1 00:00:00,960 --> 00:00:03,920 Speaker 1: On the Bedel Cast, the questions asked if movies have 2 00:00:04,080 --> 00:00:07,520 Speaker 1: women in um, are all their discussions just boyfriends and 3 00:00:07,600 --> 00:00:11,879 Speaker 1: husbands or do they have individualism? The patriarchy ze and 4 00:00:12,039 --> 00:00:16,920 Speaker 1: best start changing it with the Bechdel Cast. We come 5 00:00:16,960 --> 00:00:20,360 Speaker 1: to the Bechtel Cast for magic. We come to the 6 00:00:20,360 --> 00:00:24,840 Speaker 1: Bechtel Cast to laugh, to cry, to care because we 7 00:00:24,880 --> 00:00:29,120 Speaker 1: need that, all of us. That indescribable feeling we get 8 00:00:29,160 --> 00:00:32,320 Speaker 1: when the theme song starts to play and we go 9 00:00:32,400 --> 00:00:36,680 Speaker 1: somewhere we've never been before, not just entertained, but somehow 10 00:00:36,960 --> 00:00:44,320 Speaker 1: reborn together dazzling voices of hosts Jamie Loftus and Caitlin 11 00:00:44,400 --> 00:00:51,960 Speaker 1: Darante sound that you can feel somehow. Heartbreak feels good 12 00:00:52,080 --> 00:00:55,760 Speaker 1: on a podcast like this. On a podcast like this, 13 00:00:56,680 --> 00:01:01,440 Speaker 1: our heroes Jamie and Caitlin feel like the best part 14 00:01:01,440 --> 00:01:07,240 Speaker 1: of us, and episodes feel perfect and powerful because here 15 00:01:08,640 --> 00:01:15,920 Speaker 1: they are the Bechtel Cast. We make podcasts better. Welcome 16 00:01:16,840 --> 00:01:20,840 Speaker 1: to the Bechtel Cast. I don't know, I have no 17 00:01:20,920 --> 00:01:24,319 Speaker 1: idea what week this is going to be released, because 18 00:01:24,400 --> 00:01:30,319 Speaker 1: this is an evergreen episode. Obviously we've been getting I mean, well, 19 00:01:30,560 --> 00:01:34,319 Speaker 1: so look, if this is your first time listening to 20 00:01:34,360 --> 00:01:39,039 Speaker 1: the Bucktel cast. Honestly, we can't help works. We can't actually, 21 00:01:39,080 --> 00:01:41,039 Speaker 1: we can't help you. I don't think we should even 22 00:01:41,040 --> 00:01:44,039 Speaker 1: say what the Bechtel test is in this episode. Honestly, 23 00:01:44,640 --> 00:01:49,320 Speaker 1: it's not necessary and as we have always said, you know, 24 00:01:49,400 --> 00:01:52,160 Speaker 1: it's just a starting off point for discussion and certain 25 00:01:52,400 --> 00:01:59,400 Speaker 1: pieces of art transcend correct conventional media metrics. This is 26 00:01:59,720 --> 00:02:03,040 Speaker 1: this is more of a vibes based episode. It's um 27 00:02:03,080 --> 00:02:08,000 Speaker 1: it's sound that you can feel. And we've been getting 28 00:02:08,120 --> 00:02:10,840 Speaker 1: requests for this for the I mean since truly the 29 00:02:10,880 --> 00:02:13,320 Speaker 1: second it dropped. We are It's like, when is there 30 00:02:13,320 --> 00:02:17,200 Speaker 1: going to be an intersectional feminist discussion of drumroll please? 31 00:02:17,919 --> 00:02:20,760 Speaker 1: The Nicole Kitman AMC commercial that shows right before the 32 00:02:20,800 --> 00:02:24,720 Speaker 1: movie starts only at AMC theaters, and I'm pretty sure 33 00:02:24,760 --> 00:02:27,840 Speaker 1: only in America. There are a few countries in Europe 34 00:02:27,960 --> 00:02:31,480 Speaker 1: that I believe they've got it, have been exposed to this, 35 00:02:32,040 --> 00:02:36,360 Speaker 1: but yes, it is mostly a thing from the US, 36 00:02:36,760 --> 00:02:39,440 Speaker 1: so uh here, if you live in a country where 37 00:02:39,960 --> 00:02:42,680 Speaker 1: you haven't had the pleasure. I would hope that they 38 00:02:42,680 --> 00:02:46,360 Speaker 1: show it in Australia, where Nicole Kitman from, but I 39 00:02:46,360 --> 00:02:49,640 Speaker 1: don't really know. I don't know where AMC movie theaters 40 00:02:49,680 --> 00:02:52,600 Speaker 1: are and I don't care to know, but I will 41 00:02:52,680 --> 00:02:55,839 Speaker 1: say that I this has come up in conversations with 42 00:02:56,160 --> 00:03:01,040 Speaker 1: two of my Canadian friends this week. Okay, we've got 43 00:03:01,080 --> 00:03:04,839 Speaker 1: international friends. I've got a couple Canadian and you know what. 44 00:03:05,160 --> 00:03:08,840 Speaker 1: And while we're at it, it's recently International Women's Day 45 00:03:09,040 --> 00:03:15,280 Speaker 1: and yeah, my friend Sarah is from Canada, so yeah, okay, 46 00:03:15,320 --> 00:03:18,040 Speaker 1: but but the thing is, um, most people who live 47 00:03:18,080 --> 00:03:20,959 Speaker 1: in Canada are like, what are you talking about. They're like, 48 00:03:21,000 --> 00:03:23,720 Speaker 1: I've seen the meme, I haven't experienced it, and you 49 00:03:23,800 --> 00:03:27,320 Speaker 1: really do need to experience that. We're gonna try to 50 00:03:27,360 --> 00:03:30,320 Speaker 1: take you there today because I mean, obviously there's a 51 00:03:30,360 --> 00:03:33,160 Speaker 1: lot to unpack, but for for those who haven't heard 52 00:03:33,160 --> 00:03:35,400 Speaker 1: it before, we're just going to play the full audio 53 00:03:35,480 --> 00:03:38,960 Speaker 1: here so you can experience it for yourself. So the 54 00:03:39,000 --> 00:03:43,880 Speaker 1: commercial does also include video. Here's the audio. It's also 55 00:03:44,040 --> 00:03:47,080 Speaker 1: readily available on YouTube, so we'll also provide the YouTube 56 00:03:47,080 --> 00:03:50,800 Speaker 1: link if you can actually pause the episode and rent 57 00:03:50,840 --> 00:03:53,440 Speaker 1: out a movie theater if there's not an AMC in 58 00:03:53,440 --> 00:03:56,040 Speaker 1: your area, just rent out a movie theater and play 59 00:03:56,240 --> 00:03:58,400 Speaker 1: this YouTube clip because you do have to kind of 60 00:03:58,480 --> 00:04:03,280 Speaker 1: see it in a theater. Yes, if that's not possible. 61 00:04:03,760 --> 00:04:06,160 Speaker 1: Here's the audio from the commercial that we will be 62 00:04:06,240 --> 00:04:13,840 Speaker 1: talking about today. We come to this place for magic. 63 00:04:14,840 --> 00:04:19,800 Speaker 1: We come to AMC Theaters to love, to cry, to care, 64 00:04:20,839 --> 00:04:25,719 Speaker 1: because we need that, all of us. An indescribable feeling 65 00:04:25,839 --> 00:04:31,839 Speaker 1: we get when the lights begin to dip and we 66 00:04:31,960 --> 00:04:37,160 Speaker 1: go somewhere we've never been before, not just entertained it 67 00:04:37,400 --> 00:04:44,240 Speaker 1: somehow informed together dazzling images on a huge silver screen, 68 00:04:45,160 --> 00:04:49,800 Speaker 1: sound that I can feel somehow. Heartbreak feels good in 69 00:04:49,839 --> 00:04:53,360 Speaker 1: a place like this. Our heroes feel like the best 70 00:04:53,480 --> 00:04:59,200 Speaker 1: part of us, and stories feel perfect and powerful because 71 00:04:59,279 --> 00:05:10,280 Speaker 1: here they are. AMC Theats make movies. Okay, myself so 72 00:05:10,360 --> 00:05:13,800 Speaker 1: much to unpack. You've heard it, you've experienced it from 73 00:05:13,839 --> 00:05:16,920 Speaker 1: an audio standpoint. Sound. I could feel sound, You can 74 00:05:17,000 --> 00:05:20,760 Speaker 1: feel sound. I could feel. So let's get I mean, Caitlin, 75 00:05:20,839 --> 00:05:26,000 Speaker 1: what's your history with the Nicole Kevin AMC commercial. Well, 76 00:05:26,120 --> 00:05:29,000 Speaker 1: I saw it for the first time at the end 77 00:05:29,000 --> 00:05:35,479 Speaker 1: of I believe it first premiered in September. Yes, I 78 00:05:35,520 --> 00:05:38,719 Speaker 1: think I saw it. It played in theaters right before 79 00:05:39,360 --> 00:05:42,440 Speaker 1: shan Chi. I believe that's when I first saw it. Exciting. 80 00:05:42,560 --> 00:05:46,599 Speaker 1: I have seen it dozens of times since then, and 81 00:05:46,640 --> 00:05:49,320 Speaker 1: I would say, you love the movie. I love going 82 00:05:49,360 --> 00:05:53,080 Speaker 1: to the movies, and specifically AMC theaters. Because I do 83 00:05:53,320 --> 00:05:56,800 Speaker 1: not to brag or anything, have an AMC A List 84 00:05:56,960 --> 00:06:00,000 Speaker 1: stubs membership where you can see up to three movie 85 00:06:00,040 --> 00:06:03,839 Speaker 1: fees a week, all the fees waved, etcetera, etcetera. You're 86 00:06:03,839 --> 00:06:10,280 Speaker 1: not going to believe this. I have that as well, Jamie. Yeah, yeah, 87 00:06:10,320 --> 00:06:13,800 Speaker 1: I saw I saw Syra No this week. Oh yeah, No, 88 00:06:13,920 --> 00:06:19,240 Speaker 1: I didn't see any together that were good. I went 89 00:06:19,279 --> 00:06:22,440 Speaker 1: with a friend of the show, Melissa Lozada Aliva. We 90 00:06:22,480 --> 00:06:25,200 Speaker 1: saw Syra Now and then we went to the cheesecake factory. Well, 91 00:06:25,240 --> 00:06:30,480 Speaker 1: thanks for inviting me. Gee whiz, I'm I'm sorry. It's 92 00:06:30,560 --> 00:06:34,560 Speaker 1: a date. Honestly, can you see every You see most movies, 93 00:06:34,600 --> 00:06:36,880 Speaker 1: but you always see all the good movies. And my 94 00:06:37,120 --> 00:06:42,760 Speaker 1: AMC history is so embarrassing it's horrible. Okay, So you 95 00:06:42,839 --> 00:06:47,760 Speaker 1: saw you saw Nicole kivin AMC commercial before Hunch. Yes, 96 00:06:47,800 --> 00:06:49,680 Speaker 1: and I've seen it dozens of times since, and I 97 00:06:49,720 --> 00:06:54,880 Speaker 1: would say it is my favorite ad for AMC Theaters 98 00:06:55,040 --> 00:06:58,880 Speaker 1: starring Nicole Kidman, favorite of all time. Yes, to quote, 99 00:06:58,880 --> 00:07:03,359 Speaker 1: my favorite eat from this year when Nicole Kidman was 100 00:07:03,400 --> 00:07:08,240 Speaker 1: nominated for being the Ricardos and not the AMC commercial 101 00:07:08,839 --> 00:07:12,920 Speaker 1: that was not fighting for gay rights. And I can't 102 00:07:12,920 --> 00:07:16,400 Speaker 1: help but agree. I think it's, you know, it's extremely 103 00:07:16,400 --> 00:07:21,480 Speaker 1: obvious where the performance really was because Nicole Kidman. And 104 00:07:21,520 --> 00:07:24,200 Speaker 1: I think this has been kind of pointed out. And 105 00:07:24,280 --> 00:07:27,080 Speaker 1: I say this with love because she's obviously we know 106 00:07:27,200 --> 00:07:31,000 Speaker 1: she's she's a great actress. She's been in so many classics. 107 00:07:31,040 --> 00:07:34,520 Speaker 1: She's in kind of a flop era right now. One 108 00:07:34,560 --> 00:07:38,680 Speaker 1: could say, I would make the argument, and I'm not 109 00:07:38,720 --> 00:07:42,040 Speaker 1: the only person saying this. Being the Ricardos couldn't get 110 00:07:42,040 --> 00:07:46,080 Speaker 1: through it. Don't really know anyone that could. That thing 111 00:07:46,160 --> 00:07:50,760 Speaker 1: on Hulu not good. I don't even know what you're 112 00:07:50,800 --> 00:07:54,200 Speaker 1: talking about. That thing on HBO that wasn't Big Little 113 00:07:54,240 --> 00:07:58,520 Speaker 1: Lies with Hugh Grant. I did watch every episode, but 114 00:07:58,840 --> 00:08:02,440 Speaker 1: she was constantly a staged by her jackets in that show, 115 00:08:02,800 --> 00:08:05,360 Speaker 1: and they were fabulous jackets. But that's not you know, 116 00:08:05,760 --> 00:08:09,160 Speaker 1: she's just in kind of a bizarre phase of her career. 117 00:08:09,240 --> 00:08:13,400 Speaker 1: And then and then a performance like this and you're like, oh, 118 00:08:13,440 --> 00:08:16,400 Speaker 1: I mean she never left the Comeback of the Century. 119 00:08:16,760 --> 00:08:19,320 Speaker 1: Just quick side note, I will say that I am compelled. 120 00:08:19,360 --> 00:08:22,320 Speaker 1: I have not seen the show on HBO. I am 121 00:08:22,360 --> 00:08:24,920 Speaker 1: compelled by it though, because it starts the two Villains 122 00:08:24,960 --> 00:08:30,240 Speaker 1: of the Two Paddington movies, so you really would think 123 00:08:30,920 --> 00:08:32,440 Speaker 1: that it was going to be better. I kind of 124 00:08:32,480 --> 00:08:35,160 Speaker 1: want to rewatch it because that show I don't even 125 00:08:35,200 --> 00:08:38,600 Speaker 1: remember what it was called, but it was like a 126 00:08:38,640 --> 00:08:42,240 Speaker 1: Sunday night HBO show. I usually watch those, whether I 127 00:08:42,320 --> 00:08:45,760 Speaker 1: like them or not, because I don't know. I like Caitlin, 128 00:08:45,800 --> 00:08:48,280 Speaker 1: You're a Movie, Galt. I watched TV in real time 129 00:08:48,320 --> 00:08:51,840 Speaker 1: a lot of the time. It's called the Undoing. I wonder. 130 00:08:52,240 --> 00:08:56,360 Speaker 1: I feel like it aired like very much during Lockdown, 131 00:08:56,600 --> 00:08:59,280 Speaker 1: and it was like but it was like deep into Lockdown. 132 00:08:59,520 --> 00:09:02,320 Speaker 1: It was all so airing during the election, so I 133 00:09:02,400 --> 00:09:05,719 Speaker 1: was just like, I know that everyone was like that 134 00:09:05,760 --> 00:09:08,680 Speaker 1: show was weird. It wasn't very good, but it happened 135 00:09:08,679 --> 00:09:11,440 Speaker 1: at such a chaotic time that I think is either 136 00:09:11,559 --> 00:09:14,040 Speaker 1: a little bit better than we were giving a credit for, 137 00:09:14,559 --> 00:09:21,280 Speaker 1: or my suspicion, much worse. So we'll never We'll never know. 138 00:09:21,400 --> 00:09:23,400 Speaker 1: I don't care to watch it again. All that to say, 139 00:09:23,800 --> 00:09:26,360 Speaker 1: She's back, She's back. This is the greatest commercial I've 140 00:09:26,360 --> 00:09:29,000 Speaker 1: ever seen, So yeah, tell me about your history and 141 00:09:29,040 --> 00:09:34,360 Speaker 1: your relationship with AMC Theaters period we make movies better 142 00:09:34,559 --> 00:09:38,760 Speaker 1: period starring Nicole Kidman, So I am looking through my 143 00:09:38,840 --> 00:09:40,800 Speaker 1: AMC history. I believe the first time I would have 144 00:09:40,840 --> 00:09:44,920 Speaker 1: seen this would have been when I was seeing an 145 00:09:44,960 --> 00:09:49,560 Speaker 1: eleven ten in the morning screening of Spencer, the Christen 146 00:09:49,600 --> 00:09:55,240 Speaker 1: Stewart Princess Diana movie, which I liked, and I had 147 00:09:55,320 --> 00:09:59,319 Speaker 1: heard about the commercial. I had not experienced the commercial, 148 00:10:00,000 --> 00:10:04,040 Speaker 1: and I was immediately hooked. I feel like it completely. 149 00:10:04,960 --> 00:10:06,600 Speaker 1: I feel it's a good movie to see it right 150 00:10:06,600 --> 00:10:09,800 Speaker 1: before too, because Spencer is all about like just kind 151 00:10:09,800 --> 00:10:11,720 Speaker 1: of you're like, you're never quite sure what's going on. 152 00:10:11,800 --> 00:10:14,079 Speaker 1: You never you don't know who to trust, who to believe. 153 00:10:14,120 --> 00:10:16,880 Speaker 1: You're like, what is happening here? And that's the exact 154 00:10:16,920 --> 00:10:20,079 Speaker 1: feeling I get when I watched Nicole Kidman AMC commercial, 155 00:10:20,760 --> 00:10:22,520 Speaker 1: except I don't think it's supposed to feel that way, 156 00:10:22,559 --> 00:10:25,199 Speaker 1: but that's why it's beautiful. Where the first time I 157 00:10:25,240 --> 00:10:28,839 Speaker 1: saw the Nicole Kidman commercial bring the House Down, because 158 00:10:28,840 --> 00:10:31,800 Speaker 1: we'll talk about the history of the commercial. I saw 159 00:10:31,800 --> 00:10:34,720 Speaker 1: it first Bring the House Down at a screening of 160 00:10:34,920 --> 00:10:42,960 Speaker 1: House of Gucci because Peanut butter and jelly of dissonant content. Um. 161 00:10:43,120 --> 00:10:48,160 Speaker 1: People were flipping for for the Nicole Kidman commercial because 162 00:10:48,160 --> 00:10:51,000 Speaker 1: there is kind of even though it's you know, not 163 00:10:51,080 --> 00:10:54,360 Speaker 1: been around for very long. People didn't like it at first, 164 00:10:54,600 --> 00:10:57,840 Speaker 1: They're like, what is this? I hate it? I'm confused. 165 00:10:58,320 --> 00:11:00,280 Speaker 1: Nicole Kidman hasn't even been in a movie we that 166 00:11:00,320 --> 00:11:03,560 Speaker 1: has like premiered in theaters in like three years, so 167 00:11:03,600 --> 00:11:07,920 Speaker 1: why her of all people? She's been doing streaming stuff. 168 00:11:08,840 --> 00:11:12,880 Speaker 1: But then you know, there was this shift sometime in 169 00:11:12,920 --> 00:11:15,400 Speaker 1: the late fall and it and it does coincide, and 170 00:11:15,440 --> 00:11:17,840 Speaker 1: this commercial was partially made to encourage people to go 171 00:11:17,880 --> 00:11:21,600 Speaker 1: back to the movies when it was safe and by 172 00:11:22,120 --> 00:11:26,040 Speaker 1: winter time, by like the holiday season movies. People were 173 00:11:26,040 --> 00:11:28,400 Speaker 1: in love with this commercial. They loved it to the 174 00:11:28,400 --> 00:11:30,880 Speaker 1: point where when they shortened the commercial, there was a 175 00:11:30,920 --> 00:11:34,440 Speaker 1: petition with thousands of signatures to make it a minute 176 00:11:34,440 --> 00:11:38,840 Speaker 1: long again. And I have not experienced this myself yet, 177 00:11:38,920 --> 00:11:43,000 Speaker 1: but I've heard tell of when this commercial comes on 178 00:11:43,480 --> 00:11:48,880 Speaker 1: in theaters, many audience members will recite the monologue along 179 00:11:48,960 --> 00:11:51,680 Speaker 1: with I can confirm that. Okay, I have yet to 180 00:11:51,800 --> 00:11:55,280 Speaker 1: experience this. I did see The Batman last night. You 181 00:11:55,320 --> 00:12:00,640 Speaker 1: said long but good, long, but good correct and reaction 182 00:12:01,080 --> 00:12:06,280 Speaker 1: that the audience had when Nicole Kinman's AMC commercial came 183 00:12:06,360 --> 00:12:09,040 Speaker 1: on at an AMC. They don't really need to be 184 00:12:09,080 --> 00:12:13,480 Speaker 1: advertising AMC when you're already at an AMC. But you're 185 00:12:13,520 --> 00:12:16,040 Speaker 1: already there, and there's always such a like love hate 186 00:12:16,080 --> 00:12:19,480 Speaker 1: relationship with AMC because most people are there because they 187 00:12:19,520 --> 00:12:22,160 Speaker 1: have the most affordable membership. It's not because it's the 188 00:12:22,200 --> 00:12:25,480 Speaker 1: best movie theater. But you know, so people are kind 189 00:12:25,480 --> 00:12:29,120 Speaker 1: of at AMC under duress, but that's kind of part 190 00:12:29,160 --> 00:12:32,840 Speaker 1: of the fun exactly. So the commercial starts to play, 191 00:12:32,920 --> 00:12:34,680 Speaker 1: you only need to see it for like a few 192 00:12:34,720 --> 00:12:38,920 Speaker 1: frames before you know exactly what you're seeing. And the 193 00:12:39,000 --> 00:12:43,920 Speaker 1: moment we see that puddle, oh my gosh, is it 194 00:12:44,160 --> 00:12:49,120 Speaker 1: rating in the commersional but I mean, just an explosion 195 00:12:49,320 --> 00:12:53,520 Speaker 1: of applause and cheers the moment it comes on screen, 196 00:12:53,840 --> 00:12:57,640 Speaker 1: and I get why, Like it's it's an incredible piece 197 00:12:57,640 --> 00:13:02,600 Speaker 1: of cinema. It has everything that I love about and 198 00:13:02,640 --> 00:13:06,560 Speaker 1: it's truly does that commercial not make movies better? Because 199 00:13:06,720 --> 00:13:09,760 Speaker 1: I would say it does. It now makes me want 200 00:13:09,800 --> 00:13:13,480 Speaker 1: to go to we're recording this on Friday evening. It 201 00:13:13,559 --> 00:13:15,240 Speaker 1: kind of makes me want to go see The Batman 202 00:13:15,320 --> 00:13:19,680 Speaker 1: tonight because I just I've never seen this commercial in 203 00:13:19,760 --> 00:13:24,360 Speaker 1: like a packed theater calling out House of Gucci for 204 00:13:24,480 --> 00:13:27,959 Speaker 1: maybe not packing the theaters as they thought they might. 205 00:13:28,720 --> 00:13:31,319 Speaker 1: I've seen it in half full theaters a couple of times, 206 00:13:31,360 --> 00:13:34,400 Speaker 1: but I have not seen, you know, like the way 207 00:13:34,440 --> 00:13:38,600 Speaker 1: that we used to see movies. This commercial is so special, 208 00:13:38,920 --> 00:13:40,319 Speaker 1: and I think we should I mean, should we get 209 00:13:40,320 --> 00:13:42,800 Speaker 1: into the recap. Yeah, yeah, let me recap it and 210 00:13:42,800 --> 00:13:47,319 Speaker 1: then we will go from there. Okay. So setting the scene, 211 00:13:47,440 --> 00:13:52,040 Speaker 1: it is a cold, foggy night. It's not actively raining, 212 00:13:52,080 --> 00:13:55,160 Speaker 1: but it has just rained because there's a puddle. One 213 00:13:55,200 --> 00:13:57,400 Speaker 1: of the most iconic opening shots of all time, I 214 00:13:57,400 --> 00:14:01,560 Speaker 1: would say, is Nicole Kevin's heel landing directly in a puddle, 215 00:14:02,960 --> 00:14:06,559 Speaker 1: as if Nicole Kidman in her five thousand dollar shoes 216 00:14:07,240 --> 00:14:11,000 Speaker 1: would be stepping in up avoid a puddle. It seems 217 00:14:11,040 --> 00:14:13,599 Speaker 1: so intentional that you're like, surely this is going to 218 00:14:13,720 --> 00:14:16,680 Speaker 1: come back later in the film. It does not. It 219 00:14:16,720 --> 00:14:19,640 Speaker 1: does not. So the whole purpose of this puddle is 220 00:14:19,680 --> 00:14:24,360 Speaker 1: so that we see the reflection of an AMC theater sign. 221 00:14:25,120 --> 00:14:27,960 Speaker 1: A foot comes into frame and steps into the puddle. 222 00:14:28,440 --> 00:14:31,160 Speaker 1: This foot is wearing a stiletto. We see the pant 223 00:14:31,240 --> 00:14:35,600 Speaker 1: leg of a pinstriped suit. But these aren't just any 224 00:14:35,640 --> 00:14:39,160 Speaker 1: old pin stripes. They're shiny pin stripes. There. It's I 225 00:14:39,200 --> 00:14:41,840 Speaker 1: would say, it's like you would wear this like a 226 00:14:41,920 --> 00:14:45,760 Speaker 1: business casual New Year's Eve party? Yeah, would you wear 227 00:14:45,800 --> 00:14:51,640 Speaker 1: this to a movie theater alone? You know, that's that's 228 00:14:51,640 --> 00:14:53,640 Speaker 1: out of my pay grade. I don't know you could. 229 00:14:53,840 --> 00:14:56,200 Speaker 1: I've seen it happen. I mean, I've seen it happen 230 00:14:56,360 --> 00:14:59,920 Speaker 1: with exactly one person, and it's Nicole Kidman in this commercial. 231 00:15:00,600 --> 00:15:04,680 Speaker 1: M hm, so yeah, so it has happened. It's been 232 00:15:04,720 --> 00:15:08,800 Speaker 1: famously done. So she so she walks into and it's, 233 00:15:08,840 --> 00:15:11,000 Speaker 1: of course it's an AMC movie theater. Yes, he's wearing 234 00:15:11,000 --> 00:15:13,880 Speaker 1: a jacket. At first, jacket goes away. Okay, yes, okay, 235 00:15:14,040 --> 00:15:16,040 Speaker 1: So we cut two assuming they take it at the door, 236 00:15:16,640 --> 00:15:18,800 Speaker 1: which is not what happens at them. There is no 237 00:15:18,880 --> 00:15:23,880 Speaker 1: co check, so right, so then we cut to the 238 00:15:24,040 --> 00:15:26,080 Speaker 1: so we're still outside. We cut to the face of 239 00:15:26,120 --> 00:15:29,360 Speaker 1: the person in the pinstripe suit. It is Nicole Kidman 240 00:15:29,880 --> 00:15:33,280 Speaker 1: as herself. I think she's not playing a role. She's 241 00:15:33,320 --> 00:15:37,600 Speaker 1: not playing you know. The Explorer's daughter in Paddington One. 242 00:15:38,320 --> 00:15:42,160 Speaker 1: She's not playing uh um whatever that her name is 243 00:15:42,200 --> 00:15:46,040 Speaker 1: from Mulan Rouge, certainly not. And other Nicole Kidman movies 244 00:15:46,160 --> 00:15:48,200 Speaker 1: that I can't think of off the top of my head. 245 00:15:48,480 --> 00:15:52,480 Speaker 1: She's not in um in Oh no, that one that's 246 00:15:52,480 --> 00:15:57,280 Speaker 1: about sex parties, eyes wide shot, it's not. That's how 247 00:15:57,320 --> 00:16:02,160 Speaker 1: I just described. Thank you forgetting that, and I'm canceled again. 248 00:16:02,600 --> 00:16:05,600 Speaker 1: Great um yeah. And then you know other movies that 249 00:16:05,880 --> 00:16:09,000 Speaker 1: she's in that I don't remember, but it's Nicole Kidman 250 00:16:09,080 --> 00:16:12,560 Speaker 1: playing herself as far as we can tell. She pulls 251 00:16:12,640 --> 00:16:16,240 Speaker 1: down the hood of a beige coat that she's wearing. 252 00:16:16,960 --> 00:16:21,200 Speaker 1: She smiles at the AMC sign. She loves it there, 253 00:16:21,240 --> 00:16:23,920 Speaker 1: and it's not a super enthusiastic smile, but it's a 254 00:16:23,960 --> 00:16:28,080 Speaker 1: smile of recognition, like I've been to this we come 255 00:16:28,120 --> 00:16:31,040 Speaker 1: to this place, which I think is what is being 256 00:16:31,080 --> 00:16:34,200 Speaker 1: said during this shot, correct, So she smiles, she steps 257 00:16:34,200 --> 00:16:36,800 Speaker 1: towards the theater, and then we're also getting voice over 258 00:16:36,880 --> 00:16:40,800 Speaker 1: from Nicole Kidman which says, we come to this place 259 00:16:41,120 --> 00:16:45,880 Speaker 1: for magic. We come to AMC theaters to laugh, to cry, 260 00:16:46,280 --> 00:16:51,040 Speaker 1: to care. Then we see Nicole walking down a hallway 261 00:16:51,080 --> 00:16:54,720 Speaker 1: of this AMC. People have figured out this is like 262 00:16:54,840 --> 00:16:57,720 Speaker 1: a Los Angeles am C. I'm pretty sure I know 263 00:16:57,800 --> 00:16:59,840 Speaker 1: exactly where it is. Where is which one is it? 264 00:17:00,120 --> 00:17:05,280 Speaker 1: So it is one of the newest AMC's, at least 265 00:17:05,320 --> 00:17:09,720 Speaker 1: in the region. Because this was filmed on location. It 266 00:17:09,800 --> 00:17:14,840 Speaker 1: is the AMC. You like to think they built a replica. Uh, 267 00:17:14,880 --> 00:17:18,480 Speaker 1: it is the AMC Porter Ranch nine, which is just 268 00:17:18,640 --> 00:17:23,240 Speaker 1: north of l A. We should definitely go. We should 269 00:17:23,240 --> 00:17:28,280 Speaker 1: definitely go. I also, how certain did you feel, even 270 00:17:28,320 --> 00:17:30,800 Speaker 1: though obviously she's an amazing actress, you feel like she's 271 00:17:30,800 --> 00:17:32,800 Speaker 1: been there before. I would guess this is the first 272 00:17:32,800 --> 00:17:37,520 Speaker 1: time Nicole Kimn's been too an AMC. Absolutely yeah. I 273 00:17:37,560 --> 00:17:39,880 Speaker 1: don't think she's ever set foot inside of one before 274 00:17:39,880 --> 00:17:42,520 Speaker 1: they offered her, let's say, a million billion dollars to 275 00:17:42,640 --> 00:17:46,200 Speaker 1: step foot inside of a completely empty AMC theater one time. 276 00:17:46,720 --> 00:17:50,080 Speaker 1: I concur okay, but it's great. It's it's fluorescent lighting, 277 00:17:50,760 --> 00:17:53,359 Speaker 1: which you would think wouldn't be flattering, but it's Nicole 278 00:17:53,440 --> 00:17:56,240 Speaker 1: Kidman and it kind of compliments the shiny nous of 279 00:17:56,440 --> 00:17:58,399 Speaker 1: of the pinstripe suit. I thought it brought out the 280 00:17:58,440 --> 00:18:02,440 Speaker 1: stripes absolutely us. So she's walking down the hall Her 281 00:18:02,480 --> 00:18:05,960 Speaker 1: coat is gone, so she apparently maybe she opened the 282 00:18:05,960 --> 00:18:09,480 Speaker 1: doors and just tossed it at the first working class 283 00:18:09,520 --> 00:18:12,800 Speaker 1: person she saw. Who knows she could have just dropped it. 284 00:18:13,080 --> 00:18:17,360 Speaker 1: I mean the movie there's empty, true, right, no one 285 00:18:17,400 --> 00:18:19,960 Speaker 1: else is there. Okay, So she's walking down the hallway alone. 286 00:18:20,560 --> 00:18:23,760 Speaker 1: Cut to her in a screening room, walking up the 287 00:18:23,800 --> 00:18:27,760 Speaker 1: steps towards a seat. The screening room is completely empty. 288 00:18:27,800 --> 00:18:30,160 Speaker 1: But at this point we have now gotten a full 289 00:18:30,280 --> 00:18:33,760 Speaker 1: visual of the suit head to toe. We see the 290 00:18:33,760 --> 00:18:37,000 Speaker 1: whole thing and it looks good. It's good, it's a 291 00:18:37,040 --> 00:18:42,240 Speaker 1: good fit. It was tailored nicely, yes, and it's very shiny. Now, 292 00:18:42,320 --> 00:18:45,120 Speaker 1: can can you clarify something for me? She doesn't have 293 00:18:45,160 --> 00:18:47,840 Speaker 1: the soda when she is walking down the hallway, or 294 00:18:47,880 --> 00:18:50,879 Speaker 1: does she? I do not believe she has the soda 295 00:18:51,000 --> 00:18:56,879 Speaker 1: At this point, the soda appears, soda magically appears, yes, okay, 296 00:18:56,880 --> 00:19:01,119 Speaker 1: I just checking. The coat magically disappears, the soda magically appears. 297 00:19:02,080 --> 00:19:06,560 Speaker 1: She's summoning and disappearing things like she's a wizard, like 298 00:19:06,600 --> 00:19:10,080 Speaker 1: she's in practical magic or something. Yes, wow, that's another 299 00:19:10,119 --> 00:19:12,600 Speaker 1: movie she's in. She's really in a lot of movies. Caitlin. 300 00:19:12,880 --> 00:19:15,840 Speaker 1: I know she's had a hell of a career, tell 301 00:19:15,880 --> 00:19:18,520 Speaker 1: you what, She's in several movies, and now it's peaked. 302 00:19:19,040 --> 00:19:22,160 Speaker 1: It's peaked, and there's nowhere to go but downward. After 303 00:19:22,200 --> 00:19:26,760 Speaker 1: this AMC commercial exactly exactly, Okay, while we see these 304 00:19:26,880 --> 00:19:30,400 Speaker 1: visuals of her walking to her seat and things like that, 305 00:19:30,680 --> 00:19:34,640 Speaker 1: we get more voice over, which says, because we need that, 306 00:19:35,280 --> 00:19:38,320 Speaker 1: all of us, that indescribable feeling we get when the 307 00:19:38,400 --> 00:19:41,320 Speaker 1: lights begin to dim and we go somewhere we've never 308 00:19:41,359 --> 00:19:45,040 Speaker 1: been before. Okay, Now things get kind of interesting because 309 00:19:45,080 --> 00:19:48,960 Speaker 1: now she's so she's in the theater, the theater, there's 310 00:19:48,960 --> 00:19:53,280 Speaker 1: no one there, She's there alone. Right, Now, here's something interesting. 311 00:19:53,720 --> 00:19:59,800 Speaker 1: We don't know canonically what year this commercial takes place in. 312 00:20:00,280 --> 00:20:04,199 Speaker 1: It could take place as late as or as early 313 00:20:04,320 --> 00:20:08,360 Speaker 1: as seventeen eighteen. Does she watch a movie that comes 314 00:20:08,359 --> 00:20:12,440 Speaker 1: out after she watches Wonder Woman? She watches Jurassic World. 315 00:20:12,680 --> 00:20:14,800 Speaker 1: So I didn't check the dates on these. So the 316 00:20:14,880 --> 00:20:20,719 Speaker 1: four movies that we see her watching clips of, presumably 317 00:20:20,840 --> 00:20:26,160 Speaker 1: trailers maybe who knows our Jurassic World, which I believe 318 00:20:26,200 --> 00:20:29,679 Speaker 1: came out in if you could fact check me, that 319 00:20:29,800 --> 00:20:32,240 Speaker 1: is correct. Okay, don't we see her watch a clip 320 00:20:32,280 --> 00:20:36,840 Speaker 1: of Wonder Woman which came seen I believe, Okay. The 321 00:20:36,880 --> 00:20:40,399 Speaker 1: third one is La La Land. Okay, that might be 322 00:20:40,440 --> 00:20:43,200 Speaker 1: a wild card. That's twenty. I believe that's sixteen. Let 323 00:20:43,200 --> 00:20:47,280 Speaker 1: me check. I forgot she watches La La Land. That's sixteen, okay, 324 00:20:47,320 --> 00:20:49,480 Speaker 1: So so it could be as late as twenty seventeen. 325 00:20:49,840 --> 00:20:53,880 Speaker 1: And then the final one is Creed. Okay, Creed came out, 326 00:20:54,280 --> 00:20:58,359 Speaker 1: Creed came out in So this commercial, I would say, 327 00:20:58,600 --> 00:21:03,359 Speaker 1: for some reason, takes place in in the winter of 328 00:21:03,680 --> 00:21:09,280 Speaker 1: or like the late fall or early winter of because 329 00:21:09,320 --> 00:21:12,840 Speaker 1: otherwise you would think and I don't know the vision. 330 00:21:12,880 --> 00:21:15,200 Speaker 1: And also I would say that one thing I found 331 00:21:15,280 --> 00:21:18,320 Speaker 1: very troubling about this is there's no credited writer on 332 00:21:18,400 --> 00:21:21,760 Speaker 1: this well commercial, well, not in the credits of the commercial, 333 00:21:21,760 --> 00:21:24,439 Speaker 1: because commercials generally don't have credits. But there is a 334 00:21:24,800 --> 00:21:29,640 Speaker 1: famous Hollywood Oscar nominated screenwriter wrote the monologue for this, 335 00:21:29,920 --> 00:21:34,600 Speaker 1: Billy Ray. Really yes, okay, And I feel like you 336 00:21:34,640 --> 00:21:38,320 Speaker 1: can tell when a man is putting words in a 337 00:21:38,359 --> 00:21:41,920 Speaker 1: woman's mouth. That said, I think that you know I can. 338 00:21:43,000 --> 00:21:46,600 Speaker 1: Is he not the screenwriter of what? Is he the 339 00:21:46,640 --> 00:21:51,040 Speaker 1: screenwriter of Hunger? Games. He wrote Terminator Dark Fate. He 340 00:21:51,080 --> 00:21:55,760 Speaker 1: wrote Captain Phillips, among others, that horrible movie Richard Jewel. Wow, 341 00:21:55,800 --> 00:22:00,359 Speaker 1: he had a rough year in You wrote Gemini Man, Terminator, 342 00:22:00,440 --> 00:22:04,760 Speaker 1: Dark Fate, and Richard Jewel yikes, hasn't written That's why 343 00:22:04,800 --> 00:22:07,439 Speaker 1: he has to write Nicole Kidman's AMC monologues now. He 344 00:22:07,480 --> 00:22:10,720 Speaker 1: wrote Three Stinkies in a Row yikes. Oh, and he 345 00:22:10,720 --> 00:22:12,880 Speaker 1: wrote that show The Comy Rule That. No. I don't 346 00:22:12,920 --> 00:22:14,439 Speaker 1: know why I'm calling him out because this is the 347 00:22:14,440 --> 00:22:19,160 Speaker 1: greatest movie I've ever seen. Um So he actually we 348 00:22:19,240 --> 00:22:22,560 Speaker 1: thought that Billy Ray, a person I just learned existed. 349 00:22:23,320 --> 00:22:25,960 Speaker 1: We thought he was in his flop era. Due to 350 00:22:26,200 --> 00:22:29,240 Speaker 1: Gemini Man, Terminator, Dark Fate and Richard Jewell back to 351 00:22:29,280 --> 00:22:31,640 Speaker 1: back to back. We thought Nicole Kidman was in her 352 00:22:31,760 --> 00:22:35,200 Speaker 1: flop era. I don't know why. I think the emphasis 353 00:22:35,240 --> 00:22:40,400 Speaker 1: went wrong. We thought she was in her flop era. Yes, 354 00:22:40,480 --> 00:22:42,400 Speaker 1: now I get it. Now, I understand. You know why 355 00:22:42,400 --> 00:22:49,159 Speaker 1: I hit the flop flop era flop Ira. But it 356 00:22:49,160 --> 00:22:52,320 Speaker 1: turns out they just needed I do feel like there 357 00:22:52,400 --> 00:22:54,880 Speaker 1: is something beautiful. I mean, it's like, you know how 358 00:22:54,920 --> 00:22:58,960 Speaker 1: some people are really amazing in like the TikTok format. 359 00:22:59,760 --> 00:23:02,160 Speaker 1: You know, the TikTok formatt have you heard of that? Oh, 360 00:23:02,200 --> 00:23:04,600 Speaker 1: I'm I'm familiar. You know, like the the idea of 361 00:23:04,640 --> 00:23:08,040 Speaker 1: constraint often brings out you know, and the the economy 362 00:23:08,080 --> 00:23:11,200 Speaker 1: of words, the economy of time, you know, it really 363 00:23:11,359 --> 00:23:15,600 Speaker 1: forces out greatness. Yeah, wow, Billy Ray, why did he 364 00:23:15,680 --> 00:23:18,120 Speaker 1: do that? Do you have more information? Well, sorry, let's 365 00:23:18,119 --> 00:23:20,520 Speaker 1: get there. I have some so I have some context. 366 00:23:20,600 --> 00:23:24,040 Speaker 1: And then yeah, we'll thank you so much. So we 367 00:23:24,480 --> 00:23:26,600 Speaker 1: we get this a little bit more of her voice over. 368 00:23:26,840 --> 00:23:30,800 Speaker 1: Then we see a movie projector fire up. She is 369 00:23:30,840 --> 00:23:34,520 Speaker 1: now standing in front of a seat, but she has 370 00:23:34,600 --> 00:23:38,439 Speaker 1: yet to sit down. The projector screens a clip of 371 00:23:38,560 --> 00:23:41,560 Speaker 1: Jurassic World. It's screens a clip of Wonder Woman. The 372 00:23:41,640 --> 00:23:45,600 Speaker 1: voiceover kicks back in. She says, not just entertained, but 373 00:23:45,760 --> 00:23:50,600 Speaker 1: somehow reborn together dazzling images on a huge silver screen, 374 00:23:51,040 --> 00:23:54,600 Speaker 1: sound that I can feel. Then we cut back to 375 00:23:54,640 --> 00:23:57,919 Speaker 1: her face. She has been watching these clips with awe. 376 00:23:58,320 --> 00:24:00,560 Speaker 1: I would say, Oh, I mean I think and there 377 00:24:00,720 --> 00:24:04,720 Speaker 1: is you know that Twitter account one perfect shot. There 378 00:24:04,800 --> 00:24:07,520 Speaker 1: is one perfect shot, and it's it's the one you're 379 00:24:07,520 --> 00:24:09,800 Speaker 1: thinking of where there's that just a halo of light 380 00:24:10,720 --> 00:24:14,720 Speaker 1: coming from behind Nicole Kidman's beautiful head from the movie 381 00:24:14,720 --> 00:24:17,720 Speaker 1: Projector as she's watching I'm pretty sure the trailer for 382 00:24:17,800 --> 00:24:22,679 Speaker 1: wonder Woman. Yes, it's electric, And I think a lot 383 00:24:22,720 --> 00:24:25,000 Speaker 1: of us felt like that about the trailer for wonder 384 00:24:25,040 --> 00:24:29,080 Speaker 1: Woman in late where this commercial is set, and then 385 00:24:29,119 --> 00:24:32,080 Speaker 1: we watched it again about a year later, and we're like, no, 386 00:24:32,320 --> 00:24:35,840 Speaker 1: it was actually just okay, right, but we can't falter 387 00:24:35,920 --> 00:24:38,040 Speaker 1: for that. This commercial takes place, you know, almost five 388 00:24:38,119 --> 00:24:41,520 Speaker 1: years ago. That's true, that's true. So she she's been 389 00:24:41,520 --> 00:24:45,000 Speaker 1: watching these clips with awe. She finally takes a seat. 390 00:24:45,359 --> 00:24:47,520 Speaker 1: Then we see the clip of La La Land and 391 00:24:47,560 --> 00:24:52,199 Speaker 1: then Creed voice overgoes and this is I believe, the 392 00:24:52,240 --> 00:24:58,520 Speaker 1: most iconic line. She says, somehow heartbreak feels good in 393 00:24:58,560 --> 00:25:01,199 Speaker 1: a place like this, And can you clarify for me 394 00:25:01,359 --> 00:25:04,040 Speaker 1: what movie is playing? When she says that, Um, I 395 00:25:04,119 --> 00:25:07,679 Speaker 1: believe it's Creed? I think so. So I have a 396 00:25:07,680 --> 00:25:11,119 Speaker 1: fall up question. Have you seen Creed? I haven't seen Creed? Yes, 397 00:25:11,240 --> 00:25:14,160 Speaker 1: I have seen Creed? Does he lose? Is there heartbreak 398 00:25:14,240 --> 00:25:18,280 Speaker 1: in a movie like that? Honestly, I do not remember, 399 00:25:18,400 --> 00:25:20,119 Speaker 1: because I saw it when it first came out and 400 00:25:20,160 --> 00:25:23,560 Speaker 1: I don't. My memory doesn't work. Okay, well you continue. 401 00:25:23,600 --> 00:25:26,879 Speaker 1: I'm just going to make sure because I the movies 402 00:25:26,920 --> 00:25:29,600 Speaker 1: that she's Oh, it's I'm just getting results for Creed 403 00:25:29,640 --> 00:25:31,399 Speaker 1: the band. Okay, I need to be more specific in 404 00:25:31,440 --> 00:25:35,800 Speaker 1: my search. I just was cure because for for such 405 00:25:35,840 --> 00:25:39,800 Speaker 1: an iconic line the movies selected, I don't think you're 406 00:25:39,840 --> 00:25:44,919 Speaker 1: particularly known for being heartbreaking. Right. And then, like a 407 00:25:44,920 --> 00:25:48,240 Speaker 1: lot of what she's saying in her voiceover monologue does 408 00:25:48,320 --> 00:25:51,680 Speaker 1: not exactly match up with the images we're seeing on screen. 409 00:25:51,760 --> 00:25:56,400 Speaker 1: I would argue the most congruent match would be when 410 00:25:56,440 --> 00:26:01,119 Speaker 1: she says sound that I can feel and that I 411 00:26:01,119 --> 00:26:03,560 Speaker 1: believe it's playing over the clip of La La Land 412 00:26:03,680 --> 00:26:06,560 Speaker 1: and that's a musical, so maybe it's like so that 413 00:26:06,600 --> 00:26:10,560 Speaker 1: makes sense they found it in the edit. Right. Also, 414 00:26:10,600 --> 00:26:14,479 Speaker 1: speaking of sound, let's talk about the score for a moment. 415 00:26:15,760 --> 00:26:18,000 Speaker 1: The musical score that has been playing throughout this entire 416 00:26:18,440 --> 00:26:23,399 Speaker 1: commercial is, I would say, a a very epic piece. 417 00:26:23,640 --> 00:26:27,640 Speaker 1: It's swelling, lots of swelling strings, piano. It's yeah, it's 418 00:26:27,800 --> 00:26:32,480 Speaker 1: very It starts rather sparse, starts a little sparse, you know, 419 00:26:32,520 --> 00:26:34,879 Speaker 1: when for that we come to this place, you know, 420 00:26:35,240 --> 00:26:38,080 Speaker 1: it's just a few it's it's very quiet. But then yeah, 421 00:26:38,080 --> 00:26:41,400 Speaker 1: it rapidly crescendos once she's in that theater alone, Oh 422 00:26:41,440 --> 00:26:43,840 Speaker 1: my god. And I would say that, really the crescendo 423 00:26:43,960 --> 00:26:47,960 Speaker 1: comes with the arrival of the Soda who should have been, 424 00:26:48,880 --> 00:26:53,480 Speaker 1: you know, the Best Supporting Actor nominee this year for sure, 425 00:26:53,600 --> 00:26:56,719 Speaker 1: because what is a good supporting actor do? But you know, 426 00:26:57,160 --> 00:27:01,960 Speaker 1: uplift the protagonist performance. Yeah, I haven't heard, I haven't 427 00:27:02,000 --> 00:27:04,879 Speaker 1: heard the Zoda cup say a peep martial came up, 428 00:27:05,359 --> 00:27:08,760 Speaker 1: and yet they're stealing scenes but also a generous scene partner. 429 00:27:08,760 --> 00:27:11,400 Speaker 1: I would say, does it pass the Bechdel test? When 430 00:27:11,760 --> 00:27:17,640 Speaker 1: the cup of Soda appears magically beside Nicole Kidman and 431 00:27:17,960 --> 00:27:23,440 Speaker 1: admires her, admiring the movies she's watching on screen, thank 432 00:27:23,480 --> 00:27:29,600 Speaker 1: you for asking? Yes, okay, just just double checking. Okay, 433 00:27:29,640 --> 00:27:33,480 Speaker 1: so we're almost done. So her voice over, she says, 434 00:27:33,560 --> 00:27:36,800 Speaker 1: somehow heartbreak feels good in a place like this. Our 435 00:27:36,880 --> 00:27:39,920 Speaker 1: heroes feel like the best part of us, and stories 436 00:27:40,119 --> 00:27:46,200 Speaker 1: feel perfect and powerful. Then we transition from Nicole's voiceover 437 00:27:46,760 --> 00:27:51,280 Speaker 1: to her directly addressing the camera. It's like Judy Dent 438 00:27:51,440 --> 00:27:54,560 Speaker 1: at the end of Cats is how I always think 439 00:27:54,560 --> 00:27:57,800 Speaker 1: of that moment where you're like, wait, they know we're here. 440 00:27:58,280 --> 00:28:01,240 Speaker 1: There the cats know, And I was in the theater 441 00:28:01,320 --> 00:28:03,800 Speaker 1: the whole time, And that's how you feel when Nicole 442 00:28:04,960 --> 00:28:11,000 Speaker 1: stares down the barrel of Jeff cronin Worth's camera exactly, 443 00:28:12,119 --> 00:28:16,320 Speaker 1: and she says, because here they are. So she says, 444 00:28:16,359 --> 00:28:21,040 Speaker 1: because here dot dot dot long pregnant pause, or I 445 00:28:21,119 --> 00:28:24,720 Speaker 1: might even call it ant pause. Oh yeah, heavy with 446 00:28:24,800 --> 00:28:29,359 Speaker 1: greg this pause because here dot dot dot gregnant pause 447 00:28:30,040 --> 00:28:33,000 Speaker 1: they are. And then we get text on the screen 448 00:28:33,080 --> 00:28:37,959 Speaker 1: that says and more voiceover that says, AMC theaters, we 449 00:28:38,040 --> 00:28:41,719 Speaker 1: make movies better. Yes, fatal black. End of commercial. End 450 00:28:41,720 --> 00:28:47,280 Speaker 1: of movie. So let's take a quick break for an 451 00:28:47,320 --> 00:28:52,520 Speaker 1: ad that I really hope is AMC. I really hope 452 00:28:52,560 --> 00:28:55,880 Speaker 1: they start playing a drink podcast for some reason, but 453 00:28:56,280 --> 00:28:59,000 Speaker 1: I somehow doubt that it's going to be this exact 454 00:28:59,160 --> 00:29:03,480 Speaker 1: AMC ad starring Nicole Kidman. Let's cross our fingers, but 455 00:29:03,760 --> 00:29:07,080 Speaker 1: it's probably not. But we'll come right back after to 456 00:29:07,200 --> 00:29:10,280 Speaker 1: this place at see you back in this place in 457 00:29:10,400 --> 00:29:19,680 Speaker 1: just a minute. Yes, and we're back. So I wasn't 458 00:29:19,720 --> 00:29:23,920 Speaker 1: aware who wrote the script. That is fascinating. I didn't 459 00:29:23,920 --> 00:29:28,520 Speaker 1: know who directed that. They really so this this advertising 460 00:29:28,560 --> 00:29:34,080 Speaker 1: campaign cost and and listeners get ready for this million 461 00:29:34,520 --> 00:29:37,680 Speaker 1: American dollars is how much they spent on this ad campaign. 462 00:29:38,120 --> 00:29:41,880 Speaker 1: I cannot conceive. Most of it had to have gone 463 00:29:41,880 --> 00:29:44,640 Speaker 1: to Nicole Kidman, right, Like, where did this is a 464 00:29:44,680 --> 00:29:49,320 Speaker 1: minute long commercial? Well? Okay, here's my guests, and I 465 00:29:49,360 --> 00:29:55,320 Speaker 1: am not sure, but an educated guess is that the 466 00:29:55,400 --> 00:29:58,480 Speaker 1: budget for the actual production of this commercial would not 467 00:29:58,560 --> 00:30:04,400 Speaker 1: have been that high. And as with most budgets for ads, 468 00:30:04,960 --> 00:30:07,160 Speaker 1: a lot of the money goes to buying ad space 469 00:30:08,000 --> 00:30:11,680 Speaker 1: as far as the actual production goes. You know, for 470 00:30:11,720 --> 00:30:14,760 Speaker 1: this it was only one location. They probably only needed 471 00:30:14,800 --> 00:30:18,640 Speaker 1: one day for the shoot. And yeah, the biggest expense 472 00:30:18,800 --> 00:30:23,320 Speaker 1: for the production was probably Nicole Kidman's rate. Right, And 473 00:30:23,360 --> 00:30:25,920 Speaker 1: they have you know, jeff Crownaworth and Tim Cronaworth. You know, 474 00:30:26,040 --> 00:30:30,480 Speaker 1: very famous Hollywood folks, are they? They are like in 475 00:30:30,600 --> 00:30:32,040 Speaker 1: terms of I'm sure they make a lot of money 476 00:30:32,080 --> 00:30:35,840 Speaker 1: because Jeffrey Cronaworth is like David Fincher's go to cinematographer. 477 00:30:35,960 --> 00:30:38,960 Speaker 1: He done, he did Fight Club, Social Network, Girl with 478 00:30:38,960 --> 00:30:42,960 Speaker 1: the dragon tattoo, Gone Girl. He's also like cinematographer nepotism. 479 00:30:43,040 --> 00:30:46,040 Speaker 1: His dad did Blade Runner. He's kind of an interesting guy, 480 00:30:46,280 --> 00:30:49,200 Speaker 1: I see. And then also I think it's a brother 481 00:30:49,320 --> 00:30:53,560 Speaker 1: doo right. Jeff and Tim have collaborated on this, yes, 482 00:30:53,960 --> 00:30:56,240 Speaker 1: Like I think that they're just like a cinematographer team. 483 00:30:56,520 --> 00:31:00,280 Speaker 1: They also just worked together with Nicole Kidman on Being 484 00:31:00,280 --> 00:31:04,800 Speaker 1: the Ricardos was his last film, so he knows how 485 00:31:04,800 --> 00:31:08,640 Speaker 1: to frame this head he he knows all about it. 486 00:31:08,720 --> 00:31:10,800 Speaker 1: And this is how this commercial came to be. So 487 00:31:10,920 --> 00:31:15,600 Speaker 1: I'm going to read an excerpt from an interview conducted 488 00:31:15,640 --> 00:31:21,000 Speaker 1: with Nicole Kidman by the Playlist about this about this 489 00:31:21,840 --> 00:31:24,640 Speaker 1: so it was mostly about Being the Ricardos and a 490 00:31:24,640 --> 00:31:29,000 Speaker 1: few of her other projects, The Flops, The Flops. But 491 00:31:29,080 --> 00:31:33,520 Speaker 1: the final line of questioning in this interview goes as follows, 492 00:31:33,560 --> 00:31:37,840 Speaker 1: and I quote the interviewer says, and then my last 493 00:31:37,920 --> 00:31:40,640 Speaker 1: question for you is I know that you're not on 494 00:31:40,680 --> 00:31:43,840 Speaker 1: the internet, but do you know how beloved your AMC 495 00:31:44,080 --> 00:31:50,000 Speaker 1: theaters ad is? Nicole responds, Oh, the only reason I 496 00:31:50,040 --> 00:31:53,200 Speaker 1: know is because Adam Aaron, the head of a MC, 497 00:31:53,640 --> 00:31:57,840 Speaker 1: sends me these tidbits saying, oh thank you, because Jeff 498 00:31:57,920 --> 00:32:00,960 Speaker 1: cronin WI shot it. He and his brother and he 499 00:32:01,080 --> 00:32:04,520 Speaker 1: shot Being the Ricardos and the reason he shot it 500 00:32:04,560 --> 00:32:07,600 Speaker 1: was because I was doing Lucy. And then I said, listen, 501 00:32:07,880 --> 00:32:10,400 Speaker 1: I've been asked to support a m C. Would you 502 00:32:10,440 --> 00:32:13,920 Speaker 1: be willing? And he was like yeah. And then Billy Ray, 503 00:32:14,040 --> 00:32:16,960 Speaker 1: a friend of mine. I was like, Billy, would you 504 00:32:16,960 --> 00:32:19,880 Speaker 1: be able to do something? Write something for us? Should 505 00:32:19,920 --> 00:32:23,520 Speaker 1: we do this to support AMC? And Billy's like hell yes. 506 00:32:24,120 --> 00:32:27,720 Speaker 1: So that was how that all came about basically. And 507 00:32:27,720 --> 00:32:30,520 Speaker 1: then I was like, gosh, I mean, but I've never 508 00:32:30,600 --> 00:32:32,840 Speaker 1: seen it in the theater or anything, because she's never 509 00:32:32,880 --> 00:32:36,840 Speaker 1: been to an AMC. Right, I showed up to a show, 510 00:32:37,160 --> 00:32:40,560 Speaker 1: a screening of Lucy of Being the Ricardos, and Adam 511 00:32:40,640 --> 00:32:43,040 Speaker 1: was there. But Adams kind of a rock star. He's 512 00:32:43,120 --> 00:32:47,000 Speaker 1: very popular. The interviewer says, he's very popular with the 513 00:32:47,040 --> 00:32:57,120 Speaker 1: blockchain investors, and then Nicole respond right, not my forte. 514 00:32:57,400 --> 00:32:59,840 Speaker 1: I just wanted to support a m C. But he's 515 00:32:59,840 --> 00:33:03,080 Speaker 1: a great guy, thinking out of the box and defying 516 00:33:03,120 --> 00:33:08,040 Speaker 1: the odds. Go Adam. The interviewer says, well, I don't 517 00:33:08,040 --> 00:33:11,720 Speaker 1: know if you know this, but people love the line. Somehow, 518 00:33:11,800 --> 00:33:15,240 Speaker 1: heartbreak feels good in a place like this so much 519 00:33:15,560 --> 00:33:18,760 Speaker 1: that they have printed it on T shirts. Nicole Kidman, 520 00:33:19,040 --> 00:33:23,760 Speaker 1: are you kidding? Interviewer, Oh, no, it's real. Ask your publicist, 521 00:33:23,920 --> 00:33:27,280 Speaker 1: she can send you stuff. It's a thing. The publicist says, 522 00:33:27,880 --> 00:33:31,040 Speaker 1: people have printed it out and handed it out in 523 00:33:31,120 --> 00:33:33,520 Speaker 1: a theater so they could read it with you before 524 00:33:33,640 --> 00:33:37,000 Speaker 1: a movie. That is true. I've I've I've seen I've 525 00:33:37,040 --> 00:33:43,760 Speaker 1: seen the tweets. Yes, Nicole Kidman says, what. Interviewer says, yes, 526 00:33:43,960 --> 00:33:49,920 Speaker 1: it's a thing. Nicole Kidman says no. Interviewers says yes. 527 00:33:50,920 --> 00:33:56,160 Speaker 1: Nicole Kidman says what, And then the interviewer says, and 528 00:33:56,200 --> 00:33:59,080 Speaker 1: in fact, people were very upset because it was originally 529 00:33:59,120 --> 00:34:01,240 Speaker 1: a minute long, and then they shortened it down to 530 00:34:01,320 --> 00:34:04,920 Speaker 1: thirty seconds and they cut that line out. Fans were 531 00:34:04,960 --> 00:34:06,920 Speaker 1: going to see Spider Man No Way Home, and they 532 00:34:06,960 --> 00:34:09,560 Speaker 1: wanted to see it beforehand, and they were upset that 533 00:34:09,640 --> 00:34:12,840 Speaker 1: line was missing. And Nicole Kinman says, but it's a 534 00:34:12,840 --> 00:34:17,320 Speaker 1: great line, right. Interviewer says yes. Nicole says, it's so true. 535 00:34:17,800 --> 00:34:21,640 Speaker 1: How true is it too? In? The interviewer says it is, 536 00:34:21,960 --> 00:34:24,440 Speaker 1: and then Nicole says, I mean talk about not feeling 537 00:34:24,480 --> 00:34:27,600 Speaker 1: alone sitting in a cinema with a broken heart and 538 00:34:27,640 --> 00:34:30,600 Speaker 1: then watching something that breaks your heart again and you go, 539 00:34:30,960 --> 00:34:34,680 Speaker 1: I'm not alone. Please, this must not go away. We 540 00:34:34,800 --> 00:34:38,959 Speaker 1: have to have cinema. Nicole has no idea what's going 541 00:34:39,040 --> 00:34:42,080 Speaker 1: on here, and that is a part of the r 542 00:34:42,200 --> 00:34:45,480 Speaker 1: I think she's going method. I think she's doing whatever 543 00:34:45,680 --> 00:34:48,520 Speaker 1: Joaquin Phoenix thought he was doing fifteen years ago. Nicole 544 00:34:48,600 --> 00:34:52,640 Speaker 1: Kibben's doing right now. Uh, this is her I'm not there. 545 00:34:53,200 --> 00:34:56,840 Speaker 1: She's pretending to that. That's so funny because Nicole Kibbin, 546 00:34:57,440 --> 00:34:59,719 Speaker 1: I feel like, correct me if I'm wrong, listeners, but 547 00:34:59,719 --> 00:35:02,520 Speaker 1: I fee it is kind of inherently camped to not 548 00:35:02,719 --> 00:35:07,040 Speaker 1: understand when you're doing something camp be the like that. 549 00:35:07,080 --> 00:35:09,720 Speaker 1: She's like, yeah, because we love the movies and because 550 00:35:09,760 --> 00:35:11,960 Speaker 1: and heartbreak does feel good in a place like this. 551 00:35:12,400 --> 00:35:15,760 Speaker 1: It's like, well, Nicole, that's not necessarily why we're cheering, 552 00:35:16,000 --> 00:35:19,719 Speaker 1: but heartbreak does feel good in a place like that. 553 00:35:20,280 --> 00:35:22,520 Speaker 1: She's not wrong. So that brings up a few things 554 00:35:22,560 --> 00:35:25,160 Speaker 1: for me. I'm curious how you feel about that because 555 00:35:25,960 --> 00:35:28,160 Speaker 1: this episode is coming out I think maybe right after 556 00:35:28,440 --> 00:35:33,080 Speaker 1: Women's History Month, and I just think it's interesting. You know, 557 00:35:33,160 --> 00:35:36,560 Speaker 1: it's it's we love a strong female protagonist, and Nicole 558 00:35:36,640 --> 00:35:39,120 Speaker 1: Kibben in this In this piece in particular, I think 559 00:35:39,160 --> 00:35:44,520 Speaker 1: one of her strongest performances in a leading role. Absolutely. However, 560 00:35:45,160 --> 00:35:48,719 Speaker 1: behind the camera, you know, I think that it's it's interesting, 561 00:35:49,360 --> 00:35:50,960 Speaker 1: it's and I would say that this isn't a good 562 00:35:50,960 --> 00:35:54,959 Speaker 1: example of women's supporting women because she she she called 563 00:35:55,000 --> 00:35:58,080 Speaker 1: three white guys one one white guy and his brother. 564 00:35:58,360 --> 00:36:00,440 Speaker 1: I think it's very funny that they keep referring to 565 00:36:00,480 --> 00:36:02,960 Speaker 1: this guy, Tim, who doesn't have a Wikipedia page, Bless 566 00:36:03,040 --> 00:36:07,680 Speaker 1: his soul. He's just called Jeff's brother, and I'm sure 567 00:36:07,719 --> 00:36:11,680 Speaker 1: that bothers him. And then she calls, how does she 568 00:36:11,800 --> 00:36:14,040 Speaker 1: know Billy Wright? Did he write a movie that she 569 00:36:14,200 --> 00:36:16,919 Speaker 1: was in. I'm trying to figure out what the Billy 570 00:36:17,000 --> 00:36:19,600 Speaker 1: Ray Nicole Kidman connection is. Let me see if I 571 00:36:19,640 --> 00:36:22,520 Speaker 1: can figure this out. I would have looked, Nicole, you 572 00:36:22,600 --> 00:36:26,360 Speaker 1: had an opportunity here and you handed it to a 573 00:36:26,400 --> 00:36:30,880 Speaker 1: bunch of men. And I just think that's interesting. Was 574 00:36:30,920 --> 00:36:35,000 Speaker 1: she in the Hunger Games? Who's in? I know? So? Okay, 575 00:36:35,040 --> 00:36:38,680 Speaker 1: Elizabeth Banks is the blonde adults in that movie. Never Mind, 576 00:36:39,400 --> 00:36:42,120 Speaker 1: I don't quite know how they know each other. Maybe 577 00:36:42,520 --> 00:36:46,040 Speaker 1: they're just friends, that's Hollywood, Baby, I want to know 578 00:36:46,120 --> 00:36:50,640 Speaker 1: who the costume designer was on this commercial, because again, 579 00:36:50,760 --> 00:36:54,319 Speaker 1: this suit deserves a lot of our attention, and like 580 00:36:54,400 --> 00:36:58,399 Speaker 1: how many how many different? Like what was the process there? 581 00:36:58,600 --> 00:37:01,640 Speaker 1: I also really liked that that interview you just shared. 582 00:37:01,680 --> 00:37:04,080 Speaker 1: You can tell it's the best day of that interviewer's 583 00:37:04,160 --> 00:37:07,399 Speaker 1: life talking to her about this. But if there were 584 00:37:07,480 --> 00:37:11,120 Speaker 1: questions that I feel like I didn't have answered, you know, 585 00:37:11,200 --> 00:37:12,680 Speaker 1: and like how long is she going to be willing 586 00:37:12,760 --> 00:37:15,720 Speaker 1: to It almost makes me want her to win for 587 00:37:16,000 --> 00:37:18,480 Speaker 1: being the Ricardos so she can give us more information 588 00:37:18,800 --> 00:37:22,759 Speaker 1: on stage in her Oscar acceptance speech. Yeah. Yeah, I 589 00:37:22,800 --> 00:37:25,399 Speaker 1: mean she she if there's any justice in the world, 590 00:37:25,440 --> 00:37:28,640 Speaker 1: she won't win because that movie is so bad that 591 00:37:28,719 --> 00:37:31,960 Speaker 1: it's kind of shocking. But I just wonder, yeah, because 592 00:37:31,960 --> 00:37:34,719 Speaker 1: it's like I wonder how many outfits she tried on 593 00:37:35,200 --> 00:37:37,480 Speaker 1: did she bring? I feel like sometimes when people are 594 00:37:37,520 --> 00:37:40,120 Speaker 1: super famous, they're like, I'm just gonna bring my own clothes. 595 00:37:40,200 --> 00:37:41,680 Speaker 1: I could see it being that it seemed like it 596 00:37:41,719 --> 00:37:44,960 Speaker 1: was an intimate production. Yeah, is this something she already owns? 597 00:37:45,600 --> 00:37:48,440 Speaker 1: We don't know. I mean, it certainly fits. I mean 598 00:37:48,480 --> 00:37:53,400 Speaker 1: when the pinstripe suit fits. That's the famous quote. Right 599 00:37:53,840 --> 00:37:56,600 Speaker 1: then you have to shoot an AMC commercial and there 600 00:37:56,640 --> 00:37:59,480 Speaker 1: can't be other people. I wonder, and I also wonder, 601 00:37:59,560 --> 00:38:03,680 Speaker 1: you know, like why are there no other people? Well, 602 00:38:03,719 --> 00:38:07,280 Speaker 1: this brings up this is an excellent question, Jamie, because 603 00:38:07,560 --> 00:38:11,480 Speaker 1: it might be that she has, you know, anxiety about 604 00:38:11,560 --> 00:38:15,040 Speaker 1: being around people. People could be that, but it could 605 00:38:15,080 --> 00:38:17,600 Speaker 1: just be people in general. Because we're still in a 606 00:38:17,600 --> 00:38:21,560 Speaker 1: pandemic as as we discuss this commercial, and certainly as 607 00:38:21,640 --> 00:38:25,560 Speaker 1: this commercial premiered, and I think a lot of the 608 00:38:25,600 --> 00:38:29,760 Speaker 1: backlash that this commercial first received, in addition to everyone 609 00:38:29,880 --> 00:38:34,280 Speaker 1: just being like, what the fuck is this totally weird 610 00:38:34,560 --> 00:38:39,120 Speaker 1: and bizarrely written, which we later realized was that's wrong. 611 00:38:39,200 --> 00:38:42,279 Speaker 1: It's wrong because it's actually perfect, perfect, and it's the 612 00:38:42,400 --> 00:38:49,480 Speaker 1: tone we've been for years. The production design is unbeatable, 613 00:38:49,840 --> 00:38:53,759 Speaker 1: the cinematography is perfect, Everything about it is amazing. The 614 00:38:54,120 --> 00:38:58,960 Speaker 1: writing is good. There's a lot of symbolism. Then the 615 00:38:59,000 --> 00:39:01,880 Speaker 1: symbolism is so that you don't really know, like what 616 00:39:01,920 --> 00:39:04,280 Speaker 1: they're trying to say, and in that way, it's lynch 617 00:39:04,480 --> 00:39:11,080 Speaker 1: in the the sudden disappearance of the beige coat symbolizes 618 00:39:11,520 --> 00:39:16,000 Speaker 1: the ending of the pandemic and the sudden emergence of 619 00:39:16,040 --> 00:39:20,640 Speaker 1: this cup of soda symbolizes us returning to the life 620 00:39:20,719 --> 00:39:25,000 Speaker 1: we once knew pre COVID nineteen pandemic. That's my interpretation, right, 621 00:39:25,080 --> 00:39:27,680 Speaker 1: and that is why people getting to your point, why 622 00:39:27,680 --> 00:39:30,040 Speaker 1: people were kind of upset because the commercial came out 623 00:39:30,480 --> 00:39:34,520 Speaker 1: when we were not quite in that place, and because 624 00:39:34,640 --> 00:39:38,680 Speaker 1: obviously the pandemic is ongoing, but in particular, you know, 625 00:39:38,760 --> 00:39:43,040 Speaker 1: in September that was still a very precarious time and 626 00:39:43,600 --> 00:39:45,520 Speaker 1: we did not know it then, but like the delta 627 00:39:45,640 --> 00:39:52,760 Speaker 1: variant unfortunately surged shortly after this commercial, uh first premiere, 628 00:39:53,440 --> 00:39:56,120 Speaker 1: and so the timing was not great. It seems like 629 00:39:56,120 --> 00:39:59,920 Speaker 1: the kind of commercial that's claiming that the pandemic is 630 00:40:00,120 --> 00:40:01,600 Speaker 1: over in a way that I don't think would have 631 00:40:01,680 --> 00:40:05,880 Speaker 1: made quite as many waves had it premiered in early 632 00:40:06,719 --> 00:40:12,200 Speaker 1: two when cases went down significantly again after the sorry 633 00:40:12,200 --> 00:40:14,880 Speaker 1: I'm at the omicron variant, I didn't mean the delta variant. 634 00:40:16,120 --> 00:40:21,279 Speaker 1: Getting my variants mixed up horrible. It's okay, we forgive you. 635 00:40:21,440 --> 00:40:25,400 Speaker 1: But yes, the commercial premiered at a time where the 636 00:40:26,280 --> 00:40:31,120 Speaker 1: situation was precarious. Not to quote Titanic or anything. Ruth 637 00:40:31,280 --> 00:40:34,920 Speaker 1: talking about her precarious situation with Rose, of course, but 638 00:40:35,000 --> 00:40:41,480 Speaker 1: the situation the world is Rose with the Corsidan, and 639 00:40:41,680 --> 00:40:45,360 Speaker 1: the commercial failed to address how the theater because obviously 640 00:40:45,440 --> 00:40:47,799 Speaker 1: the commercial is like urging people to return to the 641 00:40:47,840 --> 00:40:51,520 Speaker 1: cinema after you know, a year and a half of 642 00:40:51,560 --> 00:40:54,640 Speaker 1: watching movies at home. But it's like, hey, look, you 643 00:40:54,640 --> 00:40:57,560 Speaker 1: can go back to the movie theater, specifically AMC because 644 00:40:57,600 --> 00:41:00,920 Speaker 1: we make movies better. But the commercial will failed to 645 00:41:01,000 --> 00:41:06,000 Speaker 1: acknowledge how the theaters might be doing anything about safety 646 00:41:06,040 --> 00:41:11,000 Speaker 1: precautions relating to the pandemic and all that stuff, so 647 00:41:11,080 --> 00:41:13,360 Speaker 1: that it seems to imply that the only way to 648 00:41:13,400 --> 00:41:15,960 Speaker 1: be safe is to be completely alone to buy out 649 00:41:16,000 --> 00:41:18,960 Speaker 1: the entire theater, which you can do at an AMC, 650 00:41:19,160 --> 00:41:22,040 Speaker 1: which is another cause for criticism of like, oh well 651 00:41:22,080 --> 00:41:24,239 Speaker 1: then that's a class issue. Oh you're not. You're not 652 00:41:24,239 --> 00:41:26,880 Speaker 1: going to keep it safe, which is what brings me 653 00:41:26,920 --> 00:41:32,520 Speaker 1: to my honestly assumption that Nicole Kidman is uncomfortable around 654 00:41:32,560 --> 00:41:37,880 Speaker 1: poor people. I mean, I would tend to assume that 655 00:41:38,040 --> 00:41:44,280 Speaker 1: is also correct that said we don't want her. Uh, 656 00:41:44,640 --> 00:41:49,960 Speaker 1: she's she's an icon. Okay, let's get back on track. Um, yes, okay, 657 00:41:50,040 --> 00:41:52,279 Speaker 1: So is that do you have more context for this. 658 00:41:52,360 --> 00:41:55,080 Speaker 1: Thank you for taking the lead on context for this. 659 00:41:55,239 --> 00:41:57,600 Speaker 1: I'm learning so much, you know what, I'm happy to 660 00:41:57,640 --> 00:42:00,120 Speaker 1: do it. I think that was That was all I 661 00:42:00,160 --> 00:42:05,320 Speaker 1: could find in my extremely deep and thorough dive of 662 00:42:05,480 --> 00:42:11,560 Speaker 1: the production surrounding this commercial. And um, I don't have 663 00:42:11,640 --> 00:42:14,760 Speaker 1: much else to say aside from this being my favorite 664 00:42:14,760 --> 00:42:18,279 Speaker 1: movie of all time except that. Did you notice how 665 00:42:18,640 --> 00:42:24,919 Speaker 1: Nicole Kidman's Australian accent is sometimes there but sometimes not? Well, 666 00:42:24,960 --> 00:42:28,399 Speaker 1: that's how else would you know Nicole Kidman's performing if 667 00:42:28,400 --> 00:42:32,120 Speaker 1: she couldn't quite decide whether she was going to use 668 00:42:32,120 --> 00:42:36,960 Speaker 1: her natural accent or not. It's like we've taught and okay, 669 00:42:37,520 --> 00:42:41,080 Speaker 1: icon we're not punching at Nicole Kidman. This is an 670 00:42:41,200 --> 00:42:45,680 Speaker 1: iconic performance that there's like every Nicole Kidman performance you're like, 671 00:42:45,719 --> 00:42:49,600 Speaker 1: oh there. It is like there's always like two scenes 672 00:42:49,800 --> 00:42:54,400 Speaker 1: where she she just she slips quote Titanic, and I 673 00:42:54,480 --> 00:42:58,360 Speaker 1: slipped and I would have gotten overboarding Mr m he 674 00:42:58,480 --> 00:43:03,040 Speaker 1: hadn't saved me, almost gone over himself. So the boy's 675 00:43:03,080 --> 00:43:09,560 Speaker 1: a hero. Then okay, oh guys, it's April. You gotta 676 00:43:09,560 --> 00:43:11,880 Speaker 1: get over to the Matrion because it's that time again. 677 00:43:12,120 --> 00:43:15,520 Speaker 1: Did you see that listener and future guests in the 678 00:43:15,600 --> 00:43:19,480 Speaker 1: cast aomi Um tagged us in something called a Titanic 679 00:43:19,600 --> 00:43:22,560 Speaker 1: porn parody called by Tanic Did you see that? I 680 00:43:22,640 --> 00:43:25,360 Speaker 1: certainly did. I think maybe we should cover it. I 681 00:43:25,400 --> 00:43:29,560 Speaker 1: think we should cover it. There's another I think horror 682 00:43:29,640 --> 00:43:33,680 Speaker 1: movie coming out good Titanic six six six is maybe 683 00:43:34,480 --> 00:43:39,360 Speaker 1: the movie perfect with. The newest Amityville horror movie is 684 00:43:39,360 --> 00:43:43,200 Speaker 1: called Amityville Horror in Space and they still claim it's 685 00:43:43,280 --> 00:43:46,840 Speaker 1: based on a true story. Can you believe that? Okay? 686 00:43:46,840 --> 00:43:49,720 Speaker 1: So okay. I'm reading an article from Deadline about Titanic. 687 00:43:51,080 --> 00:43:54,960 Speaker 1: The official log line of the film is this, one 688 00:43:55,040 --> 00:43:59,359 Speaker 1: hundred and ten years after its namesakes Fateful Journey, the 689 00:43:59,400 --> 00:44:04,600 Speaker 1: Titanic Threes made in voyage will land at the original 690 00:44:04,640 --> 00:44:07,760 Speaker 1: site of the wreck. Although a faithful replica of the original, 691 00:44:07,840 --> 00:44:10,200 Speaker 1: this mammoth cruise ship. This is also way longer than 692 00:44:10,239 --> 00:44:14,560 Speaker 1: a logline btw, But what do I know? Although a 693 00:44:14,600 --> 00:44:17,800 Speaker 1: faithful replica of the original, this mammoth cruise ship is 694 00:44:17,840 --> 00:44:21,120 Speaker 1: built with the most advanced technology, ensuring that it has 695 00:44:21,120 --> 00:44:24,200 Speaker 1: no chance of sinking. But when the Titanic three arrives 696 00:44:24,239 --> 00:44:27,680 Speaker 1: at the tragic site, strange events begin to occur as 697 00:44:27,760 --> 00:44:31,239 Speaker 1: dark forces from the deep rise to the surface, terrorizing 698 00:44:31,280 --> 00:44:37,799 Speaker 1: all aboard and threatening to repeat one of history's greatest disasters. Wow, 699 00:44:38,880 --> 00:44:42,600 Speaker 1: I love it. I'll see it. Of course we'll see it. 700 00:44:42,840 --> 00:44:46,000 Speaker 1: Of course we'll see it. I'm looking. I'm currently looking 701 00:44:46,040 --> 00:44:48,920 Speaker 1: at somehow heartbreak feels good in a place like this 702 00:44:49,280 --> 00:44:54,960 Speaker 1: crop tops. Okay, So obviously we need to get matching 703 00:44:55,040 --> 00:44:58,879 Speaker 1: ones and wear them during every recording. And if if 704 00:44:58,920 --> 00:45:02,640 Speaker 1: things go as you're planning, Caitlin and I may be 705 00:45:02,920 --> 00:45:07,240 Speaker 1: dropping a special little, uh, you know, a little little 706 00:45:07,239 --> 00:45:10,799 Speaker 1: picture to go along with this episode if things go 707 00:45:10,880 --> 00:45:12,800 Speaker 1: to plan. If not, we'll cut it out of the episode. 708 00:45:12,840 --> 00:45:16,879 Speaker 1: But I think that you might be pretty thrilled by 709 00:45:17,080 --> 00:45:20,240 Speaker 1: the make sure we drop with this. So with that said, 710 00:45:20,440 --> 00:45:22,400 Speaker 1: I think that there's you know, I wish we had 711 00:45:22,440 --> 00:45:25,520 Speaker 1: more time to discuss this, but we have shockingly been 712 00:45:25,560 --> 00:45:30,760 Speaker 1: talking about this for almost an hour. So does this 713 00:45:31,200 --> 00:45:35,560 Speaker 1: AMC commercial spot pass the Bechtel test? Well, I'm going 714 00:45:35,600 --> 00:45:40,960 Speaker 1: to answer your question with another question, amazing, which is this? Okay, 715 00:45:41,320 --> 00:45:46,239 Speaker 1: does it pass the Bechtel test? When Nicole Kidman's diagetic 716 00:45:46,640 --> 00:45:52,720 Speaker 1: breaking the fourth Wall monologue responds to Nicole Kidman's non 717 00:45:52,760 --> 00:45:58,200 Speaker 1: diagetic voice over, Ah, that's a yes question because it's 718 00:45:58,280 --> 00:46:02,040 Speaker 1: obviously yes a so so the answer is yes, this 719 00:46:02,320 --> 00:46:05,600 Speaker 1: definitely passes. I would argue there's another way in which 720 00:46:05,600 --> 00:46:09,640 Speaker 1: it passes, because is it the soda cup clause it's 721 00:46:09,680 --> 00:46:13,920 Speaker 1: a it's a different one. So there's a wow. Okay, 722 00:46:13,960 --> 00:46:17,200 Speaker 1: So Nicole Kidman says, somehow heartbreak feels good in a 723 00:46:17,239 --> 00:46:22,160 Speaker 1: place like this. Stories feel perfect and powerful because here 724 00:46:22,600 --> 00:46:26,560 Speaker 1: they are. And then we the audience, which is comprised 725 00:46:26,560 --> 00:46:31,480 Speaker 1: of all genders, we respond and we say who Yes, 726 00:46:31,640 --> 00:46:38,440 Speaker 1: Nicole's exactly yes, and that truly is how people respond. Okay, 727 00:46:38,520 --> 00:46:41,360 Speaker 1: you know, I'm sold. I think that at this point 728 00:46:41,960 --> 00:46:44,960 Speaker 1: handily passes the backdul test. I had no doubt in 729 00:46:45,000 --> 00:46:48,120 Speaker 1: my mind. But I feel much I feel much much better. Yes. 730 00:46:48,280 --> 00:46:51,919 Speaker 1: So with that in mind, let's get to our nipple scale. Yes, 731 00:46:52,120 --> 00:46:55,000 Speaker 1: rating the movie based on how it fares from an 732 00:46:55,040 --> 00:47:00,000 Speaker 1: intersectional feminist lens on a scale of zero to five nipples. 733 00:47:00,440 --> 00:47:03,680 Speaker 1: What are you giving this commercial spot? No question about it, 734 00:47:04,400 --> 00:47:08,800 Speaker 1: five nipples, thank you across the board for everything. I 735 00:47:08,800 --> 00:47:11,560 Speaker 1: would say five nipples as well. Even though this star 736 00:47:11,680 --> 00:47:14,400 Speaker 1: is a a single white woman, talking to the world. 737 00:47:14,840 --> 00:47:18,120 Speaker 1: Who had the opportunity to hire anyone and did hire 738 00:47:18,160 --> 00:47:20,920 Speaker 1: three white guys. I think that there's no way around 739 00:47:21,000 --> 00:47:24,399 Speaker 1: it that this has five nipples. I would also say 740 00:47:24,400 --> 00:47:27,600 Speaker 1: there's not much diversity in the movies that she watches. 741 00:47:27,920 --> 00:47:32,960 Speaker 1: It's a lot of um entirely straight white people. But 742 00:47:33,120 --> 00:47:36,200 Speaker 1: we don't even see as far as who's represented from 743 00:47:36,280 --> 00:47:39,120 Speaker 1: Jurassic World. It's just the gate. It's just the gate 744 00:47:39,160 --> 00:47:42,880 Speaker 1: to Jurassic World. So yeah, I think that they certainly 745 00:47:42,920 --> 00:47:46,040 Speaker 1: could have chosen a more diverse selection of movies. They 746 00:47:46,040 --> 00:47:47,759 Speaker 1: also could have chosen movies that came out in the 747 00:47:47,840 --> 00:47:52,600 Speaker 1: last five years, but for some reason they didn't. And 748 00:47:52,920 --> 00:47:55,719 Speaker 1: even so five nipples though, even so five and maybe 749 00:47:55,719 --> 00:48:01,120 Speaker 1: even six, and I'm giving them to this sounds like 750 00:48:01,120 --> 00:48:04,400 Speaker 1: it's a MCS. I'm giving them all to the soda cup. Okay, cool, 751 00:48:04,440 --> 00:48:07,120 Speaker 1: I'm gonna give one to the beige coat that disappears. 752 00:48:07,120 --> 00:48:08,960 Speaker 1: I'm gonna give one to the puddle. I'm going to 753 00:48:09,040 --> 00:48:13,759 Speaker 1: give one to the soda cuddle icon, the puddle feminist. 754 00:48:14,400 --> 00:48:17,719 Speaker 1: Where's the T shirt feminist icon? The puddle? Okay, See, 755 00:48:17,880 --> 00:48:19,600 Speaker 1: I know, I know, I have a lot of work 756 00:48:19,640 --> 00:48:23,640 Speaker 1: to do. If I committed to making feminist icon the 757 00:48:23,680 --> 00:48:26,359 Speaker 1: Puddle March, we would be millionaires and that's just a fact. 758 00:48:26,719 --> 00:48:29,000 Speaker 1: And then we could buy out the whole theater. So 759 00:48:29,080 --> 00:48:31,880 Speaker 1: my fourth nipple goes to the empty theater and my 760 00:48:31,960 --> 00:48:39,680 Speaker 1: fifth nipple goes to Nicole Kidman's shiny pin stripes. Yes, 761 00:48:40,320 --> 00:48:43,040 Speaker 1: this is a perfect piece of cinema. This is why 762 00:48:43,080 --> 00:48:44,919 Speaker 1: we go to the movies, so that we can see 763 00:48:44,920 --> 00:48:48,719 Speaker 1: this before we see a movie. And when Melissa and 764 00:48:48,760 --> 00:48:50,279 Speaker 1: I love the theater, did we say the best part 765 00:48:50,280 --> 00:48:55,320 Speaker 1: of Sarano was Nicole Kibbin? Yeah, and Syo was okay? Actually, 766 00:48:55,360 --> 00:48:58,080 Speaker 1: although when we left, I'm curious what you think about 767 00:48:58,160 --> 00:49:01,400 Speaker 1: about it because Melissa was like Caitlin would hate that 768 00:49:01,440 --> 00:49:04,840 Speaker 1: so much. That was her first thought. You're talking about 769 00:49:04,880 --> 00:49:07,520 Speaker 1: Sera No, yes, not the commercial. I know you love 770 00:49:07,560 --> 00:49:11,520 Speaker 1: it well, I would know if we had seen the 771 00:49:11,560 --> 00:49:13,960 Speaker 1: movie together as we were supposed to do, which we 772 00:49:13,960 --> 00:49:18,440 Speaker 1: did mention going together on a Matreon episode. See it again? Okay, 773 00:49:18,680 --> 00:49:22,680 Speaker 1: it again? Peter Dinkledge. I will see any movie with 774 00:49:22,840 --> 00:49:26,319 Speaker 1: Peter Dinkledge as many times as I saw the House 775 00:49:26,320 --> 00:49:28,320 Speaker 1: of Gucci three times. So yes, I will see Serran 776 00:49:28,360 --> 00:49:33,759 Speaker 1: no twice. Good Okay, awesome, amazing, somehow heartbreak on a 777 00:49:33,760 --> 00:49:38,799 Speaker 1: podcast like this. Yes, we'll be April. I'm assuing. I mean, 778 00:49:38,840 --> 00:49:40,440 Speaker 1: I don't actually, I don't know when this is coming out. 779 00:49:40,640 --> 00:49:42,879 Speaker 1: I don't know what day it is. It's just a day. 780 00:49:42,880 --> 00:49:45,520 Speaker 1: It's a day. No big deal to day, no big deal. 781 00:49:46,480 --> 00:49:48,040 Speaker 1: We'll have a great week everyone. Now, I feel like 782 00:49:48,040 --> 00:49:54,360 Speaker 1: we really have um tackled our godfather basically, and um, 783 00:49:54,400 --> 00:49:56,400 Speaker 1: you know we're gonna we we are going to bravely 784 00:49:56,440 --> 00:49:59,560 Speaker 1: continue the show. But know that we just peaked. We 785 00:49:59,600 --> 00:50:02,000 Speaker 1: could be done, and I would feel perfectly good about 786 00:50:02,000 --> 00:50:06,759 Speaker 1: the work we've done here. I agree, So thank you 787 00:50:06,840 --> 00:50:10,520 Speaker 1: for listening. You can you know, follow us, do all 788 00:50:10,520 --> 00:50:16,680 Speaker 1: the stuff. Rate this episode five nipples on your listening platform, etcetera. Please, 789 00:50:17,120 --> 00:50:20,400 Speaker 1: and um, you know, just be sure to go to 790 00:50:20,440 --> 00:50:24,680 Speaker 1: a MC theaters because they make movies better. And honestly, 791 00:50:24,680 --> 00:50:29,120 Speaker 1: if AMC doesn't give us advertising sponsorship after this, I'm 792 00:50:29,160 --> 00:50:31,520 Speaker 1: gonna I'm gonna stomp around in a puddle of I'm 793 00:50:31,560 --> 00:50:33,840 Speaker 1: gonna stomp around in a boddle. I'm gonna disappear some 794 00:50:33,840 --> 00:50:38,320 Speaker 1: beige coats because that's bullshit. Absolutely Yeah, all right, Well, 795 00:50:38,360 --> 00:50:41,759 Speaker 1: thanks for listening and uh. And now just imagine us 796 00:50:41,800 --> 00:50:45,120 Speaker 1: turning to the microphone and saying, because here they are, 797 00:50:46,520 --> 00:50:47,560 Speaker 1: bye bye bye