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Speaker 1: Hello Bechdel Cast listeners.

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Speaker 2: And us again, the hosts of the Bechdel Cast.

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Speaker 1: Ever heard of us?

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Speaker 2: This is?

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Speaker 3: Oh well, I guess let's say our names. Yeah, sure,

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Speaker 3: my name is Jamie Loftis.

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Speaker 1: My name is Caitlin Derante. And we recorded a live

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Speaker 1: show in Portland a few months back that we are

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Speaker 1: now releasing. It's on the Goonies with Sarah Marshall.

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Speaker 2: I ever heard of her? She's the best.

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Speaker 3: Yeah, she's next door to me right now, which sounds scary.

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Speaker 3: It sounds like I'm holding her prisoner, but it's just

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Speaker 3: the truth. Yeah, you're on tour together.

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Speaker 2: We're on tour together, the Babe Beautiful.

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Speaker 1: And so this is one of the shows that we

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Speaker 1: live streamed recorded it Curious Comedy Theater in Portland or

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Speaker 1: ever heard of that?

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Speaker 2: And if you haven't, you should go.

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Speaker 4: It's fun.

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Speaker 1: It is very fun. Point is we live stream the

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Speaker 1: show and the recording also exists as like something that

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Speaker 1: you can buy on demand. So basically if.

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Speaker 2: You go back to video tree.

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Speaker 1: Yes, So if you want to see, for example, us

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Speaker 1: eating a hot dog on stage.

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Speaker 3: See our cute little outfits. No spoilers, but we're wearing

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Speaker 3: some cute little outfits.

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Speaker 1: If you want to see the special segment that we

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Speaker 1: did at the end with Sarah that you won't hear

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Speaker 1: in the audio version.

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Speaker 3: Trivia Treasure Hunt. It's very goofy, it's super fun and

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Speaker 3: if you're a big fan of the show and you're

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Speaker 3: a big fan of Sarah Marshall, I bet you'll like it.

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Speaker 3: But yeah, we have that linked in our lee tree.

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Speaker 2: But we're about to hear is our audio version of

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Speaker 2: the live episode on the Goonies.

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Speaker 3: We also did this in Seattle, but you're hearing the

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Speaker 3: Portland version.

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Speaker 2: Little inside Baseball there.

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Speaker 3: And there is still one more Portland live episode we

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Speaker 3: will be releasing in the future that you can also

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Speaker 3: buy on demand to watch right now if you so choose.

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Speaker 3: It is the Hannah Montana movie with Rob Evans, and

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Speaker 3: really what more could you ask for in terms of

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Speaker 3: a dissonant pairing. So but we're very thrilled to present

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Speaker 3: to you now The Goonies with Sarah Marshall.

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Speaker 2: Welcome everybody, your curious comedy theater. Make some noise for

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Speaker 2: the Bechdel cast. Please keep that going for Jamie and Caitlin.

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Speaker 2: They Land Patriarch Zach start changing it.

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Speaker 1: Hi Welcome to the Bechdel Cast. Hello, thank you so

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Speaker 1: much for coming.

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Speaker 2: How are you Portland, Oregon? The superior Portland? Wow?

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Speaker 1: Wow, shots fired against Maine.

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Speaker 3: Everyone has mad, just passed out and they have no

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Speaker 3: idea why. Welcome, Thank you for coming. Give it up

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Speaker 3: for yourselves. My name is Jamie Loftus, my.

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Speaker 1: Name is Caitlin Dronte, and this is the Bechdel Cast. Yay,

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Speaker 1: I don't know why. I was like, I'm gonna pause

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Speaker 1: so that everyone collapse again.

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Speaker 2: No, we're so excited to be back.

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Speaker 3: We haven't gotten to go on tour for about three

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Speaker 3: years for no particular reason really, the kind of didn't

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Speaker 3: feel like it. But we're so pumped to be back,

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Speaker 3: and back in Portland specifically because this is I think

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Speaker 3: this is my favorite city to tour too.

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Speaker 2: It truly is, and which I don't say. I did

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Speaker 2: not say that. In San Francisco. I got pretty volatile.

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Speaker 2: I was like, what's wrong with it here? It's depressing?

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Speaker 2: Why is your mayor in all of the movies? Anyways?

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Speaker 2: I don't feel like that. I feel great here? Should we?

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Speaker 1: Well?

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Speaker 2: Actually, has anyone been to a Bechdelcast live show before?

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Speaker 3: Oh?

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Speaker 1: My god, so who has never been to a Bechdel

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Speaker 1: cast live show before.

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Speaker 2: I run apod Wow, okay, second graders, let's do it.

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Speaker 1: Also. Okay, wait, hang on, we're live streaming the show,

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Speaker 1: so we should say, yeah, the people in.

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Speaker 2: San Francisco aren't like, what the fuck? I totally forgot

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Speaker 2: that other people could hear me.

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Speaker 3: Hi, hi, Hi, we love San Francisco. That was a

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Speaker 3: technical error, and I'm a deep face. I think everyone

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Speaker 3: can agree that was a deep fake.

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Speaker 1: And that's anything.

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Speaker 2: Is the pro of evil tech things going on? Is

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Speaker 2: that anytime I say something I regret like that was

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Speaker 2: clearly a deep fake.

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Speaker 3: Why would I say that I love San Francisco Go

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Speaker 3: bridges are awesome?

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Speaker 1: Last night I mistook the This is not important, but

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Speaker 1: I mistook the Golden Gate Bridge for the Bay Bridge.

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Speaker 2: And everything one threw a tomato.

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Speaker 1: I got egged at the show.

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Speaker 2: You also said the hard finger. Okay, wait, quick story.

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Speaker 3: So last night we did an episode on George of

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Speaker 3: the Jungle in San Francisco where it takes place in

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Speaker 3: first of the Jungle and then San Francisco.

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Speaker 2: But there was a.

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Speaker 3: Moment where well you were talking about George getting horny. Yeah,

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Speaker 3: and what was the phrase you were trying to say.

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Speaker 1: I was trying to say that he starts to figure

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Speaker 1: out how to like seduce a woman, but that's not

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Speaker 1: what they said at all. I said that he starts

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Speaker 1: to finger out and everyone laughed at me.

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Speaker 2: But you didn't know that you said it. You just

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Speaker 2: kept going in and you're like, why is everyone laughing?

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Speaker 2: It was really it was.

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Speaker 3: It felt like a nightmare that was happening to us,

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Speaker 3: but it was exciting. It was awesome, and that's the

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Speaker 3: joy of live comedy. So thank you for coming.

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Speaker 2: We should tell people what the show is. For those

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Speaker 2: watching on the live stream, this is the Bechdel Cast.

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Speaker 3: It's a show where we take an intersectional feminist look

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Speaker 3: at your favorite movies.

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Speaker 1: We sure do.

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Speaker 2: But Caitlin, what the hell is the Bechdel Test, I'll

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Speaker 2: tell you.

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Speaker 1: It's a media metric created by queer cartoonist Alison Bechdel,

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Speaker 1: sometimes called the wu to Alison Bechdel exactly, sometimes called

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Speaker 1: the Bechdel Wallace Test. There are many versions of the test,

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Speaker 1: but the one that we use that we've cultivated over

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Speaker 1: the years is that two people of a marginalized gender

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Speaker 1: have to have names they must speak to each other,

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Speaker 1: and their conversation has to be about something other than

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Speaker 1: a man, ideally some like narratively substantial conversation, right, And

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Speaker 1: then there's.

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Speaker 3: Just movies about a group of young boys falling in

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Speaker 3: a lot of water. And so there was sort of

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Speaker 3: like a spectrum of the kinds of media available to people,

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Speaker 3: and we celebrate that, we do.

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Speaker 1: We do.

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Speaker 3: So tonight we are covering uh or Agony and classic

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Speaker 3: the Goonies?

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Speaker 1: Who here has seen the Goonies?

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Speaker 2: Okay? And who here? Who are the brave people who

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Speaker 2: have not seen the Goonies?

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Speaker 1: Yes?

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Speaker 3: Yes, me two days ago? Oh my gosh, okay. So

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Speaker 3: we're really excited to talk about this movie.

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Speaker 2: And about the movies of Oregon in general.

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Speaker 3: Were thrilled to be here. Really quickly before we bring

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Speaker 3: our guests out, I know that there's someone here that

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Speaker 3: has a hot time for me.

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Speaker 2: And I want I would like it.

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Speaker 4: Come on, thank you?

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Speaker 2: Wait? What's your what's your This is heavy? What's your name?

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Speaker 2: I'm Carly? Hi Carly? So well do you mind weave

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Speaker 2: a second?

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Speaker 3: Right?

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Speaker 2: Yeah, okay, I just want to open it. Where'd you

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Speaker 2: get this? I got it at Donnie Vegas. It's a

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Speaker 2: bond me hot dog. Oh my god, wait chic holy shit.

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Speaker 3: Another another count against San Francisco. I asked San Franciscans

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Speaker 3: to bring me their hot dog, and someone brought one

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Speaker 3: from Paris Baguette and they were like, we're we do

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Speaker 3: burritos more here, and I was like.

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Speaker 2: Get out of my sight. Wait, this looks amazing. Thank

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Speaker 2: you so much giving it for Carly. Do you want

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Speaker 2: to bite?

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Speaker 1: I would love a bite. Yeah.

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Speaker 2: Can I feed it to you?

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Speaker 3: I mean yeah, we got Sorry, we're just demonstrating that

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Speaker 3: what the Bechdel test can do.

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Speaker 2: Caitlin, do you mind if I uh feed you this

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Speaker 2: hot dog?

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Speaker 1: Uh?

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Speaker 2: Just don't bring up.

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Speaker 3: Oh wow, thrilling. I'm gonna take a bite from the

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Speaker 3: other side. Actually, I'm gonna save it the other side

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Speaker 3: for our guests.

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Speaker 2: That's polite.

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Speaker 1: Did people get pictures of that or ever? What?

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Speaker 4: Or was it all for?

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Speaker 3: Not?

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Speaker 2: This is calling a really good so far Donnie Vegas

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Speaker 2: huh wow, I'm really wow. Okay wow, okay.

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Speaker 3: So this is a nightmare for people with me as

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Speaker 3: a phonia there I get so many emails from people

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Speaker 3: that are like, what what are you eating? I'm like

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Speaker 3: putting like hot dogs, chips, Mike's hard lemonade like whatever

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Speaker 3: kind of whatever's around.

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Speaker 1: I'm a savenger. Did anyone else bring a hot dog?

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Speaker 1: I just don't want to make sure our basic covered?

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Speaker 2: Okay, fuck you, guys, what the really interesting? You ask?

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Speaker 2: You ask, you ask? Carly provides give it.

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Speaker 3: The rest of you may be flopping a bit, but

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Speaker 3: we can make up for that. I'm just gonna leave

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Speaker 3: this hot dog detritas here as a memory.

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Speaker 1: Say you've got someone on your face as well?

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Speaker 2: Oh no, I don't think I do.

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Speaker 3: Should we? Oh? I'm so excited for tonight's guest, one

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Speaker 3: of the one of the greats and one of the

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Speaker 3: Portland greats.

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Speaker 1: A Portland local host of Your wrong About and You

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Speaker 1: are a good podcasts. You know her, you love her.

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Speaker 1: It's Sarah Marshall.

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Speaker 2: Welcome, Chunk has arrived.

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Speaker 3: Yeah, we were doing some light chunk costplay. This kind

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Speaker 3: of like the Disney bounding version of Chunky.

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Speaker 2: Yeah, it's subtle. It's a suggestion of fans.

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Speaker 1: Do you want some hot Doug? Yeah?

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Speaker 3: Okay, I saved you. The I saved you the other side.

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Speaker 3: It's a fresh bite. Yeah, you're welcome.

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Speaker 1: Oh yeah, you didn't feed it to her.

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Speaker 3: That's oh, sorry, I'm supposed to do you want a

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Speaker 3: second vibe? Yeah, a rogue cucumber appears. That was very

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Speaker 3: feral of all of you to say feeder, and you'll

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Speaker 3: notice I obeyed. Sorry, they asked, we had to do it. Well,

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Speaker 3: this is an unfortunate time to be like, so, Sarah,

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Speaker 3: what's your experience with the Goonies?

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Speaker 2: But you know we can wait.

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Speaker 1: No, I'm gutting there. Take your time, so when you're ready.

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Speaker 1: So when you're ready to answer the question, tell us

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Speaker 1: what is your history with the Goonies?

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Speaker 4: Okay, I've actually never told anyone this story, but when

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Speaker 4: I was like six, I used to go to this

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Speaker 4: house where like it was one of those like home

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Speaker 4: daycare places, and there I just remember being pandemonium. There

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Speaker 4: were just kids crawling around everywhere, and so there was

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Speaker 4: this like baby toddling around and some girls were like,

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Speaker 4: we're helping her walk and I was like, oh, I

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Speaker 4: can get in on that. And then somebody was like,

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Speaker 4: come watch the Goonies and I was like, yeah, I'm

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Speaker 4: doing that, and then.

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Speaker 2: I apparently dropped the baby.

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Speaker 1: Wow.

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Speaker 2: I mean not, you know, not the sloth kind of a.

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Speaker 3: Way I was.

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Speaker 2: Leading with leading with the bottom leading with the bottom.

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Speaker 1: Supposed to go down.

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Speaker 4: But yeah, The Goonies originally was a movie that I

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Speaker 4: saw a bit of and felt an overpowering sense of

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Speaker 4: shame whenever it came up for years. And then I

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Speaker 4: watched it like ten years ago, and it's like charming

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Speaker 4: enough that it overtook my overpowering self lothing, which is

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Speaker 4: always huge. That's powerful, if only for a moment.

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Speaker 2: Yeah, do you know what became of that baby or

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Speaker 2: did you leave that out on for.

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Speaker 4: I think she's she recovered from that trauma. I think

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Speaker 4: she's doing okay. I haven't if anyone knows about the

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Speaker 4: fate of that baby, please.

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Speaker 1: Come up to me. Is that baby here tonight?

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Speaker 3: What if we were doing a Maury style like, well,

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Speaker 3: guess what, she's here and she's pissed hot dogs?

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Speaker 4: Yeah, she wersimply Carly.

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Speaker 2: And she's fucking furious. Oh my god, how I die?

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Speaker 2: It's okay, I don't remember dry. I'm sure that.

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Speaker 3: I mean, I had like a million cousins. I'm sure

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Speaker 3: that I dropped one of them at some point. I

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Speaker 3: remember my dad once being like, well, everyone drops their

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Speaker 3: kid a couple times.

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Speaker 2: It's just it's all about angles, You're like, It's true.

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Speaker 2: I do have a mysterious lump on my head. I

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Speaker 2: don't know.

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Speaker 4: That's why we have curly hair.

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Speaker 2: You know exactly. I don't have to worry about it

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Speaker 2: at okay, Kitlyn. What's your history with the Guineas I

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Speaker 2: saw it?

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Speaker 1: I think once as a kid, once again in college,

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Speaker 1: and not really at all. Aside from that, it wasn't

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Speaker 1: a movie I grew up with. I was too busy.

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Speaker 1: It was too busy watching Indiana Jones because that was

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Speaker 1: for adults and I didn't like kids stuff. That's not

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Speaker 1: even true. But uh, I don't know. Yeah, I don't know.

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Speaker 1: It just for some reason. It wasn't one of the

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Speaker 1: VHS's we had growing up. So yeah, I don't know.

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Speaker 1: I don't have much of a history with it, but

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Speaker 1: I always I enjoyed the idea of it, I think

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Speaker 1: more than the actual movie, because there's some fucked up

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Speaker 1: shit in the movie and that we'll talk about. Yes,

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Speaker 1: what's your history with it?

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Speaker 2: I yeah, I hadn't seen it until two days ago.

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Speaker 3: I feel like there was such a wealth of movies

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Speaker 3: about a group of young boys on bikes that would

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Speaker 3: swear at each other during this era that like you

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Speaker 3: just sort of see like you could you could watch it.

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Speaker 3: You can watch et, you can watch the Goony. Like

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Speaker 3: there's like so many ragtag groups of boys that would

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Speaker 3: each get to say shit one time. Yeah, So I

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Speaker 3: thought I had maybe seen this movie because I was like, oh,

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Speaker 3: it's it's boys on bikes the movie, but I.

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Speaker 2: Hadn't seen it. And yeah, I'm interested to talk about it.

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Speaker 2: There's a lot to love about it, and then some

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Speaker 2: stuff that you're like, oh no, which is our favorite

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Speaker 2: kind of movie to cover on this show.

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Speaker 1: It's true.

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Speaker 2: I wish I had dropped a baby to this movie.

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Speaker 2: That's a great story.

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Speaker 4: It's also like and then my memory of the movie

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Speaker 4: is like of the smell of that like home daycare place,

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Speaker 4: which like you know, they never smell good.

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Speaker 2: That takes a while to get over. Yeah, I mean

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Speaker 2: my mom ran home daycare and our house was stinky.

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Speaker 1: But it is what it is.

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Speaker 3: We're being dropped and Mama for Telly says, kids suck.

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Speaker 3: Mama for Telly is the most complicated character in the movie.

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Speaker 1: Truly.

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Speaker 3: It's truly she I was never not shocked at like

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Speaker 3: and I say, this is an extreme positive. But how

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Speaker 3: many times in the Goonies the kids flip from being

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Speaker 3: in mortal danger to like fucking with each other again

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Speaker 3: is like a space of point five seconds where it's like,

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Speaker 3: Mama for Telly is about to cut Corey Feldman's tongue out,

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Speaker 3: and then two seconds later he's like, makes a peepee joke.

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Speaker 2: It's the best. Those boys are on bikes all right,

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Speaker 2: mentally and physically.

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Speaker 1: It's true. Should I do the recap?

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Speaker 2: Let's do the recap?

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Speaker 1: Okay, thank you for that tepid applause. Uh okay. So

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Speaker 1: we open on a prison break where a guy named

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Speaker 1: Jake for Telly played by Robert Davey.

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Speaker 2: Is that right?

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Speaker 1: He breaks out of County jail with the help of

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Speaker 1: his mom played by Anne Ramsey, and his brother Francis.

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Speaker 1: That's joey pants. Okay, Joe Pantaliano. They speed away and

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Speaker 1: the cops are chasing them, but they escape. Then we

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Speaker 1: meet a handful of kids who are the Goonies. That's

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Speaker 1: the name of the movie. It's mouth played by Corey Feldman.

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Speaker 1: He's like the machievous little stinker.

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Speaker 2: Yeah, he's got the hair. You can tell it because

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Speaker 2: of the way his hair is you're like, oh, this

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Speaker 2: kid's trouble.

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Speaker 1: We've got Data. That's kwan. He's like and Andy.

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Speaker 3: Indeed, Data is the best character and if you disagree,

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Speaker 3: you have to leave the show.

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Speaker 2: I was blown away though, Like, how Data?

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Speaker 3: If there's ever a character named Data in a media property,

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Speaker 3: that's gonna be the best character. Because it's also true

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Speaker 3: of Star Trek. Uh is like Data is the best

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Speaker 3: character on that iteration of Star Trek and in the

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Speaker 3: Goony like you can debate me, but you'll lose.

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Speaker 1: Yeah, yeah, you'll be wrong.

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Speaker 3: Yeah.

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Speaker 1: His thing is he's like the gadget kid. He has

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Speaker 1: all these gadgets. We've got chunk uh. He's played by

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Speaker 1: Jeff Cohen, And his thing is that a lot of

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Speaker 1: fat jokes are made at his expense. We'll talk about it.

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Speaker 3: You know. The element of his personality that they introduced

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Speaker 3: that is not deeply offensive is that he's a serial liar,

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Speaker 3: and I wish they had leaned into that more because

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Speaker 3: all of his lines are so funny. The first line

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Speaker 3: is reference is that Janet Jackson.

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Speaker 2: Pete at his house once he's coming up with stier lies.

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Speaker 1: Like he's really good.

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Speaker 2: Just stick to that that's creative.

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Speaker 1: Yeah, We've got Mikey. That's Sean Aston and he's like

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Speaker 1: our hero. He's kind of like the straight man. And

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Speaker 1: then Mikey's older brother is Brand played by Josh Brolin,

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Speaker 1: and he's tough.

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Speaker 3: Did people a lot of people are like, okay, someone's

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Speaker 3: were in the back snapping a fan of SLO.

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Speaker 2: All right, all right?

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Speaker 1: He he works out and that's his thing. He has

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Speaker 1: a workout equipment. What's it called exercise equipment?

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Speaker 3: Okay, he's got like he's got springs. I was like, yeah,

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Speaker 3: that would make you strong, wouldn't it.

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Speaker 1: It's like resistance like eighties resistance bands which were yes, springs.

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Speaker 4: Okay, don't understand his mom thinks he ties himself up

359
00:20:24,920 --> 00:20:29,400
Speaker 4: to work out. I mean that was his excuse before.

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Speaker 2: Their their mom uh Brandon.

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Speaker 3: Mike's mom is barely in the movie, but every time

362
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Speaker 3: she's on screen, she is just in the trenches. She

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Speaker 3: enters in an arm sling, and we don't know why,

364
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Speaker 3: Like she like walks in she's got an arm sling.

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Speaker 3: She's like, well, my house is getting knocked down tomorrow.

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Speaker 3: And then her kids just are like fuck you. They

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Speaker 3: break her shit, and.

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Speaker 2: Then yeah, she's just having a bad day. She has

369
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Speaker 2: us that statue penis, and they took that away from her.

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Speaker 2: It's my favorite.

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Speaker 1: She's horny. I guess, I don't know. Okay, So the

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Speaker 1: Goony is their best friends and it's their last weekend

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Speaker 1: together before they all have to move away because where

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Speaker 1: they live, which is the goon Docks of Astoria, Oregon,

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Speaker 1: I believe ever heard of it, it is going to

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Speaker 1: be bought up and turned into a country club, which.

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Speaker 2: You pointed out they already have a country club.

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Speaker 1: A story that already has a country club, which we

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Speaker 1: see in the movie, so we're not sure why they

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Speaker 1: need a second one, but that's what's happening, and their

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Speaker 1: families don't have enough money to stop this from happening.

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Speaker 1: All the kids congregate at Mikey and Brand's house and

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Speaker 1: they go into the attic because Mikey and Brand's dad

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Speaker 1: have a bunch of like museum stuff up there that

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Speaker 1: they have yet.

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Speaker 3: To move off the premises, even though their house is

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00:21:55,040 --> 00:21:56,960
Speaker 3: being demolished in ten yeah.

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00:21:57,320 --> 00:22:01,280
Speaker 1: Yes, And they find this map to buried Treasure from

389
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Speaker 1: I think like sixteen thirty two. It is treasure that

390
00:22:05,680 --> 00:22:09,840
Speaker 1: a pirate named One Eyed Willie had stolen, but then

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00:22:10,600 --> 00:22:13,720
Speaker 1: he got trapped with his treasure. But as legend has it,

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Speaker 1: he dug a bunch of caves and tunnels and made

393
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Speaker 1: a bunch of booby traps for anyone who went looking

394
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Speaker 1: for the treasure. We also learn about this guy named

395
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Speaker 1: Chester Copperpot who searched for the treasure a few decades back,

396
00:22:26,720 --> 00:22:31,440
Speaker 1: but he disappeared and never returned. So Mikey is like, hey,

397
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Speaker 1: if we find this treasure, we can keep the goon

398
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Speaker 1: docks and we don't have to move. So Mikey, Mouth

399
00:22:38,400 --> 00:22:41,920
Speaker 1: Chunk and Data decide to tie Brand up with his

400
00:22:42,119 --> 00:22:46,440
Speaker 1: weird Resistance band and run out of the house with

401
00:22:46,640 --> 00:22:50,200
Speaker 1: the map and go on this quest for buried treasure.

402
00:22:50,280 --> 00:22:52,240
Speaker 1: So it's at this point where you're like, oh, it's

403
00:22:52,280 --> 00:22:57,359
Speaker 1: like the Fellowship of the Map because Sean Aston is

404
00:22:57,480 --> 00:22:59,199
Speaker 1: right there, but he's kind of more of the Frodo

405
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Speaker 1: character than the Sam Wise character.

406
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Speaker 2: Shaun Aston is obsessed with going on a quest. He

407
00:23:05,520 --> 00:23:07,840
Speaker 2: loves it, he really does, he loves it.

408
00:23:09,240 --> 00:23:13,040
Speaker 3: It needs to be said that Thanos is tied up

409
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Speaker 3: to a Cyndi Lauper b side.

410
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Speaker 1: Yes, yes, And so the kids ride on their bikes

411
00:23:20,119 --> 00:23:23,399
Speaker 1: to this place called gold Rock Beach where they see

412
00:23:23,600 --> 00:23:26,720
Speaker 1: three rocks. They're also on the map, and they also

413
00:23:26,800 --> 00:23:28,879
Speaker 1: have this to bloom that's kind of guiding them, and

414
00:23:28,960 --> 00:23:31,200
Speaker 1: they like match things up. Oh there's more hot dog

415
00:23:31,640 --> 00:23:32,040
Speaker 1: is eating.

416
00:23:32,200 --> 00:23:34,600
Speaker 2: I see there's free dose in here.

417
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Speaker 1: There are. Yeah. So they're like matching things up with

418
00:23:39,800 --> 00:23:41,639
Speaker 1: a to bloom in the map and they figure out

419
00:23:41,680 --> 00:23:44,640
Speaker 1: that they're supposed to walk one hundred feet north, which

420
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Speaker 1: brings them to this restaurant. Meanwhile, Brand has gotten loose

421
00:23:49,880 --> 00:23:53,159
Speaker 1: and is chasing after them on this little bike with

422
00:23:53,280 --> 00:23:59,560
Speaker 1: training wheels. Cute, and he encounters this rich bully kid.

423
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Speaker 1: He's with two girls, Andy played by Kerry Green and

424
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Speaker 1: Steph and that's Martha Plimpton.

425
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Speaker 2: I like the Troy.

426
00:24:09,200 --> 00:24:10,960
Speaker 3: You can tell he's the rich kid because he's like

427
00:24:11,000 --> 00:24:13,399
Speaker 3: wearing a visor. It doesn't say money on it, but

428
00:24:13,520 --> 00:24:18,119
Speaker 3: it like basically does. Eighties like rich guys were just

429
00:24:18,200 --> 00:24:20,960
Speaker 3: they were just so like clear cut in the way

430
00:24:21,040 --> 00:24:23,640
Speaker 3: that they loachd. Now we have like little Elon Musk

431
00:24:23,720 --> 00:24:26,720
Speaker 3: looking villains like I'm just when it was just a

432
00:24:26,800 --> 00:24:29,840
Speaker 3: guy with bad hair with a visor that said money.

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Speaker 2: Nice.

434
00:24:32,560 --> 00:24:36,359
Speaker 1: Yes, Okay, So the goonies reached the restaurant where they

435
00:24:36,440 --> 00:24:39,240
Speaker 1: see a few people go inside, so the kids go in,

436
00:24:40,000 --> 00:24:42,080
Speaker 1: but oh no, it turns out that they were the

437
00:24:42,240 --> 00:24:44,720
Speaker 1: three people from the prison break scene at the beginning

438
00:24:44,760 --> 00:24:48,199
Speaker 1: of the movie, the Fortellies who are like, what are

439
00:24:48,200 --> 00:24:52,439
Speaker 1: you fucking kids doing here? And the Goonies are scared

440
00:24:52,600 --> 00:24:55,720
Speaker 1: and they're pretending to order food and to use the bathroom.

441
00:24:56,600 --> 00:24:59,359
Speaker 1: Then Mikey goes into the basement. This is when he

442
00:24:59,520 --> 00:25:02,840
Speaker 1: sees a man who is chained up. We will learn

443
00:25:02,880 --> 00:25:07,200
Speaker 1: that his name is Sloth, played by former NFL player

444
00:25:07,320 --> 00:25:14,520
Speaker 1: John Mastusik. Did I say that right? Right? Are you

445
00:25:14,640 --> 00:25:15,720
Speaker 1: not a sports crowd?

446
00:25:15,880 --> 00:25:21,680
Speaker 2: What he want? You want to what's the game called?

447
00:25:26,359 --> 00:25:29,359
Speaker 2: It's called not it's the super Bowl.

448
00:25:29,880 --> 00:25:34,959
Speaker 3: We're like playing into stereotypes right now. He won two

449
00:25:35,040 --> 00:25:38,520
Speaker 3: super Bowls and then he played Sloth. I mean kind

450
00:25:38,560 --> 00:25:40,240
Speaker 3: of an iconic run he had.

451
00:25:40,440 --> 00:25:43,359
Speaker 1: Yes, yes, we'll talk more about this character.

452
00:25:43,680 --> 00:25:44,560
Speaker 2: We'll come back to Sloth.

453
00:25:45,320 --> 00:25:48,480
Speaker 1: Then Brand shows up and helps the kids escape from

454
00:25:48,560 --> 00:25:50,560
Speaker 1: the restaurant, and then they're trying to figure out what

455
00:25:50,640 --> 00:25:52,800
Speaker 1: to do. They run into the two girls from earlier,

456
00:25:52,880 --> 00:25:55,800
Speaker 1: Andy and Steph. The Fortellies leave, so they go back

457
00:25:55,840 --> 00:25:59,879
Speaker 1: in the restaurant where they find a tunnel in the fireplace.

458
00:26:00,720 --> 00:26:03,119
Speaker 1: But that's when the Fortellies show back up, so the

459
00:26:03,200 --> 00:26:06,440
Speaker 1: kids have no choice but to escape into the tunnel. Yes,

460
00:26:06,640 --> 00:26:10,840
Speaker 1: but Chunk gets separated from them and the other kids

461
00:26:10,920 --> 00:26:14,760
Speaker 1: are like go to the police, and he's like, oh okay.

462
00:26:15,520 --> 00:26:20,400
Speaker 2: Chunk is like haunted by this corpse for like multiple scenes. Yeah,

463
00:26:20,440 --> 00:26:21,240
Speaker 2: I just love.

464
00:26:22,560 --> 00:26:24,760
Speaker 3: Jeff Cohen's all of his like line reads are so

465
00:26:24,960 --> 00:26:27,840
Speaker 3: funny and they it plays just like I don't know it.

466
00:26:28,160 --> 00:26:29,919
Speaker 3: He reminds me of so many kids I knew who

467
00:26:29,960 --> 00:26:34,440
Speaker 3: were like this kid's speaking natural speaking volume is screaming,

468
00:26:36,359 --> 00:26:38,600
Speaker 3: where he like screams all of his lines, and it

469
00:26:38,680 --> 00:26:41,879
Speaker 3: makes like it's even better than if someone was like, hey, Jeff,

470
00:26:41,920 --> 00:26:44,040
Speaker 3: you don't got it yell like it's it's better that

471
00:26:44,119 --> 00:26:46,400
Speaker 3: he does, because kids do that shit all the time.

472
00:26:46,520 --> 00:26:49,280
Speaker 2: Where he's just like Hi, You're like, oh my god,

473
00:26:51,080 --> 00:26:52,919
Speaker 2: I love I love I love.

474
00:26:52,840 --> 00:26:53,560
Speaker 1: That kind of kid.

475
00:26:53,720 --> 00:26:56,120
Speaker 3: Those are I like, those are like my closest friends,

476
00:26:56,119 --> 00:26:58,879
Speaker 3: because if you're a quiet kid, you need like natural

477
00:26:58,960 --> 00:27:00,399
Speaker 3: volume screaming kids around.

478
00:27:00,800 --> 00:27:07,480
Speaker 1: Yes, balance exactly. Yeah. So Chunk is going to try

479
00:27:07,520 --> 00:27:09,840
Speaker 1: to find the police and he escapes but the fertellities

480
00:27:09,880 --> 00:27:11,760
Speaker 1: catch him right away and bring him back to the

481
00:27:11,840 --> 00:27:15,760
Speaker 1: restaurant and start questioning him. Meanwhile, the other goonies start

482
00:27:15,840 --> 00:27:19,240
Speaker 1: making their way through the tunnel. There's a scene with

483
00:27:19,440 --> 00:27:22,320
Speaker 1: water pipes. That's where you see the other or the

484
00:27:22,440 --> 00:27:24,160
Speaker 1: already existing country club.

485
00:27:24,800 --> 00:27:24,919
Speaker 3: Uh.

486
00:27:25,119 --> 00:27:28,960
Speaker 1: They find a skeleton. They discover that it's Chester copper Pot,

487
00:27:29,080 --> 00:27:31,480
Speaker 1: the guy who went looking for the treasure like fifty

488
00:27:31,560 --> 00:27:32,720
Speaker 1: years earlier, right.

489
00:27:32,960 --> 00:27:35,760
Speaker 2: And so they're like, haha, bitch, we got further. We're

490
00:27:35,800 --> 00:27:36,800
Speaker 2: better than they lived.

491
00:27:38,400 --> 00:27:42,560
Speaker 1: They accidentally set off one of one eyed Willies booby traps.

492
00:27:43,040 --> 00:27:45,879
Speaker 1: Huge boulders are about to fall on them. They managed

493
00:27:45,920 --> 00:27:49,159
Speaker 1: to escape. Then they think for a minute that they

494
00:27:49,240 --> 00:27:51,680
Speaker 1: found the treasure, but it turns out it's just like

495
00:27:51,800 --> 00:27:55,440
Speaker 1: the interior of a wishing well, and they find Troy

496
00:27:55,560 --> 00:27:58,320
Speaker 1: that rich kid is like like above ground at the

497
00:27:58,440 --> 00:27:59,800
Speaker 1: opening of the wishing well.

498
00:28:00,240 --> 00:28:01,800
Speaker 2: This part is truly wild to.

499
00:28:01,880 --> 00:28:07,639
Speaker 3: Me because Andy at this point understandably has had it.

500
00:28:08,200 --> 00:28:12,560
Speaker 3: She's trapped in hell with kids she doesn't know, and

501
00:28:12,840 --> 00:28:16,600
Speaker 3: she gets the opportunity to be brought back to the surface.

502
00:28:16,840 --> 00:28:20,359
Speaker 3: But then little sean Aston gives such a powerful monologue

503
00:28:20,400 --> 00:28:24,920
Speaker 3: that she agrees to remain in hell forever. Yes, it

504
00:28:25,119 --> 00:28:28,399
Speaker 3: is so wild, that's what you cast him for. He's like,

505
00:28:28,520 --> 00:28:32,399
Speaker 3: you gotta stay in hell for me, Sean Aston, this

506
00:28:32,640 --> 00:28:33,560
Speaker 3: is our hell.

507
00:28:35,520 --> 00:28:36,880
Speaker 1: It's all hell down here.

508
00:28:37,280 --> 00:28:37,560
Speaker 3: Yeah.

509
00:28:39,280 --> 00:28:42,600
Speaker 1: Yes, so they realized. So they realized that they could

510
00:28:42,760 --> 00:28:45,920
Speaker 1: escape with Troy's help. But that's yeah. Mikey gives this

511
00:28:46,040 --> 00:28:49,760
Speaker 1: impassioned speech where he's like Chester copper Put couldn't even

512
00:28:49,800 --> 00:28:53,120
Speaker 1: get this far. He's a loser, and we're winners, We're awesome.

513
00:28:53,200 --> 00:28:55,800
Speaker 1: We should keep going. And then Andy is like what

514
00:28:55,960 --> 00:28:58,800
Speaker 1: if we die? And Mike He's like, goonies never say die.

515
00:28:59,240 --> 00:29:01,960
Speaker 2: And then then she's like, what are you talking about?

516
00:29:02,920 --> 00:29:06,000
Speaker 3: I don't know you is maybe what I would have

517
00:29:06,120 --> 00:29:09,040
Speaker 3: said if I were in that position, like all right, well,

518
00:29:09,160 --> 00:29:11,800
Speaker 3: best of luck with whatever the fuck you're talking about.

519
00:29:12,840 --> 00:29:13,320
Speaker 2: Goodbye.

520
00:29:14,280 --> 00:29:17,080
Speaker 1: Yeah? Do they even did they even ever tell those

521
00:29:17,240 --> 00:29:19,600
Speaker 1: girls like what they're doing or what they're looking for?

522
00:29:20,240 --> 00:29:25,320
Speaker 3: Well, no, I was gonna try to fact and logic

523
00:29:25,400 --> 00:29:28,360
Speaker 3: by way, the answer is I think no, yeah, which

524
00:29:28,360 --> 00:29:30,840
Speaker 3: I think is best expressed through Martha Plimpton, who the

525
00:29:30,880 --> 00:29:33,720
Speaker 3: whole time is like I hate it.

526
00:29:33,880 --> 00:29:36,000
Speaker 4: I hate it, like I'm getting bathe, I'm babysitting, but

527
00:29:36,040 --> 00:29:38,840
Speaker 4: I'm not getting paid exact. Yeah, but your options are

528
00:29:38,880 --> 00:29:40,680
Speaker 4: this are being sexually harassed in a car.

529
00:29:40,880 --> 00:29:41,680
Speaker 2: So I guess it's this.

530
00:29:42,400 --> 00:29:43,680
Speaker 4: I guess what the eighties were like.

531
00:29:44,040 --> 00:29:46,320
Speaker 2: I guess framed that way, I would also agree to

532
00:29:46,360 --> 00:29:47,000
Speaker 2: stay in hell.

533
00:29:50,640 --> 00:29:54,880
Speaker 1: Okay. Meanwhile, the Fertellies tie up Chunk with Sloth in

534
00:29:54,960 --> 00:29:57,280
Speaker 1: the same room, and then they go into the tunnel

535
00:29:57,320 --> 00:30:00,960
Speaker 1: after the Goonies, but Sloth breaks loose from his chains

536
00:30:01,520 --> 00:30:05,440
Speaker 1: and then he and Chunk head into the tunnel as well.

537
00:30:06,320 --> 00:30:09,560
Speaker 1: The Goonies set off another booby trap. Data falls through

538
00:30:09,800 --> 00:30:13,800
Speaker 1: the floor into another room. Everyone follows him down there,

539
00:30:14,120 --> 00:30:17,560
Speaker 1: and then there's a scene where Andy kisses Mikey thinking

540
00:30:17,720 --> 00:30:18,480
Speaker 1: he's brand.

541
00:30:21,640 --> 00:30:23,360
Speaker 3: The fact that they have time for this in the

542
00:30:23,440 --> 00:30:27,120
Speaker 3: middle of being in Hell is just like, but don't like,

543
00:30:27,320 --> 00:30:28,400
Speaker 3: isn't it so relatable?

544
00:30:28,480 --> 00:30:30,080
Speaker 4: Like when you want to have your first kiss with

545
00:30:30,200 --> 00:30:32,760
Speaker 4: someone you're interested in, You're like, I'm gonna call you

546
00:30:32,960 --> 00:30:35,440
Speaker 4: from several rooms away. I'm gonna stand here with my

547
00:30:35,560 --> 00:30:40,040
Speaker 4: eyes closed, and I'm just gonna see what happens.

548
00:30:42,560 --> 00:30:44,560
Speaker 2: And I'm gonna trust that my friend.

549
00:30:44,720 --> 00:30:47,480
Speaker 3: If the wrong person shows up, my best friend would

550
00:30:47,520 --> 00:30:48,400
Speaker 3: definitely tell.

551
00:30:48,280 --> 00:30:51,920
Speaker 2: Me, he'll definitely tell me. Why would she not tell me? Oh,

552
00:30:52,040 --> 00:30:55,000
Speaker 2: if my best friend definitely doesn't secretly hate me.

553
00:30:56,600 --> 00:30:59,080
Speaker 3: And want me to make out with a twelve year old.

554
00:31:01,280 --> 00:31:05,400
Speaker 3: It is just a really bizarre sequence. Andy's a really

555
00:31:05,480 --> 00:31:07,280
Speaker 3: bizarre character. We'll come back to her.

556
00:31:07,760 --> 00:31:10,080
Speaker 1: Yes, this is also in the middle of them all

557
00:31:10,240 --> 00:31:12,600
Speaker 1: like taking a piss break. They're like, we got a pee,

558
00:31:12,920 --> 00:31:15,320
Speaker 1: but also let's kiss in the middle of our pea break.

559
00:31:17,760 --> 00:31:21,400
Speaker 3: Kayling, you brought up when we were watching this together,

560
00:31:22,080 --> 00:31:26,440
Speaker 3: you're just like getting progressively more and more frustrated because

561
00:31:26,440 --> 00:31:28,120
Speaker 3: of how wet the kids were getting on.

562
00:31:29,720 --> 00:31:32,520
Speaker 2: We're just like, how are they gonna keep the map together?

563
00:31:36,360 --> 00:31:40,000
Speaker 1: During the wishing Well scene, Sean Aston just stands under

564
00:31:40,040 --> 00:31:42,000
Speaker 1: a fountain for like five minutes.

565
00:31:43,120 --> 00:31:47,680
Speaker 3: And then there's one line where like, for seemingly no reason,

566
00:31:48,080 --> 00:31:51,000
Speaker 3: Corey Fellman's character is like standing, completes his line of

567
00:31:51,040 --> 00:31:54,800
Speaker 3: dialogue and then just flops down into the water apropos

568
00:31:54,880 --> 00:31:57,200
Speaker 3: of nothing. And I just I think that it's just like,

569
00:31:57,320 --> 00:32:00,880
Speaker 3: if you're directing, you know, like a five hundred eleven

570
00:32:00,920 --> 00:32:03,520
Speaker 3: year olds, they're just gonna do that, and you're just like, well,

571
00:32:03,560 --> 00:32:08,080
Speaker 3: I guess that's the take we have. He unfortunately flopped

572
00:32:08,240 --> 00:32:11,080
Speaker 3: down at the end, but he completed the line.

573
00:32:14,080 --> 00:32:17,720
Speaker 1: Yeah, they were very there's too much water, okay, metal

574
00:32:17,880 --> 00:32:21,000
Speaker 1: these kids off. Yeah, it's a problem the state has.

575
00:32:21,160 --> 00:32:23,600
Speaker 2: Generally, we just have too much water around. We just

576
00:32:23,720 --> 00:32:28,720
Speaker 2: have to work with it. With that Ragonian representation, I

577
00:32:28,840 --> 00:32:29,360
Speaker 2: imagine it.

578
00:32:29,400 --> 00:32:32,320
Speaker 1: Was really cold too, because we know it's not summer,

579
00:32:32,360 --> 00:32:34,760
Speaker 1: because they're like, this is a summer restaurant and it's

580
00:32:34,800 --> 00:32:38,000
Speaker 1: only open during the summer. But it's not summer right now,

581
00:32:38,120 --> 00:32:40,000
Speaker 1: so why are people going in there? So it's like

582
00:32:40,120 --> 00:32:43,800
Speaker 1: fall maybe winter, and they're still just like they're.

583
00:32:43,640 --> 00:32:48,280
Speaker 4: So for the whole movie. And also most deaths from

584
00:32:48,400 --> 00:32:53,280
Speaker 4: hypothermia happen when it's in the forties, So very stressful.

585
00:32:54,080 --> 00:32:54,760
Speaker 1: I was stressed.

586
00:32:55,040 --> 00:32:58,320
Speaker 3: I do respect Richard Donner because it's like the only

587
00:32:58,400 --> 00:33:00,520
Speaker 3: thing that sounds harder than directing a movie that only

588
00:33:00,560 --> 00:33:03,400
Speaker 3: has twelve year old in it is wet twelve year old.

589
00:33:04,800 --> 00:33:07,240
Speaker 2: It just sounds like the hardest task possible.

590
00:33:08,400 --> 00:33:11,880
Speaker 1: Horrible. Okay, So the Fertellies are right behind the Goonies,

591
00:33:12,280 --> 00:33:16,280
Speaker 1: and the Goonies are like rushing to get away from them.

592
00:33:16,560 --> 00:33:18,960
Speaker 1: There's this piano related obstacle.

593
00:33:19,680 --> 00:33:24,920
Speaker 2: Uh, that's the great feminist moment too. They're like, wait,

594
00:33:25,120 --> 00:33:27,800
Speaker 2: woman play piano badly?

595
00:33:29,280 --> 00:33:34,000
Speaker 1: Wow, yeah, but it's allowed. Yeah. And then they finally

596
00:33:34,040 --> 00:33:36,920
Speaker 1: make it into the main cavern and find one Eyed

597
00:33:36,960 --> 00:33:39,880
Speaker 1: Willy's pirate ship and all of his treasure. So they

598
00:33:39,960 --> 00:33:42,680
Speaker 1: start loading their pockets with the treasure, but uh oh,

599
00:33:42,920 --> 00:33:45,800
Speaker 1: the Forertellies show up. They take the treasure away. They're

600
00:33:45,840 --> 00:33:50,040
Speaker 1: about to kill the children, but then Chunk and Sloth

601
00:33:50,240 --> 00:33:55,200
Speaker 1: show up to save the day. There's, you know, a battle,

602
00:33:55,560 --> 00:33:59,520
Speaker 1: and the goonies escape back to the surface. Their parents

603
00:33:59,640 --> 00:34:02,320
Speaker 1: show up up, as do the rich people who are

604
00:34:02,400 --> 00:34:07,440
Speaker 1: trying to displace them for this second country club, and

605
00:34:07,560 --> 00:34:10,400
Speaker 1: Mikey's dad is about to sign over their land, but

606
00:34:10,480 --> 00:34:14,719
Speaker 1: then it's revealed that they smuggled some jewels, at least

607
00:34:14,760 --> 00:34:18,560
Speaker 1: one of which is the Heart of the Ocean from Titanic, and.

608
00:34:20,320 --> 00:34:22,440
Speaker 3: The close up shot of those jewels are so funny

609
00:34:22,480 --> 00:34:23,920
Speaker 3: because they're so visibly from like.

610
00:34:24,000 --> 00:34:28,400
Speaker 2: I party that they're like, we have it, the treasure,

611
00:34:28,520 --> 00:34:34,040
Speaker 2: and you're like, oh, buddy, But it's enough.

612
00:34:33,960 --> 00:34:37,480
Speaker 1: Money that they don't have to turn over their land

613
00:34:37,760 --> 00:34:40,360
Speaker 1: and so they live happily ever after. Chunk is like

614
00:34:40,480 --> 00:34:42,960
Speaker 1: Sloth you can live with me and my family and

615
00:34:43,320 --> 00:34:47,600
Speaker 1: everyone has like a nice reunion with their parents. The end.

616
00:34:49,040 --> 00:34:49,600
Speaker 4: Good recap.

617
00:34:49,640 --> 00:35:04,560
Speaker 3: Caitlin, Well, before we get started talking about the characters, Sarah,

618
00:35:04,920 --> 00:35:09,640
Speaker 3: I'm curious as an Oregonian you how does this fare?

619
00:35:09,760 --> 00:35:11,399
Speaker 3: You mentioned that there's a lot of movies that take

620
00:35:11,440 --> 00:35:14,879
Speaker 3: place in Astoria specifically, I'm not aware there's a lot

621
00:35:14,920 --> 00:35:15,680
Speaker 3: of movies.

622
00:35:15,400 --> 00:35:18,360
Speaker 4: That like take place and or are filmed there and so,

623
00:35:18,560 --> 00:35:22,440
Speaker 4: and my favorite is Free Willie because there's like, right, oh,

624
00:35:22,760 --> 00:35:25,240
Speaker 4: if there's endless scenes where they're like we're in Portland

625
00:35:25,360 --> 00:35:28,040
Speaker 4: under a bridge, we're in a Storia, We're in Pioneer Square,

626
00:35:28,080 --> 00:35:31,239
Speaker 4: We're in Astoria, and it's like, yes, we all want

627
00:35:31,440 --> 00:35:34,880
Speaker 4: a story to be five minutes away, and yet it

628
00:35:35,000 --> 00:35:37,320
Speaker 4: isn't and we all have to live with that. And

629
00:35:37,400 --> 00:35:40,239
Speaker 4: then kindergarten copping, short circuit or the other to me,

630
00:35:40,360 --> 00:35:42,600
Speaker 4: the biggest story of movie. So if you're like an

631
00:35:42,640 --> 00:35:45,600
Speaker 4: eighties movie buff, you can or eighties to early nineties,

632
00:35:45,600 --> 00:35:48,640
Speaker 4: I guess you can knock out for biggies there and

633
00:35:49,000 --> 00:35:50,239
Speaker 4: also a green room, which we were.

634
00:35:50,280 --> 00:35:54,880
Speaker 2: Just talking about. Yeah, the opening was filmed there, and I.

635
00:35:54,880 --> 00:35:57,600
Speaker 4: Feel like it's just because like it's a very or

636
00:35:57,800 --> 00:35:59,879
Speaker 4: a story is a very picturesque city, so I feel

637
00:35:59,880 --> 00:36:02,880
Speaker 4: like it makes sense is a place that you would film.

638
00:36:03,040 --> 00:36:06,200
Speaker 4: But I one of the things I love about this

639
00:36:06,320 --> 00:36:08,080
Speaker 4: as an Oregon movie is that I do feel like

640
00:36:08,160 --> 00:36:11,640
Speaker 4: it depicts our weather well, because like a lot of

641
00:36:11,760 --> 00:36:13,840
Speaker 4: movies that are set in organ either it'll be like

642
00:36:13,960 --> 00:36:17,319
Speaker 4: totally sunny and bone dry, like stand by Me, which

643
00:36:17,400 --> 00:36:19,840
Speaker 4: is great, we are bone dry in the summer. Love that.

644
00:36:20,640 --> 00:36:23,480
Speaker 2: But then when they're like it is Oregon and raining,

645
00:36:23,600 --> 00:36:25,600
Speaker 2: it'll be like a Blade Runner downpour.

646
00:36:27,600 --> 00:36:28,160
Speaker 4: And I love that.

647
00:36:28,280 --> 00:36:31,600
Speaker 2: The Goonies is like, no, everyone's just like moist and

648
00:36:31,719 --> 00:36:32,560
Speaker 2: you feel like shit.

649
00:36:32,680 --> 00:36:36,759
Speaker 3: And that's the whole thing, which I guess is why

650
00:36:37,200 --> 00:36:40,799
Speaker 3: the kids are so unfazed to be constantly introduced into

651
00:36:40,960 --> 00:36:41,560
Speaker 3: new levels.

652
00:36:41,840 --> 00:36:43,240
Speaker 1: Yeah, maybe I don't.

653
00:36:43,200 --> 00:36:47,960
Speaker 4: Care kids just actually we don't actually sexually reproduce here.

654
00:36:48,080 --> 00:36:52,480
Speaker 4: Babies just like grow on fallen logs like mushrooms and.

655
00:36:52,600 --> 00:36:53,440
Speaker 1: You just harm them.

656
00:36:54,400 --> 00:36:58,920
Speaker 2: Wow, that's like a whole job industry. It's a whole industry.

657
00:36:59,080 --> 00:37:02,200
Speaker 3: Yeah, that's why, because if you said the job named

658
00:37:02,320 --> 00:37:06,920
Speaker 3: baby harvester to me, that's just like not where my

659
00:37:07,040 --> 00:37:09,000
Speaker 3: mind would have gone. But maybe that's a me issue.

660
00:37:09,600 --> 00:37:12,799
Speaker 3: It's all about how you harvest the babies, right, there

661
00:37:12,920 --> 00:37:15,320
Speaker 3: is ethical about sustainability.

662
00:37:18,840 --> 00:37:19,640
Speaker 2: That's so cool.

663
00:37:19,960 --> 00:37:22,359
Speaker 3: This is like, I mean, it is always really cool

664
00:37:22,400 --> 00:37:24,560
Speaker 3: to feel a very specific sense of place with movies

665
00:37:25,000 --> 00:37:27,480
Speaker 3: like these. There is a big moment for my hometown

666
00:37:27,520 --> 00:37:29,880
Speaker 3: this year when the Anya Taylor Joy character in the

667
00:37:29,960 --> 00:37:33,120
Speaker 3: Menu That's right ended up being from my hometown and

668
00:37:33,200 --> 00:37:37,560
Speaker 3: they said it as not a net negative, right, and

669
00:37:37,680 --> 00:37:39,480
Speaker 3: it was like people were just thrilled to think that

670
00:37:39,600 --> 00:37:42,799
Speaker 3: someone who's like as hot as Anya Taylor Joy could

671
00:37:42,800 --> 00:37:44,040
Speaker 3: come from where we live.

672
00:37:45,239 --> 00:37:46,120
Speaker 2: It was pretty thrilling.

673
00:37:46,480 --> 00:37:50,880
Speaker 1: Uh So today is Groundhog Day. Happy Groundhog Day, everybody,

674
00:37:52,280 --> 00:37:56,200
Speaker 1: and Punk Satani. Pennsylvania is like a twenty minute drive

675
00:37:56,320 --> 00:38:00,520
Speaker 1: from my hometown, so that's kind of my home towns

676
00:38:00,680 --> 00:38:03,400
Speaker 1: claim to fame movie wise, But have.

677
00:38:03,480 --> 00:38:07,640
Speaker 2: You ever been to the the unsche thing of the.

678
00:38:12,000 --> 00:38:17,799
Speaker 3: They don't they don't kill the crown Dog, right, I'm

679
00:38:17,840 --> 00:38:20,520
Speaker 3: confusing it with like when for some reason, the American

680
00:38:20,600 --> 00:38:24,880
Speaker 3: president like it like meets the turkey that he'll be

681
00:38:25,080 --> 00:38:28,600
Speaker 3: eating later in the day and it like for forgives it.

682
00:38:29,120 --> 00:38:33,520
Speaker 2: I don't know what happens. Apologize this forgids.

683
00:38:33,160 --> 00:38:36,520
Speaker 4: I don't think it's the turkey. Pardon you, pardon the turkey. Yeah,

684
00:38:36,680 --> 00:38:39,960
Speaker 4: and then you know, you also have the option to

685
00:38:40,080 --> 00:38:43,239
Speaker 4: like chase the turkey across Paris for twenty years. Oh

686
00:38:43,360 --> 00:38:47,160
Speaker 4: wowt to like stop law breaking. You can do either one.

687
00:38:48,280 --> 00:38:50,920
Speaker 3: I think that that that should be something that's introduced

688
00:38:50,960 --> 00:38:53,719
Speaker 3: for every major holiday. The American president should have to

689
00:38:53,760 --> 00:38:58,480
Speaker 3: do that. For Santa Claus, oh my god, the Easter Bunny,

690
00:39:01,920 --> 00:39:10,200
Speaker 3: the Easter Bunny. Honestly, yes, I think so. I mean

691
00:39:10,400 --> 00:39:12,800
Speaker 3: for Easter, you could also bring out Jesus.

692
00:39:12,920 --> 00:39:13,239
Speaker 1: I guess.

693
00:39:13,360 --> 00:39:18,080
Speaker 3: I mean he's gonna get it anyway. I guess it

694
00:39:18,120 --> 00:39:19,879
Speaker 3: doesn't matter if the president needs him.

695
00:39:28,280 --> 00:39:29,200
Speaker 2: Just an idea for.

696
00:39:31,480 --> 00:39:34,120
Speaker 1: Well, to answer your question, No, they don't kill the groundhog.

697
00:39:36,320 --> 00:39:38,520
Speaker 2: I can get to know they do.

698
00:39:38,760 --> 00:39:41,480
Speaker 1: They take him out of his tunnel where I imagine

699
00:39:41,480 --> 00:39:45,440
Speaker 1: he's down there looking for buried treasure, and they're like they, hey, punks,

700
00:39:45,440 --> 00:39:48,200
Speaker 1: a tiny phil do you see your shadow? And he's

701
00:39:48,200 --> 00:39:50,680
Speaker 1: always like, yes, I do. And so there's always six

702
00:39:50,760 --> 00:39:51,800
Speaker 1: more weeks of winter.

703
00:39:52,520 --> 00:39:58,640
Speaker 3: And damn holiday. They should kill him. That would really

704
00:39:58,719 --> 00:40:02,880
Speaker 3: raise the steaks. I think you get more people out there. Yeah,

705
00:40:03,400 --> 00:40:08,960
Speaker 3: all right, they well, we wanted to desert by by

706
00:40:09,800 --> 00:40:15,000
Speaker 3: talking about the character of Sloth, because I mean, there's

707
00:40:15,080 --> 00:40:18,120
Speaker 3: I think been sort of a wide variety of discussion

708
00:40:18,200 --> 00:40:21,800
Speaker 3: about the character of Sloth over the years. He's certainly

709
00:40:22,680 --> 00:40:26,440
Speaker 3: coded as having a disability and has been thoroughly like

710
00:40:26,600 --> 00:40:30,680
Speaker 3: rejected and abused by his own family as a result

711
00:40:31,360 --> 00:40:35,080
Speaker 3: of being disabled. I don't believe that we get any

712
00:40:35,200 --> 00:40:41,600
Speaker 3: specificity outside of the like the joke that Mama Frittelli

713
00:40:41,800 --> 00:40:44,200
Speaker 3: dropped him at least two times.

714
00:40:44,680 --> 00:40:45,960
Speaker 2: And then he rightfully.

715
00:40:49,360 --> 00:40:55,680
Speaker 3: And she's fine, and then Sloth rightfully tosses Mama Frutellia overboard.

716
00:40:57,000 --> 00:41:01,400
Speaker 4: Throw Mama from the Pirate Chefs swish. That was a

717
00:41:01,480 --> 00:41:04,040
Speaker 4: good joke if it was nineteen eighty eight, which it is.

718
00:41:06,480 --> 00:41:09,160
Speaker 1: Right. So, we've talked a lot a on the show

719
00:41:09,160 --> 00:41:14,480
Speaker 1: about disabilities being ascribed to villains in media as a

720
00:41:14,520 --> 00:41:17,839
Speaker 1: way to other them and further villainize them.

721
00:41:18,200 --> 00:41:21,600
Speaker 3: Interestingly, sometimes in the case of like pirate characters, where

722
00:41:21,600 --> 00:41:23,040
Speaker 3: there's kind of like an overlap there.

723
00:41:23,160 --> 00:41:27,799
Speaker 1: True true, and this obviously has like horrible ablest implications.

724
00:41:28,600 --> 00:41:31,919
Speaker 1: But even though Sloth is associated with the villains because

725
00:41:31,920 --> 00:41:34,040
Speaker 1: he's a part of the family, he ends up being

726
00:41:34,320 --> 00:41:38,000
Speaker 1: one of the heroes. He rejects his family for having

727
00:41:38,200 --> 00:41:42,480
Speaker 1: rejected him, like you said, they're wildly abusive to him,

728
00:41:43,960 --> 00:41:49,080
Speaker 1: and so there's this kind of subversion of that trope.

729
00:41:49,320 --> 00:41:57,720
Speaker 1: It doesn't mean, though, that the representation is great, obviously.

730
00:41:57,800 --> 00:42:01,720
Speaker 1: It's so the actor playing Sloth is not a disabled actor,

731
00:42:02,000 --> 00:42:05,200
Speaker 1: and they used a lot of like makeup and prosthetics

732
00:42:05,280 --> 00:42:07,680
Speaker 1: to turn John Mestusick into Sloth.

733
00:42:09,239 --> 00:42:10,560
Speaker 3: I felt like there were there were a lot of

734
00:42:10,920 --> 00:42:16,600
Speaker 3: tropes commonly associated with disabled characters kind of like all

735
00:42:16,719 --> 00:42:19,560
Speaker 3: kind of amalgamated into this one character where he has

736
00:42:19,680 --> 00:42:25,120
Speaker 3: like he's portrayed as like worthy of pity, he's ostracized

737
00:42:25,160 --> 00:42:28,920
Speaker 3: from his community. I do think it's like good that

738
00:42:29,080 --> 00:42:32,239
Speaker 3: he and Chunk connect as the misfits of their respective

739
00:42:32,280 --> 00:42:35,879
Speaker 3: groups and then like form a super alliance and save

740
00:42:36,000 --> 00:42:39,279
Speaker 3: the day. Like that is like is the coolest fucking

741
00:42:39,360 --> 00:42:41,800
Speaker 3: thing in the world. But the way he's initially presented

742
00:42:41,920 --> 00:42:46,319
Speaker 3: is like and also he has like super strength. They're

743
00:42:46,400 --> 00:42:49,120
Speaker 3: just like all of these sort of it feels like

744
00:42:49,719 --> 00:42:52,920
Speaker 3: random broad stereotypes kind of like thrown into his character.

745
00:42:53,640 --> 00:42:55,200
Speaker 2: But the character is a.

746
00:42:55,280 --> 00:42:58,880
Speaker 1: Hero, right, so and then well, it also means that

747
00:42:59,080 --> 00:43:03,200
Speaker 1: like the most physically othered character in the movie is

748
00:43:03,719 --> 00:43:07,480
Speaker 1: the most mistreated. And while there is a historical precedent

749
00:43:07,680 --> 00:43:11,600
Speaker 1: for people with like atypical physical traits or people with

750
00:43:11,719 --> 00:43:14,839
Speaker 1: disabilities to be mistreated, it doesn't mean that we need

751
00:43:14,960 --> 00:43:17,400
Speaker 1: to see that happening all the time, especially in a

752
00:43:17,480 --> 00:43:22,200
Speaker 1: kid's movie, because like, drawing attention to a character's disability

753
00:43:22,280 --> 00:43:27,000
Speaker 1: in that way is the opposite of normalizing disability, which

754
00:43:27,040 --> 00:43:28,880
Speaker 1: is what we're aiming for.

755
00:43:29,640 --> 00:43:31,160
Speaker 3: I would be I mean, I would be curious to

756
00:43:31,280 --> 00:43:37,239
Speaker 3: hear sort of more more viewers' opinions spit oh no,

757
00:43:39,360 --> 00:43:43,480
Speaker 3: specifically disabled listeners of their take, because I've seen sort

758
00:43:43,520 --> 00:43:45,239
Speaker 3: of a wide variety, Like I've seen a lot of

759
00:43:45,760 --> 00:43:49,960
Speaker 3: reclaiming arguments for Sloth, and like he's certainly like a

760
00:43:50,080 --> 00:43:52,759
Speaker 3: character that we're rooting for the entire time, but there's

761
00:43:52,840 --> 00:43:56,200
Speaker 3: like it's like his character's so mired in in all.

762
00:43:56,120 --> 00:43:58,640
Speaker 2: Of these stereotypes at the same time. For sure, it's

763
00:43:58,680 --> 00:43:59,960
Speaker 2: like a very eighties dilemma.

764
00:44:00,960 --> 00:44:07,600
Speaker 1: Yes, yeah, it's complicated, it is, all right, Well.

765
00:44:09,560 --> 00:44:12,239
Speaker 4: That's the one.

766
00:44:13,320 --> 00:44:14,960
Speaker 2: The bummer portion of the evening.

767
00:44:16,960 --> 00:44:18,799
Speaker 3: No, but I mean, I I think I do think

768
00:44:18,840 --> 00:44:25,040
Speaker 3: that Sloth in Chunk's relationship is really sweet and beautiful.

769
00:44:25,120 --> 00:44:27,120
Speaker 2: I mean I I I would say that I don't

770
00:44:27,160 --> 00:44:27,640
Speaker 2: think that like.

771
00:44:27,719 --> 00:44:31,640
Speaker 3: Slow's character was written with any intended malice, but that

772
00:44:31,920 --> 00:44:34,440
Speaker 3: in the eighties it was just like not well handled,

773
00:44:35,440 --> 00:44:37,960
Speaker 3: and that there wasn't a lot of precedent for handling

774
00:44:38,600 --> 00:44:43,040
Speaker 3: or even really thinking very much about writing disabled characters,

775
00:44:43,040 --> 00:44:44,320
Speaker 3: which is a net negative.

776
00:44:45,360 --> 00:44:49,040
Speaker 1: But yeah, yes, I also wanted to bring up that

777
00:44:49,800 --> 00:44:55,440
Speaker 1: Mikey has asthma uh and uses in an inherent oh

778
00:44:55,520 --> 00:44:56,480
Speaker 1: my god. I'm also.

779
00:44:57,960 --> 00:45:05,319
Speaker 2: You're looking for the word finger. You're right, yeah, uh.

780
00:45:05,440 --> 00:45:10,440
Speaker 1: He uses an inhaler multiple times, and a respiratory disability

781
00:45:10,680 --> 00:45:15,120
Speaker 1: is often ascribed to villains in movies. Think of a

782
00:45:15,200 --> 00:45:17,520
Speaker 1: Morton Joe and mad Max Fury Road. You've got Darth

783
00:45:17,640 --> 00:45:21,840
Speaker 1: Vader Baine in Batman. Is that an example? I don't

784
00:45:22,000 --> 00:45:22,719
Speaker 1: remember that A.

785
00:45:22,760 --> 00:45:23,600
Speaker 2: Milliday very well.

786
00:45:23,800 --> 00:45:26,080
Speaker 3: Whenever anyone says bane, you can just see a flicker

787
00:45:26,160 --> 00:45:28,080
Speaker 3: in a bunch of men's eyes of like, I have

788
00:45:28,160 --> 00:45:32,960
Speaker 3: an impression for that, and you're like, I'm sure you do,

789
00:45:35,040 --> 00:45:39,000
Speaker 3: but I don't need to hear it. The year that

790
00:45:39,360 --> 00:45:42,320
Speaker 3: that movie came out was like on par with the

791
00:45:42,440 --> 00:45:45,160
Speaker 3: year Boat came out of just like, fourteen year old

792
00:45:45,200 --> 00:45:47,239
Speaker 3: boys are gonna have a fucking field day with this,

793
00:45:48,200 --> 00:45:49,680
Speaker 3: and I'm never gonna hear the end of it.

794
00:45:50,120 --> 00:45:52,120
Speaker 4: It's also like anyone can do you just do a

795
00:45:52,200 --> 00:45:54,520
Speaker 4: Sean Connery with too much spit in your mouth.

796
00:45:57,160 --> 00:46:01,240
Speaker 3: And then just pitch it downways we were talking about.

797
00:46:01,040 --> 00:46:04,080
Speaker 1: Mikey, yes, yes, yes, So just to say that, like,

798
00:46:04,640 --> 00:46:07,120
Speaker 1: it's not the case in the Goonies that a character

799
00:46:07,200 --> 00:46:10,680
Speaker 1: with like a respiratory illness or disability is one of

800
00:46:10,760 --> 00:46:13,520
Speaker 1: the villains, because Mikey is the hero, he's the leader.

801
00:46:13,800 --> 00:46:15,800
Speaker 3: Although at the end he does there is like a

802
00:46:15,920 --> 00:46:18,560
Speaker 3: cast offline where he throws away his inhaler as if

803
00:46:18,680 --> 00:46:23,240
Speaker 3: this journey has cured him. So it is very thoroughly

804
00:46:23,320 --> 00:46:27,719
Speaker 3: the eighties in every single land. This true, But I

805
00:46:27,840 --> 00:46:30,920
Speaker 3: deah I noticed that as well. I think the last

806
00:46:31,960 --> 00:46:34,600
Speaker 3: element of this movie that's very deeply Eighties and still

807
00:46:35,000 --> 00:46:40,359
Speaker 3: discussed pretty frequently is how Chunk's character is treated, both

808
00:46:40,440 --> 00:46:44,120
Speaker 3: in his literal nickname and just how the character is,

809
00:46:44,600 --> 00:46:46,799
Speaker 3: you know, repeatedly ridiculed for what.

810
00:46:47,160 --> 00:46:48,839
Speaker 2: He looks like and for his body type.

811
00:46:49,200 --> 00:46:52,960
Speaker 3: And that again, it's like there's obviously a huge precedent

812
00:46:53,480 --> 00:46:56,400
Speaker 3: for that in society. But it's like, especially with a

813
00:46:56,480 --> 00:46:59,279
Speaker 3: movie as successful as The Goonies, to have a fat

814
00:46:59,400 --> 00:47:04,560
Speaker 3: actor be repeatedly ridiculed by characters that we like in

815
00:47:04,680 --> 00:47:07,279
Speaker 3: a movie intended for children, that's not gonna move the

816
00:47:07,360 --> 00:47:09,879
Speaker 3: needle in any meaningful way. It's gonna make it worse right,

817
00:47:10,520 --> 00:47:14,359
Speaker 3: because every I would say, every scene he's in, it's

818
00:47:14,400 --> 00:47:18,680
Speaker 3: either his friend's fat shaming him and making him do

819
00:47:18,880 --> 00:47:23,000
Speaker 3: some kind of like body shaming humiliation type of gag

820
00:47:23,280 --> 00:47:26,440
Speaker 3: like the truffle shuffle is an extreme example of this,

821
00:47:27,320 --> 00:47:30,239
Speaker 3: or he's just always characterized as being famished.

822
00:47:30,360 --> 00:47:34,040
Speaker 1: He's always thinking about food. He's like putting himself in

823
00:47:34,239 --> 00:47:36,799
Speaker 1: danger sometimes to be like, I'm so hungry, I don't

824
00:47:36,800 --> 00:47:38,279
Speaker 1: even notice the danger around me.

825
00:47:38,480 --> 00:47:40,239
Speaker 3: Well, I would say that the same thing kind of

826
00:47:40,320 --> 00:47:44,000
Speaker 3: happens with Andy's character where she's so horny for thanas.

827
00:47:45,440 --> 00:47:48,360
Speaker 2: I do think it's like a similar thing where it's like, oh.

828
00:47:48,320 --> 00:47:53,040
Speaker 3: Our like our leaning female character is so wildly horny

829
00:47:53,120 --> 00:47:57,040
Speaker 3: that she'll almost die constantly, and our only fat character,

830
00:47:57,160 --> 00:47:59,120
Speaker 3: it's like it's it just it feels like a similar

831
00:47:59,239 --> 00:48:02,600
Speaker 3: kind of move. Yeah, is where I mean, I like

832
00:48:02,880 --> 00:48:05,840
Speaker 3: knew what the truffle shuffle was, even though I have

833
00:48:06,000 --> 00:48:08,719
Speaker 3: like avoided, not avoided, but I've managed to not see

834
00:48:08,719 --> 00:48:10,920
Speaker 3: this movie for three decades, and I still knew what

835
00:48:10,960 --> 00:48:13,400
Speaker 3: the truffle shuffle was, again, mostly because of like men's

836
00:48:13,440 --> 00:48:16,560
Speaker 3: T shirts that I would see on the drum.

837
00:48:16,719 --> 00:48:18,239
Speaker 2: Was like, why am I looking at this? Who is

838
00:48:18,280 --> 00:48:18,800
Speaker 2: this child?

839
00:48:19,040 --> 00:48:22,280
Speaker 3: Yeah, he doesn't seem I wanted to share really quickly

840
00:48:22,440 --> 00:48:24,719
Speaker 3: because down the line, I think this is just a

841
00:48:24,760 --> 00:48:25,600
Speaker 3: couple of years ago.

842
00:48:26,040 --> 00:48:27,600
Speaker 2: The director of this movie, Richard.

843
00:48:27,400 --> 00:48:30,359
Speaker 3: Donner, who seems very very well loved by the entire cast.

844
00:48:30,400 --> 00:48:34,239
Speaker 3: He's passed away since, but he and Jeff Cohen, who

845
00:48:34,280 --> 00:48:37,959
Speaker 3: plays Chunk, later did an interview about this scene because

846
00:48:37,960 --> 00:48:42,120
Speaker 3: it had becomes so iconic. Jeff Cohen did not act

847
00:48:42,280 --> 00:48:45,440
Speaker 3: into adulthood. He's actually now like a really high powered

848
00:48:45,480 --> 00:48:50,360
Speaker 3: Hollywood lawyer, and so sometimes people just they're like called Chunk,

849
00:48:51,640 --> 00:48:52,759
Speaker 3: I don't know, like or.

850
00:48:53,200 --> 00:48:54,000
Speaker 4: Chunk will call me.

851
00:48:54,680 --> 00:48:57,760
Speaker 2: That's what I want, my chunk will call your chunk.

852
00:49:00,239 --> 00:49:01,120
Speaker 1: Talk to my chunk.

853
00:49:01,280 --> 00:49:05,080
Speaker 3: Yeah, I'm sure that's such a fun thing to happen

854
00:49:05,120 --> 00:49:06,239
Speaker 3: to him every single day.

855
00:49:06,320 --> 00:49:06,719
Speaker 1: Oh yeah.

856
00:49:08,080 --> 00:49:09,640
Speaker 3: But I didn't want to just like draw attention to

857
00:49:09,760 --> 00:49:13,080
Speaker 3: this interview because it because I do always like that,

858
00:49:13,280 --> 00:49:16,400
Speaker 3: you know, when there are scenes and moments and tropes

859
00:49:16,440 --> 00:49:18,320
Speaker 3: like this, when people reflect on it later in a

860
00:49:18,360 --> 00:49:21,000
Speaker 3: more kind of thoughtful way, because that's really what we

861
00:49:21,080 --> 00:49:23,920
Speaker 3: are able to ask of them. Richard Donner said of this,

862
00:49:24,400 --> 00:49:27,520
Speaker 3: of that scene, there was no direction. I don't take

863
00:49:27,560 --> 00:49:28,239
Speaker 3: any credit for that.

864
00:49:28,320 --> 00:49:29,040
Speaker 2: It was just Jeff.

865
00:49:29,320 --> 00:49:31,440
Speaker 3: He had to stand on that stump and be ridiculed

866
00:49:31,480 --> 00:49:33,040
Speaker 3: by his friend so he could come in the house,

867
00:49:33,120 --> 00:49:35,680
Speaker 3: and he did it as best as that character could

868
00:49:35,760 --> 00:49:39,359
Speaker 3: do it. So much humor comes from pain. Although I'm

869
00:49:39,400 --> 00:49:41,320
Speaker 3: sure he was too young to be analytical about it,

870
00:49:41,400 --> 00:49:43,680
Speaker 3: but I'm sure that was part of his instincts.

871
00:49:43,800 --> 00:49:47,800
Speaker 2: It was a painful scene to film. And then later

872
00:49:48,400 --> 00:49:50,839
Speaker 2: in the interview, this does not make Richard Donner sound

873
00:49:50,920 --> 00:49:51,200
Speaker 2: very good.

874
00:49:52,360 --> 00:49:55,880
Speaker 3: After the movie had finished rapping, he said that he

875
00:49:56,160 --> 00:50:00,000
Speaker 3: then got Jeff Cohen a gym membership and a tre.

876
00:50:01,640 --> 00:50:01,920
Speaker 2: Quote.

877
00:50:01,960 --> 00:50:04,400
Speaker 3: He lost lots of weight and built this great physique

878
00:50:04,440 --> 00:50:07,360
Speaker 3: and became captain of his wrestling team in high school,

879
00:50:07,600 --> 00:50:10,200
Speaker 3: captain of his football team and blah blah, blah blah blah,

880
00:50:10,600 --> 00:50:14,360
Speaker 3: and I don't know, I mean, I think that fucking sucks.

881
00:50:14,520 --> 00:50:18,600
Speaker 2: Yeah, And uh, Jeff Cohen has uh.

882
00:50:18,680 --> 00:50:23,040
Speaker 3: Spoken to this a bit as well and said that, like,

883
00:50:23,200 --> 00:50:27,280
Speaker 3: you know, it was like an embarrassing and like shameful

884
00:50:27,440 --> 00:50:30,960
Speaker 3: experience to be asked to do that also without direction,

885
00:50:31,680 --> 00:50:33,719
Speaker 3: so it's like you're not even being really like protected

886
00:50:33,760 --> 00:50:37,440
Speaker 3: by your own director, and that like he was like

887
00:50:37,680 --> 00:50:40,520
Speaker 3: having you know, difficulty being teased already and then had

888
00:50:40,560 --> 00:50:41,759
Speaker 3: to do the scene on top of it.

889
00:50:42,239 --> 00:50:43,600
Speaker 2: And then the other thing he said that was kind

890
00:50:43,600 --> 00:50:45,319
Speaker 2: of funny is he was like, I also had.

891
00:50:45,320 --> 00:50:48,600
Speaker 3: Chicken poxed at the time, Yes, And I read I

892
00:50:48,680 --> 00:50:51,120
Speaker 3: didn't want the kids to know I had chicken pox.

893
00:50:51,480 --> 00:50:55,400
Speaker 3: I was like, two questions, are you allowed to go

894
00:50:55,600 --> 00:50:57,080
Speaker 3: to work with chicken pox?

895
00:50:57,200 --> 00:50:59,880
Speaker 1: Well that he I read that he didn't tell anyone

896
00:51:00,320 --> 00:51:03,520
Speaker 1: because he was afraid he would be fired and recast, so.

897
00:51:03,840 --> 00:51:07,920
Speaker 2: He went to my god, yeah, well that is very upsetting.

898
00:51:08,480 --> 00:51:11,399
Speaker 3: I just wanted to I mean, like, I think Jeff

899
00:51:11,440 --> 00:51:13,080
Speaker 3: Cohen has since you know, very much moved on and

900
00:51:13,200 --> 00:51:16,360
Speaker 3: still has like very positive associations with the movie. But

901
00:51:16,440 --> 00:51:19,919
Speaker 3: it was just like interesting to kind of read those reflections.

902
00:51:20,239 --> 00:51:22,480
Speaker 1: Also. It's like if the director's like, yeah, it was

903
00:51:22,520 --> 00:51:25,839
Speaker 1: a really uncomfortable scene to film, it's like maybe take

904
00:51:25,880 --> 00:51:29,160
Speaker 1: a step back and wonder why, and then don't film

905
00:51:29,239 --> 00:51:31,640
Speaker 1: the scene, like right. The other thing I wanted to

906
00:51:31,640 --> 00:51:34,879
Speaker 1: say about Chunk is that he's he's characterized as being

907
00:51:35,000 --> 00:51:39,279
Speaker 1: like the biggest scaredy cat of the group, in that

908
00:51:39,400 --> 00:51:42,400
Speaker 1: he's like not as tough or as brave as the

909
00:51:42,520 --> 00:51:45,839
Speaker 1: other kids. He like gives up his friends immediately when

910
00:51:45,880 --> 00:51:48,680
Speaker 1: the frtellies are like, what are you doing here? He's like,

911
00:51:48,760 --> 00:51:50,640
Speaker 1: we're looking for bury treasure and all my friends are

912
00:51:50,680 --> 00:51:51,120
Speaker 1: over there.

913
00:51:51,520 --> 00:51:55,200
Speaker 2: Well, he has to talk like that, he has to

914
00:51:55,360 --> 00:51:57,120
Speaker 2: yell it's well, it's not so much.

915
00:51:57,239 --> 00:51:59,920
Speaker 1: The volume is that he didn't even try to lie

916
00:52:00,120 --> 00:52:02,760
Speaker 1: about it. And I feel like this is a common

917
00:52:02,920 --> 00:52:06,239
Speaker 1: movie trope where especially in kids movie kids movies like

918
00:52:06,480 --> 00:52:09,400
Speaker 1: making a fat character the kind of like scared and

919
00:52:09,640 --> 00:52:13,320
Speaker 1: quote unquote wimpy kid. And we talked about this, I

920
00:52:13,400 --> 00:52:17,799
Speaker 1: think on the Matilda episode, the way that media kind

921
00:52:17,840 --> 00:52:25,520
Speaker 1: of feminizes fat men or boys and masculinizes fat women

922
00:52:25,760 --> 00:52:29,920
Speaker 1: or girls. Not that that is a bad thing at all,

923
00:52:30,520 --> 00:52:32,200
Speaker 1: but the movie wants you to think that that like

924
00:52:32,320 --> 00:52:35,160
Speaker 1: a like a female character or a fem a woman

925
00:52:35,560 --> 00:52:38,720
Speaker 1: would have like masculine traits. The like movies will be like, ooh, gross,

926
00:52:39,360 --> 00:52:42,520
Speaker 1: because movies love binaries.

927
00:52:43,080 --> 00:52:49,600
Speaker 2: Even when it comes to cave bathrooms. It's gotta be

928
00:52:50,280 --> 00:52:51,680
Speaker 2: binary as possible.

929
00:52:52,440 --> 00:52:54,319
Speaker 1: But I feel like the movies like, oh, look at

930
00:52:54,440 --> 00:52:57,520
Speaker 1: look at this wimpy, fat kid who is not as

931
00:52:57,680 --> 00:53:00,440
Speaker 1: brave or tough as his thin friends.

932
00:53:00,840 --> 00:53:03,919
Speaker 3: Which is ridiculous too, because it's like Chunk is consistently

933
00:53:04,719 --> 00:53:07,480
Speaker 3: right in a lot of situations where he's the one

934
00:53:07,520 --> 00:53:09,520
Speaker 3: that's like, yeah, don't go into the murder house, and

935
00:53:09,560 --> 00:53:11,319
Speaker 3: they're like, shut up, Chunk.

936
00:53:11,080 --> 00:53:14,400
Speaker 2: And I was like, Chunk is right, right, He's correct,

937
00:53:14,760 --> 00:53:18,040
Speaker 2: you shouldn't go into the murder house. You just shouldn't. Yeah.

938
00:53:18,560 --> 00:53:21,560
Speaker 3: I think that's like there's so much to love about

939
00:53:21,920 --> 00:53:24,200
Speaker 3: his character, and like there's so many elements in so

940
00:53:24,239 --> 00:53:27,040
Speaker 3: many moments where it's like this kid fucking rules, like

941
00:53:27,320 --> 00:53:30,080
Speaker 3: and it's just kind of like burdened with this other.

942
00:53:30,480 --> 00:53:31,440
Speaker 2: Very dated stuff.

943
00:53:31,560 --> 00:53:32,040
Speaker 1: Yeah for sure.

944
00:53:32,200 --> 00:53:34,719
Speaker 4: And also I never noticed this before, but like he's

945
00:53:34,760 --> 00:53:40,520
Speaker 4: the only character who's Jewish, and this is referenced many times. Yes, yes, yeah,

946
00:53:40,520 --> 00:53:47,640
Speaker 4: we love it. Yeah, I see you, Shana, and you're.

947
00:53:47,560 --> 00:53:50,120
Speaker 2: Like, that's so great that there's a Jewish main character.

948
00:53:50,239 --> 00:53:53,920
Speaker 2: And also he's the scaredy cat liar who no one

949
00:53:54,280 --> 00:53:56,600
Speaker 2: likes like that sucks.

950
00:53:58,200 --> 00:54:01,040
Speaker 3: Yeah, and it's I mean, I didn't even catch that

951
00:54:01,280 --> 00:54:05,160
Speaker 3: on my first viewing because Chunk is already so thoroughly disrespected.

952
00:54:05,200 --> 00:54:09,160
Speaker 3: That like that on top of eighties movies just like

953
00:54:09,280 --> 00:54:13,240
Speaker 3: make my head hurt. Honestly, it's just it's it's brutal.

954
00:54:13,600 --> 00:54:13,840
Speaker 1: It is.

955
00:54:14,760 --> 00:54:20,640
Speaker 2: Let's talk about the best character. Data Yeah, da no, no,

956
00:54:21,160 --> 00:54:21,719
Speaker 2: I love him.

957
00:54:23,120 --> 00:54:25,560
Speaker 4: Oscar for Data ter.

958
00:54:27,120 --> 00:54:29,680
Speaker 3: So cool that Data is gonna win an Oscar, Like

959
00:54:29,760 --> 00:54:31,560
Speaker 3: next weeks he is.

960
00:54:32,480 --> 00:54:36,120
Speaker 4: He doesn't win an Oscar, We're gonna some heads will roll.

961
00:54:36,200 --> 00:54:37,919
Speaker 4: And that's not metaphorical.

962
00:54:39,719 --> 00:54:42,839
Speaker 2: We'll all get the data punching vests.

963
00:54:43,880 --> 00:54:47,240
Speaker 1: Slippery shoes, like shoes, pictures of peril.

964
00:54:48,200 --> 00:54:51,320
Speaker 2: His inventions are so cool.

965
00:54:51,600 --> 00:54:54,120
Speaker 3: I really, I just think he's like the coolest character ever.

966
00:54:54,480 --> 00:54:56,560
Speaker 3: There are some line reads that are just like the

967
00:54:56,680 --> 00:54:59,480
Speaker 3: best thing I've ever heard. He falls through things multiple times,

968
00:54:59,520 --> 00:55:02,160
Speaker 3: and I think the last time he falls through a surface,

969
00:55:02,400 --> 00:55:03,960
Speaker 3: everyone else takes the stairs down.

970
00:55:04,160 --> 00:55:07,160
Speaker 2: He's like, I spent months working on my inventions and

971
00:55:07,280 --> 00:55:10,720
Speaker 2: my idea is God, it was just like the greatest

972
00:55:10,840 --> 00:55:13,880
Speaker 2: line rate I'd ever heard. It was just like amazing.

973
00:55:15,360 --> 00:55:15,919
Speaker 1: He's the best.

974
00:55:16,320 --> 00:55:19,279
Speaker 3: He's the best, and I did, like, I mean Data,

975
00:55:19,400 --> 00:55:21,279
Speaker 3: there's like a number of times in the plot where

976
00:55:21,440 --> 00:55:25,560
Speaker 3: Data is the only non white gooney. Yes, and he also,

977
00:55:25,800 --> 00:55:29,000
Speaker 3: I mean I felt like, particularly for a movie of

978
00:55:29,040 --> 00:55:32,480
Speaker 3: the eighties, he's treated very equitably within the group. And

979
00:55:32,600 --> 00:55:35,560
Speaker 3: there's times because he is like the gadget kid that

980
00:55:36,320 --> 00:55:38,520
Speaker 3: like he's the only person that can get them out

981
00:55:38,520 --> 00:55:42,640
Speaker 3: of certain situations. There's like multiple plot points that couldn't

982
00:55:42,640 --> 00:55:45,959
Speaker 3: happen without It's like shoes that come or like whatever

983
00:55:46,040 --> 00:55:49,279
Speaker 3: those were. He's like, no, guys, don't worry, I have

984
00:55:49,440 --> 00:55:52,480
Speaker 3: cum shoes. You're like, all right, Data, let's see if

985
00:55:52,520 --> 00:55:52,960
Speaker 3: this works.

986
00:55:53,040 --> 00:55:55,720
Speaker 2: And it does. It works the shoe.

987
00:55:56,040 --> 00:55:58,040
Speaker 4: It's great because he's been getting up in the morning

988
00:55:58,160 --> 00:56:01,319
Speaker 4: and putting on all that gear like every day for years.

989
00:56:01,200 --> 00:56:04,960
Speaker 1: Yeah, and waiting for it to pay waiting and.

990
00:56:05,040 --> 00:56:06,640
Speaker 2: He knew that it would come, and this is the

991
00:56:06,719 --> 00:56:08,600
Speaker 2: day and we get to be part of it. Yeah,

992
00:56:08,840 --> 00:56:12,480
Speaker 2: and it's all the same day. He has so many belts,

993
00:56:12,560 --> 00:56:14,600
Speaker 2: so it's like, how many belts is this kid wearing?

994
00:56:14,880 --> 00:56:16,560
Speaker 4: He's more belt than boy.

995
00:56:16,719 --> 00:56:16,879
Speaker 3: Now.

996
00:56:19,800 --> 00:56:21,800
Speaker 2: I just yeah, I mean, his character is the greatest,

997
00:56:21,840 --> 00:56:24,240
Speaker 2: and I feel like at the end of the movie.

998
00:56:24,360 --> 00:56:27,360
Speaker 3: You get to see I think almost every kid's parents

999
00:56:27,520 --> 00:56:30,400
Speaker 3: and them reunite with their parents, and Data by far

1000
00:56:30,719 --> 00:56:35,040
Speaker 3: has like the most memorable, sweetest reunion with his parents

1001
00:56:35,080 --> 00:56:37,840
Speaker 3: where he sees his dad and his dad's also a

1002
00:56:37,960 --> 00:56:42,560
Speaker 3: gadget guy, and then like something is weird.

1003
00:56:42,600 --> 00:56:45,359
Speaker 2: Invention isn't working. And then his dad says to Data,

1004
00:56:45,840 --> 00:56:48,800
Speaker 2: you're the greatest invention of all and you're like, oh.

1005
00:56:50,840 --> 00:57:00,360
Speaker 3: Wow, sometimes calming is the greatest invention, and I was

1006
00:57:00,440 --> 00:57:04,879
Speaker 3: reminded of that. I just really yeah, I just think

1007
00:57:05,160 --> 00:57:06,640
Speaker 3: Data is a perfect character.

1008
00:57:06,440 --> 00:57:07,120
Speaker 2: And I love him.

1009
00:57:07,280 --> 00:57:13,120
Speaker 1: He's great. Yeah, he's like the token minority friend in

1010
00:57:13,280 --> 00:57:16,240
Speaker 1: a otherwise like entirely white cast.

1011
00:57:16,480 --> 00:57:18,560
Speaker 2: Yes, this movie has Italians in it.

1012
00:57:19,000 --> 00:57:19,800
Speaker 4: It's diverse.

1013
00:57:23,480 --> 00:57:27,680
Speaker 2: You're right, the diversity of Joey Pan.

1014
00:57:31,280 --> 00:57:35,880
Speaker 1: And those characters are treated very respectfully. The Italian snow

1015
00:57:35,960 --> 00:57:36,880
Speaker 1: notes there.

1016
00:57:39,040 --> 00:57:43,400
Speaker 4: Great representation singing opera and doing crimes the whole movie,

1017
00:57:43,600 --> 00:57:47,160
Speaker 4: the whole spectruming Italian. You take a break from crime

1018
00:57:47,200 --> 00:57:49,120
Speaker 4: to sing a little opera and then you're right back

1019
00:57:49,200 --> 00:57:54,160
Speaker 4: to it. Ye yeah, but yeah, Data rocks is the

1020
00:57:54,600 --> 00:57:55,680
Speaker 4: moral of the story.

1021
00:57:56,000 --> 00:57:56,520
Speaker 2: It's true.

1022
00:57:57,000 --> 00:57:59,520
Speaker 3: Should we talk about the gals, Yes, let's do it

1023
00:58:00,120 --> 00:58:02,280
Speaker 3: because there. I mean, I guess that that like brand

1024
00:58:02,400 --> 00:58:06,040
Speaker 3: kind of like factors into that because Mikey and Brand

1025
00:58:06,840 --> 00:58:10,880
Speaker 3: I quick mover. I really liked their like brother relationship.

1026
00:58:11,200 --> 00:58:14,439
Speaker 3: There's like specific scenes in these like Spielberg Ye Boys

1027
00:58:14,520 --> 00:58:17,560
Speaker 3: on Bikes movies where I just it's so fun where

1028
00:58:17,640 --> 00:58:21,000
Speaker 3: there's a moment where Thanos puts his arm around Sean Aston.

1029
00:58:21,040 --> 00:58:23,920
Speaker 3: It just kind of lovingly drags him off of a porch,

1030
00:58:25,320 --> 00:58:27,680
Speaker 3: which is like definitely something that kids do, but you

1031
00:58:27,800 --> 00:58:28,360
Speaker 3: never see it.

1032
00:58:28,480 --> 00:58:32,000
Speaker 2: Like committed to the movie because you're you're why would

1033
00:58:32,040 --> 00:58:35,280
Speaker 2: Fanos do that? But I just loved it.

1034
00:58:35,360 --> 00:58:36,600
Speaker 3: I was like, oh, yeah, I would have done that

1035
00:58:36,760 --> 00:58:38,800
Speaker 3: to my brother if you was sad, just been like

1036
00:58:38,920 --> 00:58:40,760
Speaker 3: I love you and then drag him out.

1037
00:58:42,200 --> 00:58:48,800
Speaker 1: Okay, Yeah, I appreciated that that brother relationship dynamic. So

1038
00:58:48,920 --> 00:58:52,680
Speaker 1: we have the two girls, Andy and Steph. They're not

1039
00:58:53,160 --> 00:58:55,840
Speaker 1: part of the main Goonies group, at least at first,

1040
00:58:55,960 --> 00:58:58,600
Speaker 1: they like show up after the boys have already started

1041
00:58:58,680 --> 00:59:02,400
Speaker 1: the adventure there not even fully informed what they're doing

1042
00:59:02,560 --> 00:59:03,320
Speaker 1: in this tunnel.

1043
00:59:03,400 --> 00:59:06,520
Speaker 3: I don't think, unclear if they know what the Goonies are.

1044
00:59:07,600 --> 00:59:12,040
Speaker 3: Until she's convinced to not be removed from Hell. She's

1045
00:59:12,080 --> 00:59:14,000
Speaker 3: like He's like, no, you're one of us now.

1046
00:59:14,600 --> 00:59:19,560
Speaker 1: Right, and she's like okay, okay. Andy especially is often

1047
00:59:20,120 --> 00:59:24,160
Speaker 1: having a meltdown in a way that felt very like

1048
00:59:25,160 --> 00:59:28,320
Speaker 1: girls be screaming and scared kind of way.

1049
00:59:28,960 --> 00:59:31,000
Speaker 3: I mean, to be fair, were I in hell, I

1050
00:59:31,040 --> 00:59:34,680
Speaker 3: would be screaming and scared. However, yeah, the way that

1051
00:59:34,800 --> 00:59:37,560
Speaker 3: like she's there's like that. There's like one particular meltdown

1052
00:59:37,600 --> 00:59:40,720
Speaker 3: where I mean, I guess to contextually where she's coming from.

1053
00:59:40,920 --> 00:59:43,480
Speaker 3: She like is coming off of a situation where she

1054
00:59:43,840 --> 00:59:47,560
Speaker 3: had been sexually harassed in a car by the guy

1055
00:59:47,640 --> 00:59:50,960
Speaker 3: with the money visor. Yes, yeah, and she says that

1056
00:59:51,080 --> 00:59:53,480
Speaker 3: he like tried to look down her shirt and she

1057
00:59:53,640 --> 00:59:54,560
Speaker 3: like elbowed.

1058
00:59:54,280 --> 00:59:54,880
Speaker 2: Him in the face.

1059
00:59:55,080 --> 00:59:55,560
Speaker 4: Was that right?

1060
00:59:55,760 --> 00:59:56,000
Speaker 1: Yeah?

1061
00:59:56,240 --> 01:00:00,240
Speaker 2: Yeah, and then she immediately went to hell, like she's

1062
01:00:00,320 --> 01:00:04,520
Speaker 2: just like having the worst day. That's what happens. Yeah, truly,

1063
01:00:04,680 --> 01:00:06,120
Speaker 2: it's really what if the movie is.

1064
01:00:06,760 --> 01:00:11,960
Speaker 4: Canonically colonically it is canonically everyone has to say somethinger

1065
01:00:12,000 --> 01:00:15,360
Speaker 4: filthy accidentally on this tour, But what if it's canonically

1066
01:00:15,560 --> 01:00:18,280
Speaker 4: like all of her vision after she was trying to

1067
01:00:18,360 --> 01:00:21,320
Speaker 4: get out of the car with the money visor guy

1068
01:00:21,520 --> 01:00:23,720
Speaker 4: and this is all kind of a fantasia that she's

1069
01:00:23,800 --> 01:00:24,960
Speaker 4: dreaming for all of us.

1070
01:00:27,920 --> 01:00:29,840
Speaker 2: It would give her more to do, But.

1071
01:00:31,480 --> 01:00:35,320
Speaker 1: Even in her own fantasy, she's still a secondary character.

1072
01:00:36,680 --> 01:00:38,600
Speaker 2: She doesn't even handled it. That's how it is for me,

1073
01:00:38,840 --> 01:00:43,000
Speaker 2: you know, in my fantasies, I also don't get to

1074
01:00:43,080 --> 01:00:44,040
Speaker 2: kiss my crew.

1075
01:00:46,000 --> 01:00:50,560
Speaker 3: And the wrong person there is, like I don't know,

1076
01:00:50,680 --> 01:00:53,560
Speaker 3: I think like Andy is she has like good moments.

1077
01:00:53,600 --> 01:00:56,400
Speaker 3: I feel like generally she is like sort of passed

1078
01:00:56,400 --> 01:00:57,480
Speaker 3: over and done a disservice.

1079
01:00:57,560 --> 01:00:58,520
Speaker 2: But I do like that.

1080
01:00:58,720 --> 01:01:01,920
Speaker 3: You know, normally when you see cheerleader characters, they're not nice,

1081
01:01:02,040 --> 01:01:06,040
Speaker 3: they're like typed as like quote unquote bitchy mean characters.

1082
01:01:06,520 --> 01:01:07,440
Speaker 2: Andy's a sweetheart.

1083
01:01:07,960 --> 01:01:11,720
Speaker 3: I think that she's just often too horny to live

1084
01:01:12,120 --> 01:01:15,080
Speaker 3: like that kind of is sort of something that happens

1085
01:01:15,120 --> 01:01:15,800
Speaker 3: to her a lot.

1086
01:01:15,960 --> 01:01:18,640
Speaker 1: I mean relatable for me, sure.

1087
01:01:18,880 --> 01:01:21,880
Speaker 4: But did Andy ever say she was a role model?

1088
01:01:24,360 --> 01:01:26,520
Speaker 1: But why can't there be horny role models? You know

1089
01:01:28,000 --> 01:01:31,560
Speaker 1: they are. Both of the girls are framed as love

1090
01:01:31,760 --> 01:01:36,920
Speaker 1: interests for a number of characters because Brand likes Andy.

1091
01:01:38,080 --> 01:01:40,440
Speaker 1: Mikey also seems to have a crush on her and

1092
01:01:40,640 --> 01:01:45,240
Speaker 1: is really excited when he kisses her. Accidental. That scene

1093
01:01:45,280 --> 01:01:50,560
Speaker 1: is so weird, and then Steph ends up with Mouth

1094
01:01:50,920 --> 01:01:55,320
Speaker 1: after they've both nugged each other relentlessly throughout the entire movie.

1095
01:01:55,520 --> 01:01:57,720
Speaker 3: Yeah, I guess that Martha pp Limpton at one point

1096
01:01:57,760 --> 01:02:00,680
Speaker 3: got so annoyed at Corey Feldman, who was famous annoying

1097
01:02:00,800 --> 01:02:03,800
Speaker 3: that she like pushed him and.

1098
01:02:03,840 --> 01:02:05,320
Speaker 1: Maybe that's why he fell in the water.

1099
01:02:06,360 --> 01:02:09,200
Speaker 2: That's why he flopped because he was a voice. He's

1100
01:02:09,280 --> 01:02:14,640
Speaker 2: ducking a bunch. No, I yeah, I Steph.

1101
01:02:14,720 --> 01:02:17,280
Speaker 3: I thought like, I mean, I'm I feel like I

1102
01:02:17,680 --> 01:02:21,360
Speaker 3: connected to Steph where it's like she wears glasses and uh,

1103
01:02:22,040 --> 01:02:26,360
Speaker 3: that's the character. But I guess I was sort of

1104
01:02:26,480 --> 01:02:29,080
Speaker 3: like of two minds about her, where she is like

1105
01:02:29,280 --> 01:02:31,439
Speaker 3: very much the voice of reason friend, but she has

1106
01:02:31,520 --> 01:02:33,480
Speaker 3: like elements of like I think it's kind of fun

1107
01:02:33,520 --> 01:02:36,200
Speaker 3: that she's diabolical enough to not tell her friend one

1108
01:02:36,280 --> 01:02:38,520
Speaker 3: day because this is the wrong person. Like, there are

1109
01:02:38,520 --> 01:02:40,360
Speaker 3: a few elements where you're like, well, this is pretty

1110
01:02:40,440 --> 01:02:43,760
Speaker 3: specific to who this person is. You pointed out that

1111
01:02:43,920 --> 01:02:47,760
Speaker 3: like Mouth only becomes interested in her after her glasses break,

1112
01:02:47,960 --> 01:02:49,760
Speaker 3: and you're just like, well great.

1113
01:02:49,800 --> 01:02:51,680
Speaker 1: Well, because you were like yeah, You're like, oh, it's

1114
01:02:51,760 --> 01:02:54,919
Speaker 1: it's nice that like the best friend character who wears

1115
01:02:55,000 --> 01:02:57,600
Speaker 1: glasses gets a love interest because that normally doesn't happen.

1116
01:02:57,760 --> 01:03:00,360
Speaker 1: And then I was like, but she only becomes love

1117
01:03:00,440 --> 01:03:04,680
Speaker 1: interest after she loses her glasses, So glasses people don't

1118
01:03:04,880 --> 01:03:06,480
Speaker 1: deserve love, according.

1119
01:03:06,040 --> 01:03:10,800
Speaker 3: To movies, said Caitlin Duran, confidently, making eye contact with

1120
01:03:10,920 --> 01:03:12,600
Speaker 3: someone wearing glasses.

1121
01:03:14,040 --> 01:03:16,640
Speaker 2: You it's all fine, isn't her love interests?

1122
01:03:16,840 --> 01:03:20,600
Speaker 4: Like twelve, Yeah, it's like you can find love after

1123
01:03:20,760 --> 01:03:22,560
Speaker 4: you can't see, and then it's a good thing that

1124
01:03:22,600 --> 01:03:24,480
Speaker 4: you can't see because you're gonna get hooked up with

1125
01:03:24,560 --> 01:03:25,480
Speaker 4: a seventh grader.

1126
01:03:28,880 --> 01:03:33,400
Speaker 1: Also, at the end, when Andy goes to Mikey and

1127
01:03:33,520 --> 01:03:36,840
Speaker 1: she's like he's a weirdo, She's like, you keep kissing

1128
01:03:36,920 --> 01:03:40,080
Speaker 1: girls the way you do, you won't have any problems

1129
01:03:40,280 --> 01:03:42,439
Speaker 1: and the parts of you that don't work will catch

1130
01:03:42,520 --> 01:03:45,240
Speaker 1: up with the ones that do. I'm like, what does

1131
01:03:45,440 --> 01:03:46,200
Speaker 1: she mean?

1132
01:03:48,320 --> 01:03:50,320
Speaker 2: Right in your journal, there's like, I mean.

1133
01:03:50,240 --> 01:03:50,640
Speaker 3: There's.

1134
01:03:53,840 --> 01:03:55,640
Speaker 4: We have like I feel like it's in the past

1135
01:03:55,840 --> 01:03:58,760
Speaker 4: five years that we've stopped making movies for kids. We're

1136
01:03:58,800 --> 01:04:00,720
Speaker 4: like a twelve year old boy he gets to make

1137
01:04:00,800 --> 01:04:03,880
Speaker 4: out with a femo character who's like, clearly way too

1138
01:04:03,960 --> 01:04:06,560
Speaker 4: old for him. Yeah, like if you remember blank check,

1139
01:04:06,720 --> 01:04:09,560
Speaker 4: that's a whole other conversation that was brutal.

1140
01:04:09,960 --> 01:04:12,080
Speaker 1: That's like sand lot.

1141
01:04:12,200 --> 01:04:16,960
Speaker 2: Oh yeah, absolutely, uh it is. It is just an

1142
01:04:17,000 --> 01:04:20,040
Speaker 2: absolutely uh weird line.

1143
01:04:20,120 --> 01:04:22,840
Speaker 3: And then everyone's their parents are watching when she says that,

1144
01:04:23,280 --> 01:04:28,040
Speaker 3: and they're like, yeah, yeah, whatever, that means probably normal.

1145
01:04:28,280 --> 01:04:30,200
Speaker 4: That was really nice of you to say that to

1146
01:04:30,320 --> 01:04:32,760
Speaker 4: that boy. That'll means something to him. He'll think of

1147
01:04:32,840 --> 01:04:33,680
Speaker 4: it every night.

1148
01:04:34,400 --> 01:04:37,480
Speaker 2: And then she just turns around and starts making out

1149
01:04:37,480 --> 01:04:39,880
Speaker 2: with Brand again, and Brand is also like does he

1150
01:04:40,000 --> 01:04:42,160
Speaker 2: know that happened? Like it's so.

1151
01:04:43,360 --> 01:04:45,800
Speaker 3: Andy is Ultimately I just think kind of a weird character.

1152
01:04:45,880 --> 01:04:47,000
Speaker 3: The last thing I want to say about her. And

1153
01:04:47,040 --> 01:04:50,920
Speaker 3: then we have we gotta do our fun activity.

1154
01:04:51,040 --> 01:04:51,920
Speaker 1: We have an activity.

1155
01:04:52,200 --> 01:04:55,320
Speaker 3: Yeah, is her first kind of like meltdown, which again

1156
01:04:55,480 --> 01:04:58,360
Speaker 3: I understand why she's kind of like, you know, like

1157
01:04:58,640 --> 01:05:02,520
Speaker 3: panics when she's brought to hell, but her reaction is

1158
01:05:02,600 --> 01:05:04,720
Speaker 3: like she's like, I wouldn't be here if I had

1159
01:05:04,920 --> 01:05:07,640
Speaker 3: like just let Troy look at my body. I'm gonna

1160
01:05:07,960 --> 01:05:10,680
Speaker 3: die here and is my body beautiful? And I was like,

1161
01:05:10,760 --> 01:05:12,680
Speaker 3: again a journal more of a journal thing.

1162
01:05:14,760 --> 01:05:17,600
Speaker 4: Save it for your one woman show. At the Historia

1163
01:05:17,680 --> 01:05:23,600
Speaker 4: Playhouse where Clark Gable got his start. It's true, really, yeah,

1164
01:05:24,000 --> 01:05:27,919
Speaker 4: wild Oregonian, real, real shitty guy. Let's move on. Yeah.

1165
01:05:30,200 --> 01:05:32,720
Speaker 3: And it's also like, I think that the most important

1166
01:05:32,760 --> 01:05:34,200
Speaker 3: thing was scenes like that where we were like, oh,

1167
01:05:34,280 --> 01:05:35,560
Speaker 3: I don't know how to what to make of that.

1168
01:05:35,640 --> 01:05:38,120
Speaker 3: You just had to picture Chris Columbus at his house

1169
01:05:38,200 --> 01:05:40,320
Speaker 3: writing it down and you're like, no, that's a weird

1170
01:05:40,400 --> 01:05:44,720
Speaker 3: line of dialogue. Chris Columbus on a fucking like old

1171
01:05:44,880 --> 01:05:48,080
Speaker 3: word processor that's like the size of a building, being like,

1172
01:05:48,600 --> 01:05:50,840
Speaker 3: my body is not beautiful.

1173
01:05:50,920 --> 01:05:55,040
Speaker 1: Of He's like, this is how girls think, right, I

1174
01:05:55,120 --> 01:05:56,760
Speaker 1: don't know. I'll never talk to one.

1175
01:05:57,000 --> 01:06:00,480
Speaker 2: He's like, and print we got another classic and he.

1176
01:06:00,600 --> 01:06:03,320
Speaker 4: Was right, many opens up another file and he's like,

1177
01:06:03,440 --> 01:06:05,880
Speaker 4: how do I solve this babysitting movie?

1178
01:06:06,560 --> 01:06:11,800
Speaker 2: They're forced to sing the blues perfect like it's just

1179
01:06:12,760 --> 01:06:14,600
Speaker 2: Chris Coloves is an interesting character.

1180
01:06:15,320 --> 01:06:17,360
Speaker 1: The last thing I want to say about Andy is

1181
01:06:17,960 --> 01:06:21,200
Speaker 1: I was surprised that she was able to like have

1182
01:06:21,360 --> 01:06:24,360
Speaker 1: that moment where she contributed a skill and I got

1183
01:06:24,400 --> 01:06:27,360
Speaker 1: them out of peril. I was not expecting that at all.

1184
01:06:27,720 --> 01:06:30,520
Speaker 1: I will say though, that the things that the boys

1185
01:06:30,560 --> 01:06:34,480
Speaker 1: are doing to overcome the obstacles are more like physical

1186
01:06:34,800 --> 01:06:37,600
Speaker 1: things and hers is more artistic, which feels a little

1187
01:06:37,640 --> 01:06:41,800
Speaker 1: tropy of like boys are tough and they do sporty

1188
01:06:42,120 --> 01:06:45,840
Speaker 1: they get to swashbuckle, and girls are fragile so they

1189
01:06:45,880 --> 01:06:46,560
Speaker 1: play piano.

1190
01:06:47,120 --> 01:06:50,400
Speaker 2: Yeah, but I mean she doesn't do it well. I

1191
01:06:52,520 --> 01:06:53,680
Speaker 2: make it worse.

1192
01:06:54,240 --> 01:06:56,280
Speaker 1: And then Brand is like, why couldn't I have a

1193
01:06:56,360 --> 01:06:58,760
Speaker 1: little sister. I would never be in this mess if

1194
01:06:58,760 --> 01:07:00,960
Speaker 1: I had a sister. As if don't like to go

1195
01:07:01,040 --> 01:07:03,720
Speaker 1: on adventures as a sister, as if a sister couldn't

1196
01:07:03,760 --> 01:07:04,840
Speaker 1: lead you directly to hell.

1197
01:07:07,080 --> 01:07:10,320
Speaker 2: She knows the way she's feeling in her bones.

1198
01:07:10,920 --> 01:07:13,280
Speaker 1: I led my siblings straight to hell all the time.

1199
01:07:13,680 --> 01:07:14,800
Speaker 2: Okay, exactly.

1200
01:07:16,920 --> 01:07:20,760
Speaker 1: Okay, So this is when we in the live show,

1201
01:07:21,320 --> 01:07:23,720
Speaker 1: when we went into that special segment where we did

1202
01:07:23,840 --> 01:07:26,720
Speaker 1: the trivia game with Sarah Marshall again. You can see

1203
01:07:26,760 --> 01:07:29,360
Speaker 1: that segment if you you know, buy access to the

1204
01:07:29,520 --> 01:07:34,680
Speaker 1: on demand version of the show on the link tree

1205
01:07:34,800 --> 01:07:37,960
Speaker 1: is where you can find the tickets to access that.

1206
01:07:38,600 --> 01:07:42,479
Speaker 1: But we wanted to also take this opportunity to add

1207
01:07:42,840 --> 01:07:48,640
Speaker 1: in a chunk haha, get it, chunk of discussion that

1208
01:07:48,800 --> 01:07:52,200
Speaker 1: we didn't have time to get to during the live show,

1209
01:07:52,840 --> 01:07:55,480
Speaker 1: so we are doing it now.

1210
01:07:56,120 --> 01:07:59,040
Speaker 3: Yes, and you may recall if you attended our Seattle

1211
01:07:59,120 --> 01:08:01,680
Speaker 3: show that we did talk about it at our Seattle show,

1212
01:08:01,760 --> 01:08:03,560
Speaker 3: but it just makes more sense to do it in

1213
01:08:03,680 --> 01:08:08,320
Speaker 3: this way. We wanted to talk about the character of Rosalina,

1214
01:08:08,840 --> 01:08:13,600
Speaker 3: played by iconic character actor Lupe and Taveros.

1215
01:08:14,080 --> 01:08:20,519
Speaker 1: Yes, so she is hired by Mikey and Brand's mom

1216
01:08:20,720 --> 01:08:26,320
Speaker 1: to like help them move. And basically what's happening with

1217
01:08:26,400 --> 01:08:31,000
Speaker 1: this character is that a number of stereotypes about people

1218
01:08:31,040 --> 01:08:35,720
Speaker 1: from Latin America are employed with this character. Yes, she

1219
01:08:36,560 --> 01:08:40,000
Speaker 1: cannot speak English. She is present in the story to

1220
01:08:40,560 --> 01:08:44,400
Speaker 1: service the white characters. She's in a role where she's

1221
01:08:44,520 --> 01:08:48,600
Speaker 1: like the hired help, and a ton of jokes are

1222
01:08:48,640 --> 01:08:52,840
Speaker 1: made at her expense because she doesn't know English. And

1223
01:08:52,960 --> 01:08:58,799
Speaker 1: so what happens is Mouth is asked to translate Mikey's

1224
01:08:58,880 --> 01:09:01,559
Speaker 1: mom's instruction to Rosalita, and.

1225
01:09:01,600 --> 01:09:04,560
Speaker 3: Then he mistranslates it, and it's like all of the

1226
01:09:05,000 --> 01:09:07,920
Speaker 3: jokes are probably I mean, I would be interested in

1227
01:09:08,000 --> 01:09:11,759
Speaker 3: how this was handled internationally, but all of for English

1228
01:09:11,760 --> 01:09:15,000
Speaker 3: speaking audiences, all of the jokes are in the the

1229
01:09:15,120 --> 01:09:19,000
Speaker 3: lower thirds are in the subtitles about how he is

1230
01:09:19,280 --> 01:09:23,160
Speaker 3: misleading her, and it's like the joke is at is

1231
01:09:23,280 --> 01:09:27,840
Speaker 3: both at Rosalita's expense and also just done to like

1232
01:09:28,560 --> 01:09:31,960
Speaker 3: elevate Mouth's character as like a little stinker. Like it

1233
01:09:32,160 --> 01:09:35,559
Speaker 3: is just it's reductive in every way that you could

1234
01:09:35,600 --> 01:09:39,200
Speaker 3: imagine not to like and and and it isn't like

1235
01:09:39,280 --> 01:09:42,879
Speaker 3: the same amount of like punitive shame is not applied

1236
01:09:42,960 --> 01:09:45,519
Speaker 3: to Mikey and Brand's mom for not being able to

1237
01:09:45,600 --> 01:09:49,040
Speaker 3: communicate with Rosalita, right, like they are having the same

1238
01:09:49,160 --> 01:09:52,599
Speaker 3: communication barrier, but it is in a very racist way,

1239
01:09:52,760 --> 01:09:56,519
Speaker 3: like leveraged at rosal Like she's the one who suffers

1240
01:09:56,600 --> 01:09:58,320
Speaker 3: for it and is mocked for it.

1241
01:09:59,120 --> 01:10:02,479
Speaker 1: Yeah. Yeah, And it's his mouth being cruel because it's

1242
01:10:02,640 --> 01:10:07,560
Speaker 1: him like deliberately mistranslating what Mikey's mom is saying in

1243
01:10:07,760 --> 01:10:11,680
Speaker 1: order to like freak Rosalita out, because he's saying things like, oh,

1244
01:10:11,760 --> 01:10:15,479
Speaker 1: this is where they keep the like cocaine stash, and

1245
01:10:15,560 --> 01:10:18,880
Speaker 1: this is where the sex torture chamber is and stuff

1246
01:10:18,960 --> 01:10:24,519
Speaker 1: like that. So it's just him being cruel to a character.

1247
01:10:25,520 --> 01:10:28,599
Speaker 1: And just like again, the joke is at the expense

1248
01:10:28,720 --> 01:10:31,720
Speaker 1: of someone not knowing English.

1249
01:10:31,840 --> 01:10:34,439
Speaker 3: Right, and then Rosalita does come back at the end

1250
01:10:34,520 --> 01:10:38,479
Speaker 3: of the movie with those really fake looking jewels that

1251
01:10:38,640 --> 01:10:42,640
Speaker 3: they find. Yeah, but again it's it's even though that

1252
01:10:44,080 --> 01:10:47,680
Speaker 3: she's not mocked in that moment. She's very much like

1253
01:10:47,920 --> 01:10:50,960
Speaker 3: a tool for the scene versus being treated as a character,

1254
01:10:51,000 --> 01:10:54,080
Speaker 3: because you would think, right, you know, if I'm Rosalita

1255
01:10:54,320 --> 01:10:57,559
Speaker 3: and I've only been treated like shit this entire time,

1256
01:10:57,800 --> 01:11:01,000
Speaker 3: I'm pocketing these jewels and getting the fuck Maybe if

1257
01:11:01,040 --> 01:11:04,599
Speaker 3: I'm feeling nice, I'll slip them one. But like, that's

1258
01:11:04,680 --> 01:11:06,439
Speaker 3: not on the mind of this movie, because this movie

1259
01:11:06,560 --> 01:11:09,439
Speaker 3: is not considering her in any way, like you would

1260
01:11:09,479 --> 01:11:14,160
Speaker 3: think she would get at least something, But it's like this,

1261
01:11:14,760 --> 01:11:19,200
Speaker 3: that's just not the consideration that this movie is giving

1262
01:11:19,520 --> 01:11:24,000
Speaker 3: anyone who is not the main cast. And I think

1263
01:11:24,040 --> 01:11:26,639
Speaker 3: it's so, I don't know, it's very eighties. I wanted

1264
01:11:26,680 --> 01:11:30,120
Speaker 3: to We talked about this at the Seattle Show Lupe

1265
01:11:30,200 --> 01:11:34,679
Speaker 3: and Deavero's like she I think, most famously, at least

1266
01:11:34,720 --> 01:11:39,519
Speaker 3: to me, played Yolanda in the Selena movie with Jennifer Lopez,

1267
01:11:40,160 --> 01:11:43,519
Speaker 3: but for the most part, her career in Hollywood has

1268
01:11:43,560 --> 01:11:46,240
Speaker 3: consisted of roles like these, to the point where she

1269
01:11:46,320 --> 01:11:50,000
Speaker 3: made a documentary about it called Made in America, because

1270
01:11:50,000 --> 01:11:52,040
Speaker 3: she had played a maid at least one hundred and

1271
01:11:52,080 --> 01:11:56,320
Speaker 3: fifty times on stage in screen and is a huge

1272
01:11:56,439 --> 01:12:00,360
Speaker 3: advocate for wanting to see more and better roles available,

1273
01:12:00,479 --> 01:12:02,040
Speaker 3: not that I'm maid is a bad role, but like

1274
01:12:02,120 --> 01:12:06,160
Speaker 3: a more diverse amount of roles available to Latin actors.

1275
01:12:07,080 --> 01:12:10,280
Speaker 3: She said, quote, I'm proud to represent those hands that

1276
01:12:10,400 --> 01:12:13,040
Speaker 3: labor in this country. I've given every maid I've ever

1277
01:12:13,120 --> 01:12:17,800
Speaker 3: portrayed soul and heart, which is absolutely true and comes

1278
01:12:17,880 --> 01:12:20,200
Speaker 3: through even when the writing is not giving.

1279
01:12:20,040 --> 01:12:22,000
Speaker 2: Her what she deserves.

1280
01:12:22,680 --> 01:12:25,560
Speaker 3: But I just wanted to She's she's a legend, and

1281
01:12:25,960 --> 01:12:31,920
Speaker 3: it is frustrating to see her have to receive these underthought, underwritten,

1282
01:12:32,840 --> 01:12:34,920
Speaker 3: very stereotypical and racist roles.

1283
01:12:35,800 --> 01:12:38,000
Speaker 2: So shout out to Rosalita.

1284
01:12:38,200 --> 01:12:38,760
Speaker 1: Yeah, I love you.

1285
01:12:39,720 --> 01:12:41,080
Speaker 3: And then the other thing that we didn't get to

1286
01:12:41,160 --> 01:12:43,360
Speaker 3: talk about during the live show that we wanted to

1287
01:12:43,439 --> 01:12:46,240
Speaker 3: touch on really quick was class.

1288
01:12:46,680 --> 01:12:52,160
Speaker 1: Yeah, because the whole story unfolds because these kids who

1289
01:12:52,240 --> 01:12:56,880
Speaker 1: are from working class families are being forcibly removed from

1290
01:12:57,439 --> 01:13:01,599
Speaker 1: their homes in favor of a cuntry club being built,

1291
01:13:01,760 --> 01:13:06,479
Speaker 1: which is a very eighties premise where it's like there's

1292
01:13:06,520 --> 01:13:08,880
Speaker 1: a country clubs, there's a shopping but something like that.

1293
01:13:09,080 --> 01:13:12,640
Speaker 2: It's a yeah, very eighties threats. They're feel quaint now

1294
01:13:12,880 --> 01:13:14,080
Speaker 2: but still bad.

1295
01:13:14,520 --> 01:13:14,680
Speaker 3: Right.

1296
01:13:14,720 --> 01:13:17,439
Speaker 1: The world is on fire. No, but this is like

1297
01:13:17,479 --> 01:13:21,360
Speaker 1: a legitimate issue. Although I will say that, you know,

1298
01:13:21,520 --> 01:13:26,760
Speaker 1: people being displaced from their homes and forced to relocate

1299
01:13:27,400 --> 01:13:33,360
Speaker 1: disproportionately affects people of color and indigenous people, and as

1300
01:13:33,439 --> 01:13:36,519
Speaker 1: we discuss, these kids are mostly white, with the exception

1301
01:13:36,640 --> 01:13:41,080
Speaker 1: of data, but it's still I think worth mentioning that

1302
01:13:41,439 --> 01:13:44,760
Speaker 1: class plays a big part in this movie. It's a

1303
01:13:44,840 --> 01:13:49,560
Speaker 1: major theme that again, these working class kids they have

1304
01:13:49,640 --> 01:13:52,519
Speaker 1: to go on this journey just so they don't have

1305
01:13:52,720 --> 01:13:56,559
Speaker 1: to leave their homes and have their lives be uprooted.

1306
01:13:56,600 --> 01:13:59,360
Speaker 1: And we see them talking at the beginning like they're

1307
01:13:59,439 --> 01:14:02,240
Speaker 1: lamenting that, like this is the last time they're ever

1308
01:14:02,280 --> 01:14:04,680
Speaker 1: going to see each other and they're gonna have to

1309
01:14:04,760 --> 01:14:08,360
Speaker 1: go to different schools and be kind of torn apart.

1310
01:14:09,000 --> 01:14:11,560
Speaker 3: Yeah, and I think that that is one of the

1311
01:14:11,720 --> 01:14:15,120
Speaker 3: things that I know this isn't the Spielberg movie technically,

1312
01:14:15,200 --> 01:14:17,960
Speaker 3: but it's very Spielberg codd Its fingerprints are very much

1313
01:14:18,240 --> 01:14:22,719
Speaker 3: ropes it. Yeah, and I think that that is something

1314
01:14:22,840 --> 01:14:26,320
Speaker 3: that is pretty consistent throughout this era of Spielberg is that,

1315
01:14:26,560 --> 01:14:30,080
Speaker 3: like it does generally, the unfortunate part is it always

1316
01:14:30,120 --> 01:14:35,240
Speaker 3: focuses on white boys. But in terms of class representation,

1317
01:14:35,360 --> 01:14:38,000
Speaker 3: I feel like you do see a lot of working

1318
01:14:38,040 --> 01:14:41,240
Speaker 3: class or lower middle class like families just getting by,

1319
01:14:41,800 --> 01:14:44,400
Speaker 3: which is something that I don't think you see in

1320
01:14:45,040 --> 01:14:49,639
Speaker 3: big Hollywood movies as much these days, and so it's

1321
01:14:49,640 --> 01:14:52,080
Speaker 3: always kind of nice to see it.

1322
01:14:52,360 --> 01:14:52,799
Speaker 1: Definitely.

1323
01:14:53,479 --> 01:14:59,120
Speaker 2: And back to the show, folks, Yeah, all right, wow,

1324
01:15:00,320 --> 01:15:03,000
Speaker 2: give ever Sarah Marshall one more time, really.

1325
01:15:04,280 --> 01:15:05,360
Speaker 1: Really well, don.

1326
01:15:07,160 --> 01:15:07,200
Speaker 2: No.

1327
01:15:09,560 --> 01:15:12,080
Speaker 3: We just have two questions we answer at the end

1328
01:15:12,160 --> 01:15:14,519
Speaker 3: of every Bechdel Cast. I feel like I'm gonna choke.

1329
01:15:15,200 --> 01:15:16,040
Speaker 1: Do you want me to talk?

1330
01:15:16,520 --> 01:15:17,879
Speaker 2: Does the movie pass that Bechelton?

1331
01:15:19,800 --> 01:15:23,639
Speaker 3: I don't think it does, right, Like, there's like arguably

1332
01:15:23,760 --> 01:15:28,559
Speaker 3: a very very small exchange between Steph and Andy that may,

1333
01:15:29,160 --> 01:15:33,439
Speaker 3: but I think spiritually it really just doesn't. But most importantly,

1334
01:15:33,520 --> 01:15:37,200
Speaker 3: there's one unquestionable metric that's never been wrong before, and

1335
01:15:37,320 --> 01:15:39,160
Speaker 3: that's the Bechdel Cast nipple scale.

1336
01:15:39,280 --> 01:15:41,240
Speaker 1: That's true. Yeah, give it up.

1337
01:15:47,880 --> 01:15:51,160
Speaker 2: It seems like you were gonna like throw something any better.

1338
01:15:51,280 --> 01:15:55,000
Speaker 1: Clap for the nipple scale. It is a scale of

1339
01:15:55,120 --> 01:15:58,200
Speaker 1: zero to five nipples on which we write the movie

1340
01:15:58,240 --> 01:16:02,880
Speaker 1: looking at it through an intersectional feminist lens. I think

1341
01:16:03,200 --> 01:16:07,280
Speaker 1: that despite some kind of like reclaimable things from the

1342
01:16:07,360 --> 01:16:11,760
Speaker 1: movie regarding certain characters, overall it doesn't do very well.

1343
01:16:11,840 --> 01:16:15,240
Speaker 1: It has eighties movie written all over it. And I

1344
01:16:15,360 --> 01:16:20,000
Speaker 1: think I would only give it like a half nipple,

1345
01:16:21,360 --> 01:16:25,719
Speaker 1: and I'm gonna give it to Kiqui Kwan, Yeah, because

1346
01:16:25,760 --> 01:16:26,639
Speaker 1: he's the best.

1347
01:16:27,400 --> 01:16:31,160
Speaker 3: Yeah, I'm gonna go one nipple because I'm feeling. I'm

1348
01:16:31,200 --> 01:16:33,280
Speaker 3: feeling so I had a hot dog iment, a good

1349
01:16:33,320 --> 01:16:37,280
Speaker 3: mood and going to I mean, yeah, I think that there, Yeah,

1350
01:16:37,520 --> 01:16:39,880
Speaker 3: like you're saying, there, there are reclaimable elements. We didn't

1351
01:16:40,000 --> 01:16:45,000
Speaker 3: get to talk about the racism applied towards the only

1352
01:16:45,080 --> 01:16:48,080
Speaker 3: Latin character in the movie. We will talk about that

1353
01:16:48,200 --> 01:16:50,760
Speaker 3: off Mike later or on Mike in a different state, whatever.

1354
01:16:52,040 --> 01:16:56,880
Speaker 3: But yeah, I think that there is like some diversity

1355
01:16:56,960 --> 01:16:59,760
Speaker 3: in this movie, but it's like barely any and not

1356
01:17:00,360 --> 01:17:04,559
Speaker 3: you like, more often than not, not handled particularly well.

1357
01:17:05,280 --> 01:17:11,639
Speaker 3: And the women are so horny, which is a relatable thing.

1358
01:17:11,720 --> 01:17:14,120
Speaker 3: But like we talked about it, you understand what I'm

1359
01:17:14,160 --> 01:17:16,200
Speaker 3: saying I do feel like I'm getting like the meat

1360
01:17:16,240 --> 01:17:19,479
Speaker 3: sweats a little bit right now, and so it's kind

1361
01:17:19,520 --> 01:17:20,880
Speaker 3: of like freaking me out.

1362
01:17:20,960 --> 01:17:23,519
Speaker 2: Okay, So I would I would.

1363
01:17:23,320 --> 01:17:25,880
Speaker 3: Give this movie one nipple, and I'm gonna give it

1364
01:17:26,000 --> 01:17:29,160
Speaker 3: to Carl who brought me a hot talk, give.

1365
01:17:31,160 --> 01:17:34,759
Speaker 2: Feminist icon Carly to Sarah.

1366
01:17:35,439 --> 01:17:44,559
Speaker 3: Hmm, one nipple, way way up. One.

1367
01:17:45,720 --> 01:17:48,960
Speaker 4: Yeah, because it's I mean, it's like it's so riddled

1368
01:17:49,000 --> 01:17:51,439
Speaker 4: with the problems of its era. But also I walked

1369
01:17:51,520 --> 01:17:56,160
Speaker 4: sixteen candles yesterday, and so like within the eighties it

1370
01:17:56,240 --> 01:17:58,320
Speaker 4: feels I don't know, it's like that there's like a

1371
01:17:58,400 --> 01:18:02,000
Speaker 4: whole other length long conversation to be had about like

1372
01:18:02,120 --> 01:18:04,479
Speaker 4: eighties meanness and what do we do with it? But like,

1373
01:18:05,600 --> 01:18:11,320
Speaker 4: you know, the the sort of like generalized like maliciousness

1374
01:18:11,400 --> 01:18:15,679
Speaker 4: culturally of the decade is so there, but like malice

1375
01:18:15,720 --> 01:18:18,240
Speaker 4: by characters doesn't feel so pronounced in the way that

1376
01:18:18,320 --> 01:18:20,640
Speaker 4: it does elsewhere, which is like a terrible scale to

1377
01:18:20,760 --> 01:18:26,160
Speaker 4: jug John. But yeah, whoo, who would you like to

1378
01:18:26,160 --> 01:18:27,000
Speaker 4: give your nipple too?

1379
01:18:28,439 --> 01:18:31,000
Speaker 2: I want to give my nipple to Alfred Molina. Yeah,

1380
01:18:32,760 --> 01:18:35,920
Speaker 2: who deserves it. Oh he would have been he could

1381
01:18:35,960 --> 01:18:38,519
Speaker 2: have been, he could have been any part of the part.

1382
01:18:38,960 --> 01:18:39,160
Speaker 1: Yeah.

1383
01:18:39,439 --> 01:18:41,360
Speaker 2: Yeah, he could have been Mikey.

1384
01:18:43,040 --> 01:18:45,639
Speaker 4: He could have been Andy, you know, just like Corny

1385
01:18:45,880 --> 01:18:46,679
Speaker 4: in a tunnel.

1386
01:18:48,439 --> 01:18:48,639
Speaker 1: Yeah.

1387
01:18:48,840 --> 01:18:50,400
Speaker 3: I think it would have been really fun if this

1388
01:18:50,560 --> 01:18:53,360
Speaker 3: movie was about four twelve year olds and Alfred Molina

1389
01:18:53,439 --> 01:18:54,519
Speaker 3: playing a twelve year old.

1390
01:18:55,960 --> 01:18:58,000
Speaker 2: I think it would have been really special. He's kind

1391
01:18:58,000 --> 01:19:00,680
Speaker 2: of fifteen. With Alfred Molina, you can do it.

1392
01:19:00,840 --> 01:19:01,559
Speaker 4: He has the ring.

1393
01:19:01,800 --> 01:19:03,960
Speaker 2: We deserve it, or maybe we're not worthy of it.

1394
01:19:05,160 --> 01:19:08,240
Speaker 3: None of the rest of us do. Thank you, Oh

1395
01:19:08,360 --> 01:19:10,200
Speaker 3: my gosh, I thank you so much for being here.

1396
01:19:10,320 --> 01:19:17,000
Speaker 3: Sarah Marshall, the greatest person ever. Give it up for

1397
01:19:17,080 --> 01:19:19,680
Speaker 3: yourselves for coming out, not for.

1398
01:19:19,840 --> 01:19:30,600
Speaker 1: Curious Comedy stop here. So there you have it. That

1399
01:19:31,040 --> 01:19:36,760
Speaker 1: was the live show that we recorded in February Inland

1400
01:19:36,880 --> 01:19:39,200
Speaker 1: at the beautiful Curious Comedy Theater.

1401
01:19:39,360 --> 01:19:42,479
Speaker 3: We have the best time. Thank you again to Sarah Marshall.

1402
01:19:43,240 --> 01:19:45,960
Speaker 3: If you don't know who Sarah Marshall is, take your

1403
01:19:46,000 --> 01:19:50,200
Speaker 3: head out of the sand, you gube. Yeah, you can

1404
01:19:50,320 --> 01:19:53,439
Speaker 3: listen to her podcasts. You're wrong about and you are good.

1405
01:19:53,840 --> 01:19:56,400
Speaker 3: She's on the road a lot. She's an amazing writer,

1406
01:19:57,560 --> 01:20:00,320
Speaker 3: just and she's wisely not on social media. You can't

1407
01:20:00,320 --> 01:20:03,240
Speaker 3: even bother her. You can just engage with her amazing

1408
01:20:04,280 --> 01:20:06,519
Speaker 3: media as you see fit.

1409
01:20:06,760 --> 01:20:09,600
Speaker 2: She's the best. And here's where you can find.

1410
01:20:09,600 --> 01:20:16,080
Speaker 1: Us at Bechdel Cast on Twitter and Instagram, on Patreon,

1411
01:20:16,280 --> 01:20:19,439
Speaker 1: at patreon dot com slash Bechdel Cast, where you can

1412
01:20:19,479 --> 01:20:22,640
Speaker 1: get all of our Matreon episodes two per month for

1413
01:20:22,840 --> 01:20:29,280
Speaker 1: five dollars, plus access to the whole back catalog and merch.

1414
01:20:29,400 --> 01:20:32,960
Speaker 1: At teapublic dot com slash the Bechdel Cast, where you

1415
01:20:33,000 --> 01:20:36,639
Speaker 1: can get all the wonderful merch designed by our very

1416
01:20:36,720 --> 01:20:39,000
Speaker 1: own Jamie Loftis ever heard of her?

1417
01:20:39,880 --> 01:20:40,640
Speaker 2: It's me.

1418
01:20:44,200 --> 01:20:48,320
Speaker 1: And yeah again to Sarah, to everyone who came out

1419
01:20:48,360 --> 01:20:52,479
Speaker 1: to the shows. Thanks to Curious Comedy Theater for having

1420
01:20:52,640 --> 01:20:56,200
Speaker 1: us and all the wonderful staff there, and thanks to

1421
01:20:56,280 --> 01:21:00,200
Speaker 1: you for listening right here and right now, and that

1422
01:21:00,880 --> 01:21:01,840
Speaker 1: we love you so much.

1423
01:21:02,280 --> 01:21:04,439
Speaker 2: Make good choices and have a good day.

1424
01:21:05,240 --> 01:21:06,479
Speaker 1: Bye bye bye.

1425
01:21:06,560 --> 01:21:08,040
Speaker 2: I'm sorry, I have a fever.