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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did. My name is Millie to Jericho.

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Speaker 2: I'm Danielle Henderson, and we.

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Speaker 1: Are here to provide film analysis, film criticism, film conversation, film.

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Speaker 2: Joy, No pressure, yeah, but true.

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Speaker 1: What are you doing? What's up?

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Speaker 3: A couple of a couple of things just happened in

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Speaker 3: rapid succession before we recorded, which leads into something I

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Speaker 3: was gonna talk about anyway briefly. But so I took

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Speaker 3: a shower before we recorded, right, which, Oh, the fact

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Speaker 3: that you said, oh and wow, says an awful lot

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Speaker 3: about my life.

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Speaker 1: You're the one that I said that. You're like, Yo,

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Speaker 1: I just gotta I'm wearing the clothes from yesterday, you know.

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Speaker 1: So I just I was just used to us coming

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Speaker 1: in slovenly.

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Speaker 2: But yeah, I know this is what I mean. Like,

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Speaker 2: I'm trying to, you know, change some shit up, and

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Speaker 2: apparently bathing on a regular basis in the morning is

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Speaker 2: part of that.

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Speaker 1: Are you a shower? Are you a night shower person?

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Speaker 2: I love a night shower, you do. I love a

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Speaker 2: night shower.

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Speaker 3: A morning shower is good if you need to, like,

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Speaker 3: if you need to wake up. Yeah, I feel like

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Speaker 3: I need that jolt coffee just isn't like I need

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Speaker 3: to do. But I love a night shower clean sheets,

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Speaker 3: say no more.

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Speaker 1: I'm a morning shower person. The only times that would

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Speaker 1: do night showers is when I either worked out at

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Speaker 1: night or I djayed or something and smelled like cigarettes

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Speaker 1: and beer, and I would take a shower. But then

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Speaker 1: I really, I don't know what I was watching. I

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Speaker 1: was watching some YouTube clip of some like Japanese guy

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Speaker 1: talking about how he does not ever want to get

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Speaker 1: into his bed with any dirt on his body, and

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Speaker 1: was like, and no, like he doesn't touch his bed

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Speaker 1: with clothes that he wore from the outside.

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Speaker 2: Hell yeah, I don't know.

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Speaker 3: Yeah, and so don't sit on a bed in your

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Speaker 3: outside clothes.

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Speaker 1: He like laid out his rules, and it made so

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Speaker 1: much sense to me that I was like, oh my god,

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Speaker 1: I cannot believe I ever didn't shower before going to bed.

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Speaker 3: That's so crazy. Living and filth, just living in filth. Yeah, no,

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Speaker 3: it's not even it's not that.

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Speaker 2: I mean, I do.

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Speaker 3: Understand his point, for fucking sure, but I think showering

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Speaker 3: at night is relaxing versus showering in the morning, which

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Speaker 3: for me is always a fucking rush.

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Speaker 1: Yeah, I just need that little energy though. I need

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Speaker 1: to like feel clean at the beginning of the day

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Speaker 1: to start the day. What if you I mean two showers,

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Speaker 1: You could take two showers.

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Speaker 3: Let's think about the earth, Millie, Okay, think about the planet.

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Speaker 1: Anywhere. Sorry, I didn't mean to derail you again, and

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Speaker 1: I just had to ask.

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Speaker 2: To It depends on the day I've been.

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Speaker 3: I signed up for a bunch of yoga classes at

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Speaker 3: the studio that I like in town, and they have

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Speaker 3: they have a new student special where it's like under

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Speaker 3: fifty bucks. It's forty seven dollars to take unlimited classes

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Speaker 3: for a month.

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Speaker 1: Oh hell yeah.

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Speaker 2: So I've been.

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Speaker 3: Trying all kinds of classes. I'm trying all kinds of

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Speaker 3: you know, instructors. But there are different times of the day.

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Speaker 3: So in that term, in terms of that point in

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Speaker 3: my life, like now that I'm actually moving my body

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Speaker 3: and working out a little bit, I'm okay with being

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Speaker 3: a little bit grosser in the day and then getting

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Speaker 3: and then showering later and having a clean bit at night.

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Speaker 2: Like I don't always shower right after yoga.

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Speaker 3: Yeah, but because I'm not usually like doing anything after

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Speaker 3: except being in my house and writing. But if I

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Speaker 3: were having to go in public after that, yeah, I'd

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Speaker 3: probably switch my shower times. But for now, it's like, yeah,

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Speaker 3: just get get in touch with your your own funk

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Speaker 3: for a couple hours.

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Speaker 2: A couple of days. Who cares. I just get in

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Speaker 2: touch with your own funk.

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Speaker 1: I hate I should love it a little more. I

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Speaker 1: just hate it so much.

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Speaker 2: If you hate your funk shower at night, man, well,

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Speaker 2: you know, like I don't know.

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Speaker 1: I think part of it too, is that I you know,

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Speaker 1: I tried to work out very hard, so it isn't

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Speaker 1: like even when I come out of my dance class,

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Speaker 1: which is pretty intense, I would say I just can't,

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Speaker 1: like I have to if I go to a second

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Speaker 1: location after dance class, I have to bring a change

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Speaker 1: of cause I'm just like, eh, yeah, because.

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Speaker 2: That makes total sense. You're getting sweaty.

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Speaker 3: And again, if I did anything directly after any of

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Speaker 3: my yoga classes or my rage workouts.

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Speaker 2: I would change.

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Speaker 3: I would be a model citizen and not inflict my

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Speaker 3: funk upon people.

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Speaker 1: I want to know about your rage workouts. I want

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Speaker 1: to I want to see, like what the sets are

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Speaker 1: you're gonna have to put You have to put it on.

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Speaker 1: You have to like take a take a picture of

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Speaker 1: your like dry erase board with like your your reps

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Speaker 1: and stuff, and like, let me know what that is.

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Speaker 3: It's solid. It's fifteen minutes of whatever you fucking want.

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Speaker 1: We should come out with a workout for this podcast.

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Speaker 3: Every time you get mad, just work out for fifteen minutes.

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Speaker 3: Just lift the kettlebell, jump on a trampoline, walk on

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Speaker 3: a treadmill, do a couple sit ups, do some planks,

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Speaker 3: do whatever.

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Speaker 1: The gross inner thigh workout?

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Speaker 2: Yeah we do.

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Speaker 1: Yeah, we should come up with I saw what you did?

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Speaker 1: Rage workout plan and then.

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Speaker 2: No, no reps required.

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Speaker 3: Just work out for a solid fifteen It might be

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Speaker 3: one hundred reps, it might be twenty, just as long

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Speaker 3: as you're moving for fifteen minutes every time you get

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Speaker 3: even a little bit angry.

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Speaker 1: And then do you have to play? Like what Dawkin

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Speaker 1: in the background are like where are you? What do you?

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Speaker 1: You will say that eighties? That one eighties workout heavy

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Speaker 1: metal playlists that have made, But it's gotta be something

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Speaker 1: that like Pantera, right, or perhaps a lot of Gojierra,

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Speaker 1: which a lot of people have come to from their

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Speaker 1: amazing scene. They're amazing set at the opening of the

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Speaker 1: Olympics where they had like streamers that were indicating blood

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Speaker 1: and the tower were Marie Antoinette was held before she

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Speaker 1: was killed.

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Speaker 2: It was an incredible scene. Yeah, to see.

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Speaker 3: But I have been a fan of Gojira for a

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Speaker 3: very long time, so I get a lot of Gogera

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Speaker 3: in there, a lot of Sepultura, a lot of heavy metal,

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Speaker 3: and then also weirdly deaf punk. Sure you can rage

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Speaker 3: work out to death punk as long as there's a

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Speaker 3: beat to it. Yeah, some kind of ruled them that

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Speaker 3: matches your mood. You can fucking rage workout to Mozart

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Speaker 3: if you want.

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Speaker 1: I know, I really whenever I whenever I work out alone,

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Speaker 1: whenever it's just me, it's literally rap, like Southern trap

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Speaker 1: rap or heavy metal, and it's got to be really,

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Speaker 1: really intense. And I mean not to beat around the bush,

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Speaker 1: but I'm gonna say this right now because as we know,

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Speaker 1: we're in an election year and shit's getting crazy around here,

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Speaker 1: at least in my neck of the woods, because I

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Speaker 1: live in Georgia, which is a badground state, and it

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Speaker 1: is literally I'm getting texts every fucking five seconds about

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Speaker 1: the election.

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Speaker 2: Right every every five seconds.

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Speaker 1: And it's like cause me to come up with a

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Speaker 1: plan for myself if Trump gets re elected, which we

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Speaker 1: don't want this obviously, I would say I would be

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Speaker 1: willing to say this podcast does not want that to happen.

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Speaker 1: Am I round percent not?

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Speaker 2: Okay?

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Speaker 1: However, in the event that it does happen, I may

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Speaker 1: I make this promise to you. I am going dark

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Speaker 1: as fuck. I am gonna be the most goth industrial

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Speaker 1: heavy metal bitch you've ever met in your life. I'm

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Speaker 1: leading into angry like screaming music. I might even start

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Speaker 1: a band. I might start a fucking noise band or something.

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Speaker 2: My only question is why wait?

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Speaker 1: Because I wanted to be a reaction to our our

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Speaker 1: diseased culture. You can do that right now.

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Speaker 2: Look at the fucking world. What the fuck are you

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Speaker 2: waiting for?

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Speaker 1: That's a true get dark that But that would truly

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Speaker 1: be a dark time if that were to happen in

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Speaker 1: a genesis.

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Speaker 2: Oh yeah, that'd be like an origin story.

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Speaker 1: Oh it would be like the fucking asshole in the

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Speaker 1: sky opening up. It's just sucking farm animals and like toddlers,

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Speaker 1: and you know, it's like a fucking Jordan Peele movie,

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Speaker 1: like it's gonna like swallow us. And so I kept

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Speaker 1: thinking to myself, if this were to happen, this would

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Speaker 1: mean that our culture isn't is completely fucked and diseased.

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Speaker 1: And the last time I believed this to the core

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Speaker 1: was when I was in high school and my reaction

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Speaker 1: was punk and goth and you know, industrial and like

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Speaker 1: all of this, like angry. You know, I want angry

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Speaker 1: shit to come back. We've been too much like the

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Speaker 1: past few years. It's been good vibes only in the

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Speaker 1: Patagonia shorts, and we need to go back. I want

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Speaker 1: people to start carrying daggers again and wearing like black boots.

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Speaker 1: They gotta look like, you know, the Jesus and Mary Chain.

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Speaker 3: Invest in electrical tape, you're gonna be using it everywhere

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Speaker 3: your body, your tools, your clothing.

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Speaker 1: I'm gonna go back to my natural hair color.

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Speaker 3: I'm gonna go my all black. You know, I'm gonna shay.

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Speaker 3: I'll shave my head again there do. Let me tell

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Speaker 3: you this. When Trump was elected in twenty sixteen, at

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Speaker 3: forty years old, out of nowhere, I started smoking cigarettes.

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Speaker 3: That's how bad this shit is.

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Speaker 2: I infinitely.

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Speaker 3: I wanted fucking die. I was like, I need to die.

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Speaker 3: I need to die right now. I started smoking cigarettes.

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Speaker 3: Never in my life grew up with people who smoked cigarettes,

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Speaker 3: even sucking the second hand smoke my whole life, never

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Speaker 3: even had the inclination. All of my friends twenty thirty smoked.

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Speaker 3: Forty fucking years old. I started smoking cigarettes.

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Speaker 1: Oh yeah, Oh, I'm gonna start carrying an ass pocket whiskey,

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Speaker 1: like I'm just gonna start sipping, like I'm gonna it's

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Speaker 1: gonna get real.

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Speaker 3: If this happens, we're gonna be drunk and angry, and

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Speaker 3: God help you. I do not know what will come

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Speaker 3: of that, but that anger, that drunkenness, my ability to

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Speaker 3: just pick up a substance.

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Speaker 2: Apparently, who knows what's gonna happen.

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Speaker 1: I remember, actually, when you started smoking, isn't that crazy?

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Speaker 1: I remember I was in New York because I feel

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Speaker 1: like you were living in New York and I was there.

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Speaker 1: What was I there for? I was probably there for

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Speaker 1: some like film struck thing. And I remember because it

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Speaker 1: was like right after Hillary Well, something happened and you

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Speaker 1: were like you just pulled out a cigarette and started smoking.

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Speaker 1: I was like what And you were like, yeah, starts

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Speaker 1: smoking because Trump won or something, and I was like.

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Speaker 3: What, Yeah, there is a hilarious fucking picture of me.

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Speaker 3: I'm sitting in my kitchen next to the window. There's

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Speaker 3: a pizza box behind me on the oven, and I'm

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Speaker 3: just smoking, just smoking out the window of my kitchen

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Speaker 3: in New York. And all of my friends, I think,

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Speaker 3: were so like, what the fuck that someone actually captured

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Speaker 3: it on film.

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Speaker 1: Yeah, well, I gotta tell you right now, based on

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Speaker 1: a couple of influencers that I follow on Instagram and others,

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Speaker 1: smoking is back. I don't know, if you know, kids

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Speaker 1: are smoking again and they're not. And I think it's

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Speaker 1: a reaction to like the vapes and the jewels and

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Speaker 1: the zins and the shit. Like people are like, oh,

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Speaker 1: I want to go old school and just smoke cigarettes again,

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Speaker 1: and I'm kind of like, okay.

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Speaker 3: Weirdly, weirdly more natural, but it will still kill you,

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Speaker 3: So quit that ship when you can.

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Speaker 1: I definitely want to be the person that I was

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Speaker 1: when the downward spiral came out.

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Speaker 2: By nails.

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Speaker 1: If if the world is gonna fucking tank, if the

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Speaker 1: world is burning as we speak, but then it gets

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Speaker 1: to that level. Oh, I'm it's gonna it's it's on,

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Speaker 1: like just.

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Speaker 2: Dangling, just dangling. I'm gonna be fucking dangling and leather

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Speaker 2: pants and nothing else.

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Speaker 1: Yeah, leather pants, nothing else with like a ballgag, like

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Speaker 1: fucking blindfold.

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Speaker 2: I don't want to.

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Speaker 1: See that video came out, by the way, I was like, yeah,

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Speaker 1: freaked me out.

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Speaker 2: It changed everything.

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Speaker 3: It changed my perception of what art could be on

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Speaker 3: television and changed so much for me in that moment,

252
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Speaker 3: because I almost like, what is am I looking at

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Speaker 3: a snuff film?

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Speaker 2: Is this a snuff film?

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Speaker 1: Like?

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Speaker 3: What is happening? He freaked us out well and in

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Speaker 3: a good way, and it stayed with us because that's

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Speaker 3: the instinct we have now when we want to go dark,

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Speaker 3: It's like, oh, you want to go dark, I will

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Speaker 3: freak you the fuck out forever.

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Speaker 2: I'm even in my barn.

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Speaker 3: My barn is unfurnished, unlivable, full of bones, absolutely has

263
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Speaker 3: some kind of ebola, old dead animal.

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Speaker 2: But I'll move in there.

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Speaker 3: I'll fucking string up some string lights and call it

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Speaker 3: a goddamn to give me a lantern and some string lights,

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Speaker 3: and I just live in there.

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Speaker 1: Now, it's gonna be like that like Victorian taxidermy store

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Speaker 1: that they have on Milrose. Do you remember that store

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Speaker 1: with I think it's called like Necromancer and it's like

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Speaker 1: they sold like fucking like vulture skulls and shit.

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Speaker 3: I feel like we've been cosplaying as normal people for

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Speaker 3: the past couple of decades, like with jobs and responsibilities.

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Speaker 3: This is what's in our soul.

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Speaker 1: Oh, it definitely is.

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Speaker 3: And I will run back there like I am fucking

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Speaker 3: Shikari Richardson.

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Speaker 2: I will run back to that person.

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Speaker 1: I think we need to get angry, like I feel

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Speaker 1: like like like culture has been very cheerful, very like

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00:14:06,120 --> 00:14:12,600
Speaker 1: love yourself like good vibes only like Stanley Stanley tumblers

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Speaker 1: with your Patagonia shorts and you know, your perfect teeth,

283
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Speaker 1: And I'm like, nah, like culture and the world is

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Speaker 1: so fucked and like nobody's reacting in the proper way.

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Speaker 1: You gotta be goth, Like if when for dark Times,

286
00:14:27,160 --> 00:14:29,360
Speaker 1: go goth, That's that's what it's for.

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Speaker 3: You need to be reading like revolutionary texts from the

288
00:14:33,200 --> 00:14:35,680
Speaker 3: nineteen fifties, like read some trot Sky.

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Speaker 2: Oh yeah, I don't care if you understand it, just

290
00:14:38,200 --> 00:14:40,240
Speaker 2: get it. You need to let take off your fucking

291
00:14:40,280 --> 00:14:43,520
Speaker 2: retainer at night, let your teeth get all weird and

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Speaker 2: do whatever the fuck they want to do.

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Speaker 1: Yeah, if you're like a shitty little vampire, if you're

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Speaker 1: out there like reading poetry and you've got like, you know,

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00:14:55,120 --> 00:14:59,000
Speaker 1: long dark hair and you're wearing like Victorian collars with

296
00:14:59,040 --> 00:15:01,640
Speaker 1: your like crushed vill it blazer. If you're like a

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00:15:01,680 --> 00:15:06,960
Speaker 1: shitty little vampire, call me seriously, like, let's hang out.

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00:15:07,760 --> 00:15:10,680
Speaker 1: I saw you did pot at gmail dot com. I will,

299
00:15:10,760 --> 00:15:13,080
Speaker 1: I will. I'm here for you. I'm here for the darkness.

300
00:15:13,160 --> 00:15:16,480
Speaker 1: If if you want to, like, you know, if you

301
00:15:16,480 --> 00:15:22,240
Speaker 1: want to collaborate on some kind of like art project

302
00:15:22,280 --> 00:15:28,720
Speaker 1: that involves vulture skulls and like drawing our blood and

303
00:15:29,200 --> 00:15:31,920
Speaker 1: doing paintings with it, I saw you did pot at

304
00:15:31,960 --> 00:15:32,800
Speaker 1: gmail dot com.

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00:15:33,200 --> 00:15:38,680
Speaker 2: And address it directly to Millie because I am. I

306
00:15:38,680 --> 00:15:41,880
Speaker 2: am already angry. I am. I'm doing a Hulk thing.

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00:15:41,880 --> 00:15:43,520
Speaker 3: I'm doing more of a Hulk thing where it's like,

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00:15:43,560 --> 00:15:45,840
Speaker 3: all right, you know that scene. I don't know if

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00:15:45,840 --> 00:15:47,720
Speaker 3: you you probably haven't seen this Marvel film, but there's

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00:15:47,760 --> 00:15:50,680
Speaker 3: a scene in one of the one of the Marvel

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Speaker 3: movies where someone asked, Hulk, how do you control your anger.

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00:15:55,520 --> 00:15:58,520
Speaker 3: And he's like, well, that's the secret. I'm angry all

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Speaker 3: the time, like.

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Speaker 2: He does it. So I'm like, oh, that's me. I'm

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00:16:02,400 --> 00:16:05,600
Speaker 2: angry all the time. And then I have to the

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00:16:05,640 --> 00:16:08,640
Speaker 2: thing that I'm tamping down is not the anger. I'm

317
00:16:08,680 --> 00:16:12,840
Speaker 2: tamping down that urge to be like a balanced person.

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Speaker 1: Yeah, because that's what the rage workout is for.

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00:16:16,720 --> 00:16:17,520
Speaker 2: That's what it's for.

320
00:16:17,640 --> 00:16:19,160
Speaker 3: So I can just be like I can go to

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00:16:19,160 --> 00:16:20,760
Speaker 3: the grocery store and not pop off.

322
00:16:21,960 --> 00:16:23,880
Speaker 2: Yeah, but not anymore, y'all.

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00:16:23,920 --> 00:16:26,040
Speaker 3: If this happens, if y'all don't get and go to

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00:16:26,160 --> 00:16:29,120
Speaker 3: vote dot org, check your registration, check your state registration.

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00:16:29,200 --> 00:16:33,320
Speaker 3: It takes thirty fucking seconds. Do it right now and

326
00:16:33,400 --> 00:16:34,600
Speaker 3: get ready and make.

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00:16:34,480 --> 00:16:36,720
Speaker 2: A plan to vote. Make a plan for everyone in

328
00:16:36,760 --> 00:16:37,640
Speaker 2: your life to vote.

329
00:16:37,880 --> 00:16:41,280
Speaker 3: Talk to your fucking parents and grandparents, for God's sakes,

330
00:16:41,320 --> 00:16:43,360
Speaker 3: if they are voting in a way that is directly

331
00:16:43,400 --> 00:16:46,440
Speaker 3: against your self interest, please tell them that.

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00:16:47,320 --> 00:16:49,880
Speaker 2: Yeah, it might not change their mind, but you don't

333
00:16:49,880 --> 00:16:52,720
Speaker 2: have to let that anger come up. You don't have

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00:16:52,800 --> 00:16:54,520
Speaker 2: to live in a world where you sit at.

335
00:16:54,400 --> 00:16:57,200
Speaker 3: Thanksgiving with a bunch of people who voted for someone

336
00:16:57,200 --> 00:16:59,200
Speaker 3: who wants you did sorry, you don't.

337
00:16:59,080 --> 00:17:02,720
Speaker 2: Have to do that anymore. Yeah, so just like get

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00:17:02,760 --> 00:17:08,199
Speaker 2: out there, rage workout in the streets. Yeah, is what

339
00:17:08,240 --> 00:17:10,760
Speaker 2: I'm saying. I'm gonna be disgusting if that hab.

340
00:17:10,960 --> 00:17:14,440
Speaker 3: Now on the flip side, if this is a Kamala

341
00:17:14,440 --> 00:17:18,600
Speaker 3: Harris presidency, I will still be angry. But I'm going

342
00:17:18,600 --> 00:17:20,720
Speaker 3: to occasionally listen to like ri Em.

343
00:17:22,640 --> 00:17:24,920
Speaker 1: You're gonna tip in a some college rock.

344
00:17:25,320 --> 00:17:29,680
Speaker 3: I'll dip that's so good college rock. I'll dip it

345
00:17:29,800 --> 00:17:33,840
Speaker 3: to some sad sad bit shit, but like lighter, throw

346
00:17:33,920 --> 00:17:36,800
Speaker 3: in a little bit of Britney Spears Womanizer. That song

347
00:17:36,880 --> 00:17:41,359
Speaker 3: goes so hard. That's a rage workout song. Sometimes throwing

348
00:17:41,440 --> 00:17:45,720
Speaker 3: some Britney Spears. Also give me some Tori Amos. Let

349
00:17:45,720 --> 00:17:48,800
Speaker 3: me tell you, y'all need to talk to the Chapel

350
00:17:48,880 --> 00:17:51,240
Speaker 3: Roan fans in your life about Tori Amos, because that

351
00:17:51,320 --> 00:17:53,720
Speaker 3: bitch ran so that Chapel Roan could be at the

352
00:17:53,720 --> 00:17:56,640
Speaker 3: Pink Pony Club. Like to talk to them about who

353
00:17:56,640 --> 00:18:02,480
Speaker 3: their grandmother is of weird lyrics and wild arrangements.

354
00:18:03,480 --> 00:18:05,640
Speaker 2: Oh, I don't think the children know about Tori Amos.

355
00:18:06,160 --> 00:18:06,680
Speaker 2: They don't.

356
00:18:06,720 --> 00:18:08,439
Speaker 1: And here's the thing. I have a playlist for that.

357
00:18:08,680 --> 00:18:11,240
Speaker 1: If y'all want to know, you better post it. It's

358
00:18:11,240 --> 00:18:14,840
Speaker 1: called my intense nineties Bitches Playlist, and it's literally like

359
00:18:14,960 --> 00:18:16,720
Speaker 1: all women, all my women.

360
00:18:17,200 --> 00:18:18,840
Speaker 2: All my women. Throw that link up.

361
00:18:18,880 --> 00:18:21,440
Speaker 3: I will post my cigarette picture, and you post your

362
00:18:22,800 --> 00:18:23,720
Speaker 3: playlist this week.

363
00:18:23,840 --> 00:18:28,119
Speaker 1: Get ready for Shade, get Ready for Toy, get ready

364
00:18:28,160 --> 00:18:31,720
Speaker 1: for a little Sarah McLaughlin Early Sarah McLaughlin, get ready

365
00:18:31,760 --> 00:18:36,000
Speaker 1: for Shakespeare's Sister. Stay, uh, bitch, what are you talking

366
00:18:36,040 --> 00:18:39,200
Speaker 1: about that song? Why is that shit not on TikTok?

367
00:18:40,080 --> 00:18:43,399
Speaker 2: Why is it not do a dance to Shakespare's sisters? Stay?

368
00:18:43,520 --> 00:18:46,840
Speaker 1: Come on, get ready for Concrete fucking Blonde.

369
00:18:46,880 --> 00:18:49,720
Speaker 3: Concrete Blonde, don't even Joey me, don't even Joey me,

370
00:18:51,960 --> 00:18:54,320
Speaker 3: and not even that. This guy has a poisonous garden.

371
00:18:54,359 --> 00:18:56,520
Speaker 3: That whole record is the best.

372
00:18:56,720 --> 00:18:59,520
Speaker 1: I'm like, listen to this. If you were a woman

373
00:18:59,560 --> 00:19:04,159
Speaker 1: in the Nine Ideas who was making intensely passionate, angry

374
00:19:04,240 --> 00:19:09,000
Speaker 1: music about being obsessed with bad men, this is the

375
00:19:09,000 --> 00:19:16,240
Speaker 1: playlist for you. Also, email us, email.

376
00:19:16,000 --> 00:19:20,719
Speaker 2: You, friends with you, email your blood art fucking sipping

377
00:19:20,800 --> 00:19:22,560
Speaker 2: fees with Millie God.

378
00:19:23,960 --> 00:19:29,479
Speaker 1: This intro is really I've already painted a picture of

379
00:19:29,560 --> 00:19:32,480
Speaker 1: my new self and this starting.

380
00:19:32,080 --> 00:19:34,760
Speaker 2: To be wanting to tell you what happened when I

381
00:19:34,800 --> 00:19:35,520
Speaker 2: took a shower.

382
00:19:36,200 --> 00:19:40,120
Speaker 1: No, what happens? What is wrong with us?

383
00:19:40,800 --> 00:19:43,040
Speaker 2: How did we get to blood art?

384
00:19:43,920 --> 00:19:49,760
Speaker 3: And like Diamana Gallis and Tori Amos and fucking going

385
00:19:49,920 --> 00:19:53,080
Speaker 3: dark dur at the election and like planning.

386
00:19:52,800 --> 00:19:53,800
Speaker 2: My fault entirely.

387
00:19:53,920 --> 00:19:55,240
Speaker 1: This is my fault.

388
00:19:55,320 --> 00:19:57,480
Speaker 2: I love it. Sorry, it clearly.

389
00:19:57,160 --> 00:19:58,800
Speaker 3: Is in me, or else it wouldn't have been a conversation,

390
00:19:58,840 --> 00:20:00,480
Speaker 3: it would have been a monologue. This is a two

391
00:20:00,520 --> 00:20:04,760
Speaker 3: way street, is a two way ash street. I'm just saying.

392
00:20:04,920 --> 00:20:10,000
Speaker 3: If you thought you all haven't met Angry Danielle, oh,

393
00:20:10,040 --> 00:20:11,560
Speaker 3: and she is a different bitch.

394
00:20:13,480 --> 00:20:15,080
Speaker 2: She is a different bitch.

395
00:20:15,160 --> 00:20:18,000
Speaker 3: You've met professional, you met me when I was like

396
00:20:18,400 --> 00:20:23,760
Speaker 3: in a career. You have not met nothing to lose,

397
00:20:23,840 --> 00:20:24,760
Speaker 3: Angry Danielle.

398
00:20:25,720 --> 00:20:27,080
Speaker 1: Nothing to lose.

399
00:20:27,359 --> 00:20:31,040
Speaker 2: And that bitch is like fucking Furiosa.

400
00:20:31,680 --> 00:20:35,320
Speaker 1: Yo, Oh my god, don't even say that. My heart

401
00:20:35,440 --> 00:20:40,000
Speaker 1: just skipped a beat. Not Furiosa, the Queen my days

402
00:20:40,000 --> 00:20:41,040
Speaker 1: and nights.

403
00:20:41,080 --> 00:20:45,960
Speaker 3: Sincerely, I'm like Furiosa and fucking Danaris Targarian in the

404
00:20:46,040 --> 00:20:51,640
Speaker 3: last season of Game of Thrones and fucking a little

405
00:20:51,680 --> 00:20:54,159
Speaker 3: bit of Cage Choice. I like their music from the

406
00:20:54,240 --> 00:20:58,320
Speaker 3: nineties as well. Yes, Angry Danielle is a different bitch.

407
00:20:58,640 --> 00:21:02,639
Speaker 3: I am black eyeline as lipstick. Oh yeah, I am

408
00:21:02,640 --> 00:21:04,679
Speaker 3: buying black lipstick that wasn't available to me.

409
00:21:04,880 --> 00:21:07,840
Speaker 2: Black eyeliner. Yeah, I am.

410
00:21:08,080 --> 00:21:13,480
Speaker 3: Multiple holes, multiple tattoos, yep, pierce everything, draw on everything.

411
00:21:13,880 --> 00:21:16,480
Speaker 3: This house will look like a scene out of Saw.

412
00:21:17,200 --> 00:21:19,840
Speaker 3: Oh if I get to that level of anger again

413
00:21:19,880 --> 00:21:21,480
Speaker 3: in my life, let me tell you right now.

414
00:21:22,119 --> 00:21:25,520
Speaker 1: I'm a gold lady. I've always rocked the gold. I'm

415
00:21:25,560 --> 00:21:29,600
Speaker 1: going back to silver. Oh, I'm like, yes, I'm all

416
00:21:30,160 --> 00:21:33,439
Speaker 1: I sed out in silver. I'm gonna get like a ginormous,

417
00:21:34,359 --> 00:21:38,960
Speaker 1: like silver crucifix hanging from my fucking neck. Like I

418
00:21:39,040 --> 00:21:41,680
Speaker 1: might wear choker. I might wear a fucking choker.

419
00:21:42,840 --> 00:21:48,040
Speaker 2: You wait, don't get me started on a leather cuff, dude.

420
00:21:48,400 --> 00:21:52,560
Speaker 1: I was literally about to tell you I found my

421
00:21:52,680 --> 00:21:57,359
Speaker 1: old tough cuffs from the nineties, and I was like,

422
00:21:57,560 --> 00:21:59,680
Speaker 1: should I wear these again? Should I wear?

423
00:22:00,160 --> 00:22:02,639
Speaker 2: Yes, you should put them on right now. Stop this

424
00:22:02,760 --> 00:22:07,040
Speaker 2: recording and put them on right now. I will be

425
00:22:07,080 --> 00:22:09,480
Speaker 2: in a leather cup fast. Then you can fucking say,

426
00:22:09,920 --> 00:22:10,640
Speaker 2: who's that.

427
00:22:16,840 --> 00:22:23,560
Speaker 1: Fucking shooting bullets? Out of these Viking cuffs. Just prepare

428
00:22:23,920 --> 00:22:24,439
Speaker 1: to vote.

429
00:22:24,960 --> 00:22:28,440
Speaker 2: Vote. Remember when you're voting that Millie and I are

430
00:22:28,520 --> 00:22:32,760
Speaker 2: brown women who enjoy our reproductive freedom, even if you

431
00:22:32,800 --> 00:22:35,400
Speaker 2: personally can't tap into that. If you've enjoyed anything we've

432
00:22:35,440 --> 00:22:38,320
Speaker 2: said over the last four years, vote with that in mind.

433
00:22:39,119 --> 00:22:43,680
Speaker 2: Otherwise you were going to meet the next generation, the older,

434
00:22:44,240 --> 00:22:51,480
Speaker 2: more studied generation of angry bitch. Yeah. I refuse to

435
00:22:51,520 --> 00:22:52,000
Speaker 2: hold back.

436
00:22:52,680 --> 00:22:54,320
Speaker 1: I'm ready to ride out the rest of my life

437
00:22:54,359 --> 00:22:57,280
Speaker 1: as like a goth bitch. Like I'm just like I'll

438
00:22:57,320 --> 00:22:59,760
Speaker 1: go I'll go there like that'll be my look until

439
00:22:59,760 --> 00:23:01,480
Speaker 1: the end, and I.

440
00:23:01,440 --> 00:23:06,960
Speaker 2: Will hang tool from the ceiling. I will fucking you.

441
00:23:07,200 --> 00:23:08,879
Speaker 3: You just you don't want to know how fast I

442
00:23:08,880 --> 00:23:10,159
Speaker 3: can get back to that place.

443
00:23:10,520 --> 00:23:14,720
Speaker 1: I might start early. I mean I feel like I am.

444
00:23:14,800 --> 00:23:17,920
Speaker 1: I painted my nails black. As you see you're halfway there.

445
00:23:18,000 --> 00:23:21,120
Speaker 1: I recommend it. Get angry now, go full golf. Now,

446
00:23:22,880 --> 00:23:30,440
Speaker 1: get that fucking Paul Verhoven back piece, my Starship Troopers

447
00:23:30,480 --> 00:23:41,840
Speaker 1: total recall, but my RoboCop over my heart. Oh my god,

448
00:23:41,840 --> 00:23:45,120
Speaker 1: this is amazing. Fully, I can't wait for this. Actually

449
00:23:45,480 --> 00:23:46,119
Speaker 1: you don't have to.

450
00:23:46,200 --> 00:23:49,040
Speaker 3: We're doing it now. This is on the agenda as

451
00:23:49,200 --> 00:23:54,600
Speaker 3: of this recording. So I took a shower, and that's

452
00:23:54,760 --> 00:23:59,560
Speaker 3: what brought us here today, which is why maybe I

453
00:23:59,560 --> 00:24:02,119
Speaker 3: don't do that stray off before we record, because it

454
00:24:02,240 --> 00:24:06,720
Speaker 3: is an absolute world opening conversation when I shower before

455
00:24:06,760 --> 00:24:07,240
Speaker 3: we record.

456
00:24:08,040 --> 00:24:08,840
Speaker 2: Who knew that?

457
00:24:08,920 --> 00:24:12,000
Speaker 1: The simple act who knew I'm showering before the podcast

458
00:24:12,040 --> 00:24:15,520
Speaker 1: would take us down this blood oath that we've created

459
00:24:15,560 --> 00:24:20,720
Speaker 1: for ourselves to be off for the rest of our lives.

460
00:24:22,320 --> 00:24:27,520
Speaker 3: Like, we're not even talking practical magic. We're talking bonfire, oh, witchery.

461
00:24:27,960 --> 00:24:30,280
Speaker 3: Like we're not talking like, oh, I dance around my

462
00:24:30,359 --> 00:24:33,480
Speaker 3: kitchen sometimes cast a spell. No, that's like a that's

463
00:24:33,480 --> 00:24:35,920
Speaker 3: like a typical Thursday afternoon around these parts.

464
00:24:36,200 --> 00:24:39,600
Speaker 1: Yeah, that's aitarial, bitch. We're talking about something harder. It goes.

465
00:24:39,600 --> 00:24:46,320
Speaker 3: Absolutely, we're talking curses. We're talking family generational curses.

466
00:24:49,200 --> 00:24:51,800
Speaker 1: It's gonna be like True Detective Season one up and

467
00:24:51,840 --> 00:24:58,040
Speaker 1: here we're bring in Carcosa looking for the fucking murderers.

468
00:24:58,800 --> 00:25:01,080
Speaker 3: I will I will harness the power of the sun,

469
00:25:01,320 --> 00:25:04,760
Speaker 3: the moon, the Earth, and Carcosa.

470
00:25:05,160 --> 00:25:07,680
Speaker 2: It's gonna get real fucking weird in here.

471
00:25:08,240 --> 00:25:14,520
Speaker 3: Guess what I think it already has definitely, but I am.

472
00:25:15,080 --> 00:25:17,080
Speaker 2: I took a shower, and that's fine. Right.

473
00:25:17,640 --> 00:25:19,399
Speaker 3: Fifteen minutes before we start recording, I was like, you

474
00:25:19,400 --> 00:25:22,120
Speaker 3: know what, I'm gonna take a shower, which is hey,

475
00:25:22,160 --> 00:25:24,320
Speaker 3: okay for me, because I don't wash my hair every

476
00:25:24,320 --> 00:25:26,280
Speaker 3: time I shower, Like it's I can be in and

477
00:25:26,320 --> 00:25:31,000
Speaker 3: out like Jiffy Loupe, like I'm real quick, test spectacle's wallet, watch,

478
00:25:31,800 --> 00:25:35,000
Speaker 3: get your crevices and move on with your day now.

479
00:25:35,040 --> 00:25:37,640
Speaker 3: Before I took the shower, I was like, all right,

480
00:25:37,800 --> 00:25:42,639
Speaker 3: my clothes are usually upstairs, and I showered downstairs, so

481
00:25:42,800 --> 00:25:46,280
Speaker 3: but I had just done laundry, so my jeans and

482
00:25:46,320 --> 00:25:48,199
Speaker 3: a couple of pairs of underwear were in the dryer.

483
00:25:48,680 --> 00:25:50,080
Speaker 3: I was like, all right, I'll grab the jeans and

484
00:25:50,160 --> 00:25:53,320
Speaker 3: underwear because I've only got like ten minutes, ten working minutes.

485
00:25:53,840 --> 00:25:57,280
Speaker 3: Grab the jeans and underwear, put them on after the shower.

486
00:25:57,359 --> 00:26:00,000
Speaker 3: Then I'll go upstairs. I'll put on my house birkenstocks,

487
00:26:00,119 --> 00:26:03,600
Speaker 3: go upstairs and finish getting dressed brawd T shirt because

488
00:26:03,600 --> 00:26:04,920
Speaker 3: I'm gonna put my T shirts in the dryer.

489
00:26:04,960 --> 00:26:05,720
Speaker 2: I'm not a goblin.

490
00:26:05,960 --> 00:26:09,080
Speaker 3: I might be an angsty, witchy bitch, but I'm not

491
00:26:09,119 --> 00:26:09,640
Speaker 3: a goblin.

492
00:26:09,960 --> 00:26:10,960
Speaker 2: I'm shrinking my shit.

493
00:26:11,760 --> 00:26:16,520
Speaker 3: So I do that shower, jeans, underwear, house Barken stocks on,

494
00:26:17,600 --> 00:26:21,159
Speaker 3: and then I walk around the corner and there is

495
00:26:21,320 --> 00:26:26,360
Speaker 3: a man standing at my front door, which never fucking happens,

496
00:26:26,440 --> 00:26:29,119
Speaker 3: and ps, I am reversed, Donald duck in it, titties

497
00:26:29,160 --> 00:26:34,280
Speaker 3: are out. No one ever surprises me at my house.

498
00:26:35,000 --> 00:26:37,720
Speaker 3: I have a friend who lives genuinely five minutes down

499
00:26:37,760 --> 00:26:40,240
Speaker 3: the road and her my house is on the path

500
00:26:40,280 --> 00:26:44,159
Speaker 3: of her daily walking exercise. She will still text me

501
00:26:44,920 --> 00:26:47,000
Speaker 3: and say I might come over.

502
00:26:47,520 --> 00:26:50,040
Speaker 2: Are you home? Is it okay? Everyone in my life knows,

503
00:26:50,040 --> 00:26:51,000
Speaker 2: don't just show up at my house.

504
00:26:51,040 --> 00:26:52,040
Speaker 1: Yeah, don't a pop in.

505
00:26:52,240 --> 00:26:53,240
Speaker 2: Yeah, or if you.

506
00:26:53,200 --> 00:26:55,439
Speaker 3: Do again, you're gonna be wildly disappointed or your feelings

507
00:26:55,520 --> 00:26:58,879
Speaker 3: might be hurt. You take the risk, you take the gamble.

508
00:26:59,520 --> 00:27:02,040
Speaker 3: So that's a dude at my house standing in the

509
00:27:02,080 --> 00:27:05,600
Speaker 3: front door. I don't do that thing where I like

510
00:27:05,680 --> 00:27:09,440
Speaker 3: immediately cover and freak out. No, here's how ferreal I.

511
00:27:09,320 --> 00:27:13,240
Speaker 2: Have become living on my own all these years. I

512
00:27:13,320 --> 00:27:15,560
Speaker 2: stood there like, what the fuck are you doing here?

513
00:27:16,680 --> 00:27:18,960
Speaker 2: And it was just a delivery dude.

514
00:27:19,200 --> 00:27:23,879
Speaker 3: I ordered a battery for my dice in vacuum, and

515
00:27:24,000 --> 00:27:27,800
Speaker 3: this poor man was just dropping the box on the

516
00:27:27,840 --> 00:27:31,080
Speaker 3: doorstep and standing up as I come around the corner

517
00:27:31,240 --> 00:27:35,719
Speaker 3: like a fucking goblin with my tits out, and I

518
00:27:35,840 --> 00:27:38,679
Speaker 3: just kept walking. I didn't stop, I didn't apologize. I

519
00:27:38,720 --> 00:27:42,320
Speaker 3: was just like, oh well, I just kept going. And

520
00:27:42,320 --> 00:27:44,440
Speaker 3: then I came upstairs and finish getting pressed and sat

521
00:27:44,480 --> 00:27:48,000
Speaker 3: out for this podcast after I just flashed a stranger

522
00:27:48,400 --> 00:27:49,159
Speaker 3: at my house.

523
00:27:49,480 --> 00:27:51,520
Speaker 1: He probably he had probably had to take a picture

524
00:27:51,560 --> 00:27:53,560
Speaker 1: of that box that he's about to drop off for

525
00:27:53,680 --> 00:27:56,879
Speaker 1: his boss. And then hear you come in with you know,

526
00:27:57,440 --> 00:27:59,920
Speaker 1: yours out hooters.

527
00:27:59,680 --> 00:28:03,439
Speaker 3: Out, And I think it's because and I've texted this

528
00:28:03,480 --> 00:28:05,640
Speaker 3: to you and we will discuss it further off, Mike,

529
00:28:06,000 --> 00:28:07,440
Speaker 3: I had a dick appointment this week.

530
00:28:08,880 --> 00:28:10,399
Speaker 1: Yeah, so I think.

531
00:28:10,240 --> 00:28:12,000
Speaker 2: I'm feeling a little lucy goosey.

532
00:28:12,320 --> 00:28:16,320
Speaker 1: We're thirty minutes into the intro, and this is the

533
00:28:16,920 --> 00:28:20,479
Speaker 1: phrase dick appointment is now available for you to listen to.

534
00:28:21,160 --> 00:28:25,760
Speaker 3: All I'm gonna say about this dick appointment is Mama

535
00:28:25,800 --> 00:28:26,359
Speaker 3: still got it?

536
00:28:27,920 --> 00:28:28,200
Speaker 2: Girl?

537
00:28:28,280 --> 00:28:30,359
Speaker 1: What the hell are you doing this shit for right now?

538
00:28:30,720 --> 00:28:32,680
Speaker 1: I don't want to talk about movies, do.

539
00:28:32,680 --> 00:28:33,840
Speaker 2: We got two movies this week?

540
00:28:36,160 --> 00:28:39,680
Speaker 3: Let's fucking drop that shit. I'm like a canapringles. Once

541
00:28:39,720 --> 00:28:41,360
Speaker 3: you pop, you cannot fucking stop.

542
00:28:41,680 --> 00:28:46,240
Speaker 2: Still got it. It was fun and I refuse to

543
00:28:46,280 --> 00:28:48,560
Speaker 2: say more about it to the general public, but you

544
00:28:48,600 --> 00:28:51,400
Speaker 2: and I will break it down this afternoon.

545
00:28:52,360 --> 00:28:55,200
Speaker 1: All Right, we're canceling the podcast. Good bigodbye, everybody, see

546
00:28:55,240 --> 00:28:55,600
Speaker 1: you next week.

547
00:28:55,680 --> 00:28:55,960
Speaker 2: Daniell.

548
00:28:56,000 --> 00:28:58,120
Speaker 1: Always a fucking pleasure doing this podcast with you. But

549
00:28:58,200 --> 00:28:59,920
Speaker 1: now you gonna pop in and tell me about the day.

550
00:29:00,120 --> 00:29:06,160
Speaker 1: Mon ah ah, Let's just breeze through the rest of

551
00:29:06,200 --> 00:29:07,239
Speaker 1: this so I can hear about this.

552
00:29:07,640 --> 00:29:08,520
Speaker 2: Okay, let's do it.

553
00:29:08,520 --> 00:29:11,720
Speaker 3: But I'm just saying like the combination of me having

554
00:29:11,720 --> 00:29:15,360
Speaker 3: a dick appointment, being feral, and always trying to hulk

555
00:29:15,440 --> 00:29:18,360
Speaker 3: tamp down the normal part because the anger is always

556
00:29:18,360 --> 00:29:23,800
Speaker 3: there has resulted in my accidentally showing someone my middle

557
00:29:23,840 --> 00:29:29,800
Speaker 3: aged tits, and that nipple line is dropping more and

558
00:29:29,840 --> 00:29:33,080
Speaker 3: more every fucking year. I know we've discussed it already,

559
00:29:33,440 --> 00:29:35,280
Speaker 3: but every time I look, I'm like, my nips are

560
00:29:35,280 --> 00:29:41,360
Speaker 3: getting lower yet again. I felt like I should walk

561
00:29:41,440 --> 00:29:43,320
Speaker 3: by with a banner that's just like, this is what

562
00:29:43,400 --> 00:29:45,480
Speaker 3: a real body looks like, and then just keep going

563
00:29:45,520 --> 00:29:46,360
Speaker 3: to my own house.

564
00:29:46,440 --> 00:29:47,959
Speaker 2: Like I was, like, I'm in my own house, man,

565
00:29:48,000 --> 00:29:50,080
Speaker 2: I apologize it for nothing. Who cares?

566
00:29:50,480 --> 00:29:54,960
Speaker 1: Like what the hell? Life is fucking insane right now?

567
00:29:55,200 --> 00:29:59,520
Speaker 1: And I I'll be goddamned if somebody's going to try

568
00:29:59,520 --> 00:30:02,000
Speaker 1: to make you feel bad about yourself in any kind

569
00:30:02,000 --> 00:30:02,240
Speaker 1: of way.

570
00:30:02,280 --> 00:30:02,560
Speaker 2: Shape.

571
00:30:02,600 --> 00:30:05,360
Speaker 1: Absolutely, we got bigger fish to fry people. The fucker

572
00:30:05,400 --> 00:30:09,880
Speaker 1: we cared about the boobs of middle aged people, like

573
00:30:11,000 --> 00:30:14,560
Speaker 1: grow up and find another thing to be fucking concerned about, Like.

574
00:30:14,640 --> 00:30:18,440
Speaker 3: Grow the fuck up for real, get your shit together

575
00:30:19,400 --> 00:30:21,720
Speaker 3: the world. None of that shit has ever mattered, and

576
00:30:21,760 --> 00:30:25,280
Speaker 3: it matters so much less now. Get into the fact

577
00:30:25,320 --> 00:30:27,960
Speaker 3: that some people have Winston Churchill and a fucking crotchlock

578
00:30:28,000 --> 00:30:34,200
Speaker 3: between their legs, jowls, low nips. Love it, And guess

579
00:30:34,200 --> 00:30:36,200
Speaker 3: what We're gonna be flashing all of it out in

580
00:30:36,240 --> 00:30:39,200
Speaker 3: the woods, naked around a goddamn fire, cursing all of

581
00:30:39,240 --> 00:30:45,800
Speaker 3: you if you don't vote well this upcoming election in America.

582
00:30:45,920 --> 00:30:48,760
Speaker 3: America doesn't know what's coming for it if they put

583
00:30:48,800 --> 00:30:49,920
Speaker 3: that fucker in office again.

584
00:30:50,760 --> 00:30:53,400
Speaker 1: If it happens, that's my promise to you. If it

585
00:30:53,440 --> 00:30:55,080
Speaker 1: doesn't happen, I still might do it.

586
00:30:55,160 --> 00:30:58,840
Speaker 3: So just make make the promise like, I'm sorry, I'm

587
00:30:58,840 --> 00:31:01,600
Speaker 3: just thinking about the right words to say the promise

588
00:31:01,960 --> 00:31:09,400
Speaker 3: you I know, and to be but.

589
00:31:09,320 --> 00:31:11,800
Speaker 2: Make the promise to me right now. I don't care

590
00:31:11,840 --> 00:31:14,000
Speaker 2: where you're saying now these other folks to me, you're

591
00:31:14,040 --> 00:31:16,840
Speaker 2: doing this. I'm encouraging this to the end of time.

592
00:31:17,920 --> 00:31:18,840
Speaker 1: Thank you so much.

593
00:31:19,000 --> 00:31:20,720
Speaker 2: All right, let's get into these goddamn movies.

594
00:31:26,480 --> 00:31:30,800
Speaker 1: We have a theme this week everyone. That is definitely

595
00:31:30,960 --> 00:31:34,160
Speaker 1: something that Daniel came up with, because it has been

596
00:31:34,160 --> 00:31:38,320
Speaker 1: making me laugh for the past week. Why don't you

597
00:31:38,440 --> 00:31:40,120
Speaker 1: tell them what the name of the theme is.

598
00:31:41,400 --> 00:31:45,040
Speaker 3: The theme this week is back in my day when

599
00:31:45,080 --> 00:31:47,000
Speaker 3: someone was said they just died.

600
00:31:50,080 --> 00:31:55,160
Speaker 2: It's a theme about misunderston teens. Of course, of course.

601
00:31:56,920 --> 00:32:00,600
Speaker 1: They just decided. Is that from something.

602
00:32:00,440 --> 00:32:02,640
Speaker 3: Or is that just you know, it's just it's from

603
00:32:02,680 --> 00:32:06,960
Speaker 3: listening to my fucking grandmother all my life, denying my depression,

604
00:32:08,520 --> 00:32:11,360
Speaker 3: Like if you were really sad, you would actually die.

605
00:32:11,520 --> 00:32:16,560
Speaker 2: I'm like, what, like we didn't deal with depression. Those

606
00:32:16,560 --> 00:32:17,560
Speaker 2: people just went away.

607
00:32:18,920 --> 00:32:21,480
Speaker 1: That is like, that is hard goth Carol, if you

608
00:32:21,480 --> 00:32:26,240
Speaker 1: ask me, shit, Carol is the most hardcore goth bit

609
00:32:26,320 --> 00:32:27,360
Speaker 1: you've ever met in my life.

610
00:32:28,800 --> 00:32:31,320
Speaker 2: She doesn't know that, but she actually is.

611
00:32:31,920 --> 00:32:34,680
Speaker 1: Yeah. No, this is a good thing because I feel

612
00:32:34,680 --> 00:32:37,200
Speaker 1: like we both wanted to talk about these movies in

613
00:32:37,280 --> 00:32:42,120
Speaker 1: some way. Absolutely, I know, and I feel like I

614
00:32:42,120 --> 00:32:46,080
Speaker 1: don't know. I think we were probably both misunderstood teens.

615
00:32:46,080 --> 00:32:47,920
Speaker 1: Wouldn't she say? I just talked about how I want

616
00:32:47,960 --> 00:32:51,680
Speaker 1: to go back to ninety four Downward Spiral. I think

617
00:32:51,720 --> 00:32:52,000
Speaker 1: we know.

618
00:32:53,360 --> 00:32:57,040
Speaker 2: I think we were. We were misunderstood teens at large,

619
00:32:57,520 --> 00:32:59,560
Speaker 2: but we also misunderstood ourselves.

620
00:33:00,600 --> 00:33:01,160
Speaker 1: That's real.

621
00:33:01,840 --> 00:33:03,560
Speaker 2: We didn't know what to do with our feelings.

622
00:33:04,040 --> 00:33:07,720
Speaker 1: I will say that my parents were too busy to

623
00:33:07,840 --> 00:33:08,480
Speaker 1: understand me.

624
00:33:09,000 --> 00:33:13,640
Speaker 3: Oh tell ya, that was not even on the menu.

625
00:33:14,360 --> 00:33:15,320
Speaker 3: It's like, are you alive?

626
00:33:15,440 --> 00:33:18,240
Speaker 2: Did you eat food today? Did you go to school? Congratulations?

627
00:33:18,280 --> 00:33:19,120
Speaker 2: What more do you want from me?

628
00:33:19,520 --> 00:33:21,760
Speaker 1: Yeah? My mom was a waitress at a Chinese restaurant.

629
00:33:21,760 --> 00:33:23,440
Speaker 1: She was like, I don't give a fuck. I don't

630
00:33:23,440 --> 00:33:25,480
Speaker 1: care about who you are and like what you're into.

631
00:33:27,320 --> 00:33:29,200
Speaker 2: You know, many people yelled at me today because of

632
00:33:29,320 --> 00:33:30,880
Speaker 2: duck Sauce. I don't give a shit.

633
00:33:31,920 --> 00:33:34,200
Speaker 1: Well, and like, the funny thing is too And I

634
00:33:34,200 --> 00:33:37,280
Speaker 1: will tell you this for all of the astrology heads

635
00:33:37,280 --> 00:33:42,680
Speaker 1: out there, I am technically a pisces aries cusp. Okay,

636
00:33:42,880 --> 00:33:45,520
Speaker 1: I'm very early in the zodiac apparently, so I'm like

637
00:33:46,000 --> 00:33:49,200
Speaker 1: apparently a total psycho because I'm half water and half

638
00:33:49,240 --> 00:33:53,560
Speaker 1: fire from what I've been told and part of what

639
00:33:53,680 --> 00:33:59,640
Speaker 1: I've always read and have always been told about my placement,

640
00:33:59,800 --> 00:34:05,200
Speaker 1: my astrological placement, is that I constantly think no one

641
00:34:05,320 --> 00:34:08,840
Speaker 1: understands me, like it's my it's like my it is

642
00:34:08,880 --> 00:34:11,440
Speaker 1: my cross to bear where I And maybe this is

643
00:34:11,480 --> 00:34:16,280
Speaker 1: why you keep thinking I'm fucking mysterious, which I don't

644
00:34:16,280 --> 00:34:19,520
Speaker 1: agree with. I feel like I'm very open on this podcast.

645
00:34:19,600 --> 00:34:22,200
Speaker 1: Maybe I don't know, maybe not, but like, oh I

646
00:34:22,400 --> 00:34:23,400
Speaker 1: on the podcast.

647
00:34:23,480 --> 00:34:25,440
Speaker 2: That's the point. Why don't have to wait.

648
00:34:25,200 --> 00:34:28,520
Speaker 3: To record a podcast if I shit out about you?

649
00:34:28,560 --> 00:34:30,440
Speaker 1: Oh, you want to know off the podcast.

650
00:34:30,760 --> 00:34:34,480
Speaker 3: So it just says, yes, I want all of our

651
00:34:34,520 --> 00:34:37,760
Speaker 3: phone calls and text messages off podcast to be every

652
00:34:37,800 --> 00:34:38,880
Speaker 3: fucking little fought.

653
00:34:38,680 --> 00:34:40,440
Speaker 2: You have and everything happening in your life.

654
00:34:40,800 --> 00:34:44,239
Speaker 1: God, that's a fucking Gemini thing, man, I swear I

655
00:34:44,320 --> 00:34:47,720
Speaker 1: gotta remember that. I gotta remember that about y'all because

656
00:34:47,719 --> 00:34:49,600
Speaker 1: I'm just like I'm always just like up my own

657
00:34:49,640 --> 00:34:53,399
Speaker 1: ass in my own world, and then everyone's like why

658
00:34:53,400 --> 00:34:56,000
Speaker 1: don't you just tell us if you're okay, Like, what's

659
00:34:56,040 --> 00:35:02,320
Speaker 1: wrong with you? I'm like, okay, I forgot uh.

660
00:35:00,880 --> 00:35:04,359
Speaker 3: And again, no cusp about me. Triple Gemini across the board,

661
00:35:04,600 --> 00:35:05,759
Speaker 3: sun Moon rising.

662
00:35:05,960 --> 00:35:07,960
Speaker 1: Up like a fucking dagger.

663
00:35:08,640 --> 00:35:08,920
Speaker 2: No I.

664
00:35:09,520 --> 00:35:12,680
Speaker 1: But that is the thing is that I like to

665
00:35:12,719 --> 00:35:16,720
Speaker 1: the point of this theme, I think I am gonna

666
00:35:16,840 --> 00:35:20,759
Speaker 1: die with the belief that I'm a misunderstood team. Like

667
00:35:20,880 --> 00:35:24,640
Speaker 1: it's so stupid, and I wish I wouldn't, I would

668
00:35:24,719 --> 00:35:26,759
Speaker 1: just drop it, but I can't help it. It's in

669
00:35:26,800 --> 00:35:30,520
Speaker 1: the stars. I'm just like, every time you think I'm

670
00:35:30,560 --> 00:35:33,520
Speaker 1: one thing, I'm actually another thing, and you don't get

671
00:35:33,560 --> 00:35:38,680
Speaker 1: it and you'll never get it. It was obviously really

672
00:35:38,719 --> 00:35:40,960
Speaker 1: bad when I was a teenager and an As an adult,

673
00:35:40,960 --> 00:35:43,640
Speaker 1: I'm kind of like, all right, no one gets me.

674
00:35:43,719 --> 00:35:45,240
Speaker 1: I guess I'll just do it by myself.

675
00:35:45,560 --> 00:35:47,200
Speaker 3: It's got a little more of an erettinge to it.

676
00:35:47,239 --> 00:35:48,960
Speaker 3: I feel the same way where I'm just like, it's fine,

677
00:35:49,000 --> 00:35:49,799
Speaker 3: you don't have to get it.

678
00:35:49,960 --> 00:35:51,440
Speaker 2: You don't have to get it. When I was a kid,

679
00:35:51,480 --> 00:35:53,480
Speaker 2: I was like, why don't you fucking get it?

680
00:35:54,480 --> 00:35:57,839
Speaker 1: Were you really like the type like did you want

681
00:35:59,200 --> 00:36:01,840
Speaker 1: did you want people to really get you and to

682
00:36:02,000 --> 00:36:05,600
Speaker 1: understand like yourisms and the way that you were thinking.

683
00:36:05,719 --> 00:36:07,279
Speaker 1: Was that like an important thing for you?

684
00:36:08,080 --> 00:36:10,239
Speaker 3: No, And well, that's what's kind of strange is that

685
00:36:10,280 --> 00:36:13,520
Speaker 3: my I think I was more misunderstood to myself because truly,

686
00:36:13,840 --> 00:36:17,279
Speaker 3: for as long as I can remember, I have not

687
00:36:17,400 --> 00:36:20,399
Speaker 3: given a shit what anyone thinks about me or things

688
00:36:20,440 --> 00:36:23,680
Speaker 3: about what I'm doing. What was important to me was

689
00:36:24,480 --> 00:36:25,919
Speaker 3: I want you to get out of the way while

690
00:36:25,960 --> 00:36:29,120
Speaker 3: I do it, Like stop asking me questions like you

691
00:36:29,120 --> 00:36:32,040
Speaker 3: don't understand me, and that's fine, but just get out

692
00:36:32,040 --> 00:36:35,320
Speaker 3: of my fucking way. And it was also really related

693
00:36:35,960 --> 00:36:39,239
Speaker 3: much more, much less to the outside because outside I

694
00:36:39,280 --> 00:36:41,360
Speaker 3: was like, yeah, I don't look like you. I clearly

695
00:36:41,440 --> 00:36:44,799
Speaker 3: am am telegraphing that I'm not the same as you.

696
00:36:45,640 --> 00:36:47,720
Speaker 3: But what really used to bother me where I felt

697
00:36:47,719 --> 00:36:50,560
Speaker 3: deeply misunderstood was that I was a smart kid, and

698
00:36:50,560 --> 00:36:52,480
Speaker 3: I'm like, I want you to know that I'm smart.

699
00:36:53,000 --> 00:36:55,479
Speaker 3: I understand things at a deeper level than you can even.

700
00:36:55,400 --> 00:36:56,520
Speaker 2: Comprehend right now.

701
00:36:56,600 --> 00:36:59,000
Speaker 3: And I think that's most teenagers where they're just like,

702
00:36:59,120 --> 00:37:02,759
Speaker 3: you don't understand the true world, yeah, because they've just

703
00:37:02,800 --> 00:37:04,399
Speaker 3: you know, discovered a way of thinking or a way

704
00:37:04,400 --> 00:37:04,800
Speaker 3: of being.

705
00:37:04,840 --> 00:37:07,920
Speaker 1: So yeah, yeah, I think my you know, I've got

706
00:37:07,960 --> 00:37:10,399
Speaker 1: on record about this. I was like a secret sense

707
00:37:10,440 --> 00:37:15,719
Speaker 1: of timo, like I I was, you know, I think obviously,

708
00:37:16,480 --> 00:37:18,560
Speaker 1: if I look at pictures of myself, if I if

709
00:37:18,560 --> 00:37:19,960
Speaker 1: I look at the way that I was when I

710
00:37:20,000 --> 00:37:22,799
Speaker 1: was a chut, I mean I was kind of you know, tom,

711
00:37:22,920 --> 00:37:25,200
Speaker 1: I don't know if I should say the word tomboy.

712
00:37:25,239 --> 00:37:27,600
Speaker 1: I don't know if that's the right word, but I was.

713
00:37:27,680 --> 00:37:31,160
Speaker 1: I was tomboyish, and I played sports and I hung

714
00:37:31,200 --> 00:37:34,440
Speaker 1: out with guys and I, you know, just had their interests,

715
00:37:34,440 --> 00:37:36,400
Speaker 1: like I liked music and movies and stuff. And I

716
00:37:36,400 --> 00:37:39,000
Speaker 1: also just kind of looked like I wasn't like I

717
00:37:39,080 --> 00:37:43,400
Speaker 1: was like chubby, and I you know, sort of dressed.

718
00:37:43,440 --> 00:37:46,080
Speaker 1: I mean it's the nineties. I just in like old

719
00:37:46,120 --> 00:37:49,040
Speaker 1: man pants and old man cardigans. And I just felt

720
00:37:49,120 --> 00:37:52,400
Speaker 1: like I always felt that people thought I was like

721
00:37:52,520 --> 00:37:57,200
Speaker 1: a lot tougher and more aggressive and like meaner than

722
00:37:57,239 --> 00:37:59,799
Speaker 1: I actually was. And I think people treated me like it.

723
00:38:00,000 --> 00:38:03,520
Speaker 1: Actually guys guys treated me like a guy basically, and

724
00:38:03,760 --> 00:38:07,160
Speaker 1: we're like, I mean there are times where like I've

725
00:38:07,200 --> 00:38:10,239
Speaker 1: had guys like call me the F bomb before when

726
00:38:10,280 --> 00:38:12,080
Speaker 1: I was in high school, and I was like, you

727
00:38:12,200 --> 00:38:14,839
Speaker 1: know that that is not a a good thing to say,

728
00:38:14,880 --> 00:38:20,720
Speaker 1: but b is not even correct in my in my case,

729
00:38:21,320 --> 00:38:25,040
Speaker 1: and also like do not call me by your fucking

730
00:38:25,280 --> 00:38:28,439
Speaker 1: dude shit, like you're dumb straight dude shit.

731
00:38:29,360 --> 00:38:30,760
Speaker 2: But you were like a secret agent.

732
00:38:31,000 --> 00:38:37,239
Speaker 3: You were in there learning all the lingo and.

733
00:38:35,280 --> 00:38:37,960
Speaker 1: I know, I mean, I listen my sign Also I'm

734
00:38:38,080 --> 00:38:41,759
Speaker 1: very observant, yes, understood and also observant, but I but

735
00:38:42,040 --> 00:38:44,719
Speaker 1: I think part of like my the crux of like

736
00:38:44,800 --> 00:38:47,879
Speaker 1: how I felt misunderstood was that I was actually really

737
00:38:47,960 --> 00:38:51,640
Speaker 1: sensitive and like romantic, and I was, you know, I

738
00:38:51,680 --> 00:38:54,160
Speaker 1: have a lot of like kind of you know, I

739
00:38:54,200 --> 00:38:57,799
Speaker 1: don't know, like even though I'm not an introvert, I did,

740
00:38:57,960 --> 00:39:00,840
Speaker 1: I definitely have inside a little more of the dreamlike

741
00:39:01,000 --> 00:39:04,719
Speaker 1: introverted qualities. And I just never thought anybody thought of

742
00:39:04,760 --> 00:39:06,760
Speaker 1: me like that. They always thought like, she's a fucking

743
00:39:06,920 --> 00:39:10,600
Speaker 1: crazy bitch that goes hard and do whatever, and you know,

744
00:39:10,760 --> 00:39:12,759
Speaker 1: she can take a punch and she can take you know,

745
00:39:12,840 --> 00:39:16,040
Speaker 1: like whatever, And I'm like, no, I think we all

746
00:39:16,040 --> 00:39:18,560
Speaker 1: know by this point that that's always a facade and

747
00:39:18,600 --> 00:39:21,279
Speaker 1: that people are usually a lot more sensitive than you know.

748
00:39:21,400 --> 00:39:24,240
Speaker 3: Absolutely, there's always a lot more going on under the surface.

749
00:39:24,280 --> 00:39:28,680
Speaker 3: And I think for most most teenagers, most misunderstood teens,

750
00:39:28,800 --> 00:39:30,920
Speaker 3: which I think most teenagers can tap into at some

751
00:39:31,440 --> 00:39:36,880
Speaker 3: point in their development. It's like a misunderstanding between the

752
00:39:37,040 --> 00:39:40,040
Speaker 3: perception that you of who you think you are that

753
00:39:40,080 --> 00:39:41,640
Speaker 3: you have to be in the world, versus who you

754
00:39:41,680 --> 00:39:43,160
Speaker 3: actually want to be, because there's not a lot of

755
00:39:43,200 --> 00:39:45,120
Speaker 3: room when you're a teenager to kind of do both.

756
00:39:45,680 --> 00:39:47,600
Speaker 3: And I see it even still where it's you know,

757
00:39:47,640 --> 00:39:50,359
Speaker 3: there's a lot of affect, there's a lot of you know,

758
00:39:50,400 --> 00:39:52,960
Speaker 3: trying as you're trying to figure things out, you have

759
00:39:53,040 --> 00:39:54,960
Speaker 3: to be a little bit tough to the world and

760
00:39:55,080 --> 00:39:59,399
Speaker 3: kind of shield yourself and put on some armor. So, yeah,

761
00:39:59,400 --> 00:40:03,120
Speaker 3: the misunderstand teen thing is deep in my life and

762
00:40:03,160 --> 00:40:09,440
Speaker 3: my core. And I wasn't misunderstood. I was noncommunicative is

763
00:40:09,440 --> 00:40:11,640
Speaker 3: what I'm learning in therapy and tell people what I

764
00:40:11,680 --> 00:40:14,840
Speaker 3: wanted or needed. I didn't feel safe communicating my needs,

765
00:40:15,800 --> 00:40:21,080
Speaker 3: so I just didn't. Yeah, I should not be laughing

766
00:40:21,080 --> 00:40:23,799
Speaker 3: about it because it's true. But yeah, like I just,

767
00:40:23,840 --> 00:40:25,640
Speaker 3: you know, I had to learn how to become an

768
00:40:25,640 --> 00:40:30,040
Speaker 3: emotional person and not feel because we're also you know

769
00:40:30,360 --> 00:40:34,200
Speaker 3: again as non white women are always coded by certain

770
00:40:35,480 --> 00:40:39,239
Speaker 3: portions of the population as angry, as tough, as people

771
00:40:39,239 --> 00:40:42,000
Speaker 3: who don't have feelings, And so I think I had

772
00:40:42,040 --> 00:40:45,680
Speaker 3: to kind of tap into my own emotional life before

773
00:40:45,680 --> 00:40:47,680
Speaker 3: I could tell people, Hey, you can't treat me that way,

774
00:40:47,719 --> 00:40:49,440
Speaker 3: Like you can't treat me like I don't have feelings

775
00:40:49,560 --> 00:40:50,840
Speaker 3: or like I'm too tough to matter.

776
00:40:51,320 --> 00:40:54,879
Speaker 1: Yeah. Oh, I would also extend that to Wait. I mean,

777
00:40:54,880 --> 00:40:59,520
Speaker 1: I think people like place. There's a lot of I mean,

778
00:40:59,600 --> 00:41:01,439
Speaker 1: it's it's crazy if you want to go down the road,

779
00:41:01,480 --> 00:41:05,160
Speaker 1: but it's also like think about like who gets protection

780
00:41:05,640 --> 00:41:09,600
Speaker 1: ultimately exactly, and that crushes me. Like, if I think

781
00:41:09,640 --> 00:41:13,880
Speaker 1: about that too long, I can really work myself up

782
00:41:13,960 --> 00:41:17,520
Speaker 1: because it feels like, especially as a teen, especially as

783
00:41:17,520 --> 00:41:20,520
Speaker 1: a child, everybody deserves protection, Like everybody deserves to be

784
00:41:20,840 --> 00:41:24,760
Speaker 1: cared for. And there are just times in this life

785
00:41:24,800 --> 00:41:28,319
Speaker 1: where you look and you're like, how come that person was?

786
00:41:29,680 --> 00:41:31,800
Speaker 1: You know, how come that person is like a beautiful

787
00:41:31,800 --> 00:41:34,359
Speaker 1: flower that needs our love and support and attention, and

788
00:41:34,400 --> 00:41:38,520
Speaker 1: how come this person doesn't. It really bothers me, which

789
00:41:38,520 --> 00:41:41,120
Speaker 1: is probably why I never had kids. I'm just gonna

790
00:41:41,120 --> 00:41:42,719
Speaker 1: throw that out there, speaking of.

791
00:41:42,680 --> 00:41:45,120
Speaker 3: Therapy just because you feel like you couldn't do that

792
00:41:45,200 --> 00:41:47,200
Speaker 3: for them, or like it was it be too difficult

793
00:41:47,200 --> 00:41:49,000
Speaker 3: to do that for kids.

794
00:41:49,120 --> 00:41:53,200
Speaker 1: Well, because I think I did not want to deal

795
00:41:53,280 --> 00:41:58,640
Speaker 1: with the reality of of of kids who struggle like emotionally,

796
00:41:58,760 --> 00:42:02,640
Speaker 1: and I was like, I was like, if I had

797
00:42:02,680 --> 00:42:05,400
Speaker 1: a kid and that kid got bullied, I would be

798
00:42:05,400 --> 00:42:09,560
Speaker 1: in jail, Like I would be a fucking murderer because

799
00:42:10,480 --> 00:42:15,400
Speaker 1: my protection instinct is so strong that I was like,

800
00:42:17,080 --> 00:42:19,600
Speaker 1: I'm getting emotional about this, and I don't really know why,

801
00:42:19,680 --> 00:42:24,800
Speaker 1: but I was like, I'd be fucking in jail because

802
00:42:24,840 --> 00:42:27,440
Speaker 1: I just can't take it, Like it just would be

803
00:42:27,480 --> 00:42:31,200
Speaker 1: so it would be so hard to have a kid

804
00:42:31,280 --> 00:42:35,560
Speaker 1: that just was being bullied and treated poorly.

805
00:42:35,719 --> 00:42:38,120
Speaker 2: So yeah, I understand.

806
00:42:38,160 --> 00:42:40,400
Speaker 3: I understand getting emotional about it too, because when you

807
00:42:40,560 --> 00:42:44,120
Speaker 3: when you have been that kid, you know how deeply

808
00:42:44,360 --> 00:42:46,960
Speaker 3: things cut, and you know how lasting they can be,

809
00:42:47,200 --> 00:42:49,960
Speaker 3: and you know how it can affect your development and

810
00:42:50,000 --> 00:42:55,680
Speaker 3: your personality and every part of your own trajectory to

811
00:42:55,800 --> 00:42:59,040
Speaker 3: be unprotected. And you know, six ft tall black girls

812
00:42:59,040 --> 00:43:01,680
Speaker 3: don't get protected either. You know that nobody's out just

813
00:43:02,040 --> 00:43:06,160
Speaker 3: go hug a teen today. Hug Actually I shouldn't say that.

814
00:43:07,320 --> 00:43:10,120
Speaker 3: Hug your teen today. Don't be hugging strangers teens. But like,

815
00:43:10,360 --> 00:43:12,880
Speaker 3: if there's a if there's a teenager in your life,

816
00:43:13,000 --> 00:43:15,040
Speaker 3: I'll say that so that nobody goes to jail. If

817
00:43:15,040 --> 00:43:18,680
Speaker 3: there's a teenager in your life, talk to them about

818
00:43:18,680 --> 00:43:22,120
Speaker 3: this shit, make them feel protected in some way, make

819
00:43:22,160 --> 00:43:23,879
Speaker 3: them feel heard or seen.

820
00:43:24,239 --> 00:43:26,319
Speaker 2: There's no reason for.

821
00:43:26,320 --> 00:43:29,080
Speaker 3: People in this world to feel misunderstood to the point

822
00:43:29,080 --> 00:43:32,279
Speaker 3: where they think they don't deserve to be treated like

823
00:43:32,320 --> 00:43:33,120
Speaker 3: a human being.

824
00:43:33,520 --> 00:43:36,480
Speaker 2: Right, And this is on a bigger stage.

825
00:43:36,520 --> 00:43:39,640
Speaker 3: We see this, you know, for people who are kind

826
00:43:39,680 --> 00:43:43,040
Speaker 3: of of our mindset, who are paying attention. This is

827
00:43:43,040 --> 00:43:45,440
Speaker 3: why I donate to trans Lifeline. This is why I

828
00:43:45,560 --> 00:43:48,359
Speaker 3: donate to things that are are to programs that are

829
00:43:48,560 --> 00:43:53,840
Speaker 3: dedicated to actively protecting the most vulnerable amongst us, because

830
00:43:53,880 --> 00:43:56,120
Speaker 3: I think that's the sign of a healthy society. When

831
00:43:56,160 --> 00:43:58,560
Speaker 3: you do that, you know it's not a healthy society

832
00:43:58,560 --> 00:44:00,879
Speaker 3: to only focus on the red, the powerful, the people

833
00:44:00,880 --> 00:44:03,000
Speaker 3: who don't give a shit about anybody but themselves. How

834
00:44:03,000 --> 00:44:06,680
Speaker 3: do you treat your most vulnerable population? And raising kids

835
00:44:06,719 --> 00:44:09,160
Speaker 3: is hard, Raising kids is being a kid is hard.

836
00:44:09,920 --> 00:44:13,960
Speaker 3: So I fully understand that impetus to not know that

837
00:44:14,320 --> 00:44:17,160
Speaker 3: you can control your protective instinct enough to be able

838
00:44:17,160 --> 00:44:17,680
Speaker 3: to have a kid.

839
00:44:17,760 --> 00:44:19,319
Speaker 2: I couldn't do it. I couldn't do it.

840
00:44:20,480 --> 00:44:22,279
Speaker 1: Yeah, I mean I even told my sister. I was like,

841
00:44:22,320 --> 00:44:25,000
Speaker 1: don't tell me, like if you go to like I

842
00:44:25,040 --> 00:44:27,040
Speaker 1: want to know obviously about my nephews and how they

843
00:44:27,200 --> 00:44:31,040
Speaker 1: grow up. But it's also like I was like, don't

844
00:44:31,040 --> 00:44:33,239
Speaker 1: tell me too much if there's something going on, like

845
00:44:34,040 --> 00:44:35,879
Speaker 1: I will drive down there right now and I will

846
00:44:35,960 --> 00:44:39,240
Speaker 1: beat whoever's messing with my boys.

847
00:44:39,800 --> 00:44:42,399
Speaker 3: But my best my best friend constantly has to talk

848
00:44:42,480 --> 00:44:44,680
Speaker 3: me off, my oldest friend, I should say constantly has

849
00:44:44,680 --> 00:44:46,879
Speaker 3: to talk me off the ledge when we talked about

850
00:44:46,880 --> 00:44:49,880
Speaker 3: my god daughter, because she'll just little things like you know,

851
00:44:49,960 --> 00:44:52,759
Speaker 3: when she was younger and would go to the playground

852
00:44:53,160 --> 00:44:56,680
Speaker 3: and the older boys wouldn't let her play on like

853
00:44:57,440 --> 00:45:00,160
Speaker 3: this particular equipment at the park, and I'm like, who

854
00:45:00,200 --> 00:45:02,600
Speaker 3: do I have to fucking murder, Like I will go

855
00:45:02,640 --> 00:45:03,960
Speaker 3: down there and push them right in the face in

856
00:45:03,960 --> 00:45:07,319
Speaker 3: front of her. I just got too angry thinking she's

857
00:45:07,320 --> 00:45:09,319
Speaker 3: so smart and she's so sensitive and she just wants

858
00:45:09,360 --> 00:45:10,840
Speaker 3: to play and be friends with people.

859
00:45:11,239 --> 00:45:12,560
Speaker 2: Why are kids so cruel?

860
00:45:13,400 --> 00:45:15,799
Speaker 1: Well, and it's because they probably learn it from their

861
00:45:15,840 --> 00:45:17,920
Speaker 1: fucking parents. I mean, that's the thing, is that, like

862
00:45:17,960 --> 00:45:20,560
Speaker 1: there's a reason why bullies are bullies. It's like they're

863
00:45:20,680 --> 00:45:23,360
Speaker 1: just I mean, there's room to care about that bully

864
00:45:23,400 --> 00:45:25,440
Speaker 1: too in a way. But I feel like, yes, I

865
00:45:25,760 --> 00:45:28,560
Speaker 1: feel like, you know, when it comes down to it,

866
00:45:28,640 --> 00:45:31,920
Speaker 1: like it's such as such a hard responsibility to be

867
00:45:31,960 --> 00:45:35,400
Speaker 1: a parent, and I feel like there was a I

868
00:45:35,400 --> 00:45:37,839
Speaker 1: think instinctually I knew that I would just be too

869
00:45:37,880 --> 00:45:41,080
Speaker 1: sensitive to to deal with it because I went through

870
00:45:41,080 --> 00:45:44,400
Speaker 1: so much and I feel so deeply and protect and

871
00:45:44,440 --> 00:45:47,440
Speaker 1: protect so deeply my family, and especially if I had

872
00:45:47,480 --> 00:45:49,400
Speaker 1: had my own kid, I may just be like fucking

873
00:45:49,520 --> 00:45:52,520
Speaker 1: losing my shit every five minutes, but which's.

874
00:45:52,239 --> 00:45:53,640
Speaker 2: Not good for anybody. It's no.

875
00:45:54,200 --> 00:45:55,920
Speaker 3: We can bring it back to Madonna's and she was

876
00:45:55,960 --> 00:45:58,200
Speaker 3: just on the pod recently and one of her more

877
00:45:58,239 --> 00:46:01,719
Speaker 3: profound lyrics, you mean to be cruel if somebody hurt

878
00:46:01,760 --> 00:46:02,320
Speaker 3: you too.

879
00:46:02,800 --> 00:46:06,360
Speaker 1: That's right. Don't even get me started on that song.

880
00:46:06,680 --> 00:46:08,319
Speaker 1: Am I gonna have to listen to that song and

881
00:46:08,360 --> 00:46:09,080
Speaker 1: I'm gonna cry.

882
00:46:09,400 --> 00:46:10,320
Speaker 2: We're gonna cry.

883
00:46:10,640 --> 00:46:13,520
Speaker 1: Listen to all of her sad songs, Live to Tell,

884
00:46:14,360 --> 00:46:17,960
Speaker 1: don't even get me started. We are definitely not doing

885
00:46:17,960 --> 00:46:23,080
Speaker 1: this podcast today right way, are never talking about it

886
00:46:24,400 --> 00:46:28,839
Speaker 1: well and like to bring it back to the movies. Okay, sorry, y'all,

887
00:46:29,080 --> 00:46:30,640
Speaker 1: this is just one of those weeks.

888
00:46:30,880 --> 00:46:32,480
Speaker 2: So God one of us did.

889
00:46:34,280 --> 00:46:37,440
Speaker 1: Like, I think there's kind of two things going on,

890
00:46:37,520 --> 00:46:43,400
Speaker 1: so like in your movie classic misunderstood teens, like maybe

891
00:46:43,520 --> 00:46:46,640
Speaker 1: the blueprint for a movie like a coming of age

892
00:46:46,719 --> 00:46:50,520
Speaker 1: movie about you know, parents just don't understand type of stuff.

893
00:46:51,239 --> 00:46:54,520
Speaker 1: I feel like in my movie it's that. Plus the

894
00:46:54,719 --> 00:46:58,720
Speaker 1: entire town is fucked yeah, like all like it's almost

895
00:46:58,800 --> 00:47:01,640
Speaker 1: kind of like watch a Like I feel like the

896
00:47:01,680 --> 00:47:06,880
Speaker 1: adults in my movie are basically like the the future

897
00:47:07,480 --> 00:47:10,400
Speaker 1: of the kids if they decide to stay.

898
00:47:10,640 --> 00:47:13,200
Speaker 3: And that's what they're that's what they're fighting so hard,

899
00:47:13,239 --> 00:47:17,840
Speaker 3: Like they're seeing that train barreling towards them in your film, yeah,

900
00:47:17,880 --> 00:47:21,080
Speaker 3: and are so resistant and so willing to try anything

901
00:47:21,200 --> 00:47:22,480
Speaker 3: to not let that happen.

902
00:47:22,800 --> 00:47:22,960
Speaker 2: Oh.

903
00:47:23,040 --> 00:47:26,040
Speaker 1: Absolutely, well, I think I'm going first this week, and.

904
00:47:26,080 --> 00:47:29,040
Speaker 3: You are, okay, And I cannot wait, And I thank

905
00:47:29,080 --> 00:47:31,439
Speaker 3: you for being so vulnerable with us, and I can't

906
00:47:31,480 --> 00:47:35,680
Speaker 3: wait to see how you talk about this incredible film.

907
00:47:35,840 --> 00:47:38,600
Speaker 1: Oh yes, for sure, this is absolutely one of my

908
00:47:38,600 --> 00:47:42,000
Speaker 1: favorite movies. So for our theme back in my day,

909
00:47:42,360 --> 00:47:47,200
Speaker 1: when someone was sad, they just died aka Misunderstood Teens

910
00:47:48,120 --> 00:47:50,880
Speaker 1: is a movie from nineteen seventy one. It was written

911
00:47:50,960 --> 00:47:56,320
Speaker 1: by Larry McMurtry and Peter Bogdanovich. Obviously adapted from the

912
00:47:56,440 --> 00:47:59,919
Speaker 1: Larry McMurtry book that came out in nineteen sixty six.

913
00:48:00,680 --> 00:48:03,640
Speaker 1: Obviously directed by Peter Bogdanovitch, and it's called The Last

914
00:48:03,640 --> 00:48:04,200
Speaker 1: Picture Show.

915
00:48:04,440 --> 00:48:06,560
Speaker 3: You wouldn't believe how this country's changed.

916
00:48:08,200 --> 00:48:10,080
Speaker 4: I reckon the reason why I always dragged you out

917
00:48:10,120 --> 00:48:11,120
Speaker 4: here is probably I'm.

918
00:48:10,960 --> 00:48:13,080
Speaker 1: Just too sentimental as the next fellow when it comes

919
00:48:13,120 --> 00:48:15,520
Speaker 1: to old times. I don't know if we've ever have

920
00:48:15,640 --> 00:48:17,480
Speaker 1: we done a Peter Bogdanovich movie.

921
00:48:17,600 --> 00:48:18,359
Speaker 2: I don't think we have.

922
00:48:18,719 --> 00:48:22,160
Speaker 1: No, that's crazy. Well, I'll give you a tiny bit

923
00:48:22,200 --> 00:48:25,800
Speaker 1: of background about him. I mean, he was a part

924
00:48:25,840 --> 00:48:28,600
Speaker 1: of this kind of like new Hollywood era, as we've

925
00:48:28,640 --> 00:48:31,319
Speaker 1: talked about many times on this podcast. You know, it's

926
00:48:31,400 --> 00:48:36,600
Speaker 1: kind of the post Golden Age of Hollywood studio system era.

927
00:48:36,960 --> 00:48:39,240
Speaker 1: So it kind of started in the like late sixties

928
00:48:39,239 --> 00:48:44,160
Speaker 1: and then obviously through the seventies, and you know, usual suspects, Kubrick,

929
00:48:44,719 --> 00:48:50,680
Speaker 1: hal Ashby, Altman, Friedkin, Scorsese, you know, and of course

930
00:48:50,760 --> 00:48:54,320
Speaker 1: all of these people were somehow involved with Roger Corman.

931
00:48:54,640 --> 00:48:57,120
Speaker 1: You know, it's like all roads lead to Roger Korman.

932
00:48:57,760 --> 00:48:59,640
Speaker 1: Rest in peace, King by the way.

933
00:49:00,000 --> 00:49:01,520
Speaker 2: Oh my good rest in peace, gig.

934
00:49:01,800 --> 00:49:04,279
Speaker 1: I don't know if we've talked about Roger before he died,

935
00:49:04,320 --> 00:49:08,360
Speaker 1: but he died recently and rib obviously the King of

936
00:49:08,600 --> 00:49:12,239
Speaker 1: all movies. So obviously Bob Janovich worked with Korman very

937
00:49:12,280 --> 00:49:14,480
Speaker 1: early in his career, so like in sixty eight he

938
00:49:14,480 --> 00:49:16,759
Speaker 1: made a movie called Targets that was his first movie,

939
00:49:16,840 --> 00:49:19,640
Speaker 1: and then Last Picture Show was kind of his breakthrough,

940
00:49:20,560 --> 00:49:24,799
Speaker 1: his film right after Targets. And he collaborated on both

941
00:49:24,840 --> 00:49:29,440
Speaker 1: of these films with his first wife, Polly Platt, who

942
00:49:29,640 --> 00:49:33,719
Speaker 1: is very important. Everybody should know who Polly Platt is.

943
00:49:34,160 --> 00:49:37,880
Speaker 1: If you don't go and listen to Karina Longworth series

944
00:49:37,920 --> 00:49:41,000
Speaker 1: about her, it's called Polly Platt The Invisible Woman. I

945
00:49:41,040 --> 00:49:44,680
Speaker 1: feel like she's finally getting her flowers, like in a

946
00:49:44,880 --> 00:49:51,200
Speaker 1: major way, thankfully, thankfully. And she was very involved with

947
00:49:51,400 --> 00:49:54,400
Speaker 1: a lot of important movies and a lot important directors.

948
00:49:54,400 --> 00:49:57,320
Speaker 1: But and you know, she had her own work, of course,

949
00:49:57,360 --> 00:50:01,600
Speaker 1: but like she was, she collaborated with her with Bogdanovitch

950
00:50:01,640 --> 00:50:05,239
Speaker 1: obviously on Targets, but also in The Last Picture Show.

951
00:50:05,800 --> 00:50:08,600
Speaker 1: And I mean she was the one that told him

952
00:50:08,600 --> 00:50:10,640
Speaker 1: to cast Sybil Shepherd and you know how that went.

953
00:50:12,160 --> 00:50:18,920
Speaker 1: But basically, from what I understand, apparently Salmonio, weirdly enough,

954
00:50:19,120 --> 00:50:21,120
Speaker 1: who was in your film, one of the stars of

955
00:50:21,160 --> 00:50:25,760
Speaker 1: your film, was interested in and he was thinking, Oh,

956
00:50:25,880 --> 00:50:28,160
Speaker 1: I love this book. We should make a movie adaptation

957
00:50:28,880 --> 00:50:30,400
Speaker 1: about it. I would love to be in it, but

958
00:50:30,440 --> 00:50:34,080
Speaker 1: I think I'm too old, And he suggested it to Polly,

959
00:50:34,160 --> 00:50:37,800
Speaker 1: who then eventually her and Peter Bogdanovitch made this movie.

960
00:50:38,400 --> 00:50:40,640
Speaker 1: But I just think it's weird that Salmonio is involved,

961
00:50:40,680 --> 00:50:44,240
Speaker 1: even though you know, yeah, he was in your movie

962
00:50:44,320 --> 00:50:47,360
Speaker 1: as well. And yeah, so this movie is kind of

963
00:50:47,400 --> 00:50:49,600
Speaker 1: like a classic coming of age story. It's shot in

964
00:50:49,640 --> 00:50:54,560
Speaker 1: black and white, which apparently was Orson Wells's idea from

965
00:50:54,560 --> 00:50:57,279
Speaker 1: what I've read, because you know, Bogdanovitch and Orson Wells

966
00:50:57,320 --> 00:51:01,759
Speaker 1: were like besties. This is like a plastic picture of

967
00:51:01,800 --> 00:51:04,760
Speaker 1: them at the grocery store. Have you ever seen that? Yes,

968
00:51:05,400 --> 00:51:08,279
Speaker 1: that's one of my favorite god and it's also just.

969
00:51:08,320 --> 00:51:12,560
Speaker 2: Hilarious to imagine Orson well As being like black and white.

970
00:51:14,960 --> 00:51:17,640
Speaker 1: So the great one of the greatest film books I

971
00:51:17,680 --> 00:51:19,319
Speaker 1: think I've ever read in my entire life is that

972
00:51:19,400 --> 00:51:22,800
Speaker 1: book that Henry Jaglam wrote called My Lunches with Orson.

973
00:51:23,360 --> 00:51:26,560
Speaker 1: So yeah, basically like that book is like, if you

974
00:51:26,640 --> 00:51:31,160
Speaker 1: ever are fascinated by the maniac that Orson Wells was,

975
00:51:31,280 --> 00:51:34,480
Speaker 1: that is proof. That is just like pages upon pages

976
00:51:34,520 --> 00:51:40,000
Speaker 1: of like Orson Wells just going fucking savage mode on

977
00:51:40,160 --> 00:51:44,720
Speaker 1: like every person. Like and he's he brings a dog

978
00:51:44,840 --> 00:51:47,480
Speaker 1: to dinner and a dog's like farting while they're eating,

979
00:51:47,520 --> 00:51:49,680
Speaker 1: and he's just like doesn't give a fuck. He's just

980
00:51:49,719 --> 00:51:53,000
Speaker 1: saying everything that's on his mind. He the part that

981
00:51:53,120 --> 00:51:56,120
Speaker 1: he where he fucking eviscerates Woody Allen is the greatest

982
00:51:56,120 --> 00:51:59,640
Speaker 1: thing ever. Like I I wish somebody could cross ditch

983
00:51:59,640 --> 00:52:01,560
Speaker 1: it for me, put on a fucking pillow because I

984
00:52:01,600 --> 00:52:02,680
Speaker 1: was like, my.

985
00:52:02,719 --> 00:52:06,600
Speaker 2: Man, somebody can you're looking at her? There we go,

986
00:52:06,760 --> 00:52:07,279
Speaker 2: there we go.

987
00:52:09,000 --> 00:52:12,600
Speaker 1: Yeah, I think he calls Woody Allen out on his

988
00:52:12,760 --> 00:52:16,719
Speaker 1: like fake beta male bullshit, and it's so good. It's

989
00:52:16,760 --> 00:52:19,680
Speaker 1: really amazing. But anyway back to the Last Picture Show,

990
00:52:20,080 --> 00:52:23,960
Speaker 1: so essentially that the movie takes place in the early

991
00:52:24,040 --> 00:52:28,400
Speaker 1: fifties in this sort of very desolate sort of North

992
00:52:28,560 --> 00:52:32,399
Speaker 1: Texas town kind of on the border of Oklahoma, and

993
00:52:32,640 --> 00:52:36,760
Speaker 1: it's about this kid named Sonny effectively, who was played

994
00:52:36,760 --> 00:52:42,080
Speaker 1: by Timothy Bottoms, whom I fucking love so much.

995
00:52:42,560 --> 00:52:44,440
Speaker 2: What a little face in this movie.

996
00:52:44,680 --> 00:52:47,080
Speaker 1: He is the center of the universe of this movie.

997
00:52:47,200 --> 00:52:52,400
Speaker 1: So cute with his like proto Timothy Challime hair. All

998
00:52:52,440 --> 00:52:54,719
Speaker 1: the boys have this hair by the way right now,

999
00:52:55,600 --> 00:52:58,440
Speaker 1: and Timothy Bottoms had it in seventy one, so you

1000
00:52:58,480 --> 00:52:59,040
Speaker 1: do the math.

1001
00:52:59,320 --> 00:53:00,759
Speaker 2: Jeremy Allen White tries it.

1002
00:53:01,880 --> 00:53:06,240
Speaker 3: Timothy Bottoms created it, and they'd mentioned it in the film,

1003
00:53:06,320 --> 00:53:08,120
Speaker 3: right like Sam or somebody in the beginning of the

1004
00:53:08,120 --> 00:53:09,759
Speaker 3: film is like, you'll like a were wolf who just

1005
00:53:09,760 --> 00:53:11,279
Speaker 3: woke up from a nap or something like that.

1006
00:53:11,400 --> 00:53:14,040
Speaker 1: I was like, how about I see guys on TikTok

1007
00:53:14,080 --> 00:53:18,200
Speaker 1: getting that were wolf haircut all the time? Like all

1008
00:53:18,200 --> 00:53:20,160
Speaker 1: the boys are getting their haircut with that. It's like

1009
00:53:20,200 --> 00:53:22,800
Speaker 1: an under kind of an undershave with like the mop top.

1010
00:53:23,719 --> 00:53:27,920
Speaker 1: But you know, Timothy Bottoms, is he the fucking paper Chase.

1011
00:53:27,960 --> 00:53:29,879
Speaker 1: I mean what else he was? That's my Bush? Does

1012
00:53:29,920 --> 00:53:33,160
Speaker 1: everybody remember that he was? He played George Bush and

1013
00:53:33,200 --> 00:53:34,440
Speaker 1: that's my Bush.

1014
00:53:34,840 --> 00:53:36,560
Speaker 2: What can't he do? What Canty do?

1015
00:53:37,120 --> 00:53:42,000
Speaker 1: Fucking genius? So you know, this is imagine a sort

1016
00:53:42,000 --> 00:53:44,960
Speaker 1: of North Texas town, very empty and flat, as one

1017
00:53:45,000 --> 00:53:47,680
Speaker 1: of the characters in the movie says, Hank Williams playing

1018
00:53:47,719 --> 00:53:50,319
Speaker 1: all the time. He is like a high school kid.

1019
00:53:50,320 --> 00:53:54,319
Speaker 1: He plays football. The football team absolutely blows, and all

1020
00:53:54,320 --> 00:53:57,040
Speaker 1: the old men will absolutely tell you that it blows.

1021
00:53:58,160 --> 00:54:01,000
Speaker 1: They're like, you suck. Y'all should like learn how to

1022
00:54:01,040 --> 00:54:04,880
Speaker 1: play football, because that's like it's like a Friday night

1023
00:54:04,960 --> 00:54:07,360
Speaker 1: lights thick. It's like the only the only game in

1024
00:54:07,400 --> 00:54:10,880
Speaker 1: town is called our high school football. You know what

1025
00:54:11,000 --> 00:54:13,080
Speaker 1: in the name of high school football is like that

1026
00:54:13,200 --> 00:54:20,960
Speaker 1: Simpsons episode. Anyway, So his best friend is his name Dwayne,

1027
00:54:21,640 --> 00:54:25,719
Speaker 1: and he's played by another little cutie, Jeff Bridges, young

1028
00:54:25,800 --> 00:54:30,680
Speaker 1: Jeff Bridges. Uh, and they're kind of like, yeah, they're

1029
00:54:30,960 --> 00:54:33,839
Speaker 1: they're like little babies and and and they're running around

1030
00:54:33,920 --> 00:54:37,320
Speaker 1: town like you know, hanging out with girls and playing

1031
00:54:37,320 --> 00:54:38,280
Speaker 1: football badly.

1032
00:54:38,480 --> 00:54:39,200
Speaker 2: And uh.

1033
00:54:39,320 --> 00:54:41,520
Speaker 1: Jeff Bridges is kind of working too. I think he

1034
00:54:41,680 --> 00:54:44,440
Speaker 1: like does some oil stuff. But so it is this

1035
00:54:44,480 --> 00:54:47,239
Speaker 1: feeling of Okay, here's the here's the the vibe. You

1036
00:54:47,320 --> 00:54:50,080
Speaker 1: got these two boys who are clearly just kind of

1037
00:54:50,120 --> 00:54:52,440
Speaker 1: like rolling with the punches in this town. They probably

1038
00:54:52,560 --> 00:54:56,160
Speaker 1: want more, And in fact, Sonny does want more because

1039
00:54:56,160 --> 00:54:58,080
Speaker 1: he's got this like little girlfriend that he goes to

1040
00:54:58,120 --> 00:55:00,799
Speaker 1: the movies with on occasion, and he doesn't really like

1041
00:55:00,840 --> 00:55:04,000
Speaker 1: her very much. Instead, I think he's seeking other things.

1042
00:55:04,040 --> 00:55:07,000
Speaker 1: I think he wants, I don't know, more just riper fruit,

1043
00:55:07,160 --> 00:55:09,960
Speaker 1: if you will. He starts, like, you know, looking at

1044
00:55:10,000 --> 00:55:12,680
Speaker 1: the waitress and the diner across from the movie theater

1045
00:55:12,760 --> 00:55:15,360
Speaker 1: name is Genevieve, and you could just tell there's something

1046
00:55:15,440 --> 00:55:19,400
Speaker 1: like going on in his head because he spends his

1047
00:55:19,480 --> 00:55:23,040
Speaker 1: days basically like running around town. He goes to the

1048
00:55:23,080 --> 00:55:25,719
Speaker 1: movie theater. There's like a maybe a one maybe two

1049
00:55:25,800 --> 00:55:29,399
Speaker 1: screen movie theater in this town called the Royal, and

1050
00:55:29,800 --> 00:55:36,560
Speaker 1: they're playing films. The theater is owned by this wonderful

1051
00:55:36,600 --> 00:55:40,880
Speaker 1: older man named Sam samde Lion. He's played by Ben Johnson,

1052
00:55:41,120 --> 00:55:44,600
Speaker 1: who is I gotta say, cute as shit for like

1053
00:55:44,640 --> 00:55:50,120
Speaker 1: an old Western sky like adorable, very soulful eyes on

1054
00:55:50,200 --> 00:55:52,440
Speaker 1: Sam the Lion and everybody loves him. He's just kind

1055
00:55:52,440 --> 00:55:55,680
Speaker 1: of like the good nice guy in town. And he

1056
00:55:55,760 --> 00:55:58,719
Speaker 1: owns like the pool hall, he owns the diner, he

1057
00:55:58,800 --> 00:56:01,279
Speaker 1: owns the movie theater, and so all these kids have

1058
00:56:01,400 --> 00:56:03,000
Speaker 1: pretty much nothing to do but just go to the

1059
00:56:03,040 --> 00:56:06,320
Speaker 1: movie her and watch like, you know, Winchester seventy three

1060
00:56:06,640 --> 00:56:09,879
Speaker 1: and like you know, all these kind of like old films. Right,

1061
00:56:10,760 --> 00:56:16,160
Speaker 1: So at some point you just kind of follow the

1062
00:56:16,239 --> 00:56:19,080
Speaker 1: boys around when they're kind of doing their stuff. So,

1063
00:56:19,160 --> 00:56:22,840
Speaker 1: like I said, Sonny's sort of dating this girl from

1064
00:56:22,960 --> 00:56:24,920
Speaker 1: his school, but then he dumps her because he's just like,

1065
00:56:24,960 --> 00:56:26,960
Speaker 1: what's the point. They're going out for a year and

1066
00:56:27,000 --> 00:56:30,400
Speaker 1: there's nothing going. He's kind of looking around at some

1067
00:56:30,480 --> 00:56:34,000
Speaker 1: of the older women in his town. More on that later. Meanwhile,

1068
00:56:34,160 --> 00:56:38,920
Speaker 1: Dwayne is bowed up with the prettiest, richest girl at

1069
00:56:38,920 --> 00:56:42,960
Speaker 1: their high school, right, and I think you know what

1070
00:56:42,960 --> 00:56:46,319
Speaker 1: I'm about to tell you. Her name is jac and

1071
00:56:46,360 --> 00:56:51,560
Speaker 1: she's played by Sybil Shepherd, who is so impossibly beautiful

1072
00:56:51,560 --> 00:56:55,600
Speaker 1: in this movie. Like I was just like wow, Like

1073
00:56:56,880 --> 00:57:01,400
Speaker 1: she sparkles, like her eyes are popping, and she's just

1074
00:57:01,560 --> 00:57:06,319
Speaker 1: like the absolute like she's like the pinnacle of that

1075
00:57:06,400 --> 00:57:12,480
Speaker 1: like blonde good girl gone bad type of character.

1076
00:57:12,840 --> 00:57:13,040
Speaker 2: Right.

1077
00:57:14,080 --> 00:57:16,880
Speaker 1: Her mother is played by Ellen Burston, and there's this

1078
00:57:17,400 --> 00:57:21,640
Speaker 1: whole kind of storyline there well where Ellen Burston her

1079
00:57:21,640 --> 00:57:24,640
Speaker 1: mom is having an affair with this guy named Abilene,

1080
00:57:25,200 --> 00:57:33,280
Speaker 1: who is played by Klute Goolager, and the mom again,

1081
00:57:33,320 --> 00:57:35,880
Speaker 1: this is again, I think the beginnings of this this

1082
00:57:36,000 --> 00:57:38,080
Speaker 1: theme that runs in the movie, which is that you're

1083
00:57:38,120 --> 00:57:41,760
Speaker 1: watching these kids in this very boring town. They're kind

1084
00:57:41,800 --> 00:57:44,800
Speaker 1: of they've got no future if they stay, and then

1085
00:57:44,960 --> 00:57:48,080
Speaker 1: the adults in the town are proof of that. And

1086
00:57:48,120 --> 00:57:49,960
Speaker 1: this is like her mother in a nutshell. Her mother

1087
00:57:50,080 --> 00:57:52,320
Speaker 1: is just like again probably was the prettiest girl in

1088
00:57:52,360 --> 00:57:55,280
Speaker 1: her day and is now kind of like married to

1089
00:57:55,320 --> 00:57:57,160
Speaker 1: this guy she does want to be married to. She

1090
00:57:57,360 --> 00:58:00,520
Speaker 1: like is middle aged, and she's like feel in some

1091
00:58:00,600 --> 00:58:03,160
Speaker 1: type of way, she's feeling an energy, but like there's

1092
00:58:03,160 --> 00:58:07,280
Speaker 1: no one around to really like express that. And you know,

1093
00:58:07,360 --> 00:58:10,680
Speaker 1: basically Jace is gonna be her if she stays in

1094
00:58:10,720 --> 00:58:14,000
Speaker 1: this town. And that's why her mother's like, actually, instead

1095
00:58:14,040 --> 00:58:16,240
Speaker 1: of me telling you not to have sex as a teenager,

1096
00:58:16,280 --> 00:58:17,680
Speaker 1: I want you to because I want you to find

1097
00:58:17,680 --> 00:58:20,320
Speaker 1: out how boring that shit is and that hopefully you'll

1098
00:58:20,360 --> 00:58:22,520
Speaker 1: get over it. And go to college. That's like the

1099
00:58:22,600 --> 00:58:24,280
Speaker 1: plan for her daughter.

1100
00:58:25,200 --> 00:58:25,880
Speaker 2: Which I love.

1101
00:58:25,960 --> 00:58:30,680
Speaker 3: She's like, don't be mesmerized by Dick. Don't throw your

1102
00:58:30,720 --> 00:58:34,880
Speaker 3: life away because you had sex, yeah, and you liked

1103
00:58:34,880 --> 00:58:39,680
Speaker 3: it or you like this guy. Just realize that it's

1104
00:58:40,000 --> 00:58:41,720
Speaker 3: it's a function and move on.

1105
00:58:42,520 --> 00:58:44,400
Speaker 1: And that's the thing is that Jace is like very

1106
00:58:44,480 --> 00:58:48,200
Speaker 1: used to like getting what she wants, like sort of sexually, romantically.

1107
00:58:48,480 --> 00:58:50,800
Speaker 1: I mean, she's got this guy Dwayne, who, like, you know,

1108
00:58:51,160 --> 00:58:54,200
Speaker 1: they're like the prom king and queen of the high school.

1109
00:58:54,360 --> 00:58:56,400
Speaker 1: But she like wants to hang out with other guys

1110
00:58:56,520 --> 00:58:59,400
Speaker 1: and wants to kind of explore herself, which is really

1111
00:58:59,440 --> 00:59:04,640
Speaker 1: interesting to me. So then we've got Sonny, right. So Sonny,

1112
00:59:04,760 --> 00:59:07,360
Speaker 1: like I had mentioned before, sort of like there's like

1113
00:59:07,400 --> 00:59:10,120
Speaker 1: a scene very early on where he's like looking the

1114
00:59:10,160 --> 00:59:14,200
Speaker 1: waitress up and down, the middle aged waitress, and you're like, huh, okay,

1115
00:59:14,360 --> 00:59:17,400
Speaker 1: what's he thinking. Maybe he's not into these like towny

1116
00:59:17,480 --> 00:59:19,800
Speaker 1: girls and he wants, you know, someone with a little

1117
00:59:19,800 --> 00:59:25,880
Speaker 1: bit more sophistication. So one afternoon, his basketball coach. Whose

1118
00:59:25,920 --> 00:59:28,560
Speaker 1: basketball coach? Why all the fucking coaches and old men

1119
00:59:28,600 --> 00:59:31,240
Speaker 1: in this town are assholes. They're just like these rough

1120
00:59:31,720 --> 00:59:35,640
Speaker 1: white country guys that are like I mean you want

1121
00:59:35,640 --> 00:59:37,880
Speaker 1: to talk about like bad adults. I mean they're just

1122
00:59:37,920 --> 00:59:40,400
Speaker 1: basically like, you know, you.

1123
00:59:40,400 --> 00:59:43,280
Speaker 4: Met a run around this gym a bunch and don't

1124
00:59:43,320 --> 00:59:47,480
Speaker 4: stop or else you're sissy like those types, and you're

1125
00:59:47,560 --> 00:59:51,640
Speaker 4: just like, God, can we evolve out of that fucking

1126
00:59:51,920 --> 00:59:53,000
Speaker 4: type of old man.

1127
00:59:53,360 --> 00:59:58,880
Speaker 1: Please? Hopefully it's happening, but just like rough, right, and

1128
00:59:58,920 --> 01:00:04,160
Speaker 1: so you know, basically, Sonny's coach is like, hey, do

1129
01:00:04,240 --> 01:00:06,040
Speaker 1: me a favor. I'm so caught up with my own

1130
01:00:06,120 --> 01:00:09,800
Speaker 1: bullshit that I don't have time to take my wife

1131
01:00:09,840 --> 01:00:14,400
Speaker 1: to the doctor. And his wife is played by Chloris Leachman,

1132
01:00:15,120 --> 01:00:17,400
Speaker 1: an amazing actress.

1133
01:00:17,560 --> 01:00:19,800
Speaker 3: She's another one who's so great when she there's just

1134
01:00:19,840 --> 01:00:21,760
Speaker 3: so many times where she's looking at the camera and

1135
01:00:21,800 --> 01:00:24,080
Speaker 3: she just looks like stunning.

1136
01:00:24,800 --> 01:00:28,320
Speaker 1: Yes, and like as much as like I remember her from,

1137
01:00:28,360 --> 01:00:31,040
Speaker 1: like you know, the kind of Mill Brooks era, you

1138
01:00:31,200 --> 01:00:34,160
Speaker 1: forget how good of an actress she is. And this

1139
01:00:34,240 --> 01:00:35,880
Speaker 1: is the role that does it. In fact, she won

1140
01:00:36,120 --> 01:00:38,520
Speaker 1: an Oscar for it, so did Ben Johnson. By the way,

1141
01:00:39,240 --> 01:00:42,000
Speaker 1: she to me is the most compelling character in this

1142
01:00:42,080 --> 01:00:47,840
Speaker 1: movie for several reasons. She's very sensitive, she's lonely because

1143
01:00:47,880 --> 01:00:52,680
Speaker 1: obviously her husband is not caring for her. So at

1144
01:00:52,680 --> 01:00:57,000
Speaker 1: some point she and Sunny kind of start having an affair, right,

1145
01:00:57,040 --> 01:00:58,960
Speaker 1: I mean it's not even kind of, they have an affair,

1146
01:00:59,560 --> 01:01:03,280
Speaker 1: and she's just you know, as much as that is

1147
01:01:03,440 --> 01:01:08,720
Speaker 1: so not great for you know, considering he's in high school,

1148
01:01:08,840 --> 01:01:12,320
Speaker 1: right and she is forty, That's what you know, at

1149
01:01:12,400 --> 01:01:15,920
Speaker 1: least Jace at some point says she's forty. There's this

1150
01:01:16,080 --> 01:01:20,000
Speaker 1: like weird connection between the two of them that gets established,

1151
01:01:20,120 --> 01:01:23,360
Speaker 1: and her character is very complicated to me and I

1152
01:01:23,560 --> 01:01:26,080
Speaker 1: but also very sad, and I pick up on that

1153
01:01:26,160 --> 01:01:28,920
Speaker 1: every time I see it. Yeah, but also you know,

1154
01:01:29,080 --> 01:01:31,840
Speaker 1: there's other people that are coming into their orbit, right,

1155
01:01:32,080 --> 01:01:34,640
Speaker 1: So you've got this like Randy Quaid character that comes

1156
01:01:34,640 --> 01:01:38,320
Speaker 1: into Jac's life and he's such a goob, but she's like,

1157
01:01:38,720 --> 01:01:41,560
Speaker 1: he's also my ticket to like I don't know, growing

1158
01:01:41,640 --> 01:01:44,720
Speaker 1: and like meeting new people, because I can't sit here

1159
01:01:44,760 --> 01:01:47,800
Speaker 1: and just get married to Dwayne, like I want more

1160
01:01:47,880 --> 01:01:50,479
Speaker 1: than that, right, So all of a sudden, you start

1161
01:01:50,480 --> 01:01:53,640
Speaker 1: feeling that these kids want more and they're doing it

1162
01:01:53,680 --> 01:01:56,640
Speaker 1: in all their different ways, and it's usually through romance

1163
01:01:56,720 --> 01:02:00,920
Speaker 1: or sexual encounters, right, But then you've the old people

1164
01:02:01,000 --> 01:02:03,080
Speaker 1: in this town, so you do see you know, the

1165
01:02:03,160 --> 01:02:06,440
Speaker 1: Cloras Sleechman character, the Ben Johnson Sam the Lion character,

1166
01:02:06,840 --> 01:02:12,040
Speaker 1: Ellen Burston, and they have a melancholy to them because

1167
01:02:12,080 --> 01:02:14,760
Speaker 1: they're in the town that they probably grew up in,

1168
01:02:15,280 --> 01:02:18,440
Speaker 1: and they just look at these kids with like so

1169
01:02:18,560 --> 01:02:22,160
Speaker 1: much longing because they feel like they are not young anymore.

1170
01:02:22,600 --> 01:02:25,959
Speaker 1: And it's almost this feeling of they wish that these

1171
01:02:26,080 --> 01:02:30,280
Speaker 1: kids would just go crazy, like just go and live

1172
01:02:30,320 --> 01:02:34,920
Speaker 1: your life and don't become like me, like have fun,

1173
01:02:35,720 --> 01:02:41,760
Speaker 1: be free, and you don't just don't become me, Like, yeah,

1174
01:02:41,800 --> 01:02:45,240
Speaker 1: you know. And that's so when I was a kid,

1175
01:02:45,880 --> 01:02:49,400
Speaker 1: I remember movies like that and not really thinking about it.

1176
01:02:49,440 --> 01:02:52,640
Speaker 1: But of course now that i'm probably i'm older. I'm

1177
01:02:52,640 --> 01:02:56,400
Speaker 1: sure I'm older than the Ellen Burston character in this movie.

1178
01:02:56,560 --> 01:03:01,760
Speaker 1: It hits so differently like and there's just like more

1179
01:03:01,920 --> 01:03:06,000
Speaker 1: as you get older, there's just more about there's more

1180
01:03:06,000 --> 01:03:09,680
Speaker 1: about regret, there's more about guilt, there's more about could

1181
01:03:09,720 --> 01:03:13,520
Speaker 1: a should have wood of moments obviously, and whenever I

1182
01:03:13,640 --> 01:03:17,480
Speaker 1: see stuff like that in a movie, it makes me,

1183
01:03:18,400 --> 01:03:20,480
Speaker 1: it really like puts me in my feelings.

1184
01:03:20,920 --> 01:03:23,160
Speaker 2: Yeah, I think that it's it's something really.

1185
01:03:24,640 --> 01:03:28,640
Speaker 3: Wild to see now because a lot of people are

1186
01:03:28,680 --> 01:03:30,320
Speaker 3: kind of like, no, I want to hold my kids close.

1187
01:03:30,360 --> 01:03:31,520
Speaker 2: I don't want them to be hurt by the world.

1188
01:03:31,560 --> 01:03:33,400
Speaker 3: I want the you know, kind of what we were

1189
01:03:33,440 --> 01:03:36,440
Speaker 3: talking about earlier in terms of protection. That protection extends

1190
01:03:36,520 --> 01:03:39,320
Speaker 3: itself to not actually wanting your kids to be fully

1191
01:03:39,360 --> 01:03:43,720
Speaker 3: realized people sometimes. So it's great in this instance to

1192
01:03:43,800 --> 01:03:48,120
Speaker 3: see that juxtaposition between the pain of their own life

1193
01:03:48,320 --> 01:03:51,320
Speaker 3: and how they've lived it and the choices they've either

1194
01:03:51,440 --> 01:03:55,880
Speaker 3: had to make or chosen regret making, and then seeing

1195
01:03:56,720 --> 01:04:00,280
Speaker 3: how they kind of don't want these kids to stay,

1196
01:04:00,440 --> 01:04:04,360
Speaker 3: which again is a very weird moment in a town

1197
01:04:04,400 --> 01:04:07,360
Speaker 3: that's actively dying. Yeah, to kind of you know, the

1198
01:04:07,400 --> 01:04:09,959
Speaker 3: thing that keeps towns like that vibrant is that there's

1199
01:04:09,960 --> 01:04:13,960
Speaker 3: this renewal of spirit through people who stay and have

1200
01:04:14,080 --> 01:04:15,640
Speaker 3: families of their own right.

1201
01:04:15,720 --> 01:04:16,520
Speaker 2: So it's kind of real.

1202
01:04:16,600 --> 01:04:22,080
Speaker 3: It's very interesting to see how you're seeing this regret

1203
01:04:22,120 --> 01:04:24,680
Speaker 3: and this pain in the adults' lives and the kids

1204
01:04:24,800 --> 01:04:27,640
Speaker 3: clearly feel it and see it and are able to

1205
01:04:27,680 --> 01:04:29,840
Speaker 3: process it even though nobody's talking about it.

1206
01:04:30,240 --> 01:04:35,240
Speaker 1: Right. Yeah, And it's like, you know, I think that,

1207
01:04:35,800 --> 01:04:38,280
Speaker 1: Like I said, I think the difference between my movie

1208
01:04:38,280 --> 01:04:40,080
Speaker 1: and your movie this week is that I think the

1209
01:04:40,240 --> 01:04:45,560
Speaker 1: parents the parents behave a little bit differently. I mean,

1210
01:04:45,640 --> 01:04:49,880
Speaker 1: the kids are misunderstood because they're being crazy, right. Like

1211
01:04:49,920 --> 01:04:53,800
Speaker 1: there's a scene where a bunch of boys basically go

1212
01:04:53,880 --> 01:05:00,280
Speaker 1: and pay this woman to deflower this younger boy who

1213
01:05:00,320 --> 01:05:06,120
Speaker 1: I think probably has developmental issues and stuff, and it's

1214
01:05:06,200 --> 01:05:10,360
Speaker 1: kind of a really intense scene. I mean, it's certainly intense.

1215
01:05:10,400 --> 01:05:14,360
Speaker 1: But then also like once the parents, like once Sam

1216
01:05:14,560 --> 01:05:18,040
Speaker 1: kind of gets involved and realizes what happened, he's like,

1217
01:05:18,760 --> 01:05:22,840
Speaker 1: this is crazy, Like y'all need to watch yourselves. But

1218
01:05:22,880 --> 01:05:25,880
Speaker 1: they're just running around doing crazy stuff. And I mean

1219
01:05:25,920 --> 01:05:27,880
Speaker 1: a lot sometimes the parents are involved. I mean, at

1220
01:05:27,880 --> 01:05:30,600
Speaker 1: some point, Sonny runs into his actual father and he's

1221
01:05:30,640 --> 01:05:34,880
Speaker 1: just like, what's up. Like the father's like really not around.

1222
01:05:35,960 --> 01:05:39,880
Speaker 2: He's like drinking in a dance and yeah, yeah, And.

1223
01:05:39,960 --> 01:05:41,640
Speaker 1: So it's kind of it's kind of like, but there

1224
01:05:41,680 --> 01:05:46,720
Speaker 1: are adults in the town who who I think are

1225
01:05:46,800 --> 01:05:49,040
Speaker 1: projecting a lot of their own shit onto the kids.

1226
01:05:49,040 --> 01:05:50,880
Speaker 1: I think that's really what it's about. I don't think

1227
01:05:50,920 --> 01:05:54,600
Speaker 1: that they're understanding them necessarily, but are just basically like, well,

1228
01:05:54,600 --> 01:05:56,560
Speaker 1: when I was your age, I wish something like this

1229
01:05:56,600 --> 01:05:59,040
Speaker 1: would happen to me, and now it's too late. So

1230
01:05:59,160 --> 01:06:01,960
Speaker 1: it's just an interesting take, I think on that kind

1231
01:06:01,960 --> 01:06:05,640
Speaker 1: of misunderstood thing, because I would say everybody is misunderstood

1232
01:06:05,680 --> 01:06:07,640
Speaker 1: in this film really at the end of the day,

1233
01:06:08,360 --> 01:06:11,880
Speaker 1: and everybody wants to be young and wants to do over,

1234
01:06:12,680 --> 01:06:15,960
Speaker 1: and that is a very interesting concept to me. And

1235
01:06:16,200 --> 01:06:21,120
Speaker 1: the movie theater is really kind of the center of

1236
01:06:21,360 --> 01:06:24,400
Speaker 1: this entire town, and everybody's watching these films, and I

1237
01:06:24,440 --> 01:06:28,280
Speaker 1: won't give it away obviously, but something very dramatic and

1238
01:06:28,920 --> 01:06:32,640
Speaker 1: tragic happens and things start shutting down in the town,

1239
01:06:33,160 --> 01:06:35,480
Speaker 1: and it really is it becomes the kind of thing

1240
01:06:35,480 --> 01:06:38,680
Speaker 1: where it's like, well, now the center of people's joy

1241
01:06:39,160 --> 01:06:44,360
Speaker 1: in this you know, really desolate, boring town is going away,

1242
01:06:44,440 --> 01:06:48,520
Speaker 1: and so now what like you know, And the last movie,

1243
01:06:48,640 --> 01:06:51,200
Speaker 1: what I think is interesting. Actually, I'm sure somebody's written

1244
01:06:51,200 --> 01:06:56,000
Speaker 1: about this, somebody much smarter than me, is that the

1245
01:06:56,120 --> 01:07:00,439
Speaker 1: last movie that they play the last picture show is River,

1246
01:07:01,000 --> 01:07:05,280
Speaker 1: the nineteen forty eight movie starring John Wayne and Montgomery Clift,

1247
01:07:06,080 --> 01:07:12,080
Speaker 1: and that movie is about the older generation versus the

1248
01:07:12,080 --> 01:07:15,560
Speaker 1: newer generation. Right, it's like old John Wayne versus young

1249
01:07:15,600 --> 01:07:18,800
Speaker 1: Montgomery Clift and the ways in which I don't know,

1250
01:07:19,600 --> 01:07:23,640
Speaker 1: the older people react to the modern world and how,

1251
01:07:24,920 --> 01:07:27,760
Speaker 1: you know, potentially fucked up that is. And also like

1252
01:07:27,840 --> 01:07:34,080
Speaker 1: Montgomery Cliff gets to basically decimate John Wayne, which is

1253
01:07:34,080 --> 01:07:38,800
Speaker 1: my favorite thing ever about that movie. If you ever

1254
01:07:38,840 --> 01:07:43,040
Speaker 1: want to see hot Montgomery Cliff fucking give like the

1255
01:07:43,160 --> 01:07:49,120
Speaker 1: double Birds basically to John Wayne. Asshole, John Wayne. That's

1256
01:07:49,160 --> 01:07:53,120
Speaker 1: the movie for me. I fucking love Red River, but

1257
01:07:53,240 --> 01:07:55,040
Speaker 1: it is like to me, I think it's like the

1258
01:07:55,080 --> 01:07:59,520
Speaker 1: most interesting component there of this Last Picture Show being

1259
01:07:59,560 --> 01:08:02,280
Speaker 1: a movie that with those themes, because it's kind of

1260
01:08:02,320 --> 01:08:04,000
Speaker 1: like what's happening in the movie.

1261
01:08:03,920 --> 01:08:06,640
Speaker 3: Right, yeah, completely, And the kids are you know, the

1262
01:08:06,920 --> 01:08:09,320
Speaker 3: teens in this film are I like that they're not

1263
01:08:09,400 --> 01:08:16,120
Speaker 3: just misunderstood about their future per se, Like personally, they're

1264
01:08:16,200 --> 01:08:18,439
Speaker 3: kind of looking at it in terms of the country

1265
01:08:18,439 --> 01:08:20,960
Speaker 3: and at large, like some of them go into the army,

1266
01:08:21,080 --> 01:08:24,400
Speaker 3: some of them, you know, make really drastic decisions that

1267
01:08:24,439 --> 01:08:28,400
Speaker 3: will impact the scope of their lives. But they're also

1268
01:08:28,479 --> 01:08:31,839
Speaker 3: conflicted about their friendships, and they're conflicted about their families.

1269
01:08:31,880 --> 01:08:33,720
Speaker 3: And it's not just like you know, because a lot,

1270
01:08:34,000 --> 01:08:36,599
Speaker 3: a big part portion of the film is just these

1271
01:08:36,640 --> 01:08:39,640
Speaker 3: kids want to have sex and lose their virginity and

1272
01:08:39,720 --> 01:08:42,360
Speaker 3: kind of get through these moments so they can just

1273
01:08:42,400 --> 01:08:46,400
Speaker 3: be adults. But that's really tied into this. They're still

1274
01:08:46,520 --> 01:08:49,880
Speaker 3: very childlike about how they think about the world and

1275
01:08:49,920 --> 01:08:52,040
Speaker 3: their part in it. So it's just it's a very

1276
01:08:52,040 --> 01:08:55,040
Speaker 3: interesting and it's a build, like it's a very slow

1277
01:08:55,160 --> 01:08:59,240
Speaker 3: build kind of film that there's a certain point where

1278
01:08:59,240 --> 01:09:01,720
Speaker 3: I realize, oh oh, oh, yeah, they're all still kind

1279
01:09:01,800 --> 01:09:05,599
Speaker 3: of playing this out and trying to figure this out.

1280
01:09:05,640 --> 01:09:06,800
Speaker 2: But it's not just sex.

1281
01:09:06,840 --> 01:09:09,080
Speaker 3: It's like their families, their lives, the world. They're thinking

1282
01:09:09,120 --> 01:09:10,760
Speaker 3: about the world. They're just not able to show it

1283
01:09:11,760 --> 01:09:14,840
Speaker 3: in big ways. It's just it's like, I I like that,

1284
01:09:15,000 --> 01:09:17,200
Speaker 3: Like there's a lot of layers to this this story.

1285
01:09:17,800 --> 01:09:20,320
Speaker 1: Yeah, I agree. I mean, this is a slow bird movie.

1286
01:09:20,479 --> 01:09:25,120
Speaker 1: Like you said, it is beautiful, it is sad, it

1287
01:09:25,160 --> 01:09:30,920
Speaker 1: is contemplative. I think it's probably Bogdanovic's masterpiece. If it's

1288
01:09:31,040 --> 01:09:33,400
Speaker 1: not an out and out masterpiece. I mean, I'm not

1289
01:09:33,439 --> 01:09:36,160
Speaker 1: saying that, you know, just because it's like one of

1290
01:09:36,160 --> 01:09:39,639
Speaker 1: those movies quote unquote, like from the New American cinema.

1291
01:09:39,720 --> 01:09:41,559
Speaker 1: You know, it's like one of these movies that gets

1292
01:09:41,640 --> 01:09:44,840
Speaker 1: referenced a lot. Obviously, I think it's true. I mean,

1293
01:09:44,880 --> 01:09:47,800
Speaker 1: I've seen it so many times. Every time I watch it,

1294
01:09:47,800 --> 01:09:50,519
Speaker 1: it's just like I get put in this, like I

1295
01:09:50,520 --> 01:09:52,840
Speaker 1: don't know, in this like headspace that makes me think

1296
01:09:52,880 --> 01:09:55,920
Speaker 1: about this kind of thing about coming of age, about

1297
01:09:55,920 --> 01:10:03,120
Speaker 1: getting older, about choices, leaving home towns. You know, this

1298
01:10:03,920 --> 01:10:06,760
Speaker 1: entire movie, I think is and there's just so many,

1299
01:10:07,160 --> 01:10:09,760
Speaker 1: so many parts to it, so many like characters that

1300
01:10:09,800 --> 01:10:11,800
Speaker 1: come in and out of it, stories. I just I

1301
01:10:11,800 --> 01:10:14,120
Speaker 1: think it's such a gem. And I don't know, I

1302
01:10:14,160 --> 01:10:15,840
Speaker 1: just wanted to talk about it. So I was like,

1303
01:10:15,880 --> 01:10:20,560
Speaker 1: this is a misunderstood teen, right, Like he's absolutely it

1304
01:10:20,640 --> 01:10:21,680
Speaker 1: doesn't know who he is.

1305
01:10:22,960 --> 01:10:25,920
Speaker 3: It is a beautiful representation of misunderstood teens and just

1306
01:10:25,920 --> 01:10:26,759
Speaker 3: a beautiful movie.

1307
01:10:27,200 --> 01:10:36,000
Speaker 1: Yeah. Well, speaking of oh boy, let's go, let's go.

1308
01:10:42,000 --> 01:10:46,280
Speaker 3: So my film for the theme back in my Day

1309
01:10:47,439 --> 01:10:52,840
Speaker 3: when someone was said they just died was released in

1310
01:10:52,920 --> 01:10:58,000
Speaker 3: nineteen fifty five. The screenplays by Stuart Stern and Irving Schulman.

1311
01:10:58,560 --> 01:11:01,920
Speaker 3: The director is Nicholas Ray. My movie is a rebel

1312
01:11:01,960 --> 01:11:02,799
Speaker 3: without a cause.

1313
01:11:03,320 --> 01:11:08,920
Speaker 2: We're telling me about what you say, one thing, he

1314
01:11:08,960 --> 01:11:11,240
Speaker 2: said another, and everybody changes back again.

1315
01:11:11,920 --> 01:11:14,720
Speaker 3: Now I didn't do a one sentence synopsis for this

1316
01:11:14,760 --> 01:11:16,760
Speaker 3: film this week. I think because I was writing so much,

1317
01:11:16,800 --> 01:11:20,240
Speaker 3: I was so busy focusing on other things. But this

1318
01:11:20,400 --> 01:11:25,559
Speaker 3: is a very very popular, obviously popular movie about misunderset teens.

1319
01:11:25,600 --> 01:11:28,679
Speaker 3: Like you said earlier, it's like the quintessential misunderset teen

1320
01:11:28,800 --> 01:11:30,320
Speaker 3: movie there is.

1321
01:11:31,080 --> 01:11:32,719
Speaker 2: I've seen it quite a few times.

1322
01:11:32,960 --> 01:11:35,880
Speaker 3: I always find different things in it, but in this

1323
01:11:37,160 --> 01:11:41,599
Speaker 3: particular viewing, I was really focused on how queerly coded

1324
01:11:41,640 --> 01:11:42,240
Speaker 3: the movie is.

1325
01:11:42,479 --> 01:11:44,120
Speaker 1: Oh hell yeah.

1326
01:11:44,160 --> 01:11:46,760
Speaker 2: So trust me, I am not the first person to

1327
01:11:46,800 --> 01:11:47,080
Speaker 2: think of that.

1328
01:11:47,200 --> 01:11:50,200
Speaker 3: There are several articles, books, like people have thought about

1329
01:11:50,240 --> 01:11:51,320
Speaker 3: this at large for.

1330
01:11:51,240 --> 01:11:53,680
Speaker 2: A very long time. But part of what.

1331
01:11:53,720 --> 01:11:59,400
Speaker 3: Makes the movie so enticing is the stars of the film.

1332
01:11:59,479 --> 01:12:02,760
Speaker 3: So two of the stars were child actors Salminio and

1333
01:12:02,920 --> 01:12:06,519
Speaker 3: Natalie Wood, and then you have James Dean. And James

1334
01:12:06,560 --> 01:12:10,280
Speaker 3: Dean died a month before this movie was released, so

1335
01:12:10,360 --> 01:12:11,839
Speaker 3: this wasn't his last film.

1336
01:12:11,960 --> 01:12:13,720
Speaker 2: His last film was Giant.

1337
01:12:13,840 --> 01:12:18,080
Speaker 3: But this film came out almost immediately after he died,

1338
01:12:19,200 --> 01:12:22,280
Speaker 3: so it has its own place in Hollywood lore for

1339
01:12:22,320 --> 01:12:25,840
Speaker 3: that reason. And again, the queer coding that was part

1340
01:12:25,880 --> 01:12:29,599
Speaker 3: of it is also now part of his legacy. Many

1341
01:12:29,640 --> 01:12:32,600
Speaker 3: people have said have alleged that he was bisexual. The

1342
01:12:32,680 --> 01:12:36,920
Speaker 3: director Nicholas Ray was definitely bisexual and went as far

1343
01:12:37,040 --> 01:12:41,280
Speaker 3: and as was Salmonio, and Salmonio confirmed his bisexuality in

1344
01:12:41,320 --> 01:12:46,000
Speaker 3: an interview in nineteen seventy two, and many people, including

1345
01:12:46,080 --> 01:12:50,000
Speaker 3: Nicholas Ray, have said that his character Plato, was the

1346
01:12:50,040 --> 01:12:51,759
Speaker 3: first gay teen in film.

1347
01:12:52,040 --> 01:12:58,920
Speaker 2: Yes, so very important, and I think it's also it's

1348
01:12:58,960 --> 01:13:01,000
Speaker 2: also important because.

1349
01:13:02,200 --> 01:13:03,960
Speaker 3: Well, for a couple of reasons, this movie was released

1350
01:13:04,040 --> 01:13:06,519
Speaker 3: during the Hayes Code era, which prevented you from showing

1351
01:13:06,560 --> 01:13:10,719
Speaker 3: any kind of homosexuality on screen. But you know, again, Plato,

1352
01:13:10,920 --> 01:13:13,439
Speaker 3: this character has a picture of Alan Ladd in his locker,

1353
01:13:13,520 --> 01:13:16,120
Speaker 3: like they're doing this very subversive shit to get around

1354
01:13:16,160 --> 01:13:16,880
Speaker 3: the Hayes Code.

1355
01:13:17,479 --> 01:13:18,800
Speaker 2: But part of the lore of this.

1356
01:13:18,840 --> 01:13:22,479
Speaker 3: Movie, and I think the lasting effect of this movie

1357
01:13:22,680 --> 01:13:24,880
Speaker 3: because not everyone loved it when it came out. Actually

1358
01:13:24,880 --> 01:13:27,320
Speaker 3: a lot of critics, even though it came out literally

1359
01:13:27,320 --> 01:13:29,599
Speaker 3: a month after James Dean died, a lot of critics

1360
01:13:29,600 --> 01:13:31,880
Speaker 3: were like, well, we fucking hated this movie. But James

1361
01:13:31,960 --> 01:13:34,200
Speaker 3: Dean was pretty good. Too bad, he died like it

1362
01:13:34,240 --> 01:13:38,880
Speaker 3: wasn't just immediately widely accepted as good. But there's another

1363
01:13:38,960 --> 01:13:40,880
Speaker 3: part of the lore of this film, which is that

1364
01:13:41,040 --> 01:13:47,559
Speaker 3: all three of the stars died violently young, like in

1365
01:13:47,720 --> 01:13:51,160
Speaker 3: very horrible, horrible ways.

1366
01:13:51,640 --> 01:13:56,400
Speaker 1: Yeah, I think so. When I was living in West Hollywood,

1367
01:13:57,760 --> 01:14:04,759
Speaker 1: I think I read because sal Minio died very violently, right,

1368
01:14:05,320 --> 01:14:07,559
Speaker 1: Like I think he was sabbed. Yeah.

1369
01:14:07,600 --> 01:14:09,040
Speaker 2: He died in nineteen seventy six.

1370
01:14:09,080 --> 01:14:11,280
Speaker 3: He was thirty seven years old, and he died of

1371
01:14:11,320 --> 01:14:14,679
Speaker 3: a stab wound to the heart during a random mugging

1372
01:14:15,040 --> 01:14:17,760
Speaker 3: at his West Hollywood apartment, like in the parking lot

1373
01:14:17,800 --> 01:14:18,880
Speaker 3: of his was Hollywood apartment.

1374
01:14:19,080 --> 01:14:24,080
Speaker 1: Yeah, I want to say that I lived very close

1375
01:14:24,160 --> 01:14:28,280
Speaker 1: to where that happened, and I remember being like wow,

1376
01:14:28,400 --> 01:14:29,840
Speaker 1: like I got I mean, I guess this is sort

1377
01:14:29,880 --> 01:14:32,960
Speaker 1: of I guess when you live in LA, that's abound

1378
01:14:33,000 --> 01:14:35,720
Speaker 1: to happen, right, Hollywood history is happening all around you,

1379
01:14:35,760 --> 01:14:37,760
Speaker 1: and things are you know, that's part of the what

1380
01:14:38,040 --> 01:14:40,680
Speaker 1: LA is about, I guess. But I remember thinking like,

1381
01:14:40,720 --> 01:14:42,840
Speaker 1: oh my god, that's like so close to where I live,

1382
01:14:43,560 --> 01:14:46,000
Speaker 1: and that freaked me out when I read that.

1383
01:14:47,439 --> 01:14:48,479
Speaker 2: Yeah, sad, it was.

1384
01:14:49,360 --> 01:14:52,360
Speaker 3: It was sad, and it was truly random, Like, it

1385
01:14:52,400 --> 01:14:54,639
Speaker 3: wasn't like this person was coming after him for any reason.

1386
01:14:55,240 --> 01:14:58,400
Speaker 3: And he was only thirty seven and had a huge

1387
01:14:58,439 --> 01:15:00,360
Speaker 3: life and career ahead of him. But yeah, ranged to

1388
01:15:00,360 --> 01:15:03,360
Speaker 3: walk around la sometimes and be like, oh, and other

1389
01:15:03,439 --> 01:15:05,519
Speaker 3: cities in other parts of the world, Like it's weird

1390
01:15:05,520 --> 01:15:07,160
Speaker 3: to be in London and be like, oh, Jack the

1391
01:15:07,240 --> 01:15:08,400
Speaker 3: Ripper's victim.

1392
01:15:08,160 --> 01:15:09,720
Speaker 2: Died like on this sidewalk.

1393
01:15:09,880 --> 01:15:13,120
Speaker 3: It's just it's a strange connection to history to live

1394
01:15:13,160 --> 01:15:15,720
Speaker 3: so close to that, you know, I imagine.

1395
01:15:15,920 --> 01:15:19,160
Speaker 2: I love Salmoneo, Like, oh, he was so great in

1396
01:15:19,160 --> 01:15:19,599
Speaker 2: this movie.

1397
01:15:19,720 --> 01:15:21,360
Speaker 1: Yeah, he made a lot of great films.

1398
01:15:21,680 --> 01:15:22,679
Speaker 2: People, he really did.

1399
01:15:22,760 --> 01:15:24,160
Speaker 1: People sometimes sleep on him.

1400
01:15:24,200 --> 01:15:27,840
Speaker 3: Do not do not sleep on Salmonio. He was a

1401
01:15:27,880 --> 01:15:30,280
Speaker 3: great actor. And you're right. He made a lot of

1402
01:15:30,320 --> 01:15:32,599
Speaker 3: great films and did some producing and was just kind

1403
01:15:32,640 --> 01:15:36,360
Speaker 3: of on his way to doing something else, I think,

1404
01:15:36,400 --> 01:15:37,320
Speaker 3: something really big.

1405
01:15:39,520 --> 01:15:41,000
Speaker 2: Also same with Natalie Wood.

1406
01:15:41,600 --> 01:15:44,880
Speaker 3: Natalie Wood died in nineteen eighty one at age forty three,

1407
01:15:45,439 --> 01:15:49,479
Speaker 3: and her official cause of death is drowning and other

1408
01:15:49,600 --> 01:15:52,400
Speaker 3: undetermined factors. Because if you don't know the story of

1409
01:15:52,439 --> 01:15:56,280
Speaker 3: her death, go read about it. There are tones written

1410
01:15:56,320 --> 01:15:59,800
Speaker 3: about how suspicious her death was. She died on her husband,

1411
01:16:00,000 --> 01:16:02,840
Speaker 3: Robert Wagner's boat. Christopher Walken was there. They were in

1412
01:16:02,880 --> 01:16:05,720
Speaker 3: a movie together at the time. But she had all

1413
01:16:05,720 --> 01:16:08,679
Speaker 3: these bruises and weird scars and could have been drinking.

1414
01:16:08,680 --> 01:16:11,680
Speaker 3: There could have been drugs involved. Like it's just a story.

1415
01:16:11,320 --> 01:16:13,720
Speaker 2: To read about if you don't already know.

1416
01:16:13,800 --> 01:16:16,000
Speaker 3: But she was only forty three, which I think people forget,

1417
01:16:16,040 --> 01:16:18,920
Speaker 3: which isn't a teen actor, but it's still a very

1418
01:16:19,080 --> 01:16:19,840
Speaker 3: young woman.

1419
01:16:20,240 --> 01:16:22,439
Speaker 1: So yeah, of course, so young.

1420
01:16:22,560 --> 01:16:26,160
Speaker 3: And then one thing that also is wild about her

1421
01:16:26,400 --> 01:16:29,400
Speaker 3: story is that she had confided to a few friends

1422
01:16:29,439 --> 01:16:33,360
Speaker 3: and her sister, And this is according to the biography

1423
01:16:33,400 --> 01:16:36,840
Speaker 3: that was done of her by Susanne Finstad, who alleges

1424
01:16:36,920 --> 01:16:40,040
Speaker 3: that Natalie Wood was was raped, like really brutally and

1425
01:16:40,080 --> 01:16:43,320
Speaker 3: vio violently when she was sixteen years old by a

1426
01:16:43,520 --> 01:16:47,599
Speaker 3: quote unquote powerful married movie star. People kind of speculated

1427
01:16:47,600 --> 01:16:50,040
Speaker 3: about who that could have been throughout her life and

1428
01:16:50,080 --> 01:16:53,800
Speaker 3: then you know, she died. But after Kirk Douglas died,

1429
01:16:54,320 --> 01:16:56,599
Speaker 3: her sister alleged that.

1430
01:16:56,560 --> 01:17:00,880
Speaker 2: It was him, and I'm like, fucking hell, and Natalie

1431
01:17:00,880 --> 01:17:04,080
Speaker 2: would never publicly discuss the event, but yeah, her life

1432
01:17:04,200 --> 01:17:07,440
Speaker 2: was just kind of punctuated by these moments of tragedy

1433
01:17:07,800 --> 01:17:12,720
Speaker 2: and ultimately ending in tragedy, and it's just wild and

1434
01:17:12,800 --> 01:17:16,519
Speaker 2: her one of her kids is Natasha Gregson Wagner. I

1435
01:17:16,560 --> 01:17:19,000
Speaker 2: believe she had two daughters.

1436
01:17:19,800 --> 01:17:22,720
Speaker 3: And Natasha Gregson Wagner was in She's in a lot

1437
01:17:22,760 --> 01:17:26,400
Speaker 3: of stuff. But you know, we're probably from high fidelity

1438
01:17:26,560 --> 01:17:32,880
Speaker 3: most but yeah. So James Dean also died very young.

1439
01:17:33,880 --> 01:17:36,080
Speaker 3: He died in a car accident in nineteen fifty five

1440
01:17:36,240 --> 01:17:40,040
Speaker 3: at the age of twenty four. He loved racing and

1441
01:17:40,080 --> 01:17:44,000
Speaker 3: he bought a new Porsche and his mechanic encouraged him

1442
01:17:44,040 --> 01:17:46,839
Speaker 3: to drive it from Los Angeles to is it Selina's

1443
01:17:46,880 --> 01:17:50,080
Speaker 3: or Salinas I never know, with a stunt and he

1444
01:17:50,120 --> 01:17:52,160
Speaker 3: was driving. He was kind of doing this kind of

1445
01:17:52,439 --> 01:17:56,200
Speaker 3: a convoy thing with his stunt coordinator and photographer in

1446
01:17:56,240 --> 01:17:57,960
Speaker 3: one car, and then he was in the car with

1447
01:17:58,000 --> 01:18:00,400
Speaker 3: his mechanic when he had a collision with a truck

1448
01:18:01,240 --> 01:18:06,880
Speaker 3: and the mechanic was thrown from the car, but James

1449
01:18:06,880 --> 01:18:09,720
Speaker 3: Dean was trapped inside and broke his neck and had

1450
01:18:09,800 --> 01:18:11,040
Speaker 3: several other injuries.

1451
01:18:11,800 --> 01:18:14,639
Speaker 2: So it was a very violent, horrible death.

1452
01:18:15,520 --> 01:18:17,960
Speaker 3: So all three stars of this film didn't make it

1453
01:18:18,000 --> 01:18:21,400
Speaker 3: to fifty, which is wild in its own way.

1454
01:18:21,600 --> 01:18:25,000
Speaker 1: So yeah, I mean, obviously that James Dean mythology. I

1455
01:18:25,000 --> 01:18:28,599
Speaker 1: mean it's just part of American history at this point, right, Yeah. One,

1456
01:18:29,479 --> 01:18:32,280
Speaker 1: But when you think about it, I mean, he wasn't

1457
01:18:32,320 --> 01:18:35,960
Speaker 1: even in a lot of movies. No, Like that's that's

1458
01:18:35,960 --> 01:18:40,160
Speaker 1: the craziest part is that because he he's so he's

1459
01:18:40,160 --> 01:18:43,679
Speaker 1: an icon, like I think he's like a world icon

1460
01:18:43,840 --> 01:18:49,920
Speaker 1: at this point, like woven into the fabric of American society,

1461
01:18:50,720 --> 01:18:54,000
Speaker 1: and you just if you think about it, he's you

1462
01:18:54,280 --> 01:18:57,360
Speaker 1: haven't even really seen him much. He wasn't in a

1463
01:18:57,360 --> 01:19:01,360
Speaker 1: lot of movies, and he didn't live long enough to

1464
01:19:01,439 --> 01:19:05,320
Speaker 1: really have a huge, you know, scope of things that

1465
01:19:05,400 --> 01:19:08,760
Speaker 1: he had done and on screen. So it's kind of

1466
01:19:08,800 --> 01:19:11,920
Speaker 1: this weird thing where you're like, all we're doing is

1467
01:19:11,960 --> 01:19:15,920
Speaker 1: remembering this very brief period of time in his life

1468
01:19:16,240 --> 01:19:20,080
Speaker 1: where he just happened to be like beautiful and you know,

1469
01:19:20,160 --> 01:19:23,479
Speaker 1: an actor, and you know just sort of like, I

1470
01:19:23,479 --> 01:19:25,720
Speaker 1: don't know, like it's just so weird to think about that.

1471
01:19:25,840 --> 01:19:29,800
Speaker 1: There's so much writing on this like tiny sliver of

1472
01:19:29,800 --> 01:19:30,640
Speaker 1: his life.

1473
01:19:31,040 --> 01:19:33,600
Speaker 3: So much so much estates had been built on the

1474
01:19:33,640 --> 01:19:37,200
Speaker 3: speculation about who he was and what he did, Like

1475
01:19:37,360 --> 01:19:40,200
Speaker 3: it is truly wild to think that, like you said,

1476
01:19:40,200 --> 01:19:41,880
Speaker 3: he died at twenty four, he hadn't really done a

1477
01:19:41,920 --> 01:19:44,280
Speaker 3: lot of films, but he was that captivating and compelling

1478
01:19:44,320 --> 01:19:47,680
Speaker 3: and his death was that captivating and compelling that it

1479
01:19:47,760 --> 01:19:52,439
Speaker 3: has launched him into iconic superstardom worldwide forever.

1480
01:19:52,520 --> 01:19:55,439
Speaker 1: And this isn't even my favorite movie, not of his

1481
01:19:55,520 --> 01:19:59,000
Speaker 1: at all. I think he's kind of annoying in this movie.

1482
01:20:00,439 --> 01:20:03,280
Speaker 2: Everyone kind of is a thank you for that.

1483
01:20:03,320 --> 01:20:05,320
Speaker 1: We're gonna talk about it, I know, yeah, but no,

1484
01:20:05,400 --> 01:20:07,679
Speaker 1: that's like I'm like, oh, this isn't even his best movie,

1485
01:20:07,720 --> 01:20:10,439
Speaker 1: like whatever, But no, you know it has not in

1486
01:20:10,520 --> 01:20:13,240
Speaker 1: this movie. That's why this movie, to your point, ultimately

1487
01:20:13,320 --> 01:20:16,800
Speaker 1: is so famous is because of all the things you

1488
01:20:16,880 --> 01:20:17,200
Speaker 1: just said.

1489
01:20:17,280 --> 01:20:19,880
Speaker 3: So yeah, because of all this stuff are surrounding the movie,

1490
01:20:19,880 --> 01:20:22,519
Speaker 3: as well as his portrayal in the film.

1491
01:20:22,680 --> 01:20:23,559
Speaker 2: And again, I like it.

1492
01:20:23,680 --> 01:20:27,720
Speaker 3: Not everyone instantly capitulated to we have to say nice

1493
01:20:27,760 --> 01:20:29,800
Speaker 3: things about him because he's passed. Like a lot of

1494
01:20:29,800 --> 01:20:33,599
Speaker 3: critics were fucking vicious as shit, Yeah, and they gave

1495
01:20:33,680 --> 01:20:38,120
Speaker 3: their opinion and death did not prevent them from telling

1496
01:20:38,320 --> 01:20:38,960
Speaker 3: what they thought.

1497
01:20:41,160 --> 01:20:43,080
Speaker 2: So this movie.

1498
01:20:44,040 --> 01:20:46,680
Speaker 3: So this film is like I said, I didn't do

1499
01:20:46,680 --> 01:20:50,599
Speaker 3: it one sentence synopsis, But it's basically about this core

1500
01:20:50,640 --> 01:20:53,800
Speaker 3: group of three kids who are all having major problems

1501
01:20:53,840 --> 01:20:57,479
Speaker 3: in their life, some more distinct than others. So we

1502
01:20:57,520 --> 01:21:00,559
Speaker 3: meet them all at a police station at the beginning

1503
01:21:00,600 --> 01:21:03,280
Speaker 3: of the film. They've all been picked up for various reasons.

1504
01:21:03,320 --> 01:21:06,439
Speaker 3: So Jim Stark, the James Deen character, has been picked

1505
01:21:06,520 --> 01:21:10,680
Speaker 3: up for being drunk. Judy the Natalie Wood character, has

1506
01:21:10,680 --> 01:21:13,120
Speaker 3: been picked up for walking outside at one am. She's

1507
01:21:13,160 --> 01:21:16,439
Speaker 3: broken curfew. And I love that scene because the cop

1508
01:21:16,520 --> 01:21:18,760
Speaker 3: is like, do you want to go home? Do you

1509
01:21:19,200 --> 01:21:21,000
Speaker 3: maybe want to go home? Or do you want to

1510
01:21:21,000 --> 01:21:22,960
Speaker 3: stay here all night? And she's like, did you not

1511
01:21:23,160 --> 01:21:25,360
Speaker 3: just fucking hear me tell you? The most tearful story

1512
01:21:25,360 --> 01:21:28,559
Speaker 3: about how verbally abused of my father is like, there

1513
01:21:28,600 --> 01:21:30,360
Speaker 3: is a reason I was walking around at one am?

1514
01:21:30,439 --> 01:21:32,000
Speaker 2: You fuck? But I guess I'll go home.

1515
01:21:33,240 --> 01:21:36,920
Speaker 3: And sal Mineo is there Plato for perhaps the most

1516
01:21:36,920 --> 01:21:39,000
Speaker 3: fucked up reason of all that I don't think is

1517
01:21:39,080 --> 01:21:44,080
Speaker 3: ever really discussed. It's not discussed enough for me in

1518
01:21:44,120 --> 01:21:47,519
Speaker 3: this film, because Plato was picked up for shooting and

1519
01:21:47,640 --> 01:21:49,520
Speaker 3: killing a litter of puppies.

1520
01:21:49,640 --> 01:21:50,559
Speaker 2: What the fuck?

1521
01:21:50,960 --> 01:21:55,519
Speaker 1: I know, I always am so gobsbacked by that. I'm

1522
01:21:55,560 --> 01:21:57,640
Speaker 1: just like, yo, that is psychotic.

1523
01:21:58,880 --> 01:22:03,240
Speaker 3: It's absolutely the way they just brush over that. It's

1524
01:22:03,560 --> 01:22:06,120
Speaker 3: unreal in modern day. But I don't know what people

1525
01:22:06,120 --> 01:22:07,680
Speaker 3: were thinking back then that they're like, we don't even

1526
01:22:07,720 --> 01:22:09,799
Speaker 3: have to mention it beyond the original effect.

1527
01:22:09,880 --> 01:22:11,880
Speaker 1: It's just let's just move on.

1528
01:22:12,000 --> 01:22:13,280
Speaker 2: There's all that shit going on.

1529
01:22:14,479 --> 01:22:16,120
Speaker 3: And one of the one of the main reasons that

1530
01:22:16,160 --> 01:22:19,160
Speaker 3: this this movie is is also so revered or was

1531
01:22:19,200 --> 01:22:21,479
Speaker 3: at least so compelling when it first came out, is

1532
01:22:21,520 --> 01:22:24,200
Speaker 3: that it focuses on the unhappiness of like these middle

1533
01:22:24,240 --> 01:22:26,960
Speaker 3: class suburban kids, And like you said earlier, it's a

1534
01:22:27,040 --> 01:22:29,639
Speaker 3: very parents just don't understand vibe, which hadn't really been

1535
01:22:29,640 --> 01:22:33,000
Speaker 3: explored in a big way on film before. Like they're

1536
01:22:33,200 --> 01:22:36,240
Speaker 3: of course were unhappy teens in films prior to this,

1537
01:22:36,320 --> 01:22:37,960
Speaker 3: but it was like, you're unhappy because you live on

1538
01:22:37,960 --> 01:22:39,240
Speaker 3: a farm and you want to live in a city.

1539
01:22:39,400 --> 01:22:42,479
Speaker 3: It wasn't really like the emotional life that they were

1540
01:22:42,560 --> 01:22:46,680
Speaker 3: kind of delving into. So Plato again, his parents are divorced,

1541
01:22:47,479 --> 01:22:50,680
Speaker 3: his mom just leaves him alone constantly with like a babysitter.

1542
01:22:51,400 --> 01:22:54,840
Speaker 3: Jim's parents fight all the time, and they seem to

1543
01:22:54,960 --> 01:22:59,000
Speaker 3: move to solve their problems, and Judy's father kind of

1544
01:22:59,120 --> 01:23:02,320
Speaker 3: shuns her for because he thinks that she's she's grown

1545
01:23:02,400 --> 01:23:04,200
Speaker 3: up and there are things that she shouldn't be doing.

1546
01:23:04,040 --> 01:23:07,200
Speaker 2: Anymore, like trying to make out with him at dinner.

1547
01:23:11,240 --> 01:23:13,519
Speaker 2: Like Judy's a wild one.

1548
01:23:13,760 --> 01:23:17,599
Speaker 3: Yeah, because Plato's like, look, my mom has always gone

1549
01:23:17,640 --> 01:23:19,840
Speaker 3: on being raised by this woman who is very nice,

1550
01:23:19,840 --> 01:23:22,400
Speaker 3: and it's virtually a stranger, and I clearly have mental

1551
01:23:22,400 --> 01:23:25,600
Speaker 3: health issues. Jim is a bit problematic because you know,

1552
01:23:25,640 --> 01:23:29,519
Speaker 3: he thinks his father is too weak and womanly and

1553
01:23:29,560 --> 01:23:32,400
Speaker 3: that he's you know, you know, kind of being emasculated.

1554
01:23:32,640 --> 01:23:36,160
Speaker 3: So he's turned that in himself into someone who just

1555
01:23:36,200 --> 01:23:39,439
Speaker 3: can't stand the thought of being emasculated or being called

1556
01:23:39,479 --> 01:23:42,920
Speaker 3: a chicken. But Judy is just mad that she can't

1557
01:23:42,960 --> 01:23:44,160
Speaker 3: kiss her dad all the time.

1558
01:23:47,479 --> 01:23:50,920
Speaker 1: Something wild going on in that story, right, And then

1559
01:23:50,920 --> 01:23:52,800
Speaker 1: even when like she has a little brother, and there's

1560
01:23:52,840 --> 01:23:54,720
Speaker 1: this scene where the little brother comes out after she

1561
01:23:54,800 --> 01:23:56,920
Speaker 1: comes home at night and he's like, hello, my darling,

1562
01:23:56,920 --> 01:24:01,559
Speaker 1: beautiful precious sister, hello, And I'm like, there's weird sexual

1563
01:24:01,600 --> 01:24:03,240
Speaker 1: shit happening in this family.

1564
01:24:07,439 --> 01:24:08,840
Speaker 2: Very strange. I know.

1565
01:24:08,920 --> 01:24:11,800
Speaker 1: That's like something about old movies that really is kind

1566
01:24:11,840 --> 01:24:15,360
Speaker 1: of jarring from a modern perspective. Is just like the

1567
01:24:15,400 --> 01:24:20,360
Speaker 1: whole like daddy thing. I mean, it's so crazy, like

1568
01:24:20,400 --> 01:24:23,639
Speaker 1: when you watch like old you know, fifties, it's mostly

1569
01:24:23,680 --> 01:24:27,280
Speaker 1: like fifties movies where you see like the like it's

1570
01:24:27,400 --> 01:24:29,360
Speaker 1: I think about like Father the Bride or something where

1571
01:24:29,360 --> 01:24:32,200
Speaker 1: it's like Elizabeth Taylor like with her like Bobby socks

1572
01:24:32,240 --> 01:24:35,280
Speaker 1: On being like I love my daddy, He's the most

1573
01:24:35,320 --> 01:24:38,040
Speaker 1: amazing man ever. And then there's like scenes where they're

1574
01:24:38,080 --> 01:24:39,200
Speaker 1: like hanging out and stuff.

1575
01:24:39,200 --> 01:24:43,479
Speaker 2: You're like, yeah, y, you know, me and dads don't mix.

1576
01:24:45,680 --> 01:24:47,439
Speaker 1: You've gone on records several times.

1577
01:24:47,439 --> 01:24:50,000
Speaker 2: I have on record about dads.

1578
01:24:51,080 --> 01:24:54,280
Speaker 3: But and also having literally never met my own father,

1579
01:24:54,439 --> 01:24:56,400
Speaker 3: I understand fully where it comes from. We don't have

1580
01:24:56,400 --> 01:24:58,920
Speaker 3: to do the psychology of that, but I will say

1581
01:24:58,960 --> 01:25:01,640
Speaker 3: there is something that just has never made sense to

1582
01:25:01,680 --> 01:25:04,800
Speaker 3: me about people who want to hold onto that and

1583
01:25:04,840 --> 01:25:08,840
Speaker 3: be like revered by their father in a way that

1584
01:25:09,040 --> 01:25:11,120
Speaker 3: acknowledges their womanhood.

1585
01:25:11,200 --> 01:25:13,040
Speaker 2: I don't know, it's just it's very strange.

1586
01:25:13,240 --> 01:25:15,000
Speaker 1: Let me tell you, I was at daddy's girl through

1587
01:25:15,040 --> 01:25:18,160
Speaker 1: and through. Okay, loved my dad was he and I

1588
01:25:18,240 --> 01:25:22,200
Speaker 1: were like fucking bros. I was not that. I was like, right,

1589
01:25:22,680 --> 01:25:25,440
Speaker 1: this is this is the way my dad and I

1590
01:25:25,479 --> 01:25:28,280
Speaker 1: expressed affection towards each other. He'd come into the kitchen

1591
01:25:28,320 --> 01:25:30,280
Speaker 1: and be like, Hey, I'm about to change the oil

1592
01:25:30,280 --> 01:25:33,880
Speaker 1: in the car. Do you want to watch? Okay, pull

1593
01:25:33,960 --> 01:25:35,599
Speaker 1: up that lawn chair and I would just sit and

1594
01:25:35,640 --> 01:25:39,519
Speaker 1: watch him like work on cars. I wasn't like, you know,

1595
01:25:39,720 --> 01:25:43,479
Speaker 1: after like pot of the Christmas tree, being like hello, Daddy,

1596
01:25:43,640 --> 01:25:45,280
Speaker 1: I love you, like with.

1597
01:25:45,400 --> 01:25:49,799
Speaker 2: Like your fucking pointy bra and you're like weird like shoes,

1598
01:25:49,880 --> 01:25:51,759
Speaker 2: Like yeah, it's just so strange.

1599
01:25:51,800 --> 01:25:54,479
Speaker 1: I never went to a father daughter dance with my dad.

1600
01:25:54,680 --> 01:25:55,040
Speaker 2: Dad.

1601
01:25:55,600 --> 01:25:57,880
Speaker 1: I was like, no, you're not coming to that. I

1602
01:25:57,920 --> 01:26:01,120
Speaker 1: was like, first of all, like what I do in

1603
01:26:01,240 --> 01:26:03,840
Speaker 1: a dance is I just chase boys my age around.

1604
01:26:03,840 --> 01:26:05,640
Speaker 1: I don't want you anywhere near that.

1605
01:26:07,360 --> 01:26:08,880
Speaker 2: Don't see who I have a crush on.

1606
01:26:09,240 --> 01:26:11,439
Speaker 1: I'm not dating my dad like I do.

1607
01:26:11,520 --> 01:26:13,240
Speaker 3: Think it would have been fucking hilarious if I went

1608
01:26:13,280 --> 01:26:15,320
Speaker 3: to a father daughter dance and just like dance by

1609
01:26:15,320 --> 01:26:16,679
Speaker 3: myself ghost style.

1610
01:26:17,200 --> 01:26:22,080
Speaker 1: I would fucking love to see it, just like all night,

1611
01:26:22,160 --> 01:26:25,000
Speaker 1: just holding on nothing, nothing but.

1612
01:26:27,320 --> 01:26:31,240
Speaker 3: Yeah, and if I'm being kind to this character, it

1613
01:26:31,320 --> 01:26:34,760
Speaker 3: is definitely not just his attitude towards her.

1614
01:26:34,880 --> 01:26:37,559
Speaker 2: It's clearly her having a lot of.

1615
01:26:37,520 --> 01:26:40,080
Speaker 3: Turmoil about how to be a woman in the world

1616
01:26:40,200 --> 01:26:43,719
Speaker 3: and how to progress past this childhood point to being

1617
01:26:44,120 --> 01:26:49,080
Speaker 3: a grown up. But to her dad's fucking credit, she

1618
01:26:49,240 --> 01:26:52,160
Speaker 3: is hanging out with the worst fucking people possible, but

1619
01:26:52,240 --> 01:26:56,000
Speaker 3: she is not making good decisions. When she and Jim,

1620
01:26:56,120 --> 01:26:58,960
Speaker 3: like they don't really they're all in the police station,

1621
01:26:59,040 --> 01:27:01,160
Speaker 3: they don't really cross paths, but he kind of sees

1622
01:27:01,360 --> 01:27:04,639
Speaker 3: her and sees Plato and kind of, you know, they

1623
01:27:04,760 --> 01:27:06,880
Speaker 3: meet the next day. So the other thing that's funny

1624
01:27:06,880 --> 01:27:09,000
Speaker 3: about this movie is if it wasn't for this police

1625
01:27:09,000 --> 01:27:10,920
Speaker 3: station scene, this would be an all.

1626
01:27:10,760 --> 01:27:13,040
Speaker 2: In one night movie. This whole movie takes place over

1627
01:27:13,080 --> 01:27:13,479
Speaker 2: one day.

1628
01:27:13,760 --> 01:27:16,160
Speaker 3: Yeah, so Judy and Jim meet on his first day,

1629
01:27:16,400 --> 01:27:20,240
Speaker 3: on his first day at school, their neighbors essentially, And again,

1630
01:27:20,320 --> 01:27:23,280
Speaker 3: like to her dad's point, Judy's hopping in a car

1631
01:27:23,320 --> 01:27:27,160
Speaker 3: and I counted with eleven fucking kids and all of

1632
01:27:27,200 --> 01:27:30,880
Speaker 3: them are absolute menaces, including the guy that she's dating,

1633
01:27:30,960 --> 01:27:33,920
Speaker 3: This guy named Buzz, who's like the typical switchblade grease

1634
01:27:34,000 --> 01:27:37,559
Speaker 3: or dude. Jim goes to school, he kind of has

1635
01:27:37,600 --> 01:27:39,680
Speaker 3: to get past all these kids that are in that car,

1636
01:27:39,760 --> 01:27:42,200
Speaker 3: and they kind of start shit with him, but Plato

1637
01:27:42,240 --> 01:27:44,360
Speaker 3: sees him. This is where he sees Jim for the

1638
01:27:44,360 --> 01:27:47,479
Speaker 3: first time, and he's like, WHOA, how cool. So it's

1639
01:27:47,479 --> 01:27:50,640
Speaker 3: like a real police station reunion. But Plato is to

1640
01:27:50,720 --> 01:27:53,599
Speaker 3: me clearly falling in love with Jim and so excited

1641
01:27:53,640 --> 01:27:55,479
Speaker 3: that he's part of this school.

1642
01:27:55,880 --> 01:27:58,719
Speaker 1: Yeah, and it's coded like it's coded gay for sure.

1643
01:27:58,960 --> 01:28:02,880
Speaker 1: Though I think the the standard read, if you will,

1644
01:28:03,000 --> 01:28:06,400
Speaker 1: is that like he's a father figure exactly and like

1645
01:28:06,439 --> 01:28:09,400
Speaker 1: and that Plato is desperately in need of parenting. So

1646
01:28:09,479 --> 01:28:12,559
Speaker 1: he kind of like in prints on you know, both

1647
01:28:12,640 --> 01:28:15,880
Speaker 1: Jim and the uh and Judy because it's like, oh,

1648
01:28:15,920 --> 01:28:17,280
Speaker 1: here's the parents I never had.

1649
01:28:17,320 --> 01:28:22,240
Speaker 2: But no, absolutely, and Jimmy says, thin, that's thin to me.

1650
01:28:22,640 --> 01:28:24,519
Speaker 1: My read is obviously your read.

1651
01:28:24,720 --> 01:28:27,320
Speaker 3: Paper, fucking thin. I think Jim doesn't even say that

1652
01:28:27,360 --> 01:28:29,360
Speaker 3: in the movie. Later on, Marie says like, oh, clearly

1653
01:28:29,479 --> 01:28:33,200
Speaker 3: Plato wanted us to be his mommy and daddy, but

1654
01:28:33,240 --> 01:28:35,320
Speaker 3: that's how they skirted the Hayes code, so they could

1655
01:28:35,400 --> 01:28:39,679
Speaker 3: have Plato looking at Jim longingly with these like long

1656
01:28:39,800 --> 01:28:42,519
Speaker 3: loving gazes and have them all laying around together like

1657
01:28:42,560 --> 01:28:44,360
Speaker 3: that was a way to kind of get around that

1658
01:28:44,479 --> 01:28:48,200
Speaker 3: code where they're like, he really loves him, will make

1659
01:28:48,240 --> 01:28:52,760
Speaker 3: it a familial love even though he wants stuff uck.

1660
01:28:54,720 --> 01:28:56,519
Speaker 2: And also again Plato tons.

1661
01:28:56,320 --> 01:28:59,400
Speaker 3: Of mental health issues, like tons of emotional issues, like

1662
01:28:59,439 --> 01:29:02,240
Speaker 3: his family really fucked him up. So the first thing

1663
01:29:02,280 --> 01:29:05,400
Speaker 3: that one of the first things that Jim does is

1664
01:29:05,720 --> 01:29:08,439
Speaker 3: entry point into this new school is drive his own

1665
01:29:08,560 --> 01:29:11,160
Speaker 3: car to the school field trip to the Griffith Observatory

1666
01:29:11,280 --> 01:29:12,480
Speaker 3: so they can go to the planetarium.

1667
01:29:12,800 --> 01:29:14,799
Speaker 2: Yeah, and it is the very famous scene.

1668
01:29:14,920 --> 01:29:17,640
Speaker 3: It has since become a very famous location because of

1669
01:29:17,680 --> 01:29:24,800
Speaker 3: this movie, and it is been absolutely gifted icon status

1670
01:29:24,840 --> 01:29:29,439
Speaker 3: by its influence on the video Rush Rush, the Paula

1671
01:29:29,479 --> 01:29:32,760
Speaker 3: Abdul song that stars Keanu Reeves in the gym role.

1672
01:29:33,280 --> 01:29:35,479
Speaker 1: This is what I was hoping you were going to

1673
01:29:35,560 --> 01:29:41,320
Speaker 1: bring up, because this was the moment that I fell

1674
01:29:42,200 --> 01:29:44,760
Speaker 1: head over heels in love with counter Reeves and would

1675
01:29:44,840 --> 01:29:48,839
Speaker 1: never look back. I mean, I had seen his prior

1676
01:29:48,920 --> 01:29:52,840
Speaker 1: work obviously, but it wasn't until he was like the

1677
01:29:53,000 --> 01:29:57,080
Speaker 1: James Dean Rebel without a Cause guy, basically like fallen

1678
01:29:57,080 --> 01:30:01,000
Speaker 1: in love in an abandoned house with Paula Abdul that

1679
01:30:01,120 --> 01:30:04,719
Speaker 1: I was like, I want him to be my boyfriend,

1680
01:30:04,760 --> 01:30:07,680
Speaker 1: Like I loved him so much in this in that

1681
01:30:07,800 --> 01:30:10,400
Speaker 1: video that I was just like, couldn't stay, couldn't say it.

1682
01:30:10,320 --> 01:30:11,839
Speaker 2: Was a softer side of Keanu.

1683
01:30:11,880 --> 01:30:13,360
Speaker 3: Again, if you saw him in the Bill and Heads,

1684
01:30:13,400 --> 01:30:15,280
Speaker 3: and you saw him in kind of the more comedic roles,

1685
01:30:15,320 --> 01:30:17,160
Speaker 3: this is a soft and it was like literally a

1686
01:30:17,320 --> 01:30:23,880
Speaker 3: soft focus vasiline lens Keanu imagine. I just I sometimes

1687
01:30:23,920 --> 01:30:25,639
Speaker 3: have to stop and appreciate what it must have been

1688
01:30:25,680 --> 01:30:29,840
Speaker 3: like for my grandmother to have to raise me. Because

1689
01:30:29,920 --> 01:30:33,320
Speaker 3: I saw this video and I thought Keanu reeves hot

1690
01:30:33,320 --> 01:30:36,639
Speaker 3: ash shit, absolutely loved that dude, floppy hair, look at him,

1691
01:30:37,080 --> 01:30:39,160
Speaker 3: and she looks at the screen and goes, what the

1692
01:30:39,200 --> 01:30:41,840
Speaker 3: fuck is this Rebel without a Cause thing? I literally

1693
01:30:41,920 --> 01:30:43,800
Speaker 3: didn't even know what that movie was when I saw

1694
01:30:43,800 --> 01:30:44,280
Speaker 3: that video.

1695
01:30:44,479 --> 01:30:45,240
Speaker 2: I'm like, where are you talk?

1696
01:30:45,360 --> 01:30:47,559
Speaker 3: She's like, who are these people? Why are they singing

1697
01:30:47,640 --> 01:30:48,639
Speaker 3: Rebel without a Cause?

1698
01:30:48,680 --> 01:30:48,760
Speaker 1: Like?

1699
01:30:48,800 --> 01:30:50,680
Speaker 2: What is this? She could not get her mind around it.

1700
01:30:50,720 --> 01:30:53,680
Speaker 3: She's like, you fucking idiot, child, this is not new,

1701
01:30:53,720 --> 01:30:55,519
Speaker 3: and I'm like, it's new enough to me because Keanu

1702
01:30:55,560 --> 01:30:56,280
Speaker 3: looks hot as shit.

1703
01:30:56,800 --> 01:30:59,600
Speaker 1: I think it was vaguely. I was vaguely aware of

1704
01:30:59,600 --> 01:31:02,080
Speaker 1: the refs, but I had never seen the movie obviously.

1705
01:31:02,560 --> 01:31:02,640
Speaker 3: No.

1706
01:31:03,120 --> 01:31:04,880
Speaker 2: I only knew the reference when I heard Kurt Loder

1707
01:31:04,920 --> 01:31:06,639
Speaker 2: mention it on like MTV news or something.

1708
01:31:06,760 --> 01:31:07,520
Speaker 1: Oh.

1709
01:31:07,720 --> 01:31:12,800
Speaker 2: I'm like, oh, it's a movie. I wasn't that cool

1710
01:31:12,800 --> 01:31:13,559
Speaker 2: when this came out?

1711
01:31:14,080 --> 01:31:17,240
Speaker 3: Yeah, but it was so So Jim goes to this

1712
01:31:17,240 --> 01:31:21,080
Speaker 3: this this planetarium, this observatory, observatory.

1713
01:31:21,320 --> 01:31:22,040
Speaker 2: He sits down.

1714
01:31:22,240 --> 01:31:24,679
Speaker 3: Plato has a fucking panic attack behind him at one point,

1715
01:31:24,720 --> 01:31:27,040
Speaker 3: just because the guy who's talking is like man and

1716
01:31:27,280 --> 01:31:29,160
Speaker 3: man and in terms of the scope of the Earth

1717
01:31:29,240 --> 01:31:32,000
Speaker 3: is an episode of little consequence, and He's like, fuck,

1718
01:31:32,360 --> 01:31:33,919
Speaker 3: he has like an existential crisis.

1719
01:31:34,280 --> 01:31:40,320
Speaker 1: This is the scariest, loudest presentation. I was like, who

1720
01:31:41,200 --> 01:31:45,040
Speaker 1: who would sit in a planetarium and listen to this loud, shrill,

1721
01:31:45,560 --> 01:31:47,000
Speaker 1: scary take.

1722
01:31:48,720 --> 01:31:51,120
Speaker 2: Bilda gross Tyson would never do that to you.

1723
01:31:51,680 --> 01:31:53,400
Speaker 1: God, I was like, this is jarring.

1724
01:31:53,479 --> 01:31:56,240
Speaker 3: He has many faults, but he would not have the

1725
01:31:56,280 --> 01:31:58,080
Speaker 3: actual explosion of the earth.

1726
01:31:59,479 --> 01:32:02,240
Speaker 2: Blow your ear drums out for a school trip.

1727
01:32:03,880 --> 01:32:07,320
Speaker 3: So everyone's fucked up. Buzz and his group decide to

1728
01:32:07,360 --> 01:32:09,879
Speaker 3: make them make a play for Jim because.

1729
01:32:09,640 --> 01:32:12,080
Speaker 2: They're so fucked up by this fucking light show.

1730
01:32:12,720 --> 01:32:14,960
Speaker 3: So they're in the hallway afterwards and they're like, oh,

1731
01:32:14,960 --> 01:32:16,519
Speaker 3: that guy he was, you know, because Jim is trying

1732
01:32:16,520 --> 01:32:19,320
Speaker 3: to move and be cute during the presentation. They're like, nope,

1733
01:32:19,400 --> 01:32:22,559
Speaker 3: fuck him. We're gonna get him. So Plato tries to

1734
01:32:22,640 --> 01:32:25,200
Speaker 3: save him by giving him a getaway and he points

1735
01:32:25,200 --> 01:32:26,680
Speaker 3: to this like old mansion and he's like, Oh, we

1736
01:32:26,720 --> 01:32:27,880
Speaker 3: should go hang out there sometime.

1737
01:32:27,920 --> 01:32:28,400
Speaker 2: It's cool.

1738
01:32:28,840 --> 01:32:32,719
Speaker 3: So instead of them getting Jim, they Jim and Plato

1739
01:32:32,880 --> 01:32:35,760
Speaker 3: watch as Buzz and his gang fuck up Jim's car

1740
01:32:35,880 --> 01:32:38,960
Speaker 3: they like, switchblade the white wall tires, and then he

1741
01:32:39,000 --> 01:32:41,479
Speaker 3: comes down and he's like, oh, for fuck's sake, really, guys,

1742
01:32:41,880 --> 01:32:43,320
Speaker 3: And then they give him a knife and they try

1743
01:32:43,360 --> 01:32:46,800
Speaker 3: to make him fight, and Jim wins, but Buzz.

1744
01:32:46,560 --> 01:32:47,840
Speaker 2: Is like, I have a better idea.

1745
01:32:47,880 --> 01:32:49,880
Speaker 3: You don't like fighting with knives, how about we fight

1746
01:32:49,920 --> 01:32:52,960
Speaker 3: with our fucking cars instead and do a little chicky run.

1747
01:32:55,000 --> 01:32:59,080
Speaker 3: Now to me, they've already had the fight. Jim is

1748
01:32:59,240 --> 01:33:02,479
Speaker 3: literally slash. They're not like pretending to fight with knives.

1749
01:33:02,520 --> 01:33:05,639
Speaker 3: He has blood stained wounds on his shirt and abdomen

1750
01:33:05,880 --> 01:33:06,639
Speaker 3: like they have fought.

1751
01:33:07,280 --> 01:33:09,640
Speaker 2: Yeah, so Buzz is like, Nope, we're taking it a

1752
01:33:09,680 --> 01:33:11,320
Speaker 2: step further. You fuck because you beat me.

1753
01:33:11,680 --> 01:33:13,920
Speaker 3: The other thing that's really interesting to me about this

1754
01:33:14,400 --> 01:33:14,720
Speaker 3: is that.

1755
01:33:17,040 --> 01:33:17,479
Speaker 2: Jim.

1756
01:33:18,000 --> 01:33:20,080
Speaker 3: This is where I started to feel like and get

1757
01:33:20,120 --> 01:33:23,719
Speaker 3: the impression like watching Jim's effect on the other students

1758
01:33:23,760 --> 01:33:27,559
Speaker 3: around him that the reason they probably moved so much

1759
01:33:27,880 --> 01:33:33,400
Speaker 3: is because they were probably trying to escape his bullying

1760
01:33:33,439 --> 01:33:35,800
Speaker 3: for being queer. I might be taking this a bridge

1761
01:33:35,840 --> 01:33:36,800
Speaker 3: too far, but.

1762
01:33:36,760 --> 01:33:37,920
Speaker 1: There is no bridge too far.

1763
01:33:38,240 --> 01:33:41,320
Speaker 2: I agree, Like he clearly does not fit in within

1764
01:33:41,479 --> 01:33:47,320
Speaker 2: his own constituency and is kind of at a place amongst.

1765
01:33:46,680 --> 01:33:51,160
Speaker 3: His own cohort. Well, that's recognize it instantly and like

1766
01:33:51,240 --> 01:33:52,320
Speaker 3: go for it instantly.

1767
01:33:53,520 --> 01:33:57,960
Speaker 1: Yeah, And that's the thing the messaging keeps going back to.

1768
01:33:58,840 --> 01:34:03,479
Speaker 1: Jim is gentle and sensitive. Right. At one point, there's

1769
01:34:03,520 --> 01:34:07,559
Speaker 1: actually this very lovely scene where Judy is sort of

1770
01:34:08,200 --> 01:34:10,400
Speaker 1: like Jim's like laying down. Judy's kind of like touching

1771
01:34:10,439 --> 01:34:14,120
Speaker 1: his hair, and she's just basically like, you know, do

1772
01:34:14,160 --> 01:34:18,479
Speaker 1: you know what girls want? It's that they want like gentle,

1773
01:34:18,520 --> 01:34:23,720
Speaker 1: sweet boys. Yes, And there's like this kind of like

1774
01:34:24,240 --> 01:34:28,720
Speaker 1: obviously his character is seen as not like he's not

1775
01:34:28,760 --> 01:34:31,639
Speaker 1: wearing the leather jackets, he's wearing the like blazers. He's

1776
01:34:31,680 --> 01:34:37,200
Speaker 1: like the you know this the sensitive, artistic, intelligent one,

1777
01:34:37,600 --> 01:34:42,000
Speaker 1: and that is obviously like a code for queerness in

1778
01:34:42,040 --> 01:34:42,519
Speaker 1: this era.

1779
01:34:43,479 --> 01:34:46,400
Speaker 3: And she really validates it and says, you know, she

1780
01:34:46,439 --> 01:34:49,160
Speaker 3: says it through this lens of hedonormativity. But then she's like,

1781
01:34:49,200 --> 01:34:54,759
Speaker 3: you know, girls want but I think also meaning it's.

1782
01:34:54,560 --> 01:34:55,719
Speaker 2: Okay for you to be gay.

1783
01:34:55,960 --> 01:34:59,760
Speaker 3: It's queer that your sensitivity that you're railing against its

1784
01:34:59,800 --> 01:35:01,679
Speaker 3: part naturally part of you. The thing that you hate

1785
01:35:01,680 --> 01:35:03,640
Speaker 3: in your father, the thing that you don't want to be,

1786
01:35:03,920 --> 01:35:05,799
Speaker 3: is actually what's attractive to people.

1787
01:35:06,240 --> 01:35:09,800
Speaker 1: Right, And this is what they were working with at

1788
01:35:09,800 --> 01:35:12,439
Speaker 1: the time, right, because you think about it later in

1789
01:35:12,560 --> 01:35:17,599
Speaker 1: terms of you know, how that got kind of played out,

1790
01:35:17,680 --> 01:35:22,040
Speaker 1: I think over time with basically straight guys having you know,

1791
01:35:22,920 --> 01:35:26,920
Speaker 1: feeling like if you were smart and sensitive, you were gay,

1792
01:35:27,160 --> 01:35:30,160
Speaker 1: which obviously is like not, I mean, those things have

1793
01:35:30,240 --> 01:35:32,559
Speaker 1: been completely blown out of the water at this point.

1794
01:35:33,000 --> 01:35:35,920
Speaker 1: But you know, in this era, like that was the

1795
01:35:35,920 --> 01:35:38,640
Speaker 1: way that they were able to express somebody was a

1796
01:35:38,680 --> 01:35:40,680
Speaker 1: gay character was that they were like, oh, they're just

1797
01:35:40,720 --> 01:35:46,080
Speaker 1: really nice and they're thoughtful, and they're not up slashing tires,

1798
01:35:46,880 --> 01:35:47,400
Speaker 1: nice to the.

1799
01:35:47,360 --> 01:35:49,920
Speaker 3: Weird kid, and they're not trying to literally kill each

1800
01:35:49,960 --> 01:35:51,400
Speaker 3: other on a fucking school trip.

1801
01:35:51,920 --> 01:35:53,800
Speaker 2: Right, Yeah, it's really it's it is.

1802
01:35:53,920 --> 01:35:56,559
Speaker 3: It's again a very delicate balance that they were trying

1803
01:35:56,560 --> 01:35:58,800
Speaker 3: to do to skirt the code. But I think even

1804
01:35:58,840 --> 01:36:01,160
Speaker 3: if you didn't know that, it still makes for an

1805
01:36:01,160 --> 01:36:06,760
Speaker 3: interesting character, interesting interactions with these characters, especially because Buzz

1806
01:36:06,840 --> 01:36:08,960
Speaker 3: is just such a quintessential bone head. But even he

1807
01:36:09,040 --> 01:36:11,719
Speaker 3: at a certain point kind of breaks and it's like, huh,

1808
01:36:11,760 --> 01:36:13,640
Speaker 3: you're kind of okay, Like you know, he kind of

1809
01:36:14,360 --> 01:36:16,320
Speaker 3: right before they get in the cars. So they get

1810
01:36:16,320 --> 01:36:19,479
Speaker 3: in these stolen cars, and the whole idea behind a

1811
01:36:19,560 --> 01:36:24,800
Speaker 3: chicky run a chicken run is that you basically have

1812
01:36:24,880 --> 01:36:26,960
Speaker 3: to race a car towards the edge of a cliff

1813
01:36:27,280 --> 01:36:31,960
Speaker 3: and whoever jumps out first loses, right. So Jim goes

1814
01:36:31,960 --> 01:36:34,400
Speaker 3: home and his dad's in an apron picking up food

1815
01:36:34,439 --> 01:36:36,960
Speaker 3: from the floor, which could not be more coded if

1816
01:36:37,000 --> 01:36:39,920
Speaker 3: you tried, and he's trying to ask his dad for advice,

1817
01:36:40,000 --> 01:36:41,320
Speaker 3: like what do you do when you have to be

1818
01:36:41,360 --> 01:36:43,360
Speaker 3: a man and his dad can't answer him, and that

1819
01:36:43,479 --> 01:36:47,160
Speaker 3: drives Jim crazy.

1820
01:36:46,120 --> 01:36:47,680
Speaker 2: And you know, again they go.

1821
01:36:47,840 --> 01:36:50,519
Speaker 3: So he goes to this chicken run, chicky run thing

1822
01:36:50,560 --> 01:36:52,120
Speaker 3: and they race their cars to the edge and he

1823
01:36:52,479 --> 01:36:56,080
Speaker 3: practices on his car before they do the racing where

1824
01:36:56,120 --> 01:36:58,160
Speaker 3: he gets in and opens the door and jumps out.

1825
01:36:58,439 --> 01:37:00,840
Speaker 3: Buzz doesn't do that, and Buzz should have done that

1826
01:37:01,120 --> 01:37:03,679
Speaker 3: because his his car door does.

1827
01:37:03,560 --> 01:37:04,920
Speaker 2: Not open and he fucking dies.

1828
01:37:04,960 --> 01:37:08,639
Speaker 3: He goes right over the edge, right, So Jim jumps out,

1829
01:37:08,760 --> 01:37:11,240
Speaker 3: Buzz goes over the edge of fucking dies. Jim wants

1830
01:37:11,240 --> 01:37:14,040
Speaker 3: to turn himself into the police, but he also at

1831
01:37:14,040 --> 01:37:16,160
Speaker 3: this moment is like when he's having this conversation around

1832
01:37:16,200 --> 01:37:18,360
Speaker 3: his parents, he like wants his dad to stand up

1833
01:37:18,360 --> 01:37:21,120
Speaker 3: for him because his mother keeps just saying, well, we're

1834
01:37:21,120 --> 01:37:22,880
Speaker 3: just gonna move again, and he's like, Dad, will you

1835
01:37:22,920 --> 01:37:25,720
Speaker 3: fucking stop this shit, Like stand up for me.

1836
01:37:25,840 --> 01:37:28,759
Speaker 2: Let me stay here and face my shit. Dad won't

1837
01:37:28,760 --> 01:37:29,080
Speaker 2: do it.

1838
01:37:29,160 --> 01:37:32,839
Speaker 3: So Jim and Judy kind of connect later that evening

1839
01:37:33,320 --> 01:37:37,160
Speaker 3: and they run off to the abandoned mansion. Plato you know,

1840
01:37:37,200 --> 01:37:39,280
Speaker 3: of course, runs into this gang at his house or

1841
01:37:39,320 --> 01:37:41,280
Speaker 3: looking for Jim because they think that he's gonna wrap

1842
01:37:41,320 --> 01:37:43,880
Speaker 3: them out, and they mug him for his address book,

1843
01:37:43,920 --> 01:37:46,920
Speaker 3: which is so quaint. Even though they saw Jim leaving

1844
01:37:46,920 --> 01:37:50,200
Speaker 3: his fucking house that morning, like when they picked up Judy,

1845
01:37:50,240 --> 01:37:51,120
Speaker 3: they know where he lives.

1846
01:37:51,160 --> 01:37:51,800
Speaker 2: What the fuck?

1847
01:37:52,120 --> 01:37:55,679
Speaker 3: Anyway, Clady goes into his house, he gets a gun,

1848
01:37:56,120 --> 01:37:57,960
Speaker 3: he knows where they're going. He meets them at the

1849
01:37:58,000 --> 01:38:00,599
Speaker 3: mansion and sort of barges into their date. And I'm

1850
01:38:00,640 --> 01:38:02,120
Speaker 3: not going to ruin the end of the film. It

1851
01:38:02,200 --> 01:38:05,120
Speaker 3: is truly iconic in several ways. Like some of the

1852
01:38:05,160 --> 01:38:09,000
Speaker 3: lines are iconic, This cinematography is iconic. Again, this is

1853
01:38:09,000 --> 01:38:11,479
Speaker 3: a film that was I haven't mentioned this yet, but

1854
01:38:11,520 --> 01:38:14,000
Speaker 3: it was one of the first film shot in CinemaScope,

1855
01:38:14,439 --> 01:38:18,200
Speaker 3: So it's literally grand. It's a grand film, and it's

1856
01:38:18,240 --> 01:38:23,240
Speaker 3: just an incredible ending that translates so much about the

1857
01:38:23,280 --> 01:38:25,160
Speaker 3: lives of these kids and what they have gone through

1858
01:38:25,200 --> 01:38:27,840
Speaker 3: with they will go through, who they have been, what

1859
01:38:28,040 --> 01:38:30,800
Speaker 3: this is going to do to their futures. I don't know,

1860
01:38:30,920 --> 01:38:33,720
Speaker 3: I just I really I love that this is kind

1861
01:38:33,760 --> 01:38:35,760
Speaker 3: of one of the first or the one I think

1862
01:38:35,760 --> 01:38:38,479
Speaker 3: that is most emblazoned in people's minds. Is one of

1863
01:38:38,520 --> 01:38:41,639
Speaker 3: the first misunderstand misunderstood teen films.

1864
01:38:41,920 --> 01:38:42,920
Speaker 2: Yeah, because these.

1865
01:38:42,720 --> 01:38:46,600
Speaker 3: Teens are truly fucked up and trying very hard to

1866
01:38:46,720 --> 01:38:47,599
Speaker 3: not be fucked up.

1867
01:38:48,000 --> 01:38:51,679
Speaker 1: Yeah. Absolutely, And this was like a huge era for

1868
01:38:51,760 --> 01:38:54,600
Speaker 1: the teenager. I mean this is like, you know, a

1869
01:38:54,640 --> 01:38:59,160
Speaker 1: lot of fifties juvenile delinquent type of films were out obviously,

1870
01:38:59,280 --> 01:39:02,400
Speaker 1: like Black or Jungle, and you know, I mean Salminio

1871
01:39:02,479 --> 01:39:05,479
Speaker 1: is in probably like five of them. But like, you know,

1872
01:39:06,200 --> 01:39:09,920
Speaker 1: I think this era generally is when there was just

1873
01:39:10,000 --> 01:39:13,080
Speaker 1: like a proliferation of a lot of young people and

1874
01:39:13,320 --> 01:39:15,679
Speaker 1: you know, things were changing and like you know, the

1875
01:39:15,760 --> 01:39:18,559
Speaker 1: old school I mean they're not boomers, right, they're like

1876
01:39:19,200 --> 01:39:20,120
Speaker 1: silent generation.

1877
01:39:20,200 --> 01:39:22,000
Speaker 3: I mean, how what it was exactly what are the

1878
01:39:22,040 --> 01:39:24,960
Speaker 3: parents that World War two? Silent generation shit?

1879
01:39:25,400 --> 01:39:27,400
Speaker 1: Yeah, and just sort of like growing up like in

1880
01:39:27,439 --> 01:39:31,000
Speaker 1: the depression and things like that. So yeah, there was definitely,

1881
01:39:31,120 --> 01:39:34,240
Speaker 1: like you know, one of the biggest sort of generation

1882
01:39:34,400 --> 01:39:37,880
Speaker 1: gaps happening at this time. So yeah, I mean, and this,

1883
01:39:38,000 --> 01:39:40,360
Speaker 1: I think, like to your point is probably the you know,

1884
01:39:40,720 --> 01:39:44,080
Speaker 1: one of the biggest, most quintessential movies of that kind

1885
01:39:44,080 --> 01:39:48,680
Speaker 1: of film and has a lot of mythology around it.

1886
01:39:48,680 --> 01:39:51,800
Speaker 1: It's weird that, I mean, it it's definitely like a

1887
01:39:51,840 --> 01:39:54,080
Speaker 1: movie to watch if you've never seen it before, just

1888
01:39:54,120 --> 01:39:56,760
Speaker 1: because it referenced. It's a reference in our culture. I

1889
01:39:56,800 --> 01:39:59,400
Speaker 1: think a lot of ways on the whole. Do I

1890
01:39:59,400 --> 01:40:02,000
Speaker 1: think it's my favorite James Z Absolutely not. I think

1891
01:40:02,000 --> 01:40:05,439
Speaker 1: he's sort of annoying in it. I mean, I love

1892
01:40:05,520 --> 01:40:08,120
Speaker 1: Nicholas Ray the director, and to be honest, I think

1893
01:40:08,280 --> 01:40:11,000
Speaker 1: Nicholas Ray this is obviously not the first time that

1894
01:40:11,040 --> 01:40:13,640
Speaker 1: he had queer you know, coding in his films. I

1895
01:40:13,680 --> 01:40:17,000
Speaker 1: mean there's Johnny Guitar, which we've talked about before too,

1896
01:40:18,000 --> 01:40:20,640
Speaker 1: and some of his other films. So yeah, it's just

1897
01:40:21,120 --> 01:40:22,800
Speaker 1: like to me, like I said, if you haven't seen it,

1898
01:40:22,840 --> 01:40:25,439
Speaker 1: you should watch it, get the references, read about it,

1899
01:40:26,160 --> 01:40:28,600
Speaker 1: read about it from like that, you know, kind of

1900
01:40:29,320 --> 01:40:33,160
Speaker 1: celluloid closet sort of perspective too, because it's really interesting

1901
01:40:33,200 --> 01:40:38,240
Speaker 1: and that in that way. But yeah, you nailed the assignment,

1902
01:40:39,000 --> 01:40:40,320
Speaker 1: my Misunderstood team.

1903
01:40:41,240 --> 01:40:43,679
Speaker 3: I'm so excited you did too. This was a great week.

1904
01:40:44,000 --> 01:40:48,520
Speaker 3: Clearly we had a lot to say. Yeah, for sure, ourselves,

1905
01:40:48,680 --> 01:40:50,440
Speaker 3: our lives, our plans.

1906
01:40:50,840 --> 01:40:53,280
Speaker 1: Yeah, there's a lot going on in this episode. I

1907
01:40:53,320 --> 01:40:56,320
Speaker 1: apologize to you. I think I don't think we should apologize.

1908
01:40:56,320 --> 01:40:58,160
Speaker 3: I feel like this is an all timer where we

1909
01:40:58,240 --> 01:41:00,559
Speaker 3: gave them a little bit of everything, where we have

1910
01:41:00,840 --> 01:41:04,639
Speaker 3: wild conversations about crazy shit. We will cry, we will

1911
01:41:04,680 --> 01:41:06,640
Speaker 3: immediately go into something deeply academic.

1912
01:41:08,200 --> 01:41:10,240
Speaker 1: I cry for like a couple seconds.

1913
01:41:11,640 --> 01:41:15,160
Speaker 3: We will give you the we will run the gamut. Okay,

1914
01:41:16,240 --> 01:41:18,640
Speaker 3: this podcast literally gives you everything.

1915
01:41:19,680 --> 01:41:23,320
Speaker 1: It is everything. So if you want to email us,

1916
01:41:23,360 --> 01:41:24,960
Speaker 1: we are at a saw which did pot at gmail

1917
01:41:24,960 --> 01:41:28,520
Speaker 1: dot com. As you know, please keep sending us messages

1918
01:41:29,120 --> 01:41:32,200
Speaker 1: and stuff for bonus episodes. We also have a po

1919
01:41:32,240 --> 01:41:34,920
Speaker 1: box if you want to send us handwritten mail.

1920
01:41:35,600 --> 01:41:38,679
Speaker 3: And you can find the address for our po box

1921
01:41:38,880 --> 01:41:41,920
Speaker 3: on our link tree, which is on our social media.

1922
01:41:42,240 --> 01:41:43,960
Speaker 3: You can find us on all of our socials at

1923
01:41:43,960 --> 01:41:46,320
Speaker 3: I Saw Pot, on Instagram, Blue Sky, and Twitter. You

1924
01:41:46,320 --> 01:41:48,840
Speaker 3: can also send us a voicemail now at a play

1925
01:41:48,840 --> 01:41:50,960
Speaker 3: on the show. All you have to do is record

1926
01:41:51,000 --> 01:41:53,080
Speaker 3: a voice memo on your phone and email it to

1927
01:41:53,120 --> 01:41:55,360
Speaker 3: you I saw it, you did pot at gmail dot com.

1928
01:41:55,600 --> 01:41:57,960
Speaker 3: Please make it sixty seconds or less and please record

1929
01:41:58,000 --> 01:41:59,000
Speaker 3: in a quiet space.

1930
01:41:59,680 --> 01:42:00,200
Speaker 2: That's right.

1931
01:42:00,240 --> 01:42:04,400
Speaker 1: We also have merch at exactly right store dot com.

1932
01:42:04,479 --> 01:42:06,800
Speaker 3: And you know we have new bonus episodes. That drop

1933
01:42:06,800 --> 01:42:09,920
Speaker 3: on the feed the third Thursday of every month.

1934
01:42:11,360 --> 01:42:11,640
Speaker 2: We do.

1935
01:42:11,800 --> 01:42:15,360
Speaker 1: Ohjesus H Christ?

1936
01:42:17,360 --> 01:42:18,080
Speaker 2: Did you see this?

1937
01:42:18,280 --> 01:42:18,800
Speaker 1: Next week?

1938
01:42:19,439 --> 01:42:23,200
Speaker 2: Light up girl? Oh a good next week is gonna be.

1939
01:42:23,600 --> 01:42:26,920
Speaker 1: A good summer time.

1940
01:42:27,280 --> 01:42:29,479
Speaker 2: Do you want to tell them what the movies are? Hell?

1941
01:42:29,600 --> 01:42:32,760
Speaker 1: Yeah, I do? Okay, your movies for next week are

1942
01:42:33,280 --> 01:42:37,599
Speaker 1: Children of Men from two thousand and six and Mad

1943
01:42:37,760 --> 01:42:41,280
Speaker 1: Max Fury Road from twenty fifteen.

1944
01:42:42,280 --> 01:42:43,880
Speaker 2: Oo, guess the theme?

1945
01:42:44,760 --> 01:42:45,519
Speaker 1: Do it? Do it?

1946
01:42:45,640 --> 01:42:46,160
Speaker 2: Don't do it?

1947
01:42:47,000 --> 01:42:50,800
Speaker 1: Danielle as always a fucking pleasure join this podcast with you.

1948
01:42:51,360 --> 01:42:51,960
Speaker 2: It's the best.

1949
01:42:52,080 --> 01:42:55,599
Speaker 3: I can't wait to push you into full goth mode

1950
01:42:55,680 --> 01:42:57,360
Speaker 3: regardless of what happens in November.

1951
01:42:57,840 --> 01:43:00,760
Speaker 1: And you know you're calling me about this, about this

1952
01:43:00,920 --> 01:43:01,599
Speaker 1: news right?

1953
01:43:01,640 --> 01:43:04,000
Speaker 3: Oh yeah, therapy. I've got therapy in like two hours.

1954
01:43:04,000 --> 01:43:05,959
Speaker 3: I'll call you in like twenty minutes of got lunch.

1955
01:43:08,120 --> 01:43:08,400
Speaker 2: Deal.

1956
01:43:09,120 --> 01:43:15,160
Speaker 1: Bye, everybody, Bye.

1957
01:43:17,400 --> 01:43:20,120
Speaker 2: This has been an exactly right production. Our senior producer

1958
01:43:20,160 --> 01:43:20,960
Speaker 2: is Casey O'Brien.

1959
01:43:21,200 --> 01:43:24,800
Speaker 3: Episode mixing and theme music by Tom Bryfogel, artwork by

1960
01:43:24,800 --> 01:43:28,799
Speaker 3: Garrett Ross. Our executive producers are Georgia Hartstart, Karen kil Gareff,

1961
01:43:28,800 --> 01:43:31,519
Speaker 3: and Daniel Kramer. You can follow us on Instagram. And

1962
01:43:31,600 --> 01:43:34,439
Speaker 3: Twitter at I saw pod, and you can email us

1963
01:43:34,479 --> 01:43:36,599
Speaker 3: at I saw what you did POD at gmail