1
00:00:10,280 --> 00:00:13,319
Speaker 1: Hey, everybody, welcome to another episode of I Saw What

2
00:00:13,360 --> 00:00:15,320
Speaker 1: You Did. My name is Millie to Jericho.

3
00:00:15,440 --> 00:00:17,959
Speaker 2: I'm Danielle Henderson, and we're back with.

4
00:00:17,880 --> 00:00:22,600
Speaker 1: You to talk about movies. What's up, Danielle, what's up

5
00:00:22,640 --> 00:00:25,680
Speaker 1: with you? I don't know pretty much nothing.

6
00:00:27,520 --> 00:00:31,080
Speaker 2: Deep in deep in that winter, Yeah winter thought. I

7
00:00:31,120 --> 00:00:35,960
Speaker 2: had a thought, and I'm not sure if I'm being

8
00:00:36,040 --> 00:00:37,599
Speaker 2: rational or not, so I want to talk it out

9
00:00:37,640 --> 00:00:39,960
Speaker 2: with you, Okay, on.

10
00:00:40,000 --> 00:00:41,599
Speaker 3: The week of Thanksgiving, Let's go.

11
00:00:42,720 --> 00:00:44,320
Speaker 2: Well, And maybe this is why I'm thinking about it,

12
00:00:44,320 --> 00:00:47,760
Speaker 2: because I'm thinking about, you know, giving and kindness and

13
00:00:48,240 --> 00:00:51,120
Speaker 2: you know, avoiding my family and hanging out with other families.

14
00:00:51,200 --> 00:00:55,320
Speaker 2: And I was thinking about how I used to volunteer

15
00:00:55,800 --> 00:01:01,560
Speaker 2: a lot, particularly with the Big Sisters program and Big Brothers.

16
00:01:01,640 --> 00:01:04,520
Speaker 2: Big Sisters is great. If you've never looked into it,

17
00:01:04,560 --> 00:01:07,880
Speaker 2: you totally should. At the time of this recording, they're

18
00:01:08,160 --> 00:01:13,560
Speaker 2: they're great, yes, at the time. But I loved it,

19
00:01:13,600 --> 00:01:15,720
Speaker 2: and I did. I did it when I lived in Alaska.

20
00:01:16,959 --> 00:01:19,720
Speaker 2: I was part of a school program, so you would

21
00:01:19,720 --> 00:01:22,319
Speaker 2: basically go and just spend an hour with a kid

22
00:01:22,360 --> 00:01:24,880
Speaker 2: at school. And then we just loved hanging out so

23
00:01:24,959 --> 00:01:26,480
Speaker 2: much that we just kind of morphed it into the

24
00:01:26,480 --> 00:01:28,560
Speaker 2: regular big sister thing where we would hang out on

25
00:01:28,600 --> 00:01:31,760
Speaker 2: the weekends or like hang out after school. And she

26
00:01:31,840 --> 00:01:36,000
Speaker 2: was so cool and like my little is now like

27
00:01:36,040 --> 00:01:38,800
Speaker 2: we kept in touch and she went to college and

28
00:01:39,280 --> 00:01:40,560
Speaker 2: you know, now she's in her Midge was like she

29
00:01:40,560 --> 00:01:42,520
Speaker 2: went to Juilliard and she's in her mid twenties and

30
00:01:42,560 --> 00:01:47,360
Speaker 2: like she's just really cool and like very proud of her.

31
00:01:47,840 --> 00:01:50,480
Speaker 3: Your influence, your influence.

32
00:01:50,520 --> 00:01:52,840
Speaker 2: Not even she was just always the coolest kid. And

33
00:01:52,880 --> 00:01:55,760
Speaker 2: I feel but I just really I miss you know,

34
00:01:55,800 --> 00:01:58,640
Speaker 2: that that cliche of like when you volunteer, it gives

35
00:01:58,680 --> 00:02:02,360
Speaker 2: more back to you and then you're giving. It's true

36
00:02:02,400 --> 00:02:04,520
Speaker 2: in so many ways, Like I always just felt like

37
00:02:04,840 --> 00:02:08,360
Speaker 2: better about the world after I'd connected with someone else

38
00:02:08,480 --> 00:02:10,680
Speaker 2: or like, you know, did something for somebody else. So

39
00:02:11,680 --> 00:02:14,320
Speaker 2: I was thinking about getting back into volunteering and then

40
00:02:14,440 --> 00:02:19,320
Speaker 2: realizing I don't know if I am fit to volunteer anymore,

41
00:02:19,320 --> 00:02:20,760
Speaker 2: because the last time I did it, I had an

42
00:02:20,760 --> 00:02:23,960
Speaker 2: office job. And now I've got this podcast with all

43
00:02:24,000 --> 00:02:27,040
Speaker 2: these thoughts out here, and I've got my job and

44
00:02:27,080 --> 00:02:29,200
Speaker 2: all the stuff I write and my book, and I'm like,

45
00:02:29,200 --> 00:02:32,959
Speaker 2: who's gonna let me hang out with a kid nobody. Okay,

46
00:02:33,880 --> 00:02:36,760
Speaker 2: First of all, they do deep background checks. That's not

47
00:02:36,840 --> 00:02:38,919
Speaker 2: the problem. It's just like, if anyone listens to anything

48
00:02:38,919 --> 00:02:42,040
Speaker 2: I've said, or reads anything I've written, or watches anything

49
00:02:42,040 --> 00:02:46,320
Speaker 2: I've produced, they're gonna be like, no, you caet hang

50
00:02:46,360 --> 00:02:47,359
Speaker 2: out with this lady.

51
00:02:48,200 --> 00:02:48,519
Speaker 3: Listen.

52
00:02:48,600 --> 00:02:53,240
Speaker 1: I completely understand what this impulse, right, because I think

53
00:02:53,280 --> 00:02:56,079
Speaker 1: of that too. I'm like, if I like scope out

54
00:02:56,120 --> 00:02:58,120
Speaker 1: on my life, I'm like, oh, I just cuss a

55
00:02:58,160 --> 00:03:02,560
Speaker 1: bunch on a podcast, I program cannibal films for a

56
00:03:02,600 --> 00:03:04,840
Speaker 1: living or whatever, and it's like depraved.

57
00:03:05,160 --> 00:03:05,359
Speaker 2: Right.

58
00:03:06,600 --> 00:03:10,480
Speaker 1: However, like I'm just saying, if I was the mother

59
00:03:10,680 --> 00:03:15,400
Speaker 1: of a child, you know, and a child was you know,

60
00:03:15,480 --> 00:03:18,320
Speaker 1: able to have access to somebody to hang out with

61
00:03:18,480 --> 00:03:23,359
Speaker 1: and to have like, you know, quality time, developmental time,

62
00:03:24,200 --> 00:03:27,560
Speaker 1: I would much rather have that person be you than

63
00:03:27,600 --> 00:03:29,239
Speaker 1: some boring office person.

64
00:03:29,400 --> 00:03:34,639
Speaker 2: Ough boring. Look, I was a boring office person. It's

65
00:03:34,639 --> 00:03:35,360
Speaker 2: also fine.

66
00:03:35,600 --> 00:03:41,320
Speaker 1: But I'm okay, I'm not saying if you sell insurance

67
00:03:41,480 --> 00:03:45,920
Speaker 1: that you shouldn't be the shaping the future leaders of America.

68
00:03:46,720 --> 00:03:49,600
Speaker 1: But I'm just saying, from like a creative standpoint, I mean,

69
00:03:49,640 --> 00:03:52,920
Speaker 1: you have like one of the most interesting lives out

70
00:03:52,960 --> 00:03:57,600
Speaker 1: of anybody I've ever met. And even if you were

71
00:03:57,640 --> 00:04:01,559
Speaker 1: freaking unemployed right now, you've had just so much experience

72
00:04:01,600 --> 00:04:04,320
Speaker 1: in life that you could like pass on to younger people.

73
00:04:04,520 --> 00:04:08,920
Speaker 1: I mean, you've thought a fucking bear in Alaska. Like

74
00:04:09,000 --> 00:04:12,160
Speaker 1: what kid is not going to be like impressed by that?

75
00:04:12,400 --> 00:04:13,800
Speaker 2: I'm sorry. I mean I can teach you how to

76
00:04:13,880 --> 00:04:18,200
Speaker 2: run away from one for sure. We can go out

77
00:04:18,200 --> 00:04:20,760
Speaker 2: to that track and start doing laps and I'll teach

78
00:04:20,800 --> 00:04:22,800
Speaker 2: you how to run for your damn life. But yeah,

79
00:04:22,839 --> 00:04:25,520
Speaker 2: it's wild. It's just wild to think of, like how

80
00:04:25,560 --> 00:04:27,120
Speaker 2: I would I would like to do that. And then

81
00:04:27,160 --> 00:04:29,240
Speaker 2: I was like, well, maybe I can volunteer with older people.

82
00:04:29,839 --> 00:04:31,560
Speaker 2: And it's the same thing. They don't want to hear

83
00:04:31,600 --> 00:04:33,720
Speaker 2: me cursing. And here's the other thing, like I don't

84
00:04:33,760 --> 00:04:37,760
Speaker 2: talk to children like I know how to talk to kids,

85
00:04:38,080 --> 00:04:40,000
Speaker 2: you know, like I'm not like a total ghoul. But

86
00:04:40,080 --> 00:04:42,200
Speaker 2: I also don't do that baby talk thing or like

87
00:04:42,279 --> 00:04:44,440
Speaker 2: talk pander down, Like I don't pander to them or

88
00:04:44,480 --> 00:04:46,279
Speaker 2: talk down to them or anything. So like if they

89
00:04:46,320 --> 00:04:49,200
Speaker 2: ask me something real, I will give them a real answer. Yeah,

90
00:04:49,240 --> 00:04:52,320
Speaker 2: And and you know there's training and there's all kinds

91
00:04:52,360 --> 00:04:54,479
Speaker 2: of you know, take courses and like they teach you

92
00:04:54,520 --> 00:04:58,200
Speaker 2: how to be comfortable in this situation because a lot

93
00:04:58,200 --> 00:04:59,680
Speaker 2: of people I think don't know how to talk to

94
00:04:59,760 --> 00:05:02,719
Speaker 2: kids and maybe want to volunteer with kids, and they're like,

95
00:05:02,720 --> 00:05:04,800
Speaker 2: I don't know what to do with these motherfuckers. See

96
00:05:04,960 --> 00:05:07,560
Speaker 2: right there now, these motherfuckers.

97
00:05:07,000 --> 00:05:08,400
Speaker 3: Calling them motherfuckers.

98
00:05:09,000 --> 00:05:13,400
Speaker 2: You hired, Here you go, here's five, Take five kids.

99
00:05:14,960 --> 00:05:18,560
Speaker 2: I have a handful. Knock yourself out. Parents are so

100
00:05:18,680 --> 00:05:20,599
Speaker 2: exhausted right now. They're like, yes, do it. We don't

101
00:05:20,600 --> 00:05:22,880
Speaker 2: give a shit. You can curse in front of this kid.

102
00:05:23,240 --> 00:05:24,840
Speaker 2: You can chop lines in front of this kid. We

103
00:05:24,880 --> 00:05:25,240
Speaker 2: don't care.

104
00:05:25,839 --> 00:05:28,560
Speaker 3: Put them in front of an actual bearer and do nothing.

105
00:05:29,240 --> 00:05:32,839
Speaker 2: Like we don't care. We'll see what happens. But that

106
00:05:32,920 --> 00:05:34,520
Speaker 2: sounds a part of it is like I feel like,

107
00:05:35,240 --> 00:05:37,320
Speaker 2: you know, I've got my shit together and I'm pretty

108
00:05:37,320 --> 00:05:40,680
Speaker 2: well adjusted, and i'm you know, successful enough to be

109
00:05:40,880 --> 00:05:44,560
Speaker 2: like happy, Like I'm not, you know, and that has

110
00:05:44,600 --> 00:05:46,240
Speaker 2: nothing to do with finances, of course, but like I'm

111
00:05:46,279 --> 00:05:48,479
Speaker 2: successful in my life in that like I feel like

112
00:05:48,480 --> 00:05:52,160
Speaker 2: I have something to offer, but I just also know

113
00:05:52,240 --> 00:05:56,320
Speaker 2: how I am. Yes, I'm like, oh god, I don't

114
00:05:56,320 --> 00:05:59,240
Speaker 2: know if I want a stranger's child to be like

115
00:05:59,400 --> 00:06:03,440
Speaker 2: I heard your podcast, I read your book.

116
00:06:05,040 --> 00:06:08,480
Speaker 3: Look, I will say I have this. I used to

117
00:06:08,600 --> 00:06:08,920
Speaker 3: have the.

118
00:06:08,880 --> 00:06:13,080
Speaker 1: Same fear as maybe you do about talking to children,

119
00:06:13,240 --> 00:06:16,800
Speaker 1: because for the longest time, I was never around kids

120
00:06:16,960 --> 00:06:19,719
Speaker 1: at all. Like, you know, my sister is the only

121
00:06:19,800 --> 00:06:22,919
Speaker 1: person in our family that has kids, and before she

122
00:06:23,080 --> 00:06:26,359
Speaker 1: had them, I'd never talked to kids, and I was

123
00:06:26,400 --> 00:06:28,719
Speaker 1: always like, man, I don't know. I think I'm gonna like,

124
00:06:29,400 --> 00:06:32,200
Speaker 1: I'm just gonna let all these cussbards fly and I'm

125
00:06:32,200 --> 00:06:34,159
Speaker 1: just gonna be like this, I'm gonna be in my

126
00:06:34,200 --> 00:06:36,520
Speaker 1: own head about it and I'm just like, ooh, who

127
00:06:36,520 --> 00:06:37,880
Speaker 1: am I I'm talking.

128
00:06:37,600 --> 00:06:41,400
Speaker 3: Like a baby, and ugh, like that's so stupid.

129
00:06:41,920 --> 00:06:45,600
Speaker 1: But now that I have nephews, like I don't know,

130
00:06:45,720 --> 00:06:48,800
Speaker 1: I feel like I was definitely overthinking it for a

131
00:06:48,880 --> 00:06:52,000
Speaker 1: long time because now when I communicate with them, it's

132
00:06:52,040 --> 00:06:58,440
Speaker 1: just pretty much me without saying motherfucker every five seconds

133
00:06:58,440 --> 00:07:00,880
Speaker 1: like I normally do or what you know, it's just

134
00:07:00,920 --> 00:07:01,800
Speaker 1: that thing where and.

135
00:07:01,720 --> 00:07:04,680
Speaker 3: Sometimes hell, sometimes it happens, and.

136
00:07:06,320 --> 00:07:10,080
Speaker 1: My sister's like, she just gives me that look like, ugh,

137
00:07:10,960 --> 00:07:13,840
Speaker 1: you know, actually you want to know a story. I'm

138
00:07:13,840 --> 00:07:18,760
Speaker 1: gonna tell you a really this was fucking hilarious, but

139
00:07:18,840 --> 00:07:25,200
Speaker 1: I'm sure my sister was like absolutely not. So this

140
00:07:25,280 --> 00:07:27,440
Speaker 1: happened not too long ago, like maybe a month ago,

141
00:07:27,480 --> 00:07:30,600
Speaker 1: when I was down in Florida visiting my family. So

142
00:07:31,040 --> 00:07:32,840
Speaker 1: my sister went, I don't know where she went, maybe

143
00:07:32,880 --> 00:07:34,400
Speaker 1: she went to go pick up food. But I was

144
00:07:34,480 --> 00:07:36,800
Speaker 1: in her house with my two nephews and we were

145
00:07:36,840 --> 00:07:40,320
Speaker 1: just sitting around the kitchen table and one of them

146
00:07:40,360 --> 00:07:43,520
Speaker 1: asked me, what's the what's the A.

147
00:07:43,640 --> 00:07:45,040
Speaker 3: Word, Auntie?

148
00:07:46,280 --> 00:07:49,160
Speaker 2: And I was like, the A word, like I need

149
00:07:49,200 --> 00:07:51,400
Speaker 2: more I need more context here.

150
00:07:51,600 --> 00:07:56,720
Speaker 1: Yeah, And I said, you mean ass like that word

151
00:07:56,800 --> 00:08:01,440
Speaker 1: and they were just like yeah. And I'm like, okay,

152
00:08:01,520 --> 00:08:03,360
Speaker 1: they don't really know how to spell. I'm like they

153
00:08:03,480 --> 00:08:06,480
Speaker 1: sort of do, but like so I made this judgment

154
00:08:06,480 --> 00:08:08,160
Speaker 1: call that I was like, yes, I'm gonna spell out

155
00:08:08,280 --> 00:08:12,640
Speaker 1: this stuff right. So then I was like, well, there's

156
00:08:12,680 --> 00:08:15,440
Speaker 1: ass and then there's ass H O L E.

157
00:08:16,080 --> 00:08:16,840
Speaker 3: Depending on that.

158
00:08:17,000 --> 00:08:19,640
Speaker 2: You're literally giving them a list. Now they're like absolute

159
00:08:19,680 --> 00:08:21,640
Speaker 2: smoke coming out of their pencils while they're like writing

160
00:08:21,680 --> 00:08:22,800
Speaker 2: down all these works.

161
00:08:23,160 --> 00:08:27,800
Speaker 1: That is literally what happened. So and then you know,

162
00:08:27,840 --> 00:08:29,480
Speaker 1: They're like, what's the F word? And I'm like, f

163
00:08:29,560 --> 00:08:31,360
Speaker 1: u c k, don't ever say it. It's really bad.

164
00:08:31,400 --> 00:08:35,240
Speaker 1: And then, you know, so then Henry, my oldest nephew

165
00:08:35,240 --> 00:08:41,000
Speaker 1: who's seven, disappears for like ten minutes, okay, and goes

166
00:08:41,040 --> 00:08:44,280
Speaker 1: into like their office or whatever. And then then by

167
00:08:44,320 --> 00:08:48,520
Speaker 1: that time, my sister had come home. So then cut

168
00:08:48,559 --> 00:08:52,480
Speaker 1: to later in the day, you know, like much later

169
00:08:52,480 --> 00:08:54,839
Speaker 1: in the day. I left their house, went back to

170
00:08:54,880 --> 00:08:58,200
Speaker 1: my parents' house. My sister calls me and face times

171
00:08:58,240 --> 00:09:01,400
Speaker 1: me and she's like, look, I just found crumpled up

172
00:09:01,400 --> 00:09:05,360
Speaker 1: in the garbage can. No, yes, And it was this

173
00:09:05,440 --> 00:09:09,200
Speaker 1: piece of paper with this like little kid handwriting and

174
00:09:09,280 --> 00:09:13,480
Speaker 1: it was ass ass h O l E f uc

175
00:09:13,720 --> 00:09:18,080
Speaker 1: k and like a drawing of some weird fucking.

176
00:09:17,880 --> 00:09:19,920
Speaker 3: I don't know if it was an actual butthole, but

177
00:09:20,000 --> 00:09:20,520
Speaker 3: it was like.

178
00:09:20,520 --> 00:09:27,760
Speaker 1: Some something weird. And my sister was like, I swear

179
00:09:27,800 --> 00:09:31,280
Speaker 1: to god, I was gone for like thirty minutes and

180
00:09:31,320 --> 00:09:33,240
Speaker 1: now I have this crumpled up piece of paper in

181
00:09:33,240 --> 00:09:35,400
Speaker 1: a garbage can that has like a butthole.

182
00:09:35,000 --> 00:09:37,600
Speaker 3: Drawing, and then like all these cuss words spelled out.

183
00:09:38,040 --> 00:09:40,840
Speaker 2: Please please tell me you kept and framed it. Please,

184
00:09:41,080 --> 00:09:43,200
Speaker 2: I was like, are you gonna keep that?

185
00:09:43,240 --> 00:09:44,199
Speaker 3: Because I want it?

186
00:09:44,520 --> 00:09:46,080
Speaker 2: But yeah, I would frame it and give it to

187
00:09:46,120 --> 00:09:49,480
Speaker 2: that kid for his high school graduation. But like, don't

188
00:09:49,480 --> 00:09:50,840
Speaker 2: forget who taught you everything.

189
00:09:50,880 --> 00:09:53,920
Speaker 1: You know that's useful, But also like in that little

190
00:09:53,960 --> 00:09:56,120
Speaker 1: kid way, that was like I'm gonna do something bad

191
00:09:56,160 --> 00:09:57,720
Speaker 1: and then I'm just gonna crumple it up and put

192
00:09:57,760 --> 00:09:59,800
Speaker 1: in a garbage can and nobody's gonna find it. And

193
00:09:59,800 --> 00:10:02,440
Speaker 1: I'm just like, oh, he wrote asshole on a piece

194
00:10:02,440 --> 00:10:04,040
Speaker 1: of paper then crumpled it up.

195
00:10:04,840 --> 00:10:09,320
Speaker 3: So look, you're saying you can't be a volunteer. I'm like,

196
00:10:09,360 --> 00:10:10,160
Speaker 3: look what I'm doing.

197
00:10:10,200 --> 00:10:14,079
Speaker 1: I'm not even doing anything, and I'm apparently a terrible guardian,

198
00:10:15,480 --> 00:10:17,280
Speaker 1: so could be any worse than that?

199
00:10:17,559 --> 00:10:19,360
Speaker 3: Right, your sisters, Like.

200
00:10:19,880 --> 00:10:23,600
Speaker 2: I was gone for a second, Like I was not

201
00:10:23,679 --> 00:10:26,360
Speaker 2: even gone for long enough for them to learn one

202
00:10:26,400 --> 00:10:32,200
Speaker 2: of these words and included drawing. That is the drawing

203
00:10:32,240 --> 00:10:34,720
Speaker 2: is the best part. Like I love this kid's he's

204
00:10:35,240 --> 00:10:39,400
Speaker 2: got some lateral thinking going on. Holy shit, that is

205
00:10:39,440 --> 00:10:40,640
Speaker 2: a fucking great well.

206
00:10:40,679 --> 00:10:43,360
Speaker 3: But I was like, Okay, this is how stupid I am.

207
00:10:43,440 --> 00:10:46,040
Speaker 1: Because I'm not a parent, I don't know anything about

208
00:10:46,040 --> 00:10:48,960
Speaker 1: developmental I was truly like, there's no way he's gonna

209
00:10:49,000 --> 00:10:51,480
Speaker 1: spell out these words. He's never gonna remember how to

210
00:10:51,559 --> 00:10:55,160
Speaker 1: spell them enough in enough time to write them down,

211
00:10:55,800 --> 00:10:57,920
Speaker 1: because I was like, surely he doesn't know how to spell.

212
00:10:57,960 --> 00:10:59,800
Speaker 3: No, he has spelled it all correctly.

213
00:10:59,760 --> 00:11:02,440
Speaker 2: Well, because you spelled it for him. All he had

214
00:11:02,480 --> 00:11:04,760
Speaker 2: to do was remember what you were saying, what you

215
00:11:04,920 --> 00:11:07,760
Speaker 2: were saying. He's like, look, I got the ass part.

216
00:11:07,800 --> 00:11:12,240
Speaker 2: That's easy. Then she added H O L E. So

217
00:11:12,280 --> 00:11:14,520
Speaker 2: all he had to remember was hole and fuck and

218
00:11:14,559 --> 00:11:15,120
Speaker 2: he was there.

219
00:11:16,080 --> 00:11:20,520
Speaker 1: So now it's like I under ookay, I underestimated his

220
00:11:20,600 --> 00:11:23,400
Speaker 1: ability to retain knowledge within a ten minute span.

221
00:11:23,880 --> 00:11:24,280
Speaker 3: I don't know.

222
00:11:24,360 --> 00:11:26,880
Speaker 1: I'm so dumb and now and now I'm like, well shit,

223
00:11:27,120 --> 00:11:29,600
Speaker 1: if I'm sitting here around say, I mean I've been

224
00:11:29,640 --> 00:11:32,800
Speaker 1: saying things in front of them, maybe they've retained it

225
00:11:32,840 --> 00:11:35,760
Speaker 1: and maybe yeah, maybe they have a secret diary in

226
00:11:35,800 --> 00:11:38,000
Speaker 1: their bedrooms where they're writing down, like you know, me

227
00:11:38,559 --> 00:11:40,600
Speaker 1: talking about how you know.

228
00:11:40,559 --> 00:11:42,360
Speaker 3: This motherfucker and that motherfucker.

229
00:11:42,400 --> 00:11:42,760
Speaker 2: I don't know.

230
00:11:42,800 --> 00:11:44,360
Speaker 3: Now I'm horrified, basically, is.

231
00:11:44,280 --> 00:11:46,480
Speaker 2: What I'm saying. Look, the holidays are upon us. You

232
00:11:46,520 --> 00:11:48,560
Speaker 2: need to give him each blank journals and be like,

233
00:11:48,679 --> 00:11:51,960
Speaker 2: just write down any bad word you have that you

234
00:11:52,000 --> 00:11:54,839
Speaker 2: can think of, just keep it in this little book.

235
00:11:54,880 --> 00:11:57,720
Speaker 2: And then again you snatch that book when they're like ten,

236
00:11:58,320 --> 00:11:59,920
Speaker 2: and you give it back to him when they're eighteen.

237
00:12:00,640 --> 00:12:04,120
Speaker 3: Yeah, I mean, I would love like listen.

238
00:12:04,240 --> 00:12:05,800
Speaker 1: I mean, I think a lot of this is filtered

239
00:12:05,840 --> 00:12:08,560
Speaker 1: through you and I's own experience. And I'm like, if

240
00:12:08,600 --> 00:12:11,120
Speaker 1: somebody gave me a piece of paper at eighteen to

241
00:12:11,200 --> 00:12:12,880
Speaker 1: be like, remember when you were seven and you just

242
00:12:12,920 --> 00:12:16,240
Speaker 1: wrote out asshole and drew an asshole, and weren't you

243
00:12:16,440 --> 00:12:19,480
Speaker 1: so precocious and charming back then? I would be like,

244
00:12:19,760 --> 00:12:22,160
Speaker 1: oh my god, I was. I was pretty fucking cool.

245
00:12:22,240 --> 00:12:25,079
Speaker 2: Its fucking thick as hell. How come you guys let

246
00:12:25,120 --> 00:12:27,520
Speaker 2: me get less thick than this as I got older

247
00:12:27,720 --> 00:12:31,120
Speaker 2: with all your rules? Clearly I was born read.

248
00:12:32,440 --> 00:12:35,160
Speaker 1: I could see you, like at eighteen, being like, remember

249
00:12:35,160 --> 00:12:37,040
Speaker 1: when you were seventy and you like wrote the docin

250
00:12:37,160 --> 00:12:38,600
Speaker 1: logo and fucking.

251
00:12:40,360 --> 00:12:43,840
Speaker 2: The first time you did that WEIRDSS, I wish I

252
00:12:43,840 --> 00:12:46,000
Speaker 2: still had my trapper keeper the first time I did

253
00:12:46,040 --> 00:12:48,520
Speaker 2: that WEIRDSS.

254
00:12:48,559 --> 00:12:50,840
Speaker 1: The WEIRDSS that you can actually make into a chain

255
00:12:50,880 --> 00:12:52,040
Speaker 1: that goes into infinity.

256
00:12:52,679 --> 00:12:55,800
Speaker 2: Yes, Oh my god, given it. I used to be

257
00:12:55,880 --> 00:12:59,000
Speaker 2: so cool. I was the coolest kid. Oh yeah, life

258
00:12:59,000 --> 00:13:02,000
Speaker 2: will wear you down. Last time a friend, well yeah,

259
00:13:02,000 --> 00:13:03,280
Speaker 2: I guess it was the last time I had a

260
00:13:03,280 --> 00:13:05,839
Speaker 2: friend come to visit. A couple of friends coming to

261
00:13:05,920 --> 00:13:09,040
Speaker 2: visit from the city with their kid who was seven

262
00:13:09,080 --> 00:13:12,280
Speaker 2: at the time, and she's a very cool kid. And

263
00:13:12,559 --> 00:13:16,440
Speaker 2: I definitely I always whenever kids come to my house

264
00:13:16,920 --> 00:13:18,440
Speaker 2: and I want to talk to their parents, I just

265
00:13:18,480 --> 00:13:21,600
Speaker 2: give them jobs. Yes. So I pulled her aside and

266
00:13:21,640 --> 00:13:24,440
Speaker 2: I was like, I have I've been waiting for you

267
00:13:24,480 --> 00:13:26,600
Speaker 2: to come. I have a very important job that only

268
00:13:26,640 --> 00:13:30,920
Speaker 2: you can do. And I asked her to shelve some

269
00:13:30,960 --> 00:13:33,120
Speaker 2: of my books that were still in boxes at the time,

270
00:13:33,720 --> 00:13:35,680
Speaker 2: and she was having the time of her life. Yeah,

271
00:13:35,720 --> 00:13:37,600
Speaker 2: just like pulling books out and putting them on the shelf.

272
00:13:37,760 --> 00:13:39,840
Speaker 2: And I'm like, yep, knock yourself out. And then I

273
00:13:39,880 --> 00:13:42,800
Speaker 2: gave her twenty bucks. And her parents were like, you

274
00:13:42,800 --> 00:13:44,199
Speaker 2: could have given her a lollipop. You didn't have to

275
00:13:44,240 --> 00:13:46,320
Speaker 2: give her twenty bucks. But I gave her twenty bucks.

276
00:13:46,320 --> 00:13:48,520
Speaker 2: And then we had a very frank discussion about how

277
00:13:48,520 --> 00:13:52,199
Speaker 2: women should always earn their own money. Hell yeah, and

278
00:13:52,440 --> 00:13:55,600
Speaker 2: negotiate I'm like, you should negotiate for more. So right

279
00:13:55,640 --> 00:13:57,040
Speaker 2: before I gave her the money, I'm like, Okay, that

280
00:13:57,120 --> 00:13:59,160
Speaker 2: was great, you did such a good job. How much

281
00:13:59,160 --> 00:14:00,400
Speaker 2: do you think I should pay you for this? And

282
00:14:00,440 --> 00:14:03,480
Speaker 2: she was like I don't know. And I was like,

283
00:14:05,000 --> 00:14:07,280
Speaker 2: have about ten dollars and she was like okay, and

284
00:14:07,320 --> 00:14:10,200
Speaker 2: I was like, nope, you always got to negotiate. Don't

285
00:14:10,200 --> 00:14:12,760
Speaker 2: always go for the first offer. I'm gonna give you twenty.

286
00:14:12,800 --> 00:14:16,000
Speaker 2: I'm like, I could go up to twenty, So let's

287
00:14:16,000 --> 00:14:17,520
Speaker 2: start this again. I'm like, how much do you think

288
00:14:17,720 --> 00:14:19,440
Speaker 2: you should do for that? I should give you for

289
00:14:19,480 --> 00:14:24,480
Speaker 2: that job? And she was like fifteen dollars and she

290
00:14:24,560 --> 00:14:26,400
Speaker 2: said she said ten dollars and I was like, hmmm,

291
00:14:27,520 --> 00:14:29,680
Speaker 2: I can go up to fifteen and she was like

292
00:14:30,160 --> 00:14:34,320
Speaker 2: all right, maybe sixteen dollars woo. And then I was like,

293
00:14:34,560 --> 00:14:37,240
Speaker 2: h I can go up to twenty. So I was

294
00:14:37,280 --> 00:14:40,480
Speaker 2: like teaching her how to negotiate a salary basically, yes,

295
00:14:40,920 --> 00:14:42,760
Speaker 2: love it. And so I gave her money and her

296
00:14:42,800 --> 00:14:44,160
Speaker 2: parents were like please, like, you do not have to

297
00:14:44,160 --> 00:14:45,600
Speaker 2: give our child money because we're not going to give

298
00:14:45,640 --> 00:14:47,120
Speaker 2: her money for doing anything at our house, so we

299
00:14:47,120 --> 00:14:49,840
Speaker 2: don't want to like instill that in her that that's

300
00:14:49,880 --> 00:14:52,000
Speaker 2: a possibility, and I'm like, no, it was a job,

301
00:14:52,040 --> 00:14:54,840
Speaker 2: like she did a task and we talked about how

302
00:14:54,880 --> 00:14:56,760
Speaker 2: to earn money because I feel like kids need to

303
00:14:56,800 --> 00:14:58,280
Speaker 2: know that, especially young women.

304
00:14:58,640 --> 00:14:59,640
Speaker 3: Yes, which also.

305
00:14:59,440 --> 00:15:02,440
Speaker 2: Ties into my mind movie today. But then she was like,

306
00:15:02,920 --> 00:15:05,200
Speaker 2: she was like, well, I was in your library while

307
00:15:05,200 --> 00:15:07,680
Speaker 2: I was putting away books. I saw that you have

308
00:15:07,800 --> 00:15:10,960
Speaker 2: this really cool ax and I do. I have like

309
00:15:11,000 --> 00:15:15,440
Speaker 2: this little gold hatchet I got in a garage sale

310
00:15:15,920 --> 00:15:18,120
Speaker 2: and it's sitting on one of my shelves, and she

311
00:15:18,240 --> 00:15:20,800
Speaker 2: was like, can I hold it? Without missing a beat?

312
00:15:20,840 --> 00:15:22,720
Speaker 2: I was like yeah, And so I just handed her

313
00:15:22,760 --> 00:15:26,600
Speaker 2: a fucking hatchet. And then I looked at her, looked

314
00:15:26,600 --> 00:15:28,600
Speaker 2: at this little seven year old kid holding the hatchet,

315
00:15:28,640 --> 00:15:30,640
Speaker 2: and I was like, actually, on second thought, maybe you

316
00:15:30,680 --> 00:15:34,840
Speaker 2: shouldn't hold that. Her eyes got like as big as

317
00:15:34,920 --> 00:15:37,360
Speaker 2: saucerge because no one's ever handed this kid a weapon before.

318
00:15:39,800 --> 00:15:41,840
Speaker 2: And I was like, here's twenty bucks at a weapon.

319
00:15:42,560 --> 00:15:49,680
Speaker 1: You have imprinted on this child's life in the best way.

320
00:15:50,160 --> 00:15:51,680
Speaker 2: But I'm like, yeah, cause I thought it would be

321
00:15:51,680 --> 00:15:54,440
Speaker 2: funny to see I let her do it. Yeah.

322
00:15:55,240 --> 00:16:02,080
Speaker 1: Look, I'm gonna tell you right now, you are absolutely

323
00:16:02,200 --> 00:16:04,440
Speaker 1: the best person to be in front of kids, Like,

324
00:16:05,800 --> 00:16:06,240
Speaker 1: for my.

325
00:16:06,360 --> 00:16:08,520
Speaker 3: Money, are you kidding me right now?

326
00:16:08,640 --> 00:16:09,000
Speaker 2: I think?

327
00:16:09,280 --> 00:16:10,960
Speaker 1: I mean, I'm sure we're gonna get like about a

328
00:16:11,080 --> 00:16:13,720
Speaker 1: thousand emails with people who will fucking agree with me.

329
00:16:14,280 --> 00:16:18,680
Speaker 1: Like if I was that age and some awesome lady

330
00:16:19,440 --> 00:16:23,040
Speaker 1: who had books at her house and was like a

331
00:16:23,280 --> 00:16:27,560
Speaker 1: rad person gave me twenty dollars in a fucking axe,

332
00:16:28,080 --> 00:16:31,960
Speaker 1: I'd be like, I'm modeling my entire life around this woman,

333
00:16:32,720 --> 00:16:34,560
Speaker 1: period period.

334
00:16:36,920 --> 00:16:38,680
Speaker 2: Well, if she grows up to be a lumberjack, then

335
00:16:38,680 --> 00:16:41,560
Speaker 2: I will I will take my flowers, no, because that.

336
00:16:41,640 --> 00:16:47,040
Speaker 1: Is like truly, I mean to your point, Like I

337
00:16:47,120 --> 00:16:51,080
Speaker 1: remember there being like specific like older women that would

338
00:16:51,080 --> 00:16:54,120
Speaker 1: come around when I was that age seven, eight ten

339
00:16:54,280 --> 00:16:57,720
Speaker 1: or whatever, Like when I was when I was really

340
00:16:57,800 --> 00:17:00,560
Speaker 1: young and we were living in South Carolina, that we

341
00:17:00,640 --> 00:17:05,440
Speaker 1: had this neighbor who was a single woman. She wait

342
00:17:05,480 --> 00:17:09,600
Speaker 1: at tables and she looked pretty much like Chrissy Hine

343
00:17:09,600 --> 00:17:12,480
Speaker 1: from the Pretenders, Like she was just basically like she

344
00:17:12,640 --> 00:17:16,440
Speaker 1: was German. She had like pretty I think she probably

345
00:17:16,480 --> 00:17:19,280
Speaker 1: had tattooed on eyeliner, you know, she had that like

346
00:17:19,400 --> 00:17:22,639
Speaker 1: look to her and she was like, she was like

347
00:17:22,720 --> 00:17:25,639
Speaker 1: a I think she had a kid and he was

348
00:17:25,680 --> 00:17:29,840
Speaker 1: in college, like basically like this type of person that

349
00:17:29,920 --> 00:17:31,879
Speaker 1: I never came across because all I did was hang

350
00:17:31,920 --> 00:17:32,840
Speaker 1: out with my mom and dad.

351
00:17:33,280 --> 00:17:38,200
Speaker 3: So like, oh, who was this like cool sort of modern.

352
00:17:37,920 --> 00:17:42,600
Speaker 1: Lady with no husband and you know, an older kid,

353
00:17:42,640 --> 00:17:46,480
Speaker 1: and she made her own money and she lived next door.

354
00:17:46,560 --> 00:17:48,639
Speaker 1: And I was like, even though she didn't give me

355
00:17:48,680 --> 00:17:51,439
Speaker 1: an axe or anything amazing like that, but she was

356
00:17:51,520 --> 00:17:52,080
Speaker 1: just like that.

357
00:17:51,960 --> 00:17:53,920
Speaker 3: Person that I was like, I was fascinated with her,

358
00:17:54,200 --> 00:17:54,800
Speaker 3: you know what I mean.

359
00:17:55,320 --> 00:17:56,959
Speaker 1: And so I feel like that's the thing is that

360
00:17:57,040 --> 00:17:59,879
Speaker 1: like a lot of little kids are like, you know,

361
00:18:00,560 --> 00:18:03,760
Speaker 1: they don't really know a lot of people, and so

362
00:18:04,000 --> 00:18:06,000
Speaker 1: if you were in their lives, I think that you

363
00:18:06,040 --> 00:18:07,679
Speaker 1: would be that person for them.

364
00:18:08,280 --> 00:18:10,720
Speaker 2: That's true. I definitely could be. I definitely could be.

365
00:18:10,800 --> 00:18:12,639
Speaker 2: And I mean I wouldn't give any Kidden acts. I

366
00:18:12,680 --> 00:18:14,200
Speaker 2: gave this Kiden acts because I've known her since the

367
00:18:14,280 --> 00:18:17,280
Speaker 2: day she was born and I've been friends with her

368
00:18:17,320 --> 00:18:19,960
Speaker 2: parents for like twenty years. But like, yeah, I think

369
00:18:20,000 --> 00:18:22,080
Speaker 2: I could be like a kind of a cool, cool

370
00:18:22,119 --> 00:18:24,080
Speaker 2: person for a kid to hang out with and learn

371
00:18:24,119 --> 00:18:27,679
Speaker 2: stuff about. And I'm again with my other little we

372
00:18:27,720 --> 00:18:30,159
Speaker 2: would write things down, like I taught her how to journal,

373
00:18:30,240 --> 00:18:31,480
Speaker 2: and I taught her how to like like, oh, you

374
00:18:31,480 --> 00:18:33,960
Speaker 2: could write all your feelings down and nobody else has

375
00:18:33,960 --> 00:18:36,960
Speaker 2: to see it, and like I have something to offer,

376
00:18:37,040 --> 00:18:39,119
Speaker 2: but yeah, I just I just I flashed back to

377
00:18:39,160 --> 00:18:43,560
Speaker 2: everything I've ever said whenever I consider volunteering, and then

378
00:18:43,600 --> 00:18:47,439
Speaker 2: I also flash back to, like, well, how do I

379
00:18:47,480 --> 00:18:50,080
Speaker 2: act around people these last few years now that I'm

380
00:18:50,119 --> 00:18:53,880
Speaker 2: like not used to socializing and I'm still very much myself.

381
00:18:54,400 --> 00:18:57,159
Speaker 2: And I had another friend's kid, my well, this is

382
00:18:57,200 --> 00:18:59,880
Speaker 2: my god daughter. She came over and she was eight

383
00:19:00,560 --> 00:19:02,960
Speaker 2: and like she's eight now, and she came over the

384
00:19:03,040 --> 00:19:07,320
Speaker 2: last time she was here and he said something and

385
00:19:07,359 --> 00:19:09,920
Speaker 2: I said no, and she said that's not very nice,

386
00:19:10,520 --> 00:19:12,640
Speaker 2: and I said, actually it is. And you should get

387
00:19:12,720 --> 00:19:15,440
Speaker 2: used to saying no to people if you don't want

388
00:19:15,440 --> 00:19:18,359
Speaker 2: to do something. And I said, let's practice. And so

389
00:19:18,440 --> 00:19:21,600
Speaker 2: we were just practice screaming no, and I would just

390
00:19:21,600 --> 00:19:23,560
Speaker 2: like give her questions, like can I play with that toy?

391
00:19:23,680 --> 00:19:25,480
Speaker 2: She was like no, and I was like yeah, I

392
00:19:25,520 --> 00:19:27,920
Speaker 2: would high five her. And then her mom was like, please,

393
00:19:27,920 --> 00:19:30,000
Speaker 2: don't teach my kids to shout at other kids when

394
00:19:30,040 --> 00:19:32,919
Speaker 2: she should be sharing her toys, and I'm like, well,

395
00:19:32,920 --> 00:19:35,040
Speaker 2: what if she doesn't want to, she should say no.

396
00:19:36,960 --> 00:19:38,600
Speaker 2: I mean it's a good thing. I don't have kids,

397
00:19:38,640 --> 00:19:40,160
Speaker 2: but I think I'm good with kids.

398
00:19:40,720 --> 00:19:43,120
Speaker 3: Yes, you're giving them like life lessons.

399
00:19:43,400 --> 00:19:46,119
Speaker 1: I mean, honestly, the most that I ever do with

400
00:19:46,200 --> 00:19:48,760
Speaker 1: my friend's kids when they come over is like, hey, look,

401
00:19:48,800 --> 00:19:49,840
Speaker 1: we both have crocs.

402
00:19:50,240 --> 00:19:50,840
Speaker 3: That's cool.

403
00:19:52,320 --> 00:19:54,159
Speaker 2: I have a whole wall that I let them draw on,

404
00:19:55,600 --> 00:19:57,760
Speaker 2: Like I just have a graffiti wall for kids, and

405
00:19:57,800 --> 00:19:59,560
Speaker 2: I'm like, you can just write whatever you want on

406
00:19:59,560 --> 00:20:02,960
Speaker 2: this wall, just tag it up. And so every time

407
00:20:03,000 --> 00:20:04,359
Speaker 2: they come over like can I have a marker? And

408
00:20:04,400 --> 00:20:05,440
Speaker 2: I'm like, yep, here you go.

409
00:20:06,960 --> 00:20:11,280
Speaker 1: Holy shit, dude, you're You're like the only person that

410
00:20:11,320 --> 00:20:14,680
Speaker 1: should Like people should be taking their kids to your

411
00:20:14,720 --> 00:20:18,679
Speaker 1: house on a bus, Like there should be like a

412
00:20:18,680 --> 00:20:24,320
Speaker 1: little bus that's like Danielle's house camp or something, and

413
00:20:24,359 --> 00:20:26,919
Speaker 1: like kids should just get out one by one with

414
00:20:27,040 --> 00:20:29,680
Speaker 1: their sack lunch and be like, holy fuck, we're gonna

415
00:20:29,720 --> 00:20:31,520
Speaker 1: have like the best time of our lives. We're gonna

416
00:20:31,560 --> 00:20:33,760
Speaker 1: ride on a wall, We're gonna look at an axe,

417
00:20:33,760 --> 00:20:36,199
Speaker 1: We're probably gonna make some money, We're gonna learn how

418
00:20:36,240 --> 00:20:36,720
Speaker 1: to yell.

419
00:20:36,920 --> 00:20:39,000
Speaker 2: I mean, come on, put I'm putting a rope swing

420
00:20:39,080 --> 00:20:42,240
Speaker 2: upstairs in the guest bedroom that like my friend's kids

421
00:20:42,240 --> 00:20:44,880
Speaker 2: will probably sleep in, and I let one of them

422
00:20:44,880 --> 00:20:47,280
Speaker 2: skateboard upstairs. She was like, this is a big room,

423
00:20:47,280 --> 00:20:50,480
Speaker 2: and I'm like, try it out. Just She's like, I

424
00:20:50,520 --> 00:20:52,520
Speaker 2: get skateboard in the house, and I was like, you

425
00:20:52,560 --> 00:20:53,399
Speaker 2: can in this house.

426
00:20:54,160 --> 00:20:54,480
Speaker 3: Listen.

427
00:20:56,560 --> 00:20:58,960
Speaker 1: You're you were very fond of thinking that you're not

428
00:20:59,080 --> 00:21:02,360
Speaker 1: the right person for the job when you are the

429
00:21:02,359 --> 00:21:03,600
Speaker 1: only person for the job.

430
00:21:03,720 --> 00:21:04,560
Speaker 3: Does that make sense.

431
00:21:05,680 --> 00:21:08,320
Speaker 1: We started this conversation with being like, Oh, I don't know,

432
00:21:08,400 --> 00:21:09,920
Speaker 1: I don't know if I should be around kids to

433
00:21:09,960 --> 00:21:12,439
Speaker 1: being like, oh, I have a skate park in my

434
00:21:12,520 --> 00:21:14,320
Speaker 1: house for them when they come over.

435
00:21:17,680 --> 00:21:20,600
Speaker 2: What the fuck I think? And it's a constant negotiation

436
00:21:20,720 --> 00:21:22,880
Speaker 2: for me because I know for a fact that they're

437
00:21:22,880 --> 00:21:24,480
Speaker 2: gonna go home and their parents are gonna be like,

438
00:21:24,520 --> 00:21:26,560
Speaker 2: don't do anything that you did in that house in

439
00:21:26,600 --> 00:21:29,680
Speaker 2: this house, Like you cannot skateboarding here. If you put

440
00:21:29,680 --> 00:21:31,760
Speaker 2: one mark on the wall, I will fucking throw you

441
00:21:31,760 --> 00:21:34,679
Speaker 2: out the window. Like I'm teaching I'm just teaching them

442
00:21:34,720 --> 00:21:36,040
Speaker 2: bad habits, but I'm like, you can come to my

443
00:21:36,080 --> 00:21:37,760
Speaker 2: house and be free. I don't give a shit because

444
00:21:37,760 --> 00:21:39,480
Speaker 2: I don't have to deal with you. So you just

445
00:21:39,480 --> 00:21:40,880
Speaker 2: come here for a couple hours and be free.

446
00:21:40,880 --> 00:21:41,720
Speaker 3: I don't care, dude.

447
00:21:41,760 --> 00:21:47,800
Speaker 1: That is the fucking fiber of the Antie is your shit.

448
00:21:48,080 --> 00:21:52,080
Speaker 1: Like they're not supposed to fucking be their parents, Like

449
00:21:52,280 --> 00:21:55,040
Speaker 1: that's the thing. They come to Antie's house to literally

450
00:21:55,080 --> 00:21:58,360
Speaker 1: do everything you just said totally, and you will always

451
00:21:58,400 --> 00:22:02,359
Speaker 1: be revered and you will always be talked about because

452
00:22:02,359 --> 00:22:04,120
Speaker 1: you're fun and you have fun.

453
00:22:04,160 --> 00:22:04,440
Speaker 2: Shit.

454
00:22:04,760 --> 00:22:06,240
Speaker 1: Then they go back to their parents' house and the

455
00:22:06,240 --> 00:22:08,960
Speaker 1: parents are just like, Nope, we're not gonnave any money.

456
00:22:09,119 --> 00:22:12,600
Speaker 1: You're not You're gonna have zero joy here. It's just

457
00:22:12,640 --> 00:22:15,359
Speaker 1: a constant grind. And they will literally sit around and

458
00:22:15,400 --> 00:22:17,320
Speaker 1: be like, oh my god, I cannot wait to go

459
00:22:17,359 --> 00:22:18,320
Speaker 1: back to Daniel's house.

460
00:22:18,359 --> 00:22:19,040
Speaker 3: I cannot wait.

461
00:22:19,960 --> 00:22:22,960
Speaker 2: Good. I gave this again. My one of my friend's

462
00:22:23,000 --> 00:22:25,280
Speaker 2: kids need to visit this summer. And they were just

463
00:22:25,320 --> 00:22:27,200
Speaker 2: here for a couple hours. We just wanted to talk

464
00:22:27,200 --> 00:22:29,240
Speaker 2: and she was asking about the yard, like she was

465
00:22:29,359 --> 00:22:32,120
Speaker 2: very curious about the barn and like the yard, and

466
00:22:32,200 --> 00:22:33,720
Speaker 2: I was like, oh, walk around, but be careful of

467
00:22:33,760 --> 00:22:36,879
Speaker 2: the groundhog holes, you know, like look down where you're walking.

468
00:22:36,880 --> 00:22:39,320
Speaker 2: And so she was walking around. She's like, can I

469
00:22:39,320 --> 00:22:41,120
Speaker 2: climb this tree? And I'm like, yeah, climb the tree.

470
00:22:41,119 --> 00:22:43,240
Speaker 2: I don't care. And then she got she climbed the tree,

471
00:22:43,280 --> 00:22:45,040
Speaker 2: jump back down, and then she was like, do you

472
00:22:45,040 --> 00:22:46,840
Speaker 2: have like worms? And I'm like I don't know. And

473
00:22:46,880 --> 00:22:48,639
Speaker 2: I gave her a trowel and I'm like, start digging.

474
00:22:48,680 --> 00:22:50,879
Speaker 2: I don't know. So she was just digging in the

475
00:22:50,920 --> 00:22:53,399
Speaker 2: yard for like an hour, and my friends were like,

476
00:22:53,400 --> 00:22:54,920
Speaker 2: she's gonna make holes. And I'm like, have you seen

477
00:22:54,960 --> 00:22:57,960
Speaker 2: the size of the groundhogs here? She can't do anything

478
00:22:58,000 --> 00:23:00,639
Speaker 2: close to the damage those little motherfuckers have done. Just

479
00:23:00,680 --> 00:23:03,760
Speaker 2: dig a hole. Final worm. I don't care, dude.

480
00:23:03,920 --> 00:23:06,520
Speaker 1: I imagine like Your Place to a child is like

481
00:23:06,520 --> 00:23:09,280
Speaker 1: that movie My Life as a Dog where he like

482
00:23:10,680 --> 00:23:13,000
Speaker 1: he goes he goes to his aunt and uncle's house

483
00:23:13,000 --> 00:23:18,159
Speaker 1: and it's like this beautiful, you know, fun, sweetish happy

484
00:23:18,240 --> 00:23:21,919
Speaker 1: town where they're building like you know, a room to

485
00:23:21,960 --> 00:23:24,840
Speaker 1: listen to records out in the bar, and you know,

486
00:23:25,160 --> 00:23:28,440
Speaker 1: there's like all these characters and like, I mean, we're good.

487
00:23:28,560 --> 00:23:31,560
Speaker 1: That is so magical. That's like such a magical experience.

488
00:23:31,640 --> 00:23:34,880
Speaker 1: And then you know they, like I said, they're always

489
00:23:34,920 --> 00:23:37,560
Speaker 1: gonna remember it. They're always gonna want to go there,

490
00:23:37,880 --> 00:23:41,639
Speaker 1: to the point where maybe if when they become teenagers,

491
00:23:41,680 --> 00:23:45,000
Speaker 1: you might find a few people on your doorstep with

492
00:23:45,000 --> 00:23:48,720
Speaker 1: with sleeping bags and being like, I'm over it.

493
00:23:48,800 --> 00:23:52,879
Speaker 3: I'm coming to live here in the in the magical groundhog.

494
00:23:52,440 --> 00:23:57,159
Speaker 2: Land, where I can tag the walls and dig a grave,

495
00:24:01,240 --> 00:24:04,359
Speaker 2: or I can hop on a rope, swing and skateboard inside.

496
00:24:04,720 --> 00:24:07,199
Speaker 2: I mean, when I say this shit out loud, I'm like,

497
00:24:07,320 --> 00:24:09,479
Speaker 2: am I am I a deep like am I okay?

498
00:24:09,840 --> 00:24:11,719
Speaker 2: Am I? Okay? As a human being, like I just

499
00:24:12,080 --> 00:24:16,199
Speaker 2: let children do whatever they want in my house. My

500
00:24:16,280 --> 00:24:19,280
Speaker 2: niece was here. She's six, and she's very smart, and

501
00:24:19,520 --> 00:24:22,680
Speaker 2: she was looking at the photos on the wall and

502
00:24:22,840 --> 00:24:25,040
Speaker 2: I've been fighting with my brother, so I've been talking

503
00:24:25,040 --> 00:24:29,000
Speaker 2: to him lately, and that's her dad, and so I gave.

504
00:24:29,440 --> 00:24:31,960
Speaker 2: She was pointing at the pictures of us in high school,

505
00:24:31,960 --> 00:24:34,879
Speaker 2: like our high school photos that my grandma had me

506
00:24:34,920 --> 00:24:38,800
Speaker 2: put up for her, and she goes, oh, who's that

507
00:24:38,840 --> 00:24:41,520
Speaker 2: And I said that's your dad and she was like oh,

508
00:24:41,560 --> 00:24:43,800
Speaker 2: and I said, yep, that's your ugly father. And she

509
00:24:43,840 --> 00:24:46,080
Speaker 2: started laughing and she was like, my ugly father. And

510
00:24:46,119 --> 00:24:47,720
Speaker 2: I pointed up my picture and I'm like, I'm like,

511
00:24:47,760 --> 00:24:49,720
Speaker 2: who's this. She's like, that's you, and I said, yes,

512
00:24:49,720 --> 00:24:52,199
Speaker 2: that's your beautiful aunt Danielle. So we went back and

513
00:24:52,240 --> 00:24:54,160
Speaker 2: forth for a couple of minutes and then she called

514
00:24:54,160 --> 00:24:56,199
Speaker 2: her mom in the room and she pointed at the

515
00:24:56,200 --> 00:24:58,920
Speaker 2: picture and she goes, that's my ugly father and that's

516
00:24:58,960 --> 00:25:01,920
Speaker 2: my beautiful aunt and yell and her mom looked at

517
00:25:01,920 --> 00:25:06,160
Speaker 2: me like and I'm like, I don't know, I don't

518
00:25:06,160 --> 00:25:08,040
Speaker 2: know where she gets it from, but yes, that's what

519
00:25:08,040 --> 00:25:09,639
Speaker 2: we've been doing for the last twenty minutes, is me

520
00:25:09,680 --> 00:25:12,760
Speaker 2: teaching her to call her father ugly because I'm mad

521
00:25:12,800 --> 00:25:13,600
Speaker 2: at him. Right now.

522
00:25:14,160 --> 00:25:18,680
Speaker 1: Again, this is this is this is exactly how we're

523
00:25:18,680 --> 00:25:20,840
Speaker 1: supposed to be living. We're supposed to be doing this

524
00:25:22,480 --> 00:25:26,000
Speaker 1: as as women with no children of our own, but

525
00:25:26,040 --> 00:25:27,400
Speaker 1: with children in our family.

526
00:25:27,160 --> 00:25:27,719
Speaker 2: We are that.

527
00:25:27,920 --> 00:25:31,120
Speaker 1: We are the auntie. Okay, you're supposed to be saying it,

528
00:25:31,240 --> 00:25:32,600
Speaker 1: so all.

529
00:25:32,520 --> 00:25:34,360
Speaker 2: Right, I love my auntie role. I really love it.

530
00:25:34,400 --> 00:25:35,920
Speaker 2: I love it. I love And they come over and

531
00:25:35,920 --> 00:25:37,440
Speaker 2: they're like, can I read this book and I'm like yeah,

532
00:25:37,440 --> 00:25:40,040
Speaker 2: and my friends were like, I don't think a kid

533
00:25:40,119 --> 00:25:44,000
Speaker 2: should be reading like the Executioners song. I'm like, I

534
00:25:44,040 --> 00:25:45,520
Speaker 2: don't know. When I was a kid, I would just

535
00:25:45,520 --> 00:25:48,199
Speaker 2: go to the library and pick stuff out as long

536
00:25:48,200 --> 00:25:50,560
Speaker 2: as she's gonna understand it. She just wants to see

537
00:25:50,600 --> 00:25:52,439
Speaker 2: my shit, Like she doesn't want to actually read it.

538
00:25:52,440 --> 00:25:53,800
Speaker 2: She just wants to pick one of my books off

539
00:25:53,840 --> 00:25:56,240
Speaker 2: the shelf and like feel cool holding it.

540
00:25:56,560 --> 00:25:57,840
Speaker 3: Yeah.

541
00:25:57,880 --> 00:26:03,040
Speaker 1: Look, I mean I have watched Hoarders Buried Alive with

542
00:26:03,080 --> 00:26:08,359
Speaker 1: my nephews, Like, I have done some pretty questionable things,

543
00:26:08,520 --> 00:26:10,639
Speaker 1: and at a certain point, I'm just like I gotta

544
00:26:10,720 --> 00:26:13,400
Speaker 1: be the yin to the yang of your mind exactly.

545
00:26:13,640 --> 00:26:16,160
Speaker 3: So this is what's gonna happen if you don't like it.

546
00:26:16,520 --> 00:26:19,080
Speaker 1: I mean, I'm not doing anything crazy, but I'm just

547
00:26:19,119 --> 00:26:22,439
Speaker 1: saying in my world is a different world where absolutely

548
00:26:22,640 --> 00:26:25,680
Speaker 1: you know, now you will reference Hoarders Buried Alive when

549
00:26:25,680 --> 00:26:26,760
Speaker 1: it comes to your bedroom.

550
00:26:26,920 --> 00:26:27,199
Speaker 2: That's like.

551
00:26:27,280 --> 00:26:27,440
Speaker 1: Now.

552
00:26:27,480 --> 00:26:29,000
Speaker 3: The thing that they started.

553
00:26:28,680 --> 00:26:32,800
Speaker 1: Doing was that they start like, you know, they'll trash

554
00:26:32,840 --> 00:26:37,200
Speaker 1: the room and then you know they'll be like it's

555
00:26:37,240 --> 00:26:41,080
Speaker 1: like Hoarders Buried Alive in here, And I'm like, so Ethan.

556
00:26:42,320 --> 00:26:47,120
Speaker 2: Even say that that is the coolest you taught these

557
00:26:47,160 --> 00:26:51,159
Speaker 2: kids have to play at being hoarders. That's incredible.

558
00:26:51,520 --> 00:26:54,960
Speaker 1: I was like, do I wants the show without me?

559
00:26:56,080 --> 00:26:57,400
Speaker 2: Just don't reference this ever.

560
00:26:57,800 --> 00:27:00,520
Speaker 1: Don't tell anybody that I I sat in front of

561
00:27:00,560 --> 00:27:03,680
Speaker 1: this TV show, and don't reference it about anybody else.

562
00:27:04,080 --> 00:27:07,400
Speaker 2: No, it's a psychological condition. We have to respect it. Yes,

563
00:27:07,560 --> 00:27:09,199
Speaker 2: but with me, we can at least watch it and

564
00:27:09,280 --> 00:27:11,560
Speaker 2: learn about it. I know. I feel like, yes, come

565
00:27:11,600 --> 00:27:13,840
Speaker 2: to my house. You can hold a hatchet, you can

566
00:27:13,920 --> 00:27:16,159
Speaker 2: draw on the walls, you can skateboard upstairs, you can

567
00:27:16,160 --> 00:27:18,520
Speaker 2: dig into the yard. I don't care. I don't care.

568
00:27:18,920 --> 00:27:21,640
Speaker 1: Look I, like I said at the beginning, I think

569
00:27:21,720 --> 00:27:25,600
Speaker 1: that you are the only person that children should be

570
00:27:25,640 --> 00:27:28,919
Speaker 1: around and that and that is final. I've made my

571
00:27:28,960 --> 00:27:29,800
Speaker 1: final decision.

572
00:27:29,880 --> 00:27:33,520
Speaker 2: Well, I appreciate it. I am so looking forward to

573
00:27:33,640 --> 00:27:36,760
Speaker 2: volunteering again. Maybe I can teach a little kid like

574
00:27:36,880 --> 00:27:40,120
Speaker 2: devil Horns or something and have to listen to Metallica,

575
00:27:40,359 --> 00:27:45,960
Speaker 2: like the difference between Norwegian metal and Swedish metal, Like

576
00:27:46,000 --> 00:27:48,520
Speaker 2: I'll get back out there and really teach what I know.

577
00:27:50,080 --> 00:27:50,840
Speaker 3: I'm telling you.

578
00:27:51,000 --> 00:27:53,600
Speaker 1: It's I think that if I had my own kids,

579
00:27:53,640 --> 00:27:56,280
Speaker 1: they would be pretty much living with you at this point.

580
00:27:57,119 --> 00:28:00,080
Speaker 2: So I appreciate it, and I also think if this

581
00:28:00,119 --> 00:28:02,440
Speaker 2: is a story for another time, but we'll end here.

582
00:28:02,800 --> 00:28:05,359
Speaker 2: If you ever have a chance to teach a child

583
00:28:05,400 --> 00:28:08,320
Speaker 2: who's just learned how to talk and communicate, if you

584
00:28:08,320 --> 00:28:10,240
Speaker 2: have a chance to teach them about the man, you

585
00:28:10,240 --> 00:28:14,200
Speaker 2: should absolutely do it because they will look at every cop, firefighter,

586
00:28:15,080 --> 00:28:20,159
Speaker 2: park ranger and start calling them the man. And it's wonderful.

587
00:28:20,440 --> 00:28:23,080
Speaker 2: From my perspective. It cracks me up every time. I've

588
00:28:23,119 --> 00:28:26,280
Speaker 2: taught almost every child I know, like, who's that? That's

589
00:28:26,320 --> 00:28:30,840
Speaker 2: the man? What's the man? Dude? The man ruins our party.

590
00:28:33,880 --> 00:28:35,800
Speaker 2: And I had a friend who was like, I put

591
00:28:35,880 --> 00:28:37,760
Speaker 2: money in a parking meter and my kid asked me

592
00:28:37,800 --> 00:28:40,160
Speaker 2: if I was paying the man, like you have to stop,

593
00:28:41,680 --> 00:28:45,080
Speaker 2: and I was like, all right, I.

594
00:28:45,080 --> 00:28:46,480
Speaker 3: Don't see a problem at all.

595
00:28:46,800 --> 00:28:54,520
Speaker 1: Again, I don't see a problem speaking.

596
00:28:54,120 --> 00:28:56,760
Speaker 3: Of the man or maybe the woman.

597
00:28:57,840 --> 00:29:00,920
Speaker 2: I still can't believe this is our theme this week.

598
00:29:00,960 --> 00:29:03,520
Speaker 3: I can't either the theme this week.

599
00:29:04,000 --> 00:29:05,959
Speaker 2: It was definitely a group effort where we were just

600
00:29:05,960 --> 00:29:08,520
Speaker 2: making ourselves laugh and then we just stuck with it.

601
00:29:08,880 --> 00:29:15,440
Speaker 1: Yes, okay, so why don't you tell the folks what

602
00:29:15,480 --> 00:29:16,160
Speaker 1: our theme is.

603
00:29:16,840 --> 00:29:19,080
Speaker 2: I mean, thank you after I just spent twenty minutes

604
00:29:19,120 --> 00:29:22,280
Speaker 2: talking about how children are gonna listen to me on

605
00:29:22,280 --> 00:29:24,920
Speaker 2: this podcast and I won't be able to volunteer. Now,

606
00:29:24,920 --> 00:29:27,920
Speaker 2: I gotta say this theme and here, and I'm gonna

607
00:29:27,960 --> 00:29:36,360
Speaker 2: do it because I can't believe this is our all right,

608
00:29:36,440 --> 00:29:38,720
Speaker 2: I'm gonna get it together and tell you that our

609
00:29:38,760 --> 00:29:46,000
Speaker 2: theme this week is CEO Hunt on charge of Office.

610
00:29:48,320 --> 00:29:53,560
Speaker 3: My god, we like this? Why are we like this? Honestly?

611
00:29:53,840 --> 00:29:59,040
Speaker 1: Like so this so basically, you know, Danielle and I

612
00:29:59,240 --> 00:30:02,840
Speaker 1: really wanted to talk this week about the concept of

613
00:30:02,880 --> 00:30:05,400
Speaker 1: like the lady boss, right.

614
00:30:05,440 --> 00:30:07,760
Speaker 3: The woman in charge. And this is not.

615
00:30:07,720 --> 00:30:10,520
Speaker 1: Like a new concept. We talked about this in previous episodes,

616
00:30:10,520 --> 00:30:13,800
Speaker 1: but like, for whatever reason, we were like, let's talk

617
00:30:13,840 --> 00:30:17,640
Speaker 1: about like this particular thing, and then what are we

618
00:30:17,720 --> 00:30:20,520
Speaker 1: gonna call it? And then we just sort of gravitated

619
00:30:20,560 --> 00:30:22,920
Speaker 1: to the term CEO and then we're like, what could

620
00:30:22,960 --> 00:30:23,800
Speaker 1: CEO stand for?

621
00:30:23,880 --> 00:30:27,640
Speaker 3: And we're like cunt and charge of office.

622
00:30:28,120 --> 00:30:30,480
Speaker 2: I think it's the end that makes me laugh so

623
00:30:30,560 --> 00:30:34,840
Speaker 2: hard because it's like on Vogue.

624
00:30:36,680 --> 00:30:38,680
Speaker 3: Like the French the French.

625
00:30:38,320 --> 00:30:42,360
Speaker 2: Way exactly, but it's the fancy way of saying it

626
00:30:42,720 --> 00:30:43,800
Speaker 2: in charge of office.

627
00:30:44,120 --> 00:30:48,720
Speaker 1: Yeah, there's it's refined but filthy, which is like, oh

628
00:30:48,720 --> 00:30:52,080
Speaker 1: my god, probably our brand and also your your your

629
00:30:52,120 --> 00:30:54,239
Speaker 1: nephews if they ever ask you what the sea word is.

630
00:30:54,840 --> 00:30:56,600
Speaker 2: I don't find a problem with the sea word. I

631
00:30:56,600 --> 00:30:59,600
Speaker 2: think we are either a little bit too because I'm

632
00:30:59,600 --> 00:31:04,080
Speaker 2: not a per who likes to sugarcoat everything, and I

633
00:31:04,120 --> 00:31:06,400
Speaker 2: think some people really are cunts in the worst way

634
00:31:06,440 --> 00:31:08,760
Speaker 2: and in the best way. And I think depending on

635
00:31:08,760 --> 00:31:11,880
Speaker 2: where you come from culturally, this word has either already

636
00:31:11,920 --> 00:31:14,320
Speaker 2: made you turn this episode off or you're like, yeah,

637
00:31:14,360 --> 00:31:16,520
Speaker 2: I totally get it. But I will say this, if

638
00:31:16,520 --> 00:31:18,760
Speaker 2: you don't get it, don't listen. We don't need to hear.

639
00:31:18,880 --> 00:31:21,200
Speaker 2: Like we've got the whole cultural background of what it

640
00:31:21,240 --> 00:31:25,040
Speaker 2: means and how it can be perceived. You don't have

641
00:31:25,080 --> 00:31:27,440
Speaker 2: to tell us. If you don't like it, just stop listening.

642
00:31:27,480 --> 00:31:30,640
Speaker 2: It's fine. Yeah, but I think we're using it more

643
00:31:30,680 --> 00:31:36,360
Speaker 2: in that positive social way that it's been like reclaimed.

644
00:31:36,400 --> 00:31:38,160
Speaker 3: I guess, yes, that's how I felt.

645
00:31:38,560 --> 00:31:38,920
Speaker 2: Honestly.

646
00:31:39,000 --> 00:31:41,600
Speaker 3: Yeah, I don't have a problem with it.

647
00:31:41,720 --> 00:31:46,000
Speaker 1: Phonetically, I have more problem with the P word than

648
00:31:46,000 --> 00:31:47,840
Speaker 1: I do with the C word, if you know what I'm.

649
00:31:47,680 --> 00:31:51,040
Speaker 2: Saying, same same that meinally when it comes to like

650
00:31:51,920 --> 00:31:54,080
Speaker 2: well anything really, but especially when it comes to insults,

651
00:31:54,080 --> 00:31:57,800
Speaker 2: like I feel like we started like our insults socially

652
00:31:57,960 --> 00:32:01,560
Speaker 2: have become like we've taken the teeth out of them.

653
00:32:01,560 --> 00:32:03,800
Speaker 2: Like I don't want to call someone a karen, I

654
00:32:03,800 --> 00:32:05,120
Speaker 2: want to call him a cunt. I want to call

655
00:32:05,160 --> 00:32:07,800
Speaker 2: him a bitch. Yeah, Like that is acting like a

656
00:32:07,800 --> 00:32:10,479
Speaker 2: fucking asshole. Why can't I just say that? Look at

657
00:32:10,480 --> 00:32:13,200
Speaker 2: this fucking asshole the trader Joe's yelling at someone in.

658
00:32:13,160 --> 00:32:18,200
Speaker 1: Line exactly like it's punchy. I have no problem with

659
00:32:18,240 --> 00:32:20,840
Speaker 1: the word. Again, we know some people do. If it

660
00:32:20,880 --> 00:32:23,840
Speaker 1: ain't for you, turn the episode off. We'll see you

661
00:32:23,880 --> 00:32:26,760
Speaker 1: next week. But I'm just saying that, like, for our purposes,

662
00:32:27,320 --> 00:32:30,960
Speaker 1: it's that notion of like the female boss, the woman

663
00:32:31,040 --> 00:32:35,960
Speaker 1: in charge, who is you know, in the eyes of

664
00:32:36,000 --> 00:32:39,360
Speaker 1: the patriarchy, is a cunt, is a bitch? Is somebody

665
00:32:39,520 --> 00:32:43,280
Speaker 1: that you know, is you know, somebody to hate and

666
00:32:44,520 --> 00:32:47,440
Speaker 1: even hate more than a male boss sometimes, you know,

667
00:32:48,080 --> 00:32:50,880
Speaker 1: and women are often in that double bind situation where

668
00:32:50,880 --> 00:32:52,480
Speaker 1: it's like, Okay, we'll let you be in charge, but

669
00:32:52,520 --> 00:32:54,160
Speaker 1: we're gonna talk shit about you the whole time and

670
00:32:54,160 --> 00:32:58,520
Speaker 1: not respect you, and you're gonna be called a cunt anyway.

671
00:32:57,480 --> 00:32:58,040
Speaker 3: Right right.

672
00:32:58,440 --> 00:33:01,280
Speaker 1: And it's that concept too, of like the female boss

673
00:33:01,320 --> 00:33:02,840
Speaker 1: having to work twice as hard to be half as

674
00:33:02,840 --> 00:33:05,680
Speaker 1: good type of thing where there's all these expectations that

675
00:33:05,720 --> 00:33:08,520
Speaker 1: are floated onto women who are in charge of things.

676
00:33:09,040 --> 00:33:11,800
Speaker 1: And you know, I mean, we've seen this so much

677
00:33:12,000 --> 00:33:15,120
Speaker 1: like in the past, you know, freaking decade with like

678
00:33:16,120 --> 00:33:19,760
Speaker 1: politics and just social changes and stuff, and it's like,

679
00:33:20,280 --> 00:33:22,720
Speaker 1: I don't know, to me, I think that our movie

680
00:33:22,760 --> 00:33:27,400
Speaker 1: is this week are kind of different. First of all,

681
00:33:27,440 --> 00:33:30,000
Speaker 1: I have to say this, if you thought our theme

682
00:33:30,240 --> 00:33:31,960
Speaker 1: was Sterling Hayden.

683
00:33:32,200 --> 00:33:35,760
Speaker 2: It's not. Is both movies.

684
00:33:35,800 --> 00:33:37,280
Speaker 3: He is in both films.

685
00:33:38,360 --> 00:33:41,720
Speaker 1: It was a complete fucking accident. We We did not

686
00:33:41,800 --> 00:33:45,280
Speaker 1: plan that at all. But I think that, you know,

687
00:33:45,400 --> 00:33:49,360
Speaker 1: for one, like your movie an absolute classic and and

688
00:33:49,480 --> 00:33:51,480
Speaker 1: also a movie that you and I've talked about before.

689
00:33:51,520 --> 00:33:56,120
Speaker 3: We did this movie in Columbus when we were at

690
00:33:56,560 --> 00:33:58,760
Speaker 3: the wester Center, So I'm.

691
00:33:58,640 --> 00:34:01,000
Speaker 1: Excited to have to talk about it again. I haven't

692
00:34:01,000 --> 00:34:04,200
Speaker 1: seen it actually since then. But then with my film,

693
00:34:04,240 --> 00:34:07,080
Speaker 1: it's a it's a Western, but like you know, something

694
00:34:07,840 --> 00:34:11,760
Speaker 1: totally different but also fits into the theme. So I'm

695
00:34:12,000 --> 00:34:15,560
Speaker 1: I'm just really excited to explore this concept and to

696
00:34:15,600 --> 00:34:16,720
Speaker 1: talk about these movies.

697
00:34:17,000 --> 00:34:19,799
Speaker 2: And I am too. And I had not seen your

698
00:34:19,800 --> 00:34:21,880
Speaker 2: movie before, even though there's a huge poster of it

699
00:34:21,920 --> 00:34:24,200
Speaker 2: behind your head that I look at every time we record,

700
00:34:25,640 --> 00:34:27,880
Speaker 2: I had never seen it. And I'm like, this movie

701
00:34:27,920 --> 00:34:31,640
Speaker 2: is incredible, not just for the time, but still like

702
00:34:31,680 --> 00:34:35,080
Speaker 2: it is an incredible film, and I think very very

703
00:34:35,200 --> 00:34:39,640
Speaker 2: much indicative of this theme and my movie. Like, I

704
00:34:39,719 --> 00:34:43,840
Speaker 2: just I'm really excited to talk about how the power,

705
00:34:43,960 --> 00:34:47,080
Speaker 2: the dynamics of power and race and class play into

706
00:34:47,280 --> 00:34:50,640
Speaker 2: women's place in the world. And I just, I don't know,

707
00:34:50,640 --> 00:34:53,520
Speaker 2: I just I'm really I really like this as a

708
00:34:53,840 --> 00:34:59,000
Speaker 2: theme because I just kind of gravitate towards powerful women

709
00:34:59,080 --> 00:35:02,000
Speaker 2: in my life, and I like, you know, being more

710
00:35:02,040 --> 00:35:05,880
Speaker 2: aware of how we're culturally perceived. I think it's just

711
00:35:05,920 --> 00:35:08,640
Speaker 2: always interesting to me to see how we're culturally perceived.

712
00:35:09,040 --> 00:35:12,200
Speaker 1: Yeah, and the title will always be funny to us,

713
00:35:12,280 --> 00:35:14,279
Speaker 1: And if it's funny to nobody but us, I don't

714
00:35:14,280 --> 00:35:17,719
Speaker 1: give a shit. It is like, just looking at it

715
00:35:17,760 --> 00:35:20,560
Speaker 1: on this piece of paper right now is making me laugh.

716
00:35:20,760 --> 00:35:23,160
Speaker 2: So and that has been the case for the last

717
00:35:23,160 --> 00:35:25,680
Speaker 2: few weeks. We have just looked at it in meetings

718
00:35:25,800 --> 00:35:27,520
Speaker 2: or just like when we're recording me, like, what's coming

719
00:35:27,600 --> 00:35:31,239
Speaker 2: up next? Oh my god. Yes, it's just funny. It's

720
00:35:31,320 --> 00:35:33,359
Speaker 2: just funny. And I think it'll allow us to talk

721
00:35:33,360 --> 00:35:36,160
Speaker 2: about again it's that double bind, and it'll allow us

722
00:35:36,160 --> 00:35:40,120
Speaker 2: to talk about things in a more realistic way. I

723
00:35:40,120 --> 00:35:42,120
Speaker 2: think we just say the thing that people call us

724
00:35:42,120 --> 00:35:43,520
Speaker 2: anyway exactly.

725
00:35:44,360 --> 00:35:46,600
Speaker 3: Well, you're going first this week.

726
00:35:47,360 --> 00:35:50,800
Speaker 2: I am indeed. And my film was the highest grossing

727
00:35:50,840 --> 00:35:54,800
Speaker 2: comedy of nineteen eighty Wow. The screenplays by Colin Higgins

728
00:35:54,840 --> 00:35:58,160
Speaker 2: and Patricia Resnik. It was directed by Colin Higgins. And

729
00:35:58,239 --> 00:36:01,200
Speaker 2: my film is nine to If you.

730
00:36:01,280 --> 00:36:04,520
Speaker 1: Ever say another word about me or make another indecent proposal,

731
00:36:04,640 --> 00:36:05,440
Speaker 1: I'm gonna get that.

732
00:36:05,440 --> 00:36:07,640
Speaker 4: Gun of mine and I'm going to change you from

733
00:36:07,640 --> 00:36:09,320
Speaker 4: a rooster to a hand with one shot.

734
00:36:09,680 --> 00:36:12,560
Speaker 2: This movie had such a huge cultural impact and it

735
00:36:12,640 --> 00:36:15,640
Speaker 2: still does. There are so many things you could read

736
00:36:15,640 --> 00:36:17,719
Speaker 2: about it. I don't want to, you know, the list

737
00:36:17,760 --> 00:36:19,959
Speaker 2: is exhaustive. So if you are very interested in finding

738
00:36:19,960 --> 00:36:22,279
Speaker 2: out more about this movie, oral histories, et cetera. There's

739
00:36:22,280 --> 00:36:24,840
Speaker 2: so much out there. For you to find. There is

740
00:36:24,920 --> 00:36:27,000
Speaker 2: also and I'll talk about this in a bit, there's

741
00:36:27,040 --> 00:36:30,240
Speaker 2: also a documentary that came out recently called Still Working

742
00:36:30,320 --> 00:36:33,879
Speaker 2: nine to five MM, and it points out the kind

743
00:36:33,880 --> 00:36:36,960
Speaker 2: of the persistence of the issues that were expressed in

744
00:36:37,000 --> 00:36:40,439
Speaker 2: this film and how it hasn't really improved at all

745
00:36:40,840 --> 00:36:44,160
Speaker 2: since the time this film was released. So I'll give

746
00:36:44,160 --> 00:36:48,400
Speaker 2: you a one sentence synopsis because this cast is unfuck

747
00:36:48,440 --> 00:36:53,400
Speaker 2: with heable. So our one sentence synopsis is three secretaries,

748
00:36:53,600 --> 00:36:56,879
Speaker 2: sick of getting passed over in a gender discrimination lad

749
00:36:56,920 --> 00:37:01,200
Speaker 2: in office, shed their internalized misogyny, smoke a joint and

750
00:37:01,280 --> 00:37:04,440
Speaker 2: decide to settle for kidnapping their boss and improving the

751
00:37:04,480 --> 00:37:07,600
Speaker 2: workplace instead of going on a justified killing spree.

752
00:37:08,239 --> 00:37:11,759
Speaker 3: Yes, amazing, it is.

753
00:37:11,680 --> 00:37:14,000
Speaker 2: Such a good movie. It is so good. So this movie,

754
00:37:14,000 --> 00:37:19,440
Speaker 2: of course stars Jane Fonda is Judy, Lily Tomlin is Violet,

755
00:37:19,719 --> 00:37:23,080
Speaker 2: and Dolly Parton is Dora Ley Rhodes. Their absolute pig

756
00:37:23,200 --> 00:37:27,080
Speaker 2: of a boss is played to perfection by Dabney Coleman. Yes,

757
00:37:27,160 --> 00:37:30,520
Speaker 2: Sterling Hayden is in here as well, while you know

758
00:37:30,600 --> 00:37:32,520
Speaker 2: Peggy Pope is in here. I mean just it's got

759
00:37:32,560 --> 00:37:36,120
Speaker 2: like this really incredible list of actors, but the three

760
00:37:36,320 --> 00:37:40,160
Speaker 2: main actors in this film are bringing something so different

761
00:37:40,160 --> 00:37:43,960
Speaker 2: to each character. But it works, It absolutely works. And

762
00:37:44,000 --> 00:37:45,960
Speaker 2: this is in office. They're working for this guy named

763
00:37:45,960 --> 00:37:49,319
Speaker 2: Frank Hart, and you just get right into the motion

764
00:37:49,440 --> 00:37:51,839
Speaker 2: of it. And we're meeting Judy on her first day

765
00:37:51,840 --> 00:37:55,600
Speaker 2: at work, and Judy is kind of coming back to

766
00:37:55,600 --> 00:37:59,440
Speaker 2: the workforce. So to kind of place this film in

767
00:37:59,480 --> 00:38:02,759
Speaker 2: the culture moment in nineteen eighty and I know we've

768
00:38:02,800 --> 00:38:05,640
Speaker 2: talked about this before, this is like post second wave

769
00:38:05,680 --> 00:38:08,799
Speaker 2: feminism and a lot of women going back to the

770
00:38:08,840 --> 00:38:13,360
Speaker 2: workforce after either having raised children or you know, not

771
00:38:13,480 --> 00:38:15,640
Speaker 2: been in the workforce for a long time because they

772
00:38:15,680 --> 00:38:17,640
Speaker 2: were you know, raising families or just you know, being

773
00:38:17,680 --> 00:38:20,320
Speaker 2: married and that was their focus. So you have a

774
00:38:20,360 --> 00:38:22,520
Speaker 2: lot of women coming back to the workforce and a

775
00:38:22,560 --> 00:38:24,719
Speaker 2: lot of cities and really all over, but in this film,

776
00:38:24,760 --> 00:38:27,400
Speaker 2: we particularly focus on the city life, the city aspect

777
00:38:27,440 --> 00:38:31,400
Speaker 2: of it, and they're not really treated with a tremendous

778
00:38:31,440 --> 00:38:34,280
Speaker 2: amount of respect and they're not really given a tremendous

779
00:38:34,320 --> 00:38:38,959
Speaker 2: amount of pay even though they have an extraordinary amount

780
00:38:39,000 --> 00:38:42,359
Speaker 2: of responsibilities. So we meet Judy on her first day

781
00:38:42,400 --> 00:38:49,719
Speaker 2: starting at this company and Dora Lee is Frank's secretary.

782
00:38:50,840 --> 00:38:54,160
Speaker 2: Violet kind of runs all the secretaries and then Judy's

783
00:38:54,200 --> 00:38:58,560
Speaker 2: just starting. Now. I want you to imagine for a moment,

784
00:38:59,239 --> 00:39:01,759
Speaker 2: starting a job and not knowing what your salary is.

785
00:39:02,560 --> 00:39:04,520
Speaker 3: Oh my god, can.

786
00:39:04,400 --> 00:39:07,319
Speaker 2: You even imagine that? This is where we were?

787
00:39:07,760 --> 00:39:10,960
Speaker 3: Yeah, no, this is exactly like what I was thinking too.

788
00:39:11,560 --> 00:39:15,160
Speaker 1: Was just sort of like just wanting the job, you know,

789
00:39:15,280 --> 00:39:17,240
Speaker 1: but not knowing how much it paid.

790
00:39:18,040 --> 00:39:20,879
Speaker 3: That's how desperate she was, right, Yeah, this.

791
00:39:20,880 --> 00:39:24,000
Speaker 2: Is why I give little girls twenty bucks in a hatchet.

792
00:39:24,000 --> 00:39:27,880
Speaker 2: And I'm like, you better learn how to negotiate so

793
00:39:27,960 --> 00:39:30,960
Speaker 2: you don't start your first job at fucking dunkin Donuts

794
00:39:30,960 --> 00:39:32,319
Speaker 2: and you're like, I don't even know how much I'm

795
00:39:32,320 --> 00:39:34,600
Speaker 2: getting paid. Like, by the time I'm done with these kids,

796
00:39:34,640 --> 00:39:36,400
Speaker 2: they're gonna know what fika means. They're gonna know what

797
00:39:36,440 --> 00:39:39,360
Speaker 2: a net and agrosses like, know how to read your paycheck,

798
00:39:39,400 --> 00:39:41,759
Speaker 2: know how to pay your taxes. So, yeah, Judy start,

799
00:39:41,800 --> 00:39:43,680
Speaker 2: she doesn't know what her salary is. She's just excited

800
00:39:43,719 --> 00:39:45,919
Speaker 2: to get me getting paid. And as we're going through

801
00:39:45,920 --> 00:39:48,480
Speaker 2: the motion of the office and Violet's kind of leading

802
00:39:48,520 --> 00:39:51,960
Speaker 2: her through what the office life is we get to

803
00:39:52,000 --> 00:39:54,560
Speaker 2: see that Door Lee is a real bone of contention

804
00:39:54,640 --> 00:39:56,799
Speaker 2: in the office because she's Dolly Parton, so she's like

805
00:39:56,880 --> 00:40:01,359
Speaker 2: tiny and gorgeous, and everyone assume that she and Frank

806
00:40:01,400 --> 00:40:04,440
Speaker 2: are having an affair, right, And this is the internalized

807
00:40:04,440 --> 00:40:08,799
Speaker 2: misogyny that I lightly referenced in the one sentence. This

808
00:40:08,880 --> 00:40:11,680
Speaker 2: is something that I think is a fallacy that has

809
00:40:11,760 --> 00:40:14,000
Speaker 2: pushed upon women in the workplace, is that we're all

810
00:40:14,000 --> 00:40:18,040
Speaker 2: in competition with each other yep, instead of oh no,

811
00:40:18,239 --> 00:40:22,200
Speaker 2: I'm in competition with myself and the dude who's getting

812
00:40:22,200 --> 00:40:25,000
Speaker 2: paid more than me for doing the same job. Right, Like,

813
00:40:25,280 --> 00:40:27,480
Speaker 2: in these spaces, they're still doing everything they can to

814
00:40:27,560 --> 00:40:31,400
Speaker 2: keep us relegated to these small spaces so that we

815
00:40:31,400 --> 00:40:33,839
Speaker 2: don't see the bigger picture of how we're all being

816
00:40:33,880 --> 00:40:37,279
Speaker 2: fucked over by like three guys. And the flip side

817
00:40:37,280 --> 00:40:39,799
Speaker 2: of that, of course, being that Dora Lee is just

818
00:40:39,840 --> 00:40:43,920
Speaker 2: being straight up sexually harassed, yes, and then has like

819
00:40:44,160 --> 00:40:46,719
Speaker 2: no one to turn to because everyone is like, ugh,

820
00:40:46,760 --> 00:40:48,520
Speaker 2: look at her, what a tramp, And she's like, I'm

821
00:40:48,520 --> 00:40:51,440
Speaker 2: actually being harassed. I'm not inviting any of this. I'm married,

822
00:40:51,520 --> 00:40:53,439
Speaker 2: Like I don't want this dude touching me. I don't

823
00:40:53,480 --> 00:40:57,400
Speaker 2: want this dude relegating me to my physical properties for

824
00:40:57,840 --> 00:41:01,319
Speaker 2: this job. So it's really I think the movie does

825
00:41:01,320 --> 00:41:04,760
Speaker 2: a really good job of showcasing that how the dynamic

826
00:41:04,840 --> 00:41:06,960
Speaker 2: was originally set up in this office, which was like

827
00:41:07,080 --> 00:41:11,239
Speaker 2: everyone was upset and sad and anxious and felt like

828
00:41:11,280 --> 00:41:13,560
Speaker 2: they were in competition with each other and there was

829
00:41:13,600 --> 00:41:18,080
Speaker 2: no unity because of one dude who fostered that environment.

830
00:41:18,440 --> 00:41:21,360
Speaker 2: One dude. I think what's also interesting is they actually

831
00:41:21,360 --> 00:41:23,880
Speaker 2: have like a plant in this movie in the form

832
00:41:23,920 --> 00:41:27,160
Speaker 2: of Roz, who speaks more to what you were just saying,

833
00:41:27,320 --> 00:41:29,960
Speaker 2: which is like, this is a woman who's actively spying

834
00:41:30,120 --> 00:41:32,759
Speaker 2: on other women in the office to report back to

835
00:41:32,800 --> 00:41:35,320
Speaker 2: Frank so that she can get the accolade she deserves

836
00:41:35,640 --> 00:41:38,120
Speaker 2: and get her promotions, and like her own personal gain

837
00:41:38,400 --> 00:41:42,319
Speaker 2: is yeah, hard won by spying on other women in

838
00:41:42,360 --> 00:41:43,120
Speaker 2: the office.

839
00:41:43,440 --> 00:41:45,960
Speaker 1: Yeah, that character, the Ross character, to me, is the

840
00:41:45,960 --> 00:41:49,400
Speaker 1: most fucked up if I'm honest, And this is just

841
00:41:49,440 --> 00:41:52,800
Speaker 1: based on experiences that I've had, Like in the workplace,

842
00:41:52,920 --> 00:41:56,040
Speaker 1: she like sits there on the toilet and takes notes

843
00:41:56,080 --> 00:42:01,480
Speaker 1: on toilet paper when other women are talking shit about

844
00:42:01,520 --> 00:42:02,480
Speaker 1: her boss.

845
00:42:02,520 --> 00:42:05,359
Speaker 3: And I'm just like that is right. So that is

846
00:42:05,400 --> 00:42:06,160
Speaker 3: so backwards.

847
00:42:06,480 --> 00:42:06,520
Speaker 4: Ugh.

848
00:42:07,280 --> 00:42:09,040
Speaker 2: And we've seen the same thing in Working Girl and

849
00:42:09,040 --> 00:42:12,160
Speaker 2: in a weird flipped way where Sigourney Weaver takes you know,

850
00:42:12,560 --> 00:42:15,319
Speaker 2: Melanie Griffith's idea and passes it off as her own

851
00:42:15,360 --> 00:42:17,799
Speaker 2: because she wants her male bosses to think that she's

852
00:42:17,840 --> 00:42:20,040
Speaker 2: on top of shit and she's got you know, she

853
00:42:20,120 --> 00:42:23,680
Speaker 2: deserves a job she has. Like it's just perpetuates itself

854
00:42:23,680 --> 00:42:26,879
Speaker 2: when you go down that road. And this is also

855
00:42:26,920 --> 00:42:29,719
Speaker 2: a world where, like Heart admits when he first meets

856
00:42:29,760 --> 00:42:32,239
Speaker 2: Judy and they're talking about the office, he admits that

857
00:42:32,360 --> 00:42:34,759
Speaker 2: Violet knows more than anyone in the office and knows

858
00:42:34,760 --> 00:42:37,680
Speaker 2: more than he does. And then he relegates her to

859
00:42:37,719 --> 00:42:40,000
Speaker 2: going to get his coffee and go shopping for a

860
00:42:40,040 --> 00:42:43,120
Speaker 2: gift for his wife. Yeah, and he steals her idea

861
00:42:43,120 --> 00:42:45,680
Speaker 2: about like color coding the files, like he knows she's

862
00:42:45,960 --> 00:42:48,640
Speaker 2: he keeps her around to be smart so that he

863
00:42:48,719 --> 00:42:52,680
Speaker 2: can personally benefit from it. And so like the roses

864
00:42:52,719 --> 00:42:54,600
Speaker 2: and violence of the world kind of work in tandem

865
00:42:54,640 --> 00:42:55,239
Speaker 2: in a weird way.

866
00:42:55,560 --> 00:42:58,640
Speaker 1: Yeah, And I mean it's like it's bone chilling when

867
00:42:58,880 --> 00:43:01,800
Speaker 1: Violet's like, oh yeah, yeah, I taught him everything he knows.

868
00:43:01,840 --> 00:43:02,960
Speaker 3: I trained him.

869
00:43:03,200 --> 00:43:04,200
Speaker 2: I trained him.

870
00:43:04,600 --> 00:43:06,920
Speaker 1: Uh yeah, and now he's her boss and I'm just like,

871
00:43:06,960 --> 00:43:13,719
Speaker 1: that is so fucked, but sadly a fucking reality still.

872
00:43:14,040 --> 00:43:18,480
Speaker 2: Super common, Yes, super common. And what it's usually referred

873
00:43:18,480 --> 00:43:20,440
Speaker 2: to as, or what it used to be referred to as,

874
00:43:20,560 --> 00:43:22,880
Speaker 2: is that these are women who are kind of wearing

875
00:43:22,880 --> 00:43:25,360
Speaker 2: the pink collar. Sometimes it's called the pink collar ghetto,

876
00:43:25,600 --> 00:43:29,120
Speaker 2: which is basically just like low paying, low mobility jobs

877
00:43:29,480 --> 00:43:31,879
Speaker 2: that are dominated by women, the kind of the It's

878
00:43:31,920 --> 00:43:34,600
Speaker 2: been around for a while, but the Louise Cap kind

879
00:43:34,600 --> 00:43:38,080
Speaker 2: of popularized the notion in the seventies. And there's there

880
00:43:38,080 --> 00:43:39,839
Speaker 2: are a couple of cool books if you're at all

881
00:43:39,880 --> 00:43:44,200
Speaker 2: interested in this topic. Breaking Out of the Pink Collar Ghetto,

882
00:43:44,360 --> 00:43:48,240
Speaker 2: Policy Solutions for Non College Women by Sharon Mustracci and

883
00:43:48,360 --> 00:43:51,759
Speaker 2: the Feminization of Poverty by Karen Stallard, Barbara Aaron Reich

884
00:43:51,800 --> 00:43:53,680
Speaker 2: and Holly scar came out in nineteen eighty three. It's

885
00:43:53,719 --> 00:43:56,759
Speaker 2: great book. And this Doing research for this movie made

886
00:43:56,760 --> 00:43:59,440
Speaker 2: me misteaching so much. I's a hug this shit, and

887
00:43:59,480 --> 00:44:01,480
Speaker 2: I loved it and I just miss maybe I could

888
00:44:01,480 --> 00:44:03,280
Speaker 2: be a teacher again. That's how it can get to kids.

889
00:44:04,680 --> 00:44:08,960
Speaker 1: Hello, go now, stop press stop right now and go

890
00:44:09,000 --> 00:44:11,600
Speaker 1: apply for a job at the local university.

891
00:44:11,760 --> 00:44:12,319
Speaker 3: You'd be great.

892
00:44:12,360 --> 00:44:14,719
Speaker 2: Oh good, I would love it. And I think that

893
00:44:15,200 --> 00:44:17,000
Speaker 2: the reason that this is interesting to me is that

894
00:44:17,040 --> 00:44:19,919
Speaker 2: we all have heard of this. Most people have heard

895
00:44:19,960 --> 00:44:23,480
Speaker 2: by now of the wage gap and how women earn

896
00:44:23,560 --> 00:44:26,160
Speaker 2: less than men. We're earning, you know, pennies on the

897
00:44:26,200 --> 00:44:29,680
Speaker 2: dollar in some cases compared to men for the same work.

898
00:44:30,880 --> 00:44:32,920
Speaker 2: But that also I don't think most people are aware

899
00:44:33,520 --> 00:44:35,440
Speaker 2: because this is a movie that starts three white women.

900
00:44:35,920 --> 00:44:40,000
Speaker 2: The wage gap differs by race, by education level, but

901
00:44:40,120 --> 00:44:43,480
Speaker 2: it's always still less than what men earn. So yeah,

902
00:44:43,520 --> 00:44:45,800
Speaker 2: a lot of women, are women of color, are affected

903
00:44:45,840 --> 00:44:49,080
Speaker 2: by the bias of like the types of jobs they work,

904
00:44:50,080 --> 00:44:54,759
Speaker 2: the hours they work, like all different levels of discrimination. Basically,

905
00:44:54,920 --> 00:45:00,520
Speaker 2: it's like women are also disproportionately represented in the service

906
00:45:00,560 --> 00:45:05,520
Speaker 2: and care industry, so nursing, janitorial, cashier, customer, service reps,

907
00:45:05,680 --> 00:45:09,920
Speaker 2: the jobs that we don't consider high skill and high earning,

908
00:45:10,160 --> 00:45:12,879
Speaker 2: but who are doing most of the work to keep

909
00:45:12,880 --> 00:45:16,520
Speaker 2: our culture going and to keep our society going. So

910
00:45:16,680 --> 00:45:21,200
Speaker 2: in terms of the wage gap itself, it's basically if

911
00:45:21,239 --> 00:45:23,239
Speaker 2: you look at a dollar bill, Like a white guy

912
00:45:23,280 --> 00:45:25,640
Speaker 2: is doing the same job as you, he earns a dollar.

913
00:45:26,160 --> 00:45:28,439
Speaker 2: White women earn eighty three cents for the same job.

914
00:45:29,440 --> 00:45:34,200
Speaker 2: Black women earn sixty four cents. Multiracial Asian women and

915
00:45:34,239 --> 00:45:37,839
Speaker 2: Asian women usually earn about a dollar, so they're the

916
00:45:37,880 --> 00:45:41,080
Speaker 2: only ones that are comparable. Right now, Native American women

917
00:45:41,080 --> 00:45:44,520
Speaker 2: are earning sixty cents to every man's dollar, and LATINX

918
00:45:44,560 --> 00:45:49,160
Speaker 2: women are earning fifty seven cents on the dollar, and

919
00:45:49,200 --> 00:45:52,520
Speaker 2: that comes from the twenty twenty census and some information

920
00:45:52,560 --> 00:45:57,759
Speaker 2: I pulled from the American Americanprogress dot org site. But

921
00:45:57,840 --> 00:46:02,680
Speaker 2: also consider the pandemic saw a rise in women quitting

922
00:46:02,719 --> 00:46:06,360
Speaker 2: the workforce to be caretakers. So those numbers are probably

923
00:46:06,400 --> 00:46:10,080
Speaker 2: much more abysmal now. And so the movie is funny,

924
00:46:10,800 --> 00:46:14,080
Speaker 2: but it doesn't ignore the anger and you know, the

925
00:46:14,120 --> 00:46:16,239
Speaker 2: kind of the rage that these women feel, and that

926
00:46:16,280 --> 00:46:18,759
Speaker 2: women feel in general in the workspace, because as hard

927
00:46:18,760 --> 00:46:22,279
Speaker 2: as you're working, and as much as you're relegated to work,

928
00:46:22,719 --> 00:46:24,960
Speaker 2: working in your job and then going home and being

929
00:46:24,960 --> 00:46:28,200
Speaker 2: the primary person who's caring for your home and your family,

930
00:46:29,040 --> 00:46:35,200
Speaker 2: you're earning sometimes up to forty cents less than men. Yeah,

931
00:46:35,400 --> 00:46:39,200
Speaker 2: and the main reason given for paying men more is

932
00:46:39,239 --> 00:46:42,000
Speaker 2: because in the past, at least it's been well, they're

933
00:46:42,040 --> 00:46:44,360
Speaker 2: the breadwinners of the family, so if they have to

934
00:46:44,360 --> 00:46:45,879
Speaker 2: take care of the wife and kids and we should

935
00:46:45,920 --> 00:46:47,799
Speaker 2: pay them more. That's no longer the case, and it

936
00:46:47,800 --> 00:46:50,520
Speaker 2: hasn't been the case for a very long time. So

937
00:46:50,560 --> 00:46:52,839
Speaker 2: this system is perpetuated just because it was put in

938
00:46:52,880 --> 00:46:56,240
Speaker 2: place by men, and then they just keep the system

939
00:46:56,280 --> 00:46:59,360
Speaker 2: going because they want to earn more money. Right truly,

940
00:46:59,440 --> 00:47:01,200
Speaker 2: like when you really look at the numbers and the

941
00:47:01,200 --> 00:47:04,719
Speaker 2: facts and the figures, there is no reason to pay

942
00:47:04,760 --> 00:47:09,200
Speaker 2: someone less for the same job other than misogyny in

943
00:47:09,239 --> 00:47:18,000
Speaker 2: the patriarchy. Wow, dude, I know not that bummer.

944
00:47:18,040 --> 00:47:21,360
Speaker 3: Note bye and the podcast see on next week.

945
00:47:23,440 --> 00:47:25,359
Speaker 2: But I do think that what the movie does well,

946
00:47:25,400 --> 00:47:27,839
Speaker 2: and again considering that it came out in nineteen eighty

947
00:47:27,960 --> 00:47:31,480
Speaker 2: especially and that it's still so relevant, is it highlights

948
00:47:31,520 --> 00:47:33,840
Speaker 2: all of these issues. But it does it in the

949
00:47:33,840 --> 00:47:37,480
Speaker 2: way that it's from the women's perspective because instead of

950
00:47:37,560 --> 00:47:39,520
Speaker 2: questioning like why do they take these jobs and why

951
00:47:39,600 --> 00:47:41,839
Speaker 2: do they do this, you're fully invested in what their

952
00:47:41,880 --> 00:47:44,080
Speaker 2: lives are. Like Violet has kids, she has to take

953
00:47:44,080 --> 00:47:46,360
Speaker 2: care of you know, Dori Ley and her husband have

954
00:47:46,480 --> 00:47:48,560
Speaker 2: their own dreams and goals. Judy is going back to

955
00:47:48,560 --> 00:47:51,960
Speaker 2: work for specific reasons. They're all there because they need

956
00:47:52,120 --> 00:47:55,759
Speaker 2: to work. Nobody has the luxury of not working, right,

957
00:47:56,560 --> 00:47:59,120
Speaker 2: and so we can't put the blame on them for

958
00:47:59,160 --> 00:48:01,799
Speaker 2: taking these shit jobs. You know, we have to start

959
00:48:01,800 --> 00:48:04,880
Speaker 2: putting the blame, both in this movie and in real life,

960
00:48:05,320 --> 00:48:08,640
Speaker 2: on the culture that perpetuates forcing women to take jobs

961
00:48:09,080 --> 00:48:11,359
Speaker 2: where they're going to be paid less because they need

962
00:48:11,400 --> 00:48:11,759
Speaker 2: to work.

963
00:48:12,680 --> 00:48:14,919
Speaker 1: Yeah, And it's like and part of like what I think,

964
00:48:15,080 --> 00:48:17,360
Speaker 1: I mean, I mean this this movie is brilliant because

965
00:48:17,360 --> 00:48:21,960
Speaker 1: it's like there's so many like funny, like you know,

966
00:48:22,680 --> 00:48:25,200
Speaker 1: huge comedic moments in the film.

967
00:48:24,960 --> 00:48:27,400
Speaker 3: But the the the bones.

968
00:48:27,000 --> 00:48:31,040
Speaker 1: Of it, the structure of it is super timely and

969
00:48:31,400 --> 00:48:35,719
Speaker 1: important and political. And I mean the thing about the

970
00:48:36,200 --> 00:48:38,759
Speaker 1: the they're not even allowed to have a coffee cup

971
00:48:38,800 --> 00:48:43,200
Speaker 1: on their desk, right, you know personal Yeah, nothing personal

972
00:48:43,280 --> 00:48:45,880
Speaker 1: on their desks. They're not allowed to like have joy

973
00:48:46,080 --> 00:48:49,560
Speaker 1: in their office. Like there's no flexibility with the schedules,

974
00:48:49,680 --> 00:48:53,759
Speaker 1: with the childcare, with anything and it. You know, it's

975
00:48:53,760 --> 00:48:56,560
Speaker 1: all in this like effort to be efficient and to

976
00:48:56,640 --> 00:48:59,359
Speaker 1: make money and all this stuff and it's it's just

977
00:48:59,560 --> 00:49:03,640
Speaker 1: really becomes like, you know, obviously this big sort of

978
00:49:03,760 --> 00:49:10,080
Speaker 1: like message about capitalism and how capitalism just doesn't treat

979
00:49:10,520 --> 00:49:17,480
Speaker 1: workers period in ways where they're respected, but women especially.

980
00:49:17,239 --> 00:49:22,600
Speaker 2: Absolutely, and it really impacts me personally to know this

981
00:49:22,760 --> 00:49:25,439
Speaker 2: information and to see how capitalism works in this way

982
00:49:25,520 --> 00:49:28,080
Speaker 2: and to see from a young from a young kid

983
00:49:28,120 --> 00:49:30,120
Speaker 2: when I was watching this movie and other movies like,

984
00:49:30,160 --> 00:49:33,320
Speaker 2: to see how this plays out has impacted me because

985
00:49:33,320 --> 00:49:36,520
Speaker 2: I am now a boss and as a show runner,

986
00:49:37,160 --> 00:49:39,440
Speaker 2: I've worked in let me just say this, How do

987
00:49:39,480 --> 00:49:43,320
Speaker 2: I say this without ruining my career? So as a

988
00:49:43,320 --> 00:49:46,000
Speaker 2: as a showrunner, I've been in you know, as a writer,

989
00:49:46,040 --> 00:49:48,839
Speaker 2: I've been in several rooms, several writing writing writers rooms,

990
00:49:49,360 --> 00:49:52,160
Speaker 2: and I will say that, no matter how much I

991
00:49:52,280 --> 00:49:54,560
Speaker 2: like the project or enjoy the people I'm working with,

992
00:49:54,880 --> 00:49:58,279
Speaker 2: when I'm in rooms by for shows that are run

993
00:49:58,320 --> 00:50:03,160
Speaker 2: by men, where you usually working much longer hours. You know,

994
00:50:03,239 --> 00:50:06,600
Speaker 2: we're working twelve to fourteen hours a day because they

995
00:50:06,600 --> 00:50:10,600
Speaker 2: don't want to go home to their families. We're usually

996
00:50:10,680 --> 00:50:14,719
Speaker 2: working much longer hours. There's usually a lack of care

997
00:50:14,840 --> 00:50:19,560
Speaker 2: given to you know, need for rest or recovery, it's

998
00:50:19,640 --> 00:50:22,279
Speaker 2: usually more a much more punishing schedule. I will just

999
00:50:22,280 --> 00:50:25,080
Speaker 2: say that as a blanket statement, much more punishing schedule,

1000
00:50:25,520 --> 00:50:30,520
Speaker 2: and there's not really a focus on teaching. It's more

1001
00:50:30,520 --> 00:50:33,680
Speaker 2: of a focus on here's what I know, So we're

1002
00:50:33,680 --> 00:50:36,040
Speaker 2: going to do it this way instead of we're in

1003
00:50:36,080 --> 00:50:37,799
Speaker 2: a space where we could all learn from each other,

1004
00:50:39,000 --> 00:50:41,960
Speaker 2: and if anyone wants to learn what I know, then

1005
00:50:42,280 --> 00:50:45,600
Speaker 2: I'm here for that for that. So the last couple

1006
00:50:45,640 --> 00:50:48,640
Speaker 2: of shows that I've run, I've had feedback from writers

1007
00:50:48,760 --> 00:50:50,560
Speaker 2: who have said to me, like, this is the most

1008
00:50:50,640 --> 00:50:54,520
Speaker 2: humane experience I've ever had in this business, because if

1009
00:50:54,760 --> 00:50:57,520
Speaker 2: you know, we're usually working remote. If I'm running a room,

1010
00:50:58,000 --> 00:50:59,560
Speaker 2: you don't have to live in Los Angeles to have

1011
00:50:59,560 --> 00:51:02,080
Speaker 2: a TV career. As far as I'm concerned. You don't

1012
00:51:02,080 --> 00:51:03,840
Speaker 2: have to live in LA in New York. It's absurd.

1013
00:51:03,840 --> 00:51:06,040
Speaker 2: They're the two most expensive places in the world to live.

1014
00:51:06,280 --> 00:51:08,400
Speaker 2: If you're a great writer and you live in Nebraska,

1015
00:51:08,440 --> 00:51:10,520
Speaker 2: you should have a shot to be in this industry.

1016
00:51:11,280 --> 00:51:15,319
Speaker 2: So we do it remote, and I usually work. You know,

1017
00:51:15,360 --> 00:51:18,240
Speaker 2: we're on zoom, so my own personal capacity for looking

1018
00:51:18,239 --> 00:51:21,040
Speaker 2: at people on a video screen usually taps out at

1019
00:51:21,040 --> 00:51:25,120
Speaker 2: five hours, So we work for five hours on Zoom

1020
00:51:25,280 --> 00:51:27,960
Speaker 2: with a lunch break in between, so it's really four hours,

1021
00:51:28,239 --> 00:51:30,560
Speaker 2: and then I assign homework. So I'm like, you know,

1022
00:51:30,760 --> 00:51:33,640
Speaker 2: there's some questions for tomorrow, some things to consider, because

1023
00:51:33,640 --> 00:51:37,319
Speaker 2: as a creative person, you need time to think. That

1024
00:51:37,400 --> 00:51:39,640
Speaker 2: is an important part of the job. You need time

1025
00:51:39,680 --> 00:51:42,400
Speaker 2: to develop the story. And instead of wasting our time

1026
00:51:43,000 --> 00:51:45,640
Speaker 2: fighting in the room about ideas the way men like

1027
00:51:45,719 --> 00:51:47,960
Speaker 2: to do so just so they can have pull a

1028
00:51:48,040 --> 00:51:51,080
Speaker 2: power play and say we're going with this, I say,

1029
00:51:51,160 --> 00:51:55,600
Speaker 2: let's do this more collaboratively. Hasn't It has resulted in

1030
00:51:55,960 --> 00:52:00,520
Speaker 2: faster script turnaround, less conflict of story, less inflict in

1031
00:52:00,600 --> 00:52:04,759
Speaker 2: production because I simply treat people like human beings. I'm like,

1032
00:52:04,800 --> 00:52:07,120
Speaker 2: I want you to be able to take your children

1033
00:52:07,280 --> 00:52:09,080
Speaker 2: to doctor's appointments. I want you to be able to

1034
00:52:09,080 --> 00:52:12,680
Speaker 2: go to doctor's appointments. I want if we're ever going

1035
00:52:12,719 --> 00:52:16,160
Speaker 2: to work later outside of the hours that I have outlined,

1036
00:52:17,000 --> 00:52:19,040
Speaker 2: I will give you three days notice, so you can,

1037
00:52:19,320 --> 00:52:22,680
Speaker 2: you know, get care caretakers, or you know, adjust your

1038
00:52:22,680 --> 00:52:25,480
Speaker 2: own schedule. So I can't cause I cannot tell you

1039
00:52:25,480 --> 00:52:27,880
Speaker 2: how many times I've gone into a writer's room and

1040
00:52:27,920 --> 00:52:29,719
Speaker 2: I'm like, thank god, we're gonna be done at six,

1041
00:52:29,760 --> 00:52:31,400
Speaker 2: and the I'm like, we're going till ten And I'm like, what,

1042
00:52:34,160 --> 00:52:36,439
Speaker 2: I was gonna go grocery shopping tonight? What do you mean?

1043
00:52:37,080 --> 00:52:40,200
Speaker 2: So it's small things that to me feel common sense

1044
00:52:40,360 --> 00:52:45,200
Speaker 2: and small have actually impacted the lives of my writers

1045
00:52:45,239 --> 00:52:47,319
Speaker 2: in a very positive way. And one didn't even called

1046
00:52:47,320 --> 00:52:49,480
Speaker 2: me crying one day and she was like, I just

1047
00:52:49,520 --> 00:52:51,960
Speaker 2: can't believe how nice this is. Like it's just so

1048
00:52:52,120 --> 00:52:55,359
Speaker 2: nice to work for a woman who gets it. Yeah,

1049
00:52:55,440 --> 00:52:57,880
Speaker 2: and you know, because I'm like, you don't have to

1050
00:52:59,040 --> 00:53:02,120
Speaker 2: like your adults. You're competent adults, you're talented. I already

1051
00:53:02,120 --> 00:53:03,440
Speaker 2: know you can do the job. You're not here to

1052
00:53:03,480 --> 00:53:05,440
Speaker 2: prove you can do this job. We're just here to

1053
00:53:05,440 --> 00:53:08,600
Speaker 2: get stuff done. And so it just created a more

1054
00:53:08,640 --> 00:53:10,920
Speaker 2: open and free flowing environment. And it felt to me

1055
00:53:11,080 --> 00:53:13,040
Speaker 2: very nine to five ish because I'm like, this is

1056
00:53:13,600 --> 00:53:15,960
Speaker 2: the difference that we can see. And my producers would

1057
00:53:16,000 --> 00:53:19,080
Speaker 2: always say like, this is like we've never worked with

1058
00:53:19,080 --> 00:53:20,719
Speaker 2: someone like this before. And this is again not to

1059
00:53:20,760 --> 00:53:23,200
Speaker 2: really toot my own horn, even though that sounds exactly

1060
00:53:23,239 --> 00:53:26,359
Speaker 2: like what I'm doing, but just to prove that like,

1061
00:53:26,480 --> 00:53:30,800
Speaker 2: one person can impact a space positively or negatively depending

1062
00:53:30,800 --> 00:53:33,799
Speaker 2: on their own ethos and where they're coming from. And

1063
00:53:34,040 --> 00:53:36,719
Speaker 2: if you're a man who is brought up in a

1064
00:53:36,719 --> 00:53:40,040
Speaker 2: world to believe that you can only exhibit your power

1065
00:53:40,600 --> 00:53:45,840
Speaker 2: and your connection to humanity through strength and through oppression,

1066
00:53:47,000 --> 00:53:49,759
Speaker 2: you're just going to perpetuate that. Yeah, so you learn

1067
00:53:49,800 --> 00:53:52,319
Speaker 2: that there's another way to do it. And so I

1068
00:53:52,440 --> 00:53:54,920
Speaker 2: just because I come from a different kind of life

1069
00:53:54,960 --> 00:53:57,120
Speaker 2: and a different space in life, and I didn't plan

1070
00:53:57,239 --> 00:53:59,799
Speaker 2: this career, and like I didn't learn how to be

1071
00:54:01,040 --> 00:54:03,560
Speaker 2: rigid about this career, I kind of take all of

1072
00:54:03,560 --> 00:54:07,200
Speaker 2: my world knowledge and all of my experiential knowledge into

1073
00:54:07,200 --> 00:54:09,080
Speaker 2: the space and just think there's got to be a

1074
00:54:09,080 --> 00:54:09,799
Speaker 2: better way to do this.

1075
00:54:10,280 --> 00:54:13,040
Speaker 3: Yeah, And that's I mean, you just basically did what

1076
00:54:13,160 --> 00:54:15,759
Speaker 3: Violet did in the film, which is that eventually, when

1077
00:54:16,600 --> 00:54:20,600
Speaker 3: you know, mister Hart goes away, and I think we

1078
00:54:20,640 --> 00:54:23,080
Speaker 3: all know what happens when he goes away, right, is

1079
00:54:23,120 --> 00:54:26,680
Speaker 3: that she's She's the one that comes in and implements

1080
00:54:26,719 --> 00:54:30,200
Speaker 3: all of these things that make their lives easier, that

1081
00:54:30,680 --> 00:54:33,920
Speaker 3: allow them to actually be better at their jobs and

1082
00:54:33,960 --> 00:54:38,240
Speaker 3: to be more efficient and more productive because they're able

1083
00:54:38,320 --> 00:54:40,680
Speaker 3: to like have a full life and like, yeah, I

1084
00:54:40,680 --> 00:54:43,040
Speaker 3: mean that's great and that like I love that that

1085
00:54:43,280 --> 00:54:45,960
Speaker 3: you were able to like do that for you know,

1086
00:54:46,000 --> 00:54:46,920
Speaker 3: the people that work for you.

1087
00:54:47,040 --> 00:54:49,840
Speaker 2: So thank you. And and with my assistant too, Like

1088
00:54:49,880 --> 00:54:53,760
Speaker 2: I'd never really had an assistant before because I'm super

1089
00:54:54,320 --> 00:54:59,320
Speaker 2: you know, to an astonishingly brain damaging degree. I'm very independent.

1090
00:54:59,719 --> 00:55:03,200
Speaker 2: But I have an assistant for this job. And we

1091
00:55:03,320 --> 00:55:05,720
Speaker 2: talked in depth before, you know, as I was hiring

1092
00:55:05,760 --> 00:55:07,480
Speaker 2: her and as we were you know, kind of offering

1093
00:55:07,520 --> 00:55:10,919
Speaker 2: her the job, I made it very clear that you're

1094
00:55:11,000 --> 00:55:14,319
Speaker 2: not You're not a personal assistant for my life. You're

1095
00:55:14,320 --> 00:55:16,480
Speaker 2: a personal assistant for the show. So like I'm not

1096
00:55:16,480 --> 00:55:19,719
Speaker 2: going to task you with going grocery shopping for me

1097
00:55:19,920 --> 00:55:22,000
Speaker 2: or like sending my man Like I'm an adult, I

1098
00:55:22,040 --> 00:55:24,920
Speaker 2: can do those things. You will assist me in making

1099
00:55:24,920 --> 00:55:28,000
Speaker 2: the show run better. And it's also was very important

1100
00:55:28,000 --> 00:55:29,759
Speaker 2: to me because this is a young woman who's like,

1101
00:55:30,080 --> 00:55:31,719
Speaker 2: you know, it was important for me to find out

1102
00:55:31,760 --> 00:55:33,359
Speaker 2: from her, like, well, what are your goals, like where

1103
00:55:33,360 --> 00:55:35,759
Speaker 2: do you want to get in your life? And how

1104
00:55:35,800 --> 00:55:37,840
Speaker 2: will this job help you get there? So that I

1105
00:55:37,880 --> 00:55:40,719
Speaker 2: can start helping to do that for you. If it's

1106
00:55:40,800 --> 00:55:42,719
Speaker 2: you want to be a producer, let me introduce you

1107
00:55:42,760 --> 00:55:44,760
Speaker 2: to the producers and you can talk to them directly

1108
00:55:45,120 --> 00:55:47,000
Speaker 2: and work with them directly, Like there doesn't have to

1109
00:55:47,000 --> 00:55:49,640
Speaker 2: be this embargo. And I also made it very clear

1110
00:55:49,719 --> 00:55:52,560
Speaker 2: that you know your hours, like your day ends at

1111
00:55:52,640 --> 00:55:56,760
Speaker 2: five pm, because there, if I'm organized enough, there should

1112
00:55:56,760 --> 00:55:59,960
Speaker 2: never be an emergency that requires you to work past

1113
00:56:00,560 --> 00:56:03,120
Speaker 2: the hours that you're required to work. And she was

1114
00:56:03,160 --> 00:56:04,440
Speaker 2: like what, And I'm like, yeah, I don't want you

1115
00:56:04,480 --> 00:56:06,200
Speaker 2: to be out for dinner with friends and checking your

1116
00:56:06,200 --> 00:56:07,960
Speaker 2: phone every ten minutes because you're afraid to miss an

1117
00:56:08,000 --> 00:56:10,799
Speaker 2: email from me. Go live your life, like, go out

1118
00:56:10,840 --> 00:56:12,839
Speaker 2: and be get a good night's sleep, like be a

1119
00:56:12,880 --> 00:56:15,799
Speaker 2: full person. And she's like, I've been an assistant for

1120
00:56:15,840 --> 00:56:17,640
Speaker 2: so long. I've never had anyone say that to me,

1121
00:56:19,080 --> 00:56:20,680
Speaker 2: being an assistant in this a twenty four hour job.

1122
00:56:20,719 --> 00:56:23,279
Speaker 2: And I'm like, no, well it shouldn't be because i

1123
00:56:23,280 --> 00:56:25,440
Speaker 2: know you're not getting paid for a twenty four hour job.

1124
00:56:26,520 --> 00:56:29,319
Speaker 2: So let me take care of my personal life. You

1125
00:56:29,360 --> 00:56:31,759
Speaker 2: will help me with the show, and your hour's end

1126
00:56:31,880 --> 00:56:34,040
Speaker 2: at five pm. And she was like, holy shit, and

1127
00:56:34,040 --> 00:56:36,000
Speaker 2: I'm like, yeah, it doesn't have to be the way

1128
00:56:36,040 --> 00:56:39,320
Speaker 2: it's always been, So I think that I take really

1129
00:56:39,560 --> 00:56:44,320
Speaker 2: a lot of pride in being able to be the

1130
00:56:44,400 --> 00:56:47,040
Speaker 2: kind of boss that I would want. Essentially, so it

1131
00:56:47,080 --> 00:56:48,920
Speaker 2: sounds like, oh, she's stooting her own horn here, Well

1132
00:56:48,920 --> 00:56:50,920
Speaker 2: I am. I'm very proud of the fact that I've

1133
00:56:51,760 --> 00:56:56,200
Speaker 2: tried to be effective in changing this horrible culture that

1134
00:56:56,239 --> 00:56:58,879
Speaker 2: I've seen firsthand for so long, and it's very rare

1135
00:56:58,880 --> 00:57:01,400
Speaker 2: that we're in a position to do that. So I

1136
00:57:01,440 --> 00:57:04,000
Speaker 2: feel proud of it. But I also think a lot

1137
00:57:04,040 --> 00:57:07,520
Speaker 2: of it comes from the influences I've seen in pop culture,

1138
00:57:07,520 --> 00:57:09,120
Speaker 2: including this film. So just to get back to the

1139
00:57:09,160 --> 00:57:13,000
Speaker 2: film for a moment, So, first of all, incredible eighties

1140
00:57:13,040 --> 00:57:15,880
Speaker 2: moments in this movie. We've got a copy machine in

1141
00:57:15,880 --> 00:57:20,320
Speaker 2: the size of a NASA control room. The shoulder phone

1142
00:57:20,400 --> 00:57:26,680
Speaker 2: rest that Violet uses could support a linebacker, of course, huge, huge,

1143
00:57:27,080 --> 00:57:29,120
Speaker 2: And then again we're seeing the dynamics of these women

1144
00:57:29,200 --> 00:57:32,440
Speaker 2: in the office and they finally get together and decide

1145
00:57:32,480 --> 00:57:35,880
Speaker 2: to have an old fashioned ladies pop party, and like

1146
00:57:35,960 --> 00:57:39,880
Speaker 2: that's the way they really start to bond because they realize, oh,

1147
00:57:39,960 --> 00:57:42,479
Speaker 2: we all hate our fucking jobs, like we all hate

1148
00:57:42,480 --> 00:57:45,640
Speaker 2: working for Frank Hart, and they have these fantasies about

1149
00:57:45,680 --> 00:57:47,880
Speaker 2: how they would kill Frank. So Judy would hunt him

1150
00:57:47,880 --> 00:57:50,840
Speaker 2: down like she was on a safari door. Lee is like,

1151
00:57:50,880 --> 00:57:53,200
Speaker 2: I would reverse the harassment and hog tie his fucking

1152
00:57:53,200 --> 00:57:57,840
Speaker 2: ass and violets, just like i'd kill him with rat poison. Yeah,

1153
00:57:57,960 --> 00:58:01,280
Speaker 2: So they have these really funny fantasies that you see

1154
00:58:01,280 --> 00:58:04,080
Speaker 2: played out, and the reason that becomes very important later

1155
00:58:04,160 --> 00:58:06,640
Speaker 2: on is that all of these fantasies somehow end up

1156
00:58:06,640 --> 00:58:10,080
Speaker 2: playing out in real life. So what happens is Frank's

1157
00:58:10,120 --> 00:58:13,480
Speaker 2: wife leaves for this two month cruise, he falls over

1158
00:58:13,640 --> 00:58:16,760
Speaker 2: like he's gets hurt, and through a comedy of errors,

1159
00:58:17,520 --> 00:58:20,600
Speaker 2: Violet thinks that she has actually killed him with rat

1160
00:58:20,640 --> 00:58:23,320
Speaker 2: poison when she gets his coffee that day and like

1161
00:58:23,360 --> 00:58:25,520
Speaker 2: she thinks she put rat poison in it instead of sugar.

1162
00:58:26,240 --> 00:58:29,760
Speaker 2: So this incredible comedy of errors happens where she ends

1163
00:58:29,840 --> 00:58:31,680
Speaker 2: up stealing the body and putting him in her trunk,

1164
00:58:31,720 --> 00:58:34,360
Speaker 2: and like you know, they then they realize he's not dead,

1165
00:58:34,440 --> 00:58:36,160
Speaker 2: and they still want to keep him away from work

1166
00:58:36,240 --> 00:58:41,840
Speaker 2: because work's actually great without him there, so they kind

1167
00:58:41,880 --> 00:58:44,680
Speaker 2: of restrain him and tie him up and like come

1168
00:58:44,760 --> 00:58:47,959
Speaker 2: up with this incredible system of like keeping him at

1169
00:58:47,960 --> 00:58:52,240
Speaker 2: home all day watching TV mister mom style, and it's

1170
00:58:52,280 --> 00:58:57,760
Speaker 2: just really again, like it's very funny, and it's the

1171
00:58:57,800 --> 00:59:00,680
Speaker 2: exact kind of move that people would make if they

1172
00:59:00,680 --> 00:59:02,880
Speaker 2: are not career criminals. Like they didn't plan any of this,

1173
00:59:02,920 --> 00:59:04,760
Speaker 2: so they just had to, like Jerry rig all of it.

1174
00:59:05,200 --> 00:59:07,160
Speaker 2: But they also love keeping him away from the office.

1175
00:59:07,160 --> 00:59:09,200
Speaker 2: And they've got this two months to really let him

1176
00:59:09,200 --> 00:59:13,919
Speaker 2: think about, you know, how he's treated them. And they've

1177
00:59:13,920 --> 00:59:15,720
Speaker 2: got two months to kind of make the office what

1178
00:59:15,760 --> 00:59:18,560
Speaker 2: they want it to be. So they do add split shifts,

1179
00:59:18,960 --> 00:59:22,160
Speaker 2: and they add daycare, and they add paint and like

1180
00:59:22,280 --> 00:59:25,200
Speaker 2: let people put personal things on their desk, and it

1181
00:59:25,280 --> 00:59:28,120
Speaker 2: is a better environment and it is lovelier. And the

1182
00:59:28,120 --> 00:59:31,320
Speaker 2: movie carries on from there, of course, because Frank gets

1183
00:59:31,360 --> 00:59:36,000
Speaker 2: loose and things happen after that. I won't spoil it

1184
00:59:36,040 --> 00:59:38,720
Speaker 2: for you've actually if you haven't seen the movie, but

1185
00:59:38,800 --> 00:59:43,920
Speaker 2: I think that the movie itself is so so joyful

1186
00:59:44,000 --> 00:59:47,440
Speaker 2: and so positive because they're focusing on again, like all

1187
00:59:47,480 --> 00:59:49,800
Speaker 2: of the anger and rage that these women feel, but

1188
00:59:49,840 --> 00:59:51,720
Speaker 2: they have to internalize it, they have to swallow it.

1189
00:59:51,760 --> 00:59:53,760
Speaker 2: And when they finally get a chance to be free

1190
00:59:54,280 --> 00:59:57,360
Speaker 2: and kind of talk it out and realize that there's

1191
00:59:57,440 --> 01:00:00,360
Speaker 2: more commonality and they have more of a bond. Then

1192
01:00:00,360 --> 01:00:04,800
Speaker 2: they do differences. They start working to change make life

1193
01:00:04,880 --> 01:00:07,080
Speaker 2: better for everyone else. And I just think that's a beautiful,

1194
01:00:07,200 --> 01:00:08,200
Speaker 2: beautiful message.

1195
01:00:08,800 --> 01:00:09,680
Speaker 3: Yeah, I do too.

1196
01:00:09,920 --> 01:00:12,560
Speaker 1: I mean, I can't say enough good things about this movie.

1197
01:00:12,600 --> 01:00:14,760
Speaker 1: It's like we said, this is such a classic, and

1198
01:00:15,320 --> 01:00:18,400
Speaker 1: I mean perfect for the theme. It's so funny because

1199
01:00:18,440 --> 01:00:21,280
Speaker 1: I've watched this movie, like obviously a few times and

1200
01:00:21,680 --> 01:00:24,360
Speaker 1: I kept thinking, like this time, I was really like

1201
01:00:24,400 --> 01:00:27,640
Speaker 1: focused on the Dabney Coleman character, and I kept thinking, God,

1202
01:00:27,720 --> 01:00:33,920
Speaker 1: he sadly reminds me a lot of like my friend's dads.

1203
01:00:33,640 --> 01:00:34,640
Speaker 2: When I was growing up.

1204
01:00:34,680 --> 01:00:37,000
Speaker 3: And I was like, even.

1205
01:00:36,720 --> 01:00:38,880
Speaker 1: With this little bit of a Southern accent, And I

1206
01:00:38,920 --> 01:00:41,800
Speaker 1: had to google it because I actually didn't know where

1207
01:00:41,880 --> 01:00:44,360
Speaker 1: Dabney Coleman was from, and he's from Texas, and I'm like, well,

1208
01:00:44,400 --> 01:00:46,520
Speaker 1: of course, of course he's got that accent. And then

1209
01:00:46,560 --> 01:00:49,720
Speaker 1: I'm like, oh, now it really makes sense. I'm like, yeah,

1210
01:00:49,840 --> 01:00:55,280
Speaker 1: just this kind of like scary, misogynist, mustache southern guy.

1211
01:00:55,360 --> 01:00:57,959
Speaker 1: I'm like, this is like pretty much all the dads

1212
01:00:58,000 --> 01:01:02,040
Speaker 1: I knew growing up, Like this guy, and he's familiar,

1213
01:01:02,280 --> 01:01:04,240
Speaker 1: too familiar, but he has like a lot of like

1214
01:01:04,280 --> 01:01:07,800
Speaker 1: I mean even in the like I love the fantasy

1215
01:01:07,840 --> 01:01:10,400
Speaker 1: moments because it really is like so fun to watch.

1216
01:01:10,440 --> 01:01:15,200
Speaker 1: And the one where dor Lee's is dor Lee's fantasy

1217
01:01:15,280 --> 01:01:20,120
Speaker 1: where she's now the boss, she's the CEO, and like

1218
01:01:21,240 --> 01:01:24,320
Speaker 1: he's like playing her little assistant and he's like taking

1219
01:01:24,320 --> 01:01:27,560
Speaker 1: notes and she's like, ooh, what's that smell? What's your

1220
01:01:27,720 --> 01:01:29,680
Speaker 1: like set? He just looks at her, is.

1221
01:01:29,760 --> 01:01:33,640
Speaker 3: Like stud like he's got that like look.

1222
01:01:33,440 --> 01:01:36,600
Speaker 1: On his face of like this eager beaver like assistant.

1223
01:01:36,600 --> 01:01:39,240
Speaker 1: And I'm just like, that's so fun to watch him

1224
01:01:39,520 --> 01:01:42,440
Speaker 1: because he's an asshole in this movie obviously, but then

1225
01:01:42,440 --> 01:01:44,800
Speaker 1: in those fantasy moments where he has to like play

1226
01:01:44,840 --> 01:01:47,640
Speaker 1: against type, it's so it's so funny. Such a good actor,

1227
01:01:47,960 --> 01:01:50,800
Speaker 1: so absolutely, and you see how absurd it looks when

1228
01:01:50,840 --> 01:01:54,520
Speaker 1: you flip that around, like this looks absurd because and

1229
01:01:54,600 --> 01:01:57,360
Speaker 1: it should look absurd for anyone, not just him, but

1230
01:01:57,480 --> 01:01:59,440
Speaker 1: especially with it, and he is he really is a

1231
01:01:59,440 --> 01:02:04,200
Speaker 1: great comic actor and truly nails this role because he's

1232
01:02:04,240 --> 01:02:05,320
Speaker 1: such a pig in this role.

1233
01:02:05,840 --> 01:02:09,320
Speaker 2: And I love the fantasy moments too. I think that

1234
01:02:09,520 --> 01:02:12,320
Speaker 2: you know, watching like Dolly Parton swinging at Lasso, and

1235
01:02:14,240 --> 01:02:18,439
Speaker 2: like Jane Lily Tomlin like violence fantasy. She's basically snow white,

1236
01:02:18,800 --> 01:02:21,480
Speaker 2: and she's like, I love making coffee basically from a boss.

1237
01:02:21,520 --> 01:02:23,520
Speaker 2: And then she just puts some rat poison in there.

1238
01:02:24,000 --> 01:02:27,520
Speaker 2: Also not for nothing, but the image of her running

1239
01:02:27,600 --> 01:02:32,600
Speaker 2: through the hospital with that gurney is classically hilarious, Yes,

1240
01:02:35,000 --> 01:02:37,720
Speaker 2: classically hilarious. And then then also I think that it's

1241
01:02:37,760 --> 01:02:41,160
Speaker 2: important to look at who was cast in these roles.

1242
01:02:41,200 --> 01:02:44,920
Speaker 2: So Jane Fonda is an incredibly outspoken activist and she

1243
01:02:45,040 --> 01:02:50,520
Speaker 2: has been for decades. Lily Tomlin also outspoken activists, you know,

1244
01:02:50,560 --> 01:02:53,320
Speaker 2: in her own personal life, in her professional life. And

1245
01:02:53,560 --> 01:02:56,000
Speaker 2: there's an incredible clip of her walking off if you've

1246
01:02:56,040 --> 01:02:57,760
Speaker 2: never seen this, of her walking off of a talk

1247
01:02:57,800 --> 01:03:00,360
Speaker 2: show after someone asks her one of the most excess

1248
01:03:00,440 --> 01:03:03,280
Speaker 2: questions of all time and she just leaves like she's

1249
01:03:03,320 --> 01:03:07,320
Speaker 2: a total fucking legend. And Dolly Parton, who has been

1250
01:03:08,120 --> 01:03:12,760
Speaker 2: doing social and civic like just social and civic engagement

1251
01:03:13,000 --> 01:03:17,680
Speaker 2: and donating money and donating books and just low key

1252
01:03:17,840 --> 01:03:21,760
Speaker 2: being the most generous person on the fucking planet for

1253
01:03:21,840 --> 01:03:25,080
Speaker 2: the length of her career, like it makes me want

1254
01:03:25,120 --> 01:03:27,000
Speaker 2: to cry to think of how much she's given back

1255
01:03:27,000 --> 01:03:30,480
Speaker 2: to children and and to people who were again like

1256
01:03:30,520 --> 01:03:35,320
Speaker 2: disproportionately affected by poverty, by you know, just she's just

1257
01:03:35,400 --> 01:03:39,760
Speaker 2: so goddamn generous. And she helped develop our fucking vaccines

1258
01:03:40,000 --> 01:03:42,160
Speaker 2: for COVID, Like she donated a million bucks and was like,

1259
01:03:42,200 --> 01:03:44,800
Speaker 2: let's get this vaccine going. So you think about the

1260
01:03:44,800 --> 01:03:49,200
Speaker 2: women in this film and how they use this film

1261
01:03:49,240 --> 01:03:51,600
Speaker 2: to kind of bolster something that was very important to

1262
01:03:51,640 --> 01:03:53,400
Speaker 2: them in their personal lives, and I just think it's

1263
01:03:53,480 --> 01:03:57,080
Speaker 2: it was perfectly cast. It's always a fun watch and

1264
01:03:57,160 --> 01:03:58,920
Speaker 2: it makes me think about the world and a really

1265
01:03:59,480 --> 01:04:03,680
Speaker 2: inspire way that I often don't think of it of

1266
01:04:03,680 --> 01:04:05,320
Speaker 2: it in I usually think of the world as a

1267
01:04:05,360 --> 01:04:08,240
Speaker 2: true horror show. Yeah, and sometimes you watch a movie

1268
01:04:08,280 --> 01:04:09,600
Speaker 2: like this and you're like, oh, well we can make

1269
01:04:09,600 --> 01:04:11,400
Speaker 2: little changes, we can do little things.

1270
01:04:11,600 --> 01:04:12,000
Speaker 3: Yeah.

1271
01:04:12,040 --> 01:04:15,640
Speaker 1: And totally And for the theme, I mean these CEOs

1272
01:04:15,720 --> 01:04:19,600
Speaker 1: the constant charge of office, I mean it's like they

1273
01:04:19,720 --> 01:04:22,880
Speaker 1: it goes to show that like a woman who is

1274
01:04:22,920 --> 01:04:25,560
Speaker 1: in charge of an office doesn't have to be the megabitch.

1275
01:04:25,880 --> 01:04:29,640
Speaker 1: She's kind and she understands your life and like you

1276
01:04:29,680 --> 01:04:31,760
Speaker 1: were just talking about when you were talking about you

1277
01:04:31,800 --> 01:04:33,920
Speaker 1: being a showrunner. It doesn't have to be this like,

1278
01:04:34,600 --> 01:04:40,880
Speaker 1: you know, overwrought stereotype of like the True Boss Lady.

1279
01:04:41,080 --> 01:04:45,160
Speaker 1: It's it could be something completely different, And I think

1280
01:04:45,520 --> 01:04:47,840
Speaker 1: this movie is proof.

1281
01:04:48,360 --> 01:04:51,000
Speaker 2: Absolutely fits the theme so well. For the first one,

1282
01:04:51,040 --> 01:04:53,200
Speaker 2: I thought of them like, oh, yeah, Ceo, let's do it.

1283
01:04:53,360 --> 01:04:55,000
Speaker 3: Yeah exactly, I love it.

1284
01:04:55,040 --> 01:04:59,880
Speaker 2: And your film especially was out the gate so perfect

1285
01:05:00,120 --> 01:05:01,480
Speaker 2: this theme. I couldn't even believe it.

1286
01:05:02,240 --> 01:05:05,360
Speaker 1: Yeah, it'll take a little bit of a shift in

1287
01:05:05,560 --> 01:05:10,920
Speaker 1: tone and genre, but nonetheless still fits the theme.

1288
01:05:11,160 --> 01:05:11,720
Speaker 3: I think.

1289
01:05:12,720 --> 01:05:17,280
Speaker 1: So my movie for the theme, I'm gonna say with

1290
01:05:17,280 --> 01:05:26,840
Speaker 1: that laughing CEO. Cunt and Charge of Office is a

1291
01:05:26,960 --> 01:05:31,960
Speaker 1: movie from nineteen fifty four. It was based on a

1292
01:05:32,040 --> 01:05:36,360
Speaker 1: novel by Roy Chancellor, written by Philip Jorden, directed by

1293
01:05:36,400 --> 01:05:41,080
Speaker 1: Nicholas Ray. It's called Johnny Guitar. Down there, I saw

1294
01:05:41,120 --> 01:05:42,520
Speaker 1: whiskey and cards.

1295
01:05:42,920 --> 01:05:45,160
Speaker 2: All you can buy up these stairs is a bullet

1296
01:05:45,200 --> 01:05:48,520
Speaker 2: in my head. Now, which do you want? So?

1297
01:05:48,680 --> 01:05:52,640
Speaker 1: Yes, if you know me, If you know me, you

1298
01:05:53,200 --> 01:05:55,120
Speaker 1: know why I would like this movie. Come on, let's

1299
01:05:55,120 --> 01:05:57,720
Speaker 1: get serious. Not just because there's a poster behind me

1300
01:05:58,600 --> 01:06:03,640
Speaker 1: framed of the film's.

1301
01:06:02,720 --> 01:06:05,680
Speaker 3: You know, it's one of my faves, all time faves.

1302
01:06:07,320 --> 01:06:07,800
Speaker 2: It makes sense.

1303
01:06:07,880 --> 01:06:09,240
Speaker 3: Yeah, it makes.

1304
01:06:09,000 --> 01:06:11,080
Speaker 1: Sense, I mean and will and if you haven't seen

1305
01:06:11,120 --> 01:06:13,120
Speaker 1: it or have never heard about it, like, we're going

1306
01:06:13,200 --> 01:06:14,680
Speaker 1: to get into it and by the end of it

1307
01:06:14,720 --> 01:06:18,720
Speaker 1: you'll be like, Okay, I get it, so right off

1308
01:06:18,760 --> 01:06:20,680
Speaker 1: the bat, just to get this out of the way.

1309
01:06:21,920 --> 01:06:24,200
Speaker 1: This movie was directed by Nicholas Ray. If you do

1310
01:06:24,280 --> 01:06:27,480
Speaker 1: not know him either, he made a little movie called

1311
01:06:27,560 --> 01:06:30,160
Speaker 1: Rubble without a Cause. He made a lot of great

1312
01:06:30,160 --> 01:06:36,080
Speaker 1: movies in the fifties. They typically center around outsiders and

1313
01:06:36,200 --> 01:06:40,560
Speaker 1: kind of the term beautiful losers I think has been

1314
01:06:40,880 --> 01:06:45,840
Speaker 1: kind of pointed in his direction. This movie obviously a

1315
01:06:45,840 --> 01:06:48,360
Speaker 1: lot about outsiders. We'll get into that in just a second.

1316
01:06:48,960 --> 01:06:51,160
Speaker 1: So what I think is really fascinated about this film

1317
01:06:51,240 --> 01:06:55,040
Speaker 1: was that the script for this movie was credited to

1318
01:06:55,120 --> 01:06:59,600
Speaker 1: a man named named Philip Jordan, and he was a famous,

1319
01:06:59,680 --> 01:07:04,840
Speaker 1: since slightly controversial figure in American film. He was essentially

1320
01:07:05,320 --> 01:07:09,080
Speaker 1: a front for screenwriters who were blacklisted during the Hollywood

1321
01:07:09,120 --> 01:07:11,800
Speaker 1: black list era. And if you don't know anything about this,

1322
01:07:11,920 --> 01:07:14,640
Speaker 1: you should read about it. It's really interesting and there

1323
01:07:14,680 --> 01:07:17,680
Speaker 1: was a there was many people who were doing this

1324
01:07:17,880 --> 01:07:21,080
Speaker 1: in the Blacklist era, like working you know, sort of

1325
01:07:21,080 --> 01:07:25,720
Speaker 1: getting credit for things for blacklisted writers, right, And the

1326
01:07:25,800 --> 01:07:30,680
Speaker 1: legend about Johnny Guitar particularly is that Philip Jorden was

1327
01:07:30,720 --> 01:07:35,040
Speaker 1: a surrogate for a blacklisted screenwriter named Ben Mattow. And

1328
01:07:35,680 --> 01:07:37,720
Speaker 1: I've writ in different places, different things, so I don't

1329
01:07:37,760 --> 01:07:40,280
Speaker 1: want to like go on record as to you know,

1330
01:07:40,400 --> 01:07:44,040
Speaker 1: to knowing exactly what the deal is. But basically it's

1331
01:07:44,240 --> 01:07:47,280
Speaker 1: it's been said that Mattow actually wrote the movie, but

1332
01:07:47,360 --> 01:07:49,720
Speaker 1: then you know, and that Philip Jrdon was just like

1333
01:07:49,840 --> 01:07:51,400
Speaker 1: the writer that got credit for it.

1334
01:07:51,400 --> 01:07:54,880
Speaker 2: So that makes sense. So you see his name a

1335
01:07:54,880 --> 01:07:57,280
Speaker 2: lot and you're like, this guy is so prolific, and

1336
01:07:57,320 --> 01:07:59,080
Speaker 2: you're like, it's actually for twenty people.

1337
01:07:59,480 --> 01:08:01,680
Speaker 3: Well, and that was very common. I mean that that

1338
01:08:01,800 --> 01:08:02,760
Speaker 3: is that has happened.

1339
01:08:02,760 --> 01:08:06,200
Speaker 1: That happened a lot, you know, obviously like Blacklister rights,

1340
01:08:06,200 --> 01:08:06,960
Speaker 1: like Dalton Trumbo.

1341
01:08:07,560 --> 01:08:09,320
Speaker 3: You know, they ended up a lot.

1342
01:08:09,120 --> 01:08:11,720
Speaker 1: Of times like getting credit for things after the fact

1343
01:08:11,800 --> 01:08:14,000
Speaker 1: because they were kind of working in the shadows a

1344
01:08:14,000 --> 01:08:17,200
Speaker 1: lot of times, and some some like fake names, like

1345
01:08:17,320 --> 01:08:21,360
Speaker 1: actual fake names, but some were real people who were

1346
01:08:21,400 --> 01:08:25,160
Speaker 1: also screenwriting, but also like doing this for others.

1347
01:08:25,200 --> 01:08:26,599
Speaker 3: So it's interesting.

1348
01:08:26,720 --> 01:08:29,479
Speaker 1: I would I would say it's it's such an interesting

1349
01:08:29,520 --> 01:08:31,040
Speaker 1: era you should read about it if you don't know

1350
01:08:31,040 --> 01:08:35,679
Speaker 1: anything about it. But like, The Blacklist actually does play

1351
01:08:35,840 --> 01:08:39,679
Speaker 1: a lot into Johnny Guitar because effectively, like the movie

1352
01:08:39,760 --> 01:08:45,000
Speaker 1: is essentially about an innocent woman who is being run

1353
01:08:45,040 --> 01:08:48,280
Speaker 1: out of town by a mob, right, And that's very

1354
01:08:49,000 --> 01:08:51,840
Speaker 1: very much about what The Blacklist was. But I have

1355
01:08:51,880 --> 01:08:55,200
Speaker 1: to say, for our purposes, for this theme, this movie

1356
01:08:55,240 --> 01:08:58,840
Speaker 1: is definitely about a woman being in charge. Okay, hell

1357
01:08:59,120 --> 01:09:04,120
Speaker 1: it is. It is maybe one, I will say, if

1358
01:09:04,160 --> 01:09:07,760
Speaker 1: it's not the only, but it's definitely one of the

1359
01:09:07,800 --> 01:09:13,680
Speaker 1: only classic westerns where women play both the protagonist and

1360
01:09:13,800 --> 01:09:14,760
Speaker 1: the antagonist.

1361
01:09:15,240 --> 01:09:16,360
Speaker 2: Mm hm.

1362
01:09:16,920 --> 01:09:24,760
Speaker 1: And you got two powerhouse actresses. You've got Joan Crawford, right,

1363
01:09:25,360 --> 01:09:28,479
Speaker 1: going up against Mercedes McCambridge, which, by the way, if

1364
01:09:28,479 --> 01:09:33,559
Speaker 1: you don't know Mercedes mcambridge, she's a legend. She's she's

1365
01:09:33,680 --> 01:09:35,840
Speaker 1: just the type of lady I love. Let's just say

1366
01:09:35,840 --> 01:09:40,679
Speaker 1: that they're both two fucking, no nonsense women. They got

1367
01:09:40,680 --> 01:09:46,360
Speaker 1: this like white hot butch power flowing through their veins,

1368
01:09:46,960 --> 01:09:49,840
Speaker 1: and they did not get along on set. I mean,

1369
01:09:49,880 --> 01:09:52,479
Speaker 1: that's that's kind of that. Yeah, that's kind of a

1370
01:09:52,520 --> 01:09:57,880
Speaker 1: story that apparently Joan Crawford at one point, through Mercedes

1371
01:09:57,920 --> 01:09:59,719
Speaker 1: McCambridge has close out into the street.

1372
01:10:01,200 --> 01:10:02,479
Speaker 3: WHOA, Yes, it was.

1373
01:10:02,800 --> 01:10:04,360
Speaker 2: So these are where like this is one of those

1374
01:10:04,360 --> 01:10:06,519
Speaker 2: films where like the stories about her that we saw

1375
01:10:06,520 --> 01:10:08,519
Speaker 2: like in Mommy DearS for example, like this is where

1376
01:10:08,560 --> 01:10:10,680
Speaker 2: they originate.

1377
01:10:10,840 --> 01:10:14,160
Speaker 1: Oh yeah, I mean there was this quote, this really

1378
01:10:14,360 --> 01:10:17,920
Speaker 1: great quote from Sterling Hayden when he talks about like

1379
01:10:17,960 --> 01:10:21,679
Speaker 1: working with Joan Crawford on this movie, and it's it's

1380
01:10:21,720 --> 01:10:23,679
Speaker 1: it's funny. I don't want to quote it because it's

1381
01:10:23,960 --> 01:10:26,000
Speaker 1: it's I'm gonna get it wrong, but it's basically like

1382
01:10:26,760 --> 01:10:30,120
Speaker 1: I will never work with her again and I really

1383
01:10:30,200 --> 01:10:30,679
Speaker 1: like money.

1384
01:10:30,960 --> 01:10:35,000
Speaker 3: So that's how that's how bad she was to work

1385
01:10:35,040 --> 01:10:35,720
Speaker 3: with type of thing.

1386
01:10:36,160 --> 01:10:40,559
Speaker 2: That's a fucking incredible statement. I know, even paraphrase like this,

1387
01:10:40,800 --> 01:10:41,760
Speaker 2: how bad she is.

1388
01:10:42,080 --> 01:10:46,479
Speaker 1: Yeah, and listen, I have to say, Joan, in John

1389
01:10:46,520 --> 01:10:51,479
Speaker 1: Crawford's defense, we were born on the same day, so

1390
01:10:51,560 --> 01:10:54,760
Speaker 1: in a in a not the same year obviously, but

1391
01:10:54,960 --> 01:10:59,320
Speaker 1: were She's a March twenty third baby, and I have

1392
01:10:59,520 --> 01:11:02,320
Speaker 1: always known that about myself. I'm like, I have the

1393
01:11:02,360 --> 01:11:06,040
Speaker 1: spirit of Joan Crawford running through my my, my whole being.

1394
01:11:06,640 --> 01:11:10,040
Speaker 2: I connect the reincarnation, you could be the reincarnation of her.

1395
01:11:10,479 --> 01:11:11,639
Speaker 3: I fucking hope.

1396
01:11:11,680 --> 01:11:16,080
Speaker 1: So I hope that's that something happened in the in

1397
01:11:16,160 --> 01:11:20,000
Speaker 1: the stars. But I but I feel an affinity towards

1398
01:11:20,120 --> 01:11:22,280
Speaker 1: Joan because of that, and I think a lot of

1399
01:11:22,280 --> 01:11:23,960
Speaker 1: people do. I mean, I think that she was one

1400
01:11:24,000 --> 01:11:28,120
Speaker 1: of those like legendary classic actors that like she was.

1401
01:11:28,880 --> 01:11:32,080
Speaker 1: I mean, she embodied the cut in charge of office,

1402
01:11:32,120 --> 01:11:36,840
Speaker 1: like she ran shit right, and you know, there was

1403
01:11:36,920 --> 01:11:40,799
Speaker 1: there's all this Hollywood mythology about her, about Betty Davis,

1404
01:11:40,800 --> 01:11:43,720
Speaker 1: about all this stuff. So I feel like in this

1405
01:11:43,880 --> 01:11:48,400
Speaker 1: film that the film takes advantage of that in a

1406
01:11:48,439 --> 01:11:51,960
Speaker 1: really big way. And she was a huge part of

1407
01:11:52,400 --> 01:11:55,680
Speaker 1: making it happen. So you know, bottom line is that

1408
01:11:55,720 --> 01:12:02,840
Speaker 1: she's running this shit, period, and the entire story is

1409
01:12:02,880 --> 01:12:05,719
Speaker 1: about her character, even though the movie is named after

1410
01:12:06,000 --> 01:12:11,439
Speaker 1: her boyfriend effectively, but basically the film is about her

1411
01:12:11,960 --> 01:12:18,400
Speaker 1: and her character, who is named Vienna. And this is

1412
01:12:18,439 --> 01:12:21,559
Speaker 1: like the thing that is remarkable about this film is

1413
01:12:21,600 --> 01:12:24,519
Speaker 1: that in we've talked about this, I think when we

1414
01:12:24,600 --> 01:12:31,080
Speaker 1: did the Sundays with Grandpa episode with McKay and Missus

1415
01:12:31,080 --> 01:12:35,000
Speaker 1: Miller and Shane. You did not see this in the

1416
01:12:35,400 --> 01:12:38,679
Speaker 1: westerns era, the classic Hollywood westerns Ara, there's like all

1417
01:12:38,840 --> 01:12:42,839
Speaker 1: the women in the films were typically just side characters

1418
01:12:42,840 --> 01:12:46,880
Speaker 1: to the men. Oh yeah, and the Johnny guitar is

1419
01:12:46,920 --> 01:12:47,719
Speaker 1: not that at all.

1420
01:12:49,080 --> 01:12:51,040
Speaker 2: And really, like again, like right out of the gate,

1421
01:12:51,080 --> 01:12:54,160
Speaker 2: like I was really happy to see that this is

1422
01:12:54,200 --> 01:12:58,880
Speaker 2: like an uncompromising character because it's so so unseen at

1423
01:12:58,880 --> 01:13:00,559
Speaker 2: this point in time and genre.

1424
01:13:01,000 --> 01:13:01,800
Speaker 3: Yeah.

1425
01:13:01,800 --> 01:13:04,559
Speaker 1: Absolutely, I mean this is like I think it's a

1426
01:13:04,600 --> 01:13:09,599
Speaker 1: feminist film. I you know, essentially you just really don't

1427
01:13:09,720 --> 01:13:14,160
Speaker 1: have like the side. The men in this film defer

1428
01:13:14,400 --> 01:13:18,680
Speaker 1: to the women on both sides, on Vienna side and

1429
01:13:18,760 --> 01:13:23,519
Speaker 1: in the Mercedes mccayber side, her character's name Emma. They

1430
01:13:23,560 --> 01:13:29,280
Speaker 1: are leading the pack on either side. And the characters,

1431
01:13:29,320 --> 01:13:33,200
Speaker 1: the male characters that come in contact with her, they

1432
01:13:33,320 --> 01:13:36,680
Speaker 1: defer to her, they listen to her, and you know,

1433
01:13:36,840 --> 01:13:38,400
Speaker 1: and even if you want to get down to it,

1434
01:13:38,439 --> 01:13:41,080
Speaker 1: all of the love interests, the male love interest in

1435
01:13:41,160 --> 01:13:45,839
Speaker 1: Vienna's life are like pretty much himbos compared to compared

1436
01:13:45,880 --> 01:13:49,400
Speaker 1: to her, I mean, they're just like hot pieces, if

1437
01:13:49,400 --> 01:13:51,800
Speaker 1: you will, especially the dancing kid.

1438
01:13:51,800 --> 01:13:53,679
Speaker 3: We're gonna get to the dancing kid in just a second.

1439
01:13:53,720 --> 01:13:55,599
Speaker 1: But this is this that thing where I'm like, when

1440
01:13:55,680 --> 01:13:59,000
Speaker 1: would you see this in a fifties film, let alone

1441
01:13:59,040 --> 01:14:01,719
Speaker 1: in a film now, It's I mean, it's just rare

1442
01:14:01,760 --> 01:14:04,200
Speaker 1: to see this kind of energy, especially like.

1443
01:14:04,200 --> 01:14:07,880
Speaker 2: When Johnny Guitar tries to slut shame Vienna and she's like,

1444
01:14:08,360 --> 01:14:10,280
Speaker 2: you don't need to worry about it because you weren't here,

1445
01:14:10,600 --> 01:14:12,880
Speaker 2: And I'm like, damn, even now, that would be a

1446
01:14:12,880 --> 01:14:13,719
Speaker 2: powerful statement.

1447
01:14:14,080 --> 01:14:17,639
Speaker 1: Hell yeah, And that is so. Let like the movie

1448
01:14:17,760 --> 01:14:21,719
Speaker 1: goes a little something like this, right. Joan Crawford plays Vienna.

1449
01:14:22,120 --> 01:14:26,320
Speaker 1: She owns the saloon on the outskirts of this western town, Okay,

1450
01:14:26,840 --> 01:14:30,560
Speaker 1: and this saloon, which is called Vienna's, is her lifeblood.

1451
01:14:30,800 --> 01:14:34,880
Speaker 1: She wants to be buried in it. She's she basically

1452
01:14:34,920 --> 01:14:39,000
Speaker 1: admits to anyone that's listening that she paid for it

1453
01:14:39,080 --> 01:14:40,839
Speaker 1: by being a sex worker.

1454
01:14:40,920 --> 01:14:42,599
Speaker 3: I guess I don't. They don't really say it.

1455
01:14:42,880 --> 01:14:47,679
Speaker 1: Yeah, it's not explicit, yeah yeah, yeah, but she's basically like, yes,

1456
01:14:47,720 --> 01:14:51,759
Speaker 1: I paid for this by some some sort of means,

1457
01:14:51,800 --> 01:14:55,680
Speaker 1: like in that world, right, and you know, it's a

1458
01:14:55,680 --> 01:14:58,360
Speaker 1: place where you can play cards and drink it. But

1459
01:14:58,400 --> 01:15:01,680
Speaker 1: it's a classy joint like it's not. It's not a like,

1460
01:15:01,840 --> 01:15:04,280
Speaker 1: even though the people in the town think it's this

1461
01:15:04,439 --> 01:15:08,040
Speaker 1: like den of iniquity. She runs a tight fucking ship,

1462
01:15:08,560 --> 01:15:11,679
Speaker 1: and she knows that she's about to make a killing

1463
01:15:11,720 --> 01:15:14,240
Speaker 1: because they're about to build the railroad right outside of

1464
01:15:14,280 --> 01:15:17,120
Speaker 1: her door. Okay, so this is like the most important

1465
01:15:17,120 --> 01:15:19,200
Speaker 1: place to her. So again we have this woman in

1466
01:15:19,280 --> 01:15:21,800
Speaker 1: charge of her own business that she built from the

1467
01:15:21,840 --> 01:15:24,840
Speaker 1: ground up. She's extremely proud of it, and she's not

1468
01:15:24,880 --> 01:15:27,680
Speaker 1: gonna let anybody fuck with it if she can, right,

1469
01:15:27,840 --> 01:15:29,240
Speaker 1: which is really really.

1470
01:15:29,000 --> 01:15:33,440
Speaker 3: Powerful and amazing. So what ends up happening towards the beginning.

1471
01:15:33,200 --> 01:15:37,360
Speaker 1: Of the movie is that the like basically a stagecoach

1472
01:15:37,640 --> 01:15:40,200
Speaker 1: gets robbed and a man is murdered.

1473
01:15:40,280 --> 01:15:41,280
Speaker 3: Okay, turns out.

1474
01:15:41,120 --> 01:15:44,479
Speaker 1: The man who got murdered as the brother of a

1475
01:15:44,520 --> 01:15:47,320
Speaker 1: woman named Emma, who was played by Mercedes mckaybridge. Like

1476
01:15:47,320 --> 01:15:53,240
Speaker 1: I said, and Emma runs pretty much runs this town

1477
01:15:53,600 --> 01:15:56,679
Speaker 1: that you know is basically the closest town to where

1478
01:15:56,760 --> 01:16:00,040
Speaker 1: Vienna's place is, right, it's basically her in this I

1479
01:16:00,160 --> 01:16:04,599
Speaker 1: named mister mc ivers who's played by Ward Bond. Very

1480
01:16:04,640 --> 01:16:07,640
Speaker 1: interesting career he had. You should look him up.

1481
01:16:07,640 --> 01:16:10,920
Speaker 3: To, especially as it pertains to the Blacklist. He was

1482
01:16:11,000 --> 01:16:11,599
Speaker 3: kind of like.

1483
01:16:13,040 --> 01:16:16,240
Speaker 1: Really anti communists in a way that maybe like destroyed him.

1484
01:16:16,360 --> 01:16:19,599
Speaker 3: But you know, go read about him. It's very interesting.

1485
01:16:20,120 --> 01:16:24,000
Speaker 1: But mister mc ivers and Emma, they really fucking hate

1486
01:16:24,080 --> 01:16:28,320
Speaker 1: Vienna and they want her out of town. And even

1487
01:16:28,439 --> 01:16:34,640
Speaker 1: more interestingly is that Emma really hates Vienna almost to

1488
01:16:34,760 --> 01:16:38,439
Speaker 1: like a startling degree. At one point she calls her

1489
01:16:38,439 --> 01:16:40,040
Speaker 1: a railroad tramp.

1490
01:16:41,400 --> 01:16:41,960
Speaker 2: Which.

1491
01:16:43,600 --> 01:16:46,320
Speaker 3: In this era seems to be the highest insults you

1492
01:16:46,360 --> 01:16:47,080
Speaker 3: could ever hurl.

1493
01:16:47,120 --> 01:16:49,600
Speaker 2: It that is the cunt of nineteen fifty.

1494
01:16:49,280 --> 01:16:58,000
Speaker 1: Four railroad tramp in charge of office. Absolutely, And here's

1495
01:16:58,040 --> 01:17:01,320
Speaker 1: the thing about this Emma character. Okay, she hates Vienna

1496
01:17:01,960 --> 01:17:07,040
Speaker 1: so badly, and we suspect that it's because Emma has

1497
01:17:07,080 --> 01:17:09,639
Speaker 1: a crush on a man that goes by the name

1498
01:17:09,680 --> 01:17:15,240
Speaker 1: of the Dancing Kid, Good Lord, the Dancing Kid, who

1499
01:17:15,360 --> 01:17:20,919
Speaker 1: is played by Scott Brady. And guess what, the Dancing

1500
01:17:21,040 --> 01:17:24,439
Speaker 1: Kid is actually in love with Vienna, and it's not

1501
01:17:24,479 --> 01:17:27,880
Speaker 1: in love with Emma, and she is feeling some type

1502
01:17:27,920 --> 01:17:28,639
Speaker 1: of way about it.

1503
01:17:29,000 --> 01:17:32,960
Speaker 2: Okay, let me just say that if your paramore has

1504
01:17:33,000 --> 01:17:38,599
Speaker 2: the nickname kid anywhere in their name, kid Rock Kid, Cuddy,

1505
01:17:38,680 --> 01:17:42,920
Speaker 2: I don't leave them run away.

1506
01:17:44,280 --> 01:17:49,559
Speaker 1: Yes, And I gotta be honest with you, Like there's

1507
01:17:49,600 --> 01:17:53,080
Speaker 1: a part of the beginning where the Sterling Hayden characters like,

1508
01:17:53,760 --> 01:17:57,720
Speaker 1: all right, dancing kid, can you actually dance? I mean

1509
01:17:57,760 --> 01:18:01,680
Speaker 1: he seems like he can. It's not nothing special. So

1510
01:18:02,160 --> 01:18:04,559
Speaker 1: to me, I'm like, you really called yourself the dancing kid,

1511
01:18:04,600 --> 01:18:06,240
Speaker 1: and you're just like, okay at dancing.

1512
01:18:06,400 --> 01:18:09,840
Speaker 2: Okay, if you if you have a nickname the dancing Kid,

1513
01:18:09,920 --> 01:18:12,400
Speaker 2: you should no one should ever see you walking. You

1514
01:18:12,400 --> 01:18:14,599
Speaker 2: should ever take a regular step. You should be dancing

1515
01:18:14,640 --> 01:18:15,720
Speaker 2: everywhere you fucking go.

1516
01:18:16,240 --> 01:18:18,559
Speaker 1: Yeah, you should be like rerun from what's happening, like

1517
01:18:18,640 --> 01:18:21,920
Speaker 1: every second, like walking into a thing, popping in locking,

1518
01:18:22,320 --> 01:18:27,880
Speaker 1: Like that's your name, so fucking it's bold of the

1519
01:18:27,960 --> 01:18:29,920
Speaker 1: dancing kid who have given himself that name.

1520
01:18:30,000 --> 01:18:30,600
Speaker 3: Let me just say that.

1521
01:18:30,800 --> 01:18:33,600
Speaker 2: Just imagine popping in locking through a Western.

1522
01:18:37,920 --> 01:18:42,679
Speaker 1: Oh shit, well look he might be the original vanilla popper.

1523
01:18:42,720 --> 01:18:43,200
Speaker 3: We don't know.

1524
01:18:45,760 --> 01:18:48,920
Speaker 1: Now, here's an interesting component to this film. And this

1525
01:18:48,960 --> 01:18:51,080
Speaker 1: has like been written about a lot, It gets brought

1526
01:18:51,160 --> 01:18:54,160
Speaker 1: up a lot. Okay, So you're like, am I really

1527
01:18:54,160 --> 01:18:54,840
Speaker 1: hates Vienna?

1528
01:18:55,920 --> 01:18:58,800
Speaker 3: And maybe, just.

1529
01:18:58,400 --> 01:19:02,880
Speaker 1: Maybe it's because Emma is actually in love of Vienna.

1530
01:19:03,080 --> 01:19:05,719
Speaker 2: Oh, because interesting.

1531
01:19:06,560 --> 01:19:09,120
Speaker 1: I mean, when it comes down to it, like, you know,

1532
01:19:09,600 --> 01:19:12,000
Speaker 1: the nineteen fifties are going to nineteen fifty, right, I mean,

1533
01:19:12,080 --> 01:19:14,120
Speaker 1: they're not gonna be like yo, these two are lesbians.

1534
01:19:14,960 --> 01:19:19,280
Speaker 3: Like you know, there's a lot of like a lot

1535
01:19:19,280 --> 01:19:20,720
Speaker 3: of there's some coding.

1536
01:19:20,400 --> 01:19:22,880
Speaker 1: Happening in the film where you think, Okay, well maybe

1537
01:19:22,920 --> 01:19:28,720
Speaker 1: these women, maybe Emma is has like a unrequited thing

1538
01:19:28,800 --> 01:19:30,960
Speaker 1: for Vienna and that's why she's so angry and wants

1539
01:19:31,000 --> 01:19:35,280
Speaker 1: her dead. Right. That's obviously a component to the film

1540
01:19:35,280 --> 01:19:38,200
Speaker 1: that people talk about, and you know, I think it's interesting.

1541
01:19:38,400 --> 01:19:42,080
Speaker 3: It's an interesting read on the film for sure. But

1542
01:19:42,160 --> 01:19:42,760
Speaker 3: here's the thing.

1543
01:19:42,920 --> 01:19:46,879
Speaker 1: Okay, So Vienna has decided to employ the protective services

1544
01:19:46,960 --> 01:19:49,680
Speaker 1: of this man named Johnny Guitar, who was played by

1545
01:19:49,960 --> 01:19:53,000
Speaker 1: Sterling Hayden. Yes, he was at nine to five as well,

1546
01:19:53,120 --> 01:19:57,040
Speaker 1: dressed like Colonel Sanders or whatever the fuck that outfit you've.

1547
01:19:56,920 --> 01:20:02,080
Speaker 2: Played Tinsworthy or something like that. He's like he's literally.

1548
01:20:01,800 --> 01:20:04,479
Speaker 1: Dressed in like a white suit with like a black

1549
01:20:04,520 --> 01:20:06,600
Speaker 1: little tie and then he takes his hat off and

1550
01:20:06,640 --> 01:20:07,320
Speaker 1: he's just sweating.

1551
01:20:08,600 --> 01:20:12,000
Speaker 2: Oh my good. Truli Aiden made some choices throughout his career.

1552
01:20:12,080 --> 01:20:14,799
Speaker 1: Let's just say that, Yeah, he was a huge hawsome

1553
01:20:14,960 --> 01:20:18,960
Speaker 1: man in any in any regard. But he in the film,

1554
01:20:19,080 --> 01:20:22,360
Speaker 1: he's He's essentially presented at first as a traveling musician,

1555
01:20:22,479 --> 01:20:25,280
Speaker 1: right so he plays guitars and bars for a living.

1556
01:20:25,640 --> 01:20:27,720
Speaker 3: And then you quickly find out two things about him.

1557
01:20:28,240 --> 01:20:32,599
Speaker 1: Number One, his name is actually Johnny Logan and at

1558
01:20:32,640 --> 01:20:35,920
Speaker 1: one point he was one of the most famous gunfighters

1559
01:20:35,960 --> 01:20:39,280
Speaker 1: in the West before he hung up his guns in

1560
01:20:39,320 --> 01:20:44,960
Speaker 1: a very shame like way. Right he's too good. He'll

1561
01:20:45,000 --> 01:20:48,840
Speaker 1: shoot anyone dead from any position, and he just can't

1562
01:20:48,840 --> 01:20:49,719
Speaker 1: be trusted with guns.

1563
01:20:49,720 --> 01:20:50,799
Speaker 3: You gotta hang him up.

1564
01:20:52,880 --> 01:20:54,800
Speaker 2: No one, no one can ever beat him. He's gonna

1565
01:20:54,800 --> 01:20:56,800
Speaker 2: win all the time. So it's not even a fair fight.

1566
01:20:57,120 --> 01:20:59,000
Speaker 3: Right Like, he is too fucking good.

1567
01:20:59,080 --> 01:21:06,240
Speaker 1: He's the Dalton of gunfighters, right like, don't please Johnny Guitar,

1568
01:21:06,360 --> 01:21:12,759
Speaker 1: don't hurt him. And the other thing that gets presented

1569
01:21:13,000 --> 01:21:17,600
Speaker 1: is that here and Vienna apparently used to date, and

1570
01:21:17,840 --> 01:21:21,360
Speaker 1: I just Vianna has shaken off men left and right

1571
01:21:21,400 --> 01:21:24,759
Speaker 1: between him and the dancing kid, and apparently Johnny Guitar

1572
01:21:24,840 --> 01:21:27,920
Speaker 1: has agreed to come back into her life to protect

1573
01:21:27,920 --> 01:21:31,600
Speaker 1: her from this mob, but he's also secretly still in

1574
01:21:31,640 --> 01:21:33,599
Speaker 1: love with her, so there's all that okay.

1575
01:21:35,000 --> 01:21:35,759
Speaker 3: To be honest.

1576
01:21:36,400 --> 01:21:38,200
Speaker 1: Part of the reason why I also love this movie

1577
01:21:38,240 --> 01:21:40,200
Speaker 1: is that Sterling Hayden. You know, if you know anything

1578
01:21:40,240 --> 01:21:42,639
Speaker 1: about him and his career, he was pretty much known

1579
01:21:42,680 --> 01:21:45,920
Speaker 1: for being this like really tough, like noir guy, So

1580
01:21:46,040 --> 01:21:48,880
Speaker 1: I am fucking stoked that he's playing this character because,

1581
01:21:49,000 --> 01:21:52,760
Speaker 1: like I said, he is like the hot piece of

1582
01:21:52,880 --> 01:21:57,120
Speaker 1: ass love interest to Joan Crawford, like the film is

1583
01:21:57,200 --> 01:21:58,000
Speaker 1: named after him.

1584
01:21:58,080 --> 01:21:59,280
Speaker 3: But let's get serious.

1585
01:21:59,439 --> 01:22:04,320
Speaker 1: Like he's like at her feet being like, please love

1586
01:22:04,400 --> 01:22:07,400
Speaker 1: me again. I love you so much. Do you ever

1587
01:22:07,479 --> 01:22:10,519
Speaker 1: think of me? Even if you don't just lie and

1588
01:22:10,720 --> 01:22:11,360
Speaker 1: tell me you do.

1589
01:22:12,760 --> 01:22:15,639
Speaker 2: I don't see it. I'm like, dude, just a shred

1590
01:22:15,840 --> 01:22:17,120
Speaker 2: of self respect here? Please?

1591
01:22:17,840 --> 01:22:18,120
Speaker 3: Yes?

1592
01:22:18,240 --> 01:22:21,559
Speaker 1: I mean I fucking love it, cause I'm just like,

1593
01:22:22,080 --> 01:22:24,840
Speaker 1: when are we gonna see Sterling Hayden, like beg Joan

1594
01:22:24,880 --> 01:22:30,000
Speaker 1: Crawford to love him, and she's just like robotically being like, yes,

1595
01:22:30,120 --> 01:22:31,160
Speaker 1: I can't live without you.

1596
01:22:31,360 --> 01:22:32,639
Speaker 3: Oh, I've missed you so much.

1597
01:22:33,560 --> 01:22:35,400
Speaker 2: She is so over. She's like, I'm sick of these

1598
01:22:35,439 --> 01:22:37,680
Speaker 2: fucking dudes coming in here and a fucking cram in

1599
01:22:37,720 --> 01:22:42,559
Speaker 2: my style. Yes, like Dancing Kid, fucking Johnny guitar or

1600
01:22:42,560 --> 01:22:45,120
Speaker 2: you motherfucker's coming in here, and like then the whole

1601
01:22:45,120 --> 01:22:47,040
Speaker 2: from the beginning of the movie, she's screaming about how

1602
01:22:47,120 --> 01:22:49,519
Speaker 2: like this is her place and she's gonna go down

1603
01:22:49,560 --> 01:22:52,040
Speaker 2: with it. And I'm like, she loves this thing. She's

1604
01:22:52,040 --> 01:22:54,360
Speaker 2: built more than more than she'll ever love you, Like,

1605
01:22:54,360 --> 01:22:56,000
Speaker 2: you have to get that through your head at some point.

1606
01:22:56,160 --> 01:23:00,400
Speaker 1: Yes, yes, And here's like probably the pinnacle of his

1607
01:23:01,520 --> 01:23:04,799
Speaker 1: character and how he plays sort of this like second

1608
01:23:04,800 --> 01:23:07,320
Speaker 1: fiddle to Vienna in the movie. Okay, it is my

1609
01:23:07,439 --> 01:23:10,040
Speaker 1: favorite scene in the film. It's a very subtle moment,

1610
01:23:10,120 --> 01:23:13,200
Speaker 1: but it is literally something that I watch like any

1611
01:23:13,240 --> 01:23:15,200
Speaker 1: time it comes up. I watch it like twenty times.

1612
01:23:15,320 --> 01:23:15,679
Speaker 3: Okay.

1613
01:23:16,360 --> 01:23:18,759
Speaker 1: It's at the beginning of the film. The Dancing Kid

1614
01:23:18,760 --> 01:23:22,280
Speaker 1: comes into Vienna's. He's with his gang, which includes Ernest

1615
01:23:22,280 --> 01:23:26,240
Speaker 1: Borg nine of course, and they're in Vienna's and they're

1616
01:23:26,280 --> 01:23:29,920
Speaker 1: having a showdown with Emma and mc iver's and the

1617
01:23:29,960 --> 01:23:34,960
Speaker 1: townspeople because the townspeople believe that the Dancing Kid killed

1618
01:23:34,960 --> 01:23:40,040
Speaker 1: Emma's brother, so they all want to pin this stagecoach

1619
01:23:40,120 --> 01:23:42,280
Speaker 1: murder on the dancing kid and his gang.

1620
01:23:42,360 --> 01:23:44,840
Speaker 3: Okay, so there's this very tense moment.

1621
01:23:46,240 --> 01:23:51,000
Speaker 1: A shot glass almost falls off the bar. Okay, and

1622
01:23:51,080 --> 01:23:54,160
Speaker 1: right is this about to fall off the bar? Here

1623
01:23:54,240 --> 01:23:58,960
Speaker 1: comes Old Johnny guitar to catch it backhanded style, and

1624
01:23:59,000 --> 01:24:01,679
Speaker 1: then the pans up and.

1625
01:24:01,600 --> 01:24:04,200
Speaker 3: He's holding this very dainty tea cup.

1626
01:24:04,840 --> 01:24:10,759
Speaker 1: Yeah, and I'm like, hell, yes, this is the moment

1627
01:24:10,800 --> 01:24:12,960
Speaker 1: I've been waiting for my whole love. I'm like, who's

1628
01:24:13,040 --> 01:24:16,800
Speaker 1: this fucking tough guy holding this little pretty tea cup?

1629
01:24:17,439 --> 01:24:18,400
Speaker 2: Get you a man who can do.

1630
01:24:18,400 --> 01:24:19,760
Speaker 3: Booth, Get you a man.

1631
01:24:19,760 --> 01:24:22,280
Speaker 1: I mean it is very hot to me, you know,

1632
01:24:22,520 --> 01:24:26,800
Speaker 1: like having the sight of Sterling Hayden holding this like.

1633
01:24:28,360 --> 01:24:30,559
Speaker 3: Teacup trying to diffuse the situation.

1634
01:24:30,640 --> 01:24:33,240
Speaker 1: I'm like, yes, this is a movie that was written

1635
01:24:33,280 --> 01:24:35,960
Speaker 1: with my interest in mind, even though I was not

1636
01:24:36,040 --> 01:24:36,599
Speaker 1: born yet.

1637
01:24:36,640 --> 01:24:37,120
Speaker 3: But whatever.

1638
01:24:37,320 --> 01:24:42,160
Speaker 1: So okay, So fast forward through the action. Emma and

1639
01:24:42,200 --> 01:24:46,000
Speaker 1: mc iver's basically give Vienna the dancing kid and his boys.

1640
01:24:46,000 --> 01:24:48,120
Speaker 1: They give him twenty four hours to get out of

1641
01:24:48,200 --> 01:24:52,439
Speaker 1: town or they're gonna kill him. So the kid decides, well,

1642
01:24:53,120 --> 01:24:55,000
Speaker 1: hell if we're gonna be set up for this stage

1643
01:24:55,000 --> 01:24:58,080
Speaker 1: coach robbery thing, and we didn't do it, and they

1644
01:24:58,120 --> 01:25:00,240
Speaker 1: want us to leave anyway, why don't we just rob

1645
01:25:00,280 --> 01:25:02,320
Speaker 1: a bank on the way out of town. Might as

1646
01:25:02,360 --> 01:25:06,639
Speaker 1: well rob something get that cash, and guess what, all

1647
01:25:06,880 --> 01:25:09,479
Speaker 1: hell breaks loose after they do this. They make this

1648
01:25:09,640 --> 01:25:14,640
Speaker 1: stupid decision, and Emma is leading the charge with this.

1649
01:25:14,680 --> 01:25:17,040
Speaker 1: I mean, she convinces the entire town that the Dancing

1650
01:25:17,160 --> 01:25:19,640
Speaker 1: Kid and Vienna are actually in kahoots.

1651
01:25:20,320 --> 01:25:23,479
Speaker 3: And Emma fucking burns down Vienna's place.

1652
01:25:23,640 --> 01:25:27,400
Speaker 1: It is so fucking sad, But the fire in her

1653
01:25:27,479 --> 01:25:31,439
Speaker 1: eyes when she's like, I'm fucking burning this shit to

1654
01:25:31,479 --> 01:25:35,519
Speaker 1: the ground, I mean, it's like such such a fucking

1655
01:25:35,760 --> 01:25:39,320
Speaker 1: like moment for that character. And again, Emma is in charge,

1656
01:25:39,320 --> 01:25:41,080
Speaker 1: She's in charge of the townspeople.

1657
01:25:41,360 --> 01:25:42,200
Speaker 3: She's running shit.

1658
01:25:43,240 --> 01:25:45,759
Speaker 1: The lynch mob comes to collect Vienna at some point,

1659
01:25:45,840 --> 01:25:48,800
Speaker 1: and this teenage member of the Dancing Kids gang who

1660
01:25:48,840 --> 01:25:49,839
Speaker 1: is just named Turkey.

1661
01:25:51,760 --> 01:25:56,160
Speaker 4: Turkey such a turkey fucked up so bad, Oh my god,

1662
01:25:56,479 --> 01:26:00,439
Speaker 4: he's like a teenage wanna be gunslinger, and he's just

1663
01:26:00,560 --> 01:26:02,840
Speaker 4: very cocky and he just like doesn't know what the

1664
01:26:02,840 --> 01:26:03,519
Speaker 4: fuck he's doing.

1665
01:26:03,600 --> 01:26:06,360
Speaker 1: And like, Turkey is such a funny fucking name to me,

1666
01:26:06,560 --> 01:26:09,320
Speaker 1: and in the history of funny names on this podcast.

1667
01:26:09,760 --> 01:26:12,720
Speaker 3: He's up there with Cheb Chellios and John Matrix as

1668
01:26:12,720 --> 01:26:15,200
Speaker 3: far as I'm concerned. So here's the thing.

1669
01:26:15,560 --> 01:26:17,840
Speaker 1: You know, they're about to get lynched and Johnny Guitar

1670
01:26:17,960 --> 01:26:20,439
Speaker 1: has to basically save her. Then they both have to

1671
01:26:20,640 --> 01:26:25,720
Speaker 1: escape and basically move to the Dancing Kids hideout, And

1672
01:26:25,840 --> 01:26:28,599
Speaker 1: of course the kid and Johnny Guitar are sizing each

1673
01:26:28,600 --> 01:26:30,559
Speaker 1: other up because they're both in love with the Vienna.

1674
01:26:31,800 --> 01:26:34,559
Speaker 1: And the entire time, Vienna is spitting out these like

1675
01:26:34,800 --> 01:26:38,760
Speaker 1: venomous one liners and she's pulling guns on men. She's

1676
01:26:38,840 --> 01:26:42,519
Speaker 1: like playing the piano in a white fucking dress while

1677
01:26:42,680 --> 01:26:46,639
Speaker 1: everybody's at a funeral. Like she's just like, oh, y'all

1678
01:26:46,640 --> 01:26:49,080
Speaker 1: are wearing black because y'all are in a funeral. Well

1679
01:26:49,120 --> 01:26:51,479
Speaker 1: guess what, I'm wearing a fucking white ass dress, and

1680
01:26:51,520 --> 01:26:52,799
Speaker 1: I'm just gonna be playing this piano.

1681
01:26:53,880 --> 01:26:56,360
Speaker 3: You're gonna you're gonna try to overtake me? Hell no.

1682
01:26:57,600 --> 01:26:59,960
Speaker 2: And she's looking like super defiant with every note she.

1683
01:27:02,120 --> 01:27:04,679
Speaker 1: Yes, and it's and it's just sort of like that

1684
01:27:04,800 --> 01:27:09,320
Speaker 1: moment where again Vienna is calling the shots. And you know,

1685
01:27:09,560 --> 01:27:12,439
Speaker 1: like I said, all help breaks loose. You know, there's

1686
01:27:12,600 --> 01:27:14,680
Speaker 1: there's a lot of action, a lot of like classic

1687
01:27:14,760 --> 01:27:19,320
Speaker 1: sort of Western scenarios of like you know, the hideouts

1688
01:27:19,360 --> 01:27:23,639
Speaker 1: and you know, the sort of like the gang that's

1689
01:27:24,439 --> 01:27:27,400
Speaker 1: you know, slowly sort of deciding whether or not they

1690
01:27:27,439 --> 01:27:30,040
Speaker 1: want to continue on with this dancing kid, and then

1691
01:27:30,160 --> 01:27:35,160
Speaker 1: like the love triangle, the whole thing. But I mean,

1692
01:27:35,400 --> 01:27:38,479
Speaker 1: the reason why this movie is just so near and

1693
01:27:38,520 --> 01:27:41,679
Speaker 1: dear to me is because of just this gender role

1694
01:27:41,720 --> 01:27:44,360
Speaker 1: reversal of the entire fucking thing. Right.

1695
01:27:45,000 --> 01:27:49,040
Speaker 3: The women are in charge, they're leading the men there.

1696
01:27:49,160 --> 01:27:52,000
Speaker 1: I mean, there are many parts in this movie where

1697
01:27:52,360 --> 01:27:57,120
Speaker 1: characters say, you know, there are lines of dialogue where

1698
01:27:57,120 --> 01:27:59,280
Speaker 1: they're like, wow, she's like more of a man than

1699
01:27:59,320 --> 01:27:59,679
Speaker 1: a woman.

1700
01:27:59,680 --> 01:28:01,280
Speaker 3: But you know, you know what, like I respect that,

1701
01:28:01,520 --> 01:28:01,880
Speaker 3: or like.

1702
01:28:01,920 --> 01:28:05,479
Speaker 1: You know, there's like her Vienna's like workers in her

1703
01:28:05,920 --> 01:28:08,360
Speaker 1: saloon are like, you know.

1704
01:28:08,520 --> 01:28:11,200
Speaker 3: Hell, I love that she's in charge. Like it's great.

1705
01:28:11,720 --> 01:28:15,840
Speaker 3: I mean, what the fuck are you kidding me? Classic Hollywood?

1706
01:28:15,880 --> 01:28:19,360
Speaker 3: Are you serious? It's incredible?

1707
01:28:19,439 --> 01:28:22,559
Speaker 2: Soon it is. It's wonderful to see and I think

1708
01:28:22,560 --> 01:28:26,599
Speaker 2: they've cast it perfectly. And you know, Joan Crawford is

1709
01:28:26,640 --> 01:28:29,599
Speaker 2: so tough in this movie, and you know, she also

1710
01:28:29,600 --> 01:28:34,480
Speaker 2: displays some of her vulnerabilities, but not constantly and not often. Yeah,

1711
01:28:34,520 --> 01:28:36,920
Speaker 2: and she basically is just like I'm telling it how

1712
01:28:36,920 --> 01:28:38,439
Speaker 2: it is, and you can either be part of it

1713
01:28:38,600 --> 01:28:41,000
Speaker 2: or not. But if you're gonna keep working here, then

1714
01:28:41,080 --> 01:28:43,639
Speaker 2: you're gonna have to fucking spin that roulette wheel cause

1715
01:28:43,680 --> 01:28:45,800
Speaker 2: I like to hear it while I'm kicking out somebody

1716
01:28:45,840 --> 01:28:46,840
Speaker 2: who wants to try to kill me.

1717
01:28:47,760 --> 01:28:48,800
Speaker 3: Yeah, exactly.

1718
01:28:49,160 --> 01:28:51,320
Speaker 1: And I'm not gonna, I mean obviously not giving anything

1719
01:28:51,320 --> 01:28:54,000
Speaker 1: away maybe if I if I say this, but the

1720
01:28:54,080 --> 01:28:57,759
Speaker 1: fucking women are killing dudes like they're killing dudes using

1721
01:28:57,800 --> 01:29:02,400
Speaker 1: guns killing dudes. There is no, oh, you know, sensitivity

1722
01:29:02,439 --> 01:29:08,439
Speaker 1: behind that. It's incredible, and like I said, for this era,

1723
01:29:08,640 --> 01:29:12,080
Speaker 1: for the genre, it's just so incredibly fresh. I mean,

1724
01:29:13,120 --> 01:29:15,400
Speaker 1: in terms of our theme this week, it is she

1725
01:29:15,680 --> 01:29:18,280
Speaker 1: is the CEO of the West, She is the cut

1726
01:29:18,320 --> 01:29:23,120
Speaker 1: in charge of saloon of the town of whatever. And

1727
01:29:24,360 --> 01:29:29,599
Speaker 1: it's a big, bright, fifties color western and I mean,

1728
01:29:29,640 --> 01:29:32,320
Speaker 1: it's just so entertaining. And if you haven't seen it,

1729
01:29:32,360 --> 01:29:35,439
Speaker 1: I really hope you will because it's near and dear

1730
01:29:35,560 --> 01:29:36,080
Speaker 1: to my heart.

1731
01:29:36,439 --> 01:29:38,920
Speaker 2: So I loved it. I'm so glad you picked it.

1732
01:29:39,040 --> 01:29:42,400
Speaker 2: I think I agree so much what you've said, and

1733
01:29:42,680 --> 01:29:47,960
Speaker 2: just watching a woman on screen be this evocative and powerful,

1734
01:29:48,200 --> 01:29:51,040
Speaker 2: and you know the time frame they're discussing, in the

1735
01:29:51,040 --> 01:29:53,200
Speaker 2: timeframe it was filmed in, like it was just really

1736
01:29:54,080 --> 01:29:55,840
Speaker 2: I didn't know what to expect, and I didn't expect

1737
01:29:55,880 --> 01:29:57,000
Speaker 2: that it was really cool to see.

1738
01:29:57,479 --> 01:30:01,040
Speaker 1: Well cool, yeah, I mean, listen, I've been wanting to

1739
01:30:01,080 --> 01:30:04,599
Speaker 1: do this theme forever, ever since we decided on what

1740
01:30:04,600 --> 01:30:08,120
Speaker 1: it would be called. And you know, I was so

1741
01:30:08,200 --> 01:30:10,479
Speaker 1: happy to watch these two movies back to back. I mean,

1742
01:30:10,520 --> 01:30:14,400
Speaker 1: they're just to me, they're just absolute classics. And I

1743
01:30:14,439 --> 01:30:17,040
Speaker 1: think it was great to have this discussion about this

1744
01:30:17,840 --> 01:30:20,840
Speaker 1: lady boss, about the about the concept of the woman

1745
01:30:20,960 --> 01:30:23,719
Speaker 1: who was in charge and what that might look.

1746
01:30:23,600 --> 01:30:28,400
Speaker 3: Like in film. And I agree, good fun episode.

1747
01:30:28,680 --> 01:30:31,040
Speaker 2: I agree. Do you want to tell them what the

1748
01:30:31,040 --> 01:30:31,840
Speaker 2: next episode is?

1749
01:30:32,080 --> 01:30:32,240
Speaker 4: Oh?

1750
01:30:32,280 --> 01:30:33,479
Speaker 2: What the hell? Please are at least?

1751
01:30:33,760 --> 01:30:36,439
Speaker 3: Oh hell? Yes? Oh my god?

1752
01:30:37,040 --> 01:30:42,400
Speaker 1: Okay, are you all ready for our next episode? The

1753
01:30:42,479 --> 01:30:47,800
Speaker 1: movies are Against All Odds from nineteen eighty four and

1754
01:30:48,040 --> 01:30:50,479
Speaker 1: Vision Quest from nineteen eighty five.

1755
01:30:51,600 --> 01:30:55,759
Speaker 2: Foo, the theme is not the mid eighties.

1756
01:30:56,320 --> 01:30:58,760
Speaker 3: Oh yeah, it's not eighty four eighty five. That's not

1757
01:30:58,840 --> 01:30:59,240
Speaker 3: the theme.

1758
01:31:00,080 --> 01:31:02,000
Speaker 1: But listen, if you want to email us. We are

1759
01:31:02,000 --> 01:31:06,160
Speaker 1: at I Saw What You Did Pod at gmail dot com.

1760
01:31:05,520 --> 01:31:07,880
Speaker 2: And you can always find us on our socials. We

1761
01:31:07,920 --> 01:31:12,760
Speaker 2: are at I Saw Pod on Instagram and Twitter, and.

1762
01:31:12,880 --> 01:31:15,720
Speaker 1: Yeah, give us a five star review. Do all that

1763
01:31:15,840 --> 01:31:20,519
Speaker 1: stuff we are po box has been popping. Let me

1764
01:31:20,640 --> 01:31:24,839
Speaker 1: just say we've been getting like really cute little pieces

1765
01:31:24,880 --> 01:31:31,720
Speaker 1: of art. It's really sweet. And yeah, our peobox is

1766
01:31:32,360 --> 01:31:35,920
Speaker 1: tucked into our Instagram link tree page, so like, check

1767
01:31:35,960 --> 01:31:36,840
Speaker 1: it out if you have.

1768
01:31:38,640 --> 01:31:39,559
Speaker 3: Like physical mail.

1769
01:31:40,240 --> 01:31:42,800
Speaker 1: But yeah, other than that, Danielle as always as a

1770
01:31:42,840 --> 01:31:44,479
Speaker 1: fucking pleasure Doing this podcast with.

1771
01:31:44,439 --> 01:31:48,320
Speaker 2: You always a pleasure. Can't wait till next time, Stay

1772
01:31:48,360 --> 01:31:57,120
Speaker 2: guys soon. This has been an exactly right production, produced

1773
01:31:57,160 --> 01:31:59,760
Speaker 2: and mixed by Casey O'Brien. Our theme song is by

1774
01:31:59,760 --> 01:32:03,840
Speaker 2: Tom Bryfogel. Artwork by Garrett Ross. Our executive producers are

1775
01:32:03,880 --> 01:32:06,920
Speaker 2: Georgia Hartstart Caring, Tile Garrett and Daniel Kramer. You can

1776
01:32:06,960 --> 01:32:09,639
Speaker 2: follow us on Instagram and Twitter at I Saw Pod,

1777
01:32:10,080 --> 01:32:12,080
Speaker 2: and you can email us at I Saw What You

1778
01:32:12,120 --> 01:32:13,320
Speaker 2: Did Pod at gmail