WEBVTT - Grease with Gracie Gillam

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<v Speaker 1>On the Beck Dol Cast, the questions asked if movies

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<v Speaker 1>have women in them, are all their discussions just boyfriends

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<v Speaker 1>and husbands, or do they have individualism? The patriarchy zef

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<v Speaker 1>invest start changing it with the bel cast. Tell me more,

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<v Speaker 1>tell me more? Is this the Beck Dol Cast? Okay, Okay,

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<v Speaker 1>I like this. You know, I'll be, I could be.

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<v Speaker 1>I could be a greaser. You could be you are supposed.

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<v Speaker 1>The thing that frustrates me about the Tea Birds is

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<v Speaker 1>that they have such good outfits, but then they're just

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<v Speaker 1>rampant misogynists. It's such a waste of a good outfit,

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<v Speaker 1>and they have the most the funniest um, the funniest voices. Yeah,

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<v Speaker 1>there's a They've got a lot going for them, and

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<v Speaker 1>then it's all squandered. The waste of a powerful aesthetic.

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<v Speaker 1>It's used for evil. That's true. Hello and welcome to

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<v Speaker 1>the Backtel Cast. My name is Caitlin Doronte Ames Jamie Loftus.

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<v Speaker 1>Sorry for totally bailing on the singing. You know, I'm

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<v Speaker 1>I'm used to it by now. Is that true before? No?

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<v Speaker 1>But I'm thinking so, I'm thinking back to our recent

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<v Speaker 1>Beauty and the Beast episode where you fully commit to

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<v Speaker 1>the song too much and pissing my pants laughing the

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<v Speaker 1>entire time. So it's not good singing. So we are there.

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<v Speaker 1>The Bechtel cast. We examine movies through an intersectional feminist lens,

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<v Speaker 1>using the Bechtel test simply as a jumping off point. Jamie,

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<v Speaker 1>what is it the Bechtel test? What is it? Well,

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<v Speaker 1>since you asked the Bechtel test, there's a media metric

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<v Speaker 1>invented by queer cartoonist Alison Bechdel, sometimes called the Bechdel

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<v Speaker 1>Wallace test, that, for our purposes, requires that two characters

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<v Speaker 1>with names of a marginalized gender speak to each other

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<v Speaker 1>about something other than uh may in it sounds like

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<v Speaker 1>it should be easy enough, but a lot of things

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<v Speaker 1>don't pass, and then some things that do pass. I'm

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<v Speaker 1>not foreshadowing in anyway. Um, some things that do pass

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<v Speaker 1>are still like really really not. It doesn't you know,

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<v Speaker 1>it doesn't vouch for content. It's not a metric that

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<v Speaker 1>vouches for content, But true, what was the worst one?

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<v Speaker 1>What the all time worst one? Is? Still? She's all

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<v Speaker 1>that right where it's like, oh yeah, Claire Duval is

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<v Speaker 1>like down you should kill yourself and Rachelieu cooks like, oh, no,

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<v Speaker 1>is that I forget how that comes? No? Thank you,

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<v Speaker 1>I don't remember. Well, h we have an amazing guest today.

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<v Speaker 1>I'm so existed. We do. She's an actor. You know

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<v Speaker 1>her from z Nation and Teen Beach Movie, which is

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<v Speaker 1>my favorite d com of all time. It's Gracie Gillum. Hi, everybody, welcome, Welcome,

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<v Speaker 1>I'm so active here. Wow? What so let's talk Greece,

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<v Speaker 1>shall we? I feel like your character in the Team

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<v Speaker 1>Beach movies is kind of like a grease or girl,

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<v Speaker 1>like a pink lady almost right, Yeah, definitely, it's all

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<v Speaker 1>coming together. Went back and watched it and I was like, wait,

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<v Speaker 1>it's all connected, It's all connected. And then well, Team

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<v Speaker 1>Beach movie is really supposed to take place like the

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<v Speaker 1>movie within a movie is more of a Frankie in

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<v Speaker 1>a Net movie. And then Greece definitely has Frankie avalon

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<v Speaker 1>and it and then has a joke about a Nets tips.

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<v Speaker 1>So it's pretty much the same movie as Team Beach movie,

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<v Speaker 1>same energy, energy, same energy. So apart from that, what

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<v Speaker 1>is your relationship with Greece? The movie? Grease the property

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<v Speaker 1>in general, tell us everything grease the word uh, Greece

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<v Speaker 1>is the word is the word? Is the word? Um?

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<v Speaker 1>Greece is a VHS tape that I had growing up.

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<v Speaker 1>It's a movie my dad I think went out of

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<v Speaker 1>his way to see three or more times in a theater.

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<v Speaker 1>I think it was serving me early, outdated, surface level

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<v Speaker 1>feminism in a way that really I loved as a child.

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<v Speaker 1>So I've seen this movie way more times than I

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<v Speaker 1>could possibly count. And then my high school ended up

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<v Speaker 1>doing Greece, even though it was kind of a fancy

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<v Speaker 1>arts high school that wouldn't do a show like Greece,

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<v Speaker 1>but Governor Rick Perry was going to cut arts funding

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<v Speaker 1>for the entire state of Texas, so we had to

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<v Speaker 1>prove that we could make money during the spring we

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<v Speaker 1>did Greece. That is so bleak. You're like forced to

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<v Speaker 1>do Greece so that you can continue to get an

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<v Speaker 1>arts education. Very chill, Rick Perry, very chill. Um. It

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<v Speaker 1>is how I got my first Hollywood agent as he

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<v Speaker 1>saw me play Rizzo in Greece and gave me his

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<v Speaker 1>business card after the show. What you got discovered through

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<v Speaker 1>Greece in Texas. It's a really old school kind of

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<v Speaker 1>story that's beautiful, And you played Rizzo. That's amazing. Yeah,

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<v Speaker 1>You're like, here's my card, kid, And I was like,

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<v Speaker 1>I have a four point three to g p A,

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<v Speaker 1>I'm going to college guy, And then I didn't nice

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<v Speaker 1>love that colleges a scam. So you know, I have

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<v Speaker 1>not seen Greece since I performed it my senior year

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<v Speaker 1>of high school. So I, oh, sorry, I have rewatched

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<v Speaker 1>it for this podcast. I've watched it a few times

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<v Speaker 1>within the span of a very few days. WHOA that

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<v Speaker 1>is like that's like a very deep relationship with Greece,

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<v Speaker 1>Like we can't follow that. Yeah, yeah, Jamie, what's your

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<v Speaker 1>pitiful history with It's nothing, No, it's um, it's just less.

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<v Speaker 1>My grand should be. Really, my grandma had the vhs

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<v Speaker 1>and she would make us watch like she's like two

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<v Speaker 1>vhs and one was Greece and one was River Dance,

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<v Speaker 1>and so I would always choose Greece, just kind of

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<v Speaker 1>like because I didn't want to watch River Dance. Um.

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<v Speaker 1>So I've seen that. I've seen the movie a bunch,

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<v Speaker 1>but then I feel like I've seen so many community

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<v Speaker 1>performances of it, Like my school didn't do it, but

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<v Speaker 1>like friends schools did it, and like summer theater always

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<v Speaker 1>would do Grease, and so I think I've seen the

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<v Speaker 1>movie a ton and then like five or six different

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<v Speaker 1>local productions and they're all mixed up in my head.

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<v Speaker 1>And yeah, I think I think that's that's kind of it.

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<v Speaker 1>I still the music is still so goddamn catchy. I know. Yeah, Caitlyn,

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<v Speaker 1>what's your history with it? I didn't grow up with

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<v Speaker 1>this movie. In fact, I'm not even sure I might

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<v Speaker 1>not have seen it until so it's kind of hard

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<v Speaker 1>to know because it's so cultural, like Osmo City for sure,

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<v Speaker 1>and like the songs would especially like Summer Nights and

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<v Speaker 1>You're the one that I want, and like maybe Grease Lightning,

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<v Speaker 1>and like some of the more popular songs devoted to you,

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<v Speaker 1>Like there's so many that you're just like, even if

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<v Speaker 1>you haven't been within ten feet of this movie, you

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<v Speaker 1>know what it sounds though with that song, those songs

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<v Speaker 1>would like play it like school Dances in our cafeteria

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<v Speaker 1>and like junior high and stuff like that. But I

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<v Speaker 1>don't think I really saw I don't think I really

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<v Speaker 1>saw the movie for the first time until honestly, I don't.

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<v Speaker 1>I think I may be like watched it once in college,

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<v Speaker 1>but then I rewatched it when we covered Greece too,

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<v Speaker 1>which we have done on the podcast years ago with

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<v Speaker 1>follow in Georgia. Yes, you know, for some reason we're like,

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<v Speaker 1>screw Grease, We're going to cover Greece too first, and

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<v Speaker 1>then we'll get to the first Greece four full years later.

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<v Speaker 1>How it was intended. Um So, I really have little

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<v Speaker 1>exposure to the movie itself, but I know the characters

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<v Speaker 1>like Danny Zuko and Sandy and Rizzo like their iconic characters.

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<v Speaker 1>The songs are iconic. It was yeah, very much just

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<v Speaker 1>like a cultural osmosis thing. It also was like re

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<v Speaker 1>released in theater several times for different you know, like anniversaries,

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<v Speaker 1>and it's definitely like one of those like Unkillable Proper

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<v Speaker 1>because there's like I was looking online to see because

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<v Speaker 1>I remember there was like one of those TV stage

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<v Speaker 1>productions that starred Vanessa Hudgens a couple of years ago.

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<v Speaker 1>As Sandy can't say, I watched it well because there

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<v Speaker 1>was only one Vanessa Hudgens in it, and it's like,

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<v Speaker 1>if you're not going to have more than one Vanessa

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<v Speaker 1>Hudgens in your movie, why bother wast waste my time?

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<v Speaker 1>She's doing one accent one accent per movie. I just

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<v Speaker 1>know she's capable of so much more, and so I

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<v Speaker 1>can't watch it. Um. But then there's also like a

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<v Speaker 1>new series, a paramount series called Grease, Rise of the

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<v Speaker 1>Pink Ladies coming out like next year, and then there's

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<v Speaker 1>another there's a prequel about the summer where they're loving

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<v Speaker 1>and it's like it's very interesting to me because in

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<v Speaker 1>like researching like where is I was like, I don't

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<v Speaker 1>know where grease discourses, I guess, and it seems to

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<v Speaker 1>be both like very like it is like not a

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<v Speaker 1>hot take by any means to say, like most of

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<v Speaker 1>Greece's plot points age exceptionally badly, but then also they're

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<v Speaker 1>still like making grease stuff. It's weird, but also at

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<v Speaker 1>the same by that same token, I could see, like

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<v Speaker 1>by nineteen eight standards and like the stage production first

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<v Speaker 1>one up and I think seventy one, I could see

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<v Speaker 1>like some components of the story being like kind of

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<v Speaker 1>progressive and maybe even like feminists for that time. Very

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<v Speaker 1>second wavy. Yeah, so you know it's it's a it's

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<v Speaker 1>nestled in an interesting place in history, and yeah, we're

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<v Speaker 1>we're still uh you know, adapting it to prequels and uh,

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<v Speaker 1>spinoffs and all kinds of stuff. So I truly can't

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<v Speaker 1>think of I'm like, what, Maybe it will be great,

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<v Speaker 1>but I'm like, who cares about the summer? Where they love?

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<v Speaker 1>And I learned everything I needed to know. And in

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<v Speaker 1>the first minute, right he's on the beach. It was summer,

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<v Speaker 1>they were loving. That's all I needed to know. But

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<v Speaker 1>what about those summer nights. Don't you want to know

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<v Speaker 1>about the summer nights? You're right, I didn't know enough.

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<v Speaker 1>I only saw them during the day and that was

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<v Speaker 1>That's what I'm saying. Um, well, should I dive into

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<v Speaker 1>the recap and we'll go from there. Yeah, let's party. Okay,

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<v Speaker 1>So we are in the late nineteen fifties. I think

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<v Speaker 1>we're in California in the movie, although it's not fully specified,

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<v Speaker 1>I feel like they're the race at the end, they're

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<v Speaker 1>like driving along the l A l A River. Yeah,

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<v Speaker 1>I think that I looked at I don't I know

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<v Speaker 1>that the stage play takes place in correct New York. Okay,

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<v Speaker 1>it's supposed to be upstate in New York, which is

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<v Speaker 1>why everyone in the play is like pretty explicitly Italian.

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<v Speaker 1>That makes so much more sense because explicitly a schell

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<v Speaker 1>it kind of This is a horrible connection, but it

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<v Speaker 1>kind of reminded me because I thought they were in

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<v Speaker 1>Socall in this movie, but I wasn't sure. I also

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<v Speaker 1>saw somewhere that it was supposed to be Delaware, and

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<v Speaker 1>I don't even know what Delaware looks like. So well,

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<v Speaker 1>Google has a beach like that. But maybe they were

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<v Speaker 1>vacationing the same place. Yeah, I well, the one of

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<v Speaker 1>the writers of the stage production based off of his

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<v Speaker 1>high school in Chicago. But yeah, for I don't know, yeah,

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<v Speaker 1>the movie. I googled like, where does Grease the movie

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<v Speaker 1>take place? And then someone like California came up, But

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<v Speaker 1>it was just because I think it was just shot

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<v Speaker 1>in California. I don't. It looks like California, but they

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<v Speaker 1>all sound like they have fifties New York New York. Right.

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<v Speaker 1>It reminds me of really terrible connection, but it reminds

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<v Speaker 1>me of really where. It's like Ben Affleck's Grace. Have

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<v Speaker 1>you seen Gelie? I'm sorry, definitely don't watch it. It

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<v Speaker 1>starts like Ben Affleck. It's another movie that takes place

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<v Speaker 1>in l A where like Ben Affleck has this like

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<v Speaker 1>weird Newsy's accent. The whole time. We were like, how

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<v Speaker 1>is this possible? He's wearing like a heavy coat the

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<v Speaker 1>whole movie, even though it's agree he's wearing a leather coat.

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<v Speaker 1>He's has his hair all slipped back. It's out of control. Um. Anyway,

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<v Speaker 1>so we are in an unclear location. Um, But Danny

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<v Speaker 1>Zuko that's John Travolta of course, and Sandy is Olivia

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<v Speaker 1>Newton John are teenagers who have just spent a romantic

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<v Speaker 1>summer together at the beach, but the romance has to

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<v Speaker 1>come to an end because Sandy has to go back

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<v Speaker 1>to Australia. I love that. I didn't realize that she

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<v Speaker 1>is not Australian in the in the play, and it's

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<v Speaker 1>just because Olivia Newton John couldn't do a passable American American.

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<v Speaker 1>I love it and the play. It's a surprise that

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<v Speaker 1>he is at that school because he lies about going

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<v Speaker 1>to a private school to her over the summer. So interesting,

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<v Speaker 1>that's a more effective plot point. Yeah, she was going

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<v Speaker 1>to go to the Catholic girls school and he was

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<v Speaker 1>going to go to the boys school or whatever, and

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<v Speaker 1>they both end up at the public school, but because

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<v Speaker 1>that's where he actually does so was he trying to

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<v Speaker 1>make him seem like a higher class, like a higher

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<v Speaker 1>economic class than he is and like less of us? Lad?

0:13:26.760 --> 0:13:31.320
<v Speaker 1>I guess yeah, sure love it. Um. First we cut

0:13:31.320 --> 0:13:34.440
<v Speaker 1>to right l High. It's the first day of senior

0:13:34.520 --> 0:13:38.240
<v Speaker 1>year for Danny and his greaser friends who call themselves

0:13:38.280 --> 0:13:44.400
<v Speaker 1>the t Birds, which also thirty five years old. There's

0:13:44.679 --> 0:13:48.520
<v Speaker 1>it's been held back so much. Even watching this movie

0:13:48.679 --> 0:13:52.040
<v Speaker 1>on in three a DP on to be I was like,

0:13:52.120 --> 0:13:57.920
<v Speaker 1>these these men are simply not seventeen air forty, especially

0:13:57.920 --> 0:14:00.520
<v Speaker 1>who was like the word like one of the most

0:14:00.800 --> 0:14:03.880
<v Speaker 1>misogynistic guy. This is not helpful, But I think his

0:14:03.960 --> 0:14:08.400
<v Speaker 1>name is Sunny Sonny the Dog. Yeah. First of all

0:14:09.160 --> 0:14:11.720
<v Speaker 1>upsetting for me because I already lived with a misogynist

0:14:11.800 --> 0:14:15.840
<v Speaker 1>named Sonny and it's my dad. But that the guy

0:14:15.920 --> 0:14:18.760
<v Speaker 1>who plays Sonny especially, I'm like, you're a father, Like

0:14:18.800 --> 0:14:21.680
<v Speaker 1>what do you? How did you? But then you're like, oh,

0:14:21.720 --> 0:14:24.040
<v Speaker 1>he's a he's a good dancer. He's a good dancer.

0:14:24.120 --> 0:14:26.240
<v Speaker 1>I think he's actually thirty one in that movie, although

0:14:26.240 --> 0:14:30.120
<v Speaker 1>I agree that he looks thirty eight. Rough break, rough break.

0:14:30.160 --> 0:14:34.640
<v Speaker 1>For Sonny, he's had a difficult life. Maybe yeah. Well,

0:14:34.680 --> 0:14:39.320
<v Speaker 1>in addition to Sonny, there's k Nicky and Putsy and Duty.

0:14:39.640 --> 0:14:43.200
<v Speaker 1>They run with a group of girls called the Pink Ladies.

0:14:44.080 --> 0:14:48.680
<v Speaker 1>Rizzo is the leader. Uh Stalkard Channing plays this rendition

0:14:48.760 --> 0:14:53.040
<v Speaker 1>of of Rizzo. Gracie Gillum has played an incredible version

0:14:53.080 --> 0:14:59.240
<v Speaker 1>of Rizzo, just saying many icons have played this role. Um.

0:14:59.280 --> 0:15:02.720
<v Speaker 1>And then there's also Jan Marty and Frenchy and French.

0:15:02.760 --> 0:15:06.360
<v Speaker 1>She introduces the Pink Ladies to Sandy, who ended up

0:15:06.400 --> 0:15:09.200
<v Speaker 1>not going back to Australia and who is instead going

0:15:09.240 --> 0:15:13.600
<v Speaker 1>to high school at Rydel this year. Um. But Danny

0:15:13.600 --> 0:15:16.320
<v Speaker 1>and Sandy don't know yet that they are both at

0:15:16.320 --> 0:15:18.840
<v Speaker 1>the same school. Then we get the Summer Night Song

0:15:19.000 --> 0:15:21.480
<v Speaker 1>where Danny tells the t Birds about the girl he

0:15:21.520 --> 0:15:24.040
<v Speaker 1>met over the summer, and Sandy tells the Pink Ladies

0:15:24.080 --> 0:15:26.400
<v Speaker 1>about the boy she met and that his name is

0:15:26.520 --> 0:15:31.200
<v Speaker 1>Danny Zuko and they're like, oh, oh, no scandal. Then

0:15:31.840 --> 0:15:35.040
<v Speaker 1>at a football game, the Pink Ladies are like, hey, Sandy,

0:15:35.200 --> 0:15:39.160
<v Speaker 1>look who it is, and it's Danny. But Danny, because

0:15:39.160 --> 0:15:42.040
<v Speaker 1>he's in front of his like tough guy friends, he

0:15:42.080 --> 0:15:44.960
<v Speaker 1>feels that he can't be vulnerable and show his feelings

0:15:45.000 --> 0:15:48.239
<v Speaker 1>for Sandy, so he plays it all cool and aloof

0:15:48.560 --> 0:15:52.440
<v Speaker 1>like he doesn't really care about her, which of course

0:15:52.640 --> 0:15:57.600
<v Speaker 1>hurts Sandy's feelings, and she runs off. She loves Sandy

0:15:57.680 --> 0:16:01.680
<v Speaker 1>does be running off. She runs off so many times.

0:16:01.960 --> 0:16:06.440
<v Speaker 1>She's just like, exit left. I can't handle this. She

0:16:06.680 --> 0:16:09.960
<v Speaker 1>is exiting the scene constantly. There. I liked that. That

0:16:10.080 --> 0:16:14.160
<v Speaker 1>was another fun like place where the whole Australia thing

0:16:14.560 --> 0:16:19.160
<v Speaker 1>um just sounds really bizarre. Where he's like, how did

0:16:19.200 --> 0:16:21.600
<v Speaker 1>you like? How are you here? I thought you were

0:16:21.640 --> 0:16:26.520
<v Speaker 1>going back to Australia. She's like, we change change. You

0:16:26.560 --> 0:16:31.320
<v Speaker 1>moved to like Echo Park instead of home to Australia. Wild,

0:16:31.680 --> 0:16:35.560
<v Speaker 1>I know. Um. So Sandy is very sad she has

0:16:35.640 --> 0:16:38.520
<v Speaker 1>run off, and to cheer her up French she invites

0:16:38.720 --> 0:16:42.239
<v Speaker 1>Sandy over to her house for like a pink lady's sleepover,

0:16:42.960 --> 0:16:45.720
<v Speaker 1>But then they all just end up like mocking Sandy

0:16:45.800 --> 0:16:49.280
<v Speaker 1>for being like a goody two shoes, and then the

0:16:49.600 --> 0:16:52.320
<v Speaker 1>tea birds show up, and then Rizzo goes off with

0:16:52.400 --> 0:16:55.280
<v Speaker 1>Knicky and then they have unprotected sex in the back

0:16:55.440 --> 0:17:00.960
<v Speaker 1>of his car. Meanwhile, Sandy is still sad about Danny

0:17:01.040 --> 0:17:04.000
<v Speaker 1>being a jerk. So she sings a song about being

0:17:04.000 --> 0:17:08.160
<v Speaker 1>hopelessly devoted to him. It's cute. I like the end

0:17:08.280 --> 0:17:10.680
<v Speaker 1>where it's like the water and then you just see

0:17:10.680 --> 0:17:13.440
<v Speaker 1>a John Travolta floating in the water and you're like, oh,

0:17:13.480 --> 0:17:18.080
<v Speaker 1>that's I love how she puts Marty's nice stationary into

0:17:18.080 --> 0:17:20.760
<v Speaker 1>a cave pool and then he leaves it like an asshole.

0:17:21.840 --> 0:17:26.880
<v Speaker 1>What a weird choice, Sandy. Someone had to clean that up, Sandy.

0:17:27.480 --> 0:17:32.119
<v Speaker 1>And then she runs off, and she loves to run off.

0:17:33.680 --> 0:17:35.919
<v Speaker 1>It is stunning how many I should have counted. She

0:17:36.000 --> 0:17:38.520
<v Speaker 1>runs off so much. I I think I have a

0:17:38.560 --> 0:17:44.040
<v Speaker 1>pretty good count in the recap alone here. But um so, Meanwhile,

0:17:44.119 --> 0:17:47.240
<v Speaker 1>so there's this other group. There's like a rival group

0:17:47.320 --> 0:17:51.280
<v Speaker 1>of Greaser's called the Scorpions, which is just like a

0:17:51.359 --> 0:17:56.360
<v Speaker 1>Jets and Sharks thing, right, Yeah, I think I think

0:17:56.400 --> 0:18:00.320
<v Speaker 1>maybe the Scorpions don't go to Rydell or some thing.

0:18:00.480 --> 0:18:03.439
<v Speaker 1>I'm not totally sin. You can't not be going to

0:18:03.560 --> 0:18:07.600
<v Speaker 1>ride all. That's not good. Their leader is someone who

0:18:07.640 --> 0:18:10.040
<v Speaker 1>I think is named Leo. I don't know if they

0:18:10.080 --> 0:18:11.840
<v Speaker 1>even never say his name. In the movie. They call

0:18:11.920 --> 0:18:15.399
<v Speaker 1>him crater Face. I think maybe that's his nickname. Anyway,

0:18:15.640 --> 0:18:19.639
<v Speaker 1>there's this guy who bangs up Kinnicky's car, so the

0:18:19.680 --> 0:18:22.040
<v Speaker 1>Tea Birds have to fix up this car. And this

0:18:22.080 --> 0:18:24.199
<v Speaker 1>is when we get the Grease Lightning song, which I

0:18:24.200 --> 0:18:27.000
<v Speaker 1>think is also the name of the car. A lot

0:18:27.040 --> 0:18:29.959
<v Speaker 1>of stuff around this that is pretty unclear for me,

0:18:30.000 --> 0:18:33.720
<v Speaker 1>as you can tell um that dance sequence is still

0:18:34.640 --> 0:18:37.040
<v Speaker 1>so good and the outfits the tea though, when the

0:18:37.080 --> 0:18:39.720
<v Speaker 1>Tea Birds do the outfit change in Grease Lightning, I'm like,

0:18:39.800 --> 0:18:43.920
<v Speaker 1>where do I get a silver one es for men?

0:18:44.359 --> 0:18:49.000
<v Speaker 1>Like I really want that? Something that I find fascinating

0:18:49.000 --> 0:18:52.199
<v Speaker 1>about this type of movie featuring this type of character

0:18:52.280 --> 0:18:55.480
<v Speaker 1>who are like these like macho grease or tough guys,

0:18:56.400 --> 0:19:00.680
<v Speaker 1>the kind of like cognitive dissonance of then them busting

0:19:00.720 --> 0:19:05.960
<v Speaker 1>out into like choreographed songs with like these flashy outfits

0:19:06.000 --> 0:19:09.000
<v Speaker 1>and they're dancing and they're singing, but it's like they're

0:19:09.040 --> 0:19:12.000
<v Speaker 1>supposed to be these like tough masculine guys, and like,

0:19:12.119 --> 0:19:15.359
<v Speaker 1>I just think that that dissonance is very funny. Chats

0:19:15.400 --> 0:19:18.000
<v Speaker 1>and Sharks Baby the best, Like that's like the most

0:19:18.200 --> 0:19:24.480
<v Speaker 1>iconic like like hyper masculinity and uh, while also like

0:19:25.119 --> 0:19:31.240
<v Speaker 1>effortlessly executing a dance right, very masculine combing of the hair,

0:19:33.680 --> 0:19:36.960
<v Speaker 1>you know how it's supermanly to constantly be grooming yourself.

0:19:37.640 --> 0:19:42.200
<v Speaker 1>Um um okay. So meanwhile, Danny goes and tries to

0:19:42.240 --> 0:19:45.800
<v Speaker 1>apologize to Sandy for being all aloof like he was,

0:19:46.359 --> 0:19:50.480
<v Speaker 1>but Sandy's like, screw you, I'm dating Tom. Now, who

0:19:50.600 --> 0:19:55.359
<v Speaker 1>is this football jock? So Danny starts to try to

0:19:55.440 --> 0:19:58.679
<v Speaker 1>be a jock also to impress Sandy, and then we

0:19:58.720 --> 0:20:01.200
<v Speaker 1>get this very long sequence where he tries a bunch

0:20:01.200 --> 0:20:03.480
<v Speaker 1>of different sports and sucks at all of them. I

0:20:03.520 --> 0:20:07.240
<v Speaker 1>did not remember that sequence at all. I honestly didn't

0:20:07.440 --> 0:20:11.000
<v Speaker 1>remember because I think that there's so much like valid conversation,

0:20:11.040 --> 0:20:13.600
<v Speaker 1>but like a lot of conversation about how Sandy changes

0:20:13.640 --> 0:20:18.119
<v Speaker 1>for Danny. I forgot that he also tries to change

0:20:18.119 --> 0:20:20.800
<v Speaker 1>everything about himself. The tone of it's a little different,

0:20:20.840 --> 0:20:24.439
<v Speaker 1>but like it's just I was like, oh right, huh okay,

0:20:24.480 --> 0:20:27.359
<v Speaker 1>I yeah, I totally did not remember that that happens.

0:20:27.400 --> 0:20:29.760
<v Speaker 1>Does that happen in the play as well? No, you

0:20:29.800 --> 0:20:32.359
<v Speaker 1>can't have that many costume changes in a play. Also,

0:20:32.400 --> 0:20:35.280
<v Speaker 1>plays don't really have fun and games sections the way

0:20:35.280 --> 0:20:38.520
<v Speaker 1>that movies do, and kind of a very literal fun

0:20:38.560 --> 0:20:42.800
<v Speaker 1>and game section of this movie. Yeah, he's just playing

0:20:42.800 --> 0:20:45.960
<v Speaker 1>a bunch of different games. It's just like John Travolta

0:20:46.040 --> 0:20:50.080
<v Speaker 1>in a series of different pairs of shorts and the

0:20:50.200 --> 0:20:53.240
<v Speaker 1>play it's just track. Yeah, And there's kind of no

0:20:53.359 --> 0:20:56.080
<v Speaker 1>metaphor for the long distance running that the coach kind

0:20:56.080 --> 0:20:57.840
<v Speaker 1>of gives where you go like, oh, because he has

0:20:57.880 --> 0:21:00.560
<v Speaker 1>to go long distance running because Sandy is a long

0:21:00.680 --> 0:21:07.919
<v Speaker 1>game win. Oh. I didn't even catch that. And the

0:21:08.000 --> 0:21:10.400
<v Speaker 1>movie it does the passage of time in a way

0:21:10.440 --> 0:21:12.560
<v Speaker 1>that I didn't get until I watched this with my

0:21:12.640 --> 0:21:16.000
<v Speaker 1>boyfriend because he was like, oh, because he's trying out

0:21:16.040 --> 0:21:20.320
<v Speaker 1>for sports in season order, and so he starts off

0:21:20.480 --> 0:21:24.040
<v Speaker 1>with like a false sport and then he's in track

0:21:24.160 --> 0:21:26.399
<v Speaker 1>and that gets us to it being the spring Dance

0:21:26.440 --> 0:21:31.879
<v Speaker 1>about so this is a year long quest for him. Yeah. Yeah,

0:21:31.960 --> 0:21:34.960
<v Speaker 1>he like grows and changes actually for a long time

0:21:35.119 --> 0:21:37.760
<v Speaker 1>if he's doing these different sports. And that's our passage

0:21:37.760 --> 0:21:40.760
<v Speaker 1>of time in the plot, which is so bizarre because yeah,

0:21:40.880 --> 0:21:43.040
<v Speaker 1>like the the beginning of the movie, it's their first

0:21:43.119 --> 0:21:44.720
<v Speaker 1>day of school. The end of the movie, it's like

0:21:44.840 --> 0:21:48.400
<v Speaker 1>their graduation basically, But the movie seems like it takes

0:21:48.400 --> 0:21:51.360
<v Speaker 1>place over the course of like a week, so it's

0:21:51.520 --> 0:21:55.119
<v Speaker 1>really more dissonance that I can't really wrap my head around.

0:21:55.720 --> 0:21:59.280
<v Speaker 1>But yeah, so in the movie, he does land on track,

0:21:59.400 --> 0:22:02.080
<v Speaker 1>which we don't even find out until the end, but

0:22:02.119 --> 0:22:05.800
<v Speaker 1>we see him kind of like practicing track and Sandy

0:22:05.840 --> 0:22:09.320
<v Speaker 1>sees this and she is impressed because I guess she

0:22:09.359 --> 0:22:12.960
<v Speaker 1>loves jocks. I guess she loves athletes. Yeah. Also, the

0:22:12.960 --> 0:22:16.640
<v Speaker 1>other started, so much of this movie is weird at

0:22:16.680 --> 0:22:20.560
<v Speaker 1>this school, Like cheerleaders and jocks are like not cool

0:22:20.800 --> 0:22:23.800
<v Speaker 1>or they're like less cool. They're not cool by the

0:22:23.880 --> 0:22:28.680
<v Speaker 1>greaser standards. So yeah, right right, it's like it's an

0:22:29.080 --> 0:22:31.600
<v Speaker 1>all the kids running high school never heard of it,

0:22:31.880 --> 0:22:37.680
<v Speaker 1>Like pretty fascinating concept, but I can't relate. Well that's

0:22:37.680 --> 0:22:42.040
<v Speaker 1>another I'm like, are they like, how popular are they?

0:22:42.200 --> 0:22:45.800
<v Speaker 1>Is it just that we because we are following their story,

0:22:46.280 --> 0:22:48.920
<v Speaker 1>you know, we're seeing it through their perspectives, so they're like, Oh,

0:22:49.000 --> 0:22:51.640
<v Speaker 1>these must be like the cool kids around. But are

0:22:51.720 --> 0:22:53.600
<v Speaker 1>they I don't know. I don't know. It seems like

0:22:53.560 --> 0:22:56.080
<v Speaker 1>they're ruled the school with an iron fist, maybe because

0:22:56.119 --> 0:23:00.399
<v Speaker 1>I could because they're thirty years old that much. Well,

0:23:00.400 --> 0:23:05.240
<v Speaker 1>that's true. Because the the the cheerleader girl. I think Patty, Yeah,

0:23:05.440 --> 0:23:10.200
<v Speaker 1>Patty like it's throwing herself at Danny Zuko, so yeah yeah,

0:23:10.440 --> 0:23:12.920
<v Speaker 1>and she wants Rizzo to like think she's cool kind

0:23:12.960 --> 0:23:15.159
<v Speaker 1>of when she comes up to the lunch table and

0:23:15.200 --> 0:23:17.400
<v Speaker 1>it's like trying to fit in with the I think

0:23:17.400 --> 0:23:20.199
<v Speaker 1>the pink ladies ruled the school with an iron fist.

0:23:21.560 --> 0:23:24.840
<v Speaker 1>I like, I'll allow it. I mean horny all kids

0:23:24.920 --> 0:23:32.080
<v Speaker 1>running the school as a concept, I like same. So

0:23:32.600 --> 0:23:35.879
<v Speaker 1>Sandy is now impressed with Danny again and she's like, Hey,

0:23:35.920 --> 0:23:38.240
<v Speaker 1>there's this dance coming up. You should take me to it,

0:23:38.280 --> 0:23:42.360
<v Speaker 1>and he's like okay. But before that, Danny takes Sandy

0:23:42.440 --> 0:23:45.639
<v Speaker 1>to this diner, but Danny is embarrassed because his friends

0:23:45.640 --> 0:23:49.240
<v Speaker 1>are there, and things kind of fall apart for everyone.

0:23:49.280 --> 0:23:52.880
<v Speaker 1>We also get the Beauty School dropout song because there's

0:23:52.920 --> 0:23:55.639
<v Speaker 1>a random subplot where French she has dropped out of

0:23:55.720 --> 0:23:58.840
<v Speaker 1>high school to go to beauty school. Then the dance

0:23:58.880 --> 0:24:03.600
<v Speaker 1>happens where the National Bandstand TV show is there to

0:24:03.800 --> 0:24:08.399
<v Speaker 1>televise this like dance competition, and Danny ends up winning

0:24:08.400 --> 0:24:12.760
<v Speaker 1>the competition, but it's by dancing with another girl cha chaw.

0:24:13.720 --> 0:24:17.359
<v Speaker 1>So Sandy sees this dance with Cha Chaw and she'll

0:24:17.400 --> 0:24:20.960
<v Speaker 1>never guess what she does. She gets jealous and runs off.

0:24:21.920 --> 0:24:25.960
<v Speaker 1>So another very weird scene. Yeah. Then we cut to

0:24:26.560 --> 0:24:30.240
<v Speaker 1>a drive in movie theater and Rizzo she thinks she

0:24:30.320 --> 0:24:33.439
<v Speaker 1>might be pregnant. The whole school finds out about it

0:24:33.440 --> 0:24:36.800
<v Speaker 1>in like ten seconds. I think we're missing that. Marty

0:24:36.920 --> 0:24:41.119
<v Speaker 1>alludes to the host of the dance trying to drug

0:24:41.160 --> 0:24:45.879
<v Speaker 1>her or successfully, and it just gets brushed rider reased

0:24:46.000 --> 0:24:49.639
<v Speaker 1>right past. Put an aspirin in my drink and I

0:24:49.720 --> 0:24:51.320
<v Speaker 1>was like, I don't think that was an aspirin, Like

0:24:52.280 --> 0:24:58.240
<v Speaker 1>maybe brush up and not brush over that. Yeah, there's

0:24:58.280 --> 0:25:00.640
<v Speaker 1>so many things that people just like in this movie.

0:25:00.680 --> 0:25:03.200
<v Speaker 1>And then you're like, is that going to come back?

0:25:03.400 --> 0:25:05.200
<v Speaker 1>Like that was really fucked up? And then it never

0:25:05.240 --> 0:25:09.080
<v Speaker 1>comes back Like they didn't think that was sucked up.

0:25:09.080 --> 0:25:12.240
<v Speaker 1>They just thought that was a joke that was normal

0:25:12.320 --> 0:25:16.959
<v Speaker 1>in night, I guess. So. So Danny and Sandy are

0:25:16.960 --> 0:25:19.680
<v Speaker 1>also at the drive in and Danny gives her his

0:25:19.800 --> 0:25:22.560
<v Speaker 1>class ring and then he tries to force himself on

0:25:22.680 --> 0:25:27.639
<v Speaker 1>her and she doesn't want that, so she runs off again.

0:25:28.200 --> 0:25:30.320
<v Speaker 1>That's one of the running off that I'm very I

0:25:30.359 --> 0:25:32.400
<v Speaker 1>was like, Okay, that's that's a good that's a good

0:25:32.440 --> 0:25:34.480
<v Speaker 1>run off Sometimes and she runs away, I'm like where

0:25:34.520 --> 0:25:36.320
<v Speaker 1>are you going? But then that time you're like, oh

0:25:36.359 --> 0:25:38.879
<v Speaker 1>that is you do run away? Yeah you do. We

0:25:38.920 --> 0:25:40.520
<v Speaker 1>also get a song here that I feel like, it's

0:25:40.560 --> 0:25:44.639
<v Speaker 1>not very memorable. I totally forgot about it. It's yeah,

0:25:44.720 --> 0:25:47.880
<v Speaker 1>I mean it is like objectively watching that of like

0:25:48.160 --> 0:25:50.800
<v Speaker 1>he forces himself on his girlfriend and then sings a

0:25:50.840 --> 0:25:55.720
<v Speaker 1>whole song about like why is she so Like it's

0:25:55.760 --> 0:25:58.880
<v Speaker 1>when he's supposed to reflect and learn about his mistakes

0:25:58.920 --> 0:26:01.800
<v Speaker 1>in the plot for us to like him at the end,

0:26:02.240 --> 0:26:05.000
<v Speaker 1>and instead he just complains about it and what will

0:26:05.040 --> 0:26:07.480
<v Speaker 1>they say Monday at school? And he obviously means like

0:26:07.600 --> 0:26:10.960
<v Speaker 1>she left me, that's embarrassing. Not they saw me assault

0:26:11.040 --> 0:26:14.639
<v Speaker 1>somebody and she screamed and ran away. How embarrassing? Like

0:26:15.800 --> 0:26:20.080
<v Speaker 1>that that I told I had no recollection of that song,

0:26:20.160 --> 0:26:23.119
<v Speaker 1>And it is so jarring to listen to now because

0:26:23.320 --> 0:26:25.280
<v Speaker 1>and it also sounds like at certain parts of like yeah,

0:26:25.280 --> 0:26:28.000
<v Speaker 1>he's kind of like blaming her for making him look

0:26:28.080 --> 0:26:32.760
<v Speaker 1>bad because he's it's not an introspective song. He's just

0:26:33.720 --> 0:26:44.960
<v Speaker 1>like that song was wild and it's like Danny go home,

0:26:45.320 --> 0:26:49.479
<v Speaker 1>take a long, hard look in the mirror, like figure,

0:26:52.280 --> 0:26:55.600
<v Speaker 1>Danny needs to work on himself, and also that like

0:26:56.040 --> 0:26:58.800
<v Speaker 1>men working on themselves in this movie means joining the

0:26:58.880 --> 0:27:07.679
<v Speaker 1>track team. It's like a sure, okay, I guess okay.

0:27:07.680 --> 0:27:09.480
<v Speaker 1>So then we cut to the next day, or what

0:27:09.680 --> 0:27:11.480
<v Speaker 1>it might be the next day, it might be five

0:27:11.520 --> 0:27:16.480
<v Speaker 1>weeks later, We're not sure whatever, but um Sandy tries

0:27:16.560 --> 0:27:19.280
<v Speaker 1>to extend an olive branch to Rizz. Oh. I think

0:27:19.320 --> 0:27:23.000
<v Speaker 1>it's implied that she heard that Rizzle might be pregnant,

0:27:23.000 --> 0:27:27.040
<v Speaker 1>so she's trying to reach out, and I really like that.

0:27:28.040 --> 0:27:31.080
<v Speaker 1>In between, I was like, I do I love Sandy.

0:27:31.400 --> 0:27:33.439
<v Speaker 1>I just wish that she could stay the way she is.

0:27:33.480 --> 0:27:37.760
<v Speaker 1>She's a sweetheart. She's very she's very quick to scare,

0:27:38.040 --> 0:27:42.200
<v Speaker 1>but she's but she's like such a sweet kind person.

0:27:42.680 --> 0:27:45.840
<v Speaker 1>I think she has scary parents. It's implied by the

0:27:45.880 --> 0:27:48.600
<v Speaker 1>movie and more explicitly implied by the play that she's

0:27:48.600 --> 0:27:51.919
<v Speaker 1>pretty afraid of her parents. I didn't pick up on

0:27:51.960 --> 0:27:54.359
<v Speaker 1>that watching me, and I don't know what she's gonna

0:27:54.440 --> 0:27:56.439
<v Speaker 1>do with all that hair spray. At the end of

0:27:56.480 --> 0:27:59.040
<v Speaker 1>the movie, she gonna have to shower. French cheese house

0:27:59.040 --> 0:28:02.680
<v Speaker 1>and get in trouble for having wet hair. She's gonna

0:28:02.720 --> 0:28:07.800
<v Speaker 1>have to live a double life now. Her parents were like, hey,

0:28:07.880 --> 0:28:10.040
<v Speaker 1>you thought you were going back home to your home

0:28:10.080 --> 0:28:12.960
<v Speaker 1>in Australia. Too bad, you live in the United States

0:28:13.000 --> 0:28:17.960
<v Speaker 1>now in some city. We don't know where we are, Okay.

0:28:17.960 --> 0:28:19.760
<v Speaker 1>So in the play I'm sorry to be in the

0:28:19.760 --> 0:28:22.040
<v Speaker 1>play a guy, but in the place I want to

0:28:22.080 --> 0:28:25.000
<v Speaker 1>know and the play, Sandy is going to go to

0:28:25.080 --> 0:28:28.480
<v Speaker 1>the private Christian school, but then her dad gets in

0:28:28.520 --> 0:28:32.320
<v Speaker 1>a fight with the nun lady there about her patent

0:28:32.840 --> 0:28:36.200
<v Speaker 1>leather shoes because the school is claiming that that means

0:28:36.240 --> 0:28:38.200
<v Speaker 1>that people can see up her skirt because her shoes

0:28:38.240 --> 0:28:41.040
<v Speaker 1>are too shiny. But her dad is obviously the kind

0:28:41.040 --> 0:28:43.760
<v Speaker 1>of rageful person that can't take that criticism and so

0:28:43.920 --> 0:28:47.080
<v Speaker 1>pulled her from the school and center to public schooling.

0:28:48.560 --> 0:28:52.000
<v Speaker 1>See I think like again, it's like knowing that framework

0:28:52.440 --> 0:28:55.880
<v Speaker 1>helps you understand Sandy a little bit better, because in

0:28:55.920 --> 0:28:59.040
<v Speaker 1>the in this movie, it seems like she is just

0:28:59.120 --> 0:29:01.560
<v Speaker 1>like that's just what she's like. She's like kind of

0:29:01.720 --> 0:29:05.440
<v Speaker 1>conservative and how she dresses and behaves, and then everyone's

0:29:05.480 --> 0:29:08.160
<v Speaker 1>like that sucks. You have to change but it's like

0:29:08.200 --> 0:29:11.280
<v Speaker 1>if there was a context, any context for like she

0:29:11.480 --> 0:29:14.520
<v Speaker 1>is behaving that way out of reaction to something else

0:29:15.680 --> 0:29:19.440
<v Speaker 1>and like wants to live in like a more sexually freeway.

0:29:19.560 --> 0:29:23.240
<v Speaker 1>That's that makes more sense, I don't think. But the

0:29:23.240 --> 0:29:26.040
<v Speaker 1>movie don't do that. The movie is for prude self,

0:29:26.120 --> 0:29:28.320
<v Speaker 1>is her true self, and it makes a no case

0:29:28.360 --> 0:29:32.360
<v Speaker 1>against that. Yeah, yeah, damn, that did I I did

0:29:32.400 --> 0:29:35.120
<v Speaker 1>not know that she had a scary I mean, that's

0:29:36.200 --> 0:29:39.200
<v Speaker 1>it's just mildly implied by the play, but it's definitely

0:29:39.280 --> 0:29:46.600
<v Speaker 1>more present rageful parents. Okay, So Sandy has kind of

0:29:46.640 --> 0:29:49.520
<v Speaker 1>like extended in olive branch to Rizzo, and then Rizzo

0:29:49.560 --> 0:29:51.960
<v Speaker 1>sings a song about how there are worse things that

0:29:52.120 --> 0:29:56.280
<v Speaker 1>she could do. Then it is time for thunder Road,

0:29:56.880 --> 0:30:01.239
<v Speaker 1>which is a race between the t birds and the

0:30:01.280 --> 0:30:04.560
<v Speaker 1>Scorpions and KNICKI was supposed to race against the head

0:30:04.600 --> 0:30:07.400
<v Speaker 1>Scorpion guy, but he gets bonked on the head, so

0:30:07.520 --> 0:30:15.320
<v Speaker 1>Danny has to race and classic jacket guy injury, so

0:30:15.400 --> 0:30:19.840
<v Speaker 1>Danny races against the scorpion instead, and Sandy is there

0:30:19.880 --> 0:30:23.920
<v Speaker 1>to watch. She sees Danny Wynn and then she gets

0:30:23.960 --> 0:30:29.240
<v Speaker 1>an idea, which is awful idea. Sandy gets a terrible,

0:30:29.280 --> 0:30:32.680
<v Speaker 1>awful ideas, a terrible idea. She runs off to execute

0:30:32.680 --> 0:30:38.000
<v Speaker 1>this idea, which is to change anything about herself. She's

0:30:38.000 --> 0:30:41.160
<v Speaker 1>there to help her, and she basically changes her entire

0:30:41.240 --> 0:30:44.400
<v Speaker 1>look and her entire personality, and she shows up at

0:30:44.440 --> 0:30:48.680
<v Speaker 1>the school carnival looking like a greas Or girl, all

0:30:48.760 --> 0:30:51.960
<v Speaker 1>decked out in black leather, and Danny is like, oh,

0:30:52.040 --> 0:30:55.600
<v Speaker 1>hubble hubba, and he takes off his letterman cardigan. I

0:30:55.600 --> 0:30:58.120
<v Speaker 1>feel like that because he's wearing like I didn't need

0:30:58.160 --> 0:31:01.240
<v Speaker 1>to change. I did forget that he showed up prepared

0:31:01.360 --> 0:31:04.640
<v Speaker 1>to change everything about himself. But then she shows up

0:31:04.920 --> 0:31:07.640
<v Speaker 1>already having changed everything about herself, and then he immediately

0:31:07.720 --> 0:31:12.040
<v Speaker 1>is like, fuck it, we're both Danny again. Forget about

0:31:12.080 --> 0:31:16.560
<v Speaker 1>that ship away, never a discussion. I was like, well, okay,

0:31:16.800 --> 0:31:19.800
<v Speaker 1>but but then it's like, but then they're only ever

0:31:19.960 --> 0:31:23.160
<v Speaker 1>like happy when they're themselves with each other. So I

0:31:23.160 --> 0:31:25.840
<v Speaker 1>don't like, how was that whole thing at the unnecessary?

0:31:25.880 --> 0:31:29.160
<v Speaker 1>He liked, He liked how she was exactly I don't.

0:31:29.440 --> 0:31:33.720
<v Speaker 1>It's yeah, there's a lot to talk about there. So

0:31:34.000 --> 0:31:37.200
<v Speaker 1>she shows up all completely different. Danny likes it. They

0:31:37.240 --> 0:31:39.960
<v Speaker 1>saying you're the one that I want to each other. Um,

0:31:40.280 --> 0:31:43.520
<v Speaker 1>and there's some other kind of date moll stuff like

0:31:45.040 --> 0:31:48.600
<v Speaker 1>pregnant those shouts from a ferris wheel. It turns out

0:31:48.640 --> 0:31:52.440
<v Speaker 1>him was a false a law. That was the most

0:31:52.560 --> 0:31:58.160
<v Speaker 1>abrupt resolution to what was like a pretty large plot points,

0:31:58.200 --> 0:32:02.800
<v Speaker 1>like Jess kidding Eddie is like, Whooo, I'm gonna make

0:32:02.800 --> 0:32:05.440
<v Speaker 1>an honest woman out of you? Does that? Wait? Does

0:32:05.480 --> 0:32:07.400
<v Speaker 1>that happen in the play? Did you get to yell

0:32:07.840 --> 0:32:10.920
<v Speaker 1>from a distance? Um? There's definitely no ferris wheel in

0:32:10.960 --> 0:32:14.720
<v Speaker 1>the play, And no, that ending is a little different, um,

0:32:14.760 --> 0:32:17.640
<v Speaker 1>And it sort of isn't brought up that much except

0:32:17.720 --> 0:32:21.000
<v Speaker 1>for after they've sung and it's the end. She's like, hey,

0:32:21.080 --> 0:32:23.080
<v Speaker 1>can we go to the pharmacy? I think I'm getting

0:32:23.120 --> 0:32:26.240
<v Speaker 1>my friend? And that's like the third to last or

0:32:26.280 --> 0:32:29.560
<v Speaker 1>fourth the last line of the whole play, Like her period.

0:32:30.440 --> 0:32:34.920
<v Speaker 1>She's getting her period? Okay, while all right, but she's

0:32:34.920 --> 0:32:38.840
<v Speaker 1>not she doesn't know she isn't pregnant. Oh, she just

0:32:38.880 --> 0:32:42.760
<v Speaker 1>thinks that she's going to get her friend. You can

0:32:42.920 --> 0:32:45.760
<v Speaker 1>sometimes you feel it coming on, you know, Oh yeah

0:32:45.920 --> 0:32:48.280
<v Speaker 1>for sure. But I don't know how you know that

0:32:48.320 --> 0:32:51.520
<v Speaker 1>if you've never known what pregnancy feels like. Hey, CONNICKI,

0:32:51.600 --> 0:32:53.840
<v Speaker 1>can we stop at the drug store. I think I'm

0:32:53.840 --> 0:32:56.440
<v Speaker 1>getting my friend. CONNICKI puts an arm around her, and

0:32:56.440 --> 0:32:59.760
<v Speaker 1>all the kids smile and cheer for Rizzo French. The

0:32:59.760 --> 0:33:07.840
<v Speaker 1>whole crowd together again. I could cry Jan Jimmie too, Sandy. Yeah, curtain.

0:33:08.120 --> 0:33:14.480
<v Speaker 1>Now that's plot resolution in the movie. The last thing

0:33:14.560 --> 0:33:18.520
<v Speaker 1>we see is Danny and Sandy flying into the sky

0:33:19.280 --> 0:33:24.640
<v Speaker 1>in Danny's convertible in the fantasy car. Because that's not

0:33:24.760 --> 0:33:27.720
<v Speaker 1>what the real grease lightning looks like. That's what it

0:33:27.720 --> 0:33:31.000
<v Speaker 1>looks like in the fantasy Yes, do they all die?

0:33:31.560 --> 0:33:35.040
<v Speaker 1>That's the best fan theory. Are we going to get

0:33:35.040 --> 0:33:38.040
<v Speaker 1>into the fan theory? Oh? We could well before we

0:33:38.120 --> 0:33:40.040
<v Speaker 1>do that. That's the end of the movie. So let's

0:33:40.040 --> 0:33:42.240
<v Speaker 1>take a quick break and then we will come right

0:33:42.240 --> 0:33:51.000
<v Speaker 1>back to discuss. So what do we want to talk about? First? Wait,

0:33:51.040 --> 0:33:52.800
<v Speaker 1>what is this fan theory? I would love to hear.

0:33:52.840 --> 0:33:55.480
<v Speaker 1>I would love to hear the fan theories just to

0:33:55.520 --> 0:33:59.480
<v Speaker 1>get things all heated up. Well, there's a really popular

0:33:59.480 --> 0:34:05.400
<v Speaker 1>fan theory. Okay, that's Sandy dies in the beginning sequence

0:34:06.360 --> 0:34:10.279
<v Speaker 1>and the whole thing is her coma dream until she

0:34:10.440 --> 0:34:14.399
<v Speaker 1>finally properly dies. At the end, and then that's why

0:34:14.440 --> 0:34:17.880
<v Speaker 1>there's the shot of the heavenly clouds, So that theory

0:34:17.960 --> 0:34:21.680
<v Speaker 1>being that when they get splashed in the footage, she

0:34:21.760 --> 0:34:26.719
<v Speaker 1>actually drowns instead of him just lying about because he sings,

0:34:27.360 --> 0:34:32.400
<v Speaker 1>she nearly drowned, And so that fan theory takes Zuko's

0:34:32.480 --> 0:34:35.280
<v Speaker 1>obvious lie about saving her life and says that's true

0:34:36.000 --> 0:34:37.799
<v Speaker 1>and the whole thing makes sense, and that's why they're

0:34:37.800 --> 0:34:40.279
<v Speaker 1>singing because she's either been dead the whole time or

0:34:40.480 --> 0:34:44.200
<v Speaker 1>in a coma, and then she dies at the end. God. Wait,

0:34:44.360 --> 0:34:48.360
<v Speaker 1>that's fan theories always like scramble my brain because I'm like,

0:34:48.360 --> 0:34:52.239
<v Speaker 1>there's no way. But then also it's like, why is

0:34:52.280 --> 0:34:54.520
<v Speaker 1>there a shot of them flying into the clouds? Then

0:34:55.560 --> 0:34:58.200
<v Speaker 1>I don't know. I did. I did, Like I remember, like,

0:34:58.320 --> 0:35:00.560
<v Speaker 1>especially when I was a kid, I did not question it.

0:35:00.600 --> 0:35:04.000
<v Speaker 1>I was like, Yeah, they're so happy, they're so happy

0:35:04.200 --> 0:35:06.640
<v Speaker 1>she changed everything about herself and now a car can fly,

0:35:07.200 --> 0:35:13.480
<v Speaker 1>Like that's the power of women changing for people. Uh well,

0:35:13.520 --> 0:35:17.520
<v Speaker 1>shall we shall we talk about that because that is

0:35:17.719 --> 0:35:20.319
<v Speaker 1>kind of one of the most glaring things, I mean,

0:35:20.360 --> 0:35:23.000
<v Speaker 1>one of many glaring things of this movie. And I

0:35:23.040 --> 0:35:26.040
<v Speaker 1>think it's like the most popular criticism of the movie

0:35:26.080 --> 0:35:30.320
<v Speaker 1>now too right, Yeah, because to me, so like a

0:35:30.480 --> 0:35:34.160
<v Speaker 1>main arc of this movie is like Danny kind of

0:35:34.239 --> 0:35:38.480
<v Speaker 1>being in this prison of his own toxic masculinity and

0:35:38.520 --> 0:35:41.680
<v Speaker 1>like needing to learn that it's okay to be emotionally

0:35:41.760 --> 0:35:44.680
<v Speaker 1>vulnerable and to like let his friends know that he

0:35:44.719 --> 0:35:49.000
<v Speaker 1>cares about a girl. Watching him reach these conclusions and

0:35:49.040 --> 0:35:53.400
<v Speaker 1>how he goes about doing that is like not handled

0:35:53.480 --> 0:35:56.600
<v Speaker 1>the best. But I was like, okay, like this movie

0:35:56.719 --> 0:35:59.919
<v Speaker 1>it does have more of a commentary on toxic masculinity

0:36:00.040 --> 0:36:03.920
<v Speaker 1>then I remembered. So I was like, okay, yeah, that

0:36:04.080 --> 0:36:08.160
<v Speaker 1>this is something. But then he comes to this realization,

0:36:08.680 --> 0:36:13.759
<v Speaker 1>but it doesn't really matter because Sandy has just completely

0:36:13.840 --> 0:36:20.400
<v Speaker 1>changed everything about herself for this guy, and he is like, okay, great,

0:36:20.680 --> 0:36:23.479
<v Speaker 1>thanks for doing that. We can be in love now.

0:36:24.200 --> 0:36:28.080
<v Speaker 1>It's really bizarre. I feel like watching through it these

0:36:28.160 --> 0:36:30.880
<v Speaker 1>like two times to get Ready, it was like I

0:36:31.480 --> 0:36:34.400
<v Speaker 1>think that, like the popular criticism is like a little

0:36:34.480 --> 0:36:38.560
<v Speaker 1>overly simplistic, because you're right that, like they it's just weird,

0:36:38.680 --> 0:36:41.000
<v Speaker 1>Like this movie starts saying a lot of things and

0:36:41.040 --> 0:36:43.319
<v Speaker 1>then kind of doesn't finish saying any of them, and

0:36:43.360 --> 0:36:45.160
<v Speaker 1>then at the end they like, actually the status quo

0:36:45.239 --> 0:36:48.120
<v Speaker 1>was fine, Like it's just bizarre because it's like there

0:36:48.120 --> 0:36:50.319
<v Speaker 1>were moments where you were like, oh, that seems like

0:36:50.360 --> 0:36:55.080
<v Speaker 1>an intentional like this like hyper masculine life that Danny's

0:36:55.120 --> 0:37:00.560
<v Speaker 1>living is like affecting him negatively and like he's he's

0:37:00.600 --> 0:37:03.680
<v Speaker 1>not his like most authentic self when he's like with

0:37:03.719 --> 0:37:06.520
<v Speaker 1>the t birds, and it's clear that the movie wants

0:37:06.520 --> 0:37:08.440
<v Speaker 1>you to think that way. But then like in the

0:37:08.480 --> 0:37:10.200
<v Speaker 1>back half of the movie, they're kind of like, but

0:37:10.320 --> 0:37:14.319
<v Speaker 1>fuck it, who cares? Like it's so weird. It's but

0:37:14.360 --> 0:37:16.919
<v Speaker 1>I feel like the conversation is started, but then it's

0:37:16.960 --> 0:37:20.879
<v Speaker 1>just like abandoned, and it was what is like okay

0:37:21.680 --> 0:37:25.640
<v Speaker 1>question for the group? What is the like what is

0:37:26.360 --> 0:37:28.440
<v Speaker 1>what are you supposed to think? At the end of

0:37:28.480 --> 0:37:33.320
<v Speaker 1>this movie, Like now I was like being like what

0:37:33.320 --> 0:37:37.320
<v Speaker 1>what was that movie about? You know, it's just everything

0:37:37.400 --> 0:37:41.160
<v Speaker 1>he does that we are like, oh, Danny, why did

0:37:41.160 --> 0:37:43.440
<v Speaker 1>you do that? Stop? That is like it is because

0:37:43.440 --> 0:37:47.800
<v Speaker 1>he's trying to maintain this persona, maintain this like macho

0:37:48.360 --> 0:37:52.680
<v Speaker 1>persona of toxic masculinity to like impress his his guy friends,

0:37:52.719 --> 0:37:56.600
<v Speaker 1>his tough greaser boys. And when he like very clearly

0:37:56.600 --> 0:37:59.000
<v Speaker 1>wants to be able to be emotionally vulnerable and too

0:37:59.080 --> 0:38:04.360
<v Speaker 1>like like him be on the beach exactly, although he

0:38:04.400 --> 0:38:06.279
<v Speaker 1>doesn't suck up stuff on the beach too. Or he's like,

0:38:06.680 --> 0:38:08.520
<v Speaker 1>I'm going to kiss you and she's like, no, Danny,

0:38:08.520 --> 0:38:15.400
<v Speaker 1>don't spoil it. Yeah, only making it better. Yeah, And

0:38:15.440 --> 0:38:18.720
<v Speaker 1>it's like he forces himself onto her in the first scene,

0:38:19.080 --> 0:38:22.759
<v Speaker 1>the first scene, in the driving scene, in many scenes. Um,

0:38:23.120 --> 0:38:25.959
<v Speaker 1>and there's a lot to talk about there as well.

0:38:26.000 --> 0:38:30.080
<v Speaker 1>But yeah, it's just the takeaway seems like true like

0:38:30.120 --> 0:38:33.840
<v Speaker 1>either it just is like the takeaway seems just like

0:38:33.880 --> 0:38:36.480
<v Speaker 1>and the status quote is fine the whole time, and

0:38:37.520 --> 0:38:40.880
<v Speaker 1>and it's and that's fine. It's just well yeah. So

0:38:41.560 --> 0:38:46.080
<v Speaker 1>one of the writers of the original production, Jim Jacobs,

0:38:46.120 --> 0:38:49.919
<v Speaker 1>and I'm pulling this from our favorite scholarly journal Wikipedia,

0:38:50.719 --> 0:38:54.880
<v Speaker 1>So and I wasn't able to find exactly where what

0:38:55.040 --> 0:38:57.560
<v Speaker 1>this original quote was or what the original source was,

0:38:57.640 --> 0:38:59.320
<v Speaker 1>so kind of take this with a grain of salt.

0:38:59.320 --> 0:39:02.320
<v Speaker 1>But according to Wikipedia, if you look at the Grease

0:39:02.840 --> 0:39:08.640
<v Speaker 1>Musical page, it says that Jacobs has described the stage

0:39:08.640 --> 0:39:13.759
<v Speaker 1>productions basic plot as a subversion of common troops of

0:39:13.800 --> 0:39:18.080
<v Speaker 1>like fifties movies where in fifties movies, like the female

0:39:18.239 --> 0:39:21.399
<v Speaker 1>lead would often kind of transform this alpha male into

0:39:21.400 --> 0:39:26.120
<v Speaker 1>a more sympathetic and sensitive character. So Jim Jacobs was

0:39:26.160 --> 0:39:30.759
<v Speaker 1>trying to subvert that and make it so that like

0:39:30.960 --> 0:39:37.520
<v Speaker 1>the story is not doing good and like he stays

0:39:37.600 --> 0:39:41.680
<v Speaker 1>unsympathetic and she has to change to conform to his

0:39:41.840 --> 0:39:46.160
<v Speaker 1>fantasies and to his desires. It's and it's like, why

0:39:46.160 --> 0:39:51.719
<v Speaker 1>would you why would you subvert that? Like, yeah, it's

0:39:51.800 --> 0:39:54.520
<v Speaker 1>it's kind of saying like the movie is saying slut

0:39:54.560 --> 0:39:59.080
<v Speaker 1>shamming is bad, you know what's good? Prude shaming? Right,

0:39:59.200 --> 0:40:02.160
<v Speaker 1>Like it's just in like okay, having the context of

0:40:02.320 --> 0:40:05.240
<v Speaker 1>that attempted inversion, I feel like it's it's kind of

0:40:05.480 --> 0:40:08.160
<v Speaker 1>follows the same logic of why a lot of these

0:40:08.200 --> 0:40:11.759
<v Speaker 1>like all female reboots don't work is like let's just

0:40:11.880 --> 0:40:15.759
<v Speaker 1>have let's just um gender swap this premise and then

0:40:15.800 --> 0:40:21.520
<v Speaker 1>not resolve any of the harmful aspects of the premise um,

0:40:22.040 --> 0:40:26.680
<v Speaker 1>which it doesn't. It doesn't work, like and I guess

0:40:26.760 --> 0:40:31.080
<v Speaker 1>it is like very second wave feminism to me to

0:40:31.080 --> 0:40:35.960
<v Speaker 1>to have that kind of like rooted in sexual freedom

0:40:36.080 --> 0:40:40.680
<v Speaker 1>and like not shaming women for having sex but then

0:40:40.760 --> 0:40:45.560
<v Speaker 1>also like outwardly shaming any woman who doesn't feel that way,

0:40:45.640 --> 0:40:48.759
<v Speaker 1>or like just assuming that, well, now every woman has

0:40:48.760 --> 0:40:51.040
<v Speaker 1>to be extremely horny and if you're not, like you're

0:40:51.080 --> 0:40:53.160
<v Speaker 1>stuck in the past, you better have sex right now

0:40:54.239 --> 0:40:58.239
<v Speaker 1>or John Travolta will force it. Like it's also worth

0:40:58.280 --> 0:41:02.720
<v Speaker 1>mentioning that Danny's you Go is an incredible slut shamer,

0:41:03.280 --> 0:41:06.719
<v Speaker 1>and he seems to devalue anyone that he's already slept with,

0:41:06.920 --> 0:41:10.359
<v Speaker 1>and we see that consistently. Yes, it's like we see

0:41:10.400 --> 0:41:12.520
<v Speaker 1>him at school for the first time and he says, oh,

0:41:12.560 --> 0:41:15.480
<v Speaker 1>same old broads everyone's made it with, Like he dismisses

0:41:15.480 --> 0:41:18.359
<v Speaker 1>them is unworthy because he's already slept with them. And

0:41:18.400 --> 0:41:20.960
<v Speaker 1>he does that with Rizzo, he does that with cha Chaw,

0:41:21.440 --> 0:41:23.759
<v Speaker 1>and it leaves me wondering what how he's going to

0:41:23.800 --> 0:41:27.279
<v Speaker 1>treat Sandy when he finally sleeps with her, right, And

0:41:27.320 --> 0:41:31.360
<v Speaker 1>it seems like part of my okay, So part of

0:41:31.400 --> 0:41:35.439
<v Speaker 1>how I was reading his like determination to win her

0:41:35.520 --> 0:41:38.440
<v Speaker 1>over was connected to, like, I think that there's just

0:41:38.480 --> 0:41:40.959
<v Speaker 1>like a lot of Madonna hore stuff going on here

0:41:41.400 --> 0:41:44.680
<v Speaker 1>where part of why he's pursuing Sandy. So aggressively is

0:41:44.719 --> 0:41:48.480
<v Speaker 1>because she will not have sex with him and like

0:41:48.800 --> 0:41:51.800
<v Speaker 1>that and just like kind of yeah, it's like valuing

0:41:51.840 --> 0:41:55.400
<v Speaker 1>her exactly and where like he see he perceives her

0:41:55.440 --> 0:41:57.840
<v Speaker 1>as this like oh if I can get this girl,

0:41:57.960 --> 0:42:00.680
<v Speaker 1>It's it's almost like the cruel intentions thing where Ryan

0:42:00.719 --> 0:42:05.880
<v Speaker 1>Phillippi is aggressively pursuing Reese Witherspoon because she's this like

0:42:06.120 --> 0:42:09.359
<v Speaker 1>ultra virgin type and that's why he's interested in her

0:42:09.440 --> 0:42:12.400
<v Speaker 1>because like she like she'll never give it up, but

0:42:12.440 --> 0:42:14.440
<v Speaker 1>if he can manage to do it, then he's like

0:42:14.520 --> 0:42:16.680
<v Speaker 1>the Gaul like the King of the World kind of thing.

0:42:16.719 --> 0:42:20.480
<v Speaker 1>Not to quote Titanic, of course, but a sleep Titanic

0:42:20.960 --> 0:42:23.840
<v Speaker 1>a perfect movie. This I feel like, I mean, we

0:42:23.880 --> 0:42:27.120
<v Speaker 1>have no choice but to assume that that's what Danny

0:42:27.200 --> 0:42:30.879
<v Speaker 1>sees in Sandy because so little there's like zero time

0:42:30.960 --> 0:42:34.759
<v Speaker 1>spent in the movie showing why they like each other

0:42:34.880 --> 0:42:38.719
<v Speaker 1>or what is compatible about them, So like that's just

0:42:38.760 --> 0:42:42.080
<v Speaker 1>what I assume that. That was another like point that

0:42:42.120 --> 0:42:44.640
<v Speaker 1>I felt like the movie started to make and then

0:42:44.680 --> 0:42:49.200
<v Speaker 1>completely abandoned, was that double standard, because the movie seems aware,

0:42:49.520 --> 0:42:53.040
<v Speaker 1>like very aware of the double standard of how sexually

0:42:53.080 --> 0:42:56.319
<v Speaker 1>active like teen boys and sexually active teen girls are

0:42:56.360 --> 0:43:03.600
<v Speaker 1>treated very differently, and that's mostly through iconic Grace character Rizzo,

0:43:03.640 --> 0:43:07.799
<v Speaker 1>where it's like Rizzo is like that the character where

0:43:07.800 --> 0:43:11.440
<v Speaker 1>you get that split most clearly demonstrated to you, where

0:43:11.840 --> 0:43:14.840
<v Speaker 1>you know, it's like she um thinks that she's pregnant

0:43:14.920 --> 0:43:17.440
<v Speaker 1>and like is just kind of left completely to her

0:43:17.440 --> 0:43:20.439
<v Speaker 1>own devices. She's shamed for it, she's cast out for it,

0:43:20.800 --> 0:43:22.960
<v Speaker 1>and the movie want you to think, like, that's not okay,

0:43:23.000 --> 0:43:26.480
<v Speaker 1>that's not right, but then it never never resolves in

0:43:26.520 --> 0:43:29.120
<v Speaker 1>any meaningful way. She they're like, oh, just kidding, and

0:43:29.160 --> 0:43:30.960
<v Speaker 1>we're not going to talk about the fact that you

0:43:31.000 --> 0:43:34.600
<v Speaker 1>were ready to the whole school, was you know, ready

0:43:34.680 --> 0:43:38.920
<v Speaker 1>to completely ostracize her if if it wasn't a false

0:43:38.960 --> 0:43:43.200
<v Speaker 1>alarm or like it's just bizarre. But there's another interesting

0:43:43.239 --> 0:43:47.600
<v Speaker 1>thing happening there too. She has unprotected sex with Kinnicky

0:43:48.560 --> 0:43:53.160
<v Speaker 1>he finds out about her pregnancy her Gregnancy scare sorry,

0:43:53.680 --> 0:44:02.680
<v Speaker 1>she's she's almost heavy with Greg, but he I think

0:44:02.960 --> 0:44:06.600
<v Speaker 1>un maybe not unlike Danny, but there's like, I think

0:44:06.640 --> 0:44:10.480
<v Speaker 1>an interesting comparison to be made between Danny and CONNICKI,

0:44:10.960 --> 0:44:13.600
<v Speaker 1>where Knick is like, hey, I heard you might be

0:44:13.840 --> 0:44:17.080
<v Speaker 1>knocked up. What can I do to help? And she's like,

0:44:17.280 --> 0:44:20.120
<v Speaker 1>it's not even your problem, right, I wasn't expecting that either.

0:44:20.440 --> 0:44:22.760
<v Speaker 1>She's like, it's not your problem. It was someone else's problem.

0:44:23.000 --> 0:44:26.399
<v Speaker 1>But she doesn't quite say that, like and she kind

0:44:26.400 --> 0:44:29.360
<v Speaker 1>of uses it. She says it was don't worry about it, CONNICKI,

0:44:29.480 --> 0:44:33.120
<v Speaker 1>it was somebody else's mistake, And I think that is

0:44:33.160 --> 0:44:35.520
<v Speaker 1>sort of like I think CONNICKI kind of takes it

0:44:35.600 --> 0:44:39.319
<v Speaker 1>as it's not his kid. But I think I think

0:44:39.320 --> 0:44:43.800
<v Speaker 1>that Stoker Channing subtext is it was my mistake. I

0:44:43.800 --> 0:44:47.400
<v Speaker 1>don't want your father. Yeah, because that line is different

0:44:47.400 --> 0:44:51.360
<v Speaker 1>than the play. Interesting. I never thought for a second

0:44:51.400 --> 0:44:54.160
<v Speaker 1>that she like had sex with someone else and she

0:44:54.239 --> 0:44:56.320
<v Speaker 1>thinks it might be like someone else might be the father.

0:44:56.520 --> 0:44:59.440
<v Speaker 1>It's it's clear to me that like he is the

0:44:59.480 --> 0:45:03.080
<v Speaker 1>father if she is pregnant, but she's more just like

0:45:03.880 --> 0:45:06.160
<v Speaker 1>lashing out sort of thing. But I found it interesting

0:45:06.239 --> 0:45:08.879
<v Speaker 1>that like he was like, I don't run away from

0:45:08.920 --> 0:45:11.839
<v Speaker 1>my mistakes, Like I'm going to be here from you,

0:45:11.840 --> 0:45:13.480
<v Speaker 1>you know, like we'll figure this out. But she kind

0:45:13.480 --> 0:45:16.719
<v Speaker 1>of dismisses him, so he you know, he runs off.

0:45:18.440 --> 0:45:22.080
<v Speaker 1>He's like He almost like skips away. He's like, oh right,

0:45:23.000 --> 0:45:28.120
<v Speaker 1>no responsibilities. Another interesting thing about that is that, um

0:45:28.320 --> 0:45:30.760
<v Speaker 1>so a lot of the like these tea Bird guys

0:45:30.800 --> 0:45:33.560
<v Speaker 1>are all about like, how can I exert my masculinity?

0:45:33.560 --> 0:45:36.320
<v Speaker 1>How can I demonstrate my masculinity? Oh, they're in prison.

0:45:37.239 --> 0:45:39.239
<v Speaker 1>In prison, They're like, but if they're like, oh, if

0:45:39.320 --> 0:45:42.280
<v Speaker 1>I've made it with a girl, if I've had sex before,

0:45:42.320 --> 0:45:44.040
<v Speaker 1>that just shows how awesome I am, which is like

0:45:44.040 --> 0:45:49.200
<v Speaker 1>a very like standard thing, right. But when we see

0:45:49.800 --> 0:45:52.520
<v Speaker 1>him and Rizzo kissing in the backseat of his car,

0:45:53.160 --> 0:45:55.719
<v Speaker 1>she's like, do you have you know, something for protection?

0:45:56.200 --> 0:45:59.040
<v Speaker 1>He pulls out a condom. It immediately breaks because he's like,

0:45:59.080 --> 0:46:01.879
<v Speaker 1>I bought this in this seventh grade, implying this he's

0:46:01.920 --> 0:46:05.719
<v Speaker 1>never had sex before. Yeah, so, I mean, I don't know.

0:46:05.719 --> 0:46:09.120
<v Speaker 1>There's just something fascinating to me about Kinnicki where he

0:46:09.320 --> 0:46:12.399
<v Speaker 1>is kind of like putting on this persona of like, yeah,

0:46:12.400 --> 0:46:15.520
<v Speaker 1>I'm a greaser boy, I'm a tiber blah blah blah.

0:46:15.600 --> 0:46:19.239
<v Speaker 1>But he also is like he seems less concerned than

0:46:19.320 --> 0:46:24.120
<v Speaker 1>Danny does about being emotionally attentive to like to the

0:46:24.120 --> 0:46:27.239
<v Speaker 1>girl he likes. Yeah, I mean the bar is on

0:46:27.280 --> 0:46:30.560
<v Speaker 1>the floor for these guys. But like KINNICKI is like,

0:46:30.600 --> 0:46:33.640
<v Speaker 1>I guess he's definitely not the worst one I got.

0:46:33.680 --> 0:46:37.080
<v Speaker 1>I I totally forgot the whole like implication that that

0:46:37.160 --> 0:46:39.160
<v Speaker 1>was his first time having sex too, and that's like

0:46:39.800 --> 0:46:43.480
<v Speaker 1>another like that's like starting something interesting of like, oh,

0:46:43.520 --> 0:46:47.040
<v Speaker 1>there's some double standards ap play here, but then it's

0:46:47.120 --> 0:46:52.880
<v Speaker 1>just like nothing happening. But I do. I mean, it's like,

0:46:52.880 --> 0:46:57.000
<v Speaker 1>I Rizzo was my favor as a kid because she's

0:46:57.040 --> 0:47:00.319
<v Speaker 1>cool and she smokes a cigarette, and that is what

0:47:00.480 --> 0:47:05.160
<v Speaker 1>being cool means, um in a movie. Even though I

0:47:05.160 --> 0:47:08.160
<v Speaker 1>remember my mom being because my mom smokes cigarettes like

0:47:08.200 --> 0:47:12.480
<v Speaker 1>a fiend. Umill she was. She was like, that's what

0:47:12.600 --> 0:47:15.480
<v Speaker 1>happened to me. I started smoking cigarettes as a teenager,

0:47:15.560 --> 0:47:18.360
<v Speaker 1>just like Rizzo, and look at me now, I'm a disaster,

0:47:18.600 --> 0:47:21.719
<v Speaker 1>you know. So she so she used Rizzo as an

0:47:21.719 --> 0:47:25.319
<v Speaker 1>anti smoking ad. She's like, oh, Rizzo thought she was

0:47:25.400 --> 0:47:29.920
<v Speaker 1>so cool, but she wasn't Jamie. Um. But I like,

0:47:30.080 --> 0:47:35.440
<v Speaker 1>I I really like how complex Rizzo is, even though

0:47:35.480 --> 0:47:38.560
<v Speaker 1>it feels like especially the movie doesn't take advantage of

0:47:39.200 --> 0:47:42.879
<v Speaker 1>how complex her character is because she often even when

0:47:42.920 --> 0:47:47.839
<v Speaker 1>people offer her help, she it seems like, I guess

0:47:47.840 --> 0:47:50.279
<v Speaker 1>I'm curious. Maybe I'm reading too much into it, but

0:47:50.320 --> 0:47:53.640
<v Speaker 1>it just seems like she has like a lot of

0:47:53.680 --> 0:47:59.000
<v Speaker 1>internalized shame and is like unable to accept help from

0:47:59.000 --> 0:48:01.759
<v Speaker 1>others even when it's well intended, and like she just

0:48:01.800 --> 0:48:03.719
<v Speaker 1>seems to have like a lot of I don't know, Yeah,

0:48:03.719 --> 0:48:05.279
<v Speaker 1>it seems like she holds a lot of shame and

0:48:05.320 --> 0:48:07.799
<v Speaker 1>that's why she pushes Sandy away and Sandy offers to

0:48:07.800 --> 0:48:11.439
<v Speaker 1>be her friend, That's why she pushes Knicky away, and

0:48:12.000 --> 0:48:13.600
<v Speaker 1>I don't know, I feel like it's kind of rare

0:48:13.840 --> 0:48:17.680
<v Speaker 1>in a teen musical to see a character with deep

0:48:17.760 --> 0:48:20.920
<v Speaker 1>internalized shame. I wish it like went somewhere, but I

0:48:21.080 --> 0:48:26.480
<v Speaker 1>just yeah, Rizzo's interesting. There's one of the only things

0:48:26.480 --> 0:48:29.440
<v Speaker 1>that we really know about Rizzo and Kinnicki's relationship is

0:48:29.480 --> 0:48:32.520
<v Speaker 1>that they're having a giant fight in front of their

0:48:32.520 --> 0:48:34.840
<v Speaker 1>friends that is upsetting enough to her so that she

0:48:34.880 --> 0:48:38.160
<v Speaker 1>throws a milkshake at him. You know nothing about that fight.

0:48:38.719 --> 0:48:42.239
<v Speaker 1>It never gets rid of. Daniel day Lewis like my cake,

0:48:43.680 --> 0:48:49.000
<v Speaker 1>you have um. Yeah, so we know that their relationship

0:48:49.080 --> 0:48:53.239
<v Speaker 1>isn't perfect before she gets pregnant, and then their problems

0:48:53.239 --> 0:48:57.000
<v Speaker 1>are solved by her not being pregnant. H right, and

0:48:57.040 --> 0:49:01.160
<v Speaker 1>it still doesn't I don't know like it. Sandy is

0:49:01.160 --> 0:49:03.799
<v Speaker 1>a saint first all being nice to Rizzo after how

0:49:04.080 --> 0:49:06.719
<v Speaker 1>cruel like Rizzo is so mean to her all the

0:49:06.800 --> 0:49:10.799
<v Speaker 1>time from the moment they meet. But it's it's like

0:49:10.960 --> 0:49:14.000
<v Speaker 1>I almost wanted more of like a moment of like

0:49:14.800 --> 0:49:17.560
<v Speaker 1>understanding or reconciliation with them. I guess they sort of

0:49:17.600 --> 0:49:19.719
<v Speaker 1>have it there in that scene where Rizzo is like, oh,

0:49:19.800 --> 0:49:24.000
<v Speaker 1>I will never accept help because of that's just who

0:49:24.040 --> 0:49:27.680
<v Speaker 1>I am. But thanks anyways, But I mean, it's like,

0:49:28.760 --> 0:49:30.960
<v Speaker 1>I can't. It's just like an interesting plot point to

0:49:31.040 --> 0:49:36.120
<v Speaker 1>have someone take out their frustrations on another teen girl,

0:49:36.760 --> 0:49:39.959
<v Speaker 1>um for something that they're insecure about in themselves, because

0:49:39.960 --> 0:49:43.560
<v Speaker 1>I feel like that happens in real life at times.

0:49:43.800 --> 0:49:46.719
<v Speaker 1>And it's like, but you have to say something about you.

0:49:47.120 --> 0:49:50.960
<v Speaker 1>I don't know. Yeah, there's sort of an absence of

0:49:51.160 --> 0:49:54.759
<v Speaker 1>commentary a lot of the time in a movie that

0:49:54.800 --> 0:49:59.040
<v Speaker 1>you would expect there to be more commentary. I guess

0:49:59.200 --> 0:50:01.439
<v Speaker 1>maybe not not know, maybe my hopes are too high.

0:50:01.520 --> 0:50:04.880
<v Speaker 1>I'm a Rizzo stand I'm just like Rizzo. People are

0:50:04.920 --> 0:50:07.919
<v Speaker 1>reaching out to you off take and take someone's hand.

0:50:09.320 --> 0:50:12.960
<v Speaker 1>But she isn't pregnant, so then her life is perfect. Perfect.

0:50:14.520 --> 0:50:16.439
<v Speaker 1>Let's take another quick break and then we'll come back

0:50:16.480 --> 0:50:25.919
<v Speaker 1>for more discussion, and we're back part well to kind

0:50:25.920 --> 0:50:28.799
<v Speaker 1>of just continue a little bit on the Rizzo conversation,

0:50:29.040 --> 0:50:34.160
<v Speaker 1>she she sort of almost uses Sandy. She's like trying

0:50:34.200 --> 0:50:37.640
<v Speaker 1>to get back at Danny I thing for for like

0:50:37.840 --> 0:50:40.399
<v Speaker 1>kind of leaving her high and dry sort of thing,

0:50:40.480 --> 0:50:44.799
<v Speaker 1>and she knows that like Danny's gonna react the way

0:50:44.840 --> 0:50:48.520
<v Speaker 1>he reacts at that like football game bonfire thing. I

0:50:48.680 --> 0:50:50.680
<v Speaker 1>just feel so bad for Sandy because she's like using

0:50:50.719 --> 0:50:52.759
<v Speaker 1>her as a as a pawn. And then there's also

0:50:52.800 --> 0:50:56.759
<v Speaker 1>this like component with that Patty Simcox like popular girl

0:50:56.840 --> 0:51:01.319
<v Speaker 1>cheerleader character where Rizzo's like, oh, I'm this is what

0:51:01.360 --> 0:51:03.160
<v Speaker 1>the other girls are like, and I'm not like the

0:51:03.200 --> 0:51:12.480
<v Speaker 1>other childs. And that plays in to what to me

0:51:12.600 --> 0:51:14.799
<v Speaker 1>is like this this movie is sort of like an

0:51:14.880 --> 0:51:22.239
<v Speaker 1>encapsulation of like white fifties like suburban Americana, where there

0:51:22.280 --> 0:51:25.680
<v Speaker 1>are these archetypes that we see of teenage boys and

0:51:25.719 --> 0:51:28.440
<v Speaker 1>teenage girls. Where we have of the boys, there's like

0:51:28.440 --> 0:51:31.840
<v Speaker 1>the greaser type, the jocks who we see and like Tom.

0:51:32.400 --> 0:51:34.799
<v Speaker 1>And then there's like the nerd type because there's this

0:51:34.840 --> 0:51:38.120
<v Speaker 1>Eugene character who like kind of comes and goes. And

0:51:38.160 --> 0:51:42.040
<v Speaker 1>then with the girls, we have, um, kind of the

0:51:42.040 --> 0:51:46.000
<v Speaker 1>greaser girls who don't have a hobby of their own.

0:51:46.120 --> 0:51:48.439
<v Speaker 1>They're not actually fixing up cars the way the boy

0:51:48.560 --> 0:51:50.920
<v Speaker 1>the greaser boys are, but they just like run with

0:51:50.960 --> 0:51:55.600
<v Speaker 1>that crowd like the pink ladies. Yeah, okay, I guess

0:51:55.600 --> 0:51:59.000
<v Speaker 1>they're not like greaser girls, but it's like the right,

0:51:59.160 --> 0:52:03.120
<v Speaker 1>but they run with that crowd their hair, so there

0:52:04.239 --> 0:52:06.160
<v Speaker 1>they seem to like I mean, it's like it's kind

0:52:06.200 --> 0:52:10.440
<v Speaker 1>of framed that they they they exist because their friends,

0:52:10.480 --> 0:52:14.400
<v Speaker 1>but also just kind of to date the tea birds.

0:52:14.440 --> 0:52:17.080
<v Speaker 1>Like that's just kind of what that's why they unionize.

0:52:17.080 --> 0:52:21.719
<v Speaker 1>I don't know, did they unionize. I Well, they do

0:52:21.800 --> 0:52:24.960
<v Speaker 1>wear their own merch, so that's true. That's true. They

0:52:25.000 --> 0:52:28.719
<v Speaker 1>at least have a tea public ye, and so do

0:52:28.800 --> 0:52:33.080
<v Speaker 1>the tea birds. Um. But yeah, that kind I was like, oh,

0:52:33.080 --> 0:52:36.000
<v Speaker 1>like they hang with the greaser boys who have this

0:52:36.440 --> 0:52:39.040
<v Speaker 1>hobby of like fixing up old cars, but what are

0:52:39.040 --> 0:52:42.719
<v Speaker 1>the girls, what's their hobby? Anyway, Then we've got like

0:52:42.719 --> 0:52:45.600
<v Speaker 1>the Patty simcocks, like cheerleader girl. And then we've got

0:52:45.800 --> 0:52:49.680
<v Speaker 1>like the goody two shoes type, which is sandy. So

0:52:49.719 --> 0:52:54.360
<v Speaker 1>there's all these archetypes which fit into this perception that

0:52:54.400 --> 0:52:57.799
<v Speaker 1>I think still exists today of like the fifties it

0:52:57.880 --> 0:53:03.240
<v Speaker 1>was this the good old days. You know, every toodle, skirts, milkshake, yeah, everyone,

0:53:03.719 --> 0:53:07.600
<v Speaker 1>you know, mary couples, didn't slept in different beds, no

0:53:07.680 --> 0:53:11.640
<v Speaker 1>one had sex, and everything was hunky dory. And like

0:53:11.840 --> 0:53:17.520
<v Speaker 1>Greece shows a different side of this like common misconception.

0:53:18.200 --> 0:53:20.200
<v Speaker 1>I think the movie sort of seeks in the in

0:53:20.239 --> 0:53:22.359
<v Speaker 1>the play like seeks to be like, hey, no, like

0:53:22.760 --> 0:53:25.799
<v Speaker 1>teens have always been this way, like you know, they

0:53:25.840 --> 0:53:29.680
<v Speaker 1>get into trouble, they have sex, their horny there, you know,

0:53:30.960 --> 0:53:33.760
<v Speaker 1>doing all stuff. But it's also like Greece is still

0:53:33.960 --> 0:53:39.440
<v Speaker 1>preserving this idea of like white fifties middle class Americana,

0:53:39.640 --> 0:53:44.400
<v Speaker 1>and it like does nothing to like challenge that status quo.

0:53:44.680 --> 0:53:48.960
<v Speaker 1>There's just like, yeah, like the fact that this is

0:53:49.719 --> 0:53:52.480
<v Speaker 1>like it comes out in seventy eight, it's about so

0:53:52.520 --> 0:53:56.279
<v Speaker 1>it's already a period piece, and it's like, I don't

0:53:56.280 --> 0:53:58.200
<v Speaker 1>know just even like writing wise, if you're going to

0:53:58.280 --> 0:54:01.160
<v Speaker 1>make a period piece, then you should probably try to

0:54:01.200 --> 0:54:04.759
<v Speaker 1>say something about the time that you're um and not

0:54:04.800 --> 0:54:09.160
<v Speaker 1>just be like and everything was way better twenty years ago.

0:54:09.360 --> 0:54:13.200
<v Speaker 1>Like there's just even though it's like the the idea

0:54:13.239 --> 0:54:16.160
<v Speaker 1>of the fifties is very clearly represented here, there's no

0:54:16.840 --> 0:54:19.719
<v Speaker 1>there's no commentary on it really like there's no there's

0:54:19.760 --> 0:54:23.040
<v Speaker 1>nothing being I don't know, like it just again it's

0:54:23.080 --> 0:54:26.200
<v Speaker 1>it's like, well, what, why does this movie take place

0:54:26.239 --> 0:54:28.399
<v Speaker 1>in the fifties, Why is it important that it does?

0:54:29.000 --> 0:54:33.160
<v Speaker 1>Is there anything about this culture that is like it's

0:54:33.200 --> 0:54:36.400
<v Speaker 1>just really bizarre? And then yeah, they're romanticizing of the

0:54:36.440 --> 0:54:39.960
<v Speaker 1>fifties in particular, I mean most romanticizing the past is

0:54:40.040 --> 0:54:44.560
<v Speaker 1>just like ten Miles Bad Road. But um, but like

0:54:44.640 --> 0:54:47.520
<v Speaker 1>the fifties in particular, it was like a like uniquely

0:54:47.600 --> 0:54:53.160
<v Speaker 1>oppressive time in the US for like anyone who wasn't

0:54:53.280 --> 0:54:59.160
<v Speaker 1>Danny Zuko basically like it's very like high schools were

0:54:59.200 --> 0:55:04.400
<v Speaker 1>mostly not even integrated, and women were like being encouraged

0:55:04.440 --> 0:55:06.640
<v Speaker 1>to stay at home and not have jobs, like it

0:55:06.719 --> 0:55:11.400
<v Speaker 1>was worse than ten years before in like Cartierra was

0:55:11.440 --> 0:55:15.680
<v Speaker 1>also it was like totally like restrictive time. But the

0:55:15.719 --> 0:55:19.080
<v Speaker 1>fat but the but the looks were good and so that,

0:55:19.200 --> 0:55:22.719
<v Speaker 1>and we all like milkshakes, so you know, there's a

0:55:22.719 --> 0:55:25.960
<v Speaker 1>little push and pull there. But it's like romanticizing the

0:55:25.960 --> 0:55:29.840
<v Speaker 1>fifties is always I don't know, I can't, I can't

0:55:29.880 --> 0:55:32.520
<v Speaker 1>get there. But also I guess you know, people seeing

0:55:32.560 --> 0:55:35.680
<v Speaker 1>this movie in may have been alive for it, um

0:55:35.880 --> 0:55:38.719
<v Speaker 1>and but they're like what, like what is the thing?

0:55:38.760 --> 0:55:42.319
<v Speaker 1>They're like, oh, remember when women couldn't have jobs and

0:55:42.480 --> 0:55:47.319
<v Speaker 1>schools were still segregated. I'm like that, huh why. So

0:55:47.960 --> 0:55:51.520
<v Speaker 1>apparently this play got written at a time at the

0:55:51.640 --> 0:55:56.239
<v Speaker 1>very beginning of there being this fifties fanaticism in the seventies,

0:55:56.360 --> 0:55:59.239
<v Speaker 1>And I don't know how the writers in particular felt

0:55:59.280 --> 0:56:02.560
<v Speaker 1>about it, but definitely the seventies became hugely pop, but

0:56:02.640 --> 0:56:05.640
<v Speaker 1>the fifties become hugely popular in the seventies, I think,

0:56:05.760 --> 0:56:08.520
<v Speaker 1>sort of as a reaction to how socially liberal the

0:56:08.560 --> 0:56:14.000
<v Speaker 1>seventies were becoming. And that's where the Also, the show

0:56:14.120 --> 0:56:18.560
<v Speaker 1>was written without music right after somebody with a good

0:56:18.600 --> 0:56:22.640
<v Speaker 1>sense read it was like this made needs something, maybe

0:56:22.640 --> 0:56:25.600
<v Speaker 1>needs a little more than this plot. I've definitely never

0:56:25.640 --> 0:56:29.759
<v Speaker 1>seen a non musical stage version of it. No, I

0:56:29.800 --> 0:56:31.880
<v Speaker 1>don't think it got very far before they put music

0:56:31.920 --> 0:56:35.160
<v Speaker 1>in it. That's that's so interesting. I had no idea. Well,

0:56:35.680 --> 0:56:39.239
<v Speaker 1>and I haven't read or seen I don't think any

0:56:39.520 --> 0:56:44.040
<v Speaker 1>stage versions of this, and the stage version that premiered

0:56:44.239 --> 0:56:48.200
<v Speaker 1>had music in it, but it was originally written without it,

0:56:48.440 --> 0:56:51.239
<v Speaker 1>So like the like before it was brought to Broadway,

0:56:51.360 --> 0:56:55.760
<v Speaker 1>got it? I have the I I've read, and Gracie,

0:56:55.760 --> 0:56:57.879
<v Speaker 1>you can speak to this better than I can't having

0:56:57.960 --> 0:57:00.880
<v Speaker 1>just reread it. But like I've read that, um, the

0:57:00.960 --> 0:57:06.120
<v Speaker 1>movie is like a pretty sanitized version of the play,

0:57:06.120 --> 0:57:10.040
<v Speaker 1>where the play does seem to attempt to touch on

0:57:10.600 --> 0:57:14.400
<v Speaker 1>more kind of social issues and like some class stuff

0:57:14.520 --> 0:57:17.240
<v Speaker 1>and like more about like teen sexuality, and maybe in

0:57:17.240 --> 0:57:20.720
<v Speaker 1>a more meaningful way. Maybe not. I'm not sure, but

0:57:20.800 --> 0:57:22.640
<v Speaker 1>I think one of the main criticisms of the movie

0:57:22.720 --> 0:57:25.000
<v Speaker 1>was that it was a kind of watered down version

0:57:25.840 --> 0:57:29.320
<v Speaker 1>in terms of it's like social commentary. Got it of

0:57:29.400 --> 0:57:33.160
<v Speaker 1>the of the stage production. They definitely in the movie

0:57:33.440 --> 0:57:37.000
<v Speaker 1>took away moments of Danny actually being nice to her

0:57:37.160 --> 0:57:41.720
<v Speaker 1>that exists in the play, And they also took away

0:57:41.720 --> 0:57:46.720
<v Speaker 1>Sandy sticking up for herself when when Rizzo sings, look

0:57:46.760 --> 0:57:50.360
<v Speaker 1>at me, I'm Sandra d and the diner, Sandy walks

0:57:50.400 --> 0:57:53.720
<v Speaker 1>in on it and literally attacks Rizzo, and the boys

0:57:53.760 --> 0:57:56.200
<v Speaker 1>have to pull the two apart, and then they try

0:57:56.240 --> 0:57:58.160
<v Speaker 1>to fight again and they have to be pulled apart again.

0:57:58.480 --> 0:58:01.800
<v Speaker 1>So Sandy is willing to beat somebody up about her emotions,

0:58:01.840 --> 0:58:05.360
<v Speaker 1>and that is very absent in the film. Yeah, all

0:58:05.400 --> 0:58:07.400
<v Speaker 1>stuff that would have been great. Yeah, it's like because

0:58:07.520 --> 0:58:09.840
<v Speaker 1>we we don't see him be very nice to her,

0:58:09.960 --> 0:58:13.520
<v Speaker 1>and it's like it's truly only like moments of a

0:58:13.600 --> 0:58:17.400
<v Speaker 1>couple of seconds and never when anyone is looking, which

0:58:17.480 --> 0:58:19.520
<v Speaker 1>is like, well, it's also never when anyone is looking

0:58:19.520 --> 0:58:21.720
<v Speaker 1>into play. He's only nice to her in private, but

0:58:21.760 --> 0:58:25.920
<v Speaker 1>he says more things that are nice, so like, oh

0:58:25.960 --> 0:58:28.800
<v Speaker 1>that I mean again, I have to keep reminding myself

0:58:28.840 --> 0:58:32.479
<v Speaker 1>that this, like this came out over forty years ago.

0:58:32.720 --> 0:58:36.080
<v Speaker 1>It is about a time period that's like sixty years ago,

0:58:36.600 --> 0:58:38.880
<v Speaker 1>you know there. But like, I'm just like, why did

0:58:38.960 --> 0:58:41.600
<v Speaker 1>they end up together? Why did Sandy just like put

0:58:41.680 --> 0:58:44.920
<v Speaker 1>up with this horrible He's mistreated her so much the

0:58:45.160 --> 0:58:47.919
<v Speaker 1>entire story And then she's like, well, I better change

0:58:47.960 --> 0:58:50.720
<v Speaker 1>everything about myself so that he'll like me and then

0:58:50.760 --> 0:58:53.960
<v Speaker 1>maybe he'll treat me better. But probably not he does

0:58:54.040 --> 0:58:58.240
<v Speaker 1>stop touching her. He does, he doesn't touch her without

0:58:58.360 --> 0:59:00.760
<v Speaker 1>her initiating it during or the one that I want

0:59:01.320 --> 0:59:04.280
<v Speaker 1>so was she had to change everything about herself so

0:59:04.320 --> 0:59:08.680
<v Speaker 1>that she that was what made him respect to consent

0:59:09.000 --> 0:59:11.880
<v Speaker 1>was her changing her entire personality. She had to dress

0:59:11.960 --> 0:59:16.040
<v Speaker 1>up like a literal dominatrix with tight leather pants in

0:59:16.160 --> 0:59:21.280
<v Speaker 1>order for him to listen when she's like, don't touch me. Yeah, yeah,

0:59:21.320 --> 0:59:26.520
<v Speaker 1>it's it's it's tough. It's tough there, and I get

0:59:26.520 --> 0:59:29.760
<v Speaker 1>and I get, like, I like their romance is very

0:59:29.760 --> 0:59:32.800
<v Speaker 1>simple and for like the kind of movie it is

0:59:32.880 --> 0:59:36.640
<v Speaker 1>like most I don't know, I don't even mind a

0:59:36.760 --> 0:59:40.000
<v Speaker 1>movie musical couple being like pretty simple and just being

0:59:40.000 --> 0:59:43.439
<v Speaker 1>told like they like each other, and like, I don't

0:59:43.440 --> 0:59:47.160
<v Speaker 1>really care that much about that. It's just the fact

0:59:47.200 --> 0:59:50.240
<v Speaker 1>that we only see him be not nice to her

0:59:50.400 --> 0:59:54.400
<v Speaker 1>and then her have to and any time she acts

0:59:54.480 --> 0:59:57.480
<v Speaker 1>in like quote unquote defiance towards him, anytime she just

0:59:57.520 --> 1:00:00.240
<v Speaker 1>does her own thing, or like goes in dates Tom

1:00:00.360 --> 1:00:02.840
<v Speaker 1>goes in immediately gets on the cheerleading squad at a

1:00:02.880 --> 1:00:07.360
<v Speaker 1>new school. What an amazing life. Um, even though she's

1:00:07.440 --> 1:00:12.439
<v Speaker 1>pretty bad, she sucks' but I was like, oh, wow,

1:00:12.520 --> 1:00:15.280
<v Speaker 1>she's really struggling to fit in. Just kidding, she's immediately

1:00:15.280 --> 1:00:20.000
<v Speaker 1>the most popular girl at school. Um. But yeah, just

1:00:20.240 --> 1:00:23.680
<v Speaker 1>the fact that we never see him treat her, well,

1:00:23.720 --> 1:00:26.240
<v Speaker 1>I don't know, this movie is so weird, but I

1:00:26.280 --> 1:00:29.880
<v Speaker 1>like all the music so much. Um, but it doesn't it.

1:00:29.920 --> 1:00:31.720
<v Speaker 1>I feel like it is. Even if even though it's

1:00:31.720 --> 1:00:35.360
<v Speaker 1>a very simple relationship and we're just told they like

1:00:35.480 --> 1:00:38.240
<v Speaker 1>each other how they were at the beginning of the movie,

1:00:38.520 --> 1:00:40.440
<v Speaker 1>if we're taking that at face value, that the way

1:00:40.480 --> 1:00:42.600
<v Speaker 1>the movie plays out is still kind of makes no

1:00:42.640 --> 1:00:44.400
<v Speaker 1>sense because he like he liked her when she was

1:00:44.480 --> 1:00:49.560
<v Speaker 1>like a very passive sweetheart at the beginning of the movie.

1:00:49.800 --> 1:00:52.840
<v Speaker 1>But then she's like, now I'm a dominatrix, and he's like, actually,

1:00:53.520 --> 1:00:55.680
<v Speaker 1>I like this because I don't think you like her.

1:00:56.240 --> 1:00:58.520
<v Speaker 1>Right Well, it's like it's like, now that my friends

1:00:58.520 --> 1:01:02.440
<v Speaker 1>are around and we're wearing the same outfit, now they

1:01:02.440 --> 1:01:07.040
<v Speaker 1>can respect that I like you, Sandy. So it's fine

1:01:07.080 --> 1:01:08.720
<v Speaker 1>if I show that I like I Just like, I

1:01:08.800 --> 1:01:12.560
<v Speaker 1>don't follow the logic at all. Yeah, right, when you're

1:01:12.680 --> 1:01:16.040
<v Speaker 1>about to not be in that social situation too, Right,

1:01:17.440 --> 1:01:21.439
<v Speaker 1>right when it doesn't matter, and but no, they're they're

1:01:21.480 --> 1:01:23.600
<v Speaker 1>like double down. At the end, they're like, we're never

1:01:23.920 --> 1:01:28.760
<v Speaker 1>gonna leave our hometowns ever, we're always gonna, We're gonna,

1:01:28.880 --> 1:01:31.720
<v Speaker 1>which is like fine, but also just a very aggressive

1:01:31.840 --> 1:01:36.480
<v Speaker 1>ending message to the movie. I think, okay, isolating the

1:01:36.560 --> 1:01:39.440
<v Speaker 1>music and taking it away because to me, they're like

1:01:39.520 --> 1:01:41.480
<v Speaker 1>the song and dance numbers. And this is coming from

1:01:41.480 --> 1:01:44.920
<v Speaker 1>someone who doesn't like musicals generally, those are the best

1:01:44.960 --> 1:01:47.360
<v Speaker 1>parts of this movie. If you take those away and

1:01:47.400 --> 1:01:50.080
<v Speaker 1>just like examine beat for beat the plot and like

1:01:50.200 --> 1:01:52.760
<v Speaker 1>the different like character arcs and stuff like that, this

1:01:52.800 --> 1:01:57.160
<v Speaker 1>movie makes no fucking sense, Like and it's it's like

1:01:57.360 --> 1:02:00.320
<v Speaker 1>it's a it's a badly written story. Just like there's

1:02:00.360 --> 1:02:05.640
<v Speaker 1>no lesson that anyone really learns. There's no growth demonstrated,

1:02:06.200 --> 1:02:08.520
<v Speaker 1>which is so weird because there's so many characters who

1:02:08.560 --> 1:02:12.120
<v Speaker 1>are like edging on learning a lesson and then they

1:02:12.160 --> 1:02:15.400
<v Speaker 1>just don't. Yeah, like you said, like it seems like

1:02:15.440 --> 1:02:18.720
<v Speaker 1>things are being set up for again, Like yeah, the

1:02:18.720 --> 1:02:22.200
<v Speaker 1>setup of like Danny Zuko being a prisoner of his

1:02:22.280 --> 1:02:25.600
<v Speaker 1>own toxic masculinity and like it seems like he's going

1:02:25.640 --> 1:02:27.480
<v Speaker 1>to have to learn how to break out of that

1:02:27.600 --> 1:02:32.160
<v Speaker 1>and like grow past that, and then it just doesn't happen,

1:02:32.280 --> 1:02:36.000
<v Speaker 1>and he just keeps like forcing himself on Sandy and

1:02:36.040 --> 1:02:39.480
<v Speaker 1>mistreating her throughout the entire story and then complaining when

1:02:39.520 --> 1:02:42.520
<v Speaker 1>she doesn't respond if you like, stop embarrassing me, like

1:02:44.800 --> 1:02:48.640
<v Speaker 1>or French, she is going to choose her own life path.

1:02:49.680 --> 1:02:52.800
<v Speaker 1>But then an angel comes and is mean to her.

1:02:52.920 --> 1:02:55.640
<v Speaker 1>So then she goes and graduated high school, which it

1:02:55.760 --> 1:02:58.240
<v Speaker 1>seems almost like the theme is going to be anybody

1:02:58.280 --> 1:03:01.120
<v Speaker 1>can pass high school because that's on the announcements at

1:03:01.120 --> 1:03:04.320
<v Speaker 1>a crucial time, and it's like kind of reinstated, like

1:03:04.680 --> 1:03:08.280
<v Speaker 1>stay in class, you can pass. And then that doesn't

1:03:08.320 --> 1:03:11.800
<v Speaker 1>really seem to end up being meaningful. I feel like

1:03:12.200 --> 1:03:16.080
<v Speaker 1>I felt for Frenchie has such an incomplete story, But

1:03:16.200 --> 1:03:19.960
<v Speaker 1>I like Frenchie. I like that she's like trying to

1:03:20.240 --> 1:03:22.400
<v Speaker 1>do her own things, trying to figure herself out, and

1:03:22.480 --> 1:03:27.720
<v Speaker 1>then she fails once and Frankie Avalon so mean to her.

1:03:29.120 --> 1:03:33.680
<v Speaker 1>He's just so great outfit, though no customer would go

1:03:33.760 --> 1:03:37.040
<v Speaker 1>to you unless she was a hooker. Like just again,

1:03:37.080 --> 1:03:40.600
<v Speaker 1>I was just like a yikes, that line, that line

1:03:41.080 --> 1:03:44.160
<v Speaker 1>a disaster. And then on top first of all, um

1:03:44.160 --> 1:03:45.760
<v Speaker 1>I know it wasn't of the time, but I thought

1:03:45.760 --> 1:03:49.200
<v Speaker 1>frenchice hair was cute. But the pink, the pink. I

1:03:49.240 --> 1:03:51.360
<v Speaker 1>was like, Okay, you just have to move to two

1:03:51.920 --> 1:03:53.880
<v Speaker 1>one and you're going to be the most popular girl.

1:03:54.280 --> 1:03:56.480
<v Speaker 1>You're gonna be the most popular thirty year old in school.

1:03:58.960 --> 1:04:01.920
<v Speaker 1>But even in that song, I feel like it's implied

1:04:03.080 --> 1:04:05.800
<v Speaker 1>in one of the lyrics that she should go back

1:04:05.840 --> 1:04:08.440
<v Speaker 1>to graduate high school and then not get a job

1:04:08.480 --> 1:04:11.280
<v Speaker 1>and kind of be a housewife, where he basically says like,

1:04:11.320 --> 1:04:13.840
<v Speaker 1>you're not cut out for a job, so go finish.

1:04:14.320 --> 1:04:17.120
<v Speaker 1>First says, go finish high school and you can join

1:04:17.200 --> 1:04:19.600
<v Speaker 1>the steno pool. He's like, you can't be a hairdresser,

1:04:19.600 --> 1:04:22.360
<v Speaker 1>but you could be a stenographer. But then later he

1:04:22.400 --> 1:04:25.240
<v Speaker 1>implies that she couldn't hold a job and she's just

1:04:25.280 --> 1:04:28.200
<v Speaker 1>not cut out for it. It's so sad every time

1:04:28.240 --> 1:04:30.520
<v Speaker 1>that scene it the way that that song is set up,

1:04:30.600 --> 1:04:33.360
<v Speaker 1>at least in the movie, I you always think that

1:04:33.400 --> 1:04:36.200
<v Speaker 1>the older waitress is going to be singing to Frenchie

1:04:36.200 --> 1:04:38.240
<v Speaker 1>and that she's going to end up being the fairy godmother.

1:04:39.600 --> 1:04:41.960
<v Speaker 1>If I ever staged with this show, I'm stealing that idea.

1:04:42.040 --> 1:04:46.440
<v Speaker 1>That's so good, I always like, because it's always she

1:04:46.520 --> 1:04:48.080
<v Speaker 1>was like, well, I don't know. I was like, Oh,

1:04:48.120 --> 1:04:50.440
<v Speaker 1>she's about to turn around and it's going to be

1:04:50.520 --> 1:04:54.240
<v Speaker 1>sequence and she's gonna tell Frenchie how she's made it

1:04:54.760 --> 1:04:56.880
<v Speaker 1>in her life. And then but then it's just like,

1:04:56.920 --> 1:04:59.600
<v Speaker 1>oh no, here's here's a character we've never met and

1:04:59.680 --> 1:05:02.240
<v Speaker 1>we never see again, telling her she could never hold

1:05:02.240 --> 1:05:07.000
<v Speaker 1>a job, like you know, poor French. There's also I mean,

1:05:07.280 --> 1:05:09.439
<v Speaker 1>we touched on this, but the one of the other

1:05:09.840 --> 1:05:14.880
<v Speaker 1>pink ladies, Marty, we touched on how an adult man

1:05:15.200 --> 1:05:18.200
<v Speaker 1>praise on her and apparently tries to roofy her, and

1:05:18.240 --> 1:05:21.360
<v Speaker 1>that just gets completely blown past and played off as

1:05:21.360 --> 1:05:25.360
<v Speaker 1>a joke. In the play, he is scripted as going

1:05:25.400 --> 1:05:28.400
<v Speaker 1>around the dance feeling people up. That is a part

1:05:28.440 --> 1:05:30.560
<v Speaker 1>of the stage directions in the place that he's like

1:05:31.040 --> 1:05:33.760
<v Speaker 1>watching people dance, and then he is occasionally like copying

1:05:33.760 --> 1:05:41.040
<v Speaker 1>a field horrifying. It's funny. Sexual violence from old people's

1:05:41.040 --> 1:05:47.200
<v Speaker 1>funny lious. It's because it's like in or they like

1:05:47.240 --> 1:05:49.200
<v Speaker 1>it was a simpler time. I'm like, I'm pretty sure

1:05:49.200 --> 1:05:52.360
<v Speaker 1>people were also doing that in ninety eight, so maybe

1:05:52.400 --> 1:05:57.600
<v Speaker 1>it was just at his hands. Slithered down and rubbed

1:05:57.720 --> 1:06:01.760
<v Speaker 1>one of the girls across the ass or nonchalantly trying

1:06:01.800 --> 1:06:06.880
<v Speaker 1>to quote cop of Field is in the stage direction. Uh.

1:06:07.960 --> 1:06:12.000
<v Speaker 1>Interesting note on Marty. In the play, she is explicitly

1:06:12.280 --> 1:06:15.320
<v Speaker 1>engaged to the marine, and then she has a song

1:06:15.400 --> 1:06:19.160
<v Speaker 1>about it, and then they've changed it in the movie

1:06:19.240 --> 1:06:22.000
<v Speaker 1>so that she's in penpal relationships with lots and lots

1:06:22.000 --> 1:06:23.760
<v Speaker 1>of men, which is more of a comedic beat and

1:06:23.800 --> 1:06:27.240
<v Speaker 1>not a song beat, and has also been used. I

1:06:27.280 --> 1:06:31.080
<v Speaker 1>read and watched a few arguments as to why this

1:06:31.160 --> 1:06:34.200
<v Speaker 1>is a highly feminist film, and one of the points

1:06:34.200 --> 1:06:36.880
<v Speaker 1>that has made is that these women don't seem interested

1:06:37.000 --> 1:06:41.200
<v Speaker 1>in domesticity or having babies, are getting married, which is

1:06:41.240 --> 1:06:44.200
<v Speaker 1>less true in the play because Marty is engaged and

1:06:44.400 --> 1:06:46.880
<v Speaker 1>I guess she seems like a little bit more like

1:06:46.960 --> 1:06:49.880
<v Speaker 1>she's living in an exciting like because she has multiple

1:06:49.960 --> 1:06:54.200
<v Speaker 1>men in her life that are across the sea, but

1:06:54.520 --> 1:06:57.440
<v Speaker 1>it doesn't seem like they have career interests either, So

1:06:57.520 --> 1:06:59.720
<v Speaker 1>I don't really think that that argument has a like

1:06:59.840 --> 1:07:02.280
<v Speaker 1>to and on. I think it makes sense to me

1:07:02.360 --> 1:07:06.040
<v Speaker 1>in like the framework of like what second wave feminism

1:07:06.360 --> 1:07:10.880
<v Speaker 1>seemed to mostly be, where it's like still very like it.

1:07:11.600 --> 1:07:13.840
<v Speaker 1>I feel like second way feminism in particular kind of

1:07:13.880 --> 1:07:19.400
<v Speaker 1>really enables a lot of like rape culture because because

1:07:19.440 --> 1:07:24.080
<v Speaker 1>it's like it rejects domesticity, it encourages women to, you know,

1:07:24.160 --> 1:07:27.240
<v Speaker 1>at least on paper, um like have sex with whoever

1:07:27.280 --> 1:07:29.320
<v Speaker 1>they want and like get a job if you want,

1:07:29.400 --> 1:07:32.480
<v Speaker 1>like have more freedom. But in a way that almost

1:07:32.680 --> 1:07:38.360
<v Speaker 1>like endorses all this gross behavior from men and framing

1:07:38.360 --> 1:07:40.720
<v Speaker 1>it as like no women are allowed to enjoy it.

1:07:40.760 --> 1:07:43.080
<v Speaker 1>You don't have to pretend that you don't like it

1:07:43.120 --> 1:07:46.560
<v Speaker 1>because you're approved, And it's like almost I don't know,

1:07:46.640 --> 1:07:50.240
<v Speaker 1>it's I'm telling you I don't like it, Yeah, exact exactly.

1:07:50.280 --> 1:07:52.760
<v Speaker 1>I'm like, but what if? But what if? What if

1:07:52.800 --> 1:07:58.040
<v Speaker 1>you meant it? Like there's also like a during that

1:07:58.440 --> 1:08:02.480
<v Speaker 1>beat when she's like, oh, like I'm dating a Marine

1:08:02.560 --> 1:08:04.840
<v Speaker 1>and a whole bunch of other guys too. She puts

1:08:04.880 --> 1:08:07.640
<v Speaker 1>on this robe and she's like, yeah, Bobby got it

1:08:07.720 --> 1:08:10.040
<v Speaker 1>from me and Korea, and then I forget which one

1:08:10.080 --> 1:08:12.600
<v Speaker 1>it is. But someone's like, you're not dating a Korean,

1:08:12.760 --> 1:08:15.360
<v Speaker 1>are you? And she's like, no, he's in Marines, So

1:08:15.360 --> 1:08:18.320
<v Speaker 1>it's like, of course I'm not dating a Korean. You stupid,

1:08:19.560 --> 1:08:23.639
<v Speaker 1>Like Okay, so there's there's like, yeah, there's that racist joke.

1:08:23.760 --> 1:08:29.040
<v Speaker 1>There was like the like little homophobic moment at the

1:08:29.160 --> 1:08:35.760
<v Speaker 1>dance I'll look inna you Eugene. Yeah whatever, Yeah, and

1:08:35.800 --> 1:08:38.759
<v Speaker 1>then there's just like a ton of I mean, and again,

1:08:38.800 --> 1:08:42.200
<v Speaker 1>this is like the most basic criticism of Greece. I

1:08:42.200 --> 1:08:44.120
<v Speaker 1>don't even want to harp on it, but like, the

1:08:44.200 --> 1:08:49.479
<v Speaker 1>amount of like rape culture in this movie is so wild.

1:08:49.680 --> 1:08:52.720
<v Speaker 1>It's like that's that's all of the T Birds just

1:08:52.880 --> 1:08:56.000
<v Speaker 1>just like their character. It's barely worth mentioning. But like

1:08:56.320 --> 1:08:58.320
<v Speaker 1>the I mean, what is worth mentioning? But it's like

1:08:58.360 --> 1:09:01.080
<v Speaker 1>this has been already mentioned and a million times by

1:09:01.080 --> 1:09:03.720
<v Speaker 1>a million people. But like the lyric, dude she put

1:09:03.880 --> 1:09:07.000
<v Speaker 1>up a fight and it's like yeah, that's like God,

1:09:07.160 --> 1:09:10.400
<v Speaker 1>the debate, I mean, it's like at this point it's like, yeah,

1:09:10.439 --> 1:09:13.040
<v Speaker 1>that's rave culture. I don't know why it's an argument this.

1:09:13.880 --> 1:09:17.360
<v Speaker 1>I'm there are certain like arguments that people are never

1:09:17.400 --> 1:09:19.479
<v Speaker 1>sick of having that it's like can we just can

1:09:19.560 --> 1:09:22.840
<v Speaker 1>we just put it to rest? It's obviously a very

1:09:22.920 --> 1:09:29.080
<v Speaker 1>rape line, and um, I don't like, what's the argument, right? Well,

1:09:29.479 --> 1:09:31.400
<v Speaker 1>but yeah, all the T Birds, I mean that all

1:09:31.439 --> 1:09:34.080
<v Speaker 1>the tea birds are are in a prison that they

1:09:34.080 --> 1:09:39.439
<v Speaker 1>have constructed them. Well, like again, there's a moment that

1:09:39.479 --> 1:09:41.840
<v Speaker 1>I'm like, oh this this could be fun or there

1:09:41.920 --> 1:09:44.000
<v Speaker 1>could there could have been more commentary on this where

1:09:44.400 --> 1:09:48.880
<v Speaker 1>Knnicki is trying to ask Danny Zuko if he'll be

1:09:48.960 --> 1:09:51.840
<v Speaker 1>his like driving buddy. So I don't even know what

1:09:51.960 --> 1:09:53.840
<v Speaker 1>He's like, you will you be my shuck in in

1:09:53.920 --> 1:09:58.679
<v Speaker 1>command for thunder borderline like a romantic moment only sort

1:09:58.680 --> 1:10:01.320
<v Speaker 1>of makes sense. What's happening. I don't know what he's

1:10:01.320 --> 1:10:03.000
<v Speaker 1>asking it, but he's basically just like will you be

1:10:03.040 --> 1:10:05.400
<v Speaker 1>there for me? Bro? And will you be my second?

1:10:05.920 --> 1:10:07.680
<v Speaker 1>At Thunder Road? It's like do you want me to

1:10:07.720 --> 1:10:09.839
<v Speaker 1>be in the passenger seat? Like what are you asking? Anyway?

1:10:09.920 --> 1:10:12.080
<v Speaker 1>And so he didn't you also didn't understand that because

1:10:12.080 --> 1:10:15.679
<v Speaker 1>I was like because Danny zo like react, so he's

1:10:15.760 --> 1:10:18.799
<v Speaker 1>so thrilled. I'm like, what the what? What's the question?

1:10:19.640 --> 1:10:21.920
<v Speaker 1>Does that mean you'll fill in for me in case

1:10:21.960 --> 1:10:23.960
<v Speaker 1>I get my head bombed by a car door and

1:10:23.960 --> 1:10:26.479
<v Speaker 1>I'm unwilling to raise? Is that what he's preparing for?

1:10:26.760 --> 1:10:32.160
<v Speaker 1>I guess like can you be my study? So weird

1:10:33.560 --> 1:10:35.320
<v Speaker 1>because like Danny doesn't even know what he's asking it

1:10:35.400 --> 1:10:38.120
<v Speaker 1>first either, but then he's like, oh yeah, and then

1:10:38.160 --> 1:10:41.040
<v Speaker 1>they like so once you realize and get embarrassed, yeah,

1:10:41.040 --> 1:10:43.799
<v Speaker 1>they hug and then there's like this nice, tender moment

1:10:43.920 --> 1:10:46.600
<v Speaker 1>of like platonic male friendship. And then they realize what

1:10:46.640 --> 1:10:48.840
<v Speaker 1>they're doing and that they're like you know, grease or

1:10:48.880 --> 1:10:51.559
<v Speaker 1>guy friends are also right there watching, So then they

1:10:51.600 --> 1:10:55.400
<v Speaker 1>pull apart. They start like you know, coming back, slicking

1:10:55.439 --> 1:10:57.880
<v Speaker 1>back their hair and like resuming their like you know,

1:10:57.960 --> 1:11:02.200
<v Speaker 1>macho persona, and like, can't we talk more about that?

1:11:02.280 --> 1:11:05.800
<v Speaker 1>Like why can't the movie explore that more? And then

1:11:05.920 --> 1:11:09.360
<v Speaker 1>but it's just like this fleeting moment they really cannot explore.

1:11:09.920 --> 1:11:13.400
<v Speaker 1>They cannot male friendship. I wanted to go back to

1:11:13.520 --> 1:11:17.880
<v Speaker 1>the Pink Ladies to Jan because there's a there's a

1:11:17.920 --> 1:11:21.200
<v Speaker 1>strange thing happening there, and I didn't even realize what

1:11:21.280 --> 1:11:24.040
<v Speaker 1>was happening until like halfway through the movie. So basically

1:11:24.160 --> 1:11:27.879
<v Speaker 1>there's a scene at the diner where she starts talking

1:11:27.920 --> 1:11:29.960
<v Speaker 1>to one of the t birds and I truly have

1:11:30.040 --> 1:11:33.120
<v Speaker 1>no idea which one it is. Putsy the blonde guy

1:11:33.240 --> 1:11:36.040
<v Speaker 1>right whose character is Roger, and the play and Roger

1:11:36.120 --> 1:11:38.200
<v Speaker 1>is also supposed to be fat, so there's supposed to

1:11:38.240 --> 1:11:40.240
<v Speaker 1>be two fat characters, and then the movie there's one

1:11:40.280 --> 1:11:42.639
<v Speaker 1>fat character and no fat acts and actually no fact

1:11:43.400 --> 1:11:48.759
<v Speaker 1>that was so confusing. Okay, so what basically what happens

1:11:48.760 --> 1:11:52.479
<v Speaker 1>here is that jan is talking to Petsy and they

1:11:52.560 --> 1:11:56.120
<v Speaker 1>start kind of like flirting and connecting, and Putsy is like,

1:11:56.320 --> 1:11:59.080
<v Speaker 1>I've always seen you as more than just fat, and

1:11:59.120 --> 1:12:02.360
<v Speaker 1>she's like, oh things, and You're just like what what

1:12:02.439 --> 1:12:05.840
<v Speaker 1>did what what are you talking about? Because Jan, that

1:12:06.479 --> 1:12:08.880
<v Speaker 1>is not fat, not fat, the actor is not fat.

1:12:09.200 --> 1:12:11.200
<v Speaker 1>But then when I went back and rewatched the movie,

1:12:11.240 --> 1:12:14.000
<v Speaker 1>I realized that she is apparently supposed to be coded

1:12:14.200 --> 1:12:18.000
<v Speaker 1>as fat because she is wearing baggy clothes and she's

1:12:18.040 --> 1:12:21.400
<v Speaker 1>always eating. Yeah, which if I didn't notice that on

1:12:21.479 --> 1:12:24.360
<v Speaker 1>the first watch, and then I had to rewind when

1:12:24.400 --> 1:12:26.559
<v Speaker 1>it hit that point, I was like, what was this

1:12:26.640 --> 1:12:30.280
<v Speaker 1>signal to us in anyway? But it is. It is

1:12:30.320 --> 1:12:31.960
<v Speaker 1>in the way that they like, like, you're like in

1:12:32.000 --> 1:12:37.080
<v Speaker 1>the way that she is eating sometimes, because right, because like,

1:12:37.280 --> 1:12:40.479
<v Speaker 1>if you're fat, you're always eating. That's what the movie,

1:12:40.560 --> 1:12:43.000
<v Speaker 1>which is like the laziest plot point in the book.

1:12:43.200 --> 1:12:44.960
<v Speaker 1>Also the fact that in the play, they were that

1:12:45.479 --> 1:12:48.639
<v Speaker 1>whole implication that like fat people can only date other

1:12:48.760 --> 1:12:54.519
<v Speaker 1>fat people, Like that's another exhausting like yeah, there's three

1:12:54.960 --> 1:12:58.920
<v Speaker 1>times more jokes, so oh no, yeah, it's it's pretty bad.

1:12:59.439 --> 1:13:02.400
<v Speaker 1>I guess I'm bad that those aren't included like in

1:13:02.439 --> 1:13:06.240
<v Speaker 1>the movie. It was just very jarring, especially especially because

1:13:06.360 --> 1:13:10.040
<v Speaker 1>then it's like the sad thing where she when they

1:13:10.080 --> 1:13:13.400
<v Speaker 1>say explicitly that this is supposed to be a fat character,

1:13:13.520 --> 1:13:16.160
<v Speaker 1>and then you're like huh, and then she implies that

1:13:16.200 --> 1:13:19.599
<v Speaker 1>she's been like starving herself and she's been like dieting,

1:13:19.800 --> 1:13:23.280
<v Speaker 1>and that now that she's dieting, a boy likes her,

1:13:23.560 --> 1:13:26.960
<v Speaker 1>Like you're just like fuck. And then at the very end,

1:13:27.000 --> 1:13:30.360
<v Speaker 1>when there's like the whole like carnival dance sequence, she's

1:13:30.360 --> 1:13:33.040
<v Speaker 1>in like a form fitting dress, and I think it's

1:13:33.120 --> 1:13:36.080
<v Speaker 1>the implication is, oh, she's lost weight. I think that

1:13:36.080 --> 1:13:38.360
<v Speaker 1>that's how the actor looks there. That's just how she's

1:13:38.400 --> 1:13:40.880
<v Speaker 1>always looked the whole time. I was just like I

1:13:40.920 --> 1:13:44.080
<v Speaker 1>could not even begin to wrap my head around what

1:13:44.600 --> 1:13:47.439
<v Speaker 1>the intention was of any of that. But I was like,

1:13:47.840 --> 1:13:50.000
<v Speaker 1>I think the movie is trying to tell us that

1:13:50.080 --> 1:13:53.040
<v Speaker 1>this character was supposed to be fat even though the

1:13:53.080 --> 1:13:57.439
<v Speaker 1>actor is thin, but we're supposed to think she's fat

1:13:57.479 --> 1:13:59.720
<v Speaker 1>because she's eating all the time. I was just like,

1:14:00.280 --> 1:14:03.560
<v Speaker 1>what choice is this? I was so CONFA, that was

1:14:03.600 --> 1:14:07.000
<v Speaker 1>a very confusing plot point to take in. I mean,

1:14:07.040 --> 1:14:09.880
<v Speaker 1>that's I vaguely now that you say that there's more

1:14:09.960 --> 1:14:12.920
<v Speaker 1>jokes in this stage show. That kind of brings a

1:14:13.120 --> 1:14:16.960
<v Speaker 1>bell to like productions of it I've seen before, which

1:14:17.000 --> 1:14:20.240
<v Speaker 1>is also just like, especially when you're like often casting

1:14:20.439 --> 1:14:28.120
<v Speaker 1>kids in that show, incredibly cruel and fucked up to do. Yikes, Um,

1:14:28.280 --> 1:14:30.840
<v Speaker 1>that was weird. I thought her like I didn't know

1:14:30.880 --> 1:14:34.960
<v Speaker 1>because I was like, there are all these like stock characters,

1:14:35.040 --> 1:14:37.400
<v Speaker 1>and there's a wide I'm like, the most I can

1:14:37.479 --> 1:14:40.599
<v Speaker 1>kind of say, for like, there are different types of

1:14:40.680 --> 1:14:42.800
<v Speaker 1>women in this movie, but it's just kind of like

1:14:42.960 --> 1:14:47.040
<v Speaker 1>a lot of different types of female stock characters. Yeah,

1:14:47.080 --> 1:14:50.880
<v Speaker 1>it's archetypes. It's not there's a wide provide range of

1:14:51.000 --> 1:14:55.040
<v Speaker 1>archetypes for in this movie. I thought that she was

1:14:55.360 --> 1:14:59.679
<v Speaker 1>at first, I was like jan is a. I went

1:14:59.720 --> 1:15:02.040
<v Speaker 1>a for a direction like, oh, she's wearing glasses, so

1:15:02.080 --> 1:15:05.639
<v Speaker 1>the movie wants me to think that she liked school,

1:15:06.560 --> 1:15:09.360
<v Speaker 1>But apparently that's not what I was to think. Oh, no,

1:15:09.439 --> 1:15:14.360
<v Speaker 1>I think wears glasses. Who wears glasses? Marty? Oh she

1:15:14.439 --> 1:15:17.400
<v Speaker 1>has the horn from glasses at the beginning, Yeah, she

1:15:17.520 --> 1:15:20.360
<v Speaker 1>has glasses in the first scenes. I was like, got it, books,

1:15:21.479 --> 1:15:25.559
<v Speaker 1>But I was wrong. I was smarted by a different thing.

1:15:25.640 --> 1:15:28.000
<v Speaker 1>Don't they make me look smarter? No, I can still

1:15:28.000 --> 1:15:36.000
<v Speaker 1>see your face. Ye. Hey, here's something though. The mechanic

1:15:36.360 --> 1:15:39.719
<v Speaker 1>at their school who helps Knicky fix up his car

1:15:40.040 --> 1:15:45.040
<v Speaker 1>is a woman, Mrs Murdoch. So do think she's the

1:15:45.040 --> 1:15:47.960
<v Speaker 1>shop teacher? I guess I think so. Yeah, she gets

1:15:47.960 --> 1:15:52.120
<v Speaker 1>a matching outfit, but that's not a role that a

1:15:52.160 --> 1:15:56.760
<v Speaker 1>woman would traditionally play as like a shop teacher, like

1:15:56.800 --> 1:16:01.760
<v Speaker 1>an auto mechanic, especially during that time. So I was like, okay,

1:16:01.800 --> 1:16:08.120
<v Speaker 1>that's something. Yeah, that's something. That's something. I liked her outfit.

1:16:08.720 --> 1:16:11.800
<v Speaker 1>I just I love all the outfits, all the outfits.

1:16:12.520 --> 1:16:15.920
<v Speaker 1>Cannot argue with them. Um, I just have a couple

1:16:15.920 --> 1:16:19.479
<v Speaker 1>of other really quick just again, like the promotion of

1:16:19.560 --> 1:16:23.120
<v Speaker 1>rape culture that this movie likes to do a little

1:16:23.200 --> 1:16:26.120
<v Speaker 1>gloss of really quickly. Um, there's the I think it's

1:16:26.439 --> 1:16:28.719
<v Speaker 1>which I forget which tea bird it is? Again, they

1:16:28.760 --> 1:16:30.880
<v Speaker 1>all just sort of blend together for me, but one

1:16:30.920 --> 1:16:33.240
<v Speaker 1>of them is like looking up a girl's skirt on

1:16:33.280 --> 1:16:36.240
<v Speaker 1>the bleachers, and like one of his friends does the

1:16:36.240 --> 1:16:38.960
<v Speaker 1>absolute bare minimum to like stop him and call him

1:16:38.960 --> 1:16:42.960
<v Speaker 1>out on it, but it's too embarrass Petsy, It's not

1:16:43.120 --> 1:16:48.559
<v Speaker 1>to stop it from happening. It's ok because he got caught. Yeah, yeah, okay.

1:16:48.640 --> 1:16:54.080
<v Speaker 1>That makes just go like a um. And then there's

1:16:54.080 --> 1:16:56.960
<v Speaker 1>also a moment where it's like during or after the

1:16:57.000 --> 1:17:00.760
<v Speaker 1>Summer Night's Song, where Sandy has said how great this

1:17:00.800 --> 1:17:04.480
<v Speaker 1>boy was that she met, and then Rizzo says, oh,

1:17:04.560 --> 1:17:06.479
<v Speaker 1>you know, this is supposed to be true love, but

1:17:06.560 --> 1:17:09.200
<v Speaker 1>he didn't even lay a hand on you. Sounds like

1:17:09.200 --> 1:17:13.720
<v Speaker 1>a so like the girls, unfortunately, are also kind of

1:17:13.760 --> 1:17:17.000
<v Speaker 1>like have been conditioned to buy into this rape culture

1:17:17.040 --> 1:17:20.439
<v Speaker 1>idea that if like a man isn't throwing himself on

1:17:20.600 --> 1:17:24.040
<v Speaker 1>you and assaulting you constantly, he must not like you.

1:17:24.520 --> 1:17:27.320
<v Speaker 1>I think it's also connected to Gracie what you were

1:17:27.360 --> 1:17:30.880
<v Speaker 1>saying earlier about how like that is kind of like

1:17:30.920 --> 1:17:34.799
<v Speaker 1>what is supposed to make this movie feminist for its time,

1:17:35.160 --> 1:17:40.639
<v Speaker 1>is like, oh, they're not prudes, so therefore, like that's feminist.

1:17:40.640 --> 1:17:43.519
<v Speaker 1>When you're like, no, this could actually be encouraging some

1:17:43.640 --> 1:17:47.519
<v Speaker 1>pretty like harmful. It's so I don't know. Summer Nights

1:17:47.560 --> 1:17:49.760
<v Speaker 1>is the wildest song of all time because it's so

1:17:49.800 --> 1:17:51.840
<v Speaker 1>catchy and I love it so much. But it's like

1:17:52.200 --> 1:17:55.120
<v Speaker 1>they're just it's just like people singing in this like

1:17:56.120 --> 1:18:02.639
<v Speaker 1>cell of gender normativity that they've created. Yipes. Yeah, Well,

1:18:02.920 --> 1:18:07.120
<v Speaker 1>does anyone have any other thoughts? Um? Should we talk

1:18:07.200 --> 1:18:15.360
<v Speaker 1>about chaw chaw our Only she's not explicitly a character

1:18:15.439 --> 1:18:19.479
<v Speaker 1>of color in the play, Okay, but then she's kind

1:18:19.479 --> 1:18:22.200
<v Speaker 1>of our only character, Like that's on our only speaking

1:18:22.280 --> 1:18:28.280
<v Speaker 1>character of color. I think I thought she's a Italian. Oh,

1:18:28.280 --> 1:18:30.320
<v Speaker 1>she's supposed to be Italian in the movie too. I

1:18:30.360 --> 1:18:32.720
<v Speaker 1>think based on the last name. I read a whole

1:18:32.720 --> 1:18:36.720
<v Speaker 1>bunch of criticism about her character from that standpoint. Okay, yeah,

1:18:36.720 --> 1:18:40.120
<v Speaker 1>because I I know that the actor who played cha

1:18:40.280 --> 1:18:44.920
<v Speaker 1>Shaw is Mexican Italian. Yeah, I'd like to know more

1:18:44.960 --> 1:18:47.120
<v Speaker 1>about the criticism around it, because that whole I mean,

1:18:47.160 --> 1:18:50.439
<v Speaker 1>the way that that character is treated at every stage

1:18:50.520 --> 1:18:53.080
<v Speaker 1>is I mean, she shows up, she is immediately a villain.

1:18:53.200 --> 1:18:56.799
<v Speaker 1>She's one of um, you know, Danny Zuko's discarded women.

1:18:57.200 --> 1:18:59.320
<v Speaker 1>But what what is? What is some of the criticism

1:18:59.400 --> 1:19:02.080
<v Speaker 1>around around that bend. You know, it was it wasn't

1:19:02.160 --> 1:19:04.439
<v Speaker 1>like a super in depth article, but it was pretty

1:19:04.520 --> 1:19:07.160
<v Speaker 1>much just you know, they refer to her um I

1:19:07.200 --> 1:19:08.960
<v Speaker 1>forget which is the plane, which is the movie, but

1:19:09.080 --> 1:19:12.880
<v Speaker 1>they refer to her chest hair. At one point in

1:19:12.920 --> 1:19:16.360
<v Speaker 1>the play they call her a gorilla. That and ends

1:19:16.360 --> 1:19:19.280
<v Speaker 1>in the movie where like she gives because she's like

1:19:19.360 --> 1:19:24.479
<v Speaker 1>sort of dating crater Face sometimes, I think, and she

1:19:24.600 --> 1:19:27.800
<v Speaker 1>like pulls a little necklace out of her like cleavage

1:19:27.840 --> 1:19:29.320
<v Speaker 1>or something like that and gives her like a little

1:19:29.400 --> 1:19:31.840
<v Speaker 1>charm or something and gives it to him. And then

1:19:32.479 --> 1:19:34.680
<v Speaker 1>one of the pink ladies is like, oh, she just

1:19:34.720 --> 1:19:38.000
<v Speaker 1>pulled chest gave him some chest hair or something like that.

1:19:38.360 --> 1:19:42.840
<v Speaker 1>Oh I missed that line. That's yeah horrible. Yeah, it's

1:19:42.880 --> 1:19:46.200
<v Speaker 1>it's worse than the play. But we could talk a

1:19:46.280 --> 1:19:48.960
<v Speaker 1>little bit if we want to about women are kind

1:19:49.000 --> 1:19:52.400
<v Speaker 1>of mean to each other. Like for it being an

1:19:52.439 --> 1:19:56.360
<v Speaker 1>explicit clique and group, there is not a lot of

1:19:56.400 --> 1:19:59.920
<v Speaker 1>supporting each other's wants and needs going on. Even among

1:20:00.120 --> 1:20:03.920
<v Speaker 1>the pink ladies there especially mean to each other, Like

1:20:03.960 --> 1:20:06.080
<v Speaker 1>and they're supposed to be friends, they're pretty mean to

1:20:06.120 --> 1:20:09.800
<v Speaker 1>each other. Marty doesn't keep her secret and like even

1:20:09.840 --> 1:20:12.880
<v Speaker 1>like the principle is really mean to the office administrator.

1:20:13.600 --> 1:20:16.559
<v Speaker 1>Oh yeah, yeah, I had. I had a few notes

1:20:16.600 --> 1:20:19.240
<v Speaker 1>about that as well, where it was like there is

1:20:19.400 --> 1:20:23.320
<v Speaker 1>no support within this group that we're being presented as,

1:20:23.400 --> 1:20:25.880
<v Speaker 1>like oh, look at like visually they're presented as being

1:20:25.960 --> 1:20:27.960
<v Speaker 1>very close with each other, but they can't talk to

1:20:28.000 --> 1:20:31.840
<v Speaker 1>each other. Like Rizzo is like kind of drowning in

1:20:31.920 --> 1:20:36.200
<v Speaker 1>her own like shame and insecurity, and she can't communicate

1:20:36.280 --> 1:20:40.519
<v Speaker 1>honestly with anybody. French. She doesn't tell anyone that she's

1:20:40.720 --> 1:20:42.719
<v Speaker 1>dropping out of beauty school because I guess she doesn't

1:20:42.760 --> 1:20:45.360
<v Speaker 1>like trust her friends enough to share that information. She

1:20:45.439 --> 1:20:48.639
<v Speaker 1>only shares it with a waitress who immediately leaves the scene.

1:20:49.280 --> 1:20:51.800
<v Speaker 1>Like that made me sad. I was like, wow, no

1:20:51.840 --> 1:20:55.559
<v Speaker 1>one has Like everyone is very isolated for a group

1:20:55.600 --> 1:20:58.479
<v Speaker 1>that we're supposed to be like rooting for as best

1:20:58.600 --> 1:21:02.160
<v Speaker 1>friends like that, and and then and then Sandy too,

1:21:02.160 --> 1:21:06.280
<v Speaker 1>where they immediately except for Frenchie who doesn't really who

1:21:06.280 --> 1:21:10.160
<v Speaker 1>does who also joins in too bully Sandy when it's convenient,

1:21:10.840 --> 1:21:14.800
<v Speaker 1>but they immediately isolate Sandy as well. And it's again

1:21:14.800 --> 1:21:18.640
<v Speaker 1>it's like there there is. There's not even really an

1:21:18.640 --> 1:21:23.280
<v Speaker 1>attempt at a comment on it where there's no yeah,

1:21:23.320 --> 1:21:26.160
<v Speaker 1>there's just never any resolution, Like it's just like and

1:21:26.200 --> 1:21:29.880
<v Speaker 1>that's just the way things are. Women get jealous of

1:21:29.920 --> 1:21:33.559
<v Speaker 1>each other and they're catty and they're mean, and that's

1:21:33.680 --> 1:21:37.000
<v Speaker 1>just what they're like. And meanwhile men are horny and

1:21:37.040 --> 1:21:40.600
<v Speaker 1>it's like, yeah, we gotta yeah with with with no

1:21:40.760 --> 1:21:45.120
<v Speaker 1>attempts to even try to explore like what the context

1:21:45.240 --> 1:21:47.639
<v Speaker 1>for any of that might be, or like it's it's

1:21:47.640 --> 1:21:49.040
<v Speaker 1>the thing we talked about all the time where it's

1:21:49.080 --> 1:21:51.720
<v Speaker 1>like men have seen women being mean to each other.

1:21:52.080 --> 1:21:54.920
<v Speaker 1>They can't imagine why that would be, but they've noticed it,

1:21:55.040 --> 1:21:57.120
<v Speaker 1>so they're like, well, women are just mean to each other,

1:21:57.720 --> 1:22:01.160
<v Speaker 1>and like not stopping to say for a second that

1:22:01.240 --> 1:22:05.040
<v Speaker 1>it might be because our patriarchal society means that women

1:22:05.080 --> 1:22:08.320
<v Speaker 1>have to compete with each other for the very limited

1:22:08.360 --> 1:22:12.840
<v Speaker 1>resources and opportunities that are ever allotted to women. But

1:22:13.120 --> 1:22:17.240
<v Speaker 1>men are just like, nah, it's probably because women hate

1:22:17.280 --> 1:22:21.599
<v Speaker 1>each other because they're all petty, right, which, like this

1:22:21.640 --> 1:22:25.880
<v Speaker 1>movie would be I think like able to tackle if

1:22:26.000 --> 1:22:28.400
<v Speaker 1>it wanted to to. It's like I don't mind seeing

1:22:28.439 --> 1:22:31.360
<v Speaker 1>like teen girls in conflict with each other. There's a

1:22:31.400 --> 1:22:34.000
<v Speaker 1>lot of movies that do that very well and like

1:22:34.360 --> 1:22:37.120
<v Speaker 1>have it makes sense and you understand the argument and like,

1:22:37.439 --> 1:22:40.720
<v Speaker 1>but this is this one just just presents it as

1:22:40.760 --> 1:22:44.439
<v Speaker 1>like this is just what happens. It makes me say

1:22:44.800 --> 1:22:48.200
<v Speaker 1>they're also alone, Like they really are so like in

1:22:48.320 --> 1:22:51.679
<v Speaker 1>terms of like emotionally and like who either are able

1:22:51.720 --> 1:22:54.240
<v Speaker 1>to open up to. I can't even really think of

1:22:54.320 --> 1:22:57.120
<v Speaker 1>two characters that I'm like, oh, there's a strong bond

1:22:57.200 --> 1:23:00.439
<v Speaker 1>of trust and affection between these characters. Like no one

1:23:00.479 --> 1:23:03.040
<v Speaker 1>can be their authentic self with anyone else in the

1:23:03.200 --> 1:23:09.639
<v Speaker 1>entire movie. It's really I don't feel sad. It's trying

1:23:09.680 --> 1:23:11.880
<v Speaker 1>to be critical of a world in which everyone is

1:23:12.360 --> 1:23:17.000
<v Speaker 1>so busy performing their assigned genders and fitting into society

1:23:17.040 --> 1:23:20.120
<v Speaker 1>that look at these cool people. They're on the outskirts

1:23:20.160 --> 1:23:22.759
<v Speaker 1>of society and they aren't doing that, but they're also

1:23:23.200 --> 1:23:27.000
<v Speaker 1>busy performing their alternative versions of gender identity that they

1:23:27.000 --> 1:23:30.040
<v Speaker 1>are doing the exact same thing as their peers right exactly.

1:23:30.400 --> 1:23:34.559
<v Speaker 1>So it's really depressing. As a god boomers are they're

1:23:34.600 --> 1:23:41.639
<v Speaker 1>hurting so much. Yeah, yeah, like I just no one

1:23:41.720 --> 1:23:44.680
<v Speaker 1>can be themselves in this movie. Because everyone is so

1:23:44.680 --> 1:23:50.799
<v Speaker 1>so focused on performing for each other and rejecting people

1:23:51.160 --> 1:23:55.320
<v Speaker 1>for arbitrary reasons. And I understand that that's like a

1:23:55.439 --> 1:24:01.040
<v Speaker 1>pretty authentic adolescent experience for a lot of means, especially

1:24:01.240 --> 1:24:04.000
<v Speaker 1>like in the seventies, especially in the fifties. You know,

1:24:04.080 --> 1:24:06.960
<v Speaker 1>Like again, I keep having having to remind myself, like

1:24:07.640 --> 1:24:10.599
<v Speaker 1>this was all stuff from decades and decades ago, and

1:24:10.840 --> 1:24:14.240
<v Speaker 1>therefore we can't have high hopes for it. But if

1:24:14.280 --> 1:24:19.519
<v Speaker 1>you're gonna explore the like turmoil and pain that like

1:24:19.560 --> 1:24:21.599
<v Speaker 1>a team goes through with like trying to figure out

1:24:21.640 --> 1:24:25.639
<v Speaker 1>their identity and like behaviors that manifest because of like

1:24:26.240 --> 1:24:31.040
<v Speaker 1>their internalized misogyny or because of their you know, the

1:24:31.080 --> 1:24:35.400
<v Speaker 1>prison of their toxic masculinity. Like, then again, I think

1:24:35.520 --> 1:24:38.360
<v Speaker 1>the bottom line for this movie is like it starts

1:24:38.360 --> 1:24:41.840
<v Speaker 1>to try to make some arguments or like make some commentary,

1:24:42.120 --> 1:24:51.040
<v Speaker 1>but never there's like absolutely no follow through. Mmma. That's

1:24:51.040 --> 1:24:56.120
<v Speaker 1>how it gets solved in the end A booget boogety

1:24:56.120 --> 1:25:01.880
<v Speaker 1>boggety boget cheap we do well well hell like hell,

1:25:02.600 --> 1:25:07.040
<v Speaker 1>everyone is so trapped except I mean, if I was Sandy,

1:25:07.080 --> 1:25:09.200
<v Speaker 1>I would be thrilled to be you know, flying into

1:25:09.240 --> 1:25:13.120
<v Speaker 1>the sun and burning to her risk, Like at that point, sure,

1:25:13.120 --> 1:25:15.120
<v Speaker 1>why not? Clearly no one here is going to ever

1:25:15.200 --> 1:25:18.559
<v Speaker 1>learn a goddamn thing. I do. Like when when Frenchy

1:25:18.760 --> 1:25:22.920
<v Speaker 1>is like men of rats, No they're fleas on rats. No,

1:25:23.360 --> 1:25:26.360
<v Speaker 1>they're a me bis on fleas all rats, and then

1:25:26.400 --> 1:25:28.640
<v Speaker 1>she says the only girl a guy can depend on

1:25:28.760 --> 1:25:31.920
<v Speaker 1>is her daddy, And I'm like, like, the only man

1:25:32.000 --> 1:25:35.160
<v Speaker 1>a girl can depend on is her daddy, which no,

1:25:35.320 --> 1:25:38.880
<v Speaker 1>thank you, unless she at least has a good relationship

1:25:38.920 --> 1:25:42.439
<v Speaker 1>with her dad. Yeah, I don't have an emotionally honest

1:25:42.640 --> 1:25:45.040
<v Speaker 1>but apparently she can't because she didn't tell him that

1:25:45.560 --> 1:25:49.160
<v Speaker 1>you know, about any beauty school thing. She only tells

1:25:49.439 --> 1:25:52.080
<v Speaker 1>and she has to, Like French she has to make

1:25:52.200 --> 1:25:55.800
<v Speaker 1>someone up to have a conversation with anyone, and that

1:25:55.840 --> 1:26:00.040
<v Speaker 1>person also bullies her. Maybe yeah, maybe Frankie Avalon is

1:26:00.080 --> 1:26:06.120
<v Speaker 1>her dad, and he has so many children it's probably true.

1:26:06.960 --> 1:26:09.160
<v Speaker 1>I know I'm supposed to know who Frankie Avalon is,

1:26:09.200 --> 1:26:13.000
<v Speaker 1>but I truly have no idea. It's okay, thank you

1:26:13.040 --> 1:26:15.519
<v Speaker 1>so much. He's not in the best early nineteen sixties

1:26:15.560 --> 1:26:17.720
<v Speaker 1>b to writing movies, Like if I was to recommend one,

1:26:17.760 --> 1:26:21.759
<v Speaker 1>I would say watch The Jama Party. His characters also

1:26:21.840 --> 1:26:24.040
<v Speaker 1>really mean in those movies, Like you're supposed to like

1:26:24.120 --> 1:26:25.439
<v Speaker 1>him and want him to be with a net, but

1:26:25.479 --> 1:26:28.200
<v Speaker 1>he's an asshole in all of the movies and he's terrible.

1:26:28.400 --> 1:26:35.400
<v Speaker 1>God damn it, Rats there abase on Rats. There's one

1:26:35.600 --> 1:26:38.760
<v Speaker 1>theory that I wanted to bring up, and that's, uh,

1:26:38.800 --> 1:26:43.160
<v Speaker 1>the interpretation that the reason Rizzo is so glib about

1:26:43.240 --> 1:26:45.920
<v Speaker 1>her pregnancy being a false alarm is that that isn't

1:26:45.960 --> 1:26:49.640
<v Speaker 1>what happened. And and you know, she kind of she

1:26:49.680 --> 1:26:52.920
<v Speaker 1>has a line. The movie is so different than the play,

1:26:53.000 --> 1:26:56.519
<v Speaker 1>but she has a line after Patty runs by giggling

1:26:56.560 --> 1:26:58.720
<v Speaker 1>at her and Sandy tries to be nice, and she's like,

1:26:58.840 --> 1:27:01.439
<v Speaker 1>you think, I don't know what people are saying about me, right,

1:27:02.160 --> 1:27:04.479
<v Speaker 1>and that could be just that she's pregnant, but then

1:27:04.520 --> 1:27:08.000
<v Speaker 1>she I don't know. I think that's a fun interpretation.

1:27:08.040 --> 1:27:10.160
<v Speaker 1>I think it's an interpretation that has sort of been

1:27:10.240 --> 1:27:13.040
<v Speaker 1>concocted after the fact to try to make it seem

1:27:13.080 --> 1:27:15.640
<v Speaker 1>like a more feminist movie than the filmmakers intended for

1:27:15.680 --> 1:27:17.920
<v Speaker 1>it to be. Like, I don't think that that's the

1:27:18.000 --> 1:27:20.840
<v Speaker 1>movie is intent is that she had an abortion, but

1:27:21.200 --> 1:27:23.800
<v Speaker 1>if you watch it with that in mind, you're like, oh, yeah,

1:27:23.840 --> 1:27:26.920
<v Speaker 1>you could totally see that. That's that's, at least in

1:27:26.960 --> 1:27:31.040
<v Speaker 1>the performance, an option of interpretation, And that does seem

1:27:31.080 --> 1:27:34.200
<v Speaker 1>like something like that feels kind of aligned with Rizzo's character,

1:27:34.400 --> 1:27:36.479
<v Speaker 1>Like she deals with her problems on her own and

1:27:36.520 --> 1:27:40.840
<v Speaker 1>she doesn't ask for any help or support that she

1:27:40.920 --> 1:27:44.479
<v Speaker 1>might actually need. I mean, that's that's interesting, I kind

1:27:44.479 --> 1:27:47.160
<v Speaker 1>of I mean that plot point would make more sense

1:27:47.160 --> 1:27:51.320
<v Speaker 1>than just being like just kidding. Yeah. Well, she says

1:27:51.360 --> 1:27:55.200
<v Speaker 1>she missed a period, which that seems severe, and the

1:27:55.240 --> 1:27:59.240
<v Speaker 1>play she's just five days late, which is not that

1:27:59.320 --> 1:28:05.320
<v Speaker 1>big a deal, right, I missed a period, Yeah, is

1:28:05.360 --> 1:28:07.040
<v Speaker 1>a little different. And then she's like, turns out it

1:28:07.080 --> 1:28:09.679
<v Speaker 1>was a false alarm and that could be a lie.

1:28:10.160 --> 1:28:12.400
<v Speaker 1>I want Risso to be able to talk to someone

1:28:12.600 --> 1:28:15.760
<v Speaker 1>that isn't via just bullying the girl closest to her.

1:28:16.760 --> 1:28:23.240
<v Speaker 1>Rizzo's also trapped in this very strange everyone it's toxic

1:28:23.320 --> 1:28:27.800
<v Speaker 1>feminine toughness. Yeah. Yeah, it is like she can only

1:28:27.840 --> 1:28:31.840
<v Speaker 1>express herself but listen to hurt people. Hurt people. It

1:28:31.920 --> 1:28:38.160
<v Speaker 1>really is true, Rizzo. I just yeah, and then yeah,

1:28:38.160 --> 1:28:42.120
<v Speaker 1>it's like the women don't push back like it's weird.

1:28:42.120 --> 1:28:45.920
<v Speaker 1>It's like the pink ladies seem like aware that they

1:28:45.960 --> 1:28:49.120
<v Speaker 1>know of the double standard of like girls are s

1:28:49.400 --> 1:28:51.559
<v Speaker 1>if they have sex, guys are amazing if they have sex.

1:28:52.080 --> 1:28:55.840
<v Speaker 1>But then they still slut shame each other anyways, almost

1:28:55.880 --> 1:28:58.479
<v Speaker 1>in a way that's like it strikes me as like

1:28:58.520 --> 1:29:02.000
<v Speaker 1>a little coping mechanism of like, well, no one's ever gonna,

1:29:02.479 --> 1:29:05.800
<v Speaker 1>you know, not shame us, so let's also slunch shame

1:29:05.880 --> 1:29:09.840
<v Speaker 1>each other, like if you can't beat them, I don't know,

1:29:10.439 --> 1:29:15.880
<v Speaker 1>I want to see these girls down. Let's yeah. The

1:29:15.960 --> 1:29:18.400
<v Speaker 1>last thing I wanted to bring up was just there's

1:29:18.479 --> 1:29:21.720
<v Speaker 1>always this um when I was just looking into, like

1:29:21.800 --> 1:29:24.000
<v Speaker 1>I was trying to look into, like what does like

1:29:24.240 --> 1:29:27.599
<v Speaker 1>a teenager right now think of Greece. It seems like

1:29:27.760 --> 1:29:30.800
<v Speaker 1>for all of the many many, many many reboots of

1:29:30.840 --> 1:29:33.280
<v Speaker 1>Greece it has happened that have happened, it seems like

1:29:33.320 --> 1:29:36.599
<v Speaker 1>teenagers kind of don't aren't very receptive to the movie

1:29:36.640 --> 1:29:40.000
<v Speaker 1>now and they buy in larger like yuck, like I

1:29:40.040 --> 1:29:42.760
<v Speaker 1>don't you know, they have no nostalgic attachment to it

1:29:43.320 --> 1:29:46.960
<v Speaker 1>um and don't seem that interested and so as recently

1:29:47.000 --> 1:29:49.679
<v Speaker 1>as like a couple of days ago. Um, I guess

1:29:49.800 --> 1:29:54.160
<v Speaker 1>the BBC like played Greece on like one of their

1:29:54.280 --> 1:29:58.200
<v Speaker 1>larger channels, and there was like this big Twitter backlash

1:29:58.200 --> 1:30:00.320
<v Speaker 1>of like stop showing this movie on t BE we

1:30:00.400 --> 1:30:03.799
<v Speaker 1>hate it. Like there was a really big like everything

1:30:03.800 --> 1:30:07.360
<v Speaker 1>about this is like misogynist and gross and it scares

1:30:07.439 --> 1:30:10.040
<v Speaker 1>me when there's only white people in a movie, like

1:30:10.080 --> 1:30:14.200
<v Speaker 1>teenagers do not like this movie and good, like great

1:30:14.240 --> 1:30:17.559
<v Speaker 1>for them, but then they're still but they're still making

1:30:17.600 --> 1:30:19.200
<v Speaker 1>a lot, so it's like there's a little bit of

1:30:19.200 --> 1:30:23.440
<v Speaker 1>dissonance there. And then Olivia Newton John was asked to

1:30:23.479 --> 1:30:27.120
<v Speaker 1>comment on this last year, which is like, well, this

1:30:27.280 --> 1:30:31.639
<v Speaker 1>usually doesn't go well. Um, and it didn't. It didn't

1:30:31.680 --> 1:30:35.320
<v Speaker 1>go that well. Um, yeah, she was. She was asked

1:30:35.880 --> 1:30:40.400
<v Speaker 1>by The Guardian of like, you know, like Greece has

1:30:40.439 --> 1:30:43.639
<v Speaker 1>gotten all this feminist, you know, criticism over the years.

1:30:44.000 --> 1:30:47.160
<v Speaker 1>What do you think And she said, it's a movie.

1:30:47.800 --> 1:30:50.120
<v Speaker 1>It's a story from the fifties where things were different.

1:30:50.200 --> 1:30:53.240
<v Speaker 1>Everyone forgets that at the end he changes for her too.

1:30:53.479 --> 1:30:56.559
<v Speaker 1>There's nothing deep in there about the me too movement.

1:30:57.000 --> 1:31:00.880
<v Speaker 1>I agree with that last part. Uh, it's just a girl,

1:31:02.000 --> 1:31:03.639
<v Speaker 1>she said, It's just a girl who loves a guy

1:31:03.720 --> 1:31:05.920
<v Speaker 1>and she thinks if he if she does that, he'll

1:31:05.920 --> 1:31:08.559
<v Speaker 1>like her, and he thinks if he does that, she'll

1:31:08.600 --> 1:31:10.840
<v Speaker 1>like him. I think that's pretty real. People do that

1:31:10.840 --> 1:31:13.479
<v Speaker 1>for each other. It was a fun love story. And

1:31:13.520 --> 1:31:16.840
<v Speaker 1>I see what she's saying there of like it's a

1:31:17.720 --> 1:31:23.920
<v Speaker 1>it's an extremely goofy movie. Don't take it too seriously.

1:31:24.200 --> 1:31:27.160
<v Speaker 1>But it's like it's such a famous I don't know.

1:31:27.240 --> 1:31:31.559
<v Speaker 1>I feel like that's like basic media literacy, Olivia. If

1:31:31.600 --> 1:31:34.240
<v Speaker 1>people are beat over the head with the message of

1:31:34.280 --> 1:31:38.160
<v Speaker 1>your movie, it's impactful. And so, yeah, she's fine. And

1:31:38.160 --> 1:31:39.800
<v Speaker 1>I also there was there was like a lot written

1:31:39.840 --> 1:31:43.120
<v Speaker 1>about how her career changed in a very sandy ish

1:31:43.120 --> 1:31:46.960
<v Speaker 1>way after Greece came out, where she had she had

1:31:46.960 --> 1:31:50.480
<v Speaker 1>like done some She had released a couple of successful

1:31:50.520 --> 1:31:53.880
<v Speaker 1>albums before Greece, but they were more kind of like

1:31:54.160 --> 1:31:57.280
<v Speaker 1>they just weren't like explicitly sexual songs. They were pretty

1:31:57.320 --> 1:32:00.960
<v Speaker 1>like just pure songs about love of blah blah blah.

1:32:01.080 --> 1:32:04.679
<v Speaker 1>And then after Greece came out, they kind of pivoted

1:32:04.680 --> 1:32:07.559
<v Speaker 1>her image to be like really sexually driven. And so

1:32:07.600 --> 1:32:10.760
<v Speaker 1>in the early eighties there's like let's get physical and

1:32:10.840 --> 1:32:14.080
<v Speaker 1>her next album is called Totally Hot, and like her

1:32:14.240 --> 1:32:17.360
<v Speaker 1>image was kind of pivoted in a in a sandy

1:32:17.479 --> 1:32:23.920
<v Speaker 1>ish way. That's all I got. Life imitating art maybe,

1:32:24.320 --> 1:32:29.599
<v Speaker 1>Um does this movie pass the Bechdel test? It does?

1:32:29.840 --> 1:32:33.880
<v Speaker 1>It does. Right near the beginning, Sandy asks French, she

1:32:34.200 --> 1:32:37.559
<v Speaker 1>do I look okay? French she? Frenchie says, sure, you

1:32:37.600 --> 1:32:41.360
<v Speaker 1>look good. Sandy says, I'm really nervous, you know, and

1:32:41.400 --> 1:32:46.120
<v Speaker 1>so Frenchie says, you look terrific. Yeah, they like they have.

1:32:46.920 --> 1:32:49.040
<v Speaker 1>I don't know. I mean, it's like there there was

1:32:49.160 --> 1:32:54.000
<v Speaker 1>more exchanges between the girls in this movie that passed

1:32:54.000 --> 1:32:56.080
<v Speaker 1>than I thought. What They spend a lot of time

1:32:56.120 --> 1:32:59.519
<v Speaker 1>talking about guys, like a lot of time, and then

1:32:59.520 --> 1:33:02.080
<v Speaker 1>they also have they also talk a lot about just

1:33:02.160 --> 1:33:04.599
<v Speaker 1>like a little more interesting, like how they feel they're

1:33:04.680 --> 1:33:08.479
<v Speaker 1>perceived by other people. Um, but they usually are talking

1:33:08.520 --> 1:33:11.160
<v Speaker 1>about how I don't know. And then a lot of

1:33:11.200 --> 1:33:15.400
<v Speaker 1>the passes are them bullying each other? Yes, but they do.

1:33:15.560 --> 1:33:18.000
<v Speaker 1>Like women are talking a lot in this movie, more

1:33:18.040 --> 1:33:21.680
<v Speaker 1>than I like remembered their being. There's a lot of

1:33:21.680 --> 1:33:27.320
<v Speaker 1>conversations between women. It's just sometimes they're just bullying each other. Yeah,

1:33:27.400 --> 1:33:32.400
<v Speaker 1>so you know, not ideal, but they do talk to

1:33:32.439 --> 1:33:35.880
<v Speaker 1>each other. Uh, let's write the movie on our nipple

1:33:35.920 --> 1:33:40.479
<v Speaker 1>scale zero to five nipples based on an examination of

1:33:40.800 --> 1:33:45.920
<v Speaker 1>intersectional feminism. I will have to give this I think

1:33:45.960 --> 1:33:50.800
<v Speaker 1>like a point five. And again, like everyone's gonna be like,

1:33:50.840 --> 1:33:53.320
<v Speaker 1>but it came out a million years ago, like you

1:33:53.360 --> 1:33:57.360
<v Speaker 1>have to consider the historical context, and yes, that is true.

1:33:58.080 --> 1:34:01.400
<v Speaker 1>But I also feel like this movie started like it

1:34:01.520 --> 1:34:05.080
<v Speaker 1>felt like it was equipped to like make some commentary.

1:34:05.120 --> 1:34:08.880
<v Speaker 1>And if you're going to do like a fifties nostalgia

1:34:09.320 --> 1:34:13.679
<v Speaker 1>story and you have hindsight of what the fifties were like,

1:34:14.880 --> 1:34:17.960
<v Speaker 1>and you you want to comment on that, like we've said,

1:34:18.120 --> 1:34:21.320
<v Speaker 1>it feels like the movie feels equipped to make some

1:34:21.400 --> 1:34:24.240
<v Speaker 1>of that commentary because it starts to and then it

1:34:24.320 --> 1:34:27.800
<v Speaker 1>just completely bails on it halfway through or not even

1:34:27.880 --> 1:34:31.599
<v Speaker 1>like it builds on it after like twenty minutes, and

1:34:31.640 --> 1:34:33.640
<v Speaker 1>then it's like, well, wouldn't it be fun if we

1:34:33.720 --> 1:34:38.000
<v Speaker 1>just keep seeing Danny Zuko mistreating his love interest and

1:34:38.040 --> 1:34:41.800
<v Speaker 1>then until she decides that it doesn't actually matter to her,

1:34:41.880 --> 1:34:44.720
<v Speaker 1>until she stops running away from him, and then and

1:34:44.720 --> 1:34:49.280
<v Speaker 1>then puts on some other pants and changes her entire

1:34:49.479 --> 1:34:54.800
<v Speaker 1>personality and that's what enables them to be together. Question Mark,

1:34:56.000 --> 1:35:00.080
<v Speaker 1>It's just yeah, obviously it doesn't um hold up by

1:35:00.120 --> 1:35:03.200
<v Speaker 1>our standards today. I do see some of the arguments

1:35:03.240 --> 1:35:07.040
<v Speaker 1>that it would have been perceived as, yeah, like second

1:35:07.040 --> 1:35:12.240
<v Speaker 1>wave feminist at the time, but thankfully we have moved

1:35:12.439 --> 1:35:16.760
<v Speaker 1>past that and progressed beyond that at least a little bit.

1:35:17.240 --> 1:35:22.200
<v Speaker 1>So um yeah, even with all the you know, the

1:35:22.280 --> 1:35:25.320
<v Speaker 1>historical context in mind, I have to give it a

1:35:25.360 --> 1:35:32.080
<v Speaker 1>point five and I'll give my nipple to Rizzo. I

1:35:32.080 --> 1:35:34.799
<v Speaker 1>feel like she was the most interesting and complex character,

1:35:35.680 --> 1:35:38.479
<v Speaker 1>and she she deserves better, and I wish we had

1:35:38.520 --> 1:35:43.600
<v Speaker 1>gotten more from her and for her. Stucker Channing is

1:35:43.600 --> 1:35:47.439
<v Speaker 1>also so great. I'm always I'm never not so jarred

1:35:47.520 --> 1:35:51.439
<v Speaker 1>by how dirty she's done by that whoever illustrated the

1:35:51.439 --> 1:35:57.639
<v Speaker 1>title credits, so just not how she looks. And they

1:35:57.920 --> 1:36:00.679
<v Speaker 1>made they shrink her mouth down to like five percent

1:36:00.720 --> 1:36:03.360
<v Speaker 1>of its size, and then they're like, oh, you know

1:36:03.400 --> 1:36:05.840
<v Speaker 1>how Stockard Channing has a tiny mouth, and you're like,

1:36:06.040 --> 1:36:08.240
<v Speaker 1>I don't know that, No, no, I don't know that.

1:36:08.479 --> 1:36:12.160
<v Speaker 1>Very weird. They also make Sandy look like just a

1:36:12.240 --> 1:36:17.920
<v Speaker 1>generic animated princess without any of her flaws caricatured at all,

1:36:18.040 --> 1:36:20.840
<v Speaker 1>and like her face would be easy to do that too.

1:36:20.840 --> 1:36:23.479
<v Speaker 1>It's not like she looks just like a far away

1:36:23.560 --> 1:36:28.600
<v Speaker 1>drawing of Cinderella. Yeah, there's some animation choices in the

1:36:28.720 --> 1:36:31.200
<v Speaker 1>beginning as much as like that. I love the animation

1:36:31.320 --> 1:36:35.320
<v Speaker 1>style of that sequence. Um, but the way they draw

1:36:35.400 --> 1:36:40.120
<v Speaker 1>some of the actors is questionable. Um. Yeah, I guess

1:36:40.280 --> 1:36:43.599
<v Speaker 1>I'll go with point five as well. I feel like

1:36:43.800 --> 1:36:46.840
<v Speaker 1>the I mean, I I see the second wave feminism

1:36:47.000 --> 1:36:49.840
<v Speaker 1>arguments there, but it also ends up being like, oh,

1:36:49.880 --> 1:36:51.680
<v Speaker 1>women are allowed to have sex now, they're still going

1:36:51.720 --> 1:36:54.240
<v Speaker 1>to get shamed for it aggressively by each other and

1:36:54.280 --> 1:36:57.960
<v Speaker 1>by everyone around them and assaulted constantly. But I mean,

1:36:58.000 --> 1:37:01.559
<v Speaker 1>after revisiting this movie, I feel like the even the

1:37:01.600 --> 1:37:04.120
<v Speaker 1>fact that it's like a movie made about the fifties

1:37:04.120 --> 1:37:07.080
<v Speaker 1>in the seventies, that almost makes it like I view

1:37:07.080 --> 1:37:11.599
<v Speaker 1>it a little like less well historically, because it's like

1:37:11.880 --> 1:37:16.360
<v Speaker 1>a movie made in a more sexually liberal, progressive time

1:37:17.200 --> 1:37:20.160
<v Speaker 1>as nostalgia for when that wasn't true, and in a

1:37:20.200 --> 1:37:23.880
<v Speaker 1>way that is completely uncritical of that era. So I

1:37:23.960 --> 1:37:28.760
<v Speaker 1>just it's just all very weird. Um. And it is

1:37:28.800 --> 1:37:32.679
<v Speaker 1>definitely like extremely impactful to this day, to the point

1:37:32.680 --> 1:37:34.519
<v Speaker 1>where it's like, Helen, you don't even know if you've

1:37:34.520 --> 1:37:37.320
<v Speaker 1>seen it, because it's so like maybe you have movie

1:37:37.360 --> 1:37:41.280
<v Speaker 1>you haven't. It's so like ingrained into American culture and

1:37:41.320 --> 1:37:45.080
<v Speaker 1>also just kind of pedals this like false image of

1:37:45.120 --> 1:37:49.200
<v Speaker 1>what the fifties were, which we're like, not really a

1:37:49.200 --> 1:37:52.320
<v Speaker 1>good time while also trying to like not do that

1:37:52.400 --> 1:37:55.920
<v Speaker 1>but then like still doing that. I just yeah, the

1:37:56.880 --> 1:38:00.880
<v Speaker 1>period choices of it just are very weird. Um, but

1:38:00.960 --> 1:38:06.360
<v Speaker 1>the music slabs, the outfits are incredible, and they're like,

1:38:06.400 --> 1:38:10.479
<v Speaker 1>the performances are good. It's just man, so much potential.

1:38:10.560 --> 1:38:12.759
<v Speaker 1>I like that they start saying things. But then there's

1:38:12.800 --> 1:38:15.880
<v Speaker 1>also that definitely that vibe that we talked about sometimes

1:38:15.920 --> 1:38:20.000
<v Speaker 1>of like uh, man, like an adult man desperately trying

1:38:20.040 --> 1:38:24.280
<v Speaker 1>to write a teenage girl and completely like it was

1:38:24.320 --> 1:38:27.920
<v Speaker 1>an attempt. Yeah, I don't know, some half formed thoughts,

1:38:28.760 --> 1:38:31.639
<v Speaker 1>but and and it's still fun to watch. I don't know,

1:38:32.360 --> 1:38:35.840
<v Speaker 1>but I'll give it a have nipple for our purposes. Um.

1:38:35.920 --> 1:38:39.080
<v Speaker 1>And also just I mean it goes without saying that.

1:38:39.640 --> 1:38:41.640
<v Speaker 1>Literally At one point I was like, is this not

1:38:41.720 --> 1:38:45.840
<v Speaker 1>an integrated high school in like canonically? But there are

1:38:45.880 --> 1:38:49.200
<v Speaker 1>There are a few black students at the school, but

1:38:49.280 --> 1:38:52.760
<v Speaker 1>it's they don't even have grounds. But it's so aggressively

1:38:52.760 --> 1:38:57.040
<v Speaker 1>white that I looked it up. Yeah yeah, yeah, not

1:38:57.080 --> 1:38:59.760
<v Speaker 1>even to meat. Yeah, it's so that's also, I mean,

1:38:59.800 --> 1:39:02.439
<v Speaker 1>it's like I understand where the teens are coming from.

1:39:02.520 --> 1:39:05.840
<v Speaker 1>That's a very jarring thing to see and not have

1:39:05.960 --> 1:39:10.120
<v Speaker 1>addressed in any way. I don't know. Romanticizing is just

1:39:10.160 --> 1:39:14.519
<v Speaker 1>like a bad idea. It's'm gonna give it, give it

1:39:14.640 --> 1:39:17.479
<v Speaker 1>half a nipple, and I'll also give it to Rizzo,

1:39:18.040 --> 1:39:23.760
<v Speaker 1>but I'll give it to Vanessa hudgens Is Rizzle. Oh,

1:39:23.880 --> 1:39:27.719
<v Speaker 1>good grief, Gracie, what about you? Rizzo too? Rizzo again?

1:39:28.960 --> 1:39:32.160
<v Speaker 1>That was supposed to be a princess switched again that play.

1:39:32.240 --> 1:39:34.439
<v Speaker 1>I'm gonna change it. I'm gonna give my half nipple

1:39:34.479 --> 1:39:40.360
<v Speaker 1>to Rizzo, but Rizzo the rat, the muppet, Oh my gosh,

1:39:39.360 --> 1:39:45.320
<v Speaker 1>rat different. My strategy is, I'm going to give out

1:39:45.320 --> 1:39:47.479
<v Speaker 1>some nipples and then I'm going to take some nipples away.

1:39:47.840 --> 1:39:51.479
<v Speaker 1>Please love this. I'm gonna give a nipple to the

1:39:51.520 --> 1:39:56.400
<v Speaker 1>opening sequence because it's fabulous. Um. I have this little

1:39:56.439 --> 1:39:59.920
<v Speaker 1>addition subtraction thing I've written that involves taking away nipples

1:40:00.000 --> 1:40:03.120
<v Speaker 1>for soccer Channing's drawing, but it adds up to the

1:40:03.120 --> 1:40:07.280
<v Speaker 1>same amount, and I'm gonna go past it. I'm going

1:40:07.320 --> 1:40:10.040
<v Speaker 1>to give a nipple to look at me, I'm Sandra

1:40:10.120 --> 1:40:13.559
<v Speaker 1>d because out of the context of her making kind

1:40:13.600 --> 1:40:15.280
<v Speaker 1>of making fun of a real person. I think it

1:40:15.360 --> 1:40:18.839
<v Speaker 1>is kind of a feminist moment, at least the messaging

1:40:18.880 --> 1:40:22.400
<v Speaker 1>of that song. Taking out of its context, I'm going

1:40:22.439 --> 1:40:28.280
<v Speaker 1>to take away a nipple for looping together Danny pressing

1:40:28.360 --> 1:40:30.800
<v Speaker 1>himself on Sandy, and they'm going to take away a

1:40:30.880 --> 1:40:36.680
<v Speaker 1>nipple from the t birds showing patties panties to the camera. Yes,

1:40:36.880 --> 1:40:39.400
<v Speaker 1>I forgot about that. Yeah, that's an assault we didn't

1:40:39.439 --> 1:40:43.799
<v Speaker 1>touch on. I didn't even remember them all. Yeah, that's bad.

1:40:44.880 --> 1:40:48.920
<v Speaker 1>Um and whatever. I'm going to give it a nipple.

1:40:49.360 --> 1:40:51.400
<v Speaker 1>I'm gonna give it a nipple. Give it a nipple.

1:40:52.120 --> 1:40:53.719
<v Speaker 1>I feel like if I give it less than a nipple,

1:40:53.760 --> 1:41:01.000
<v Speaker 1>my dad will feel sad. Understood, well, Gracie, thank you

1:41:01.040 --> 1:41:03.120
<v Speaker 1>so much for being here, Thank you for having me.

1:41:03.280 --> 1:41:09.120
<v Speaker 1>This is awesome. What a fun summer night we've had. UM.

1:41:09.160 --> 1:41:12.960
<v Speaker 1>Where can people follow you online and plug anything you'd

1:41:12.960 --> 1:41:16.040
<v Speaker 1>like to plug? Um? I am at Gracie Gillham g

1:41:16.240 --> 1:41:18.240
<v Speaker 1>R A C I E G I L L A

1:41:18.560 --> 1:41:22.240
<v Speaker 1>m Um. I have a movie circle circling around on

1:41:22.280 --> 1:41:24.439
<v Speaker 1>Lifetime Channel right now. I don't know when it's airing,

1:41:24.520 --> 1:41:29.040
<v Speaker 1>but it is called Stolen in Plain Sight. Um. You

1:41:29.080 --> 1:41:31.400
<v Speaker 1>can look out for a movie called super Host coming

1:41:31.439 --> 1:41:37.479
<v Speaker 1>up pretty soon for that. Yeah, awesome, Thank you again

1:41:37.560 --> 1:41:42.559
<v Speaker 1>so much for being here. You can follow us on

1:41:42.600 --> 1:41:45.240
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1:41:45.320 --> 1:41:49.759
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1:41:49.840 --> 1:41:52.960
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1:41:57.000 --> 1:42:00.840
<v Speaker 1>bonus episodes. This month, we're doing to Amy Oh wait,

1:42:00.880 --> 1:42:03.040
<v Speaker 1>what are we calling it? She can do it all month?

1:42:03.320 --> 1:42:07.679
<v Speaker 1>What can she do month? It's doing to Amy Adams. Yes,

1:42:07.800 --> 1:42:12.280
<v Speaker 1>I'm going to call it Adams June. Okay, Adams June, which,

1:42:12.360 --> 1:42:16.000
<v Speaker 1>of course we are observing in January. So Amy Adams

1:42:16.120 --> 1:42:23.160
<v Speaker 1>Drama Arrival, Jeremy Renner okay. And then Amy Adams Comedy Enchanted,

1:42:26.360 --> 1:42:30.519
<v Speaker 1>I'm excited, she can do it all. And then our

1:42:30.560 --> 1:42:33.719
<v Speaker 1>t Public store t public dot com slash the Beechtel

1:42:33.880 --> 1:42:38.000
<v Speaker 1>cast for all of your March needs. And with that,

1:42:38.120 --> 1:42:42.559
<v Speaker 1>let's get getting the convertible. We're fine into the sun

1:42:43.400 --> 1:42:46.160
<v Speaker 1>from room. By bye.