58:36,400
Speaker 1: it even take place? As World War two was happening,

1030
00:58:37,400 --> 00:58:40,400
Speaker 1: because it comes in at almost no point. It's like

1031
00:58:40,640 --> 00:58:43,200
Speaker 1: glazed over as like, oh, I guess we'd better addressed

1032
00:58:43,200 --> 00:58:45,000
Speaker 1: the fact that World War two happens. Also, we got

1033
00:58:45,000 --> 00:58:47,800
Speaker 1: to figure out how to kill Fabrizio. It was just

1034
00:58:47,920 --> 00:58:50,160
Speaker 1: to kill Finn because she's gone by then. He just

1035
00:58:50,200 --> 00:58:52,640
Speaker 1: makes that choice, like after at least this is part

1036
00:58:52,640 --> 00:58:55,280
Speaker 1: of his mourning the loss of his love. After that

1037
00:58:55,360 --> 00:58:57,200
Speaker 1: year of letter writing, I don't know, war broke out.

1038
00:58:57,240 --> 00:58:59,840
Speaker 1: I guess I'll join the army, right, yeah, heaven Fabrizio

1039
00:58:59,920 --> 00:59:04,720
Speaker 1: or like working at some rocky yard for pores and

1040
00:59:04,720 --> 00:59:07,680
Speaker 1: and they're like everyone better join up, and they're like,

1041
00:59:08,280 --> 00:59:10,880
Speaker 1: thats good. How do we feel about Ali as a

1042
00:59:10,960 --> 00:59:15,400
Speaker 1: character herself? I generally I like how her character has

1043
00:59:15,480 --> 00:59:18,840
Speaker 1: developed over time because she starts out on top because

1044
00:59:18,840 --> 00:59:23,280
Speaker 1: she's repeatedly saying no, which is great. But then once

1045
00:59:23,320 --> 00:59:27,400
Speaker 1: she is involved in this relationship when she's younger, especially,

1046
00:59:27,480 --> 00:59:31,280
Speaker 1: she's very combative, but you see her kind of mellow

1047
00:59:31,320 --> 00:59:33,280
Speaker 1: out as she gets to the point where she like

1048
00:59:33,640 --> 00:59:38,400
Speaker 1: hits him. She looks physically abusive to Ryan Gosling to

1049
00:59:38,440 --> 00:59:40,880
Speaker 1: the point where there's one scene where they're breaking up

1050
00:59:40,920 --> 00:59:43,920
Speaker 1: when they're teenagers where she's hitting him over and over,

1051
00:59:44,160 --> 00:59:45,880
Speaker 1: and then there was this I had to rewind it

1052
00:59:46,000 --> 00:59:47,880
Speaker 1: because i was like, did he hit her back? But no,

1053
00:59:48,040 --> 00:59:50,880
Speaker 1: he hits He also starts hitting himself, and I'm like,

1054
00:59:50,960 --> 00:59:55,320
Speaker 1: why are we all hitting Ryan Gosling? This is very stressful,

1055
00:59:55,640 --> 00:59:57,480
Speaker 1: but she hits him a bunch of time. I was like,

1056
00:59:57,800 --> 01:00:00,680
Speaker 1: this is this is please stop hitting Ryan as he's

1057
01:00:00,720 --> 01:00:04,560
Speaker 1: a national treasure, like he's Canadian, so he's a Canadian.

1058
01:00:04,800 --> 01:00:07,200
Speaker 1: They're both from the same town. And Rachel McAdams is

1059
01:00:07,240 --> 01:00:09,640
Speaker 1: two years older than mine Gossling. I'd like to point

1060
01:00:09,640 --> 01:00:12,680
Speaker 1: that out because usually the Hollywood age gap has a

1061
01:00:12,720 --> 01:00:19,880
Speaker 1: male man being too many man how I would full

1062
01:00:19,920 --> 01:00:23,640
Speaker 1: of mail. Then the man being like years and years

1063
01:00:23,680 --> 01:00:27,560
Speaker 1: sometimes decades older than especially romance with a seventeen year

1064
01:00:27,560 --> 01:00:30,160
Speaker 1: old girl. Yeah, that guy could have been fifty and

1065
01:00:30,160 --> 01:00:33,440
Speaker 1: it would have been like Rachel, I mean strengthly speaking

1066
01:00:33,440 --> 01:00:37,320
Speaker 1: from a Rachel McAdams perspective the Rachel McAdams. She is

1067
01:00:37,440 --> 01:00:39,360
Speaker 1: I think awesome in this movie. This is also the

1068
01:00:39,360 --> 01:00:42,520
Speaker 1: same year that Mean Girls comes out, Like her two biggest,

1069
01:00:42,600 --> 01:00:45,000
Speaker 1: most different roles came out the same year. She's awesome.

1070
01:00:45,040 --> 01:00:49,800
Speaker 1: I love her. Okay, sorry, that's it, we can go home. No,

1071
01:00:50,000 --> 01:00:52,520
Speaker 1: Ali is a character I don't know. I mean, there's

1072
01:00:52,560 --> 01:00:54,600
Speaker 1: a part of her that is a little bit like

1073
01:00:54,720 --> 01:00:57,840
Speaker 1: rich girl underwritten for me of just like she's never

1074
01:00:57,920 --> 01:01:01,080
Speaker 1: really struggled, and then just sort of why does everyone

1075
01:01:01,160 --> 01:01:04,520
Speaker 1: like her so much? Why are we all like dying

1076
01:01:04,640 --> 01:01:09,240
Speaker 1: to I don't know. She paints another thing. It's like,

1077
01:01:09,240 --> 01:01:12,200
Speaker 1: oh god, what a what a lazy like trope of

1078
01:01:12,320 --> 01:01:15,520
Speaker 1: just like, but she wants to be an artist. I mean,

1079
01:01:15,760 --> 01:01:18,240
Speaker 1: let's be She doesn't say I want to be an artist.

1080
01:01:18,600 --> 01:01:22,720
Speaker 1: She says, I paint for fun, right, there's no ambition

1081
01:01:23,000 --> 01:01:25,720
Speaker 1: beyond just like hanging out with a canvas. I guess,

1082
01:01:25,720 --> 01:01:27,800
Speaker 1: like it's really and someday I'd like to be in

1083
01:01:27,880 --> 01:01:31,080
Speaker 1: a gallery. I think. I don't know. I give him

1084
01:01:31,080 --> 01:01:34,640
Speaker 1: out for Christmas, Like it just seems like and that's

1085
01:01:34,680 --> 01:01:38,200
Speaker 1: like and that's used as sort of this weird leveraging

1086
01:01:38,240 --> 01:01:41,560
Speaker 1: point of why we should favor Ryan Gossling over James

1087
01:01:41,600 --> 01:01:45,560
Speaker 1: Marsden because Ryan Gosling leaves this series of literal arrows

1088
01:01:45,640 --> 01:01:48,800
Speaker 1: leading to a canvas and then she paints in the nude.

1089
01:01:48,880 --> 01:01:52,840
Speaker 1: Because he tells her how to have fun. He instructs

1090
01:01:52,840 --> 01:01:55,040
Speaker 1: her with physical arrows where to go to have a

1091
01:01:55,040 --> 01:01:59,480
Speaker 1: good time. This is your recreation. But and also it's

1092
01:01:59,520 --> 01:02:01,920
Speaker 1: like at that and it's like, imagine if someone was

1093
01:02:01,960 --> 01:02:04,280
Speaker 1: telling you, hey, you liked doing this ten years ago,

1094
01:02:04,320 --> 01:02:07,520
Speaker 1: you probably still love it. Somebody sets up a dance

1095
01:02:07,600 --> 01:02:12,040
Speaker 1: dance Revolution pat in a PlayStation two for me. I

1096
01:02:12,080 --> 01:02:15,840
Speaker 1: know you, but then but then we're we're supposed. Oh.

1097
01:02:15,920 --> 01:02:18,760
Speaker 1: James Morrison doesn't get it because one day she shows

1098
01:02:18,800 --> 01:02:20,800
Speaker 1: up at his office in the middle of the day

1099
01:02:20,800 --> 01:02:24,680
Speaker 1: and she's just like I used to like painting, and

1100
01:02:24,840 --> 01:02:27,080
Speaker 1: he does not tell her to get the funk out,

1101
01:02:27,120 --> 01:02:31,080
Speaker 1: which is when I should. Oh. Man, he's James Morson

1102
01:02:31,120 --> 01:02:34,520
Speaker 1: is a champ because she's so like and both of them,

1103
01:02:34,520 --> 01:02:38,160
Speaker 1: to their other romantic partners, but especially Ali, are very

1104
01:02:38,200 --> 01:02:40,919
Speaker 1: like emotionally careless towards them. James Marson has done nothing

1105
01:02:41,000 --> 01:02:44,400
Speaker 1: to deserve, like her going off for a week and

1106
01:02:44,520 --> 01:02:46,800
Speaker 1: cheating on him for a week and then coming back

1107
01:02:46,840 --> 01:02:49,800
Speaker 1: and being like I don't know, and then I just

1108
01:02:49,880 --> 01:02:52,680
Speaker 1: feel like someone different when I'm with him, right, and

1109
01:02:52,720 --> 01:02:55,680
Speaker 1: I'm just like, oh, that's something that people who cheat

1110
01:02:55,720 --> 01:02:59,720
Speaker 1: on you, who can't be trusted would say. But it

1111
01:02:59,840 --> 01:03:03,120
Speaker 1: is a lifelong romance founded by teenagers on a summer

1112
01:03:03,120 --> 01:03:05,960
Speaker 1: fling and then infidelity, Like those are the two bread

1113
01:03:06,080 --> 01:03:10,360
Speaker 1: rock moments of their then lifelong relationship. So that's fight

1114
01:03:10,440 --> 01:03:12,600
Speaker 1: where he like, Noah's like, there's gonna be a lot

1115
01:03:12,600 --> 01:03:15,560
Speaker 1: of work where you gonna working at it every day, Like, yeah, dude,

1116
01:03:15,600 --> 01:03:18,040
Speaker 1: you started this on some rocky ground, not at your job.

1117
01:03:19,040 --> 01:03:21,920
Speaker 1: And also we got a lot of trust to build, buddy.

1118
01:03:22,080 --> 01:03:24,480
Speaker 1: They have they have this exchange a couple different times

1119
01:03:24,480 --> 01:03:28,040
Speaker 1: where they're like, we fight all the time, that's okay,

1120
01:03:27,680 --> 01:03:30,360
Speaker 1: Like when their teenagers are like all like there was

1121
01:03:30,400 --> 01:03:32,760
Speaker 1: like a voice over like all they do is fight,

1122
01:03:33,000 --> 01:03:37,880
Speaker 1: cut to Rachel McAdams hitting Ryan gossling incessantly, but boy

1123
01:03:38,000 --> 01:03:42,720
Speaker 1: did they kiss nice? No, that's not what a good

1124
01:03:42,760 --> 01:03:45,600
Speaker 1: relationship is. And then they say it again ten years later,

1125
01:03:45,680 --> 01:03:47,840
Speaker 1: all we do is fight, That's fine. I would have

1126
01:03:47,880 --> 01:03:49,360
Speaker 1: loved to see her pop out of to menship at

1127
01:03:49,360 --> 01:03:51,520
Speaker 1: the end and spend the three minutes she had cognizant,

1128
01:03:51,600 --> 01:03:54,160
Speaker 1: Just like is the candles that you're putting out? These

1129
01:03:54,160 --> 01:03:59,520
Speaker 1: are my scandle stits, you idiot, just parading him. Um.

1130
01:03:59,560 --> 01:04:02,960
Speaker 1: I wanted to mentioned that, as with most mainstream Hollywood movies,

1131
01:04:03,000 --> 01:04:06,160
Speaker 1: this is a very heatero movie. This is a very

1132
01:04:06,280 --> 01:04:09,040
Speaker 1: white movie. All the character is fun. What are you

1133
01:04:09,080 --> 01:04:13,040
Speaker 1: talking about? At Lee's dad is totally gay. Hello sou

1134
01:04:13,640 --> 01:04:16,920
Speaker 1: southern dandy's married pretty ladies head to the South. Y'all

1135
01:04:16,960 --> 01:04:20,360
Speaker 1: tapped it all the time. That mustache daddy, he gay

1136
01:04:20,920 --> 01:04:24,800
Speaker 1: queer icon mustache daddy. For all you bingo borders out there,

1137
01:04:25,120 --> 01:04:27,160
Speaker 1: I feel like that's from the text of Joan Allen

1138
01:04:27,200 --> 01:04:29,360
Speaker 1: in the car, Like I could have married this poor

1139
01:04:29,720 --> 01:04:34,320
Speaker 1: viral at like beautiful man, but because I was in

1140
01:04:34,360 --> 01:04:36,800
Speaker 1: love with him, I married your gay father. We both

1141
01:04:36,800 --> 01:04:41,920
Speaker 1: needed a beard. But honey, you get it right, Like

1142
01:04:42,000 --> 01:04:46,760
Speaker 1: you saw the mustache. That's very implicit and not it

1143
01:04:46,840 --> 01:04:49,920
Speaker 1: is not explicit. I'm definitely deciding that that's the case.

1144
01:04:50,720 --> 01:04:53,440
Speaker 1: And and for a movie that takes place in the South,

1145
01:04:53,680 --> 01:04:58,320
Speaker 1: in race is not touched at all. Oh yes, it

1146
01:04:58,440 --> 01:05:00,840
Speaker 1: is a lot of strap. Actor of color got an

1147
01:05:00,840 --> 01:05:03,760
Speaker 1: extra day. Right, that's super nice. Yeah, there's a whole

1148
01:05:03,760 --> 01:05:06,960
Speaker 1: lot of background characters, and there are the only people

1149
01:05:07,000 --> 01:05:09,000
Speaker 1: of color who have lines are the help. One of

1150
01:05:09,000 --> 01:05:11,840
Speaker 1: the lines is I would be happy to pack your bags.

1151
01:05:12,880 --> 01:05:14,760
Speaker 1: And that are the only person of color that I

1152
01:05:14,760 --> 01:05:17,520
Speaker 1: know is who actually had a name. Was it was

1153
01:05:17,760 --> 01:05:21,160
Speaker 1: the servant in the house in the forties. So that's

1154
01:05:21,200 --> 01:05:23,320
Speaker 1: the only person of color with a name. Because there

1155
01:05:23,320 --> 01:05:26,720
Speaker 1: are two nurses that we see in the forward scenes

1156
01:05:26,800 --> 01:05:29,600
Speaker 1: with the old people over and over, there two women

1157
01:05:29,640 --> 01:05:33,960
Speaker 1: of color who worked the nursing horme horm that sounds

1158
01:05:34,000 --> 01:05:38,320
Speaker 1: like he would seem worse than using home. Oh boy,

1159
01:05:38,320 --> 01:05:42,640
Speaker 1: it's infectious, table basset, the whole Todd Lake can's beach.

1160
01:05:44,640 --> 01:05:47,320
Speaker 1: But there, uh, we see and we see these two

1161
01:05:47,400 --> 01:05:50,120
Speaker 1: characters for a lot of the movie. We see them

1162
01:05:50,120 --> 01:05:51,840
Speaker 1: in almost every scene that the old people are in.

1163
01:05:52,120 --> 01:05:54,840
Speaker 1: Never find out their names, nothing, nothing, And it's just

1164
01:05:54,960 --> 01:05:59,520
Speaker 1: it's that's just like careless, stupid, right, that's why it

1165
01:05:59,560 --> 01:06:02,680
Speaker 1: doesn't us the Bechtel test. Let's get one last thing

1166
01:06:02,720 --> 01:06:04,520
Speaker 1: I wanted to say is that, um, we've got some

1167
01:06:04,560 --> 01:06:07,880
Speaker 1: other tests to address. I wanted to just say that, um,

1168
01:06:08,080 --> 01:06:14,720
Speaker 1: as it relates to the character the people of color. Oh,

1169
01:06:14,960 --> 01:06:20,280
Speaker 1: hand over, baby, someone's got Bacton. Give it up for

1170
01:06:20,320 --> 01:06:26,240
Speaker 1: our first Bengo winner. Congratulations Betel Bengoway. What else do

1171
01:06:26,320 --> 01:06:28,400
Speaker 1: we have to talk about? So I wanted to finish

1172
01:06:28,400 --> 01:06:31,160
Speaker 1: my point about so the people of color in the movie.

1173
01:06:31,280 --> 01:06:34,440
Speaker 1: We were talking about the Bechtel tests, also the DuVernay test,

1174
01:06:34,840 --> 01:06:38,240
Speaker 1: which requires that people of color in the movie can't

1175
01:06:38,280 --> 01:06:40,800
Speaker 1: just be supporting the white characters in the movie. They

1176
01:06:40,880 --> 01:06:43,360
Speaker 1: have to have their own realized lives and stories and

1177
01:06:43,400 --> 01:06:45,360
Speaker 1: back stories and everything like that. So this movie doesn't

1178
01:06:46,840 --> 01:06:50,400
Speaker 1: every person of color is literally seen serving a white person.

1179
01:06:50,560 --> 01:06:54,080
Speaker 1: There is not, although we do see apparently I uh,

1180
01:06:54,200 --> 01:06:57,200
Speaker 1: Noah and his father have several black friends, because there's

1181
01:06:57,200 --> 01:07:00,400
Speaker 1: that scene where they're all dancing together. I don't It's like,

1182
01:07:00,560 --> 01:07:03,040
Speaker 1: I mean, we don't really don't know anything about them,

1183
01:07:03,320 --> 01:07:05,400
Speaker 1: and they're they don't have any lines. That's also just

1184
01:07:05,480 --> 01:07:08,520
Speaker 1: used to imply like those rich snobs, they they buy

1185
01:07:08,600 --> 01:07:11,680
Speaker 1: the black people, we play spoons with them. There's like,

1186
01:07:12,400 --> 01:07:15,560
Speaker 1: we would be remiss to not say that. Several times

1187
01:07:15,640 --> 01:07:21,400
Speaker 1: in the movie, James Marsden owns a cotton plantation, and

1188
01:07:21,680 --> 01:07:25,480
Speaker 1: you know, and everyone's like Oh cool, he's successful and

1189
01:07:25,560 --> 01:07:30,200
Speaker 1: it's like he's racist. There's no way around it. Okay,

1190
01:07:30,240 --> 01:07:33,120
Speaker 1: back to the Bechtel test. By the Bechtel cast version,

1191
01:07:33,320 --> 01:07:37,560
Speaker 1: it technically does, but you had a compelling argent. So

1192
01:07:37,600 --> 01:07:39,920
Speaker 1: I think that because we were talking about this before,

1193
01:07:39,960 --> 01:07:41,560
Speaker 1: and I think it. I think you had a really

1194
01:07:41,600 --> 01:07:43,680
Speaker 1: good point that it does come to a matter of

1195
01:07:43,960 --> 01:07:47,840
Speaker 1: subtext where our version of the Bechtel test requires two

1196
01:07:48,360 --> 01:07:52,640
Speaker 1: female identifying characters with names talking about something other than

1197
01:07:52,720 --> 01:07:57,040
Speaker 1: a man for two lines of dialect. But that gets

1198
01:07:57,080 --> 01:07:59,880
Speaker 1: and so so basically it's safe to say get tricky

1199
01:08:00,080 --> 01:08:02,480
Speaker 1: if you're at the point where it's that bar, if

1200
01:08:02,480 --> 01:08:06,560
Speaker 1: you're squeezing something under it, it doesn't fit. Okay, I

1201
01:08:07,200 --> 01:08:09,919
Speaker 1: because of the scene we were talking about. The subtext

1202
01:08:10,240 --> 01:08:12,840
Speaker 1: is so this scene that you could even use to

1203
01:08:12,920 --> 01:08:17,360
Speaker 1: suggest between Ali and her mom right after Ali and

1204
01:08:17,560 --> 01:08:21,720
Speaker 1: no Uh are out late, trying to fuck doesn't work out.

1205
01:08:22,320 --> 01:08:24,880
Speaker 1: So then her parents freak out because she's out late,

1206
01:08:25,400 --> 01:08:28,479
Speaker 1: and then they say we're leaving tomorrow and you're going

1207
01:08:28,520 --> 01:08:34,920
Speaker 1: to college. Great normal reaction. We're vacating the mansion because

1208
01:08:34,960 --> 01:08:40,880
Speaker 1: you got fingered one time. Very chill. So we see

1209
01:08:40,920 --> 01:08:42,840
Speaker 1: the scene with her and her mom the next day,

1210
01:08:42,880 --> 01:08:45,120
Speaker 1: and they do have several lines. I do have the

1211
01:08:45,200 --> 01:08:49,280
Speaker 1: actual lines dies it's in your novella. It's basically something

1212
01:08:49,400 --> 01:08:52,680
Speaker 1: to the effective. She's seen like cars getting packed up

1213
01:08:52,880 --> 01:08:54,840
Speaker 1: and she was like, what's going on? And her mom's like,

1214
01:08:55,080 --> 01:08:58,240
Speaker 1: we're leaving, and she's like, we're leaving now. She's like, yes,

1215
01:08:58,520 --> 01:09:01,320
Speaker 1: sit down and have some breakfast. Then Willow, I think

1216
01:09:01,320 --> 01:09:03,920
Speaker 1: it is we'll pack up your things. So that's where

1217
01:09:03,920 --> 01:09:06,880
Speaker 1: the argument comes in, is like they are not explicitly

1218
01:09:06,920 --> 01:09:10,600
Speaker 1: saying we're leaving now because you got fingered in a

1219
01:09:10,640 --> 01:09:15,120
Speaker 1: haunted house last night by a guy. But I do

1220
01:09:15,320 --> 01:09:17,559
Speaker 1: I do agree that that is the subtext of like,

1221
01:09:17,640 --> 01:09:20,599
Speaker 1: that's what's driving this whole scene, is the you know,

1222
01:09:20,760 --> 01:09:23,040
Speaker 1: I would even like, I don't know if it's subtext

1223
01:09:23,120 --> 01:09:25,760
Speaker 1: because to me, Alie's response it's like of like I'm

1224
01:09:25,760 --> 01:09:28,920
Speaker 1: not going anywhere, is like not because I like the

1225
01:09:28,960 --> 01:09:32,439
Speaker 1: seaside like I'm not leaving, like have you smelled this

1226
01:09:32,520 --> 01:09:35,720
Speaker 1: coastal air? It's because she wants she didn't get the

1227
01:09:35,760 --> 01:09:38,240
Speaker 1: sled down the pole. She wants to get another shot.

1228
01:09:38,280 --> 01:09:40,280
Speaker 1: But it The only other scenes with women who talk

1229
01:09:40,320 --> 01:09:42,439
Speaker 1: to each other are in the retirement home and it

1230
01:09:42,600 --> 01:09:45,760
Speaker 1: is uh, none of those nurses have names. None of

1231
01:09:45,760 --> 01:09:50,120
Speaker 1: those scenes are more than two lines anyway, with Joan Allen,

1232
01:09:50,640 --> 01:09:53,599
Speaker 1: Rachel the Cabs and Gina rollings in it. And you

1233
01:09:53,640 --> 01:09:56,920
Speaker 1: can't find a conversation for any of those actors that

1234
01:09:57,000 --> 01:09:59,559
Speaker 1: those actors could read the back of a Cheerios box,

1235
01:09:59,600 --> 01:10:02,760
Speaker 1: and I would right, well, okay, so I have a

1236
01:10:02,760 --> 01:10:05,839
Speaker 1: few more scenes that could pass, or they have women characters.

1237
01:10:05,840 --> 01:10:09,519
Speaker 1: And Ali talks to her friend Sarah a couple of

1238
01:10:09,560 --> 01:10:12,599
Speaker 1: different times, and one of the scenes, Sarah is telling

1239
01:10:12,600 --> 01:10:15,200
Speaker 1: Ali about Noah does not pass. God. That seems so

1240
01:10:15,240 --> 01:10:17,960
Speaker 1: annoying too, because Ali is like, isn't it so weird

1241
01:10:18,000 --> 01:10:20,080
Speaker 1: how he just threw him off at me? And she's like, no,

1242
01:10:21,000 --> 01:10:26,760
Speaker 1: that's like later on, whenever Noah shows up to the

1243
01:10:26,840 --> 01:10:30,519
Speaker 1: surprise date that he has orchestrated, Sarah goes, you remember Noah,

1244
01:10:30,640 --> 01:10:33,559
Speaker 1: don't you? And she's like, it doesn't pass. They talk

1245
01:10:33,640 --> 01:10:37,120
Speaker 1: about I mean a scene later on when they're like

1246
01:10:37,439 --> 01:10:41,880
Speaker 1: playing in a body of water birds. No bird birds

1247
01:10:41,880 --> 01:10:44,800
Speaker 1: are not present here. Um, there's there's a rope that

1248
01:10:44,840 --> 01:10:48,080
Speaker 1: they're all swinging from. Oh God, that scene is terrible.

1249
01:10:48,120 --> 01:10:50,720
Speaker 1: Sarah is like get in the water and she's like,

1250
01:10:50,840 --> 01:10:56,920
Speaker 1: I can't. Maybe passes. That is honestly the closest one yet,

1251
01:10:56,960 --> 01:10:59,759
Speaker 1: but I forgot about that scene Ryan Gosling, She's afraid

1252
01:10:59,760 --> 01:11:01,760
Speaker 1: to do muff the rope swing and Ryan Castling is

1253
01:11:01,800 --> 01:11:04,200
Speaker 1: just on the side like do it, go for it,

1254
01:11:04,320 --> 01:11:10,599
Speaker 1: get do it, go for it, baby, just try it, honey,

1255
01:11:10,720 --> 01:11:15,519
Speaker 1: you left. Get out the fucking water, I mean, drump baby.

1256
01:11:16,000 --> 01:11:20,879
Speaker 1: Other scenes where women interactor. Other scenes where women interact.

1257
01:11:21,000 --> 01:11:26,160
Speaker 1: Um Ali is chatting with her college friends about James Marsden.

1258
01:11:26,439 --> 01:11:28,160
Speaker 1: We do not know any other names, and they're talking

1259
01:11:28,200 --> 01:11:30,479
Speaker 1: about a man. Ali is in a group of women

1260
01:11:30,520 --> 01:11:34,000
Speaker 1: at her wedding dress fitting their squealing about the dress

1261
01:11:34,000 --> 01:11:35,559
Speaker 1: and the wedding but we do not know any of

1262
01:11:35,560 --> 01:11:40,880
Speaker 1: their names out and she's on the top half of

1263
01:11:40,920 --> 01:11:43,280
Speaker 1: the newspaper and then it flops down in port elis

1264
01:11:43,360 --> 01:11:47,160
Speaker 1: under the fold with the picture of poor man renovates

1265
01:11:47,160 --> 01:11:50,920
Speaker 1: haunted house. It's like rich girl getting married, poor boy

1266
01:11:51,040 --> 01:11:57,679
Speaker 1: does something. Question. Another another contender for passing the Bacte

1267
01:11:57,800 --> 01:12:03,200
Speaker 1: test is when old Ali meets all of her female relatives.

1268
01:12:03,520 --> 01:12:05,880
Speaker 1: Obviously they know she is, but she doesn't know who

1269
01:12:05,960 --> 01:12:08,080
Speaker 1: they are. It's all his like, those are the kids

1270
01:12:08,120 --> 01:12:10,639
Speaker 1: that they made in their relationship. I don't think like

1271
01:12:10,720 --> 01:12:13,720
Speaker 1: what's your name again counts when they're the literal if

1272
01:12:13,720 --> 01:12:17,200
Speaker 1: it was a character like someone else's family. IBE. That's

1273
01:12:17,240 --> 01:12:20,639
Speaker 1: me stretching, but like reintroducing yourself to your kids when

1274
01:12:20,640 --> 01:12:24,120
Speaker 1: you have dementia and your husband is right there, it's

1275
01:12:24,120 --> 01:12:28,960
Speaker 1: still kind of about your relationship in that case. And

1276
01:12:29,120 --> 01:12:31,760
Speaker 1: also I like, I think that God and I hate

1277
01:12:31,800 --> 01:12:34,040
Speaker 1: that we have to get so into the weeds of

1278
01:12:34,120 --> 01:12:37,559
Speaker 1: like what is a past? But the fact that even

1279
01:12:37,600 --> 01:12:40,599
Speaker 1: if the daughters in that scene do have names, which

1280
01:12:40,640 --> 01:12:43,839
Speaker 1: they believe they do, it some they don't. She doesn't

1281
01:12:43,880 --> 01:12:48,200
Speaker 1: know their names, so it can't pass if at least

1282
01:12:48,200 --> 01:12:52,000
Speaker 1: the women talking don't even know each other's name. So

1283
01:12:52,200 --> 01:12:54,160
Speaker 1: that I was like, that can't I think that's very

1284
01:12:54,200 --> 01:12:58,519
Speaker 1: ablest of you. But those kids only come in to

1285
01:12:58,600 --> 01:13:01,360
Speaker 1: be like dad, stop taking care of Mom, so they

1286
01:13:01,439 --> 01:13:06,719
Speaker 1: also only talk about their relationship. And also what hateful children?

1287
01:13:07,360 --> 01:13:11,040
Speaker 1: So we hate don't you hate how dad loves mom?

1288
01:13:11,360 --> 01:13:14,280
Speaker 1: I know they're terrible. I will say I'll give this

1289
01:13:14,360 --> 01:13:17,640
Speaker 1: movie credit as a film. It is very focused on

1290
01:13:17,720 --> 01:13:21,040
Speaker 1: telling one story that although we've criticized it's negative aspects,

1291
01:13:21,160 --> 01:13:23,560
Speaker 1: is very beautiful. It's a love story over the overtime,

1292
01:13:23,600 --> 01:13:26,720
Speaker 1: and it's it is just about the relationship of these

1293
01:13:26,760 --> 01:13:29,639
Speaker 1: two people. And in the movie, no one talks about

1294
01:13:29,680 --> 01:13:32,360
Speaker 1: anything else. So it's a weird movie to apply the

1295
01:13:32,360 --> 01:13:35,719
Speaker 1: test too, because no one has a conversation about anything else.

1296
01:13:35,840 --> 01:13:37,439
Speaker 1: It's not like two women in the movie would have

1297
01:13:37,479 --> 01:13:40,240
Speaker 1: an opportunity to be like, did you admire this silverspoon?

1298
01:13:40,360 --> 01:13:44,040
Speaker 1: It's detail is quite exceptional. They talk about nothing except

1299
01:13:44,040 --> 01:13:46,200
Speaker 1: for whether Ali and now we're gonna sunk forever. That

1300
01:13:46,320 --> 01:13:49,440
Speaker 1: is the sole focus of the film, an accomplishment in storytelling.

1301
01:13:49,479 --> 01:13:52,760
Speaker 1: It is a very focused, well crafted story with not

1302
01:13:52,840 --> 01:13:54,760
Speaker 1: a lot of fat to trim. Again, that scene with

1303
01:13:54,840 --> 01:13:57,719
Speaker 1: Martha after Ali shows up and war Widow comes cruising

1304
01:13:57,720 --> 01:14:00,160
Speaker 1: in knock knockdock, I brought you a pie. Wink winkly

1305
01:14:00,200 --> 01:14:02,080
Speaker 1: opens the door and it's like, come on in, let's chat.

1306
01:14:02,120 --> 01:14:04,439
Speaker 1: And again the next scene is like it's dark out.

1307
01:14:04,479 --> 01:14:07,000
Speaker 1: They just YadA, YadA through all that conversation. They don't

1308
01:14:07,000 --> 01:14:08,760
Speaker 1: talk about anything that isn't just the two of them.

1309
01:14:08,840 --> 01:14:11,800
Speaker 1: With that scene pass the backtel test, though he's right

1310
01:14:11,840 --> 01:14:14,760
Speaker 1: there and the context of their conversation is like, we

1311
01:14:14,880 --> 01:14:20,599
Speaker 1: both have kissed the same man. Sisters, let's take bread

1312
01:14:20,680 --> 01:14:25,160
Speaker 1: or whatever. Oh wait, oh, the bingo board has reminded

1313
01:14:25,200 --> 01:14:30,200
Speaker 1: me of something I wanted to talk that this movie. Originally,

1314
01:14:31,120 --> 01:14:36,760
Speaker 1: the Steve Bushemy test is basically just a framework that

1315
01:14:37,320 --> 01:14:40,960
Speaker 1: makes it so that because Ryan Gosling is the one,

1316
01:14:41,040 --> 01:14:44,639
Speaker 1: you know, Ryan Gosling, notorious Hollywood hunk, is the one

1317
01:14:44,720 --> 01:14:48,360
Speaker 1: displaying all the predatory behavior at the beginning of this movie,

1318
01:14:48,600 --> 01:14:52,200
Speaker 1: we're conditioned by movies to think that because he's so hot,

1319
01:14:52,800 --> 01:14:56,320
Speaker 1: it's okay. So the idea being if we sub out

1320
01:14:56,720 --> 01:15:03,479
Speaker 1: Gosling with Bushemy or just someone not considered Hollywood hot,

1321
01:15:04,080 --> 01:15:09,240
Speaker 1: it immediately registers as not okay. Where if bush Emmy

1322
01:15:09,360 --> 01:15:12,080
Speaker 1: shows up in the rain saying I wrote you every

1323
01:15:12,200 --> 01:15:15,800
Speaker 1: day for a year, you call the cops and it's like,

1324
01:15:16,280 --> 01:15:20,880
Speaker 1: not a question. So that's that's what that's what that is. Yeah, Yeah,

1325
01:15:21,040 --> 01:15:24,839
Speaker 1: that's alarmingly true in this film. Yeah, if you subot

1326
01:15:24,960 --> 01:15:28,080
Speaker 1: it flies because they're like both hotties, anyone who's not

1327
01:15:28,360 --> 01:15:30,520
Speaker 1: right if you and if you sub ut Rachel McAdams

1328
01:15:30,520 --> 01:15:33,759
Speaker 1: with someone who's not alarmingly hot and she's just hitting

1329
01:15:33,840 --> 01:15:37,360
Speaker 1: Ryan Gosling. You're like, no, this is but I feel like,

1330
01:15:37,479 --> 01:15:40,320
Speaker 1: especially when this movie came out, probably that behavior on

1331
01:15:40,400 --> 01:15:43,120
Speaker 1: her part barely registered. It didn't register for me at all.

1332
01:15:43,160 --> 01:15:46,280
Speaker 1: I forgot that she was hitting him all the time

1333
01:15:46,320 --> 01:15:49,080
Speaker 1: they were teenagers. You know, I just accurred to me,

1334
01:15:49,240 --> 01:15:52,479
Speaker 1: what's kind of beautiful about being unconventionally attractive is that

1335
01:15:52,840 --> 01:15:55,160
Speaker 1: even if you're rich. Report if you fell in love

1336
01:15:55,160 --> 01:15:58,240
Speaker 1: at seventeen as an if you're a bush Emmy and

1337
01:15:58,240 --> 01:16:01,120
Speaker 1: a lady bush Emmy and you eat each other, oh yeah,

1338
01:16:02,880 --> 01:16:05,280
Speaker 1: deeply love and you come back to your mother and

1339
01:16:05,320 --> 01:16:08,120
Speaker 1: father like tooth jutting out over your lower lip. No,

1340
01:16:08,280 --> 01:16:11,360
Speaker 1: his hair visible, whatever your problems are, Like, daddy, I

1341
01:16:11,400 --> 01:16:14,840
Speaker 1: found love like you don't. Yeah, congratulations, we don't give

1342
01:16:14,840 --> 01:16:16,320
Speaker 1: a ship. If he works at the lumber yard. This

1343
01:16:16,400 --> 01:16:21,200
Speaker 1: is the best. He's a rock hormp on his back.

1344
01:16:21,320 --> 01:16:23,840
Speaker 1: He's just got like you know, he's bald but wrong.

1345
01:16:23,920 --> 01:16:26,000
Speaker 1: It's just on the sides and not on the top

1346
01:16:26,120 --> 01:16:29,160
Speaker 1: like you know, just like whatever, I'm so glad you

1347
01:16:29,200 --> 01:16:32,280
Speaker 1: love our beaver tooth daughter. Congratulations. I'm gonna buy you

1348
01:16:32,360 --> 01:16:35,960
Speaker 1: that mansion and restore with your huge hands. I do

1349
01:16:36,040 --> 01:16:40,320
Speaker 1: want to pitch to our certainly all industry audience. UH

1350
01:16:39,960 --> 01:16:47,160
Speaker 1: My new film Lady bush Emmy, directed by Credit coming

1351
01:16:47,160 --> 01:16:53,840
Speaker 1: of It's a companion to my famous uh Tony Dance,

1352
01:16:53,840 --> 01:16:58,040
Speaker 1: A biopic Tony also coming out in the coming year,

1353
01:16:58,160 --> 01:17:00,720
Speaker 1: so check out. I'm gonna take these movies led by

1354
01:17:00,840 --> 01:17:04,360
Speaker 1: women and replace them by man. I do want to

1355
01:17:04,400 --> 01:17:10,439
Speaker 1: see Tony Dance land a triple axel, Tony spot haircut.

1356
01:17:11,479 --> 01:17:15,400
Speaker 1: Everything else is the same, but it's Tony Dancing. Shall

1357
01:17:15,439 --> 01:17:18,559
Speaker 1: we rate the movie on our nipple scale? So we

1358
01:17:18,600 --> 01:17:20,439
Speaker 1: have a nipple scale, will rewrite the movie based on

1359
01:17:20,479 --> 01:17:24,360
Speaker 1: its portrayal of women a zero to five nipples. This

1360
01:17:24,400 --> 01:17:27,000
Speaker 1: is gonna be tricky for me because, aside from the

1361
01:17:27,040 --> 01:17:31,120
Speaker 1: first fifteen minutes, which are very problematic and very irresponsible

1362
01:17:31,120 --> 01:17:33,880
Speaker 1: in the way that they depict like a budding romance,

1363
01:17:34,520 --> 01:17:36,840
Speaker 1: the rest of the movie I don't think does that

1364
01:17:37,120 --> 01:17:41,680
Speaker 1: badly in depicting a romance. I think I want to

1365
01:17:41,680 --> 01:17:46,519
Speaker 1: give it two and a half nipples. I mean between

1366
01:17:46,600 --> 01:17:51,200
Speaker 1: like the like noticeable lack of toxic masculinity. Again, aside

1367
01:17:51,200 --> 01:17:52,960
Speaker 1: from the first fifteen minutes in the movie, the way

1368
01:17:53,000 --> 01:17:57,360
Speaker 1: that you depict Noah in his dad relationship and other

1369
01:17:57,760 --> 01:18:00,360
Speaker 1: male characters. I mean, why am I giving credit to them?

1370
01:18:00,360 --> 01:18:06,320
Speaker 1: This is not what this podcast is about. I guess

1371
01:18:06,520 --> 01:18:11,960
Speaker 1: Ali is a character I appreciate. She's generally pretty well developed.

1372
01:18:12,000 --> 01:18:15,720
Speaker 1: I think, um, she doesn't fall into a lot of

1373
01:18:15,760 --> 01:18:19,880
Speaker 1: tropes that you see in romantic stories. Some of them, yes,

1374
01:18:19,920 --> 01:18:23,000
Speaker 1: but overall, I think she's like pretty dynamic. I mean,

1375
01:18:23,160 --> 01:18:25,920
Speaker 1: she's one of two main characters. She's helping to drive

1376
01:18:25,960 --> 01:18:29,200
Speaker 1: the story, she's making choices, she has agency. But you know,

1377
01:18:29,280 --> 01:18:31,000
Speaker 1: the movie is not perfect for all the reasons. So

1378
01:18:31,040 --> 01:18:33,479
Speaker 1: we've already discussed. So Yeah, I'm gonna two and a

1379
01:18:33,479 --> 01:18:36,880
Speaker 1: half nipples. One of them goes to Ryan Gosling's nipple

1380
01:18:37,080 --> 01:18:39,599
Speaker 1: that is exposed in the movie. That is the only

1381
01:18:39,680 --> 01:18:42,640
Speaker 1: nipp we get right. One of them I'm going to

1382
01:18:42,760 --> 01:18:50,559
Speaker 1: give to Fabrizio from Titanic. Uh. And the half nipple

1383
01:18:51,040 --> 01:18:56,000
Speaker 1: I'll give to gay Mustache Daddy's mustache sick. Yeah, let's

1384
01:18:56,000 --> 01:18:58,479
Speaker 1: give a mustache. That's actually very forward thinking of you.

1385
01:18:58,640 --> 01:19:03,560
Speaker 1: I would accept a glass of milk from the mustache netball. Yeah,

1386
01:19:03,920 --> 01:19:05,960
Speaker 1: I'll give it two and a half as well, for

1387
01:19:06,000 --> 01:19:08,920
Speaker 1: all the reasons you stated, I think that the other

1388
01:19:09,040 --> 01:19:11,720
Speaker 1: female characters we see in this movie, even the ones

1389
01:19:11,760 --> 01:19:16,719
Speaker 1: that are better developed, like Ali's mom and like Martha,

1390
01:19:16,880 --> 01:19:19,479
Speaker 1: are really I mean, and again it's kind of like

1391
01:19:19,479 --> 01:19:22,479
Speaker 1: what you're saying, Caitlin Gil that it is because it's

1392
01:19:22,520 --> 01:19:25,400
Speaker 1: just such a focused story that there's not really a

1393
01:19:25,479 --> 01:19:28,200
Speaker 1: b plot at all. The b plot is the main

1394
01:19:28,320 --> 01:19:31,720
Speaker 1: characters but older like Finn, who's there to set him

1395
01:19:31,760 --> 01:19:34,679
Speaker 1: up on a date once, and then Diana war Let's

1396
01:19:34,720 --> 01:19:39,080
Speaker 1: the entire that was his entire orbit to pretty embarrassing

1397
01:19:40,120 --> 01:19:42,800
Speaker 1: set people up on a date one time later killed

1398
01:19:42,800 --> 01:19:48,400
Speaker 1: in World War two. Uh. But like, I think that

1399
01:19:48,439 --> 01:19:51,360
Speaker 1: there's little things this movie and the story could have

1400
01:19:51,439 --> 01:19:55,000
Speaker 1: done more to better services female characters, such as not

1401
01:19:55,120 --> 01:19:59,000
Speaker 1: having the best friend only say like you shouldn't go

1402
01:19:59,080 --> 01:20:01,599
Speaker 1: with that guy who is threatening to kill himself if

1403
01:20:01,640 --> 01:20:03,880
Speaker 1: you don't go on a date with him. The mom beat,

1404
01:20:04,080 --> 01:20:07,479
Speaker 1: even though I didn't totally dislike that scene where it's like,

1405
01:20:07,479 --> 01:20:09,599
Speaker 1: at least we get a scene understanding where the mom's

1406
01:20:09,640 --> 01:20:12,640
Speaker 1: coming from and she's not just totally villainized, but the

1407
01:20:12,680 --> 01:20:14,760
Speaker 1: fact that it was just like I sucked a poor

1408
01:20:14,800 --> 01:20:17,759
Speaker 1: person ones to a big mistake, but what a great

1409
01:20:18,240 --> 01:20:21,360
Speaker 1: dick like there that this is weird and I also

1410
01:20:21,400 --> 01:20:23,479
Speaker 1: really don't like how the women of color in this

1411
01:20:23,520 --> 01:20:27,000
Speaker 1: movie are treated where there, I mean, every woman of

1412
01:20:27,040 --> 01:20:30,160
Speaker 1: color in this film is in a service position and

1413
01:20:30,240 --> 01:20:32,880
Speaker 1: only one of them is given a name, and that

1414
01:20:33,000 --> 01:20:36,479
Speaker 1: is annoying, especially considering that this movie takes place in

1415
01:20:36,479 --> 01:20:38,799
Speaker 1: the South, and it's just like it's just this weird,

1416
01:20:38,920 --> 01:20:41,880
Speaker 1: bizarre blind spot where it's okay, like it's like this

1417
01:20:41,880 --> 01:20:44,280
Speaker 1: movie doesn't have to be about race, but it's like,

1418
01:20:44,720 --> 01:20:47,840
Speaker 1: you know, give your characters a name, give them something

1419
01:20:47,880 --> 01:20:51,400
Speaker 1: to do, give them, you know. So for for that reason,

1420
01:20:51,760 --> 01:20:53,760
Speaker 1: I'm gonna give it two and a half and give

1421
01:20:53,880 --> 01:20:56,360
Speaker 1: one nipple to Alley because I do like her. She

1422
01:20:56,479 --> 01:20:59,200
Speaker 1: goes on a you know journey. She for a rich girl.

1423
01:20:59,200 --> 01:21:01,559
Speaker 1: I don't want to killer, I guess. So that's good,

1424
01:21:01,920 --> 01:21:05,960
Speaker 1: that's honestly, that's true. That is a solid point. One

1425
01:21:06,040 --> 01:21:09,960
Speaker 1: nipple to Ali. I'll give one nipple to James Marsden,

1426
01:21:10,360 --> 01:21:15,120
Speaker 1: who like feminist icon James Marsden in this movie, and

1427
01:21:15,160 --> 01:21:19,639
Speaker 1: then I will give a half nipple to the wonderful

1428
01:21:19,760 --> 01:21:25,080
Speaker 1: nurse who's constantly restraining old dementia Ali, whose name we

1429
01:21:25,160 --> 01:21:27,639
Speaker 1: never get to learn, even though she has to discover

1430
01:21:27,720 --> 01:21:30,960
Speaker 1: them dead not fair anyways. So that's those are who

1431
01:21:30,960 --> 01:21:33,439
Speaker 1: I give my nipples to come with you. I'm gonna

1432
01:21:33,840 --> 01:21:38,160
Speaker 1: give it to because I am frustrated by something I

1433
01:21:38,160 --> 01:21:40,280
Speaker 1: didn't see but felt implied, and you had such great

1434
01:21:40,280 --> 01:21:42,600
Speaker 1: actresses there would I like to feel this totally in

1435
01:21:42,600 --> 01:21:45,519
Speaker 1: the movie even two in two thousand four. So much

1436
01:21:45,760 --> 01:21:49,439
Speaker 1: of Ali's choice in the film is between you know,

1437
01:21:49,520 --> 01:21:51,880
Speaker 1: her heart and her common sense, sort of like, she

1438
01:21:52,000 --> 01:21:55,200
Speaker 1: has this uncertain but passionate relationship with this guy who

1439
01:21:55,200 --> 01:21:58,000
Speaker 1: built a house for her and a very steady relationship

1440
01:21:58,040 --> 01:22:01,680
Speaker 1: with a guy who's literally named lon uh Like. By

1441
01:22:01,680 --> 01:22:05,120
Speaker 1: the time she has to make that choice, I as

1442
01:22:05,160 --> 01:22:10,160
Speaker 1: a film watcher, only feel the tension of those two relationships,

1443
01:22:10,200 --> 01:22:13,240
Speaker 1: when in reality that character is in a much like

1444
01:22:13,400 --> 01:22:16,200
Speaker 1: a larger context of her family and then the context

1445
01:22:16,479 --> 01:22:18,599
Speaker 1: of the stupid world we live in, where a lot

1446
01:22:18,640 --> 01:22:21,040
Speaker 1: of her choices aren't about her harder her head. It

1447
01:22:21,160 --> 01:22:24,880
Speaker 1: is circumstance that, like Allie's parents do have a complicated

1448
01:22:24,960 --> 01:22:28,519
Speaker 1: choice to make. Realistically, they're not crazy for thinking their

1449
01:22:28,560 --> 01:22:32,320
Speaker 1: daughters shouldn't be in this impulsive romance, both for circumstance

1450
01:22:32,320 --> 01:22:35,920
Speaker 1: and other reasons, and her mom, especially like waiting until

1451
01:22:35,960 --> 01:22:38,200
Speaker 1: that scene where mom takes daughter to go look at

1452
01:22:38,200 --> 01:22:40,840
Speaker 1: the dude she used to fuck, to reveal like the

1453
01:22:40,840 --> 01:22:43,439
Speaker 1: complexities of the heart there These are women trapped by

1454
01:22:43,520 --> 01:22:45,400
Speaker 1: choices that aren't made by the men that they're in

1455
01:22:45,479 --> 01:22:49,120
Speaker 1: relationships with. Like everyone is kind of stuck here, Gay Mustache,

1456
01:22:49,200 --> 01:22:51,200
Speaker 1: Daddie campy out he asked to marry Joan Allen, Like

1457
01:22:51,280 --> 01:22:54,800
Speaker 1: everybody's got a circumstance binding them. And I wish when

1458
01:22:54,880 --> 01:22:57,080
Speaker 1: it got to Alie's choice between these two boys that

1459
01:22:57,160 --> 01:22:59,880
Speaker 1: she gets to funk forever or whatever. I wish I

1460
01:23:00,000 --> 01:23:03,559
Speaker 1: didn't feel any of that weight. There's no greater social

1461
01:23:03,680 --> 01:23:05,640
Speaker 1: Like you know, he yells at her, like forget what

1462
01:23:05,720 --> 01:23:08,599
Speaker 1: other people want? What do you want? And we're supposed

1463
01:23:08,600 --> 01:23:11,960
Speaker 1: to think that's romantic, But like, like I guess the

1464
01:23:12,040 --> 01:23:14,919
Speaker 1: answer comes into a book about feminism in the sixties.

1465
01:23:15,000 --> 01:23:16,920
Speaker 1: Like what she wants is to not have her only

1466
01:23:17,120 --> 01:23:20,360
Speaker 1: choices be which guy to marry. Like what's not on

1467
01:23:20,479 --> 01:23:23,280
Speaker 1: the table is like going to college, not to find

1468
01:23:23,320 --> 01:23:25,640
Speaker 1: a husband, but like maybe learn something you want to do.

1469
01:23:25,800 --> 01:23:28,400
Speaker 1: What's not on the table is like wearing pants, Like,

1470
01:23:28,840 --> 01:23:31,080
Speaker 1: you know, there's so many things she doesn't get to do.

1471
01:23:31,400 --> 01:23:33,560
Speaker 1: I'm pretty sure she majors in English too, because the

1472
01:23:33,640 --> 01:23:36,840
Speaker 1: one scene we see her in college, the professor is

1473
01:23:37,000 --> 01:23:40,240
Speaker 1: talking about Walt Whitman. Hey, do you think Nicholas Sparks

1474
01:23:40,360 --> 01:23:44,479
Speaker 1: likes Walt Whitman. I wonder. I feel like Nicholas Sparks

1475
01:23:44,640 --> 01:23:47,880
Speaker 1: and like Mitch Album have this time share together where

1476
01:23:47,960 --> 01:23:52,400
Speaker 1: they just like jerk off for like a week every year,

1477
01:23:52,560 --> 01:23:54,120
Speaker 1: and at the end they're like, it's a book. We

1478
01:23:54,240 --> 01:23:59,519
Speaker 1: did it, the five notebook. The five notebooks, you mean,

1479
01:23:59,640 --> 01:24:05,960
Speaker 1: and so those are I I wish that that there

1480
01:24:06,000 --> 01:24:07,840
Speaker 1: had been a little bit more influence to that greater choice,

1481
01:24:07,840 --> 01:24:10,200
Speaker 1: because it better understands Mom's choice to hide the letters

1482
01:24:10,240 --> 01:24:13,400
Speaker 1: and not marry the hunk. Like for such a closed story,

1483
01:24:13,720 --> 01:24:15,599
Speaker 1: I wish a little bit more of the world had

1484
01:24:15,640 --> 01:24:17,920
Speaker 1: pushed its way in, because I think that's that would

1485
01:24:17,960 --> 01:24:20,639
Speaker 1: have made this character of Adlie more real, and Rachel

1486
01:24:20,720 --> 01:24:23,720
Speaker 1: McAdams is certainly capable of giving you a character with

1487
01:24:23,920 --> 01:24:27,040
Speaker 1: more sales. Joan Allen, there was just something missing from

1488
01:24:27,080 --> 01:24:29,160
Speaker 1: the women because all their choices were only about men,

1489
01:24:29,240 --> 01:24:31,040
Speaker 1: and I guess that's implied. Yeah, they don't get to

1490
01:24:31,080 --> 01:24:33,600
Speaker 1: make choices about anything else. There's no pain from that.

1491
01:24:33,680 --> 01:24:35,559
Speaker 1: There's no weight from that in the film, and are

1492
01:24:35,600 --> 01:24:38,960
Speaker 1: literally birds flying away like so it's hard. I those

1493
01:24:38,960 --> 01:24:40,840
Speaker 1: are That's why I can't give it that extra half nipple.

1494
01:24:40,880 --> 01:24:42,360
Speaker 1: And that's why even though I love love and I

1495
01:24:42,400 --> 01:24:44,439
Speaker 1: think it's beautiful that you want to be in love forever,

1496
01:24:44,600 --> 01:24:46,840
Speaker 1: and I think love is hard work and relationships are tough.

1497
01:24:46,880 --> 01:24:49,040
Speaker 1: And it takes two devoted people who are passionate not

1498
01:24:49,120 --> 01:24:51,599
Speaker 1: just about each other but about their relationship to actually

1499
01:24:51,680 --> 01:24:55,759
Speaker 1: die in a hospital gurney together like that's really beautiful.

1500
01:24:55,880 --> 01:24:57,760
Speaker 1: And I said, don't think it's crazy for women and

1501
01:24:57,960 --> 01:25:01,840
Speaker 1: men to want that. I'm not inherent like monomies whatever.

1502
01:25:01,920 --> 01:25:04,120
Speaker 1: But if it's what you want, do it. Do it

1503
01:25:04,320 --> 01:25:06,479
Speaker 1: for real? Do it like that, be birds together. But

1504
01:25:06,920 --> 01:25:09,240
Speaker 1: there's so much more that goes into that choice, especially

1505
01:25:09,320 --> 01:25:11,760
Speaker 1: in those circumstances for that character. So two nipples and

1506
01:25:11,800 --> 01:25:15,720
Speaker 1: they go on either side of the ferris wheel, beautiful

1507
01:25:15,760 --> 01:25:19,439
Speaker 1: symmetry and and to the but I think that that

1508
01:25:20,160 --> 01:25:23,719
Speaker 1: is also possibly because it is a love story written

1509
01:25:23,800 --> 01:25:27,040
Speaker 1: by a man, that those that those points aren't addressed.

1510
01:25:27,120 --> 01:25:29,720
Speaker 1: It's like, uh, And the point of view character is

1511
01:25:30,000 --> 01:25:34,080
Speaker 1: Ryan Gosling. He's pretty much the protagonist this old time

1512
01:25:34,080 --> 01:25:36,240
Speaker 1: I was arguing. I was like, Oh, is Ryan Gosling

1513
01:25:36,320 --> 01:25:40,040
Speaker 1: man splaining Rachel McAdams's own life story to her the

1514
01:25:40,080 --> 01:25:43,599
Speaker 1: whole movie? But I thought it was her. Nope, bug

1515
01:25:45,320 --> 01:25:47,599
Speaker 1: the story that we talked about, where you just mastered

1516
01:25:47,640 --> 01:25:49,880
Speaker 1: her handwriting and wrote the whole thing, and then you

1517
01:25:49,960 --> 01:25:52,439
Speaker 1: were an idiot. You yelled at me, But I stuck

1518
01:25:52,520 --> 01:25:54,720
Speaker 1: with you anyway, and forgetful old late it's like the

1519
01:25:54,840 --> 01:25:59,880
Speaker 1: end of that love Rachel mcado. There's the same where

1520
01:26:00,040 --> 01:26:02,840
Speaker 1: he's looking through a photo album of like their life together,

1521
01:26:02,920 --> 01:26:06,960
Speaker 1: and it's pictures of young James Garner instead of Ryan

1522
01:26:07,040 --> 01:26:12,040
Speaker 1: Gosling and Rachel mc adams. It's nothing like Rachel McAdams.

1523
01:26:12,640 --> 01:26:15,400
Speaker 1: I'm like, like Michael Jackson, black and white fade out

1524
01:26:15,439 --> 01:26:19,439
Speaker 1: of their faces, becoming one, like this is another thing

1525
01:26:19,560 --> 01:26:22,719
Speaker 1: stolen from Titanic. The Titanic at least tries to photos

1526
01:26:22,720 --> 01:26:25,960
Speaker 1: shop this real, real hack job in the notebook of

1527
01:26:26,040 --> 01:26:28,840
Speaker 1: two people we've never seen before, and then he's just like, oh,

1528
01:26:28,960 --> 01:26:30,920
Speaker 1: this is nice, Like who are these people? I do

1529
01:26:31,040 --> 01:26:33,439
Speaker 1: feel like that's fan service for all the grandma's watching

1530
01:26:33,479 --> 01:26:34,880
Speaker 1: it with a thirteen year old on t and t

1531
01:26:34,920 --> 01:26:36,479
Speaker 1: you've been the whole time, like they've had to watch

1532
01:26:36,600 --> 01:26:39,640
Speaker 1: James Garner. They're sex symbol there, Ryan Gosling in an

1533
01:26:39,680 --> 01:26:42,720
Speaker 1: old folks home taking his button down off to be

1534
01:26:42,840 --> 01:26:44,920
Speaker 1: in the doctor and this wife beater and he's got

1535
01:26:45,000 --> 01:26:47,080
Speaker 1: this like, oh, at one point, I'll make this very quickly.

1536
01:26:47,080 --> 01:26:48,800
Speaker 1: I'm glad old people got to be sexy in this movie.

1537
01:26:49,560 --> 01:26:51,360
Speaker 1: Sexy old people. I think sex when year old is passionate,

1538
01:26:51,400 --> 01:26:53,080
Speaker 1: beautiful and so great. And I hate it when movies

1539
01:26:53,080 --> 01:26:54,639
Speaker 1: act like it's gross. And I thought that was really

1540
01:26:54,680 --> 01:26:56,960
Speaker 1: sweetly handled. She wakes up from her dementially dance for

1541
01:26:57,000 --> 01:26:59,439
Speaker 1: a minute. It's fair romantic. I like giving little people

1542
01:26:59,439 --> 01:27:01,439
Speaker 1: credit that they the rock hard because they boned down.

1543
01:27:03,720 --> 01:27:06,639
Speaker 1: Where the places where vinegregal diseases are spreading the fastest

1544
01:27:06,720 --> 01:27:09,320
Speaker 1: is nursing homes. Yeah, my grandma is was the horny

1545
01:27:09,880 --> 01:27:15,000
Speaker 1: cheefe rests ground, horny ist American woman I've ever met

1546
01:27:15,040 --> 01:27:20,920
Speaker 1: in my life. Hey, thanks for coming to our show.

1547
01:27:23,520 --> 01:27:25,920
Speaker 1: Thank you Caitlyn gil for being our guest. Thank you

1548
01:27:26,080 --> 01:27:28,960
Speaker 1: Caitlin and Jamie for having me. Thanks for coming, and

1549
01:27:29,160 --> 01:27:29,760
Speaker 1: good sail.