WEBVTT - Black Swan with Hunter Harris

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<v Speaker 1>Hello, Bechtel heads. How's everybody doing dystopia? Um, So, my

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<v Speaker 1>my name is Jamie Loftus, my name is Caitlin Darante,

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<v Speaker 1>and you, of course are listening to the Bechtel Cast,

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<v Speaker 1>our weekly feminist podcast where we use the Bechdel Test

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<v Speaker 1>to analyze movies of the world. Um, but but this

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<v Speaker 1>week is um is a weird week. So we just

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<v Speaker 1>wanted to pulp in at the top and uh say hello,

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<v Speaker 1>say hello. We hope everyone is safe and healthy in

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<v Speaker 1>taking precautions and you know, it's it's a confusing and

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<v Speaker 1>scary time and we just we hope you're all doing well. Yeah,

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<v Speaker 1>I hope you're taking care of yourselves, um, as much

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<v Speaker 1>as you're able to. We are very lucky to to

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<v Speaker 1>be all right, and we're also lucky to be able

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<v Speaker 1>to work from home. We're in separate places right now. Um,

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<v Speaker 1>if you're not, you know, we're here for you, and um,

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<v Speaker 1>you know, take care of yourself. And if you have uh,

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<v Speaker 1>you know, resources, please give to your local food bank

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<v Speaker 1>and just you know, solidarity. We need each other and

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<v Speaker 1>we love you. And yeah, on that front, I mean

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<v Speaker 1>we might be were we're talking about maybe starting like

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<v Speaker 1>a little Twitter Movie Club. We'll I'll watch the same

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<v Speaker 1>movie at the same time. We'll figure it out. It's

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<v Speaker 1>on the table. Everything's on the table. Who knows what

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<v Speaker 1>tomorrow will bring in a good way. Yes, Um, you

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<v Speaker 1>are about to hear an episode that we recorded live

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<v Speaker 1>in Brooklyn at the Brooklyn Podcast Festival on the movie

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<v Speaker 1>Black Swan, um, which brings us also to our upcoming

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<v Speaker 1>live shows are as you might imagine, still in flux

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<v Speaker 1>as to be expected. So yeah, so if if you

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<v Speaker 1>if you have tickets to our Austin shows, UM, we

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<v Speaker 1>will keep you posted on this status of their shows.

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<v Speaker 1>We're gonna keep it on the same side. So we

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<v Speaker 1>will go by whatever the recommendation is. And Boston shows

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<v Speaker 1>are canceled and LA shows TBD kind of the same deal. Um. Yes,

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<v Speaker 1>our our l A show which is not until mid May.

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<v Speaker 1>Is hard to say what things will be like by then. Um,

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<v Speaker 1>so for now it's still on. Um, we will announce

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<v Speaker 1>if anything changes. But um, we do have a show

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<v Speaker 1>booked at Dynasty Typewriter in Los Angeles on May fift

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<v Speaker 1>It's my birthday show. So of course we are talking

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<v Speaker 1>about Titanic, which brings me to a little shout out

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<v Speaker 1>I need to do to uh listener fan of the show, Nicole.

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<v Speaker 1>She gave me a very large Titanic poster then that

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<v Speaker 1>I then bestowed upon to you, Jamie for a housewarming

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<v Speaker 1>gift because you just moved. We still don't know what

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<v Speaker 1>to hear that it's so big, it's so big, but

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<v Speaker 1>it's uh, it's you know, it's magnificent and just an

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<v Speaker 1>enormous shout out to Nicole for that wonderful gift. Thank you, Nicole.

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<v Speaker 1>UM and I suppose that brings us to um the

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<v Speaker 1>episode that you're about to hear. Yes, So this was

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<v Speaker 1>recorded at the Brooklyn Podcast Festival back in January at

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<v Speaker 1>the Bell House with guest Hunter Harris. It was a

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<v Speaker 1>simpler time. It was so much fun. It was a

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<v Speaker 1>sold out show, UM about Black Swan, which is, as

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<v Speaker 1>you will hear, a dense movie. So we also had

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<v Speaker 1>a few things. We had so much to say about

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<v Speaker 1>this movie that it didn't actually all fit into the

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<v Speaker 1>live show, so you will hear you know, uh Dystopian

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<v Speaker 1>Caitlin and Jamie popping in with some extra stuff we

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<v Speaker 1>didn't have time for at the live show. Uh. And

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<v Speaker 1>with that, enjoy the dog cast the questions asked me

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<v Speaker 1>was happening all their discussions? Just boy, husband, do they

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<v Speaker 1>have individualism? The patriarchy? Zef and best start changing it

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<v Speaker 1>with the Bedel Cast. Hi, Wow, everybody, Hi, welcome to

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<v Speaker 1>the Baktel Cast Brooklyn. How's it going? You told us

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<v Speaker 1>it's fine. Hi Jemmy, Hi, Hi, Welcome to the Bactel Cast.

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<v Speaker 1>Thank you so much for coming. For everyone who isn't

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<v Speaker 1>physically present in the future, we're at the Bell House

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<v Speaker 1>for the Brooklyn Podcast Festival. Yeah, thank you for coming. Um,

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<v Speaker 1>we're here to talk about the most fucked up movie

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<v Speaker 1>of all time. I'm so bad. I'm so okay, Lena

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<v Speaker 1>and I we'll talk about what the punkast is in

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<v Speaker 1>a second. But Caitlin and I a while ago, we're like,

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<v Speaker 1>we have to stop talking about funked up movies at

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<v Speaker 1>live shows because it bums people out. But then we're like,

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<v Speaker 1>what do you think? Social network? Black Swan and the

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<v Speaker 1>sixth sense like, so it's fine, it's ourry dark movie tour.

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<v Speaker 1>It's fine. Yeah. I did a palette cleanser before tonight's show.

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<v Speaker 1>I should have done this after this, but I went

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<v Speaker 1>to see Paddington Gets in a jam Today, Caitlin, I

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<v Speaker 1>have a quick question because I know the answer. Were

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<v Speaker 1>you the only adult without a child at the show? Yes,

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<v Speaker 1>I was, go off quick, Okay, wonderful, thank you. Well.

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<v Speaker 1>To date, the only Broadway show I've ever seen a

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<v Speaker 1>spongebout the musical also alone, It's a really good musical.

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<v Speaker 1>Squid word taps with all six tentacles. It's it's like

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<v Speaker 1>how they do that, it's it's wilds well. But now

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<v Speaker 1>none of that passed the Bechdel test because we talked

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<v Speaker 1>about Paddington words. Squid word right, allies, but does not

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<v Speaker 1>feminist icmm a zon squidbird. I think you'll all agree.

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<v Speaker 1>Um so, so I'm Jamie, I Caitlin, and uh, this

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<v Speaker 1>is our feminist movie podcast. You know that you've paid

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<v Speaker 1>money to be here. Um, but for for all your

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<v Speaker 1>listeners at home, is there anyone here who hasn't heard

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<v Speaker 1>the Bechtel cast before? Who's been Oh, okay, we've been

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<v Speaker 1>killed hostages. Interesting? Interesting, It just means we have people

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<v Speaker 1>to convert. Yeah, So for your benefit, this is a

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<v Speaker 1>feminist movie podcast. We use the Bechdel test sometimes called

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<v Speaker 1>the Beckdel Wallace test to start discussion. Uh, Caitlin, what

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<v Speaker 1>is the Bechtel test? Well, Jamie, I'm so glad you asked.

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<v Speaker 1>It's a media metric created by cartoonists Alison Bechtel, and

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<v Speaker 1>it requires that two female identifying characters in a movie

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<v Speaker 1>have to speak to each other about something other than

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<v Speaker 1>a man. Can it happen in movies? Usually not? It has,

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<v Speaker 1>but like not overwhelmingly so correct? Do we try it? Yeah?

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<v Speaker 1>Let's try it? You start? Okay? Oh funk? I wish

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<v Speaker 1>I had? I know? I was like, I can only

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<v Speaker 1>think about Scuppert and pattingson. Um yeah, no, no, no

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<v Speaker 1>you okay, Hey Caitlin, Hey Jamie, okay, uma? Do you

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<v Speaker 1>do you identify as? Are you more of like a

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<v Speaker 1>white swan or a black swan? Oh? Well, isn't that

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<v Speaker 1>just the human condition? You know? I wake up on

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<v Speaker 1>one way, I go to sleep the other way. Who

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<v Speaker 1>knows where I start? More n it all depends on

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<v Speaker 1>what mommy says. It depends on how mommy treats me

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<v Speaker 1>that day. Also, we should draw attention to your outfit. Right,

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<v Speaker 1>thank you, thank you, as I will not shut up

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<v Speaker 1>about all night. I dance ballet for fifteen years and

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<v Speaker 1>I've got ship left over. Okay, so I've been waiting

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<v Speaker 1>for a Black Swan episode for a long time because

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<v Speaker 1>I've got a lot of ship I'm not using and

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<v Speaker 1>and I wanted to use again. So for the listeners

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<v Speaker 1>at home, oh, I didn't say what it was Jamie

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<v Speaker 1>is wearing? Is this a leotard? Is this what you

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<v Speaker 1>call this? What do you? Don't be worried? It's yeah,

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<v Speaker 1>it's I don't know. It's a later. Oh can I

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<v Speaker 1>say something very feminine? Okay, I found out two days

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<v Speaker 1>ago I got I like, got my actual brass eyes

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<v Speaker 1>measured and there's an asterisk here. But I'm a thirty

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<v Speaker 1>two C. And I okay, hold your applause, because when

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<v Speaker 1>I told you two days ago, you got very quiet,

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<v Speaker 1>as if you did not believe me. Doesn't believe women.

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<v Speaker 1>It's cannon. I'm canceled. But but you got very quiet.

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<v Speaker 1>But but including the woman who had measured my BRA's eyes,

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<v Speaker 1>she was like, you're a thirty two C. And I

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<v Speaker 1>was like, how is that possible? And she was just like, well,

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<v Speaker 1>you have the largest ribbed cage I've ever seen. And

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<v Speaker 1>so that's also factor in. You can have the smallest

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<v Speaker 1>titties of all time and be a thirty two c

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<v Speaker 1>we exist. Okay, we were out here. Oh we have

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<v Speaker 1>someone who just raised her head. They're like, yeah, yeah,

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<v Speaker 1>all you need is a ripped cage. You're not really using,

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<v Speaker 1>Like yeah, I think I was like quiet, and then

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<v Speaker 1>I was like what my my my boyfriend had stopped

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<v Speaker 1>passing the baital test. But he said later he said

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<v Speaker 1>he was like, wow, Caitlin really did not believe you. Well,

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<v Speaker 1>it was the room in my In her defense, my

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<v Speaker 1>titties are very small. I think we are all we

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<v Speaker 1>were all led to believe we live in a society. Okay,

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<v Speaker 1>we do live in a society leads us to believe

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<v Speaker 1>that the larger the breast, the larger the cup. So

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<v Speaker 1>that's why I was surprised. Okay, thank you for that

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<v Speaker 1>feminist analysis of my literal titties that are out right now. Um.

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<v Speaker 1>But yeah, I'm wearing ballet, my ballet best tonight. Um

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<v Speaker 1>because we're talking about black Swan. We're so excited. Um,

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<v Speaker 1>it's been a long time request and I am so

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<v Speaker 1>threat like, we have the best possible person in the

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<v Speaker 1>entire wall to talk about it with us, So let's

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<v Speaker 1>bring her out. Let's do it. She is wonderful. She's

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<v Speaker 1>a staff writer at Vulture. Give it up for Hunter.

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<v Speaker 1>Oh Fish, yes, yes, oh hi, hi, hi Hi? How

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<v Speaker 1>are you? I I think I drink too much beer

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<v Speaker 1>in the beer Um, never happened in my life. She's Carolina. Yeah,

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<v Speaker 1>we brought out a full bottle of of of white wine. Um,

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<v Speaker 1>that feels like a ballet drink. I don't know. Ballerina

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<v Speaker 1>is gonna drink anything. They drink ecstasy. And in this movie.

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<v Speaker 1>I'm yeah, Hunter, were so excited you're here, particularly for

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<v Speaker 1>this movie. Um, so let's let's get into it. What

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<v Speaker 1>is everyone's experience with Black Swan? What's what's your experience

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<v Speaker 1>with Hunter? Okay, So when I was in high school,

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<v Speaker 1>I was like very pretentious obviously, and I remember like

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<v Speaker 1>when I first started like reading about movies, like new movies.

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<v Speaker 1>I was like, Oh, this movie black Swan like looks

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<v Speaker 1>legit because it had won at Venice or something and

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<v Speaker 1>right and so and then I dragged all my friends

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<v Speaker 1>to see it, and they like, we all loved it.

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<v Speaker 1>I like on Facebook when it shows you like ten

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<v Speaker 1>years ago what your Facebook status was, they were all

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<v Speaker 1>about black Swan. Um. Most of the time just black

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<v Speaker 1>Swan and all caps um because I was a writer. Uh.

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<v Speaker 1>But but um, so we saw it and like loved

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<v Speaker 1>it and would talk about it every day. And I

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<v Speaker 1>remember being in speech and debate and my teacher, who

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<v Speaker 1>I guess I won't name, um was like hated it.

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<v Speaker 1>Thought it was so like weird and bad and and

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<v Speaker 1>that was what we got into a big fight about it.

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<v Speaker 1>And I think, I mean I quit speech and b

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<v Speaker 1>because I for other reasons, but that was always the

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<v Speaker 1>back of my mind, like, did not trust this man

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<v Speaker 1>who did not like Black Swan? Incredible? Uh, Caitlin, was

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<v Speaker 1>your experience with the movie? I saw it in theaters

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<v Speaker 1>and in two ten and um, I had only seen

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<v Speaker 1>it that one time before rewatching it to prep because

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<v Speaker 1>I don't know if you know this about me, but

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<v Speaker 1>I love a good romp. In this movie is not

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<v Speaker 1>a romp. I thought there was gonna be a twist.

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<v Speaker 1>It's like, how could you have interpreted this? This movie

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<v Speaker 1>makes me feel terrible, and I don't like watching movies

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<v Speaker 1>that make me feel terrible. So I saw it. I

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<v Speaker 1>walked out of the theater. I was with my best friend,

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<v Speaker 1>and I was like, funk that movie. I feel so horrible,

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<v Speaker 1>and I was like, I'm never watching this again, but

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<v Speaker 1>I did. Yeah, so that's my I'm excited to talk

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<v Speaker 1>about it. But I find this movie very challenging. Wow, Brave,

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<v Speaker 1>I know, thank you, m Jay. This movie is one

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<v Speaker 1>of my favorite movies of all time, but I cannot

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<v Speaker 1>watch it too often because it's like trigger It like

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<v Speaker 1>is triggering in every single possible way a movie. Like

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<v Speaker 1>after I watch it, I'm like, I remember why Mental

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<v Speaker 1>Illness was kind of fun, uh, like maybe we should

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<v Speaker 1>revisit it. And then you're like wait wait wait wait, no, no,

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<v Speaker 1>and then you watch and then I watched the end.

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<v Speaker 1>I'm like, oh right, that's why we don't do that anymore.

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<v Speaker 1>But I really I love this movie. This movie came

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<v Speaker 1>out at like I was like very into dance growing up,

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<v Speaker 1>and this came out at like the peak of that.

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<v Speaker 1>I was like, I don't know it when in two

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<v Speaker 1>thousand kind of came out. So I was like either

0:14:34.120 --> 0:14:36.360
<v Speaker 1>a senior in high school where I had just entered college,

0:14:36.680 --> 0:14:38.800
<v Speaker 1>and I saw it with my dance friends and we

0:14:38.800 --> 0:14:42.280
<v Speaker 1>were all we all took away the wrong message from it.

0:14:43.160 --> 0:14:46.040
<v Speaker 1>We were like, Wow, her pursuit for greatness paid off

0:14:46.600 --> 0:14:51.360
<v Speaker 1>like were we were so thrilled about it, Like I

0:14:52.080 --> 0:14:54.800
<v Speaker 1>love this movie. It makes me and I think, like

0:14:54.880 --> 0:14:57.240
<v Speaker 1>the more I watch it, the older I get, the

0:14:57.480 --> 0:15:01.640
<v Speaker 1>more anxious it makes me. Um. But but I but

0:15:01.720 --> 0:15:04.160
<v Speaker 1>I feel like that's like almost a testament to the

0:15:04.200 --> 0:15:07.920
<v Speaker 1>movie where there were mental illness symptoms portrayed in this

0:15:07.920 --> 0:15:10.440
<v Speaker 1>movie that I hadn't even begun to display when I

0:15:10.480 --> 0:15:13.960
<v Speaker 1>first said. And then I watch it, you know, six

0:15:14.040 --> 0:15:16.080
<v Speaker 1>or seven years later, I'm like, oh, the scratching right,

0:15:16.400 --> 0:15:18.640
<v Speaker 1>and like, you know, like there's there's a lot going

0:15:18.680 --> 0:15:21.800
<v Speaker 1>on in this movie, and it weirdly specifically appealed to

0:15:21.840 --> 0:15:23.840
<v Speaker 1>me at the exact moment it came out. And so

0:15:23.880 --> 0:15:29.040
<v Speaker 1>I'm going to defend it too much? Okay, Yeah, well

0:15:29.040 --> 0:15:32.080
<v Speaker 1>should we do the recap and go from let's recap?

0:15:32.480 --> 0:15:37.000
<v Speaker 1>So we meet Nina. That's Natalie Portman. Nina sayers. Yes,

0:15:37.320 --> 0:15:40.760
<v Speaker 1>she's a very dedicated ballet dancer in New York City.

0:15:40.840 --> 0:15:50.560
<v Speaker 1>Ever heard of it? Uh? For I believe? Is it

0:15:50.640 --> 0:15:53.520
<v Speaker 1>just called the New York City Ballet Company? I think?

0:15:53.560 --> 0:15:58.200
<v Speaker 1>So where is it real? I think it's I think

0:15:58.240 --> 0:16:04.720
<v Speaker 1>it's real. It's real. Okay, Okay, I'm not a dancer. Okay, fine,

0:16:04.720 --> 0:16:10.920
<v Speaker 1>I wasn't that good. We opened on a scary dream

0:16:11.040 --> 0:16:14.560
<v Speaker 1>she's having, and then strange things start happening to her

0:16:14.680 --> 0:16:17.080
<v Speaker 1>right away, like she sees a woman on the subway

0:16:17.400 --> 0:16:19.720
<v Speaker 1>who looks exactly like her, and it's like doing the

0:16:19.800 --> 0:16:23.920
<v Speaker 1>same little hairtuck behind the ear. I like the immediately

0:16:23.920 --> 0:16:26.520
<v Speaker 1>in this movie, you're like, oh, mirrors a metaphor like

0:16:27.880 --> 0:16:31.240
<v Speaker 1>and it keeps going, it doesn't stop. It's assuming that

0:16:31.280 --> 0:16:34.440
<v Speaker 1>you're not getting it the first time. Something that I

0:16:34.480 --> 0:16:37.840
<v Speaker 1>didn't realize until I was on Wikipedia like four hours ago,

0:16:38.120 --> 0:16:40.320
<v Speaker 1>is that she's supposed to be twenty years old in

0:16:40.320 --> 0:16:49.040
<v Speaker 1>this movie. Yeah, she's clearly thirty. Interesting. We meet Lily

0:16:49.320 --> 0:16:52.840
<v Speaker 1>that's me Lacunas, she is a new dancer to the company,

0:16:53.200 --> 0:16:57.840
<v Speaker 1>and then we also meet toma Um that's Vincent Castle. Uh,

0:16:57.880 --> 0:17:02.720
<v Speaker 1>he's like the director of the company. Who is Vincent Castle?

0:17:03.320 --> 0:17:05.280
<v Speaker 1>Am I supposed to know who he is? And if so,

0:17:05.400 --> 0:17:09.320
<v Speaker 1>why some stuff? Yea, he's like a famous French movie

0:17:09.320 --> 0:17:13.080
<v Speaker 1>star and he's married like a beautiful younger woman, so

0:17:13.160 --> 0:17:17.160
<v Speaker 1>I should I mean, that's grounds fair enough, okay, fair enough.

0:17:18.080 --> 0:17:22.040
<v Speaker 1>He announces that they'll open their season with Swan Lake.

0:17:22.520 --> 0:17:25.600
<v Speaker 1>Um but a more like a gritty version of it

0:17:25.720 --> 0:17:35.520
<v Speaker 1>this time there like it's Chris Nolan's uh, and he

0:17:35.560 --> 0:17:40.680
<v Speaker 1>needs a lead who can dance the Swan Queen, which

0:17:40.760 --> 0:17:43.280
<v Speaker 1>is means to do both the white Swan and the

0:17:43.320 --> 0:17:46.560
<v Speaker 1>Black Swan. He basically just like raises his hand. He's like, um,

0:17:46.600 --> 0:17:50.159
<v Speaker 1>I need the Madonna whore complex represented in this movie.

0:17:51.320 --> 0:17:57.960
<v Speaker 1>Can anyone? So Nina is auditioning, but Lily barges in

0:17:58.080 --> 0:18:00.840
<v Speaker 1>and throws Nina off, so she does get cast in

0:18:00.880 --> 0:18:04.400
<v Speaker 1>that role. Also because Toma only sees her as being

0:18:04.480 --> 0:18:07.480
<v Speaker 1>right for the white Swan because she's like very innocent

0:18:07.680 --> 0:18:12.240
<v Speaker 1>and controlled, And she goes to ask him for the part,

0:18:12.400 --> 0:18:15.000
<v Speaker 1>and then he forces himself on her and kisses her

0:18:15.640 --> 0:18:21.240
<v Speaker 1>and she bites back, and this convinces him that she

0:18:21.680 --> 0:18:27.199
<v Speaker 1>is dark and edgy enough somehow. God, it's that like

0:18:27.560 --> 0:18:31.840
<v Speaker 1>he's like, you passed the text. It's like I assaulted

0:18:31.880 --> 0:18:36.280
<v Speaker 1>you and you assaulted me back, like you're just like okay,

0:18:36.359 --> 0:18:38.320
<v Speaker 1>ballet is the most fucked up thing in the entire world.

0:18:38.359 --> 0:18:41.480
<v Speaker 1>But also in that scene, she's like her big transformation

0:18:41.480 --> 0:18:45.680
<v Speaker 1>is that she's just wearing lipstick like like and he says, oh,

0:18:45.720 --> 0:18:49.000
<v Speaker 1>you're so dulled up like the lipstick ice over my

0:18:49.080 --> 0:18:53.440
<v Speaker 1>note a writer. Yeah yeah, and that literally is what

0:18:55.520 --> 0:18:59.920
<v Speaker 1>oh that's great. So she now it has been cast

0:19:00.080 --> 0:19:03.480
<v Speaker 1>is the Swan queen and Toma shows her off at

0:19:03.520 --> 0:19:05.320
<v Speaker 1>this is that a gala. I don't know what a

0:19:05.359 --> 0:19:09.920
<v Speaker 1>gallet is. There's a staircase. There's a staircase. It's a

0:19:10.000 --> 0:19:14.680
<v Speaker 1>galas fancy and um. This woman Beth When On a

0:19:14.720 --> 0:19:18.200
<v Speaker 1>Writer's character is there and she used to be the

0:19:18.240 --> 0:19:21.920
<v Speaker 1>prima ballerina of the company, but she's being forced into

0:19:22.600 --> 0:19:26.600
<v Speaker 1>retirement because she is aging and right and and just

0:19:26.680 --> 0:19:30.080
<v Speaker 1>to be clear, aging in this movie is like ballet aging.

0:19:30.200 --> 0:19:32.840
<v Speaker 1>And when When On a Writer was thirty eight when

0:19:32.840 --> 0:19:37.360
<v Speaker 1>this movie came out. She's there like this old hag

0:19:38.359 --> 0:19:41.439
<v Speaker 1>and like she is like she's still got eggs, Like

0:19:41.520 --> 0:19:45.400
<v Speaker 1>she's fine, you know, I think she says that too.

0:19:45.440 --> 0:19:47.240
<v Speaker 1>She's like, no, I still have eggs were talking about

0:19:48.200 --> 0:19:50.280
<v Speaker 1>because they're like, oh, she's hitting menopause, and she's like,

0:19:50.320 --> 0:19:56.880
<v Speaker 1>I'm actually not, like I'm in my sexual prime. Uh.

0:19:56.880 --> 0:19:59.920
<v Speaker 1>And at the end of this night, Toma has Nina

0:20:00.119 --> 0:20:04.080
<v Speaker 1>back to his place and he's very he's being very creepy.

0:20:04.359 --> 0:20:07.720
<v Speaker 1>He's asking about her sexual history, and then he gives

0:20:07.720 --> 0:20:12.639
<v Speaker 1>her a homework assignment, which is to touch herself, and

0:20:12.640 --> 0:20:18.800
<v Speaker 1>we're all like appropriate silence. Yeah, yikes. Has a male

0:20:18.920 --> 0:20:23.880
<v Speaker 1>teacher ever given you a creepy homework assignment? Not that creepy,

0:20:24.000 --> 0:20:28.480
<v Speaker 1>I'm happy to say, congratulations. I had a sure in

0:20:28.560 --> 0:20:31.080
<v Speaker 1>high school who was once. It was not like Vincent

0:20:31.560 --> 0:20:36.000
<v Speaker 1>cassel Castle or whatever France. I don't know. Um. It

0:20:36.040 --> 0:20:39.199
<v Speaker 1>wasn't like go home and jerk off, but he was

0:20:39.280 --> 0:20:42.359
<v Speaker 1>like I had an art teacher. He told you like

0:20:42.400 --> 0:20:46.840
<v Speaker 1>to chug. He told me to chug robotesting. He was like,

0:20:48.040 --> 0:20:51.240
<v Speaker 1>do you have cough medicine in your house? I'm like yeah,

0:20:51.359 --> 0:20:53.480
<v Speaker 1>and he's like is it robotest And I'm like CBS

0:20:53.520 --> 0:20:56.439
<v Speaker 1>brand clothes and he's and he was like, you should

0:20:57.000 --> 0:21:01.520
<v Speaker 1>drink it. And then I did and I took. So

0:21:01.720 --> 0:21:04.200
<v Speaker 1>he says drink it and you're like and I said

0:21:04.240 --> 0:21:06.840
<v Speaker 1>walking home, like yeah, let's let me go do that. Yeah,

0:21:06.880 --> 0:21:10.960
<v Speaker 1>Because he was twenty six and I was fifteen, and

0:21:10.960 --> 0:21:12.840
<v Speaker 1>so I was like, I better do what he says.

0:21:13.040 --> 0:21:15.159
<v Speaker 1>And then I went home and I drank the robotestin

0:21:15.280 --> 0:21:16.760
<v Speaker 1>and I was like, I feel sick. And then I

0:21:16.800 --> 0:21:22.199
<v Speaker 1>took a picture on my sony digital camera. Unfortunately that's

0:21:22.200 --> 0:21:28.280
<v Speaker 1>where the story ends. But um, you know, I'm sorry

0:21:28.400 --> 0:21:34.240
<v Speaker 1>that happened. Very well, I'm fine, Okay. So the following morning,

0:21:34.240 --> 0:21:38.440
<v Speaker 1>after being given this creepy homework assignment, she follows through

0:21:38.880 --> 0:21:43.520
<v Speaker 1>and starts masturbating. But oh, her overbearing mother is in

0:21:43.560 --> 0:21:46.840
<v Speaker 1>the room. Does everyone remember where they were the first

0:21:46.840 --> 0:21:54.080
<v Speaker 1>time they saw this scene. It's like so alarming. Uh,

0:21:54.080 --> 0:21:57.920
<v Speaker 1>And then other weird stuff keeps happening. Um, there's scratches

0:21:57.960 --> 0:22:01.240
<v Speaker 1>on her back, there's like some other body horror stuff

0:22:01.280 --> 0:22:03.840
<v Speaker 1>happening with her fingernails. I just want to speak about

0:22:03.840 --> 0:22:08.480
<v Speaker 1>the nails for one moment, because the thing that just,

0:22:08.960 --> 0:22:12.439
<v Speaker 1>you know, really grinds my gears is that in this movie,

0:22:12.560 --> 0:22:16.960
<v Speaker 1>the mom takes out scissors and clips her fingernails and

0:22:17.080 --> 0:22:21.600
<v Speaker 1>just acts like this is normal, Like my god. And

0:22:21.600 --> 0:22:23.840
<v Speaker 1>then later in the movie when she like the body

0:22:23.840 --> 0:22:27.119
<v Speaker 1>horror increases and she's like, okay, enough of this nail ship,

0:22:27.200 --> 0:22:29.800
<v Speaker 1>she takes scissors herself and does it. Like there's nothing

0:22:29.800 --> 0:22:33.720
<v Speaker 1>else in the home. Who has nail scissors. We all

0:22:33.720 --> 0:22:38.359
<v Speaker 1>have nail clippers, right, These are like children's scissors. No,

0:22:38.400 --> 0:22:43.480
<v Speaker 1>they're not They're like, they're like sewing scissors, like they're sharp. Yeah,

0:22:43.520 --> 0:22:47.720
<v Speaker 1>but they're just like so clearly not meant for human nails. Yeah.

0:22:48.000 --> 0:22:50.879
<v Speaker 1>I just think that needs to be discussed, thank you.

0:22:52.000 --> 0:22:54.240
<v Speaker 1>There's no context given for why there are no nail

0:22:54.240 --> 0:22:57.360
<v Speaker 1>clippers in the house. It takes place in the present day.

0:22:57.400 --> 0:23:02.520
<v Speaker 1>They live near a Dwayne read like they could have them.

0:23:02.560 --> 0:23:08.160
<v Speaker 1>It wouldn't be hard. Okay, So does anything else happened?

0:23:09.560 --> 0:23:14.159
<v Speaker 1>That's the end of the movie. Um, And then we

0:23:14.240 --> 0:23:18.280
<v Speaker 1>find out that Beth has had a horrible accident that

0:23:18.400 --> 0:23:23.440
<v Speaker 1>leaves her legs badly disfigured. And meanwhile, Nina is practicing

0:23:23.480 --> 0:23:26.600
<v Speaker 1>and working very hard on the upcoming show. And then

0:23:26.640 --> 0:23:30.760
<v Speaker 1>Toma is like, you're not fuckable enough when you're dancing.

0:23:31.680 --> 0:23:35.920
<v Speaker 1>It's we're like, oh jeez um, that's what she says.

0:23:38.520 --> 0:23:41.000
<v Speaker 1>And Lily is showing up more and more trying to

0:23:41.040 --> 0:23:45.160
<v Speaker 1>be friends with Nina or is she We don't know.

0:23:45.440 --> 0:23:49.200
<v Speaker 1>It's almost like there's an unreliable narrator in this movie.

0:23:51.240 --> 0:23:54.440
<v Speaker 1>But they all go out for drinks, Lily and Nina,

0:23:54.760 --> 0:23:58.280
<v Speaker 1>and then Lily gives her um, is this ecstasy? I

0:23:58.320 --> 0:24:01.280
<v Speaker 1>don't know how drugs work. I think like, Cale and

0:24:01.359 --> 0:24:03.879
<v Speaker 1>I were talking about this backstage. Caleb was like, okay,

0:24:03.920 --> 0:24:12.160
<v Speaker 1>So then she takes an ecstasy, she has one unit

0:24:12.200 --> 0:24:22.280
<v Speaker 1>of ecstasy, she has an ecstasy based on the ecstasy,

0:24:22.440 --> 0:24:27.600
<v Speaker 1>and then that's the line. That's the line. And then

0:24:27.720 --> 0:24:31.359
<v Speaker 1>the night progresses and then uh, Nina and Lily go

0:24:31.480 --> 0:24:34.600
<v Speaker 1>home together, they make out and they have sex or

0:24:34.680 --> 0:24:49.199
<v Speaker 1>do they the queer painting of a generation someone's cheering

0:24:49.320 --> 0:24:57.280
<v Speaker 1>the ground. Um. Then the following morning, Nina is like,

0:24:57.600 --> 0:25:01.080
<v Speaker 1>is late getting to rehearsal and Lily is there dancing

0:25:01.080 --> 0:25:04.400
<v Speaker 1>in her place. Lily's like, yeah, I didn't stay over,

0:25:04.440 --> 0:25:07.159
<v Speaker 1>what are you talking about? So either she's like gaslighting

0:25:07.200 --> 0:25:11.600
<v Speaker 1>Nina or Nina just imagine them having sex. Um. And

0:25:11.640 --> 0:25:15.679
<v Speaker 1>then she finds out that Lily was made her alternate

0:25:15.760 --> 0:25:18.480
<v Speaker 1>for the Swan Queen and she thinks that Lily is

0:25:18.520 --> 0:25:21.479
<v Speaker 1>trying to steal her role. And then on the night

0:25:21.520 --> 0:25:24.440
<v Speaker 1>of the performance she shows up, but she's like all

0:25:24.560 --> 0:25:28.880
<v Speaker 1>disoriented to her mental state, which has been unraveling this

0:25:28.920 --> 0:25:34.639
<v Speaker 1>whole time. Is an all time worse. That's not the

0:25:34.720 --> 0:25:41.960
<v Speaker 1>name of the band came in. It's an all time love. Yeah,

0:25:42.000 --> 0:25:45.320
<v Speaker 1>I don't know why I said it, Like that Yeah,

0:25:45.320 --> 0:25:50.000
<v Speaker 1>that's definitely not an expression. Okay. But so she's like

0:25:50.040 --> 0:25:53.679
<v Speaker 1>seeing visions of herself on other people's faces during the show,

0:25:53.840 --> 0:25:58.680
<v Speaker 1>and then between acts she's growing feathers. Also her feet

0:25:58.760 --> 0:26:02.800
<v Speaker 1>or webs. Her feet are web her eyes are blood

0:26:02.840 --> 0:26:08.680
<v Speaker 1>shot or are they? Oh? And then and then during

0:26:08.720 --> 0:26:12.480
<v Speaker 1>the show she is dropped. That's like, I just think

0:26:12.520 --> 0:26:14.400
<v Speaker 1>we need to take a moment for that, because that's

0:26:14.400 --> 0:26:18.560
<v Speaker 1>like a big She's dropped and starts freaking out, and

0:26:18.600 --> 0:26:21.840
<v Speaker 1>then she's like, okay, fuck this puts on the Black

0:26:21.920 --> 0:26:24.280
<v Speaker 1>Swan makeup and she's like, let's get it popping right.

0:26:26.240 --> 0:26:28.480
<v Speaker 1>But I think before that she gets in a fight

0:26:28.520 --> 0:26:33.639
<v Speaker 1>with Lily in her dressing room or does she and

0:26:33.680 --> 0:26:37.440
<v Speaker 1>stabs her with a piece of broken mirror or does she?

0:26:38.680 --> 0:26:40.800
<v Speaker 1>And then Nina like drags her body into the bathroom

0:26:40.840 --> 0:26:42.960
<v Speaker 1>and then goes out as the Black Swan and like

0:26:43.040 --> 0:26:46.920
<v Speaker 1>does she does great as the Black Swan? Everyone loves

0:26:47.119 --> 0:26:52.760
<v Speaker 1>do ye uh? And then there's another act break and

0:26:53.160 --> 0:26:55.520
<v Speaker 1>Nina comes down to a dressing room, but Lily's body

0:26:55.640 --> 0:26:59.240
<v Speaker 1>is not there and it never was or was it?

0:27:01.920 --> 0:27:07.160
<v Speaker 1>So didn't she stab She has stabbed herself? Is what happened?

0:27:08.800 --> 0:27:12.159
<v Speaker 1>Can I okay, I've as someone who has never stabbed themselves,

0:27:13.480 --> 0:27:17.800
<v Speaker 1>it seems like a pretty little stab. Maybe she punctures

0:27:17.800 --> 0:27:19.959
<v Speaker 1>an organ or something. I don't know, but she pulls out.

0:27:20.000 --> 0:27:23.240
<v Speaker 1>She's like, it's deep, but it's little. No, that child

0:27:23.280 --> 0:27:27.919
<v Speaker 1>of glass was like an in twide. Someone was like

0:27:27.920 --> 0:27:29.640
<v Speaker 1>and like, I was like, I feel like you could.

0:27:29.840 --> 0:27:34.800
<v Speaker 1>People could stabbed a lot of times and they're okay, um,

0:27:34.840 --> 0:27:37.119
<v Speaker 1>according I don't mean to challenge, but I'm like, I

0:27:37.119 --> 0:27:40.000
<v Speaker 1>don't think. But I think you're assuming that she's like

0:27:40.040 --> 0:27:42.280
<v Speaker 1>a reliable narrator in this moment. I don't think we

0:27:42.359 --> 0:27:46.639
<v Speaker 1>know necessarily how much because she breaks so much glass

0:27:46.640 --> 0:27:48.320
<v Speaker 1>and it's like gone the next time she comes back,

0:27:48.359 --> 0:27:50.120
<v Speaker 1>and so I don't think we know exactly how deep

0:27:50.119 --> 0:27:53.040
<v Speaker 1>the injury is it. And also the costume itself is

0:27:53.080 --> 0:27:56.200
<v Speaker 1>so lush and there's so much tool t U L

0:27:56.359 --> 0:27:59.160
<v Speaker 1>L E that just you it was the other kind

0:27:59.200 --> 0:28:03.920
<v Speaker 1>of tool all so looks like gauze, Like her costume

0:28:04.040 --> 0:28:11.000
<v Speaker 1>is made of gauze, Like is this common? And also

0:28:11.119 --> 0:28:14.080
<v Speaker 1>we see in the previous scene that she goes to

0:28:14.119 --> 0:28:17.199
<v Speaker 1>see Beth in the hospital and Beth stabs herself, but

0:28:17.240 --> 0:28:19.840
<v Speaker 1>it's kind of clear that that isn't actually what happens,

0:28:19.960 --> 0:28:24.040
<v Speaker 1>or is it, but like it's maybe it's like there's

0:28:24.040 --> 0:28:27.320
<v Speaker 1>a million she's she looks at Beth stabbing herself, and

0:28:27.359 --> 0:28:29.840
<v Speaker 1>then she turns back and it's like suddenly her face

0:28:30.040 --> 0:28:32.960
<v Speaker 1>stabbing her, Nina's face stabbing Nina. So she could have

0:28:32.960 --> 0:28:37.439
<v Speaker 1>been stabbing herself for several hours before this happens, and

0:28:37.480 --> 0:28:40.200
<v Speaker 1>it's like no one caught this, even even at the

0:28:40.360 --> 0:28:44.560
<v Speaker 1>end when Vincent Castle Cassel is looking over and it's like,

0:28:44.560 --> 0:28:47.040
<v Speaker 1>you were so great, and then everyone's like, oh, and

0:28:47.080 --> 0:28:49.720
<v Speaker 1>there she's covered in blood. Right, How does no one

0:28:49.840 --> 0:28:53.120
<v Speaker 1>notice for like two minutes? I get why the audience

0:28:53.120 --> 0:28:56.200
<v Speaker 1>hasn't noticed because she's really far away, but everyone's congratulating

0:28:56.200 --> 0:28:59.600
<v Speaker 1>her for like seconds, but where they're like, oh, she's dead.

0:29:01.640 --> 0:29:04.080
<v Speaker 1>She can't hear us, right, which is how the movie ends.

0:29:04.400 --> 0:29:09.200
<v Speaker 1>So Lily, so sorry, Nina has apparently stabbed herself and

0:29:09.240 --> 0:29:13.440
<v Speaker 1>then she dies at the end of the performance, and

0:29:13.800 --> 0:29:23.960
<v Speaker 1>that's the end of the movie. So let's talk about it.

0:29:24.760 --> 0:29:27.040
<v Speaker 1>Oh boy, there's so much. There's a there's a lot

0:29:27.120 --> 0:29:32.360
<v Speaker 1>to talk about with this movie. I I'm gonna cut

0:29:32.400 --> 0:29:34.600
<v Speaker 1>this movie. A lot of slack for a movie that

0:29:34.640 --> 0:29:36.120
<v Speaker 1>we have to say right at the top. It was

0:29:36.720 --> 0:29:39.200
<v Speaker 1>directed by Darren Aronovski. As most people know, it was

0:29:39.240 --> 0:29:43.040
<v Speaker 1>written by three men who aren't Darren Aronovsky. Um, which

0:29:43.080 --> 0:29:47.920
<v Speaker 1>is somehow miraculous they managed to is he is he

0:29:48.160 --> 0:29:54.680
<v Speaker 1>Darren Darren I did invite him, Darren I just tweeted

0:29:55.040 --> 0:29:59.880
<v Speaker 1>Darren Arnovsky, please come. I do hope you're wearing about

0:29:59.920 --> 0:30:01.240
<v Speaker 1>this scarf thing? Yeah? He in do you know what

0:30:01.320 --> 0:30:06.680
<v Speaker 1>the scarf thing? Okay, let me get that. My very

0:30:06.800 --> 0:30:10.280
<v Speaker 1>about Darren Aronofsky is that he loves wearing scarves and

0:30:10.360 --> 0:30:13.400
<v Speaker 1>he's like rarely spotted without a scarf, and they're always

0:30:13.440 --> 0:30:17.280
<v Speaker 1>like just so ostentatiously large. Um. And I think it

0:30:17.360 --> 0:30:20.760
<v Speaker 1>was Huffington's Postum. A reporter asked him, like, why do

0:30:20.800 --> 0:30:23.080
<v Speaker 1>you always wear scarves? And he was like the weakness

0:30:23.080 --> 0:30:29.560
<v Speaker 1>of my body is my throat, which, you know what,

0:30:29.560 --> 0:30:32.360
<v Speaker 1>what a way to say a thing. It's all I'm

0:30:32.360 --> 0:30:36.640
<v Speaker 1>gonna say about that. That's also like, oh, something anyone

0:30:36.720 --> 0:30:41.520
<v Speaker 1>could say, but he says as if it's specific to him.

0:30:39.680 --> 0:30:45.280
<v Speaker 1>What does he say? You know how someone's like, oh,

0:30:45.480 --> 0:30:48.200
<v Speaker 1>I don't like my you know, arms? Like is he

0:30:48.360 --> 0:30:50.880
<v Speaker 1>insecure about it? Or is he saying like someone might

0:30:51.120 --> 0:30:53.080
<v Speaker 1>slash my throat and I have to cover it up.

0:30:53.800 --> 0:30:56.479
<v Speaker 1>What if that said? What if he's like the knives

0:30:56.480 --> 0:30:59.800
<v Speaker 1>are out, I like, I have to keeper buttoned up.

0:31:02.120 --> 0:31:05.440
<v Speaker 1>My favorite Aronofski fact is that Jennifer Lawrence broke up

0:31:05.480 --> 0:31:08.480
<v Speaker 1>with him because he wouldn't shut up about Mother's reviews.

0:31:11.680 --> 0:31:19.680
<v Speaker 1>He's just a fragile person. Um, mother, mother, exclamation point too,

0:31:20.120 --> 0:31:24.240
<v Speaker 1>that's important. Um, wow mother, what a moment. Yeah, okay,

0:31:24.240 --> 0:31:27.400
<v Speaker 1>So where's there? Where should we start? Uh, there's a

0:31:27.440 --> 0:31:30.240
<v Speaker 1>lot of ways we can start. I mean I think that. Um.

0:31:30.320 --> 0:31:33.040
<v Speaker 1>One of the big things for us to talk about

0:31:33.240 --> 0:31:36.200
<v Speaker 1>is I I feel like something where this movie really

0:31:36.440 --> 0:31:40.480
<v Speaker 1>is like cool and succeeds is in kind of encompassing

0:31:40.480 --> 0:31:43.600
<v Speaker 1>a lot of different ways where it seems like Nina's

0:31:43.640 --> 0:31:46.320
<v Speaker 1>downfall and like some of the specifics of this kind

0:31:46.320 --> 0:31:49.480
<v Speaker 1>of miss but Nina's downfall seems to be this big

0:31:49.560 --> 0:31:52.920
<v Speaker 1>pile up of expectations of women where she's trying to

0:31:52.920 --> 0:31:55.720
<v Speaker 1>be everything at once and there's no way anyone can

0:31:55.760 --> 0:31:57.840
<v Speaker 1>be everything at once and when she tries to be

0:31:58.000 --> 0:32:03.600
<v Speaker 1>the second she succeeds, she died. So, I mean, like,

0:32:03.680 --> 0:32:05.760
<v Speaker 1>there's so much being asked her, and I feel like

0:32:06.160 --> 0:32:10.160
<v Speaker 1>him choosing ballet is like a very deliberate in doing so,

0:32:10.240 --> 0:32:13.720
<v Speaker 1>because it's so over the top of those expectations where

0:32:13.760 --> 0:32:16.320
<v Speaker 1>her body has to be a very particular way, and

0:32:16.360 --> 0:32:18.560
<v Speaker 1>we see, you know, she has an eating disorder and

0:32:18.600 --> 0:32:22.200
<v Speaker 1>she has to like suffer to look a certain way,

0:32:22.600 --> 0:32:27.200
<v Speaker 1>and um, her director is demanding the Madonna whore complex

0:32:27.280 --> 0:32:29.800
<v Speaker 1>from her, where like you have to be a virgin,

0:32:29.840 --> 0:32:32.280
<v Speaker 1>but you also have to be a slut and like

0:32:32.880 --> 0:32:35.400
<v Speaker 1>and if she isn't both at once, he's mad at

0:32:35.440 --> 0:32:39.600
<v Speaker 1>her and he retaliates against her, and like she's she's

0:32:39.600 --> 0:32:42.680
<v Speaker 1>trying to be all these things at once while also

0:32:42.760 --> 0:32:45.440
<v Speaker 1>being told by everyone around her, like if she has

0:32:45.480 --> 0:32:48.240
<v Speaker 1>a thought or like any sort of like problem or

0:32:48.240 --> 0:32:51.000
<v Speaker 1>mental illness of her own, there's no time for it,

0:32:51.040 --> 0:32:53.200
<v Speaker 1>and she can't deal with it. And it's just like

0:32:53.400 --> 0:32:56.800
<v Speaker 1>every single thing piles up on her to the point

0:32:56.800 --> 0:33:00.440
<v Speaker 1>where her like what happens to her makes sense or

0:33:00.960 --> 0:33:03.640
<v Speaker 1>that's how I I'm just I'm just like, you know,

0:33:03.720 --> 0:33:09.520
<v Speaker 1>justice for Nina. But she was perfect, so was it

0:33:09.600 --> 0:33:16.000
<v Speaker 1>worth it? She was really good? So for me, Okay,

0:33:16.160 --> 0:33:19.920
<v Speaker 1>Darren Aronofsky, he loves an allegory. We've all seen Mother,

0:33:20.720 --> 0:33:27.400
<v Speaker 1>No we haven't. It's the most popular movie. No, And

0:33:27.440 --> 0:33:30.680
<v Speaker 1>I think he handles like metaphor better in Black Swan.

0:33:31.160 --> 0:33:33.360
<v Speaker 1>But I feel like, right this the narrative is sort

0:33:33.400 --> 0:33:36.280
<v Speaker 1>of like an allegory or metaphor for you know, a

0:33:36.360 --> 0:33:40.560
<v Speaker 1>woman's role in society and uh, the expectation to be

0:33:40.640 --> 0:33:42.560
<v Speaker 1>a certain way and to be perfect and to be

0:33:42.640 --> 0:33:48.480
<v Speaker 1>striving for that perfection, and also coming up against different

0:33:48.520 --> 0:33:53.520
<v Speaker 1>things like sexual predators and just the sort of different

0:33:53.560 --> 0:33:58.600
<v Speaker 1>relationship dynamics that are in some ways like women competing

0:33:58.600 --> 0:34:03.360
<v Speaker 1>against each other or idea of aging right here, yes,

0:34:03.840 --> 0:34:09.520
<v Speaker 1>so all these different things that the movie handles well,

0:34:09.960 --> 0:34:15.040
<v Speaker 1>watch your words, be very careful, my okay. My whole

0:34:15.040 --> 0:34:17.920
<v Speaker 1>thing is that I think one of the reasons this

0:34:17.960 --> 0:34:22.600
<v Speaker 1>is so challenging for me, this movie to to talk about. Like, yes,

0:34:22.680 --> 0:34:25.280
<v Speaker 1>it addresses a lot of things, and you could argue

0:34:25.320 --> 0:34:27.880
<v Speaker 1>that like the Ballet Company is sort of like a

0:34:27.960 --> 0:34:32.520
<v Speaker 1>microcosm of the patriarchy and all this stuff like that,

0:34:32.719 --> 0:34:36.160
<v Speaker 1>but the movie, again, the movie makes me feel horrible.

0:34:36.560 --> 0:34:40.319
<v Speaker 1>So while it's like, yes, addressing things and it's like

0:34:40.360 --> 0:34:46.359
<v Speaker 1>here's how society be, uh, I there's this I don't know.

0:34:47.280 --> 0:34:49.879
<v Speaker 1>It's just like there's so few like I don't feel

0:34:49.880 --> 0:34:52.879
<v Speaker 1>empowered by this movie, and that's not the intention. It's

0:34:52.880 --> 0:34:54.680
<v Speaker 1>not the intention, But I'm just like, where are the

0:34:54.680 --> 0:34:58.799
<v Speaker 1>movies that like I can feel empowered by? Where are

0:34:58.840 --> 0:35:03.799
<v Speaker 1>the prompts? I know? So like I'm coming at it

0:35:03.840 --> 0:35:07.160
<v Speaker 1>with like this bias of like it makes me feel

0:35:07.200 --> 0:35:10.640
<v Speaker 1>bad and I don't like it, but there's value to

0:35:10.719 --> 0:35:12.800
<v Speaker 1>it and I'm going to try to I'm gonna check

0:35:12.880 --> 0:35:19.080
<v Speaker 1>my feelings anyway. Okay, let's move Okay. Um, I don't

0:35:19.120 --> 0:35:21.839
<v Speaker 1>know a hunter. Is there any like any particularly like them?

0:35:21.920 --> 0:35:25.560
<v Speaker 1>This movie addresses that like stands out to you especially. Yeah.

0:35:25.600 --> 0:35:27.719
<v Speaker 1>The thing that I always come back to is like

0:35:28.200 --> 0:35:31.720
<v Speaker 1>this idea of Nina being like a child. She lives

0:35:31.760 --> 0:35:33.680
<v Speaker 1>with her mother on the Upper West Side, which is

0:35:33.800 --> 0:35:37.880
<v Speaker 1>you know whatever, but um, but even I feel like

0:35:37.880 --> 0:35:39.680
<v Speaker 1>it's kind of like one of the bigger reveals in

0:35:39.719 --> 0:35:42.960
<v Speaker 1>the movies when she's masturbating and then you like pants

0:35:43.000 --> 0:35:45.200
<v Speaker 1>out and you see like how pink her bedroom is.

0:35:45.239 --> 0:35:48.160
<v Speaker 1>It's like she sleeps with stuff, animals, g everything, Like

0:35:48.239 --> 0:35:50.520
<v Speaker 1>she has like a music box that her mom talks

0:35:50.520 --> 0:35:52.120
<v Speaker 1>her in at night and all of this stuff that

0:35:52.160 --> 0:35:55.879
<v Speaker 1>it's like a woman has raised her to be sort

0:35:55.920 --> 0:35:58.120
<v Speaker 1>of infantile in a way, to be like molded by men.

0:35:58.320 --> 0:35:59.680
<v Speaker 1>But at the same time the men in her life,

0:35:59.680 --> 0:36:02.000
<v Speaker 1>the man in her life is like, that's not what

0:36:02.040 --> 0:36:04.160
<v Speaker 1>I want you to be. He's like asking her to

0:36:04.360 --> 0:36:08.840
<v Speaker 1>present differently, to be more salacious and sexy and sexual.

0:36:09.200 --> 0:36:12.680
<v Speaker 1>And it's funny because a lot of like I was

0:36:12.719 --> 0:36:15.720
<v Speaker 1>reading about this today that Natalie Aportman, like Danna Knoski,

0:36:15.800 --> 0:36:17.560
<v Speaker 1>was like trying to figure out who could be the

0:36:17.600 --> 0:36:20.000
<v Speaker 1>Lily character, who could look enough like Natalie Portman for

0:36:20.040 --> 0:36:22.560
<v Speaker 1>it to be like a convincing double that's not just

0:36:22.640 --> 0:36:24.640
<v Speaker 1>her playing this other part. And it's like some of

0:36:24.680 --> 0:36:27.560
<v Speaker 1>the some of the ways the camera shoots Mila Kunas

0:36:27.640 --> 0:36:30.120
<v Speaker 1>and Allie Portman is like identical, and you get the

0:36:30.160 --> 0:36:32.520
<v Speaker 1>sense that like these are sort of like one can't

0:36:32.520 --> 0:36:37.640
<v Speaker 1>exists without the other. Harry Potter, Um wow, so sorry,

0:36:37.920 --> 0:36:44.719
<v Speaker 1>um no, keep going, that's like the second Harry Potter.

0:36:44.719 --> 0:36:48.120
<v Speaker 1>Everyone's I've made today, Like I'm done, Um cut the

0:36:48.160 --> 0:36:53.959
<v Speaker 1>cameras that has sorry, uh. But I think like that

0:36:54.200 --> 0:36:56.279
<v Speaker 1>sort of duality is really interesting, and I think the

0:36:56.320 --> 0:37:00.160
<v Speaker 1>way that visually they sort of exploit their likeness is

0:37:00.200 --> 0:37:03.719
<v Speaker 1>really cool. Um. And also just that like even there's

0:37:03.719 --> 0:37:05.600
<v Speaker 1>somethings about Natie's performance of this movie, although I do

0:37:05.680 --> 0:37:08.520
<v Speaker 1>think she should have wanted her oscar for Jackie, But um,

0:37:08.719 --> 0:37:17.200
<v Speaker 1>thank you the same way. Wow, Okay, no, I mean

0:37:17.239 --> 0:37:22.520
<v Speaker 1>that in a good way. Um. The way that like

0:37:23.000 --> 0:37:26.080
<v Speaker 1>Natalie Portman changes her voice throughout the movie I think

0:37:26.200 --> 0:37:29.279
<v Speaker 1>is really like cool. And the scenes with her mom

0:37:29.360 --> 0:37:34.160
<v Speaker 1>she's like, I just want to dance and then sorry

0:37:34.160 --> 0:37:38.680
<v Speaker 1>about that, and then and then later she's like, I'm

0:37:38.719 --> 0:37:42.920
<v Speaker 1>the Swan queen. It's like, okay, okay, raise your voice.

0:37:44.440 --> 0:37:46.440
<v Speaker 1>That stuff I think is really cool, like how she

0:37:46.640 --> 0:37:51.040
<v Speaker 1>is playing with just like femininity and like womanhood in

0:37:51.120 --> 0:37:53.920
<v Speaker 1>terms of aging. Yeah, I mean, I like one of

0:37:53.960 --> 0:37:56.640
<v Speaker 1>the things that I like, didn't I definitely didn't catch

0:37:56.640 --> 0:37:58.360
<v Speaker 1>on the first few because in the first few I'm like,

0:37:58.400 --> 0:38:02.200
<v Speaker 1>this is good mental health and how I should act. Um.

0:38:02.239 --> 0:38:06.200
<v Speaker 1>But the you know, media is complicated. But um, you

0:38:06.239 --> 0:38:09.920
<v Speaker 1>were like what a romp. I'm like, wow, can't wait

0:38:09.960 --> 0:38:14.520
<v Speaker 1>to go to Balarie rehearsal tomorrow. But like the the

0:38:14.640 --> 0:38:18.719
<v Speaker 1>idea of um Melik, like Lily's character is the only

0:38:18.760 --> 0:38:22.960
<v Speaker 1>person in the entire movie, who ever calls out Thomas's

0:38:22.960 --> 0:38:27.400
<v Speaker 1>behavior for what it is, which is like creepy, manipulative, predatory.

0:38:27.600 --> 0:38:30.799
<v Speaker 1>She's the only person that ever explicitly says like what

0:38:30.880 --> 0:38:34.080
<v Speaker 1>he's doing is wrong and it's very obvious that it's wrong,

0:38:34.760 --> 0:38:37.200
<v Speaker 1>and the and and the fact that that is kind

0:38:37.239 --> 0:38:40.480
<v Speaker 1>of twisted. And then we see like his character, you know,

0:38:40.520 --> 0:38:43.759
<v Speaker 1>like Lily warns her, and there's a lot of warnings

0:38:43.800 --> 0:38:46.400
<v Speaker 1>for Nina that kind of goes unheeded in this movie,

0:38:46.440 --> 0:38:50.320
<v Speaker 1>but like Lily warrant her, Oh, he called Binoda Ryder

0:38:51.000 --> 0:38:53.600
<v Speaker 1>little princess. He'll be calling you a little princess any

0:38:53.680 --> 0:38:56.040
<v Speaker 1>day now, and not only important. And it's like, no,

0:38:56.200 --> 0:38:59.319
<v Speaker 1>I'm not like the other girls. I'm different. And Mila

0:38:59.400 --> 0:39:06.279
<v Speaker 1>Kunas is like she's like here ecstasy. And then and

0:39:06.320 --> 0:39:11.120
<v Speaker 1>then like twenty four seconds before Natalie Portman dies, he

0:39:11.160 --> 0:39:14.520
<v Speaker 1>calls her little princess. And so you see that the

0:39:14.560 --> 0:39:17.920
<v Speaker 1>only like male relationship that Nina ever has in this

0:39:18.080 --> 0:39:21.600
<v Speaker 1>entire movie is not about her at all, Like it's

0:39:21.680 --> 0:39:25.920
<v Speaker 1>just about his perception of what a woman and like

0:39:26.000 --> 0:39:28.359
<v Speaker 1>what the woman he needs to do this job should be,

0:39:28.800 --> 0:39:31.560
<v Speaker 1>and not who the person actually is, because he just

0:39:31.640 --> 0:39:36.320
<v Speaker 1>conflates when a writer with Natalie Portman and when Wina

0:39:36.400 --> 0:39:41.200
<v Speaker 1>Wrider turned thirty eight, he's like, okay, you have to

0:39:41.239 --> 0:39:44.440
<v Speaker 1>walk in front of a car. Now I need a

0:39:44.840 --> 0:39:47.600
<v Speaker 1>quote unquote twenty year old, you know like that, It's

0:39:47.680 --> 0:39:51.600
<v Speaker 1>it's it's very clear where he's coming from. And and

0:39:51.680 --> 0:39:54.319
<v Speaker 1>so I don't know, Yeah, I just I think this

0:39:54.360 --> 0:39:57.120
<v Speaker 1>movie is all time. But with that, I think something

0:39:57.160 --> 0:39:59.840
<v Speaker 1>that there's like a hint in the movie that Lily

0:40:00.040 --> 0:40:02.960
<v Speaker 1>is sleeping with Toma. There's one part where he's where

0:40:03.000 --> 0:40:04.600
<v Speaker 1>she's like, oh, I ran in him this morning, and

0:40:04.600 --> 0:40:08.040
<v Speaker 1>it's like it's six o'clock. What time was this morning? Um?

0:40:08.080 --> 0:40:12.000
<v Speaker 1>And then also Nina has like a hallucination where Toma

0:40:12.040 --> 0:40:13.719
<v Speaker 1>and she's like walking in on them having sex, but

0:40:13.719 --> 0:40:18.000
<v Speaker 1>then he turns into like the Rothbart thank you, um,

0:40:18.000 --> 0:40:21.960
<v Speaker 1>And it's almost like that. I mean, the thing I

0:40:22.000 --> 0:40:23.520
<v Speaker 1>don't like about this movie is that it's such a

0:40:23.760 --> 0:40:29.440
<v Speaker 1>like strict binary like Nina goddess, Lily whore. But I

0:40:29.480 --> 0:40:31.439
<v Speaker 1>think in a in a different way, it's like really

0:40:31.520 --> 0:40:33.879
<v Speaker 1>doesn't believe the things Thomas says about any of them.

0:40:33.920 --> 0:40:37.799
<v Speaker 1>She she understands inherently, like she's succeeding for reasons I

0:40:37.800 --> 0:40:39.600
<v Speaker 1>don't have anything to do with her, because he finds

0:40:39.600 --> 0:40:44.200
<v Speaker 1>her sufficiently fuckable, and that's something that like Nina never understands.

0:40:44.280 --> 0:40:46.520
<v Speaker 1>She believes everything that everyone tells her and tries to

0:40:46.560 --> 0:40:49.759
<v Speaker 1>meet everythinger perfection, and that is why she dies, but

0:40:49.800 --> 0:40:53.919
<v Speaker 1>also why she was a great Pallorina. So it's yeah,

0:40:54.000 --> 0:40:57.040
<v Speaker 1>like in terms of survival, this movie comes down firmly

0:40:57.120 --> 0:41:01.880
<v Speaker 1>like you've gotta be horror to live like pretty only

0:41:02.080 --> 0:41:05.600
<v Speaker 1>like only exactly when a man wants to have sex

0:41:05.640 --> 0:41:07.680
<v Speaker 1>with you, and then like the rest of the time,

0:41:07.880 --> 0:41:09.960
<v Speaker 1>it's like, well, I mean, it's just like Lily is

0:41:09.960 --> 0:41:12.200
<v Speaker 1>the only one who sees through his act and is

0:41:12.239 --> 0:41:15.160
<v Speaker 1>able to like thrive above it because she sees it

0:41:15.239 --> 0:41:18.040
<v Speaker 1>for what it is. She kind of, I guess, meets

0:41:18.080 --> 0:41:20.840
<v Speaker 1>him on his terms when she feels like she needs to,

0:41:21.280 --> 0:41:23.239
<v Speaker 1>and then when she doesn't, she's like, yeah, he's a

0:41:23.320 --> 0:41:27.160
<v Speaker 1>fucking like idiot, Like I I'm gonna do an extasye.

0:41:27.719 --> 0:41:31.480
<v Speaker 1>I don't, I don't care where where, Like you know,

0:41:31.600 --> 0:41:35.160
<v Speaker 1>like Nina's character is the like the virginal you know,

0:41:35.280 --> 0:41:37.279
<v Speaker 1>she still lives with her mom, and that's a whole

0:41:37.280 --> 0:41:40.760
<v Speaker 1>other discussion and and so this is like her first

0:41:40.840 --> 0:41:44.520
<v Speaker 1>male relationship, and so she's entering it from this kind

0:41:44.520 --> 0:41:47.440
<v Speaker 1>of like Disney Princess, like, Oh, this is he cares

0:41:47.480 --> 0:41:50.080
<v Speaker 1>about me. He must that this is everything that I've

0:41:50.120 --> 0:41:52.919
<v Speaker 1>been taught that this will be. And that like sort

0:41:52.960 --> 0:41:55.160
<v Speaker 1>of leads to her downfall is her thinking that he

0:41:55.200 --> 0:41:58.839
<v Speaker 1>would genuinely care about her. What I like is that

0:41:58.920 --> 0:42:02.239
<v Speaker 1>at the end she hears that he really never cared

0:42:02.280 --> 0:42:05.120
<v Speaker 1>about her the whole time when he calls her little princess.

0:42:05.760 --> 0:42:08.200
<v Speaker 1>But by that point she doesn't care because she has

0:42:08.239 --> 0:42:11.800
<v Speaker 1>succeeded in the way that she wanted to succeed, partially

0:42:11.880 --> 0:42:13.520
<v Speaker 1>for her. And then when you see her make like

0:42:13.560 --> 0:42:15.720
<v Speaker 1>eye contact with Barbara hershey, I'm like, and I guess

0:42:15.760 --> 0:42:20.960
<v Speaker 1>for her weird mom. H And so it is like,

0:42:21.680 --> 0:42:24.040
<v Speaker 1>as devastating as it is that she dies at the end,

0:42:24.280 --> 0:42:27.920
<v Speaker 1>you know that at least she is succeeded on her

0:42:27.960 --> 0:42:30.480
<v Speaker 1>own terms, and the only way that she could succeed

0:42:30.520 --> 0:42:34.440
<v Speaker 1>on her own terms, by this movie's logic, is to

0:42:34.760 --> 0:42:38.520
<v Speaker 1>collapse under all the pressure she's been under the whole time. Yeah,

0:42:39.960 --> 0:42:49.279
<v Speaker 1>bum bummer. We were talking about her and her mom

0:42:49.280 --> 0:42:50.880
<v Speaker 1>a little bit because I think that that is like

0:42:50.920 --> 0:42:54.600
<v Speaker 1>a really interesting dynamic. I mean, you don't get to

0:42:54.600 --> 0:42:57.879
<v Speaker 1>see a ton of like in depth mother daughter relationships

0:42:57.880 --> 0:43:02.160
<v Speaker 1>on screen really at all, and so you know, when

0:43:02.160 --> 0:43:05.040
<v Speaker 1>you get one, you're like, I hope it's really fucked up,

0:43:05.520 --> 0:43:08.719
<v Speaker 1>you know, I hope it's unhealthy, and I can't learn

0:43:08.760 --> 0:43:13.920
<v Speaker 1>anything from it. Um. That said, first of all, the

0:43:13.960 --> 0:43:16.880
<v Speaker 1>real star of the mother daughter dynamic in this movie,

0:43:16.960 --> 0:43:22.520
<v Speaker 1>I feel is that cake that she gets. Okay, I disagree,

0:43:22.560 --> 0:43:25.560
<v Speaker 1>but I like that. Oh, I like that cake. That's

0:43:25.560 --> 0:43:29.000
<v Speaker 1>when Barbara hers she gets, um, the two of them

0:43:29.560 --> 0:43:35.200
<v Speaker 1>sheet cake. When so Nina's mom gets Nina and her

0:43:35.560 --> 0:43:39.440
<v Speaker 1>the only people who live in that house, a gigantic,

0:43:40.239 --> 0:43:47.080
<v Speaker 1>like star market sheet cake when Nina okay, regional reference wrong, um,

0:43:47.239 --> 0:43:49.719
<v Speaker 1>but they get her a huge sheet cake when she

0:43:49.800 --> 0:43:52.640
<v Speaker 1>gets the part of a Swan queen. And then Nina's like,

0:43:52.760 --> 0:43:57.520
<v Speaker 1>as we know, everyone in this household is annarexic, and

0:43:57.640 --> 0:44:01.799
<v Speaker 1>Nina's mom says, well, fine, I'll throw it away and

0:44:01.840 --> 0:44:05.560
<v Speaker 1>like dramatically is about to whisk this fourteen dollar cake

0:44:05.600 --> 0:44:10.319
<v Speaker 1>into the trash and like that's the first gaslight we

0:44:10.440 --> 0:44:14.040
<v Speaker 1>see of this relationship. But I mean, I think that

0:44:14.360 --> 0:44:16.759
<v Speaker 1>like it would be kind of an easy read of

0:44:16.800 --> 0:44:20.680
<v Speaker 1>this relationship, because it's later revealed that Nina's mom was

0:44:20.840 --> 0:44:24.120
<v Speaker 1>also invested in being a ballerina, but had to drop

0:44:24.160 --> 0:44:27.200
<v Speaker 1>out of being involved in ballet when she got pregnant

0:44:27.320 --> 0:44:33.080
<v Speaker 1>with Nina. Therefore some very specific inherited trauma of I

0:44:33.200 --> 0:44:38.040
<v Speaker 1>can't be ballerina, so you am ballerina. Um, and we

0:44:38.080 --> 0:44:41.520
<v Speaker 1>don't deal with mental illness. We don't talk about it. Um. Yeah.

0:44:41.520 --> 0:44:45.680
<v Speaker 1>Her solution is stay in your room until you feel better. Well,

0:44:45.719 --> 0:44:49.080
<v Speaker 1>she's like, let me cut your nails too, with scissors,

0:44:49.160 --> 0:44:53.880
<v Speaker 1>with whatever is around. Um, And I thought I And

0:44:53.920 --> 0:44:57.000
<v Speaker 1>it's like I feel like like I originally when I

0:44:57.040 --> 0:44:58.839
<v Speaker 1>was rewatching this, I'm like, oh, I hope she's just

0:44:58.880 --> 0:45:02.320
<v Speaker 1>not reduced to I am like a jealous stage mom.

0:45:02.360 --> 0:45:04.680
<v Speaker 1>But I feel like the movie does do a little

0:45:04.719 --> 0:45:07.680
<v Speaker 1>more than that, where it is clear that she resents

0:45:07.680 --> 0:45:11.360
<v Speaker 1>her daughter for taking quote unquote and this is like

0:45:11.360 --> 0:45:13.799
<v Speaker 1>another commentary I feel like on the way the movie

0:45:13.880 --> 0:45:16.239
<v Speaker 1>deals with aging and how women are treated in this

0:45:16.360 --> 0:45:20.160
<v Speaker 1>specific world. But when you're a woman who's pregnant, you're

0:45:20.320 --> 0:45:24.040
<v Speaker 1>not useful to ballet, and so you're taken out and

0:45:24.080 --> 0:45:27.520
<v Speaker 1>she resents her daughter instead of the system that creates

0:45:27.600 --> 0:45:32.040
<v Speaker 1>that narrative. And then from there, what I like is

0:45:32.560 --> 0:45:34.439
<v Speaker 1>you like it would be easy to be like, why

0:45:34.520 --> 0:45:37.280
<v Speaker 1>is Nina's still there? You know, she's making her own living,

0:45:37.400 --> 0:45:40.480
<v Speaker 1>she's a ballerina, Like why wouldn't she stay? But we

0:45:40.600 --> 0:45:43.759
<v Speaker 1>learned because of Nina's past mental health problems, which is

0:45:43.800 --> 0:45:46.160
<v Speaker 1>like alluded to through the scratching and all these other

0:45:46.280 --> 0:45:51.839
<v Speaker 1>indicators that on top of being stage mom and resentful,

0:45:52.280 --> 0:45:55.520
<v Speaker 1>she's also trying to be a good mom by knowing

0:45:55.560 --> 0:45:58.720
<v Speaker 1>that her daughter has had these mental health breaks before

0:45:59.280 --> 0:46:01.600
<v Speaker 1>and feeling like someone needs to keep an eye on her.

0:46:01.719 --> 0:46:04.600
<v Speaker 1>And so I was worried on the rewatch that there

0:46:04.600 --> 0:46:08.200
<v Speaker 1>would be no grounded reason for Nina to stay and

0:46:08.280 --> 0:46:10.399
<v Speaker 1>no grounded reason for the mom to want to keep

0:46:10.400 --> 0:46:12.160
<v Speaker 1>her there. But I feel like that is kind of

0:46:12.200 --> 0:46:15.839
<v Speaker 1>provided of she She wants to protect her daughter, but

0:46:15.920 --> 0:46:18.319
<v Speaker 1>the way she protects her makes it more likely for

0:46:18.360 --> 0:46:20.840
<v Speaker 1>her to have a mental health break again, which I

0:46:20.840 --> 0:46:25.239
<v Speaker 1>don't know. Someone should call my mom about that, We

0:46:25.239 --> 0:46:28.040
<v Speaker 1>don't know. I love how much you're interrogating that that

0:46:28.120 --> 0:46:30.200
<v Speaker 1>specific choice, because I was like, oh, it's New York,

0:46:30.239 --> 0:46:31.759
<v Speaker 1>Like I bet it's too expensive for her to live

0:46:31.760 --> 0:46:35.000
<v Speaker 1>anywhere else. Um. But no, all of that is absolutely

0:46:35.000 --> 0:46:37.720
<v Speaker 1>true too. What I so your favorite set piece between

0:46:37.760 --> 0:46:41.439
<v Speaker 1>them was the cake? My favorite is when Nina walks in.

0:46:41.880 --> 0:46:44.759
<v Speaker 1>It's like sort of an open like living area where

0:46:44.880 --> 0:46:47.640
<v Speaker 1>Nina practices ballet. And then her mom has just like

0:46:47.680 --> 0:46:50.200
<v Speaker 1>all these portraits that she's painted of Nina. They're all

0:46:50.640 --> 0:46:56.520
<v Speaker 1>so and all that different styles. Did she take a class?

0:46:56.560 --> 0:47:00.879
<v Speaker 1>And and at one point the mom she like walks

0:47:00.880 --> 0:47:03.759
<v Speaker 1>into her mom just like sobbing and like painting a

0:47:03.760 --> 0:47:08.279
<v Speaker 1>photo of her, and it's like what okay, um? And

0:47:08.280 --> 0:47:10.839
<v Speaker 1>then later when she's like having another hauslation, she sees

0:47:10.880 --> 0:47:13.880
<v Speaker 1>all like these images of herself like done impost like

0:47:14.000 --> 0:47:16.440
<v Speaker 1>sobbing too, like streaming at her, and it's like, what

0:47:17.440 --> 0:47:19.840
<v Speaker 1>if if my mom painted anything, I'd be like stop

0:47:20.080 --> 0:47:23.719
<v Speaker 1>just I don't know who's no more? Um. But I

0:47:24.040 --> 0:47:25.560
<v Speaker 1>do think that that's like one of the most interesting

0:47:25.760 --> 0:47:28.080
<v Speaker 1>like frictions in the movies between it and her mom,

0:47:28.120 --> 0:47:30.759
<v Speaker 1>because later she says to when whenever her mom brings

0:47:30.880 --> 0:47:33.480
<v Speaker 1>up like, oh, I could have been a ballerina as

0:47:33.560 --> 0:47:35.040
<v Speaker 1>like as I could have been good as good as

0:47:35.120 --> 0:47:38.120
<v Speaker 1>you are, but I got pregnant and then under her

0:47:38.160 --> 0:47:39.799
<v Speaker 1>breath and just like okay, but you never made it

0:47:39.800 --> 0:47:43.600
<v Speaker 1>out of the core. And she's like, and you were

0:47:43.640 --> 0:47:48.920
<v Speaker 1>twenty eight because twenty eight is so old twenty year

0:47:48.920 --> 0:47:52.000
<v Speaker 1>old guys like, oh my god, right, and we're like okay,

0:47:52.080 --> 0:47:55.359
<v Speaker 1>Natalie Forman, Sure, I don't know. I feel like and

0:47:55.440 --> 0:47:58.400
<v Speaker 1>maybe this is just me, but I felt like the

0:47:59.000 --> 0:48:05.640
<v Speaker 1>mother character was characterized as being like pretty cartoony, like

0:48:05.640 --> 0:48:10.479
<v Speaker 1>like overbearing mom. I know, I know she is, but

0:48:10.520 --> 0:48:13.760
<v Speaker 1>they're also you have the reason, like you have the reasons,

0:48:13.880 --> 0:48:17.160
<v Speaker 1>and you also have the unreliable like I guess like

0:48:17.239 --> 0:48:18.759
<v Speaker 1>one of the things with this movie is you can

0:48:18.840 --> 0:48:22.120
<v Speaker 1>justify almost anything that happens in the movie of like, well,

0:48:22.360 --> 0:48:26.640
<v Speaker 1>Nina is an unreliable narrator, so it makes sense, like

0:48:26.840 --> 0:48:29.920
<v Speaker 1>you don't like the way she's seeing every character is

0:48:29.960 --> 0:48:33.200
<v Speaker 1>a little bit heightened. I guess you're supposed to assume

0:48:33.239 --> 0:48:37.040
<v Speaker 1>to what is actually happening true, And that's the case. Yeah,

0:48:37.080 --> 0:48:39.040
<v Speaker 1>I mean right, that's the case for all of her,

0:48:39.560 --> 0:48:43.000
<v Speaker 1>all of the female relationships in this movie. Because on

0:48:43.000 --> 0:48:46.040
<v Speaker 1>one hand, it might just be that Lily is trying

0:48:46.040 --> 0:48:47.880
<v Speaker 1>to reach out and be like, hey, I want to

0:48:47.920 --> 0:48:51.479
<v Speaker 1>be your friend. You seem cool. Uh, let's hang out.

0:48:52.040 --> 0:48:58.839
<v Speaker 1>But through Nina's kind of unraveling lens, she thinks that

0:48:58.960 --> 0:49:01.640
<v Speaker 1>Lily is trying to steal her part and replace her

0:49:01.800 --> 0:49:04.799
<v Speaker 1>and all this stuff. So still never quite clear to

0:49:04.840 --> 0:49:07.480
<v Speaker 1>me what is true there and what isn't It's not

0:49:07.600 --> 0:49:11.680
<v Speaker 1>clear right And then does everyone think, Okay, what do

0:49:11.680 --> 0:49:14.839
<v Speaker 1>you think Lily is trying to do? I feel like

0:49:14.920 --> 0:49:17.160
<v Speaker 1>she was just like being nice, but she didn't have

0:49:17.160 --> 0:49:19.440
<v Speaker 1>any of their friends because she was also so cool

0:49:19.480 --> 0:49:22.520
<v Speaker 1>with like the girls in the Core that were like

0:49:22.560 --> 0:49:24.960
<v Speaker 1>in the very first scene like mean to Nina, and

0:49:25.040 --> 0:49:32.280
<v Speaker 1>Nina was like she was and you why is she test?

0:49:33.200 --> 0:49:35.319
<v Speaker 1>There's so many there's so many scenes even at the

0:49:35.480 --> 0:49:38.400
<v Speaker 1>that Gallow, like Nina's in the bathroom, Lily comes in

0:49:38.440 --> 0:49:41.239
<v Speaker 1>and she like slips off her underpants. Why did she

0:49:41.320 --> 0:49:43.919
<v Speaker 1>do that? Because she's about to funk that guy? Oh

0:49:47.800 --> 0:49:52.399
<v Speaker 1>wait what guy I miss? Oh wait? Oh wait. Sebastian

0:49:52.640 --> 0:49:56.080
<v Speaker 1>stand is in this, but that was not Sash and

0:49:56.120 --> 0:49:58.279
<v Speaker 1>another that was a different that was a different, but

0:49:58.440 --> 0:50:03.399
<v Speaker 1>anyone could be Sebastian and really like I every time

0:50:03.440 --> 0:50:06.919
<v Speaker 1>Sebastian stands on screen, I'm like, is that who that is? Like?

0:50:07.520 --> 0:50:11.160
<v Speaker 1>I've never fully identified who that is. Did you did

0:50:11.160 --> 0:50:13.319
<v Speaker 1>you watch Girl? Do you wtch a gossip Girl when

0:50:13.320 --> 0:50:15.839
<v Speaker 1>you were younger? I did? Yeah, I did watch Gossip Girl.

0:50:15.880 --> 0:50:17.359
<v Speaker 1>And I still don't know who he is, like I

0:50:18.280 --> 0:50:22.160
<v Speaker 1>says abashion Stand and probably the majority of his projects,

0:50:22.200 --> 0:50:24.560
<v Speaker 1>and every time he shows up, I'm like, who, like?

0:50:26.080 --> 0:50:29.960
<v Speaker 1>That's his name? Is what? Like? And Caitlin texted me

0:50:30.000 --> 0:50:32.920
<v Speaker 1>today like, oh wow, did you spot Sebastian Stand? Because

0:50:33.200 --> 0:50:36.160
<v Speaker 1>I Tanya is my favorite movie and I'm just like,

0:50:36.200 --> 0:50:39.439
<v Speaker 1>I have no fucking clue who that man is there.

0:50:40.000 --> 0:50:42.880
<v Speaker 1>Sebastian Stand could be in the audience right now and

0:50:43.000 --> 0:50:45.680
<v Speaker 1>I could sebash him on my way to the bathroom.

0:50:45.920 --> 0:50:49.799
<v Speaker 1>I have no idea Christian are here, They're in the back,

0:50:49.960 --> 0:50:54.640
<v Speaker 1>their friend there's there? Who is Sebastian Stand? I'm sorry?

0:50:55.160 --> 0:50:57.759
<v Speaker 1>But then, okay, so we've got that we have the

0:50:58.080 --> 0:51:01.360
<v Speaker 1>mother daughter relationship, we have uh Nina and Lily, and

0:51:01.360 --> 0:51:03.839
<v Speaker 1>then we have like the Nina and Beth relationship, and

0:51:03.880 --> 0:51:08.239
<v Speaker 1>all of these relationships are poised as being antagonistic. But

0:51:08.280 --> 0:51:10.719
<v Speaker 1>like you said, can we write that off as just

0:51:10.760 --> 0:51:15.839
<v Speaker 1>being as Nina being an unreliable narrator? Or is this

0:51:15.880 --> 0:51:20.280
<v Speaker 1>movie written by men. Yeah, I do think Beth is pissed,

0:51:20.440 --> 0:51:23.520
<v Speaker 1>Like come on. Also, I like this sort of meta

0:51:23.640 --> 0:51:27.080
<v Speaker 1>idea that if this movie were made like twenty years earlier,

0:51:27.360 --> 0:51:29.799
<v Speaker 1>went on a ride would be like in the Nina role, right,

0:51:29.800 --> 0:51:33.400
<v Speaker 1>that's like such anti thing, um but I love that,

0:51:33.520 --> 0:51:37.080
<v Speaker 1>Like what is what does she say whenever they're at

0:51:37.080 --> 0:51:39.680
<v Speaker 1>the galup, like everyone is gone? Beth is like he

0:51:39.719 --> 0:51:43.200
<v Speaker 1>always thaid you were so frigid, and he was like what,

0:51:44.120 --> 0:51:47.960
<v Speaker 1>who didn't say that about me? It's like okay, but

0:51:47.960 --> 0:51:52.240
<v Speaker 1>then okay, so in that okay, uh, this relationship. Sorry,

0:51:52.320 --> 0:51:56.160
<v Speaker 1>let me find this in my copious notes here. Well,

0:51:56.200 --> 0:51:59.400
<v Speaker 1>but Beth is I feel like Beth Beth and Nina's

0:51:59.440 --> 0:52:02.840
<v Speaker 1>mom are used as the Like they're both used in

0:52:02.840 --> 0:52:06.439
<v Speaker 1>a way to comment on how age is perceived in

0:52:06.480 --> 0:52:09.120
<v Speaker 1>the ballet world. And then this movie, the bow let

0:52:09.200 --> 0:52:12.400
<v Speaker 1>world is supposed to be the world. Um so in

0:52:12.600 --> 0:52:16.439
<v Speaker 1>like Nina's mom's case, like she became pregnant and that's

0:52:16.480 --> 0:52:20.080
<v Speaker 1>what halted her career, and then in Winnoda writer's case,

0:52:20.560 --> 0:52:24.160
<v Speaker 1>she became thirty five and that's what halted her career.

0:52:24.760 --> 0:52:27.320
<v Speaker 1>And so they're both kind of being used to comment

0:52:27.360 --> 0:52:29.640
<v Speaker 1>on the same issue in a different way. And I

0:52:29.680 --> 0:52:31.839
<v Speaker 1>think also because Beth doesn't have a family or doesn't

0:52:31.880 --> 0:52:34.240
<v Speaker 1>have kids, and she's like still sort of sleeping with Toma,

0:52:34.280 --> 0:52:36.160
<v Speaker 1>It's like, well, there's literally nothing for you to do,

0:52:36.200 --> 0:52:38.440
<v Speaker 1>Like there's we can't even keep you around. We have

0:52:38.520 --> 0:52:41.640
<v Speaker 1>to literally create the circumstance for you to like be

0:52:41.760 --> 0:52:44.719
<v Speaker 1>pushed up. Yeah, that was like the one I think

0:52:44.760 --> 0:52:47.920
<v Speaker 1>relationship in the movie with Nina, Like with Nina that

0:52:48.040 --> 0:52:50.600
<v Speaker 1>I didn't get everything out of that I kind of

0:52:50.640 --> 0:52:52.839
<v Speaker 1>wanted to. That was the one relationship that I left

0:52:52.840 --> 0:52:56.600
<v Speaker 1>being like like Beth was a little under like they're

0:52:56.680 --> 0:52:59.600
<v Speaker 1>served right, because like kind of the beat by Be

0:53:00.120 --> 0:53:02.640
<v Speaker 1>situation with her story is that before we even see

0:53:02.640 --> 0:53:05.600
<v Speaker 1>her on screen, there are various characters being like, oh,

0:53:05.760 --> 0:53:09.200
<v Speaker 1>she's going through menopause and yeah, my grandma is a

0:53:09.200 --> 0:53:12.239
<v Speaker 1>good dancer to like, but talking shop on her for

0:53:12.280 --> 0:53:17.160
<v Speaker 1>her like for her aging, and Nina defends her, and

0:53:17.160 --> 0:53:20.440
<v Speaker 1>then we see her trashing her dressing room, presumably right

0:53:20.440 --> 0:53:22.960
<v Speaker 1>after she's been told that like she has to retire,

0:53:23.640 --> 0:53:27.040
<v Speaker 1>and then we see her drunk at the gala and

0:53:27.080 --> 0:53:30.680
<v Speaker 1>she calls Nina a whore. She's like, you sucked his

0:53:30.920 --> 0:53:34.759
<v Speaker 1>dick or whatever, and Nina's like, not all of us

0:53:34.840 --> 0:53:38.120
<v Speaker 1>have to, implying that Beth did have to. So she

0:53:38.160 --> 0:53:40.439
<v Speaker 1>had been defending her and now she's like, well, you're

0:53:40.520 --> 0:53:43.520
<v Speaker 1>the whore. And that's like the kind of like I

0:53:43.560 --> 0:53:45.920
<v Speaker 1>felt like the way that Beth acted in that scene.

0:53:46.160 --> 0:53:47.680
<v Speaker 1>That was like one of the moments where I'm like,

0:53:48.120 --> 0:53:53.960
<v Speaker 1>Beth more than anyone in this entire yala uh, like

0:53:54.800 --> 0:53:58.640
<v Speaker 1>Beth more than anyone here. Knows what Tomas's game is,

0:53:58.920 --> 0:54:01.879
<v Speaker 1>So why would she be victimizing a young woman when

0:54:01.920 --> 0:54:05.200
<v Speaker 1>she knows who the person doing it is? Like that was.

0:54:05.440 --> 0:54:07.319
<v Speaker 1>That was like one of the writing moments where I

0:54:07.480 --> 0:54:13.919
<v Speaker 1>was a little bit confused Nina for replacing her quote

0:54:14.000 --> 0:54:18.160
<v Speaker 1>unquote when she should be mad Atma, and she's been

0:54:18.200 --> 0:54:20.080
<v Speaker 1>there long enough that I feel like she would know

0:54:20.200 --> 0:54:23.000
<v Speaker 1>who to be mad at. So that was. But she's

0:54:23.040 --> 0:54:25.680
<v Speaker 1>not a perfect person, like no, and she's drunk, right.

0:54:26.440 --> 0:54:29.839
<v Speaker 1>But there's also another key moment that is, after Beth

0:54:29.880 --> 0:54:32.720
<v Speaker 1>trashes her room, Nina goes in and starts like picking

0:54:32.760 --> 0:54:35.160
<v Speaker 1>out her things that she takes her lipstick and like

0:54:35.160 --> 0:54:39.480
<v Speaker 1>her nail file and her earrings. Those her earrings. Yeah,

0:54:39.560 --> 0:54:42.040
<v Speaker 1>And I think that is like it adds another of

0:54:42.040 --> 0:54:45.440
<v Speaker 1>complexity that sort of Nina's trying on this persona I

0:54:45.480 --> 0:54:48.799
<v Speaker 1>think serves subconsciously she wants to be or at least

0:54:48.800 --> 0:54:51.200
<v Speaker 1>have Beth's status, but doesn't understand how to use it

0:54:51.320 --> 0:54:53.600
<v Speaker 1>or what it means. And that's why she's like, well,

0:54:53.600 --> 0:54:56.240
<v Speaker 1>not all of us have to and best like bitch

0:54:56.680 --> 0:55:00.680
<v Speaker 1>do and I like that. It's a another example of

0:55:00.719 --> 0:55:03.080
<v Speaker 1>Nina like having no clue what she's actually doing or

0:55:03.080 --> 0:55:05.400
<v Speaker 1>how to meet the expectations of like a man that

0:55:05.600 --> 0:55:09.360
<v Speaker 1>is awful, and that's like kind of ultimately what the

0:55:09.480 --> 0:55:12.880
<v Speaker 1>Beth character is. It's like narratively, she's supposed to be

0:55:12.920 --> 0:55:16.040
<v Speaker 1>like a warning to Nina of like, if you're not

0:55:16.200 --> 0:55:19.680
<v Speaker 1>careful and if you don't treat yourself specifically and not

0:55:19.760 --> 0:55:23.920
<v Speaker 1>the craft you're in carefully, you will end up like this.

0:55:24.040 --> 0:55:26.359
<v Speaker 1>If you trust Tomas, this is where you'll end up.

0:55:26.960 --> 0:55:31.800
<v Speaker 1>And she kind of ignores that and blames Beth versus

0:55:31.840 --> 0:55:34.400
<v Speaker 1>this like the system that made Beth the way she was.

0:55:35.200 --> 0:55:38.719
<v Speaker 1>And then Nina, you know, dies ten years earlier than

0:55:38.800 --> 0:55:42.359
<v Speaker 1>Beeth does. And Nina is a snob though because how

0:55:42.360 --> 0:55:44.880
<v Speaker 1>she's raised by her mom, like she's been raised to

0:55:44.920 --> 0:55:48.320
<v Speaker 1>look down upon Ballerina's like Beth, who are getting older,

0:55:48.320 --> 0:55:51.399
<v Speaker 1>but who also didn't exist purely on talent the way

0:55:51.440 --> 0:55:54.279
<v Speaker 1>that she thinks that she has, which we don't know

0:55:54.320 --> 0:55:58.920
<v Speaker 1>if she I mean, it's like it's it's confusing. Um,

0:55:59.360 --> 0:56:01.359
<v Speaker 1>there there's a quick So one of the I think

0:56:01.400 --> 0:56:03.920
<v Speaker 1>the big things to talk about here that I just

0:56:03.960 --> 0:56:06.880
<v Speaker 1>want to get out while we have time is the

0:56:07.560 --> 0:56:11.040
<v Speaker 1>mental health themes going on here, because there's a lot

0:56:11.080 --> 0:56:14.200
<v Speaker 1>going on and and I was trying to do some

0:56:14.239 --> 0:56:16.440
<v Speaker 1>research into like how is it received at the time

0:56:16.560 --> 0:56:19.560
<v Speaker 1>versus now? And it's kind of all over the place.

0:56:20.080 --> 0:56:23.600
<v Speaker 1>So my view of this movie's treatment of mental health

0:56:23.680 --> 0:56:26.799
<v Speaker 1>has changed as well. But um, at the time and

0:56:26.960 --> 0:56:31.880
<v Speaker 1>sort of into the current day, that being now I'm sorry,

0:56:32.760 --> 0:56:36.680
<v Speaker 1>I'm sorry, I have to pee. Um, it's kind of

0:56:36.719 --> 0:56:39.080
<v Speaker 1>all over the place, and and it seems like that

0:56:39.280 --> 0:56:42.759
<v Speaker 1>is kind of intentionally done. So the symptoms that we

0:56:42.800 --> 0:56:46.560
<v Speaker 1>see Nina display are never explicitly named as any specific

0:56:46.880 --> 0:56:51.279
<v Speaker 1>mental health issue, which I usually feel is a good

0:56:51.320 --> 0:56:54.839
<v Speaker 1>thing because when you see a movie say this is

0:56:55.160 --> 0:56:59.680
<v Speaker 1>bipolar disorder, this is schizophrenia, like this is whatever, generally

0:56:59.719 --> 0:57:03.680
<v Speaker 1>what they portraying is not accurate and then like creates

0:57:03.680 --> 0:57:07.440
<v Speaker 1>a stigma against that condition that isn't even based in fact,

0:57:07.640 --> 0:57:10.680
<v Speaker 1>and usually like conflates it like with violent behavior or

0:57:10.680 --> 0:57:13.399
<v Speaker 1>does something to demonize it. So that is one thing

0:57:13.520 --> 0:57:17.720
<v Speaker 1>that this movie conflates mental illness in a general sense

0:57:18.040 --> 0:57:23.120
<v Speaker 1>with violence, where like when Nina, like, the more Nina

0:57:23.200 --> 0:57:25.840
<v Speaker 1>descends into mental illness, the more violent we see her

0:57:26.000 --> 0:57:30.480
<v Speaker 1>become towards other people and or herself or does it

0:57:30.760 --> 0:57:34.160
<v Speaker 1>like we don't know violence towards something. It's like mental

0:57:34.200 --> 0:57:36.760
<v Speaker 1>illness and violence are treated kind of as one and

0:57:36.800 --> 0:57:39.880
<v Speaker 1>the same as it gets worse, but it's not treated

0:57:39.920 --> 0:57:42.120
<v Speaker 1>as one thing. Which is it? Which is positive? So

0:57:42.160 --> 0:57:45.560
<v Speaker 1>I was looking up, um, how have mental health organizations

0:57:45.560 --> 0:57:48.360
<v Speaker 1>treated this movie? And I found a couple of things. Um,

0:57:48.600 --> 0:57:52.640
<v Speaker 1>the first being from the Psychological Care and Healing Center,

0:57:53.240 --> 0:57:56.080
<v Speaker 1>and they said quote. While the movie does an excellent

0:57:56.160 --> 0:57:59.840
<v Speaker 1>job of portraying the terror related to psychosis, there is

0:57:59.880 --> 0:58:02.720
<v Speaker 1>a large amount of artistic license taken by the movie.

0:58:03.320 --> 0:58:06.720
<v Speaker 1>There are simply too many psychological issues going on with Nina.

0:58:07.080 --> 0:58:11.040
<v Speaker 1>She shows elements of an anxiety disorder with obsessive compulsive behaviors.

0:58:11.080 --> 0:58:14.680
<v Speaker 1>She also manifests self injurious behavior and some sides of

0:58:14.720 --> 0:58:17.360
<v Speaker 1>an eating disorder. She dabbles with substance of us, and

0:58:17.440 --> 0:58:20.880
<v Speaker 1>she has psychotic breaks, if not outright psychosis. A case

0:58:20.880 --> 0:58:23.920
<v Speaker 1>could also be made for a personality disorder. It is

0:58:24.000 --> 0:58:26.840
<v Speaker 1>highly unlikely that all of these elements could coexist in

0:58:26.880 --> 0:58:30.560
<v Speaker 1>one person, especially someone performing as a ballerina at such

0:58:30.600 --> 0:58:34.200
<v Speaker 1>a high level. So basically all of that to say, like,

0:58:34.440 --> 0:58:37.480
<v Speaker 1>the writers and directors of this movie are taking kind

0:58:37.480 --> 0:58:43.240
<v Speaker 1>of like a general sampler platter of mental illness and

0:58:43.360 --> 0:58:49.680
<v Speaker 1>taking appetizers as needed to serve the narrative, which I like,

0:58:49.800 --> 0:58:52.960
<v Speaker 1>which I mean, it's complicated, but as long as they

0:58:53.040 --> 0:58:56.520
<v Speaker 1>don't name, as long as they're not demonizing a specific

0:58:56.560 --> 0:59:01.640
<v Speaker 1>mental illness, I am more a to like understand why

0:59:01.680 --> 0:59:04.280
<v Speaker 1>they're doing it. And there's also been there were also,

0:59:04.400 --> 0:59:06.680
<v Speaker 1>like in two thousand Tents of people like why don't

0:59:06.680 --> 0:59:09.720
<v Speaker 1>we see Nina getting help? I'm like, that's a different movie.

0:59:10.240 --> 0:59:13.480
<v Speaker 1>That's just who's going to get Nina help in this movie?

0:59:14.160 --> 0:59:21.520
<v Speaker 1>Her support now Moronica, no right, everyone around her again

0:59:21.680 --> 0:59:25.120
<v Speaker 1>with the whole unreliable narrator thing, it's either people who

0:59:25.240 --> 0:59:30.840
<v Speaker 1>are gaslighting her or not or like, because I mean

0:59:30.880 --> 0:59:34.880
<v Speaker 1>with Lily is she is she emotionally manipulating her or

0:59:34.920 --> 0:59:37.360
<v Speaker 1>is she just trying to be a friend And we

0:59:37.440 --> 0:59:40.280
<v Speaker 1>don't know because I'm with Hunter there, I think she's

0:59:40.320 --> 0:59:42.560
<v Speaker 1>trying to be a friend. I think he's try friend,

0:59:42.600 --> 0:59:44.440
<v Speaker 1>but I think she's also like, you know, has her

0:59:44.480 --> 0:59:48.280
<v Speaker 1>own set of issues and it's like not really able.

0:59:48.360 --> 0:59:49.880
<v Speaker 1>But at the same time, that's all I think the

0:59:49.880 --> 0:59:53.760
<v Speaker 1>fact that this is so specifically limited to the ballet world,

0:59:53.920 --> 0:59:55.560
<v Speaker 1>and like we don't really get a chance to see

0:59:55.600 --> 0:59:57.760
<v Speaker 1>Nina outside of this context. It's like these are her

0:59:57.800 --> 1:00:00.600
<v Speaker 1>co workers. They don't really know what was on with

1:00:00.640 --> 1:00:02.800
<v Speaker 1>her outside of rehearsal. And I think that sort of

1:00:02.800 --> 1:00:05.800
<v Speaker 1>has an effect too, that this girl is like trying

1:00:05.800 --> 1:00:07.440
<v Speaker 1>to be this room, meaning Lily is like trying to

1:00:07.440 --> 1:00:10.440
<v Speaker 1>be her friend, like friendly, but not a close friend

1:00:10.480 --> 1:00:15.880
<v Speaker 1>to like really engage. She doesn't slip an ecstasy into

1:00:15.920 --> 1:00:20.960
<v Speaker 1>her drink. I was gonna say she's like kiss Sebashton

1:00:21.040 --> 1:00:27.360
<v Speaker 1>stand she or does she? Or who could say? We

1:00:27.400 --> 1:00:30.760
<v Speaker 1>don't know. It's all very unclear what goes on with

1:00:31.200 --> 1:00:34.800
<v Speaker 1>Nina and Lily, and that leads all the way up

1:00:34.920 --> 1:00:40.040
<v Speaker 1>to the queer bedding of a generation, which I was

1:00:40.560 --> 1:00:43.400
<v Speaker 1>very bated by. I was like, I was the worm

1:00:43.480 --> 1:00:48.160
<v Speaker 1>was there. I was like, how like I the bait

1:00:48.280 --> 1:00:51.280
<v Speaker 1>was there. I took the bait. Whoop. I was like, Yes,

1:00:51.360 --> 1:00:53.920
<v Speaker 1>this is the best thing that's ever happened. I remember,

1:00:53.960 --> 1:00:56.400
<v Speaker 1>like I that scene. You know. I feel like for

1:00:56.440 --> 1:00:59.080
<v Speaker 1>every generation there's a scene that you're like, oh, like

1:00:59.480 --> 1:01:02.800
<v Speaker 1>for a couple of years before us, mine was muhlland

1:01:02.880 --> 1:01:09.280
<v Speaker 1>drive anyone murmuring there there the first like when Mila

1:01:09.360 --> 1:01:12.880
<v Speaker 1>Kunas looks up from eating out Natalie Portman. We're like like,

1:01:13.040 --> 1:01:17.240
<v Speaker 1>it's just like it's very like and it still works

1:01:17.240 --> 1:01:20.880
<v Speaker 1>for me to this time, Like I know we're not

1:01:20.880 --> 1:01:26.680
<v Speaker 1>supposed to do this, but like, wow, it's very exciting. Um,

1:01:26.840 --> 1:01:31.440
<v Speaker 1>what were we thinking about queery queer baiting? Um, it

1:01:31.520 --> 1:01:35.720
<v Speaker 1>doesn't Okay, no, this is what we were saying. Okay. Uh.

1:01:35.840 --> 1:01:39.360
<v Speaker 1>The issue with with this scene is that we see

1:01:39.360 --> 1:01:42.760
<v Speaker 1>it and we're like, wow, wow, Wow, you know this

1:01:42.840 --> 1:01:45.000
<v Speaker 1>is I need to call my boyfriend and tell him

1:01:45.120 --> 1:01:49.160
<v Speaker 1>something that's going on with me. Um. But but the

1:01:49.440 --> 1:01:54.200
<v Speaker 1>issue is that this scene canonically does not happen that

1:01:54.320 --> 1:01:58.920
<v Speaker 1>we know, but like we're led to believe. I want

1:01:58.960 --> 1:02:02.160
<v Speaker 1>to believe it happens, but like doesn't like it seems

1:02:02.160 --> 1:02:05.840
<v Speaker 1>like it doesn't happen, and that's where the baiting if

1:02:05.880 --> 1:02:10.720
<v Speaker 1>word to believe Mila Kunas's character, it does not happen, right, right,

1:02:11.000 --> 1:02:13.800
<v Speaker 1>and she's the more reliable of the two characters, or

1:02:13.960 --> 1:02:19.920
<v Speaker 1>is she? You're right? I feel better. I was gonna say,

1:02:19.960 --> 1:02:22.760
<v Speaker 1>I think the movie itself, whenever Nina goes back to

1:02:22.760 --> 1:02:25.439
<v Speaker 1>the apartment, we only see her talking to her mom,

1:02:25.440 --> 1:02:27.600
<v Speaker 1>and her mom doesn't even acknowledge that there's someone else there,

1:02:28.240 --> 1:02:32.040
<v Speaker 1>and the Lily character like like walks in and then hides,

1:02:32.160 --> 1:02:34.680
<v Speaker 1>like goes into INA's room. You know, I think that's

1:02:34.720 --> 1:02:36.480
<v Speaker 1>just like for the evidence that Lily is right. Yeah,

1:02:36.480 --> 1:02:38.480
<v Speaker 1>I kind of feel like they kind of do a

1:02:38.520 --> 1:02:42.960
<v Speaker 1>little checking on you. They're like, oh, Bruce Willis never

1:02:43.080 --> 1:02:46.600
<v Speaker 1>does talk directly to anybody, does he? Like? Yeah, like

1:02:46.680 --> 1:02:50.480
<v Speaker 1>Lily never directly speaks to I mean, I guess we

1:02:50.520 --> 1:02:52.919
<v Speaker 1>don't know why Nina's mom went to the door. Maybe

1:02:52.960 --> 1:02:55.840
<v Speaker 1>it was like a postmate. No, She's like, where have

1:02:55.880 --> 1:02:59.120
<v Speaker 1>you been? You have a thing tomorrow? Oh, I think

1:02:59.200 --> 1:03:03.600
<v Speaker 1>that seems that that moment she Lily does show up, yes,

1:03:03.640 --> 1:03:07.920
<v Speaker 1>but when when she comes in, But when she comes

1:03:07.920 --> 1:03:13.880
<v Speaker 1>like she's not actually where and she's like she's not, like,

1:03:14.080 --> 1:03:16.920
<v Speaker 1>who's this other lady. She doesn't say that because Lily,

1:03:17.240 --> 1:03:26.520
<v Speaker 1>I guess, is not there is not that I'm sorry, No,

1:03:26.680 --> 1:03:30.680
<v Speaker 1>don't apologize. I just I like that scene very clearly

1:03:30.880 --> 1:03:33.920
<v Speaker 1>is batty and not Cannon. But I wanted to be Cannon.

1:03:34.040 --> 1:03:37.240
<v Speaker 1>So there is I hit my tooth and the mic

1:03:37.400 --> 1:03:43.240
<v Speaker 1>I um yeah. So so that like that whole scene

1:03:43.680 --> 1:03:47.320
<v Speaker 1>is very kind of bizarre in the way that I

1:03:47.360 --> 1:03:49.680
<v Speaker 1>feel like it's just one of those moments of like

1:03:49.760 --> 1:03:53.240
<v Speaker 1>Aeronofski is trying to have it always of like he

1:03:53.320 --> 1:03:56.760
<v Speaker 1>wants to have the trailer moment of Natalie Portman and

1:03:56.840 --> 1:03:59.400
<v Speaker 1>Mila Kunas are kissing. You're gonna want to see this movie.

1:03:59.440 --> 1:04:02.920
<v Speaker 1>It's gonna make a lot of money, you know, and

1:04:02.960 --> 1:04:05.480
<v Speaker 1>like don't think too hard about the themes, like give

1:04:05.520 --> 1:04:09.080
<v Speaker 1>me eleven dollars, like and in that way, I think

1:04:09.120 --> 1:04:13.800
<v Speaker 1>it succeeded because that's what got me there. And but

1:04:13.800 --> 1:04:16.200
<v Speaker 1>but I mean those sort of baiting scenes are are

1:04:16.440 --> 1:04:20.880
<v Speaker 1>rooted in in history of scenes that depict queerness but

1:04:20.920 --> 1:04:24.600
<v Speaker 1>then are later majorly backpedaled on of like well that

1:04:24.640 --> 1:04:28.120
<v Speaker 1>didn't actually happen, or like some other way of negating

1:04:28.680 --> 1:04:31.800
<v Speaker 1>the actual scene that was heavily marketed as a big

1:04:32.080 --> 1:04:37.120
<v Speaker 1>part of the movie. So that's a bummer. There's also

1:04:37.240 --> 1:04:40.080
<v Speaker 1>that quick moment where Lily when they're at the club

1:04:40.240 --> 1:04:45.520
<v Speaker 1>with Sebastian Stan and some other guy, she's like, Hey,

1:04:45.560 --> 1:04:50.600
<v Speaker 1>these guys are gay lovers and they're like what and

1:04:51.040 --> 1:04:53.160
<v Speaker 1>they kind of breeze past it. So at least you

1:04:53.200 --> 1:04:56.439
<v Speaker 1>don't have like these straight guys being like, oh, we're

1:04:56.480 --> 1:05:00.920
<v Speaker 1>not gay. But that's just But that's just because we're

1:05:00.960 --> 1:05:03.840
<v Speaker 1>led to believe that Natalie apartment is screaming in this

1:05:03.920 --> 1:05:07.800
<v Speaker 1>bar like to everybody and then like, Hi, kiss me,

1:05:07.920 --> 1:05:10.640
<v Speaker 1>kiss me, you're gay? Kiss me? Like like she's just

1:05:10.680 --> 1:05:13.560
<v Speaker 1>like all over. I don't know what's supposed to be happening.

1:05:13.720 --> 1:05:18.439
<v Speaker 1>I don't know. Um, can we talk about that scene? Oh?

1:05:18.480 --> 1:05:22.040
<v Speaker 1>And then the other like then what happens is, Um,

1:05:22.280 --> 1:05:25.360
<v Speaker 1>Sebastian stands says, oh, I've never been to the ballet

1:05:25.680 --> 1:05:29.040
<v Speaker 1>and then Lily goes, well, then you're definitely not gay,

1:05:29.080 --> 1:05:34.000
<v Speaker 1>and it's like, why is the scene in the movie. Um,

1:05:34.080 --> 1:05:38.600
<v Speaker 1>can we talk about the like the predatory relationship between

1:05:39.160 --> 1:05:44.560
<v Speaker 1>Toma and Nina, because this is another part of the

1:05:44.560 --> 1:05:48.000
<v Speaker 1>movie that I really struggle with because on one hand,

1:05:48.120 --> 1:05:53.240
<v Speaker 1>it's depicting a predatory situation where you know, he has

1:05:53.320 --> 1:05:56.240
<v Speaker 1>the power, he's making, he's calling the shots. He is

1:05:56.280 --> 1:06:01.360
<v Speaker 1>who determines who gets certain roles, and she is kind

1:06:01.360 --> 1:06:05.440
<v Speaker 1>of like powerless to she has to kind of succumb

1:06:05.520 --> 1:06:10.880
<v Speaker 1>to his authority and power and he manipulates her based

1:06:10.880 --> 1:06:14.640
<v Speaker 1>on this power dynamic or this power and balance. But

1:06:15.440 --> 1:06:18.480
<v Speaker 1>what what I don't like to see necessarily, even though

1:06:18.480 --> 1:06:22.120
<v Speaker 1>it might be realistic, is that she is punished at

1:06:22.120 --> 1:06:25.440
<v Speaker 1>the end and he is not. She is punished because

1:06:25.480 --> 1:06:33.280
<v Speaker 1>she is dead and he and that. Again, it might

1:06:33.320 --> 1:06:36.760
<v Speaker 1>be a realistic depiction of how these predatory relationships often go,

1:06:37.800 --> 1:06:41.680
<v Speaker 1>but it's just another reason this movie really bums me out.

1:06:42.320 --> 1:06:45.520
<v Speaker 1>But I think it's I think that, like, misogyny is

1:06:45.560 --> 1:06:53.800
<v Speaker 1>a bummer, men, abusing power is for sure a bummer.

1:06:56.440 --> 1:07:01.440
<v Speaker 1>But it happened. Why we're sitting here, you know, Like

1:07:01.800 --> 1:07:04.560
<v Speaker 1>I I just I don't know. I feel I agree

1:07:04.640 --> 1:07:06.720
<v Speaker 1>with you, and I like, I don't think that there's

1:07:06.800 --> 1:07:09.800
<v Speaker 1>really an empowering message to take away from this movie.

1:07:10.040 --> 1:07:12.200
<v Speaker 1>But I also don't think that that's what it's trying

1:07:12.280 --> 1:07:14.440
<v Speaker 1>to do. I feel like it's more trying to demonstrate

1:07:14.760 --> 1:07:19.120
<v Speaker 1>if you fold to every pressure being forced on you

1:07:19.600 --> 1:07:23.520
<v Speaker 1>by whatever system you're existing in, it will crush you.

1:07:23.600 --> 1:07:25.840
<v Speaker 1>And and so then you have to leave the theater

1:07:25.920 --> 1:07:28.000
<v Speaker 1>being like, well, what are my other options? You know?

1:07:28.120 --> 1:07:31.400
<v Speaker 1>Like I just I felt like and and and some

1:07:31.520 --> 1:07:34.160
<v Speaker 1>of the criticism I was reading that was like kind

1:07:34.160 --> 1:07:37.000
<v Speaker 1>of when it was coming out ten years ago, was

1:07:37.360 --> 1:07:43.280
<v Speaker 1>that it was weirdly revolutionary in to see a man

1:07:43.400 --> 1:07:47.040
<v Speaker 1>that you knew abusing you. That was like in your

1:07:47.080 --> 1:07:51.200
<v Speaker 1>workplace where so often and I feel like, um, something

1:07:51.200 --> 1:07:52.960
<v Speaker 1>that came out around the same time as like Girl

1:07:52.960 --> 1:07:55.400
<v Speaker 1>with the Dragon Tattoo, I think came out a year later,

1:07:55.720 --> 1:07:58.320
<v Speaker 1>where you see a very clear sexual predator who's a

1:07:58.360 --> 1:08:00.840
<v Speaker 1>total stranger. And I feel like that is mostly the

1:08:00.920 --> 1:08:06.760
<v Speaker 1>way the predators are portrayed in fiction is like, a

1:08:06.760 --> 1:08:09.440
<v Speaker 1>sexual predator is someone you don't know. A sexual predator

1:08:09.560 --> 1:08:12.760
<v Speaker 1>someone who sneaks up on you and like you, you

1:08:12.840 --> 1:08:14.840
<v Speaker 1>won't there's no way to prepare for it, there's no

1:08:14.880 --> 1:08:17.280
<v Speaker 1>way to recognize it in the world that you live in.

1:08:17.400 --> 1:08:21.360
<v Speaker 1>And black Swan very clearly places it like this is

1:08:21.360 --> 1:08:23.320
<v Speaker 1>a person she knows, This is a person who has

1:08:23.320 --> 1:08:27.559
<v Speaker 1>a clear motive for like weaponizing his power against her.

1:08:28.160 --> 1:08:31.040
<v Speaker 1>And it's not comfortable to see, but it is realistic,

1:08:31.320 --> 1:08:34.760
<v Speaker 1>like and and and I feel like, you know, you

1:08:34.880 --> 1:08:37.639
<v Speaker 1>see it dealt with by a number of different women.

1:08:37.800 --> 1:08:42.160
<v Speaker 1>You see that Nina is not fully prepared on how

1:08:42.200 --> 1:08:45.040
<v Speaker 1>to deal with it because he is the patriarch in

1:08:45.040 --> 1:08:47.719
<v Speaker 1>this situation and she, as far as we know, doesn't

1:08:47.760 --> 1:08:50.760
<v Speaker 1>have any other relationships to compare it with. We see

1:08:50.920 --> 1:08:54.720
<v Speaker 1>that Lily sees it and has seen it before, and

1:08:54.720 --> 1:08:57.800
<v Speaker 1>it's like, this is bullshit. I'm not gonna deal with

1:08:57.840 --> 1:09:01.080
<v Speaker 1>this beyond what I have to. And I don't know,

1:09:01.160 --> 1:09:03.800
<v Speaker 1>I mean, I think it's an uncomfortable portrayal, but it

1:09:03.840 --> 1:09:08.360
<v Speaker 1>feels like realistic, if a little melodramatic at moments, to

1:09:08.560 --> 1:09:14.120
<v Speaker 1>like things that exist. And I appreciate it on that level, sure,

1:09:14.479 --> 1:09:17.000
<v Speaker 1>I mean, yeah, as much as it's like demonstrating like

1:09:17.040 --> 1:09:19.920
<v Speaker 1>the societal pressures that are happening here, like with misogyny,

1:09:19.960 --> 1:09:22.240
<v Speaker 1>I think it's also Nina has been raised in this

1:09:22.320 --> 1:09:24.840
<v Speaker 1>culture that makes her want to please him and want

1:09:24.880 --> 1:09:29.599
<v Speaker 1>to bend herself and fit to to fit his idea

1:09:29.640 --> 1:09:32.439
<v Speaker 1>that oh, the black Swan needs to be like black

1:09:32.479 --> 1:09:34.200
<v Speaker 1>and white want need to be one person. It's like, no,

1:09:34.280 --> 1:09:37.559
<v Speaker 1>they don't though, like this is just what he has decided,

1:09:37.600 --> 1:09:40.360
<v Speaker 1>and so she is like working her very hardest to

1:09:40.439 --> 1:09:44.280
<v Speaker 1>meet that you know made up expectation um. And also

1:09:44.360 --> 1:09:47.240
<v Speaker 1>something that I was reading just today was that at

1:09:47.240 --> 1:09:50.160
<v Speaker 1>the time it came out, Bencey Cassel was asked like,

1:09:50.200 --> 1:09:51.800
<v Speaker 1>do you think that he's like trying to get late?

1:09:51.800 --> 1:09:53.880
<v Speaker 1>And even though they we're talking that, we're talking about

1:09:53.960 --> 1:09:56.680
<v Speaker 1>this character now, the way it has evolved in the

1:09:56.680 --> 1:09:59.160
<v Speaker 1>ten years since the movie came out is so like

1:09:59.560 --> 1:10:02.639
<v Speaker 1>a star honeshing, like we are able to think about Okay, well,

1:10:02.680 --> 1:10:04.760
<v Speaker 1>he is obviously in power. She lives in this kind

1:10:04.760 --> 1:10:06.960
<v Speaker 1>of culture like we live in society, but she lives

1:10:06.960 --> 1:10:12.000
<v Speaker 1>in the core. Um. But he was asked like, oh,

1:10:12.080 --> 1:10:13.720
<v Speaker 1>do you think that like he's like trying to get

1:10:13.800 --> 1:10:15.479
<v Speaker 1>laid or what do you think it is? And he's like, no,

1:10:15.520 --> 1:10:17.680
<v Speaker 1>I think it's like more of like an artistic calculus

1:10:17.680 --> 1:10:19.880
<v Speaker 1>on his part. He doesn't really care about her. He

1:10:19.960 --> 1:10:24.519
<v Speaker 1>just like wants this happened right. But I think it

1:10:24.720 --> 1:10:29.799
<v Speaker 1>is like such a warped idea of art and artists

1:10:29.840 --> 1:10:33.360
<v Speaker 1>and also power that we can see much more clearly

1:10:33.400 --> 1:10:35.920
<v Speaker 1>now then obviously when this movie came out. That's something

1:10:36.000 --> 1:10:38.200
<v Speaker 1>that I came up against. Also in the way that

1:10:38.280 --> 1:10:41.720
<v Speaker 1>Aronofsky was giving interviews around this time too, of it

1:10:41.880 --> 1:10:44.160
<v Speaker 1>seems like, at least at this time, and we don't

1:10:44.200 --> 1:10:47.200
<v Speaker 1>know how he feels in the age of Mother, Like,

1:10:47.280 --> 1:10:51.520
<v Speaker 1>we don't know how he how he's evolved, how his scarves,

1:10:51.560 --> 1:10:55.080
<v Speaker 1>the colors have maybe changed, We don't know. Um. You know,

1:10:55.200 --> 1:10:58.080
<v Speaker 1>Jennifer Lawrence married a man named Cook Maroney. You know,

1:10:58.160 --> 1:11:01.000
<v Speaker 1>anything could happen in this world. A lot of Cook

1:11:01.040 --> 1:11:06.960
<v Speaker 1>Moroney heads. Fine, Um, but he's at the show. We

1:11:07.040 --> 1:11:10.840
<v Speaker 1>invite Cook Morone to the show. Um, but no. The

1:11:10.880 --> 1:11:13.439
<v Speaker 1>way that um Aronofsky talked about it at the time

1:11:13.560 --> 1:11:17.080
<v Speaker 1>was very much like it almost felt like his thesis

1:11:17.120 --> 1:11:19.920
<v Speaker 1>in some way. It was criticism something with things we've

1:11:19.960 --> 1:11:22.680
<v Speaker 1>been talking about, but it was also that by his

1:11:22.960 --> 1:11:27.160
<v Speaker 1>vision that you couldn't have art without some sort of

1:11:27.439 --> 1:11:32.520
<v Speaker 1>mental you know, like something happening, like a mental compromise. Yeah, exactly,

1:11:32.560 --> 1:11:35.720
<v Speaker 1>like you can't have great art without a mental compromise.

1:11:36.080 --> 1:11:37.960
<v Speaker 1>And that was sort of the way he was giving

1:11:37.960 --> 1:11:41.240
<v Speaker 1>interviews at this time, and something like there there were

1:11:41.960 --> 1:11:44.800
<v Speaker 1>there's a really good essay that came out about this

1:11:44.920 --> 1:11:48.599
<v Speaker 1>from h Lessons from the screenplay that I really love

1:11:48.640 --> 1:11:50.519
<v Speaker 1>and I've been. It came out a couple of years ago.

1:11:50.560 --> 1:11:53.559
<v Speaker 1>But that kind of compares the Black Swan narrative directly

1:11:53.600 --> 1:11:56.840
<v Speaker 1>against whip Lash, which came out, Yeah, which came out

1:11:57.040 --> 1:12:00.800
<v Speaker 1>a couple of years after. I think that compares on

1:12:00.840 --> 1:12:04.000
<v Speaker 1>a gender basis, Like both of these movies are about

1:12:04.040 --> 1:12:08.240
<v Speaker 1>a quest by a protagonist for artistic greatness, and in

1:12:08.320 --> 1:12:12.200
<v Speaker 1>both of these movies there is a male mentor who

1:12:12.320 --> 1:12:15.479
<v Speaker 1>is torturing the protagonist to become great, and the way

1:12:15.479 --> 1:12:17.519
<v Speaker 1>it plays out in both movies, for better or Worse,

1:12:17.960 --> 1:12:20.880
<v Speaker 1>is very different. And I feel like that the thing

1:12:20.960 --> 1:12:26.200
<v Speaker 1>that Black Swan succeeds in is portraying this male mentor

1:12:26.439 --> 1:12:30.280
<v Speaker 1>as like a bad and toxic influence of like he

1:12:30.439 --> 1:12:33.759
<v Speaker 1>is torturing them, he is abusing them. It's very clear

1:12:33.760 --> 1:12:37.840
<v Speaker 1>what he's doing, and it results in great art but

1:12:37.960 --> 1:12:42.679
<v Speaker 1>like great personal sacrifice were in Whiplash if you've seen it,

1:12:42.720 --> 1:12:46.640
<v Speaker 1>which is like, I mean, whatever, uh do you? I

1:12:46.640 --> 1:12:50.800
<v Speaker 1>don't care about Miles teller Um. You know, he bothers

1:12:50.880 --> 1:12:55.559
<v Speaker 1>me and to look at I don't like looking at

1:12:55.600 --> 1:12:58.960
<v Speaker 1>Miles Teller. Uh. He and then if you read an interview,

1:12:59.000 --> 1:13:03.360
<v Speaker 1>you're like, I'm just a binde. Uh. He's an annoying person.

1:13:03.439 --> 1:13:06.920
<v Speaker 1>But the but in Whiplash he plays a jazz drummer.

1:13:06.960 --> 1:13:10.080
<v Speaker 1>He's trying to become great. Um, and I was gonna

1:13:10.120 --> 1:13:12.519
<v Speaker 1>say j J. Abrams, but I mean the other guy.

1:13:13.320 --> 1:13:19.720
<v Speaker 1>Uh uh what's his name? Oh my god, j K Simmons. Yes,

1:13:19.880 --> 1:13:23.760
<v Speaker 1>Jack Simmons, r JJ Abrams. I won't be able to

1:13:23.800 --> 1:13:26.000
<v Speaker 1>come up with it. J K. Simmons is screaming at

1:13:26.040 --> 1:13:28.639
<v Speaker 1>him the whole movie. But the climaxes of the movies

1:13:28.680 --> 1:13:34.240
<v Speaker 1>are very different. Where Natalie Portman's character achieves greatness and

1:13:34.560 --> 1:13:39.560
<v Speaker 1>dies because the you know, because of all the expectations

1:13:39.560 --> 1:13:42.040
<v Speaker 1>that are very gendered being placed upon her, and then

1:13:42.080 --> 1:13:45.519
<v Speaker 1>in the other case, um, you end up kind of

1:13:45.520 --> 1:13:49.519
<v Speaker 1>receiving the j K. Simmons character is, well, yeah, he

1:13:50.040 --> 1:13:53.679
<v Speaker 1>threw ship at this person. He was violently abusive towards

1:13:53.680 --> 1:13:57.080
<v Speaker 1>this person, but it resulted in this great performance and

1:13:57.360 --> 1:14:03.080
<v Speaker 1>he lived. So they're probably friends today. And so the

1:14:03.120 --> 1:14:05.559
<v Speaker 1>man gets to live but also has the legacy of

1:14:05.560 --> 1:14:09.759
<v Speaker 1>this toxic influence, whereas the woman realizes what the toxic

1:14:09.800 --> 1:14:13.880
<v Speaker 1>influence was but she dies and so there's like, I

1:14:13.920 --> 1:14:17.320
<v Speaker 1>don't I don't know, I don't know. I like Black Swan,

1:14:19.320 --> 1:14:21.400
<v Speaker 1>I mean another part of it. And I think this

1:14:21.560 --> 1:14:24.400
<v Speaker 1>just has to do with like the very complicated nature

1:14:25.080 --> 1:14:29.120
<v Speaker 1>of being the victim of a predator, which is you like,

1:14:29.200 --> 1:14:32.719
<v Speaker 1>you see that scene. So she gets assaulted many times

1:14:32.720 --> 1:14:35.200
<v Speaker 1>in this movie by him. There's the one scene in

1:14:35.240 --> 1:14:38.960
<v Speaker 1>particular where he's like, you're no one wants to fuck you.

1:14:39.400 --> 1:14:42.519
<v Speaker 1>Let me teach you how to seduce. And then there's

1:14:42.560 --> 1:14:46.839
<v Speaker 1>this really uncomfortable moment where you know he's forcing himself

1:14:46.840 --> 1:14:50.880
<v Speaker 1>on her, he's groping her. She is not really resisting

1:14:51.880 --> 1:14:56.400
<v Speaker 1>and it and it probably is because she's really confused

1:14:56.200 --> 1:15:00.200
<v Speaker 1>and uncomfortable and she doesn't know how to respond and uh,

1:15:00.400 --> 1:15:03.280
<v Speaker 1>and he's the only person who has the power over

1:15:03.360 --> 1:15:07.640
<v Speaker 1>what her dream is, right, and then the aftermath of

1:15:07.640 --> 1:15:11.720
<v Speaker 1>that is that and this is a little unclear, but

1:15:12.320 --> 1:15:16.679
<v Speaker 1>the narrative frames as though she she likes him because

1:15:16.680 --> 1:15:19.479
<v Speaker 1>she's defending him in front of Lily because she's like, oh,

1:15:19.520 --> 1:15:22.559
<v Speaker 1>you're hot for teacher, and she's like, you don't know him.

1:15:22.840 --> 1:15:25.639
<v Speaker 1>And again, that's just maybe part of the complicated nature

1:15:26.360 --> 1:15:30.360
<v Speaker 1>of that, you know, dynamic. But I can't help but

1:15:30.479 --> 1:15:35.120
<v Speaker 1>think of Mother Wait, and we're in that movie which

1:15:35.280 --> 1:15:37.400
<v Speaker 1>we covered it. Go back and listen to the episode

1:15:37.400 --> 1:15:39.920
<v Speaker 1>if you want. But um, there's a moment in that

1:15:39.960 --> 1:15:44.519
<v Speaker 1>movie where it starts out a sexual assault and then

1:15:44.640 --> 1:15:49.080
<v Speaker 1>becomes a consensual sex scene. And I can't help but

1:15:49.160 --> 1:15:54.240
<v Speaker 1>to wonder if, because they're both Aronofsky movies, if he

1:15:54.800 --> 1:16:00.280
<v Speaker 1>thinks that might be how sex goes sometimes. I I mean,

1:16:00.680 --> 1:16:03.000
<v Speaker 1>what I can say for sure what Aronowski is that

1:16:03.040 --> 1:16:08.840
<v Speaker 1>he thinks of scarf keeps his head on his body.

1:16:09.640 --> 1:16:14.080
<v Speaker 1>That's all I could say for a hundred percent. It's

1:16:14.120 --> 1:16:16.040
<v Speaker 1>like that what was that scary stories of telling the

1:16:16.160 --> 1:16:19.439
<v Speaker 1>dark story that if he took a scarf off, his

1:16:19.520 --> 1:16:23.320
<v Speaker 1>head would fall off. He for sure percent believes that

1:16:23.400 --> 1:16:25.600
<v Speaker 1>we have no reason to believe. He hasn't believed that,

1:16:26.080 --> 1:16:29.360
<v Speaker 1>there's been no canonical reason to believe that. He doesn't

1:16:29.360 --> 1:16:32.519
<v Speaker 1>think that. Um, so I don't. It's it's a it's

1:16:32.520 --> 1:16:36.800
<v Speaker 1>a very complicated and I think that because this movie

1:16:36.840 --> 1:16:39.799
<v Speaker 1>is directed by a man who doesn't necessarily have the

1:16:39.840 --> 1:16:43.000
<v Speaker 1>best track record for certain things, and then written by

1:16:43.120 --> 1:16:46.960
<v Speaker 1>several minutes. I don't know, I just can't trust I

1:16:47.400 --> 1:16:51.679
<v Speaker 1>just I disagree on the grounds that we know that

1:16:52.040 --> 1:16:56.120
<v Speaker 1>this is Nina's first experience with a romantic relationship at all,

1:16:56.800 --> 1:17:00.839
<v Speaker 1>and just based on I mean on my first romantic

1:17:00.920 --> 1:17:04.320
<v Speaker 1>experience and and possibly other people's I don't know, but

1:17:04.400 --> 1:17:08.960
<v Speaker 1>like the first time, you you know, like assume the

1:17:09.000 --> 1:17:11.800
<v Speaker 1>best of someone, You're gonna make a lot of mistakes,

1:17:11.880 --> 1:17:15.040
<v Speaker 1>And Nina is doing this at a much later age

1:17:15.160 --> 1:17:19.680
<v Speaker 1>twenty um then then a lot of other people do.

1:17:19.880 --> 1:17:23.720
<v Speaker 1>But I feel like I I thought that her willingness

1:17:23.800 --> 1:17:28.000
<v Speaker 1>to forgive him was both a reflection of like, he

1:17:28.240 --> 1:17:30.920
<v Speaker 1>is the gatekeeper to my dreams, but also that the

1:17:30.960 --> 1:17:33.280
<v Speaker 1>fact that she's been so protected and she's been so

1:17:33.439 --> 1:17:37.000
<v Speaker 1>naive and she doesn't have compare like anything to compare

1:17:37.040 --> 1:17:39.680
<v Speaker 1>it to. Then her mom tucks her into bed at night,

1:17:39.960 --> 1:17:42.640
<v Speaker 1>like she has no understanding of how a human like

1:17:42.680 --> 1:17:46.640
<v Speaker 1>how a real adult relationship of any kind, from relationship

1:17:46.680 --> 1:17:50.000
<v Speaker 1>that's romantic or platonic should or would look. I think,

1:17:50.040 --> 1:17:53.240
<v Speaker 1>Prince yeah, and she. I think that that's what the

1:17:53.400 --> 1:17:56.679
<v Speaker 1>swan like metaphor becomes. Like more meta to the story

1:17:56.760 --> 1:17:59.320
<v Speaker 1>is that she really does cast herself as like in

1:17:59.400 --> 1:18:01.599
<v Speaker 1>like such a ide actic way, and that is ultimately

1:18:01.640 --> 1:18:08.600
<v Speaker 1>what is her own doing someone? I love it. I

1:18:08.680 --> 1:18:15.839
<v Speaker 1>love it. The point is this movie is great. Um,

1:18:16.040 --> 1:18:19.000
<v Speaker 1>we were running out of time. Do we have a

1:18:19.120 --> 1:18:23.080
<v Speaker 1>single moment for audience feedback? Yeah, a little tiny bit.

1:18:23.280 --> 1:18:26.519
<v Speaker 1>Let's say too, oh, oh my gosh, oh my god.

1:18:27.160 --> 1:18:30.000
<v Speaker 1>We've got a mike. If you have question or comment,

1:18:30.280 --> 1:18:34.439
<v Speaker 1>umase make it as quick as possible as we only

1:18:34.479 --> 1:18:42.280
<v Speaker 1>have time for Like, she's here, Hello, what's your name? Yes,

1:18:42.840 --> 1:18:46.120
<v Speaker 1>Kristen christ Christen Hi. Um. First off, I just want

1:18:46.160 --> 1:18:48.200
<v Speaker 1>to say that Alfred Molina would have made a much

1:18:48.280 --> 1:18:52.840
<v Speaker 1>better toma. Yes where I agree? Yes, maybe, like that's

1:18:52.880 --> 1:18:56.120
<v Speaker 1>why she likes right, And I just wanted to comment

1:18:56.160 --> 1:18:58.880
<v Speaker 1>real quick, to go back to um Nina's voice real quick,

1:18:58.960 --> 1:19:02.599
<v Speaker 1>UM for a little context corner. UM. I read somewhere

1:19:02.680 --> 1:19:06.840
<v Speaker 1>that apparently Natalie Portman, when she was starting out or

1:19:06.920 --> 1:19:10.360
<v Speaker 1>um was getting um, you know, like acting lessons and stuff,

1:19:10.439 --> 1:19:12.320
<v Speaker 1>she had been told that her voice sounded like two

1:19:12.400 --> 1:19:14.479
<v Speaker 1>girls for babies and she had to kind of do

1:19:14.640 --> 1:19:17.439
<v Speaker 1>vocal exercises to make it sound more like adult and

1:19:17.520 --> 1:19:19.680
<v Speaker 1>more woman like. But apparently for this film she was

1:19:19.680 --> 1:19:21.760
<v Speaker 1>sold to kind of like throw that at the door

1:19:21.840 --> 1:19:23.360
<v Speaker 1>and then you know, it's very funny the way you

1:19:23.360 --> 1:19:25.759
<v Speaker 1>hear her read certain lines like if the other girl

1:19:25.840 --> 1:19:28.160
<v Speaker 1>had barged in, or just like a little like line

1:19:28.160 --> 1:19:30.160
<v Speaker 1>reads like that. That just felt like that is not

1:19:30.280 --> 1:19:33.360
<v Speaker 1>the way a grown ass woman like that speaks to

1:19:33.360 --> 1:19:36.480
<v Speaker 1>her mother or like talks about other women, you know, supposedly,

1:19:36.479 --> 1:19:38.840
<v Speaker 1>but I just want to mention that real quick and

1:19:39.400 --> 1:19:41.320
<v Speaker 1>the very nice subtle thing that she does with her

1:19:41.360 --> 1:19:44.040
<v Speaker 1>performance just to sound like there's just a little girl

1:19:44.200 --> 1:19:47.559
<v Speaker 1>or like, you know, this is like not a normal woman.

1:19:47.600 --> 1:19:50.920
<v Speaker 1>I always wanted to mention that just they're definitely like

1:19:51.160 --> 1:19:54.360
<v Speaker 1>certain acting choices and certain like wardrobe choices that help,

1:19:54.439 --> 1:19:58.240
<v Speaker 1>you know, enhance the theme of the movie. And I

1:19:58.320 --> 1:20:01.400
<v Speaker 1>only one for her best, her best actress, Oscar for

1:20:01.479 --> 1:20:05.720
<v Speaker 1>that she was great, definitely. I also read according to Wikipedia,

1:20:06.040 --> 1:20:09.679
<v Speaker 1>both Natalie Portman and Mela Kunas had to work out

1:20:09.840 --> 1:20:14.960
<v Speaker 1>five hours a day in preparation for this role. Ton

1:20:15.040 --> 1:20:19.720
<v Speaker 1>of weight. Scary. Let's not talk about it, but thank

1:20:19.720 --> 1:20:26.120
<v Speaker 1>you so much. Yeah, thank you for saying hi. Hello,

1:20:26.360 --> 1:20:30.479
<v Speaker 1>what's your name? My name is Sam hi Um, longtime listener,

1:20:30.800 --> 1:20:35.720
<v Speaker 1>first time callers. So my my question to you is

1:20:35.880 --> 1:20:39.000
<v Speaker 1>like does it pass like the reverse spectal test, which

1:20:39.040 --> 1:20:41.880
<v Speaker 1>I don't think it does at all, because I mean,

1:20:42.000 --> 1:20:45.320
<v Speaker 1>I think it's barely any there's like, I mean, it's

1:20:45.360 --> 1:20:49.639
<v Speaker 1>a very female driven story with only one main male character.

1:20:49.760 --> 1:20:53.240
<v Speaker 1>The rest are pretty ancillary. But it definitely passes the

1:20:53.240 --> 1:20:55.840
<v Speaker 1>backtel taste for sure. We haven't gotten there. Yeah, yeah,

1:20:55.880 --> 1:20:59.559
<v Speaker 1>it passes between several different combinations of characters. But yeah,

1:20:59.560 --> 1:21:02.920
<v Speaker 1>I don't think men don't speak to each other in

1:21:02.920 --> 1:21:09.960
<v Speaker 1>this movie. I don't think so that's a wind that's text,

1:21:10.360 --> 1:21:14.120
<v Speaker 1>feminist text. He's like, I don't think I can't think

1:21:14.120 --> 1:21:17.799
<v Speaker 1>of any movie that does do that, right, We've encountered

1:21:17.800 --> 1:21:20.880
<v Speaker 1>a few, but they are they are so rare, so

1:21:21.000 --> 1:21:24.519
<v Speaker 1>very rare, too rare, some would say. Yeah. And the

1:21:24.520 --> 1:21:28.360
<v Speaker 1>things that they're mostly talking about, our female ambition, their

1:21:28.400 --> 1:21:32.559
<v Speaker 1>relationships with each other, like their relationship to reality, a

1:21:32.680 --> 1:21:36.599
<v Speaker 1>genderless concept. Um, you know, there's a lot of things

1:21:36.680 --> 1:21:41.280
<v Speaker 1>that women are talking about. Ballet also a cake. Okay, cake,

1:21:41.560 --> 1:21:44.760
<v Speaker 1>I'll throw it away if you don't want it, right.

1:21:45.200 --> 1:21:48.800
<v Speaker 1>I love that so much. I think Elena should have

1:21:48.800 --> 1:21:52.360
<v Speaker 1>been the cake. I love it. With his octo hands

1:21:52.400 --> 1:21:56.360
<v Speaker 1>coming out should have been the cake. Great, thank you

1:21:56.439 --> 1:22:00.880
<v Speaker 1>so much, point, thank you so much. So yes, how Hi,

1:22:01.479 --> 1:22:04.240
<v Speaker 1>my name is Petra, huge fan of the pod. Um So,

1:22:04.280 --> 1:22:05.560
<v Speaker 1>I kind of want to just start the pot a

1:22:05.600 --> 1:22:10.360
<v Speaker 1>little bit between Jamie and Caitlin and um bring it

1:22:10.400 --> 1:22:13.200
<v Speaker 1>back to the conversation about the sexual predatory behavior that

1:22:13.240 --> 1:22:15.200
<v Speaker 1>was going on in the movie. Um So, I watched

1:22:15.240 --> 1:22:17.120
<v Speaker 1>this last night and just thinking about it in the

1:22:17.160 --> 1:22:20.439
<v Speaker 1>context of the Harvey Weinstein trials, I kind of was

1:22:20.479 --> 1:22:25.400
<v Speaker 1>able to see this this dynamic between Nina and Toma,

1:22:25.479 --> 1:22:28.240
<v Speaker 1>and it seemed like Darren Aronoski was trying to have

1:22:28.320 --> 1:22:30.840
<v Speaker 1>her flip the situation on its head and like kind

1:22:30.880 --> 1:22:33.920
<v Speaker 1>of kind of take control of it. Um. And I

1:22:33.960 --> 1:22:35.640
<v Speaker 1>was just kind of wondering what you guys thought and

1:22:35.720 --> 1:22:39.280
<v Speaker 1>the way that you know, those predatory relationships are seen

1:22:40.000 --> 1:22:42.800
<v Speaker 1>in modern day. I think that, I mean, that's a

1:22:42.840 --> 1:22:45.519
<v Speaker 1>that's a great question. Um, I can't wait to argue

1:22:45.560 --> 1:22:49.479
<v Speaker 1>about it. I mean I think that, like, there there's

1:22:49.720 --> 1:22:52.840
<v Speaker 1>a lot it maybe doesn't go as far as it

1:22:53.080 --> 1:22:57.920
<v Speaker 1>should in two ten maybe, but I like in reading

1:22:58.040 --> 1:23:00.960
<v Speaker 1>the backlog of criticism him about this, there are a

1:23:01.000 --> 1:23:03.920
<v Speaker 1>lot of people who compared the Thomas character to a

1:23:04.080 --> 1:23:07.200
<v Speaker 1>Roman Polanski type character. Of like, here is a man

1:23:07.320 --> 1:23:10.439
<v Speaker 1>who creates great art depending on how you feel, aren't,

1:23:11.120 --> 1:23:14.080
<v Speaker 1>But like, here's a man who creates well regarded art,

1:23:14.439 --> 1:23:18.280
<v Speaker 1>who in the creation of this art, women are brutalized

1:23:18.280 --> 1:23:23.200
<v Speaker 1>and punished. Right, And many considered Ronowski at the time

1:23:23.240 --> 1:23:25.160
<v Speaker 1>to be making some sort of comments on this, of

1:23:25.320 --> 1:23:29.559
<v Speaker 1>like asking that question, like is this art that this

1:23:30.160 --> 1:23:34.040
<v Speaker 1>abusive man creates worth the consequence? And then clearly no,

1:23:34.200 --> 1:23:38.600
<v Speaker 1>of course, I mean we know that, did us seriously

1:23:38.720 --> 1:23:44.880
<v Speaker 1>a man just say no, there, okay, okay, but like

1:23:45.040 --> 1:23:48.760
<v Speaker 1>we get it. We know we've been here for four years. Um,

1:23:48.920 --> 1:23:55.600
<v Speaker 1>thank you though, thank you for telling us no Jesus Christ. Okay,

1:23:56.680 --> 1:23:59.280
<v Speaker 1>my rhetorical question was answered by a man as usual.

1:24:01.760 --> 1:24:08.559
<v Speaker 1>I can't fucking believe this. Um. I yeah, so I'm sorry.

1:24:08.560 --> 1:24:10.720
<v Speaker 1>I'm just like bringing my blood pressure down. Caitlin took

1:24:10.760 --> 1:24:15.560
<v Speaker 1>my wine bottle away. Um. All that to say, I

1:24:15.960 --> 1:24:19.280
<v Speaker 1>I yeah, like they're that conversation is brought up like it.

1:24:19.320 --> 1:24:21.920
<v Speaker 1>I feel like it asks the audience that question and

1:24:21.920 --> 1:24:26.479
<v Speaker 1>then gets us it very involved with the consequence of

1:24:26.600 --> 1:24:31.120
<v Speaker 1>his great art that you know, kills its main character,

1:24:31.360 --> 1:24:33.800
<v Speaker 1>who's a character we love and very much are on

1:24:33.840 --> 1:24:37.000
<v Speaker 1>the side of so I don't know, I think, for

1:24:37.120 --> 1:24:39.800
<v Speaker 1>especially given the fact that it was ten years ago

1:24:39.840 --> 1:24:42.679
<v Speaker 1>when no one was talking about this really at all.

1:24:43.160 --> 1:24:45.960
<v Speaker 1>It's doing a lot more than was asked of your

1:24:46.000 --> 1:24:48.720
<v Speaker 1>average movie at that time. So I'll give him that,

1:24:49.880 --> 1:24:56.120
<v Speaker 1>and I don't want to argue, so I agree. I went,

1:24:56.280 --> 1:25:04.800
<v Speaker 1>thank you. Hi. What's your name? My name is Elisha. Hello. Okay,

1:25:04.840 --> 1:25:07.879
<v Speaker 1>I'm just gonna preface by saying that I am twenty

1:25:10.320 --> 1:25:16.599
<v Speaker 1>actually ahead of you. Thanks. And I do not look

1:25:16.640 --> 1:25:20.320
<v Speaker 1>anything like now the Importman. But then again, she is

1:25:20.320 --> 1:25:24.120
<v Speaker 1>a ballerina living in the Upper What Side, and I'm

1:25:24.120 --> 1:25:28.040
<v Speaker 1>wearing the glasses of a seventy year old librarian and

1:25:28.080 --> 1:25:31.840
<v Speaker 1>I live in Nork, soa there's a bit of a

1:25:31.880 --> 1:25:35.120
<v Speaker 1>difference there. And I wanted to make a comment about

1:25:35.160 --> 1:25:39.200
<v Speaker 1>how people like Aeronowski, especially people I have a whole

1:25:39.200 --> 1:25:41.160
<v Speaker 1>thing about all tours. We're not going to get into it,

1:25:42.040 --> 1:25:46.439
<v Speaker 1>but you hear a lot that artist suffering, and to

1:25:46.560 --> 1:25:49.880
<v Speaker 1>make good art you have to suffer. What mother is about.

1:25:52.120 --> 1:25:57.200
<v Speaker 1>And so now the Importman, she cannot be successful, or

1:25:57.200 --> 1:26:02.360
<v Speaker 1>she cannot be exceptional without so ring and being at

1:26:02.400 --> 1:26:06.560
<v Speaker 1>odds with every woman in her surrounding because but just

1:26:06.680 --> 1:26:13.080
<v Speaker 1>be fighting and until she writes horror across the mirror.

1:26:13.479 --> 1:26:16.400
<v Speaker 1>And then once she does that, like once she's just

1:26:16.479 --> 1:26:19.599
<v Speaker 1>like a little bit like exceptional and she's a little

1:26:19.600 --> 1:26:24.599
<v Speaker 1>bit above everyone else. She dies. She dies, and I

1:26:24.680 --> 1:26:28.880
<v Speaker 1>find that super offensive and super annoying. It's like, great,

1:26:28.960 --> 1:26:31.479
<v Speaker 1>she like turls around for like two seconds and then

1:26:31.520 --> 1:26:35.680
<v Speaker 1>she's dead. What the heck? But yeah, that's my car.

1:26:35.800 --> 1:26:47.360
<v Speaker 1>I mean, we make art and we're thriving. Yeah, yeah, yeah,

1:26:47.680 --> 1:26:49.280
<v Speaker 1>I I don't know. But then it's like if you

1:26:49.360 --> 1:26:51.479
<v Speaker 1>take that, if you take the scarf off our boss,

1:26:51.479 --> 1:26:54.720
<v Speaker 1>his head falls off site. I guess kind of complicated,

1:26:54.720 --> 1:26:56.280
<v Speaker 1>but that is that that is a really good point

1:26:56.360 --> 1:26:59.680
<v Speaker 1>of just like yeah, like the the world at this

1:26:59.720 --> 1:27:04.200
<v Speaker 1>story doesn't afford her, you know, the ability to live. Well.

1:27:04.439 --> 1:27:07.439
<v Speaker 1>I mean there's so many movies about like how being

1:27:07.479 --> 1:27:11.479
<v Speaker 1>a woman is horror and scary. I mean disagree, but

1:27:11.760 --> 1:27:16.000
<v Speaker 1>I mean, yes, but that's why. And I do see

1:27:16.040 --> 1:27:18.599
<v Speaker 1>the value in this movie. But I just I do

1:27:18.680 --> 1:27:23.720
<v Speaker 1>wish there were more empowering stories that were just more

1:27:23.760 --> 1:27:27.120
<v Speaker 1>about like, you know, women, someone Louise, they drive off

1:27:27.120 --> 1:27:29.240
<v Speaker 1>a cliff at the end because there's no they die

1:27:29.280 --> 1:27:33.080
<v Speaker 1>in a different women are at the end, I mean

1:27:33.240 --> 1:27:36.840
<v Speaker 1>speaking of Roman Plansky fucking Rosemary's baby like she like

1:27:37.680 --> 1:27:41.160
<v Speaker 1>she has to have a devil baby, like women are

1:27:41.200 --> 1:27:46.520
<v Speaker 1>always being punished and again like that's part of reality.

1:27:46.560 --> 1:27:49.479
<v Speaker 1>But what also, we're fucking strong and we can rise

1:27:49.600 --> 1:27:56.840
<v Speaker 1>up and not die. So that was my retort to

1:27:56.880 --> 1:28:01.839
<v Speaker 1>the earlier argument. There's movies that I just I like, yeah, whatever,

1:28:02.000 --> 1:28:03.519
<v Speaker 1>I don't know. The more I think about it, the

1:28:03.560 --> 1:28:06.720
<v Speaker 1>more I think that Nina her idea of perfection is

1:28:07.000 --> 1:28:10.360
<v Speaker 1>like a masculine idea of perfection. It's Thomas's idea. And

1:28:10.400 --> 1:28:11.760
<v Speaker 1>so at the end when she's like, I did it,

1:28:11.800 --> 1:28:14.439
<v Speaker 1>I was perfect, she's meeting his standard of perfection, not

1:28:14.479 --> 1:28:20.280
<v Speaker 1>necessarily her own, and that's why she dies. Hunter Harris,

1:28:22.680 --> 1:28:25.320
<v Speaker 1>thank you, we do. We're we're getting We've been getting

1:28:25.320 --> 1:28:28.920
<v Speaker 1>the light for ten minutes, so I'm sorry. We will

1:28:28.920 --> 1:28:30.200
<v Speaker 1>talk to you after it. We just have to really

1:28:30.240 --> 1:28:32.759
<v Speaker 1>quickly rate this movie on our nipple scale. It passes

1:28:32.760 --> 1:28:36.240
<v Speaker 1>the Beetel test spoiler alert obviously, Um, but let's rate

1:28:36.320 --> 1:28:38.320
<v Speaker 1>it on our nipple scale UH scale of one to

1:28:38.360 --> 1:28:42.320
<v Speaker 1>five nipples based on the movie's treatment of women. Um,

1:28:42.360 --> 1:28:43.800
<v Speaker 1>what do you give it? I don't want to go first.

1:28:43.920 --> 1:28:46.720
<v Speaker 1>I'm scared. Why no, you go first. I haven't thought

1:28:46.760 --> 1:28:50.760
<v Speaker 1>about that. I don't I don't know. I'm gonna I'm

1:28:50.760 --> 1:28:53.479
<v Speaker 1>gonna say Okay, so I'm gonna say I'm gonna say

1:28:53.680 --> 1:28:58.599
<v Speaker 1>three and a half um, And someone went, oh, I'm

1:28:58.600 --> 1:29:00.439
<v Speaker 1>gonna say three and a half. I think that this

1:29:00.479 --> 1:29:03.800
<v Speaker 1>is a very brutal depiction of womanhood. But it's a

1:29:03.840 --> 1:29:07.720
<v Speaker 1>depiction of womanhood that I at the time and unfortunately

1:29:07.760 --> 1:29:11.559
<v Speaker 1>still pretty closely connected to. And I know that it

1:29:11.680 --> 1:29:14.080
<v Speaker 1>is not I mean, you remove it because of the

1:29:14.120 --> 1:29:17.240
<v Speaker 1>fact that it offers no real victory, Like Hunter was

1:29:17.280 --> 1:29:21.320
<v Speaker 1>just saying, it's about woman's pursuit of a male's idea

1:29:21.479 --> 1:29:24.800
<v Speaker 1>of female perfection. But I think that it's not an

1:29:24.880 --> 1:29:28.000
<v Speaker 1>unrelatable narrative, even if it's like heightened to an eleven

1:29:28.520 --> 1:29:31.880
<v Speaker 1>um and there are the drawbacks that we have discussed,

1:29:31.920 --> 1:29:36.040
<v Speaker 1>but I think it's like a very upsetting, frustrating look

1:29:36.080 --> 1:29:39.200
<v Speaker 1>at you know, a woman who has never been asked

1:29:39.240 --> 1:29:41.719
<v Speaker 1>to do anything but try to meet a male ideal,

1:29:42.040 --> 1:29:45.040
<v Speaker 1>and how that has brutally punished her and caused her

1:29:45.080 --> 1:29:48.559
<v Speaker 1>own downfall and total neglect of herself and it's not

1:29:48.600 --> 1:29:50.320
<v Speaker 1>fun to watch, but I do think that it is

1:29:50.360 --> 1:29:52.680
<v Speaker 1>like an important thing to examine and look at. So

1:29:52.680 --> 1:29:55.799
<v Speaker 1>I'm gonna give it three and a half nipples, giving

1:29:55.840 --> 1:29:57.720
<v Speaker 1>all three and a half to Alfred Molina, who had

1:29:57.760 --> 1:30:05.240
<v Speaker 1>nothing to do with it. Can I give nipples to Yes,

1:30:05.320 --> 1:30:07.840
<v Speaker 1>of course, I'm going to say everything you said, but

1:30:07.840 --> 1:30:10.120
<v Speaker 1>I'm going to give it an extra half nipples. So

1:30:10.240 --> 1:30:16.160
<v Speaker 1>for nipples for the Clintmonzel Traikowsky score, which is says

1:30:17.040 --> 1:30:21.519
<v Speaker 1>that earns another half nipple for me. Um, I'll give

1:30:21.560 --> 1:30:27.320
<v Speaker 1>it a three. Oh, someone validated me, should I go lower?

1:30:27.680 --> 1:30:32.320
<v Speaker 1>Stop it? Stop it? Caitlin never makes up her actual

1:30:32.400 --> 1:30:36.640
<v Speaker 1>mind and the live shows I am very for that.

1:30:36.800 --> 1:30:39.200
<v Speaker 1>In the studio, I kind of want to give it

1:30:39.240 --> 1:30:46.760
<v Speaker 1>a two and a half. Honestly, a go ahead. I

1:30:46.840 --> 1:30:51.080
<v Speaker 1>have no attachment to this movie whatsoever, So I have

1:30:51.160 --> 1:30:57.559
<v Speaker 1>been examining it through just like my lens of And

1:30:58.520 --> 1:31:00.760
<v Speaker 1>while it is a female driven store worry, it's just

1:31:00.800 --> 1:31:05.960
<v Speaker 1>there's so much focus on antagonistic relationships between women and

1:31:06.640 --> 1:31:10.879
<v Speaker 1>a predatory situation that I don't think is necessarily handled

1:31:10.880 --> 1:31:15.599
<v Speaker 1>that responsibly, and some other stuff. But I do also

1:31:15.640 --> 1:31:18.800
<v Speaker 1>see the value in it, you know, there's everything that

1:31:18.840 --> 1:31:24.559
<v Speaker 1>you said, but minus a nipple. Um, and I'll give

1:31:25.280 --> 1:31:32.040
<v Speaker 1>my nipples to Paddington gets in a jam. So we

1:31:32.120 --> 1:31:33.880
<v Speaker 1>gotta wrap up. We've got to get out of here.

1:31:33.960 --> 1:31:40.639
<v Speaker 1>Thank you so much on your Harris. Uh, where can

1:31:40.680 --> 1:31:42.719
<v Speaker 1>we find you online? Where can we find your work?

1:31:43.720 --> 1:31:47.880
<v Speaker 1>I'm at Hunter, I just forgot my fucking name. Um,

1:31:47.920 --> 1:31:52.120
<v Speaker 1>I'm Hunter? Why Harris on Twitter? Oh my gosh, thank

1:31:52.160 --> 1:31:53.800
<v Speaker 1>you so much. Thank you to the Bellhouse, thank you

1:31:53.840 --> 1:31:57.000
<v Speaker 1>to the Brooklyn Podcast Special, thank you to all of you.

1:31:56.640 --> 1:32:01.320
<v Speaker 1>Thank you. And that is our live show at the

1:32:01.320 --> 1:32:05.840
<v Speaker 1>Bellhouse in Brooklyn. Uh. We before we go into all

1:32:05.840 --> 1:32:08.800
<v Speaker 1>our normal plugs, we actually have a few things that

1:32:08.880 --> 1:32:10.439
<v Speaker 1>we didn't have time for in the show. They were

1:32:10.479 --> 1:32:13.719
<v Speaker 1>literally kicking us out of the venue. Fair. The show

1:32:13.840 --> 1:32:16.439
<v Speaker 1>was long. Um, so there. But there are a few

1:32:16.520 --> 1:32:19.599
<v Speaker 1>more things to talk about with this movie, so uh

1:32:19.880 --> 1:32:25.400
<v Speaker 1>really quickly. Um. One thing that I thought was interesting,

1:32:25.439 --> 1:32:27.759
<v Speaker 1>like an interesting discussion that you don't really see brought

1:32:27.840 --> 1:32:32.439
<v Speaker 1>up in film discussions very much, is uh, the role

1:32:32.520 --> 1:32:35.439
<v Speaker 1>of the dancer in a dance movie like this because

1:32:35.600 --> 1:32:39.400
<v Speaker 1>Natalie Portman, you know, obviously or maybe not obviously, didn't

1:32:39.439 --> 1:32:41.920
<v Speaker 1>do all of a ballet dancing in this movie, she

1:32:42.000 --> 1:32:44.280
<v Speaker 1>did a lot. It wasn't that she I mean, she trained,

1:32:44.360 --> 1:32:48.600
<v Speaker 1>she like did her due diligence. But she had a

1:32:48.720 --> 1:32:52.519
<v Speaker 1>dance double named Sarah Lane, who was an soloist at

1:32:52.520 --> 1:32:55.840
<v Speaker 1>the American Ballet Theater, one of the biggest, most fanciest

1:32:55.880 --> 1:32:58.479
<v Speaker 1>ones of them all, who did kind of the heavy lifting.

1:32:59.000 --> 1:33:01.200
<v Speaker 1>But there was a little controversy around that because she

1:33:01.280 --> 1:33:05.040
<v Speaker 1>wasn't really credited accordingly for the amount of work that

1:33:05.360 --> 1:33:08.800
<v Speaker 1>she did. Right. She also said that, um, most of

1:33:09.320 --> 1:33:14.360
<v Speaker 1>Natalie's dancing on screen is actually her with Natalie Portman's

1:33:14.360 --> 1:33:17.880
<v Speaker 1>face like digitally grafted onto hers, which is another thing

1:33:17.960 --> 1:33:20.800
<v Speaker 1>that happens in one of my favorite movies, my favor

1:33:20.880 --> 1:33:24.120
<v Speaker 1>actual favorite movie, Titania. All right, Yes, I was just

1:33:24.160 --> 1:33:27.599
<v Speaker 1>thinking about that. Um. And then the production team of

1:33:27.840 --> 1:33:31.599
<v Speaker 1>Black Swan responded to this by saying that the footage

1:33:31.640 --> 1:33:33.639
<v Speaker 1>that was used in the final cut of the movie

1:33:33.840 --> 1:33:38.000
<v Speaker 1>was mostly Natalie dancing, and that Sarah Lane was only

1:33:38.120 --> 1:33:42.320
<v Speaker 1>used in a few wide shots. Sarah Lane disagrees. She

1:33:42.400 --> 1:33:44.680
<v Speaker 1>says that, you know, the production team told her to

1:33:44.760 --> 1:33:47.360
<v Speaker 1>keep quiet in an effort to make it seem like

1:33:47.479 --> 1:33:50.080
<v Speaker 1>Natalie Portman had done more dancing than she actually did,

1:33:50.760 --> 1:33:55.200
<v Speaker 1>so you know, it's worth it was just worth mentioning that,

1:33:55.360 --> 1:33:57.679
<v Speaker 1>you know, a woman who put in a lot of

1:33:57.760 --> 1:34:01.440
<v Speaker 1>you know, hard work into this film was kind of silenced.

1:34:01.479 --> 1:34:04.120
<v Speaker 1>And it's I mean, it's super frustrating and kind of

1:34:04.200 --> 1:34:07.720
<v Speaker 1>like typical too that something like this would happen. Of

1:34:07.840 --> 1:34:10.240
<v Speaker 1>like you almost get the feeling that this is like

1:34:10.360 --> 1:34:13.719
<v Speaker 1>an effort to be like, oh well, if we credit

1:34:13.760 --> 1:34:16.800
<v Speaker 1>the Stancer the way that we're supposed to, like, we

1:34:16.880 --> 1:34:21.360
<v Speaker 1>lose a little bullet point on like Nataliepportman's Oscar submission

1:34:21.520 --> 1:34:24.200
<v Speaker 1>or something like that. And it's a little frustrating on

1:34:24.680 --> 1:34:27.479
<v Speaker 1>the Natali Apportman's side too, of someone who generally tends

1:34:27.520 --> 1:34:30.479
<v Speaker 1>to be on the right side of things being at

1:34:30.640 --> 1:34:35.360
<v Speaker 1>least complicit in uh in a situation like this. So

1:34:35.880 --> 1:34:39.720
<v Speaker 1>for the record, we're teams Sarah Lane And also you

1:34:39.720 --> 1:34:42.760
<v Speaker 1>can kind of clearly see that it's now like they're

1:34:42.920 --> 1:34:45.200
<v Speaker 1>kind of deep faking it a little bit like a

1:34:45.200 --> 1:34:50.839
<v Speaker 1>social network Winkleboss style, so like, also, don't underestimate your viewers.

1:34:50.920 --> 1:34:54.000
<v Speaker 1>We also see it. Um So there's I mean, but

1:34:54.240 --> 1:34:58.120
<v Speaker 1>there's that's not the only controversy attributed to this production.

1:34:59.439 --> 1:35:02.840
<v Speaker 1>The next one is so the film Perfect Blue, which

1:35:02.920 --> 1:35:06.920
<v Speaker 1>is an anime film directed by Satoshi Khan. Yes, many

1:35:06.960 --> 1:35:13.120
<v Speaker 1>people have noticed similarities between that film and Black Swan. Um. So,

1:35:13.360 --> 1:35:17.679
<v Speaker 1>from my understanding, Darren Aronofsky purchased the American film rights

1:35:17.760 --> 1:35:21.720
<v Speaker 1>to Perfect Blue so that he could use the bathtub

1:35:21.840 --> 1:35:25.679
<v Speaker 1>scene from Perfect Blue in another of his films, Requiem

1:35:25.760 --> 1:35:27.960
<v Speaker 1>for a Dream, And if you see that side by

1:35:28.000 --> 1:35:31.800
<v Speaker 1>side comparison, you will see that those two scenes are

1:35:31.880 --> 1:35:36.760
<v Speaker 1>virtually identical. So now people speculate that because he owns

1:35:36.800 --> 1:35:41.240
<v Speaker 1>the American rights to Perfect Blue, that Aaronovsky might have

1:35:41.280 --> 1:35:44.760
<v Speaker 1>borrowed some stuff from it for Black Swan. Well, So

1:35:44.920 --> 1:35:47.840
<v Speaker 1>the frustrating thing there, I mean, it's like the connections

1:35:47.920 --> 1:35:52.200
<v Speaker 1>between Aeronovsky and the movie are so so well documented

1:35:52.280 --> 1:35:55.240
<v Speaker 1>that he doesn't have a leg to stand on. Really

1:35:55.320 --> 1:35:58.240
<v Speaker 1>it's not. I mean, there is sometimes overlap in ideas,

1:35:58.280 --> 1:36:00.439
<v Speaker 1>but this is like he literally purchased the home rights.

1:36:00.479 --> 1:36:03.479
<v Speaker 1>There's no question that this is what it is. But

1:36:03.600 --> 1:36:10.080
<v Speaker 1>I found um an interview that um Satoshi Khan's producer,

1:36:10.479 --> 1:36:14.040
<v Speaker 1>Missau Mariu Yama did with Days a couple of years

1:36:14.040 --> 1:36:20.000
<v Speaker 1>ago in that just further confirms this. Where Um He

1:36:20.360 --> 1:36:24.400
<v Speaker 1>says that Aronofsky and Con actually had met up, they

1:36:24.400 --> 1:36:27.000
<v Speaker 1>had discussed this. It seemed like they were both very

1:36:27.080 --> 1:36:32.240
<v Speaker 1>enthusiastic about Aronowsky possibly just adapting the anime to the screen,

1:36:33.280 --> 1:36:38.080
<v Speaker 1>and the quote is quote I met with Aronofsky alongside Con,

1:36:38.120 --> 1:36:41.240
<v Speaker 1>said Mariyama. It wouldn't have been a problem with an adaptation.

1:36:41.400 --> 1:36:43.280
<v Speaker 1>We thought that a director of that status could have

1:36:43.320 --> 1:36:45.240
<v Speaker 1>adapted the film and done it in his own way,

1:36:45.280 --> 1:36:47.360
<v Speaker 1>and that would have been fine. But I think that

1:36:47.400 --> 1:36:51.400
<v Speaker 1>Aronofsky's Black Swan, including the similarities it has to Perfect Blue,

1:36:51.600 --> 1:36:56.719
<v Speaker 1>is a very interesting film. So diplomatic answer from that camp,

1:36:58.120 --> 1:37:02.599
<v Speaker 1>very classy, but it's like, yeah, he he totally ripped it,

1:37:02.640 --> 1:37:06.519
<v Speaker 1>which is so, you know, for a you know, white

1:37:06.680 --> 1:37:12.280
<v Speaker 1>male known for being arrogrant a tour stealing from a

1:37:12.560 --> 1:37:18.080
<v Speaker 1>famous cult anime film director, that is an exceptionally bad look. Right.

1:37:18.200 --> 1:37:21.719
<v Speaker 1>We saw the same thing with The Lion King and

1:37:21.960 --> 1:37:25.400
<v Speaker 1>Um Kimba the White Lion. Right. Yeah, it's just like

1:37:25.439 --> 1:37:29.519
<v Speaker 1>American productions totally erasing um the fact that they're stealing

1:37:29.640 --> 1:37:34.880
<v Speaker 1>from Japanese careers. And I went and watched Perfect Blue?

1:37:35.040 --> 1:37:36.640
<v Speaker 1>Did you like it? Just to check it out? I

1:37:36.640 --> 1:37:39.479
<v Speaker 1>did like it and believe it or not, there are

1:37:39.560 --> 1:37:44.439
<v Speaker 1>quite a few similarities in terms of so the story

1:37:44.560 --> 1:37:47.840
<v Speaker 1>is that Um, a young pop star, decides to make

1:37:47.920 --> 1:37:51.400
<v Speaker 1>a bit of a career shift and turns to dramatic

1:37:51.439 --> 1:37:54.679
<v Speaker 1>acting instead. So she leaves this pop group that she's

1:37:54.720 --> 1:37:58.840
<v Speaker 1>in to become an actor. But she because she kind

1:37:58.840 --> 1:38:02.200
<v Speaker 1>of has to start of her she's not landing the

1:38:02.240 --> 1:38:05.400
<v Speaker 1>type of roles that she really wants. And also while

1:38:05.439 --> 1:38:07.960
<v Speaker 1>this is happening, there seems to be a man who

1:38:08.080 --> 1:38:11.960
<v Speaker 1>is stalking her and sort of infiltrating her her life

1:38:11.960 --> 1:38:15.360
<v Speaker 1>and then like posting about it online, which is so

1:38:15.760 --> 1:38:18.880
<v Speaker 1>like wildly ahead of its time, considering this movie came

1:38:18.880 --> 1:38:24.800
<v Speaker 1>out just like con No that we didn't know right,

1:38:25.280 --> 1:38:29.599
<v Speaker 1>but the so, the real similarities lie in just this

1:38:29.880 --> 1:38:33.280
<v Speaker 1>sort of overall idea that it's about a woman who's

1:38:33.360 --> 1:38:36.599
<v Speaker 1>grasp on reality becomes more and more warped because, like,

1:38:36.640 --> 1:38:40.679
<v Speaker 1>as this woman is being stalked, she keeps seeing this

1:38:40.840 --> 1:38:44.240
<v Speaker 1>image of her likeness. She thinks there's another woman out

1:38:44.240 --> 1:38:47.240
<v Speaker 1>there who is either trying to be her or is

1:38:47.280 --> 1:38:50.559
<v Speaker 1>out to get her. Um, her mental state really starts

1:38:50.560 --> 1:38:54.880
<v Speaker 1>to unravel. There's a more specific example and that there's

1:38:54.920 --> 1:38:58.479
<v Speaker 1>a moment on the subway train where the main character,

1:38:58.479 --> 1:39:02.599
<v Speaker 1>whose name is Mima not unlike Nina from Black Swan.

1:39:03.280 --> 1:39:06.360
<v Speaker 1>Um Mims sees an image of someone who looks exactly

1:39:06.400 --> 1:39:08.960
<v Speaker 1>like her, like in the reflection in a subway car,

1:39:09.439 --> 1:39:19.000
<v Speaker 1>and that exact thing happens in Black Swan. Yeah, uh so, so,

1:39:19.080 --> 1:39:21.040
<v Speaker 1>I mean it's it seems like a pretty cut and

1:39:21.120 --> 1:39:23.280
<v Speaker 1>dry thing. And if anything, maybe you want to watch

1:39:23.320 --> 1:39:25.040
<v Speaker 1>that movie. So I'm glad you got to see it.

1:39:25.120 --> 1:39:27.479
<v Speaker 1>And now, I mean, now that we're in the choir,

1:39:28.320 --> 1:39:31.080
<v Speaker 1>might and might as well, gotta gotta find something to

1:39:31.120 --> 1:39:33.960
<v Speaker 1>do time. I was about to Caitlin, did you ever

1:39:33.960 --> 1:39:38.679
<v Speaker 1>play Club Penguin? No, what's that? You should google Club Penguin.

1:39:38.960 --> 1:39:40.720
<v Speaker 1>I'm not going to get more specific. I feel like

1:39:40.920 --> 1:39:46.520
<v Speaker 1>we might, we might thrive on Club Penguin. Okay, anyways, Um,

1:39:46.600 --> 1:39:49.120
<v Speaker 1>you had one more fun piece of I mean, this

1:39:49.200 --> 1:39:53.320
<v Speaker 1>is just juicy. This okay, So I hit it. So

1:39:53.760 --> 1:39:57.160
<v Speaker 1>I read that while this movie was being filmed, Darren

1:39:57.160 --> 1:40:01.400
<v Speaker 1>Aronofsky tried to pit Natalie Portman and Mila Kunas against

1:40:01.439 --> 1:40:06.280
<v Speaker 1>each other. I guess to just like try to heighten

1:40:06.439 --> 1:40:10.080
<v Speaker 1>the tension between the characters in the film, but he

1:40:10.080 --> 1:40:15.320
<v Speaker 1>would do this by sending them text messages that complimented

1:40:15.479 --> 1:40:19.160
<v Speaker 1>the other actors performance to make them jealous of each other.

1:40:19.240 --> 1:40:22.920
<v Speaker 1>So he would be like, hey, Mila, didn't Natalie do

1:40:23.080 --> 1:40:26.200
<v Speaker 1>such a good job on set today, which is so

1:40:26.479 --> 1:40:29.040
<v Speaker 1>like transparent to It's like, if you're going to try

1:40:29.080 --> 1:40:33.120
<v Speaker 1>to like emotionally manipulate someone, like make an effort, dude,

1:40:34.000 --> 1:40:38.400
<v Speaker 1>like week week week. Well, here's the best part is

1:40:38.439 --> 1:40:41.320
<v Speaker 1>that it did not work, and it had quite the

1:40:41.320 --> 1:40:45.840
<v Speaker 1>opposite effect of what Aronofsky wanted because Natalie and Mila

1:40:45.920 --> 1:40:51.200
<v Speaker 1>were already good friends, so whenever Aronofsky texted one with

1:40:51.280 --> 1:40:55.400
<v Speaker 1>compliments about the other, they would just respond and say, yes,

1:40:55.680 --> 1:40:59.000
<v Speaker 1>I agree, my friend Natalie apartment is doing a great job.

1:40:59.200 --> 1:41:03.599
<v Speaker 1>Thank you for noticing. Like, oh, brother, I just yeah,

1:41:04.600 --> 1:41:06.600
<v Speaker 1>that makes me so happy because it's like Natalie a

1:41:06.640 --> 1:41:10.040
<v Speaker 1>Portman and mel Cunis seemed to, i mean, based on

1:41:10.120 --> 1:41:13.559
<v Speaker 1>what I know, seemed to be lovely people, and um,

1:41:13.600 --> 1:41:16.240
<v Speaker 1>I'm glad that they just were like all four like.

1:41:16.439 --> 1:41:19.200
<v Speaker 1>And also that darrena. Ronowsky's assumption is that women don't

1:41:19.240 --> 1:41:22.000
<v Speaker 1>want to support each other just like plays into so

1:41:22.000 --> 1:41:25.040
<v Speaker 1>many tropes that is like, hey, maybe not assuming this

1:41:25.080 --> 1:41:29.839
<v Speaker 1>would make you a better writer. Um right, Unfortunately, I

1:41:29.880 --> 1:41:31.960
<v Speaker 1>still love this movie so much forever and ever and

1:41:32.000 --> 1:41:35.240
<v Speaker 1>ever a man. Uh but yeah, So that that was

1:41:35.240 --> 1:41:41.439
<v Speaker 1>our That was our exclusive quarantine bonus content. Um that

1:41:41.520 --> 1:41:46.320
<v Speaker 1>we wanted to everyone to know. And that's the episode, right, Yes,

1:41:46.400 --> 1:41:49.360
<v Speaker 1>that's it. So thanks for listening. Thanks to everyone who

1:41:49.680 --> 1:41:52.439
<v Speaker 1>came to the live show. Thanks to our guest Hunter

1:41:52.560 --> 1:41:57.280
<v Speaker 1>Harris Um, she is incredible. Thank you to the Brooklyn

1:41:57.320 --> 1:42:02.000
<v Speaker 1>Podcast Festival for having us, as well as the Bellhouse

1:42:02.120 --> 1:42:05.439
<v Speaker 1>for hosting. Yes, thanks to again thanks to everyone who

1:42:05.520 --> 1:42:10.080
<v Speaker 1>came out, who bought merch um who just supports us

1:42:10.120 --> 1:42:14.200
<v Speaker 1>in any way, and um, you can also support us

1:42:14.240 --> 1:42:19.080
<v Speaker 1>by you know, following us on social media, um, going

1:42:19.120 --> 1:42:23.040
<v Speaker 1>to our patreon aka Matreon and subscribing four or five

1:42:23.120 --> 1:42:25.680
<v Speaker 1>dollars a month. We're gonna be, yeah, trying to do

1:42:25.760 --> 1:42:29.240
<v Speaker 1>more like community stuff on there. But also if you

1:42:29.280 --> 1:42:32.160
<v Speaker 1>can't afford it right now, we totally understand, like it's

1:42:32.439 --> 1:42:35.120
<v Speaker 1>it's a time at the time, it's a time, yes,

1:42:35.280 --> 1:42:37.040
<v Speaker 1>yes indeed, but if you can't afford it, it's a

1:42:37.040 --> 1:42:41.200
<v Speaker 1>great way to pass some time. And it's very true. Now,

1:42:41.240 --> 1:42:45.519
<v Speaker 1>listen to those bonus episodes. So I mean, and when

1:42:45.520 --> 1:42:47.960
<v Speaker 1>we got time to burn, we're gonna start making some

1:42:48.000 --> 1:42:52.200
<v Speaker 1>wild pics. Right now, its share March. Um, but we

1:42:52.280 --> 1:42:54.160
<v Speaker 1>have we have, we have some stuff in the mix.

1:42:54.240 --> 1:42:56.479
<v Speaker 1>But UM, yeah, you can keep in touch with us

1:42:56.520 --> 1:43:01.280
<v Speaker 1>there and UM in the meantime, take care of yourselves.

1:43:01.560 --> 1:43:05.320
<v Speaker 1>We hope that, uh, the podcast is a good distraction

1:43:05.560 --> 1:43:09.680
<v Speaker 1>from um, from all the other stuff going on. And

1:43:10.000 --> 1:43:12.439
<v Speaker 1>we're here for you. We love you, yes, we love you.

1:43:12.640 --> 1:43:15.080
<v Speaker 1>Take care, be safe. Bye bye