WEBVTT - The Notebook with Caitlin Gill

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<v Speaker 1>On the bed cast, the questions asked if movies have

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<v Speaker 1>women in them, are all their discussions just boyfriends and husbands,

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<v Speaker 1>or do they have individualism? The patriarchy, Zef and Vast

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<v Speaker 1>start changing it with the beck Del cast. Welcome, thank

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<v Speaker 1>you for drumming. Hi Jamie, hiy. So let's start by

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<v Speaker 1>saying again, thank you for coming to the live show.

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<v Speaker 1>We're talking about the notebook. You have been given Bechtel

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<v Speaker 1>cast bingo board cards, but we can't say boards, bingo boards,

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<v Speaker 1>bingo boards. I keep bingo board. I had this whole

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<v Speaker 1>plan where I was gonna keep saying bingo board moment.

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<v Speaker 1>Oh just in now, but also in the future. I

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<v Speaker 1>was like, I think we're gonna have all these bingo

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<v Speaker 1>board moments when we're like together, we for sure will, right. Okay,

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<v Speaker 1>So you got bingo boards, so we're gonna be talking

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<v Speaker 1>for a while, and if we say anything, you've got

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<v Speaker 1>your boards, You've got your writing utensils. The first person too,

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<v Speaker 1>I guess the rules of Bengo is a diagonal, horizontal

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<v Speaker 1>or vertical five in a row yellow Bechtel. That was

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<v Speaker 1>Aristotle's idea, and now everyone can find it on your board.

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<v Speaker 1>So yeah, I mean get great. We between Kalen and I,

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<v Speaker 1>we have about twenty five thoughts that go on a

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<v Speaker 1>loop and they're all on that Bengo board. So so

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<v Speaker 1>the winner will get a prize. UM. Shout out to

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<v Speaker 1>our fan at Danny Cavalier, who created the Spectel Bingo board,

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<v Speaker 1>so thank you. It was utilizing it. Yeah, and then

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<v Speaker 1>he was like, to prove the concept. I've really listened

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<v Speaker 1>to twelve episodes and lost Bengo at all of them. So,

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<v Speaker 1>but you guys are gonna win. Someone's gonna win anyway.

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<v Speaker 1>But around up the plus, has everybody here seen you?

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<v Speaker 1>Give it up? If you've seen the notebook? All right,

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<v Speaker 1>we've got some horny people in the audience. I like it.

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<v Speaker 1>Clap it up. If you have not seen the notebook,

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<v Speaker 1>don't be ashamed. Okay, so we've got a few people. Okay, cool,

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<v Speaker 1>We've got a lot to talk about. If you haven't

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<v Speaker 1>seen the notebook, we will, I mean, Caitlin is extremely

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<v Speaker 1>good at recapping things, so we will. We will guide

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<v Speaker 1>you through it, and we're gonna have We're gonna have

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<v Speaker 1>a killer time. I'm so excited for our guest too. Yes,

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<v Speaker 1>let's figure out. Yeah, she's a comedian. You know her

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<v Speaker 1>from our Butch Cassidy and the Sundance Kid episode all right,

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<v Speaker 1>and she wrote for the upcoming Misfits and Monsters. It's

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<v Speaker 1>going to be coming out on True TV. Give it

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<v Speaker 1>up for Caitlin gil Okay again to Caitlin's in one stage.

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<v Speaker 1>I don't know how similar our voices are, but I

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<v Speaker 1>am Caitlin Gil yes, and I am Caitlin Drante. We

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<v Speaker 1>forgot to introduce ourselves. Oh I'm little Jamie. I just

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<v Speaker 1>show up to I'm Skatelin Guilt the roller skate and

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<v Speaker 1>Grandma you'd like to fuck right love it? Oh my gosh,

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<v Speaker 1>I okay. First of all, I'm looking over your shoulder,

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<v Speaker 1>Kitlin uh Durante, Oh god, okay, looking over your shoulder,

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<v Speaker 1>Caitlin Durante, as I always am. And you've got how

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<v Speaker 1>many pages of notes today? Seven? Seven? And I'm sorry

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<v Speaker 1>I say that's a full note book. Good night, everybody,

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<v Speaker 1>Thank you very much, thank you. And that was a

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<v Speaker 1>full discussion. Eleven point font what's you're saying at one

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<v Speaker 1>point five one? Baby margins are slim? Caitlin's got a

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<v Speaker 1>lot of thoughts on this. I have exactly I don't.

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<v Speaker 1>I don't want to give you a bingo board moment whatever.

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<v Speaker 1>First of all, a man just yelled do it to me.

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<v Speaker 1>I'll gonna come up. No, Okay, I did. For all

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<v Speaker 1>you bingo borders out there, I did watch this movie

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<v Speaker 1>this morning, and I have exactly eight bullet points. I

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<v Speaker 1>got out a bottle of water, but I peeled the

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<v Speaker 1>label off so I knew which one was mine. That's

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<v Speaker 1>how prepared I am. That's not true very much. Degrees

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<v Speaker 1>of prepared a fast spectrum of preparedness. I watched the

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<v Speaker 1>movie three times, so for the podcast, let's clarify you

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<v Speaker 1>have seen it many times independently, only a couple before this. Okay,

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<v Speaker 1>don't don't. That's freeing, that's feude, fude in fud. We're

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<v Speaker 1>just giving them away and borne al from Milena. Okay,

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<v Speaker 1>I will just get it out at the top. Alfam

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<v Speaker 1>Billina in this movie could have played Rachel mcadam's twirly

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<v Speaker 1>mustache Dad for sure. For sure, because the mother is

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<v Speaker 1>a big character and we'll talk about her a lot,

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<v Speaker 1>But twirly mustache Dad. Isn't it for like three seconds

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<v Speaker 1>that he's always just like doing a twirly he's like,

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<v Speaker 1>you know, talking to a pool boy. I see, that's

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<v Speaker 1>like all he does. Like there's one and where he

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<v Speaker 1>talks to a poor man in another scene where he

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<v Speaker 1>talks to the sandwich with like crayfish on, it doesn't

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<v Speaker 1>pass the Backtel tests. If a guy with a twirly

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<v Speaker 1>mustache talks to a sandwich. I suggest we revised the rules.

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<v Speaker 1>What does that mustache smell like? I'm speaking of the

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<v Speaker 1>Bechtel test. I wonder, just out of curiosity, is there

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<v Speaker 1>anyone who has never listened to an episode of the

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<v Speaker 1>Bechtel Cast and are therefore very confused by everything that's

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<v Speaker 1>happened so far. Don't be afraid. They're nice. Oh we've

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<v Speaker 1>got a little hand. Okay, what if you really had

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<v Speaker 1>a little party. He's got a regular size hand? Thank you? Did?

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<v Speaker 1>Did someone bring you hi? Okay? Well, welcome, welcome. So

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<v Speaker 1>we will define the Bechtel Cast for you and you alone.

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<v Speaker 1>The best is fluid, beautiful, gorgeous. And the test does

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<v Speaker 1>have several interpretations. We use a very specific one. Yes,

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<v Speaker 1>the Bechtel test applied to for our sake movies. It

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<v Speaker 1>requires that there are two women who have names. Their

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<v Speaker 1>characters have names. They speak to each other, and their

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<v Speaker 1>conversation cannot be about a man. That is the test.

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<v Speaker 1>The Bechtel cast, we that's are sort of jumping off point.

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<v Speaker 1>We talk about the portrayal of women in movies, one

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<v Speaker 1>movie at a time. I do think it's funny that

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<v Speaker 1>sometimes people are like, oh, yeah, that's just the podcast

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<v Speaker 1>where you decide, Like, do you think we take an

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<v Speaker 1>hour deciding if one conversation takes tonight? I feel like

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<v Speaker 1>we could though. We Yeah, because we started a pre debate.

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<v Speaker 1>We did. We warmed up. Yeah. I asked whether or

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<v Speaker 1>not you guys think the notebook passes the test, and

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<v Speaker 1>we will, Well, well let's save it. Save it talking

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<v Speaker 1>away a twist, I do. As soon as I started

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<v Speaker 1>this segue, I was like, these two have a plan,

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<v Speaker 1>and I am like trying to be at the hot

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<v Speaker 1>shot guest all like, hey, guys, how about a guide

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<v Speaker 1>our conversation a little bit. You have seven pages of

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<v Speaker 1>eleven font note with slim. Margree basically brought a manifesto,

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<v Speaker 1>and I'm here like, why don't I throw out a

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<v Speaker 1>pitch for a topic. You've got this covered, We'll get there.

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<v Speaker 1>I think that, Yeah, you're the UNI Bomber. I'm the

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<v Speaker 1>UNI Bomber's friend. He didn't have any UNA. I know

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<v Speaker 1>that doesn't mean one. I just wanted it to mean one.

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<v Speaker 1>It means university Bomber because that's where he started. He

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<v Speaker 1>was ruined in a university. Anyway, don't I get a

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<v Speaker 1>university shout out to Kazynski. I have a Kazynski sweatshirt.

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<v Speaker 1>I was robbed of a Bechtel Bingo board moment when

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<v Speaker 1>I said speaking universities, take it home. To have a

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<v Speaker 1>master's degree from Boston University? What in screenwriting? Where from

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<v Speaker 1>Boston University? UNI bomber adjacent a master's degree? Indeed? Okay,

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<v Speaker 1>let's talk about the notebook? Shall we the notebook? Yes, Caitlyn,

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<v Speaker 1>you saw it recently. I had not seen the notebook,

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<v Speaker 1>and I did for this podcast. So that tells you

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<v Speaker 1>how deeply am willing sacrifice for the two of you.

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<v Speaker 1>Thank you so much, right, Jamie, when did you see it?

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<v Speaker 1>I saw this. I watched this movie with my grandma

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<v Speaker 1>on T N T. Let's say in two thousand and seven.

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<v Speaker 1>I think we watched it with commercials in Massachusetts and

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<v Speaker 1>two thousand. I remember at that time, I was like,

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<v Speaker 1>this is dumb. I don't love is. I was like

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<v Speaker 1>a big hot topic shopper, and I didn't really believe

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<v Speaker 1>in love if it wasn't directly related to Jack and Sally.

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<v Speaker 1>So so I did see that it, didn't care for it,

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<v Speaker 1>and didn't see it again until this morning, and I

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<v Speaker 1>watched it twice and I cried so much. Did you watch?

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<v Speaker 1>I got very I mean, and I've become a very

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<v Speaker 1>emotional adult. No, but I did, and I saw it,

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<v Speaker 1>and I was, I was. This was one of those

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<v Speaker 1>episodes where I was fully going and expecting to unequivvocally hate.

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<v Speaker 1>Have a problem with every element of this movie, and

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<v Speaker 1>there's mistakes were certainly made. We will discuss them. But

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<v Speaker 1>it did far better than I expect it because I

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<v Speaker 1>forgot forgot almost everything. Yes, so I think that takes

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<v Speaker 1>us to the recap and then we'll get into the discussion.

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<v Speaker 1>So the notebook, if you have not seen it, um

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<v Speaker 1>we open on two old people, Duke and unnamed old

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<v Speaker 1>woman who lives in a nursing home. They call him

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<v Speaker 1>Duke because they they're just like, what if it's not

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<v Speaker 1>Ryan Gosling parentheses old? Yeah, it's confusing. I guess that's

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<v Speaker 1>his nickname. They really could have. We could have used

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<v Speaker 1>a nickname reveal toward the end of the movie. They

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<v Speaker 1>they didn't do that. It would have been handy after

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<v Speaker 1>you know, you get you'll get there in the recap,

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<v Speaker 1>but there would have been a time to give him

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<v Speaker 1>a nickname. And frankly, I want to know why they

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<v Speaker 1>call him Duke. There's a story that doesn't come out

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<v Speaker 1>of nowhere. You don't just reading the paper one day,

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<v Speaker 1>you're Duke. Now He's never He's never referred to as

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<v Speaker 1>Duke in the earlier events of the movie. So something

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<v Speaker 1>happens between ages like and seventy. He becomes Duke. Good

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<v Speaker 1>life crisis, buys a boat, Call me Duke. Yeah exactly.

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<v Speaker 1>So our friend Duke visits this old woman and he

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<v Speaker 1>reads her a story from the notebook a notebook. Oh

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<v Speaker 1>I just I write, Yeah? Did you just want to

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<v Speaker 1>hear out why the movie is called the Notebook? I wouldn't.

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<v Speaker 1>It was a notebook as much as it was aleatherbound journal.

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<v Speaker 1>But that's not a leatherbound journal in theater's Mealentine's Day.

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<v Speaker 1>They just figured that out. Yea, yeah, happy. So, so

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<v Speaker 1>Duke reads this man a story from the book, and

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<v Speaker 1>the leather bounds up. The story is about Noah and Ali.

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<v Speaker 1>They are a couple of young people who meet for

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<v Speaker 1>the first time in ninety Noah is poor, he's a

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<v Speaker 1>poor boy, and he works at the lumber yard. When

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<v Speaker 1>do we want to introduce the fact that this is

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<v Speaker 1>like Titanic? Basically, there's a lot of As you go

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<v Speaker 1>through the recap, Oh god, these fucking bingo borders. I

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<v Speaker 1>don't know why were we gave it to you? Sorry,

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<v Speaker 1>like so gross of you to participate like we asked.

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<v Speaker 1>But do as you listen through the recap, there's so

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<v Speaker 1>many parallels that we will break down in detail. We

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<v Speaker 1>sure will so. Ali in the meantime is a rich

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<v Speaker 1>girl and her family is in town for the summer.

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<v Speaker 1>Noah pursues Ali, and she is resistant at first, and

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<v Speaker 1>we will don't forget to percent talk about it. He's

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<v Speaker 1>got a little news. He's hat. He's wearing a hat.

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<v Speaker 1>I love how I love like the interesting little choices

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<v Speaker 1>that people will make to make an actor who's clearly

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<v Speaker 1>like in his late twenties seem like a teenagers like

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<v Speaker 1>I just put a little newsy tat on him, just

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<v Speaker 1>like young make those pants bag year. That'll cut off

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<v Speaker 1>about five years, slouch a little bit and go oh man.

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<v Speaker 1>So he's pursuing her. She is not into it at first,

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<v Speaker 1>but eventually he wins her over and then they start dating.

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<v Speaker 1>But it's the summer before she's going to leave for college,

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<v Speaker 1>so she's about to leave for college, and they break

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<v Speaker 1>up because he's like, I don't see how we're gonna

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<v Speaker 1>make it work. I'm too poor. And then a few

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<v Speaker 1>years pass, Noah bidses like old plantation house and meanwhile

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<v Speaker 1>also goes to World War two? Ever heard of it?

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<v Speaker 1>Everyone's on their bingo boards. I guess world War two?

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<v Speaker 1>One World War two references on the bingo board. He

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<v Speaker 1>goes to war, his friend dies, he comes back, He

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<v Speaker 1>goes back, and he fits. He buys this old plantation

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<v Speaker 1>home that he was like, Ali and I are going

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<v Speaker 1>to live here because we're gonna be together forever. Psych

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<v Speaker 1>but that is what happens. Uh sorry, I just to

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<v Speaker 1>all everything. So he he makes this house all nice,

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<v Speaker 1>and then someone takes a picture of it in the

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<v Speaker 1>paper and then Ali sees it, except that meanwhile she's

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<v Speaker 1>found another man, James Marson. Yes, okay, the people some

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<v Speaker 1>people would disagree. I think Gosling to Marsden upgrade, That's

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<v Speaker 1>what I think. Yes, Yeah, James Marson is like cartoonishly handsome,

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<v Speaker 1>which is why he plays a cartoon What an upgrade.

0:13:29.400 --> 0:13:33.480
<v Speaker 1>Not only that actor is, but that character. Yeah, the characters,

0:13:34.240 --> 0:13:38.440
<v Speaker 1>majorly James Marson. God, it's like, like, what does he

0:13:38.480 --> 0:13:40.439
<v Speaker 1>do to his eyebrows or are they just like that?

0:13:40.559 --> 0:13:44.520
<v Speaker 1>It's just crazy, It's amazing. One of the parallels to

0:13:44.720 --> 0:13:48.520
<v Speaker 1>Titanic is that he has great eyebrows. Cal Hockley great eyelashes.

0:13:48.720 --> 0:13:52.480
<v Speaker 1>All right, what if Billy Zane was in both of

0:13:52.520 --> 0:13:56.280
<v Speaker 1>these movies? What if he was the connecting thread The

0:13:56.320 --> 0:14:00.800
<v Speaker 1>Notebook a movie about a notebook. So she's used his

0:14:00.840 --> 0:14:04.120
<v Speaker 1>picture in the paper, she faints because women be fainting,

0:14:04.679 --> 0:14:09.240
<v Speaker 1>and then in her wedding dress, and she decides to

0:14:09.360 --> 0:14:11.600
<v Speaker 1>go and see him, to pay him a visit because

0:14:11.600 --> 0:14:15.240
<v Speaker 1>it's been seven years and their relationship broke off kind

0:14:15.240 --> 0:14:17.120
<v Speaker 1>of abruptly. Oh and there's a whole thing where he

0:14:17.160 --> 0:14:19.400
<v Speaker 1>wrote her a letter every single day for a year

0:14:19.760 --> 0:14:22.440
<v Speaker 1>and her mom intercepted all those letters, so she never

0:14:22.480 --> 0:14:23.960
<v Speaker 1>got them and she didn't know that he was writing

0:14:23.960 --> 0:14:26.680
<v Speaker 1>to her, which honestly you lazy checked the mail once

0:14:27.000 --> 0:14:31.920
<v Speaker 1>a year. Yeah, get here, get up earlier and yeah

0:14:32.040 --> 0:14:34.320
<v Speaker 1>you see the mom getting the mail and it's like, yeah,

0:14:34.320 --> 0:14:38.680
<v Speaker 1>it's about two. She's fully dressed the same early. It's

0:14:38.680 --> 0:14:41.480
<v Speaker 1>not like she has the mail guy delivering stuff on

0:14:41.520 --> 0:14:48.160
<v Speaker 1>the low. He's delivering it regularly, right. So she approaches

0:14:48.240 --> 0:14:51.240
<v Speaker 1>him and she's like, hey, how how are you? And

0:14:51.280 --> 0:14:55.000
<v Speaker 1>he was like, I've been drunk for a long time.

0:14:56.560 --> 0:15:02.560
<v Speaker 1>To be fair, he's lost everyone, his dad and for Brith. Basically,

0:15:03.160 --> 0:15:05.400
<v Speaker 1>we'll get there. His name is Finn, but it's like

0:15:05.440 --> 0:15:08.880
<v Speaker 1>his name's and he died in nineteen twelve. Why is

0:15:08.920 --> 0:15:16.160
<v Speaker 1>he in this movie? So Ali and Noah reconnect, but

0:15:16.280 --> 0:15:20.080
<v Speaker 1>she's like, oh do I stay with my James Marsin Like,

0:15:20.800 --> 0:15:23.360
<v Speaker 1>just just so you know, Kitlen gill is fully I

0:15:23.440 --> 0:15:27.080
<v Speaker 1>was making the finger inserted into the fist sex implication

0:15:27.360 --> 0:15:29.640
<v Speaker 1>motion because they do it. That's when they do it.

0:15:29.720 --> 0:15:31.520
<v Speaker 1>That's the part of the movie where they do it.

0:15:31.520 --> 0:15:33.760
<v Speaker 1>It's true. If you're looking at the fast forward to

0:15:33.760 --> 0:15:37.400
<v Speaker 1>a really boring milk toast love scene, that's you gotta

0:15:37.440 --> 0:15:40.120
<v Speaker 1>go to about two thirds not even a nippy, not

0:15:40.280 --> 0:15:44.160
<v Speaker 1>even a nippy. There was gonna be a nippy. Yes,

0:15:44.200 --> 0:15:46.320
<v Speaker 1>they have sex, and she's like, wait a minute, Do

0:15:46.400 --> 0:15:52.320
<v Speaker 1>I stay with Lawn my James marsden fiance or Lawn

0:15:52.520 --> 0:15:55.080
<v Speaker 1>is James Marsin For the purpose of this podcast, we'll

0:15:55.080 --> 0:15:58.840
<v Speaker 1>be calling him James Marsden obviously, or do I go

0:15:58.960 --> 0:16:03.960
<v Speaker 1>back with Noah Ryan Gosling and honestly, because he makes

0:16:03.960 --> 0:16:10.800
<v Speaker 1>her come and and James Marsden doesn't, well, I don't

0:16:10.840 --> 0:16:13.880
<v Speaker 1>see it. Well, after they have sex, she's like, so

0:16:13.960 --> 0:16:18.080
<v Speaker 1>that's what I've been missing. I think there's because she

0:16:18.280 --> 0:16:22.800
<v Speaker 1>like how she is like losing her purity. I definitely

0:16:22.840 --> 0:16:25.520
<v Speaker 1>thought she had an between her knees until she went

0:16:25.560 --> 0:16:28.920
<v Speaker 1>back to see Noah. But that that's a very different interpretation.

0:16:28.960 --> 0:16:31.520
<v Speaker 1>That does have different The last spring, I think that

0:16:31.600 --> 0:16:36.600
<v Speaker 1>was her. I think she was having really boring sex. Okay,

0:16:36.640 --> 0:16:38.360
<v Speaker 1>so that so and that I would buy that that

0:16:38.440 --> 0:16:41.680
<v Speaker 1>she was basically telling James Marsden that she was a

0:16:41.800 --> 0:16:44.920
<v Speaker 1>virgin and wanted to wait for a marriage. I don't

0:16:44.920 --> 0:16:47.480
<v Speaker 1>even know even if that was like a little proper ship,

0:16:47.640 --> 0:16:49.680
<v Speaker 1>like this is a dude who asked her parents first

0:16:49.720 --> 0:16:54.400
<v Speaker 1>and all that, Like, I can't say for sure. It's

0:16:54.440 --> 0:16:56.800
<v Speaker 1>just that was my interpretation, because there was there was

0:16:56.840 --> 0:16:59.160
<v Speaker 1>nothing about that sex scene that implied in any way

0:16:59.160 --> 0:17:02.080
<v Speaker 1>that she would come from what he was doing. I

0:17:02.200 --> 0:17:04.879
<v Speaker 1>do not believe she was like that he had the

0:17:04.880 --> 0:17:08.560
<v Speaker 1>focus or dexterity to accomplish. No, it's stunted, a little joking,

0:17:08.640 --> 0:17:11.000
<v Speaker 1>and she's like, so that's what I've been missing out

0:17:11.040 --> 0:17:12.680
<v Speaker 1>on on this whole time. And then he turns to

0:17:12.760 --> 0:17:18.280
<v Speaker 1>her and I was like, yeah, it's all kind of

0:17:18.280 --> 0:17:21.320
<v Speaker 1>love scene where someone strong is carrying someone tiny, which

0:17:21.359 --> 0:17:23.960
<v Speaker 1>inevitably ends in the tiny person being pressed up against

0:17:23.960 --> 0:17:26.480
<v Speaker 1>the wall, and in this case it was like a cabinet.

0:17:26.520 --> 0:17:29.760
<v Speaker 1>There's nothing she's you cannot come with a handle sticking

0:17:29.800 --> 0:17:33.840
<v Speaker 1>in your back and like, yeah, okay, cool, you dragged me,

0:17:33.960 --> 0:17:35.639
<v Speaker 1>Like we're off the wall now and now we're just

0:17:35.680 --> 0:17:39.040
<v Speaker 1>in your ghostly ass plantation trying to fuck in the

0:17:39.080 --> 0:17:41.840
<v Speaker 1>same room we couldn't fucking when we were seventeen. What

0:17:41.880 --> 0:17:44.240
<v Speaker 1>do you remember how romantic it was to go back

0:17:44.240 --> 0:17:46.800
<v Speaker 1>to where you first tried to funk when you were seventeen.

0:17:47.520 --> 0:17:50.320
<v Speaker 1>Drive your car to your parents driveway and just sitting

0:17:50.359 --> 0:17:54.240
<v Speaker 1>it fumbling. Yeah, hard pass, hard pass. Yeah. I guess

0:17:54.240 --> 0:17:56.399
<v Speaker 1>we should all go back to that oh one Ford

0:17:56.480 --> 0:18:00.200
<v Speaker 1>focus that we were all in at one time. Okay,

0:18:00.200 --> 0:18:03.080
<v Speaker 1>so I kind of misinterpreted what happened. Now I think

0:18:03.080 --> 0:18:07.960
<v Speaker 1>that's open either way. We're still at the recap. So

0:18:08.040 --> 0:18:11.359
<v Speaker 1>she is like, yeah, I'm gonna pick Noah because he's

0:18:11.480 --> 0:18:14.800
<v Speaker 1>my first love. And she does confront her mom about

0:18:14.800 --> 0:18:16.840
<v Speaker 1>the whole letter thing and her mom was like shrug

0:18:17.680 --> 0:18:21.200
<v Speaker 1>and her mom. Her mom reveals that not only did

0:18:21.240 --> 0:18:23.320
<v Speaker 1>she hide the letters, but she did it in spite

0:18:23.359 --> 0:18:26.240
<v Speaker 1>of the fact that she herself harbored a young summer love.

0:18:26.600 --> 0:18:29.560
<v Speaker 1>That she still occasionally goes back to watch work in

0:18:29.720 --> 0:18:34.880
<v Speaker 1>his rock quarry from her fucking convertible Plymouth with her

0:18:34.920 --> 0:18:36.920
<v Speaker 1>like Gucci's on or whatever if that was a thing

0:18:36.960 --> 0:18:42.439
<v Speaker 1>in seven just watching this dude like shovel Rocks, it

0:18:42.680 --> 0:18:44.919
<v Speaker 1>looks at your daughter like I love her father, but

0:18:45.240 --> 0:18:50.720
<v Speaker 1>I'd still that graveled guy. That was the question, because

0:18:50.960 --> 0:18:53.439
<v Speaker 1>at the end of that scene he looks over, I'm like,

0:18:53.520 --> 0:18:56.600
<v Speaker 1>does he recognize her? And it's like, oh, yeah, we

0:18:56.680 --> 0:18:59.840
<v Speaker 1>used to hook up. And now forty years later, she

0:19:00.200 --> 0:19:04.479
<v Speaker 1>still comes and stares at me shovel Rocks. Sometime, in

0:19:04.520 --> 0:19:07.000
<v Speaker 1>case you're wondering if I've got that good dick or not.

0:19:10.280 --> 0:19:13.920
<v Speaker 1>Women be staring at me shoveling rocks four decades on.

0:19:21.240 --> 0:19:24.600
<v Speaker 1>Wax mustache guy outside like shoveling the driveway, like, I

0:19:24.680 --> 0:19:28.480
<v Speaker 1>don't know why she asked me to do this. She's

0:19:28.600 --> 0:19:34.920
<v Speaker 1>so aroused. When I come back in, wax mustache guy

0:19:35.080 --> 0:19:39.480
<v Speaker 1>comes like coins or like because he looks like an

0:19:39.520 --> 0:19:43.880
<v Speaker 1>extra from the Greatest Showman, Like he fully looks like

0:19:44.160 --> 0:19:48.719
<v Speaker 1>a magician who's gotten lost. It's just but she's she

0:19:48.800 --> 0:19:53.479
<v Speaker 1>loves him. Yeah. So the mom takes Ali to the

0:19:53.600 --> 0:19:56.840
<v Speaker 1>quarry or whatever, and it's like, I do once love

0:19:56.920 --> 0:20:01.280
<v Speaker 1>to pour and it's basically the end of the year.

0:20:01.320 --> 0:20:03.640
<v Speaker 1>And then she's like, make the right choice and then

0:20:03.720 --> 0:20:07.640
<v Speaker 1>drops her daughter off at the fully restored plantation mansion

0:20:07.800 --> 0:20:11.640
<v Speaker 1>the poor lives in so hard air quotes around poor

0:20:11.800 --> 0:20:15.680
<v Speaker 1>at home listeners. Right, so, and then at some point

0:20:15.680 --> 0:20:18.480
<v Speaker 1>in the story, it's revealed remember Duke and the old

0:20:18.560 --> 0:20:22.960
<v Speaker 1>woman who is hearing the story. Turns out Duke is

0:20:23.080 --> 0:20:32.840
<v Speaker 1>Noah and the old lady is Alip gasping. But the

0:20:33.080 --> 0:20:36.919
<v Speaker 1>reason that he is recounting this story to her is

0:20:36.960 --> 0:20:40.280
<v Speaker 1>that she has dementia and she's lost her memory. So

0:20:40.400 --> 0:20:43.000
<v Speaker 1>he reads the story to her to help her remember

0:20:43.080 --> 0:20:46.119
<v Speaker 1>their love for each other from the note book, it

0:20:46.200 --> 0:20:50.359
<v Speaker 1>turns out from the leatherbound journal, and then sometimes it

0:20:50.400 --> 0:20:56.520
<v Speaker 1>works and she remembers, and then they die together. I

0:20:56.560 --> 0:20:59.640
<v Speaker 1>totally forgot that there's this like rapid fire fifteen minute

0:20:59.720 --> 0:21:02.840
<v Speaker 1>ending where like she remembers, she sundowns, he has a

0:21:02.880 --> 0:21:05.560
<v Speaker 1>heart attack. He goes to see her in the ward

0:21:05.600 --> 0:21:07.600
<v Speaker 1>that she's now trapped in because he's not there to

0:21:07.680 --> 0:21:10.639
<v Speaker 1>read to her. I guess he like shovels out and

0:21:10.640 --> 0:21:12.640
<v Speaker 1>a nurse is like, sir, you're not allowed to walk around,

0:21:12.680 --> 0:21:15.240
<v Speaker 1>and I'm definitely gonna leave to get coffee and let

0:21:15.280 --> 0:21:18.159
<v Speaker 1>you wink winks. He goes in to see his ailing wife,

0:21:18.160 --> 0:21:21.359
<v Speaker 1>who wakes up in full cognizance. Hi, honey, good to

0:21:21.400 --> 0:21:24.040
<v Speaker 1>see you know. Uh, do you think our love could

0:21:24.119 --> 0:21:28.520
<v Speaker 1>kill us together? He crawls into bed, and that poor

0:21:28.640 --> 0:21:32.080
<v Speaker 1>nurse comes back to work in the morning, like I

0:21:32.119 --> 0:21:35.480
<v Speaker 1>can't whistle into the microphone, but she is a whistling

0:21:35.880 --> 0:21:37.880
<v Speaker 1>carrying a cup of coffee, Like I wonder where those

0:21:37.880 --> 0:21:42.200
<v Speaker 1>old people who are in love are. Pushes open the door, corpses, blackout,

0:21:42.320 --> 0:21:46.200
<v Speaker 1>credits roll. Sorry there are birds first, and then credits

0:21:46.280 --> 0:21:50.199
<v Speaker 1>roll a lot of swans, a lot of bird for

0:21:50.440 --> 0:21:52.400
<v Speaker 1>I thought they were geese, and I was like, are

0:21:52.440 --> 0:21:56.320
<v Speaker 1>we to believe that writing consoling has been a goose

0:21:56.440 --> 0:21:59.639
<v Speaker 1>that apparently we are. We missed it, we didn't. You

0:21:59.680 --> 0:22:02.600
<v Speaker 1>can't cap the birds. But the movie opens on this lay.

0:22:02.640 --> 0:22:04.479
<v Speaker 1>I love to notice in a movie, like when the

0:22:04.600 --> 0:22:06.960
<v Speaker 1>editor's name pops up in the opening credits, like what

0:22:07.119 --> 0:22:09.600
<v Speaker 1>scene was there? Because that's obviously a choice. The editor

0:22:09.680 --> 0:22:12.359
<v Speaker 1>chooses that, or like director of photography, and all of

0:22:12.400 --> 0:22:15.920
<v Speaker 1>them are just like glorious birds, like everyone who edited

0:22:16.000 --> 0:22:18.119
<v Speaker 1>or had a like a saying how the picture looks?

0:22:18.160 --> 0:22:21.680
<v Speaker 1>Opens to swan soaring. The movie goes through and they're

0:22:21.680 --> 0:22:24.719
<v Speaker 1>at the beach and Ali's like, what has be incarnated

0:22:24.760 --> 0:22:27.000
<v Speaker 1>as a bird? No, it's like that's weird, except fine,

0:22:27.000 --> 0:22:29.440
<v Speaker 1>you're a bird. I'm a bird. And then when Ali

0:22:29.520 --> 0:22:31.439
<v Speaker 1>comes back to see you now after after he's rebuilt

0:22:31.480 --> 0:22:33.080
<v Speaker 1>the house, he's like, come with me. I'm not gonna

0:22:33.119 --> 0:22:36.560
<v Speaker 1>tell you where, but it's probably dangerous. I consistently endanger you.

0:22:36.720 --> 0:22:39.440
<v Speaker 1>And then took her on a boat to see ducks.

0:22:39.480 --> 0:22:42.639
<v Speaker 1>They look at ducks, at rains, then their land. It's like,

0:22:42.720 --> 0:22:45.240
<v Speaker 1>let's die together. They die together. Camera pulls out of

0:22:45.280 --> 0:22:47.439
<v Speaker 1>the nursing home, fucking birds, like, did we need this

0:22:47.480 --> 0:22:49.480
<v Speaker 1>book end? I hope somebody. I hope a camera, like

0:22:49.520 --> 0:22:51.640
<v Speaker 1>a b unit camera guy got shot on so hard.

0:22:51.920 --> 0:22:55.359
<v Speaker 1>I hope that there is someone in the theater in

0:22:55.359 --> 0:22:58.359
<v Speaker 1>two thousand four who just like wailed like and there's

0:22:58.520 --> 0:23:03.679
<v Speaker 1>bird like that really made that tied the movie together

0:23:03.720 --> 0:23:07.320
<v Speaker 1>for them. I will say I decided to view that

0:23:07.400 --> 0:23:09.720
<v Speaker 1>from like a bitter on relence. There's no reason to

0:23:09.920 --> 0:23:13.400
<v Speaker 1>It is beautifully shot. It's some gorgeous immagery way to go, like, yeah,

0:23:13.440 --> 0:23:15.240
<v Speaker 1>be a bird. I guess that's a very free way

0:23:15.320 --> 0:23:17.560
<v Speaker 1>you imagine your dead parents, which is what that movie

0:23:17.600 --> 0:23:20.840
<v Speaker 1>makes you do at the end. So cool. Yeah great.

0:23:21.040 --> 0:23:23.080
<v Speaker 1>Here's another question I had because there is a moment

0:23:23.200 --> 0:23:26.560
<v Speaker 1>in the Old People's Story where all of their kids

0:23:26.560 --> 0:23:29.359
<v Speaker 1>and grandkids show up, but Ali doesn't realize that because

0:23:29.359 --> 0:23:34.240
<v Speaker 1>she has dementia, and so Duke it's just like dude,

0:23:34.280 --> 0:23:36.080
<v Speaker 1>I like to think he joined a middle aged man's

0:23:36.080 --> 0:23:40.000
<v Speaker 1>basketball week and he's like, I'm Duke. He got Duke's

0:23:40.040 --> 0:23:44.720
<v Speaker 1>jersey from last year and he's Duke now. Yeah, But

0:23:45.680 --> 0:23:48.440
<v Speaker 1>there's like a brief conversation after Ali takes her nap

0:23:48.600 --> 0:23:50.520
<v Speaker 1>or she like she leaves the scene and all the

0:23:50.560 --> 0:23:53.120
<v Speaker 1>kids are talking to to Noah and they're like, oh,

0:23:53.200 --> 0:23:55.479
<v Speaker 1>Mom doesn't remember us of that. I'm like, have you

0:23:55.560 --> 0:23:59.879
<v Speaker 1>read this weird, long handwritten story about your parents? Fucking Like,

0:24:00.080 --> 0:24:02.600
<v Speaker 1>do they know the notebook story? I feel like they

0:24:02.640 --> 0:24:05.200
<v Speaker 1>all do. I feel like they all know. Like, hey,

0:24:05.240 --> 0:24:08.280
<v Speaker 1>when we first tried to lose our virginity, it was confusing,

0:24:09.600 --> 0:24:15.040
<v Speaker 1>but Tanya, years later, we raw dogg hard. I hope

0:24:15.040 --> 0:24:17.560
<v Speaker 1>there's some explanation for why those kids were so fucked

0:24:17.640 --> 0:24:20.840
<v Speaker 1>up and cold. They're seriously only in the movie to

0:24:20.880 --> 0:24:24.359
<v Speaker 1>be like mom doesn't recognize me, and then immediately be

0:24:24.440 --> 0:24:29.960
<v Speaker 1>like dead leave mom, she's boring. Will help like they don't,

0:24:30.000 --> 0:24:32.680
<v Speaker 1>and then they just take off, never to be seen again.

0:24:32.840 --> 0:24:35.320
<v Speaker 1>That was the part in the movie where I genuinely

0:24:36.000 --> 0:24:39.480
<v Speaker 1>because it is for some reason intentionally ambiguous for a while,

0:24:39.720 --> 0:24:42.639
<v Speaker 1>who the identity of the old man is. Once the

0:24:42.760 --> 0:24:46.840
<v Speaker 1>kids were so like fuck her, leave her, I was like,

0:24:46.920 --> 0:24:53.960
<v Speaker 1>maybe he's actually James Marston. And the kids know that

0:24:54.000 --> 0:24:57.120
<v Speaker 1>their dad has no self respect and that she's been

0:24:57.160 --> 0:24:59.639
<v Speaker 1>in love with Ryan Gosling the whole time, and they're like,

0:25:00.240 --> 0:25:03.960
<v Speaker 1>you've blown your life on this lady. James Marsden has

0:25:04.040 --> 0:25:06.040
<v Speaker 1>to go read the book about how she fell in

0:25:06.080 --> 0:25:08.719
<v Speaker 1>love with Ryan Gosling to get her to remember it

0:25:09.040 --> 0:25:14.119
<v Speaker 1>every single day. He has to be like, so you

0:25:14.119 --> 0:25:16.000
<v Speaker 1>want to hear this story about how you don't love

0:25:16.040 --> 0:25:20.680
<v Speaker 1>me again? Although you know I wouldn't put it past Marsden.

0:25:20.760 --> 0:25:25.440
<v Speaker 1>He's a class act, alright, So onto. So in this

0:25:25.480 --> 0:25:29.520
<v Speaker 1>page of Caitlin's notes, there's some highlighting, and there's different shades.

0:25:29.720 --> 0:25:32.920
<v Speaker 1>There's a what would you call this a table? It's

0:25:33.200 --> 0:25:36.960
<v Speaker 1>a bit of a lavender shaded box. The box. It's

0:25:37.160 --> 0:25:38.919
<v Speaker 1>very so what I've done here. So the first thing

0:25:38.960 --> 0:25:42.879
<v Speaker 1>I wanted to talk about is the first fifteen minutes

0:25:42.920 --> 0:25:47.160
<v Speaker 1>of the movie and how problematic they are. I will

0:25:47.440 --> 0:25:50.320
<v Speaker 1>quote my girlfriend here who watched this with me. I

0:25:50.359 --> 0:25:52.160
<v Speaker 1>love her so much. Thank you. That was very kind

0:25:52.200 --> 0:25:56.760
<v Speaker 1>of you. Get it up for a love, Kelly. Let's

0:25:56.800 --> 0:26:01.479
<v Speaker 1>die in the same senior home. Gurnee someday hands told

0:26:02.880 --> 0:26:06.800
<v Speaker 1>I get writing that notebook, girl. Uh, but she looked

0:26:06.800 --> 0:26:08.560
<v Speaker 1>over and she was like, so get ready, because I'm

0:26:08.560 --> 0:26:11.440
<v Speaker 1>pretty sure this movie is responsible for all the problems

0:26:11.440 --> 0:26:13.919
<v Speaker 1>that women have had with men for the past fourteen years,

0:26:13.960 --> 0:26:17.560
<v Speaker 1>like this problematic setup. This fifteen minutes is why men

0:26:17.600 --> 0:26:20.600
<v Speaker 1>are so confused about what we actually want and why

0:26:20.640 --> 0:26:23.320
<v Speaker 1>women are letting dudes crawl onto their carnival rides. I

0:26:23.359 --> 0:26:26.879
<v Speaker 1>guess right, yeah, walk us through it because it The

0:26:26.920 --> 0:26:32.920
<v Speaker 1>first fifteen minutes is like, so we open in ninety

0:26:33.119 --> 0:26:37.440
<v Speaker 1>there at a carnival. Noah sees Ali from a distance,

0:26:37.440 --> 0:26:41.919
<v Speaker 1>she's riding bumper cars. He I'm pretty sure we witnessed

0:26:41.960 --> 0:26:44.560
<v Speaker 1>her getting the CT that cost her later brain traumpa.

0:26:45.760 --> 0:26:49.480
<v Speaker 1>This is that's foreshadowing as hard as those birds. Amazing.

0:26:49.880 --> 0:26:52.240
<v Speaker 1>You can map this scene directly on Titanic as well,

0:26:52.320 --> 0:26:55.040
<v Speaker 1>for when Jackson's rose for the first time on the

0:26:55.040 --> 0:26:57.520
<v Speaker 1>Titanic deck at a distance and it's like, who is

0:26:57.680 --> 0:27:01.040
<v Speaker 1>rich girl? And then then his friend is like, that

0:27:01.200 --> 0:27:04.679
<v Speaker 1>is rich girl. She is rich and then he says me,

0:27:04.840 --> 0:27:09.600
<v Speaker 1>must have her. That basically happens in this scene as West. Indeed,

0:27:10.000 --> 0:27:13.359
<v Speaker 1>so he's leering at her. She gets out of her

0:27:13.359 --> 0:27:16.040
<v Speaker 1>bumper car. He like runs up to her and says,

0:27:16.440 --> 0:27:19.760
<v Speaker 1>do you want to dance? She responds no, why not

0:27:20.480 --> 0:27:25.359
<v Speaker 1>because I don't want to? And then they go off. Jeez,

0:27:26.400 --> 0:27:29.639
<v Speaker 1>so fucking ambiguous. I don't want to look could that

0:27:29.720 --> 0:27:33.520
<v Speaker 1>possibly mean? So then they get on a ferris wheel,

0:27:33.560 --> 0:27:37.560
<v Speaker 1>Ali and this other guy and no it jumps onto

0:27:37.600 --> 0:27:41.680
<v Speaker 1>the seat that they are in and she screams, get

0:27:41.680 --> 0:27:46.840
<v Speaker 1>off me, don't touch me, and then he himself. They're like,

0:27:46.920 --> 0:27:50.040
<v Speaker 1>go away, and the ferris wheel operators like you can't

0:27:50.119 --> 0:27:53.040
<v Speaker 1>sit there, and he stops the ferris wheel. So in

0:27:53.119 --> 0:27:56.560
<v Speaker 1>order to resolve that situation, he instead he climbs out

0:27:56.600 --> 0:28:00.640
<v Speaker 1>of the seat and hangs from the fort swheel guy

0:28:01.160 --> 0:28:05.120
<v Speaker 1>Noah hangs from probably thirty to forty ft in the air.

0:28:05.359 --> 0:28:09.920
<v Speaker 1>His news, he's caap, totally intact. The ferris wheel operator

0:28:10.000 --> 0:28:12.680
<v Speaker 1>is just like, yes, fine, this is not a liability.

0:28:12.720 --> 0:28:15.080
<v Speaker 1>I will let this happen. I definitely shouldn't have just

0:28:15.119 --> 0:28:17.399
<v Speaker 1>waited for their car to come to the ground before

0:28:17.440 --> 0:28:20.240
<v Speaker 1>I stopped the ride. I made a good plan by

0:28:20.280 --> 0:28:23.439
<v Speaker 1>stopping it while he was suspended in mid air. Also,

0:28:23.520 --> 0:28:25.920
<v Speaker 1>there's this other guy in the scene with Ali the

0:28:25.960 --> 0:28:28.560
<v Speaker 1>whole time, who we understand to be like her friend,

0:28:29.119 --> 0:28:32.680
<v Speaker 1>who is demonized by the movie hard as like when

0:28:32.760 --> 0:28:35.520
<v Speaker 1>Noah first is like, dance with me and she's like no,

0:28:35.720 --> 0:28:38.600
<v Speaker 1>and then the guy's like, hey, leave her alone, like

0:28:38.640 --> 0:28:42.520
<v Speaker 1>the movie would have you believe, what an asshole. I'm like, no,

0:28:42.640 --> 0:28:49.160
<v Speaker 1>that's hurt, that's someone she knows. Yeah. So he's now

0:28:49.480 --> 0:28:52.120
<v Speaker 1>hanging from a ferris wheel forty ft in the air,

0:28:52.640 --> 0:28:55.840
<v Speaker 1>and he says, now, will you go out with me?

0:28:56.240 --> 0:29:01.920
<v Speaker 1>She says what? No? No, no, no, and then his

0:29:02.000 --> 0:29:06.480
<v Speaker 1>friends like, we're just you play all parts the friend

0:29:06.520 --> 0:29:09.440
<v Speaker 1>who the movie thinks as an asshole. It's like, apel,

0:29:09.560 --> 0:29:17.080
<v Speaker 1>she just told you. Noah says why not? Ali says

0:29:17.280 --> 0:29:21.160
<v Speaker 1>I don't know because I don't want to, and then

0:29:21.280 --> 0:29:24.480
<v Speaker 1>he lets go of one hand and now he's dank

0:29:25.960 --> 0:29:33.080
<v Speaker 1>myself super stable, no red flex here, and then e

0:29:33.320 --> 0:29:45.800
<v Speaker 1>from Entourage is like, just go out with him. That's Fabrizio, right, Finn. She,

0:29:46.200 --> 0:29:49.840
<v Speaker 1>because he's threatening to kill himself, play kates him by

0:29:49.880 --> 0:29:51.800
<v Speaker 1>being like, okay, fine, I'll go out with you and

0:29:52.040 --> 0:29:56.480
<v Speaker 1>we can end the movie right here. So weird. This

0:29:56.520 --> 0:30:00.280
<v Speaker 1>poor guy approached me and like and then it's like

0:30:02.360 --> 0:30:06.920
<v Speaker 1>just fell from a ferres feel to his death. Anyways,

0:30:07.600 --> 0:30:11.160
<v Speaker 1>I'm going to Sarah Lawrence next year. And then he

0:30:11.200 --> 0:30:13.120
<v Speaker 1>was all smug about it, and he was just like, oh,

0:30:13.200 --> 0:30:15.720
<v Speaker 1>don't do me. Any favors, like, fine, I'll go out

0:30:15.760 --> 0:30:19.040
<v Speaker 1>with you. And then she takes his pants off, which

0:30:19.120 --> 0:30:20.560
<v Speaker 1>I don't know what to make of that. We can

0:30:20.600 --> 0:30:22.640
<v Speaker 1>get into it later. He's trying to get some sorty

0:30:22.680 --> 0:30:24.320
<v Speaker 1>I mean that. I was like, at least she did

0:30:24.400 --> 0:30:28.240
<v Speaker 1>something to give herself the upper hand. I don't understand.

0:30:28.280 --> 0:30:29.960
<v Speaker 1>I was like, did she take his dick out? In?

0:30:30.000 --> 0:30:34.200
<v Speaker 1>Like she didn't? She didn't. Yeah, that whole scene is

0:30:34.200 --> 0:30:38.280
<v Speaker 1>is a nightmare and is like totally textbook giving young

0:30:38.400 --> 0:30:42.400
<v Speaker 1>men the wrong idea and giving young women the wrong

0:30:42.440 --> 0:30:46.400
<v Speaker 1>idea of like, here's the beginning to a beautiful love story.

0:30:47.240 --> 0:30:48.760
<v Speaker 1>A man would be the rest of your life. You're

0:30:48.760 --> 0:30:52.520
<v Speaker 1>going to become a swan with this man, for sure, right,

0:30:52.640 --> 0:30:55.520
<v Speaker 1>Like if a guy harasses you having never met you

0:30:55.560 --> 0:30:59.040
<v Speaker 1>and he's wearing a horrendous hat, this is the man

0:30:59.080 --> 0:31:02.000
<v Speaker 1>who will hold your hands as you die, Like, it's

0:31:02.040 --> 0:31:05.719
<v Speaker 1>not good, right, Because then in the next scene he

0:31:05.760 --> 0:31:09.080
<v Speaker 1>sees her walking down the street. He sprints up to

0:31:09.160 --> 0:31:11.520
<v Speaker 1>her and he's like, Oh, I'm really sorry. That was

0:31:11.560 --> 0:31:13.920
<v Speaker 1>stupid for me to crawl on a ferris wheel, but

0:31:14.040 --> 0:31:16.480
<v Speaker 1>I had to do it. I was drawn to you.

0:31:16.880 --> 0:31:18.440
<v Speaker 1>I thought he was about to say, like I was

0:31:18.720 --> 0:31:23.280
<v Speaker 1>very drunk or high. He was like, I was drawn

0:31:23.480 --> 0:31:27.880
<v Speaker 1>to I was like, so that's not an excuse at all. Yeah,

0:31:27.920 --> 0:31:31.400
<v Speaker 1>I was drunk, perfectly reasonable. I was drawn. Do you

0:31:31.520 --> 0:31:36.240
<v Speaker 1>running running in the other direction? Leaving, fleeing? And then

0:31:36.280 --> 0:31:38.640
<v Speaker 1>he goes, hey, how about that date? And she's like

0:31:38.680 --> 0:31:40.880
<v Speaker 1>what date? And he's like the date you agree to

0:31:41.320 --> 0:31:45.200
<v Speaker 1>and she says no, and he's like you did. You

0:31:45.320 --> 0:31:47.800
<v Speaker 1>promised you swore it, and then she's like, I changed

0:31:47.840 --> 0:31:51.640
<v Speaker 1>my mind. But she's like flirting with him now, and

0:31:51.680 --> 0:31:54.840
<v Speaker 1>they're always flirting. Well, that's the thing is like, even

0:31:54.880 --> 0:31:59.280
<v Speaker 1>in the middle of these super weird, stocky scenes, she starts,

0:31:59.280 --> 0:32:01.600
<v Speaker 1>like her character starts to engage it just a little

0:32:01.600 --> 0:32:04.480
<v Speaker 1>bit and just a little bit, until you, as a

0:32:04.760 --> 0:32:08.160
<v Speaker 1>like thirteen year old watching this with your grandma, let's

0:32:08.200 --> 0:32:13.640
<v Speaker 1>just say, are fully gaslighted and being like, oh yeah

0:32:13.720 --> 0:32:17.440
<v Speaker 1>this if someone is horrible to you, that's a freaking yes.

0:32:18.040 --> 0:32:20.240
<v Speaker 1>That's just because then the scene ends with he's like,

0:32:20.280 --> 0:32:21.800
<v Speaker 1>what's it going to take to change your mind? And

0:32:21.840 --> 0:32:24.680
<v Speaker 1>she's like, love that he'll figure something out. I guess,

0:32:25.000 --> 0:32:27.760
<v Speaker 1>he splits he didn't. He. I actually thought they might

0:32:27.800 --> 0:32:30.560
<v Speaker 1>have written these lines for her, and they switched sides

0:32:30.680 --> 0:32:32.840
<v Speaker 1>that day because he winds up saying like, I'll be

0:32:32.880 --> 0:32:34.200
<v Speaker 1>anything you want me to be. You want me to

0:32:34.240 --> 0:32:36.000
<v Speaker 1>be smart, you want me to be strong, you want

0:32:36.000 --> 0:32:37.520
<v Speaker 1>me what do you want? You want me to be

0:32:37.600 --> 0:32:38.880
<v Speaker 1>a big guy. I'll be a big guy. And then

0:32:38.880 --> 0:32:42.720
<v Speaker 1>she's like, you're dumb. I can be that like instantly,

0:32:42.800 --> 0:32:45.720
<v Speaker 1>just like I will make myself literally anything you tell

0:32:45.800 --> 0:32:48.120
<v Speaker 1>me to be. I am a slate for you to

0:32:48.200 --> 0:32:51.520
<v Speaker 1>draw upon. I am but a canvas. You are the

0:32:51.600 --> 0:32:54.200
<v Speaker 1>brush you like painting. Right Wait, I don't find that

0:32:54.200 --> 0:32:55.720
<v Speaker 1>out until I take you to the middle of the

0:32:55.760 --> 0:33:05.360
<v Speaker 1>street and make you lay down, And she does. Right,

0:33:05.720 --> 0:33:08.120
<v Speaker 1>can I break down this date? Because they go on

0:33:08.160 --> 0:33:10.520
<v Speaker 1>a date, they go to a movie with friends. They

0:33:10.520 --> 0:33:12.480
<v Speaker 1>sit apart from each other. He leaps across seats to

0:33:12.520 --> 0:33:14.360
<v Speaker 1>be next to her. Apparently she's fine with that. He

0:33:14.480 --> 0:33:16.800
<v Speaker 1>stares at her, not the movie and just watches her

0:33:16.800 --> 0:33:20.080
<v Speaker 1>eat popcorn. Again, totally fine. Who isn't comfortable with a

0:33:20.120 --> 0:33:22.800
<v Speaker 1>man lustily staring at you as you like move buttered

0:33:22.800 --> 0:33:25.200
<v Speaker 1>greasy fingers to your mouth. They leave the movie. They

0:33:25.200 --> 0:33:27.080
<v Speaker 1>decided to walk together. Finn is like you and love

0:33:27.160 --> 0:33:29.200
<v Speaker 1>now and they're like, oh maybe, and they walk into

0:33:29.240 --> 0:33:32.239
<v Speaker 1>the street. He uh tells her, you don't know what

0:33:32.280 --> 0:33:35.200
<v Speaker 1>you like, you don't know what you're doing. I'm condensing

0:33:35.200 --> 0:33:37.240
<v Speaker 1>this conversation, but that is the thesis, like, what do

0:33:37.280 --> 0:33:38.680
<v Speaker 1>you like to do for fun? Oh? What your parents

0:33:38.680 --> 0:33:41.480
<v Speaker 1>tell you? That's stupid, You're stupid. And then it's like,

0:33:41.520 --> 0:33:43.520
<v Speaker 1>you don't take any risks. Come here and take the

0:33:43.640 --> 0:33:45.640
<v Speaker 1>risk I tell you to take, whether it's what you

0:33:45.680 --> 0:33:47.880
<v Speaker 1>want to do or not. I'm gonna show you how

0:33:47.920 --> 0:33:49.960
<v Speaker 1>to be free. And it's by stepping into this cage

0:33:50.000 --> 0:33:54.200
<v Speaker 1>that I'm building for you us. One of the most

0:33:54.400 --> 0:33:58.080
<v Speaker 1>romantic scenes in the movie, Oh yeah, precious, he lays

0:33:58.080 --> 0:33:59.400
<v Speaker 1>down in the middle of the street to watch the

0:33:59.480 --> 0:34:01.240
<v Speaker 1>lights change, like he used to do with his dad.

0:34:01.280 --> 0:34:03.360
<v Speaker 1>I don't know, get a nickel, go to the goddamn movies.

0:34:04.800 --> 0:34:06.560
<v Speaker 1>He gets her to lay down, and she thought. She

0:34:06.760 --> 0:34:08.520
<v Speaker 1>loses herself in the moment. You know what I do

0:34:08.640 --> 0:34:10.759
<v Speaker 1>for fun? You know what ive? I love painting? Hong

0:34:10.840 --> 0:34:13.439
<v Speaker 1>Kong beep car coming doesn't slow down even a little

0:34:13.440 --> 0:34:15.279
<v Speaker 1>bit as they laip out of the road. Oh so

0:34:15.360 --> 0:34:17.520
<v Speaker 1>what it takes for you to realize that you like painting?

0:34:17.680 --> 0:34:20.799
<v Speaker 1>Is to be seconds from death. Honey, loosen up. You're

0:34:20.840 --> 0:34:23.600
<v Speaker 1>not doing good. But that whole first date is like,

0:34:23.680 --> 0:34:26.120
<v Speaker 1>your ambitions are wrong. Do what I tell you to do.

0:34:26.239 --> 0:34:28.080
<v Speaker 1>You don't know how to think for yourself, but I'll

0:34:28.080 --> 0:34:30.560
<v Speaker 1>tell you some options. Choose between the one I tell

0:34:30.600 --> 0:34:33.239
<v Speaker 1>you was right. Also laid down in traffic. That's the day.

0:34:33.840 --> 0:34:36.320
<v Speaker 1>Well in the movie, in the notebook, the next page

0:34:36.320 --> 0:34:37.960
<v Speaker 1>it cuts back to the old people and it's like,

0:34:38.000 --> 0:34:40.840
<v Speaker 1>and they were inseparable after that, Like that's what it

0:34:40.880 --> 0:34:45.719
<v Speaker 1>took Jesus Christ. Well, let's backtrack a minute, because while

0:34:45.800 --> 0:34:48.560
<v Speaker 1>this movie does not have a surprise kiss, I don't

0:34:48.560 --> 0:34:50.719
<v Speaker 1>know if that's one of the Bengo things. It does

0:34:50.760 --> 0:34:53.120
<v Speaker 1>not have a surprise kiss. This movie, I would argue,

0:34:53.160 --> 0:34:57.960
<v Speaker 1>has a surprise date because Noah's like, hey, Finn, arrange

0:34:58.120 --> 0:35:00.920
<v Speaker 1>this thing so that I can hang out with Ali,

0:35:01.080 --> 0:35:03.160
<v Speaker 1>and then they all go to the movies. It's like

0:35:03.320 --> 0:35:06.279
<v Speaker 1>Finn and her friend Sarah and then Noah and Ali

0:35:06.400 --> 0:35:10.080
<v Speaker 1>and he shows up and she's visibly uncomfortable. She's like,

0:35:10.280 --> 0:35:13.200
<v Speaker 1>what's he doing here? She's not happy that he's there.

0:35:13.239 --> 0:35:17.680
<v Speaker 1>But some point in the movie something switches. We do

0:35:17.760 --> 0:35:20.920
<v Speaker 1>not understand why this happens, but suddenly she's okay with him,

0:35:21.280 --> 0:35:23.640
<v Speaker 1>and then there's the traffic scene. Though I think that

0:35:23.640 --> 0:35:26.279
<v Speaker 1>that's where we're supposed to be, Like Bond is like

0:35:26.280 --> 0:35:28.640
<v Speaker 1>when they when this horrible thing happened, like yeah, but

0:35:28.840 --> 0:35:31.239
<v Speaker 1>the fact that she agrees to go to that point

0:35:31.280 --> 0:35:32.680
<v Speaker 1>with him because he's like, you want to go for

0:35:32.719 --> 0:35:36.520
<v Speaker 1>a walk and she's like okay, sure, and it's like how,

0:35:36.560 --> 0:35:41.640
<v Speaker 1>like what what? Unclear? Like their Nicholas Sparks is clearly

0:35:41.640 --> 0:35:47.360
<v Speaker 1>a very stable man who is definitely kissed a girl before,

0:35:49.760 --> 0:35:55.080
<v Speaker 1>and every wait a story he tells has an uncanny

0:35:55.320 --> 0:35:59.520
<v Speaker 1>vale quality of like and the girl just comes around.

0:36:00.000 --> 0:36:03.200
<v Speaker 1>He's he's wearing a hat. Wait, I know what it is.

0:36:03.280 --> 0:36:05.680
<v Speaker 1>I know what it is. So she enters the movie

0:36:05.680 --> 0:36:07.279
<v Speaker 1>being like, oh, I don't want to hang out with

0:36:07.320 --> 0:36:11.160
<v Speaker 1>this guy. I'm sitting several people away from him. She

0:36:11.239 --> 0:36:15.080
<v Speaker 1>watches that movie. The movie tricks her and it's like, Oh,

0:36:15.280 --> 0:36:18.040
<v Speaker 1>this is how romance is supposed to be. It's supposed

0:36:18.080 --> 0:36:23.359
<v Speaker 1>to be a man praying on you and not ever.

0:36:23.560 --> 0:36:25.640
<v Speaker 1>But I'm tended now because that's what they were watching.

0:36:25.640 --> 0:36:27.680
<v Speaker 1>I don't know right which I mean, it's sad to

0:36:27.719 --> 0:36:34.120
<v Speaker 1>say any movie that came out ever, is pro predatory

0:36:34.320 --> 0:36:38.080
<v Speaker 1>stalking if it was in theaters in I'm not sure

0:36:38.080 --> 0:36:42.560
<v Speaker 1>it had a progressive discourse on intersectional feminism. And then

0:36:42.600 --> 0:36:45.680
<v Speaker 1>I just laid out in traffic and wait, I prince

0:36:45.760 --> 0:36:47.880
<v Speaker 1>to come. Yeah, so that's why I think up. But

0:36:47.960 --> 0:36:49.920
<v Speaker 1>she saw the movie and then she got because movies

0:36:49.960 --> 0:36:53.080
<v Speaker 1>are very influential, she was like, oh, I guess this

0:36:53.320 --> 0:36:55.440
<v Speaker 1>is how romance is supposed to be. So it is.

0:36:55.480 --> 0:36:59.640
<v Speaker 1>I mean, it's very like predatory stalking start to this

0:37:00.080 --> 0:37:03.719
<v Speaker 1>relationship in this movie. And that is so common in

0:37:03.760 --> 0:37:07.080
<v Speaker 1>all romance movies and all rom coms specifically. And I

0:37:07.360 --> 0:37:09.839
<v Speaker 1>want to make a point to not like, I think

0:37:09.840 --> 0:37:13.120
<v Speaker 1>that people are so often shamed for enjoying rom comms

0:37:13.120 --> 0:37:15.920
<v Speaker 1>and romantic movies in a way that like dudes are

0:37:15.960 --> 0:37:20.279
<v Speaker 1>not shamed for enjoying like transformer style movies. And so

0:37:20.320 --> 0:37:22.800
<v Speaker 1>it's like, if you love romantic movies, awesome. There's a

0:37:22.880 --> 0:37:25.200
<v Speaker 1>lot of parts of these movies that I like choked

0:37:25.280 --> 0:37:28.400
<v Speaker 1>up at and thought was like extremely beautiful, But I

0:37:28.440 --> 0:37:33.080
<v Speaker 1>didn't because I have no emotions. You're welcome, Okay, she's

0:37:33.120 --> 0:37:38.640
<v Speaker 1>pandering to the bingo boards. But but but like the

0:37:39.040 --> 0:37:42.840
<v Speaker 1>predatory stocking narrative is so prevalent in both of these

0:37:42.840 --> 0:37:45.000
<v Speaker 1>genres to the point where it's like, I mean, I

0:37:45.040 --> 0:37:47.200
<v Speaker 1>can draw in an example in my own life of

0:37:47.239 --> 0:37:51.520
<v Speaker 1>like a dude pursuing me pretty reluctantly when it's clear

0:37:51.520 --> 0:37:55.040
<v Speaker 1>it's like, oh, you've just seen this movie, Like that's

0:37:55.080 --> 0:37:58.279
<v Speaker 1>weird when you spot quotes like in somebody's terms like

0:37:58.520 --> 0:38:01.360
<v Speaker 1>terrifying pursuit of you were recognized, like are you getting

0:38:01.360 --> 0:38:03.439
<v Speaker 1>a boom box right now and coming to my house right?

0:38:03.480 --> 0:38:05.560
<v Speaker 1>I feel like that's where you got it. And the

0:38:05.560 --> 0:38:07.080
<v Speaker 1>thing that bumps me out about it is that I

0:38:07.120 --> 0:38:11.200
<v Speaker 1>do love romance. I love infatuation, and I totally by

0:38:11.239 --> 0:38:14.080
<v Speaker 1>seeing someone being so taken they just have to talk

0:38:14.080 --> 0:38:17.040
<v Speaker 1>to him, and like finding a love that you're so

0:38:17.120 --> 0:38:20.360
<v Speaker 1>passionate about even those circumstances in your life are unsure,

0:38:20.840 --> 0:38:25.240
<v Speaker 1>Like that's such a real and beautiful situation, Like falling

0:38:25.239 --> 0:38:27.160
<v Speaker 1>in love young and figuring out a way to see

0:38:27.200 --> 0:38:30.839
<v Speaker 1>it through your adulthood and your seniorhood. That's such a

0:38:30.880 --> 0:38:34.040
<v Speaker 1>beautiful story. And it is terrible that these are the

0:38:34.040 --> 0:38:37.480
<v Speaker 1>dominant narratives in them, Like there are absolutely ways to

0:38:37.520 --> 0:38:39.440
<v Speaker 1>meet the love of your life at a carnival that

0:38:39.520 --> 0:38:43.320
<v Speaker 1>aren't endangering a woman and then manipulating her in the

0:38:43.440 --> 0:38:45.640
<v Speaker 1>dating you it could start with a candy apple, Like,

0:38:45.760 --> 0:38:49.080
<v Speaker 1>let's just resource like, you've got a lot of excellent

0:38:49.080 --> 0:38:52.240
<v Speaker 1>things available to shortage of setups, no shortage of props.

0:38:52.719 --> 0:38:54.799
<v Speaker 1>You've got a lot of stuff. Like the first thing

0:38:54.800 --> 0:38:56.439
<v Speaker 1>is you can do with the carnival. His friend Finn

0:38:56.440 --> 0:38:58.120
<v Speaker 1>wins a twiny toy at like one of those like

0:38:58.200 --> 0:39:00.960
<v Speaker 1>hammer hit a thing real hard, like we know that

0:39:01.120 --> 0:39:03.680
<v Speaker 1>strong boy. Yeah no, what goes on to build a fight,

0:39:03.719 --> 0:39:07.600
<v Speaker 1>a war and build a house with his fucking hands,

0:39:07.640 --> 0:39:11.080
<v Speaker 1>Like you had so many choices that weren't that. It's

0:39:11.120 --> 0:39:13.480
<v Speaker 1>a bummer that more of these movies because I love

0:39:13.520 --> 0:39:15.160
<v Speaker 1>that heart. I do like this movie. It's a good

0:39:15.160 --> 0:39:18.319
<v Speaker 1>movie with great performances. I wish that's what they weren't perform, Like,

0:39:18.360 --> 0:39:20.239
<v Speaker 1>I wish there was something better that they could have

0:39:20.239 --> 0:39:23.040
<v Speaker 1>been doing. Right. A few chunks of this movie that

0:39:23.200 --> 0:39:26.440
<v Speaker 1>play into those tropes in such a direct way, and

0:39:26.480 --> 0:39:29.040
<v Speaker 1>then other chunks of this movie that are so beautiful

0:39:29.280 --> 0:39:31.239
<v Speaker 1>that it's just like I wish that, Yeah, if this

0:39:31.280 --> 0:39:34.600
<v Speaker 1>movie has started and been framed in a different way,

0:39:34.640 --> 0:39:37.680
<v Speaker 1>that would have been like more realistic than what we see.

0:39:38.520 --> 0:39:41.360
<v Speaker 1>It would have been like way easier to digest the

0:39:41.360 --> 0:39:44.360
<v Speaker 1>rest of the movie totally. But instead, Yeah, the movie

0:39:44.640 --> 0:39:48.919
<v Speaker 1>like frames is like very stocking. Predatory behavior is romantic.

0:39:49.400 --> 0:39:50.960
<v Speaker 1>I did want to say we were talking about this

0:39:51.000 --> 0:39:54.040
<v Speaker 1>in the car over, not to justify this setup at all,

0:39:54.120 --> 0:39:55.880
<v Speaker 1>because it is bad and this movie came out in

0:39:55.880 --> 0:40:02.960
<v Speaker 1>two thousand four and it feels right. But I have

0:40:03.040 --> 0:40:05.000
<v Speaker 1>been thinking about this a lot every time I see

0:40:05.040 --> 0:40:08.160
<v Speaker 1>like a periods that movie of like, how so many

0:40:08.239 --> 0:40:11.480
<v Speaker 1>couples in this period of time their beginning of their

0:40:11.520 --> 0:40:15.160
<v Speaker 1>love story is very predatory and creepy. I think that

0:40:15.200 --> 0:40:17.120
<v Speaker 1>if a lot of like if anyone knows of like

0:40:17.120 --> 0:40:24.319
<v Speaker 1>how their grandparents met, guaranteed terrifying. My grandparents, my paternal grandparents,

0:40:24.320 --> 0:40:26.080
<v Speaker 1>and my dad told me this after both of them

0:40:26.120 --> 0:40:28.200
<v Speaker 1>had died, and in the middle of telling me the

0:40:28.200 --> 0:40:32.560
<v Speaker 1>story was like, oh, this is how my grandparents met.

0:40:32.760 --> 0:40:37.040
<v Speaker 1>My grandmother fifteen years old walking her infant sister around

0:40:37.120 --> 0:40:41.880
<v Speaker 1>in a carriage outside, brought to Massachusetts nineties beautiful. A

0:40:42.000 --> 0:40:45.440
<v Speaker 1>man eight to ten years her senior, my future grandfather,

0:40:46.440 --> 0:40:50.840
<v Speaker 1>spotsor from behind, cat calls her, says hey, that your baby.

0:40:51.360 --> 0:40:55.480
<v Speaker 1>She turns to him says no. He says, cool, want

0:40:55.480 --> 0:40:58.279
<v Speaker 1>to go on a date this weekend. They're married for

0:40:58.360 --> 0:41:02.719
<v Speaker 1>five million years, just like imagine marrying the first man

0:41:02.760 --> 0:41:07.200
<v Speaker 1>who cat called you, like I just I expected better off.

0:41:07.280 --> 0:41:10.840
<v Speaker 1>Well in the notebook, we see like all the times

0:41:10.880 --> 0:41:15.239
<v Speaker 1>that she either says a flat out no or I

0:41:15.280 --> 0:41:18.680
<v Speaker 1>don't want to or don't touch me. She says it

0:41:18.800 --> 0:41:22.960
<v Speaker 1>like eight times. And why Like movie basically like teaches

0:41:23.280 --> 0:41:29.600
<v Speaker 1>men like, oh, just push past the no like emotional yeah,

0:41:29.760 --> 0:41:32.839
<v Speaker 1>to like ignore the no because eventually she'll give in.

0:41:32.960 --> 0:41:35.440
<v Speaker 1>Just wear her down and it's going to be romantic.

0:41:35.480 --> 0:41:39.280
<v Speaker 1>Like that's the horrible, irresponsible message that so many fucking

0:41:39.360 --> 0:41:42.320
<v Speaker 1>movies send. I never find the movie to Brownie points

0:41:42.360 --> 0:41:44.480
<v Speaker 1>that I didn't expect one the scene where they try

0:41:44.520 --> 0:41:46.320
<v Speaker 1>to do it and can't. I think they did that

0:41:46.320 --> 0:41:48.839
<v Speaker 1>pretty well with them stripping in front of each other.

0:41:48.840 --> 0:41:53.080
<v Speaker 1>But I'm old and apparently very frigid. Uh. But they

0:41:53.200 --> 0:41:54.960
<v Speaker 1>so they try to get it down like in their

0:41:55.000 --> 0:41:57.560
<v Speaker 1>Summer of Love when they're young. They try to boe

0:41:57.840 --> 0:42:00.720
<v Speaker 1>and she gets nervous and very chat in the middle,

0:42:00.960 --> 0:42:03.960
<v Speaker 1>and he I think there's like a physical expression of

0:42:03.960 --> 0:42:07.759
<v Speaker 1>frustration of like, oh like, which is understandable. Uh, but

0:42:07.840 --> 0:42:09.919
<v Speaker 1>he like rolls over and they just talk for a minute.

0:42:10.080 --> 0:42:12.799
<v Speaker 1>He's not mad, he's not pouty. He doesn't ask her

0:42:12.800 --> 0:42:14.799
<v Speaker 1>a bunch of shitty. He says, we don't have to

0:42:14.800 --> 0:42:17.000
<v Speaker 1>do this if you don't want to. Yep. I think

0:42:17.000 --> 0:42:19.640
<v Speaker 1>that's bonus points. They're a teenagers who have been rubbing

0:42:19.640 --> 0:42:21.680
<v Speaker 1>on each other all summer. Like, this is a tough moment,

0:42:21.760 --> 0:42:24.880
<v Speaker 1>heart conversation. I thought that that was well handled. Also,

0:42:25.080 --> 0:42:30.960
<v Speaker 1>when you're in the movie Lawn, what a gentleman like

0:42:31.480 --> 0:42:35.560
<v Speaker 1>la that she winds up ditching and in the scene

0:42:35.640 --> 0:42:39.680
<v Speaker 1>in which she ditches him, she is expressing her emotions,

0:42:39.760 --> 0:42:44.200
<v Speaker 1>perhaps clearly for almost the first time in the film. Uh,

0:42:44.760 --> 0:42:49.440
<v Speaker 1>when she was saying no to Rye and don't touch me.

0:42:50.320 --> 0:42:53.279
<v Speaker 1>But she's honest. She tells him that she's like, hey, Lan,

0:42:53.320 --> 0:42:54.760
<v Speaker 1>I'm gonna go on a trip. I have to figure

0:42:54.800 --> 0:42:57.000
<v Speaker 1>some sh it out before we get married. That's pretty honest.

0:42:57.320 --> 0:42:59.160
<v Speaker 1>Don't have to be specific yet you're not. You don't

0:42:59.160 --> 0:43:01.760
<v Speaker 1>know what you're doing yet. Once Lon is like figuring

0:43:01.920 --> 0:43:03.520
<v Speaker 1>it out, she comes to him and talks to him,

0:43:03.600 --> 0:43:07.320
<v Speaker 1>is honest. Bonus point and his reaction is pretty tempered.

0:43:07.320 --> 0:43:08.719
<v Speaker 1>I could kill him, like a punch him in the

0:43:08.719 --> 0:43:10.160
<v Speaker 1>nose where I could leave you. But none of those

0:43:10.160 --> 0:43:12.040
<v Speaker 1>are really good because they don't give me you like,

0:43:12.160 --> 0:43:15.719
<v Speaker 1>oh you're like good job. Even before that, whenever she's saying, hey,

0:43:15.800 --> 0:43:17.839
<v Speaker 1>I have I have to go take care of some things.

0:43:17.840 --> 0:43:20.600
<v Speaker 1>I'm going to go to seawood or whatever, then it's

0:43:20.640 --> 0:43:26.960
<v Speaker 1>called world the tank. In this world, Rachel make out

0:43:26.960 --> 0:43:33.000
<v Speaker 1>into love with a whale shape of water so fast

0:43:33.440 --> 0:43:40.720
<v Speaker 1>Jamie started sells open and fishman to activated. My legs

0:43:40.719 --> 0:43:45.360
<v Speaker 1>are double crossing a like wrapped around each other, trying

0:43:45.400 --> 0:43:49.239
<v Speaker 1>not to have to change my clothes. The fish is

0:43:49.320 --> 0:43:55.640
<v Speaker 1>so hot. Say please sit in a movie with a

0:43:55.680 --> 0:43:58.080
<v Speaker 1>lot of negative like narratives that there were at least

0:43:58.080 --> 0:44:00.239
<v Speaker 1>a couple of points where dudes and ladies can learned

0:44:00.239 --> 0:44:02.600
<v Speaker 1>some good ship. Well and yeah, like the scene whenever

0:44:02.640 --> 0:44:04.840
<v Speaker 1>she's just like I have to go take care of

0:44:04.880 --> 0:44:06.799
<v Speaker 1>some things and he's like, oh, you're getting cold feet

0:44:06.800 --> 0:44:08.520
<v Speaker 1>and she's like no, He's like, but that's totally normal,

0:44:08.560 --> 0:44:10.920
<v Speaker 1>Like take as much time as you need, do whatever

0:44:10.960 --> 0:44:13.040
<v Speaker 1>you have to do. Like he's very supportive. I feel

0:44:13.040 --> 0:44:15.520
<v Speaker 1>like it would have been very easy for this movie

0:44:15.560 --> 0:44:19.040
<v Speaker 1>to paint that character is like they're just lazy, easy whatever,

0:44:19.160 --> 0:44:22.160
<v Speaker 1>like he's abusive, or he's mean, or he's distant or

0:44:22.280 --> 0:44:24.239
<v Speaker 1>any number of things. And I think this is one

0:44:24.280 --> 0:44:27.560
<v Speaker 1>of the because by and large the Titanic parallels, which

0:44:27.600 --> 0:44:30.640
<v Speaker 1>we should break down, by and large, the ways that

0:44:30.719 --> 0:44:32.640
<v Speaker 1>it's the same are like in a way that is

0:44:32.880 --> 0:44:35.480
<v Speaker 1>Titanic gets the edge, but in this way, I think

0:44:35.520 --> 0:44:38.560
<v Speaker 1>it's really interesting to present the guy she's going to

0:44:38.600 --> 0:44:41.640
<v Speaker 1>marry as a good guy because it makes her choice

0:44:41.719 --> 0:44:44.399
<v Speaker 1>harder and it makes it more interesting to watch, where

0:44:44.480 --> 0:44:48.520
<v Speaker 1>like cal Billy Zane, no one's going to fall in

0:44:48.600 --> 0:44:54.640
<v Speaker 1>love with this guy there, he's a mess, and and

0:44:54.640 --> 0:44:57.200
<v Speaker 1>and so it makes it so clear, you know, it's like, oh,

0:44:57.239 --> 0:44:59.680
<v Speaker 1>well then these two characters should be together, no question.

0:45:00.040 --> 0:45:02.240
<v Speaker 1>But it is kind of like hard as an audience

0:45:02.239 --> 0:45:05.960
<v Speaker 1>member to be like, oh, she's she's caught between a

0:45:06.000 --> 0:45:12.640
<v Speaker 1>great guy and Ryan Goslin in a house, and and

0:45:12.680 --> 0:45:14.520
<v Speaker 1>so it is like kind of more interesting to watch.

0:45:14.560 --> 0:45:16.319
<v Speaker 1>I did want to get back to that virginity scene

0:45:16.320 --> 0:45:18.960
<v Speaker 1>because I thought it was so I was so pleasantly

0:45:18.960 --> 0:45:22.239
<v Speaker 1>surprised at how well done it was, where yeah, I mean,

0:45:22.280 --> 0:45:26.840
<v Speaker 1>you just see like positive communication between teenagers in a

0:45:26.920 --> 0:45:31.560
<v Speaker 1>sexual situation, which is like, um, what there, but it's good.

0:45:31.600 --> 0:45:33.879
<v Speaker 1>And then also another I didn't like climb on top

0:45:33.920 --> 0:45:35.480
<v Speaker 1>of her and then hang off of her and then

0:45:35.560 --> 0:45:39.600
<v Speaker 1>let go of one hand, like just do it? Come on, yeah,

0:45:39.719 --> 0:45:43.680
<v Speaker 1>call back to their meeting. But it was it was good.

0:45:43.680 --> 0:45:46.719
<v Speaker 1>I mean the fact that they're basically like, they're like,

0:45:46.800 --> 0:45:49.400
<v Speaker 1>let's lose our virginity in this haunted house. It's like

0:45:49.440 --> 0:45:51.839
<v Speaker 1>that I'm gonna buy and make pretty for you, right,

0:45:51.960 --> 0:45:58.200
<v Speaker 1>so we can sucking this less haunted house later hot place.

0:45:58.280 --> 0:46:00.799
<v Speaker 1>Ten years of four plays, I made out with an

0:46:00.800 --> 0:46:03.359
<v Speaker 1>abandoned farmhouse. Never promised me he'd painted white and put

0:46:03.360 --> 0:46:05.160
<v Speaker 1>shutters on it. I should have held out for something

0:46:05.160 --> 0:46:07.239
<v Speaker 1>better in middle school, you know, proms to making out

0:46:07.239 --> 0:46:09.400
<v Speaker 1>in a farmhouse, though it was crazy, drink a lot

0:46:09.400 --> 0:46:13.719
<v Speaker 1>of peach snaps in that weird building. Nine. Should we

0:46:13.760 --> 0:46:16.759
<v Speaker 1>take this time to discuss be parallels between I think

0:46:16.760 --> 0:46:18.399
<v Speaker 1>it would be a good time to point the fact

0:46:18.400 --> 0:46:21.120
<v Speaker 1>that you have a dark gray box with a white

0:46:21.200 --> 0:46:26.879
<v Speaker 1>font all bald some underlined. I don't know why you're

0:46:27.200 --> 0:46:31.160
<v Speaker 1>shaming me for my amazing organizational skills there's this okay,

0:46:31.200 --> 0:46:34.080
<v Speaker 1>so fan theory, and then we fact checked it right

0:46:34.120 --> 0:46:37.799
<v Speaker 1>before we we came on stage. My original theory was

0:46:37.880 --> 0:46:42.360
<v Speaker 1>that Nicholas Sparks wrote the book The Notebook right after

0:46:42.520 --> 0:46:47.000
<v Speaker 1>seeing Titanic, because so much of it is like seen

0:46:47.200 --> 0:46:49.399
<v Speaker 1>by scene, kind of the same thing in a lot

0:46:49.440 --> 0:46:52.680
<v Speaker 1>of places. But then we found out because as we

0:46:52.760 --> 0:46:57.239
<v Speaker 1>all know, Titanic came out in December, the Notebook the

0:46:57.280 --> 0:47:02.440
<v Speaker 1>Book came out in six So new fan theory by

0:47:02.520 --> 0:47:09.760
<v Speaker 1>Kaitlin Gill is that James Cameron stole the Notebook because

0:47:09.800 --> 0:47:12.080
<v Speaker 1>he had to shoehorn a love story into his weird

0:47:12.120 --> 0:47:16.600
<v Speaker 1>boat movie. And I I like that. I think I

0:47:16.640 --> 0:47:18.560
<v Speaker 1>think that could be very I know that that's true,

0:47:18.560 --> 0:47:20.640
<v Speaker 1>that they shoehned a love story. I mean, I think

0:47:20.640 --> 0:47:22.839
<v Speaker 1>that's kind of common knowledge about Titanic because you wind

0:47:22.840 --> 0:47:24.720
<v Speaker 1>in a movie with fancy boats and things that went underwater.

0:47:24.760 --> 0:47:26.640
<v Speaker 1>But they were like, no, that's not a movie, and

0:47:26.680 --> 0:47:28.640
<v Speaker 1>he was like, love story and they were like, forty

0:47:28.640 --> 0:47:33.759
<v Speaker 1>million dollars bring insane. That famous Hollywood line push a

0:47:33.800 --> 0:47:38.239
<v Speaker 1>button a carbonite block just comes at rome. So there

0:47:38.320 --> 0:47:40.879
<v Speaker 1>is so there is so much all right, starting with

0:47:41.160 --> 0:47:44.480
<v Speaker 1>the framing device of an old person telling a story

0:47:44.600 --> 0:47:49.439
<v Speaker 1>that takes place many decades earlier. Poor boy sees rich

0:47:49.520 --> 0:47:55.120
<v Speaker 1>girl with reddish hair, Instantly enamored with her, they meet

0:47:55.160 --> 0:47:58.400
<v Speaker 1>and vollmov very quickly. In Titanic it's a matter of

0:47:59.000 --> 0:48:02.359
<v Speaker 1>a day, poor boy teaches rich girl how to not

0:48:02.440 --> 0:48:05.919
<v Speaker 1>be such a stuffy rich girl. Poor boy like re

0:48:06.080 --> 0:48:09.200
<v Speaker 1>educates rich girl because in in both of these movies,

0:48:09.280 --> 0:48:12.920
<v Speaker 1>poor people are cute people. They play the spoons on

0:48:12.960 --> 0:48:15.960
<v Speaker 1>their porch or under the deck of a boat, the

0:48:16.000 --> 0:48:19.200
<v Speaker 1>Difficulties of the Port. I just want to give you

0:48:19.239 --> 0:48:23.440
<v Speaker 1>a soundtrack for the Port conn Well, not exact dancing

0:48:23.760 --> 0:48:28.080
<v Speaker 1>is in both movies. The news He's had dancing. It's like, oh,

0:48:28.120 --> 0:48:31.399
<v Speaker 1>poor people be dancing in newsies hats all the time,

0:48:31.840 --> 0:48:35.960
<v Speaker 1>never mind the fact that they're fucking dying like they're whatever.

0:48:37.360 --> 0:48:40.960
<v Speaker 1>Then we've got rich girl has fiancee who is a

0:48:41.080 --> 0:48:45.600
<v Speaker 1>rich boy. Rich girl's family disapproves of poor boy in

0:48:45.680 --> 0:48:49.359
<v Speaker 1>that exact same scene where they have a meal with

0:48:49.400 --> 0:48:52.239
<v Speaker 1>the poor boy and they're like for being poor. Yeah,

0:48:52.239 --> 0:48:55.200
<v Speaker 1>They're like, so you're poor, and he's like, yeah, being

0:48:55.239 --> 0:48:59.520
<v Speaker 1>poor is cute, and they're like, well, we don't think

0:48:59.520 --> 0:49:03.640
<v Speaker 1>it's cute, and then the rich girls like, oh my god,

0:49:03.880 --> 0:49:06.480
<v Speaker 1>I'm so sorry. Let's go dance in a Newsy's hat,

0:49:06.600 --> 0:49:09.400
<v Speaker 1>and that is how it. Both movies got a dinner

0:49:09.480 --> 0:49:14.840
<v Speaker 1>scene in The Notebook starts with waxy mustache Da telling

0:49:14.880 --> 0:49:18.359
<v Speaker 1>like a joke, being like, oh, we're all a bunch

0:49:18.400 --> 0:49:23.239
<v Speaker 1>of millionaires and yet we live with several whores. He's

0:49:23.239 --> 0:49:29.160
<v Speaker 1>a feminist icon. We can all create icon. James Marsden

0:49:29.200 --> 0:49:31.640
<v Speaker 1>in this movie is a feminist icon. But yeah, I

0:49:31.760 --> 0:49:34.719
<v Speaker 1>was um. He's a little creepy when he's all on

0:49:34.760 --> 0:49:38.560
<v Speaker 1>the cement plaster and it's like like he meets at

0:49:38.760 --> 0:49:41.000
<v Speaker 1>because she's a nurse in New York, and then he

0:49:41.040 --> 0:49:43.080
<v Speaker 1>comes back from the world busted up. He's got a

0:49:43.200 --> 0:49:45.000
<v Speaker 1>bruce face, so you don't always cute yet, and he's

0:49:45.000 --> 0:49:47.200
<v Speaker 1>in a big claster thing so you don't always fit yet,

0:49:47.239 --> 0:49:49.480
<v Speaker 1>and he just like she like half flifts him up

0:49:49.480 --> 0:49:51.920
<v Speaker 1>and he's like getting into his bed pan presumably he's

0:49:51.960 --> 0:49:56.359
<v Speaker 1>cut to blow his waist like, and she's like, you're

0:49:56.360 --> 0:49:58.920
<v Speaker 1>a zombie. No, He's like, someday I won't be. And

0:49:58.960 --> 0:50:01.160
<v Speaker 1>the next thing it's like comic fancy car, I'm better

0:50:01.239 --> 0:50:06.040
<v Speaker 1>come here, and the twist is I'm James Marson, and

0:50:06.080 --> 0:50:09.320
<v Speaker 1>she's like, Okay, sounds good. He's like, I'm James Marson. Okay,

0:50:09.600 --> 0:50:12.960
<v Speaker 1>James Morrison is we have to say the owner of

0:50:13.000 --> 0:50:18.480
<v Speaker 1>a cotton plantation in ninety so like there's other stuff

0:50:18.520 --> 0:50:20.600
<v Speaker 1>going on with his view. We haven't even talked about

0:50:20.600 --> 0:50:23.080
<v Speaker 1>the Bechdel test part, which also is problematic with the

0:50:23.360 --> 0:50:26.120
<v Speaker 1>time period in the South. But we'll get there, Truman

0:50:26.200 --> 0:50:30.520
<v Speaker 1>to get there, because I we do. Because this, yeah,

0:50:31.120 --> 0:50:35.480
<v Speaker 1>just a couple more Titanic parallels, but I want to

0:50:35.520 --> 0:50:39.640
<v Speaker 1>get through. Rich girl and poor boy drink beer together.

0:50:40.719 --> 0:50:45.080
<v Speaker 1>Poor boys friend whose name begins with f dies tragically.

0:50:45.840 --> 0:50:49.640
<v Speaker 1>This is my favorite, am This is my Finn dies

0:50:49.680 --> 0:50:53.919
<v Speaker 1>in World War Two. Fabrize Ceo dies via Titanic smokestack.

0:50:54.320 --> 0:50:58.720
<v Speaker 1>It's basically the same thing. But there's one key difference

0:50:58.840 --> 0:51:01.200
<v Speaker 1>between the two movies that in the Notebook the old

0:51:01.200 --> 0:51:04.840
<v Speaker 1>people die at the end, and in Titanic Rose simply

0:51:05.280 --> 0:51:08.719
<v Speaker 1>falls asleep and has a dream. She can we just

0:51:08.920 --> 0:51:11.520
<v Speaker 1>round of applause. Who thinks that she dies at the

0:51:11.600 --> 0:51:16.359
<v Speaker 1>end of Titanic agrees that she falls asleep and has

0:51:16.400 --> 0:51:18.200
<v Speaker 1>a dream. I'm actually I thought I was with you

0:51:18.200 --> 0:51:20.919
<v Speaker 1>there in one person clapping in the back dream. Yeah,

0:51:21.200 --> 0:51:27.800
<v Speaker 1>thank you everyone. Because the credits of Titanic, you just

0:51:27.840 --> 0:51:31.160
<v Speaker 1>see Bill Paxton like holding up an old banket just

0:51:31.280 --> 0:51:37.920
<v Speaker 1>off the top of the boat, sticks down with the jewel. Oh,

0:51:39.239 --> 0:51:41.920
<v Speaker 1>rest in Paradise. One of the things that I wanted

0:51:41.960 --> 0:51:44.800
<v Speaker 1>to bring up. And this isn't specifically about any female characters,

0:51:44.840 --> 0:51:49.240
<v Speaker 1>but it is about the portrayal of men and masculinity

0:51:49.440 --> 0:51:53.600
<v Speaker 1>because the relationship between Noah and his dad is actually

0:51:53.640 --> 0:51:56.919
<v Speaker 1>like very positive and healthy and like a very nice

0:51:56.960 --> 0:52:00.239
<v Speaker 1>portrayal of that father son relationship in him. It that

0:52:00.280 --> 0:52:03.400
<v Speaker 1>we almost never see in movies, especially of a movie

0:52:03.880 --> 0:52:06.560
<v Speaker 1>of this kind. It's a period piece, it takes place

0:52:06.600 --> 0:52:09.560
<v Speaker 1>in the South, they're poor. A lot of movies I

0:52:09.560 --> 0:52:12.480
<v Speaker 1>think would be like have an emotionally abusive or physically

0:52:12.480 --> 0:52:16.000
<v Speaker 1>abusive father or he And that's also just like crazy

0:52:16.080 --> 0:52:18.400
<v Speaker 1>writing that we see a lot is like the daddy

0:52:18.680 --> 0:52:23.440
<v Speaker 1>is bad, mustache dad is Also he's got that kind

0:52:23.440 --> 0:52:26.879
<v Speaker 1>of like charming evil of the South where like, you're

0:52:26.960 --> 0:52:30.240
<v Speaker 1>positive he's racist and he's definitely misogynist, but he's also

0:52:30.400 --> 0:52:34.280
<v Speaker 1>overtly sweet to everyone, and he's never like even unkind

0:52:34.320 --> 0:52:36.279
<v Speaker 1>to his daughter, and you don't see a lot of him,

0:52:36.280 --> 0:52:38.440
<v Speaker 1>but what that actor manages to portray as kind of

0:52:38.440 --> 0:52:40.840
<v Speaker 1>that dad's thing of like I know what you're doing

0:52:41.000 --> 0:52:44.000
<v Speaker 1>and I know you might get hurt, but like I

0:52:44.080 --> 0:52:46.239
<v Speaker 1>love you. There's I know it's very small, but I

0:52:46.280 --> 0:52:47.879
<v Speaker 1>kind of got like a little there's a little scene

0:52:47.880 --> 0:52:49.640
<v Speaker 1>where he's just on the porch where and she gets home.

0:52:49.680 --> 0:52:51.680
<v Speaker 1>My favorite take in the movie is Rachel McAdams being

0:52:51.840 --> 0:52:54.760
<v Speaker 1>scared of her father, like she jumps. He doesn't realize

0:52:54.880 --> 0:52:56.759
<v Speaker 1>he's there as she walks onto the porch and gives

0:52:56.800 --> 0:52:58.680
<v Speaker 1>a great jump take that I want to loop in

0:52:58.719 --> 0:53:01.319
<v Speaker 1>a gift that I would never stop watching. Um. But

0:53:01.520 --> 0:53:03.400
<v Speaker 1>he's just sort of he's paternal in a way that

0:53:03.440 --> 0:53:05.200
<v Speaker 1>isn't negative in a movie where it would have been

0:53:05.239 --> 0:53:07.920
<v Speaker 1>really easy, Joan Allen is the more complex parmental figure

0:53:08.120 --> 0:53:10.560
<v Speaker 1>for Allie. Her mom is definitely the one who is

0:53:10.600 --> 0:53:15.719
<v Speaker 1>more protective for complex reasons too. By the way, I'm

0:53:15.760 --> 0:53:17.879
<v Speaker 1>not the first to express this sentiment, but I will

0:53:17.880 --> 0:53:20.759
<v Speaker 1>give myself credit for novel phrasing. I'm convinced that there's

0:53:20.800 --> 0:53:23.080
<v Speaker 1>a phone in Joan Allen's house that just rings every

0:53:23.080 --> 0:53:25.480
<v Speaker 1>time Hollywood needs a distressed mother. It's just like a

0:53:25.520 --> 0:53:29.320
<v Speaker 1>hotline directly to only her. And if she's not already

0:53:29.320 --> 0:53:31.279
<v Speaker 1>on a set being a mom who's sad, she has

0:53:31.320 --> 0:53:33.880
<v Speaker 1>to go to another set immediately. They're like als and

0:53:34.000 --> 0:53:37.920
<v Speaker 1>Janny's busy. But that dad isn't so bad either, And

0:53:37.960 --> 0:53:40.480
<v Speaker 1>there's good male friendships except for like trying to you know,

0:53:40.560 --> 0:53:42.239
<v Speaker 1>set your dude up with a date with a girl

0:53:42.280 --> 0:53:44.279
<v Speaker 1>who doesn't want to go on that date. Aside from

0:53:44.320 --> 0:53:48.480
<v Speaker 1>that problematic, like, you know, it's not the worst toxic masculinity,

0:53:48.520 --> 0:53:52.000
<v Speaker 1>it's like romance toxicity. It's somehow different for both men

0:53:52.040 --> 0:53:55.359
<v Speaker 1>and women. Yeah, I mean aside for her because it's

0:53:55.400 --> 0:53:57.200
<v Speaker 1>like a guy with a great dad, a girl with

0:53:57.280 --> 0:53:59.440
<v Speaker 1>parents who don't and care about her, who seems to

0:53:59.520 --> 0:54:02.040
<v Speaker 1>have a level head right, Like they're onto something here.

0:54:02.120 --> 0:54:05.000
<v Speaker 1>Their kids would like there's no trauma in their background

0:54:05.040 --> 0:54:08.320
<v Speaker 1>that makes them irresponsible with romance. There's something like whatever,

0:54:08.320 --> 0:54:10.360
<v Speaker 1>I don't know if it's cultural. There's just something about

0:54:10.400 --> 0:54:13.600
<v Speaker 1>the circumstance of romance that makes them be totally evil

0:54:13.640 --> 0:54:18.520
<v Speaker 1>Turts like you know what with a great dad who

0:54:18.520 --> 0:54:20.800
<v Speaker 1>like reads some poetry, hanging from one arm on a

0:54:20.840 --> 0:54:24.440
<v Speaker 1>ferris wheel, like there's a disconnect, Like you've read poems,

0:54:24.480 --> 0:54:27.520
<v Speaker 1>you've read sonnets, you should have some idea of how

0:54:27.560 --> 0:54:30.280
<v Speaker 1>to treat a lady. Where's your bouquet of Posey's, dude?

0:54:30.600 --> 0:54:32.520
<v Speaker 1>Like how many of those? If you take a hike

0:54:33.120 --> 0:54:37.080
<v Speaker 1>famous Walt Whitman poem about hanging off of Carnival and

0:54:39.160 --> 0:54:44.040
<v Speaker 1>then she was mine. The romance is broken. Maybe not

0:54:44.040 --> 0:54:47.040
<v Speaker 1>not families, I guess. I don't know. I did really

0:54:47.080 --> 0:54:50.560
<v Speaker 1>like the father character and like actually was his father

0:54:50.640 --> 0:54:53.279
<v Speaker 1>because yeah, because I forgot that he died and I

0:54:53.320 --> 0:54:57.040
<v Speaker 1>was like, yeah, that was that was so quick that

0:54:57.239 --> 0:54:59.400
<v Speaker 1>seat of the funeral because they know his father passed

0:54:59.440 --> 0:55:01.120
<v Speaker 1>us after they were store the house together, and he

0:55:01.320 --> 0:55:03.680
<v Speaker 1>is uh. They expressed that by saying it out loud.

0:55:03.719 --> 0:55:05.840
<v Speaker 1>And then there's like a two second flash, almost like

0:55:05.840 --> 0:55:08.319
<v Speaker 1>a coke appearing in a movie theater trailer. To like

0:55:08.360 --> 0:55:10.879
<v Speaker 1>get you thirsty, they just throw up a flash card

0:55:10.880 --> 0:55:13.520
<v Speaker 1>of a funeral. It's like ten people in black suits

0:55:13.560 --> 0:55:15.280
<v Speaker 1>facing a hole in the ground, and then it's gone.

0:55:15.320 --> 0:55:18.120
<v Speaker 1>I just picture like the director being like, fun we

0:55:18.120 --> 0:55:20.360
<v Speaker 1>need a scene in the funeral. Everybody get your suits

0:55:20.360 --> 0:55:25.600
<v Speaker 1>and go outside. Staffers and suits. There's there is like,

0:55:25.680 --> 0:55:27.480
<v Speaker 1>and that's the only thing you see of the funeral.

0:55:27.800 --> 0:55:31.399
<v Speaker 1>It's like people leaving the funeral. It's not even them

0:55:31.440 --> 0:55:34.120
<v Speaker 1>at It's like they're like, well that was sad. The

0:55:34.160 --> 0:55:36.439
<v Speaker 1>way this movie YadA YadA, YadA, is everything that isn't

0:55:36.480 --> 0:55:39.319
<v Speaker 1>their relationship. It is totally focused on the two of

0:55:39.360 --> 0:55:40.879
<v Speaker 1>them and whether or not they're going to stay together

0:55:40.880 --> 0:55:42.520
<v Speaker 1>other the World War two is just like, I don't know,

0:55:43.400 --> 0:55:46.200
<v Speaker 1>it's like we're going to ore, We're back. That's the

0:55:46.200 --> 0:55:49.640
<v Speaker 1>whole thing. They're like, Fabrizio died. That's too bad. There

0:55:51.520 --> 0:55:54.120
<v Speaker 1>there there was I. They do fast forward a lot

0:55:54.160 --> 0:55:56.600
<v Speaker 1>of stuff, but I feel like they still care. They

0:55:56.840 --> 0:55:59.279
<v Speaker 1>the characters still developed as if all of those things

0:55:59.280 --> 0:56:02.280
<v Speaker 1>are happening. But because we're only talking about the relationship

0:56:02.360 --> 0:56:05.839
<v Speaker 1>beats sometimes when we cut foward, we're like, whoa, why

0:56:06.000 --> 0:56:10.720
<v Speaker 1>is Ryan gosl like an alcoholic? And then you're like, wait,

0:56:10.800 --> 0:56:14.520
<v Speaker 1>he loves everyone he loved died, that's why. And now

0:56:14.560 --> 0:56:18.320
<v Speaker 1>only has this this haunted plantation and a war widow

0:56:18.400 --> 0:56:20.920
<v Speaker 1>to thing. Oh what we got to talk about the

0:56:20.920 --> 0:56:26.759
<v Speaker 1>war widow? She was disservista. There's a pun there. Where

0:56:26.760 --> 0:56:30.239
<v Speaker 1>are we? How's everyone doing on their bingo boards we've

0:56:30.280 --> 0:56:33.839
<v Speaker 1>got Okay, okay, I feel like, um, there are no

0:56:33.960 --> 0:56:37.319
<v Speaker 1>cats in this movie. Cats have eight nipples. This has

0:56:37.360 --> 0:56:40.839
<v Speaker 1>been cat facts with Kaitlyn does that. I don't think

0:56:40.960 --> 0:56:46.719
<v Speaker 1>there are any cats. There's a noticeable there's just ducks.

0:56:46.920 --> 0:56:50.480
<v Speaker 1>I like the scene where um Martha shot who is

0:56:50.840 --> 0:56:55.719
<v Speaker 1>Noah's I guess buddy, Like he clearly does not take

0:56:55.719 --> 0:56:57.799
<v Speaker 1>her very seriously and it is not serious about her.

0:56:58.000 --> 0:57:00.440
<v Speaker 1>This is this is like in the future, well not

0:57:00.600 --> 0:57:02.719
<v Speaker 1>like well, like you know, it's after he's restored the house.

0:57:02.760 --> 0:57:05.439
<v Speaker 1>He's in a big old plantation mansion. All dead dad's

0:57:05.440 --> 0:57:07.399
<v Speaker 1>in the backyard. I guess wherever you put your old

0:57:07.400 --> 0:57:10.160
<v Speaker 1>people when you're poor but have a mansion. Uh, all

0:57:10.239 --> 0:57:16.320
<v Speaker 1>of Noah's hamsters and also his father. But yes, there's

0:57:16.360 --> 0:57:18.840
<v Speaker 1>a lady a couple towns over who swings by for

0:57:18.920 --> 0:57:21.640
<v Speaker 1>a little sad time boody call. It's just sad people boning.

0:57:21.640 --> 0:57:24.200
<v Speaker 1>Who hasn't been that's yeah, we've all been there. But

0:57:24.240 --> 0:57:28.240
<v Speaker 1>in the scene in which she and Ali meet, there's

0:57:28.280 --> 0:57:30.440
<v Speaker 1>just an understanding of like, oh, you're the person that

0:57:30.480 --> 0:57:32.280
<v Speaker 1>he used to love. Oh, you're the person that he

0:57:32.320 --> 0:57:34.960
<v Speaker 1>currently sucks. Nice to come on in. I feel like,

0:57:35.040 --> 0:57:37.640
<v Speaker 1>I mean, they're both very mature about another. Plandy point

0:57:37.680 --> 0:57:39.280
<v Speaker 1>I forgot for this movie where two women don't call

0:57:39.360 --> 0:57:41.400
<v Speaker 1>each other's side out like an episode of Cheaters. Says

0:57:41.520 --> 0:57:43.200
<v Speaker 1>comes by like, oh, I've heard a lot about You've

0:57:43.200 --> 0:57:44.960
<v Speaker 1>heard a lot about you too. Let's go in while

0:57:45.000 --> 0:57:47.880
<v Speaker 1>it's daylight and you're gonna leave when it's nighttime. YadA, YadA, YadA.

0:57:47.920 --> 0:57:50.919
<v Speaker 1>Conversations that happened inside. I guess, but I just think,

0:57:50.960 --> 0:57:54.040
<v Speaker 1>like I think again, like lazy writing would have had

0:57:54.080 --> 0:57:56.680
<v Speaker 1>them just like be very petty and jealous at each other.

0:57:56.760 --> 0:57:59.840
<v Speaker 1>But realistically, I don't want to meet my fun buddies,

0:58:00.040 --> 0:58:02.680
<v Speaker 1>love of their life. I will say if I'm sucking

0:58:02.720 --> 0:58:04.920
<v Speaker 1>him because my husband died in the same war, this

0:58:05.040 --> 0:58:08.160
<v Speaker 1>dude came back from there, that's a whole other movie.

0:58:08.320 --> 0:58:11.240
<v Speaker 1>It's like the war Vett fucking the War Widow is

0:58:11.280 --> 0:58:13.919
<v Speaker 1>a whole other kind of romance. Like she's not there

0:58:13.920 --> 0:58:15.280
<v Speaker 1>to stay. What are you going to do? Live in

0:58:15.280 --> 0:58:17.200
<v Speaker 1>the eyes of the memory that the war that your

0:58:17.280 --> 0:58:19.640
<v Speaker 1>husband didn't come back. Yeah, tell me again what the

0:58:19.640 --> 0:58:22.640
<v Speaker 1>war was, like, I don't think that's gonna ca The

0:58:22.680 --> 0:58:25.080
<v Speaker 1>notebook does not care about the war, all the winter whatever.

0:58:25.120 --> 0:58:27.400
<v Speaker 1>The opposite of a spring the summer romances. This is

0:58:27.440 --> 0:58:31.160
<v Speaker 1>the dark, cold season's romance. The notebook does not care

0:58:31.240 --> 0:58:33.560
<v Speaker 1>about World War two to the point where why did

0:58:33.560 --> 0:58:36.400
<v Speaker 1>it even take place? As World War two was happening,

0:58:37.400 --> 0:58:40.400
<v Speaker 1>because it comes in at almost no point. It's like

0:58:40.640 --> 0:58:43.200
<v Speaker 1>glazed over as like, oh, I guess we'd better addressed

0:58:43.200 --> 0:58:45.000
<v Speaker 1>the fact that World War two happens. Also, we got

0:58:45.000 --> 0:58:47.800
<v Speaker 1>to figure out how to kill Fabrizio. It was just

0:58:47.920 --> 0:58:50.160
<v Speaker 1>to kill Finn because she's gone by then. He just

0:58:50.200 --> 0:58:52.640
<v Speaker 1>makes that choice, like after at least this is part

0:58:52.640 --> 0:58:55.280
<v Speaker 1>of his mourning the loss of his love. After that

0:58:55.360 --> 0:58:57.200
<v Speaker 1>year of letter writing, I don't know, war broke out.

0:58:57.240 --> 0:58:59.840
<v Speaker 1>I guess I'll join the army, right, yeah, heaven Fabrizio

0:58:59.920 --> 0:59:04.720
<v Speaker 1>or like working at some rocky yard for pores and

0:59:04.720 --> 0:59:07.680
<v Speaker 1>and they're like everyone better join up, and they're like,

0:59:08.280 --> 0:59:10.880
<v Speaker 1>thats good. How do we feel about Ali as a

0:59:10.960 --> 0:59:15.400
<v Speaker 1>character herself? I generally I like how her character has

0:59:15.480 --> 0:59:18.840
<v Speaker 1>developed over time because she starts out on top because

0:59:18.840 --> 0:59:23.280
<v Speaker 1>she's repeatedly saying no, which is great. But then once

0:59:23.320 --> 0:59:27.400
<v Speaker 1>she is involved in this relationship when she's younger, especially,

0:59:27.480 --> 0:59:31.280
<v Speaker 1>she's very combative, but you see her kind of mellow

0:59:31.320 --> 0:59:33.280
<v Speaker 1>out as she gets to the point where she like

0:59:33.640 --> 0:59:38.400
<v Speaker 1>hits him. She looks physically abusive to Ryan Gosling to

0:59:38.440 --> 0:59:40.880
<v Speaker 1>the point where there's one scene where they're breaking up

0:59:40.920 --> 0:59:43.920
<v Speaker 1>when they're teenagers where she's hitting him over and over,

0:59:44.160 --> 0:59:45.880
<v Speaker 1>and then there was this I had to rewind it

0:59:46.000 --> 0:59:47.880
<v Speaker 1>because i was like, did he hit her back? But no,

0:59:48.040 --> 0:59:50.880
<v Speaker 1>he hits He also starts hitting himself, and I'm like,

0:59:50.960 --> 0:59:55.320
<v Speaker 1>why are we all hitting Ryan Gosling? This is very stressful,

0:59:55.640 --> 0:59:57.480
<v Speaker 1>but she hits him a bunch of time. I was like,

0:59:57.800 --> 1:00:00.680
<v Speaker 1>this is this is please stop hitting Ryan as he's

1:00:00.720 --> 1:00:04.560
<v Speaker 1>a national treasure, like he's Canadian, so he's a Canadian.

1:00:04.800 --> 1:00:07.200
<v Speaker 1>They're both from the same town. And Rachel McAdams is

1:00:07.240 --> 1:00:09.640
<v Speaker 1>two years older than mine Gossling. I'd like to point

1:00:09.640 --> 1:00:12.680
<v Speaker 1>that out because usually the Hollywood age gap has a

1:00:12.720 --> 1:00:19.880
<v Speaker 1>male man being too many man how I would full

1:00:19.920 --> 1:00:23.640
<v Speaker 1>of mail. Then the man being like years and years

1:00:23.680 --> 1:00:27.560
<v Speaker 1>sometimes decades older than especially romance with a seventeen year

1:00:27.560 --> 1:00:30.160
<v Speaker 1>old girl. Yeah, that guy could have been fifty and

1:00:30.160 --> 1:00:33.440
<v Speaker 1>it would have been like Rachel, I mean strengthly speaking

1:00:33.440 --> 1:00:37.320
<v Speaker 1>from a Rachel McAdams perspective the Rachel McAdams. She is

1:00:37.440 --> 1:00:39.360
<v Speaker 1>I think awesome in this movie. This is also the

1:00:39.360 --> 1:00:42.520
<v Speaker 1>same year that Mean Girls comes out, Like her two biggest,

1:00:42.600 --> 1:00:45.000
<v Speaker 1>most different roles came out the same year. She's awesome.

1:00:45.040 --> 1:00:49.800
<v Speaker 1>I love her. Okay, sorry, that's it, we can go home. No,

1:00:50.000 --> 1:00:52.520
<v Speaker 1>Ali is a character I don't know. I mean, there's

1:00:52.560 --> 1:00:54.600
<v Speaker 1>a part of her that is a little bit like

1:00:54.720 --> 1:00:57.840
<v Speaker 1>rich girl underwritten for me of just like she's never

1:00:57.920 --> 1:01:01.080
<v Speaker 1>really struggled, and then just sort of why does everyone

1:01:01.160 --> 1:01:04.520
<v Speaker 1>like her so much? Why are we all like dying

1:01:04.640 --> 1:01:09.240
<v Speaker 1>to I don't know. She paints another thing. It's like,

1:01:09.240 --> 1:01:12.200
<v Speaker 1>oh god, what a what a lazy like trope of

1:01:12.320 --> 1:01:15.520
<v Speaker 1>just like, but she wants to be an artist. I mean,

1:01:15.760 --> 1:01:18.240
<v Speaker 1>let's be She doesn't say I want to be an artist.

1:01:18.600 --> 1:01:22.720
<v Speaker 1>She says, I paint for fun, right, there's no ambition

1:01:23.000 --> 1:01:25.720
<v Speaker 1>beyond just like hanging out with a canvas. I guess,

1:01:25.720 --> 1:01:27.800
<v Speaker 1>like it's really and someday I'd like to be in

1:01:27.880 --> 1:01:31.080
<v Speaker 1>a gallery. I think. I don't know. I give him

1:01:31.080 --> 1:01:34.640
<v Speaker 1>out for Christmas, Like it just seems like and that's

1:01:34.680 --> 1:01:38.200
<v Speaker 1>like and that's used as sort of this weird leveraging

1:01:38.240 --> 1:01:41.560
<v Speaker 1>point of why we should favor Ryan Gossling over James

1:01:41.600 --> 1:01:45.560
<v Speaker 1>Marsden because Ryan Gosling leaves this series of literal arrows

1:01:45.640 --> 1:01:48.800
<v Speaker 1>leading to a canvas and then she paints in the nude.

1:01:48.880 --> 1:01:52.840
<v Speaker 1>Because he tells her how to have fun. He instructs

1:01:52.840 --> 1:01:55.040
<v Speaker 1>her with physical arrows where to go to have a

1:01:55.040 --> 1:01:59.480
<v Speaker 1>good time. This is your recreation. But and also it's

1:01:59.520 --> 1:02:01.920
<v Speaker 1>like at that and it's like, imagine if someone was

1:02:01.960 --> 1:02:04.280
<v Speaker 1>telling you, hey, you liked doing this ten years ago,

1:02:04.320 --> 1:02:07.520
<v Speaker 1>you probably still love it. Somebody sets up a dance

1:02:07.600 --> 1:02:12.040
<v Speaker 1>dance Revolution pat in a PlayStation two for me. I

1:02:12.080 --> 1:02:15.840
<v Speaker 1>know you, but then but then we're we're supposed. Oh.

1:02:15.920 --> 1:02:18.760
<v Speaker 1>James Morrison doesn't get it because one day she shows

1:02:18.800 --> 1:02:20.800
<v Speaker 1>up at his office in the middle of the day

1:02:20.800 --> 1:02:24.680
<v Speaker 1>and she's just like I used to like painting, and

1:02:24.840 --> 1:02:27.080
<v Speaker 1>he does not tell her to get the funk out,

1:02:27.120 --> 1:02:31.080
<v Speaker 1>which is when I should. Oh. Man, he's James Morson

1:02:31.120 --> 1:02:34.520
<v Speaker 1>is a champ because she's so like and both of them,

1:02:34.520 --> 1:02:38.160
<v Speaker 1>to their other romantic partners, but especially Ali, are very

1:02:38.200 --> 1:02:40.919
<v Speaker 1>like emotionally careless towards them. James Marson has done nothing

1:02:41.000 --> 1:02:44.400
<v Speaker 1>to deserve, like her going off for a week and

1:02:44.520 --> 1:02:46.800
<v Speaker 1>cheating on him for a week and then coming back

1:02:46.840 --> 1:02:49.800
<v Speaker 1>and being like I don't know, and then I just

1:02:49.880 --> 1:02:52.680
<v Speaker 1>feel like someone different when I'm with him, right, and

1:02:52.720 --> 1:02:55.680
<v Speaker 1>I'm just like, oh, that's something that people who cheat

1:02:55.720 --> 1:02:59.720
<v Speaker 1>on you, who can't be trusted would say. But it

1:02:59.840 --> 1:03:03.120
<v Speaker 1>is a lifelong romance founded by teenagers on a summer

1:03:03.120 --> 1:03:05.960
<v Speaker 1>fling and then infidelity, Like those are the two bread

1:03:06.080 --> 1:03:10.360
<v Speaker 1>rock moments of their then lifelong relationship. So that's fight

1:03:10.440 --> 1:03:12.600
<v Speaker 1>where he like, Noah's like, there's gonna be a lot

1:03:12.600 --> 1:03:15.560
<v Speaker 1>of work where you gonna working at it every day, Like, yeah, dude,

1:03:15.600 --> 1:03:18.040
<v Speaker 1>you started this on some rocky ground, not at your job.

1:03:19.040 --> 1:03:21.920
<v Speaker 1>And also we got a lot of trust to build, buddy.

1:03:22.080 --> 1:03:24.480
<v Speaker 1>They have they have this exchange a couple different times

1:03:24.480 --> 1:03:28.040
<v Speaker 1>where they're like, we fight all the time, that's okay,

1:03:27.680 --> 1:03:30.360
<v Speaker 1>Like when their teenagers are like all like there was

1:03:30.400 --> 1:03:32.760
<v Speaker 1>like a voice over like all they do is fight,

1:03:33.000 --> 1:03:37.880
<v Speaker 1>cut to Rachel McAdams hitting Ryan gossling incessantly, but boy

1:03:38.000 --> 1:03:42.720
<v Speaker 1>did they kiss nice? No, that's not what a good

1:03:42.760 --> 1:03:45.600
<v Speaker 1>relationship is. And then they say it again ten years later,

1:03:45.680 --> 1:03:47.840
<v Speaker 1>all we do is fight, That's fine. I would have

1:03:47.880 --> 1:03:49.360
<v Speaker 1>loved to see her pop out of to menship at

1:03:49.360 --> 1:03:51.520
<v Speaker 1>the end and spend the three minutes she had cognizant,

1:03:51.600 --> 1:03:54.160
<v Speaker 1>Just like is the candles that you're putting out? These

1:03:54.160 --> 1:03:59.520
<v Speaker 1>are my scandle stits, you idiot, just parading him. Um.

1:03:59.560 --> 1:04:02.960
<v Speaker 1>I wanted to mentioned that, as with most mainstream Hollywood movies,

1:04:03.000 --> 1:04:06.160
<v Speaker 1>this is a very heatero movie. This is a very

1:04:06.280 --> 1:04:09.040
<v Speaker 1>white movie. All the character is fun. What are you

1:04:09.080 --> 1:04:13.040
<v Speaker 1>talking about? At Lee's dad is totally gay. Hello sou

1:04:13.640 --> 1:04:16.920
<v Speaker 1>southern dandy's married pretty ladies head to the South. Y'all

1:04:16.960 --> 1:04:20.360
<v Speaker 1>tapped it all the time. That mustache daddy, he gay

1:04:20.920 --> 1:04:24.800
<v Speaker 1>queer icon mustache daddy. For all you bingo borders out there,

1:04:25.120 --> 1:04:27.160
<v Speaker 1>I feel like that's from the text of Joan Allen

1:04:27.200 --> 1:04:29.360
<v Speaker 1>in the car, Like I could have married this poor

1:04:29.720 --> 1:04:34.320
<v Speaker 1>viral at like beautiful man, but because I was in

1:04:34.360 --> 1:04:36.800
<v Speaker 1>love with him, I married your gay father. We both

1:04:36.800 --> 1:04:41.920
<v Speaker 1>needed a beard. But honey, you get it right, Like

1:04:42.000 --> 1:04:46.760
<v Speaker 1>you saw the mustache. That's very implicit and not it

1:04:46.840 --> 1:04:49.920
<v Speaker 1>is not explicit. I'm definitely deciding that that's the case.

1:04:50.720 --> 1:04:53.440
<v Speaker 1>And and for a movie that takes place in the South,

1:04:53.680 --> 1:04:58.320
<v Speaker 1>in race is not touched at all. Oh yes, it

1:04:58.440 --> 1:05:00.840
<v Speaker 1>is a lot of strap. Actor of color got an

1:05:00.840 --> 1:05:03.760
<v Speaker 1>extra day. Right, that's super nice. Yeah, there's a whole

1:05:03.760 --> 1:05:06.960
<v Speaker 1>lot of background characters, and there are the only people

1:05:07.000 --> 1:05:09.000
<v Speaker 1>of color who have lines are the help. One of

1:05:09.000 --> 1:05:11.840
<v Speaker 1>the lines is I would be happy to pack your bags.

1:05:12.880 --> 1:05:14.760
<v Speaker 1>And that are the only person of color that I

1:05:14.760 --> 1:05:17.520
<v Speaker 1>know is who actually had a name. Was it was

1:05:17.760 --> 1:05:21.160
<v Speaker 1>the servant in the house in the forties. So that's

1:05:21.200 --> 1:05:23.320
<v Speaker 1>the only person of color with a name. Because there

1:05:23.320 --> 1:05:26.720
<v Speaker 1>are two nurses that we see in the forward scenes

1:05:26.800 --> 1:05:29.600
<v Speaker 1>with the old people over and over, there two women

1:05:29.640 --> 1:05:33.960
<v Speaker 1>of color who worked the nursing horme horm that sounds

1:05:34.000 --> 1:05:38.320
<v Speaker 1>like he would seem worse than using home. Oh boy,

1:05:38.320 --> 1:05:42.640
<v Speaker 1>it's infectious, table basset, the whole Todd Lake can's beach.

1:05:44.640 --> 1:05:47.320
<v Speaker 1>But there, uh, we see and we see these two

1:05:47.400 --> 1:05:50.120
<v Speaker 1>characters for a lot of the movie. We see them

1:05:50.120 --> 1:05:51.840
<v Speaker 1>in almost every scene that the old people are in.

1:05:52.120 --> 1:05:54.840
<v Speaker 1>Never find out their names, nothing, nothing, And it's just

1:05:54.960 --> 1:05:59.520
<v Speaker 1>it's that's just like careless, stupid, right, that's why it

1:05:59.560 --> 1:06:02.680
<v Speaker 1>doesn't us the Bechtel test. Let's get one last thing

1:06:02.720 --> 1:06:04.520
<v Speaker 1>I wanted to say is that, um, we've got some

1:06:04.560 --> 1:06:07.880
<v Speaker 1>other tests to address. I wanted to just say that, um,

1:06:08.080 --> 1:06:14.720
<v Speaker 1>as it relates to the character the people of color. Oh,

1:06:14.960 --> 1:06:20.280
<v Speaker 1>hand over, baby, someone's got Bacton. Give it up for

1:06:20.320 --> 1:06:26.240
<v Speaker 1>our first Bengo winner. Congratulations Betel Bengoway. What else do

1:06:26.320 --> 1:06:28.400
<v Speaker 1>we have to talk about? So I wanted to finish

1:06:28.400 --> 1:06:31.160
<v Speaker 1>my point about so the people of color in the movie.

1:06:31.280 --> 1:06:34.440
<v Speaker 1>We were talking about the Bechtel tests, also the DuVernay test,

1:06:34.840 --> 1:06:38.240
<v Speaker 1>which requires that people of color in the movie can't

1:06:38.280 --> 1:06:40.800
<v Speaker 1>just be supporting the white characters in the movie. They

1:06:40.880 --> 1:06:43.360
<v Speaker 1>have to have their own realized lives and stories and

1:06:43.400 --> 1:06:45.360
<v Speaker 1>back stories and everything like that. So this movie doesn't

1:06:46.840 --> 1:06:50.400
<v Speaker 1>every person of color is literally seen serving a white person.

1:06:50.560 --> 1:06:54.080
<v Speaker 1>There is not, although we do see apparently I uh,

1:06:54.200 --> 1:06:57.200
<v Speaker 1>Noah and his father have several black friends, because there's

1:06:57.200 --> 1:07:00.400
<v Speaker 1>that scene where they're all dancing together. I don't It's like,

1:07:00.560 --> 1:07:03.040
<v Speaker 1>I mean, we don't really don't know anything about them,

1:07:03.320 --> 1:07:05.400
<v Speaker 1>and they're they don't have any lines. That's also just

1:07:05.480 --> 1:07:08.520
<v Speaker 1>used to imply like those rich snobs, they they buy

1:07:08.600 --> 1:07:11.680
<v Speaker 1>the black people, we play spoons with them. There's like,

1:07:12.400 --> 1:07:15.560
<v Speaker 1>we would be remiss to not say that. Several times

1:07:15.640 --> 1:07:21.400
<v Speaker 1>in the movie, James Marsden owns a cotton plantation, and

1:07:21.680 --> 1:07:25.480
<v Speaker 1>you know, and everyone's like Oh cool, he's successful and

1:07:25.560 --> 1:07:30.200
<v Speaker 1>it's like he's racist. There's no way around it. Okay,

1:07:30.240 --> 1:07:33.120
<v Speaker 1>back to the Bechtel test. By the Bechtel cast version,

1:07:33.320 --> 1:07:37.560
<v Speaker 1>it technically does, but you had a compelling argent. So

1:07:37.600 --> 1:07:39.920
<v Speaker 1>I think that because we were talking about this before,

1:07:39.960 --> 1:07:41.560
<v Speaker 1>and I think it. I think you had a really

1:07:41.600 --> 1:07:43.680
<v Speaker 1>good point that it does come to a matter of

1:07:43.960 --> 1:07:47.840
<v Speaker 1>subtext where our version of the Bechtel test requires two

1:07:48.360 --> 1:07:52.640
<v Speaker 1>female identifying characters with names talking about something other than

1:07:52.720 --> 1:07:57.040
<v Speaker 1>a man for two lines of dialect. But that gets

1:07:57.080 --> 1:07:59.880
<v Speaker 1>and so so basically it's safe to say get tricky

1:08:00.080 --> 1:08:02.480
<v Speaker 1>if you're at the point where it's that bar, if

1:08:02.480 --> 1:08:06.560
<v Speaker 1>you're squeezing something under it, it doesn't fit. Okay, I

1:08:07.200 --> 1:08:09.919
<v Speaker 1>because of the scene we were talking about. The subtext

1:08:10.240 --> 1:08:12.840
<v Speaker 1>is so this scene that you could even use to

1:08:12.920 --> 1:08:17.360
<v Speaker 1>suggest between Ali and her mom right after Ali and

1:08:17.560 --> 1:08:21.720
<v Speaker 1>no Uh are out late, trying to fuck doesn't work out.

1:08:22.320 --> 1:08:24.880
<v Speaker 1>So then her parents freak out because she's out late,

1:08:25.400 --> 1:08:28.479
<v Speaker 1>and then they say we're leaving tomorrow and you're going

1:08:28.520 --> 1:08:34.920
<v Speaker 1>to college. Great normal reaction. We're vacating the mansion because

1:08:34.960 --> 1:08:40.880
<v Speaker 1>you got fingered one time. Very chill. So we see

1:08:40.920 --> 1:08:42.840
<v Speaker 1>the scene with her and her mom the next day,

1:08:42.880 --> 1:08:45.120
<v Speaker 1>and they do have several lines. I do have the

1:08:45.200 --> 1:08:49.280
<v Speaker 1>actual lines dies it's in your novella. It's basically something

1:08:49.400 --> 1:08:52.680
<v Speaker 1>to the effective. She's seen like cars getting packed up

1:08:52.880 --> 1:08:54.840
<v Speaker 1>and she was like, what's going on? And her mom's like,

1:08:55.080 --> 1:08:58.240
<v Speaker 1>we're leaving, and she's like, we're leaving now. She's like, yes,

1:08:58.520 --> 1:09:01.320
<v Speaker 1>sit down and have some breakfast. Then Willow, I think

1:09:01.320 --> 1:09:03.920
<v Speaker 1>it is we'll pack up your things. So that's where

1:09:03.920 --> 1:09:06.880
<v Speaker 1>the argument comes in, is like they are not explicitly

1:09:06.920 --> 1:09:10.600
<v Speaker 1>saying we're leaving now because you got fingered in a

1:09:10.640 --> 1:09:15.120
<v Speaker 1>haunted house last night by a guy. But I do

1:09:15.320 --> 1:09:17.559
<v Speaker 1>I do agree that that is the subtext of like,

1:09:17.640 --> 1:09:20.599
<v Speaker 1>that's what's driving this whole scene, is the you know,

1:09:20.760 --> 1:09:23.040
<v Speaker 1>I would even like, I don't know if it's subtext

1:09:23.120 --> 1:09:25.760
<v Speaker 1>because to me, Alie's response it's like of like I'm

1:09:25.760 --> 1:09:28.920
<v Speaker 1>not going anywhere, is like not because I like the

1:09:28.960 --> 1:09:32.439
<v Speaker 1>seaside like I'm not leaving, like have you smelled this

1:09:32.520 --> 1:09:35.720
<v Speaker 1>coastal air? It's because she wants she didn't get the

1:09:35.760 --> 1:09:38.240
<v Speaker 1>sled down the pole. She wants to get another shot.

1:09:38.280 --> 1:09:40.280
<v Speaker 1>But it The only other scenes with women who talk

1:09:40.320 --> 1:09:42.439
<v Speaker 1>to each other are in the retirement home and it

1:09:42.600 --> 1:09:45.760
<v Speaker 1>is uh, none of those nurses have names. None of

1:09:45.760 --> 1:09:50.120
<v Speaker 1>those scenes are more than two lines anyway, with Joan Allen,

1:09:50.640 --> 1:09:53.599
<v Speaker 1>Rachel the Cabs and Gina rollings in it. And you

1:09:53.640 --> 1:09:56.920
<v Speaker 1>can't find a conversation for any of those actors that

1:09:57.000 --> 1:09:59.559
<v Speaker 1>those actors could read the back of a Cheerios box,

1:09:59.600 --> 1:10:02.760
<v Speaker 1>and I would right, well, okay, so I have a

1:10:02.760 --> 1:10:05.839
<v Speaker 1>few more scenes that could pass, or they have women characters.

1:10:05.840 --> 1:10:09.519
<v Speaker 1>And Ali talks to her friend Sarah a couple of

1:10:09.560 --> 1:10:12.599
<v Speaker 1>different times, and one of the scenes, Sarah is telling

1:10:12.600 --> 1:10:15.200
<v Speaker 1>Ali about Noah does not pass. God. That seems so

1:10:15.240 --> 1:10:17.960
<v Speaker 1>annoying too, because Ali is like, isn't it so weird

1:10:18.000 --> 1:10:20.080
<v Speaker 1>how he just threw him off at me? And she's like, no,

1:10:21.000 --> 1:10:26.760
<v Speaker 1>that's like later on, whenever Noah shows up to the

1:10:26.840 --> 1:10:30.519
<v Speaker 1>surprise date that he has orchestrated, Sarah goes, you remember Noah,

1:10:30.640 --> 1:10:33.559
<v Speaker 1>don't you? And she's like, it doesn't pass. They talk

1:10:33.640 --> 1:10:37.120
<v Speaker 1>about I mean a scene later on when they're like

1:10:37.439 --> 1:10:41.880
<v Speaker 1>playing in a body of water birds. No bird birds

1:10:41.880 --> 1:10:44.800
<v Speaker 1>are not present here. Um, there's there's a rope that

1:10:44.840 --> 1:10:48.080
<v Speaker 1>they're all swinging from. Oh God, that scene is terrible.

1:10:48.120 --> 1:10:50.720
<v Speaker 1>Sarah is like get in the water and she's like,

1:10:50.840 --> 1:10:56.920
<v Speaker 1>I can't. Maybe passes. That is honestly the closest one yet,

1:10:56.960 --> 1:10:59.759
<v Speaker 1>but I forgot about that scene Ryan Gosling, She's afraid

1:10:59.760 --> 1:11:01.760
<v Speaker 1>to do muff the rope swing and Ryan Castling is

1:11:01.800 --> 1:11:04.200
<v Speaker 1>just on the side like do it, go for it,

1:11:04.320 --> 1:11:10.599
<v Speaker 1>get do it, go for it, baby, just try it, honey,

1:11:10.720 --> 1:11:15.519
<v Speaker 1>you left. Get out the fucking water, I mean, drump baby.

1:11:16.000 --> 1:11:20.879
<v Speaker 1>Other scenes where women interactor. Other scenes where women interact.

1:11:21.000 --> 1:11:26.160
<v Speaker 1>Um Ali is chatting with her college friends about James Marsden.

1:11:26.439 --> 1:11:28.160
<v Speaker 1>We do not know any other names, and they're talking

1:11:28.200 --> 1:11:30.479
<v Speaker 1>about a man. Ali is in a group of women

1:11:30.520 --> 1:11:34.000
<v Speaker 1>at her wedding dress fitting their squealing about the dress

1:11:34.000 --> 1:11:35.559
<v Speaker 1>and the wedding but we do not know any of

1:11:35.560 --> 1:11:40.880
<v Speaker 1>their names out and she's on the top half of

1:11:40.920 --> 1:11:43.280
<v Speaker 1>the newspaper and then it flops down in port elis

1:11:43.360 --> 1:11:47.160
<v Speaker 1>under the fold with the picture of poor man renovates

1:11:47.160 --> 1:11:50.920
<v Speaker 1>haunted house. It's like rich girl getting married, poor boy

1:11:51.040 --> 1:11:57.679
<v Speaker 1>does something. Question. Another another contender for passing the Bacte

1:11:57.800 --> 1:12:03.200
<v Speaker 1>test is when old Ali meets all of her female relatives.

1:12:03.520 --> 1:12:05.880
<v Speaker 1>Obviously they know she is, but she doesn't know who

1:12:05.960 --> 1:12:08.080
<v Speaker 1>they are. It's all his like, those are the kids

1:12:08.120 --> 1:12:10.639
<v Speaker 1>that they made in their relationship. I don't think like

1:12:10.720 --> 1:12:13.720
<v Speaker 1>what's your name again counts when they're the literal if

1:12:13.720 --> 1:12:17.200
<v Speaker 1>it was a character like someone else's family. IBE. That's

1:12:17.240 --> 1:12:20.639
<v Speaker 1>me stretching, but like reintroducing yourself to your kids when

1:12:20.640 --> 1:12:24.120
<v Speaker 1>you have dementia and your husband is right there, it's

1:12:24.120 --> 1:12:28.960
<v Speaker 1>still kind of about your relationship in that case. And

1:12:29.120 --> 1:12:31.760
<v Speaker 1>also I like, I think that God and I hate

1:12:31.800 --> 1:12:34.040
<v Speaker 1>that we have to get so into the weeds of

1:12:34.120 --> 1:12:37.559
<v Speaker 1>like what is a past? But the fact that even

1:12:37.600 --> 1:12:40.599
<v Speaker 1>if the daughters in that scene do have names, which

1:12:40.640 --> 1:12:43.839
<v Speaker 1>they believe they do, it some they don't. She doesn't

1:12:43.880 --> 1:12:48.200
<v Speaker 1>know their names, so it can't pass if at least

1:12:48.200 --> 1:12:52.000
<v Speaker 1>the women talking don't even know each other's name. So

1:12:52.200 --> 1:12:54.160
<v Speaker 1>that I was like, that can't I think that's very

1:12:54.200 --> 1:12:58.519
<v Speaker 1>ablest of you. But those kids only come in to

1:12:58.600 --> 1:13:01.360
<v Speaker 1>be like dad, stop taking care of Mom, so they

1:13:01.439 --> 1:13:06.719
<v Speaker 1>also only talk about their relationship. And also what hateful children?

1:13:07.360 --> 1:13:11.040
<v Speaker 1>So we hate don't you hate how dad loves mom?

1:13:11.360 --> 1:13:14.280
<v Speaker 1>I know they're terrible. I will say I'll give this

1:13:14.360 --> 1:13:17.640
<v Speaker 1>movie credit as a film. It is very focused on

1:13:17.720 --> 1:13:21.040
<v Speaker 1>telling one story that although we've criticized it's negative aspects,

1:13:21.160 --> 1:13:23.560
<v Speaker 1>is very beautiful. It's a love story over the overtime,

1:13:23.600 --> 1:13:26.720
<v Speaker 1>and it's it is just about the relationship of these

1:13:26.760 --> 1:13:29.639
<v Speaker 1>two people. And in the movie, no one talks about

1:13:29.680 --> 1:13:32.360
<v Speaker 1>anything else. So it's a weird movie to apply the

1:13:32.360 --> 1:13:35.719
<v Speaker 1>test too, because no one has a conversation about anything else.

1:13:35.840 --> 1:13:37.439
<v Speaker 1>It's not like two women in the movie would have

1:13:37.479 --> 1:13:40.240
<v Speaker 1>an opportunity to be like, did you admire this silverspoon?

1:13:40.360 --> 1:13:44.040
<v Speaker 1>It's detail is quite exceptional. They talk about nothing except

1:13:44.040 --> 1:13:46.200
<v Speaker 1>for whether Ali and now we're gonna sunk forever. That

1:13:46.320 --> 1:13:49.440
<v Speaker 1>is the sole focus of the film, an accomplishment in storytelling.

1:13:49.479 --> 1:13:52.760
<v Speaker 1>It is a very focused, well crafted story with not

1:13:52.840 --> 1:13:54.760
<v Speaker 1>a lot of fat to trim. Again, that scene with

1:13:54.840 --> 1:13:57.719
<v Speaker 1>Martha after Ali shows up and war Widow comes cruising

1:13:57.720 --> 1:14:00.160
<v Speaker 1>in knock knockdock, I brought you a pie. Wink winkly

1:14:00.200 --> 1:14:02.080
<v Speaker 1>opens the door and it's like, come on in, let's chat.

1:14:02.120 --> 1:14:04.439
<v Speaker 1>And again the next scene is like it's dark out.

1:14:04.479 --> 1:14:07.000
<v Speaker 1>They just YadA, YadA through all that conversation. They don't

1:14:07.000 --> 1:14:08.760
<v Speaker 1>talk about anything that isn't just the two of them.

1:14:08.840 --> 1:14:11.800
<v Speaker 1>With that scene pass the backtel test, though he's right

1:14:11.840 --> 1:14:14.760
<v Speaker 1>there and the context of their conversation is like, we

1:14:14.880 --> 1:14:20.599
<v Speaker 1>both have kissed the same man. Sisters, let's take bread

1:14:20.680 --> 1:14:25.160
<v Speaker 1>or whatever. Oh wait, oh, the bingo board has reminded

1:14:25.200 --> 1:14:30.200
<v Speaker 1>me of something I wanted to talk that this movie. Originally,

1:14:31.120 --> 1:14:36.760
<v Speaker 1>the Steve Bushemy test is basically just a framework that

1:14:37.320 --> 1:14:40.960
<v Speaker 1>makes it so that because Ryan Gosling is the one,

1:14:41.040 --> 1:14:44.639
<v Speaker 1>you know, Ryan Gosling, notorious Hollywood hunk, is the one

1:14:44.720 --> 1:14:48.360
<v Speaker 1>displaying all the predatory behavior at the beginning of this movie,

1:14:48.600 --> 1:14:52.200
<v Speaker 1>we're conditioned by movies to think that because he's so hot,

1:14:52.800 --> 1:14:56.320
<v Speaker 1>it's okay. So the idea being if we sub out

1:14:56.720 --> 1:15:03.479
<v Speaker 1>Gosling with Bushemy or just someone not considered Hollywood hot,

1:15:04.080 --> 1:15:09.240
<v Speaker 1>it immediately registers as not okay. Where if bush Emmy

1:15:09.360 --> 1:15:12.080
<v Speaker 1>shows up in the rain saying I wrote you every

1:15:12.200 --> 1:15:15.800
<v Speaker 1>day for a year, you call the cops and it's like,

1:15:16.280 --> 1:15:20.880
<v Speaker 1>not a question. So that's that's what that's what that is. Yeah, Yeah,

1:15:21.040 --> 1:15:24.839
<v Speaker 1>that's alarmingly true in this film. Yeah, if you subot

1:15:24.960 --> 1:15:28.080
<v Speaker 1>it flies because they're like both hotties, anyone who's not

1:15:28.360 --> 1:15:30.520
<v Speaker 1>right if you and if you sub ut Rachel McAdams

1:15:30.520 --> 1:15:33.759
<v Speaker 1>with someone who's not alarmingly hot and she's just hitting

1:15:33.840 --> 1:15:37.360
<v Speaker 1>Ryan Gosling. You're like, no, this is but I feel like,

1:15:37.479 --> 1:15:40.320
<v Speaker 1>especially when this movie came out, probably that behavior on

1:15:40.400 --> 1:15:43.120
<v Speaker 1>her part barely registered. It didn't register for me at all.

1:15:43.160 --> 1:15:46.280
<v Speaker 1>I forgot that she was hitting him all the time

1:15:46.320 --> 1:15:49.080
<v Speaker 1>they were teenagers. You know, I just accurred to me,

1:15:49.240 --> 1:15:52.479
<v Speaker 1>what's kind of beautiful about being unconventionally attractive is that

1:15:52.840 --> 1:15:55.160
<v Speaker 1>even if you're rich. Report if you fell in love

1:15:55.160 --> 1:15:58.240
<v Speaker 1>at seventeen as an if you're a bush Emmy and

1:15:58.240 --> 1:16:01.120
<v Speaker 1>a lady bush Emmy and you eat each other, oh yeah,

1:16:02.880 --> 1:16:05.280
<v Speaker 1>deeply love and you come back to your mother and

1:16:05.320 --> 1:16:08.120
<v Speaker 1>father like tooth jutting out over your lower lip. No,

1:16:08.280 --> 1:16:11.360
<v Speaker 1>his hair visible, whatever your problems are, Like, daddy, I

1:16:11.400 --> 1:16:14.840
<v Speaker 1>found love like you don't. Yeah, congratulations, we don't give

1:16:14.840 --> 1:16:16.320
<v Speaker 1>a ship. If he works at the lumber yard. This

1:16:16.400 --> 1:16:21.200
<v Speaker 1>is the best. He's a rock hormp on his back.

1:16:21.320 --> 1:16:23.840
<v Speaker 1>He's just got like you know, he's bald but wrong.

1:16:23.920 --> 1:16:26.000
<v Speaker 1>It's just on the sides and not on the top

1:16:26.120 --> 1:16:29.160
<v Speaker 1>like you know, just like whatever, I'm so glad you

1:16:29.200 --> 1:16:32.280
<v Speaker 1>love our beaver tooth daughter. Congratulations. I'm gonna buy you

1:16:32.360 --> 1:16:35.960
<v Speaker 1>that mansion and restore with your huge hands. I do

1:16:36.040 --> 1:16:40.320
<v Speaker 1>want to pitch to our certainly all industry audience. UH

1:16:39.960 --> 1:16:47.160
<v Speaker 1>My new film Lady bush Emmy, directed by Credit coming

1:16:47.160 --> 1:16:53.840
<v Speaker 1>of It's a companion to my famous uh Tony Dance,

1:16:53.840 --> 1:16:58.040
<v Speaker 1>A biopic Tony also coming out in the coming year,

1:16:58.160 --> 1:17:00.720
<v Speaker 1>so check out. I'm gonna take these movies led by

1:17:00.840 --> 1:17:04.360
<v Speaker 1>women and replace them by man. I do want to

1:17:04.400 --> 1:17:10.439
<v Speaker 1>see Tony Dance land a triple axel, Tony spot haircut.

1:17:11.479 --> 1:17:15.400
<v Speaker 1>Everything else is the same, but it's Tony Dancing. Shall

1:17:15.439 --> 1:17:18.559
<v Speaker 1>we rate the movie on our nipple scale? So we

1:17:18.600 --> 1:17:20.439
<v Speaker 1>have a nipple scale, will rewrite the movie based on

1:17:20.479 --> 1:17:24.360
<v Speaker 1>its portrayal of women a zero to five nipples. This

1:17:24.400 --> 1:17:27.000
<v Speaker 1>is gonna be tricky for me because, aside from the

1:17:27.040 --> 1:17:31.120
<v Speaker 1>first fifteen minutes, which are very problematic and very irresponsible

1:17:31.120 --> 1:17:33.880
<v Speaker 1>in the way that they depict like a budding romance,

1:17:34.520 --> 1:17:36.840
<v Speaker 1>the rest of the movie I don't think does that

1:17:37.120 --> 1:17:41.680
<v Speaker 1>badly in depicting a romance. I think I want to

1:17:41.680 --> 1:17:46.519
<v Speaker 1>give it two and a half nipples. I mean between

1:17:46.600 --> 1:17:51.200
<v Speaker 1>like the like noticeable lack of toxic masculinity. Again, aside

1:17:51.200 --> 1:17:52.960
<v Speaker 1>from the first fifteen minutes in the movie, the way

1:17:53.000 --> 1:17:57.360
<v Speaker 1>that you depict Noah in his dad relationship and other

1:17:57.760 --> 1:18:00.360
<v Speaker 1>male characters. I mean, why am I giving credit to them?

1:18:00.360 --> 1:18:06.320
<v Speaker 1>This is not what this podcast is about. I guess

1:18:06.520 --> 1:18:11.960
<v Speaker 1>Ali is a character I appreciate. She's generally pretty well developed.

1:18:12.000 --> 1:18:15.720
<v Speaker 1>I think, um, she doesn't fall into a lot of

1:18:15.760 --> 1:18:19.880
<v Speaker 1>tropes that you see in romantic stories. Some of them, yes,

1:18:19.920 --> 1:18:23.000
<v Speaker 1>but overall, I think she's like pretty dynamic. I mean,

1:18:23.160 --> 1:18:25.920
<v Speaker 1>she's one of two main characters. She's helping to drive

1:18:25.960 --> 1:18:29.200
<v Speaker 1>the story, she's making choices, she has agency. But you know,

1:18:29.280 --> 1:18:31.000
<v Speaker 1>the movie is not perfect for all the reasons. So

1:18:31.040 --> 1:18:33.479
<v Speaker 1>we've already discussed. So Yeah, I'm gonna two and a

1:18:33.479 --> 1:18:36.880
<v Speaker 1>half nipples. One of them goes to Ryan Gosling's nipple

1:18:37.080 --> 1:18:39.599
<v Speaker 1>that is exposed in the movie. That is the only

1:18:39.680 --> 1:18:42.640
<v Speaker 1>nipp we get right. One of them I'm going to

1:18:42.760 --> 1:18:50.559
<v Speaker 1>give to Fabrizio from Titanic. Uh. And the half nipple

1:18:51.040 --> 1:18:56.000
<v Speaker 1>I'll give to gay Mustache Daddy's mustache sick. Yeah, let's

1:18:56.000 --> 1:18:58.479
<v Speaker 1>give a mustache. That's actually very forward thinking of you.

1:18:58.640 --> 1:19:03.560
<v Speaker 1>I would accept a glass of milk from the mustache netball. Yeah,

1:19:03.920 --> 1:19:05.960
<v Speaker 1>I'll give it two and a half as well, for

1:19:06.000 --> 1:19:08.920
<v Speaker 1>all the reasons you stated, I think that the other

1:19:09.040 --> 1:19:11.720
<v Speaker 1>female characters we see in this movie, even the ones

1:19:11.760 --> 1:19:16.719
<v Speaker 1>that are better developed, like Ali's mom and like Martha,

1:19:16.880 --> 1:19:19.479
<v Speaker 1>are really I mean, and again it's kind of like

1:19:19.479 --> 1:19:22.479
<v Speaker 1>what you're saying, Caitlin Gil that it is because it's

1:19:22.520 --> 1:19:25.400
<v Speaker 1>just such a focused story that there's not really a

1:19:25.479 --> 1:19:28.200
<v Speaker 1>b plot at all. The b plot is the main

1:19:28.320 --> 1:19:31.720
<v Speaker 1>characters but older like Finn, who's there to set him

1:19:31.760 --> 1:19:34.679
<v Speaker 1>up on a date once, and then Diana war Let's

1:19:34.720 --> 1:19:39.080
<v Speaker 1>the entire that was his entire orbit to pretty embarrassing

1:19:40.120 --> 1:19:42.800
<v Speaker 1>set people up on a date one time later killed

1:19:42.800 --> 1:19:48.400
<v Speaker 1>in World War two. Uh. But like, I think that

1:19:48.439 --> 1:19:51.360
<v Speaker 1>there's little things this movie and the story could have

1:19:51.439 --> 1:19:55.000
<v Speaker 1>done more to better services female characters, such as not

1:19:55.120 --> 1:19:59.000
<v Speaker 1>having the best friend only say like you shouldn't go

1:19:59.080 --> 1:20:01.599
<v Speaker 1>with that guy who is threatening to kill himself if

1:20:01.640 --> 1:20:03.880
<v Speaker 1>you don't go on a date with him. The mom beat,

1:20:04.080 --> 1:20:07.479
<v Speaker 1>even though I didn't totally dislike that scene where it's like,

1:20:07.479 --> 1:20:09.599
<v Speaker 1>at least we get a scene understanding where the mom's

1:20:09.640 --> 1:20:12.640
<v Speaker 1>coming from and she's not just totally villainized, but the

1:20:12.680 --> 1:20:14.760
<v Speaker 1>fact that it was just like I sucked a poor

1:20:14.800 --> 1:20:17.759
<v Speaker 1>person ones to a big mistake, but what a great

1:20:18.240 --> 1:20:21.360
<v Speaker 1>dick like there that this is weird and I also

1:20:21.400 --> 1:20:23.479
<v Speaker 1>really don't like how the women of color in this

1:20:23.520 --> 1:20:27.000
<v Speaker 1>movie are treated where there, I mean, every woman of

1:20:27.040 --> 1:20:30.160
<v Speaker 1>color in this film is in a service position and

1:20:30.240 --> 1:20:32.880
<v Speaker 1>only one of them is given a name, and that

1:20:33.000 --> 1:20:36.479
<v Speaker 1>is annoying, especially considering that this movie takes place in

1:20:36.479 --> 1:20:38.799
<v Speaker 1>the South, and it's just like it's just this weird,

1:20:38.920 --> 1:20:41.880
<v Speaker 1>bizarre blind spot where it's okay, like it's like this

1:20:41.880 --> 1:20:44.280
<v Speaker 1>movie doesn't have to be about race, but it's like,

1:20:44.720 --> 1:20:47.840
<v Speaker 1>you know, give your characters a name, give them something

1:20:47.880 --> 1:20:51.400
<v Speaker 1>to do, give them, you know. So for for that reason,

1:20:51.760 --> 1:20:53.760
<v Speaker 1>I'm gonna give it two and a half and give

1:20:53.880 --> 1:20:56.360
<v Speaker 1>one nipple to Alley because I do like her. She

1:20:56.479 --> 1:20:59.200
<v Speaker 1>goes on a you know journey. She for a rich girl.

1:20:59.200 --> 1:21:01.559
<v Speaker 1>I don't want to killer, I guess. So that's good,

1:21:01.920 --> 1:21:05.960
<v Speaker 1>that's honestly, that's true. That is a solid point. One

1:21:06.040 --> 1:21:09.960
<v Speaker 1>nipple to Ali. I'll give one nipple to James Marsden,

1:21:10.360 --> 1:21:15.120
<v Speaker 1>who like feminist icon James Marsden in this movie, and

1:21:15.160 --> 1:21:19.639
<v Speaker 1>then I will give a half nipple to the wonderful

1:21:19.760 --> 1:21:25.080
<v Speaker 1>nurse who's constantly restraining old dementia Ali, whose name we

1:21:25.160 --> 1:21:27.639
<v Speaker 1>never get to learn, even though she has to discover

1:21:27.720 --> 1:21:30.960
<v Speaker 1>them dead not fair anyways. So that's those are who

1:21:30.960 --> 1:21:33.439
<v Speaker 1>I give my nipples to come with you. I'm gonna

1:21:33.840 --> 1:21:38.160
<v Speaker 1>give it to because I am frustrated by something I

1:21:38.160 --> 1:21:40.280
<v Speaker 1>didn't see but felt implied, and you had such great

1:21:40.280 --> 1:21:42.600
<v Speaker 1>actresses there would I like to feel this totally in

1:21:42.600 --> 1:21:45.519
<v Speaker 1>the movie even two in two thousand four. So much

1:21:45.760 --> 1:21:49.439
<v Speaker 1>of Ali's choice in the film is between you know,

1:21:49.520 --> 1:21:51.880
<v Speaker 1>her heart and her common sense, sort of like, she

1:21:52.000 --> 1:21:55.200
<v Speaker 1>has this uncertain but passionate relationship with this guy who

1:21:55.200 --> 1:21:58.000
<v Speaker 1>built a house for her and a very steady relationship

1:21:58.040 --> 1:22:01.680
<v Speaker 1>with a guy who's literally named lon uh Like. By

1:22:01.680 --> 1:22:05.120
<v Speaker 1>the time she has to make that choice, I as

1:22:05.160 --> 1:22:10.160
<v Speaker 1>a film watcher, only feel the tension of those two relationships,

1:22:10.200 --> 1:22:13.240
<v Speaker 1>when in reality that character is in a much like

1:22:13.400 --> 1:22:16.200
<v Speaker 1>a larger context of her family and then the context

1:22:16.479 --> 1:22:18.599
<v Speaker 1>of the stupid world we live in, where a lot

1:22:18.640 --> 1:22:21.040
<v Speaker 1>of her choices aren't about her harder her head. It

1:22:21.160 --> 1:22:24.880
<v Speaker 1>is circumstance that, like Allie's parents do have a complicated

1:22:24.960 --> 1:22:28.519
<v Speaker 1>choice to make. Realistically, they're not crazy for thinking their

1:22:28.560 --> 1:22:32.320
<v Speaker 1>daughters shouldn't be in this impulsive romance, both for circumstance

1:22:32.320 --> 1:22:35.920
<v Speaker 1>and other reasons, and her mom, especially like waiting until

1:22:35.960 --> 1:22:38.200
<v Speaker 1>that scene where mom takes daughter to go look at

1:22:38.200 --> 1:22:40.840
<v Speaker 1>the dude she used to fuck, to reveal like the

1:22:40.840 --> 1:22:43.439
<v Speaker 1>complexities of the heart there These are women trapped by

1:22:43.520 --> 1:22:45.400
<v Speaker 1>choices that aren't made by the men that they're in

1:22:45.479 --> 1:22:49.120
<v Speaker 1>relationships with. Like everyone is kind of stuck here, Gay Mustache,

1:22:49.200 --> 1:22:51.200
<v Speaker 1>Daddie campy out he asked to marry Joan Allen, Like

1:22:51.280 --> 1:22:54.800
<v Speaker 1>everybody's got a circumstance binding them. And I wish when

1:22:54.880 --> 1:22:57.080
<v Speaker 1>it got to Alie's choice between these two boys that

1:22:57.160 --> 1:22:59.880
<v Speaker 1>she gets to funk forever or whatever. I wish I

1:23:00.000 --> 1:23:03.559
<v Speaker 1>didn't feel any of that weight. There's no greater social

1:23:03.680 --> 1:23:05.640
<v Speaker 1>Like you know, he yells at her, like forget what

1:23:05.720 --> 1:23:08.599
<v Speaker 1>other people want? What do you want? And we're supposed

1:23:08.600 --> 1:23:11.960
<v Speaker 1>to think that's romantic, But like, like I guess the

1:23:12.040 --> 1:23:14.919
<v Speaker 1>answer comes into a book about feminism in the sixties.

1:23:15.000 --> 1:23:16.920
<v Speaker 1>Like what she wants is to not have her only

1:23:17.120 --> 1:23:20.360
<v Speaker 1>choices be which guy to marry. Like what's not on

1:23:20.479 --> 1:23:23.280
<v Speaker 1>the table is like going to college, not to find

1:23:23.320 --> 1:23:25.640
<v Speaker 1>a husband, but like maybe learn something you want to do.

1:23:25.800 --> 1:23:28.400
<v Speaker 1>What's not on the table is like wearing pants, Like,

1:23:28.840 --> 1:23:31.080
<v Speaker 1>you know, there's so many things she doesn't get to do.

1:23:31.400 --> 1:23:33.560
<v Speaker 1>I'm pretty sure she majors in English too, because the

1:23:33.640 --> 1:23:36.840
<v Speaker 1>one scene we see her in college, the professor is

1:23:37.000 --> 1:23:40.240
<v Speaker 1>talking about Walt Whitman. Hey, do you think Nicholas Sparks

1:23:40.360 --> 1:23:44.479
<v Speaker 1>likes Walt Whitman. I wonder. I feel like Nicholas Sparks

1:23:44.640 --> 1:23:47.880
<v Speaker 1>and like Mitch Album have this time share together where

1:23:47.960 --> 1:23:52.400
<v Speaker 1>they just like jerk off for like a week every year,

1:23:52.560 --> 1:23:54.120
<v Speaker 1>and at the end they're like, it's a book. We

1:23:54.240 --> 1:23:59.519
<v Speaker 1>did it, the five notebook. The five notebooks, you mean,

1:23:59.640 --> 1:24:05.960
<v Speaker 1>and so those are I I wish that that there

1:24:06.000 --> 1:24:07.840
<v Speaker 1>had been a little bit more influence to that greater choice,

1:24:07.840 --> 1:24:10.200
<v Speaker 1>because it better understands Mom's choice to hide the letters

1:24:10.240 --> 1:24:13.400
<v Speaker 1>and not marry the hunk. Like for such a closed story,

1:24:13.720 --> 1:24:15.599
<v Speaker 1>I wish a little bit more of the world had

1:24:15.640 --> 1:24:17.920
<v Speaker 1>pushed its way in, because I think that's that would

1:24:17.960 --> 1:24:20.639
<v Speaker 1>have made this character of Adlie more real, and Rachel

1:24:20.720 --> 1:24:23.720
<v Speaker 1>McAdams is certainly capable of giving you a character with

1:24:23.920 --> 1:24:27.040
<v Speaker 1>more sales. Joan Allen, there was just something missing from

1:24:27.080 --> 1:24:29.160
<v Speaker 1>the women because all their choices were only about men,

1:24:29.240 --> 1:24:31.040
<v Speaker 1>and I guess that's implied. Yeah, they don't get to

1:24:31.080 --> 1:24:33.600
<v Speaker 1>make choices about anything else. There's no pain from that.

1:24:33.680 --> 1:24:35.559
<v Speaker 1>There's no weight from that in the film, and are

1:24:35.600 --> 1:24:38.960
<v Speaker 1>literally birds flying away like so it's hard. I those

1:24:38.960 --> 1:24:40.840
<v Speaker 1>are That's why I can't give it that extra half nipple.

1:24:40.880 --> 1:24:42.360
<v Speaker 1>And that's why even though I love love and I

1:24:42.400 --> 1:24:44.439
<v Speaker 1>think it's beautiful that you want to be in love forever,

1:24:44.600 --> 1:24:46.840
<v Speaker 1>and I think love is hard work and relationships are tough.

1:24:46.880 --> 1:24:49.040
<v Speaker 1>And it takes two devoted people who are passionate not

1:24:49.120 --> 1:24:51.599
<v Speaker 1>just about each other but about their relationship to actually

1:24:51.680 --> 1:24:55.759
<v Speaker 1>die in a hospital gurney together like that's really beautiful.

1:24:55.880 --> 1:24:57.760
<v Speaker 1>And I said, don't think it's crazy for women and

1:24:57.960 --> 1:25:01.840
<v Speaker 1>men to want that. I'm not inherent like monomies whatever.

1:25:01.920 --> 1:25:04.120
<v Speaker 1>But if it's what you want, do it. Do it

1:25:04.320 --> 1:25:06.479
<v Speaker 1>for real? Do it like that, be birds together. But

1:25:06.920 --> 1:25:09.240
<v Speaker 1>there's so much more that goes into that choice, especially

1:25:09.320 --> 1:25:11.760
<v Speaker 1>in those circumstances for that character. So two nipples and

1:25:11.800 --> 1:25:15.720
<v Speaker 1>they go on either side of the ferris wheel, beautiful

1:25:15.760 --> 1:25:19.439
<v Speaker 1>symmetry and and to the but I think that that

1:25:20.160 --> 1:25:23.719
<v Speaker 1>is also possibly because it is a love story written

1:25:23.800 --> 1:25:27.040
<v Speaker 1>by a man, that those that those points aren't addressed.

1:25:27.120 --> 1:25:29.720
<v Speaker 1>It's like, uh, And the point of view character is

1:25:30.000 --> 1:25:34.080
<v Speaker 1>Ryan Gosling. He's pretty much the protagonist this old time

1:25:34.080 --> 1:25:36.240
<v Speaker 1>I was arguing. I was like, Oh, is Ryan Gosling

1:25:36.320 --> 1:25:40.040
<v Speaker 1>man splaining Rachel McAdams's own life story to her the

1:25:40.080 --> 1:25:43.599
<v Speaker 1>whole movie? But I thought it was her. Nope, bug

1:25:45.320 --> 1:25:47.599
<v Speaker 1>the story that we talked about, where you just mastered

1:25:47.640 --> 1:25:49.880
<v Speaker 1>her handwriting and wrote the whole thing, and then you

1:25:49.960 --> 1:25:52.439
<v Speaker 1>were an idiot. You yelled at me, But I stuck

1:25:52.520 --> 1:25:54.720
<v Speaker 1>with you anyway, and forgetful old late it's like the

1:25:54.840 --> 1:25:59.880
<v Speaker 1>end of that love Rachel mcado. There's the same where

1:26:00.040 --> 1:26:02.840
<v Speaker 1>he's looking through a photo album of like their life together,

1:26:02.920 --> 1:26:06.960
<v Speaker 1>and it's pictures of young James Garner instead of Ryan

1:26:07.040 --> 1:26:12.040
<v Speaker 1>Gosling and Rachel mc adams. It's nothing like Rachel McAdams.

1:26:12.640 --> 1:26:15.400
<v Speaker 1>I'm like, like Michael Jackson, black and white fade out

1:26:15.439 --> 1:26:19.439
<v Speaker 1>of their faces, becoming one, like this is another thing

1:26:19.560 --> 1:26:22.719
<v Speaker 1>stolen from Titanic. The Titanic at least tries to photos

1:26:22.720 --> 1:26:25.960
<v Speaker 1>shop this real, real hack job in the notebook of

1:26:26.040 --> 1:26:28.840
<v Speaker 1>two people we've never seen before, and then he's just like, oh,

1:26:28.960 --> 1:26:30.920
<v Speaker 1>this is nice, Like who are these people? I do

1:26:31.040 --> 1:26:33.439
<v Speaker 1>feel like that's fan service for all the grandma's watching

1:26:33.479 --> 1:26:34.880
<v Speaker 1>it with a thirteen year old on t and t

1:26:34.920 --> 1:26:36.479
<v Speaker 1>you've been the whole time, like they've had to watch

1:26:36.600 --> 1:26:39.640
<v Speaker 1>James Garner. They're sex symbol there, Ryan Gosling in an

1:26:39.680 --> 1:26:42.720
<v Speaker 1>old folks home taking his button down off to be

1:26:42.840 --> 1:26:44.920
<v Speaker 1>in the doctor and this wife beater and he's got

1:26:45.000 --> 1:26:47.080
<v Speaker 1>this like, oh, at one point, I'll make this very quickly.

1:26:47.080 --> 1:26:48.800
<v Speaker 1>I'm glad old people got to be sexy in this movie.

1:26:49.560 --> 1:26:51.360
<v Speaker 1>Sexy old people. I think sex when year old is passionate,

1:26:51.400 --> 1:26:53.080
<v Speaker 1>beautiful and so great. And I hate it when movies

1:26:53.080 --> 1:26:54.639
<v Speaker 1>act like it's gross. And I thought that was really

1:26:54.680 --> 1:26:56.960
<v Speaker 1>sweetly handled. She wakes up from her dementially dance for

1:26:57.000 --> 1:26:59.439
<v Speaker 1>a minute. It's fair romantic. I like giving little people

1:26:59.439 --> 1:27:01.439
<v Speaker 1>credit that they the rock hard because they boned down.

1:27:03.720 --> 1:27:06.639
<v Speaker 1>Where the places where vinegregal diseases are spreading the fastest

1:27:06.720 --> 1:27:09.320
<v Speaker 1>is nursing homes. Yeah, my grandma is was the horny

1:27:09.880 --> 1:27:15.000
<v Speaker 1>cheefe rests ground, horny ist American woman I've ever met

1:27:15.040 --> 1:27:20.920
<v Speaker 1>in my life. Hey, thanks for coming to our show.

1:27:23.520 --> 1:27:25.920
<v Speaker 1>Thank you Caitlyn gil for being our guest. Thank you

1:27:26.080 --> 1:27:28.960
<v Speaker 1>Caitlin and Jamie for having me. Thanks for coming, and

1:27:29.160 --> 1:27:29.760
<v Speaker 1>good sail.