WEBVTT - Death Becomes Her

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<v Speaker 1>On the bed Cast, the questions asked if movies have

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<v Speaker 1>women in um, are all their discussions just boyfriends and husbands,

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<v Speaker 1>or do they have individualism the patriarchy zef in best

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<v Speaker 1>start changing it with the Bedel Cast. Hello and welcome

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<v Speaker 1>to the Bechtel Cast. My name's Jamie Loftus. My name

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<v Speaker 1>is Caitlin Durante, and this is our podcast about yeah

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<v Speaker 1>movie and an intersectional look at our favorite movies and

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<v Speaker 1>your favorite movies. Not always our favorite movies. Sometimes movies

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<v Speaker 1>we hate, these movies we hate, other times movies we loved,

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<v Speaker 1>but not this one, not today's movies. Okay, So we

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<v Speaker 1>are so um. Members of our patreon ak Matreon will

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<v Speaker 1>recognize this as a previous Matreon released episode. We are

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<v Speaker 1>unlocking an episode to get you all hyped up for

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<v Speaker 1>horror in October this year. So we're unlocking our Death

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<v Speaker 1>Becomes Her episode. And one of the reasons we're doing

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<v Speaker 1>that because we have been really busting our asses getting

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<v Speaker 1>the horror movies together for this year and it's gonna

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<v Speaker 1>be an amazing October. We've got the Descent, We've got us,

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<v Speaker 1>We've got a girl walks home alone at night. We've

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<v Speaker 1>got what's the fourth way pans Labyrinths Hans Labyrinthe. Yeah, there.

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<v Speaker 1>We we have an amazing October lined up for you,

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<v Speaker 1>mostly directors we haven't covered before, so look forward to that.

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<v Speaker 1>And this is just a fun ass episode, yes, and

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<v Speaker 1>one of our shorter ones. We've been releasing like two

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<v Speaker 1>hour episodes lately, and this one clocks in pretty pretty

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<v Speaker 1>short start. To give ourselves too much of a pat

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<v Speaker 1>on the back, but UM listeners will know we we

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<v Speaker 1>live in southern California and the air is batteries. So

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<v Speaker 1>the fact that we are recording two episodes that have

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<v Speaker 1>enough you know, it's it's it's it's a miracle. It's

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<v Speaker 1>a miracle that we're still producing a podcast in this economy.

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<v Speaker 1>Can you imagine? Um. So, so we are unlocking a

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<v Speaker 1>Matren episode today, but as an extra treat for our matrons,

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<v Speaker 1>UM who if you're already a member or if you

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<v Speaker 1>don't know, our Matreon gives you two bonus episodes a

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<v Speaker 1>month with just Caitlin and myself talking about movies on

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<v Speaker 1>a weird theme that we pick that never makes sense.

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<v Speaker 1>Weird theme, you mean, amazing, incredible, outstanding theme that everybody

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<v Speaker 1>loves all the time right now, it's it September, which

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<v Speaker 1>is uh females driven sports movies with it in the title.

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<v Speaker 1>That's your name for it. I My favorite for it

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<v Speaker 1>is sport Timber, which is the same thing, female driven

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<v Speaker 1>sports movies with it in the title, but stick it

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<v Speaker 1>in with it. But in any case, what we for

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<v Speaker 1>five bucks a month you can get all of those episodes.

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<v Speaker 1>There's I think almost eighty bonus full length bonus episodes

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<v Speaker 1>in our Matreon at this point, and this is only one.

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<v Speaker 1>This one of the first ones we've ever unlocked, but

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<v Speaker 1>for a bonus. On top of the bonus for our matrons.

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<v Speaker 1>This month, we're also going to be unlocking our Titanic

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<v Speaker 1>live read that we did to benefit Junior High l

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<v Speaker 1>A last month. Um one of I think the Collapse

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<v Speaker 1>of the Century, some of your favorite guests and us

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<v Speaker 1>reading the entire script from Titanic. It's it's four hours long,

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<v Speaker 1>so long, it's longer than the movie. Guests like Princess

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<v Speaker 1>Weeks who was on the show just last week, Maggie

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<v Speaker 1>May Fish, Lindsay Ellis, Knese Mobley who's going to be

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<v Speaker 1>on the show next week. There's just so many wonderful

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<v Speaker 1>guests and more, and so we'll be unlocking that for

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<v Speaker 1>our matrons and uh, one last plug before we get

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<v Speaker 1>into the show. We had so much fun doing a

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<v Speaker 1>live read with with everybody, and I think it was

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<v Speaker 1>over three hundred listeners that were with us that night,

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<v Speaker 1>watching and like interacting with us live. We're going to

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<v Speaker 1>be doing it again next Friday, September for the movie

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<v Speaker 1>Wait for It Twice live, we're doing live reading of Twilight.

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<v Speaker 1>I like to call it a live reading slash roasting,

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<v Speaker 1>a live blood sucking to celebrate Robert Pattinson's recovery from

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<v Speaker 1>COVID nineteen. We're reading Twilight, um no, but we we are.

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<v Speaker 1>We are going to be reading it um Tickets will

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<v Speaker 1>be live today or tomorrow, so keep your eye on

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<v Speaker 1>our social media for that. There's going to be a

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<v Speaker 1>donation based way to do it because we are benefiting

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<v Speaker 1>a local candidate that we are really excited about in

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<v Speaker 1>our area named Fatima Ichball Zubert. She is running for

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<v Speaker 1>a state representative against an incumbent cop and she's amazing

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<v Speaker 1>and we love her so much. So we're will be

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<v Speaker 1>listing information on how to get access to that broadcast,

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<v Speaker 1>which will be on the um on our social media

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<v Speaker 1>basic you'll donate to Fatima, send us the receipt, we'll

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<v Speaker 1>get you the link. It's easy. And you know we're

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<v Speaker 1>gonna be I'm gonna be Edward, Caitlin's gonna be bela

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<v Speaker 1>it is what it is. I can't believe. I'm going

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<v Speaker 1>to buy a wig, I think. And our guests are

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<v Speaker 1>going to be on a hose ni A, Sharine, Lana, Unice, Karama,

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<v Speaker 1>Danqua and uh future guests on the show, Jess Merwin.

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<v Speaker 1>So it is going to be simply a time so

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<v Speaker 1>we will be posting about it incessantly, but we wanted

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<v Speaker 1>to let you know about it now, so yeah, keep

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<v Speaker 1>your eye over that, indeed. And then one last thing

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<v Speaker 1>about this episode in particular, since we we recorded it,

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<v Speaker 1>we released it about a year ago. If I'm not mistaken,

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<v Speaker 1>believe it's for last yes. So you might have noticed

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<v Speaker 1>in recent months we're on an ongoing pursuit and effort

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<v Speaker 1>to eliminate any language more vocabulary that is able list

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<v Speaker 1>and disparaging of mental illness. And this is we're talking

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<v Speaker 1>like pretty common stuff that is still very widely used.

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<v Speaker 1>Expressions like and I'm going to say them to let

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<v Speaker 1>you know, maybe what you should also try to eliminate

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<v Speaker 1>from your vocabulary. Vocabulary so things like that's crazy or

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<v Speaker 1>that was insane, or even like that's so dumb, things

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<v Speaker 1>like that. Yeah, the phrase stupid as well. There there's

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<v Speaker 1>so many common phrases that are rooted in just bigoted

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<v Speaker 1>statements against those experiencing mental illness and those with disabilities. Yeah,

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<v Speaker 1>we we've kind of been on an ongoing education process

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<v Speaker 1>for ourselves as well. Clearly this is stuff we've learned

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<v Speaker 1>uh and begun implementing into our lives in the last year,

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<v Speaker 1>So we a We're also going to include a link

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<v Speaker 1>in our description where you can learn more about that

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<v Speaker 1>and more about um, the origin of these common phrases

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<v Speaker 1>that are actively harmful. Yes, that said, we wanted to

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<v Speaker 1>acknowledge that because there are a few uses of language

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<v Speaker 1>like this in the episode, because it was prior to

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<v Speaker 1>us being aware of this, So do a heads up

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<v Speaker 1>for that. And with that, I guess let's get into

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<v Speaker 1>Death Becomes Her the best body horror movie of all time. Yeah,

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<v Speaker 1>let's drink our potions that will make us live forever

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<v Speaker 1>but also crumble And did you know women's bodies are terrifying.

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<v Speaker 1>That's what I learned from this movie. We talked about

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<v Speaker 1>it in the episode. But we but if this is

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<v Speaker 1>your first episode of the Becktel Cast, welcome. Uh. We

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<v Speaker 1>look at movies that have had an impact on the world,

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<v Speaker 1>using intersexual feminist lens, using the Bechdel test as a

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<v Speaker 1>jumping off point for discussion. But Caitlin, I don't remember

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<v Speaker 1>what the Betel test is. Did you remind me? You

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<v Speaker 1>say that as a joke. But I honestly, in the past,

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<v Speaker 1>like a couple of weeks especially, I'm really like, my

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<v Speaker 1>memory doesn't work anymore. I couldn't. I can't remember there's

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<v Speaker 1>batteries in the air that we're breathing battery acid. Like

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<v Speaker 1>it's horrible. I I don't like, I couldn't. I'm off

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<v Speaker 1>topic already. But like I when this maybe passes the

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<v Speaker 1>Bechdel test. But I was like trying to think of

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<v Speaker 1>my stand up jokes recently, and I'm like, I can't

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<v Speaker 1>remember any of my stand up jokes. I can't remember

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<v Speaker 1>the names of places I used to go, Like, I,

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<v Speaker 1>yeah it, yeah, I was remember. I was like, oh yeah, ideally,

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<v Speaker 1>best case scenario, well, we will have to remember our

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<v Speaker 1>jokes at some point, um terrifying. No, yeah, I've also

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<v Speaker 1>been truly, I mean especially like extra shout out and

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<v Speaker 1>love to all of our listeners on the American West

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<v Speaker 1>Coast because it's it's tough right now and if you're

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<v Speaker 1>able to do mutual aid throughout this, uh please do.

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<v Speaker 1>But we're just just it's really the worst of times.

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<v Speaker 1>I can't remember. I can't. I was like, I, um,

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<v Speaker 1>you want a fun little anecdote before we told them

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<v Speaker 1>what the Bechtel test is if you're squeamish, maybe fast

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<v Speaker 1>forward fifteen seconds. I was walking to seven eleven yesterday,

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<v Speaker 1>bravely went outside and I got so nauseated by the

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<v Speaker 1>air that I threw up in my little mask. Had

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<v Speaker 1>to turn around. Oh no, it's uh sorry god. Yeah,

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<v Speaker 1>I've been having a NonStop headache for probably the past

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<v Speaker 1>like six days now. It's really awful. It's bad. Um,

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<v Speaker 1>So what is the pie test? And I think all

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<v Speaker 1>of that puking in your mask passes the buckel totally

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<v Speaker 1>past the backdel past. So that's that's another example of it.

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<v Speaker 1>It is, you know, not it's a flawed metric. Um,

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<v Speaker 1>but yes, that whole conversation I believe past the Bechtel

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<v Speaker 1>test because of the Bechtel Test is a media metric

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<v Speaker 1>originally developed and created by queer cartoonist Alison Bechtel, sometimes

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<v Speaker 1>called the Bechtel Wallace Test, and it requires that. For

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<v Speaker 1>our purposes, we have made some adjustments to the tests

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<v Speaker 1>also another recent development of ours um but our newest

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<v Speaker 1>version of the test is two people of any marginalized

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<v Speaker 1>gender must have names, must speak to each other about

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<v Speaker 1>something other than a sisman. So that is the test test.

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<v Speaker 1>It's complicated. So we use that to inspire the premise

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<v Speaker 1>of the show and then we dive into a much

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<v Speaker 1>deeper conversation about representation in intersectionality and inclusivity and uh,

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<v Speaker 1>you know, Goldi Han and Meryl streep at different at

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<v Speaker 1>different times. So yes, we're we're excited to share this episode.

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<v Speaker 1>Would we hope you enjoy it? And a reminder if

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<v Speaker 1>you enjoyed these episodes with just being Caitlin, it's a

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<v Speaker 1>little looser we're goofing around. Or if you're just running

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<v Speaker 1>out of episodes of the Battle cast on our main feed,

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<v Speaker 1>head over to the Matreon five bucks a month to

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<v Speaker 1>bonus episodes, and as of today, you can watch the

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<v Speaker 1>Titanic stream as well, so enjoy the rest of the episode.

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<v Speaker 1>Enjoy the Bell cast. Jamie, what's your history with the film?

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<v Speaker 1>Hadn't seen it? What about you? I had only seen

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<v Speaker 1>it for the first time about a year ago. It

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<v Speaker 1>was not at all on my radar until we started

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<v Speaker 1>the podcast and started getting requested him. Yeah, as I

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<v Speaker 1>I I and I intentionally did not do a ton

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<v Speaker 1>of research going into the viewing experience, which I'm glad

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<v Speaker 1>because it is such a wild ride. What a wild ride, indeed.

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<v Speaker 1>But yeah, I saw it. I watched it about a

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<v Speaker 1>year ago, and then we just rewatched it together and

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<v Speaker 1>now we're ready to talk about it. I'm excited. There's

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<v Speaker 1>a there's there's a lot going on here. Some of it.

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<v Speaker 1>I love some of it. You know, we just have to.

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<v Speaker 1>That's why we have the podcast, and it's it's a

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<v Speaker 1>beloved movie. It's got a cult following. What a roller

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<v Speaker 1>coaster the film. It is, so the story, if I

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<v Speaker 1>may please do, thank you so much. We meet Madeline

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<v Speaker 1>Ashton Meryl Street. Welcome, We take a hard left, take

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<v Speaker 1>a car to Meryl Street. One of our weaker persistent jokes,

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<v Speaker 1>I disagree you're right, you're right, you're right. When you're right,

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<v Speaker 1>you're right. Um. She is an actor, a musical theater performer. Um.

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<v Speaker 1>But people don't like her anymore because they think she

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<v Speaker 1>is old and has lost her touch. But there is

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<v Speaker 1>one person who does still love her, and that is

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<v Speaker 1>Ernest Menville. Bruce Willis's character is a great Bruce Willis

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<v Speaker 1>the role of a lifetime. I would say, oh yeah.

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<v Speaker 1>He is a cosmetic surgeon. And the fiance of Helen Sharp,

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<v Speaker 1>which is Goldie Hawn, who is a front of me

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<v Speaker 1>of Madeleine's. She's a writer. She's a writer, which Madeleine

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<v Speaker 1>really undermined. She's like, are you still doing that writing

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<v Speaker 1>thing right? Which is personally triggering. Sure, and then Helen's

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<v Speaker 1>all like, oh my god, Ernest, you don't like Madeleine,

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<v Speaker 1>do you? And He's like, no, I have no interest

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<v Speaker 1>in her whatsoever. Cutt, I'm getting married. This is the

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<v Speaker 1>campiest movie with a fifty five million dollar budget that's

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<v Speaker 1>ever been filmed. It's well, okay, I would welcome contenders

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<v Speaker 1>and consume them happily. Sure, this is a very expensive

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<v Speaker 1>camp movie. Right. Then we cut to seven years later

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<v Speaker 1>and Helen has a wait and she is now a

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<v Speaker 1>crazy cat lady. She's evicted. Classic trope. Oh yeah, we'll

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<v Speaker 1>talk about it. She is evicted from her apartment, she's institutionalized,

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<v Speaker 1>and she's completely obsessed with Madeline Ashton's demise. Right and

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<v Speaker 1>then she and then we found flash forward seven years again.

0:14:23.960 --> 0:14:29.560
<v Speaker 1>Right and Madeleine and Ernest's marriage is not healthy. He's

0:14:29.600 --> 0:14:33.960
<v Speaker 1>an alcoholic. He is no longer a plastic surgeon, at

0:14:34.000 --> 0:14:38.320
<v Speaker 1>least like not for living people. He instead now makes

0:14:38.520 --> 0:14:46.680
<v Speaker 1>corpses look presentable for their funerals. Ya. Then, Madeleine receives

0:14:46.720 --> 0:14:52.360
<v Speaker 1>an invitation from Helen for Helen's book party, and Madeline

0:14:52.400 --> 0:14:54.360
<v Speaker 1>wants to look her best for the event, so she

0:14:54.440 --> 0:14:59.320
<v Speaker 1>goes in for a treatment to get rejuvenated, and a

0:14:59.360 --> 0:15:06.360
<v Speaker 1>guy there tells Madeleine about Lisel von Ruman ak Isabella.

0:15:07.840 --> 0:15:13.360
<v Speaker 1>She can help, but he is weird, so Madeleine ignores him.

0:15:13.440 --> 0:15:17.280
<v Speaker 1>Then she goes to Helen's event, and surprise, Goldie Hawn

0:15:17.400 --> 0:15:20.760
<v Speaker 1>has taken off the fat suit and she is a

0:15:20.760 --> 0:15:26.920
<v Speaker 1>successful writer. And Madeleine is not handling this well, so

0:15:27.000 --> 0:15:33.360
<v Speaker 1>she decides to go to Lisa von Ruman's place castle

0:15:34.520 --> 0:15:39.240
<v Speaker 1>and she sells Madeleine a potion that will reverse the

0:15:39.320 --> 0:15:44.440
<v Speaker 1>aging process, and it works, and her body tightens up

0:15:44.480 --> 0:15:47.640
<v Speaker 1>and her face looks younger in some of them. Us.

0:15:47.760 --> 0:15:52.960
<v Speaker 1>I mean, there's so much I think spectacular body horror

0:15:53.080 --> 0:15:59.120
<v Speaker 1>in this movie, and uh, this is just the beginning. Meanwhile,

0:15:59.480 --> 0:16:04.080
<v Speaker 1>Helen has gone to Earnest to seduce him and sabotage

0:16:04.160 --> 0:16:08.920
<v Speaker 1>his relationship with Madeline, and she proposes a plan where

0:16:09.120 --> 0:16:12.280
<v Speaker 1>they drug and kill Madeleine but make it look like

0:16:12.320 --> 0:16:17.080
<v Speaker 1>an accident, and Madeleine returns home and she and Ernest

0:16:17.120 --> 0:16:19.520
<v Speaker 1>get into an argument and then he pushes her down

0:16:19.760 --> 0:16:24.400
<v Speaker 1>the stairs. And I truly I found and you know

0:16:24.680 --> 0:16:27.640
<v Speaker 1>that I need to watch this movie more. But I

0:16:27.800 --> 0:16:32.040
<v Speaker 1>found the moment where Meryl Streep is rocking back and

0:16:32.120 --> 0:16:35.040
<v Speaker 1>forth defying gravity on the stairs and we're like, is

0:16:35.040 --> 0:16:36.760
<v Speaker 1>she's going to fall or not to be the most

0:16:36.840 --> 0:16:40.840
<v Speaker 1>profound moment of the movie, because I think this movie

0:16:40.880 --> 0:16:46.160
<v Speaker 1>basically boils down to women versus the forces of gravity

0:16:46.280 --> 0:16:49.800
<v Speaker 1>over time, because it is that's a movie about aging,

0:16:50.520 --> 0:16:53.960
<v Speaker 1>and like was because this is like a pretty solid

0:16:54.040 --> 0:16:56.680
<v Speaker 1>creative team. I'm like, I wonder if someone was thinking

0:16:56.720 --> 0:16:59.600
<v Speaker 1>that because it is just like women versus gravity is

0:16:59.640 --> 0:17:04.359
<v Speaker 1>a central force in it. That's my little thought. What

0:17:04.600 --> 0:17:08.360
<v Speaker 1>a brilliant thought, Jamie so much. I did my best

0:17:08.400 --> 0:17:15.120
<v Speaker 1>on that one anyway. So yeah, they've gotten into an argument. Um,

0:17:15.240 --> 0:17:18.320
<v Speaker 1>they're screaming at each other, they're calling each other nasty names.

0:17:19.160 --> 0:17:22.360
<v Speaker 1>He is strangling her and then he pushes her down

0:17:22.400 --> 0:17:25.320
<v Speaker 1>the stairs and she breaks her neck, and then Ernest

0:17:25.440 --> 0:17:28.399
<v Speaker 1>calls Helen freaking out, and they're trying to figure out

0:17:28.480 --> 0:17:31.800
<v Speaker 1>what to do. And as they're talking through it, uh,

0:17:32.040 --> 0:17:36.560
<v Speaker 1>Madeleine gets up off the floor because she's taken this potion.

0:17:37.359 --> 0:17:40.840
<v Speaker 1>She didn't die, even though her head is on backwards

0:17:40.880 --> 0:17:45.040
<v Speaker 1>now right, which is not easy to look at. The

0:17:45.800 --> 0:17:52.720
<v Speaker 1>whatever effects they did to accomplish that particular image is

0:17:52.760 --> 0:17:58.000
<v Speaker 1>troubling and scary and weird. So we're being weirdly like

0:17:58.280 --> 0:18:02.320
<v Speaker 1>diplomatic about it or like it is easy to view

0:18:02.440 --> 0:18:06.120
<v Speaker 1>with your eyeball. It just isn't. I mean, they did

0:18:06.119 --> 0:18:09.200
<v Speaker 1>the best with what they could in ninety what year

0:18:09.280 --> 0:18:13.240
<v Speaker 1>was it too? Oh see, I think it looks like

0:18:13.400 --> 0:18:17.200
<v Speaker 1>a little too close to real. This one an Academy

0:18:17.240 --> 0:18:20.399
<v Speaker 1>Award for Visual Effects, did it? Really? It is the

0:18:20.440 --> 0:18:25.359
<v Speaker 1>only thing it was nominated for it and it won. Wow,

0:18:25.720 --> 0:18:30.240
<v Speaker 1>I know, which is really just a testament to and

0:18:30.640 --> 0:18:33.680
<v Speaker 1>you know that that means not recent. Sure, I mean

0:18:33.800 --> 0:18:40.120
<v Speaker 1>Zamachas is a visual effects king. I'll say it. I've

0:18:40.160 --> 0:18:43.879
<v Speaker 1>seen back to she said it. I can't believe she

0:18:43.960 --> 0:18:49.840
<v Speaker 1>finally said it. I mean, he's no James Cameron. But

0:18:50.040 --> 0:18:54.240
<v Speaker 1>who's going on with this today? I missed the Matrion.

0:18:54.320 --> 0:18:55.960
<v Speaker 1>It's well, it's been a really long time since we

0:18:56.080 --> 0:18:58.680
<v Speaker 1>recorded a Matreon episode. I know, it's been really long

0:18:58.680 --> 0:19:00.760
<v Speaker 1>since we haven't had a refer e in the room

0:19:01.480 --> 0:19:06.080
<v Speaker 1>being like, wrap it up, idiots, it's good, it feels good.

0:19:06.320 --> 0:19:10.960
<v Speaker 1>So Madeleine turns her head back around and then yes,

0:19:11.359 --> 0:19:13.720
<v Speaker 1>She's like, Earnest, I need to see a doctor. So

0:19:13.800 --> 0:19:16.160
<v Speaker 1>he takes her to the e R. But she doesn't

0:19:16.200 --> 0:19:19.440
<v Speaker 1>have a heartbeat, and it turns out she is legally dead,

0:19:19.880 --> 0:19:21.840
<v Speaker 1>but she's still awake and moving around and she seems

0:19:21.880 --> 0:19:26.440
<v Speaker 1>alive because of this potion. But Earnest, being the doctor

0:19:26.520 --> 0:19:29.920
<v Speaker 1>science man that he is, thinks that this is a

0:19:29.960 --> 0:19:33.640
<v Speaker 1>cosmic sign that they should be together after all, which

0:19:33.720 --> 0:19:37.640
<v Speaker 1>is confusing. You know, No, I mean, he's he's an

0:19:37.680 --> 0:19:40.320
<v Speaker 1>interesting I'm like, I'm not quite sure what the comments

0:19:40.400 --> 0:19:43.679
<v Speaker 1>on masculinity is there, but there but it's something sure

0:19:43.960 --> 0:19:47.119
<v Speaker 1>true tv D and he takes her home and tries

0:19:47.240 --> 0:19:51.080
<v Speaker 1>to fix up her broken body, but Helen comes back

0:19:51.160 --> 0:19:55.960
<v Speaker 1>over and Madeleine overhears her talking to Earnest about their

0:19:56.000 --> 0:20:00.080
<v Speaker 1>plan to kill her, so Madeleine takes a rifle and

0:20:00.160 --> 0:20:05.360
<v Speaker 1>shoots Helen with it, but surprise, Hell has also taken

0:20:05.640 --> 0:20:10.440
<v Speaker 1>Liesel von Rumans potion, so she doesn't die, even though

0:20:10.480 --> 0:20:13.840
<v Speaker 1>she has a huge gaping hole in her mid section right,

0:20:14.320 --> 0:20:17.680
<v Speaker 1>and then she and Madeleine start physically fighting each other.

0:20:17.800 --> 0:20:21.080
<v Speaker 1>They're hitting each other's shovels, but then they realize there's

0:20:21.119 --> 0:20:23.800
<v Speaker 1>no point in that because neither of them can be

0:20:23.840 --> 0:20:25.879
<v Speaker 1>injured or die. And then they get to a point

0:20:26.200 --> 0:20:30.560
<v Speaker 1>where they both admit their wrongdoings and apologize for hurting

0:20:30.560 --> 0:20:34.200
<v Speaker 1>each other in the past. Uh and then they make

0:20:34.359 --> 0:20:38.280
<v Speaker 1>Ernest fix them up, but he's like, I'll do it,

0:20:38.320 --> 0:20:40.720
<v Speaker 1>but then I'm going to leave forever after that and

0:20:40.760 --> 0:20:43.320
<v Speaker 1>you'll never see me again. But then they worry. They're

0:20:43.359 --> 0:20:46.040
<v Speaker 1>like ship, like, we're gonna need touch ups, Like what

0:20:46.119 --> 0:20:49.000
<v Speaker 1>if it rains and he's not going to live forever

0:20:49.480 --> 0:20:52.560
<v Speaker 1>and we need him around. So they decide to take

0:20:52.680 --> 0:20:57.160
<v Speaker 1>him to Leesl's and make him drink the potion to right,

0:20:58.080 --> 0:21:01.320
<v Speaker 1>there's a lot of intermittent violence and this will have

0:21:01.400 --> 0:21:05.560
<v Speaker 1>to backtrack to and they know he won't go willingly,

0:21:06.200 --> 0:21:08.720
<v Speaker 1>so they first try to drug him. That doesn't work,

0:21:08.760 --> 0:21:11.040
<v Speaker 1>and then they knock him out and take him to

0:21:11.640 --> 0:21:18.280
<v Speaker 1>Lisl's castle. She almost succeeds in convincing Earnest to drink

0:21:18.320 --> 0:21:21.120
<v Speaker 1>the potion, but at the last minute he's like, wait

0:21:21.119 --> 0:21:23.640
<v Speaker 1>a minute, I don't want to live forever. That sounds awful,

0:21:24.000 --> 0:21:27.920
<v Speaker 1>and then he gets away. He's not wrong, and then

0:21:28.160 --> 0:21:31.880
<v Speaker 1>Madeleine and Helen spot him and chase after him through

0:21:31.920 --> 0:21:36.160
<v Speaker 1>this like ball that Lisel's throwing all of her clients,

0:21:36.200 --> 0:21:42.600
<v Speaker 1>of whom include Elvis, Marilyn Monroe, and Andy Warhol ha

0:21:42.600 --> 0:21:46.840
<v Speaker 1>ha funny. So he's trying to escape via the roof

0:21:47.320 --> 0:21:49.800
<v Speaker 1>Earnest is and he slips and falls and he's dangling

0:21:49.840 --> 0:21:51.720
<v Speaker 1>there and he's about to fall to his death, and

0:21:51.760 --> 0:21:54.000
<v Speaker 1>Madeline and Helen are like, oh, man, you got to

0:21:54.000 --> 0:21:57.600
<v Speaker 1>take the potion because then if you fall, you won't die.

0:21:58.200 --> 0:22:02.040
<v Speaker 1>But he refuses and then he falls, but he lands

0:22:02.080 --> 0:22:05.199
<v Speaker 1>in a swimming pool, so he lives. And then he

0:22:05.240 --> 0:22:08.600
<v Speaker 1>finally gets away and Madeline and Helen are like, well,

0:22:08.640 --> 0:22:10.280
<v Speaker 1>I guess we'll just have to take care of each

0:22:10.280 --> 0:22:13.560
<v Speaker 1>other and paint each other's asses. I kind of like that,

0:22:14.400 --> 0:22:17.359
<v Speaker 1>so did I. I know, I'm just like man, that

0:22:17.560 --> 0:22:20.160
<v Speaker 1>is kind of like, you know, for some of us

0:22:20.680 --> 0:22:24.000
<v Speaker 1>being toxic, it's nice to be toxic and also not alone.

0:22:24.400 --> 0:22:26.960
<v Speaker 1>That's true. They just start doomed to an eternity of

0:22:27.080 --> 0:22:31.760
<v Speaker 1>toxic friendship together. And then we cut to thirty seven

0:22:31.840 --> 0:22:33.920
<v Speaker 1>years later, which let me do the math here, because

0:22:33.920 --> 0:22:37.280
<v Speaker 1>the movie starts when it's ninety eight, and then seven

0:22:37.359 --> 0:22:40.120
<v Speaker 1>years passed, and then seven more years passed, and then

0:22:40.160 --> 0:22:50.320
<v Speaker 1>thirty seven years passed, putting us at ten years from now.

0:22:50.760 --> 0:22:55.800
<v Speaker 1>So Bruce Willis has ten years left to live. Let's

0:22:55.840 --> 0:22:59.960
<v Speaker 1>be very careful. But it has been said, it wasn't

0:23:00.119 --> 0:23:07.800
<v Speaker 1>not said diplomatic. Well, yeah, that's an official statement. Okay.

0:23:07.920 --> 0:23:12.639
<v Speaker 1>So it's thirty seven years later. Madeline and Helen are

0:23:12.720 --> 0:23:17.680
<v Speaker 1>at Ernest's funeral, but they're chipping, they're melting, they're falling apart,

0:23:18.200 --> 0:23:22.080
<v Speaker 1>and then they fall down some stairs and break into bits,

0:23:22.480 --> 0:23:25.399
<v Speaker 1>but they're still alive. In Helen's like, do you remember

0:23:25.400 --> 0:23:28.359
<v Speaker 1>where you parked in the car? And then that's the

0:23:28.440 --> 0:23:30.719
<v Speaker 1>end of the movie did it? Did It Do? And

0:23:30.800 --> 0:23:36.720
<v Speaker 1>that's the whole thing. Yep, you know, I like the movie.

0:23:37.400 --> 0:23:41.680
<v Speaker 1>It's very fun. It's so campy, it's fun with it.

0:23:41.880 --> 0:23:45.200
<v Speaker 1>It's wild. Um let's take a quick break and then

0:23:45.240 --> 0:23:54.000
<v Speaker 1>we'll come right back. So let's dive in. Yeah. Well,

0:23:54.600 --> 0:24:00.520
<v Speaker 1>the first thing for me is that this movie, it

0:24:00.600 --> 0:24:04.080
<v Speaker 1>seems like it is like trying to be a commentary

0:24:04.240 --> 0:24:09.240
<v Speaker 1>on how society doesn't value older women. I totally agree

0:24:09.240 --> 0:24:12.399
<v Speaker 1>with society doesn't tends not to find older women to

0:24:12.400 --> 0:24:15.919
<v Speaker 1>be attractive. But I think it does not really go

0:24:16.119 --> 0:24:20.520
<v Speaker 1>far enough because then the movie focuses on, uh, these

0:24:20.560 --> 0:24:24.960
<v Speaker 1>two women who hate each other, and then they do

0:24:25.440 --> 0:24:28.760
<v Speaker 1>end up finding a common ground, but really only because

0:24:28.920 --> 0:24:31.920
<v Speaker 1>they have no other choice. This to me, it does

0:24:32.000 --> 0:24:34.320
<v Speaker 1>feel like kind of like a swell to that we

0:24:34.440 --> 0:24:36.080
<v Speaker 1>just happened to have covered a lot of movies that

0:24:36.160 --> 0:24:39.639
<v Speaker 1>kind of fall into this category recently, but like a

0:24:39.800 --> 0:24:43.359
<v Speaker 1>very earnest attempt to make a comment on something that

0:24:43.440 --> 0:24:47.399
<v Speaker 1>the writers are not necessarily qualified to make. The comment

0:24:47.920 --> 0:24:51.480
<v Speaker 1>to this movie is uh spoiler alert. As with most

0:24:51.480 --> 0:24:56.159
<v Speaker 1>movies written by multiple men um and directed by and

0:24:56.240 --> 0:25:01.159
<v Speaker 1>directed by Mr Zemecki himself. Um, yeah, I mean, this

0:25:01.200 --> 0:25:05.719
<v Speaker 1>movie was written by David cope Um, who also was

0:25:05.840 --> 0:25:08.160
<v Speaker 1>at least a co writer on Jurassic Park. Curtly does

0:25:08.240 --> 0:25:11.240
<v Speaker 1>right vision impossible, snake eyes, don't know what that is.

0:25:11.720 --> 0:25:14.280
<v Speaker 1>He's written a lot of damn movies, what I'm saying,

0:25:14.680 --> 0:25:20.399
<v Speaker 1>as well as Martin Donovan, who is also a famous screenwriter.

0:25:20.600 --> 0:25:23.760
<v Speaker 1>So it does seem like and based on the production

0:25:23.840 --> 0:25:27.360
<v Speaker 1>history that we'll get into in Jamie's contact corner, this

0:25:27.440 --> 0:25:31.600
<v Speaker 1>was a genuine attempt to make comment on women's aging

0:25:31.640 --> 0:25:36.440
<v Speaker 1>by people who you know, couldn't really fully understand it themselves.

0:25:37.160 --> 0:25:40.239
<v Speaker 1>And so I feel like, well, I don't feel like,

0:25:40.320 --> 0:25:42.840
<v Speaker 1>you know what, make a declarative statement for once in

0:25:42.840 --> 0:25:45.919
<v Speaker 1>your life, Jamie. I know based on watching the movie

0:25:46.400 --> 0:25:50.199
<v Speaker 1>that even though I think that the criticism of you

0:25:50.240 --> 0:25:54.760
<v Speaker 1>know how there's a huge stigma against women's aging is

0:25:54.800 --> 0:25:57.159
<v Speaker 1>made in the movie, movie is also very much not

0:25:57.359 --> 0:26:02.000
<v Speaker 1>above reducing an age woman's body to a cheap joke

0:26:02.640 --> 0:26:05.080
<v Speaker 1>or a women's body in general, because there's a lot

0:26:05.119 --> 0:26:07.960
<v Speaker 1>of issues with that shaming in this and there's like

0:26:08.200 --> 0:26:11.080
<v Speaker 1>so it is like a weird back and forth and

0:26:11.119 --> 0:26:13.880
<v Speaker 1>it is extremely campy, but that doesn't excuse it from

0:26:13.920 --> 0:26:22.160
<v Speaker 1>anything of making like pretty solid foundational points about like society.

0:26:22.359 --> 0:26:25.560
<v Speaker 1>We live in a society Caalen, right what, and society

0:26:25.680 --> 0:26:29.520
<v Speaker 1>should not push women to the point of feeling like

0:26:29.800 --> 0:26:33.560
<v Speaker 1>they have to go to, let's say, extreme measures to

0:26:33.720 --> 0:26:37.920
<v Speaker 1>preserve their youth in order to function in society as

0:26:37.960 --> 0:26:41.440
<v Speaker 1>they would like to. I like that foundational point is made,

0:26:42.040 --> 0:26:44.439
<v Speaker 1>but the way that they choose to make it is

0:26:45.119 --> 0:26:47.280
<v Speaker 1>kind of all over the place. And then the way

0:26:47.280 --> 0:26:52.159
<v Speaker 1>they treat those two women after they have made this choice, yeah,

0:26:52.480 --> 0:26:56.920
<v Speaker 1>does not bode well because basically what happens is that

0:26:57.600 --> 0:27:01.240
<v Speaker 1>after they've both taken the potion to not only reverse

0:27:01.320 --> 0:27:08.280
<v Speaker 1>the aging process but prevent them from ever dying, doom right,

0:27:08.400 --> 0:27:16.080
<v Speaker 1>doom them to this weird morbid eternity of just falling apart,

0:27:16.600 --> 0:27:19.760
<v Speaker 1>and well they it becomes extreme. But like, I feel

0:27:19.760 --> 0:27:25.280
<v Speaker 1>like they're punished by wanting the well not like Okay,

0:27:25.320 --> 0:27:30.800
<v Speaker 1>So foundationally we can't really put and much blame on

0:27:31.400 --> 0:27:35.480
<v Speaker 1>Meryl Streeps or Goldie Hans's character for wanting to maintain

0:27:35.920 --> 0:27:39.719
<v Speaker 1>their youth, just based on especially the early nineties culture

0:27:39.760 --> 0:27:43.320
<v Speaker 1>that they're in for the majority of the movie. Sure, right,

0:27:43.840 --> 0:27:47.119
<v Speaker 1>but the movie does punish them by condemning them to

0:27:47.440 --> 0:27:50.680
<v Speaker 1>an eternity of body horse and then also turning those

0:27:50.760 --> 0:27:55.040
<v Speaker 1>characters not really into villains, but the way they start

0:27:55.119 --> 0:27:58.919
<v Speaker 1>behaving as soon as they've both died. I kind of

0:27:58.960 --> 0:28:01.840
<v Speaker 1>love her. I mean I do. It's like very funny

0:28:01.880 --> 0:28:04.840
<v Speaker 1>and like part of what I like about the movie,

0:28:04.920 --> 0:28:08.800
<v Speaker 1>but also like, if we really sit down and look

0:28:08.840 --> 0:28:11.920
<v Speaker 1>at it and think about it, we I think are

0:28:11.960 --> 0:28:16.080
<v Speaker 1>meant to like very much. We'll see, Okay, we're working

0:28:16.119 --> 0:28:18.560
<v Speaker 1>this out in real time. Okay, this is the matron.

0:28:18.760 --> 0:28:20.960
<v Speaker 1>But I do feel like and we almost talked, we

0:28:21.000 --> 0:28:23.800
<v Speaker 1>talked about this while we were watching the movie that

0:28:24.040 --> 0:28:29.479
<v Speaker 1>I am all for seeing a toxic relationship between two women.

0:28:29.720 --> 0:28:34.480
<v Speaker 1>I love it. I've taken part in them myself, like

0:28:34.600 --> 0:28:38.160
<v Speaker 1>but but like truly like where we start, and even

0:28:38.200 --> 0:28:40.800
<v Speaker 1>though I feel like it starts from a too heightened place,

0:28:41.000 --> 0:28:43.720
<v Speaker 1>but where we start where you know one woman is

0:28:43.760 --> 0:28:47.000
<v Speaker 1>jealous of another woman, which I feel like even we

0:28:47.080 --> 0:28:49.760
<v Speaker 1>in the past have sometimes been like, oh, that's so tropy,

0:28:49.800 --> 0:28:52.400
<v Speaker 1>which it can be, but I also think that there

0:28:52.680 --> 0:28:57.560
<v Speaker 1>is certain stories where that works because that trope doesn't

0:28:57.600 --> 0:29:01.239
<v Speaker 1>come from nowhere. It comes from I feel, and like

0:29:01.400 --> 0:29:04.440
<v Speaker 1>I have felt in certain situations myself that you know,

0:29:05.120 --> 0:29:10.200
<v Speaker 1>there is an increased capacity for professional especially where this

0:29:10.320 --> 0:29:13.040
<v Speaker 1>seems to sort of start and then it gets personal

0:29:13.440 --> 0:29:16.800
<v Speaker 1>but like a jealousy between women, because there's this perception

0:29:17.000 --> 0:29:21.200
<v Speaker 1>and often a reality that there's only space for so

0:29:21.240 --> 0:29:25.080
<v Speaker 1>many women in a place. So I think that it

0:29:25.320 --> 0:29:30.680
<v Speaker 1>is a topic worth exploring, but these writers are just

0:29:30.920 --> 0:29:34.480
<v Speaker 1>not equipped to do it, and they and I think

0:29:34.520 --> 0:29:37.520
<v Speaker 1>it's so abruptly is like, oh, we don't really know

0:29:37.560 --> 0:29:40.040
<v Speaker 1>how to explore this in an interesting or like a

0:29:40.160 --> 0:29:43.080
<v Speaker 1>nuanced way at all, So let's just make it about boys,

0:29:43.120 --> 0:29:45.920
<v Speaker 1>which is what it becomes about. And then it goes

0:29:46.080 --> 0:29:50.000
<v Speaker 1>full trope territory of like damn, damn my boyfriend. So

0:29:50.320 --> 0:29:52.000
<v Speaker 1>it kind of sucks because I think that, you know,

0:29:52.440 --> 0:29:56.240
<v Speaker 1>the dynamics of a female friendship, especially a longstanding one

0:29:56.320 --> 0:29:59.520
<v Speaker 1>like this, and the power dynamics that exists inside of

0:29:59.520 --> 0:30:04.040
<v Speaker 1>it really interesting, and it's been done in really clever

0:30:04.160 --> 0:30:06.880
<v Speaker 1>and cool ways, and just this this is a more

0:30:07.320 --> 0:30:11.000
<v Speaker 1>kind of reductive version of it, although I mean hopefully

0:30:11.320 --> 0:30:13.560
<v Speaker 1>it at at the time helped pave the way to

0:30:13.680 --> 0:30:16.320
<v Speaker 1>more nuanced looks and stuff like that, but it does,

0:30:16.360 --> 0:30:18.920
<v Speaker 1>I mean, it gets pretty reductive of like she still

0:30:19.040 --> 0:30:23.200
<v Speaker 1>my boyfriend very quickly, because it takes the movie a

0:30:23.280 --> 0:30:27.680
<v Speaker 1>really long time for the audience to understand why they

0:30:28.000 --> 0:30:30.960
<v Speaker 1>don't like each other. Because we eventually understand that they

0:30:31.040 --> 0:30:34.160
<v Speaker 1>are childhood friends or maybe like they were friends as

0:30:34.200 --> 0:30:37.960
<v Speaker 1>teenagers or something like that, it's still pretty vague, yeah,

0:30:38.040 --> 0:30:39.760
<v Speaker 1>and it takes a very long time for them to

0:30:39.800 --> 0:30:42.800
<v Speaker 1>even talk about it. But then finally there is a

0:30:42.840 --> 0:30:47.560
<v Speaker 1>reason that gets established to explain why they are friendemies,

0:30:47.920 --> 0:30:51.600
<v Speaker 1>or at least why Helen hates Magdalene, and it's because

0:30:51.720 --> 0:30:56.200
<v Speaker 1>Madeline kept stealing Helen's boyfriends, and I guess she was

0:30:56.320 --> 0:31:01.680
<v Speaker 1>doing that to get back at Helen for calling her cheap,

0:31:02.120 --> 0:31:04.520
<v Speaker 1>which I don't know if that means. We also don't

0:31:04.520 --> 0:31:07.840
<v Speaker 1>really know what the context of that is, where it's, yeah,

0:31:07.840 --> 0:31:11.360
<v Speaker 1>you're set up with a very vague my immediate read,

0:31:11.440 --> 0:31:13.000
<v Speaker 1>but it's so vague that I feel like you can

0:31:13.040 --> 0:31:16.000
<v Speaker 1>just project whatever you want onto. It was that like

0:31:16.520 --> 0:31:21.920
<v Speaker 1>Helen's character was from like a family that didn't approve

0:31:22.440 --> 0:31:29.840
<v Speaker 1>of Meryl's appearance, or maybe it was her socioeconomic background.

0:31:29.880 --> 0:31:33.360
<v Speaker 1>It wasn't clear. The word cheap is loaded right exactly,

0:31:33.440 --> 0:31:36.320
<v Speaker 1>So it's like is it a classist thing? Is like

0:31:36.440 --> 0:31:39.640
<v Speaker 1>is she calling her or is it like she calling

0:31:39.640 --> 0:31:45.000
<v Speaker 1>her like oh you're a cheap like hussy, which is

0:31:45.000 --> 0:31:48.240
<v Speaker 1>in the yea ly at the beginning to what was it?

0:31:48.280 --> 0:31:53.200
<v Speaker 1>I read it down it was like shameless, deep by

0:31:53.280 --> 0:31:59.600
<v Speaker 1>princess lude and lusty. You're like, thank you so much? Right,

0:31:59.640 --> 0:32:03.080
<v Speaker 1>so it's not even totally clear what she meant. But

0:32:03.160 --> 0:32:09.120
<v Speaker 1>then Madeleine retaliates by stealing many of Helen's boyfriends. It's

0:32:09.120 --> 0:32:12.360
<v Speaker 1>all pretty reductive stuff. But but I am it takes

0:32:12.440 --> 0:32:14.600
<v Speaker 1>an hour and a half for this conversation take place.

0:32:14.880 --> 0:32:17.800
<v Speaker 1>But but at least these reasons are given. But again

0:32:17.840 --> 0:32:20.560
<v Speaker 1>they are, like you said, they're still very like trophy

0:32:20.760 --> 0:32:23.760
<v Speaker 1>and like women be cat fighting and that's the reason

0:32:23.880 --> 0:32:26.400
<v Speaker 1>why these women are cat fighting. Yeah, I don't think

0:32:26.400 --> 0:32:29.479
<v Speaker 1>that there's like had had the writers, you know, talked

0:32:29.520 --> 0:32:34.040
<v Speaker 1>to women their friendships or or reasons that you know,

0:32:34.240 --> 0:32:36.160
<v Speaker 1>like I don't know. I mean I think you could

0:32:36.200 --> 0:32:39.000
<v Speaker 1>talk to even a handful of women and be like, oh,

0:32:39.120 --> 0:32:41.600
<v Speaker 1>you know, what was a friendship that of yours with

0:32:41.640 --> 0:32:43.680
<v Speaker 1>another woman that fell apart? And what were the reasons?

0:32:43.920 --> 0:32:48.080
<v Speaker 1>You could come up with a more grounded, relatable reason

0:32:48.200 --> 0:32:52.880
<v Speaker 1>other than like boys and mommy and daddy because um,

0:32:52.920 --> 0:32:58.600
<v Speaker 1>you know a female friendships be complicably complicated as right.

0:32:58.880 --> 0:33:02.640
<v Speaker 1>And then shortly after we are we understand the reasons

0:33:02.680 --> 0:33:07.440
<v Speaker 1>why they have had such a tense relationship and friendship

0:33:07.480 --> 0:33:11.719
<v Speaker 1>throughout their lives. Then they both admit their wrongdoings and

0:33:12.000 --> 0:33:15.720
<v Speaker 1>apologize to each other. But it's at that point when

0:33:15.720 --> 0:33:18.480
<v Speaker 1>they start to like, you know, be on each other's

0:33:18.520 --> 0:33:22.000
<v Speaker 1>sides and decide to like kind of be allies again.

0:33:23.040 --> 0:33:29.440
<v Speaker 1>That's when the movie turns them into these like and

0:33:29.480 --> 0:33:31.880
<v Speaker 1>again the performances are very fun. This is still very

0:33:31.880 --> 0:33:34.560
<v Speaker 1>fun to watch, but it's like they become like these

0:33:34.600 --> 0:33:39.280
<v Speaker 1>like kind of scary obsessed to I mean, like it

0:33:39.480 --> 0:33:42.800
<v Speaker 1>like enters like once they die, it says, I mean, yeah,

0:33:42.800 --> 0:33:48.240
<v Speaker 1>it enters Roger Rabbit territory basically of like the cartoonishness

0:33:48.280 --> 0:33:52.600
<v Speaker 1>of how the characters like look and behave and it

0:33:52.760 --> 0:33:55.239
<v Speaker 1>is fun to watch. And that's the thing that Like

0:33:55.560 --> 0:34:00.360
<v Speaker 1>Bugs Me is movie viewers are smarter than people give

0:34:00.400 --> 0:34:05.880
<v Speaker 1>them credit for, like your average movie. You're talking about

0:34:05.920 --> 0:34:09.600
<v Speaker 1>me specifically, right, you're a Stubs member. I am telling

0:34:09.640 --> 0:34:13.320
<v Speaker 1>all the Stubbs members out there and sponsor us hello,

0:34:15.000 --> 0:34:18.200
<v Speaker 1>but like, you know, like people aren't going into death

0:34:18.239 --> 0:34:21.439
<v Speaker 1>becomes her looking for an example of how to live

0:34:21.480 --> 0:34:24.719
<v Speaker 1>their life, you know, so all you need in order

0:34:24.760 --> 0:34:29.560
<v Speaker 1>to justify the cartoony violence, which I appreciate that it's cartoony,

0:34:29.640 --> 0:34:31.880
<v Speaker 1>and it's like that's it's a very different movie if

0:34:31.880 --> 0:34:34.880
<v Speaker 1>you're like, I'm gonna you really slow instead of literally

0:34:34.880 --> 0:34:38.279
<v Speaker 1>I'm gonna blow up your torso you know, like the

0:34:38.880 --> 0:34:42.759
<v Speaker 1>injuries are very cartoony. The comical cutting away to Meryl

0:34:42.800 --> 0:34:45.280
<v Speaker 1>Street falling down the stairs for forty five minutes before

0:34:45.280 --> 0:34:47.480
<v Speaker 1>she hits the bottom of the staircase, like it's clearly

0:34:47.520 --> 0:34:50.200
<v Speaker 1>done with like comedic intent, and all you need to

0:34:50.440 --> 0:34:55.040
<v Speaker 1>justify all that cartoony violence is a solid reason for

0:34:55.080 --> 0:34:58.719
<v Speaker 1>these two characters to hate each other other than a

0:34:58.840 --> 0:35:01.520
<v Speaker 1>vague scene throw in three quarters of the way through

0:35:01.520 --> 0:35:05.080
<v Speaker 1>the movie that doesn't even really answer any questions, and

0:35:05.120 --> 0:35:07.200
<v Speaker 1>it makes it clear. I'm like, I wouldn't even be

0:35:07.280 --> 0:35:10.360
<v Speaker 1>surprised if like that scene was added in later, because

0:35:10.960 --> 0:35:13.400
<v Speaker 1>it seems like the movie does all it's looking to

0:35:13.480 --> 0:35:16.759
<v Speaker 1>do to justify two women disliking each other in the

0:35:16.800 --> 0:35:20.160
<v Speaker 1>first scene by saying, like she steals my boyfriends and

0:35:20.320 --> 0:35:24.480
<v Speaker 1>we see, you know, it's it's implied that having uh

0:35:24.840 --> 0:35:28.359
<v Speaker 1>boyfriend quote unquote stolen, which also removes all of the

0:35:28.440 --> 0:35:33.480
<v Speaker 1>accountability from the boyfriend, that is like grounds for Helen's

0:35:33.520 --> 0:35:36.920
<v Speaker 1>life completely falling apart. She stops taking care of herself,

0:35:36.960 --> 0:35:40.560
<v Speaker 1>and she you know, reaches what is kind of implied

0:35:40.600 --> 0:35:44.120
<v Speaker 1>to be this catatonic state of living over the loss

0:35:44.200 --> 0:35:47.799
<v Speaker 1>of a boyfriend, which she says explicitly in dialogue she

0:35:47.880 --> 0:35:52.319
<v Speaker 1>blames a thousand percent on Meryl Streep and not at

0:35:52.360 --> 0:35:55.239
<v Speaker 1>all on Bruce Willis, who is just too much of

0:35:55.239 --> 0:35:59.600
<v Speaker 1>a sweetie earnest boo to know what he's doing, which

0:35:59.640 --> 0:36:02.200
<v Speaker 1>is like, you know, very IROLLI right, And then this

0:36:02.239 --> 0:36:07.640
<v Speaker 1>movie also subscribes heavily to the idea that fat equals pathetic,

0:36:08.239 --> 0:36:11.720
<v Speaker 1>that single woman equals pathetic, and that and then also

0:36:12.960 --> 0:36:18.000
<v Speaker 1>and woman who loves cats pathetic absolutely and how dare

0:36:18.960 --> 0:36:23.920
<v Speaker 1>how dare there the movie stayed at But there? Yeah,

0:36:23.960 --> 0:36:27.040
<v Speaker 1>I mean that the way that I mean the fat

0:36:27.040 --> 0:36:31.400
<v Speaker 1>shaming elements in this movie are ex Meryl is drunk

0:36:31.480 --> 0:36:37.120
<v Speaker 1>constantly making fat shaming comments about Helen, right, and it's

0:36:37.239 --> 0:36:40.720
<v Speaker 1>I mean, the beginning of the movie is the worst

0:36:41.200 --> 0:36:44.799
<v Speaker 1>of it. Where you you know you. We find out

0:36:44.920 --> 0:36:49.160
<v Speaker 1>that Bruce Willis has married Meryl Streep. Goldie Haunt is

0:36:49.239 --> 0:36:52.040
<v Speaker 1>very upset by it, and then we cut to seven

0:36:52.120 --> 0:36:56.799
<v Speaker 1>years later to an exploitative up close ass shot and

0:36:56.840 --> 0:37:00.560
<v Speaker 1>then revealed that Goldi Han's character has gained eight and

0:37:00.880 --> 0:37:03.920
<v Speaker 1>it's implied that, yeah, like gaining weight means you've lost

0:37:04.000 --> 0:37:06.960
<v Speaker 1>control of your life. Like it's just used as this

0:37:07.160 --> 0:37:11.280
<v Speaker 1>shorthand that is like first of all lazy, bad writing,

0:37:12.200 --> 0:37:14.560
<v Speaker 1>and second of all it just you know, hold up,

0:37:14.600 --> 0:37:17.759
<v Speaker 1>not even a little, and in the fat suit, it's

0:37:17.800 --> 0:37:22.080
<v Speaker 1>just all bad. Right. And then also because she's institutionalized

0:37:22.200 --> 0:37:26.359
<v Speaker 1>in like a psychiatric hospital, that's also well the way

0:37:26.360 --> 0:37:29.799
<v Speaker 1>that mentally, the way that mental illness. Yeah that like

0:37:31.320 --> 0:37:36.440
<v Speaker 1>I mean mercifully at least those scenes are pretty quick.

0:37:36.719 --> 0:37:39.720
<v Speaker 1>I also think that they could have just flashed forward

0:37:39.840 --> 0:37:44.120
<v Speaker 1>fourteen years like that midway, because everything that happens at

0:37:44.120 --> 0:37:47.719
<v Speaker 1>the seven year point is pretty offensive and also not

0:37:47.840 --> 0:37:50.720
<v Speaker 1>super necessary to the story. Like we can flash forward

0:37:50.800 --> 0:37:54.160
<v Speaker 1>fourteen years and just be like she's still mad, right,

0:37:54.680 --> 0:37:58.280
<v Speaker 1>you don't need to do the whole scene where it's fat,

0:37:58.320 --> 0:38:00.920
<v Speaker 1>shamy and just like bad on every level. And then

0:38:00.920 --> 0:38:04.040
<v Speaker 1>you cut to the institution, which at least they don't

0:38:04.120 --> 0:38:06.480
<v Speaker 1>do that horrible thing that movies do where they name

0:38:06.520 --> 0:38:11.600
<v Speaker 1>a mental illness and explicitly stigmatize it. But the implication is,

0:38:11.680 --> 0:38:15.520
<v Speaker 1>you know, women be crazy, and being jealous of another

0:38:15.600 --> 0:38:20.200
<v Speaker 1>woman is a mental illness. And then the I think

0:38:20.320 --> 0:38:24.520
<v Speaker 1>unnamed mental health professional at the which is one of

0:38:24.560 --> 0:38:27.040
<v Speaker 1>the only people of color in the entire movie. I

0:38:27.080 --> 0:38:29.600
<v Speaker 1>don't know that we I don't hear your name. I

0:38:29.600 --> 0:38:32.480
<v Speaker 1>mean maybe she's credited with one, but I don't think.

0:38:32.600 --> 0:38:35.240
<v Speaker 1>We definitely don't hear it. But even she's on screen

0:38:35.280 --> 0:38:38.520
<v Speaker 1>for no more than a minute and fat James Goldiehunt

0:38:38.640 --> 0:38:40.839
<v Speaker 1>in that scene and is like, you've been here six

0:38:40.920 --> 0:38:43.839
<v Speaker 1>months and you haven't lost a pound. I'm like, that's

0:38:43.880 --> 0:38:48.160
<v Speaker 1>not why people are institutionalized. So that's just a cruel

0:38:48.200 --> 0:38:53.440
<v Speaker 1>thing to say. So that whole first flash forward, I say,

0:38:53.719 --> 0:38:56.240
<v Speaker 1>get rid of it. We don't need it. And then

0:38:56.520 --> 0:38:59.560
<v Speaker 1>and then when they flash forward again fourteen years Meryl

0:38:59.640 --> 0:39:03.080
<v Speaker 1>Street and this is again just like another subtle, not

0:39:03.239 --> 0:39:08.920
<v Speaker 1>so subtle way of like treating women's bodies. Is Meryl

0:39:08.960 --> 0:39:13.080
<v Speaker 1>Streep only takes Goldie Han seriously and will only consider

0:39:13.239 --> 0:39:16.680
<v Speaker 1>talking to her when she finds out that she is

0:39:16.800 --> 0:39:22.319
<v Speaker 1>lost weight and is back to Goldie Han. And before that,

0:39:22.400 --> 0:39:24.120
<v Speaker 1>it's like she and Bruce Willis are kind of like

0:39:24.200 --> 0:39:26.799
<v Speaker 1>gearing up to tease her from Afar and not talk

0:39:26.920 --> 0:39:30.080
<v Speaker 1>to her. But then when it's revealed that in another

0:39:30.200 --> 0:39:34.680
<v Speaker 1>tasteless reveal that you know, it's Goldie Han and she's,

0:39:34.719 --> 0:39:38.239
<v Speaker 1>you know, the Western beauty standards Goldie Han and not

0:39:38.480 --> 0:39:41.720
<v Speaker 1>the offensive fat suit Goldie Han, then all of a sudden,

0:39:41.760 --> 0:39:44.799
<v Speaker 1>Meryl Streep is willing to engage and the jealousy is back,

0:39:44.880 --> 0:39:48.719
<v Speaker 1>and it's just like just just kind of out, don't

0:39:48.760 --> 0:39:52.800
<v Speaker 1>we don't need it, We don't need it? Yeah, absolutely,

0:39:53.320 --> 0:39:57.920
<v Speaker 1>And then then they're like rivalry is ignited again, and

0:39:57.960 --> 0:40:01.200
<v Speaker 1>then we still don't know. I really don't really know why.

0:40:01.239 --> 0:40:07.120
<v Speaker 1>We only know that that Madeleine tends to steal Helen's

0:40:07.280 --> 0:40:09.279
<v Speaker 1>boyfriend's away from her, but we don't know why, we

0:40:09.280 --> 0:40:14.640
<v Speaker 1>don't know what anyone's motivation is. And then things eventually

0:40:14.760 --> 0:40:20.359
<v Speaker 1>turn around where they do become friends again because they

0:40:20.480 --> 0:40:25.080
<v Speaker 1>both died and they now that they've both been responsible

0:40:25.120 --> 0:40:28.480
<v Speaker 1>for the other's death. They kind of they're like, oh,

0:40:28.520 --> 0:40:30.799
<v Speaker 1>this is the vague reason we were mad to the game,

0:40:30.920 --> 0:40:35.160
<v Speaker 1>was sorry for not mentioning that earlier, and we're even

0:40:35.320 --> 0:40:40.160
<v Speaker 1>and yeah, we we right, and we found common ground

0:40:40.400 --> 0:40:46.479
<v Speaker 1>in both dying and being so obsessed with maintaining our

0:40:47.239 --> 0:40:51.200
<v Speaker 1>youthful looks that we need to keep this guy around

0:40:51.760 --> 0:40:54.600
<v Speaker 1>to fix us whenever we need it. But then, like

0:40:55.000 --> 0:40:59.239
<v Speaker 1>I say, they become villains because one, they're so obsessed

0:40:59.280 --> 0:41:02.840
<v Speaker 1>with this idea of maintaining that, and then they go

0:41:02.920 --> 0:41:05.560
<v Speaker 1>so far as to try to drug him and then

0:41:06.400 --> 0:41:09.960
<v Speaker 1>knock him out, to take him against his will to

0:41:10.040 --> 0:41:13.000
<v Speaker 1>this place and then force him to take this potion

0:41:13.280 --> 0:41:17.240
<v Speaker 1>because they just want him. There's also like the bizarre

0:41:17.480 --> 0:41:20.560
<v Speaker 1>because Bruce Willis, I mean, the thing is like I

0:41:20.600 --> 0:41:25.080
<v Speaker 1>loved this movie, but but but we must do our job.

0:41:26.320 --> 0:41:32.040
<v Speaker 1>The the bizarro message you get on masculinity and I

0:41:32.080 --> 0:41:36.719
<v Speaker 1>think sort of like a trophy beta male character with

0:41:36.760 --> 0:41:41.600
<v Speaker 1>Bruce Willis in this movie is bizarre. Like I think

0:41:41.600 --> 0:41:46.319
<v Speaker 1>that immediately all agency is kind of removed from him

0:41:46.360 --> 0:41:49.520
<v Speaker 1>in a way that like completely free him of accountability

0:41:49.560 --> 0:41:52.799
<v Speaker 1>on anything, where it's just made to seem like he's

0:41:52.840 --> 0:41:59.400
<v Speaker 1>this gullible idiot who cannot see through the sexuality of women.

0:42:00.200 --> 0:42:04.760
<v Speaker 1>That is the thing where he you know, reassures Goldie

0:42:04.800 --> 0:42:06.880
<v Speaker 1>Han and it's like, there's no way I'll fall for this,

0:42:06.960 --> 0:42:09.399
<v Speaker 1>And they almost make it seem like Meryl Streep has

0:42:09.480 --> 0:42:13.600
<v Speaker 1>this magical power of manipulation that immediately wins him over.

0:42:14.320 --> 0:42:16.720
<v Speaker 1>Goldie Han tells him to his face, I don't blame

0:42:16.760 --> 0:42:19.839
<v Speaker 1>you for that. It's her. She's evil, she does. She's

0:42:19.880 --> 0:42:24.320
<v Speaker 1>a woman, a woman from from new work, which is funny,

0:42:25.239 --> 0:42:28.960
<v Speaker 1>but but you know, like no one ever gets upset

0:42:29.040 --> 0:42:32.200
<v Speaker 1>for him for things. And then he also intern and

0:42:32.280 --> 0:42:35.759
<v Speaker 1>keeping with that, blames the women in his life for

0:42:35.800 --> 0:42:38.399
<v Speaker 1>where his life ends up. And it's like no one,

0:42:38.719 --> 0:42:40.960
<v Speaker 1>no one forced you to marry Meryl Streep, Bruce Well,

0:42:41.000 --> 0:42:42.719
<v Speaker 1>I think I'm sorry. You hate to say it, but

0:42:42.840 --> 0:42:46.120
<v Speaker 1>like no one forced you to And and then sort

0:42:46.160 --> 0:42:49.360
<v Speaker 1>of the same throughout at the end where it's framed

0:42:49.440 --> 0:42:53.560
<v Speaker 1>like you know, these two vindictive women want to keep

0:42:53.680 --> 0:42:56.719
<v Speaker 1>this poor man at their mercy for the rest of

0:42:56.800 --> 0:43:01.640
<v Speaker 1>their eternal lives, and they want to torture him into infinity,

0:43:01.760 --> 0:43:04.520
<v Speaker 1>and it's just like it's so over the top, and

0:43:04.920 --> 0:43:07.880
<v Speaker 1>brist Will has literally kills Meryl Street. But he's like

0:43:08.360 --> 0:43:11.200
<v Speaker 1>she told me to, like he's actually like he never

0:43:11.320 --> 0:43:14.960
<v Speaker 1>has a choice in anything, and it's just so like,

0:43:15.000 --> 0:43:17.360
<v Speaker 1>I mean, I loved I love to watch it, but

0:43:17.520 --> 0:43:20.960
<v Speaker 1>it does it does give you a weird comment on

0:43:21.200 --> 0:43:25.280
<v Speaker 1>masculinity that, like every man that's ever lived is completely

0:43:26.200 --> 0:43:31.200
<v Speaker 1>has to go with the like wiles of women. They

0:43:31.239 --> 0:43:34.720
<v Speaker 1>don't understand, they can't control it. They do, they commit murder.

0:43:34.760 --> 0:43:39.279
<v Speaker 1>It's not their fault. Also, there's that scene where Goldie Han,

0:43:39.440 --> 0:43:43.440
<v Speaker 1>dressed as Jessica Rabbit fully goes up at his house

0:43:43.680 --> 0:43:46.840
<v Speaker 1>and she's like, I used to be so timid and

0:43:46.880 --> 0:43:49.680
<v Speaker 1>I couldn't even say the word sex, but now I

0:43:49.719 --> 0:43:56.080
<v Speaker 1>can say it sex, sex, and he's like, boo, it's

0:43:56.120 --> 0:44:00.279
<v Speaker 1>kind of funny. But but like, yeah, well, my thing

0:44:00.440 --> 0:44:05.480
<v Speaker 1>with that character with Earnest is that I feel that

0:44:05.560 --> 0:44:10.280
<v Speaker 1>he has written the way a lot of women are written,

0:44:10.400 --> 0:44:15.360
<v Speaker 1>or should I say underwritten in many movies, because he's

0:44:15.400 --> 0:44:20.920
<v Speaker 1>often hysterical, he's screaming, he is gullible. Um in the

0:44:21.000 --> 0:44:24.000
<v Speaker 1>relationships that he's in with these two women, he is

0:44:24.480 --> 0:44:28.360
<v Speaker 1>has far less kind of power and control than the

0:44:28.400 --> 0:44:33.040
<v Speaker 1>two women. He at least starts out pretty much as

0:44:33.080 --> 0:44:38.160
<v Speaker 1>like being the supporting character um to these women in

0:44:38.160 --> 0:44:41.200
<v Speaker 1>the story. So like, but then like by the end,

0:44:41.400 --> 0:44:45.279
<v Speaker 1>he is framed as like being this hero and they're

0:44:45.320 --> 0:44:48.600
<v Speaker 1>at his funeral and they're like, oh man, his life

0:44:48.600 --> 0:44:51.960
<v Speaker 1>got so awesome when he turned fifty and he's a

0:44:52.080 --> 0:44:58.000
<v Speaker 1>saint and he started the Menville Center for the Study

0:44:58.040 --> 0:45:01.920
<v Speaker 1>of Women because I guess feminine ist icon Earnest Menville

0:45:02.560 --> 0:45:06.319
<v Speaker 1>like probably not. I'm like that was I thought that

0:45:06.440 --> 0:45:09.160
<v Speaker 1>was like kind of a fun Like I don't know.

0:45:09.320 --> 0:45:12.640
<v Speaker 1>I was like, well, aging worked out for someone, because well,

0:45:12.719 --> 0:45:17.040
<v Speaker 1>that's the thing. Maybe it's the movie trying to comment

0:45:17.080 --> 0:45:19.360
<v Speaker 1>but again I don't think it does it effectively. But

0:45:19.400 --> 0:45:22.960
<v Speaker 1>it's like men are allowed to age gracefully and with dignity,

0:45:23.040 --> 0:45:27.160
<v Speaker 1>and like, look, how awesome everyone thinks he is. Maybe

0:45:27.200 --> 0:45:30.040
<v Speaker 1>if you just hung in their ladies and not gotten

0:45:30.120 --> 0:45:33.160
<v Speaker 1>so upset. Right, But and then by contrast, we see

0:45:33.200 --> 0:45:36.400
<v Speaker 1>like the two women they are literally like chipping away,

0:45:36.480 --> 0:45:41.080
<v Speaker 1>falling apart. They look grotesque because they're paint running off

0:45:41.120 --> 0:45:46.560
<v Speaker 1>of their faces. So it's like, is that commentary? But

0:45:46.640 --> 0:45:49.840
<v Speaker 1>I feel like and we are, we're on their side,

0:45:50.600 --> 0:45:54.920
<v Speaker 1>But I just it feels like a hollow message and

0:45:55.040 --> 0:45:59.439
<v Speaker 1>movies trying to say one thing. Well, something I did

0:45:59.640 --> 0:46:03.160
<v Speaker 1>like is that I feel like we talked about this

0:46:03.200 --> 0:46:06.560
<v Speaker 1>when we're watching it too, that Meryl Streep's character in

0:46:06.560 --> 0:46:09.560
<v Speaker 1>this movie kind of reminds me of Goldie Hans character

0:46:09.960 --> 0:46:13.719
<v Speaker 1>in First Wives Club, where these are both characters who

0:46:13.800 --> 0:46:16.960
<v Speaker 1>are in the entertainment industry. Meryl Streep is some sort

0:46:17.000 --> 0:46:19.719
<v Speaker 1>of like a star of the stage in screen right,

0:46:20.280 --> 0:46:24.319
<v Speaker 1>who is afraid of not being able to work in

0:46:24.320 --> 0:46:28.320
<v Speaker 1>the way she would like to if she appears older, right, um,

0:46:28.320 --> 0:46:33.279
<v Speaker 1>which is similar to Goldie Han in First And I

0:46:33.360 --> 0:46:38.200
<v Speaker 1>appreciate at very least that I think that often, like

0:46:38.400 --> 0:46:42.879
<v Speaker 1>a woman's anxiety about aging is made out to see

0:46:43.360 --> 0:46:48.719
<v Speaker 1>hysterical or pathetic. And while it is definitely exaggerated in

0:46:48.760 --> 0:46:51.799
<v Speaker 1>this movie, they at very least the writing does go

0:46:51.840 --> 0:46:53.799
<v Speaker 1>out of its way to couch it in like and

0:46:53.920 --> 0:46:57.600
<v Speaker 1>this is not something that she is completely, you know,

0:46:57.760 --> 0:47:00.360
<v Speaker 1>like removed from reality to be worried about, because we

0:47:00.400 --> 0:47:03.760
<v Speaker 1>see that scene where she goes to her young side

0:47:03.760 --> 0:47:07.200
<v Speaker 1>pieces house and he is with a younger woman and

0:47:07.239 --> 0:47:10.399
<v Speaker 1>he rejects her and you know, insults her and says,

0:47:10.440 --> 0:47:13.279
<v Speaker 1>you know, go date someone your own age, and that

0:47:13.600 --> 0:47:16.600
<v Speaker 1>is a breaking point for her. And so I think

0:47:16.600 --> 0:47:19.600
<v Speaker 1>that it was that was one of for me, the

0:47:19.760 --> 0:47:27.000
<v Speaker 1>more genuine moments of like actual commentary on aging. Of like, yes,

0:47:27.120 --> 0:47:30.440
<v Speaker 1>it does seem on the surface like Meryl Streep is.

0:47:30.800 --> 0:47:33.040
<v Speaker 1>You know, she's seen with face masks on all the time.

0:47:33.120 --> 0:47:35.680
<v Speaker 1>It's made out to be over the top, but then

0:47:35.719 --> 0:47:38.479
<v Speaker 1>you do get the inverse of it of like she's

0:47:38.520 --> 0:47:41.279
<v Speaker 1>not doing it for no reason. She's it there is

0:47:41.719 --> 0:47:45.880
<v Speaker 1>like it is her reality, and so I did appreciate

0:47:45.920 --> 0:47:48.480
<v Speaker 1>that we we at least get to see that so

0:47:48.560 --> 0:47:51.160
<v Speaker 1>that she isn't made out to be like the crazy

0:47:51.400 --> 0:47:55.279
<v Speaker 1>lady tramp. Yeah, I agree that scene where she goes

0:47:55.320 --> 0:47:57.319
<v Speaker 1>to that guy and he says, like, find a guy

0:47:57.360 --> 0:47:59.600
<v Speaker 1>your own age. I'm doing you a favorite. People say

0:47:59.640 --> 0:48:03.480
<v Speaker 1>we look ridiculous together, which is like the movie attempting,

0:48:03.520 --> 0:48:06.960
<v Speaker 1>I think, to comment on the double standard of society

0:48:07.000 --> 0:48:10.520
<v Speaker 1>deeming it perfectly acceptable for an older man to be

0:48:10.560 --> 0:48:13.719
<v Speaker 1>with a younger woman but not acceptable for an older

0:48:13.719 --> 0:48:16.240
<v Speaker 1>woman to be with a younger man. So the movie

0:48:16.280 --> 0:48:21.759
<v Speaker 1>does like start to make this commentary. It is like

0:48:21.840 --> 0:48:25.520
<v Speaker 1>it is, it just doesn't get all the way there, right.

0:48:25.760 --> 0:48:28.839
<v Speaker 1>It's almost like you know, mail writers and directors that

0:48:28.880 --> 0:48:32.160
<v Speaker 1>are trying to put women on which is great use

0:48:32.200 --> 0:48:35.320
<v Speaker 1>your power responsibly, but also talk to them. See what

0:48:35.440 --> 0:48:38.480
<v Speaker 1>they think, See if they think you're being stupid. Uh,

0:48:38.520 --> 0:48:40.359
<v Speaker 1>you know, let's just bring it ari aster back into

0:48:40.480 --> 0:48:42.720
<v Speaker 1>the conversation while we're at it, of just like, yeah,

0:48:42.760 --> 0:48:44.600
<v Speaker 1>we get it, Like you want to make movie as well.

0:48:44.640 --> 0:48:48.919
<v Speaker 1>Women try to have a conversation with one. Um. Yeah,

0:48:49.160 --> 0:48:50.880
<v Speaker 1>there are like those moments where you're like, oh, this

0:48:51.239 --> 0:48:52.880
<v Speaker 1>the heart was in the right place, but it just

0:48:53.080 --> 0:48:56.759
<v Speaker 1>rings hollow because there's not really any authenticity in it.

0:48:56.800 --> 0:48:58.680
<v Speaker 1>And I feel like it's like what makes a great

0:48:58.719 --> 0:49:02.560
<v Speaker 1>campy movie is like reactions and characters that are over

0:49:02.600 --> 0:49:05.240
<v Speaker 1>the top of you understand why they're doing what they're doing,

0:49:05.360 --> 0:49:10.000
<v Speaker 1>and so you can justify almost anything behavior wise. Of like,

0:49:10.400 --> 0:49:14.200
<v Speaker 1>if I had a better understanding, a rooted reason that

0:49:14.480 --> 0:49:18.000
<v Speaker 1>Meryl Streep and Goldiehan fucking hate each other, then they

0:49:18.000 --> 0:49:21.040
<v Speaker 1>could hit each other with shovels all day and I

0:49:21.080 --> 0:49:23.800
<v Speaker 1>wouldn't care, because it's like you there, there's a grounded

0:49:23.840 --> 0:49:26.279
<v Speaker 1>reason and you're not just doing it to do it,

0:49:26.320 --> 0:49:29.440
<v Speaker 1>but you know it. It's just sometimes it feels that way,

0:49:29.520 --> 0:49:33.879
<v Speaker 1>other times it doesn't. Yeah, I agree, Um, we need

0:49:33.880 --> 0:49:36.160
<v Speaker 1>to take another quick break, but then we will come

0:49:36.280 --> 0:49:45.520
<v Speaker 1>right back and we're back. Can I share my two

0:49:45.920 --> 0:49:50.400
<v Speaker 1>favorite lines in the movie, both said by Bruce Willis

0:49:50.520 --> 0:49:55.240
<v Speaker 1>because his character just tickles me. Pink hit it baby.

0:49:55.400 --> 0:49:58.960
<v Speaker 1>He sees like yelling at like a staff member in

0:49:59.000 --> 0:50:01.520
<v Speaker 1>the hospital after he's taken Madeline to the e R

0:50:01.800 --> 0:50:04.680
<v Speaker 1>and he's like, you put her in the morgue, shall

0:50:04.760 --> 0:50:08.959
<v Speaker 1>be furious. And then a little bit later, whenever they're

0:50:09.040 --> 0:50:13.920
<v Speaker 1>trying to deal with what they think is Helen's dead body,

0:50:14.120 --> 0:50:17.560
<v Speaker 1>Bruce Willis says, are you just gonna sit there? I'm

0:50:17.600 --> 0:50:20.120
<v Speaker 1>not going to be your accomplice all by myself, which

0:50:20.239 --> 0:50:26.360
<v Speaker 1>is comedy at its the peak, so funny. Loved it, Okay,

0:50:26.880 --> 0:50:29.959
<v Speaker 1>it was fun fun. I mean this movie, I think

0:50:30.160 --> 0:50:33.439
<v Speaker 1>kind of keeping true to it's hard in the right place,

0:50:33.520 --> 0:50:36.440
<v Speaker 1>but a lot of you know, kind of classically negative

0:50:36.480 --> 0:50:39.840
<v Speaker 1>stereotypes being given in. I mean, there's a lot of

0:50:40.280 --> 0:50:43.080
<v Speaker 1>needlessly like overly revealing out but it's kind of for

0:50:43.120 --> 0:50:46.600
<v Speaker 1>no reason. I'm almost willing to justify it within the

0:50:46.600 --> 0:50:49.120
<v Speaker 1>aesthetic of the movie or it is a cartoon. But

0:50:49.200 --> 0:50:52.359
<v Speaker 1>there's like that scene where Meryl Stape and Goldie Hunter

0:50:52.520 --> 0:50:56.719
<v Speaker 1>following Bruce Willis around in like Leo tarts for no

0:50:56.880 --> 0:51:00.520
<v Speaker 1>reason and you're just like, Okay. This is also one

0:51:00.560 --> 0:51:03.879
<v Speaker 1>of the few movies where the two female leads are

0:51:03.920 --> 0:51:07.560
<v Speaker 1>older than the male love interest. Rail Streep and Goldi

0:51:07.600 --> 0:51:11.240
<v Speaker 1>Hunter both older than Bruce Willis, so that very rarely happens.

0:51:11.320 --> 0:51:13.600
<v Speaker 1>You know. It's like Leonardo DiCaprio will not appear on

0:51:13.640 --> 0:51:15.680
<v Speaker 1>screen with a woman over the age of twenty four.

0:51:15.840 --> 0:51:18.560
<v Speaker 1>So there's you know that I thought that was cool.

0:51:19.200 --> 0:51:22.680
<v Speaker 1>Oh that was getting into the Isabella Risselini right, because

0:51:23.040 --> 0:51:28.279
<v Speaker 1>she she is. I mean, the costumes are incredible, I

0:51:28.280 --> 0:51:33.839
<v Speaker 1>mean iconic. They are architecture basically. They the looks her

0:51:33.880 --> 0:51:37.160
<v Speaker 1>shirt is just several necklaces. But it's also you're like,

0:51:37.200 --> 0:51:39.799
<v Speaker 1>I think that there's flesh colored fabric involved. I'm not

0:51:39.920 --> 0:51:42.439
<v Speaker 1>going must because we didn't see any nips. I don't

0:51:42.480 --> 0:51:45.000
<v Speaker 1>believe there was art. Yeah, because it was PG. Thirteen,

0:51:46.000 --> 0:51:48.799
<v Speaker 1>so the architect I mean it was wild, but but like,

0:51:49.280 --> 0:51:52.240
<v Speaker 1>sure there were shots where you saw her bare ass

0:51:52.320 --> 0:51:56.680
<v Speaker 1>for no reason. Was it gratuitous? Yeah? But I also

0:51:57.160 --> 0:51:58.759
<v Speaker 1>was like, I wish I could wear that, you know,

0:51:59.400 --> 0:52:01.840
<v Speaker 1>but there I mean, and there's did you have I

0:52:02.239 --> 0:52:04.880
<v Speaker 1>don't have much to say about Lisel's character because she

0:52:05.160 --> 0:52:07.799
<v Speaker 1>is kind of something that I think is something that

0:52:07.840 --> 0:52:12.960
<v Speaker 1>we have slowly realized is a bizarre trope that appears

0:52:12.960 --> 0:52:17.080
<v Speaker 1>again again. Is she's a plot, which right, she's were

0:52:17.239 --> 0:52:21.840
<v Speaker 1>compared which we compared her to Ursula. Yeah, she is.

0:52:21.960 --> 0:52:23.919
<v Speaker 1>She's literally a ploted She's like, I have a deal

0:52:23.960 --> 0:52:28.600
<v Speaker 1>for you. I'm wearing an outfit and you're like a right, okay, sure, yeah.

0:52:28.680 --> 0:52:31.600
<v Speaker 1>I mean then we also, I don't know totally how

0:52:31.680 --> 0:52:35.000
<v Speaker 1>much this is worth mentioning, but we as we were

0:52:35.000 --> 0:52:40.359
<v Speaker 1>watching it, we were like, she's like appropriating ancient Egyptian

0:52:40.560 --> 0:52:44.600
<v Speaker 1>culture with like sound off in the comments. We truly

0:52:44.680 --> 0:52:46.920
<v Speaker 1>I'm just like, I don't know if there's if what

0:52:47.440 --> 0:52:50.440
<v Speaker 1>we don't know. Yeah, there's a lot of there's a

0:52:50.480 --> 0:52:53.279
<v Speaker 1>lot of it we don't know. We don't know, so

0:52:53.480 --> 0:52:56.359
<v Speaker 1>you know, that's something for for if you have any

0:52:56.400 --> 0:52:58.359
<v Speaker 1>information on it. We would love to have a more

0:52:58.400 --> 0:53:02.200
<v Speaker 1>cogent discuss and about it, but at this time we

0:53:02.280 --> 0:53:06.120
<v Speaker 1>simply don't know. Um, but yeah, that's Lesal. There's really

0:53:06.480 --> 0:53:09.160
<v Speaker 1>not I mean, yeah, there was like some gratuitous nuded,

0:53:09.280 --> 0:53:12.200
<v Speaker 1>I mean almost exclusively gratuitous nudi. There she's a plot

0:53:12.200 --> 0:53:16.400
<v Speaker 1>which but we do have two female protagonists to bounce

0:53:16.440 --> 0:53:18.120
<v Speaker 1>it off. I mean, like, if if she was one

0:53:18.120 --> 0:53:21.560
<v Speaker 1>of the only women that you saw on screen at length,

0:53:21.960 --> 0:53:24.560
<v Speaker 1>I would be way more bothered that she also has

0:53:24.600 --> 0:53:30.839
<v Speaker 1>like several male servants Fabia's, Fabio's. They're one of them.

0:53:30.880 --> 0:53:34.320
<v Speaker 1>Is Actually their names are Tom, Dick and Harry, and

0:53:34.520 --> 0:53:38.200
<v Speaker 1>they are pretty nude. I mean they're topless, they're wearing

0:53:38.239 --> 0:53:41.640
<v Speaker 1>they're not pretty revealing clothing. So I thought that was

0:53:41.960 --> 0:53:45.440
<v Speaker 1>you know what if that's an empowering thing for it's

0:53:45.440 --> 0:53:49.040
<v Speaker 1>just about rules you can't wear a lot of She's rich. Also,

0:53:49.160 --> 0:53:52.320
<v Speaker 1>she's a businesswoman. I think there's a case she's a

0:53:52.360 --> 0:54:00.239
<v Speaker 1>woman in she's seventies some years old, she said, which

0:54:00.280 --> 0:54:02.640
<v Speaker 1>is I mean, it is another one of those I mean,

0:54:02.719 --> 0:54:05.480
<v Speaker 1>and again this movie is not thinking too hard about it,

0:54:05.600 --> 0:54:09.839
<v Speaker 1>I'm certain, but you know, like a female scientist can

0:54:09.880 --> 0:54:12.400
<v Speaker 1>only be a witch kind of thing. But also she

0:54:12.520 --> 0:54:14.719
<v Speaker 1>has at least some business life outside of it. I

0:54:14.760 --> 0:54:16.600
<v Speaker 1>don't have that much to say about this character. And

0:54:16.600 --> 0:54:19.360
<v Speaker 1>then there's also the thing of like it's a movie

0:54:19.480 --> 0:54:23.840
<v Speaker 1>about women aging and like not being allowed to age

0:54:23.960 --> 0:54:27.600
<v Speaker 1>gracefully in society, not allowing that, but then it's also

0:54:27.719 --> 0:54:34.839
<v Speaker 1>casting three women who are very attractive by Western beauty standards,

0:54:35.160 --> 0:54:41.200
<v Speaker 1>and it's like great, right for you? Yeah, I don't know.

0:54:41.280 --> 0:54:44.680
<v Speaker 1>I mean it is an interesting Again, It's just like,

0:54:44.760 --> 0:54:46.680
<v Speaker 1>so much of this movie would pull together more for

0:54:46.760 --> 0:54:48.719
<v Speaker 1>me if we had a more grounded story and why

0:54:49.080 --> 0:54:51.600
<v Speaker 1>they dislike each other, because as it stands, it just

0:54:51.680 --> 0:54:55.879
<v Speaker 1>makes some really cool, interesting scenes and choices kind of

0:54:56.239 --> 0:55:01.680
<v Speaker 1>feel less impactful and cool. But uh, and ultimately, it

0:55:01.840 --> 0:55:05.520
<v Speaker 1>is the women who suffer for what is presented at

0:55:05.520 --> 0:55:08.960
<v Speaker 1>the beginning as a societal ill, and yet it is

0:55:08.960 --> 0:55:11.160
<v Speaker 1>still all these two women who have to suffer the

0:55:11.160 --> 0:55:14.560
<v Speaker 1>eternal consequences of it, and we're punished for it, which

0:55:14.600 --> 0:55:17.680
<v Speaker 1>is a weird message to leave it off. Um. I

0:55:17.719 --> 0:55:21.360
<v Speaker 1>wanted to do a quick little context moment for um

0:55:21.400 --> 0:55:25.080
<v Speaker 1>this movies. Um, So I was just so thrown off

0:55:25.080 --> 0:55:31.240
<v Speaker 1>by you calling it a context moment corner Jamie's context corner. Uh.

0:55:31.640 --> 0:55:36.760
<v Speaker 1>This movie has a massive queer following. I wasn't aware

0:55:36.800 --> 0:55:39.640
<v Speaker 1>of the extent of the queer legacy of this movie,

0:55:39.680 --> 0:55:42.759
<v Speaker 1>but there was a terrific piece that came out in

0:55:42.880 --> 0:55:48.200
<v Speaker 1>Vanity Fair on this exact topic, with extensive reporting that

0:55:48.280 --> 0:55:52.120
<v Speaker 1>came out two years ago. It was written by Christie Pouchko,

0:55:52.520 --> 0:55:55.200
<v Speaker 1>So thank you for doing all this. Um it gives

0:55:55.239 --> 0:55:57.040
<v Speaker 1>a little bit of background on the production of the

0:55:57.080 --> 0:56:00.200
<v Speaker 1>movie as well as how it is gained a you're

0:56:00.239 --> 0:56:03.160
<v Speaker 1>following over time because this movie wasn't super successful when

0:56:03.160 --> 0:56:05.200
<v Speaker 1>it came out, and it also was not well reviewed.

0:56:05.920 --> 0:56:09.719
<v Speaker 1>Um it just broke its budget domestically and then ended

0:56:09.760 --> 0:56:13.320
<v Speaker 1>up making some money internationally, but it definitely wasn't considered

0:56:13.360 --> 0:56:16.480
<v Speaker 1>anyone's best. It wasn't nominated for anything except visual effects.

0:56:17.360 --> 0:56:19.440
<v Speaker 1>A lot of the interviews are a lot of the

0:56:19.560 --> 0:56:23.239
<v Speaker 1>pole quotes are from David cup kick ko E p

0:56:23.239 --> 0:56:27.120
<v Speaker 1>p is it kept kept Let's he he gave some

0:56:27.200 --> 0:56:30.680
<v Speaker 1>insight into what they were going for. He says, quote

0:56:30.760 --> 0:56:32.680
<v Speaker 1>it was meant to be Knight of the Living Dead

0:56:32.760 --> 0:56:34.880
<v Speaker 1>if George q Core had directed it, which I think

0:56:34.960 --> 0:56:37.400
<v Speaker 1>is kind of a fun reference. It felt like no

0:56:37.520 --> 0:56:40.080
<v Speaker 1>risk whatsoever because we both had nothing but credit card

0:56:40.080 --> 0:56:42.759
<v Speaker 1>debt to our names. There was nowhere to go but up.

0:56:43.040 --> 0:56:46.799
<v Speaker 1>So this was this was basically written to be and

0:56:47.040 --> 0:56:49.520
<v Speaker 1>the original casting choices kind of revealed that it was

0:56:49.560 --> 0:56:53.320
<v Speaker 1>written to be a B movie. And then because Robert

0:56:53.400 --> 0:56:56.120
<v Speaker 1>Zemeckis had a lot of clout and wanted to direct

0:56:56.160 --> 0:56:59.040
<v Speaker 1>the movie. All of a sudden it was elevated to

0:56:59.080 --> 0:57:01.520
<v Speaker 1>a big budget level. Well so there, which I feel

0:57:01.520 --> 0:57:03.520
<v Speaker 1>like you can kind of in a good way, feel

0:57:03.560 --> 0:57:07.120
<v Speaker 1>that dissonance of like, why is Bruce Willis in this movie?

0:57:07.440 --> 0:57:10.120
<v Speaker 1>Why would like the this movie could have been made

0:57:10.160 --> 0:57:11.799
<v Speaker 1>for a lot less money, But I'm kind of glad

0:57:11.840 --> 0:57:14.719
<v Speaker 1>it wasn't, you know, like they it looks like it

0:57:14.760 --> 0:57:18.040
<v Speaker 1>cost fifty five million dollars um. But what this has

0:57:18.320 --> 0:57:22.000
<v Speaker 1>inspired a lot of In addition to the movie being

0:57:22.000 --> 0:57:26.000
<v Speaker 1>screened at Pride events quite a bit, um is there

0:57:26.000 --> 0:57:29.400
<v Speaker 1>have been a lot of like iconic drag performances inspired

0:57:29.840 --> 0:57:32.720
<v Speaker 1>by Death Becomes Her to the point where it was

0:57:32.960 --> 0:57:36.920
<v Speaker 1>a specific runway challenge on RuPaul's drag race at some

0:57:37.000 --> 0:57:43.160
<v Speaker 1>point um where Violet cho key one um for the

0:57:43.200 --> 0:57:46.440
<v Speaker 1>most intensely since waste I've ever seen in my entire life.

0:57:46.560 --> 0:57:49.440
<v Speaker 1>You can look it up. It was so good. Later

0:57:50.080 --> 0:57:53.600
<v Speaker 1>in the article, David kepp Is asked why I think

0:57:53.600 --> 0:57:55.440
<v Speaker 1>this is a very fun question to ask him because

0:57:55.480 --> 0:57:59.560
<v Speaker 1>old men are so doofy sometimes. They asked him, why

0:57:59.560 --> 0:58:01.480
<v Speaker 1>do you think this movie has a mass such a

0:58:01.480 --> 0:58:04.920
<v Speaker 1>big queer following, and he has this to say, quote,

0:58:05.160 --> 0:58:08.440
<v Speaker 1>you really can't underestimate the entertainment value of two women

0:58:08.560 --> 0:58:13.040
<v Speaker 1>swinging shovels at each other, uh, and then the other

0:58:13.200 --> 0:58:15.760
<v Speaker 1>the other all he said yes, and then his coat,

0:58:16.080 --> 0:58:18.520
<v Speaker 1>and then his co writer says quote, I could invent

0:58:18.640 --> 0:58:21.040
<v Speaker 1>some excuse, but deep down in my heart, I do

0:58:21.160 --> 0:58:26.000
<v Speaker 1>not know. So, I mean it's like they're I mean,

0:58:26.040 --> 0:58:29.360
<v Speaker 1>they're just like kind of like, we've never talked to

0:58:29.360 --> 0:58:32.400
<v Speaker 1>a gay person, so right, so they're like, I guess

0:58:32.440 --> 0:58:36.800
<v Speaker 1>it worked out for us. Um the winner of drag

0:58:36.840 --> 0:58:41.240
<v Speaker 1>Ray Sieves In five, jerk Hoffer had that's Jinx Monsoon,

0:58:41.760 --> 0:58:45.360
<v Speaker 1>Yes one under Jinx Monsoon. But interviewed did this interview

0:58:45.440 --> 0:58:49.520
<v Speaker 1>under Jack Hoffer took on like the Death Becomes Her

0:58:49.800 --> 0:58:53.440
<v Speaker 1>themed photo shoot like has a history drain. Here's what

0:58:53.800 --> 0:58:56.320
<v Speaker 1>Jack has to say, quote, I think this is a

0:58:56.320 --> 0:58:59.120
<v Speaker 1>trait that runs throughout the queer community, the obsession with

0:58:59.160 --> 0:59:02.120
<v Speaker 1>the hyper femine and female villains. And we see it

0:59:02.120 --> 0:59:04.360
<v Speaker 1>in Disney movies and in movies like Death Becomes Her

0:59:04.480 --> 0:59:07.480
<v Speaker 1>and in characters like Poison Ivy and Catwoman. Almost all

0:59:07.520 --> 0:59:10.520
<v Speaker 1>the Disney villain which is are gay icons, which is

0:59:10.680 --> 0:59:13.920
<v Speaker 1>I mean, we've discussed at length here and they continue,

0:59:14.120 --> 0:59:16.360
<v Speaker 1>uh quote. I think it's a combination of it being

0:59:16.360 --> 0:59:19.600
<v Speaker 1>a strong female character, who who you love, how evil

0:59:19.640 --> 0:59:22.360
<v Speaker 1>she is. You know. I don't know why that is

0:59:22.360 --> 0:59:24.640
<v Speaker 1>a trait that appears to queer people so much, but

0:59:24.760 --> 0:59:28.040
<v Speaker 1>it's pretty consistent amongst the queer community. I think it

0:59:28.080 --> 0:59:30.880
<v Speaker 1>has something to do is feeling like outcasts and imagining

0:59:30.920 --> 0:59:33.800
<v Speaker 1>yourself in this position of power where even though you're

0:59:33.880 --> 0:59:36.120
<v Speaker 1>the outcast, you still have some kind of power and

0:59:36.200 --> 0:59:40.600
<v Speaker 1>strength within you. So yeah, and then finally, quote, I

0:59:40.600 --> 0:59:42.840
<v Speaker 1>think it's really feminist that they're willing to take their

0:59:42.880 --> 0:59:45.400
<v Speaker 1>lives into their own hands and do whatever it takes,

0:59:45.640 --> 0:59:48.200
<v Speaker 1>be willing to spray paint themselves and fill themselves with

0:59:48.240 --> 0:59:52.040
<v Speaker 1>cement or whatever to just uphold themselves and try to

0:59:52.080 --> 0:59:56.240
<v Speaker 1>stay in command. So there you go. That is, in brief,

0:59:56.280 --> 1:00:00.800
<v Speaker 1>the History of Death becomes her as a iconic queer

1:00:00.840 --> 1:00:04.800
<v Speaker 1>movie as well. Ye, beautiful, thanks for the context corner.

1:00:05.040 --> 1:00:07.640
<v Speaker 1>You're welcome. Yeah, I'm glad. I mean we talked about

1:00:07.680 --> 1:00:12.080
<v Speaker 1>this a fair amount to where certain movies have become

1:00:12.120 --> 1:00:17.200
<v Speaker 1>like queer icon texts, not because there are any queer

1:00:17.280 --> 1:00:21.400
<v Speaker 1>characters in them, because there are often not in most

1:00:21.600 --> 1:00:25.760
<v Speaker 1>mainstream movies. Yeah, even in like It's it's just it's

1:00:25.800 --> 1:00:29.760
<v Speaker 1>it's cool to understand the history of how movies become

1:00:29.880 --> 1:00:33.520
<v Speaker 1>iconic in any community. Like it's cool. And I knew

1:00:33.560 --> 1:00:36.200
<v Speaker 1>so little about this movie to begin with that, like

1:00:36.280 --> 1:00:39.560
<v Speaker 1>having context for that drag race competition was great for me. Yeah,

1:00:39.720 --> 1:00:41.360
<v Speaker 1>it was great because I had watched it before and

1:00:41.440 --> 1:00:44.560
<v Speaker 1>been like, what is that? I don't know? And now

1:00:44.720 --> 1:00:49.600
<v Speaker 1>I know, I understand. You know, I'm learning. Um do

1:00:49.720 --> 1:00:52.720
<v Speaker 1>anything else you want to hit on? Just the Helen

1:00:52.840 --> 1:00:56.480
<v Speaker 1>Sharp first has a cat and then has many cats,

1:00:56.760 --> 1:01:03.040
<v Speaker 1>and cats have eight nipples. That's facts with Caitlin. Yeah,

1:01:03.040 --> 1:01:06.200
<v Speaker 1>I think that's about it. Though. Yeah, I enjoyed this

1:01:06.240 --> 1:01:10.800
<v Speaker 1>movie quite a bit. I'm happy it will be continued

1:01:10.840 --> 1:01:12.680
<v Speaker 1>to watch for years to come. I think it is

1:01:12.720 --> 1:01:16.480
<v Speaker 1>the kind of movie that even though it's flaws I

1:01:16.520 --> 1:01:20.720
<v Speaker 1>think are pretty glaring, I find them so glaring that

1:01:20.800 --> 1:01:24.640
<v Speaker 1>it is almost like people can continue to watch it.

1:01:24.720 --> 1:01:27.280
<v Speaker 1>Does that make sense? Yeah, where it's not like a

1:01:27.400 --> 1:01:30.400
<v Speaker 1>subtle poison being put into like the veins of a

1:01:30.480 --> 1:01:34.040
<v Speaker 1>movie where you're like, oh no, I'm red pilt, you know,

1:01:34.120 --> 1:01:37.280
<v Speaker 1>like it is so it is so wildly campy that

1:01:37.560 --> 1:01:40.800
<v Speaker 1>it's not like very very small doses of arsenic that

1:01:40.880 --> 1:01:43.120
<v Speaker 1>you take over the course of several months and then

1:01:43.200 --> 1:01:47.080
<v Speaker 1>die from it. It's like the poison apple with like

1:01:47.280 --> 1:01:53.640
<v Speaker 1>the poison symbol painted onto the apple and try this

1:01:53.680 --> 1:01:57.320
<v Speaker 1>is fun. They're perfect analogy. Yeah, I mean, just a

1:01:57.440 --> 1:02:02.240
<v Speaker 1>movie trying to tackle the subject of like women aging

1:02:02.320 --> 1:02:05.920
<v Speaker 1>and how society believes that that's not a thing that

1:02:05.960 --> 1:02:09.760
<v Speaker 1>should be allowed at all, you know, and and approaching

1:02:09.800 --> 1:02:13.040
<v Speaker 1>that topic in a very way, and that it only

1:02:13.080 --> 1:02:19.040
<v Speaker 1>tackles it in the context of upper class, straight white women. Um.

1:02:19.080 --> 1:02:21.360
<v Speaker 1>But in terms of the time, I mean, there's not

1:02:21.440 --> 1:02:25.160
<v Speaker 1>a lot of movies in that are trying to address

1:02:25.200 --> 1:02:27.920
<v Speaker 1>the concept of women aging at all. It's the horror

1:02:27.920 --> 1:02:30.960
<v Speaker 1>of women at all, of women so right, and and

1:02:31.000 --> 1:02:33.840
<v Speaker 1>so I think in that it has a valuable place

1:02:33.880 --> 1:02:37.160
<v Speaker 1>in history in addition to being a fun watch with

1:02:37.240 --> 1:02:44.360
<v Speaker 1>some really incredible how the performances performances, But it is

1:02:45.040 --> 1:02:48.240
<v Speaker 1>the the outfits in this movie are really Next, let

1:02:48.280 --> 1:02:53.400
<v Speaker 1>me say my one last piece. I think maybe and

1:02:53.520 --> 1:02:56.560
<v Speaker 1>this doesn't justify this at all, but perhaps the reason

1:02:57.240 --> 1:03:00.600
<v Speaker 1>that we cut to the seven years or where we

1:03:00.600 --> 1:03:04.920
<v Speaker 1>see Goldie Han like completely in crisis and like mentally

1:03:05.040 --> 1:03:08.400
<v Speaker 1>crumbling and all of that. Is that that's when she

1:03:09.080 --> 1:03:11.200
<v Speaker 1>we don't see her do this, of course, because it

1:03:11.200 --> 1:03:13.760
<v Speaker 1>has to be a reveal later on, but that's when

1:03:13.760 --> 1:03:17.840
<v Speaker 1>we understand her to take the potion because she says

1:03:17.920 --> 1:03:23.400
<v Speaker 1>she takes it October. That would be seven years after

1:03:24.040 --> 1:03:31.560
<v Speaker 1>when the movie opens in about October. That is the

1:03:31.680 --> 1:03:36.640
<v Speaker 1>day of the temporal junction point of the space time continuum.

1:03:36.680 --> 1:03:42.360
<v Speaker 1>According to Back to the Future, another Robert zemeckis Galaxy Brain,

1:03:42.680 --> 1:03:48.240
<v Speaker 1>so we needs actually exist in the same universe Galaxy Brain.

1:03:49.600 --> 1:03:54.760
<v Speaker 1>I love it. It makes me happy. I didn't understand

1:03:54.960 --> 1:03:57.720
<v Speaker 1>And you know, we did cover Back to the Future

1:03:57.720 --> 1:04:00.320
<v Speaker 1>on the Matreon as well. It did not fare well,

1:04:01.240 --> 1:04:04.600
<v Speaker 1>but it's still a movie I deeply, deeply love. So

1:04:04.760 --> 1:04:09.240
<v Speaker 1>that's my cross to bear. Yeah, fortunately it isn't mine. Um,

1:04:09.320 --> 1:04:11.520
<v Speaker 1>But I do like a good Billy Zane joint, which

1:04:11.560 --> 1:04:13.520
<v Speaker 1>I think is how Back to the Future is remembered

1:04:14.800 --> 1:04:20.320
<v Speaker 1>um as one of best perfermances. But yeah, I mean,

1:04:20.400 --> 1:04:24.160
<v Speaker 1>I yeah, this this I would genuinely like recommend watch

1:04:24.240 --> 1:04:26.720
<v Speaker 1>this movie with your friends. It's a blast. I'm sure

1:04:26.720 --> 1:04:30.200
<v Speaker 1>there's a great drinking game for this movie somewhere. Um,

1:04:30.240 --> 1:04:32.840
<v Speaker 1>But you know that's why we're here to just you know,

1:04:33.000 --> 1:04:35.640
<v Speaker 1>keep you humble. But you know, hey, it's not as

1:04:35.640 --> 1:04:38.640
<v Speaker 1>good as you think it is, but it's still pretty good.

1:04:38.800 --> 1:04:41.880
<v Speaker 1>That's our job. Does this movie pass the Bectel test?

1:04:41.920 --> 1:04:46.320
<v Speaker 1>It does? It does. Between Madeline and Helen, Between Madeline

1:04:46.560 --> 1:04:51.840
<v Speaker 1>and Liesl. There's a few other conversations with a very

1:04:51.960 --> 1:04:54.720
<v Speaker 1>tertiary female characters who don't get named, that don't pass

1:04:54.720 --> 1:04:57.240
<v Speaker 1>the Bectel test. But there are women interacting, and there

1:04:57.360 --> 1:04:59.680
<v Speaker 1>is a lot of talk about, like I feel like,

1:05:00.040 --> 1:05:04.040
<v Speaker 1>even slightly edging out the Bruce Willis talk. There is

1:05:04.080 --> 1:05:09.000
<v Speaker 1>a lot of talk about jealousy and fractures within the friendship. Um.

1:05:09.040 --> 1:05:12.960
<v Speaker 1>And often men will come up because the conflict between

1:05:13.000 --> 1:05:15.720
<v Speaker 1>them is underwritten. But you do they do like that

1:05:15.840 --> 1:05:19.800
<v Speaker 1>some of the dialogue is like left for us to

1:05:19.880 --> 1:05:22.080
<v Speaker 1>kind of explore this conflict, although it comes away too

1:05:22.160 --> 1:05:25.520
<v Speaker 1>late in the movie. But yeah, so you know it

1:05:25.600 --> 1:05:29.240
<v Speaker 1>does pass. Sure. Does What would you rate the film?

1:05:30.680 --> 1:05:37.320
<v Speaker 1>Probably pretty low? Um? I mean, here's okay, I was

1:05:37.360 --> 1:05:41.480
<v Speaker 1>gonna say this earlier. For all of its faults, all

1:05:41.640 --> 1:05:44.280
<v Speaker 1>of the action in this movie is driven by the

1:05:44.320 --> 1:05:48.600
<v Speaker 1>female characters. Bruce Willis has, like you were saying, is

1:05:48.640 --> 1:05:52.680
<v Speaker 1>reduced to no agency like female characters often are. He

1:05:52.760 --> 1:05:58.000
<v Speaker 1>becomes kind of this flaccid tool weapon, screaming, squealing, hysterical

1:05:58.280 --> 1:06:00.360
<v Speaker 1>to be used by the two female here to. So

1:06:00.400 --> 1:06:02.960
<v Speaker 1>in that way, I think it is very unusual and

1:06:03.080 --> 1:06:06.560
<v Speaker 1>cool women are. But then he is given agency like

1:06:06.600 --> 1:06:09.120
<v Speaker 1>the climax, and it's almost like he was climax and

1:06:09.160 --> 1:06:12.080
<v Speaker 1>then he's yeah, exactly, I have to. I don't like

1:06:12.160 --> 1:06:14.360
<v Speaker 1>the way this movie ends. One and a half, one

1:06:14.400 --> 1:06:16.760
<v Speaker 1>and a half maybe two. I was gonna give it

1:06:16.760 --> 1:06:20.520
<v Speaker 1>to Okay, I'll go to nip for each of them.

1:06:20.560 --> 1:06:23.280
<v Speaker 1>This gets a five million on the Campo meter, but

1:06:23.400 --> 1:06:26.120
<v Speaker 1>that's not what we're here for. Uh. In terms of

1:06:26.160 --> 1:06:30.960
<v Speaker 1>maybe we should do that podcast Ika, Yeah, new Patreon

1:06:31.000 --> 1:06:35.880
<v Speaker 1>tier strictly discussing camp the Campo meter, but this is

1:06:36.360 --> 1:06:40.800
<v Speaker 1>like Campo meter a plus. But in terms of how

1:06:41.000 --> 1:06:43.760
<v Speaker 1>the movie treat this family characters, I would say about

1:06:43.760 --> 1:06:46.560
<v Speaker 1>two because they do lose in the end, which doesn't

1:06:46.600 --> 1:06:50.080
<v Speaker 1>they're punished for, you know, wanting to And that's the

1:06:50.080 --> 1:06:55.320
<v Speaker 1>other thing, Like, yes, society has these rigid expectations about

1:06:55.320 --> 1:07:00.200
<v Speaker 1>women and women aging. Women will also be criticized. We're

1:07:00.200 --> 1:07:05.320
<v Speaker 1>trying to like participate in like I'm going to try

1:07:05.360 --> 1:07:08.640
<v Speaker 1>to not look like I'm aging so much kind of thing,

1:07:08.760 --> 1:07:10.960
<v Speaker 1>and then women are also punished for that. Well, it's

1:07:11.000 --> 1:07:13.360
<v Speaker 1>just like, well, what can't you just like age naturally?

1:07:13.360 --> 1:07:16.320
<v Speaker 1>And it's like, because you fucking won't let me take society.

1:07:16.640 --> 1:07:19.760
<v Speaker 1>Well the Yeah, I feel like the movie like at

1:07:19.840 --> 1:07:22.240
<v Speaker 1>some points it reaches like, oh, it looks like it's

1:07:22.240 --> 1:07:24.200
<v Speaker 1>about to make a really cool point, and then it

1:07:24.240 --> 1:07:27.480
<v Speaker 1>punishes the female character were making the choice that they've explained,

1:07:27.480 --> 1:07:29.560
<v Speaker 1>it made it clear why they're making that choice, and

1:07:29.560 --> 1:07:31.960
<v Speaker 1>then they're like, well, whatever funk are anyways, and you're

1:07:32.000 --> 1:07:34.960
<v Speaker 1>just like that's not fair. My ideal ending for this

1:07:35.000 --> 1:07:38.440
<v Speaker 1>movie is that once they become friends again, they discuss, okay,

1:07:38.480 --> 1:07:41.960
<v Speaker 1>this was our conflict, we both killed each other, we're even. Then,

1:07:42.000 --> 1:07:45.080
<v Speaker 1>instead of going after Bruce Willis, they like find a

1:07:45.200 --> 1:07:50.240
<v Speaker 1>more like a large, like societal target, and like, instead

1:07:50.240 --> 1:07:53.520
<v Speaker 1>of going after this one person that they've been using

1:07:53.520 --> 1:07:56.120
<v Speaker 1>as a tool this whole time, go after someone who

1:07:56.120 --> 1:08:00.160
<v Speaker 1>has actually inflicted harm upon them and go after that. Like,

1:08:00.200 --> 1:08:02.840
<v Speaker 1>I feel like that's a more logical target, especially if

1:08:03.000 --> 1:08:06.840
<v Speaker 1>you get that cool moment of them uniting, right, it's like,

1:08:06.960 --> 1:08:09.320
<v Speaker 1>why would you go out to Bruce Willis? Right? I

1:08:09.360 --> 1:08:12.120
<v Speaker 1>do like when they come together and form this like

1:08:12.520 --> 1:08:15.960
<v Speaker 1>friendship again. But yeah, the third act of this movie

1:08:16.320 --> 1:08:18.280
<v Speaker 1>is a mess, and they should there should be like

1:08:18.320 --> 1:08:20.720
<v Speaker 1>maybe like a movie director who's like, I'm not going

1:08:20.760 --> 1:08:23.400
<v Speaker 1>to cast you anymore, Mary because you've gotten too old,

1:08:23.880 --> 1:08:25.880
<v Speaker 1>or even just like someone who's set up a little

1:08:25.920 --> 1:08:29.360
<v Speaker 1>bit earlier of someone who has done actual harm or

1:08:29.479 --> 1:08:33.320
<v Speaker 1>encouraged conflict among them or something like that, where because

1:08:33.360 --> 1:08:35.679
<v Speaker 1>going for Bruce Willis it doesn't make a ton of sense,

1:08:35.720 --> 1:08:37.360
<v Speaker 1>and then he ends up winning and you're just like

1:08:37.400 --> 1:08:40.320
<v Speaker 1>I don't like that either, Like there was a cooler

1:08:40.760 --> 1:08:43.759
<v Speaker 1>in trajectory for them, and they should have one because

1:08:43.800 --> 1:08:46.280
<v Speaker 1>we're woting for them. Should have had us write the

1:08:46.320 --> 1:08:49.559
<v Speaker 1>movie really like I know that we barely existed at

1:08:49.560 --> 1:08:51.920
<v Speaker 1>this time that they should have led us. Yeah, you

1:08:51.960 --> 1:08:55.519
<v Speaker 1>were a fetus, maybe a fetis and I was six

1:08:55.600 --> 1:08:58.200
<v Speaker 1>years old in the first grade. I think that that's

1:08:58.200 --> 1:09:02.559
<v Speaker 1>an amazing that's a really cool progressive strandwriting team is

1:09:02.920 --> 1:09:05.200
<v Speaker 1>and we would have been able to comment on aging

1:09:05.240 --> 1:09:08.760
<v Speaker 1>women as a fetus and a six year old, So

1:09:10.000 --> 1:09:13.760
<v Speaker 1>there are the better choice than two men. Isn't that

1:09:13.800 --> 1:09:16.280
<v Speaker 1>insane someone who hasn't been born as a better choice,

1:09:16.360 --> 1:09:20.840
<v Speaker 1>But it is true in the in this case of yeah,

1:09:20.880 --> 1:09:24.639
<v Speaker 1>it's just it's good intentions. But I feel like, you know,

1:09:25.120 --> 1:09:29.560
<v Speaker 1>with the benefit of time, we now understand that, um,

1:09:29.720 --> 1:09:33.160
<v Speaker 1>two men are very rarely going to write a realistic,

1:09:33.360 --> 1:09:37.960
<v Speaker 1>compelling relationship between two women, whether it's like gritty realism

1:09:38.080 --> 1:09:40.800
<v Speaker 1>or camp. It just you just you just need someone

1:09:40.840 --> 1:09:44.720
<v Speaker 1>in the room. So two nippies kicking one each of

1:09:44.760 --> 1:09:47.200
<v Speaker 1>them same, I'll do the same. Yea. Now they both

1:09:47.200 --> 1:09:50.880
<v Speaker 1>got a full second for them. Congratulations Isabella, you're out

1:09:50.880 --> 1:09:57.960
<v Speaker 1>of luck. And folks, that was the Death Becomes Her episode.

1:09:58.439 --> 1:10:02.960
<v Speaker 1>Thanks for tuning in, and we just wanted to remind

1:10:03.000 --> 1:10:06.120
<v Speaker 1>you that was an unlocked Matreon episode. If you want

1:10:06.200 --> 1:10:09.400
<v Speaker 1>seventy plus more episodes like that, they're all over at

1:10:09.439 --> 1:10:13.479
<v Speaker 1>Patreon dot com, slash the Bechtel Cast, slash Bechtel Cast.

1:10:13.640 --> 1:10:18.200
<v Speaker 1>Sorry my brain is putting um Patreon dot com slash

1:10:18.240 --> 1:10:21.120
<v Speaker 1>Bechtel Cast. You will get two extra episodes a month

1:10:21.200 --> 1:10:25.559
<v Speaker 1>and a Titanic bonus dream for September, one of many

1:10:25.800 --> 1:10:30.520
<v Speaker 1>Titanic bonuses on the Matreon because we also have a

1:10:30.560 --> 1:10:34.800
<v Speaker 1>three hour and fourteen minutes commentary track in which we

1:10:34.880 --> 1:10:37.920
<v Speaker 1>watched Titanic and commented on it. We have one where

1:10:37.920 --> 1:10:41.800
<v Speaker 1>we're drunk on Thanksgiving watching Titanic a couple of years ago.

1:10:41.960 --> 1:10:44.880
<v Speaker 1>That's a fun one, and then we have another one

1:10:45.120 --> 1:10:47.360
<v Speaker 1>that I don't remember why we I think that one

1:10:47.479 --> 1:10:49.479
<v Speaker 1>was just everything we didn't cover in the first one.

1:10:49.520 --> 1:10:52.160
<v Speaker 1>The second that the follow up aisode was pretty comprehensive

1:10:52.200 --> 1:10:56.559
<v Speaker 1>of like everything we've learned about Titanic since our first

1:10:56.640 --> 1:11:00.080
<v Speaker 1>episode with a parliament nantrella, which is on this and

1:11:00.920 --> 1:11:05.360
<v Speaker 1>it's dense. Papers could be written, Please don't write them. Well,

1:11:05.520 --> 1:11:10.160
<v Speaker 1>here's the thing. I want to do another Titanic episode, obviously,

1:11:10.240 --> 1:11:14.200
<v Speaker 1>because I've completely come around on a bunch of things,

1:11:14.240 --> 1:11:19.160
<v Speaker 1>even since the last time we recorded. Okay, I'm I'm

1:11:19.240 --> 1:11:22.920
<v Speaker 1>fully down. Yeah, Team Fabritt CEO, That's what I'm that's

1:11:23.000 --> 1:11:26.120
<v Speaker 1>my news stance. Also, this this is our first This

1:11:26.200 --> 1:11:29.559
<v Speaker 1>is our first time doing Titanic since we realized the

1:11:29.560 --> 1:11:33.960
<v Speaker 1>whole DiCaprio fully closed underwater, which really changes your read

1:11:34.040 --> 1:11:36.920
<v Speaker 1>of the entire movie. You we have to look at

1:11:36.920 --> 1:11:41.000
<v Speaker 1>it from an entirely New lens Now cinematic language is

1:11:41.040 --> 1:11:46.920
<v Speaker 1>so dense. Uh oh my, you can just I mean,

1:11:46.960 --> 1:11:49.160
<v Speaker 1>we'll listen to this episode in the future and be like, wow,

1:11:49.200 --> 1:11:54.160
<v Speaker 1>the air quality was just not good. Uh the We're like, no,

1:11:54.640 --> 1:12:00.400
<v Speaker 1>it's the thematic implications of Leonardo DiCaprio being underwater while

1:12:00.439 --> 1:12:07.040
<v Speaker 1>he's wearing clothes. It means something everythang. Uh, we love you.

1:12:07.200 --> 1:12:10.520
<v Speaker 1>Thank you for bearing with us. Also remember to um

1:12:10.720 --> 1:12:15.200
<v Speaker 1>check out our Titanic or no our our Twilight live stream.

1:12:17.040 --> 1:12:21.600
<v Speaker 1>Our Twilight live stream is next Friday. Jacob benefiting Fatima

1:12:21.680 --> 1:12:24.800
<v Speaker 1>eball zoo fair Um, she is the best. Will be

1:12:24.800 --> 1:12:28.200
<v Speaker 1>posting about it NonStop. We can't wait. And if you

1:12:28.200 --> 1:12:30.719
<v Speaker 1>want to get merch, that's over t public dot com

1:12:30.800 --> 1:12:34.839
<v Speaker 1>slash the beck Doel Cast. Follow us on social media

1:12:34.960 --> 1:12:39.280
<v Speaker 1>at your leisure at becktel Cast, especially because we're going

1:12:39.320 --> 1:12:42.880
<v Speaker 1>to be um posting all the information about the Twilight

1:12:43.120 --> 1:12:48.080
<v Speaker 1>live read slash roast on our social media platform. We're

1:12:48.080 --> 1:12:50.240
<v Speaker 1>gonna be real annoying about it. You're not going to

1:12:50.360 --> 1:12:55.040
<v Speaker 1>miss it. Uh, so we hope to see you at

1:12:55.040 --> 1:13:00.120
<v Speaker 1>the Twilight hang and nothing into the episode, right, I

1:13:00.160 --> 1:13:05.560
<v Speaker 1>think so we didn't we didn't cut it down uh

1:13:05.760 --> 1:13:08.479
<v Speaker 1>bye right bye bye