WEBVTT - Basic Instinct with Sarah Marshall

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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 and um, are all their discussions just boyfriends and

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<v Speaker 1>husbands or do they have individualism? The patriarchy? Zef in

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<v Speaker 1>best start changing it with the bec del Cast. Hey, Jamie, Hey, Caitlin,

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<v Speaker 1>I have an idea for a new podcast that I

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<v Speaker 1>want you to co host with me. Okay, yeah, I know.

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<v Speaker 1>I'm in great because here's what it's going to be.

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<v Speaker 1>It will be me describing how I will murder my lovers,

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<v Speaker 1>and then when my lovers end up dead in like

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<v Speaker 1>a year or so, this podcast will be my alibi

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<v Speaker 1>because I'm not going to be so foolish as to

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<v Speaker 1>kill my lovers in the exact same way I described

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<v Speaker 1>on this podcast. Okay, yeah, okay, So I mean and

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<v Speaker 1>and honestly, because you got so close to my face

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<v Speaker 1>while you were telling me that I believe you, and

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<v Speaker 1>also I'm in love with you perfect and don't worry,

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<v Speaker 1>I will not frame you or anything. Oh no, you

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<v Speaker 1>wouldn't know, because what we have is real as opposed

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<v Speaker 1>to all the others. I'm not like the other boys. Um,

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<v Speaker 1>Michael Douglas, Great, Kiss, Kiss what I'm Katherine Zada Jones

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<v Speaker 1>is I. Honestly, I there was like a world in

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<v Speaker 1>which I was going to try to go through this

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<v Speaker 1>whole episode, referring to Michael Douglas as Catherine Zada Jones's

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<v Speaker 1>husband because that's how I think of him. Welcome to

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<v Speaker 1>the Bechdel Cast. My name is Jamie Loftus, my name

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<v Speaker 1>is Caitlin Dronte, and this is our show where we

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<v Speaker 1>examine movies through an intersectional feminist lens. Using the Bechtel

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<v Speaker 1>tests simply is a jumping off point. But you know

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<v Speaker 1>what the Bechtel test is? I don't, because I do,

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<v Speaker 1>Can you tell me? Well? It is a media metric

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<v Speaker 1>created by queer cartoonist Alison Bechdel, sometimes called the Bechtel

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<v Speaker 1>Wallace Test. A lot of different versions of it. The

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<v Speaker 1>one we use requires that a piece of media have

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<v Speaker 1>two characters with names of a marginalized gender talking to

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<v Speaker 1>each other about something other than a man for two

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<v Speaker 1>lines of dialogue. And it should be a sort of

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<v Speaker 1>meaningful interaction. You know it when you see it, and uh,

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<v Speaker 1>you know, we've we've we've got it. We've got kind

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<v Speaker 1>of a It's complicated today. Everything is complicated today. It's

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<v Speaker 1>very it's a very complicated day. Yes, you're on the

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<v Speaker 1>picktel Cast. Do you remember that Facebook? Did you ever

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<v Speaker 1>have that? Oh, it's like a relations relationship status. I

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<v Speaker 1>loved that. That's so inviting conflict um that you have

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<v Speaker 1>to respect it. I don't have the personality to publicly

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<v Speaker 1>declare it's complicated, but there were plenty of teenagers who did. Wow. Yeah,

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<v Speaker 1>they'd be like, it's complicated with Chris are. They were

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<v Speaker 1>like doing it in earnest because everyone I saw who

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<v Speaker 1>put that it was like a joke. Who would be like,

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<v Speaker 1>it's complicated with my bff t. He joked a joke, right, Yes,

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<v Speaker 1>uh no, No, when you're fourteen, it's serious. It really

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<v Speaker 1>is complicated because you don't you don't even understand what's

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<v Speaker 1>happening to your body. So everything, even if it's going

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<v Speaker 1>great in your in a relationship, it's still complicated. Yeah. Anyways,

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<v Speaker 1>welcome to the backcast. We're talking about basic Instinct today.

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<v Speaker 1>Long time request, and we were simply waiting for the

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<v Speaker 1>perfect guest to come along, and here she is. Yes,

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<v Speaker 1>let's get her, let's get her in the mix. She

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<v Speaker 1>is the host of Your Wrong About podcast and the

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<v Speaker 1>co host of You Are Good Podcast, it's Sarah Marshall. Hi, welcome.

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<v Speaker 1>This says what a how are we going to talk

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<v Speaker 1>about this movie? Like? Because defies? What is it? Yeah?

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<v Speaker 1>I don't know. It is so I've I've read so

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<v Speaker 1>many takes that my brain started leaking out of my nose.

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<v Speaker 1>There doesn't seem to be any or I mean, this

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<v Speaker 1>is true of every movie, but like this one in particular,

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<v Speaker 1>it's like there's just no right answer. It doesn't seem

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<v Speaker 1>like everyone's got a different take. We hate it, we

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<v Speaker 1>love it, we're reclaiming it, we're putting it in the trash.

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<v Speaker 1>It's good, it's bad. We don't know. It's empowerment for women,

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<v Speaker 1>it's horrible for women. Yeah, it's it's every take on

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<v Speaker 1>every end, Fanti cop. We don't know, we don't know.

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<v Speaker 1>I'll tell you what we know. It is. It was

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<v Speaker 1>a three million dollar screenplay. That is one thing that

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<v Speaker 1>is known. What a thing to know, which is absurd

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<v Speaker 1>and which is more than Sharon Stone got paid to

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<v Speaker 1>be in the movie. She only got paid five hundred

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<v Speaker 1>thousand dollars to be in this movie, right, which is

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<v Speaker 1>like obviously good money, but not for what she fucking did. Also,

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<v Speaker 1>this screenplay was written in thirteen days, which makes so

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<v Speaker 1>much sense and right right, And the budget was million

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<v Speaker 1>dollars and only thousand of that went to the lead

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<v Speaker 1>of the movie. That makes me feel very bad. There

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<v Speaker 1>there's so much I mean, there's also not only is

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<v Speaker 1>there a ton to talk about about the content, but

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<v Speaker 1>there's so much to talk about about behind the scenes

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<v Speaker 1>some of it. I mean, we'll just see where this goes,

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<v Speaker 1>because there's like some things that aren't necessarily relevant to

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<v Speaker 1>the topic of this show that I was sort of

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<v Speaker 1>still like, what the fuck? I just wrote so much

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<v Speaker 1>stuff down. Every fact I learned was scarier than the last. Right. Yeah,

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<v Speaker 1>I think this episode may just be as chaotic as

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<v Speaker 1>the movie itself. That sounds great. I'm very excited to

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<v Speaker 1>talk about it, and I feel like this discussion honestly,

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<v Speaker 1>I I hope it will be clarifying for me because

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<v Speaker 1>I'm all over the place. I did enjoy watching it.

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<v Speaker 1>It's highly entertaining or is it. I don't know. Sometimes

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<v Speaker 1>I'm like, I'm board, it's over two hours long. Why

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<v Speaker 1>isn't this half hour shorter? It's taking itself very seriously,

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<v Speaker 1>which is a flash doesn't have But one of my

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<v Speaker 1>favorite things about this movie is that we have two

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<v Speaker 1>women famously and to distinguish them from each other and

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<v Speaker 1>create some symbolism, one wears beige clothing and the other

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<v Speaker 1>wears brown clothing. It's I mean, how else were you

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<v Speaker 1>supposed to tell high status white women apart in the nineties.

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<v Speaker 1>The only way you could do it except by what

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<v Speaker 1>color neutrals they put on head to toe that morning.

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<v Speaker 1>So many loose neutrals in this movie, which have kind

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<v Speaker 1>of come all the way back around. Much like many

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<v Speaker 1>elements of this movie. I was just thinking that true murdering,

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<v Speaker 1>murdering people is so in right now, It's totally in fashion.

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<v Speaker 1>Look as a as a bisexual murderer, representation matters. It's

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<v Speaker 1>just nice to see an early version of the media

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<v Speaker 1>landscape we have today. So I'm so excited to hear

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<v Speaker 1>your thoughts on this movie, Sarah, Like, what is your

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<v Speaker 1>history with Basic Instinct. I think I first saw it

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<v Speaker 1>when I was like fourteen or fifteen, and I just

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<v Speaker 1>knew that it was a movie that adults talked somewhat

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<v Speaker 1>fearfully about. I think specifically I had heard of it

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<v Speaker 1>in the part and Sleepless in Seattle, where Tom Hanks's

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<v Speaker 1>son obviously alludes to it because he's like, so, if

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<v Speaker 1>you date, you're probably gonna have sex, right, And his

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<v Speaker 1>dad's like, I certainly hope so, and he's like, and

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<v Speaker 1>if you have sex, I think she's going to scratch

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<v Speaker 1>up your back, which he like learned from probably from

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<v Speaker 1>watching Basic Instinct on cable or any of the other

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<v Speaker 1>abundant like sort of Glossy got really bad reviews but

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<v Speaker 1>did amazing when they hit the video rental market movies

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<v Speaker 1>of the time, like other Joe esther Haws films, including

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<v Speaker 1>Sliver and Jade. So I think I guess like I

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<v Speaker 1>watched it because I was like, this is a movie

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<v Speaker 1>that scandalize as adult ELTs, and I want to see

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<v Speaker 1>something that scandalized adults. And then I remember just being like,

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<v Speaker 1>I don't know what I think about this. It felt

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<v Speaker 1>like it was too deep a look into like the

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<v Speaker 1>sordidness of adult culture. And then when I came back

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<v Speaker 1>to it as an adult, the thing I really noticed

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<v Speaker 1>was that the score by Gerry Goldsmith is doing so

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<v Speaker 1>much work I think to sort of try and be Hitchcockian, right,

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<v Speaker 1>It's like it's its own character and it's a very

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<v Speaker 1>loud character that won't stop screaming, and it always kicks

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<v Speaker 1>in after Catherine is like I enjoyed having sex with him,

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<v Speaker 1>It's like what, Like, oh, that's it's like a big

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<v Speaker 1>scary reveal just happened. And it also does that when

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<v Speaker 1>she's like, I was having sex with my girlfriend or whatever. Right,

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<v Speaker 1>it did feel like I was trying to put myself

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<v Speaker 1>in brain and I was like, that was supposed to

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<v Speaker 1>be like a huge reveal, right, like her queerness was

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<v Speaker 1>a reveal when it's like you could also watch that

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<v Speaker 1>scene and still have it be very Verhoeven exploitative, where

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<v Speaker 1>she like grabs her girlfriend's boom the second she enters

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<v Speaker 1>the room. But it's like you can also watch that

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<v Speaker 1>with goggles. Would be like, oh, okay, she's with someone

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<v Speaker 1>and that is why he's upset. But it's clearly like

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<v Speaker 1>he's upset that she's with someone and that person is yeah,

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<v Speaker 1>very upset to him. This movie is so weird. This

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<v Speaker 1>movie is so weird, Jamie, what's your history with it?

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<v Speaker 1>Not much? Um, I've never seen it before we started

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<v Speaker 1>prepping for this episode. It's weird. I feel like Sharon

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<v Speaker 1>Stone is just popping up in my life a lot. Recently.

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<v Speaker 1>I've gotten many, many recommendations to read her her memoir

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<v Speaker 1>that came out last year, which I haven't started yet,

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<v Speaker 1>but I'm very, very excited. And then I also recently

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<v Speaker 1>saw Casino for the first time, and she's amazing in movie.

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<v Speaker 1>Because Sarah, you were talking to me about Casino. Yeah,

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<v Speaker 1>I love her so much in Casino. She's amazing Casino.

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<v Speaker 1>If you've seen bass against inco, watch Casino and see

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<v Speaker 1>what it's like when Sharon's giving it a percent right

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<v Speaker 1>and like she's given like a part that's maybe a

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<v Speaker 1>little more cogent um. But but yeah, I don't know.

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<v Speaker 1>I've been in a Sharon state of mind. I was

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<v Speaker 1>very ready and excited for this. And also Paul Verhoeven

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<v Speaker 1>just came out with a new movie that I want

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<v Speaker 1>to see, Benedetta. It's a lesbian nun thriller, so I

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<v Speaker 1>will be seeing that and hopefully, Well this is interesting

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<v Speaker 1>too because it's like he's returning to lesbians. I hope

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<v Speaker 1>he does a good job. Growth is important. Yeah, we'll see.

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<v Speaker 1>I know it's it's it's so I've got a series

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<v Speaker 1>of He's tricky, He's tricky. This is the second for

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<v Speaker 1>Hoven movie we've covered on the show. We covered Starship

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<v Speaker 1>Troopers last year, which um is an extremely different movie,

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<v Speaker 1>but there are still themes that kind of crossover in

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<v Speaker 1>most of his work, and I'm interested to talk about

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<v Speaker 1>how this movie depicts police work. Also, like there's just

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<v Speaker 1>there's just a lot going on. I don't know how

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<v Speaker 1>to feel about any of it. My take I I've

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<v Speaker 1>done a ton of research and done a ton of reading,

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<v Speaker 1>which I know how to do. Congrats. My takeaway is

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<v Speaker 1>that I love Sharon Stone. So we're gonna have to

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<v Speaker 1>really tease this apart today. Caitlin, what's your history with

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<v Speaker 1>Basic Instinct? My history is that I saw Hot Shots

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<v Speaker 1>Part Do as a child, a movie I watched over

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<v Speaker 1>and over and over again, which very heavily spoofs. It's

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<v Speaker 1>a spoof. It is a spoof, not specifically of Basic Instant,

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<v Speaker 1>because it's spoofs a bunch of different movies of that era.

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<v Speaker 1>Oh it's so it's like that, it's sort of like,

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<v Speaker 1>what are those other like like scary movie, scary movie,

0:11:56.400 --> 0:12:02.040
<v Speaker 1>but like the Leslie Nielsen movie. Yeah exactly, yes, So, um,

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<v Speaker 1>I'm learning anyway, the very famous scenes in Basic Instinct

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<v Speaker 1>are heavily referenced in Hot Shots Part Do, but I

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<v Speaker 1>didn't understand the references to Basic Instinct or any of

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<v Speaker 1>the other movies it's spoofs until years later when I

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<v Speaker 1>finally got around to watching all those other movies. But anyway,

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<v Speaker 1>so a lot of the like famous imagery from Basic

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<v Speaker 1>Instinct I was very familiar with. And then when I

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<v Speaker 1>saw the movie for the first time, which was I

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<v Speaker 1>think I was in college, I was like, Oh, that's

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<v Speaker 1>what Hot Shots Part Do was referencing. So I saw

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<v Speaker 1>I so funny. What are the things that it's specifically

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<v Speaker 1>spoofs in this The scene where you see Sharon stones vagina,

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<v Speaker 1>the scene that I just kept referring to that as

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<v Speaker 1>thus seen because I had not seen this movie and

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<v Speaker 1>everyone knows that scene right, it's like the chess Burster

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<v Speaker 1>an alien, it's that big of a surprise. And Hot

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<v Speaker 1>Shots Part Do, however, you that's shot differently. It's shot

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<v Speaker 1>with the woman from behind and you just see her

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<v Speaker 1>leg very um exaggeratedly lift up over her head to

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<v Speaker 1>like cross to the other side. That's pretty good. And

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<v Speaker 1>then there's a sex scene and Hot Shots Part Do

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<v Speaker 1>where she's having sex with Charlie Sheen is unfortunately in

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<v Speaker 1>the movie, and she ties his arms to the bed

0:13:28.840 --> 0:13:33.240
<v Speaker 1>post with this white silk scarf, and then she is

0:13:33.280 --> 0:13:35.600
<v Speaker 1>like reaching for something and you're like, oh my god,

0:13:35.600 --> 0:13:39.120
<v Speaker 1>what's she reaching for? And then she grabs a screwdriver

0:13:39.840 --> 0:13:43.040
<v Speaker 1>and kind of unscrews part of the bed frame to

0:13:43.120 --> 0:13:45.640
<v Speaker 1>make it creakier so that when they continue to have sex,

0:13:45.679 --> 0:13:50.680
<v Speaker 1>it's like way more like you have to have hot

0:13:50.679 --> 0:13:53.480
<v Speaker 1>shots part do because those movies can get pretty like

0:13:53.520 --> 0:13:56.840
<v Speaker 1>gnarly and exploitative and like really bad. And that sounds

0:13:56.880 --> 0:14:02.320
<v Speaker 1>just like I think he's just like superhand in this. Yeah, yeah,

0:14:02.400 --> 0:14:05.360
<v Speaker 1>what if Catherine was just really handy. Does either of

0:14:05.440 --> 0:14:10.360
<v Speaker 1>you ever watch those thumb movies? Yes? Oh my god,

0:14:10.440 --> 0:14:14.480
<v Speaker 1>And I took foreverard to download to thumb Wars. There's

0:14:14.520 --> 0:14:19.320
<v Speaker 1>a Caitlin I should show in thumb Tanic. Yes, there's

0:14:19.560 --> 0:14:22.320
<v Speaker 1>it's a series. It's it's the thumber Verse. But it's

0:14:22.400 --> 0:14:25.040
<v Speaker 1>like a series of spoof movies where it's just like

0:14:25.400 --> 0:14:28.920
<v Speaker 1>a spoof movie but only with thumbs. It was really funny.

0:14:28.960 --> 0:14:31.440
<v Speaker 1>Me and my cousins used to watch thumb Wars long

0:14:31.520 --> 0:14:33.840
<v Speaker 1>before I saw actual Star Wars. I thought I saw

0:14:33.920 --> 0:14:37.920
<v Speaker 1>thumb Wars many times beautiful, and it's just as good.

0:14:39.480 --> 0:14:42.880
<v Speaker 1>So in conclusion, I saw Basic for the first time

0:14:42.960 --> 0:14:47.560
<v Speaker 1>in college. I saw it again. I think I rewatched

0:14:47.600 --> 0:14:50.920
<v Speaker 1>it right when we covered Fatal Attraction, because I get

0:14:50.960 --> 0:14:54.040
<v Speaker 1>those two movies confused a lot because they're both Michael

0:14:54.080 --> 0:14:57.200
<v Speaker 1>Douglas and it's both about a scary woman who murders

0:14:57.280 --> 0:15:00.160
<v Speaker 1>and who wants to have sex with Michael Douglas for

0:15:00.200 --> 0:15:03.840
<v Speaker 1>some reason. Right, It's it's like literally, it's like, oh,

0:15:03.880 --> 0:15:08.480
<v Speaker 1>Michael Douglas is a character who's threatened by a woman's agency,

0:15:08.560 --> 0:15:13.080
<v Speaker 1>but it turns out he's right. That's a classic class

0:15:13.120 --> 0:15:16.040
<v Speaker 1>So sorry, the movie was called thumb Wars the Phantom Cuticle.

0:15:19.920 --> 0:15:22.600
<v Speaker 1>Pretty funny. I love it. It's pretty great. Sorry, Okay,

0:15:22.640 --> 0:15:26.880
<v Speaker 1>I done so anyway. Yeah, I had seen Basic Instinct

0:15:26.920 --> 0:15:29.720
<v Speaker 1>a couple of times before prepping, and I've seen it

0:15:29.760 --> 0:15:34.320
<v Speaker 1>twice since we started prepping. And I, similarly, who don't

0:15:34.320 --> 0:15:36.520
<v Speaker 1>really know what to make of this movie. I'm kind

0:15:36.560 --> 0:15:38.800
<v Speaker 1>of all over the place. There's so much to unpack.

0:15:39.040 --> 0:15:41.760
<v Speaker 1>I feel like my notes are so long, and yet

0:15:41.840 --> 0:15:45.920
<v Speaker 1>I feel like I've barely scratched the surface. Like it

0:15:45.920 --> 0:15:47.960
<v Speaker 1>sounds like we're all kind of on the same page here,

0:15:47.960 --> 0:15:50.240
<v Speaker 1>of like, well, let's just talk about it and see

0:15:50.280 --> 0:15:54.640
<v Speaker 1>what happens. You got us for Hoven uh for. Movies

0:15:54.680 --> 0:15:57.560
<v Speaker 1>are honestly very hard to cover on this show. That

0:15:57.640 --> 0:16:00.960
<v Speaker 1>makes sense. Um, so we're going to try. Let's take

0:16:01.000 --> 0:16:10.840
<v Speaker 1>a quick break and then I'll get into the recap. Wait. Sorry,

0:16:10.840 --> 0:16:13.080
<v Speaker 1>I'm like the guy who wrote thumb Wars has written

0:16:13.200 --> 0:16:19.000
<v Speaker 1>so many famous movies. What written He wrote The Nutty Professor,

0:16:19.360 --> 0:16:23.720
<v Speaker 1>he wrote Patch Adams, he wrote Jimmy Neutron Boy Genius.

0:16:24.400 --> 0:16:27.280
<v Speaker 1>He wrote Kung Pau Enter the Fist, which I used

0:16:27.280 --> 0:16:33.320
<v Speaker 1>to really love. And he wrote Bruce and Evan Almighty Wow,

0:16:33.960 --> 0:16:37.080
<v Speaker 1>and also, most famously, thumb Wars. I am interested in

0:16:37.160 --> 0:16:40.200
<v Speaker 1>thumb Tanic. It's pretty good. All the next time I

0:16:40.280 --> 0:16:43.600
<v Speaker 1>come over, I'll it's got to be somewhere. I'll find it. Okay,

0:16:43.760 --> 0:16:46.720
<v Speaker 1>I'll pay money to rent it. Let's charge it to

0:16:46.880 --> 0:16:50.600
<v Speaker 1>the Yeah, that's what Patreon money is for to watch tank.

0:16:52.000 --> 0:16:55.400
<v Speaker 1>I think our our matron's will will understand. Maybe maybe

0:16:55.440 --> 0:16:58.640
<v Speaker 1>that's what we could cover for our for our Titanic episodes,

0:16:58.680 --> 0:17:04.240
<v Speaker 1>because we're running out of Titanic content. UH speak for yourself. Sorry,

0:17:04.280 --> 0:17:10.640
<v Speaker 1>you're right. Yeah, it's on YouTube in full. Okay, perfect. Okay,

0:17:10.680 --> 0:17:17.840
<v Speaker 1>So here's basic instinct and I'll place a trigger warning

0:17:18.280 --> 0:17:21.680
<v Speaker 1>at the top here because, um, there is a rape

0:17:21.680 --> 0:17:27.440
<v Speaker 1>scene in the movie. Okay, So we open on a

0:17:27.480 --> 0:17:30.480
<v Speaker 1>woman having sex with a man. We never quite see

0:17:30.520 --> 0:17:34.919
<v Speaker 1>her face because her blonde hair of obscuring it. We

0:17:35.000 --> 0:17:37.680
<v Speaker 1>see her tie up the man's hands with a white

0:17:37.680 --> 0:17:40.879
<v Speaker 1>silk scarf. Then she pulls out an ice pick and

0:17:41.080 --> 0:17:48.560
<v Speaker 1>stabs him repeatedly to death. Titanic reference. Um oh, because

0:17:48.600 --> 0:17:51.680
<v Speaker 1>of the ice pick slash iceberg. Yeah, maybe if the

0:17:52.440 --> 0:17:55.040
<v Speaker 1>that the joke going there was maybe if they had

0:17:55.160 --> 0:18:00.840
<v Speaker 1>nice pick they could on board. She would have been like, oh, man,

0:18:00.920 --> 0:18:03.399
<v Speaker 1>I love doing this, sice a whole glacier guest for

0:18:03.480 --> 0:18:10.399
<v Speaker 1>me exactly. Wow, makes you think. Then we cut two.

0:18:10.440 --> 0:18:15.640
<v Speaker 1>Detective Nick Curran played by Michael Douglas and his partner

0:18:15.760 --> 0:18:19.439
<v Speaker 1>Gus Moran there at the scene of the crime. We

0:18:19.520 --> 0:18:23.879
<v Speaker 1>are in San Francisco, by the way. The victim, Johnny Boss,

0:18:24.560 --> 0:18:28.160
<v Speaker 1>was last seen the night before with his girlfriend Katherine Trammel.

0:18:28.800 --> 0:18:32.960
<v Speaker 1>So Nick and Gus go to Katherine's house to question her.

0:18:33.560 --> 0:18:37.640
<v Speaker 1>She isn't there, but Katherine's friend Roxy is, and Roxy

0:18:37.720 --> 0:18:43.160
<v Speaker 1>directs them to where Katherine is, which is like her

0:18:43.200 --> 0:18:47.600
<v Speaker 1>second home summer where she's being hot on a balcony. Right,

0:18:48.480 --> 0:18:53.160
<v Speaker 1>Nick and Gus Fine, Katherine trammel Um. She is Sharon Stone.

0:18:53.240 --> 0:18:58.400
<v Speaker 1>Of course, she's very sultry and sexy, and she has

0:18:58.440 --> 0:19:02.520
<v Speaker 1>the same exact hey and body type and skin color

0:19:02.760 --> 0:19:07.400
<v Speaker 1>as the lady who murdered Johnny Boss. I wonder if

0:19:07.400 --> 0:19:10.199
<v Speaker 1>she did it, which is so wild, you're like she

0:19:10.400 --> 0:19:17.160
<v Speaker 1>and she did. And then Catherine tells the detectives, Yeah,

0:19:17.200 --> 0:19:20.520
<v Speaker 1>I was fucking that guy, but I didn't go home

0:19:20.560 --> 0:19:23.520
<v Speaker 1>with him and I didn't kill him. Now go away.

0:19:24.320 --> 0:19:26.920
<v Speaker 1>That's a fun place to start the movie, where she's

0:19:27.000 --> 0:19:29.919
<v Speaker 1>just I mean and and yes does the movie ultimately

0:19:30.040 --> 0:19:34.440
<v Speaker 1>undercut the fact that she enjoys sex and isn't ashamed

0:19:34.440 --> 0:19:37.639
<v Speaker 1>to admit it and implies that if you, if that's you,

0:19:37.640 --> 0:19:44.320
<v Speaker 1>you two could be a murderer. But I really enjoyed

0:19:44.640 --> 0:19:48.080
<v Speaker 1>her like delivery in that scene, and when she's just

0:19:48.119 --> 0:19:51.919
<v Speaker 1>like telling, like Sharon Stone telling to cops to go

0:19:52.000 --> 0:19:56.480
<v Speaker 1>funk themselves is an inherently satisfying experience, no matter the

0:19:56.520 --> 0:19:59.199
<v Speaker 1>subtext of what the movie wants me to think I

0:19:59.280 --> 0:20:03.000
<v Speaker 1>like to see her neg cops. I hope that if

0:20:03.040 --> 0:20:06.000
<v Speaker 1>ever I have the misfortune of having to interact with

0:20:06.240 --> 0:20:09.640
<v Speaker 1>a cop, I have the guts to say, I don't

0:20:09.680 --> 0:20:11.959
<v Speaker 1>want to talk to you, fuck off and get the

0:20:11.960 --> 0:20:14.840
<v Speaker 1>funk outta here. I mean, she's also yeah, she's also

0:20:14.880 --> 0:20:16.880
<v Speaker 1>protected by a lot of privilege, but it's still very

0:20:16.880 --> 0:20:19.320
<v Speaker 1>cathartic to watch. Yeah, they got to go on a

0:20:19.359 --> 0:20:21.680
<v Speaker 1>tour of all her real estate before they meet her

0:20:21.720 --> 0:20:25.280
<v Speaker 1>and see all her sports cars in the driveway. Yeah,

0:20:25.440 --> 0:20:31.040
<v Speaker 1>they're like, oh, she's got holdings, she's got a Picasso. Yeah.

0:20:31.320 --> 0:20:35.520
<v Speaker 1>So then they leave at her request, and Nick goes

0:20:35.640 --> 0:20:40.200
<v Speaker 1>to see a counselor Beth played by Jean triple Horn

0:20:40.520 --> 0:20:43.960
<v Speaker 1>awesome name, who he is mandated by Internal Affairs to

0:20:44.080 --> 0:20:47.720
<v Speaker 1>see for reasons that we don't yet know. They're talking

0:20:47.760 --> 0:20:50.639
<v Speaker 1>and he refers to the sexual relationship he used to

0:20:50.680 --> 0:20:53.240
<v Speaker 1>have with Beth, and then she tells him that she

0:20:53.400 --> 0:20:58.399
<v Speaker 1>still misses him so already, Like it's so funny. There's

0:20:58.440 --> 0:21:02.480
<v Speaker 1>like police corruption for the jump where they're like, okay,

0:21:02.560 --> 0:21:05.760
<v Speaker 1>so everyone in the office is aware of this relationship,

0:21:06.000 --> 0:21:09.760
<v Speaker 1>which we find out right away, and his him keeping

0:21:09.840 --> 0:21:12.719
<v Speaker 1>his job relies on you know, him remaining in her

0:21:12.760 --> 0:21:17.000
<v Speaker 1>good favor or her being hung up on him, and

0:21:17.280 --> 0:21:20.560
<v Speaker 1>everyone's like, yep, that's fine, that's which, I'm sure, which

0:21:20.680 --> 0:21:25.399
<v Speaker 1>which is like, I'm sure not too far from the truth. Na,

0:21:25.520 --> 0:21:31.399
<v Speaker 1>your ex girlfriend will be very therapeutic, right. Oh gosh,

0:21:31.680 --> 0:21:35.440
<v Speaker 1>there's there's so much this movie's views on psychiatry. There's

0:21:35.440 --> 0:21:39.280
<v Speaker 1>so much yes, yes, yes, yes, Okay. So then Nick

0:21:39.320 --> 0:21:42.439
<v Speaker 1>and Gus go over more details of this case and

0:21:42.520 --> 0:21:45.439
<v Speaker 1>the victim, Johnny Boss, who was a former rock and

0:21:45.560 --> 0:21:50.000
<v Speaker 1>roll star. They also discussed Katherine Trammel as a suspect.

0:21:50.680 --> 0:21:53.760
<v Speaker 1>She is an author, and it turns out that she

0:21:53.880 --> 0:21:56.880
<v Speaker 1>published a book the year before under a pen name,

0:21:57.320 --> 0:22:02.320
<v Speaker 1>about a retired rock and all star who gets murdered

0:22:02.359 --> 0:22:05.600
<v Speaker 1>by his girlfriend when she ties up his hands with

0:22:05.680 --> 0:22:10.480
<v Speaker 1>a white silk scarf and stabs him with an ice pick. Amazing.

0:22:11.000 --> 0:22:17.120
<v Speaker 1>So Katherine is starting to seem extra suspicious. So then

0:22:17.640 --> 0:22:20.400
<v Speaker 1>Nick and Gus bring Catherine to the station to question

0:22:20.440 --> 0:22:22.719
<v Speaker 1>her on the way. She tells him about a new

0:22:22.760 --> 0:22:25.560
<v Speaker 1>book she's writing about a detective who falls for the

0:22:25.600 --> 0:22:29.720
<v Speaker 1>wrong woman and then she kills the detective. I think

0:22:29.720 --> 0:22:31.960
<v Speaker 1>that there's so many scenes in this movie that I

0:22:32.040 --> 0:22:34.520
<v Speaker 1>know that we um, what have we renamed the bush

0:22:34.560 --> 0:22:36.560
<v Speaker 1>Emmy test? But we could run the bush Emmy test

0:22:36.600 --> 0:22:40.000
<v Speaker 1>on Sharon stone several times in this movie and be like,

0:22:40.080 --> 0:22:42.960
<v Speaker 1>if this were a regular looking person saying these things,

0:22:43.000 --> 0:22:47.200
<v Speaker 1>she would be so in jail, Like it's wild how

0:22:47.280 --> 0:22:51.880
<v Speaker 1>in jail she would be? Yeah, absolutely so. Then at

0:22:51.920 --> 0:22:56.280
<v Speaker 1>the police station, the assistant district Attorney A. K Wayne

0:22:56.359 --> 0:23:00.879
<v Speaker 1>Knight questions her. Wayne Knight was like cranking out the

0:23:00.960 --> 0:23:04.720
<v Speaker 1>hits in this series of years. Oh yeah, because in

0:23:04.760 --> 0:23:08.320
<v Speaker 1>the next year he's in Jurassic Park and oh my gosh,

0:23:08.480 --> 0:23:10.520
<v Speaker 1>he gets to see a vagina and a dinosaur in

0:23:10.520 --> 0:23:13.680
<v Speaker 1>a single calendar year. We should all be so lucky.

0:23:15.440 --> 0:23:17.720
<v Speaker 1>So he's questioning her, and this is when we get

0:23:17.720 --> 0:23:21.560
<v Speaker 1>the famous Sharon Stone on crosses her legs and flashes

0:23:21.600 --> 0:23:25.240
<v Speaker 1>her volva scene. There's plenty to talk about with this,

0:23:25.400 --> 0:23:28.600
<v Speaker 1>we'll get to it. Katherine says, do you think I

0:23:28.600 --> 0:23:31.239
<v Speaker 1>would be so foolish as to murder someone in the

0:23:31.280 --> 0:23:34.719
<v Speaker 1>exact way I described in my book? So she's basically

0:23:34.800 --> 0:23:37.679
<v Speaker 1>using her book as an alibi, which is what a

0:23:37.720 --> 0:23:41.359
<v Speaker 1>few psychologists had said she would do if she is

0:23:41.960 --> 0:23:47.680
<v Speaker 1>in fact the murderer right, and even though Catherine passes

0:23:47.760 --> 0:23:51.240
<v Speaker 1>a lie detector test, Nick still thinks that she's lying

0:23:51.320 --> 0:23:56.160
<v Speaker 1>and that she is probably guilty, especially because of some

0:23:56.240 --> 0:23:59.800
<v Speaker 1>deaths in the past that Catherine could be linked to,

0:24:00.119 --> 0:24:02.639
<v Speaker 1>such as her parents died in a voting accident, a

0:24:02.760 --> 0:24:06.240
<v Speaker 1>professor she had in college was murdered, and a boxer

0:24:06.320 --> 0:24:11.120
<v Speaker 1>boyfriend died while they were dating. To quote her, everyone

0:24:11.160 --> 0:24:16.800
<v Speaker 1>I love dies and she doesn't seem to be wrong there,

0:24:17.240 --> 0:24:21.600
<v Speaker 1>And Stephen Tobolski is there, which I think is fun. Yes, yes,

0:24:22.600 --> 0:24:26.919
<v Speaker 1>I didn't see that coming. That's yet another thrilling basic

0:24:26.960 --> 0:24:29.960
<v Speaker 1>instinct twist. He's also having a good couple of years,

0:24:29.960 --> 0:24:33.120
<v Speaker 1>because he's in Groundhog Day right around this time, being

0:24:33.320 --> 0:24:36.680
<v Speaker 1>ed Ryerson. Well, I'm glad that the boys are thriving

0:24:36.680 --> 0:24:39.440
<v Speaker 1>in the early nineties. Good for them. The white men

0:24:39.800 --> 0:24:42.240
<v Speaker 1>are having a blast. I think that they're still doing

0:24:42.240 --> 0:24:47.040
<v Speaker 1>well to this day. Yeah, I think you may be right. Um, Okay.

0:24:47.080 --> 0:24:52.400
<v Speaker 1>So that night Nick goes home with Beth the counselor,

0:24:52.920 --> 0:24:57.159
<v Speaker 1>and then again trigger warning for rape, he rapes her.

0:24:57.760 --> 0:25:01.560
<v Speaker 1>Although the movie is as I'm concerned, treats this as

0:25:01.600 --> 0:25:04.440
<v Speaker 1>a consensual sex scene, I think that there's a there's

0:25:04.480 --> 0:25:07.240
<v Speaker 1>a well, let's we'll get to that conversation. We'll get

0:25:07.240 --> 0:25:09.640
<v Speaker 1>to it. Yeah, yeah, I felt a little bit differently,

0:25:09.680 --> 0:25:14.400
<v Speaker 1>but I see what you're saying. Then Nick tails Katherine

0:25:14.600 --> 0:25:17.280
<v Speaker 1>for a while. There's a scene where she's driving like

0:25:17.320 --> 0:25:20.679
<v Speaker 1>a bat out of hell and he's chasing her. He

0:25:20.720 --> 0:25:24.239
<v Speaker 1>pays her another visit. He discovers that she has all

0:25:24.280 --> 0:25:27.199
<v Speaker 1>these articles about him, and we find out why he

0:25:27.280 --> 0:25:30.480
<v Speaker 1>has been mandated to see a counselor. Apparently he had

0:25:30.520 --> 0:25:34.040
<v Speaker 1>shot a couple of tourists a while back, and Catherine

0:25:34.040 --> 0:25:38.479
<v Speaker 1>has been following this story for quite some time because,

0:25:38.520 --> 0:25:42.399
<v Speaker 1>according to her, she's using him as inspiration for the

0:25:42.440 --> 0:25:45.600
<v Speaker 1>detective in the book she's writing, he's a killer cop.

0:25:45.800 --> 0:25:49.240
<v Speaker 1>It's there's so much to talk about. She keeps calling

0:25:49.320 --> 0:25:52.400
<v Speaker 1>him shooter. She also fixes him a drink and then

0:25:52.480 --> 0:25:59.400
<v Speaker 1>breaks the ice with fishemy test. She's in jail again.

0:25:59.760 --> 0:26:04.080
<v Speaker 1>Right then Nick realizes she has access to his psychiatric file,

0:26:04.359 --> 0:26:07.760
<v Speaker 1>which she apparently got from this guy in internal affairs,

0:26:08.200 --> 0:26:12.159
<v Speaker 1>this guy Nielsen, who then ends up dead. He was

0:26:12.160 --> 0:26:15.399
<v Speaker 1>shot in the head and everyone thinks that Nick did it,

0:26:15.480 --> 0:26:19.240
<v Speaker 1>so he gets put on leave, but Nick thinks Catherine

0:26:19.240 --> 0:26:22.720
<v Speaker 1>Tremell did it. So then Catherine shows up at his place.

0:26:23.000 --> 0:26:27.359
<v Speaker 1>She's being all seductive and messing with his head. He

0:26:27.560 --> 0:26:30.080
<v Speaker 1>meets up with her a little later at a dance club.

0:26:30.720 --> 0:26:33.760
<v Speaker 1>Then they go back to her place and have sex.

0:26:34.400 --> 0:26:37.600
<v Speaker 1>She ties him up with a white silk scarf and

0:26:37.640 --> 0:26:39.719
<v Speaker 1>we think maybe she's going to stab him with an

0:26:39.760 --> 0:26:44.359
<v Speaker 1>ice pick, but she doesn't. She just like collapses on

0:26:44.480 --> 0:26:51.560
<v Speaker 1>him in pleasure or something. Um. Then it's called ecstasy.

0:26:51.680 --> 0:26:57.359
<v Speaker 1>Caitlin ever heard of it? Yeah? Nick has had a

0:26:57.400 --> 0:27:00.640
<v Speaker 1>great time. He's like, Wow, that was the fun the century.

0:27:01.240 --> 0:27:05.439
<v Speaker 1>Katherine is like it was a good start. We also

0:27:05.480 --> 0:27:08.840
<v Speaker 1>have learned by this point that Katherine is in some

0:27:08.920 --> 0:27:12.840
<v Speaker 1>sort of romantic and or sexual relationship with that woman Roxy,

0:27:12.880 --> 0:27:16.159
<v Speaker 1>who we met at the beginning, although we don't really

0:27:16.280 --> 0:27:18.439
<v Speaker 1>well we can talk about this too, but we don't

0:27:18.680 --> 0:27:22.360
<v Speaker 1>know that much about their relationship. But Roxy does seem

0:27:22.440 --> 0:27:26.359
<v Speaker 1>to be very jealous of Nick. And then someone tries

0:27:26.400 --> 0:27:29.080
<v Speaker 1>to run over Nick in what looks like Katherine's car.

0:27:29.440 --> 0:27:32.920
<v Speaker 1>There's a high speed chase. The person chasing Nick crashes

0:27:33.000 --> 0:27:36.960
<v Speaker 1>and it turns out to be Roxy, who has died

0:27:37.040 --> 0:27:42.359
<v Speaker 1>in the crash. They kill their gays folks, and we're

0:27:42.440 --> 0:27:45.000
<v Speaker 1>may be meant to think, oh, so was it Roxy

0:27:45.119 --> 0:27:49.800
<v Speaker 1>who maybe killed Johnny Boss question Mark? But now it's

0:27:49.840 --> 0:27:52.280
<v Speaker 1>the person that you are told in the opening scene

0:27:52.320 --> 0:27:58.640
<v Speaker 1>did it right? So then Nick goes to see Katherine again.

0:27:59.040 --> 0:28:02.520
<v Speaker 1>She is upset about Roxy's death. She's all like, oh,

0:28:02.560 --> 0:28:05.320
<v Speaker 1>I have such bad luck dating women, and she tells

0:28:05.359 --> 0:28:08.840
<v Speaker 1>him about this woman that she met in college, Lisa Hoberman,

0:28:09.640 --> 0:28:12.439
<v Speaker 1>who she slept with once, and then this woman started

0:28:12.480 --> 0:28:17.240
<v Speaker 1>stalking Catherine. I immediately was like, oh, so Beth, But

0:28:17.280 --> 0:28:19.800
<v Speaker 1>the movie takes it like fifteen minutes to be like

0:28:19.920 --> 0:28:22.640
<v Speaker 1>and it was Beth. You're like, I think I could

0:28:23.119 --> 0:28:25.560
<v Speaker 1>I think you could tell because you're told, Like, why

0:28:25.600 --> 0:28:27.359
<v Speaker 1>else would you be told? They went to college to

0:28:27.400 --> 0:28:30.439
<v Speaker 1>get right? This movie kind of like skirt around Some

0:28:31.000 --> 0:28:34.000
<v Speaker 1>thinks nobody knows there are multiple nicknames for Elizabeth and

0:28:34.040 --> 0:28:37.840
<v Speaker 1>that this is a really bright quest right, Yes that too?

0:28:38.120 --> 0:28:41.360
<v Speaker 1>Especially yeah, because also Catherine originally was like her name

0:28:41.400 --> 0:28:44.200
<v Speaker 1>is Lisa Oberman and then he's like I couldn't find

0:28:44.240 --> 0:28:48.120
<v Speaker 1>anyone named Lisa Oberman and she's like, I said, that's

0:28:48.200 --> 0:28:52.320
<v Speaker 1>so goofy. I like, why what a waste of five minutes,

0:28:52.680 --> 0:28:55.080
<v Speaker 1>but it made me laugh. The two lines that made

0:28:55.120 --> 0:28:57.800
<v Speaker 1>me laugh the most in this movie where I said Hoberman,

0:28:58.680 --> 0:29:01.320
<v Speaker 1>which should be added to every movie at some point,

0:29:02.440 --> 0:29:05.480
<v Speaker 1>a very human misunderstanding that has no place in a thriller.

0:29:06.240 --> 0:29:09.200
<v Speaker 1>And then at the end when Beth says I love

0:29:09.320 --> 0:29:14.240
<v Speaker 1>you was dying, I was like, this damn movie makes

0:29:14.280 --> 0:29:18.160
<v Speaker 1>no sense. Have some dignity, Beth, I know, and she's

0:29:18.200 --> 0:29:22.280
<v Speaker 1>She's like the twist, I'm not a murderer, and I

0:29:22.320 --> 0:29:28.200
<v Speaker 1>love men so much, even when they're rapist murderers. Remember

0:29:28.240 --> 0:29:32.520
<v Speaker 1>my little Simpson's key Chane, I only loved you. Shout

0:29:32.520 --> 0:29:37.920
<v Speaker 1>out to bart Art high bart visibility. Truly, there's also

0:29:37.960 --> 0:29:40.959
<v Speaker 1>some pizza Hut visibility. I just wanted to shut up

0:29:41.120 --> 0:29:44.360
<v Speaker 1>at um. My favorite line of dialogue in the movie,

0:29:44.760 --> 0:29:47.440
<v Speaker 1>towards the very beginning, one of the few people of

0:29:47.440 --> 0:29:52.200
<v Speaker 1>color in the movie. It's another cop named Sam. He

0:29:52.720 --> 0:29:57.440
<v Speaker 1>says there's cum stains all over the sheets. He sure does,

0:29:57.600 --> 0:30:00.560
<v Speaker 1>and that is a line of dialogue. And then that's

0:30:00.560 --> 0:30:07.560
<v Speaker 1>a sag card. Yeah, okay. So Nick looks into this

0:30:07.640 --> 0:30:11.000
<v Speaker 1>Lisa person who turns out to be Beth, the counselor

0:30:11.040 --> 0:30:15.320
<v Speaker 1>who works for the police department. Beth says, Katherine stalked

0:30:15.480 --> 0:30:18.640
<v Speaker 1>Beth in college. Katherine says Beth stok Katherine in college.

0:30:18.640 --> 0:30:21.240
<v Speaker 1>They're both claiming that the other one was like single

0:30:21.280 --> 0:30:24.240
<v Speaker 1>White Female NG the other which also comes out this

0:30:24.360 --> 0:30:26.800
<v Speaker 1>same year, right, So it's not even like they were

0:30:26.880 --> 0:30:29.200
<v Speaker 1>ripping it from there. They were just this was just

0:30:29.240 --> 0:30:31.600
<v Speaker 1>something that was on the brain. I wonder if there's

0:30:31.640 --> 0:30:34.920
<v Speaker 1>like a real life story that was like on people's mind,

0:30:35.000 --> 0:30:36.680
<v Speaker 1>because I was I was like, that's so bizarre. Why

0:30:36.680 --> 0:30:39.240
<v Speaker 1>were women all supposed to be murdering each other in

0:30:39.240 --> 0:30:45.360
<v Speaker 1>the early nineties right about? Yeah, which you've covered extensively there, Yeah,

0:30:45.440 --> 0:30:48.960
<v Speaker 1>not so much the idea that women were murdering other

0:30:49.040 --> 0:30:52.560
<v Speaker 1>women at this time though. That's really interesting. Yeah, I've

0:30:52.560 --> 0:30:57.240
<v Speaker 1>covered men's perpetual fear of being murdered by women, right, Yes,

0:30:57.320 --> 0:31:00.680
<v Speaker 1>so Single White Female really subverts some troll hopes. It's

0:31:00.720 --> 0:31:05.560
<v Speaker 1>like women can murder other women too, Like, hey, we

0:31:05.640 --> 0:31:09.480
<v Speaker 1>can murder each other too, don't forget it. And that's feminism. Yes,

0:31:11.360 --> 0:31:16.520
<v Speaker 1>third wave feminism is amazing. It makes so much sense. Okay,

0:31:16.520 --> 0:31:19.440
<v Speaker 1>so we're not sure who to trust, we're not sure

0:31:19.440 --> 0:31:23.160
<v Speaker 1>who's telling the truth, but now Nick thinks that Beth

0:31:23.480 --> 0:31:27.040
<v Speaker 1>is the prime suspect, and she's seeming more and more

0:31:27.080 --> 0:31:31.000
<v Speaker 1>suspicious because Beth's husband was mysteriously shot and killed a

0:31:31.040 --> 0:31:36.080
<v Speaker 1>few years back. Meanwhile, Katherine ends things with Nick because

0:31:36.320 --> 0:31:38.920
<v Speaker 1>she was just using him for her book, which she

0:31:39.120 --> 0:31:43.960
<v Speaker 1>has finished. Nick is all hurt, and then he goes

0:31:44.000 --> 0:31:47.480
<v Speaker 1>with Gus to meet up with another woman who knew

0:31:47.560 --> 0:31:52.440
<v Speaker 1>Catherine and Beth in college. But it's a setup. The

0:31:52.520 --> 0:31:56.040
<v Speaker 1>killer stabs and kills Gus with an ice pick. Nick

0:31:56.280 --> 0:32:00.520
<v Speaker 1>rushes in. Beth is right there and I again because

0:32:00.600 --> 0:32:03.480
<v Speaker 1>Nick thinks that she's the prime suspect, he shoots her

0:32:04.200 --> 0:32:10.400
<v Speaker 1>so abruptly, like yeah, I mean, really, is uh being

0:32:10.440 --> 0:32:14.320
<v Speaker 1>a cop about it? Right? And then the cops find

0:32:14.360 --> 0:32:18.160
<v Speaker 1>a bunch of incriminating evidence at the crime scene and

0:32:18.360 --> 0:32:22.120
<v Speaker 1>in Beth's apartment, so it seems like she was the

0:32:22.200 --> 0:32:27.200
<v Speaker 1>killer all along. Nick goes back to Catherine. She takes

0:32:27.240 --> 0:32:30.000
<v Speaker 1>him back. She's all like, I don't want to lose you.

0:32:30.760 --> 0:32:33.920
<v Speaker 1>They have sex. It seems like again maybe she's going

0:32:33.960 --> 0:32:37.680
<v Speaker 1>to stab him with an ice pick, but then she doesn't.

0:32:37.960 --> 0:32:41.400
<v Speaker 1>But but then we pan down to see that she

0:32:41.480 --> 0:32:45.120
<v Speaker 1>has an ice pick on the floor that she maybe

0:32:45.360 --> 0:32:48.880
<v Speaker 1>was or is going to kill him with. So now

0:32:49.080 --> 0:32:51.840
<v Speaker 1>we're like, oh, she is the killer. She apparently just

0:32:51.920 --> 0:32:57.520
<v Speaker 1>framed Beth and that's the end of the movie. Every

0:32:57.640 --> 0:33:01.480
<v Speaker 1>Woman is a murderer. How how many times have we

0:33:01.880 --> 0:33:05.240
<v Speaker 1>talked about this on the show? Every Woman is a

0:33:05.280 --> 0:33:09.360
<v Speaker 1>stone cold killer. Yeah, so let's take another quick break

0:33:09.640 --> 0:33:21.520
<v Speaker 1>and we'll come back to discuss, and we're back. Uh,

0:33:21.640 --> 0:33:26.360
<v Speaker 1>where where should we start, gang, I mean, where where

0:33:26.480 --> 0:33:30.000
<v Speaker 1>makes sense? I mean, I guess what we can sort

0:33:30.000 --> 0:33:35.719
<v Speaker 1>of just state the obvious of Katherine Trammel being a

0:33:35.760 --> 0:33:41.360
<v Speaker 1>pretty classic fem fatale character. You know, she's seductive, she's cunning,

0:33:41.400 --> 0:33:44.480
<v Speaker 1>she uses her sexuality to lure men in and then

0:33:44.680 --> 0:33:48.720
<v Speaker 1>kill them. But she's also like a fum fatale dialed

0:33:48.800 --> 0:33:52.560
<v Speaker 1>up to an eleven because a lot of like fum

0:33:52.640 --> 0:33:56.720
<v Speaker 1>fatale characters were from movies of like the forties and fifties,

0:33:56.800 --> 0:33:59.880
<v Speaker 1>which were under the Hayes production Code restrictions, which meant

0:33:59.880 --> 0:34:05.720
<v Speaker 1>that there couldn't be sex, nudity, overt sexuality, any romance

0:34:05.880 --> 0:34:09.040
<v Speaker 1>or implied sex had to be heterosexual. There could be

0:34:09.040 --> 0:34:13.600
<v Speaker 1>no graphic violence, things like that. So Catherine is this

0:34:13.680 --> 0:34:18.400
<v Speaker 1>like post production code version of the film Fatale, which

0:34:18.440 --> 0:34:23.480
<v Speaker 1>means we see nudity, we see sex. She loves to

0:34:23.560 --> 0:34:26.279
<v Speaker 1>have sex, she loves fucking, she talks about it all

0:34:26.280 --> 0:34:29.239
<v Speaker 1>the time. And then she also seems to be able

0:34:29.280 --> 0:34:33.520
<v Speaker 1>to like very easily detach emotion from sex, which the

0:34:33.600 --> 0:34:37.000
<v Speaker 1>movie seems to be making a judgment call about because

0:34:37.040 --> 0:34:39.680
<v Speaker 1>of these are all the things that make Katherine Tramel

0:34:39.840 --> 0:34:47.400
<v Speaker 1>so sinister and so fatal. It's like she's probably a murderer.

0:34:47.480 --> 0:34:53.440
<v Speaker 1>She's having sex casually, right, Like that's repeatedly insinuate, you know,

0:34:53.520 --> 0:34:55.680
<v Speaker 1>all while and it's I guess part of what I

0:34:55.719 --> 0:34:59.840
<v Speaker 1>struggle with this movie is I can't parse out always

0:35:00.120 --> 0:35:04.160
<v Speaker 1>self aware it's being but yeah, like all all, well,

0:35:04.200 --> 0:35:06.239
<v Speaker 1>you know, Michael Douglas is having casual sex all the

0:35:06.280 --> 0:35:11.080
<v Speaker 1>time and including non consensual casual sex, and um, isn't

0:35:11.920 --> 0:35:13.960
<v Speaker 1>he's not a well actually he is a murderer, but

0:35:14.040 --> 0:35:15.839
<v Speaker 1>it's not as big a deal when he does it.

0:35:15.840 --> 0:35:18.360
<v Speaker 1>It's so confused, like he doesn't well, he's at work,

0:35:18.520 --> 0:35:22.480
<v Speaker 1>so it's better. It's very confusing. So something's been in

0:35:22.480 --> 0:35:24.560
<v Speaker 1>the air on the pod lately. We've been covering a

0:35:24.600 --> 0:35:28.320
<v Speaker 1>lot of different from Fatale characters. We did double indemnity.

0:35:28.360 --> 0:35:31.280
<v Speaker 1>We did a simple favor and now we're doing basic instinct,

0:35:31.680 --> 0:35:35.280
<v Speaker 1>And yeah, I mean it's I understand. I guess why

0:35:35.600 --> 0:35:37.719
<v Speaker 1>people have a hard time with this movie because a

0:35:37.760 --> 0:35:43.239
<v Speaker 1>lot of Catherine's dialogue and a lot of Sharon Stone's performance.

0:35:43.280 --> 0:35:48.000
<v Speaker 1>I think it's like very reclaimable because it's so matter

0:35:48.040 --> 0:35:50.040
<v Speaker 1>of fact and good where she you know, when she's

0:35:50.080 --> 0:35:53.759
<v Speaker 1>like I wasn't dating him, I was fucking him, You're like, yeah,

0:35:53.920 --> 0:35:57.840
<v Speaker 1>that's exciting, you know, or like are you sad he's dead? Yes,

0:35:57.920 --> 0:36:01.160
<v Speaker 1>because I liked fucking him. Like that's it's so like

0:36:01.440 --> 0:36:04.920
<v Speaker 1>can't be it funny and like you don't get to

0:36:05.040 --> 0:36:10.480
<v Speaker 1>see women talk like that very often. But also we're

0:36:10.520 --> 0:36:14.640
<v Speaker 1>supposed to think that she's a supervillain, right, so it's

0:36:14.680 --> 0:36:17.319
<v Speaker 1>a it's it's tricky. Right. On one hand, it's the

0:36:18.040 --> 0:36:22.000
<v Speaker 1>villainizing a sexually liberated woman, which is what the fem

0:36:22.000 --> 0:36:25.200
<v Speaker 1>fay towels whole thing is is like, well, a woman

0:36:25.239 --> 0:36:29.920
<v Speaker 1>who is sexy and and you're seduced by her and

0:36:30.000 --> 0:36:35.160
<v Speaker 1>she likes sex, Well, obviously she's evil because sexual liberation

0:36:35.200 --> 0:36:38.920
<v Speaker 1>and a woman is scary. But then, like you said, Jamie,

0:36:39.040 --> 0:36:41.480
<v Speaker 1>like there's an argument to be made that that's still

0:36:41.560 --> 0:36:46.279
<v Speaker 1>representation on screen of a sexually liberated woman, and you

0:36:46.360 --> 0:36:51.120
<v Speaker 1>don't often get to see a woman just like very

0:36:51.200 --> 0:36:55.359
<v Speaker 1>openly talk about how much she enjoys sex and how

0:36:56.560 --> 0:36:59.280
<v Speaker 1>she likes men who give her pleasure, and she seems

0:36:59.320 --> 0:37:04.000
<v Speaker 1>to be prioritizing her pleasure over giving a man pleasure.

0:37:04.200 --> 0:37:09.680
<v Speaker 1>And it's not a role model situation, but it is, like,

0:37:10.360 --> 0:37:14.319
<v Speaker 1>I don't know this movie is for adults, hopefully, I mean,

0:37:14.400 --> 0:37:16.680
<v Speaker 1>I guess what I saw, and it was, like it

0:37:16.800 --> 0:37:19.840
<v Speaker 1>is kind of cathartic to see whether this was intended

0:37:19.920 --> 0:37:21.680
<v Speaker 1>or not, which I don't really think it was. But like,

0:37:22.440 --> 0:37:25.640
<v Speaker 1>see a woman who is like, by far the smartest

0:37:25.640 --> 0:37:28.640
<v Speaker 1>person in the room, playing a bunch of cops and

0:37:28.680 --> 0:37:34.200
<v Speaker 1>doing whatever the funk she wants, like that is inherently exciting,

0:37:34.320 --> 0:37:38.280
<v Speaker 1>like and and fun to watch. I mean, she's she's cool,

0:37:38.520 --> 0:37:40.759
<v Speaker 1>she's she's like, what if I commit a bunch of

0:37:40.800 --> 0:37:43.960
<v Speaker 1>murders and don't try to hide it and then when

0:37:43.960 --> 0:37:46.719
<v Speaker 1>I'm questioned about it, I'll basically be like, yeah, I'm

0:37:46.719 --> 0:37:50.000
<v Speaker 1>a murderer, and then I'll just keep getting away with it.

0:37:50.320 --> 0:37:53.120
<v Speaker 1>Let's just do that again. That was fun last time.

0:37:54.120 --> 0:37:56.439
<v Speaker 1>It's I mean, and it's like she got when they

0:37:56.600 --> 0:37:58.640
<v Speaker 1>quote unquote arrest her the first time to take her

0:37:58.640 --> 0:38:02.319
<v Speaker 1>down for the scene, like the questioning scene. I just

0:38:02.480 --> 0:38:04.880
<v Speaker 1>like it is the most like rich white lady arrest

0:38:04.920 --> 0:38:08.359
<v Speaker 1>ever where she's like, you're arresting me, Okay, we'll let

0:38:08.360 --> 0:38:11.759
<v Speaker 1>me change first, and you're just like she but like

0:38:11.880 --> 0:38:14.200
<v Speaker 1>the way that sheared Stone like owns every second of

0:38:14.239 --> 0:38:17.560
<v Speaker 1>it is so I mean, I really love watching her

0:38:17.600 --> 0:38:20.359
<v Speaker 1>in this movie. And and I'm not that's not even

0:38:20.360 --> 0:38:22.200
<v Speaker 1>really in defense of the movie as much as it

0:38:22.280 --> 0:38:25.400
<v Speaker 1>is of like watching this I get why this movie

0:38:25.440 --> 0:38:29.760
<v Speaker 1>has severe detractors, and I get why it has huge

0:38:30.160 --> 0:38:33.360
<v Speaker 1>camp fans, which is feel like it's true of a

0:38:33.400 --> 0:38:38.080
<v Speaker 1>lot of Verhoeven stuff. Um. And also it's like most

0:38:38.120 --> 0:38:42.560
<v Speaker 1>of the people that she kills seem like they sucked.

0:38:42.640 --> 0:38:47.640
<v Speaker 1>Well maybe not her parents. We don't know that they

0:38:47.640 --> 0:38:51.400
<v Speaker 1>were rich white people, so chances are so she and

0:38:51.480 --> 0:38:55.520
<v Speaker 1>she's awesome, So it's kind of hard anyways, and I

0:38:55.960 --> 0:38:58.200
<v Speaker 1>like that. Okay, so other elements of her character before

0:38:58.200 --> 0:39:03.239
<v Speaker 1>we get to the biphobia discussion, which we which needs

0:39:03.280 --> 0:39:07.239
<v Speaker 1>to be had, things I liked about Catherine. I like

0:39:07.360 --> 0:39:12.400
<v Speaker 1>that she everyone in this movie is doing a police corruption,

0:39:12.680 --> 0:39:16.160
<v Speaker 1>like literally everyone every main character is involved in, but

0:39:16.200 --> 0:39:19.000
<v Speaker 1>she's the She's the only one that's doing like police

0:39:19.000 --> 0:39:23.960
<v Speaker 1>corruption for sort of good, Like she's she's the only

0:39:24.000 --> 0:39:25.920
<v Speaker 1>person in the movie who I mean, and it's for

0:39:26.000 --> 0:39:31.880
<v Speaker 1>selfish means, she doesn't care, but she does almost expose

0:39:31.960 --> 0:39:35.839
<v Speaker 1>Michael Douglas as a murderous cop in a way that

0:39:35.880 --> 0:39:39.279
<v Speaker 1>most people wouldn't have been able to. She gets his records,

0:39:39.280 --> 0:39:43.400
<v Speaker 1>She's constantly like four shootings in five years, all accidents.

0:39:43.480 --> 0:39:47.719
<v Speaker 1>Doesn't sound legit to me, like which I again, it's

0:39:47.719 --> 0:39:50.480
<v Speaker 1>like Paul Verhoven didn't write this movie, but it sounds

0:39:50.480 --> 0:39:53.120
<v Speaker 1>like he demanded that it be rewritten a lot of times,

0:39:53.120 --> 0:39:56.400
<v Speaker 1>and he does have a preoccupation with like militarized police,

0:39:57.080 --> 0:39:59.440
<v Speaker 1>which I do think kind of comes out in this movie.

0:39:59.680 --> 0:40:03.200
<v Speaker 1>It's like, such as making the call to make your

0:40:03.200 --> 0:40:08.320
<v Speaker 1>protagonist a cop who is a rapist and a murderer,

0:40:08.760 --> 0:40:12.200
<v Speaker 1>which is not uncommon things for cops to be in

0:40:12.800 --> 0:40:14.759
<v Speaker 1>in the US in particular. So I thought that that

0:40:14.840 --> 0:40:19.399
<v Speaker 1>was like interesting that she was kind of using her

0:40:20.239 --> 0:40:24.400
<v Speaker 1>power and like intelligence to do a police corruption in

0:40:24.440 --> 0:40:29.359
<v Speaker 1>her own interest. Um. Meanwhile, everyone else's police corruptions are

0:40:30.480 --> 0:40:34.240
<v Speaker 1>for the police, where it's like, we gotta protect Michael

0:40:34.320 --> 0:40:38.399
<v Speaker 1>Douglas and therefore they're fine. Yeah. I also love how

0:40:38.600 --> 0:40:41.640
<v Speaker 1>he's the protagonist, and I feel like this was made

0:40:41.680 --> 0:40:44.279
<v Speaker 1>with the expectation that he's like, like, I think he's

0:40:44.320 --> 0:40:47.680
<v Speaker 1>supposed to be kind of a noir antiher. But I

0:40:47.719 --> 0:40:50.840
<v Speaker 1>assume that the audience when this came out was supposed

0:40:50.840 --> 0:40:54.120
<v Speaker 1>to be like, oh no, that for rapist and murderer.

0:40:54.160 --> 0:40:57.160
<v Speaker 1>He's going straight into the path of that murderer, right,

0:40:57.440 --> 0:41:01.920
<v Speaker 1>I do think that was the intent, Yes, which just like, uh,

0:41:01.960 --> 0:41:04.160
<v Speaker 1>it's so. I I feel if I had watched this

0:41:04.200 --> 0:41:06.080
<v Speaker 1>movie when I was younger, it would have sucked me

0:41:06.160 --> 0:41:09.400
<v Speaker 1>up so bad. It's so it's like it scrambles your

0:41:09.440 --> 0:41:13.120
<v Speaker 1>brain how much you see Michael Douglas like you see

0:41:13.200 --> 0:41:17.719
<v Speaker 1>him do like basically nothing right, Like, at what point

0:41:17.760 --> 0:41:20.080
<v Speaker 1>does he do something that is good at his job

0:41:20.200 --> 0:41:23.360
<v Speaker 1>or good morally? Like you? I feel like usually with

0:41:23.400 --> 0:41:26.080
<v Speaker 1>anti heroes there at least like good at their job,

0:41:26.360 --> 0:41:30.200
<v Speaker 1>like Don Draper was good at advertising. There's a scene

0:41:30.200 --> 0:41:33.680
<v Speaker 1>where he pulls out his little like notebook where he's

0:41:34.440 --> 0:41:38.759
<v Speaker 1>allegedly keeping and all it just has like a few

0:41:38.760 --> 0:41:43.000
<v Speaker 1>different addresses written on it. There's no like, oh yeah,

0:41:43.560 --> 0:41:45.400
<v Speaker 1>I'm like, is that all the Is that the extent

0:41:45.440 --> 0:41:47.439
<v Speaker 1>of the police work you're doing. You're just writing down

0:41:47.480 --> 0:41:51.319
<v Speaker 1>addresses that other people have told you like to go to.

0:41:51.600 --> 0:41:55.319
<v Speaker 1>And at this point he's been on the case for months,

0:41:55.800 --> 0:41:58.480
<v Speaker 1>he's like all right, I think he's just checked out

0:41:58.520 --> 0:42:01.279
<v Speaker 1>and he's using being detective is a way to find

0:42:01.320 --> 0:42:06.600
<v Speaker 1>girl friends. Now, that is what it seems like, because

0:42:06.719 --> 0:42:12.640
<v Speaker 1>he he has everything he does is either bad police

0:42:12.640 --> 0:42:16.040
<v Speaker 1>work where he's like recklessly driving and like putting everyone

0:42:16.080 --> 0:42:22.080
<v Speaker 1>in danger. He's having sexual relationships with both his counselor

0:42:22.120 --> 0:42:25.480
<v Speaker 1>and his primary suspect and his prime suspect, which is

0:42:25.520 --> 0:42:28.840
<v Speaker 1>like very noir. But if you're just like buddy, the

0:42:28.960 --> 0:42:34.479
<v Speaker 1>conflict of interest in everything he does is staggering. Well,

0:42:34.520 --> 0:42:36.520
<v Speaker 1>I think that that's kind of like again just like

0:42:36.560 --> 0:42:39.040
<v Speaker 1>a I guess we're sort of like talking about his

0:42:39.120 --> 0:42:43.160
<v Speaker 1>character here as well, Like he's gullible to the point

0:42:43.200 --> 0:42:46.280
<v Speaker 1>where it's kind of like attributing like a magical power

0:42:46.360 --> 0:42:51.520
<v Speaker 1>to shared's done character, like it's giving her like I mean,

0:42:51.560 --> 0:42:53.839
<v Speaker 1>it is a combination. It's not just like it's her

0:42:54.000 --> 0:42:58.719
<v Speaker 1>like powers of manipulation and like sexual prowess is like,

0:42:59.200 --> 0:43:00.719
<v Speaker 1>I feel like the movie wants you to think it's

0:43:00.800 --> 0:43:03.200
<v Speaker 1>making him bad at his job, and you're like, he

0:43:03.280 --> 0:43:04.920
<v Speaker 1>might just be bad at his job. It sounds like

0:43:04.920 --> 0:43:06.839
<v Speaker 1>he's bad at his job at the beginning. He can't

0:43:06.840 --> 0:43:11.400
<v Speaker 1>stop murdering people and having sex with everyone he shouldn't like.

0:43:12.040 --> 0:43:15.800
<v Speaker 1>And there's no mention of him solving a crime previously,

0:43:16.160 --> 0:43:18.640
<v Speaker 1>like there's so you know, it sounds like maybe he

0:43:18.760 --> 0:43:20.959
<v Speaker 1>just always wasn't very good at it. But I feel

0:43:20.960 --> 0:43:23.640
<v Speaker 1>like the movie wants you to think like she has

0:43:23.840 --> 0:43:26.839
<v Speaker 1>led him, so, you know, far off a cliff with

0:43:26.880 --> 0:43:32.480
<v Speaker 1>her her various college degrees and Bob, he has a

0:43:32.520 --> 0:43:36.640
<v Speaker 1>master's degree. Okay, she's capable of anything, Caitlin, can you

0:43:36.680 --> 0:43:40.399
<v Speaker 1>attest to that? Yes, I can confirm as someone who

0:43:40.400 --> 0:43:43.200
<v Speaker 1>has a master's degree in screen writing from Boston University,

0:43:43.239 --> 0:43:45.880
<v Speaker 1>which I don't like to mention, you can kill people,

0:43:46.960 --> 0:43:50.759
<v Speaker 1>can murder people and get away with it. To quote

0:43:50.920 --> 0:43:55.640
<v Speaker 1>Gus when he's talking to Nick about Catherine, quote she

0:43:55.840 --> 0:43:59.960
<v Speaker 1>got that magna kum laude pussy on her. That done

0:44:00.160 --> 0:44:03.200
<v Speaker 1>fried up your brain? Sorry, that is that is another

0:44:03.360 --> 0:44:06.640
<v Speaker 1>line I wrote down is one of the greatest things

0:44:06.640 --> 0:44:11.280
<v Speaker 1>I've ever heard. Honorary Oscar Worthy Oscar for Best Single

0:44:11.360 --> 0:44:15.240
<v Speaker 1>Line in a Screenplay for Esther hass I want someone

0:44:15.280 --> 0:44:19.040
<v Speaker 1>to say, I've got magnacum laud a pussy. That's who

0:44:19.680 --> 0:44:22.880
<v Speaker 1>I really, honestly do. That's the thing. What a compliment.

0:44:23.040 --> 0:44:25.399
<v Speaker 1>He meant it as an insult, but I'm like, yeah,

0:44:25.560 --> 0:44:29.200
<v Speaker 1>go go for it. I'd be like, thank you. I

0:44:29.239 --> 0:44:33.000
<v Speaker 1>also like how I read the screenplay to Basic in

0:44:33.080 --> 0:44:35.480
<v Speaker 1>sing this morning. That was really it was really fun.

0:44:35.640 --> 0:44:37.560
<v Speaker 1>And one thing I like is that Gus in the

0:44:37.600 --> 0:44:41.279
<v Speaker 1>screenplay is supposed to be like twenty years older than

0:44:41.440 --> 0:44:45.480
<v Speaker 1>Nick and Oliver Hopean was like, what if they were

0:44:45.480 --> 0:44:48.800
<v Speaker 1>the same age? Interesting, which is funny because in the beginning,

0:44:49.280 --> 0:44:54.399
<v Speaker 1>when Gus doesn't know who Johnny Boss is, Nick is like, oh,

0:44:54.480 --> 0:44:57.520
<v Speaker 1>he's before your time, and it's like, really, they seem

0:44:57.560 --> 0:45:03.120
<v Speaker 1>to be about the same age. So that's um. But Jamie,

0:45:03.200 --> 0:45:05.440
<v Speaker 1>to go back to what you were talking about. I

0:45:05.440 --> 0:45:07.919
<v Speaker 1>feel like that's part of like one of the characteristics

0:45:07.960 --> 0:45:12.799
<v Speaker 1>of the firm fatalel archetype, where she's like a witch

0:45:12.920 --> 0:45:15.879
<v Speaker 1>basically who will put you in a trance and make

0:45:15.920 --> 0:45:18.240
<v Speaker 1>you bad at your job and make you do things

0:45:18.280 --> 0:45:23.040
<v Speaker 1>that otherwise reasonable man wouldn't do. But because he's under

0:45:23.080 --> 0:45:26.840
<v Speaker 1>the spell of this fem fatalel, he's not himself anymore.

0:45:27.080 --> 0:45:29.000
<v Speaker 1>And to kind of complicate that, I mean, it's like,

0:45:29.200 --> 0:45:31.480
<v Speaker 1>I think it's interesting the ways where this trope is

0:45:31.520 --> 0:45:35.880
<v Speaker 1>like updated for the nineties or just I mean, I

0:45:35.920 --> 0:45:39.040
<v Speaker 1>guess this run of Michael Douglas movies where it's like

0:45:39.080 --> 0:45:41.719
<v Speaker 1>in the forties, you know, your FM faytales, they were

0:45:41.760 --> 0:45:46.080
<v Speaker 1>you know, mostly cunning wives because that is, you know,

0:45:46.520 --> 0:45:50.200
<v Speaker 1>majority what you could be as a middle class white

0:45:50.200 --> 0:45:53.040
<v Speaker 1>woman at that time. But when it leveled up, it's like,

0:45:54.000 --> 0:45:56.040
<v Speaker 1>I feel like they think they're doing a good thing

0:45:56.200 --> 0:45:58.960
<v Speaker 1>by like giving her a higher and higher level of

0:45:59.120 --> 0:46:02.520
<v Speaker 1>education and achievement, but it just kind of becomes messy

0:46:02.640 --> 0:46:05.080
<v Speaker 1>in a different way where I like it also is

0:46:05.080 --> 0:46:07.799
<v Speaker 1>like this, I don't know what did either of you

0:46:07.840 --> 0:46:11.760
<v Speaker 1>think of it. I just was like, obviously, Michael Douglas

0:46:11.800 --> 0:46:16.920
<v Speaker 1>doesn't believe in um mental health in this movie, Like,

0:46:17.080 --> 0:46:20.240
<v Speaker 1>but I also thought it was interesting that like both

0:46:20.239 --> 0:46:22.680
<v Speaker 1>of the women, that he's kind of like ping ponging

0:46:22.719 --> 0:46:28.360
<v Speaker 1>between our authorities in mental health, where like shared Stone

0:46:28.360 --> 0:46:33.240
<v Speaker 1>has a master's in psychology and Beth is a psychologist

0:46:33.320 --> 0:46:36.640
<v Speaker 1>or like a police therapy. I don't want's her job

0:46:36.640 --> 0:46:38.840
<v Speaker 1>title either way, Like they both work in that field.

0:46:39.480 --> 0:46:43.279
<v Speaker 1>And he is clearly unwell and also doesn't believe it,

0:46:43.800 --> 0:46:46.719
<v Speaker 1>And I'm like, does the movie believe in psychology? Like

0:46:46.760 --> 0:46:50.040
<v Speaker 1>it's so confusing. I couldn't tell. Does the movie believe

0:46:50.080 --> 0:46:54.080
<v Speaker 1>in psychology? I couldn't tell either, But I mean, when

0:46:54.120 --> 0:46:58.960
<v Speaker 1>you have a protagonist who has certain opinions and the

0:46:59.040 --> 0:47:02.360
<v Speaker 1>movie asks you to go on this journey with this

0:47:02.440 --> 0:47:05.880
<v Speaker 1>protagonist and like see the world through his eyes, I

0:47:05.920 --> 0:47:08.720
<v Speaker 1>feel like, and that's not the case for every movie,

0:47:08.800 --> 0:47:12.280
<v Speaker 1>but it's tricky when it's of Noir. I don't know.

0:47:12.760 --> 0:47:16.640
<v Speaker 1>But because he's like, you're a psychologist, well, your job

0:47:16.760 --> 0:47:20.040
<v Speaker 1>is to manipulate people, and obviously your whole thing is

0:47:20.080 --> 0:47:24.160
<v Speaker 1>to play games with people's heads, and that's what psychology is.

0:47:24.440 --> 0:47:28.120
<v Speaker 1>It takes a very mid sectury of you of therapy.

0:47:28.239 --> 0:47:30.680
<v Speaker 1>But I feel like it's also very obvious in text

0:47:30.800 --> 0:47:33.279
<v Speaker 1>that he's unwell, and so I don't think that we're

0:47:33.360 --> 0:47:37.320
<v Speaker 1>necessarily supposed to take him at his word in that moment.

0:47:37.840 --> 0:47:41.680
<v Speaker 1>So it's confusing. Yeah, right, I feel like the script

0:47:41.760 --> 0:47:44.520
<v Speaker 1>is maybe like he doesn't need therapy, just belongs to

0:47:44.560 --> 0:47:48.279
<v Speaker 1>the Fraternity of killers or something. But like, I mean,

0:47:48.320 --> 0:47:50.400
<v Speaker 1>I feel like the noir has its roots and like

0:47:51.000 --> 0:47:56.439
<v Speaker 1>the concept of confusing vulnerability with strength or I guess

0:47:56.480 --> 0:48:00.560
<v Speaker 1>because being like, well, I'm traumatized in this way and

0:48:00.680 --> 0:48:02.839
<v Speaker 1>I have to do it. I have to make use

0:48:02.880 --> 0:48:05.480
<v Speaker 1>of it somehow, I guess now. And I feel like

0:48:05.520 --> 0:48:08.720
<v Speaker 1>that's where the tradition of the detective partly comes from,

0:48:08.760 --> 0:48:11.880
<v Speaker 1>this idea that like the detective sort of has to

0:48:12.000 --> 0:48:18.360
<v Speaker 1>stand between society and the French here in whatever way necessary,

0:48:19.520 --> 0:48:22.399
<v Speaker 1>and he can't really like be a happy family man.

0:48:22.560 --> 0:48:26.400
<v Speaker 1>He has to be a loner right right, which lines

0:48:26.480 --> 0:48:30.120
<v Speaker 1>up with the anti heroo stuff as well. It's so

0:48:30.719 --> 0:48:34.319
<v Speaker 1>it's I mean, I like that, it's great for hope.

0:48:34.360 --> 0:48:36.960
<v Speaker 1>The movies are so challenging, like I and I like

0:48:37.080 --> 0:48:40.880
<v Speaker 1>that about them, but it's, um, it's tricky. I I

0:48:40.920 --> 0:48:42.960
<v Speaker 1>felt like my and again I think I was maybe

0:48:43.000 --> 0:48:46.760
<v Speaker 1>I had to too much brain when I was watching

0:48:46.760 --> 0:48:50.240
<v Speaker 1>this because I was like, oh, well, obviously he's very unwell.

0:48:50.360 --> 0:48:53.239
<v Speaker 1>So the movie is probably like he should probably believe

0:48:53.239 --> 0:48:55.200
<v Speaker 1>in psychology, he'd get something out of it. But that's

0:48:55.200 --> 0:48:58.839
<v Speaker 1>almost definitely not what people would have you believe in two,

0:48:59.320 --> 0:49:03.200
<v Speaker 1>I don't know the other thing for Hope and sometimes

0:49:03.239 --> 0:49:07.280
<v Speaker 1>will go rogue and like doesn't have a high opinion

0:49:07.320 --> 0:49:10.319
<v Speaker 1>of cops, and so I'm sort of like maybe, but

0:49:10.400 --> 0:49:14.319
<v Speaker 1>I don't know. To whatever degree the movie wants you

0:49:14.400 --> 0:49:20.759
<v Speaker 1>to think that Nick is unwell, every woman you meet

0:49:21.400 --> 0:49:25.040
<v Speaker 1>the movie does want you to think is way more

0:49:25.600 --> 0:49:28.560
<v Speaker 1>unwell and scary. And because they're like you said, Jamie,

0:49:28.600 --> 0:49:32.399
<v Speaker 1>they're all murderers. Like every woman in the movie who

0:49:32.400 --> 0:49:37.400
<v Speaker 1>has more than a line of dialogue is either confirmed

0:49:37.480 --> 0:49:40.719
<v Speaker 1>murderer or for some chunk of the movie, the audience

0:49:40.960 --> 0:49:44.080
<v Speaker 1>is led to believe that she probably is a murderer. Well,

0:49:44.120 --> 0:49:47.120
<v Speaker 1>and they're also all some well actually I don't I

0:49:47.160 --> 0:49:50.279
<v Speaker 1>don't know about Roxy, but they're also all like the

0:49:50.400 --> 0:49:54.800
<v Speaker 1>depraved bisexual to some extent, Right, all the women that

0:49:54.840 --> 0:49:57.440
<v Speaker 1>we're supposed to believe are murderers. I believe I think

0:49:57.520 --> 0:50:01.120
<v Speaker 1>so or or you know, yes, except again, we don't

0:50:01.160 --> 0:50:04.080
<v Speaker 1>know if Roxy is bisexual or she's we don't know,

0:50:04.280 --> 0:50:09.880
<v Speaker 1>right right right, movie doesn't care. But between like Catherine

0:50:10.160 --> 0:50:14.160
<v Speaker 1>who you could argue that the ending is ambiguous, but

0:50:14.320 --> 0:50:19.360
<v Speaker 1>also pretty clear that yes, she was the killer all along. Beth,

0:50:19.880 --> 0:50:22.520
<v Speaker 1>because of the ambiguity of the ending, is also then

0:50:22.560 --> 0:50:25.840
<v Speaker 1>ambiguous as to whether or not she was a murderer

0:50:25.840 --> 0:50:28.640
<v Speaker 1>of any kind. But at least with my read of

0:50:28.640 --> 0:50:33.319
<v Speaker 1>the movie, Catherine framed Beth. But even so, Beth is

0:50:33.480 --> 0:50:37.600
<v Speaker 1>a character who seems to be withholding information and she

0:50:37.680 --> 0:50:40.640
<v Speaker 1>still seems to be like devious in some way, and

0:50:40.680 --> 0:50:43.200
<v Speaker 1>we can kind of we can get into that more

0:50:43.239 --> 0:50:46.600
<v Speaker 1>in a bit. But then there's Roxy, who we learned

0:50:46.800 --> 0:50:49.799
<v Speaker 1>killed her two young brothers when she was a teenager

0:50:49.880 --> 0:50:53.840
<v Speaker 1>because she just felt an impulse to kill and she

0:50:53.960 --> 0:50:56.880
<v Speaker 1>tried to kill Nick by running him over with a car,

0:50:57.280 --> 0:51:01.520
<v Speaker 1>So she's a confirmed murderer. Roxy is troped literally to

0:51:01.640 --> 0:51:06.480
<v Speaker 1>death in Safe. And then there's this woman Hazel, Hazel

0:51:06.600 --> 0:51:09.960
<v Speaker 1>Dobkins or something, who is a friend of Katherine's who

0:51:10.120 --> 0:51:13.759
<v Speaker 1>also might be in a romantic relationship with Katherine. I

0:51:13.760 --> 0:51:17.279
<v Speaker 1>thought that was so unclear to me, at least in

0:51:17.320 --> 0:51:21.160
<v Speaker 1>a kissing relationship. Yeah, they kiss, and then Catherine calls

0:51:21.160 --> 0:51:26.759
<v Speaker 1>her honey at some point, an implication for movie, right.

0:51:26.800 --> 0:51:31.440
<v Speaker 1>And then Hazel, we learned, killed her husband and three

0:51:31.560 --> 0:51:36.120
<v Speaker 1>small children by stabbing them with a knife, So that's

0:51:36.160 --> 0:51:39.960
<v Speaker 1>not good. I don't think that there's I don't think

0:51:39.960 --> 0:51:42.919
<v Speaker 1>that there's very much like that's where the I mean,

0:51:43.080 --> 0:51:46.880
<v Speaker 1>it's with the depraved bisexual trope, which we just talked about,

0:51:47.160 --> 0:51:48.799
<v Speaker 1>which is a newer concept for us, but we talked

0:51:48.840 --> 0:51:54.240
<v Speaker 1>about it on the A Simple Favor episode. That really

0:51:54.960 --> 0:51:57.800
<v Speaker 1>doesn't work as much for me. But there's a bunch

0:51:57.800 --> 0:52:02.080
<v Speaker 1>of um, there's a bunch of Indians about this. Yeah,

0:52:02.120 --> 0:52:04.440
<v Speaker 1>should we get into it? Yeah, let's get I mean,

0:52:04.440 --> 0:52:07.120
<v Speaker 1>there's there's so much to talk about there. I had there.

0:52:07.160 --> 0:52:09.560
<v Speaker 1>There's been a lot written about this over the years,

0:52:09.680 --> 0:52:14.400
<v Speaker 1>but the context that you need that I didn't. I

0:52:14.440 --> 0:52:17.399
<v Speaker 1>didn't know that it had escalated to this point. But

0:52:17.760 --> 0:52:21.640
<v Speaker 1>the queer community in San Francisco, of which there's obviously

0:52:21.680 --> 0:52:24.880
<v Speaker 1>like a huge historically queer community in San Francisco were

0:52:25.719 --> 0:52:29.200
<v Speaker 1>not happy when this movie was being made. When they

0:52:29.200 --> 0:52:32.880
<v Speaker 1>were filming in San Francisco, the production called in the

0:52:32.920 --> 0:52:36.520
<v Speaker 1>San Francisco Police Department riot police every day, which is

0:52:36.880 --> 0:52:41.640
<v Speaker 1>almost certainly a gigantic overreaction, but the queer community was

0:52:41.760 --> 0:52:46.040
<v Speaker 1>protesting significantly. They were holding signs that said honk if

0:52:46.080 --> 0:52:49.120
<v Speaker 1>you love the forty niners and honk if you love men,

0:52:49.280 --> 0:52:53.880
<v Speaker 1>which is very funny. Um, but they basically did everything

0:52:53.920 --> 0:52:57.200
<v Speaker 1>they could to stop the movie from being filmed cogently,

0:52:57.360 --> 0:53:03.040
<v Speaker 1>like they used lasers and whistles to interfere with the

0:53:03.080 --> 0:53:06.880
<v Speaker 1>filming of the movie. And one of the producers of

0:53:06.920 --> 0:53:12.560
<v Speaker 1>the movie, Alan Marshall, allegedly selected individual protesters and demand

0:53:12.520 --> 0:53:15.720
<v Speaker 1>they'd be arrested, which is um fucked up. And then

0:53:16.080 --> 0:53:20.200
<v Speaker 1>the protesters did a citizen's arrest of the producer, which

0:53:20.280 --> 0:53:23.560
<v Speaker 1>came to nothing because the cops don't give a ship.

0:53:23.680 --> 0:53:27.560
<v Speaker 1>But all that to say, like this was at no

0:53:27.760 --> 0:53:32.120
<v Speaker 1>point was the issue with the depraved bisexual troops in

0:53:32.160 --> 0:53:34.480
<v Speaker 1>this movie not an issue like before it came out,

0:53:34.560 --> 0:53:39.880
<v Speaker 1>it was a very controversial thing. Verhoven I guess defended

0:53:39.920 --> 0:53:45.640
<v Speaker 1>the protesters right to protest, but disagreed because it's his movie.

0:53:46.120 --> 0:53:51.319
<v Speaker 1>Um So, how this kind of is played out is

0:53:51.960 --> 0:53:57.080
<v Speaker 1>as time passes, as time famously does. There's a lot

0:53:57.080 --> 0:54:00.279
<v Speaker 1>of people who are still you know, very for on

0:54:00.400 --> 0:54:02.920
<v Speaker 1>the like this is extremely biphobic in a way that

0:54:03.080 --> 0:54:08.080
<v Speaker 1>is not reclaimable. And then there are queer writers and

0:54:08.160 --> 0:54:13.600
<v Speaker 1>filmmakers who have found prose and reclaimable elements to it.

0:54:13.760 --> 0:54:18.239
<v Speaker 1>So yeah, so that's the context. So what's happening in

0:54:18.280 --> 0:54:22.240
<v Speaker 1>the in the movie itself is that it's playing into

0:54:23.040 --> 0:54:29.600
<v Speaker 1>stereotypes about bisexual people, such as that bisexual people are promiscuous,

0:54:29.680 --> 0:54:34.440
<v Speaker 1>they are untrustworthy, they are immoral cheaters, the cheaters, And

0:54:34.440 --> 0:54:37.640
<v Speaker 1>then the movie takes it a step further and says,

0:54:38.400 --> 0:54:42.520
<v Speaker 1>any queer woman is an evil murderer who will just

0:54:42.840 --> 0:54:46.240
<v Speaker 1>snap at the drop of a hat and murder without motive,

0:54:46.760 --> 0:54:49.200
<v Speaker 1>just because they had the impulse to do it. That

0:54:49.320 --> 0:54:51.360
<v Speaker 1>was so wow. They're like, yeah, she just saw a

0:54:51.440 --> 0:54:55.120
<v Speaker 1>razor and was like, let's do this. Baby. You're like, what,

0:54:56.040 --> 0:54:58.160
<v Speaker 1>I don't want it to go to waste. I have

0:54:58.239 --> 0:55:01.560
<v Speaker 1>to kill someone with a the sharp object that's near me.

0:55:02.040 --> 0:55:05.400
<v Speaker 1>And yet like, and Jamie, you're a girl boss expert.

0:55:05.480 --> 0:55:07.600
<v Speaker 1>This is why I'm asking you. Is there anything more

0:55:07.600 --> 0:55:13.200
<v Speaker 1>a girl boss than being a sexually motivated female murderer

0:55:13.200 --> 0:55:20.240
<v Speaker 1>of men? Exactly, Ladies, I've been saying this, um, women's

0:55:20.280 --> 0:55:26.040
<v Speaker 1>empowerment means getting away with murder. I wish I was

0:55:26.320 --> 0:55:28.200
<v Speaker 1>my thora nosed T shirts and the male I don't

0:55:28.239 --> 0:55:31.560
<v Speaker 1>have it yet, but and making men fear for their

0:55:31.640 --> 0:55:37.640
<v Speaker 1>right to have sex. It is so like, it's so messy,

0:55:37.680 --> 0:55:42.839
<v Speaker 1>it's so many Like. I found a piece written by

0:55:42.880 --> 0:55:46.560
<v Speaker 1>a queer filmmaker named Adam Morrison who's kind of like

0:55:46.560 --> 0:55:50.880
<v Speaker 1>went to bat for this movie in and I thought, like,

0:55:50.920 --> 0:55:57.000
<v Speaker 1>and also while acknowledging the clear biphobic issues, because also contextually,

0:55:57.000 --> 0:56:00.279
<v Speaker 1>it's important to remember that Basic Instincts came out at

0:56:00.320 --> 0:56:03.360
<v Speaker 1>a time where queer representation in general was kind of

0:56:03.640 --> 0:56:07.319
<v Speaker 1>like an all time low, while the AIDS crisis was ongoing.

0:56:07.960 --> 0:56:10.560
<v Speaker 1>Um like the Silence of the Lambs had come out

0:56:10.600 --> 0:56:13.239
<v Speaker 1>the previous year, which the queer community was kind of

0:56:13.280 --> 0:56:16.239
<v Speaker 1>like rightfully on high alert about how they were being

0:56:16.280 --> 0:56:21.640
<v Speaker 1>represented in film because it was egregiously bad. So yeah,

0:56:21.680 --> 0:56:24.120
<v Speaker 1>he he writes a quote, if we're dying of a plague,

0:56:24.160 --> 0:56:26.880
<v Speaker 1>can't get married, can't adopt, can get fired or evicted.

0:56:26.920 --> 0:56:30.000
<v Speaker 1>If anyone finds out our sexual orientation, why on earth

0:56:30.040 --> 0:56:32.239
<v Speaker 1>will be supportive film that paints us as nothing more

0:56:32.280 --> 0:56:34.439
<v Speaker 1>than He then would like to funk hard and then

0:56:34.520 --> 0:56:39.800
<v Speaker 1>stab each other unquote. But then he counterpoints that twenty

0:56:39.840 --> 0:56:43.759
<v Speaker 1>four years later by saying the following, which I thought was,

0:56:43.960 --> 0:56:45.879
<v Speaker 1>I don't know, like I I don't I truly don't

0:56:45.880 --> 0:56:48.720
<v Speaker 1>know where I fall here, but he says, uh, quote,

0:56:48.719 --> 0:56:50.319
<v Speaker 1>when was the last time you saw a movie where

0:56:50.320 --> 0:56:52.560
<v Speaker 1>a gay character was the wealthiest person in the room?

0:56:53.000 --> 0:56:55.839
<v Speaker 1>Katherine Trammels worth a hundred million? When was the last

0:56:55.840 --> 0:56:57.600
<v Speaker 1>time you saw a movie where a gay character was

0:56:57.640 --> 0:57:00.440
<v Speaker 1>the smartest person in the room? One was last time

0:57:00.440 --> 0:57:03.040
<v Speaker 1>you saw a gay character be the most successful? Catherine's

0:57:03.040 --> 0:57:04.800
<v Speaker 1>books are best sellers. When was the last time a

0:57:04.840 --> 0:57:07.360
<v Speaker 1>gay character was all three of those things that once?

0:57:07.880 --> 0:57:11.279
<v Speaker 1>Probably never? And then he sort of goes on to

0:57:11.520 --> 0:57:14.920
<v Speaker 1>like draw this comparison of like, she has these godlike qualities,

0:57:14.920 --> 0:57:18.760
<v Speaker 1>she's kind of like omnipotent, She's she can outwit literally anyone,

0:57:19.320 --> 0:57:23.480
<v Speaker 1>and in the end, for her purposes, she wins. She

0:57:23.520 --> 0:57:26.920
<v Speaker 1>gets away with it. Um, so she's not punished or

0:57:27.320 --> 0:57:30.560
<v Speaker 1>killed off, and so, which I think is like an

0:57:30.600 --> 0:57:34.240
<v Speaker 1>interesting read of the movie. I don't know. Yeah, I

0:57:34.280 --> 0:57:38.280
<v Speaker 1>mean that to me is just like, well, when representation

0:57:38.680 --> 0:57:45.880
<v Speaker 1>invisibility is low and bad, all you can do is

0:57:46.400 --> 0:57:51.520
<v Speaker 1>grasp at the crumbs. And that's what that feels like. Well,

0:57:51.560 --> 0:57:53.560
<v Speaker 1>that's yeah, I mean, I'm not suggesting that any of

0:57:53.560 --> 0:57:58.640
<v Speaker 1>that was intended in text, but I do understand that

0:57:58.760 --> 0:58:03.000
<v Speaker 1>argument also, sure, Sure, and then to break down the

0:58:03.080 --> 0:58:06.800
<v Speaker 1>various relationships even further, because I kept thinking we were

0:58:06.800 --> 0:58:12.320
<v Speaker 1>going to learn more about Catherine's relationship with Roxy. Yeah,

0:58:12.360 --> 0:58:16.200
<v Speaker 1>but you never really do you know that they lived together?

0:58:16.680 --> 0:58:20.320
<v Speaker 1>Question mark? I think so right? Or was that Cannon

0:58:20.680 --> 0:58:24.160
<v Speaker 1>and Esther has trying to write them having a quiet

0:58:24.240 --> 0:58:26.560
<v Speaker 1>night at home and Roxy being like is this chicken

0:58:26.680 --> 0:58:31.720
<v Speaker 1>from Thursday night? You know? And like that's another thing.

0:58:31.760 --> 0:58:34.440
<v Speaker 1>I kept thinking, like we never see them interact except

0:58:34.440 --> 0:58:37.760
<v Speaker 1>to kiss in a couple of scenes, but we don't.

0:58:37.800 --> 0:58:39.880
<v Speaker 1>There's no dialogue between them, and so this is a

0:58:39.920 --> 0:58:42.640
<v Speaker 1>movie where like if the movie passed the Bechtel test

0:58:42.720 --> 0:58:46.000
<v Speaker 1>between these two characters, that would be great because we

0:58:46.000 --> 0:58:50.000
<v Speaker 1>would know anything about their relationship. But that's where it's like,

0:58:50.240 --> 0:58:53.760
<v Speaker 1>it's so early nineties where I bet that the writer,

0:58:54.400 --> 0:58:58.600
<v Speaker 1>who what's the writer's name again, Joe Ester, has really

0:58:58.600 --> 0:59:01.400
<v Speaker 1>thought he was doing something by like making her well

0:59:01.560 --> 0:59:03.880
<v Speaker 1>educated and like giving us a lot of information about

0:59:03.880 --> 0:59:06.360
<v Speaker 1>her at the top, but we never yeah, like we

0:59:06.440 --> 0:59:09.240
<v Speaker 1>never get information about and I don't think that it

0:59:09.240 --> 0:59:12.520
<v Speaker 1>would have taken away from the non mystery of this movie,

0:59:12.640 --> 0:59:14.360
<v Speaker 1>which is that she did it and we see it

0:59:14.400 --> 0:59:18.440
<v Speaker 1>in the first scene to flesh out that relationship a

0:59:18.520 --> 0:59:20.600
<v Speaker 1>little bit more. I think it actually would have helped

0:59:21.000 --> 0:59:24.800
<v Speaker 1>the point later where it's like she's saying, like, I, I,

0:59:25.000 --> 0:59:27.280
<v Speaker 1>you know, really cared about Roxy. Like that's the first

0:59:27.280 --> 0:59:29.479
<v Speaker 1>person we see her have a reaction to the depth

0:59:29.520 --> 0:59:31.680
<v Speaker 1>of it all. And so if we saw that that,

0:59:32.200 --> 0:59:35.680
<v Speaker 1>I don't think it would have hurt anything, right, because

0:59:35.760 --> 0:59:39.480
<v Speaker 1>what that does. So when we see Catherine learned that

0:59:39.720 --> 0:59:43.800
<v Speaker 1>Johnny Boss is killed, she doesn't cry. She barely bats

0:59:43.800 --> 0:59:46.480
<v Speaker 1>an eyelash. She's just like, yeah, I guess I'm sad

0:59:46.520 --> 0:59:50.920
<v Speaker 1>because I liked fucking him. But when Roxy dies, she's sorry,

0:59:51.160 --> 0:59:57.360
<v Speaker 1>right iconic. When Roxy dies, she's noticeably upset, she's crying,

0:59:57.520 --> 1:00:00.360
<v Speaker 1>she's having what seems to be a genuine react. But

1:00:00.480 --> 1:00:04.400
<v Speaker 1>because we don't know anything about relationship with Roxy, and

1:00:04.640 --> 1:00:08.360
<v Speaker 1>because Catherine told thing is that she's very untrustworthy, we

1:00:08.400 --> 1:00:12.280
<v Speaker 1>don't know if these feelings she's displaying our genuine because

1:00:12.320 --> 1:00:15.760
<v Speaker 1>we don't have any information about Katherine and Roxy's relationship.

1:00:15.840 --> 1:00:17.720
<v Speaker 1>So it's which could be I mean, which I get

1:00:17.720 --> 1:00:19.880
<v Speaker 1>why that would be a noir writing, but I just

1:00:20.160 --> 1:00:22.080
<v Speaker 1>like I find it so ridiculous that you're supposed to

1:00:22.200 --> 1:00:24.880
<v Speaker 1>spend a lot of it's just like it's not just

1:00:24.960 --> 1:00:27.880
<v Speaker 1>like but you know how like the central quote unquote

1:00:27.920 --> 1:00:30.920
<v Speaker 1>mystery of the movie Doubt when it came out was

1:00:31.000 --> 1:00:33.240
<v Speaker 1>like do you think he did it? And you're like,

1:00:33.640 --> 1:00:37.400
<v Speaker 1>it's so obvious that the that the protagonist did the crime?

1:00:38.040 --> 1:00:41.000
<v Speaker 1>Why is that even the discussion like what about all

1:00:41.080 --> 1:00:46.960
<v Speaker 1>other ship going on? Right? So that's all confusing. And

1:00:47.000 --> 1:00:52.880
<v Speaker 1>then Beth is also revealed to be bisexual or by curious.

1:00:54.120 --> 1:00:57.640
<v Speaker 1>We learned that she had a sexual relationship with with

1:00:57.720 --> 1:01:05.040
<v Speaker 1>Katherine in college, and she's also similarly depicted as being untrustworthy.

1:01:05.120 --> 1:01:08.360
<v Speaker 1>And even though she might not have been the murderer

1:01:08.400 --> 1:01:12.520
<v Speaker 1>that we're led to believe she possibly was for a while,

1:01:13.280 --> 1:01:16.440
<v Speaker 1>she's still not forthcoming a lot about a lot of things.

1:01:16.480 --> 1:01:19.320
<v Speaker 1>She seems to be withholding a lot of information. You

1:01:19.320 --> 1:01:23.560
<v Speaker 1>could make the argument that, like, why would she divulge

1:01:23.840 --> 1:01:29.440
<v Speaker 1>her sexual orientation to her police colleagues. They're probably not

1:01:29.480 --> 1:01:33.440
<v Speaker 1>going to accept her if they learned that she is queer,

1:01:33.720 --> 1:01:35.760
<v Speaker 1>And she also seems to carry a lot of shame

1:01:35.840 --> 1:01:38.320
<v Speaker 1>about it too, because that and I feel like that

1:01:38.440 --> 1:01:41.920
<v Speaker 1>is almost like I guess maybe I talking this at

1:01:41.920 --> 1:01:47.640
<v Speaker 1>in real time. There's some kind of like gray area

1:01:47.680 --> 1:01:50.440
<v Speaker 1>where it felt like when the more she acknowledged that

1:01:50.480 --> 1:01:53.960
<v Speaker 1>she was ashamed of having any queer experience, the more

1:01:54.080 --> 1:01:57.880
<v Speaker 1>her kind of redemption arc started to swing back, or

1:01:58.120 --> 1:02:01.160
<v Speaker 1>it seemed like even but which is hard to say

1:02:01.200 --> 1:02:06.080
<v Speaker 1>because Catherine lives and Beth dies, so she is. I mean,

1:02:06.600 --> 1:02:09.760
<v Speaker 1>movies love to kill people named Beth. I'm just thinking

1:02:09.760 --> 1:02:15.080
<v Speaker 1>of little women. Um but but I so, I don't

1:02:15.120 --> 1:02:18.160
<v Speaker 1>know if that's that completely scance, but it does like

1:02:18.560 --> 1:02:23.440
<v Speaker 1>she distances herself from any queer experience she's had as

1:02:23.520 --> 1:02:27.480
<v Speaker 1>much as possible, she tells. And I guess it's unclear

1:02:27.480 --> 1:02:29.920
<v Speaker 1>because we only see her around Nick, who we can

1:02:29.920 --> 1:02:32.720
<v Speaker 1>tell wants her to do that, but she it does

1:02:32.800 --> 1:02:35.880
<v Speaker 1>seem like she's genuine when she tells him that whatever

1:02:35.920 --> 1:02:38.960
<v Speaker 1>that weird apartment they're always having sex at is her

1:02:39.000 --> 1:02:43.280
<v Speaker 1>apartment next to the aerobic studio. Of course it's just

1:02:43.320 --> 1:02:46.560
<v Speaker 1>like windows and you're like, yeah, sure, I'm sure a

1:02:46.640 --> 1:02:50.400
<v Speaker 1>police the officer makes this much money. But yeah, like

1:02:50.760 --> 1:02:54.640
<v Speaker 1>she she says that she's like embarrassed by it at

1:02:54.680 --> 1:02:57.400
<v Speaker 1>some point, and then her literal dying words I feel

1:02:57.440 --> 1:03:00.280
<v Speaker 1>like she might as well be saying I was right,

1:03:01.000 --> 1:03:04.880
<v Speaker 1>and then she dies, Like that was what I was

1:03:04.920 --> 1:03:08.360
<v Speaker 1>getting from, because her dying words are looking Michael Douglas

1:03:08.360 --> 1:03:11.680
<v Speaker 1>in the eye and saying I love you. Here's let

1:03:11.680 --> 1:03:15.600
<v Speaker 1>me tell you my theory, because I've watched this movie

1:03:16.040 --> 1:03:19.640
<v Speaker 1>maybe ten times in the past five years, and I

1:03:19.640 --> 1:03:22.960
<v Speaker 1>I think that Catherine was obsessed with Beth and was

1:03:23.000 --> 1:03:27.200
<v Speaker 1>playing the long game to like manipulate her ex boyfriend

1:03:27.200 --> 1:03:30.840
<v Speaker 1>into killing her. And what that means is that Nick

1:03:30.960 --> 1:03:34.400
<v Speaker 1>is sort of meaninglessly caught up in the crossfire of

1:03:34.520 --> 1:03:37.040
<v Speaker 1>Catherine's obsession with Beth, and she's just going to like

1:03:37.320 --> 1:03:40.080
<v Speaker 1>keep him alive a little while longer because he amuses

1:03:40.120 --> 1:03:43.920
<v Speaker 1>her someone or something like that interesting. And now I

1:03:43.960 --> 1:03:47.400
<v Speaker 1>mean he's and he's killed Beth now, so it's like, yeah,

1:03:47.440 --> 1:03:50.400
<v Speaker 1>so why bother? I mean, she's got to do something

1:03:50.400 --> 1:03:55.080
<v Speaker 1>with her time. There's that's interesting. Like I I didn't

1:03:55.080 --> 1:03:57.640
<v Speaker 1>know what to make of that. I'm glad that you

1:03:57.680 --> 1:03:59.200
<v Speaker 1>have a theory about it, because I didn't know what

1:03:59.280 --> 1:04:04.400
<v Speaker 1>to make of at like, who's single white female? Who? Like?

1:04:05.040 --> 1:04:07.720
<v Speaker 1>Because even in that is an implication that like, in

1:04:07.840 --> 1:04:09.880
<v Speaker 1>order for two women to be interested in each other.

1:04:09.920 --> 1:04:12.240
<v Speaker 1>They have to also be like stealing each other's identity,

1:04:12.680 --> 1:04:15.880
<v Speaker 1>which is just so right, yes, of course, Like it's like, oh,

1:04:15.960 --> 1:04:17.920
<v Speaker 1>you can't just be attracted to someone, you have to

1:04:17.960 --> 1:04:20.760
<v Speaker 1>also want to wear their skin and like have their

1:04:20.800 --> 1:04:26.000
<v Speaker 1>social Security number, which apparently was a very like potent idea. Ino.

1:04:26.080 --> 1:04:29.480
<v Speaker 1>There's two movies where that's a major plot point. But

1:04:29.600 --> 1:04:34.560
<v Speaker 1>even even when um Nick kills Beth, he like the

1:04:34.640 --> 1:04:37.680
<v Speaker 1>last thing he says to her is inherently tied to

1:04:37.880 --> 1:04:41.680
<v Speaker 1>his insecurities about her having had a queer experience, where

1:04:41.680 --> 1:04:45.160
<v Speaker 1>he's like, I know about your husband, you still like girls, Beth,

1:04:45.440 --> 1:04:47.800
<v Speaker 1>And then he kills her, like, and then she says

1:04:48.000 --> 1:04:51.760
<v Speaker 1>I was straight, And then the movie is over. He's

1:04:51.800 --> 1:04:54.160
<v Speaker 1>advancing on her with a gun and he's saying it

1:04:54.280 --> 1:04:56.920
<v Speaker 1>as if it's evidence again that like he's going to

1:04:57.040 --> 1:05:01.400
<v Speaker 1>have to shoot her, right, because maybe she's still likes girls. Right.

1:05:01.520 --> 1:05:05.240
<v Speaker 1>It's like very overt, yeah, and so it's like it's

1:05:05.280 --> 1:05:09.360
<v Speaker 1>only tragic that she dies because maybe she was straight. Like,

1:05:10.160 --> 1:05:14.800
<v Speaker 1>it's just it's confused because she loved this horrible rapist

1:05:14.920 --> 1:05:20.680
<v Speaker 1>who represents the shriveled ass of compulsory heterosexuality. Yeah, I

1:05:20.720 --> 1:05:24.600
<v Speaker 1>mean it's like that is, well, let's did anyone have

1:05:24.640 --> 1:05:28.280
<v Speaker 1>anyone else anything else to say about the depraved bisexual

1:05:28.320 --> 1:05:31.400
<v Speaker 1>trope before we move into the next horror show that

1:05:31.440 --> 1:05:35.680
<v Speaker 1>come right, I'll just add that and let me know

1:05:35.720 --> 1:05:38.840
<v Speaker 1>if you think this has any merit. But I feel

1:05:38.840 --> 1:05:46.080
<v Speaker 1>like this movie also villainizes ethical nonmonogamy in a in

1:05:46.120 --> 1:05:53.320
<v Speaker 1>a way that like stereotypes about polyamory are on display

1:05:53.400 --> 1:05:58.800
<v Speaker 1>and demonized in this movie because it seems to be that,

1:05:59.240 --> 1:06:03.960
<v Speaker 1>for example, Catherine and Roxy's relationship is ethically non monogamous

1:06:04.040 --> 1:06:11.200
<v Speaker 1>because they are together, but Roxy knows about the various

1:06:11.240 --> 1:06:15.880
<v Speaker 1>other people that Catherine is involved with, so they are

1:06:15.920 --> 1:06:19.040
<v Speaker 1>in this ethically non monogamous relationship. But because they both

1:06:19.080 --> 1:06:22.320
<v Speaker 1>end up being murderers, that's just another way in which

1:06:23.240 --> 1:06:27.280
<v Speaker 1>polyamory is demonized. Right. It's the only relationship that I

1:06:27.320 --> 1:06:31.720
<v Speaker 1>can exist between two murderers. Right. So I just wanted

1:06:31.760 --> 1:06:34.240
<v Speaker 1>to point that out because I that's something I'd be

1:06:34.240 --> 1:06:38.840
<v Speaker 1>interested in keeping my eye on more, because I feel

1:06:38.840 --> 1:06:42.880
<v Speaker 1>like it's equating ethical non monogamy with with sexual deviant,

1:06:43.000 --> 1:06:46.760
<v Speaker 1>non ethical promiscuity. Yeah, exactly right, Yeah, that's that is

1:06:46.800 --> 1:06:48.720
<v Speaker 1>something that and it's like I feel like, I mean,

1:06:48.720 --> 1:06:51.040
<v Speaker 1>I guess I don't know when that term came into

1:06:51.080 --> 1:06:56.640
<v Speaker 1>the zeite guys, but I would guess it was not right. Yeah,

1:06:56.640 --> 1:06:58.160
<v Speaker 1>so I guess. I mean the last thing with Roxy,

1:06:58.160 --> 1:07:01.920
<v Speaker 1>we mentioned this, but like she's very much subject to

1:07:01.960 --> 1:07:06.520
<v Speaker 1>the barrier gaze trope where, yeah, we don't know exactly

1:07:06.560 --> 1:07:10.200
<v Speaker 1>like how she identified before they attribute a fit of

1:07:10.320 --> 1:07:14.040
<v Speaker 1>murderous rage and they kill her, but you know, there

1:07:14.040 --> 1:07:17.880
<v Speaker 1>it is, which also doesn't make sense because like, if

1:07:17.880 --> 1:07:22.200
<v Speaker 1>she wasn't the murderer who killed like Johnny bos, why

1:07:22.440 --> 1:07:25.640
<v Speaker 1>is she? So I love the name Johnny. There are

1:07:25.680 --> 1:07:29.120
<v Speaker 1>some good fake nuts in this movie. Joe Astrohouse is

1:07:29.160 --> 1:07:37.480
<v Speaker 1>a good bad screenwriter. Yeah, but according to Catherine, Roxy

1:07:37.600 --> 1:07:40.600
<v Speaker 1>liked to watch Katherine have sex with men, right, And

1:07:40.600 --> 1:07:44.800
<v Speaker 1>it didn't seem as though Roxy was harboring jealousy until

1:07:45.200 --> 1:07:49.080
<v Speaker 1>Nick comes along, and then, for reasons that go unexplored,

1:07:49.560 --> 1:07:51.640
<v Speaker 1>Roxy's like, well, I'm jealous of Nick and I have

1:07:51.720 --> 1:07:53.600
<v Speaker 1>to kill him by running him over with a car,

1:07:53.760 --> 1:07:56.200
<v Speaker 1>But did you get the feeling? And then we, I know,

1:07:56.280 --> 1:07:59.120
<v Speaker 1>we've got to move on, but like, but did you

1:07:59.160 --> 1:08:02.840
<v Speaker 1>get the feeling? In bathroom confrontation between Roxy and Nick.

1:08:03.360 --> 1:08:06.160
<v Speaker 1>It sort of sounded like maybe she didn't like watching

1:08:06.200 --> 1:08:10.120
<v Speaker 1>because she's she's just like I watched because like Catherine

1:08:10.160 --> 1:08:12.440
<v Speaker 1>tells me too. So it sort of sounded like maybe

1:08:12.520 --> 1:08:15.640
<v Speaker 1>Roxy is getting kind of manipulated by Catherine as well.

1:08:16.000 --> 1:08:18.280
<v Speaker 1>That's fair. I don't know. That was like a fleeting

1:08:18.320 --> 1:08:20.760
<v Speaker 1>moment that goes completely unexamined by the movie, So it's

1:08:20.840 --> 1:08:22.400
<v Speaker 1>kind of a wash. But I sort of was like

1:08:23.000 --> 1:08:25.800
<v Speaker 1>I felt for Roxy in that moment. If I was

1:08:25.840 --> 1:08:28.719
<v Speaker 1>like reading it correctly, I was like, Oh, that sucks,

1:08:28.800 --> 1:08:32.120
<v Speaker 1>Like maybe she doesn't like even which would complicate things

1:08:32.200 --> 1:08:36.320
<v Speaker 1>even more. But I wasn't. I wasn't sure. God boggles

1:08:36.360 --> 1:08:42.679
<v Speaker 1>the mind. Okay, there's still let's let's get the other

1:08:43.080 --> 1:08:46.280
<v Speaker 1>difficult conversation out of the of the way here and

1:08:46.880 --> 1:08:51.559
<v Speaker 1>talk about trigger warning again, talk about the way that

1:08:52.000 --> 1:08:59.400
<v Speaker 1>sexual assault is portrayed in this movie. Again. I don't

1:08:59.439 --> 1:09:01.640
<v Speaker 1>know if I'm bring too much to it, but I

1:09:02.240 --> 1:09:08.280
<v Speaker 1>was very conflicted about it. Same. So basically what happens

1:09:08.720 --> 1:09:12.120
<v Speaker 1>is there's a scene in which Nick goes home with Beth.

1:09:12.479 --> 1:09:17.920
<v Speaker 1>They start to kiss. It seems to be consensual at first,

1:09:18.520 --> 1:09:23.960
<v Speaker 1>he gets more and more aggressive. She is saying no, repeatedly,

1:09:24.640 --> 1:09:29.400
<v Speaker 1>he does not stop and proceeds to rape her, which

1:09:29.479 --> 1:09:32.880
<v Speaker 1>we see on screen for several seconds, which apparently is

1:09:33.240 --> 1:09:37.040
<v Speaker 1>in the director's cut but not the theatrical cut, which

1:09:37.120 --> 1:09:40.040
<v Speaker 1>makes sense, And I'm glad. I'm kind of glad. I

1:09:40.240 --> 1:09:43.200
<v Speaker 1>I I don't know because if I saw this movie,

1:09:43.240 --> 1:09:47.640
<v Speaker 1>in which I couldn't have, but if I did, like

1:09:48.120 --> 1:09:52.400
<v Speaker 1>I know that, like the basic idea of being raped

1:09:52.439 --> 1:09:54.880
<v Speaker 1>by someone you know and had already been intimate with

1:09:55.080 --> 1:09:58.840
<v Speaker 1>was not like a common thing to be portrayed in movies.

1:09:58.880 --> 1:10:01.479
<v Speaker 1>And I feel like even having that because we've talked

1:10:01.520 --> 1:10:03.080
<v Speaker 1>about this on the show a bit jillion times where

1:10:03.080 --> 1:10:06.800
<v Speaker 1>it's like there's many many movies where the concept of

1:10:07.080 --> 1:10:09.800
<v Speaker 1>rape and a rapist is like a stranger lurking in

1:10:09.840 --> 1:10:11.680
<v Speaker 1>the corner. It's like you don't know who it is.

1:10:11.880 --> 1:10:14.080
<v Speaker 1>It's deeply traumatic, and then they're often too the night

1:10:14.160 --> 1:10:17.720
<v Speaker 1>and it's all very you know, night's dockery. Not to

1:10:17.760 --> 1:10:22.160
<v Speaker 1>say that that doesn't happen, but it is overwhelmingly somebody

1:10:22.200 --> 1:10:25.240
<v Speaker 1>that you already know and very possibly somebody you've already

1:10:25.280 --> 1:10:27.599
<v Speaker 1>been intimate with, And so I thought that that was

1:10:28.760 --> 1:10:30.880
<v Speaker 1>I mean, it's a very very upsetting scene, and it

1:10:30.920 --> 1:10:35.360
<v Speaker 1>feels so obviously like textbook rape. She says no, over

1:10:35.400 --> 1:10:38.280
<v Speaker 1>and over and over. And then my read of this

1:10:38.400 --> 1:10:42.320
<v Speaker 1>scene was that she had to protect her like she

1:10:42.400 --> 1:10:46.960
<v Speaker 1>wasn't really able to fight back for her own safety.

1:10:47.000 --> 1:10:49.280
<v Speaker 1>But then the way that that plays out throughout the

1:10:49.360 --> 1:10:53.080
<v Speaker 1>rest of the movie, I thought, like undercut very like

1:10:53.560 --> 1:10:59.720
<v Speaker 1>common thing that happens to mostly women. So in in

1:10:59.840 --> 1:11:03.840
<v Speaker 1>the aftermath, the immediate aftermath of that scene, Lucy Nick

1:11:03.960 --> 1:11:08.400
<v Speaker 1>and Beth talking, she asks about Catherine. She mentions that

1:11:08.439 --> 1:11:13.040
<v Speaker 1>she knew Catherine in college. Then she refers to the

1:11:13.120 --> 1:11:16.679
<v Speaker 1>encounter they just had, saying, you've never been like that before.

1:11:17.200 --> 1:11:19.559
<v Speaker 1>Why and and he says, you know you're the shrink

1:11:19.640 --> 1:11:22.280
<v Speaker 1>you tell me, and she says, you weren't making love.

1:11:23.240 --> 1:11:26.200
<v Speaker 1>It's kind of open to interpretation what she means, Like,

1:11:26.439 --> 1:11:30.040
<v Speaker 1>is she calling him out for forcing himself on her

1:11:30.200 --> 1:11:33.839
<v Speaker 1>and raping her? Or is the movie just not aware

1:11:34.240 --> 1:11:37.320
<v Speaker 1>of what rape is like? It's to me, it's hard,

1:11:37.920 --> 1:11:43.360
<v Speaker 1>it's hard to tell Sarah, what's what's your take? I

1:11:43.400 --> 1:11:46.080
<v Speaker 1>think that she's calling him out in the mildest possible way,

1:11:46.120 --> 1:11:48.080
<v Speaker 1>as if he's like put his feet up on her

1:11:48.080 --> 1:11:51.320
<v Speaker 1>coffee table. So you know, it's it's I mean, you

1:11:51.320 --> 1:11:53.599
<v Speaker 1>can interpret that as her saying like that was rough.

1:11:53.680 --> 1:11:55.640
<v Speaker 1>I didn't like it. That was too rough for me,

1:11:56.400 --> 1:11:59.320
<v Speaker 1>and that being all the understanding the filmmakers had of this,

1:11:59.760 --> 1:12:02.360
<v Speaker 1>and I would totally buy that and like and then

1:12:02.520 --> 1:12:04.679
<v Speaker 1>maybe they do have more knowledge than that, but it's

1:12:04.680 --> 1:12:09.880
<v Speaker 1>not on display, right, Yeah, and then you know, she

1:12:10.040 --> 1:12:12.800
<v Speaker 1>continues trying to mother him for the rest of the movie,

1:12:13.560 --> 1:12:18.640
<v Speaker 1>and it's never discussed. I also think it's fascinating that

1:12:18.680 --> 1:12:23.400
<v Speaker 1>this movie is taking so many cues from Vertigo, that

1:12:23.520 --> 1:12:26.920
<v Speaker 1>she's totally in the Barbara Bell Getties role and there's

1:12:26.960 --> 1:12:31.280
<v Speaker 1>the same glasses. It's really Yeah, this movie didn't Dare

1:12:31.280 --> 1:12:35.599
<v Speaker 1>have two blonds. Yeah, she's very much Katherine is so

1:12:35.760 --> 1:12:38.840
<v Speaker 1>stylized the way that and I haven't seen that movie

1:12:38.840 --> 1:12:41.720
<v Speaker 1>in a long time, but yeah, there's there's a lot

1:12:41.800 --> 1:12:45.479
<v Speaker 1>of visual symmetry. Yeah, there's a movie that earned its

1:12:45.560 --> 1:12:51.200
<v Speaker 1>overbearing score, right, a score that's really turning your head

1:12:51.200 --> 1:12:54.080
<v Speaker 1>to what you're supposed to be thinking. I had a

1:12:54.240 --> 1:12:57.599
<v Speaker 1>I had a So I was very mixed up on

1:12:58.120 --> 1:13:04.000
<v Speaker 1>this subject, and so I wanted to know more about

1:13:04.040 --> 1:13:06.880
<v Speaker 1>what the filmmakers. I was like, I assumed that they've

1:13:06.880 --> 1:13:09.280
<v Speaker 1>been asked about this. I didn't get. I mean, I

1:13:09.320 --> 1:13:12.040
<v Speaker 1>can't speak to the writer's intent, which I have like

1:13:12.080 --> 1:13:14.000
<v Speaker 1>a quick thing on him. And but just because like

1:13:14.040 --> 1:13:20.160
<v Speaker 1>he's just a weird guy. But Verhoeven specifically has whatever

1:13:20.280 --> 1:13:23.120
<v Speaker 1>themes and things that he returns to in there's movies

1:13:23.160 --> 1:13:26.720
<v Speaker 1>all the time, one of which is women being brutalized

1:13:26.720 --> 1:13:30.800
<v Speaker 1>and sexually assaulted. So there was one press cycle and

1:13:30.880 --> 1:13:33.080
<v Speaker 1>again I'm like, I don't know what to feel about

1:13:33.080 --> 1:13:36.519
<v Speaker 1>any of this. There's a press cycle from a movie

1:13:36.680 --> 1:13:40.080
<v Speaker 1>he did inten called l which I have not seen.

1:13:40.160 --> 1:13:43.320
<v Speaker 1>I guess it's in French, where he was asked kind

1:13:43.360 --> 1:13:47.839
<v Speaker 1>of repeatedly about why this comes up in his movies

1:13:48.080 --> 1:13:52.120
<v Speaker 1>so frequently, and like what is it about this that

1:13:52.600 --> 1:13:55.519
<v Speaker 1>keeps coming up for him? And so this is from

1:13:55.560 --> 1:13:59.880
<v Speaker 1>an interview in Slate from where he's basically just asked, like,

1:14:00.120 --> 1:14:02.960
<v Speaker 1>wire women raped and brutalized in your movie so much?

1:14:03.520 --> 1:14:07.120
<v Speaker 1>He says yeah, because of course, let's say, especially with

1:14:07.160 --> 1:14:09.240
<v Speaker 1>the element of rape, if you look at the statistics,

1:14:09.240 --> 1:14:11.639
<v Speaker 1>they say someone is raped about eighteen hundred or nineteen

1:14:11.720 --> 1:14:14.479
<v Speaker 1>hundred times a day in the United States, So that

1:14:14.520 --> 1:14:17.080
<v Speaker 1>means a rape a minute. If you express that violence,

1:14:17.120 --> 1:14:19.439
<v Speaker 1>then you can only express it in what it is.

1:14:19.920 --> 1:14:21.880
<v Speaker 1>If you aren't honest about that, then I think that's

1:14:21.960 --> 1:14:24.880
<v Speaker 1>very dangerous because then it becomes banal. It makes it

1:14:24.960 --> 1:14:27.240
<v Speaker 1>smaller than it is. It's really something where people are

1:14:27.240 --> 1:14:30.200
<v Speaker 1>traumatized for the rest of their lives. Even the word

1:14:30.280 --> 1:14:33.000
<v Speaker 1>sexual assault is already making it less than it is.

1:14:33.520 --> 1:14:36.080
<v Speaker 1>I think the word rape expresses exactly what it is.

1:14:36.360 --> 1:14:38.719
<v Speaker 1>If you hear rape, you know you're talking about brutal

1:14:38.800 --> 1:14:41.640
<v Speaker 1>violence against women also men, of course, But if you

1:14:41.720 --> 1:14:45.080
<v Speaker 1>use sexual assault, that makes it softer. And so there

1:14:45.200 --> 1:14:46.880
<v Speaker 1>is in general a feeling that I get in the

1:14:46.960 --> 1:14:49.800
<v Speaker 1>United States that it's very dangerous or very not done

1:14:49.840 --> 1:14:53.040
<v Speaker 1>to use the word rape, which is replaced by sexual assault,

1:14:53.040 --> 1:14:56.560
<v Speaker 1>which I think I did, um five minutes ago. Um.

1:14:56.680 --> 1:14:58.960
<v Speaker 1>But I'll have to say, I see what he's saying,

1:14:59.520 --> 1:15:03.120
<v Speaker 1>but I like it's a matter of execution and making

1:15:03.160 --> 1:15:05.679
<v Speaker 1>sure that that is clearly telegraphed in the plot, which

1:15:05.680 --> 1:15:08.760
<v Speaker 1>I think this movie fails at. Yes, exactly. Yeah, I

1:15:08.760 --> 1:15:11.599
<v Speaker 1>think that Show Girls actually does a much better job

1:15:11.640 --> 1:15:15.040
<v Speaker 1>of doing what he's saying here. In jest. I still

1:15:15.160 --> 1:15:17.280
<v Speaker 1>I still haven't seen show girls. It's been a request

1:15:17.320 --> 1:15:20.080
<v Speaker 1>for a million years. Yeah, we got it. We'll get

1:15:20.120 --> 1:15:22.960
<v Speaker 1>to it. But it's tricky because I fundamentally agree with

1:15:23.000 --> 1:15:25.200
<v Speaker 1>what he's saying. I just don't think that the execution

1:15:25.320 --> 1:15:27.720
<v Speaker 1>is there in this movie. It's just hard to know

1:15:27.760 --> 1:15:31.679
<v Speaker 1>what the purpose of the scene is. It even has one.

1:15:32.080 --> 1:15:35.040
<v Speaker 1>I don't think it does, like I I know, like

1:15:35.240 --> 1:15:40.840
<v Speaker 1>what function. My My best guess is that because this

1:15:40.880 --> 1:15:45.719
<v Speaker 1>scene takes place right after Nick has gone to see

1:15:46.120 --> 1:15:49.800
<v Speaker 1>Katherine in her home and she was being again very

1:15:49.920 --> 1:15:53.120
<v Speaker 1>fem fatally. She was being very sultry and seductive, and

1:15:53.400 --> 1:15:56.640
<v Speaker 1>I think the movie is suggesting that he's starting to

1:15:56.680 --> 1:15:59.800
<v Speaker 1>fall under her spell and he's getting really horny, and

1:15:59.840 --> 1:16:01.880
<v Speaker 1>he goes and he takes out that horny nows on

1:16:02.040 --> 1:16:05.120
<v Speaker 1>Beth because she's right there, and then it's doing the

1:16:05.200 --> 1:16:08.880
<v Speaker 1>thing where it's conflating her, who's like, as far as

1:16:08.920 --> 1:16:12.560
<v Speaker 1>we know, having lots of sexual adventures with people consensually.

1:16:13.560 --> 1:16:17.880
<v Speaker 1>And he's like, I'm emulating you, Catherine, I'm raping my

1:16:17.960 --> 1:16:22.519
<v Speaker 1>ex girlfriend. And it's like what, no, right, it's yeah,

1:16:22.520 --> 1:16:25.040
<v Speaker 1>And it's like there there is this element yeah, of

1:16:25.080 --> 1:16:27.960
<v Speaker 1>like all of Nick's bad behavior is like the subtext

1:16:27.960 --> 1:16:30.559
<v Speaker 1>of it is like, and it's somehow Catherine's fault that

1:16:30.640 --> 1:16:34.439
<v Speaker 1>he's doing all of this because she's infuriating him. She's

1:16:34.479 --> 1:16:37.360
<v Speaker 1>frustrating him, she's like fucking with his head. She's making

1:16:37.439 --> 1:16:41.320
<v Speaker 1>him drink again, she's making him smoke again, like right,

1:16:41.360 --> 1:16:45.760
<v Speaker 1>Like it's it's somehow all of his behavior that we know,

1:16:46.720 --> 1:16:48.280
<v Speaker 1>that's the thing that blows my minys like that we

1:16:48.360 --> 1:16:53.479
<v Speaker 1>know predates his knowing her by a lot, Like so,

1:16:53.680 --> 1:16:58.200
<v Speaker 1>but now he has the perfect person to blame everything on. Yeah, exactly.

1:16:59.200 --> 1:17:02.320
<v Speaker 1>I also love how she's like superpowered for a woman.

1:17:02.520 --> 1:17:05.760
<v Speaker 1>Like they have a part where Nick is listing all

1:17:05.760 --> 1:17:10.040
<v Speaker 1>of her assets basically, and he's like, she fox rock

1:17:10.160 --> 1:17:15.599
<v Speaker 1>stars and boxers, she has a hundred million dollars, she

1:17:15.680 --> 1:17:18.200
<v Speaker 1>writes books, and she has a degree and messing with

1:17:18.280 --> 1:17:20.960
<v Speaker 1>people's heads. And it's like, yeah, it seems like he

1:17:21.120 --> 1:17:25.479
<v Speaker 1>finally found a worthy adversary, a woman who's got enough

1:17:25.520 --> 1:17:35.519
<v Speaker 1>expansion packs to scare you. That's the Michael Douglas plot point.

1:17:35.600 --> 1:17:40.160
<v Speaker 1>I guess, like it's so. And then there's other elements

1:17:40.160 --> 1:17:42.400
<v Speaker 1>of Beth where it's like I just think that Beth

1:17:42.520 --> 1:17:47.080
<v Speaker 1>is such a like poorly developed character because really like

1:17:47.200 --> 1:17:50.760
<v Speaker 1>everything about her hinges on us, assuming that she still

1:17:50.840 --> 1:17:55.000
<v Speaker 1>loves Nick no matter how awful he is in avoid

1:17:55.200 --> 1:17:58.400
<v Speaker 1>also like we don't get any insight into what from

1:17:58.439 --> 1:18:01.679
<v Speaker 1>her past might make her acted to someone so deeply talkic,

1:18:01.760 --> 1:18:04.320
<v Speaker 1>like what there's no attempt because it's like, you see,

1:18:04.479 --> 1:18:08.439
<v Speaker 1>she's she's nagged for her profession in her first moments

1:18:08.439 --> 1:18:12.000
<v Speaker 1>on screen, and then she agrees with him where he's like,

1:18:12.080 --> 1:18:13.920
<v Speaker 1>this is bullshit and you know it. She's like, yeah,

1:18:14.000 --> 1:18:17.880
<v Speaker 1>it's bullshit, but have a seat. You're like, that is

1:18:17.880 --> 1:18:21.760
<v Speaker 1>a funny way to start a therapy session, but we

1:18:21.840 --> 1:18:25.120
<v Speaker 1>got to do it because you're being mandated to do this,

1:18:25.240 --> 1:18:29.280
<v Speaker 1>not because you clearly need counseling. I hope her. I

1:18:29.320 --> 1:18:31.439
<v Speaker 1>hope my therapist says that to me someday. I'm like,

1:18:31.479 --> 1:18:34.120
<v Speaker 1>this is bullshit. She's like, yeah, but I sure I

1:18:34.200 --> 1:18:36.320
<v Speaker 1>sure hoodwinked you out of a lot of money, didn't

1:18:36.320 --> 1:18:39.519
<v Speaker 1>I also, do you guys love the moment where we

1:18:39.560 --> 1:18:42.960
<v Speaker 1>find out that Beth is supposed to have met, potentially

1:18:43.080 --> 1:18:46.759
<v Speaker 1>met Johnny Boss at a Christmas party that her office

1:18:46.840 --> 1:18:50.320
<v Speaker 1>made his therapist through and it's like, of course, we're

1:18:50.360 --> 1:18:53.960
<v Speaker 1>living in a world where therapists invite their patients to

1:18:54.000 --> 1:18:59.679
<v Speaker 1>their Christmas parties. There's no there's no ethical connection between

1:18:59.680 --> 1:19:02.680
<v Speaker 1>people bowl in in this movie. I also, I mean

1:19:02.720 --> 1:19:05.920
<v Speaker 1>that is always an element of like any Norrish movie

1:19:05.960 --> 1:19:08.200
<v Speaker 1>that I have fun with, where it's just like, even

1:19:08.240 --> 1:19:11.719
<v Speaker 1>when it's not necessary, everyone needs to have known each

1:19:11.720 --> 1:19:14.040
<v Speaker 1>other and met each other at some point, and sometimes

1:19:14.040 --> 1:19:17.560
<v Speaker 1>it's just like a weird stretch like that's not even necessary,

1:19:17.640 --> 1:19:20.760
<v Speaker 1>but just to establish as much suspicion as possible. It's

1:19:20.800 --> 1:19:23.680
<v Speaker 1>like maybe she a friend of a friend of a

1:19:23.720 --> 1:19:26.639
<v Speaker 1>friend of a friend in a Christmas party from could

1:19:26.640 --> 1:19:32.320
<v Speaker 1>be you know, like it's just wild. It is so wild. Yeah.

1:19:32.360 --> 1:19:36.880
<v Speaker 1>Bottom line is the way I mean everything in this

1:19:36.920 --> 1:19:41.880
<v Speaker 1>movie is executed is at best mind boggling, at worst

1:19:42.040 --> 1:19:46.040
<v Speaker 1>extremely harmful. Because again with the rape scene, I think

1:19:46.040 --> 1:19:48.840
<v Speaker 1>you can make the argument that the movie treats this

1:19:49.000 --> 1:19:52.920
<v Speaker 1>as a consensual but you know, maybe more rough than

1:19:53.000 --> 1:19:56.960
<v Speaker 1>best is used to sex scene when in fact is

1:19:57.080 --> 1:20:01.720
<v Speaker 1>rape because she is repeatedly saying and he ignores her,

1:20:02.439 --> 1:20:04.720
<v Speaker 1>and then and then like you're saying, Sarah, she continues

1:20:04.760 --> 1:20:09.000
<v Speaker 1>to look after him and do anything that will support him.

1:20:09.120 --> 1:20:11.439
<v Speaker 1>For the remainder of the movie, and then he kills

1:20:11.479 --> 1:20:16.080
<v Speaker 1>her for having sex with a woman once twenty years ago. Yeah,

1:20:16.520 --> 1:20:20.760
<v Speaker 1>that that is I guess the legally prescribed penalty for that,

1:20:21.120 --> 1:20:27.120
<v Speaker 1>but you so rarely see it carried out. It is brutal.

1:20:27.240 --> 1:20:30.920
<v Speaker 1>Like it's just brutal. Um. We must also talk about

1:20:31.000 --> 1:20:35.839
<v Speaker 1>the scene. The scene. The scene scene in which Sharon

1:20:35.880 --> 1:20:41.439
<v Speaker 1>Stone's volva is exposed, because Sharon Stone has spoken about

1:20:41.520 --> 1:20:46.280
<v Speaker 1>how she was misled by the director who told her

1:20:47.120 --> 1:20:52.320
<v Speaker 1>that it would not be visible on camera. There's an

1:20:52.400 --> 1:20:56.479
<v Speaker 1>article in Vanity Fair by Sharon Stone. It's an excerpt

1:20:56.560 --> 1:21:00.240
<v Speaker 1>from her memoir The Beauty of Living Twice. The article

1:21:00.320 --> 1:21:02.680
<v Speaker 1>is called you Can't Shame Me Sharon Stone on how

1:21:02.720 --> 1:21:05.320
<v Speaker 1>Basic Instinct nearly broke her before making her a star.

1:21:06.400 --> 1:21:11.880
<v Speaker 1>So she talks about this, and I'll just quote this article.

1:21:12.280 --> 1:21:15.599
<v Speaker 1>She says, quote after we shot Basic Instinct, I got

1:21:15.600 --> 1:21:18.200
<v Speaker 1>called in to see it, not on my own with

1:21:18.240 --> 1:21:22.280
<v Speaker 1>the director, as one would anticipate, but with a room

1:21:22.320 --> 1:21:24.759
<v Speaker 1>full of agents and lawyers, most of whom had nothing

1:21:24.760 --> 1:21:27.400
<v Speaker 1>to do with the project. That was how I saw

1:21:27.600 --> 1:21:30.800
<v Speaker 1>my vagina shop for the first time, long after I've

1:21:30.840 --> 1:21:34.160
<v Speaker 1>been told we can't see anything. I just need you

1:21:34.200 --> 1:21:37.559
<v Speaker 1>to remove your panties, as the white is reflecting the light,

1:21:37.760 --> 1:21:40.840
<v Speaker 1>so we know you have panties on. Yes, there have

1:21:40.960 --> 1:21:43.280
<v Speaker 1>been many points of view on this topic, but since

1:21:43.439 --> 1:21:46.120
<v Speaker 1>I'm the one with the vagina in question, let me

1:21:46.200 --> 1:21:52.200
<v Speaker 1>say the other points of you are bullshit, Sharon. She says,

1:21:52.400 --> 1:21:56.000
<v Speaker 1>now here's the issue. It didn't now here's the issue.

1:21:56.040 --> 1:21:58.719
<v Speaker 1>It didn't matter anymore. It was me and my parts

1:21:58.800 --> 1:22:00.960
<v Speaker 1>up there. I had to decisions to make. I went

1:22:01.000 --> 1:22:04.920
<v Speaker 1>to the projection booth, slapped Paul across the face, left,

1:22:05.040 --> 1:22:07.400
<v Speaker 1>went to my car and called my lawyer, Marty Singer.

1:22:07.640 --> 1:22:10.160
<v Speaker 1>Marty told me they could not release the film as

1:22:10.200 --> 1:22:13.640
<v Speaker 1>it was, that I could get an injunction first. At

1:22:13.640 --> 1:22:15.719
<v Speaker 1>that time, this would give the film an X rating.

1:22:16.080 --> 1:22:19.559
<v Speaker 1>And Marty said, per the Screen Actors Guild, my union,

1:22:19.880 --> 1:22:22.679
<v Speaker 1>it wasn't legal to shoot up my dress in this fashion.

1:22:23.240 --> 1:22:26.519
<v Speaker 1>Who I thought? Then Sharon goes on to say that

1:22:26.560 --> 1:22:30.240
<v Speaker 1>she gave it more consideration and tried to be objective

1:22:30.280 --> 1:22:34.120
<v Speaker 1>about it. And then I'm quoting again. After the screening,

1:22:34.120 --> 1:22:36.679
<v Speaker 1>I let Paul know of the options Marty had laid

1:22:36.680 --> 1:22:39.600
<v Speaker 1>out for me. Of course, he vehemently denied that I

1:22:39.680 --> 1:22:42.799
<v Speaker 1>had any choices at all, I was just an actress,

1:22:43.000 --> 1:22:46.000
<v Speaker 1>just a woman. What choices could I have? But I

1:22:46.040 --> 1:22:48.600
<v Speaker 1>did have choices, So I thought and thought, and I

1:22:48.720 --> 1:22:51.920
<v Speaker 1>chose to allow this scene in the film. Why because

1:22:52.000 --> 1:22:54.120
<v Speaker 1>it was correct for the film and for the character,

1:22:54.520 --> 1:22:58.719
<v Speaker 1>and because after all, I did it unquote. So that's

1:22:58.760 --> 1:23:05.040
<v Speaker 1>and and I mean, Sharon Rocks, I like that is horrifying.

1:23:05.120 --> 1:23:09.559
<v Speaker 1>Verhoven responded in denial that this had happened. But it's like,

1:23:10.280 --> 1:23:14.000
<v Speaker 1>I very much believe Sharon, not just because I believe Sharon,

1:23:14.000 --> 1:23:17.920
<v Speaker 1>but also because she was already so disempowered in this

1:23:18.000 --> 1:23:21.160
<v Speaker 1>creative process and that was already so well established. Was

1:23:21.200 --> 1:23:24.720
<v Speaker 1>like that she was not being paid well, like she

1:23:24.840 --> 1:23:27.680
<v Speaker 1>was not being treated like an equal collaborator on the

1:23:27.720 --> 1:23:31.120
<v Speaker 1>scale that you know certainly Michael Douglas was, or that

1:23:31.160 --> 1:23:34.360
<v Speaker 1>a lot of people involved in this movie was were

1:23:34.479 --> 1:23:37.519
<v Speaker 1>So that totally scams for me. That it's like she

1:23:37.600 --> 1:23:43.120
<v Speaker 1>would be mistreated and her desire to not have to

1:23:43.240 --> 1:23:45.960
<v Speaker 1>flash her vagina on screen and also be like duped

1:23:46.000 --> 1:23:48.960
<v Speaker 1>into doing it would be something that they would try

1:23:48.960 --> 1:23:51.040
<v Speaker 1>to get away with because they already got away with

1:23:51.080 --> 1:23:53.120
<v Speaker 1>so much. And I think that there's that's that kind

1:23:53.120 --> 1:23:57.280
<v Speaker 1>of assumption from especially like in acting, but in a

1:23:57.280 --> 1:24:00.320
<v Speaker 1>lot of industries where you're like quote unquote pay your

1:24:00.400 --> 1:24:03.519
<v Speaker 1>dues by being abused by someone who has more power

1:24:03.560 --> 1:24:06.880
<v Speaker 1>than you. Because in that same section, Sharon talks about

1:24:06.920 --> 1:24:09.160
<v Speaker 1>how she felt like a lot a lot of the

1:24:09.200 --> 1:24:11.120
<v Speaker 1>odds were against her. She was not she was like

1:24:11.160 --> 1:24:14.760
<v Speaker 1>the twelve choice for this role. Michael Douglas didn't want

1:24:14.760 --> 1:24:16.719
<v Speaker 1>to work with her, Like there were all of these

1:24:17.000 --> 1:24:21.800
<v Speaker 1>things stacked against her, and then to be manipulated into like,

1:24:21.880 --> 1:24:26.000
<v Speaker 1>it's just it's so fucking bleak. I'm glad that she

1:24:26.160 --> 1:24:31.280
<v Speaker 1>like got the last word on it, because yeah, it

1:24:31.400 --> 1:24:34.360
<v Speaker 1>just it sucks that she just felt so disempowered to

1:24:34.400 --> 1:24:37.200
<v Speaker 1>the point where she's like, well, what choice do I

1:24:37.280 --> 1:24:39.519
<v Speaker 1>have but to just let this be in the movie,

1:24:40.280 --> 1:24:44.400
<v Speaker 1>because yeah, she She also describes in this article various

1:24:44.479 --> 1:24:50.920
<v Speaker 1>Hollywood horror stories producers and directors condescending to her, harassing her.

1:24:51.479 --> 1:24:54.839
<v Speaker 1>Her manager at the time told her that she wouldn't

1:24:54.840 --> 1:24:58.720
<v Speaker 1>get hired for a part like Basic Instinct because she

1:24:58.880 --> 1:25:03.680
<v Speaker 1>was not sexy or quote fukable. Um, she was she

1:25:03.720 --> 1:25:07.439
<v Speaker 1>always like. She also talks about how she was considered

1:25:07.439 --> 1:25:11.040
<v Speaker 1>to be difficult because she would speak out against being

1:25:11.080 --> 1:25:13.960
<v Speaker 1>mistreated and that she would like refuse to have sex

1:25:13.960 --> 1:25:16.960
<v Speaker 1>with her co star of a movie after a producer

1:25:17.080 --> 1:25:19.280
<v Speaker 1>suggested they have sex because it would give them better

1:25:19.320 --> 1:25:21.639
<v Speaker 1>on screen chemistry, and she said, no, I'm not going

1:25:21.680 --> 1:25:24.560
<v Speaker 1>to do that, and then she was labeled difficult by

1:25:24.760 --> 1:25:28.960
<v Speaker 1>people and all this kind of stuff. Um, but yeah,

1:25:29.000 --> 1:25:32.760
<v Speaker 1>I I completely believe Sharon. And there are just all

1:25:32.800 --> 1:25:38.720
<v Speaker 1>these other examples of movies where the director misleads the actors,

1:25:38.760 --> 1:25:43.519
<v Speaker 1>often women, to get a particular shot or to get

1:25:43.560 --> 1:25:47.080
<v Speaker 1>a reaction that seems more genuine. There there I remember

1:25:47.160 --> 1:25:50.120
<v Speaker 1>Kubrick and Shelley Duval. I feel like it's the most famous.

1:25:50.920 --> 1:25:54.559
<v Speaker 1>There was also, um a scene from them that movie

1:25:54.640 --> 1:25:57.760
<v Speaker 1>Last Tango in Paris. A story broke about that a

1:25:57.800 --> 1:26:01.640
<v Speaker 1>few years ago that really I forget specifically what it

1:26:01.720 --> 1:26:03.400
<v Speaker 1>is and I'd have to go back and read it.

1:26:03.439 --> 1:26:07.240
<v Speaker 1>But a woman was assaulted as the camera was rolling

1:26:07.680 --> 1:26:10.720
<v Speaker 1>and was not told what was going to be happening

1:26:11.280 --> 1:26:13.519
<v Speaker 1>in the middle of the scene so that the director

1:26:13.560 --> 1:26:15.880
<v Speaker 1>could get like a genuine reaction out of her. It

1:26:15.960 --> 1:26:18.200
<v Speaker 1>was something I might have some details a little bit,

1:26:18.520 --> 1:26:21.040
<v Speaker 1>you know, I'd have to double check on some details,

1:26:21.040 --> 1:26:23.120
<v Speaker 1>but it was something along those lines, and so there's

1:26:23.160 --> 1:26:27.679
<v Speaker 1>there's various examples of actors and again especially women being

1:26:27.720 --> 1:26:32.320
<v Speaker 1>mistreated as cameras are rolling, being assaulted as cameras are rolling,

1:26:32.960 --> 1:26:35.880
<v Speaker 1>all this stuff happening without their knowledge or consent, just

1:26:36.080 --> 1:26:40.840
<v Speaker 1>so this aw tour can like see his vision come

1:26:40.880 --> 1:26:44.200
<v Speaker 1>to life or whatever, you know, some bullshit excuse which

1:26:44.240 --> 1:26:49.000
<v Speaker 1>is like not just abusive, it's like Sharon Stone is

1:26:49.120 --> 1:26:52.759
<v Speaker 1>right there, like she collaborate with her. You've got fucking

1:26:53.040 --> 1:27:00.599
<v Speaker 1>Sharon White. I hate it. It's awful. So justice for Sharon.

1:27:00.840 --> 1:27:05.800
<v Speaker 1>I'm very, very excited to read Sharon's book too. One

1:27:05.840 --> 1:27:07.519
<v Speaker 1>of the last things I have here in my notes

1:27:08.000 --> 1:27:10.479
<v Speaker 1>that again I feel like I'm only scratching the surface

1:27:10.800 --> 1:27:14.920
<v Speaker 1>of But um, you'll never believe it. But this is

1:27:14.960 --> 1:27:19.160
<v Speaker 1>another movie with mostly white people in the cast, which

1:27:19.200 --> 1:27:22.559
<v Speaker 1>is predictable. But like, also, this is San Francisco in

1:27:22.600 --> 1:27:25.040
<v Speaker 1>the nineties, This is not like this is a very

1:27:25.040 --> 1:27:28.720
<v Speaker 1>diverse area. Yes, for fox sake, the few people of

1:27:28.760 --> 1:27:33.639
<v Speaker 1>color in the movie are minor characters with very few

1:27:33.720 --> 1:27:38.519
<v Speaker 1>lines of dialogue, no real narrative impact. They're relegated to

1:27:38.520 --> 1:27:43.719
<v Speaker 1>the sidelines, and all the major players are white people. Yeah,

1:27:43.840 --> 1:27:47.320
<v Speaker 1>I feel like, ultimately, like this movie has got a

1:27:47.439 --> 1:27:52.959
<v Speaker 1>very weird legacy where there's plenty to talk about inside

1:27:52.960 --> 1:27:54.920
<v Speaker 1>of it, but mostly it's the kind of movie where

1:27:54.920 --> 1:27:59.679
<v Speaker 1>people mostly take away uh single shot versus at any

1:27:59.760 --> 1:28:01.800
<v Speaker 1>sort of like it doesn't seem like this movie, even

1:28:01.840 --> 1:28:05.320
<v Speaker 1>though there's like all of this like very era specific

1:28:06.000 --> 1:28:09.959
<v Speaker 1>history involved. People mostly just remember a scene where Sharon

1:28:10.000 --> 1:28:14.040
<v Speaker 1>Stone was being coerced into doing something she didn't want

1:28:14.040 --> 1:28:17.439
<v Speaker 1>to do and it was hailed as the sexiest thing

1:28:17.880 --> 1:28:20.639
<v Speaker 1>ever committed to film. There's also a there's a good

1:28:20.720 --> 1:28:24.120
<v Speaker 1>Vanity Fair piece about sort of how that shot and

1:28:24.200 --> 1:28:29.200
<v Speaker 1>like the scene had a an impact on um porn

1:28:29.479 --> 1:28:33.280
<v Speaker 1>for decades after that, and like the ripple effect of

1:28:33.360 --> 1:28:36.839
<v Speaker 1>that scene alone is significant. I think the ripple effect

1:28:36.840 --> 1:28:40.519
<v Speaker 1>of like the unexamined biphobia in this movie. Uh, this

1:28:40.600 --> 1:28:43.200
<v Speaker 1>is a very influential movie. Like the stuff that they

1:28:43.240 --> 1:28:47.559
<v Speaker 1>got wrong here did carry on for for some time.

1:28:48.000 --> 1:28:52.200
<v Speaker 1>So yeah, it's a tricky one. Do you guys want

1:28:52.200 --> 1:28:54.479
<v Speaker 1>to know all the actresses that turned down the role

1:28:54.520 --> 1:28:57.840
<v Speaker 1>of Catherine? Do I? Ever? Yeah? I I also have

1:28:57.920 --> 1:29:01.360
<v Speaker 1>this list. So I'm gonna put forward two guesses, And

1:29:01.400 --> 1:29:03.759
<v Speaker 1>by guesses, I mean I think I kind of remember

1:29:03.840 --> 1:29:07.559
<v Speaker 1>this list. Okay, wait, let me guess a few. Jodie Foster,

1:29:08.000 --> 1:29:13.679
<v Speaker 1>Michelle Phiffer, Kelly McGillis, Michelle Phiffers, one, Meg Ryan, Meg

1:29:13.760 --> 1:29:23.640
<v Speaker 1>Ryan one, Wow, Killia Roberts, Yes, whoa Okay, Kim Basinger

1:29:23.800 --> 1:29:29.720
<v Speaker 1>was Michael Douglas's pick. She said no, Gretta Scotchy who that.

1:29:29.840 --> 1:29:31.200
<v Speaker 1>I'm not sure who that is. That was like the

1:29:31.240 --> 1:29:34.479
<v Speaker 1>one day Miles my British. I think Gina Davis said

1:29:34.800 --> 1:29:39.920
<v Speaker 1>no fucking way. Kathleen Turner said no way, Kelly Lynch,

1:29:39.960 --> 1:29:42.559
<v Speaker 1>I don't know who that is. Ellen Barkin said no,

1:29:43.280 --> 1:29:47.800
<v Speaker 1>maryel Hemingway said no. And I guess Demi Moore was considered,

1:29:47.800 --> 1:29:50.880
<v Speaker 1>but I don't know if she was ever asked. And

1:29:51.520 --> 1:29:55.320
<v Speaker 1>as you alluded to, Jamie, Michael Douglas was really reluctant

1:29:55.360 --> 1:29:58.400
<v Speaker 1>to work with Sharon Stone because she didn't have any

1:29:58.400 --> 1:30:00.280
<v Speaker 1>star power at the time. This was before where she

1:30:00.439 --> 1:30:03.360
<v Speaker 1>this movie made her a star. And also she was like,

1:30:03.439 --> 1:30:07.639
<v Speaker 1>this is my star power, bitch, right, So Michael Douglas

1:30:07.840 --> 1:30:11.200
<v Speaker 1>didn't want to work with her because she wasn't in

1:30:11.240 --> 1:30:15.040
<v Speaker 1>a list celebrity at that point, and he was like, well,

1:30:15.080 --> 1:30:18.840
<v Speaker 1>I'm an A list or, and if this movie is

1:30:18.880 --> 1:30:21.720
<v Speaker 1>received poorly, I need to have another A list or

1:30:21.760 --> 1:30:24.240
<v Speaker 1>to take the fall so that all the blame doesn't

1:30:24.240 --> 1:30:26.519
<v Speaker 1>get on me. Like I'm not taking the only l

1:30:26.600 --> 1:30:29.559
<v Speaker 1>on this movie that might suck, which I get, but

1:30:29.640 --> 1:30:34.880
<v Speaker 1>it's like, come on, Sharon, Sharon, Sharon, get a grip.

1:30:35.880 --> 1:30:40.920
<v Speaker 1>So yeah, I think that's really about all I had

1:30:41.080 --> 1:30:46.280
<v Speaker 1>written down. Lease, does anyone have any other thoughts about

1:30:46.320 --> 1:30:49.519
<v Speaker 1>the film? I mean, I'm gonna go on this movie forever,

1:30:49.600 --> 1:30:53.639
<v Speaker 1>but I'm going to say no. I guess I will

1:30:53.680 --> 1:30:57.920
<v Speaker 1>say that ultimately, I am pro Sharon Stone, and I'm

1:30:57.960 --> 1:31:00.639
<v Speaker 1>happy that this movie created a launch add for her

1:31:00.840 --> 1:31:04.360
<v Speaker 1>to do more of what she wanted to in the world.

1:31:05.160 --> 1:31:09.040
<v Speaker 1>And I think it belongs to a museum. I mean,

1:31:09.080 --> 1:31:11.760
<v Speaker 1>it has that going for it. It really expresses like

1:31:11.800 --> 1:31:15.720
<v Speaker 1>a lot of the fear around gender roles in the

1:31:15.760 --> 1:31:20.519
<v Speaker 1>early nineties and sort of the way that heteronormativity was

1:31:20.560 --> 1:31:25.160
<v Speaker 1>responding to the lightest prodding. Yeah, I'm happy that we're

1:31:25.200 --> 1:31:32.920
<v Speaker 1>all equally speachless about it. Yeah, I'm ultimately, like, I

1:31:33.080 --> 1:31:39.400
<v Speaker 1>don't know a lot of bad stuff going on. I Yeah,

1:31:39.439 --> 1:31:42.040
<v Speaker 1>I mean, I feel like the legacy of this movie

1:31:42.160 --> 1:31:45.400
<v Speaker 1>is kind of like net in terms of like the

1:31:45.479 --> 1:31:49.840
<v Speaker 1>tropes that like really really continued or popularized. It's got

1:31:50.000 --> 1:31:52.920
<v Speaker 1>kind of a net negative effect. But how much of

1:31:52.960 --> 1:31:56.000
<v Speaker 1>that isn't It's just all very messy. We've spent two

1:31:56.040 --> 1:31:58.519
<v Speaker 1>hours talking about it and I still have no fucking

1:31:58.560 --> 1:32:03.360
<v Speaker 1>clue how I feel. Um. But does it pass the fact?

1:32:05.200 --> 1:32:09.599
<v Speaker 1>I don't think so. The two women do interact when

1:32:09.720 --> 1:32:12.839
<v Speaker 1>Roxy and Katherine kiss each other a couple of times,

1:32:12.880 --> 1:32:16.400
<v Speaker 1>and it's implied they were having a conversation that Michael

1:32:16.400 --> 1:32:18.920
<v Speaker 1>Douglas walks into, but we don't actually hear any of

1:32:18.920 --> 1:32:21.840
<v Speaker 1>their dialogue, and then Roxy walks away, so we never

1:32:22.360 --> 1:32:25.200
<v Speaker 1>see them actually speak on screen. And I think those

1:32:25.200 --> 1:32:28.679
<v Speaker 1>are the only two women who interact in the whole movie.

1:32:28.720 --> 1:32:32.719
<v Speaker 1>There's Hazel Dopkins and Katherine, but I don't see them

1:32:32.760 --> 1:32:35.680
<v Speaker 1>talking to each other either. No, there's a lot of

1:32:35.720 --> 1:32:38.320
<v Speaker 1>scenes where there's a kiss and no dialogue, or a

1:32:38.360 --> 1:32:41.840
<v Speaker 1>boob squish and no dialogue, or I think there might

1:32:41.840 --> 1:32:46.599
<v Speaker 1>be one part where Katherine says something to uh, wait,

1:32:46.640 --> 1:32:50.479
<v Speaker 1>what's her name, Hazel, and she calls her honey. She says, honey,

1:32:50.560 --> 1:32:53.400
<v Speaker 1>I'll be right with you, or something, but then Hazel

1:32:53.439 --> 1:32:56.559
<v Speaker 1>doesn't respond, you know, things like that. So there afore

1:32:56.680 --> 1:33:00.000
<v Speaker 1>women in this movie, and they're all convicted or potential murderers.

1:33:00.120 --> 1:33:04.000
<v Speaker 1>I mean I do honestly, I like that. I think

1:33:04.040 --> 1:33:09.479
<v Speaker 1>that's absolutely ridiculous. And yes, this movie is a net negative.

1:33:09.520 --> 1:33:12.479
<v Speaker 1>And yet the fact that all of the female characters

1:33:12.479 --> 1:33:14.599
<v Speaker 1>in this movie who have any kind of impact are

1:33:15.400 --> 1:33:19.920
<v Speaker 1>actual or probable murderers is kind of amazing. You don't

1:33:20.000 --> 1:33:22.320
<v Speaker 1>kept that a lot. I do it Like it's like

1:33:22.120 --> 1:33:25.639
<v Speaker 1>the camp element is hard to deny with this movie.

1:33:25.680 --> 1:33:28.519
<v Speaker 1>It's like it's hard to there. I wanted to give

1:33:28.520 --> 1:33:31.000
<v Speaker 1>a quick shout out to the women who plays Hazel,

1:33:31.720 --> 1:33:36.360
<v Speaker 1>who's an oscar winning actress, Dorothy Malone. Hello Dorothy. Yeah,

1:33:36.360 --> 1:33:40.200
<v Speaker 1>this basic Instinct was her last on screen appearance before

1:33:40.200 --> 1:33:43.240
<v Speaker 1>she died. But she she before she retired, Sorry because

1:33:43.240 --> 1:33:45.439
<v Speaker 1>she she just died a couple of years ago. But

1:33:45.600 --> 1:33:49.920
<v Speaker 1>she's in the big sleep. She won an oscar in

1:33:50.439 --> 1:33:53.800
<v Speaker 1>ninety six for a movie called Written on the Wind,

1:33:53.880 --> 1:33:55.680
<v Speaker 1>which I've never heard of, but she she won an

1:33:55.680 --> 1:33:59.479
<v Speaker 1>oscar the Hudson Fantastic and then she was a big

1:33:59.520 --> 1:34:02.520
<v Speaker 1>success on TV. She was on Peyton Place in the sixties.

1:34:02.640 --> 1:34:07.040
<v Speaker 1>So it turns out she was a terrifically successful actor

1:34:07.600 --> 1:34:10.920
<v Speaker 1>and this was her last movie, So shout out Dorothy Malone.

1:34:11.000 --> 1:34:13.320
<v Speaker 1>Sorry you didn't get I don't think a single line

1:34:13.360 --> 1:34:17.320
<v Speaker 1>of dialogue. Really. I think she called him a shooter once,

1:34:17.400 --> 1:34:19.800
<v Speaker 1>so yeah, she's like, oh, you're the shooter, aren't you.

1:34:20.080 --> 1:34:22.679
<v Speaker 1>And then but sorry, you didn't get a whole scene.

1:34:23.360 --> 1:34:26.360
<v Speaker 1>Like imagine being an Oscar winning actress and they're like, um,

1:34:26.400 --> 1:34:31.040
<v Speaker 1>you're essentially a glorified extra. Yeah, so have fun with

1:34:31.080 --> 1:34:34.320
<v Speaker 1>that and uh, you know, make your own movie. I

1:34:34.320 --> 1:34:40.639
<v Speaker 1>guess there, which which brings us to our rating system,

1:34:41.040 --> 1:34:46.160
<v Speaker 1>the nipple scale zero to five nipples, based on how

1:34:46.200 --> 1:34:53.160
<v Speaker 1>the movie fares looking at it through an intersectional feminist lens. Well,

1:34:54.040 --> 1:35:01.680
<v Speaker 1>even though there are things that are arguably reclaimable about specifically,

1:35:01.720 --> 1:35:06.360
<v Speaker 1>I would say Sharon Stone's character, I'm just not in

1:35:06.439 --> 1:35:10.519
<v Speaker 1>a place where I feel fully comfortable doing that, although

1:35:10.960 --> 1:35:14.160
<v Speaker 1>isolating a few lines of her monologues where she's like,

1:35:14.920 --> 1:35:18.280
<v Speaker 1>I like fucking, I like men who give me pleasure.

1:35:18.720 --> 1:35:24.040
<v Speaker 1>I like fingers and hands. I want to just like

1:35:24.280 --> 1:35:29.280
<v Speaker 1>tweet that out is like red classic sex fingers in hand.

1:35:29.360 --> 1:35:32.400
<v Speaker 1>I want her to get together with Wayne Knight. I

1:35:32.439 --> 1:35:35.880
<v Speaker 1>like it when she tells the cops she says something

1:35:35.920 --> 1:35:39.439
<v Speaker 1>like I don't feel like talking anymore, so unless you're

1:35:39.439 --> 1:35:42.000
<v Speaker 1>going to arrest me, you can get the funk out

1:35:42.000 --> 1:35:46.400
<v Speaker 1>of here, and they're like, I can't argue with that, okay,

1:35:46.520 --> 1:35:48.320
<v Speaker 1>so we got to get the funk out of here.

1:35:48.800 --> 1:35:50.760
<v Speaker 1>I love it when she's like, what are you gonna do?

1:35:51.680 --> 1:35:54.880
<v Speaker 1>Was smoking and they're like, well, dog got it. She's

1:35:54.880 --> 1:35:57.400
<v Speaker 1>because stopped us right in our tracks. We don't know

1:35:57.439 --> 1:36:00.160
<v Speaker 1>what to say to that. Another another thing that is

1:36:00.320 --> 1:36:05.519
<v Speaker 1>spoofed in Hotshots part do so I gotta And I

1:36:05.560 --> 1:36:08.080
<v Speaker 1>also like the moment, like there's just certain moments where

1:36:08.080 --> 1:36:11.920
<v Speaker 1>it's like she's being villainized, but also her reaction to

1:36:12.120 --> 1:36:17.200
<v Speaker 1>anything that is like a suggestion of typical heterosexual domesticity

1:36:17.320 --> 1:36:21.559
<v Speaker 1>results in her getting angry or violent, which I kind

1:36:21.560 --> 1:36:23.800
<v Speaker 1>of do. Like that scene at the end where he's like,

1:36:23.920 --> 1:36:26.200
<v Speaker 1>I don't know, we're gonna fucking pop out a couple

1:36:26.240 --> 1:36:28.280
<v Speaker 1>of kids and get married, and her response is to

1:36:28.479 --> 1:36:31.880
<v Speaker 1>like clutch an ice pick, like that's kind of cool,

1:36:32.080 --> 1:36:34.920
<v Speaker 1>Like there he goes, we can fuck like minx, have

1:36:34.960 --> 1:36:37.960
<v Speaker 1>a few rug rats and live happily ever after. And

1:36:37.960 --> 1:36:40.600
<v Speaker 1>then she's like, she's like, I hate rug Rats and

1:36:40.600 --> 1:36:43.320
<v Speaker 1>then she's like clearly fondling her ice pick, ready to

1:36:43.400 --> 1:36:46.519
<v Speaker 1>like stab him. And then he's like, forget the rug Rats,

1:36:46.560 --> 1:36:49.120
<v Speaker 1>we can just funck like Minx and live happily ever after.

1:36:49.479 --> 1:36:51.519
<v Speaker 1>And then she takes her hands off the ice pick

1:36:51.560 --> 1:36:54.000
<v Speaker 1>because apparently she was going to kill him if he

1:36:54.080 --> 1:36:57.439
<v Speaker 1>wanted to have children with her, which is kind of

1:36:58.040 --> 1:37:00.519
<v Speaker 1>who wants kids? But that like that's a cool moment.

1:37:00.560 --> 1:37:02.400
<v Speaker 1>I don't know how boy, he would not be a

1:37:02.400 --> 1:37:04.800
<v Speaker 1>good dad. I bet she's going to kill him like

1:37:04.840 --> 1:37:07.000
<v Speaker 1>four days later, right, because do you feel like he's

1:37:07.600 --> 1:37:11.040
<v Speaker 1>on condition of not making her board right his day?

1:37:11.120 --> 1:37:14.920
<v Speaker 1>His days are extremely numbered. I feel like it's very clear.

1:37:15.720 --> 1:37:19.599
<v Speaker 1>But inter Caitlin was he'sier, what is your rating for? Okay?

1:37:19.600 --> 1:37:23.000
<v Speaker 1>So even though there are things, they're very isolated things

1:37:23.040 --> 1:37:27.240
<v Speaker 1>I like about the character of Catherine Trammel and Sharon

1:37:27.280 --> 1:37:31.479
<v Speaker 1>Stone's performance, I would say, overall, like you said, Sarah,

1:37:31.520 --> 1:37:37.080
<v Speaker 1>this is a net negative movie between the villainizing of

1:37:37.479 --> 1:37:44.760
<v Speaker 1>a woman's sexuality being open and liberated between the depraved

1:37:44.840 --> 1:37:51.800
<v Speaker 1>bisexual trope. Because like gosh By, Visibility was extremely low

1:37:52.040 --> 1:37:55.880
<v Speaker 1>and still is. But in the early nineties it was

1:37:56.200 --> 1:37:59.120
<v Speaker 1>basically absent, and if it was there, it was being

1:38:00.200 --> 1:38:03.720
<v Speaker 1>villainized in very harmful ways, much like what Basic Instinct does.

1:38:03.840 --> 1:38:09.200
<v Speaker 1>So there's all these harmful things that the movie does. Um.

1:38:09.280 --> 1:38:14.160
<v Speaker 1>And it is too long. Um. But the score is

1:38:14.760 --> 1:38:24.600
<v Speaker 1>memorable and the plot is convoluted and um. According to

1:38:24.640 --> 1:38:29.040
<v Speaker 1>this movie, all women are murderers and they will have

1:38:29.080 --> 1:38:31.920
<v Speaker 1>no motive. They will just decide to murder, I mean,

1:38:32.280 --> 1:38:37.760
<v Speaker 1>for no reason. Okay, UM, So I'm going to give

1:38:37.840 --> 1:38:40.400
<v Speaker 1>the movie with all that in mind, I'll give it

1:38:40.840 --> 1:38:48.960
<v Speaker 1>one nipple, and I'll give it to Sharon Stones nipple

1:38:49.400 --> 1:38:53.599
<v Speaker 1>which we see many times. And it's a great one too.

1:38:54.200 --> 1:38:57.320
<v Speaker 1>There's two. There's two of them. There's two of them. Uh,

1:38:57.800 --> 1:38:59.679
<v Speaker 1>I guess I'll match you there. I feel like ice.

1:38:59.760 --> 1:39:04.400
<v Speaker 1>I see why some of the camp here, isolated moments

1:39:04.400 --> 1:39:06.840
<v Speaker 1>are reclaimed. And I also had a lot of fun

1:39:06.880 --> 1:39:12.360
<v Speaker 1>and really appreciated that. Also, you know, there's I don't

1:39:12.360 --> 1:39:14.400
<v Speaker 1>think I have anything new to new to add. I

1:39:14.640 --> 1:39:17.800
<v Speaker 1>think that I'm gonna meet you at one and I'm

1:39:17.840 --> 1:39:23.479
<v Speaker 1>going to give my nipple to um Hazel because she

1:39:23.520 --> 1:39:28.880
<v Speaker 1>should have had more lines or lines true, Sarah, I

1:39:28.880 --> 1:39:31.160
<v Speaker 1>am also going to give it one nipple, and I'm

1:39:31.160 --> 1:39:33.320
<v Speaker 1>going to give it to Sharon Stone, so now she

1:39:33.400 --> 1:39:39.000
<v Speaker 1>has three nipples. And yeah, because I think she's just great.

1:39:39.160 --> 1:39:41.559
<v Speaker 1>And at this point, I've seen this movie enough times

1:39:41.560 --> 1:39:43.720
<v Speaker 1>that I can guess kind of enjoy the idea of

1:39:43.760 --> 1:39:48.840
<v Speaker 1>this like freewheeling murderer who likes to go around announcing

1:39:48.880 --> 1:39:52.840
<v Speaker 1>herself as a murderer to men who just continually are like, what, no,

1:39:53.160 --> 1:39:57.000
<v Speaker 1>I don't, I don't. I'll be fine. I'm different. And

1:39:57.320 --> 1:39:59.879
<v Speaker 1>how that just is what she does for a hobby apparent.

1:40:00.280 --> 1:40:04.720
<v Speaker 1>I think that's interesting. I love that for her. I know,

1:40:04.800 --> 1:40:07.679
<v Speaker 1>I'm like, you have a hundred ten million dollars, We've

1:40:07.800 --> 1:40:11.080
<v Speaker 1>got to find another place for you to put this energy. Girl,

1:40:11.240 --> 1:40:15.080
<v Speaker 1>Like there's she could be doing so much like a magazine.

1:40:15.479 --> 1:40:17.439
<v Speaker 1>I was kind of hoping I wasn't able to find one,

1:40:17.479 --> 1:40:19.600
<v Speaker 1>but you know how like sometimes when there's like a

1:40:19.720 --> 1:40:22.920
<v Speaker 1>famous writer in a like oh, Gone Girl is a

1:40:22.960 --> 1:40:25.800
<v Speaker 1>good example, the fake book and Gone Girl was a

1:40:25.840 --> 1:40:28.840
<v Speaker 1>real book that was sold like amazing amy, And I

1:40:28.880 --> 1:40:33.080
<v Speaker 1>was hoping that Catherine's books, like the fake novelizations of

1:40:33.120 --> 1:40:35.599
<v Speaker 1>the Katherine Trammel books were somewhere, but I wasn't able

1:40:35.600 --> 1:40:38.000
<v Speaker 1>to find them. That would have been amazing. It's not

1:40:38.080 --> 1:40:41.280
<v Speaker 1>too late to hire one of us two ghost right then? Well, yeah,

1:40:41.479 --> 1:40:46.120
<v Speaker 1>I know my next project. Well, Sarah, thank you so

1:40:46.200 --> 1:40:49.600
<v Speaker 1>much for joining us, Thank you so much, Thank you

1:40:49.680 --> 1:40:56.639
<v Speaker 1>for exploring this. This is strange, beast, this is really fun.

1:40:57.800 --> 1:41:00.680
<v Speaker 1>Thank you for bringing us this movie. I'm glad that

1:41:00.720 --> 1:41:04.320
<v Speaker 1>we talked about it. And you know, hopefully if you

1:41:04.479 --> 1:41:08.200
<v Speaker 1>are a listener watching this movie, you're just as confused

1:41:08.240 --> 1:41:13.280
<v Speaker 1>as we are. Uh, Sarah, Where can people check out

1:41:13.280 --> 1:41:17.800
<v Speaker 1>your stuff? Follow you on social media? Plug away, you

1:41:17.840 --> 1:41:20.080
<v Speaker 1>can hear me and You're wrong about and you can

1:41:20.200 --> 1:41:25.160
<v Speaker 1>also hear me on You Are Good and other podcasts

1:41:25.200 --> 1:41:29.720
<v Speaker 1>from time to time. And I'm trying to not use

1:41:30.160 --> 1:41:34.000
<v Speaker 1>social media so much, so I find me there if

1:41:34.040 --> 1:41:40.559
<v Speaker 1>you must, but I shan't encourage you. Perfect. You can

1:41:40.800 --> 1:41:45.719
<v Speaker 1>follow us on Twitter and Instagram, which you know what,

1:41:46.160 --> 1:41:49.160
<v Speaker 1>I'd encourage it, but you don't have to do whatever

1:41:49.200 --> 1:41:51.240
<v Speaker 1>you want. Sometimes we get stressed out and we don't

1:41:51.320 --> 1:41:53.000
<v Speaker 1>check it, so I don't get mad if we don't

1:41:53.560 --> 1:41:57.120
<v Speaker 1>reply right away, right, But yeah, you can follow us

1:41:57.160 --> 1:42:00.840
<v Speaker 1>there at Bechtel cast. You can also subscribe to our

1:42:00.960 --> 1:42:06.240
<v Speaker 1>We would definitely encourage this. Subscribing to our Matreon at

1:42:06.360 --> 1:42:09.559
<v Speaker 1>patreon dot com slash backtel Cast. It gets you too

1:42:09.600 --> 1:42:13.040
<v Speaker 1>bonus episodes every month plus access to the whole back

1:42:13.160 --> 1:42:17.240
<v Speaker 1>catalog of bonuses, and it is five dollars per month.

1:42:17.520 --> 1:42:20.120
<v Speaker 1>And you can also get merch at t public dot

1:42:20.120 --> 1:42:22.680
<v Speaker 1>com slash the PacTel Cast if that's something that you

1:42:23.200 --> 1:42:30.120
<v Speaker 1>are in the mood to do. And with that, I

1:42:30.160 --> 1:42:32.240
<v Speaker 1>want to say, wait, what is that line again? I

1:42:33.120 --> 1:42:37.439
<v Speaker 1>the my favorite line in the movie that Magnicum Laude pussy, Yes,

1:42:38.040 --> 1:42:42.720
<v Speaker 1>Friday up your brain. Let's um, let's take our Magnicum

1:42:42.760 --> 1:42:49.840
<v Speaker 1>Laude Pussy's out of Bye bye bye