1
00:00:00,840 --> 00:00:03,640
Speaker 1: On the Beck Dol Cast, the questions asked if movies

2
00:00:03,720 --> 00:00:07,360
Speaker 1: have women in them, are all their discussions just boyfriends

3
00:00:07,360 --> 00:00:11,560
Speaker 1: and husbands, or do they have individualism? The patriarchy zef

4
00:00:11,720 --> 00:00:17,040
Speaker 1: invest start changing it with the bel cast. Tell me more,

5
00:00:17,239 --> 00:00:22,400
Speaker 1: tell me more? Is this the Beck Dol Cast? Okay, Okay,

6
00:00:22,440 --> 00:00:25,600
Speaker 1: I like this. You know, I'll be, I could be.

7
00:00:26,000 --> 00:00:29,560
Speaker 1: I could be a greaser. You could be you are supposed.

8
00:00:29,720 --> 00:00:32,199
Speaker 1: The thing that frustrates me about the Tea Birds is

9
00:00:32,240 --> 00:00:34,879
Speaker 1: that they have such good outfits, but then they're just

10
00:00:35,080 --> 00:00:37,760
Speaker 1: rampant misogynists. It's such a waste of a good outfit,

11
00:00:38,760 --> 00:00:43,760
Speaker 1: and they have the most the funniest um, the funniest voices. Yeah,

12
00:00:43,880 --> 00:00:46,280
Speaker 1: there's a They've got a lot going for them, and

13
00:00:46,320 --> 00:00:49,680
Speaker 1: then it's all squandered. The waste of a powerful aesthetic.

14
00:00:49,800 --> 00:00:55,600
Speaker 1: It's used for evil. That's true. Hello and welcome to

15
00:00:55,640 --> 00:00:58,760
Speaker 1: the Backtel Cast. My name is Caitlin Doronte Ames Jamie Loftus.

16
00:00:58,920 --> 00:01:04,040
Speaker 1: Sorry for totally bailing on the singing. You know, I'm

17
00:01:04,080 --> 00:01:11,920
Speaker 1: I'm used to it by now. Is that true before? No?

18
00:01:12,360 --> 00:01:15,440
Speaker 1: But I'm thinking so, I'm thinking back to our recent

19
00:01:15,560 --> 00:01:18,520
Speaker 1: Beauty and the Beast episode where you fully commit to

20
00:01:18,560 --> 00:01:22,319
Speaker 1: the song too much and pissing my pants laughing the

21
00:01:22,480 --> 00:01:26,720
Speaker 1: entire time. So it's not good singing. So we are there.

22
00:01:26,840 --> 00:01:31,039
Speaker 1: The Bechtel cast. We examine movies through an intersectional feminist lens,

23
00:01:31,480 --> 00:01:35,440
Speaker 1: using the Bechtel test simply as a jumping off point. Jamie,

24
00:01:35,560 --> 00:01:40,759
Speaker 1: what is it the Bechtel test? What is it? Well,

25
00:01:40,920 --> 00:01:44,160
Speaker 1: since you asked the Bechtel test, there's a media metric

26
00:01:44,520 --> 00:01:48,080
Speaker 1: invented by queer cartoonist Alison Bechdel, sometimes called the Bechdel

27
00:01:48,120 --> 00:01:54,040
Speaker 1: Wallace test, that, for our purposes, requires that two characters

28
00:01:54,120 --> 00:01:57,280
Speaker 1: with names of a marginalized gender speak to each other

29
00:01:57,400 --> 00:02:01,440
Speaker 1: about something other than uh may in it sounds like

30
00:02:01,560 --> 00:02:03,760
Speaker 1: it should be easy enough, but a lot of things

31
00:02:03,800 --> 00:02:06,160
Speaker 1: don't pass, and then some things that do pass. I'm

32
00:02:06,160 --> 00:02:08,919
Speaker 1: not foreshadowing in anyway. Um, some things that do pass

33
00:02:09,440 --> 00:02:12,720
Speaker 1: are still like really really not. It doesn't you know,

34
00:02:12,760 --> 00:02:15,320
Speaker 1: it doesn't vouch for content. It's not a metric that

35
00:02:15,680 --> 00:02:19,320
Speaker 1: vouches for content, But true, what was the worst one?

36
00:02:19,440 --> 00:02:21,480
Speaker 1: What the all time worst one? Is? Still? She's all

37
00:02:21,480 --> 00:02:25,000
Speaker 1: that right where it's like, oh yeah, Claire Duval is

38
00:02:25,040 --> 00:02:30,280
Speaker 1: like down you should kill yourself and Rachelieu cooks like, oh, no,

39
00:02:30,639 --> 00:02:34,800
Speaker 1: is that I forget how that comes? No? Thank you,

40
00:02:34,919 --> 00:02:38,760
Speaker 1: I don't remember. Well, h we have an amazing guest today.

41
00:02:38,760 --> 00:02:42,600
Speaker 1: I'm so existed. We do. She's an actor. You know

42
00:02:42,680 --> 00:02:46,080
Speaker 1: her from z Nation and Teen Beach Movie, which is

43
00:02:46,120 --> 00:02:52,400
Speaker 1: my favorite d com of all time. It's Gracie Gillum. Hi, everybody, welcome, Welcome,

44
00:02:54,400 --> 00:02:59,640
Speaker 1: I'm so active here. Wow? What so let's talk Greece,

45
00:03:00,200 --> 00:03:03,280
Speaker 1: shall we? I feel like your character in the Team

46
00:03:03,320 --> 00:03:06,200
Speaker 1: Beach movies is kind of like a grease or girl,

47
00:03:06,280 --> 00:03:12,160
Speaker 1: like a pink lady almost right, Yeah, definitely, it's all

48
00:03:12,200 --> 00:03:14,720
Speaker 1: coming together. Went back and watched it and I was like, wait,

49
00:03:14,840 --> 00:03:21,079
Speaker 1: it's all connected, It's all connected. And then well, Team

50
00:03:21,120 --> 00:03:23,320
Speaker 1: Beach movie is really supposed to take place like the

51
00:03:23,360 --> 00:03:25,200
Speaker 1: movie within a movie is more of a Frankie in

52
00:03:25,200 --> 00:03:29,799
Speaker 1: a Net movie. And then Greece definitely has Frankie avalon

53
00:03:29,960 --> 00:03:32,040
Speaker 1: and it and then has a joke about a Nets tips.

54
00:03:32,200 --> 00:03:34,520
Speaker 1: So it's pretty much the same movie as Team Beach movie,

55
00:03:34,760 --> 00:03:40,280
Speaker 1: same energy, energy, same energy. So apart from that, what

56
00:03:40,520 --> 00:03:45,000
Speaker 1: is your relationship with Greece? The movie? Grease the property

57
00:03:45,000 --> 00:03:49,360
Speaker 1: in general, tell us everything grease the word uh, Greece

58
00:03:49,520 --> 00:03:53,680
Speaker 1: is the word is the word? Is the word? Um?

59
00:03:53,920 --> 00:03:56,600
Speaker 1: Greece is a VHS tape that I had growing up.

60
00:03:56,720 --> 00:03:58,680
Speaker 1: It's a movie my dad I think went out of

61
00:03:58,720 --> 00:04:00,960
Speaker 1: his way to see three or more times in a theater.

62
00:04:02,360 --> 00:04:07,280
Speaker 1: I think it was serving me early, outdated, surface level

63
00:04:07,320 --> 00:04:10,040
Speaker 1: feminism in a way that really I loved as a child.

64
00:04:11,160 --> 00:04:13,280
Speaker 1: So I've seen this movie way more times than I

65
00:04:13,280 --> 00:04:17,880
Speaker 1: could possibly count. And then my high school ended up

66
00:04:17,880 --> 00:04:19,880
Speaker 1: doing Greece, even though it was kind of a fancy

67
00:04:20,000 --> 00:04:22,080
Speaker 1: arts high school that wouldn't do a show like Greece,

68
00:04:22,480 --> 00:04:26,120
Speaker 1: but Governor Rick Perry was going to cut arts funding

69
00:04:26,160 --> 00:04:27,839
Speaker 1: for the entire state of Texas, so we had to

70
00:04:27,880 --> 00:04:30,080
Speaker 1: prove that we could make money during the spring we

71
00:04:30,160 --> 00:04:34,960
Speaker 1: did Greece. That is so bleak. You're like forced to

72
00:04:35,040 --> 00:04:37,520
Speaker 1: do Greece so that you can continue to get an

73
00:04:37,600 --> 00:04:42,160
Speaker 1: arts education. Very chill, Rick Perry, very chill. Um. It

74
00:04:42,240 --> 00:04:45,520
Speaker 1: is how I got my first Hollywood agent as he

75
00:04:45,640 --> 00:04:47,839
Speaker 1: saw me play Rizzo in Greece and gave me his

76
00:04:47,920 --> 00:04:53,360
Speaker 1: business card after the show. What you got discovered through

77
00:04:53,560 --> 00:04:58,960
Speaker 1: Greece in Texas. It's a really old school kind of

78
00:04:59,000 --> 00:05:04,359
Speaker 1: story that's beautiful, And you played Rizzo. That's amazing. Yeah,

79
00:05:04,560 --> 00:05:06,120
Speaker 1: You're like, here's my card, kid, And I was like,

80
00:05:06,160 --> 00:05:07,839
Speaker 1: I have a four point three to g p A,

81
00:05:07,880 --> 00:05:11,040
Speaker 1: I'm going to college guy, And then I didn't nice

82
00:05:11,279 --> 00:05:17,240
Speaker 1: love that colleges a scam. So you know, I have

83
00:05:17,440 --> 00:05:21,680
Speaker 1: not seen Greece since I performed it my senior year

84
00:05:21,680 --> 00:05:24,919
Speaker 1: of high school. So I, oh, sorry, I have rewatched

85
00:05:24,960 --> 00:05:27,880
Speaker 1: it for this podcast. I've watched it a few times

86
00:05:27,880 --> 00:05:31,880
Speaker 1: within the span of a very few days. WHOA that

87
00:05:32,080 --> 00:05:35,240
Speaker 1: is like that's like a very deep relationship with Greece,

88
00:05:35,520 --> 00:05:39,480
Speaker 1: Like we can't follow that. Yeah, yeah, Jamie, what's your

89
00:05:39,839 --> 00:05:46,000
Speaker 1: pitiful history with It's nothing, No, it's um, it's just less.

90
00:05:46,360 --> 00:05:52,039
Speaker 1: My grand should be. Really, my grandma had the vhs

91
00:05:52,040 --> 00:05:54,360
Speaker 1: and she would make us watch like she's like two

92
00:05:54,440 --> 00:05:57,159
Speaker 1: vhs and one was Greece and one was River Dance,

93
00:05:57,520 --> 00:05:59,760
Speaker 1: and so I would always choose Greece, just kind of

94
00:05:59,800 --> 00:06:03,000
Speaker 1: like because I didn't want to watch River Dance. Um.

95
00:06:03,040 --> 00:06:05,360
Speaker 1: So I've seen that. I've seen the movie a bunch,

96
00:06:05,400 --> 00:06:08,080
Speaker 1: but then I feel like I've seen so many community

97
00:06:08,120 --> 00:06:11,720
Speaker 1: performances of it, Like my school didn't do it, but

98
00:06:11,839 --> 00:06:15,520
Speaker 1: like friends schools did it, and like summer theater always

99
00:06:15,520 --> 00:06:17,520
Speaker 1: would do Grease, and so I think I've seen the

100
00:06:17,560 --> 00:06:20,280
Speaker 1: movie a ton and then like five or six different

101
00:06:20,360 --> 00:06:22,800
Speaker 1: local productions and they're all mixed up in my head.

102
00:06:23,000 --> 00:06:26,880
Speaker 1: And yeah, I think I think that's that's kind of it.

103
00:06:27,040 --> 00:06:34,800
Speaker 1: I still the music is still so goddamn catchy. I know. Yeah, Caitlyn,

104
00:06:34,839 --> 00:06:37,480
Speaker 1: what's your history with it? I didn't grow up with

105
00:06:37,560 --> 00:06:40,360
Speaker 1: this movie. In fact, I'm not even sure I might

106
00:06:40,440 --> 00:06:42,960
Speaker 1: not have seen it until so it's kind of hard

107
00:06:43,000 --> 00:06:46,559
Speaker 1: to know because it's so cultural, like Osmo City for sure,

108
00:06:46,800 --> 00:06:51,560
Speaker 1: and like the songs would especially like Summer Nights and

109
00:06:52,040 --> 00:06:54,760
Speaker 1: You're the one that I want, and like maybe Grease Lightning,

110
00:06:54,800 --> 00:06:57,480
Speaker 1: and like some of the more popular songs devoted to you,

111
00:06:57,600 --> 00:06:59,800
Speaker 1: Like there's so many that you're just like, even if

112
00:06:59,800 --> 00:07:02,200
Speaker 1: you haven't been within ten feet of this movie, you

113
00:07:02,240 --> 00:07:04,680
Speaker 1: know what it sounds though with that song, those songs

114
00:07:04,720 --> 00:07:08,880
Speaker 1: would like play it like school Dances in our cafeteria

115
00:07:09,160 --> 00:07:11,160
Speaker 1: and like junior high and stuff like that. But I

116
00:07:11,200 --> 00:07:13,120
Speaker 1: don't think I really saw I don't think I really

117
00:07:13,120 --> 00:07:17,480
Speaker 1: saw the movie for the first time until honestly, I don't.

118
00:07:17,560 --> 00:07:19,600
Speaker 1: I think I may be like watched it once in college,

119
00:07:19,600 --> 00:07:22,400
Speaker 1: but then I rewatched it when we covered Greece too,

120
00:07:22,640 --> 00:07:25,960
Speaker 1: which we have done on the podcast years ago with

121
00:07:26,000 --> 00:07:29,520
Speaker 1: follow in Georgia. Yes, you know, for some reason we're like,

122
00:07:29,720 --> 00:07:34,760
Speaker 1: screw Grease, We're going to cover Greece too first, and

123
00:07:34,800 --> 00:07:37,920
Speaker 1: then we'll get to the first Greece four full years later.

124
00:07:39,880 --> 00:07:44,040
Speaker 1: How it was intended. Um So, I really have little

125
00:07:44,080 --> 00:07:48,200
Speaker 1: exposure to the movie itself, but I know the characters

126
00:07:48,320 --> 00:07:52,360
Speaker 1: like Danny Zuko and Sandy and Rizzo like their iconic characters.

127
00:07:52,400 --> 00:07:54,520
Speaker 1: The songs are iconic. It was yeah, very much just

128
00:07:54,600 --> 00:07:58,920
Speaker 1: like a cultural osmosis thing. It also was like re

129
00:07:58,920 --> 00:08:03,120
Speaker 1: released in theater several times for different you know, like anniversaries,

130
00:08:03,440 --> 00:08:06,200
Speaker 1: and it's definitely like one of those like Unkillable Proper

131
00:08:06,240 --> 00:08:09,800
Speaker 1: because there's like I was looking online to see because

132
00:08:09,800 --> 00:08:12,360
Speaker 1: I remember there was like one of those TV stage

133
00:08:12,360 --> 00:08:15,200
Speaker 1: productions that starred Vanessa Hudgens a couple of years ago.

134
00:08:15,200 --> 00:08:18,760
Speaker 1: As Sandy can't say, I watched it well because there

135
00:08:18,800 --> 00:08:21,040
Speaker 1: was only one Vanessa Hudgens in it, and it's like,

136
00:08:21,080 --> 00:08:22,720
Speaker 1: if you're not going to have more than one Vanessa

137
00:08:22,800 --> 00:08:25,720
Speaker 1: Hudgens in your movie, why bother wast waste my time?

138
00:08:26,160 --> 00:08:30,040
Speaker 1: She's doing one accent one accent per movie. I just

139
00:08:30,080 --> 00:08:32,280
Speaker 1: know she's capable of so much more, and so I

140
00:08:32,320 --> 00:08:38,120
Speaker 1: can't watch it. Um. But then there's also like a

141
00:08:38,160 --> 00:08:41,560
Speaker 1: new series, a paramount series called Grease, Rise of the

142
00:08:41,600 --> 00:08:45,320
Speaker 1: Pink Ladies coming out like next year, and then there's

143
00:08:45,360 --> 00:08:49,640
Speaker 1: another there's a prequel about the summer where they're loving

144
00:08:50,440 --> 00:08:54,000
Speaker 1: and it's like it's very interesting to me because in

145
00:08:54,240 --> 00:08:57,080
Speaker 1: like researching like where is I was like, I don't

146
00:08:57,120 --> 00:08:59,880
Speaker 1: know where grease discourses, I guess, and it seems to

147
00:08:59,920 --> 00:09:03,440
Speaker 1: be both like very like it is like not a

148
00:09:03,440 --> 00:09:06,000
Speaker 1: hot take by any means to say, like most of

149
00:09:06,080 --> 00:09:10,320
Speaker 1: Greece's plot points age exceptionally badly, but then also they're

150
00:09:10,360 --> 00:09:14,559
Speaker 1: still like making grease stuff. It's weird, but also at

151
00:09:14,559 --> 00:09:16,880
Speaker 1: the same by that same token, I could see, like

152
00:09:17,280 --> 00:09:21,840
Speaker 1: by nineteen eight standards and like the stage production first

153
00:09:21,880 --> 00:09:25,440
Speaker 1: one up and I think seventy one, I could see

154
00:09:25,600 --> 00:09:31,640
Speaker 1: like some components of the story being like kind of

155
00:09:31,679 --> 00:09:35,960
Speaker 1: progressive and maybe even like feminists for that time. Very

156
00:09:35,960 --> 00:09:41,040
Speaker 1: second wavy. Yeah, so you know it's it's a it's

157
00:09:41,080 --> 00:09:45,560
Speaker 1: nestled in an interesting place in history, and yeah, we're

158
00:09:45,640 --> 00:09:50,480
Speaker 1: we're still uh you know, adapting it to prequels and uh,

159
00:09:50,600 --> 00:09:53,080
Speaker 1: spinoffs and all kinds of stuff. So I truly can't

160
00:09:53,080 --> 00:09:55,600
Speaker 1: think of I'm like, what, Maybe it will be great,

161
00:09:55,679 --> 00:09:57,920
Speaker 1: but I'm like, who cares about the summer? Where they love?

162
00:09:58,000 --> 00:10:00,080
Speaker 1: And I learned everything I needed to know. And in

163
00:10:00,120 --> 00:10:03,400
Speaker 1: the first minute, right he's on the beach. It was summer,

164
00:10:03,440 --> 00:10:07,080
Speaker 1: they were loving. That's all I needed to know. But

165
00:10:07,120 --> 00:10:09,320
Speaker 1: what about those summer nights. Don't you want to know

166
00:10:09,400 --> 00:10:13,240
Speaker 1: about the summer nights? You're right, I didn't know enough.

167
00:10:13,360 --> 00:10:14,960
Speaker 1: I only saw them during the day and that was

168
00:10:18,080 --> 00:10:21,800
Speaker 1: That's what I'm saying. Um, well, should I dive into

169
00:10:22,240 --> 00:10:26,800
Speaker 1: the recap and we'll go from there. Yeah, let's party. Okay,

170
00:10:27,440 --> 00:10:30,400
Speaker 1: So we are in the late nineteen fifties. I think

171
00:10:30,440 --> 00:10:36,080
Speaker 1: we're in California in the movie, although it's not fully specified,

172
00:10:36,320 --> 00:10:38,920
Speaker 1: I feel like they're the race at the end, they're

173
00:10:38,960 --> 00:10:42,959
Speaker 1: like driving along the l A l A River. Yeah,

174
00:10:43,160 --> 00:10:45,960
Speaker 1: I think that I looked at I don't I know

175
00:10:46,040 --> 00:10:51,520
Speaker 1: that the stage play takes place in correct New York. Okay,

176
00:10:51,679 --> 00:10:53,599
Speaker 1: it's supposed to be upstate in New York, which is

177
00:10:53,600 --> 00:10:56,480
Speaker 1: why everyone in the play is like pretty explicitly Italian.

178
00:10:57,440 --> 00:11:00,960
Speaker 1: That makes so much more sense because explicitly a schell

179
00:11:02,800 --> 00:11:04,880
Speaker 1: it kind of This is a horrible connection, but it

180
00:11:04,960 --> 00:11:06,960
Speaker 1: kind of reminded me because I thought they were in

181
00:11:07,000 --> 00:11:09,160
Speaker 1: Socall in this movie, but I wasn't sure. I also

182
00:11:09,200 --> 00:11:11,600
Speaker 1: saw somewhere that it was supposed to be Delaware, and

183
00:11:11,640 --> 00:11:14,920
Speaker 1: I don't even know what Delaware looks like. So well,

184
00:11:15,040 --> 00:11:18,640
Speaker 1: Google has a beach like that. But maybe they were

185
00:11:19,080 --> 00:11:24,520
Speaker 1: vacationing the same place. Yeah, I well, the one of

186
00:11:24,559 --> 00:11:28,160
Speaker 1: the writers of the stage production based off of his

187
00:11:28,240 --> 00:11:32,360
Speaker 1: high school in Chicago. But yeah, for I don't know, yeah,

188
00:11:32,360 --> 00:11:34,559
Speaker 1: the movie. I googled like, where does Grease the movie

189
00:11:34,600 --> 00:11:38,080
Speaker 1: take place? And then someone like California came up, But

190
00:11:38,120 --> 00:11:39,520
Speaker 1: it was just because I think it was just shot

191
00:11:39,559 --> 00:11:42,600
Speaker 1: in California. I don't. It looks like California, but they

192
00:11:42,600 --> 00:11:45,719
Speaker 1: all sound like they have fifties New York New York. Right.

193
00:11:46,360 --> 00:11:52,440
Speaker 1: It reminds me of really terrible connection, but it reminds

194
00:11:52,480 --> 00:11:55,800
Speaker 1: me of really where. It's like Ben Affleck's Grace. Have

195
00:11:55,880 --> 00:12:02,079
Speaker 1: you seen Gelie? I'm sorry, definitely don't watch it. It

196
00:12:02,200 --> 00:12:05,400
Speaker 1: starts like Ben Affleck. It's another movie that takes place

197
00:12:05,440 --> 00:12:08,280
Speaker 1: in l A where like Ben Affleck has this like

198
00:12:09,120 --> 00:12:12,200
Speaker 1: weird Newsy's accent. The whole time. We were like, how

199
00:12:12,280 --> 00:12:14,400
Speaker 1: is this possible? He's wearing like a heavy coat the

200
00:12:14,440 --> 00:12:18,079
Speaker 1: whole movie, even though it's agree he's wearing a leather coat.

201
00:12:18,200 --> 00:12:27,200
Speaker 1: He's has his hair all slipped back. It's out of control. Um. Anyway,

202
00:12:27,320 --> 00:12:32,400
Speaker 1: so we are in an unclear location. Um, But Danny

203
00:12:32,480 --> 00:12:36,600
Speaker 1: Zuko that's John Travolta of course, and Sandy is Olivia

204
00:12:36,640 --> 00:12:39,760
Speaker 1: Newton John are teenagers who have just spent a romantic

205
00:12:39,760 --> 00:12:42,200
Speaker 1: summer together at the beach, but the romance has to

206
00:12:42,240 --> 00:12:44,360
Speaker 1: come to an end because Sandy has to go back

207
00:12:44,400 --> 00:12:47,680
Speaker 1: to Australia. I love that. I didn't realize that she

208
00:12:48,200 --> 00:12:51,240
Speaker 1: is not Australian in the in the play, and it's

209
00:12:51,280 --> 00:12:56,040
Speaker 1: just because Olivia Newton John couldn't do a passable American American.

210
00:12:56,720 --> 00:13:00,240
Speaker 1: I love it and the play. It's a surprise that

211
00:13:00,360 --> 00:13:03,240
Speaker 1: he is at that school because he lies about going

212
00:13:03,280 --> 00:13:06,760
Speaker 1: to a private school to her over the summer. So interesting,

213
00:13:07,040 --> 00:13:10,360
Speaker 1: that's a more effective plot point. Yeah, she was going

214
00:13:10,400 --> 00:13:12,199
Speaker 1: to go to the Catholic girls school and he was

215
00:13:12,240 --> 00:13:15,000
Speaker 1: going to go to the boys school or whatever, and

216
00:13:15,160 --> 00:13:16,880
Speaker 1: they both end up at the public school, but because

217
00:13:17,520 --> 00:13:21,120
Speaker 1: that's where he actually does so was he trying to

218
00:13:21,280 --> 00:13:24,240
Speaker 1: make him seem like a higher class, like a higher

219
00:13:24,280 --> 00:13:26,760
Speaker 1: economic class than he is and like less of us? Lad?

220
00:13:26,760 --> 00:13:31,320
Speaker 1: I guess yeah, sure love it. Um. First we cut

221
00:13:31,320 --> 00:13:34,440
Speaker 1: to right l High. It's the first day of senior

222
00:13:34,520 --> 00:13:38,240
Speaker 1: year for Danny and his greaser friends who call themselves

223
00:13:38,280 --> 00:13:44,400
Speaker 1: the t Birds, which also thirty five years old. There's

224
00:13:44,679 --> 00:13:48,520
Speaker 1: it's been held back so much. Even watching this movie

225
00:13:48,679 --> 00:13:52,040
Speaker 1: on in three a DP on to be I was like,

226
00:13:52,120 --> 00:13:57,920
Speaker 1: these these men are simply not seventeen air forty, especially

227
00:13:57,920 --> 00:14:00,520
Speaker 1: who was like the word like one of the most

228
00:14:00,800 --> 00:14:03,880
Speaker 1: misogynistic guy. This is not helpful, But I think his

229
00:14:03,960 --> 00:14:08,400
Speaker 1: name is Sunny Sonny the Dog. Yeah. First of all

230
00:14:09,160 --> 00:14:11,720
Speaker 1: upsetting for me because I already lived with a misogynist

231
00:14:11,800 --> 00:14:15,840
Speaker 1: named Sonny and it's my dad. But that the guy

232
00:14:15,920 --> 00:14:18,760
Speaker 1: who plays Sonny especially, I'm like, you're a father, Like

233
00:14:18,800 --> 00:14:21,680
Speaker 1: what do you? How did you? But then you're like, oh,

234
00:14:21,720 --> 00:14:24,040
Speaker 1: he's a he's a good dancer. He's a good dancer.

235
00:14:24,120 --> 00:14:26,240
Speaker 1: I think he's actually thirty one in that movie, although

236
00:14:26,240 --> 00:14:30,120
Speaker 1: I agree that he looks thirty eight. Rough break, rough break.

237
00:14:30,160 --> 00:14:34,640
Speaker 1: For Sonny, he's had a difficult life. Maybe yeah. Well,

238
00:14:34,680 --> 00:14:39,320
Speaker 1: in addition to Sonny, there's k Nicky and Putsy and Duty.

239
00:14:39,640 --> 00:14:43,200
Speaker 1: They run with a group of girls called the Pink Ladies.

240
00:14:44,080 --> 00:14:48,680
Speaker 1: Rizzo is the leader. Uh Stalkard Channing plays this rendition

241
00:14:48,760 --> 00:14:53,040
Speaker 1: of of Rizzo. Gracie Gillum has played an incredible version

242
00:14:53,080 --> 00:14:59,240
Speaker 1: of Rizzo, just saying many icons have played this role. Um.

243
00:14:59,280 --> 00:15:02,720
Speaker 1: And then there's also Jan Marty and Frenchy and French.

244
00:15:02,760 --> 00:15:06,360
Speaker 1: She introduces the Pink Ladies to Sandy, who ended up

245
00:15:06,400 --> 00:15:09,200
Speaker 1: not going back to Australia and who is instead going

246
00:15:09,240 --> 00:15:13,600
Speaker 1: to high school at Rydel this year. Um. But Danny

247
00:15:13,600 --> 00:15:16,320
Speaker 1: and Sandy don't know yet that they are both at

248
00:15:16,320 --> 00:15:18,840
Speaker 1: the same school. Then we get the Summer Night Song

249
00:15:19,000 --> 00:15:21,480
Speaker 1: where Danny tells the t Birds about the girl he

250
00:15:21,520 --> 00:15:24,040
Speaker 1: met over the summer, and Sandy tells the Pink Ladies

251
00:15:24,080 --> 00:15:26,400
Speaker 1: about the boy she met and that his name is

252
00:15:26,520 --> 00:15:31,200
Speaker 1: Danny Zuko and they're like, oh, oh, no scandal. Then

253
00:15:31,840 --> 00:15:35,040
Speaker 1: at a football game, the Pink Ladies are like, hey, Sandy,

254
00:15:35,200 --> 00:15:39,160
Speaker 1: look who it is, and it's Danny. But Danny, because

255
00:15:39,160 --> 00:15:42,040
Speaker 1: he's in front of his like tough guy friends, he

256
00:15:42,080 --> 00:15:44,960
Speaker 1: feels that he can't be vulnerable and show his feelings

257
00:15:45,000 --> 00:15:48,239
Speaker 1: for Sandy, so he plays it all cool and aloof

258
00:15:48,560 --> 00:15:52,440
Speaker 1: like he doesn't really care about her, which of course

259
00:15:52,640 --> 00:15:57,600
Speaker 1: hurts Sandy's feelings, and she runs off. She loves Sandy

260
00:15:57,680 --> 00:16:01,680
Speaker 1: does be running off. She runs off so many times.

261
00:16:01,960 --> 00:16:06,440
Speaker 1: She's just like, exit left. I can't handle this. She

262
00:16:06,680 --> 00:16:09,960
Speaker 1: is exiting the scene constantly. There. I liked that. That

263
00:16:10,080 --> 00:16:14,160
Speaker 1: was another fun like place where the whole Australia thing

264
00:16:14,560 --> 00:16:19,160
Speaker 1: um just sounds really bizarre. Where he's like, how did

265
00:16:19,200 --> 00:16:21,600
Speaker 1: you like? How are you here? I thought you were

266
00:16:21,640 --> 00:16:26,520
Speaker 1: going back to Australia. She's like, we change change. You

267
00:16:26,560 --> 00:16:31,320
Speaker 1: moved to like Echo Park instead of home to Australia. Wild,

268
00:16:31,680 --> 00:16:35,560
Speaker 1: I know. Um. So Sandy is very sad she has

269
00:16:35,640 --> 00:16:38,520
Speaker 1: run off, and to cheer her up French she invites

270
00:16:38,720 --> 00:16:42,239
Speaker 1: Sandy over to her house for like a pink lady's sleepover,

271
00:16:42,960 --> 00:16:45,720
Speaker 1: But then they all just end up like mocking Sandy

272
00:16:45,800 --> 00:16:49,280
Speaker 1: for being like a goody two shoes, and then the

273
00:16:49,600 --> 00:16:52,320
Speaker 1: tea birds show up, and then Rizzo goes off with

274
00:16:52,400 --> 00:16:55,280
Speaker 1: Knicky and then they have unprotected sex in the back

275
00:16:55,440 --> 00:17:00,960
Speaker 1: of his car. Meanwhile, Sandy is still sad about Danny

276
00:17:01,040 --> 00:17:04,000
Speaker 1: being a jerk. So she sings a song about being

277
00:17:04,000 --> 00:17:08,160
Speaker 1: hopelessly devoted to him. It's cute. I like the end

278
00:17:08,280 --> 00:17:10,680
Speaker 1: where it's like the water and then you just see

279
00:17:10,680 --> 00:17:13,440
Speaker 1: a John Travolta floating in the water and you're like, oh,

280
00:17:13,480 --> 00:17:18,080
Speaker 1: that's I love how she puts Marty's nice stationary into

281
00:17:18,080 --> 00:17:20,760
Speaker 1: a cave pool and then he leaves it like an asshole.

282
00:17:21,840 --> 00:17:26,880
Speaker 1: What a weird choice, Sandy. Someone had to clean that up, Sandy.

283
00:17:27,480 --> 00:17:32,119
Speaker 1: And then she runs off, and she loves to run off.

284
00:17:33,680 --> 00:17:35,919
Speaker 1: It is stunning how many I should have counted. She

285
00:17:36,000 --> 00:17:38,520
Speaker 1: runs off so much. I I think I have a

286
00:17:38,560 --> 00:17:44,040
Speaker 1: pretty good count in the recap alone here. But um so, Meanwhile,

287
00:17:44,119 --> 00:17:47,240
Speaker 1: so there's this other group. There's like a rival group

288
00:17:47,320 --> 00:17:51,280
Speaker 1: of Greaser's called the Scorpions, which is just like a

289
00:17:51,359 --> 00:17:56,360
Speaker 1: Jets and Sharks thing, right, Yeah, I think I think

290
00:17:56,400 --> 00:18:00,320
Speaker 1: maybe the Scorpions don't go to Rydell or some thing.

291
00:18:00,480 --> 00:18:03,439
Speaker 1: I'm not totally sin. You can't not be going to

292
00:18:03,560 --> 00:18:07,600
Speaker 1: ride all. That's not good. Their leader is someone who

293
00:18:07,640 --> 00:18:10,040
Speaker 1: I think is named Leo. I don't know if they

294
00:18:10,080 --> 00:18:11,840
Speaker 1: even never say his name. In the movie. They call

295
00:18:11,920 --> 00:18:15,399
Speaker 1: him crater Face. I think maybe that's his nickname. Anyway,

296
00:18:15,640 --> 00:18:19,639
Speaker 1: there's this guy who bangs up Kinnicky's car, so the

297
00:18:19,680 --> 00:18:22,040
Speaker 1: Tea Birds have to fix up this car. And this

298
00:18:22,080 --> 00:18:24,199
Speaker 1: is when we get the Grease Lightning song, which I

299
00:18:24,200 --> 00:18:27,000
Speaker 1: think is also the name of the car. A lot

300
00:18:27,040 --> 00:18:29,959
Speaker 1: of stuff around this that is pretty unclear for me,

301
00:18:30,000 --> 00:18:33,720
Speaker 1: as you can tell um that dance sequence is still

302
00:18:34,640 --> 00:18:37,040
Speaker 1: so good and the outfits the tea though, when the

303
00:18:37,080 --> 00:18:39,720
Speaker 1: Tea Birds do the outfit change in Grease Lightning, I'm like,

304
00:18:39,800 --> 00:18:43,920
Speaker 1: where do I get a silver one es for men?

305
00:18:44,359 --> 00:18:49,000
Speaker 1: Like I really want that? Something that I find fascinating

306
00:18:49,000 --> 00:18:52,199
Speaker 1: about this type of movie featuring this type of character

307
00:18:52,280 --> 00:18:55,480
Speaker 1: who are like these like macho grease or tough guys,

308
00:18:56,400 --> 00:19:00,680
Speaker 1: the kind of like cognitive dissonance of then them busting

309
00:19:00,720 --> 00:19:05,960
Speaker 1: out into like choreographed songs with like these flashy outfits

310
00:19:06,000 --> 00:19:09,000
Speaker 1: and they're dancing and they're singing, but it's like they're

311
00:19:09,040 --> 00:19:12,000
Speaker 1: supposed to be these like tough masculine guys, and like,

312
00:19:12,119 --> 00:19:15,359
Speaker 1: I just think that that dissonance is very funny. Chats

313
00:19:15,400 --> 00:19:18,000
Speaker 1: and Sharks Baby the best, Like that's like the most

314
00:19:18,200 --> 00:19:24,480
Speaker 1: iconic like like hyper masculinity and uh, while also like

315
00:19:25,119 --> 00:19:31,240
Speaker 1: effortlessly executing a dance right, very masculine combing of the hair,

316
00:19:33,680 --> 00:19:36,960
Speaker 1: you know how it's supermanly to constantly be grooming yourself.

317
00:19:37,640 --> 00:19:42,200
Speaker 1: Um um okay. So meanwhile, Danny goes and tries to

318
00:19:42,240 --> 00:19:45,800
Speaker 1: apologize to Sandy for being all aloof like he was,

319
00:19:46,359 --> 00:19:50,480
Speaker 1: but Sandy's like, screw you, I'm dating Tom. Now, who

320
00:19:50,600 --> 00:19:55,359
Speaker 1: is this football jock? So Danny starts to try to

321
00:19:55,440 --> 00:19:58,679
Speaker 1: be a jock also to impress Sandy, and then we

322
00:19:58,720 --> 00:20:01,200
Speaker 1: get this very long sequence where he tries a bunch

323
00:20:01,200 --> 00:20:03,480
Speaker 1: of different sports and sucks at all of them. I

324
00:20:03,520 --> 00:20:07,240
Speaker 1: did not remember that sequence at all. I honestly didn't

325
00:20:07,440 --> 00:20:11,000
Speaker 1: remember because I think that there's so much like valid conversation,

326
00:20:11,040 --> 00:20:13,600
Speaker 1: but like a lot of conversation about how Sandy changes

327
00:20:13,640 --> 00:20:18,119
Speaker 1: for Danny. I forgot that he also tries to change

328
00:20:18,119 --> 00:20:20,800
Speaker 1: everything about himself. The tone of it's a little different,

329
00:20:20,840 --> 00:20:24,439
Speaker 1: but like it's just I was like, oh right, huh okay,

330
00:20:24,480 --> 00:20:27,359
Speaker 1: I yeah, I totally did not remember that that happens.

331
00:20:27,400 --> 00:20:29,760
Speaker 1: Does that happen in the play as well? No, you

332
00:20:29,800 --> 00:20:32,359
Speaker 1: can't have that many costume changes in a play. Also,

333
00:20:32,400 --> 00:20:35,280
Speaker 1: plays don't really have fun and games sections the way

334
00:20:35,280 --> 00:20:38,520
Speaker 1: that movies do, and kind of a very literal fun

335
00:20:38,560 --> 00:20:42,800
Speaker 1: and game section of this movie. Yeah, he's just playing

336
00:20:42,800 --> 00:20:45,960
Speaker 1: a bunch of different games. It's just like John Travolta

337
00:20:46,040 --> 00:20:50,080
Speaker 1: in a series of different pairs of shorts and the

338
00:20:50,200 --> 00:20:53,240
Speaker 1: play it's just track. Yeah, And there's kind of no

339
00:20:53,359 --> 00:20:56,080
Speaker 1: metaphor for the long distance running that the coach kind

340
00:20:56,080 --> 00:20:57,840
Speaker 1: of gives where you go like, oh, because he has

341
00:20:57,880 --> 00:21:00,560
Speaker 1: to go long distance running because Sandy is a long

342
00:21:00,680 --> 00:21:07,919
Speaker 1: game win. Oh. I didn't even catch that. And the

343
00:21:08,000 --> 00:21:10,400
Speaker 1: movie it does the passage of time in a way

344
00:21:10,440 --> 00:21:12,560
Speaker 1: that I didn't get until I watched this with my

345
00:21:12,640 --> 00:21:16,000
Speaker 1: boyfriend because he was like, oh, because he's trying out

346
00:21:16,040 --> 00:21:20,320
Speaker 1: for sports in season order, and so he starts off

347
00:21:20,480 --> 00:21:24,040
Speaker 1: with like a false sport and then he's in track

348
00:21:24,160 --> 00:21:26,399
Speaker 1: and that gets us to it being the spring Dance

349
00:21:26,440 --> 00:21:31,879
Speaker 1: about so this is a year long quest for him. Yeah. Yeah,

350
00:21:31,960 --> 00:21:34,960
Speaker 1: he like grows and changes actually for a long time

351
00:21:35,119 --> 00:21:37,760
Speaker 1: if he's doing these different sports. And that's our passage

352
00:21:37,760 --> 00:21:40,760
Speaker 1: of time in the plot, which is so bizarre because yeah,

353
00:21:40,880 --> 00:21:43,040
Speaker 1: like the the beginning of the movie, it's their first

354
00:21:43,119 --> 00:21:44,720
Speaker 1: day of school. The end of the movie, it's like

355
00:21:44,840 --> 00:21:48,400
Speaker 1: their graduation basically, But the movie seems like it takes

356
00:21:48,400 --> 00:21:51,360
Speaker 1: place over the course of like a week, so it's

357
00:21:51,520 --> 00:21:55,119
Speaker 1: really more dissonance that I can't really wrap my head around.

358
00:21:55,720 --> 00:21:59,280
Speaker 1: But yeah, so in the movie, he does land on track,

359
00:21:59,400 --> 00:22:02,080
Speaker 1: which we don't even find out until the end, but

360
00:22:02,119 --> 00:22:05,800
Speaker 1: we see him kind of like practicing track and Sandy

361
00:22:05,840 --> 00:22:09,320
Speaker 1: sees this and she is impressed because I guess she

362
00:22:09,359 --> 00:22:12,960
Speaker 1: loves jocks. I guess she loves athletes. Yeah. Also, the

363
00:22:12,960 --> 00:22:16,640
Speaker 1: other started, so much of this movie is weird at

364
00:22:16,680 --> 00:22:20,560
Speaker 1: this school, Like cheerleaders and jocks are like not cool

365
00:22:20,800 --> 00:22:23,800
Speaker 1: or they're like less cool. They're not cool by the

366
00:22:23,880 --> 00:22:28,680
Speaker 1: greaser standards. So yeah, right right, it's like it's an

367
00:22:29,080 --> 00:22:31,600
Speaker 1: all the kids running high school never heard of it,

368
00:22:31,880 --> 00:22:37,680
Speaker 1: Like pretty fascinating concept, but I can't relate. Well that's

369
00:22:37,680 --> 00:22:42,040
Speaker 1: another I'm like, are they like, how popular are they?

370
00:22:42,200 --> 00:22:45,800
Speaker 1: Is it just that we because we are following their story,

371
00:22:46,280 --> 00:22:48,920
Speaker 1: you know, we're seeing it through their perspectives, so they're like, Oh,

372
00:22:49,000 --> 00:22:51,640
Speaker 1: these must be like the cool kids around. But are

373
00:22:51,720 --> 00:22:53,600
Speaker 1: they I don't know. I don't know. It seems like

374
00:22:53,560 --> 00:22:56,080
Speaker 1: they're ruled the school with an iron fist, maybe because

375
00:22:56,119 --> 00:23:00,399
Speaker 1: I could because they're thirty years old that much. Well,

376
00:23:00,400 --> 00:23:05,240
Speaker 1: that's true. Because the the the cheerleader girl. I think Patty, Yeah,

377
00:23:05,440 --> 00:23:10,200
Speaker 1: Patty like it's throwing herself at Danny Zuko, so yeah yeah,

378
00:23:10,440 --> 00:23:12,920
Speaker 1: and she wants Rizzo to like think she's cool kind

379
00:23:12,960 --> 00:23:15,159
Speaker 1: of when she comes up to the lunch table and

380
00:23:15,200 --> 00:23:17,400
Speaker 1: it's like trying to fit in with the I think

381
00:23:17,400 --> 00:23:20,199
Speaker 1: the pink ladies ruled the school with an iron fist.

382
00:23:21,560 --> 00:23:24,840
Speaker 1: I like, I'll allow it. I mean horny all kids

383
00:23:24,920 --> 00:23:32,080
Speaker 1: running the school as a concept, I like same. So

384
00:23:32,600 --> 00:23:35,879
Speaker 1: Sandy is now impressed with Danny again and she's like, Hey,

385
00:23:35,920 --> 00:23:38,240
Speaker 1: there's this dance coming up. You should take me to it,

386
00:23:38,280 --> 00:23:42,360
Speaker 1: and he's like okay. But before that, Danny takes Sandy

387
00:23:42,440 --> 00:23:45,639
Speaker 1: to this diner, but Danny is embarrassed because his friends

388
00:23:45,640 --> 00:23:49,240
Speaker 1: are there, and things kind of fall apart for everyone.

389
00:23:49,280 --> 00:23:52,880
Speaker 1: We also get the Beauty School dropout song because there's

390
00:23:52,920 --> 00:23:55,639
Speaker 1: a random subplot where French she has dropped out of

391
00:23:55,720 --> 00:23:58,840
Speaker 1: high school to go to beauty school. Then the dance

392
00:23:58,880 --> 00:24:03,600
Speaker 1: happens where the National Bandstand TV show is there to

393
00:24:03,800 --> 00:24:08,399
Speaker 1: televise this like dance competition, and Danny ends up winning

394
00:24:08,400 --> 00:24:12,760
Speaker 1: the competition, but it's by dancing with another girl cha chaw.

395
00:24:13,720 --> 00:24:17,359
Speaker 1: So Sandy sees this dance with Cha Chaw and she'll

396
00:24:17,400 --> 00:24:20,960
Speaker 1: never guess what she does. She gets jealous and runs off.

397
00:24:21,920 --> 00:24:25,960
Speaker 1: So another very weird scene. Yeah. Then we cut to

398
00:24:26,560 --> 00:24:30,240
Speaker 1: a drive in movie theater and Rizzo she thinks she

399
00:24:30,320 --> 00:24:33,439
Speaker 1: might be pregnant. The whole school finds out about it

400
00:24:33,440 --> 00:24:36,800
Speaker 1: in like ten seconds. I think we're missing that. Marty

401
00:24:36,920 --> 00:24:41,119
Speaker 1: alludes to the host of the dance trying to drug

402
00:24:41,160 --> 00:24:45,879
Speaker 1: her or successfully, and it just gets brushed rider reased

403
00:24:46,000 --> 00:24:49,639
Speaker 1: right past. Put an aspirin in my drink and I

404
00:24:49,720 --> 00:24:51,320
Speaker 1: was like, I don't think that was an aspirin, Like

405
00:24:52,280 --> 00:24:58,240
Speaker 1: maybe brush up and not brush over that. Yeah, there's

406
00:24:58,280 --> 00:25:00,640
Speaker 1: so many things that people just like in this movie.

407
00:25:00,680 --> 00:25:03,200
Speaker 1: And then you're like, is that going to come back?

408
00:25:03,400 --> 00:25:05,200
Speaker 1: Like that was really fucked up? And then it never

409
00:25:05,240 --> 00:25:09,080
Speaker 1: comes back Like they didn't think that was sucked up.

410
00:25:09,080 --> 00:25:12,240
Speaker 1: They just thought that was a joke that was normal

411
00:25:12,320 --> 00:25:16,959
Speaker 1: in night, I guess. So. So Danny and Sandy are

412
00:25:16,960 --> 00:25:19,680
Speaker 1: also at the drive in and Danny gives her his

413
00:25:19,800 --> 00:25:22,560
Speaker 1: class ring and then he tries to force himself on

414
00:25:22,680 --> 00:25:27,639
Speaker 1: her and she doesn't want that, so she runs off again.

415
00:25:28,200 --> 00:25:30,320
Speaker 1: That's one of the running off that I'm very I

416
00:25:30,359 --> 00:25:32,400
Speaker 1: was like, Okay, that's that's a good that's a good

417
00:25:32,440 --> 00:25:34,480
Speaker 1: run off Sometimes and she runs away, I'm like where

418
00:25:34,520 --> 00:25:36,320
Speaker 1: are you going? But then that time you're like, oh

419
00:25:36,359 --> 00:25:38,879
Speaker 1: that is you do run away? Yeah you do. We

420
00:25:38,920 --> 00:25:40,520
Speaker 1: also get a song here that I feel like, it's

421
00:25:40,560 --> 00:25:44,639
Speaker 1: not very memorable. I totally forgot about it. It's yeah,

422
00:25:44,720 --> 00:25:47,880
Speaker 1: I mean it is like objectively watching that of like

423
00:25:48,160 --> 00:25:50,800
Speaker 1: he forces himself on his girlfriend and then sings a

424
00:25:50,840 --> 00:25:55,720
Speaker 1: whole song about like why is she so Like it's

425
00:25:55,760 --> 00:25:58,880
Speaker 1: when he's supposed to reflect and learn about his mistakes

426
00:25:58,920 --> 00:26:01,800
Speaker 1: in the plot for us to like him at the end,

427
00:26:02,240 --> 00:26:05,000
Speaker 1: and instead he just complains about it and what will

428
00:26:05,040 --> 00:26:07,480
Speaker 1: they say Monday at school? And he obviously means like

429
00:26:07,600 --> 00:26:10,960
Speaker 1: she left me, that's embarrassing. Not they saw me assault

430
00:26:11,040 --> 00:26:14,639
Speaker 1: somebody and she screamed and ran away. How embarrassing? Like

431
00:26:15,800 --> 00:26:20,080
Speaker 1: that that I told I had no recollection of that song,

432
00:26:20,160 --> 00:26:23,119
Speaker 1: And it is so jarring to listen to now because

433
00:26:23,320 --> 00:26:25,280
Speaker 1: and it also sounds like at certain parts of like yeah,

434
00:26:25,280 --> 00:26:28,000
Speaker 1: he's kind of like blaming her for making him look

435
00:26:28,080 --> 00:26:32,760
Speaker 1: bad because he's it's not an introspective song. He's just

436
00:26:33,720 --> 00:26:44,960
Speaker 1: like that song was wild and it's like Danny go home,

437
00:26:45,320 --> 00:26:49,479
Speaker 1: take a long, hard look in the mirror, like figure,

438
00:26:52,280 --> 00:26:55,600
Speaker 1: Danny needs to work on himself, and also that like

439
00:26:56,040 --> 00:26:58,800
Speaker 1: men working on themselves in this movie means joining the

440
00:26:58,880 --> 00:27:07,679
Speaker 1: track team. It's like a sure, okay, I guess okay.

441
00:27:07,680 --> 00:27:09,480
Speaker 1: So then we cut to the next day, or what

442
00:27:09,680 --> 00:27:11,480
Speaker 1: it might be the next day, it might be five

443
00:27:11,520 --> 00:27:16,480
Speaker 1: weeks later, We're not sure whatever, but um Sandy tries

444
00:27:16,560 --> 00:27:19,280
Speaker 1: to extend an olive branch to Rizz. Oh. I think

445
00:27:19,320 --> 00:27:23,000
Speaker 1: it's implied that she heard that Rizzle might be pregnant,

446
00:27:23,000 --> 00:27:27,040
Speaker 1: so she's trying to reach out, and I really like that.

447
00:27:28,040 --> 00:27:31,080
Speaker 1: In between, I was like, I do I love Sandy.

448
00:27:31,400 --> 00:27:33,439
Speaker 1: I just wish that she could stay the way she is.

449
00:27:33,480 --> 00:27:37,760
Speaker 1: She's a sweetheart. She's very she's very quick to scare,

450
00:27:38,040 --> 00:27:42,200
Speaker 1: but she's but she's like such a sweet kind person.

451
00:27:42,680 --> 00:27:45,840
Speaker 1: I think she has scary parents. It's implied by the

452
00:27:45,880 --> 00:27:48,600
Speaker 1: movie and more explicitly implied by the play that she's

453
00:27:48,600 --> 00:27:51,919
Speaker 1: pretty afraid of her parents. I didn't pick up on

454
00:27:51,960 --> 00:27:54,359
Speaker 1: that watching me, and I don't know what she's gonna

455
00:27:54,440 --> 00:27:56,439
Speaker 1: do with all that hair spray. At the end of

456
00:27:56,480 --> 00:27:59,040
Speaker 1: the movie, she gonna have to shower. French cheese house

457
00:27:59,040 --> 00:28:02,680
Speaker 1: and get in trouble for having wet hair. She's gonna

458
00:28:02,720 --> 00:28:07,800
Speaker 1: have to live a double life now. Her parents were like, hey,

459
00:28:07,880 --> 00:28:10,040
Speaker 1: you thought you were going back home to your home

460
00:28:10,080 --> 00:28:12,960
Speaker 1: in Australia. Too bad, you live in the United States

461
00:28:13,000 --> 00:28:17,960
Speaker 1: now in some city. We don't know where we are, Okay.

462
00:28:17,960 --> 00:28:19,760
Speaker 1: So in the play I'm sorry to be in the

463
00:28:19,760 --> 00:28:22,040
Speaker 1: play a guy, but in the place I want to

464
00:28:22,080 --> 00:28:25,000
Speaker 1: know and the play, Sandy is going to go to

465
00:28:25,080 --> 00:28:28,480
Speaker 1: the private Christian school, but then her dad gets in

466
00:28:28,520 --> 00:28:32,320
Speaker 1: a fight with the nun lady there about her patent

467
00:28:32,840 --> 00:28:36,200
Speaker 1: leather shoes because the school is claiming that that means

468
00:28:36,240 --> 00:28:38,200
Speaker 1: that people can see up her skirt because her shoes

469
00:28:38,240 --> 00:28:41,040
Speaker 1: are too shiny. But her dad is obviously the kind

470
00:28:41,040 --> 00:28:43,760
Speaker 1: of rageful person that can't take that criticism and so

471
00:28:43,920 --> 00:28:47,080
Speaker 1: pulled her from the school and center to public schooling.

472
00:28:48,560 --> 00:28:52,000
Speaker 1: See I think like again, it's like knowing that framework

473
00:28:52,440 --> 00:28:55,880
Speaker 1: helps you understand Sandy a little bit better, because in

474
00:28:55,920 --> 00:28:59,040
Speaker 1: the in this movie, it seems like she is just

475
00:28:59,120 --> 00:29:01,560
Speaker 1: like that's just what she's like. She's like kind of

476
00:29:01,720 --> 00:29:05,440
Speaker 1: conservative and how she dresses and behaves, and then everyone's

477
00:29:05,480 --> 00:29:08,160
Speaker 1: like that sucks. You have to change but it's like

478
00:29:08,200 --> 00:29:11,280
Speaker 1: if there was a context, any context for like she

479
00:29:11,480 --> 00:29:14,520
Speaker 1: is behaving that way out of reaction to something else

480
00:29:15,680 --> 00:29:19,440
Speaker 1: and like wants to live in like a more sexually freeway.

481
00:29:19,560 --> 00:29:23,240
Speaker 1: That's that makes more sense, I don't think. But the

482
00:29:23,240 --> 00:29:26,040
Speaker 1: movie don't do that. The movie is for prude self,

483
00:29:26,120 --> 00:29:28,320
Speaker 1: is her true self, and it makes a no case

484
00:29:28,360 --> 00:29:32,360
Speaker 1: against that. Yeah, yeah, damn, that did I I did

485
00:29:32,400 --> 00:29:35,120
Speaker 1: not know that she had a scary I mean, that's

486
00:29:36,200 --> 00:29:39,200
Speaker 1: it's just mildly implied by the play, but it's definitely

487
00:29:39,280 --> 00:29:46,600
Speaker 1: more present rageful parents. Okay, So Sandy has kind of

488
00:29:46,640 --> 00:29:49,520
Speaker 1: like extended in olive branch to Rizzo, and then Rizzo

489
00:29:49,560 --> 00:29:51,960
Speaker 1: sings a song about how there are worse things that

490
00:29:52,120 --> 00:29:56,280
Speaker 1: she could do. Then it is time for thunder Road,

491
00:29:56,880 --> 00:30:01,239
Speaker 1: which is a race between the t birds and the

492
00:30:01,280 --> 00:30:04,560
Speaker 1: Scorpions and KNICKI was supposed to race against the head

493
00:30:04,600 --> 00:30:07,400
Speaker 1: Scorpion guy, but he gets bonked on the head, so

494
00:30:07,520 --> 00:30:15,320
Speaker 1: Danny has to race and classic jacket guy injury, so

495
00:30:15,400 --> 00:30:19,840
Speaker 1: Danny races against the scorpion instead, and Sandy is there

496
00:30:19,880 --> 00:30:23,920
Speaker 1: to watch. She sees Danny Wynn and then she gets

497
00:30:23,960 --> 00:30:29,240
Speaker 1: an idea, which is awful idea. Sandy gets a terrible,

498
00:30:29,280 --> 00:30:32,680
Speaker 1: awful ideas, a terrible idea. She runs off to execute

499
00:30:32,680 --> 00:30:38,000
Speaker 1: this idea, which is to change anything about herself. She's

500
00:30:38,000 --> 00:30:41,160
Speaker 1: there to help her, and she basically changes her entire

501
00:30:41,240 --> 00:30:44,400
Speaker 1: look and her entire personality, and she shows up at

502
00:30:44,440 --> 00:30:48,680
Speaker 1: the school carnival looking like a greas Or girl, all

503
00:30:48,760 --> 00:30:51,960
Speaker 1: decked out in black leather, and Danny is like, oh,

504
00:30:52,040 --> 00:30:55,600
Speaker 1: hubble hubba, and he takes off his letterman cardigan. I

505
00:30:55,600 --> 00:30:58,120
Speaker 1: feel like that because he's wearing like I didn't need

506
00:30:58,160 --> 00:31:01,240
Speaker 1: to change. I did forget that he showed up prepared

507
00:31:01,360 --> 00:31:04,640
Speaker 1: to change everything about himself. But then she shows up

508
00:31:04,920 --> 00:31:07,640
Speaker 1: already having changed everything about herself, and then he immediately

509
00:31:07,720 --> 00:31:12,040
Speaker 1: is like, fuck it, we're both Danny again. Forget about

510
00:31:12,080 --> 00:31:16,560
Speaker 1: that ship away, never a discussion. I was like, well, okay,

511
00:31:16,800 --> 00:31:19,800
Speaker 1: but but then it's like, but then they're only ever

512
00:31:19,960 --> 00:31:23,160
Speaker 1: like happy when they're themselves with each other. So I

513
00:31:23,160 --> 00:31:25,840
Speaker 1: don't like, how was that whole thing at the unnecessary?

514
00:31:25,880 --> 00:31:29,160
Speaker 1: He liked, He liked how she was exactly I don't.

515
00:31:29,440 --> 00:31:33,720
Speaker 1: It's yeah, there's a lot to talk about there. So

516
00:31:34,000 --> 00:31:37,200
Speaker 1: she shows up all completely different. Danny likes it. They

517
00:31:37,240 --> 00:31:39,960
Speaker 1: saying you're the one that I want to each other. Um,

518
00:31:40,280 --> 00:31:43,520
Speaker 1: and there's some other kind of date moll stuff like

519
00:31:45,040 --> 00:31:48,600
Speaker 1: pregnant those shouts from a ferris wheel. It turns out

520
00:31:48,640 --> 00:31:52,440
Speaker 1: him was a false a law. That was the most

521
00:31:52,560 --> 00:31:58,160
Speaker 1: abrupt resolution to what was like a pretty large plot points,

522
00:31:58,200 --> 00:32:02,800
Speaker 1: like Jess kidding Eddie is like, Whooo, I'm gonna make

523
00:32:02,800 --> 00:32:05,440
Speaker 1: an honest woman out of you? Does that? Wait? Does

524
00:32:05,480 --> 00:32:07,400
Speaker 1: that happen in the play? Did you get to yell

525
00:32:07,840 --> 00:32:10,920
Speaker 1: from a distance? Um? There's definitely no ferris wheel in

526
00:32:10,960 --> 00:32:14,720
Speaker 1: the play, And no, that ending is a little different, um,

527
00:32:14,760 --> 00:32:17,640
Speaker 1: And it sort of isn't brought up that much except

528
00:32:17,720 --> 00:32:21,000
Speaker 1: for after they've sung and it's the end. She's like, hey,

529
00:32:21,080 --> 00:32:23,080
Speaker 1: can we go to the pharmacy? I think I'm getting

530
00:32:23,120 --> 00:32:26,240
Speaker 1: my friend? And that's like the third to last or

531
00:32:26,280 --> 00:32:29,560
Speaker 1: fourth the last line of the whole play, Like her period.

532
00:32:30,440 --> 00:32:34,920
Speaker 1: She's getting her period? Okay, while all right, but she's

533
00:32:34,920 --> 00:32:38,840
Speaker 1: not she doesn't know she isn't pregnant. Oh, she just

534
00:32:38,880 --> 00:32:42,760
Speaker 1: thinks that she's going to get her friend. You can

535
00:32:42,920 --> 00:32:45,760
Speaker 1: sometimes you feel it coming on, you know, Oh yeah

536
00:32:45,920 --> 00:32:48,280
Speaker 1: for sure. But I don't know how you know that

537
00:32:48,320 --> 00:32:51,520
Speaker 1: if you've never known what pregnancy feels like. Hey, CONNICKI,

538
00:32:51,600 --> 00:32:53,840
Speaker 1: can we stop at the drug store. I think I'm

539
00:32:53,840 --> 00:32:56,440
Speaker 1: getting my friend. CONNICKI puts an arm around her, and

540
00:32:56,440 --> 00:32:59,760
Speaker 1: all the kids smile and cheer for Rizzo French. The

541
00:32:59,760 --> 00:33:07,840
Speaker 1: whole crowd together again. I could cry Jan Jimmie too, Sandy. Yeah, curtain.

542
00:33:08,120 --> 00:33:14,480
Speaker 1: Now that's plot resolution in the movie. The last thing

543
00:33:14,560 --> 00:33:18,520
Speaker 1: we see is Danny and Sandy flying into the sky

544
00:33:19,280 --> 00:33:24,640
Speaker 1: in Danny's convertible in the fantasy car. Because that's not

545
00:33:24,760 --> 00:33:27,720
Speaker 1: what the real grease lightning looks like. That's what it

546
00:33:27,720 --> 00:33:31,000
Speaker 1: looks like in the fantasy Yes, do they all die?

547
00:33:31,560 --> 00:33:35,040
Speaker 1: That's the best fan theory. Are we going to get

548
00:33:35,040 --> 00:33:38,040
Speaker 1: into the fan theory? Oh? We could well before we

549
00:33:38,120 --> 00:33:40,040
Speaker 1: do that. That's the end of the movie. So let's

550
00:33:40,040 --> 00:33:42,240
Speaker 1: take a quick break and then we will come right

551
00:33:42,240 --> 00:33:51,000
Speaker 1: back to discuss. So what do we want to talk about? First? Wait,

552
00:33:51,040 --> 00:33:52,800
Speaker 1: what is this fan theory? I would love to hear.

553
00:33:52,840 --> 00:33:55,480
Speaker 1: I would love to hear the fan theories just to

554
00:33:55,520 --> 00:33:59,480
Speaker 1: get things all heated up. Well, there's a really popular

555
00:33:59,480 --> 00:34:05,400
Speaker 1: fan theory. Okay, that's Sandy dies in the beginning sequence

556
00:34:06,360 --> 00:34:10,279
Speaker 1: and the whole thing is her coma dream until she

557
00:34:10,440 --> 00:34:14,399
Speaker 1: finally properly dies. At the end, and then that's why

558
00:34:14,440 --> 00:34:17,880
Speaker 1: there's the shot of the heavenly clouds, So that theory

559
00:34:17,960 --> 00:34:21,680
Speaker 1: being that when they get splashed in the footage, she

560
00:34:21,760 --> 00:34:26,719
Speaker 1: actually drowns instead of him just lying about because he sings,

561
00:34:27,360 --> 00:34:32,400
Speaker 1: she nearly drowned, And so that fan theory takes Zuko's

562
00:34:32,480 --> 00:34:35,280
Speaker 1: obvious lie about saving her life and says that's true

563
00:34:36,000 --> 00:34:37,799
Speaker 1: and the whole thing makes sense, and that's why they're

564
00:34:37,800 --> 00:34:40,279
Speaker 1: singing because she's either been dead the whole time or

565
00:34:40,480 --> 00:34:44,200
Speaker 1: in a coma, and then she dies at the end. God. Wait,

566
00:34:44,360 --> 00:34:48,360
Speaker 1: that's fan theories always like scramble my brain because I'm like,

567
00:34:48,360 --> 00:34:52,239
Speaker 1: there's no way. But then also it's like, why is

568
00:34:52,280 --> 00:34:54,520
Speaker 1: there a shot of them flying into the clouds? Then

569
00:34:55,560 --> 00:34:58,200
Speaker 1: I don't know. I did. I did, Like I remember, like,

570
00:34:58,320 --> 00:35:00,560
Speaker 1: especially when I was a kid, I did not question it.

571
00:35:00,600 --> 00:35:04,000
Speaker 1: I was like, Yeah, they're so happy, they're so happy

572
00:35:04,200 --> 00:35:06,640
Speaker 1: she changed everything about herself and now a car can fly,

573
00:35:07,200 --> 00:35:13,480
Speaker 1: Like that's the power of women changing for people. Uh well,

574
00:35:13,520 --> 00:35:17,520
Speaker 1: shall we shall we talk about that because that is

575
00:35:17,719 --> 00:35:20,319
Speaker 1: kind of one of the most glaring things, I mean,

576
00:35:20,360 --> 00:35:23,000
Speaker 1: one of many glaring things of this movie. And I

577
00:35:23,040 --> 00:35:26,040
Speaker 1: think it's like the most popular criticism of the movie

578
00:35:26,080 --> 00:35:30,320
Speaker 1: now too right, Yeah, because to me, so like a

579
00:35:30,480 --> 00:35:34,160
Speaker 1: main arc of this movie is like Danny kind of

580
00:35:34,239 --> 00:35:38,480
Speaker 1: being in this prison of his own toxic masculinity and

581
00:35:38,520 --> 00:35:41,680
Speaker 1: like needing to learn that it's okay to be emotionally

582
00:35:41,760 --> 00:35:44,680
Speaker 1: vulnerable and to like let his friends know that he

583
00:35:44,719 --> 00:35:49,000
Speaker 1: cares about a girl. Watching him reach these conclusions and

584
00:35:49,040 --> 00:35:53,400
Speaker 1: how he goes about doing that is like not handled

585
00:35:53,480 --> 00:35:56,600
Speaker 1: the best. But I was like, okay, like this movie

586
00:35:56,719 --> 00:35:59,919
Speaker 1: it does have more of a commentary on toxic masculinity

587
00:36:00,040 --> 00:36:03,920
Speaker 1: then I remembered. So I was like, okay, yeah, that

588
00:36:04,080 --> 00:36:08,160
Speaker 1: this is something. But then he comes to this realization,

589
00:36:08,680 --> 00:36:13,759
Speaker 1: but it doesn't really matter because Sandy has just completely

590
00:36:13,840 --> 00:36:20,400
Speaker 1: changed everything about herself for this guy, and he is like, okay, great,

591
00:36:20,680 --> 00:36:23,479
Speaker 1: thanks for doing that. We can be in love now.

592
00:36:24,200 --> 00:36:28,080
Speaker 1: It's really bizarre. I feel like watching through it these

593
00:36:28,160 --> 00:36:30,880
Speaker 1: like two times to get Ready, it was like I

594
00:36:31,480 --> 00:36:34,400
Speaker 1: think that, like the popular criticism is like a little

595
00:36:34,480 --> 00:36:38,560
Speaker 1: overly simplistic, because you're right that, like they it's just weird,

596
00:36:38,680 --> 00:36:41,000
Speaker 1: Like this movie starts saying a lot of things and

597
00:36:41,040 --> 00:36:43,319
Speaker 1: then kind of doesn't finish saying any of them, and

598
00:36:43,360 --> 00:36:45,160
Speaker 1: then at the end they like, actually the status quo

599
00:36:45,239 --> 00:36:48,120
Speaker 1: was fine, Like it's just bizarre because it's like there

600
00:36:48,120 --> 00:36:50,319
Speaker 1: were moments where you were like, oh, that seems like

601
00:36:50,360 --> 00:36:55,080
Speaker 1: an intentional like this like hyper masculine life that Danny's

602
00:36:55,120 --> 00:37:00,560
Speaker 1: living is like affecting him negatively and like he's he's

603
00:37:00,600 --> 00:37:03,680
Speaker 1: not his like most authentic self when he's like with

604
00:37:03,719 --> 00:37:06,520
Speaker 1: the t birds, and it's clear that the movie wants

605
00:37:06,520 --> 00:37:08,440
Speaker 1: you to think that way. But then like in the

606
00:37:08,480 --> 00:37:10,200
Speaker 1: back half of the movie, they're kind of like, but

607
00:37:10,320 --> 00:37:14,319
Speaker 1: fuck it, who cares? Like it's so weird. It's but

608
00:37:14,360 --> 00:37:16,919
Speaker 1: I feel like the conversation is started, but then it's

609
00:37:16,960 --> 00:37:20,879
Speaker 1: just like abandoned, and it was what is like okay

610
00:37:21,680 --> 00:37:25,640
Speaker 1: question for the group? What is the like what is

611
00:37:26,360 --> 00:37:28,440
Speaker 1: what are you supposed to think? At the end of

612
00:37:28,480 --> 00:37:33,320
Speaker 1: this movie, Like now I was like being like what

613
00:37:33,320 --> 00:37:37,320
Speaker 1: what was that movie about? You know, it's just everything

614
00:37:37,400 --> 00:37:41,160
Speaker 1: he does that we are like, oh, Danny, why did

615
00:37:41,160 --> 00:37:43,440
Speaker 1: you do that? Stop? That is like it is because

616
00:37:43,440 --> 00:37:47,800
Speaker 1: he's trying to maintain this persona, maintain this like macho

617
00:37:48,360 --> 00:37:52,680
Speaker 1: persona of toxic masculinity to like impress his his guy friends,

618
00:37:52,719 --> 00:37:56,600
Speaker 1: his tough greaser boys. And when he like very clearly

619
00:37:56,600 --> 00:37:59,000
Speaker 1: wants to be able to be emotionally vulnerable and too

620
00:37:59,080 --> 00:38:04,360
Speaker 1: like like him be on the beach exactly, although he

621
00:38:04,400 --> 00:38:06,279
Speaker 1: doesn't suck up stuff on the beach too. Or he's like,

622
00:38:06,680 --> 00:38:08,520
Speaker 1: I'm going to kiss you and she's like, no, Danny,

623
00:38:08,520 --> 00:38:15,400
Speaker 1: don't spoil it. Yeah, only making it better. Yeah, And

624
00:38:15,440 --> 00:38:18,720
Speaker 1: it's like he forces himself onto her in the first scene,

625
00:38:19,080 --> 00:38:22,759
Speaker 1: the first scene, in the driving scene, in many scenes. Um,

626
00:38:23,120 --> 00:38:25,959
Speaker 1: and there's a lot to talk about there as well.

627
00:38:26,000 --> 00:38:30,080
Speaker 1: But yeah, it's just the takeaway seems like true like

628
00:38:30,120 --> 00:38:33,840
Speaker 1: either it just is like the takeaway seems just like

629
00:38:33,880 --> 00:38:36,480
Speaker 1: and the status quote is fine the whole time, and

630
00:38:37,520 --> 00:38:40,880
Speaker 1: and it's and that's fine. It's just well yeah. So

631
00:38:41,560 --> 00:38:46,080
Speaker 1: one of the writers of the original production, Jim Jacobs,

632
00:38:46,120 --> 00:38:49,919
Speaker 1: and I'm pulling this from our favorite scholarly journal Wikipedia,

633
00:38:50,719 --> 00:38:54,880
Speaker 1: So and I wasn't able to find exactly where what

634
00:38:55,040 --> 00:38:57,560
Speaker 1: this original quote was or what the original source was,

635
00:38:57,640 --> 00:38:59,320
Speaker 1: so kind of take this with a grain of salt.

636
00:38:59,320 --> 00:39:02,320
Speaker 1: But according to Wikipedia, if you look at the Grease

637
00:39:02,840 --> 00:39:08,640
Speaker 1: Musical page, it says that Jacobs has described the stage

638
00:39:08,640 --> 00:39:13,759
Speaker 1: productions basic plot as a subversion of common troops of

639
00:39:13,800 --> 00:39:18,080
Speaker 1: like fifties movies where in fifties movies, like the female

640
00:39:18,239 --> 00:39:21,399
Speaker 1: lead would often kind of transform this alpha male into

641
00:39:21,400 --> 00:39:26,120
Speaker 1: a more sympathetic and sensitive character. So Jim Jacobs was

642
00:39:26,160 --> 00:39:30,759
Speaker 1: trying to subvert that and make it so that like

643
00:39:30,960 --> 00:39:37,520
Speaker 1: the story is not doing good and like he stays

644
00:39:37,600 --> 00:39:41,680
Speaker 1: unsympathetic and she has to change to conform to his

645
00:39:41,840 --> 00:39:46,160
Speaker 1: fantasies and to his desires. It's and it's like, why

646
00:39:46,160 --> 00:39:51,719
Speaker 1: would you why would you subvert that? Like, yeah, it's

647
00:39:51,800 --> 00:39:54,520
Speaker 1: it's kind of saying like the movie is saying slut

648
00:39:54,560 --> 00:39:59,080
Speaker 1: shamming is bad, you know what's good? Prude shaming? Right,

649
00:39:59,200 --> 00:40:02,160
Speaker 1: Like it's just in like okay, having the context of

650
00:40:02,320 --> 00:40:05,240
Speaker 1: that attempted inversion, I feel like it's it's kind of

651
00:40:05,480 --> 00:40:08,160
Speaker 1: follows the same logic of why a lot of these

652
00:40:08,200 --> 00:40:11,759
Speaker 1: like all female reboots don't work is like let's just

653
00:40:11,880 --> 00:40:15,759
Speaker 1: have let's just um gender swap this premise and then

654
00:40:15,800 --> 00:40:21,520
Speaker 1: not resolve any of the harmful aspects of the premise um,

655
00:40:22,040 --> 00:40:26,680
Speaker 1: which it doesn't. It doesn't work, like and I guess

656
00:40:26,760 --> 00:40:31,080
Speaker 1: it is like very second wave feminism to me to

657
00:40:31,080 --> 00:40:35,960
Speaker 1: to have that kind of like rooted in sexual freedom

658
00:40:36,080 --> 00:40:40,680
Speaker 1: and like not shaming women for having sex but then

659
00:40:40,760 --> 00:40:45,560
Speaker 1: also like outwardly shaming any woman who doesn't feel that way,

660
00:40:45,640 --> 00:40:48,759
Speaker 1: or like just assuming that, well, now every woman has

661
00:40:48,760 --> 00:40:51,040
Speaker 1: to be extremely horny and if you're not, like you're

662
00:40:51,080 --> 00:40:53,160
Speaker 1: stuck in the past, you better have sex right now

663
00:40:54,239 --> 00:40:58,239
Speaker 1: or John Travolta will force it. Like it's also worth

664
00:40:58,280 --> 00:41:02,720
Speaker 1: mentioning that Danny's you Go is an incredible slut shamer,

665
00:41:03,280 --> 00:41:06,719
Speaker 1: and he seems to devalue anyone that he's already slept with,

666
00:41:06,920 --> 00:41:10,359
Speaker 1: and we see that consistently. Yes, it's like we see

667
00:41:10,400 --> 00:41:12,520
Speaker 1: him at school for the first time and he says, oh,

668
00:41:12,560 --> 00:41:15,480
Speaker 1: same old broads everyone's made it with, Like he dismisses

669
00:41:15,480 --> 00:41:18,359
Speaker 1: them is unworthy because he's already slept with them. And

670
00:41:18,400 --> 00:41:20,960
Speaker 1: he does that with Rizzo, he does that with cha Chaw,

671
00:41:21,440 --> 00:41:23,759
Speaker 1: and it leaves me wondering what how he's going to

672
00:41:23,800 --> 00:41:27,279
Speaker 1: treat Sandy when he finally sleeps with her, right, And

673
00:41:27,320 --> 00:41:31,360
Speaker 1: it seems like part of my okay, So part of

674
00:41:31,400 --> 00:41:35,439
Speaker 1: how I was reading his like determination to win her

675
00:41:35,520 --> 00:41:38,440
Speaker 1: over was connected to, like, I think that there's just

676
00:41:38,480 --> 00:41:40,959
Speaker 1: like a lot of Madonna hore stuff going on here

677
00:41:41,400 --> 00:41:44,680
Speaker 1: where part of why he's pursuing Sandy. So aggressively is

678
00:41:44,719 --> 00:41:48,480
Speaker 1: because she will not have sex with him and like

679
00:41:48,800 --> 00:41:51,800
Speaker 1: that and just like kind of yeah, it's like valuing

680
00:41:51,840 --> 00:41:55,400
Speaker 1: her exactly and where like he see he perceives her

681
00:41:55,440 --> 00:41:57,840
Speaker 1: as this like oh if I can get this girl,

682
00:41:57,960 --> 00:42:00,680
Speaker 1: It's it's almost like the cruel intentions thing where Ryan

683
00:42:00,719 --> 00:42:05,880
Speaker 1: Phillippi is aggressively pursuing Reese Witherspoon because she's this like

684
00:42:06,120 --> 00:42:09,359
Speaker 1: ultra virgin type and that's why he's interested in her

685
00:42:09,440 --> 00:42:12,400
Speaker 1: because like she like she'll never give it up, but

686
00:42:12,440 --> 00:42:14,440
Speaker 1: if he can manage to do it, then he's like

687
00:42:14,520 --> 00:42:16,680
Speaker 1: the Gaul like the King of the World kind of thing.

688
00:42:16,719 --> 00:42:20,480
Speaker 1: Not to quote Titanic, of course, but a sleep Titanic

689
00:42:20,960 --> 00:42:23,840
Speaker 1: a perfect movie. This I feel like, I mean, we

690
00:42:23,880 --> 00:42:27,120
Speaker 1: have no choice but to assume that that's what Danny

691
00:42:27,200 --> 00:42:30,879
Speaker 1: sees in Sandy because so little there's like zero time

692
00:42:30,960 --> 00:42:34,759
Speaker 1: spent in the movie showing why they like each other

693
00:42:34,880 --> 00:42:38,719
Speaker 1: or what is compatible about them, So like that's just

694
00:42:38,760 --> 00:42:42,080
Speaker 1: what I assume that. That was another like point that

695
00:42:42,120 --> 00:42:44,640
Speaker 1: I felt like the movie started to make and then

696
00:42:44,680 --> 00:42:49,200
Speaker 1: completely abandoned, was that double standard, because the movie seems aware,

697
00:42:49,520 --> 00:42:53,040
Speaker 1: like very aware of the double standard of how sexually

698
00:42:53,080 --> 00:42:56,319
Speaker 1: active like teen boys and sexually active teen girls are

699
00:42:56,360 --> 00:43:03,600
Speaker 1: treated very differently, and that's mostly through iconic Grace character Rizzo,

700
00:43:03,640 --> 00:43:07,799
Speaker 1: where it's like Rizzo is like that the character where

701
00:43:07,800 --> 00:43:11,440
Speaker 1: you get that split most clearly demonstrated to you, where

702
00:43:11,840 --> 00:43:14,840
Speaker 1: you know, it's like she um thinks that she's pregnant

703
00:43:14,920 --> 00:43:17,440
Speaker 1: and like is just kind of left completely to her

704
00:43:17,440 --> 00:43:20,439
Speaker 1: own devices. She's shamed for it, she's cast out for it,

705
00:43:20,800 --> 00:43:22,960
Speaker 1: and the movie want you to think, like, that's not okay,

706
00:43:23,000 --> 00:43:26,480
Speaker 1: that's not right, but then it never never resolves in

707
00:43:26,520 --> 00:43:29,120
Speaker 1: any meaningful way. She they're like, oh, just kidding, and

708
00:43:29,160 --> 00:43:30,960
Speaker 1: we're not going to talk about the fact that you

709
00:43:31,000 --> 00:43:34,600
Speaker 1: were ready to the whole school, was you know, ready

710
00:43:34,680 --> 00:43:38,920
Speaker 1: to completely ostracize her if if it wasn't a false

711
00:43:38,960 --> 00:43:43,200
Speaker 1: alarm or like it's just bizarre. But there's another interesting

712
00:43:43,239 --> 00:43:47,600
Speaker 1: thing happening there too. She has unprotected sex with Kinnicky

713
00:43:48,560 --> 00:43:53,160
Speaker 1: he finds out about her pregnancy her Gregnancy scare sorry,

714
00:43:53,680 --> 00:44:02,680
Speaker 1: she's she's almost heavy with Greg, but he I think

715
00:44:02,960 --> 00:44:06,600
Speaker 1: un maybe not unlike Danny, but there's like, I think

716
00:44:06,640 --> 00:44:10,480
Speaker 1: an interesting comparison to be made between Danny and CONNICKI,

717
00:44:10,960 --> 00:44:13,600
Speaker 1: where Knick is like, hey, I heard you might be

718
00:44:13,840 --> 00:44:17,080
Speaker 1: knocked up. What can I do to help? And she's like,

719
00:44:17,280 --> 00:44:20,120
Speaker 1: it's not even your problem, right, I wasn't expecting that either.

720
00:44:20,440 --> 00:44:22,760
Speaker 1: She's like, it's not your problem. It was someone else's problem.

721
00:44:23,000 --> 00:44:26,399
Speaker 1: But she doesn't quite say that, like and she kind

722
00:44:26,400 --> 00:44:29,360
Speaker 1: of uses it. She says it was don't worry about it, CONNICKI,

723
00:44:29,480 --> 00:44:33,120
Speaker 1: it was somebody else's mistake, And I think that is

724
00:44:33,160 --> 00:44:35,520
Speaker 1: sort of like I think CONNICKI kind of takes it

725
00:44:35,600 --> 00:44:39,319
Speaker 1: as it's not his kid. But I think I think

726
00:44:39,320 --> 00:44:43,800
Speaker 1: that Stoker Channing subtext is it was my mistake. I

727
00:44:43,800 --> 00:44:47,400
Speaker 1: don't want your father. Yeah, because that line is different

728
00:44:47,400 --> 00:44:51,360
Speaker 1: than the play. Interesting. I never thought for a second

729
00:44:51,400 --> 00:44:54,160
Speaker 1: that she like had sex with someone else and she

730
00:44:54,239 --> 00:44:56,320
Speaker 1: thinks it might be like someone else might be the father.

731
00:44:56,520 --> 00:44:59,440
Speaker 1: It's it's clear to me that like he is the

732
00:44:59,480 --> 00:45:03,080
Speaker 1: father if she is pregnant, but she's more just like

733
00:45:03,880 --> 00:45:06,160
Speaker 1: lashing out sort of thing. But I found it interesting

734
00:45:06,239 --> 00:45:08,879
Speaker 1: that like he was like, I don't run away from

735
00:45:08,920 --> 00:45:11,839
Speaker 1: my mistakes, Like I'm going to be here from you,

736
00:45:11,840 --> 00:45:13,480
Speaker 1: you know, like we'll figure this out. But she kind

737
00:45:13,480 --> 00:45:16,719
Speaker 1: of dismisses him, so he you know, he runs off.

738
00:45:18,440 --> 00:45:22,080
Speaker 1: He's like He almost like skips away. He's like, oh right,

739
00:45:23,000 --> 00:45:28,120
Speaker 1: no responsibilities. Another interesting thing about that is that, um

740
00:45:28,320 --> 00:45:30,760
Speaker 1: so a lot of the like these tea Bird guys

741
00:45:30,800 --> 00:45:33,560
Speaker 1: are all about like, how can I exert my masculinity?

742
00:45:33,560 --> 00:45:36,320
Speaker 1: How can I demonstrate my masculinity? Oh, they're in prison.

743
00:45:37,239 --> 00:45:39,239
Speaker 1: In prison, They're like, but if they're like, oh, if

744
00:45:39,320 --> 00:45:42,280
Speaker 1: I've made it with a girl, if I've had sex before,

745
00:45:42,320 --> 00:45:44,040
Speaker 1: that just shows how awesome I am, which is like

746
00:45:44,040 --> 00:45:49,200
Speaker 1: a very like standard thing, right. But when we see

747
00:45:49,800 --> 00:45:52,520
Speaker 1: him and Rizzo kissing in the backseat of his car,

748
00:45:53,160 --> 00:45:55,719
Speaker 1: she's like, do you have you know, something for protection?

749
00:45:56,200 --> 00:45:59,040
Speaker 1: He pulls out a condom. It immediately breaks because he's like,

750
00:45:59,080 --> 00:46:01,879
Speaker 1: I bought this in this seventh grade, implying this he's

751
00:46:01,920 --> 00:46:05,719
Speaker 1: never had sex before. Yeah, so, I mean, I don't know.

752
00:46:05,719 --> 00:46:09,120
Speaker 1: There's just something fascinating to me about Kinnicki where he

753
00:46:09,320 --> 00:46:12,399
Speaker 1: is kind of like putting on this persona of like, yeah,

754
00:46:12,400 --> 00:46:15,520
Speaker 1: I'm a greaser boy, I'm a tiber blah blah blah.

755
00:46:15,600 --> 00:46:19,239
Speaker 1: But he also is like he seems less concerned than

756
00:46:19,320 --> 00:46:24,120
Speaker 1: Danny does about being emotionally attentive to like to the

757
00:46:24,120 --> 00:46:27,239
Speaker 1: girl he likes. Yeah, I mean the bar is on

758
00:46:27,280 --> 00:46:30,560
Speaker 1: the floor for these guys. But like KINNICKI is like,

759
00:46:30,600 --> 00:46:33,640
Speaker 1: I guess he's definitely not the worst one I got.

760
00:46:33,680 --> 00:46:37,080
Speaker 1: I I totally forgot the whole like implication that that

761
00:46:37,160 --> 00:46:39,160
Speaker 1: was his first time having sex too, and that's like

762
00:46:39,800 --> 00:46:43,480
Speaker 1: another like that's like starting something interesting of like, oh,

763
00:46:43,520 --> 00:46:47,040
Speaker 1: there's some double standards ap play here, but then it's

764
00:46:47,120 --> 00:46:52,880
Speaker 1: just like nothing happening. But I do. I mean, it's like,

765
00:46:52,880 --> 00:46:57,000
Speaker 1: I Rizzo was my favor as a kid because she's

766
00:46:57,040 --> 00:47:00,319
Speaker 1: cool and she smokes a cigarette, and that is what

767
00:47:00,480 --> 00:47:05,160
Speaker 1: being cool means, um in a movie. Even though I

768
00:47:05,160 --> 00:47:08,160
Speaker 1: remember my mom being because my mom smokes cigarettes like

769
00:47:08,200 --> 00:47:12,480
Speaker 1: a fiend. Umill she was. She was like, that's what

770
00:47:12,600 --> 00:47:15,480
Speaker 1: happened to me. I started smoking cigarettes as a teenager,

771
00:47:15,560 --> 00:47:18,360
Speaker 1: just like Rizzo, and look at me now, I'm a disaster,

772
00:47:18,600 --> 00:47:21,719
Speaker 1: you know. So she so she used Rizzo as an

773
00:47:21,719 --> 00:47:25,319
Speaker 1: anti smoking ad. She's like, oh, Rizzo thought she was

774
00:47:25,400 --> 00:47:29,920
Speaker 1: so cool, but she wasn't Jamie. Um. But I like,

775
00:47:30,080 --> 00:47:35,440
Speaker 1: I I really like how complex Rizzo is, even though

776
00:47:35,480 --> 00:47:38,560
Speaker 1: it feels like especially the movie doesn't take advantage of

777
00:47:39,200 --> 00:47:42,879
Speaker 1: how complex her character is because she often even when

778
00:47:42,920 --> 00:47:47,839
Speaker 1: people offer her help, she it seems like, I guess

779
00:47:47,840 --> 00:47:50,279
Speaker 1: I'm curious. Maybe I'm reading too much into it, but

780
00:47:50,320 --> 00:47:53,640
Speaker 1: it just seems like she has like a lot of

781
00:47:53,680 --> 00:47:59,000
Speaker 1: internalized shame and is like unable to accept help from

782
00:47:59,000 --> 00:48:01,759
Speaker 1: others even when it's well intended, and like she just

783
00:48:01,800 --> 00:48:03,719
Speaker 1: seems to have like a lot of I don't know, Yeah,

784
00:48:03,719 --> 00:48:05,279
Speaker 1: it seems like she holds a lot of shame and

785
00:48:05,320 --> 00:48:07,799
Speaker 1: that's why she pushes Sandy away and Sandy offers to

786
00:48:07,800 --> 00:48:11,439
Speaker 1: be her friend, That's why she pushes Knicky away, and

787
00:48:12,000 --> 00:48:13,600
Speaker 1: I don't know, I feel like it's kind of rare

788
00:48:13,840 --> 00:48:17,680
Speaker 1: in a teen musical to see a character with deep

789
00:48:17,760 --> 00:48:20,920
Speaker 1: internalized shame. I wish it like went somewhere, but I

790
00:48:21,080 --> 00:48:26,480
Speaker 1: just yeah, Rizzo's interesting. There's one of the only things

791
00:48:26,480 --> 00:48:29,440
Speaker 1: that we really know about Rizzo and Kinnicki's relationship is

792
00:48:29,480 --> 00:48:32,520
Speaker 1: that they're having a giant fight in front of their

793
00:48:32,520 --> 00:48:34,840
Speaker 1: friends that is upsetting enough to her so that she

794
00:48:34,880 --> 00:48:38,160
Speaker 1: throws a milkshake at him. You know nothing about that fight.

795
00:48:38,719 --> 00:48:42,239
Speaker 1: It never gets rid of. Daniel day Lewis like my cake,

796
00:48:43,680 --> 00:48:49,000
Speaker 1: you have um. Yeah, so we know that their relationship

797
00:48:49,080 --> 00:48:53,239
Speaker 1: isn't perfect before she gets pregnant, and then their problems

798
00:48:53,239 --> 00:48:57,000
Speaker 1: are solved by her not being pregnant. H right, and

799
00:48:57,040 --> 00:49:01,160
Speaker 1: it still doesn't I don't know like it. Sandy is

800
00:49:01,160 --> 00:49:03,799
Speaker 1: a saint first all being nice to Rizzo after how

801
00:49:04,080 --> 00:49:06,719
Speaker 1: cruel like Rizzo is so mean to her all the

802
00:49:06,800 --> 00:49:10,799
Speaker 1: time from the moment they meet. But it's it's like

803
00:49:10,960 --> 00:49:14,000
Speaker 1: I almost wanted more of like a moment of like

804
00:49:14,800 --> 00:49:17,560
Speaker 1: understanding or reconciliation with them. I guess they sort of

805
00:49:17,600 --> 00:49:19,719
Speaker 1: have it there in that scene where Rizzo is like, oh,

806
00:49:19,800 --> 00:49:24,000
Speaker 1: I will never accept help because of that's just who

807
00:49:24,040 --> 00:49:27,680
Speaker 1: I am. But thanks anyways, But I mean, it's like,

808
00:49:28,760 --> 00:49:30,960
Speaker 1: I can't. It's just like an interesting plot point to

809
00:49:31,040 --> 00:49:36,120
Speaker 1: have someone take out their frustrations on another teen girl,

810
00:49:36,760 --> 00:49:39,959
Speaker 1: um for something that they're insecure about in themselves, because

811
00:49:39,960 --> 00:49:43,560
Speaker 1: I feel like that happens in real life at times.

812
00:49:43,800 --> 00:49:46,719
Speaker 1: And it's like, but you have to say something about you.

813
00:49:47,120 --> 00:49:50,960
Speaker 1: I don't know. Yeah, there's sort of an absence of

814
00:49:51,160 --> 00:49:54,759
Speaker 1: commentary a lot of the time in a movie that

815
00:49:54,800 --> 00:49:59,040
Speaker 1: you would expect there to be more commentary. I guess

816
00:49:59,200 --> 00:50:01,439
Speaker 1: maybe not not know, maybe my hopes are too high.

817
00:50:01,520 --> 00:50:04,880
Speaker 1: I'm a Rizzo stand I'm just like Rizzo. People are

818
00:50:04,920 --> 00:50:07,919
Speaker 1: reaching out to you off take and take someone's hand.

819
00:50:09,320 --> 00:50:12,960
Speaker 1: But she isn't pregnant, so then her life is perfect. Perfect.

820
00:50:14,520 --> 00:50:16,439
Speaker 1: Let's take another quick break and then we'll come back

821
00:50:16,480 --> 00:50:25,919
Speaker 1: for more discussion, and we're back part well to kind

822
00:50:25,920 --> 00:50:28,799
Speaker 1: of just continue a little bit on the Rizzo conversation,

823
00:50:29,040 --> 00:50:34,160
Speaker 1: she she sort of almost uses Sandy. She's like trying

824
00:50:34,200 --> 00:50:37,640
Speaker 1: to get back at Danny I thing for for like

825
00:50:37,840 --> 00:50:40,399
Speaker 1: kind of leaving her high and dry sort of thing,

826
00:50:40,480 --> 00:50:44,799
Speaker 1: and she knows that like Danny's gonna react the way

827
00:50:44,840 --> 00:50:48,520
Speaker 1: he reacts at that like football game bonfire thing. I

828
00:50:48,680 --> 00:50:50,680
Speaker 1: just feel so bad for Sandy because she's like using

829
00:50:50,719 --> 00:50:52,759
Speaker 1: her as a as a pawn. And then there's also

830
00:50:52,800 --> 00:50:56,759
Speaker 1: this like component with that Patty Simcox like popular girl

831
00:50:56,840 --> 00:51:01,319
Speaker 1: cheerleader character where Rizzo's like, oh, I'm this is what

832
00:51:01,360 --> 00:51:03,160
Speaker 1: the other girls are like, and I'm not like the

833
00:51:03,200 --> 00:51:12,480
Speaker 1: other childs. And that plays in to what to me

834
00:51:12,600 --> 00:51:14,799
Speaker 1: is like this this movie is sort of like an

835
00:51:14,880 --> 00:51:22,239
Speaker 1: encapsulation of like white fifties like suburban Americana, where there

836
00:51:22,280 --> 00:51:25,680
Speaker 1: are these archetypes that we see of teenage boys and

837
00:51:25,719 --> 00:51:28,440
Speaker 1: teenage girls. Where we have of the boys, there's like

838
00:51:28,440 --> 00:51:31,840
Speaker 1: the greaser type, the jocks who we see and like Tom.

839
00:51:32,400 --> 00:51:34,799
Speaker 1: And then there's like the nerd type because there's this

840
00:51:34,840 --> 00:51:38,120
Speaker 1: Eugene character who like kind of comes and goes. And

841
00:51:38,160 --> 00:51:42,040
Speaker 1: then with the girls, we have, um, kind of the

842
00:51:42,040 --> 00:51:46,000
Speaker 1: greaser girls who don't have a hobby of their own.

843
00:51:46,120 --> 00:51:48,439
Speaker 1: They're not actually fixing up cars the way the boy

844
00:51:48,560 --> 00:51:50,920
Speaker 1: the greaser boys are, but they just like run with

845
00:51:50,960 --> 00:51:55,600
Speaker 1: that crowd like the pink ladies. Yeah, okay, I guess

846
00:51:55,600 --> 00:51:59,000
Speaker 1: they're not like greaser girls, but it's like the right,

847
00:51:59,160 --> 00:52:03,120
Speaker 1: but they run with that crowd their hair, so there

848
00:52:04,239 --> 00:52:06,160
Speaker 1: they seem to like I mean, it's like it's kind

849
00:52:06,200 --> 00:52:10,440
Speaker 1: of framed that they they they exist because their friends,

850
00:52:10,480 --> 00:52:14,400
Speaker 1: but also just kind of to date the tea birds.

851
00:52:14,440 --> 00:52:17,080
Speaker 1: Like that's just kind of what that's why they unionize.

852
00:52:17,080 --> 00:52:21,719
Speaker 1: I don't know, did they unionize. I Well, they do

853
00:52:21,800 --> 00:52:24,960
Speaker 1: wear their own merch, so that's true. That's true. They

854
00:52:25,000 --> 00:52:28,719
Speaker 1: at least have a tea public ye, and so do

855
00:52:28,800 --> 00:52:33,080
Speaker 1: the tea birds. Um. But yeah, that kind I was like, oh,

856
00:52:33,080 --> 00:52:36,000
Speaker 1: like they hang with the greaser boys who have this

857
00:52:36,440 --> 00:52:39,040
Speaker 1: hobby of like fixing up old cars, but what are

858
00:52:39,040 --> 00:52:42,719
Speaker 1: the girls, what's their hobby? Anyway, Then we've got like

859
00:52:42,719 --> 00:52:45,600
Speaker 1: the Patty simcocks, like cheerleader girl. And then we've got

860
00:52:45,800 --> 00:52:49,680
Speaker 1: like the goody two shoes type, which is sandy. So

861
00:52:49,719 --> 00:52:54,360
Speaker 1: there's all these archetypes which fit into this perception that

862
00:52:54,400 --> 00:52:57,799
Speaker 1: I think still exists today of like the fifties it

863
00:52:57,880 --> 00:53:03,240
Speaker 1: was this the good old days. You know, every toodle, skirts, milkshake, yeah, everyone,

864
00:53:03,719 --> 00:53:07,600
Speaker 1: you know, mary couples, didn't slept in different beds, no

865
00:53:07,680 --> 00:53:11,640
Speaker 1: one had sex, and everything was hunky dory. And like

866
00:53:11,840 --> 00:53:17,520
Speaker 1: Greece shows a different side of this like common misconception.

867
00:53:18,200 --> 00:53:20,200
Speaker 1: I think the movie sort of seeks in the in

868
00:53:20,239 --> 00:53:22,359
Speaker 1: the play like seeks to be like, hey, no, like

869
00:53:22,760 --> 00:53:25,799
Speaker 1: teens have always been this way, like you know, they

870
00:53:25,840 --> 00:53:29,680
Speaker 1: get into trouble, they have sex, their horny there, you know,

871
00:53:30,960 --> 00:53:33,760
Speaker 1: doing all stuff. But it's also like Greece is still

872
00:53:33,960 --> 00:53:39,440
Speaker 1: preserving this idea of like white fifties middle class Americana,

873
00:53:39,640 --> 00:53:44,400
Speaker 1: and it like does nothing to like challenge that status quo.

874
00:53:44,680 --> 00:53:48,960
Speaker 1: There's just like, yeah, like the fact that this is

875
00:53:49,719 --> 00:53:52,480
Speaker 1: like it comes out in seventy eight, it's about so

876
00:53:52,520 --> 00:53:56,279
Speaker 1: it's already a period piece, and it's like, I don't

877
00:53:56,280 --> 00:53:58,200
Speaker 1: know just even like writing wise, if you're going to

878
00:53:58,280 --> 00:54:01,160
Speaker 1: make a period piece, then you should probably try to

879
00:54:01,200 --> 00:54:04,759
Speaker 1: say something about the time that you're um and not

880
00:54:04,800 --> 00:54:09,160
Speaker 1: just be like and everything was way better twenty years ago.

881
00:54:09,360 --> 00:54:13,200
Speaker 1: Like there's just even though it's like the the idea

882
00:54:13,239 --> 00:54:16,160
Speaker 1: of the fifties is very clearly represented here, there's no

883
00:54:16,840 --> 00:54:19,719
Speaker 1: there's no commentary on it really like there's no there's

884
00:54:19,760 --> 00:54:23,040
Speaker 1: nothing being I don't know, like it just again it's

885
00:54:23,080 --> 00:54:26,200
Speaker 1: it's like, well, what, why does this movie take place

886
00:54:26,239 --> 00:54:28,399
Speaker 1: in the fifties, Why is it important that it does?

887
00:54:29,000 --> 00:54:33,160
Speaker 1: Is there anything about this culture that is like it's

888
00:54:33,200 --> 00:54:36,400
Speaker 1: just really bizarre? And then yeah, they're romanticizing of the

889
00:54:36,440 --> 00:54:39,960
Speaker 1: fifties in particular, I mean most romanticizing the past is

890
00:54:40,040 --> 00:54:44,560
Speaker 1: just like ten Miles Bad Road. But um, but like

891
00:54:44,640 --> 00:54:47,520
Speaker 1: the fifties in particular, it was like a like uniquely

892
00:54:47,600 --> 00:54:53,160
Speaker 1: oppressive time in the US for like anyone who wasn't

893
00:54:53,280 --> 00:54:59,160
Speaker 1: Danny Zuko basically like it's very like high schools were

894
00:54:59,200 --> 00:55:04,400
Speaker 1: mostly not even integrated, and women were like being encouraged

895
00:55:04,440 --> 00:55:06,640
Speaker 1: to stay at home and not have jobs, like it

896
00:55:06,719 --> 00:55:11,400
Speaker 1: was worse than ten years before in like Cartierra was

897
00:55:11,440 --> 00:55:15,680
Speaker 1: also it was like totally like restrictive time. But the

898
00:55:15,719 --> 00:55:19,080
Speaker 1: fat but the but the looks were good and so that,

899
00:55:19,200 --> 00:55:22,719
Speaker 1: and we all like milkshakes, so you know, there's a

900
00:55:22,719 --> 00:55:25,960
Speaker 1: little push and pull there. But it's like romanticizing the

901
00:55:25,960 --> 00:55:29,840
Speaker 1: fifties is always I don't know, I can't, I can't

902
00:55:29,880 --> 00:55:32,520
Speaker 1: get there. But also I guess you know, people seeing

903
00:55:32,560 --> 00:55:35,680
Speaker 1: this movie in may have been alive for it, um

904
00:55:35,880 --> 00:55:38,719
Speaker 1: and but they're like what, like what is the thing?

905
00:55:38,760 --> 00:55:42,319
Speaker 1: They're like, oh, remember when women couldn't have jobs and

906
00:55:42,480 --> 00:55:47,319
Speaker 1: schools were still segregated. I'm like that, huh why. So

907
00:55:47,960 --> 00:55:51,520
Speaker 1: apparently this play got written at a time at the

908
00:55:51,640 --> 00:55:56,239
Speaker 1: very beginning of there being this fifties fanaticism in the seventies,

909
00:55:56,360 --> 00:55:59,239
Speaker 1: And I don't know how the writers in particular felt

910
00:55:59,280 --> 00:56:02,560
Speaker 1: about it, but definitely the seventies became hugely pop, but

911
00:56:02,640 --> 00:56:05,640
Speaker 1: the fifties become hugely popular in the seventies, I think,

912
00:56:05,760 --> 00:56:08,520
Speaker 1: sort of as a reaction to how socially liberal the

913
00:56:08,560 --> 00:56:14,000
Speaker 1: seventies were becoming. And that's where the Also, the show

914
00:56:14,120 --> 00:56:18,560
Speaker 1: was written without music right after somebody with a good

915
00:56:18,600 --> 00:56:22,640
Speaker 1: sense read it was like this made needs something, maybe

916
00:56:22,640 --> 00:56:25,600
Speaker 1: needs a little more than this plot. I've definitely never

917
00:56:25,640 --> 00:56:29,759
Speaker 1: seen a non musical stage version of it. No, I

918
00:56:29,800 --> 00:56:31,880
Speaker 1: don't think it got very far before they put music

919
00:56:31,920 --> 00:56:35,160
Speaker 1: in it. That's that's so interesting. I had no idea. Well,

920
00:56:35,680 --> 00:56:39,239
Speaker 1: and I haven't read or seen I don't think any

921
00:56:39,520 --> 00:56:44,040
Speaker 1: stage versions of this, and the stage version that premiered

922
00:56:44,239 --> 00:56:48,200
Speaker 1: had music in it, but it was originally written without it,

923
00:56:48,440 --> 00:56:51,239
Speaker 1: So like the like before it was brought to Broadway,

924
00:56:51,360 --> 00:56:55,760
Speaker 1: got it? I have the I I've read, and Gracie,

925
00:56:55,760 --> 00:56:57,879
Speaker 1: you can speak to this better than I can't having

926
00:56:57,960 --> 00:57:00,880
Speaker 1: just reread it. But like I've read that, um, the

927
00:57:00,960 --> 00:57:06,120
Speaker 1: movie is like a pretty sanitized version of the play,

928
00:57:06,120 --> 00:57:10,040
Speaker 1: where the play does seem to attempt to touch on

929
00:57:10,600 --> 00:57:14,400
Speaker 1: more kind of social issues and like some class stuff

930
00:57:14,520 --> 00:57:17,240
Speaker 1: and like more about like teen sexuality, and maybe in

931
00:57:17,240 --> 00:57:20,720
Speaker 1: a more meaningful way. Maybe not. I'm not sure, but

932
00:57:20,800 --> 00:57:22,640
Speaker 1: I think one of the main criticisms of the movie

933
00:57:22,720 --> 00:57:25,000
Speaker 1: was that it was a kind of watered down version

934
00:57:25,840 --> 00:57:29,320
Speaker 1: in terms of it's like social commentary. Got it of

935
00:57:29,400 --> 00:57:33,160
Speaker 1: the of the stage production. They definitely in the movie

936
00:57:33,440 --> 00:57:37,000
Speaker 1: took away moments of Danny actually being nice to her

937
00:57:37,160 --> 00:57:41,720
Speaker 1: that exists in the play, And they also took away

938
00:57:41,720 --> 00:57:46,720
Speaker 1: Sandy sticking up for herself when when Rizzo sings, look

939
00:57:46,760 --> 00:57:50,360
Speaker 1: at me, I'm Sandra d and the diner, Sandy walks

940
00:57:50,400 --> 00:57:53,720
Speaker 1: in on it and literally attacks Rizzo, and the boys

941
00:57:53,760 --> 00:57:56,200
Speaker 1: have to pull the two apart, and then they try

942
00:57:56,240 --> 00:57:58,160
Speaker 1: to fight again and they have to be pulled apart again.

943
00:57:58,480 --> 00:58:01,800
Speaker 1: So Sandy is willing to beat somebody up about her emotions,

944
00:58:01,840 --> 00:58:05,360
Speaker 1: and that is very absent in the film. Yeah, all

945
00:58:05,400 --> 00:58:07,400
Speaker 1: stuff that would have been great. Yeah, it's like because

946
00:58:07,520 --> 00:58:09,840
Speaker 1: we we don't see him be very nice to her,

947
00:58:09,960 --> 00:58:13,520
Speaker 1: and it's like it's truly only like moments of a

948
00:58:13,600 --> 00:58:17,400
Speaker 1: couple of seconds and never when anyone is looking, which

949
00:58:17,480 --> 00:58:19,520
Speaker 1: is like, well, it's also never when anyone is looking

950
00:58:19,520 --> 00:58:21,720
Speaker 1: into play. He's only nice to her in private, but

951
00:58:21,760 --> 00:58:25,920
Speaker 1: he says more things that are nice, so like, oh

952
00:58:25,960 --> 00:58:28,800
Speaker 1: that I mean again, I have to keep reminding myself

953
00:58:28,840 --> 00:58:32,479
Speaker 1: that this, like this came out over forty years ago.

954
00:58:32,720 --> 00:58:36,080
Speaker 1: It is about a time period that's like sixty years ago,

955
00:58:36,600 --> 00:58:38,880
Speaker 1: you know there. But like, I'm just like, why did

956
00:58:38,960 --> 00:58:41,600
Speaker 1: they end up together? Why did Sandy just like put

957
00:58:41,680 --> 00:58:44,920
Speaker 1: up with this horrible He's mistreated her so much the

958
00:58:45,160 --> 00:58:47,919
Speaker 1: entire story And then she's like, well, I better change

959
00:58:47,960 --> 00:58:50,720
Speaker 1: everything about myself so that he'll like me and then

960
00:58:50,760 --> 00:58:53,960
Speaker 1: maybe he'll treat me better. But probably not he does

961
00:58:54,040 --> 00:58:58,240
Speaker 1: stop touching her. He does, he doesn't touch her without

962
00:58:58,360 --> 00:59:00,760
Speaker 1: her initiating it during or the one that I want

963
00:59:01,320 --> 00:59:04,280
Speaker 1: so was she had to change everything about herself so

964
00:59:04,320 --> 00:59:08,680
Speaker 1: that she that was what made him respect to consent

965
00:59:09,000 --> 00:59:11,880
Speaker 1: was her changing her entire personality. She had to dress

966
00:59:11,960 --> 00:59:16,040
Speaker 1: up like a literal dominatrix with tight leather pants in

967
00:59:16,160 --> 00:59:21,280
Speaker 1: order for him to listen when she's like, don't touch me. Yeah, yeah,

968
00:59:21,320 --> 00:59:26,520
Speaker 1: it's it's it's tough. It's tough there, and I get

969
00:59:26,520 --> 00:59:29,760
Speaker 1: and I get, like, I like their romance is very

970
00:59:29,760 --> 00:59:32,800
Speaker 1: simple and for like the kind of movie it is

971
00:59:32,880 --> 00:59:36,640
Speaker 1: like most I don't know, I don't even mind a

972
00:59:36,760 --> 00:59:40,000
Speaker 1: movie musical couple being like pretty simple and just being

973
00:59:40,000 --> 00:59:43,439
Speaker 1: told like they like each other, and like, I don't

974
00:59:43,440 --> 00:59:47,160
Speaker 1: really care that much about that. It's just the fact

975
00:59:47,200 --> 00:59:50,240
Speaker 1: that we only see him be not nice to her

976
00:59:50,400 --> 00:59:54,400
Speaker 1: and then her have to and any time she acts

977
00:59:54,480 --> 00:59:57,480
Speaker 1: in like quote unquote defiance towards him, anytime she just

978
00:59:57,520 --> 01:00:00,240
Speaker 1: does her own thing, or like goes in dates Tom

979
01:00:00,360 --> 01:00:02,840
Speaker 1: goes in immediately gets on the cheerleading squad at a

980
01:00:02,880 --> 01:00:07,360
Speaker 1: new school. What an amazing life. Um, even though she's

981
01:00:07,440 --> 01:00:12,439
Speaker 1: pretty bad, she sucks' but I was like, oh, wow,

982
01:00:12,520 --> 01:00:15,280
Speaker 1: she's really struggling to fit in. Just kidding, she's immediately

983
01:00:15,280 --> 01:00:20,000
Speaker 1: the most popular girl at school. Um. But yeah, just

984
01:00:20,240 --> 01:00:23,680
Speaker 1: the fact that we never see him treat her, well,

985
01:00:23,720 --> 01:00:26,240
Speaker 1: I don't know, this movie is so weird, but I

986
01:00:26,280 --> 01:00:29,880
Speaker 1: like all the music so much. Um, but it doesn't it.

987
01:00:29,920 --> 01:00:31,720
Speaker 1: I feel like it is. Even if even though it's

988
01:00:31,720 --> 01:00:35,360
Speaker 1: a very simple relationship and we're just told they like

989
01:00:35,480 --> 01:00:38,240
Speaker 1: each other how they were at the beginning of the movie,

990
01:00:38,520 --> 01:00:40,440
Speaker 1: if we're taking that at face value, that the way

991
01:00:40,480 --> 01:00:42,600
Speaker 1: the movie plays out is still kind of makes no

992
01:00:42,640 --> 01:00:44,400
Speaker 1: sense because he like he liked her when she was

993
01:00:44,480 --> 01:00:49,560
Speaker 1: like a very passive sweetheart at the beginning of the movie.

994
01:00:49,800 --> 01:00:52,840
Speaker 1: But then she's like, now I'm a dominatrix, and he's like, actually,

995
01:00:53,520 --> 01:00:55,680
Speaker 1: I like this because I don't think you like her.

996
01:00:56,240 --> 01:00:58,520
Speaker 1: Right Well, it's like it's like, now that my friends

997
01:00:58,520 --> 01:01:02,440
Speaker 1: are around and we're wearing the same outfit, now they

998
01:01:02,440 --> 01:01:07,040
Speaker 1: can respect that I like you, Sandy. So it's fine

999
01:01:07,080 --> 01:01:08,720
Speaker 1: if I show that I like I Just like, I

1000
01:01:08,800 --> 01:01:12,560
Speaker 1: don't follow the logic at all. Yeah, right, when you're

1001
01:01:12,680 --> 01:01:16,040
Speaker 1: about to not be in that social situation too, Right,

1002
01:01:17,440 --> 01:01:21,439
Speaker 1: right when it doesn't matter, and but no, they're they're

1003
01:01:21,480 --> 01:01:23,600
Speaker 1: like double down. At the end, they're like, we're never

1004
01:01:23,920 --> 01:01:28,760
Speaker 1: gonna leave our hometowns ever, we're always gonna, We're gonna,

1005
01:01:28,880 --> 01:01:31,720
Speaker 1: which is like fine, but also just a very aggressive

1006
01:01:31,840 --> 01:01:36,480
Speaker 1: ending message to the movie. I think, okay, isolating the

1007
01:01:36,560 --> 01:01:39,440
Speaker 1: music and taking it away because to me, they're like

1008
01:01:39,520 --> 01:01:41,480
Speaker 1: the song and dance numbers. And this is coming from

1009
01:01:41,480 --> 01:01:44,920
Speaker 1: someone who doesn't like musicals generally, those are the best

1010
01:01:44,960 --> 01:01:47,360
Speaker 1: parts of this movie. If you take those away and

1011
01:01:47,400 --> 01:01:50,080
Speaker 1: just like examine beat for beat the plot and like

1012
01:01:50,200 --> 01:01:52,760
Speaker 1: the different like character arcs and stuff like that, this

1013
01:01:52,800 --> 01:01:57,160
Speaker 1: movie makes no fucking sense, Like and it's it's like

1014
01:01:57,360 --> 01:02:00,320
Speaker 1: it's a it's a badly written story. Just like there's

1015
01:02:00,360 --> 01:02:05,640
Speaker 1: no lesson that anyone really learns. There's no growth demonstrated,

1016
01:02:06,200 --> 01:02:08,520
Speaker 1: which is so weird because there's so many characters who

1017
01:02:08,560 --> 01:02:12,120
Speaker 1: are like edging on learning a lesson and then they

1018
01:02:12,160 --> 01:02:15,400
Speaker 1: just don't. Yeah, like you said, like it seems like

1019
01:02:15,440 --> 01:02:18,720
Speaker 1: things are being set up for again, Like yeah, the

1020
01:02:18,720 --> 01:02:22,200
Speaker 1: setup of like Danny Zuko being a prisoner of his

1021
01:02:22,280 --> 01:02:25,600
Speaker 1: own toxic masculinity and like it seems like he's going

1022
01:02:25,640 --> 01:02:27,480
Speaker 1: to have to learn how to break out of that

1023
01:02:27,600 --> 01:02:32,160
Speaker 1: and like grow past that, and then it just doesn't happen,

1024
01:02:32,280 --> 01:02:36,000
Speaker 1: and he just keeps like forcing himself on Sandy and

1025
01:02:36,040 --> 01:02:39,480
Speaker 1: mistreating her throughout the entire story and then complaining when

1026
01:02:39,520 --> 01:02:42,520
Speaker 1: she doesn't respond if you like, stop embarrassing me, like

1027
01:02:44,800 --> 01:02:48,640
Speaker 1: or French, she is going to choose her own life path.

1028
01:02:49,680 --> 01:02:52,800
Speaker 1: But then an angel comes and is mean to her.

1029
01:02:52,920 --> 01:02:55,640
Speaker 1: So then she goes and graduated high school, which it

1030
01:02:55,760 --> 01:02:58,240
Speaker 1: seems almost like the theme is going to be anybody

1031
01:02:58,280 --> 01:03:01,120
Speaker 1: can pass high school because that's on the announcements at

1032
01:03:01,120 --> 01:03:04,320
Speaker 1: a crucial time, and it's like kind of reinstated, like

1033
01:03:04,680 --> 01:03:08,280
Speaker 1: stay in class, you can pass. And then that doesn't

1034
01:03:08,320 --> 01:03:11,800
Speaker 1: really seem to end up being meaningful. I feel like

1035
01:03:12,200 --> 01:03:16,080
Speaker 1: I felt for Frenchie has such an incomplete story, But

1036
01:03:16,200 --> 01:03:19,960
Speaker 1: I like Frenchie. I like that she's like trying to

1037
01:03:20,240 --> 01:03:22,400
Speaker 1: do her own things, trying to figure herself out, and

1038
01:03:22,480 --> 01:03:27,720
Speaker 1: then she fails once and Frankie Avalon so mean to her.

1039
01:03:29,120 --> 01:03:33,680
Speaker 1: He's just so great outfit, though no customer would go

1040
01:03:33,760 --> 01:03:37,040
Speaker 1: to you unless she was a hooker. Like just again,

1041
01:03:37,080 --> 01:03:40,600
Speaker 1: I was just like a yikes, that line, that line

1042
01:03:41,080 --> 01:03:44,160
Speaker 1: a disaster. And then on top first of all, um

1043
01:03:44,160 --> 01:03:45,760
Speaker 1: I know it wasn't of the time, but I thought

1044
01:03:45,760 --> 01:03:49,200
Speaker 1: frenchice hair was cute. But the pink, the pink. I

1045
01:03:49,240 --> 01:03:51,360
Speaker 1: was like, Okay, you just have to move to two

1046
01:03:51,920 --> 01:03:53,880
Speaker 1: one and you're going to be the most popular girl.

1047
01:03:54,280 --> 01:03:56,480
Speaker 1: You're gonna be the most popular thirty year old in school.

1048
01:03:58,960 --> 01:04:01,920
Speaker 1: But even in that song, I feel like it's implied

1049
01:04:03,080 --> 01:04:05,800
Speaker 1: in one of the lyrics that she should go back

1050
01:04:05,840 --> 01:04:08,440
Speaker 1: to graduate high school and then not get a job

1051
01:04:08,480 --> 01:04:11,280
Speaker 1: and kind of be a housewife, where he basically says like,

1052
01:04:11,320 --> 01:04:13,840
Speaker 1: you're not cut out for a job, so go finish.

1053
01:04:14,320 --> 01:04:17,120
Speaker 1: First says, go finish high school and you can join

1054
01:04:17,200 --> 01:04:19,600
Speaker 1: the steno pool. He's like, you can't be a hairdresser,

1055
01:04:19,600 --> 01:04:22,360
Speaker 1: but you could be a stenographer. But then later he

1056
01:04:22,400 --> 01:04:25,240
Speaker 1: implies that she couldn't hold a job and she's just

1057
01:04:25,280 --> 01:04:28,200
Speaker 1: not cut out for it. It's so sad every time

1058
01:04:28,240 --> 01:04:30,520
Speaker 1: that scene it the way that that song is set up,

1059
01:04:30,600 --> 01:04:33,360
Speaker 1: at least in the movie, I you always think that

1060
01:04:33,400 --> 01:04:36,200
Speaker 1: the older waitress is going to be singing to Frenchie

1061
01:04:36,200 --> 01:04:38,240
Speaker 1: and that she's going to end up being the fairy godmother.

1062
01:04:39,600 --> 01:04:41,960
Speaker 1: If I ever staged with this show, I'm stealing that idea.

1063
01:04:42,040 --> 01:04:46,440
Speaker 1: That's so good, I always like, because it's always she

1064
01:04:46,520 --> 01:04:48,080
Speaker 1: was like, well, I don't know. I was like, Oh,

1065
01:04:48,120 --> 01:04:50,440
Speaker 1: she's about to turn around and it's going to be

1066
01:04:50,520 --> 01:04:54,240
Speaker 1: sequence and she's gonna tell Frenchie how she's made it

1067
01:04:54,760 --> 01:04:56,880
Speaker 1: in her life. And then but then it's just like,

1068
01:04:56,920 --> 01:04:59,600
Speaker 1: oh no, here's here's a character we've never met and

1069
01:04:59,680 --> 01:05:02,240
Speaker 1: we never see again, telling her she could never hold

1070
01:05:02,240 --> 01:05:07,000
Speaker 1: a job, like you know, poor French. There's also I mean,

1071
01:05:07,280 --> 01:05:09,439
Speaker 1: we touched on this, but the one of the other

1072
01:05:09,840 --> 01:05:14,880
Speaker 1: pink ladies, Marty, we touched on how an adult man

1073
01:05:15,200 --> 01:05:18,200
Speaker 1: praise on her and apparently tries to roofy her, and

1074
01:05:18,240 --> 01:05:21,360
Speaker 1: that just gets completely blown past and played off as

1075
01:05:21,360 --> 01:05:25,360
Speaker 1: a joke. In the play, he is scripted as going

1076
01:05:25,400 --> 01:05:28,400
Speaker 1: around the dance feeling people up. That is a part

1077
01:05:28,440 --> 01:05:30,560
Speaker 1: of the stage directions in the place that he's like

1078
01:05:31,040 --> 01:05:33,760
Speaker 1: watching people dance, and then he is occasionally like copying

1079
01:05:33,760 --> 01:05:41,040
Speaker 1: a field horrifying. It's funny. Sexual violence from old people's

1080
01:05:41,040 --> 01:05:47,200
Speaker 1: funny lious. It's because it's like in or they like

1081
01:05:47,240 --> 01:05:49,200
Speaker 1: it was a simpler time. I'm like, I'm pretty sure

1082
01:05:49,200 --> 01:05:52,360
Speaker 1: people were also doing that in ninety eight, so maybe

1083
01:05:52,400 --> 01:05:57,600
Speaker 1: it was just at his hands. Slithered down and rubbed

1084
01:05:57,720 --> 01:06:01,760
Speaker 1: one of the girls across the ass or nonchalantly trying

1085
01:06:01,800 --> 01:06:06,880
Speaker 1: to quote cop of Field is in the stage direction. Uh.

1086
01:06:07,960 --> 01:06:12,000
Speaker 1: Interesting note on Marty. In the play, she is explicitly

1087
01:06:12,280 --> 01:06:15,320
Speaker 1: engaged to the marine, and then she has a song

1088
01:06:15,400 --> 01:06:19,160
Speaker 1: about it, and then they've changed it in the movie

1089
01:06:19,240 --> 01:06:22,000
Speaker 1: so that she's in penpal relationships with lots and lots

1090
01:06:22,000 --> 01:06:23,760
Speaker 1: of men, which is more of a comedic beat and

1091
01:06:23,800 --> 01:06:27,240
Speaker 1: not a song beat, and has also been used. I

1092
01:06:27,280 --> 01:06:31,080
Speaker 1: read and watched a few arguments as to why this

1093
01:06:31,160 --> 01:06:34,200
Speaker 1: is a highly feminist film, and one of the points

1094
01:06:34,200 --> 01:06:36,880
Speaker 1: that has made is that these women don't seem interested

1095
01:06:37,000 --> 01:06:41,200
Speaker 1: in domesticity or having babies, are getting married, which is

1096
01:06:41,240 --> 01:06:44,200
Speaker 1: less true in the play because Marty is engaged and

1097
01:06:44,400 --> 01:06:46,880
Speaker 1: I guess she seems like a little bit more like

1098
01:06:46,960 --> 01:06:49,880
Speaker 1: she's living in an exciting like because she has multiple

1099
01:06:49,960 --> 01:06:54,200
Speaker 1: men in her life that are across the sea, but

1100
01:06:54,520 --> 01:06:57,440
Speaker 1: it doesn't seem like they have career interests either, So

1101
01:06:57,520 --> 01:06:59,720
Speaker 1: I don't really think that that argument has a like

1102
01:06:59,840 --> 01:07:02,280
Speaker 1: to and on. I think it makes sense to me

1103
01:07:02,360 --> 01:07:06,040
Speaker 1: in like the framework of like what second wave feminism

1104
01:07:06,360 --> 01:07:10,880
Speaker 1: seemed to mostly be, where it's like still very like it.

1105
01:07:11,600 --> 01:07:13,840
Speaker 1: I feel like second way feminism in particular kind of

1106
01:07:13,880 --> 01:07:19,400
Speaker 1: really enables a lot of like rape culture because because

1107
01:07:19,440 --> 01:07:24,080
Speaker 1: it's like it rejects domesticity, it encourages women to, you know,

1108
01:07:24,160 --> 01:07:27,240
Speaker 1: at least on paper, um like have sex with whoever

1109
01:07:27,280 --> 01:07:29,320
Speaker 1: they want and like get a job if you want,

1110
01:07:29,400 --> 01:07:32,480
Speaker 1: like have more freedom. But in a way that almost

1111
01:07:32,680 --> 01:07:38,360
Speaker 1: like endorses all this gross behavior from men and framing

1112
01:07:38,360 --> 01:07:40,720
Speaker 1: it as like no women are allowed to enjoy it.

1113
01:07:40,760 --> 01:07:43,080
Speaker 1: You don't have to pretend that you don't like it

1114
01:07:43,120 --> 01:07:46,560
Speaker 1: because you're approved, And it's like almost I don't know,

1115
01:07:46,640 --> 01:07:50,240
Speaker 1: it's I'm telling you I don't like it, Yeah, exact exactly.

1116
01:07:50,280 --> 01:07:52,760
Speaker 1: I'm like, but what if? But what if? What if

1117
01:07:52,800 --> 01:07:58,040
Speaker 1: you meant it? Like there's also like a during that

1118
01:07:58,440 --> 01:08:02,480
Speaker 1: beat when she's like, oh, like I'm dating a Marine

1119
01:08:02,560 --> 01:08:04,840
Speaker 1: and a whole bunch of other guys too. She puts

1120
01:08:04,880 --> 01:08:07,640
Speaker 1: on this robe and she's like, yeah, Bobby got it

1121
01:08:07,720 --> 01:08:10,040
Speaker 1: from me and Korea, and then I forget which one

1122
01:08:10,080 --> 01:08:12,600
Speaker 1: it is. But someone's like, you're not dating a Korean,

1123
01:08:12,760 --> 01:08:15,360
Speaker 1: are you? And she's like, no, he's in Marines, So

1124
01:08:15,360 --> 01:08:18,320
Speaker 1: it's like, of course I'm not dating a Korean. You stupid,

1125
01:08:19,560 --> 01:08:23,639
Speaker 1: Like Okay, so there's there's like, yeah, there's that racist joke.

1126
01:08:23,760 --> 01:08:29,040
Speaker 1: There was like the like little homophobic moment at the

1127
01:08:29,160 --> 01:08:35,760
Speaker 1: dance I'll look inna you Eugene. Yeah whatever, Yeah, and

1128
01:08:35,800 --> 01:08:38,759
Speaker 1: then there's just like a ton of I mean, and again,

1129
01:08:38,800 --> 01:08:42,200
Speaker 1: this is like the most basic criticism of Greece. I

1130
01:08:42,200 --> 01:08:44,120
Speaker 1: don't even want to harp on it, but like, the

1131
01:08:44,200 --> 01:08:49,479
Speaker 1: amount of like rape culture in this movie is so wild.

1132
01:08:49,680 --> 01:08:52,720
Speaker 1: It's like that's that's all of the T Birds just

1133
01:08:52,880 --> 01:08:56,000
Speaker 1: just like their character. It's barely worth mentioning. But like

1134
01:08:56,320 --> 01:08:58,320
Speaker 1: the I mean, what is worth mentioning? But it's like

1135
01:08:58,360 --> 01:09:01,080
Speaker 1: this has been already mentioned and a million times by

1136
01:09:01,080 --> 01:09:03,720
Speaker 1: a million people. But like the lyric, dude she put

1137
01:09:03,880 --> 01:09:07,000
Speaker 1: up a fight and it's like yeah, that's like God,

1138
01:09:07,160 --> 01:09:10,400
Speaker 1: the debate, I mean, it's like at this point it's like, yeah,

1139
01:09:10,439 --> 01:09:13,040
Speaker 1: that's rave culture. I don't know why it's an argument this.

1140
01:09:13,880 --> 01:09:17,360
Speaker 1: I'm there are certain like arguments that people are never

1141
01:09:17,400 --> 01:09:19,479
Speaker 1: sick of having that it's like can we just can

1142
01:09:19,560 --> 01:09:22,840
Speaker 1: we just put it to rest? It's obviously a very

1143
01:09:22,920 --> 01:09:29,080
Speaker 1: rape line, and um, I don't like, what's the argument, right? Well,

1144
01:09:29,479 --> 01:09:31,400
Speaker 1: but yeah, all the T Birds, I mean that all

1145
01:09:31,439 --> 01:09:34,080
Speaker 1: the tea birds are are in a prison that they

1146
01:09:34,080 --> 01:09:39,439
Speaker 1: have constructed them. Well, like again, there's a moment that

1147
01:09:39,479 --> 01:09:41,840
Speaker 1: I'm like, oh this this could be fun or there

1148
01:09:41,920 --> 01:09:44,000
Speaker 1: could there could have been more commentary on this where

1149
01:09:44,400 --> 01:09:48,880
Speaker 1: Knnicki is trying to ask Danny Zuko if he'll be

1150
01:09:48,960 --> 01:09:51,840
Speaker 1: his like driving buddy. So I don't even know what

1151
01:09:51,960 --> 01:09:53,840
Speaker 1: He's like, you will you be my shuck in in

1152
01:09:53,920 --> 01:09:58,679
Speaker 1: command for thunder borderline like a romantic moment only sort

1153
01:09:58,680 --> 01:10:01,320
Speaker 1: of makes sense. What's happening. I don't know what he's

1154
01:10:01,320 --> 01:10:03,000
Speaker 1: asking it, but he's basically just like will you be

1155
01:10:03,040 --> 01:10:05,400
Speaker 1: there for me? Bro? And will you be my second?

1156
01:10:05,920 --> 01:10:07,680
Speaker 1: At Thunder Road? It's like do you want me to

1157
01:10:07,720 --> 01:10:09,839
Speaker 1: be in the passenger seat? Like what are you asking? Anyway?

1158
01:10:09,920 --> 01:10:12,080
Speaker 1: And so he didn't you also didn't understand that because

1159
01:10:12,080 --> 01:10:15,679
Speaker 1: I was like because Danny zo like react, so he's

1160
01:10:15,760 --> 01:10:18,799
Speaker 1: so thrilled. I'm like, what the what? What's the question?

1161
01:10:19,640 --> 01:10:21,920
Speaker 1: Does that mean you'll fill in for me in case

1162
01:10:21,960 --> 01:10:23,960
Speaker 1: I get my head bombed by a car door and

1163
01:10:23,960 --> 01:10:26,479
Speaker 1: I'm unwilling to raise? Is that what he's preparing for?

1164
01:10:26,760 --> 01:10:32,160
Speaker 1: I guess like can you be my study? So weird

1165
01:10:33,560 --> 01:10:35,320
Speaker 1: because like Danny doesn't even know what he's asking it

1166
01:10:35,400 --> 01:10:38,120
Speaker 1: first either, but then he's like, oh yeah, and then

1167
01:10:38,160 --> 01:10:41,040
Speaker 1: they like so once you realize and get embarrassed, yeah,

1168
01:10:41,040 --> 01:10:43,799
Speaker 1: they hug and then there's like this nice, tender moment

1169
01:10:43,920 --> 01:10:46,600
Speaker 1: of like platonic male friendship. And then they realize what

1170
01:10:46,640 --> 01:10:48,840
Speaker 1: they're doing and that they're like you know, grease or

1171
01:10:48,880 --> 01:10:51,559
Speaker 1: guy friends are also right there watching, So then they

1172
01:10:51,600 --> 01:10:55,400
Speaker 1: pull apart. They start like you know, coming back, slicking

1173
01:10:55,439 --> 01:10:57,880
Speaker 1: back their hair and like resuming their like you know,

1174
01:10:57,960 --> 01:11:02,200
Speaker 1: macho persona, and like, can't we talk more about that?

1175
01:11:02,280 --> 01:11:05,800
Speaker 1: Like why can't the movie explore that more? And then

1176
01:11:05,920 --> 01:11:09,360
Speaker 1: but it's just like this fleeting moment they really cannot explore.

1177
01:11:09,920 --> 01:11:13,400
Speaker 1: They cannot male friendship. I wanted to go back to

1178
01:11:13,520 --> 01:11:17,880
Speaker 1: the Pink Ladies to Jan because there's a there's a

1179
01:11:17,920 --> 01:11:21,200
Speaker 1: strange thing happening there, and I didn't even realize what

1180
01:11:21,280 --> 01:11:24,040
Speaker 1: was happening until like halfway through the movie. So basically

1181
01:11:24,160 --> 01:11:27,879
Speaker 1: there's a scene at the diner where she starts talking

1182
01:11:27,920 --> 01:11:29,960
Speaker 1: to one of the t birds and I truly have

1183
01:11:30,040 --> 01:11:33,120
Speaker 1: no idea which one it is. Putsy the blonde guy

1184
01:11:33,240 --> 01:11:36,040
Speaker 1: right whose character is Roger, and the play and Roger

1185
01:11:36,120 --> 01:11:38,200
Speaker 1: is also supposed to be fat, so there's supposed to

1186
01:11:38,240 --> 01:11:40,240
Speaker 1: be two fat characters, and then the movie there's one

1187
01:11:40,280 --> 01:11:42,639
Speaker 1: fat character and no fat acts and actually no fact

1188
01:11:43,400 --> 01:11:48,759
Speaker 1: that was so confusing. Okay, so what basically what happens

1189
01:11:48,760 --> 01:11:52,479
Speaker 1: here is that jan is talking to Petsy and they

1190
01:11:52,560 --> 01:11:56,120
Speaker 1: start kind of like flirting and connecting, and Putsy is like,

1191
01:11:56,320 --> 01:11:59,080
Speaker 1: I've always seen you as more than just fat, and

1192
01:11:59,120 --> 01:12:02,360
Speaker 1: she's like, oh things, and You're just like what what

1193
01:12:02,439 --> 01:12:05,840
Speaker 1: did what what are you talking about? Because Jan, that

1194
01:12:06,479 --> 01:12:08,880
Speaker 1: is not fat, not fat, the actor is not fat.

1195
01:12:09,200 --> 01:12:11,200
Speaker 1: But then when I went back and rewatched the movie,

1196
01:12:11,240 --> 01:12:14,000
Speaker 1: I realized that she is apparently supposed to be coded

1197
01:12:14,200 --> 01:12:18,000
Speaker 1: as fat because she is wearing baggy clothes and she's

1198
01:12:18,040 --> 01:12:21,400
Speaker 1: always eating. Yeah, which if I didn't notice that on

1199
01:12:21,479 --> 01:12:24,360
Speaker 1: the first watch, and then I had to rewind when

1200
01:12:24,400 --> 01:12:26,559
Speaker 1: it hit that point, I was like, what was this

1201
01:12:26,640 --> 01:12:30,280
Speaker 1: signal to us in anyway? But it is. It is

1202
01:12:30,320 --> 01:12:31,960
Speaker 1: in the way that they like, like, you're like in

1203
01:12:32,000 --> 01:12:37,080
Speaker 1: the way that she is eating sometimes, because right, because like,

1204
01:12:37,280 --> 01:12:40,479
Speaker 1: if you're fat, you're always eating. That's what the movie,

1205
01:12:40,560 --> 01:12:43,000
Speaker 1: which is like the laziest plot point in the book.

1206
01:12:43,200 --> 01:12:44,960
Speaker 1: Also the fact that in the play, they were that

1207
01:12:45,479 --> 01:12:48,639
Speaker 1: whole implication that like fat people can only date other

1208
01:12:48,760 --> 01:12:54,519
Speaker 1: fat people, Like that's another exhausting like yeah, there's three

1209
01:12:54,960 --> 01:12:58,920
Speaker 1: times more jokes, so oh no, yeah, it's it's pretty bad.

1210
01:12:59,439 --> 01:13:02,400
Speaker 1: I guess I'm bad that those aren't included like in

1211
01:13:02,439 --> 01:13:06,240
Speaker 1: the movie. It was just very jarring, especially especially because

1212
01:13:06,360 --> 01:13:10,040
Speaker 1: then it's like the sad thing where she when they

1213
01:13:10,080 --> 01:13:13,400
Speaker 1: say explicitly that this is supposed to be a fat character,

1214
01:13:13,520 --> 01:13:16,160
Speaker 1: and then you're like huh, and then she implies that

1215
01:13:16,200 --> 01:13:19,599
Speaker 1: she's been like starving herself and she's been like dieting,

1216
01:13:19,800 --> 01:13:23,280
Speaker 1: and that now that she's dieting, a boy likes her,

1217
01:13:23,560 --> 01:13:26,960
Speaker 1: Like you're just like fuck. And then at the very end,

1218
01:13:27,000 --> 01:13:30,360
Speaker 1: when there's like the whole like carnival dance sequence, she's

1219
01:13:30,360 --> 01:13:33,040
Speaker 1: in like a form fitting dress, and I think it's

1220
01:13:33,120 --> 01:13:36,080
Speaker 1: the implication is, oh, she's lost weight. I think that

1221
01:13:36,080 --> 01:13:38,360
Speaker 1: that's how the actor looks there. That's just how she's

1222
01:13:38,400 --> 01:13:40,880
Speaker 1: always looked the whole time. I was just like I

1223
01:13:40,920 --> 01:13:44,080
Speaker 1: could not even begin to wrap my head around what

1224
01:13:44,600 --> 01:13:47,439
Speaker 1: the intention was of any of that. But I was like,

1225
01:13:47,840 --> 01:13:50,000
Speaker 1: I think the movie is trying to tell us that

1226
01:13:50,080 --> 01:13:53,040
Speaker 1: this character was supposed to be fat even though the

1227
01:13:53,080 --> 01:13:57,439
Speaker 1: actor is thin, but we're supposed to think she's fat

1228
01:13:57,479 --> 01:13:59,720
Speaker 1: because she's eating all the time. I was just like,

1229
01:14:00,280 --> 01:14:03,560
Speaker 1: what choice is this? I was so CONFA, that was

1230
01:14:03,600 --> 01:14:07,000
Speaker 1: a very confusing plot point to take in. I mean,

1231
01:14:07,040 --> 01:14:09,880
Speaker 1: that's I vaguely now that you say that there's more

1232
01:14:09,960 --> 01:14:12,920
Speaker 1: jokes in this stage show. That kind of brings a

1233
01:14:13,120 --> 01:14:16,960
Speaker 1: bell to like productions of it I've seen before, which

1234
01:14:17,000 --> 01:14:20,240
Speaker 1: is also just like, especially when you're like often casting

1235
01:14:20,439 --> 01:14:28,120
Speaker 1: kids in that show, incredibly cruel and fucked up to do. Yikes, Um,

1236
01:14:28,280 --> 01:14:30,840
Speaker 1: that was weird. I thought her like I didn't know

1237
01:14:30,880 --> 01:14:34,960
Speaker 1: because I was like, there are all these like stock characters,

1238
01:14:35,040 --> 01:14:37,400
Speaker 1: and there's a wide I'm like, the most I can

1239
01:14:37,479 --> 01:14:40,599
Speaker 1: kind of say, for like, there are different types of

1240
01:14:40,680 --> 01:14:42,800
Speaker 1: women in this movie, but it's just kind of like

1241
01:14:42,960 --> 01:14:47,040
Speaker 1: a lot of different types of female stock characters. Yeah,

1242
01:14:47,080 --> 01:14:50,880
Speaker 1: it's archetypes. It's not there's a wide provide range of

1243
01:14:51,000 --> 01:14:55,040
Speaker 1: archetypes for in this movie. I thought that she was

1244
01:14:55,360 --> 01:14:59,679
Speaker 1: at first, I was like jan is a. I went

1245
01:14:59,720 --> 01:15:02,040
Speaker 1: a for a direction like, oh, she's wearing glasses, so

1246
01:15:02,080 --> 01:15:05,639
Speaker 1: the movie wants me to think that she liked school,

1247
01:15:06,560 --> 01:15:09,360
Speaker 1: But apparently that's not what I was to think. Oh, no,

1248
01:15:09,439 --> 01:15:14,360
Speaker 1: I think wears glasses. Who wears glasses? Marty? Oh she

1249
01:15:14,439 --> 01:15:17,400
Speaker 1: has the horn from glasses at the beginning, Yeah, she

1250
01:15:17,520 --> 01:15:20,360
Speaker 1: has glasses in the first scenes. I was like, got it, books,

1251
01:15:21,479 --> 01:15:25,559
Speaker 1: But I was wrong. I was smarted by a different thing.

1252
01:15:25,640 --> 01:15:28,000
Speaker 1: Don't they make me look smarter? No, I can still

1253
01:15:28,000 --> 01:15:36,000
Speaker 1: see your face. Ye. Hey, here's something though. The mechanic

1254
01:15:36,360 --> 01:15:39,719
Speaker 1: at their school who helps Knicky fix up his car

1255
01:15:40,040 --> 01:15:45,040
Speaker 1: is a woman, Mrs Murdoch. So do think she's the

1256
01:15:45,040 --> 01:15:47,960
Speaker 1: shop teacher? I guess I think so. Yeah, she gets

1257
01:15:47,960 --> 01:15:52,120
Speaker 1: a matching outfit, but that's not a role that a

1258
01:15:52,160 --> 01:15:56,760
Speaker 1: woman would traditionally play as like a shop teacher, like

1259
01:15:56,800 --> 01:16:01,760
Speaker 1: an auto mechanic, especially during that time. So I was like, okay,

1260
01:16:01,800 --> 01:16:08,120
Speaker 1: that's something. Yeah, that's something. That's something. I liked her outfit.

1261
01:16:08,720 --> 01:16:11,800
Speaker 1: I just I love all the outfits, all the outfits.

1262
01:16:12,520 --> 01:16:15,920
Speaker 1: Cannot argue with them. Um, I just have a couple

1263
01:16:15,920 --> 01:16:19,479
Speaker 1: of other really quick just again, like the promotion of

1264
01:16:19,560 --> 01:16:23,120
Speaker 1: rape culture that this movie likes to do a little

1265
01:16:23,200 --> 01:16:26,120
Speaker 1: gloss of really quickly. Um, there's the I think it's

1266
01:16:26,439 --> 01:16:28,719
Speaker 1: which I forget which tea bird it is? Again, they

1267
01:16:28,760 --> 01:16:30,880
Speaker 1: all just sort of blend together for me, but one

1268
01:16:30,920 --> 01:16:33,240
Speaker 1: of them is like looking up a girl's skirt on

1269
01:16:33,280 --> 01:16:36,240
Speaker 1: the bleachers, and like one of his friends does the

1270
01:16:36,240 --> 01:16:38,960
Speaker 1: absolute bare minimum to like stop him and call him

1271
01:16:38,960 --> 01:16:42,960
Speaker 1: out on it, but it's too embarrass Petsy, It's not

1272
01:16:43,120 --> 01:16:48,559
Speaker 1: to stop it from happening. It's ok because he got caught. Yeah, yeah, okay.

1273
01:16:48,640 --> 01:16:54,080
Speaker 1: That makes just go like a um. And then there's

1274
01:16:54,080 --> 01:16:56,960
Speaker 1: also a moment where it's like during or after the

1275
01:16:57,000 --> 01:17:00,760
Speaker 1: Summer Night's Song, where Sandy has said how great this

1276
01:17:00,800 --> 01:17:04,480
Speaker 1: boy was that she met, and then Rizzo says, oh,

1277
01:17:04,560 --> 01:17:06,479
Speaker 1: you know, this is supposed to be true love, but

1278
01:17:06,560 --> 01:17:09,200
Speaker 1: he didn't even lay a hand on you. Sounds like

1279
01:17:09,200 --> 01:17:13,720
Speaker 1: a so like the girls, unfortunately, are also kind of

1280
01:17:13,760 --> 01:17:17,000
Speaker 1: like have been conditioned to buy into this rape culture

1281
01:17:17,040 --> 01:17:20,439
Speaker 1: idea that if like a man isn't throwing himself on

1282
01:17:20,600 --> 01:17:24,040
Speaker 1: you and assaulting you constantly, he must not like you.

1283
01:17:24,520 --> 01:17:27,320
Speaker 1: I think it's also connected to Gracie what you were

1284
01:17:27,360 --> 01:17:30,880
Speaker 1: saying earlier about how like that is kind of like

1285
01:17:30,920 --> 01:17:34,799
Speaker 1: what is supposed to make this movie feminist for its time,

1286
01:17:35,160 --> 01:17:40,639
Speaker 1: is like, oh, they're not prudes, so therefore, like that's feminist.

1287
01:17:40,640 --> 01:17:43,519
Speaker 1: When you're like, no, this could actually be encouraging some

1288
01:17:43,640 --> 01:17:47,519
Speaker 1: pretty like harmful. It's so I don't know. Summer Nights

1289
01:17:47,560 --> 01:17:49,760
Speaker 1: is the wildest song of all time because it's so

1290
01:17:49,800 --> 01:17:51,840
Speaker 1: catchy and I love it so much. But it's like

1291
01:17:52,200 --> 01:17:55,120
Speaker 1: they're just it's just like people singing in this like

1292
01:17:56,120 --> 01:18:02,639
Speaker 1: cell of gender normativity that they've created. Yipes. Yeah, Well,

1293
01:18:02,920 --> 01:18:07,120
Speaker 1: does anyone have any other thoughts? Um? Should we talk

1294
01:18:07,200 --> 01:18:15,360
Speaker 1: about chaw chaw our Only she's not explicitly a character

1295
01:18:15,439 --> 01:18:19,479
Speaker 1: of color in the play, Okay, but then she's kind

1296
01:18:19,479 --> 01:18:22,200
Speaker 1: of our only character, Like that's on our only speaking

1297
01:18:22,280 --> 01:18:28,280
Speaker 1: character of color. I think I thought she's a Italian. Oh,

1298
01:18:28,280 --> 01:18:30,320
Speaker 1: she's supposed to be Italian in the movie too. I

1299
01:18:30,360 --> 01:18:32,720
Speaker 1: think based on the last name. I read a whole

1300
01:18:32,720 --> 01:18:36,720
Speaker 1: bunch of criticism about her character from that standpoint. Okay, yeah,

1301
01:18:36,720 --> 01:18:40,120
Speaker 1: because I I know that the actor who played cha

1302
01:18:40,280 --> 01:18:44,920
Speaker 1: Shaw is Mexican Italian. Yeah, I'd like to know more

1303
01:18:44,960 --> 01:18:47,120
Speaker 1: about the criticism around it, because that whole I mean,

1304
01:18:47,160 --> 01:18:50,439
Speaker 1: the way that that character is treated at every stage

1305
01:18:50,520 --> 01:18:53,080
Speaker 1: is I mean, she shows up, she is immediately a villain.

1306
01:18:53,200 --> 01:18:56,799
Speaker 1: She's one of um, you know, Danny Zuko's discarded women.

1307
01:18:57,200 --> 01:18:59,320
Speaker 1: But what what is? What is some of the criticism

1308
01:18:59,400 --> 01:19:02,080
Speaker 1: around around that bend. You know, it was it wasn't

1309
01:19:02,160 --> 01:19:04,439
Speaker 1: like a super in depth article, but it was pretty

1310
01:19:04,520 --> 01:19:07,160
Speaker 1: much just you know, they refer to her um I

1311
01:19:07,200 --> 01:19:08,960
Speaker 1: forget which is the plane, which is the movie, but

1312
01:19:09,080 --> 01:19:12,880
Speaker 1: they refer to her chest hair. At one point in

1313
01:19:12,920 --> 01:19:16,360
Speaker 1: the play they call her a gorilla. That and ends

1314
01:19:16,360 --> 01:19:19,280
Speaker 1: in the movie where like she gives because she's like

1315
01:19:19,360 --> 01:19:24,479
Speaker 1: sort of dating crater Face sometimes, I think, and she

1316
01:19:24,600 --> 01:19:27,800
Speaker 1: like pulls a little necklace out of her like cleavage

1317
01:19:27,840 --> 01:19:29,320
Speaker 1: or something like that and gives her like a little

1318
01:19:29,400 --> 01:19:31,840
Speaker 1: charm or something and gives it to him. And then

1319
01:19:32,479 --> 01:19:34,680
Speaker 1: one of the pink ladies is like, oh, she just

1320
01:19:34,720 --> 01:19:38,000
Speaker 1: pulled chest gave him some chest hair or something like that.

1321
01:19:38,360 --> 01:19:42,840
Speaker 1: Oh I missed that line. That's yeah horrible. Yeah, it's

1322
01:19:42,880 --> 01:19:46,200
Speaker 1: it's worse than the play. But we could talk a

1323
01:19:46,280 --> 01:19:48,960
Speaker 1: little bit if we want to about women are kind

1324
01:19:49,000 --> 01:19:52,400
Speaker 1: of mean to each other. Like for it being an

1325
01:19:52,439 --> 01:19:56,360
Speaker 1: explicit clique and group, there is not a lot of

1326
01:19:56,400 --> 01:19:59,920
Speaker 1: supporting each other's wants and needs going on. Even among

1327
01:20:00,120 --> 01:20:03,920
Speaker 1: the pink ladies there especially mean to each other, Like

1328
01:20:03,960 --> 01:20:06,080
Speaker 1: and they're supposed to be friends, they're pretty mean to

1329
01:20:06,120 --> 01:20:09,800
Speaker 1: each other. Marty doesn't keep her secret and like even

1330
01:20:09,840 --> 01:20:12,880
Speaker 1: like the principle is really mean to the office administrator.

1331
01:20:13,600 --> 01:20:16,559
Speaker 1: Oh yeah, yeah, I had. I had a few notes

1332
01:20:16,600 --> 01:20:19,240
Speaker 1: about that as well, where it was like there is

1333
01:20:19,400 --> 01:20:23,320
Speaker 1: no support within this group that we're being presented as,

1334
01:20:23,400 --> 01:20:25,880
Speaker 1: like oh, look at like visually they're presented as being

1335
01:20:25,960 --> 01:20:27,960
Speaker 1: very close with each other, but they can't talk to

1336
01:20:28,000 --> 01:20:31,840
Speaker 1: each other. Like Rizzo is like kind of drowning in

1337
01:20:31,920 --> 01:20:36,200
Speaker 1: her own like shame and insecurity, and she can't communicate

1338
01:20:36,280 --> 01:20:40,519
Speaker 1: honestly with anybody. French. She doesn't tell anyone that she's

1339
01:20:40,720 --> 01:20:42,719
Speaker 1: dropping out of beauty school because I guess she doesn't

1340
01:20:42,760 --> 01:20:45,360
Speaker 1: like trust her friends enough to share that information. She

1341
01:20:45,439 --> 01:20:48,639
Speaker 1: only shares it with a waitress who immediately leaves the scene.

1342
01:20:49,280 --> 01:20:51,800
Speaker 1: Like that made me sad. I was like, wow, no

1343
01:20:51,840 --> 01:20:55,559
Speaker 1: one has Like everyone is very isolated for a group

1344
01:20:55,600 --> 01:20:58,479
Speaker 1: that we're supposed to be like rooting for as best

1345
01:20:58,600 --> 01:21:02,160
Speaker 1: friends like that, and and then and then Sandy too,

1346
01:21:02,160 --> 01:21:06,280
Speaker 1: where they immediately except for Frenchie who doesn't really who

1347
01:21:06,280 --> 01:21:10,160
Speaker 1: does who also joins in too bully Sandy when it's convenient,

1348
01:21:10,840 --> 01:21:14,800
Speaker 1: but they immediately isolate Sandy as well. And it's again

1349
01:21:14,800 --> 01:21:18,640
Speaker 1: it's like there there is. There's not even really an

1350
01:21:18,640 --> 01:21:23,280
Speaker 1: attempt at a comment on it where there's no yeah,

1351
01:21:23,320 --> 01:21:26,160
Speaker 1: there's just never any resolution, Like it's just like and

1352
01:21:26,200 --> 01:21:29,880
Speaker 1: that's just the way things are. Women get jealous of

1353
01:21:29,920 --> 01:21:33,559
Speaker 1: each other and they're catty and they're mean, and that's

1354
01:21:33,680 --> 01:21:37,000
Speaker 1: just what they're like. And meanwhile men are horny and

1355
01:21:37,040 --> 01:21:40,600
Speaker 1: it's like, yeah, we gotta yeah with with with no

1356
01:21:40,760 --> 01:21:45,120
Speaker 1: attempts to even try to explore like what the context

1357
01:21:45,240 --> 01:21:47,639
Speaker 1: for any of that might be, or like it's it's

1358
01:21:47,640 --> 01:21:49,040
Speaker 1: the thing we talked about all the time where it's

1359
01:21:49,080 --> 01:21:51,720
Speaker 1: like men have seen women being mean to each other.

1360
01:21:52,080 --> 01:21:54,920
Speaker 1: They can't imagine why that would be, but they've noticed it,

1361
01:21:55,040 --> 01:21:57,120
Speaker 1: so they're like, well, women are just mean to each other,

1362
01:21:57,720 --> 01:22:01,160
Speaker 1: and like not stopping to say for a second that

1363
01:22:01,240 --> 01:22:05,040
Speaker 1: it might be because our patriarchal society means that women

1364
01:22:05,080 --> 01:22:08,320
Speaker 1: have to compete with each other for the very limited

1365
01:22:08,360 --> 01:22:12,840
Speaker 1: resources and opportunities that are ever allotted to women. But

1366
01:22:13,120 --> 01:22:17,240
Speaker 1: men are just like, nah, it's probably because women hate

1367
01:22:17,280 --> 01:22:21,599
Speaker 1: each other because they're all petty, right, which, like this

1368
01:22:21,640 --> 01:22:25,880
Speaker 1: movie would be I think like able to tackle if

1369
01:22:26,000 --> 01:22:28,400
Speaker 1: it wanted to to. It's like I don't mind seeing

1370
01:22:28,439 --> 01:22:31,360
Speaker 1: like teen girls in conflict with each other. There's a

1371
01:22:31,400 --> 01:22:34,000
Speaker 1: lot of movies that do that very well and like

1372
01:22:34,360 --> 01:22:37,120
Speaker 1: have it makes sense and you understand the argument and like,

1373
01:22:37,439 --> 01:22:40,720
Speaker 1: but this is this one just just presents it as

1374
01:22:40,760 --> 01:22:44,439
Speaker 1: like this is just what happens. It makes me say

1375
01:22:44,800 --> 01:22:48,200
Speaker 1: they're also alone, Like they really are so like in

1376
01:22:48,320 --> 01:22:51,679
Speaker 1: terms of like emotionally and like who either are able

1377
01:22:51,720 --> 01:22:54,240
Speaker 1: to open up to. I can't even really think of

1378
01:22:54,320 --> 01:22:57,120
Speaker 1: two characters that I'm like, oh, there's a strong bond

1379
01:22:57,200 --> 01:23:00,439
Speaker 1: of trust and affection between these characters. Like no one

1380
01:23:00,479 --> 01:23:03,040
Speaker 1: can be their authentic self with anyone else in the

1381
01:23:03,200 --> 01:23:09,639
Speaker 1: entire movie. It's really I don't feel sad. It's trying

1382
01:23:09,680 --> 01:23:11,880
Speaker 1: to be critical of a world in which everyone is

1383
01:23:12,360 --> 01:23:17,000
Speaker 1: so busy performing their assigned genders and fitting into society

1384
01:23:17,040 --> 01:23:20,120
Speaker 1: that look at these cool people. They're on the outskirts

1385
01:23:20,160 --> 01:23:22,759
Speaker 1: of society and they aren't doing that, but they're also

1386
01:23:23,200 --> 01:23:27,000
Speaker 1: busy performing their alternative versions of gender identity that they

1387
01:23:27,000 --> 01:23:30,040
Speaker 1: are doing the exact same thing as their peers right exactly.

1388
01:23:30,400 --> 01:23:34,559
Speaker 1: So it's really depressing. As a god boomers are they're

1389
01:23:34,600 --> 01:23:41,639
Speaker 1: hurting so much. Yeah, yeah, like I just no one

1390
01:23:41,720 --> 01:23:44,680
Speaker 1: can be themselves in this movie. Because everyone is so

1391
01:23:44,680 --> 01:23:50,799
Speaker 1: so focused on performing for each other and rejecting people

1392
01:23:51,160 --> 01:23:55,320
Speaker 1: for arbitrary reasons. And I understand that that's like a

1393
01:23:55,439 --> 01:24:01,040
Speaker 1: pretty authentic adolescent experience for a lot of means, especially

1394
01:24:01,240 --> 01:24:04,000
Speaker 1: like in the seventies, especially in the fifties. You know,

1395
01:24:04,080 --> 01:24:06,960
Speaker 1: Like again, I keep having having to remind myself, like

1396
01:24:07,640 --> 01:24:10,599
Speaker 1: this was all stuff from decades and decades ago, and

1397
01:24:10,840 --> 01:24:14,240
Speaker 1: therefore we can't have high hopes for it. But if

1398
01:24:14,280 --> 01:24:19,519
Speaker 1: you're gonna explore the like turmoil and pain that like

1399
01:24:19,560 --> 01:24:21,599
Speaker 1: a team goes through with like trying to figure out

1400
01:24:21,640 --> 01:24:25,639
Speaker 1: their identity and like behaviors that manifest because of like

1401
01:24:26,240 --> 01:24:31,040
Speaker 1: their internalized misogyny or because of their you know, the

1402
01:24:31,080 --> 01:24:35,400
Speaker 1: prison of their toxic masculinity. Like, then again, I think

1403
01:24:35,520 --> 01:24:38,360
Speaker 1: the bottom line for this movie is like it starts

1404
01:24:38,360 --> 01:24:41,840
Speaker 1: to try to make some arguments or like make some commentary,

1405
01:24:42,120 --> 01:24:51,040
Speaker 1: but never there's like absolutely no follow through. Mmma. That's

1406
01:24:51,040 --> 01:24:56,120
Speaker 1: how it gets solved in the end A booget boogety

1407
01:24:56,120 --> 01:25:01,880
Speaker 1: boggety boget cheap we do well well hell like hell,

1408
01:25:02,600 --> 01:25:07,040
Speaker 1: everyone is so trapped except I mean, if I was Sandy,

1409
01:25:07,080 --> 01:25:09,200
Speaker 1: I would be thrilled to be you know, flying into

1410
01:25:09,240 --> 01:25:13,120
Speaker 1: the sun and burning to her risk, Like at that point, sure,

1411
01:25:13,120 --> 01:25:15,120
Speaker 1: why not? Clearly no one here is going to ever

1412
01:25:15,200 --> 01:25:18,559
Speaker 1: learn a goddamn thing. I do. Like when when Frenchy

1413
01:25:18,760 --> 01:25:22,920
Speaker 1: is like men of rats, No they're fleas on rats. No,

1414
01:25:23,360 --> 01:25:26,360
Speaker 1: they're a me bis on fleas all rats, and then

1415
01:25:26,400 --> 01:25:28,640
Speaker 1: she says the only girl a guy can depend on

1416
01:25:28,760 --> 01:25:31,920
Speaker 1: is her daddy, And I'm like, like, the only man

1417
01:25:32,000 --> 01:25:35,160
Speaker 1: a girl can depend on is her daddy, which no,

1418
01:25:35,320 --> 01:25:38,880
Speaker 1: thank you, unless she at least has a good relationship

1419
01:25:38,920 --> 01:25:42,439
Speaker 1: with her dad. Yeah, I don't have an emotionally honest

1420
01:25:42,640 --> 01:25:45,040
Speaker 1: but apparently she can't because she didn't tell him that

1421
01:25:45,560 --> 01:25:49,160
Speaker 1: you know, about any beauty school thing. She only tells

1422
01:25:49,439 --> 01:25:52,080
Speaker 1: and she has to, Like French she has to make

1423
01:25:52,200 --> 01:25:55,800
Speaker 1: someone up to have a conversation with anyone, and that

1424
01:25:55,840 --> 01:26:00,040
Speaker 1: person also bullies her. Maybe yeah, maybe Frankie Avalon is

1425
01:26:00,080 --> 01:26:06,120
Speaker 1: her dad, and he has so many children it's probably true.

1426
01:26:06,960 --> 01:26:09,160
Speaker 1: I know I'm supposed to know who Frankie Avalon is,

1427
01:26:09,200 --> 01:26:13,000
Speaker 1: but I truly have no idea. It's okay, thank you

1428
01:26:13,040 --> 01:26:15,519
Speaker 1: so much. He's not in the best early nineteen sixties

1429
01:26:15,560 --> 01:26:17,720
Speaker 1: b to writing movies, Like if I was to recommend one,

1430
01:26:17,760 --> 01:26:21,759
Speaker 1: I would say watch The Jama Party. His characters also

1431
01:26:21,840 --> 01:26:24,040
Speaker 1: really mean in those movies, Like you're supposed to like

1432
01:26:24,120 --> 01:26:25,439
Speaker 1: him and want him to be with a net, but

1433
01:26:25,479 --> 01:26:28,200
Speaker 1: he's an asshole in all of the movies and he's terrible.

1434
01:26:28,400 --> 01:26:35,400
Speaker 1: God damn it, Rats there abase on Rats. There's one

1435
01:26:35,600 --> 01:26:38,760
Speaker 1: theory that I wanted to bring up, and that's, uh,

1436
01:26:38,800 --> 01:26:43,160
Speaker 1: the interpretation that the reason Rizzo is so glib about

1437
01:26:43,240 --> 01:26:45,920
Speaker 1: her pregnancy being a false alarm is that that isn't

1438
01:26:45,960 --> 01:26:49,640
Speaker 1: what happened. And and you know, she kind of she

1439
01:26:49,680 --> 01:26:52,920
Speaker 1: has a line. The movie is so different than the play,

1440
01:26:53,000 --> 01:26:56,519
Speaker 1: but she has a line after Patty runs by giggling

1441
01:26:56,560 --> 01:26:58,720
Speaker 1: at her and Sandy tries to be nice, and she's like,

1442
01:26:58,840 --> 01:27:01,439
Speaker 1: you think, I don't know what people are saying about me, right,

1443
01:27:02,160 --> 01:27:04,479
Speaker 1: and that could be just that she's pregnant, but then

1444
01:27:04,520 --> 01:27:08,000
Speaker 1: she I don't know. I think that's a fun interpretation.

1445
01:27:08,040 --> 01:27:10,160
Speaker 1: I think it's an interpretation that has sort of been

1446
01:27:10,240 --> 01:27:13,040
Speaker 1: concocted after the fact to try to make it seem

1447
01:27:13,080 --> 01:27:15,640
Speaker 1: like a more feminist movie than the filmmakers intended for

1448
01:27:15,680 --> 01:27:17,920
Speaker 1: it to be. Like, I don't think that that's the

1449
01:27:18,000 --> 01:27:20,840
Speaker 1: movie is intent is that she had an abortion, but

1450
01:27:21,200 --> 01:27:23,800
Speaker 1: if you watch it with that in mind, you're like, oh, yeah,

1451
01:27:23,840 --> 01:27:26,920
Speaker 1: you could totally see that. That's that's, at least in

1452
01:27:26,960 --> 01:27:31,040
Speaker 1: the performance, an option of interpretation, And that does seem

1453
01:27:31,080 --> 01:27:34,200
Speaker 1: like something like that feels kind of aligned with Rizzo's character,

1454
01:27:34,400 --> 01:27:36,479
Speaker 1: Like she deals with her problems on her own and

1455
01:27:36,520 --> 01:27:40,840
Speaker 1: she doesn't ask for any help or support that she

1456
01:27:40,920 --> 01:27:44,479
Speaker 1: might actually need. I mean, that's that's interesting, I kind

1457
01:27:44,479 --> 01:27:47,160
Speaker 1: of I mean that plot point would make more sense

1458
01:27:47,160 --> 01:27:51,320
Speaker 1: than just being like just kidding. Yeah. Well, she says

1459
01:27:51,360 --> 01:27:55,200
Speaker 1: she missed a period, which that seems severe, and the

1460
01:27:55,240 --> 01:27:59,240
Speaker 1: play she's just five days late, which is not that

1461
01:27:59,320 --> 01:28:05,320
Speaker 1: big a deal, right, I missed a period, Yeah, is

1462
01:28:05,360 --> 01:28:07,040
Speaker 1: a little different. And then she's like, turns out it

1463
01:28:07,080 --> 01:28:09,679
Speaker 1: was a false alarm and that could be a lie.

1464
01:28:10,160 --> 01:28:12,400
Speaker 1: I want Risso to be able to talk to someone

1465
01:28:12,600 --> 01:28:15,760
Speaker 1: that isn't via just bullying the girl closest to her.

1466
01:28:16,760 --> 01:28:23,240
Speaker 1: Rizzo's also trapped in this very strange everyone it's toxic

1467
01:28:23,320 --> 01:28:27,800
Speaker 1: feminine toughness. Yeah. Yeah, it is like she can only

1468
01:28:27,840 --> 01:28:31,840
Speaker 1: express herself but listen to hurt people. Hurt people. It

1469
01:28:31,920 --> 01:28:38,160
Speaker 1: really is true, Rizzo. I just yeah, and then yeah,

1470
01:28:38,160 --> 01:28:42,120
Speaker 1: it's like the women don't push back like it's weird.

1471
01:28:42,120 --> 01:28:45,920
Speaker 1: It's like the pink ladies seem like aware that they

1472
01:28:45,960 --> 01:28:49,120
Speaker 1: know of the double standard of like girls are s

1473
01:28:49,400 --> 01:28:51,559
Speaker 1: if they have sex, guys are amazing if they have sex.

1474
01:28:52,080 --> 01:28:55,840
Speaker 1: But then they still slut shame each other anyways, almost

1475
01:28:55,880 --> 01:28:58,479
Speaker 1: in a way that's like it strikes me as like

1476
01:28:58,520 --> 01:29:02,000
Speaker 1: a little coping mechanism of like, well, no one's ever gonna,

1477
01:29:02,479 --> 01:29:05,800
Speaker 1: you know, not shame us, so let's also slunch shame

1478
01:29:05,880 --> 01:29:09,840
Speaker 1: each other, like if you can't beat them, I don't know,

1479
01:29:10,439 --> 01:29:15,880
Speaker 1: I want to see these girls down. Let's yeah. The

1480
01:29:15,960 --> 01:29:18,400
Speaker 1: last thing I wanted to bring up was just there's

1481
01:29:18,479 --> 01:29:21,720
Speaker 1: always this um when I was just looking into, like

1482
01:29:21,800 --> 01:29:24,000
Speaker 1: I was trying to look into, like what does like

1483
01:29:24,240 --> 01:29:27,599
Speaker 1: a teenager right now think of Greece. It seems like

1484
01:29:27,760 --> 01:29:30,800
Speaker 1: for all of the many many, many many reboots of

1485
01:29:30,840 --> 01:29:33,280
Speaker 1: Greece it has happened that have happened, it seems like

1486
01:29:33,320 --> 01:29:36,599
Speaker 1: teenagers kind of don't aren't very receptive to the movie

1487
01:29:36,640 --> 01:29:40,000
Speaker 1: now and they buy in larger like yuck, like I

1488
01:29:40,040 --> 01:29:42,760
Speaker 1: don't you know, they have no nostalgic attachment to it

1489
01:29:43,320 --> 01:29:46,960
Speaker 1: um and don't seem that interested and so as recently

1490
01:29:47,000 --> 01:29:49,679
Speaker 1: as like a couple of days ago. Um, I guess

1491
01:29:49,800 --> 01:29:54,160
Speaker 1: the BBC like played Greece on like one of their

1492
01:29:54,280 --> 01:29:58,200
Speaker 1: larger channels, and there was like this big Twitter backlash

1493
01:29:58,200 --> 01:30:00,320
Speaker 1: of like stop showing this movie on t BE we

1494
01:30:00,400 --> 01:30:03,799
Speaker 1: hate it. Like there was a really big like everything

1495
01:30:03,800 --> 01:30:07,360
Speaker 1: about this is like misogynist and gross and it scares

1496
01:30:07,439 --> 01:30:10,040
Speaker 1: me when there's only white people in a movie, like

1497
01:30:10,080 --> 01:30:14,200
Speaker 1: teenagers do not like this movie and good, like great

1498
01:30:14,240 --> 01:30:17,559
Speaker 1: for them, but then they're still but they're still making

1499
01:30:17,600 --> 01:30:19,200
Speaker 1: a lot, so it's like there's a little bit of

1500
01:30:19,200 --> 01:30:23,440
Speaker 1: dissonance there. And then Olivia Newton John was asked to

1501
01:30:23,479 --> 01:30:27,120
Speaker 1: comment on this last year, which is like, well, this

1502
01:30:27,280 --> 01:30:31,639
Speaker 1: usually doesn't go well. Um, and it didn't. It didn't

1503
01:30:31,680 --> 01:30:35,320
Speaker 1: go that well. Um, yeah, she was. She was asked

1504
01:30:35,880 --> 01:30:40,400
Speaker 1: by The Guardian of like, you know, like Greece has

1505
01:30:40,439 --> 01:30:43,639
Speaker 1: gotten all this feminist, you know, criticism over the years.

1506
01:30:44,000 --> 01:30:47,160
Speaker 1: What do you think And she said, it's a movie.

1507
01:30:47,800 --> 01:30:50,120
Speaker 1: It's a story from the fifties where things were different.

1508
01:30:50,200 --> 01:30:53,240
Speaker 1: Everyone forgets that at the end he changes for her too.

1509
01:30:53,479 --> 01:30:56,559
Speaker 1: There's nothing deep in there about the me too movement.

1510
01:30:57,000 --> 01:31:00,880
Speaker 1: I agree with that last part. Uh, it's just a girl,

1511
01:31:02,000 --> 01:31:03,639
Speaker 1: she said, It's just a girl who loves a guy

1512
01:31:03,720 --> 01:31:05,920
Speaker 1: and she thinks if he if she does that, he'll

1513
01:31:05,920 --> 01:31:08,559
Speaker 1: like her, and he thinks if he does that, she'll

1514
01:31:08,600 --> 01:31:10,840
Speaker 1: like him. I think that's pretty real. People do that

1515
01:31:10,840 --> 01:31:13,479
Speaker 1: for each other. It was a fun love story. And

1516
01:31:13,520 --> 01:31:16,840
Speaker 1: I see what she's saying there of like it's a

1517
01:31:17,720 --> 01:31:23,920
Speaker 1: it's an extremely goofy movie. Don't take it too seriously.

1518
01:31:24,200 --> 01:31:27,160
Speaker 1: But it's like it's such a famous I don't know.

1519
01:31:27,240 --> 01:31:31,559
Speaker 1: I feel like that's like basic media literacy, Olivia. If

1520
01:31:31,600 --> 01:31:34,240
Speaker 1: people are beat over the head with the message of

1521
01:31:34,280 --> 01:31:38,160
Speaker 1: your movie, it's impactful. And so, yeah, she's fine. And

1522
01:31:38,160 --> 01:31:39,800
Speaker 1: I also there was there was like a lot written

1523
01:31:39,840 --> 01:31:43,120
Speaker 1: about how her career changed in a very sandy ish

1524
01:31:43,120 --> 01:31:46,960
Speaker 1: way after Greece came out, where she had she had

1525
01:31:46,960 --> 01:31:50,480
Speaker 1: like done some She had released a couple of successful

1526
01:31:50,520 --> 01:31:53,880
Speaker 1: albums before Greece, but they were more kind of like

1527
01:31:54,160 --> 01:31:57,280
Speaker 1: they just weren't like explicitly sexual songs. They were pretty

1528
01:31:57,320 --> 01:32:00,960
Speaker 1: like just pure songs about love of blah blah blah.

1529
01:32:01,080 --> 01:32:04,679
Speaker 1: And then after Greece came out, they kind of pivoted

1530
01:32:04,680 --> 01:32:07,559
Speaker 1: her image to be like really sexually driven. And so

1531
01:32:07,600 --> 01:32:10,760
Speaker 1: in the early eighties there's like let's get physical and

1532
01:32:10,840 --> 01:32:14,080
Speaker 1: her next album is called Totally Hot, and like her

1533
01:32:14,240 --> 01:32:17,360
Speaker 1: image was kind of pivoted in a in a sandy

1534
01:32:17,479 --> 01:32:23,920
Speaker 1: ish way. That's all I got. Life imitating art maybe,

1535
01:32:24,320 --> 01:32:29,599
Speaker 1: Um does this movie pass the Bechdel test? It does?

1536
01:32:29,840 --> 01:32:33,880
Speaker 1: It does. Right near the beginning, Sandy asks French, she

1537
01:32:34,200 --> 01:32:37,559
Speaker 1: do I look okay? French she? Frenchie says, sure, you

1538
01:32:37,600 --> 01:32:41,360
Speaker 1: look good. Sandy says, I'm really nervous, you know, and

1539
01:32:41,400 --> 01:32:46,120
Speaker 1: so Frenchie says, you look terrific. Yeah, they like they have.

1540
01:32:46,920 --> 01:32:49,040
Speaker 1: I don't know. I mean, it's like there there was

1541
01:32:49,160 --> 01:32:54,000
Speaker 1: more exchanges between the girls in this movie that passed

1542
01:32:54,000 --> 01:32:56,080
Speaker 1: than I thought. What They spend a lot of time

1543
01:32:56,120 --> 01:32:59,519
Speaker 1: talking about guys, like a lot of time, and then

1544
01:32:59,520 --> 01:33:02,080
Speaker 1: they also have they also talk a lot about just

1545
01:33:02,160 --> 01:33:04,599
Speaker 1: like a little more interesting, like how they feel they're

1546
01:33:04,680 --> 01:33:08,479
Speaker 1: perceived by other people. Um, but they usually are talking

1547
01:33:08,520 --> 01:33:11,160
Speaker 1: about how I don't know. And then a lot of

1548
01:33:11,200 --> 01:33:15,400
Speaker 1: the passes are them bullying each other? Yes, but they do.

1549
01:33:15,560 --> 01:33:18,000
Speaker 1: Like women are talking a lot in this movie, more

1550
01:33:18,040 --> 01:33:21,680
Speaker 1: than I like remembered their being. There's a lot of

1551
01:33:21,680 --> 01:33:27,320
Speaker 1: conversations between women. It's just sometimes they're just bullying each other. Yeah,

1552
01:33:27,400 --> 01:33:32,400
Speaker 1: so you know, not ideal, but they do talk to

1553
01:33:32,439 --> 01:33:35,880
Speaker 1: each other. Uh, let's write the movie on our nipple

1554
01:33:35,920 --> 01:33:40,479
Speaker 1: scale zero to five nipples based on an examination of

1555
01:33:40,800 --> 01:33:45,920
Speaker 1: intersectional feminism. I will have to give this I think

1556
01:33:45,960 --> 01:33:50,800
Speaker 1: like a point five. And again, like everyone's gonna be like,

1557
01:33:50,840 --> 01:33:53,320
Speaker 1: but it came out a million years ago, like you

1558
01:33:53,360 --> 01:33:57,360
Speaker 1: have to consider the historical context, and yes, that is true.

1559
01:33:58,080 --> 01:34:01,400
Speaker 1: But I also feel like this movie started like it

1560
01:34:01,520 --> 01:34:05,080
Speaker 1: felt like it was equipped to like make some commentary.

1561
01:34:05,120 --> 01:34:08,880
Speaker 1: And if you're going to do like a fifties nostalgia

1562
01:34:09,320 --> 01:34:13,679
Speaker 1: story and you have hindsight of what the fifties were like,

1563
01:34:14,880 --> 01:34:17,960
Speaker 1: and you you want to comment on that, like we've said,

1564
01:34:18,120 --> 01:34:21,320
Speaker 1: it feels like the movie feels equipped to make some

1565
01:34:21,400 --> 01:34:24,240
Speaker 1: of that commentary because it starts to and then it

1566
01:34:24,320 --> 01:34:27,800
Speaker 1: just completely bails on it halfway through or not even

1567
01:34:27,880 --> 01:34:31,599
Speaker 1: like it builds on it after like twenty minutes, and

1568
01:34:31,640 --> 01:34:33,640
Speaker 1: then it's like, well, wouldn't it be fun if we

1569
01:34:33,720 --> 01:34:38,000
Speaker 1: just keep seeing Danny Zuko mistreating his love interest and

1570
01:34:38,040 --> 01:34:41,800
Speaker 1: then until she decides that it doesn't actually matter to her,

1571
01:34:41,880 --> 01:34:44,720
Speaker 1: until she stops running away from him, and then and

1572
01:34:44,720 --> 01:34:49,280
Speaker 1: then puts on some other pants and changes her entire

1573
01:34:49,479 --> 01:34:54,800
Speaker 1: personality and that's what enables them to be together. Question Mark,

1574
01:34:56,000 --> 01:35:00,080
Speaker 1: It's just yeah, obviously it doesn't um hold up by

1575
01:35:00,120 --> 01:35:03,200
Speaker 1: our standards today. I do see some of the arguments

1576
01:35:03,240 --> 01:35:07,040
Speaker 1: that it would have been perceived as, yeah, like second

1577
01:35:07,040 --> 01:35:12,240
Speaker 1: wave feminist at the time, but thankfully we have moved

1578
01:35:12,439 --> 01:35:16,760
Speaker 1: past that and progressed beyond that at least a little bit.

1579
01:35:17,240 --> 01:35:22,200
Speaker 1: So um yeah, even with all the you know, the

1580
01:35:22,280 --> 01:35:25,320
Speaker 1: historical context in mind, I have to give it a

1581
01:35:25,360 --> 01:35:32,080
Speaker 1: point five and I'll give my nipple to Rizzo. I

1582
01:35:32,080 --> 01:35:34,799
Speaker 1: feel like she was the most interesting and complex character,

1583
01:35:35,680 --> 01:35:38,479
Speaker 1: and she she deserves better, and I wish we had

1584
01:35:38,520 --> 01:35:43,600
Speaker 1: gotten more from her and for her. Stucker Channing is

1585
01:35:43,600 --> 01:35:47,439
Speaker 1: also so great. I'm always I'm never not so jarred

1586
01:35:47,520 --> 01:35:51,439
Speaker 1: by how dirty she's done by that whoever illustrated the

1587
01:35:51,439 --> 01:35:57,639
Speaker 1: title credits, so just not how she looks. And they

1588
01:35:57,920 --> 01:36:00,679
Speaker 1: made they shrink her mouth down to like five percent

1589
01:36:00,720 --> 01:36:03,360
Speaker 1: of its size, and then they're like, oh, you know

1590
01:36:03,400 --> 01:36:05,840
Speaker 1: how Stockard Channing has a tiny mouth, and you're like,

1591
01:36:06,040 --> 01:36:08,240
Speaker 1: I don't know that, No, no, I don't know that.

1592
01:36:08,479 --> 01:36:12,160
Speaker 1: Very weird. They also make Sandy look like just a

1593
01:36:12,240 --> 01:36:17,920
Speaker 1: generic animated princess without any of her flaws caricatured at all,

1594
01:36:18,040 --> 01:36:20,840
Speaker 1: and like her face would be easy to do that too.

1595
01:36:20,840 --> 01:36:23,479
Speaker 1: It's not like she looks just like a far away

1596
01:36:23,560 --> 01:36:28,600
Speaker 1: drawing of Cinderella. Yeah, there's some animation choices in the

1597
01:36:28,720 --> 01:36:31,200
Speaker 1: beginning as much as like that. I love the animation

1598
01:36:31,320 --> 01:36:35,320
Speaker 1: style of that sequence. Um, but the way they draw

1599
01:36:35,400 --> 01:36:40,120
Speaker 1: some of the actors is questionable. Um. Yeah, I guess

1600
01:36:40,280 --> 01:36:43,599
Speaker 1: I'll go with point five as well. I feel like

1601
01:36:43,800 --> 01:36:46,840
Speaker 1: the I mean, I I see the second wave feminism

1602
01:36:47,000 --> 01:36:49,840
Speaker 1: arguments there, but it also ends up being like, oh,

1603
01:36:49,880 --> 01:36:51,680
Speaker 1: women are allowed to have sex now, they're still going

1604
01:36:51,720 --> 01:36:54,240
Speaker 1: to get shamed for it aggressively by each other and

1605
01:36:54,280 --> 01:36:57,960
Speaker 1: by everyone around them and assaulted constantly. But I mean,

1606
01:36:58,000 --> 01:37:01,559
Speaker 1: after revisiting this movie, I feel like the even the

1607
01:37:01,600 --> 01:37:04,120
Speaker 1: fact that it's like a movie made about the fifties

1608
01:37:04,120 --> 01:37:07,080
Speaker 1: in the seventies, that almost makes it like I view

1609
01:37:07,080 --> 01:37:11,599
Speaker 1: it a little like less well historically, because it's like

1610
01:37:11,880 --> 01:37:16,360
Speaker 1: a movie made in a more sexually liberal, progressive time

1611
01:37:17,200 --> 01:37:20,160
Speaker 1: as nostalgia for when that wasn't true, and in a

1612
01:37:20,200 --> 01:37:23,880
Speaker 1: way that is completely uncritical of that era. So I

1613
01:37:23,960 --> 01:37:28,760
Speaker 1: just it's just all very weird. Um. And it is

1614
01:37:28,800 --> 01:37:32,679
Speaker 1: definitely like extremely impactful to this day, to the point

1615
01:37:32,680 --> 01:37:34,519
Speaker 1: where it's like, Helen, you don't even know if you've

1616
01:37:34,520 --> 01:37:37,320
Speaker 1: seen it, because it's so like maybe you have movie

1617
01:37:37,360 --> 01:37:41,280
Speaker 1: you haven't. It's so like ingrained into American culture and

1618
01:37:41,320 --> 01:37:45,080
Speaker 1: also just kind of pedals this like false image of

1619
01:37:45,120 --> 01:37:49,200
Speaker 1: what the fifties were, which we're like, not really a

1620
01:37:49,200 --> 01:37:52,320
Speaker 1: good time while also trying to like not do that

1621
01:37:52,400 --> 01:37:55,920
Speaker 1: but then like still doing that. I just yeah, the

1622
01:37:56,880 --> 01:38:00,880
Speaker 1: period choices of it just are very weird. Um, but

1623
01:38:00,960 --> 01:38:06,360
Speaker 1: the music slabs, the outfits are incredible, and they're like,

1624
01:38:06,400 --> 01:38:10,479
Speaker 1: the performances are good. It's just man, so much potential.

1625
01:38:10,560 --> 01:38:12,759
Speaker 1: I like that they start saying things. But then there's

1626
01:38:12,800 --> 01:38:15,880
Speaker 1: also that definitely that vibe that we talked about sometimes

1627
01:38:15,920 --> 01:38:20,000
Speaker 1: of like uh, man, like an adult man desperately trying

1628
01:38:20,040 --> 01:38:24,280
Speaker 1: to write a teenage girl and completely like it was

1629
01:38:24,320 --> 01:38:27,920
Speaker 1: an attempt. Yeah, I don't know, some half formed thoughts,

1630
01:38:28,760 --> 01:38:31,639
Speaker 1: but and and it's still fun to watch. I don't know,

1631
01:38:32,360 --> 01:38:35,840
Speaker 1: but I'll give it a have nipple for our purposes. Um.

1632
01:38:35,920 --> 01:38:39,080
Speaker 1: And also just I mean it goes without saying that.

1633
01:38:39,640 --> 01:38:41,640
Speaker 1: Literally At one point I was like, is this not

1634
01:38:41,720 --> 01:38:45,840
Speaker 1: an integrated high school in like canonically? But there are

1635
01:38:45,880 --> 01:38:49,200
Speaker 1: There are a few black students at the school, but

1636
01:38:49,280 --> 01:38:52,760
Speaker 1: it's they don't even have grounds. But it's so aggressively

1637
01:38:52,760 --> 01:38:57,040
Speaker 1: white that I looked it up. Yeah yeah, yeah, not

1638
01:38:57,080 --> 01:38:59,760
Speaker 1: even to meat. Yeah, it's so that's also, I mean,

1639
01:38:59,800 --> 01:39:02,439
Speaker 1: it's like I understand where the teens are coming from.

1640
01:39:02,520 --> 01:39:05,840
Speaker 1: That's a very jarring thing to see and not have

1641
01:39:05,960 --> 01:39:10,120
Speaker 1: addressed in any way. I don't know. Romanticizing is just

1642
01:39:10,160 --> 01:39:14,519
Speaker 1: like a bad idea. It's'm gonna give it, give it

1643
01:39:14,640 --> 01:39:17,479
Speaker 1: half a nipple, and I'll also give it to Rizzo,

1644
01:39:18,040 --> 01:39:23,760
Speaker 1: but I'll give it to Vanessa hudgens Is Rizzle. Oh,

1645
01:39:23,880 --> 01:39:27,719
Speaker 1: good grief, Gracie, what about you? Rizzo too? Rizzo again?

1646
01:39:28,960 --> 01:39:32,160
Speaker 1: That was supposed to be a princess switched again that play.

1647
01:39:32,240 --> 01:39:34,439
Speaker 1: I'm gonna change it. I'm gonna give my half nipple

1648
01:39:34,479 --> 01:39:40,360
Speaker 1: to Rizzo, but Rizzo the rat, the muppet, Oh my gosh,

1649
01:39:39,360 --> 01:39:45,320
Speaker 1: rat different. My strategy is, I'm going to give out

1650
01:39:45,320 --> 01:39:47,479
Speaker 1: some nipples and then I'm going to take some nipples away.

1651
01:39:47,840 --> 01:39:51,479
Speaker 1: Please love this. I'm gonna give a nipple to the

1652
01:39:51,520 --> 01:39:56,400
Speaker 1: opening sequence because it's fabulous. Um. I have this little

1653
01:39:56,439 --> 01:39:59,920
Speaker 1: addition subtraction thing I've written that involves taking away nipples

1654
01:40:00,000 --> 01:40:03,120
Speaker 1: for soccer Channing's drawing, but it adds up to the

1655
01:40:03,120 --> 01:40:07,280
Speaker 1: same amount, and I'm gonna go past it. I'm going

1656
01:40:07,320 --> 01:40:10,040
Speaker 1: to give a nipple to look at me, I'm Sandra

1657
01:40:10,120 --> 01:40:13,559
Speaker 1: d because out of the context of her making kind

1658
01:40:13,600 --> 01:40:15,280
Speaker 1: of making fun of a real person. I think it

1659
01:40:15,360 --> 01:40:18,839
Speaker 1: is kind of a feminist moment, at least the messaging

1660
01:40:18,880 --> 01:40:22,400
Speaker 1: of that song. Taking out of its context, I'm going

1661
01:40:22,439 --> 01:40:28,280
Speaker 1: to take away a nipple for looping together Danny pressing

1662
01:40:28,360 --> 01:40:30,800
Speaker 1: himself on Sandy, and they'm going to take away a

1663
01:40:30,880 --> 01:40:36,680
Speaker 1: nipple from the t birds showing patties panties to the camera. Yes,

1664
01:40:36,880 --> 01:40:39,400
Speaker 1: I forgot about that. Yeah, that's an assault we didn't

1665
01:40:39,439 --> 01:40:43,799
Speaker 1: touch on. I didn't even remember them all. Yeah, that's bad.

1666
01:40:44,880 --> 01:40:48,920
Speaker 1: Um and whatever. I'm going to give it a nipple.

1667
01:40:49,360 --> 01:40:51,400
Speaker 1: I'm gonna give it a nipple. Give it a nipple.

1668
01:40:52,120 --> 01:40:53,719
Speaker 1: I feel like if I give it less than a nipple,

1669
01:40:53,760 --> 01:41:01,000
Speaker 1: my dad will feel sad. Understood, well, Gracie, thank you

1670
01:41:01,040 --> 01:41:03,120
Speaker 1: so much for being here, Thank you for having me.

1671
01:41:03,280 --> 01:41:09,120
Speaker 1: This is awesome. What a fun summer night we've had. UM.

1672
01:41:09,160 --> 01:41:12,960
Speaker 1: Where can people follow you online and plug anything you'd

1673
01:41:12,960 --> 01:41:16,040
Speaker 1: like to plug? Um? I am at Gracie Gillham g

1674
01:41:16,240 --> 01:41:18,240
Speaker 1: R A C I E G I L L A

1675
01:41:18,560 --> 01:41:22,240
Speaker 1: m Um. I have a movie circle circling around on

1676
01:41:22,280 --> 01:41:24,439
Speaker 1: Lifetime Channel right now. I don't know when it's airing,

1677
01:41:24,520 --> 01:41:29,040
Speaker 1: but it is called Stolen in Plain Sight. Um. You

1678
01:41:29,080 --> 01:41:31,400
Speaker 1: can look out for a movie called super Host coming

1679
01:41:31,439 --> 01:41:37,479
Speaker 1: up pretty soon for that. Yeah, awesome, Thank you again

1680
01:41:37,560 --> 01:41:42,559
Speaker 1: so much for being here. You can follow us on

1681
01:41:42,600 --> 01:41:45,240
Speaker 1: Twitter and Instagram at becketel Cast. You can go to

1682
01:41:45,320 --> 01:41:49,759
Speaker 1: our Patreon ak Matreon at patreon dot com slash pecketel Cast.

1683
01:41:49,840 --> 01:41:52,960
Speaker 1: It's only five dollars a month and it gets you

1684
01:41:53,040 --> 01:41:56,920
Speaker 1: to bonus episodes plus the entire back catalog of our

1685
01:41:57,000 --> 01:42:00,840
Speaker 1: bonus episodes. This month, we're doing to Amy Oh wait,

1686
01:42:00,880 --> 01:42:03,040
Speaker 1: what are we calling it? She can do it all month?

1687
01:42:03,320 --> 01:42:07,679
Speaker 1: What can she do month? It's doing to Amy Adams. Yes,

1688
01:42:07,800 --> 01:42:12,280
Speaker 1: I'm going to call it Adams June. Okay, Adams June, which,

1689
01:42:12,360 --> 01:42:16,000
Speaker 1: of course we are observing in January. So Amy Adams

1690
01:42:16,120 --> 01:42:23,160
Speaker 1: Drama Arrival, Jeremy Renner okay. And then Amy Adams Comedy Enchanted,

1691
01:42:26,360 --> 01:42:30,519
Speaker 1: I'm excited, she can do it all. And then our

1692
01:42:30,560 --> 01:42:33,719
Speaker 1: t Public store t public dot com slash the Beechtel

1693
01:42:33,880 --> 01:42:38,000
Speaker 1: cast for all of your March needs. And with that,

1694
01:42:38,120 --> 01:42:42,559
Speaker 1: let's get getting the convertible. We're fine into the sun

1695
01:42:43,400 --> 01:42:46,160
Speaker 1: from room. By bye.