WEBVTT - The Truman Show with Brandie Posey

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<v Speaker 1>On the Bechdelcast, the questions ask if movies have women

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<v Speaker 1>and them, are all their discussions just boyfriends and husbands,

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<v Speaker 1>or do they have individualism? It's the patriarchy, Zephyn bast

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<v Speaker 1>start changing with the Bechdel Cast.

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<v Speaker 2>Good morning, Jamie, and in case I don't see you,

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<v Speaker 2>good afternoon, good evening, and good night.

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<v Speaker 3>And Caitlin. While I have you here, might I suggest

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<v Speaker 3>some delicious dunkin Donuts coffee to go with your podcasting.

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<v Speaker 3>Dunkin Donuts. It really isn't that bad.

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<v Speaker 4>Who are you talking to, Jamie?

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<v Speaker 3>It's just me here? What what?

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<v Speaker 2>Wow? Incredible intro Wow?

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<v Speaker 3>I think honestly, you know what? That was the usually

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<v Speaker 3>just one of us wakes up today today we're both here, Ernie,

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<v Speaker 3>all right, Welcome to the Bexel Cast, the podcast where

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<v Speaker 3>we take a look at your favorite movies using an

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<v Speaker 3>intersectional feminist lens, as well as the Bechdel Test for

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<v Speaker 3>jumping off point for discussion. My name, Jamie Loftis.

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<v Speaker 2>My name is Caitlin Dorante. The Bechdel Test, of course,

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<v Speaker 2>being a media metric created by our dear friend, Alison Bechdel,

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<v Speaker 2>friend of the show, best friend in real life, of course,

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<v Speaker 2>first appearing in her comic collection Dicks to Watch Out For,

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<v Speaker 2>has since been kind of mainstreamified into a media metric.

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<v Speaker 2>There are many different versions. The one that we use

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<v Speaker 2>is do two characters of a marginalized gender have names?

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<v Speaker 2>Do they speak to each other? And is their conversation

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<v Speaker 2>about something other than a man? And ideally it's like

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<v Speaker 2>a narratively impactful conversation and not just throw away dialogue.

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<v Speaker 3>Yeah, but what if you live in a simulation? Oh,

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<v Speaker 3>this is boo, which brings us to today's movie. Another

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<v Speaker 3>one in our as we approach our ten uere anniversary,

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<v Speaker 3>a movie that you would think we would have covered

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<v Speaker 3>by now, but it just never the piece has never

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<v Speaker 3>quite came together until now exactly. And today we are

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<v Speaker 3>talking about nineteen ninety eights, The Truman Show, Ye, not

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<v Speaker 3>the True Woman Show.

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<v Speaker 2>The True Man Show.

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<v Speaker 3>Yeah, and fucked up. It kind of makes you think,

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<v Speaker 3>and we'll get we'll get into it. We have an

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<v Speaker 3>incredible returning guest. Let's get her in here.

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<v Speaker 2>We sure do. She's a comedian. She's got a new

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<v Speaker 2>comedy special out called Milk Job on burn This Records,

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<v Speaker 2>which you can watch on YouTube and which you should

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<v Speaker 2>watch and you remember her from our episode on five

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<v Speaker 2>Hundred Days of Summer.

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<v Speaker 3>It's Brandy Posey. Welcome back.

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<v Speaker 4>Hello, Hello, thank you for having me. This is one

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<v Speaker 4>of my favorite movies of all time. So I rememberly

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<v Speaker 4>when I saw you guys hadn't done it yet. I

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<v Speaker 4>was like, ooh ooh ooh, please please please.

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<v Speaker 2>And here you are.

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<v Speaker 1>Yay.

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<v Speaker 3>I'm so glad this is This has been a show

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<v Speaker 3>that a movie we've almost covered several times and just

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<v Speaker 3>for some reason, it just hasn't happened. So I'm so

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<v Speaker 3>glad that you're here.

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<v Speaker 4>Yeah.

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<v Speaker 3>Yeah, what is your what is your history with the

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<v Speaker 3>True Man Show?

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<v Speaker 4>Okay, So I am a and I am now an adult.

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<v Speaker 4>So this has waned a little bit obviously because of

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<v Speaker 4>things over time. But I am a massive Jim Carrey

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<v Speaker 4>fan from way back. A's Venture Too was a religious

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<v Speaker 4>awakening for me and comedy in the theaters as a child.

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<v Speaker 4>I have not missed the opening day of a Jim

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<v Speaker 4>Carrey movie since af Sventurre.

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<v Speaker 3>Two, even number twenty three.

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<v Speaker 4>Yes, I saw that at the Grove on opening day

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<v Speaker 4>with about five other people, and that includes mister Popper's Penguin.

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<v Speaker 3>You're a real hell, every single Sonic.

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<v Speaker 4>Every single Sonic. I was on vacation for Sonic two

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<v Speaker 4>and I said, sorry, I'm gonna need about three hours

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<v Speaker 4>to go see Sonic two because the tradition lives on.

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<v Speaker 3>That's reallyful.

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<v Speaker 4>Yeah, it's just a fun thing I've always done because

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<v Speaker 4>it's like I was really just really drawn. I love

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<v Speaker 4>I love I love him. His nineties run is like

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<v Speaker 4>pretty unfuck with heable, you know what I mean. It's

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<v Speaker 4>you can't touch it. And if you were like a

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<v Speaker 4>drawn to comedy but also kind of shy person, I

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<v Speaker 4>think that his just like larger than life persona was

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<v Speaker 4>this like you can be that. Like, yeah, I'd consider

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<v Speaker 4>him like one of my biggest It's funny because my

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<v Speaker 4>stand up is nothing like him, but he's like one

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<v Speaker 4>of my biggest comedy influences of all time. And I

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<v Speaker 4>the one person I think that him and Patrick Stewart,

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<v Speaker 4>I think if I met them, I would cry on site.

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<v Speaker 4>So don't ever want to do that.

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<v Speaker 3>Never meet your heroes, I mean hero But also like

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<v Speaker 3>he has some weird stuff in his personal life as a.

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<v Speaker 4>Human, so as we all do. Yeah, so you know

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<v Speaker 4>that's separate. But young Brandy, he meant the world to

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<v Speaker 4>me basically, yeah.

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<v Speaker 2>Wow, yeah, so you saw this. This came out after

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<v Speaker 2>a spener or two. So you saw this in theaters?

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<v Speaker 3>Oh yeah.

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<v Speaker 4>June fourth, nineteen ninety eight was also the last day

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<v Speaker 4>that my friend Lindsay lived in Maryland because she was

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<v Speaker 4>like a navy brat and then she was moving. And

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<v Speaker 4>the very last thing we did before she moved to Colorado,

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<v Speaker 4>oh was go see and Truman shaw An opening day. Wow.

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<v Speaker 3>Oh that's what a nice memory.

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<v Speaker 2>Yeah, Jamie, what about you? What's your relationship with this movie?

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<v Speaker 3>I somehow had never seen this movie, in spite of

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<v Speaker 3>the fact that it's definitely like on description, like this

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<v Speaker 3>is a movie I would love, and it is a

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<v Speaker 3>movie I love. Spoiler alert. I really wish I had

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<v Speaker 3>seen this when I was in high school. Would blow

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<v Speaker 3>my mind, because it blew my mind and I'm in

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<v Speaker 3>my thirties. So we've talked about this recently on the

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<v Speaker 3>show and kind of anytime Jim Carrey growth I was

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<v Speaker 3>not allowed to watch Jim Carrey movies for the most

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<v Speaker 3>part when I was growing up because my mom found

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<v Speaker 3>him annoying. So Jim Carrey and Adam Sandler movies, I

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<v Speaker 3>still like, have not really seen most of their nineties

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<v Speaker 3>classics because my mom found them annoying and unfortunately it's

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<v Speaker 3>a hereditary trait. So I've seen more. I think I've

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<v Speaker 3>seen more serious Jim Carrey movies than for some reason, Grinch.

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<v Speaker 3>We made an exception for Grinch. I don't know why

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<v Speaker 3>we showed up for Grinch hard. We still do, sure,

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<v Speaker 3>But yeah, I don't have a strong attachment to him

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<v Speaker 3>his his nineties work. But I did see Eternal Sunshine

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<v Speaker 3>in middle school and you know, was pissing shitting for

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<v Speaker 3>the next twenty years about it. Yeah, I mean he's

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<v Speaker 3>he is. Yes, has a lot of controversy that we

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<v Speaker 3>probably don't have the bandwidth to get into today, but

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<v Speaker 3>incredibly versatile actor and this I feel like this was

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<v Speaker 3>maybe his first step into more serious stuff and like

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<v Speaker 3>where he started to show that he had range. And yeah,

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<v Speaker 3>I definitely didn't know that Peter Weir had directed this,

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<v Speaker 3>and like he has a kind of ridiculous track record

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<v Speaker 3>of helping comedic actors make a dramatic turn because he

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<v Speaker 3>did Robin Williams Dead Poets. I just I really, I mean,

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<v Speaker 3>this movie is incredible. I feel like it does something

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<v Speaker 3>I'm trying to think of a similar movie to this,

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<v Speaker 3>and that it's like, this is an idea everybody has had,

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<v Speaker 3>or at least an intrusive thought everyone's had, and it's

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<v Speaker 3>executed perfectly, and like, how many times has that happen?

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<v Speaker 3>It's pretty incredible and I'm excited to talk about it. Yeah. Also,

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<v Speaker 3>Laura Lennie is so good in this. If only if

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<v Speaker 3>only she been allowed to have a conclusion to her arc.

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<v Speaker 3>We'll get there, We'll get there. Yeah. But I yeah,

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<v Speaker 3>this movie is amazing. First time, Kitly, what about you?

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<v Speaker 2>I would count this among my favorite movies. I saw

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<v Speaker 2>it around the time that it came out, I don't

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<v Speaker 2>think in theaters, but probably within a couple of years

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<v Speaker 2>of it being out. I eventually bought it on DVD,

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<v Speaker 2>which I still own, thank you very much. I've seen it,

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<v Speaker 2>you know a few dozen times. I would say I

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<v Speaker 2>love a movie where characters are in a like things

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<v Speaker 2>aren't what they seem kind of world and that they

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<v Speaker 2>have to like figure out the truth of what's going

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<v Speaker 2>on around them.

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<v Speaker 3>So very late nineties, because it's like we get the

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<v Speaker 3>Matrix the next year. There's a lot of simulation. Culture

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<v Speaker 3>is so hot.

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<v Speaker 2>Right now and then this movie. I would also pair

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<v Speaker 2>it with Pleasantville as like if you wanted to do

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<v Speaker 2>like a double feature. I feel like these two movies

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<v Speaker 2>pair together really well. But then you've got your other

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<v Speaker 2>like things aren't what they see movies such as like

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<v Speaker 2>Vanilla Sky, they live total recall Stepford Wives. You know,

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<v Speaker 2>the list goes on, but I love that as a

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<v Speaker 2>narrative thrust, if you will. So I've always loved this movie.

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<v Speaker 2>I hadn't seen it in quite a few years before

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<v Speaker 2>rewatching it for prepping for this episode. But yeah, it

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<v Speaker 2>was a joy. I was worried, like, oh no, what

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<v Speaker 2>if it doesn't hold up as well or you know,

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<v Speaker 2>But honestly, I don't have that many complaints.

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<v Speaker 4>I think it gets more prescient with age. Honestly, I

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<v Speaker 4>know it's really shaped a lot of my view of

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<v Speaker 4>the world and how to like question things and kind

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<v Speaker 4>of just like be looking for it really like is

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<v Speaker 4>like a really seminal movie in the DNA of a young.

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<v Speaker 3>Yeah, well, it's like there's been so much written about

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<v Speaker 3>how this movie came out before Survivor and like before

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<v Speaker 3>most contemporary reality TV and like surveillance culture of self

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<v Speaker 3>surveillance culture. It's just like it's it's like ahead of

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<v Speaker 3>its time by only a couple of years, which is

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<v Speaker 3>pretty wild.

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<v Speaker 2>But it had such an impact on me that to

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<v Speaker 2>this day I would say, at least once a month,

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<v Speaker 2>I'm like, oh god, I'm probably in the Truman Show.

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<v Speaker 2>I better not jerk off in case anyone's watching. So

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<v Speaker 2>it really really affected me.

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<v Speaker 3>Luckily, Truman only does funny bits in the bathroom.

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<v Speaker 2>He never jacks out, he's ever taking an explosive shit.

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<v Speaker 2>This deeply lonely thirty five year old man does not

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<v Speaker 2>jack off, eva, absolutely not.

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<v Speaker 4>No, he just makes weird collages.

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<v Speaker 2>So why don't we take a quick break and then

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<v Speaker 2>we'll come back for the recap and we're back.

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<v Speaker 3>Oh, Ed Harris in a in a beret.

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<v Speaker 2>Oh my gosh.

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<v Speaker 3>I didn't know well, I didn't know any to go

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<v Speaker 3>out this except the premise. But he replaced what's his name,

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<v Speaker 3>mister Scarry Dennis Hopper. Yeah, Dennis Hopper shot for one

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<v Speaker 3>day on The Truman Show and they were like, get

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<v Speaker 3>him out of here. And Ed Harris had like twenty

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<v Speaker 3>seconds to prepare for this role, and just like Abs

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<v Speaker 3>Destroys knocked it out. Of the part. I'm pretty sure

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<v Speaker 3>he got nominated for an Oscar for this. I think

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<v Speaker 3>he did. Yeah, yeah, after twenty seconds of preper he's

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<v Speaker 3>he's amazing, man.

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<v Speaker 4>Yeah, I mean the Christoph character. I mean we can

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<v Speaker 4>get into later obviously, but the Christoph character is like, so,

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<v Speaker 4>how many of those people have we encountered that are.

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<v Speaker 2>Just like Holl'm making art by exploiting others?

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<v Speaker 3>Also that true? Okay, and then I promise we could

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<v Speaker 3>start talking. But that Truman's House is owned by Matt

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<v Speaker 3>Gates's family. That's another disturbing fact I learned, Oh I

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<v Speaker 3>have We just have to live with that for some reason.

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<v Speaker 2>Yeah, I have a whole tangent about master planned communities

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<v Speaker 2>that all.

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<v Speaker 3>Get into Oh yeah, when you know about master planned communities.

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<v Speaker 3>Of course, that's the way that Matt Gates grew up.

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<v Speaker 3>And also his last name is literally Gates. But just

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<v Speaker 3>Truman's House is where Pat Gates grew up. We hate

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<v Speaker 3>to say it, but it's true.

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<v Speaker 2>Yeah, yes, anyway, here's the recap of the Truman Show.

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<v Speaker 2>We open on the Ed Harris character Christoph. He is

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<v Speaker 2>talking about Truman Burbank, who is the star of the

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<v Speaker 2>Truman Show. A television program in which Truman's entire life

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<v Speaker 2>is recorded and broadcast twenty four to seven. Except Truman

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<v Speaker 2>has no idea about this. He doesn't know that he

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<v Speaker 2>is the subject of this show. He doesn't know that

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<v Speaker 2>he's being filmed by hidden cameras all over his community.

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<v Speaker 2>He doesn't know that everyone around him is an actor,

0:12:28.679 --> 0:12:31.199
<v Speaker 2>including his best friend and his wife.

0:12:32.679 --> 0:12:33.600
<v Speaker 3>He doesn't know that the.

0:12:33.480 --> 0:12:37.200
<v Speaker 2>Town that he lives in, Sea Haven is a set,

0:12:38.040 --> 0:12:42.839
<v Speaker 2>and that his whole life is a lie, fabricated for

0:12:42.880 --> 0:12:45.880
<v Speaker 2>the sake of this show, which Christophe is the like

0:12:46.760 --> 0:12:49.079
<v Speaker 2>creator slash executive producer of.

0:12:49.600 --> 0:12:53.080
<v Speaker 3>It's a really quick one off line that could be

0:12:53.240 --> 0:12:56.080
<v Speaker 3>its own movie entirely. But I was like, what, Like

0:12:56.400 --> 0:12:58.880
<v Speaker 3>Grant and I both stopped and were like, what the fuck?

0:12:59.360 --> 0:13:02.760
<v Speaker 3>That hope is imprescient of something that is going to happen,

0:13:03.240 --> 0:13:06.760
<v Speaker 3>but where they're like, Truman Burbank is the first baby

0:13:06.800 --> 0:13:09.400
<v Speaker 3>to be adopted by a corporation, and the way that

0:13:09.440 --> 0:13:12.320
<v Speaker 3>they say the first, as if to imply although, of

0:13:12.360 --> 0:13:16.640
<v Speaker 3>course now that is completely normal, like it's so oh.

0:13:16.760 --> 0:13:18.800
<v Speaker 3>I was like, oh, so so scary is such a

0:13:18.840 --> 0:13:19.439
<v Speaker 3>good detail?

0:13:20.360 --> 0:13:24.720
<v Speaker 2>Yes, indeed, so this is going on with the Truman

0:13:24.760 --> 0:13:29.240
<v Speaker 2>Show for nearly thirty years, ever since Truman was born.

0:13:29.800 --> 0:13:32.079
<v Speaker 2>So then we meet Truman Burbank played by Jim Carrey.

0:13:32.760 --> 0:13:36.680
<v Speaker 2>He's a very cheery guy, but he also seems to

0:13:36.720 --> 0:13:42.280
<v Speaker 2>be longing for something or someone. He's searching for a woman.

0:13:42.559 --> 0:13:45.080
<v Speaker 3>Much more than this professional life.

0:13:45.640 --> 0:13:49.880
<v Speaker 2>Yes, yes, he's searching for a woman named either Lauren

0:13:50.160 --> 0:13:53.400
<v Speaker 2>or maybe Sylvia. We'll find out more about that. He

0:13:53.440 --> 0:13:56.959
<v Speaker 2>feels very restless where he is. He yearns to leave

0:13:57.120 --> 0:14:02.280
<v Speaker 2>and go somewhere like Fiji, but he is intensely afraid

0:14:02.360 --> 0:14:06.000
<v Speaker 2>of boats and crossing bodies of water, so he feels

0:14:06.200 --> 0:14:10.439
<v Speaker 2>stuck on this small island where Sea Haven is. At

0:14:10.440 --> 0:14:13.079
<v Speaker 2>some point we get a flashback from when Truman was

0:14:13.120 --> 0:14:16.040
<v Speaker 2>a child where he and his dad went out on

0:14:16.080 --> 0:14:19.359
<v Speaker 2>a boat during a storm and his father fell overboard

0:14:19.440 --> 0:14:22.800
<v Speaker 2>and drowned. And that's why Truman is so petrified of water.

0:14:23.280 --> 0:14:25.680
<v Speaker 3>And when you know this is fake, because you find

0:14:25.680 --> 0:14:27.560
<v Speaker 3>out in the framing device at the beginning that everything

0:14:27.640 --> 0:14:30.760
<v Speaker 3>is fake. Yeah, I feel that sequence of Truman's dad

0:14:30.840 --> 0:14:34.200
<v Speaker 3>drowning reminds me so much of the Arrested development cutaways,

0:14:34.240 --> 0:14:35.000
<v Speaker 3>so like and.

0:14:34.840 --> 0:14:37.160
<v Speaker 4>That's why you always leave.

0:14:36.960 --> 0:14:40.480
<v Speaker 3>A note so goofy looking.

0:14:41.160 --> 0:14:41.400
<v Speaker 4>Duh.

0:14:42.480 --> 0:14:45.080
<v Speaker 2>And that's why you never go out on a boat

0:14:45.120 --> 0:14:46.120
<v Speaker 2>in a storm.

0:14:46.480 --> 0:14:49.840
<v Speaker 3>Right, a tiny dinghy with your child in the middle

0:14:49.880 --> 0:14:51.440
<v Speaker 3>of a storm. Oh man.

0:14:51.480 --> 0:14:54.680
<v Speaker 4>And that scene is wild because then it's also the

0:14:54.800 --> 0:14:57.080
<v Speaker 4>dad floats away and then a guy in a scuba

0:14:57.080 --> 0:14:59.520
<v Speaker 4>suit comes up and just gives them like a little oxygen,

0:14:59.560 --> 0:15:03.800
<v Speaker 4>and he's that he had to just betray his adopted son.

0:15:04.880 --> 0:15:05.720
<v Speaker 3>It's so dark.

0:15:06.000 --> 0:15:08.520
<v Speaker 2>The Yeah, I interpreted it that he was mad that

0:15:08.600 --> 0:15:10.920
<v Speaker 2>his character got killed off and he's out of work.

0:15:11.400 --> 0:15:12.640
<v Speaker 4>Yeah, well probably not soo.

0:15:13.200 --> 0:15:15.840
<v Speaker 3>There's there's a lot of like interesting stuff with the

0:15:16.160 --> 0:15:19.240
<v Speaker 3>like how do the actors feel about that? I don't know.

0:15:19.320 --> 0:15:23.160
<v Speaker 3>I would watch a whole separate movie about the actors.

0:15:23.960 --> 0:15:27.240
<v Speaker 2>And we meet some of these actors, such as the

0:15:27.320 --> 0:15:31.920
<v Speaker 2>person who plays his wife Meryl. Although that's her character's name,

0:15:32.000 --> 0:15:35.000
<v Speaker 2>I forget what like. He name's Hannah Hannah McGill, I

0:15:35.000 --> 0:15:38.680
<v Speaker 2>think played by Laura Lenny. So it's an actor playing

0:15:38.680 --> 0:15:40.160
<v Speaker 2>an actor playing a character.

0:15:40.320 --> 0:15:43.040
<v Speaker 4>And she's so good in this that I did not

0:15:43.360 --> 0:15:48.800
<v Speaker 4>like Laura Lenni for probably fifteen years because of how

0:15:48.880 --> 0:15:51.760
<v Speaker 4>much I hated the character of Meryl. She disturbed me

0:15:51.880 --> 0:15:53.360
<v Speaker 4>to my core in this movie.

0:15:53.480 --> 0:15:54.320
<v Speaker 2>She's spooky.

0:15:54.760 --> 0:15:56.720
<v Speaker 4>Yeah, like that you could make that you could live

0:15:56.760 --> 0:15:58.960
<v Speaker 4>a life, a complete fake life with somebody that you

0:15:58.960 --> 0:16:01.760
<v Speaker 4>said you love like that, Like really, as a eighth

0:16:01.760 --> 0:16:05.800
<v Speaker 4>grade Brandy really was like, I can't that's a possibility.

0:16:05.800 --> 0:16:07.160
<v Speaker 4>It can't even allow to be real.

0:16:08.280 --> 0:16:11.880
<v Speaker 3>It's so scary. Yeah, yeah, she's she's incredible. There's a

0:16:11.880 --> 0:16:13.400
<v Speaker 3>lot of we can talk about it in a bit,

0:16:13.400 --> 0:16:15.960
<v Speaker 3>but there was like some I when I was doing

0:16:16.040 --> 0:16:18.360
<v Speaker 3>some research, like the actors were given a lot of

0:16:18.400 --> 0:16:21.920
<v Speaker 3>freedom to write their own backstories, and Laura Lenny came

0:16:22.000 --> 0:16:27.040
<v Speaker 3>up with the like some really scary shit an that

0:16:27.200 --> 0:16:30.080
<v Speaker 3>like you wouldn't know because I think she's not in

0:16:30.120 --> 0:16:33.280
<v Speaker 3>the movie enough, but like she really cooked.

0:16:34.680 --> 0:16:36.400
<v Speaker 2>Yeah, I need to read more about that.

0:16:36.760 --> 0:16:37.960
<v Speaker 4>Yeah, that's really cool.

0:16:38.760 --> 0:16:42.560
<v Speaker 2>So we meet Meryl. We also meet the actor who

0:16:42.600 --> 0:16:48.440
<v Speaker 2>plays Truman's best friend and then his character, Marlin, played

0:16:48.440 --> 0:16:52.920
<v Speaker 2>by Noah Emmerick, and the two of them, Meryll and

0:16:52.960 --> 0:16:58.400
<v Speaker 2>Marlin are always plugging products like kitchen utensils or ice

0:16:58.480 --> 0:17:03.280
<v Speaker 2>cold Bruce Ki's because they have to advertise things within

0:17:03.640 --> 0:17:08.240
<v Speaker 2>the show. And this happens at Truman and he's always

0:17:08.320 --> 0:17:14.600
<v Speaker 2>like okay, and then Truman starts to notice other strange things,

0:17:14.640 --> 0:17:18.399
<v Speaker 2>such as what appears to be a large movie set

0:17:18.480 --> 0:17:22.040
<v Speaker 2>light falls from the sky right next to him. It

0:17:22.240 --> 0:17:25.920
<v Speaker 2>starts pouring rain on him, but only a tiny little section.

0:17:26.000 --> 0:17:30.040
<v Speaker 2>At first, he sees an unhoused man who he thinks

0:17:30.280 --> 0:17:32.840
<v Speaker 2>is his father on the street, but then this man

0:17:32.960 --> 0:17:36.440
<v Speaker 2>is promptly grabbed away and put onto a bus, And

0:17:36.520 --> 0:17:41.760
<v Speaker 2>so Truman talks to his mom played by Holland Taylor.

0:17:41.840 --> 0:17:44.480
<v Speaker 2>Again his fake mom love her about all of this,

0:17:44.800 --> 0:17:49.760
<v Speaker 2>and she brushes it off because her role, his wife's role,

0:17:49.800 --> 0:17:53.000
<v Speaker 2>his best friend's role, is not only to advertise things

0:17:53.040 --> 0:17:57.560
<v Speaker 2>in the show, but also to gaslight Truman and maintain

0:17:57.920 --> 0:18:03.840
<v Speaker 2>this facade. Then we get more insight about the Lauren

0:18:04.000 --> 0:18:08.160
<v Speaker 2>slash Sylvia person and we flash back to when Truman

0:18:08.520 --> 0:18:11.000
<v Speaker 2>was I don't know if he's in high school or college,

0:18:11.119 --> 0:18:17.719
<v Speaker 2>but a woman named Lauren played by Natasha mcelhun catches

0:18:17.760 --> 0:18:21.960
<v Speaker 2>his eye, but clearly Christoph again, the guy who's the

0:18:21.960 --> 0:18:26.280
<v Speaker 2>brains behind the Truman show, cast Meryl to be Truman's

0:18:26.320 --> 0:18:30.440
<v Speaker 2>love interest, so there's this forced meet cute between Truman

0:18:30.600 --> 0:18:35.399
<v Speaker 2>and Meryl, and Lauren isn't supposed to be heavily involved

0:18:35.400 --> 0:18:39.240
<v Speaker 2>in Truman's life, but he keeps trying to pursue Lauren

0:18:39.960 --> 0:18:43.439
<v Speaker 2>and asks her out, and they sneak off to the beach,

0:18:43.840 --> 0:18:47.760
<v Speaker 2>where she tells him that everyone around him is pretending

0:18:47.800 --> 0:18:50.520
<v Speaker 2>everything is fake. It's a show that everyone is watching.

0:18:50.880 --> 0:18:54.359
<v Speaker 2>Her name isn't Lauren, it's actually Sylvia. And then a

0:18:54.400 --> 0:18:57.840
<v Speaker 2>man pretending to be her father shows up, excuses her

0:18:57.880 --> 0:19:01.440
<v Speaker 2>behavior as mental illness, and then drags her away, saying

0:19:01.480 --> 0:19:03.960
<v Speaker 2>that they're moving to Fiji, which is why Truman is

0:19:04.000 --> 0:19:09.440
<v Speaker 2>so obsessed with going to Fiji. But every time Truman

0:19:09.680 --> 0:19:14.960
<v Speaker 2>talks about traveling or wanting to travel, various characters make

0:19:15.200 --> 0:19:20.480
<v Speaker 2>excuses they continue to gaslight him. Meanwhile, more strange things

0:19:20.520 --> 0:19:24.679
<v Speaker 2>are happening. Truman hears a radio broadcast in his car

0:19:25.040 --> 0:19:27.560
<v Speaker 2>that seems to be narrating his every move.

0:19:28.160 --> 0:19:30.760
<v Speaker 3>I had a I'm curious what you both think about this,

0:19:30.880 --> 0:19:33.639
<v Speaker 3>or maybe I just missed something. This does seem like

0:19:33.680 --> 0:19:35.880
<v Speaker 3>the kind of movie you have to watch like twenty

0:19:36.040 --> 0:19:39.159
<v Speaker 3>two times. I watched it twice, but I was like,

0:19:39.480 --> 0:19:42.040
<v Speaker 3>maybe this is maybe real. Heads will know. What is

0:19:42.080 --> 0:19:44.840
<v Speaker 3>the reason do you think that things get so sloppy

0:19:45.040 --> 0:19:48.440
<v Speaker 3>around this point? Because it's so many things in a row,

0:19:48.480 --> 0:19:50.359
<v Speaker 3>and maybe it's just like a movie that feels like

0:19:50.400 --> 0:19:52.320
<v Speaker 3>a movie. But I was like, wow, they keep this

0:19:52.480 --> 0:19:54.560
<v Speaker 3>They keep this shit up for thirty years, and then

0:19:54.600 --> 0:19:57.760
<v Speaker 3>in a couple weeks, I'm like, who got fired? Like

0:19:59.680 --> 0:20:02.040
<v Speaker 3>just it's like, this show is a mess.

0:20:02.080 --> 0:20:03.280
<v Speaker 4>I hired a bunch of scabs.

0:20:03.760 --> 0:20:08.200
<v Speaker 3>I think, yeah, verizing, I do like there there could

0:20:08.240 --> 0:20:09.920
<v Speaker 3>have been like a fun and it seems like there

0:20:09.960 --> 0:20:11.560
<v Speaker 3>was a lot about this. There's a lot of like

0:20:11.920 --> 0:20:15.320
<v Speaker 3>deep lore done around the Truman Show that doesn't necessarily

0:20:15.359 --> 0:20:16.920
<v Speaker 3>make it to the screen. But I'm like, I wonder

0:20:16.960 --> 0:20:19.960
<v Speaker 3>if there is a reason somewhere of like because there

0:20:19.960 --> 0:20:23.040
<v Speaker 3>could be a million external, interesting in world reasons why

0:20:23.040 --> 0:20:24.960
<v Speaker 3>all of a sudden things are getting sloppy. That could

0:20:25.000 --> 0:20:26.680
<v Speaker 3>be like a union thing. I don't know. I just

0:20:26.960 --> 0:20:28.679
<v Speaker 3>I was like, did I miss something? Did they explain

0:20:28.720 --> 0:20:31.200
<v Speaker 3>why all of a sudden the show is like kind

0:20:31.240 --> 0:20:31.920
<v Speaker 3>of a disaster.

0:20:32.640 --> 0:20:35.320
<v Speaker 2>They don't explain it. But I guess my head canon

0:20:35.440 --> 0:20:38.440
<v Speaker 2>is that probably a lot of little mishaps have been

0:20:38.480 --> 0:20:41.560
<v Speaker 2>going on this entire time. It's just that now Truman

0:20:41.720 --> 0:20:46.280
<v Speaker 2>is starting paying attention sure and connecting the dots that's

0:20:46.359 --> 0:20:47.200
<v Speaker 2>my Okay.

0:20:46.960 --> 0:20:48.000
<v Speaker 3>I guess got it.

0:20:48.080 --> 0:20:48.960
<v Speaker 4>Yeah, I think so too.

0:20:49.040 --> 0:20:52.200
<v Speaker 2>Yeah, so yeah, Truman, here's this radio broadcast that seems

0:20:52.240 --> 0:20:56.480
<v Speaker 2>to be about him. He almost accidentally walks into what

0:20:56.640 --> 0:21:01.840
<v Speaker 2>seems like a like backstage craft survey area that is

0:21:01.880 --> 0:21:03.320
<v Speaker 2>disguised as an elevator.

0:21:03.440 --> 0:21:06.320
<v Speaker 4>Well, and he does that because he breaks his routine.

0:21:06.359 --> 0:21:08.320
<v Speaker 4>And I think that's probably part of it too, Jamie,

0:21:08.480 --> 0:21:11.399
<v Speaker 4>because then people are so used to him just doing

0:21:11.400 --> 0:21:14.040
<v Speaker 4>the routine that when he starts breaking it, I think

0:21:14.040 --> 0:21:16.280
<v Speaker 4>that's when the fuck ups start happening more and more too,

0:21:16.720 --> 0:21:18.720
<v Speaker 4>because they're like, whoa, we don't know what to do

0:21:18.960 --> 0:21:21.480
<v Speaker 4>with this guy that now is becoming uncontainable.

0:21:21.560 --> 0:21:25.000
<v Speaker 2>He's going off script, yeah right, And so he's like,

0:21:25.119 --> 0:21:27.440
<v Speaker 2>what the hell is going on? So he starts doing

0:21:27.440 --> 0:21:30.200
<v Speaker 2>some kind of like wacky stuff like running out into

0:21:30.280 --> 0:21:33.359
<v Speaker 2>the street and stopping traffic, basically seeing what he can

0:21:33.400 --> 0:21:36.560
<v Speaker 2>get away with, but no one seems to pay him

0:21:36.680 --> 0:21:40.159
<v Speaker 2>any mind, which is also weird. So he's like, Okay,

0:21:40.200 --> 0:21:44.119
<v Speaker 2>something's up, and he goes to Marlin to be like, Okay,

0:21:44.240 --> 0:21:47.640
<v Speaker 2>I think there's a conspiracy happening, but he thinks it's

0:21:47.640 --> 0:21:50.199
<v Speaker 2>about his dad, that maybe his dad is still alive.

0:21:51.119 --> 0:21:54.720
<v Speaker 2>Marlin of course gaslights him and says, oh, your cuckoo,

0:21:54.800 --> 0:21:59.000
<v Speaker 2>everything is normal. And then one day Truman follows Meryll

0:21:59.119 --> 0:22:02.960
<v Speaker 2>to work because because he suspects that she's lying about

0:22:03.000 --> 0:22:08.359
<v Speaker 2>her nurse job at the hospital, and sure enough, the

0:22:08.400 --> 0:22:12.080
<v Speaker 2>operation that he tries to observe seems sketchy as hell.

0:22:12.280 --> 0:22:15.920
<v Speaker 3>It's so funny, just the idea.

0:22:15.720 --> 0:22:19.160
<v Speaker 4>Of actors being like, just all go with it.

0:22:20.320 --> 0:22:26.000
<v Speaker 2>I'm going to make the primary incision. So this prompts

0:22:26.080 --> 0:22:30.119
<v Speaker 2>him to try to leave for Fiji, but oh no,

0:22:30.160 --> 0:22:32.880
<v Speaker 2>there aren't any flights. So he gets onto a bus

0:22:32.960 --> 0:22:37.760
<v Speaker 2>to Chicago that quote unquote breaks down, so he's like,

0:22:37.800 --> 0:22:41.040
<v Speaker 2>fuck it, I'll just drive somewhere. So he has Merrill

0:22:41.160 --> 0:22:43.480
<v Speaker 2>get in his car and he starts kind of like

0:22:43.600 --> 0:22:49.160
<v Speaker 2>erradically driving around. There are all these clearly fabricated obstacles,

0:22:49.359 --> 0:22:54.480
<v Speaker 2>including fake traffic and a nuclear power plant leak.

0:22:54.720 --> 0:22:58.439
<v Speaker 3>I was like, there was a fair amount of stop

0:22:58.480 --> 0:23:01.760
<v Speaker 3>gaps in place. There's about half a mile of error

0:23:01.800 --> 0:23:03.360
<v Speaker 3>space that was pretty.

0:23:03.080 --> 0:23:08.119
<v Speaker 4>Unpressed, just like him running through the woods trying to

0:23:08.119 --> 0:23:10.399
<v Speaker 4>get away from the nuclear power plant to just it

0:23:10.480 --> 0:23:14.159
<v Speaker 4>really reminded me of et being just like captured.

0:23:15.600 --> 0:23:19.400
<v Speaker 2>Totally, and so he ends up nearly getting arrested and

0:23:19.440 --> 0:23:23.560
<v Speaker 2>taken back home, and he's demanding to know what's going on,

0:23:24.080 --> 0:23:28.320
<v Speaker 2>and again Merrill is gaslighting him, but she's also freaking

0:23:28.359 --> 0:23:33.080
<v Speaker 2>out and she's scared for her safety and like talks

0:23:33.119 --> 0:23:37.119
<v Speaker 2>to camera almost but then Marlin shows up. All of

0:23:37.119 --> 0:23:41.760
<v Speaker 2>a sudden, things kind of calm down. Truman confides in Marlin,

0:23:42.760 --> 0:23:46.920
<v Speaker 2>and we realize that it's christof feeding Marlin lines through

0:23:47.080 --> 0:23:53.200
<v Speaker 2>an earpiece from like Truman Show Control Center. Q. Yeah,

0:23:53.240 --> 0:23:56.600
<v Speaker 2>where Paul Giamatti is there. I kind of forgot he

0:23:56.680 --> 0:23:57.359
<v Speaker 2>was in this movie.

0:23:57.680 --> 0:23:58.880
<v Speaker 3>Bab Oh.

0:24:00.680 --> 0:24:04.240
<v Speaker 2>He's like a technician of some kind who does different

0:24:04.240 --> 0:24:07.560
<v Speaker 2>things to like control different cameras and manipulate the weather

0:24:07.720 --> 0:24:08.520
<v Speaker 2>and stuff like that.

0:24:08.880 --> 0:24:11.480
<v Speaker 3>It's like that baby Paul Giabody, We're fully talking about

0:24:11.480 --> 0:24:15.720
<v Speaker 3>a thirty five year old man, like, oh, baby Paul.

0:24:15.760 --> 0:24:17.560
<v Speaker 3>It's like when we talk about baby Holland Taylor, We're

0:24:17.600 --> 0:24:20.600
<v Speaker 3>like she was fifty yeah, right.

0:24:22.280 --> 0:24:28.000
<v Speaker 2>Yes, And then Truman's father shows up and there's like

0:24:28.080 --> 0:24:32.280
<v Speaker 2>this big dramatic reunion, but it is clearly to divert

0:24:32.359 --> 0:24:36.440
<v Speaker 2>Truman's attention away from the actual conspiracy that he's starting

0:24:36.480 --> 0:24:40.480
<v Speaker 2>to uncover, and Truman and his dad have a very

0:24:40.640 --> 0:24:45.439
<v Speaker 2>tearful reunion. And also we are periodically cutting to the

0:24:45.440 --> 0:24:48.080
<v Speaker 2>people at home who are watching the Truman Show.

0:24:48.440 --> 0:24:52.480
<v Speaker 3>There's a Truman bar. There's a bar, but I found

0:24:52.600 --> 0:24:54.879
<v Speaker 3>very fun. That's like, of course that would exist.

0:24:54.960 --> 0:24:58.600
<v Speaker 2>Yeah, I love a gimmicky bar. I would absolutely go.

0:24:58.640 --> 0:24:59.880
<v Speaker 3>To that Truman bar.

0:25:00.119 --> 0:25:01.680
<v Speaker 4>Definitely get that merch.

0:25:01.880 --> 0:25:02.120
<v Speaker 2>Yeah.

0:25:02.160 --> 0:25:05.280
<v Speaker 3>I've been to more ill conceived bars than that.

0:25:05.920 --> 0:25:07.920
<v Speaker 2>Oh my gosh, I've been to it, for sure. I've

0:25:07.920 --> 0:25:10.040
<v Speaker 2>been to a Titanic themed bar. I've been to a

0:25:10.040 --> 0:25:14.720
<v Speaker 2>big Lebowski themed bar, into a Beetle Juice pop bar.

0:25:14.880 --> 0:25:15.240
<v Speaker 1>Bars.

0:25:15.680 --> 0:25:19.200
<v Speaker 3>Yeah, there's the unlicensed Star Wars bar on Hollywood.

0:25:19.359 --> 0:25:21.399
<v Speaker 2>Oh yeah.

0:25:21.520 --> 0:25:24.080
<v Speaker 4>There used to be an Austin Powers bar and I

0:25:24.119 --> 0:25:24.680
<v Speaker 4>went to that too.

0:25:25.320 --> 0:25:28.760
<v Speaker 3>Yeah yeah, yeah, I love all these This is this

0:25:28.840 --> 0:25:29.600
<v Speaker 3>is our culture.

0:25:32.240 --> 0:25:34.640
<v Speaker 4>I was thinking of watching this. I was like, when

0:25:34.640 --> 0:25:37.679
<v Speaker 4>this when this show ends, I wonder if there is

0:25:37.720 --> 0:25:39.679
<v Speaker 4>like a in this world, like a version of a

0:25:39.760 --> 0:25:42.240
<v Speaker 4>Jake Tapper that shows up to try to change the

0:25:42.240 --> 0:25:44.920
<v Speaker 4>Truman bar something else.

0:25:44.920 --> 0:25:47.920
<v Speaker 3>Wait, rescuing the bar. Rescue guy.

0:25:48.200 --> 0:25:52.120
<v Speaker 4>Oh okay, oh yeah yeah, sorry, quite right.

0:25:53.200 --> 0:25:55.200
<v Speaker 2>But anyway, so we know we we see the different

0:25:55.200 --> 0:25:59.760
<v Speaker 2>audience members who are diligently watching the program that is

0:25:59.800 --> 0:26:04.040
<v Speaker 2>The Truman Show, one of whom is Lauren aka Sylvia,

0:26:04.760 --> 0:26:09.800
<v Speaker 2>who watches with bated breath. Then we get a kind

0:26:09.800 --> 0:26:14.800
<v Speaker 2>of like news report slash. Harry Shearer is interviewing Christoph

0:26:15.000 --> 0:26:19.040
<v Speaker 2>about the show. Christoph talks about all the ways that

0:26:19.080 --> 0:26:24.200
<v Speaker 2>he's had to manufacture ways to keep Truman on the

0:26:24.240 --> 0:26:28.000
<v Speaker 2>set that is Sea Haven Island, which is why he

0:26:28.080 --> 0:26:31.119
<v Speaker 2>killed off Truman's dad by drowning him at sea to

0:26:31.160 --> 0:26:36.800
<v Speaker 2>sort of induce this phobia of water in Truman. Christoph

0:26:36.840 --> 0:26:41.600
<v Speaker 2>also discloses that Truman was the result of an unwanted

0:26:41.640 --> 0:26:45.040
<v Speaker 2>pregnancy and that he was, to your comment earlier, Jamie,

0:26:45.320 --> 0:26:49.080
<v Speaker 2>the first child to be adopted by a corporation. And

0:26:49.080 --> 0:26:53.600
<v Speaker 2>then Sylvia calls in and brates Christoph for being a

0:26:53.720 --> 0:26:58.480
<v Speaker 2>liar and manipulator and making Truman this prisoner. But Christoph

0:26:58.560 --> 0:27:02.199
<v Speaker 2>insists that Truman could leave whenever he wants and that

0:27:02.240 --> 0:27:04.600
<v Speaker 2>the life that Christoph has given him is better than

0:27:04.640 --> 0:27:08.879
<v Speaker 2>any life Truman could have in the real world. And

0:27:08.920 --> 0:27:12.399
<v Speaker 2>then we cut back to Truman's life. He seems to

0:27:12.440 --> 0:27:17.200
<v Speaker 2>have returned to his you know, normal cheerful self despite

0:27:17.280 --> 0:27:21.000
<v Speaker 2>Meryll having left him, so that Christoph can introduce a

0:27:21.119 --> 0:27:25.159
<v Speaker 2>new love interest for Truman. So basically, Laura Lenny's character

0:27:25.240 --> 0:27:28.040
<v Speaker 2>is written out of the movie from that point on.

0:27:28.160 --> 0:27:33.119
<v Speaker 3>Yeah, she's gonna go off Broadway. I do, I really

0:27:33.160 --> 0:27:37.439
<v Speaker 3>do wish that we found out what became of that character. Ye,

0:27:37.800 --> 0:27:41.919
<v Speaker 3>Laura Lenny's really quickly. This is well, I'll save a

0:27:41.960 --> 0:27:44.119
<v Speaker 3>bit of it because we have to talk about like

0:27:44.240 --> 0:27:48.639
<v Speaker 3>the consent as it is conceived in this world. But

0:27:49.040 --> 0:27:52.160
<v Speaker 3>Laura Lenny's head cannon for Hannah because I guess her

0:27:52.280 --> 0:27:56.680
<v Speaker 3>and Noah Emmerick, they I mean, they're important in the movie,

0:27:56.680 --> 0:27:58.840
<v Speaker 3>but they had a lot of downtime and so they

0:27:58.920 --> 0:28:01.600
<v Speaker 3>just like wrote these elaborateories. They were also living in

0:28:01.640 --> 0:28:05.560
<v Speaker 3>the homes that they, like most of the actors were

0:28:05.600 --> 0:28:09.040
<v Speaker 3>living in the homes that their characters lived in. And

0:28:09.080 --> 0:28:12.560
<v Speaker 3>so for Hannah, she conceived this whole backstory that like,

0:28:13.080 --> 0:28:17.360
<v Speaker 3>Hannah does the most product placement because she does backdoor

0:28:17.400 --> 0:28:20.520
<v Speaker 3>deals herself, and she's saving up money so is that

0:28:20.560 --> 0:28:24.000
<v Speaker 3>she can afford to leave the show. That's her whole

0:28:24.240 --> 0:28:27.520
<v Speaker 3>And then there's some like pretty diabolical stuff that we'll

0:28:27.560 --> 0:28:30.240
<v Speaker 3>get into when we talk about consent. But okay, anyways, yeah,

0:28:30.280 --> 0:28:32.680
<v Speaker 3>she had she had a whole she she thought more

0:28:32.720 --> 0:28:34.840
<v Speaker 3>about Hannah than maybe the script of the movie did.

0:28:35.720 --> 0:28:39.160
<v Speaker 3>But it's a fascinating character because it's like they what

0:28:39.560 --> 0:28:44.080
<v Speaker 3>theoretically she and Noah Emrick's character Lewis right, like Marl

0:28:44.280 --> 0:28:47.239
<v Speaker 3>Marlon Marlon Marlin, they've been on the show since they

0:28:47.240 --> 0:28:49.880
<v Speaker 3>were children. So it's like, what is that.

0:28:50.000 --> 0:28:50.200
<v Speaker 4>You know?

0:28:50.240 --> 0:28:52.240
<v Speaker 3>I know that they're that the movie would sort of

0:28:52.240 --> 0:28:55.280
<v Speaker 3>have you feel that they're villains, but it's like I

0:28:55.640 --> 0:28:58.320
<v Speaker 3>find them like sympathetic to some extent too, because it's

0:28:58.360 --> 0:29:01.280
<v Speaker 3>like they it's it's clear to me how much they

0:29:01.320 --> 0:29:03.120
<v Speaker 3>signed up for this, you know.

0:29:03.200 --> 0:29:04.040
<v Speaker 2>This is all they know?

0:29:04.520 --> 0:29:06.960
<v Speaker 4>Yeah, definitely, I mean Marlon is I mean they were

0:29:07.160 --> 0:29:09.760
<v Speaker 4>more best friends when they were seven, right, those when

0:29:09.800 --> 0:29:11.640
<v Speaker 4>they met and became best friends, And it's like, so

0:29:11.760 --> 0:29:15.360
<v Speaker 4>you're a child actor. Honestly, I has only ever known this,

0:29:15.720 --> 0:29:16.520
<v Speaker 4>like right.

0:29:16.400 --> 0:29:17.640
<v Speaker 2>I didn't even think about that.

0:29:17.880 --> 0:29:21.000
<v Speaker 3>And he answers to ed Hiris like God as well,

0:29:21.040 --> 0:29:23.160
<v Speaker 3>like of course he does. It's all he knows. So

0:29:23.240 --> 0:29:25.880
<v Speaker 3>I don't know. I think I especially in the second watch,

0:29:25.920 --> 0:29:28.320
<v Speaker 3>I'm like I think Noah emeriic, especially because just because

0:29:28.320 --> 0:29:31.240
<v Speaker 3>he gets worse green time is doing something so like

0:29:32.240 --> 0:29:34.560
<v Speaker 3>nuance that I didn't pick up on and the first time.

0:29:34.560 --> 0:29:36.240
<v Speaker 3>But you're like, yeah, of course this is all this

0:29:36.320 --> 0:29:41.080
<v Speaker 3>guy knows, like he's doing something horrible. But also do

0:29:41.120 --> 0:29:43.040
<v Speaker 3>you see the picture of that little kid and you're like,

0:29:44.000 --> 0:29:45.720
<v Speaker 3>she's supposed to do Yeah.

0:29:45.560 --> 0:29:49.840
<v Speaker 2>I know, a product of his environment. Yeah, okay, So

0:29:52.320 --> 0:29:55.920
<v Speaker 2>Truman seems back to normal, and it appears as though

0:29:55.960 --> 0:30:01.320
<v Speaker 2>he no longer suspects anything unusual is happening, just kidding.

0:30:01.960 --> 0:30:05.520
<v Speaker 2>We discover that he has staged a scene in his

0:30:05.600 --> 0:30:09.600
<v Speaker 2>basement to make it look like he's sleeping, but really

0:30:09.600 --> 0:30:13.440
<v Speaker 2>it's like just a lumpy blanket and like a tape recorder.

0:30:13.520 --> 0:30:19.800
<v Speaker 3>It's a classic honk shim is seed. I'm like, I'm like, Christoph,

0:30:19.880 --> 0:30:20.160
<v Speaker 3>how did.

0:30:20.080 --> 0:30:22.760
<v Speaker 4>You miss him recording himself snoring for hours?

0:30:23.080 --> 0:30:27.400
<v Speaker 2>It is for thirty years, pal, come on, Yeah, the

0:30:27.440 --> 0:30:30.000
<v Speaker 2>man has no privacy. You know everything he's doing.

0:30:30.040 --> 0:30:32.960
<v Speaker 3>But it's paulgi I guess it's Paul Giovanni's fault, that's right.

0:30:33.120 --> 0:30:36.560
<v Speaker 3>Like they're like, Paul Giamatti wasn't wasn't paying attention to

0:30:36.560 --> 0:30:37.800
<v Speaker 3>sleeping on the job or whatever.

0:30:38.000 --> 0:30:41.800
<v Speaker 2>Yeah, yeah, yes, anyway, Truman escapes through a hole that

0:30:41.880 --> 0:30:45.880
<v Speaker 2>he dug in his yard. So Christoph cuts the transmission

0:30:45.880 --> 0:30:49.520
<v Speaker 2>of the Truman Show while the principal cast and extras

0:30:50.080 --> 0:30:52.840
<v Speaker 2>look for Truman around the set, but no one can

0:30:52.880 --> 0:30:56.560
<v Speaker 2>find him. And then Christoph realizes that no one's looking

0:30:56.600 --> 0:31:01.040
<v Speaker 2>for him on the sea, which is where Truman turns

0:31:01.040 --> 0:31:04.520
<v Speaker 2>out to be. He's facing his fear of the water

0:31:04.760 --> 0:31:09.720
<v Speaker 2>and leaving the island on a sailboat, so Christoph orders

0:31:09.840 --> 0:31:14.840
<v Speaker 2>a violent thunderstorm to try to stop Truman, who falls overboard.

0:31:14.920 --> 0:31:20.000
<v Speaker 2>It seems like maybe he dies, but Truman lives and

0:31:20.520 --> 0:31:24.600
<v Speaker 2>his boat then crashes into a wall. It's like the

0:31:24.720 --> 0:31:26.360
<v Speaker 2>edge of the set that shot.

0:31:26.640 --> 0:31:27.440
<v Speaker 4>Oh my god.

0:31:27.680 --> 0:31:35.840
<v Speaker 2>Oh yeah. So he finds a door and he's about

0:31:35.880 --> 0:31:38.400
<v Speaker 2>to go through it, but then Christoph, who sounds like

0:31:38.440 --> 0:31:42.440
<v Speaker 2>the voice of God like coming from above, starts talking

0:31:42.520 --> 0:31:45.520
<v Speaker 2>to Truman and trying to convince him to stay, but

0:31:45.800 --> 0:31:49.920
<v Speaker 2>Truman's like bye. He does his famous good morning and in

0:31:49.960 --> 0:31:52.080
<v Speaker 2>case I don't see you, good afternoon, good evening, and

0:31:52.120 --> 0:31:55.880
<v Speaker 2>good night, and then he exits through the door, and

0:31:55.960 --> 0:31:59.600
<v Speaker 2>so Truman is free. The audience watching at home is

0:31:59.720 --> 0:32:04.640
<v Speaker 2>thrilled for him, Sylvia runs out to presumably reunite with him,

0:32:05.520 --> 0:32:08.960
<v Speaker 2>and Christoph is like, oh fuck.

0:32:09.520 --> 0:32:14.640
<v Speaker 3>Oh but and I love the last line. It's so good,

0:32:14.760 --> 0:32:19.160
<v Speaker 3>like the what else is on? It's so good, so good.

0:32:20.760 --> 0:32:22.680
<v Speaker 4>It reminds me of a lot of Are we all

0:32:22.720 --> 0:32:23.560
<v Speaker 4>seen Cable Guy?

0:32:24.200 --> 0:32:26.120
<v Speaker 3>No, actually, that's one of the ones that I've seen.

0:32:27.320 --> 0:32:31.080
<v Speaker 4>I mean, it's great, it's it's it's it's kind of like.

0:32:31.760 --> 0:32:34.520
<v Speaker 4>I think they're honestly a very good pairing together because

0:32:34.600 --> 0:32:37.760
<v Speaker 4>the Cable Guy also is about media consumption and is

0:32:37.760 --> 0:32:41.160
<v Speaker 4>incredibly critical of it. And the ending of that is

0:32:41.200 --> 0:32:43.520
<v Speaker 4>a little bit more hopeful actually, because they end up

0:32:43.920 --> 0:32:46.640
<v Speaker 4>cutting the power and then they don't have that moment,

0:32:46.680 --> 0:32:50.120
<v Speaker 4>which is nice but not to ruin cable that and

0:32:50.240 --> 0:32:52.840
<v Speaker 4>it doesn't at all. But I think that they're really

0:32:52.840 --> 0:32:54.040
<v Speaker 4>great companion pieces to me.

0:32:55.280 --> 0:32:58.320
<v Speaker 3>I mean the two Jim Carrey movies of this era

0:32:58.440 --> 0:33:01.400
<v Speaker 3>that I genuinely think I would like it, but haven't

0:33:01.400 --> 0:33:04.640
<v Speaker 3>seen our Cable Guy and liar liar, based on the descriptions,

0:33:04.800 --> 0:33:05.760
<v Speaker 3>they seem interesting.

0:33:05.960 --> 0:33:08.000
<v Speaker 2>Yeah, liar liar, I think I've said this before in

0:33:08.040 --> 0:33:10.040
<v Speaker 2>the show, but that was a big one of my childhood.

0:33:10.320 --> 0:33:14.360
<v Speaker 4>Yes, Liar Liar was huge for me.

0:33:14.720 --> 0:33:18.440
<v Speaker 2>Yeah, ye love it anyway, So that's the movie. Let's

0:33:18.480 --> 0:33:40.000
<v Speaker 2>take another quick break and we'll come back to discuss.

0:33:31.440 --> 0:33:35.400
<v Speaker 3>And we're back. We're back. Yeah, where to start, Brandy,

0:33:35.400 --> 0:33:36.800
<v Speaker 3>what's jumping out to you?

0:33:37.200 --> 0:33:39.840
<v Speaker 4>I mean, they're are just I rewatching it. I was like,

0:33:39.880 --> 0:33:42.680
<v Speaker 4>I'm gonna actually write down some quotes that really are

0:33:42.760 --> 0:33:45.160
<v Speaker 4>jumping out of me for the and looking at it

0:33:45.200 --> 0:33:47.200
<v Speaker 4>through a twenty twenty six lens, that it had been

0:33:47.320 --> 0:33:49.760
<v Speaker 4>a few years since I'd really watched it, and thinking

0:33:49.800 --> 0:33:54.320
<v Speaker 4>about our relationship with entertainment now and the Jamie said,

0:33:54.320 --> 0:33:56.480
<v Speaker 4>self surveillance, but also like the way that we have

0:33:56.680 --> 0:34:00.440
<v Speaker 4>all made ourselves these little like content king pins in

0:34:00.440 --> 0:34:03.280
<v Speaker 4>a certain way. Like Lord Lenning early in the movie

0:34:03.320 --> 0:34:05.640
<v Speaker 4>says that when they're interviewing the top says, there's no

0:34:05.680 --> 0:34:08.160
<v Speaker 4>difference between a private life or a public life to me,

0:34:08.680 --> 0:34:11.480
<v Speaker 4>and she's like proud of like this is just I

0:34:11.560 --> 0:34:14.160
<v Speaker 4>make my art, is my content all day long, twenty

0:34:14.160 --> 0:34:16.040
<v Speaker 4>four to seven and it and she calls it a

0:34:16.080 --> 0:34:20.799
<v Speaker 4>blessed life. Yeah, and I struggle with like the how

0:34:20.880 --> 0:34:22.880
<v Speaker 4>much of myself to put online all day long, all

0:34:22.880 --> 0:34:24.879
<v Speaker 4>the time. So just like I think that that's also

0:34:24.880 --> 0:34:28.440
<v Speaker 4>a part of her character that unnerves me to a degree,

0:34:28.680 --> 0:34:31.560
<v Speaker 4>you know, that the the leaning into it at all.

0:34:31.680 --> 0:34:36.120
<v Speaker 4>I remember there was like a moment during COVID very

0:34:36.120 --> 0:34:39.040
<v Speaker 4>early on where I got onto Instagram and there were

0:34:39.080 --> 0:34:43.080
<v Speaker 4>like thirty lives across the top of my stories, and

0:34:43.120 --> 0:34:45.640
<v Speaker 4>I was like, oh, so many people are just live

0:34:45.800 --> 0:34:49.480
<v Speaker 4>broadcasting anything right now. And I remember being like I

0:34:49.520 --> 0:34:53.000
<v Speaker 4>want nothing to do with that whatsoever. And I think

0:34:53.120 --> 0:34:54.800
<v Speaker 4>that this movie makes me think about.

0:34:54.560 --> 0:34:58.520
<v Speaker 3>That a lot. Totally. Yeah, absolutely. I thought the other

0:34:58.600 --> 0:35:00.640
<v Speaker 3>line from that beginning that I got to me is

0:35:00.880 --> 0:35:05.480
<v Speaker 3>Marlin's line of like it's all real, it's just controlled,

0:35:05.719 --> 0:35:08.919
<v Speaker 3>and like how that feels like connected to that same

0:35:08.960 --> 0:35:12.799
<v Speaker 3>conversation of like, yeah, since the Truman Show has come out,

0:35:12.840 --> 0:35:16.000
<v Speaker 3>like shortly after the Truman Show comes out, you have

0:35:16.200 --> 0:35:20.520
<v Speaker 3>the big wave of American reality television, which is all

0:35:20.560 --> 0:35:23.720
<v Speaker 3>tied in with union issues not wanting to pay writers,

0:35:23.840 --> 0:35:26.279
<v Speaker 3>and so it's like what's cheap exploited if TV we

0:35:26.320 --> 0:35:30.880
<v Speaker 3>can make And unfortunately it did create some some real hitters,

0:35:30.880 --> 0:35:35.440
<v Speaker 3>and like I can't argue with Survivor. Conceptually it's a

0:35:35.440 --> 0:35:39.480
<v Speaker 3>great idea, yeah, but quite evil, But like so the

0:35:39.480 --> 0:35:43.239
<v Speaker 3>the like the Ed Harris type producers, they still exist

0:35:43.520 --> 0:35:45.319
<v Speaker 3>in like the Andy Cohen's of the world, but now

0:35:45.320 --> 0:35:48.040
<v Speaker 3>it's like we've sort of cut out the Ed Harris middleman.

0:35:48.239 --> 0:35:51.719
<v Speaker 3>Like we do that for ourselves now, right, and like

0:35:51.800 --> 0:35:57.080
<v Speaker 3>we delude ourselves into being a main character and our

0:35:57.520 --> 0:36:01.840
<v Speaker 3>condition to feel frustrated when we when that's unsuccessful or

0:36:01.880 --> 0:36:04.319
<v Speaker 3>like I don't know, Yeah, it's this movie is like

0:36:04.520 --> 0:36:07.400
<v Speaker 3>endlessly relevant in a way that like it's not the

0:36:07.440 --> 0:36:10.839
<v Speaker 3>movie's fault, but it sucks. It sucks to be like true,

0:36:11.280 --> 0:36:14.759
<v Speaker 3>like it forecasts so much and also it just like

0:36:14.800 --> 0:36:16.839
<v Speaker 3>gets worse a worth.

0:36:17.680 --> 0:36:20.920
<v Speaker 2>Right, I mean, because there's so many conversations that we

0:36:21.040 --> 0:36:24.240
<v Speaker 2>could start to have from this movie. There's the obvious

0:36:24.239 --> 0:36:30.360
<v Speaker 2>conversation about how quote unquote Reality TV is not actually reality.

0:36:30.440 --> 0:36:33.239
<v Speaker 2>All these things are, all the dramas manufactured, all the

0:36:33.280 --> 0:36:38.120
<v Speaker 2>situations are manufactured. There's a conversation about how about product

0:36:38.120 --> 0:36:45.360
<v Speaker 2>placement and about how so much media is just there

0:36:45.440 --> 0:36:51.280
<v Speaker 2>to sell products or fill the space between commercials or whatever.

0:36:51.560 --> 0:36:54.640
<v Speaker 4>Well, and I think there's also like a a yearning

0:36:54.719 --> 0:36:57.960
<v Speaker 4>in society to see something real too, and you have

0:36:58.000 --> 0:37:00.400
<v Speaker 4>to be where does that come from? On us as people.

0:37:00.400 --> 0:37:04.040
<v Speaker 4>It's wanting to escape to see something real because we

0:37:04.360 --> 0:37:07.480
<v Speaker 4>feel so beat down by our everyday lives. Like what

0:37:07.600 --> 0:37:09.160
<v Speaker 4>is actual authenticity?

0:37:09.600 --> 0:37:09.839
<v Speaker 2>Yeah?

0:37:09.840 --> 0:37:12.279
<v Speaker 4>And people are so so hungry for it, and you

0:37:12.320 --> 0:37:15.759
<v Speaker 4>know they Kristav's character says at the end, you were real.

0:37:15.800 --> 0:37:17.879
<v Speaker 4>It's what made you so good to watch. And it's

0:37:18.000 --> 0:37:21.600
<v Speaker 4>just people just are like we I want to see authenticity.

0:37:21.800 --> 0:37:24.319
<v Speaker 4>I don't think I can live it myself, or I

0:37:24.320 --> 0:37:27.960
<v Speaker 4>don't I'm not on that level, but I'm urting for something.

0:37:28.480 --> 0:37:31.799
<v Speaker 3>Yeah. I even the idea of like the I've a

0:37:31.920 --> 0:37:34.960
<v Speaker 3>product placement existed before The Truman Show. But like so

0:37:35.120 --> 0:37:38.840
<v Speaker 3>much of what like they're all, Christoph is also selling

0:37:38.880 --> 0:37:44.200
<v Speaker 3>something larger, Like he's selling this regressive view of America

0:37:44.239 --> 0:37:47.320
<v Speaker 3>that didn't exist in like he lives in actual nineteen

0:37:47.400 --> 0:37:50.160
<v Speaker 3>ninety eight. They live in like nineteen fifty five, and

0:37:50.239 --> 0:37:53.640
<v Speaker 3>not even real nineteen fifty five, like television nineteen fifty five.

0:37:53.840 --> 0:37:56.440
<v Speaker 3>So he's also like selling all of that. He's selling

0:37:56.520 --> 0:38:01.520
<v Speaker 3>an idea of like this American lifestyle. On the second viewing,

0:38:01.520 --> 0:38:04.960
<v Speaker 3>I was like, oh yeah, this movie also was far ahead,

0:38:05.080 --> 0:38:07.879
<v Speaker 3>even though it's like the phrasing wasn't there, But like

0:38:08.360 --> 0:38:12.719
<v Speaker 3>the whole world has this parasocial relationship with Truman that

0:38:12.800 --> 0:38:15.720
<v Speaker 3>he has. I mean it's like obviously extreme because he

0:38:15.760 --> 0:38:18.839
<v Speaker 3>is not even aware that it exists. But that like

0:38:19.719 --> 0:38:21.840
<v Speaker 3>speaking to Yeah, what you were just saying Brandy about

0:38:21.840 --> 0:38:25.040
<v Speaker 3>like there is this like desire to see yourself where

0:38:25.760 --> 0:38:29.880
<v Speaker 3>I do believe that even though like whatever people at

0:38:29.920 --> 0:38:32.160
<v Speaker 3>the Truman Bar, like we would go to the Truman Bar,

0:38:32.320 --> 0:38:36.360
<v Speaker 3>even though by doing that you're participating in something pretty dark, right,

0:38:36.480 --> 0:38:39.319
<v Speaker 3>But I do believe that that normal people are rooting

0:38:39.400 --> 0:38:42.840
<v Speaker 3>for him and care about him, even though in doing so, there.

0:38:43.760 --> 0:38:49.279
<v Speaker 2>They're complicitly participating sinister. Right, everyone who is watching the

0:38:49.320 --> 0:38:54.640
<v Speaker 2>show is complicit to some degree in the exploitation of Truman.

0:38:55.400 --> 0:38:56.320
<v Speaker 3>And then you've.

0:38:56.080 --> 0:39:00.799
<v Speaker 2>Got some people and I'm thinking of the bathtub guy specifically,

0:39:01.360 --> 0:39:03.120
<v Speaker 2>just like does he ever leave his bath hub? But

0:39:03.200 --> 0:39:05.200
<v Speaker 2>like it seems like a lot of these audience members

0:39:05.239 --> 0:39:09.680
<v Speaker 2>are kind of like living vicariously through Truman. And yeah,

0:39:09.719 --> 0:39:14.680
<v Speaker 2>there's like the conversation around like celebrity worship, but Truman

0:39:14.719 --> 0:39:18.480
<v Speaker 2>doesn't even know he's a celebrity. Because there's this whole

0:39:18.560 --> 0:39:23.520
<v Speaker 2>issue with lack of informed consent. And that's another conversation

0:39:23.600 --> 0:39:27.360
<v Speaker 2>and just all of these all these things.

0:39:27.680 --> 0:39:31.680
<v Speaker 3>It's it's wild how much this movie like bites off

0:39:31.840 --> 0:39:36.120
<v Speaker 3>without ever feeling like super didactic or boring. It's kind

0:39:36.160 --> 0:39:39.480
<v Speaker 3>of a miracle that it's like really funny and fun

0:39:39.520 --> 0:39:43.080
<v Speaker 3>to watch. And yeah, I guess like that does sort

0:39:43.120 --> 0:39:46.400
<v Speaker 3>of just tumble right into the consent conversation where obviously

0:39:47.360 --> 0:39:51.480
<v Speaker 3>Truman never consents to any of this. He's you know,

0:39:51.840 --> 0:39:57.520
<v Speaker 3>living in a simulation. And I think it's probably for

0:39:57.600 --> 0:40:02.040
<v Speaker 3>the best that the movie doesn't get too into certain

0:40:02.120 --> 0:40:05.040
<v Speaker 3>issues of consent, because it gets that gets very scary.

0:40:05.080 --> 0:40:08.600
<v Speaker 3>I mean in Laura Linny's backstory, and this is again

0:40:08.640 --> 0:40:11.400
<v Speaker 3>I'm like, yeah, I'm glad they didn't include this, but

0:40:11.520 --> 0:40:14.239
<v Speaker 3>that they I mean that she was like, well, of

0:40:14.239 --> 0:40:16.680
<v Speaker 3>course these two characters have sex, and she gets a

0:40:16.760 --> 0:40:21.359
<v Speaker 3>raise every time he has sex with her, and like

0:40:21.480 --> 0:40:26.600
<v Speaker 3>she created this really fucked up backstory for how her

0:40:26.719 --> 0:40:30.759
<v Speaker 3>I mean her actor knowingly operates, and that she has

0:40:30.800 --> 0:40:35.080
<v Speaker 3>a marriage outside of this, and that she's to some extent,

0:40:35.400 --> 0:40:38.960
<v Speaker 3>I mean, assaulting Truman and some extent is being trafficked.

0:40:39.000 --> 0:40:41.840
<v Speaker 5>Like yeah, if you think about it too hard, it

0:40:41.880 --> 0:40:43.000
<v Speaker 5>gets so scary.

0:40:43.160 --> 0:40:44.520
<v Speaker 2>Everyone's being exploited.

0:40:44.880 --> 0:40:47.879
<v Speaker 4>Yeah, well, and they're trying for a baby too, right,

0:40:48.080 --> 0:40:51.759
<v Speaker 4>like Christoph wants the first own air conception number one

0:40:51.840 --> 0:40:55.239
<v Speaker 4>and like, which is just what a horrific phrase. And

0:40:55.280 --> 0:40:58.040
<v Speaker 4>then it's also like, so, now you've done the trauma

0:40:58.080 --> 0:41:01.040
<v Speaker 4>to a new baby that you're probably also going to

0:41:01.239 --> 0:41:03.160
<v Speaker 4>raise and it will never know. And then are you

0:41:03.239 --> 0:41:07.480
<v Speaker 4>actually it's you are it's mother biologically? Do you consider

0:41:07.520 --> 0:41:08.640
<v Speaker 4>that your child.

0:41:08.800 --> 0:41:12.080
<v Speaker 2>I know? Or is that just your character's child? Like

0:41:12.880 --> 0:41:14.279
<v Speaker 2>it's all such a mind fuck.

0:41:14.880 --> 0:41:17.560
<v Speaker 3>There was another Yeah that the thing I'm pulling from

0:41:17.560 --> 0:41:21.000
<v Speaker 3>here with the actors making up their characters who are

0:41:21.000 --> 0:41:24.680
<v Speaker 3>also actors backstory was a I found it's like basically

0:41:24.719 --> 0:41:27.840
<v Speaker 3>lost media, but someone ripped it from it aired on

0:41:27.920 --> 0:41:31.040
<v Speaker 3>nicked Night. It was called like true TV, and it

0:41:31.080 --> 0:41:34.600
<v Speaker 3>was just like BTS but in character BTS that aired

0:41:34.600 --> 0:41:36.120
<v Speaker 3>on nick at Night once. But you get a lot

0:41:36.160 --> 0:41:38.759
<v Speaker 3>of insight into how the actors were thinking at the time,

0:41:38.800 --> 0:41:41.960
<v Speaker 3>and like doing all these thought experiments where Holland Taylor

0:41:42.280 --> 0:41:44.719
<v Speaker 3>does this interview in character where she's like, yeah, we're

0:41:44.719 --> 0:41:46.839
<v Speaker 3>like the most famous actors on TV, but we're also

0:41:46.960 --> 0:41:51.080
<v Speaker 3>prisoners here and so I have forty million dollars and

0:41:51.120 --> 0:41:54.080
<v Speaker 3>I own all these properties. I've never been there, but

0:41:54.440 --> 0:41:58.000
<v Speaker 3>I hear it's amazing and like and like, to the

0:41:58.080 --> 0:42:00.280
<v Speaker 3>degree they've consented to be there seems to be different.

0:42:00.320 --> 0:42:03.080
<v Speaker 3>You would think that Hall and Taylor was old enough

0:42:03.120 --> 0:42:07.279
<v Speaker 3>to consent to be there, but yeah, Noah Emerick was

0:42:07.360 --> 0:42:09.040
<v Speaker 3>sort of put there.

0:42:09.400 --> 0:42:10.400
<v Speaker 2>Yeah as a kid.

0:42:10.760 --> 0:42:14.719
<v Speaker 3>Yeah, I don't know. It's it's all. It's also interesting.

0:42:14.880 --> 0:42:16.600
<v Speaker 4>Well and y'all you had to wonder, like how it's

0:42:16.600 --> 0:42:21.000
<v Speaker 4>pitched them too write It's like his mom was probably

0:42:21.000 --> 0:42:23.840
<v Speaker 4>what like she was probably in her mid to late thirties,

0:42:23.960 --> 0:42:27.080
<v Speaker 4>Like when, well, this role of a lifetime because they

0:42:27.160 --> 0:42:29.200
<v Speaker 4>never really knew exactly what this was going to be

0:42:29.280 --> 0:42:31.480
<v Speaker 4>at a certain point anyway, right, they kept expanding.

0:42:31.520 --> 0:42:33.640
<v Speaker 3>Yeah, and if it wasn't a hit, Yeah, what if

0:42:33.640 --> 0:42:35.279
<v Speaker 3>it wasn't And so.

0:42:35.440 --> 0:42:37.719
<v Speaker 4>There's probably some insane contract that she had no one,

0:42:37.840 --> 0:42:40.560
<v Speaker 4>it's an actress, she doesn't know what she necessarily signed

0:42:40.560 --> 0:42:43.640
<v Speaker 4>away completely at that point, and she's an aging actress

0:42:43.640 --> 0:42:45.920
<v Speaker 4>in Hollywood. It was like, oh, this role of a lifetime,

0:42:46.320 --> 0:42:49.239
<v Speaker 4>Why wouldn't you know? It's just the the levels of

0:42:50.080 --> 0:42:54.200
<v Speaker 4>people just trying to work within a system, just really

0:42:54.760 --> 0:42:57.120
<v Speaker 4>I Also I'd never actually noticed it until this time

0:42:57.160 --> 0:42:59.480
<v Speaker 4>because I had not watched it in a long time.

0:42:59.520 --> 0:43:02.640
<v Speaker 4>But they show the shot of the dome itself. It's

0:43:02.719 --> 0:43:06.120
<v Speaker 4>over the entire city of Burbank into like North Hollywood

0:43:06.160 --> 0:43:08.080
<v Speaker 4>because it's like right behind the Hollywood side, And I

0:43:08.160 --> 0:43:11.440
<v Speaker 4>was like the idea that they just like bought everybody

0:43:11.480 --> 0:43:15.520
<v Speaker 4>out of that part of the valley and just flooded it.

0:43:15.520 --> 0:43:17.280
<v Speaker 4>It really was making me think of like the Dodger

0:43:17.360 --> 0:43:21.560
<v Speaker 4>Stadium of it all. Really sure, you know, just like

0:43:21.600 --> 0:43:24.520
<v Speaker 4>this the displacement of so many families for the creation

0:43:24.680 --> 0:43:26.680
<v Speaker 4>of this like real life.

0:43:27.280 --> 0:43:30.440
<v Speaker 2>Which I kept thinking on this watch. I'm like, what

0:43:30.760 --> 0:43:33.600
<v Speaker 2>is the budget for this show? And how could it

0:43:33.640 --> 0:43:37.840
<v Speaker 2>possibly be sustainable? Because there's a whole ecosystem that you

0:43:37.920 --> 0:43:41.480
<v Speaker 2>have to pay for. There's all these actors, you know,

0:43:41.600 --> 0:43:46.400
<v Speaker 2>principal cast and extras who presumably live there full time

0:43:47.000 --> 0:43:49.920
<v Speaker 2>that you have to like pay for their labor, like,

0:43:50.360 --> 0:43:52.719
<v Speaker 2>and I know this is not the biggest issue with

0:43:53.120 --> 0:43:56.800
<v Speaker 2>this show, but I'm just like, how is this show

0:43:56.880 --> 0:44:01.799
<v Speaker 2>actually sustainable? But Christoph insists that it is, so I'm

0:44:01.840 --> 0:44:03.960
<v Speaker 2>just like, all right, who knows.

0:44:03.600 --> 0:44:05.719
<v Speaker 4>Well, and if you're scaling with the kid right. It's

0:44:05.719 --> 0:44:09.200
<v Speaker 4>like when you're young, your world is very small, you know,

0:44:09.320 --> 0:44:11.040
<v Speaker 4>and you're kind of just taken around. So it's like

0:44:11.040 --> 0:44:14.360
<v Speaker 4>it can it maybe didn't start that way over overnight,

0:44:14.400 --> 0:44:16.360
<v Speaker 4>but they kind of have built it as as he

0:44:16.520 --> 0:44:18.320
<v Speaker 4>kind of grew over time too, right.

0:44:18.239 --> 0:44:23.040
<v Speaker 3>Yeah, Well, and then there's like Christoph himself, who I get.

0:44:23.040 --> 0:44:25.759
<v Speaker 3>I like. I like that he's kept vague enough that

0:44:25.840 --> 0:44:29.120
<v Speaker 3>you can sort of guess your way around, like how

0:44:29.160 --> 0:44:32.320
<v Speaker 3>does this man come to play god? And like that

0:44:32.520 --> 0:44:34.359
<v Speaker 3>I forget how much of this is included? And how

0:44:34.400 --> 0:44:36.640
<v Speaker 3>much of it Isn't this weird Niked Knight thing I watched,

0:44:37.320 --> 0:44:43.160
<v Speaker 3>but that like Christoph had built his career on exploiting people,

0:44:43.360 --> 0:44:47.480
<v Speaker 3>and that like he had won an Oscar for a

0:44:47.560 --> 0:44:51.640
<v Speaker 3>documentary on unhoused people that involves surveilling them against their will,

0:44:52.160 --> 0:44:55.480
<v Speaker 3>and like from that came this idea to like, to

0:44:55.760 --> 0:44:59.160
<v Speaker 3>what if I could do a completely controlled surveillance experiment

0:44:59.239 --> 0:45:02.600
<v Speaker 3>and broadcast and call it art and elect myself the

0:45:02.680 --> 0:45:05.799
<v Speaker 3>god of this person's life. I just I don't know.

0:45:05.840 --> 0:45:08.800
<v Speaker 3>I think like Ed Harris makes so many interesting choices

0:45:08.840 --> 0:45:14.279
<v Speaker 3>where it is like on paper, so nuts that he

0:45:15.480 --> 0:45:18.399
<v Speaker 3>tries to kill Truman and he's like, kill jiamati kill

0:45:18.440 --> 0:45:22.120
<v Speaker 3>it him, kill him now, and then twenty seconds later

0:45:22.120 --> 0:45:24.239
<v Speaker 3>he's like, Laurret, I guess you lived. I guess I

0:45:24.280 --> 0:45:26.120
<v Speaker 3>have to give him this god speech. But you can

0:45:26.200 --> 0:45:28.440
<v Speaker 3>feel that it like really does meet. Like he's just

0:45:28.520 --> 0:45:32.000
<v Speaker 3>so deep. He's in his freaky simulation. And you see

0:45:32.000 --> 0:45:34.960
<v Speaker 3>that in the scene where he's like touching Truman's huge face.

0:45:35.000 --> 0:45:38.239
<v Speaker 3>We were like this, this man is very very sick. Yeah,

0:45:38.280 --> 0:45:42.799
<v Speaker 3>I don't know with what, but it's so I don't know.

0:45:42.880 --> 0:45:46.000
<v Speaker 3>It's I fully believed that he would kill Truman, and

0:45:46.040 --> 0:45:48.759
<v Speaker 3>I fully believe that he was devastated that Truman was

0:45:48.800 --> 0:45:52.600
<v Speaker 3>like electing out of this horrible thing.

0:45:52.960 --> 0:45:55.439
<v Speaker 4>Well one thing, that's what it's like. An abuser gets

0:45:55.480 --> 0:45:57.719
<v Speaker 4>high on their own supply a lot of the time too,

0:45:57.760 --> 0:46:00.440
<v Speaker 4>where it's like I I did try to kill you,

0:46:00.440 --> 0:46:03.239
<v Speaker 4>but now I've let you live, Like how benevolent I am.

0:46:03.400 --> 0:46:07.600
<v Speaker 4>Like it's such a retaining of extreme power in that

0:46:07.719 --> 0:46:10.920
<v Speaker 4>circumstance because it's like you can always leave whenever he wants,

0:46:10.960 --> 0:46:13.160
<v Speaker 4>Like it's but you know that's not it. You've created

0:46:13.920 --> 0:46:17.160
<v Speaker 4>things than his mind that make that impossible, right, but

0:46:17.280 --> 0:46:18.319
<v Speaker 4>for long until it's not.

0:46:18.880 --> 0:46:22.080
<v Speaker 3>I mean it's also yeah, it's like I'm sure someone's

0:46:22.080 --> 0:46:25.719
<v Speaker 3>written this essay of like how freaky and biblical. That

0:46:25.760 --> 0:46:28.160
<v Speaker 3>final sequence is where he's like, I have to kill

0:46:28.200 --> 0:46:34.160
<v Speaker 3>my son to prove a point to everyone. And it's

0:46:34.239 --> 0:46:37.480
<v Speaker 3>like a version of the Bible where Jesus gets off

0:46:37.520 --> 0:46:40.080
<v Speaker 3>the cross and is like, I'm out of here if

0:46:40.120 --> 0:46:44.440
<v Speaker 3>I don't see you, good evening, A good night. Yeah,

0:46:44.719 --> 0:46:45.160
<v Speaker 3>and then.

0:46:47.480 --> 0:46:53.800
<v Speaker 2>I also forgot that Christoph is answering to like network

0:46:53.880 --> 0:46:58.480
<v Speaker 2>executives to who are like, you got to pull the plug,

0:46:58.560 --> 0:47:02.560
<v Speaker 2>we can't have some and die on national television, and

0:47:02.640 --> 0:47:05.839
<v Speaker 2>like Christophe tries to justify it, but I forgot that

0:47:05.840 --> 0:47:07.040
<v Speaker 2>that was a component of it.

0:47:07.760 --> 0:47:11.040
<v Speaker 3>Yeah, like he is, he's playing God, but he actually

0:47:11.120 --> 0:47:13.440
<v Speaker 3>doesn't have the final word, which feels like he.

0:47:13.880 --> 0:47:15.960
<v Speaker 2>Still answers to a higher God.

0:47:16.480 --> 0:47:19.200
<v Speaker 3>Yeah, there's so many like levels of complicity that you

0:47:19.280 --> 0:47:22.520
<v Speaker 3>see play out. Okay, and then this is where we

0:47:22.560 --> 0:47:27.120
<v Speaker 3>get to like where I have some. Like it's an

0:47:27.160 --> 0:47:31.320
<v Speaker 3>incredible movie. I do wish that we saw more anyone

0:47:31.400 --> 0:47:35.960
<v Speaker 3>other than white guys struggling with these degrees of complicity.

0:47:36.000 --> 0:47:38.680
<v Speaker 3>I think that like, yeah, we see it with Hannah,

0:47:38.719 --> 0:47:40.600
<v Speaker 3>but then she kind of disappears from the movie. I

0:47:40.640 --> 0:47:42.920
<v Speaker 3>think that the character we really get to see a

0:47:43.040 --> 0:47:48.120
<v Speaker 3>full arc of like navigating this world is Sylvia Slash.

0:47:48.120 --> 0:47:50.920
<v Speaker 3>I forget what her real world name is, but like Sylvia.

0:47:50.600 --> 0:47:53.560
<v Speaker 2>Is her real world name, Laura Lauren was the character.

0:47:53.640 --> 0:47:56.239
<v Speaker 3>Lauren's her fake name. Yeah, she's the only woman in

0:47:56.280 --> 0:47:58.960
<v Speaker 3>the story who you get to really see out her

0:47:59.200 --> 0:48:02.560
<v Speaker 3>story because you do get to see so many micro

0:48:02.800 --> 0:48:06.839
<v Speaker 3>levels of complicity, where like we're just saying, like the

0:48:06.840 --> 0:48:10.120
<v Speaker 3>buck doesn't even stop with Christoff. We see these like

0:48:10.239 --> 0:48:13.400
<v Speaker 3>nameless masses watching the Truman Show and being complicit in

0:48:13.600 --> 0:48:17.840
<v Speaker 3>there watching and being a fan. We see like Sylvia

0:48:17.960 --> 0:48:21.439
<v Speaker 3>elect out. We see Paul Giamadi be like I don't

0:48:21.440 --> 0:48:23.319
<v Speaker 3>want to kill him, all right, I guess I have

0:48:23.360 --> 0:48:26.160
<v Speaker 3>to because it's my job. Like, there's so many micro levels,

0:48:26.760 --> 0:48:30.000
<v Speaker 3>but the movie does seem still primarily interested in like

0:48:30.239 --> 0:48:33.839
<v Speaker 3>the micro levels that exist for white men at every

0:48:33.920 --> 0:48:34.880
<v Speaker 3>level of society.

0:48:36.160 --> 0:48:36.520
<v Speaker 2>Right.

0:48:38.280 --> 0:48:38.560
<v Speaker 1>Yeah.

0:48:38.680 --> 0:48:41.440
<v Speaker 2>I again, since it had been a few years since

0:48:41.480 --> 0:48:46.320
<v Speaker 2>I've watched this, I sort of forgot how present Sylvia

0:48:46.520 --> 0:48:48.880
<v Speaker 2>is because she's sort of the only character that is

0:48:49.520 --> 0:48:53.200
<v Speaker 2>objecting to the exploitation that's happening with this show.

0:48:53.440 --> 0:48:55.960
<v Speaker 3>She's cool. I love it. She's so interesting.

0:48:56.200 --> 0:48:59.080
<v Speaker 2>I like her too, and I couldn't remember like once

0:48:59.120 --> 0:49:02.879
<v Speaker 2>she gets, you know, booted off the show when she

0:49:03.000 --> 0:49:06.520
<v Speaker 2>tries to expose to Truman, what's actually happening, I was like, Okay,

0:49:06.560 --> 0:49:09.200
<v Speaker 2>do we see her again? And if so, how frequently

0:49:09.320 --> 0:49:11.279
<v Speaker 2>and what is she doing? I kind of forgot that

0:49:11.360 --> 0:49:15.480
<v Speaker 2>she makes that phone call to Christoph. I remembered her

0:49:15.520 --> 0:49:20.560
<v Speaker 2>as just sort of like watching and hoping that Truman

0:49:20.640 --> 0:49:23.319
<v Speaker 2>would reach his liberation kind of thing.

0:49:23.440 --> 0:49:25.920
<v Speaker 4>Well, she's got some free Truman signs behind her and

0:49:25.960 --> 0:49:27.960
<v Speaker 4>stuff too, which leads me to think there's at least

0:49:27.960 --> 0:49:29.560
<v Speaker 4>there's some level of a movement.

0:49:29.680 --> 0:49:32.160
<v Speaker 3>Yeah, I hope. So, yeah, I would be curious if

0:49:32.160 --> 0:49:36.000
<v Speaker 3>that was like deleted scenes stuff, because yeah, it seems

0:49:36.040 --> 0:49:39.760
<v Speaker 3>like that has been her. Like, I mean, whatever, Truman's

0:49:39.760 --> 0:49:42.200
<v Speaker 3>been through a lot, he's got a lot to reckon with.

0:49:43.080 --> 0:49:45.560
<v Speaker 3>But you know, to find out that your crush has

0:49:45.760 --> 0:49:49.360
<v Speaker 3>since dedicated her life deliberating you from the Sico government

0:49:49.400 --> 0:49:53.000
<v Speaker 3>experiment like good self esteem boost to be like, not

0:49:53.040 --> 0:49:57.040
<v Speaker 3>only didn't she forget you, she's professionally obsessed with you, Jude.

0:49:58.160 --> 0:50:00.480
<v Speaker 3>But I really liked that even though we don't. I

0:50:00.760 --> 0:50:02.680
<v Speaker 3>kind of like that we don't see them reunite. It's

0:50:02.719 --> 0:50:05.440
<v Speaker 3>just implied that they do. And it's one of the

0:50:05.520 --> 0:50:10.760
<v Speaker 3>few like whatever the looming sort of like love story,

0:50:10.800 --> 0:50:13.600
<v Speaker 3>but also like they it's just like they represent something

0:50:13.640 --> 0:50:17.600
<v Speaker 3>to each other that is really significant, and I was

0:50:18.120 --> 0:50:21.080
<v Speaker 3>moved by it. I thought it was so beautiful.

0:50:21.520 --> 0:50:23.879
<v Speaker 4>Well and it's like them us not seeing that means

0:50:23.920 --> 0:50:26.560
<v Speaker 4>that Truman had that moment to himself too, you.

0:50:26.520 --> 0:50:29.000
<v Speaker 3>Know that's so true. Oh I didn't think about that.

0:50:29.360 --> 0:50:33.440
<v Speaker 4>Yeah, that's a private thing that he got. Shit, it's

0:50:33.480 --> 0:50:37.520
<v Speaker 4>just beautiful, beautiful, I know what that like makes me emotional?

0:50:37.680 --> 0:50:41.719
<v Speaker 3>Yeah, that's really nice. Yeah. I found their dynamics so

0:50:42.480 --> 0:50:45.880
<v Speaker 3>moving and beautiful where they just like they they are

0:50:45.960 --> 0:50:48.400
<v Speaker 3>childhood sweethearts in one way, but it's also just like

0:50:48.440 --> 0:50:52.799
<v Speaker 3>they represent like liberation to each other and like yeah,

0:50:52.840 --> 0:50:57.399
<v Speaker 3>that's so cool, like yeah kidding, yeah, well no.

0:50:57.440 --> 0:50:59.760
<v Speaker 4>I know, but I mean, well, it's like it's the

0:50:59.360 --> 0:51:02.440
<v Speaker 4>the yearning for freedom and then like pursuing it at

0:51:02.480 --> 0:51:05.160
<v Speaker 4>all costs in him like getting over his fears and

0:51:05.200 --> 0:51:08.239
<v Speaker 4>being like I know this isn't right. I'm going to

0:51:08.280 --> 0:51:13.400
<v Speaker 4>push against this. Like entertainment fascism that he's surrounded by. Honestly,

0:51:13.840 --> 0:51:17.080
<v Speaker 4>I mean it is like a full mechanism just to

0:51:17.200 --> 0:51:21.680
<v Speaker 4>keep his free will completely beat down. Yeah, and it's

0:51:21.680 --> 0:51:23.680
<v Speaker 4>like it's powerful, and that.

0:51:23.840 --> 0:51:29.040
<v Speaker 3>Like him being drawn to Sylvia Lauren at the time,

0:51:29.440 --> 0:51:32.919
<v Speaker 3>like that that that she also like symbolizes to him

0:51:32.960 --> 0:51:38.319
<v Speaker 3>the one off script choice he like confidently made and

0:51:38.480 --> 0:51:43.080
<v Speaker 3>was like punished for. It's just like, oh, it's so good. Yeah,

0:51:43.120 --> 0:51:46.040
<v Speaker 3>So I mean I the two I guess, I mean

0:51:46.239 --> 0:51:48.719
<v Speaker 3>Holland Taylor also, I don't think as strong of a

0:51:48.760 --> 0:51:50.560
<v Speaker 3>presence as she could or should have been, because also

0:51:50.600 --> 0:51:53.480
<v Speaker 3>it's like you have Holland Taylor, let's give her more

0:51:53.560 --> 0:51:57.520
<v Speaker 3>to do. So we do have like three women in that.

0:51:57.640 --> 0:52:00.680
<v Speaker 3>And then there's also a woman who works with Paul

0:52:00.680 --> 0:52:03.439
<v Speaker 3>Giamanni and Ed Harris, but she mostly just responds to things.

0:52:03.440 --> 0:52:05.319
<v Speaker 3>She doesn't really do very much. One of the few

0:52:05.360 --> 0:52:06.720
<v Speaker 3>people of color in the movie.

0:52:06.880 --> 0:52:08.720
<v Speaker 2>I don't even know if we learn her name.

0:52:09.280 --> 0:52:11.799
<v Speaker 3>Yeah, like so we I would say, we basically have

0:52:11.920 --> 0:52:17.520
<v Speaker 3>three women characters. And yeah, I would say, like Sylvia

0:52:17.960 --> 0:52:21.040
<v Speaker 3>they stick the landing with and that that story is

0:52:21.080 --> 0:52:24.280
<v Speaker 3>like fully realized and beautiful. I do wish that Hannah

0:52:24.440 --> 0:52:29.480
<v Speaker 3>wasn't disappeared from the plot in a special Marl.

0:52:29.600 --> 0:52:32.160
<v Speaker 2>Yeah, I was thinking about that too, but then I

0:52:32.200 --> 0:52:37.360
<v Speaker 2>was like, well, they write his dad back in, and

0:52:37.400 --> 0:52:41.120
<v Speaker 2>then as soon as he's presumably a fixture in Truman's

0:52:41.160 --> 0:52:45.640
<v Speaker 2>life again, he's not like the dad character is gone too.

0:52:45.840 --> 0:52:48.080
<v Speaker 2>So I don't even know if it's like necessarily a

0:52:48.200 --> 0:52:49.359
<v Speaker 2>gendered thing.

0:52:50.200 --> 0:52:52.359
<v Speaker 3>No, no, I don't. I don't think it's a gender thing.

0:52:52.440 --> 0:52:54.359
<v Speaker 3>I think it just sticks out because there's so few

0:52:54.360 --> 0:52:56.360
<v Speaker 3>women of importance in the script.

0:52:56.440 --> 0:52:58.719
<v Speaker 4>Definitely, right, well, and it's it's interesting too. It's like

0:52:58.760 --> 0:53:03.080
<v Speaker 4>thinking about that from Hannah's the actor's perspective too, though.

0:53:03.480 --> 0:53:05.640
<v Speaker 4>I mean I would have liked more outside of the

0:53:05.800 --> 0:53:08.439
<v Speaker 4>Dome because I think the second you're like, it's unprofessional,

0:53:08.560 --> 0:53:12.439
<v Speaker 4>my line's been crossed, I'm out. Yeah, like you would

0:53:12.480 --> 0:53:15.239
<v Speaker 4>be gone. I mean, yeah, I would love to see

0:53:15.239 --> 0:53:18.319
<v Speaker 4>deleted scenes of these. I always wish we got so

0:53:18.400 --> 0:53:20.000
<v Speaker 4>much more of the world because it's like I would

0:53:20.040 --> 0:53:22.520
<v Speaker 4>love to know so much, Yeah, so much more of it.

0:53:22.560 --> 0:53:24.040
<v Speaker 4>I love that you found like some of the backstory

0:53:24.080 --> 0:53:26.279
<v Speaker 4>stuff because maybe she does does she have enough money?

0:53:26.280 --> 0:53:26.440
<v Speaker 5>Now?

0:53:26.480 --> 0:53:27.640
<v Speaker 4>Did she make enough money?

0:53:28.239 --> 0:53:28.359
<v Speaker 2>Like?

0:53:28.520 --> 0:53:33.840
<v Speaker 4>Does she get to go do QVC for a living, right.

0:53:33.680 --> 0:53:37.120
<v Speaker 3>I'm sure. I'm sure she'll you know, land on her feet.

0:53:37.200 --> 0:53:38.719
<v Speaker 4>But it's just like, yeah, it is.

0:53:39.239 --> 0:53:42.040
<v Speaker 3>I mean, it's comparatively a small thing, and I feel

0:53:42.040 --> 0:53:46.040
<v Speaker 3>like Laura Lennie makes so much of the time she

0:53:46.400 --> 0:53:50.120
<v Speaker 3>spends on screen where I feel like the two images

0:53:50.160 --> 0:53:53.160
<v Speaker 3>that I most strongly associate with this movie are Jim

0:53:53.239 --> 0:53:56.120
<v Speaker 3>Carrey at the wall at the end and Laura Lenny's

0:53:56.120 --> 0:53:58.400
<v Speaker 3>smiling and holding up the like malt.

0:53:58.280 --> 0:53:59.240
<v Speaker 2>Spice or dicer.

0:53:59.360 --> 0:54:02.720
<v Speaker 3>Oh the malt. Yeah, any of her product placement shots

0:54:02.719 --> 0:54:05.040
<v Speaker 3>are like the other big thing. And so it's like,

0:54:05.719 --> 0:54:07.400
<v Speaker 3>but yeah, this movie has so much going for it

0:54:07.400 --> 0:54:09.200
<v Speaker 3>that it's like hard to hard to stay mad.

0:54:09.320 --> 0:54:12.839
<v Speaker 4>It's also tight too, It's like yay really Like it's

0:54:13.000 --> 0:54:16.400
<v Speaker 4>so I forgot how quickly that light falls at the

0:54:16.520 --> 0:54:18.840
<v Speaker 4>very beginning, where I was like, oh, we got exciting

0:54:18.880 --> 0:54:21.600
<v Speaker 4>incident in like four minutes in or something like that.

0:54:21.719 --> 0:54:24.600
<v Speaker 4>It's so quick You're like, oh, wow, we're off to

0:54:24.640 --> 0:54:25.160
<v Speaker 4>the races.

0:54:25.280 --> 0:54:29.839
<v Speaker 3>I've got a Phillip Glass score. There's just everything is happening. Yeah,

0:54:29.880 --> 0:54:30.359
<v Speaker 3>I love it.

0:54:30.719 --> 0:54:33.560
<v Speaker 2>Yeah, Well, something that I kind of forgot about the

0:54:33.640 --> 0:54:38.200
<v Speaker 2>Meryl character slash sort of the production design of the

0:54:38.239 --> 0:54:43.839
<v Speaker 2>whole movie is that it's embodying this like nineteen fifties

0:54:44.719 --> 0:54:50.520
<v Speaker 2>white suburban ideal, where like Meryl is dressed like a

0:54:50.560 --> 0:54:52.000
<v Speaker 2>suburban housewife.

0:54:52.440 --> 0:54:56.239
<v Speaker 3>Donna read days, Yeah, Donna Reid had a part time job, right.

0:54:56.360 --> 0:54:59.960
<v Speaker 2>And then I was thinking about like the whole product

0:55:00.239 --> 0:55:02.560
<v Speaker 2>design of the entire movie, because I don't know how

0:55:03.160 --> 0:55:07.240
<v Speaker 2>aware I even was that it is emulating this nineteen

0:55:07.480 --> 0:55:10.840
<v Speaker 2>fifties esthetic. I think it was like a detail that

0:55:10.880 --> 0:55:14.120
<v Speaker 2>I mostly overlooked when I watched it as a younger person,

0:55:15.040 --> 0:55:17.520
<v Speaker 2>but this time I was like, really, I really latched

0:55:17.520 --> 0:55:20.359
<v Speaker 2>onto it. And then I was also thinking about Sea

0:55:20.400 --> 0:55:25.399
<v Speaker 2>Haven Island as one of the characters. Yeah, and then

0:55:25.440 --> 0:55:30.040
<v Speaker 2>I learned that the majority of the movie was filmed

0:55:30.040 --> 0:55:32.680
<v Speaker 2>in a place called Seaside, Florida, which is, as we

0:55:33.280 --> 0:55:39.520
<v Speaker 2>mentioned earlier, a master planned community, which, for anyone who's

0:55:39.960 --> 0:55:44.399
<v Speaker 2>not familiar with that, it's a part of the new

0:55:44.560 --> 0:55:50.279
<v Speaker 2>Urbanism design movement that promotes walkable neighborhoods and seeks to

0:55:50.360 --> 0:55:55.719
<v Speaker 2>eliminate urban sprawl, which sounds great in theory. But then

0:55:55.800 --> 0:55:57.319
<v Speaker 2>I was like, wait a minute, where have I heard

0:55:57.320 --> 0:56:00.000
<v Speaker 2>this ar exactly? I was like where have I heard

0:56:00.160 --> 0:56:02.720
<v Speaker 2>this term master planned community before? And then I remembered

0:56:02.760 --> 0:56:06.080
<v Speaker 2>a place that I learned about many years ago called Celebration, Florida.

0:56:06.480 --> 0:56:08.520
<v Speaker 2>Do either of you know about this place?

0:56:08.719 --> 0:56:09.959
<v Speaker 3>Yeah, the Disney company town.

0:56:10.320 --> 0:56:14.040
<v Speaker 2>Yes, And so even though the Truman Show is not

0:56:14.719 --> 0:56:18.520
<v Speaker 2>filmed at Celebration, I feel like there are like interesting

0:56:18.600 --> 0:56:23.600
<v Speaker 2>parallels between Sea Haven Island and Celebration because there are

0:56:23.640 --> 0:56:30.880
<v Speaker 2>these like corporate built communities that are incredibly white, incredibly

0:56:31.000 --> 0:56:35.880
<v Speaker 2>lacking in racial and economic diversity as well.

0:56:36.120 --> 0:56:40.279
<v Speaker 3>But there's also places like Ford Landia, which was I

0:56:40.480 --> 0:56:44.000
<v Speaker 3>believe in Brazil. I mean, companies in the mid century

0:56:44.080 --> 0:56:47.240
<v Speaker 3>were doing this. We're like Disney. I feel like Celebration

0:56:47.320 --> 0:56:50.439
<v Speaker 3>is the most famous. But yeah, Ford Landia, Sorry, I'm

0:56:50.440 --> 0:56:53.600
<v Speaker 3>play it up. It was owned by Ford and it

0:56:53.680 --> 0:56:56.040
<v Speaker 3>was a company town that was built in the middle

0:56:56.080 --> 0:57:02.680
<v Speaker 3>of the Amazon rainfall. Oh ye doll the Dole Company,

0:57:02.719 --> 0:57:05.160
<v Speaker 3>which could be as a whole other They had company

0:57:05.200 --> 0:57:11.280
<v Speaker 3>towns in I believe Hawaii, Like there's all sorts of shit.

0:57:11.440 --> 0:57:13.399
<v Speaker 4>Well, a lot of these like billionaires now are trying

0:57:13.400 --> 0:57:17.440
<v Speaker 4>to make these like crypto towns in South America too.

0:57:17.480 --> 0:57:20.040
<v Speaker 4>That that's some thing they're currently trying to build these

0:57:20.040 --> 0:57:23.800
<v Speaker 4>little little libertarian havens that run off of you know,

0:57:23.880 --> 0:57:26.000
<v Speaker 4>micro coins and stuff, and.

0:57:25.880 --> 0:57:29.920
<v Speaker 3>Even like smaller quote unquote plant like any gated community

0:57:30.200 --> 0:57:33.400
<v Speaker 3>is like building on that idea. And it felt like

0:57:33.440 --> 0:57:36.280
<v Speaker 3>there's a lot of like I guess, like movies. I

0:57:36.320 --> 0:57:39.160
<v Speaker 3>associate it with movies from the seventies and nineties as

0:57:39.240 --> 0:57:42.760
<v Speaker 3>like having strong criticisms of these kinds of communities. But

0:57:42.760 --> 0:57:44.880
<v Speaker 3>also I mean, it's not a good movie, but don't worry.

0:57:44.960 --> 0:57:48.720
<v Speaker 3>Darling is like kind of doing something similar in like

0:57:48.840 --> 0:57:53.920
<v Speaker 3>this simulated American ideal. But I also thought of Edward

0:57:53.920 --> 0:57:57.800
<v Speaker 3>Scissorhands in like the way that a neighborhood is false

0:57:57.960 --> 0:58:01.000
<v Speaker 3>and presented in a very specific way. And then like

0:58:01.120 --> 0:58:03.960
<v Speaker 3>you know, Stafford Wives and Pleasant Villa. Yeah, like all

0:58:04.080 --> 0:58:04.760
<v Speaker 3>all this stuff.

0:58:05.040 --> 0:58:07.400
<v Speaker 4>Yeah, I always have to remind myself that Seaside is

0:58:07.440 --> 0:58:09.960
<v Speaker 4>not clear Water, Florida in my head, that I know

0:58:10.040 --> 0:58:12.960
<v Speaker 4>this is not the scientologist town, but in my head

0:58:13.080 --> 0:58:17.120
<v Speaker 4>they are the biggest town, right. Yeah. Yeah, it's like

0:58:17.160 --> 0:58:19.760
<v Speaker 4>the same thing to me too. Or it's like a

0:58:19.920 --> 0:58:24.400
<v Speaker 4>religion that runs a city, the cult town, yeah town

0:58:25.400 --> 0:58:28.680
<v Speaker 4>cult towns or company towns also damn yeah, damn.

0:58:28.440 --> 0:58:32.600
<v Speaker 2>Well, then I was thinking about how Sea Haven Island

0:58:32.920 --> 0:58:38.120
<v Speaker 2>is again a very white community, white middle class community,

0:58:38.160 --> 0:58:41.960
<v Speaker 2>even though everyone who is there is cast to be there,

0:58:42.000 --> 0:58:48.280
<v Speaker 2>like they're very deliberately placed there, so theoretically anybody could

0:58:48.280 --> 0:58:51.080
<v Speaker 2>be cast and yet the vast majority of the quote

0:58:51.120 --> 0:58:55.560
<v Speaker 2>unquote inhabitants of Sea Haven are white people. And I

0:58:55.680 --> 0:58:59.760
<v Speaker 2>was like, Okay, well, is that an intentional creative choice,

0:59:00.240 --> 0:59:04.240
<v Speaker 2>meaning like, is this is Christoph's idea of this perfect

0:59:04.320 --> 0:59:08.920
<v Speaker 2>world that he has built for Truman. Is that him

0:59:08.920 --> 0:59:12.880
<v Speaker 2>making that choice for it to be a nearly entirely

0:59:13.120 --> 0:59:17.200
<v Speaker 2>white community, or is it that this is a Hollywood

0:59:17.240 --> 0:59:22.360
<v Speaker 2>production in nineteen ninety eight, where most movies had majority

0:59:22.400 --> 0:59:24.440
<v Speaker 2>white casts, I would guess.

0:59:24.440 --> 0:59:27.040
<v Speaker 3>So, I mean, yeah, probably a little bit of column,

0:59:27.160 --> 0:59:29.440
<v Speaker 3>a little bit of Columbe. Yeah. I feel like this,

0:59:29.760 --> 0:59:33.280
<v Speaker 3>I mean, especially because this movie also takes place in

0:59:33.360 --> 0:59:36.920
<v Speaker 3>real world nineteen ninety eight, because all the relevant characters

0:59:36.920 --> 0:59:39.640
<v Speaker 3>in nineteen ninety eight are also white, it does still

0:59:39.640 --> 0:59:41.840
<v Speaker 3>feel like racism of the time as well.

0:59:42.800 --> 0:59:44.920
<v Speaker 4>Yeah, I think it's Yeah, I definitely think it's the

0:59:45.040 --> 0:59:47.360
<v Speaker 4>nineteen ninety eight of it all. But I do think

0:59:47.400 --> 0:59:51.160
<v Speaker 4>it also like plays into unwittingly into like the pyramid

0:59:51.160 --> 0:59:53.560
<v Speaker 4>scheme that is white supremacy, right where you are trying

0:59:53.600 --> 0:59:57.480
<v Speaker 4>to build this like perfect world where everything is, you know,

0:59:57.880 --> 1:00:00.720
<v Speaker 4>this amazing reality that everyone's watching. It's like it fits,

1:00:00.720 --> 1:00:02.840
<v Speaker 4>which it fits into the entertainment fascism of it all,

1:00:03.120 --> 1:00:05.000
<v Speaker 4>you know, it's like, oh, this is the ideal that

1:00:05.040 --> 1:00:07.600
<v Speaker 4>we're all working towards. If you live in a white

1:00:07.640 --> 1:00:08.280
<v Speaker 4>Christian nation.

1:00:08.720 --> 1:00:13.720
<v Speaker 2>Yeah. I found a piece on the sub stack of

1:00:14.080 --> 1:00:20.040
<v Speaker 2>Ida Bradford that examines how the Truman Show, like Truman

1:00:20.080 --> 1:00:24.920
<v Speaker 2>Show at the television program where again Truman lives, lives

1:00:24.920 --> 1:00:27.680
<v Speaker 2>in this fake, highly controlled world and is like quote

1:00:27.720 --> 1:00:33.480
<v Speaker 2>unquote protected from the quote unquote sick world outside. How

1:00:33.560 --> 1:00:38.320
<v Speaker 2>that can be seen as a metaphor for whiteness and

1:00:38.360 --> 1:00:43.160
<v Speaker 2>for how so many white people insulate themselves on individual

1:00:43.280 --> 1:00:47.280
<v Speaker 2>levels and then also like on systemic levels, they insulate

1:00:47.280 --> 1:00:52.520
<v Speaker 2>themselves from learning about the impacts of racism and capitalism

1:00:52.680 --> 1:00:55.560
<v Speaker 2>and colonialism. And I thought it was a really interesting piece.

1:00:56.640 --> 1:01:01.160
<v Speaker 2>I'll share a few quotes from it here. Quote in

1:01:01.200 --> 1:01:04.400
<v Speaker 2>the movie, Truman must give all he has, including his

1:01:04.480 --> 1:01:07.840
<v Speaker 2>willingness to live, to uncover the truth. He is only

1:01:07.920 --> 1:01:10.920
<v Speaker 2>able to reach the boundaries of the large city sized

1:01:11.000 --> 1:01:14.400
<v Speaker 2>dome that has contained his entire life. After choosing to

1:01:14.440 --> 1:01:18.400
<v Speaker 2>continue the process of liberation, even if it costs him

1:01:18.400 --> 1:01:22.240
<v Speaker 2>everything he knows, including his very existence, he would rather

1:01:22.360 --> 1:01:25.360
<v Speaker 2>die than continue to live knowing that his life is

1:01:25.400 --> 1:01:28.760
<v Speaker 2>nothing more than puppetry. This is the cost of liberation.

1:01:29.800 --> 1:01:32.920
<v Speaker 2>This is the reality that white folks, white adjacent and

1:01:32.960 --> 1:01:35.960
<v Speaker 2>those with internalized white supremacy need to come to terms with.

1:01:36.480 --> 1:01:39.160
<v Speaker 2>They can at any point turn back and live the

1:01:39.240 --> 1:01:42.680
<v Speaker 2>privilege protected life that hundreds of years of global colonization

1:01:42.760 --> 1:01:47.040
<v Speaker 2>and racial capitalism have afforded them. They can, and most do,

1:01:47.640 --> 1:01:51.200
<v Speaker 2>choose white supremacy. Even the liberals who are disgusted by

1:01:51.200 --> 1:01:55.320
<v Speaker 2>the idea and set themselves as ideologically against it, these

1:01:55.400 --> 1:01:57.760
<v Speaker 2>very people give in to the luxuries and comforts of

1:01:57.800 --> 1:02:03.720
<v Speaker 2>having their perceptions undisturbed and unchallenged. Unquote. The piece keeps going,

1:02:03.760 --> 1:02:06.320
<v Speaker 2>and I think the whole thing is worth reading. We

1:02:06.360 --> 1:02:08.640
<v Speaker 2>can link it in the description, but it's yeah, it's

1:02:08.920 --> 1:02:12.880
<v Speaker 2>like making the argument that this movie can be seen

1:02:12.920 --> 1:02:17.440
<v Speaker 2>as a metaphor of that, and the Truman's Liberation is

1:02:17.480 --> 1:02:22.360
<v Speaker 2>like allegorical to like people on learning white supremacy and

1:02:22.760 --> 1:02:24.480
<v Speaker 2>kind of liberating themselves from them.

1:02:24.360 --> 1:02:28.640
<v Speaker 3>Perhaps even taking the whatever color is it, the red

1:02:28.720 --> 1:02:31.320
<v Speaker 3>taking the red pill even though they took that from us.

1:02:31.360 --> 1:02:33.440
<v Speaker 3>But anyways, but that's what it originally meant. Yeah, it

1:02:33.560 --> 1:02:36.160
<v Speaker 3>is like it like taking it back, taking a red

1:02:36.200 --> 1:02:40.760
<v Speaker 3>pill box, but like enlightenment and the willingness to engage.

1:02:40.920 --> 1:02:43.120
<v Speaker 3>That's like, that's I want to read that piece.

1:02:43.240 --> 1:02:43.960
<v Speaker 2>Yeah, because it does.

1:02:44.080 --> 1:02:47.320
<v Speaker 3>Definitely it feels very I've been thinking about this. I've

1:02:47.360 --> 1:02:49.920
<v Speaker 3>been doing a lot of research for a different project

1:02:50.040 --> 1:02:54.080
<v Speaker 3>right now about the history of AA, which is a

1:02:54.240 --> 1:02:58.440
<v Speaker 3>very white dominated group to this day for many reasons,

1:02:58.520 --> 1:03:04.000
<v Speaker 3>but one of them is that there is a sort

1:03:04.000 --> 1:03:06.840
<v Speaker 3>of explicit rule in the group of quote unquote not

1:03:06.920 --> 1:03:12.720
<v Speaker 3>discussing politics, and how that is like such a privileged

1:03:12.840 --> 1:03:17.000
<v Speaker 3>white thing to say, because it limits anyone marginalized in

1:03:17.040 --> 1:03:21.960
<v Speaker 3>the group from discussing how their marginalization and discrimination has

1:03:22.000 --> 1:03:27.960
<v Speaker 3>informed their drinking. And there are all of these testimonies

1:03:28.040 --> 1:03:32.200
<v Speaker 3>of people of color in AA bringing up how people

1:03:32.240 --> 1:03:35.640
<v Speaker 3>being racist towards them has been a factor in their

1:03:35.760 --> 1:03:39.320
<v Speaker 3>relationship with drinking and had that conversation completely shut down

1:03:39.360 --> 1:03:41.960
<v Speaker 3>because quote unquote, we don't discuss politics here. And like,

1:03:42.960 --> 1:03:47.320
<v Speaker 3>I feel like that energy is all over all over

1:03:47.600 --> 1:03:52.280
<v Speaker 3>like the Truman simulation. And I would assume it's because

1:03:52.400 --> 1:03:56.680
<v Speaker 3>Christoph is sort of not even recreating the world of

1:03:56.720 --> 1:04:00.440
<v Speaker 3>his childhood, which would have been the fifties ish, but

1:04:00.560 --> 1:04:06.680
<v Speaker 3>he's reconstructing the entertainment of his childhood to try to

1:04:06.800 --> 1:04:11.360
<v Speaker 3>resell the propaganda he was given for a new generation,

1:04:11.440 --> 1:04:14.360
<v Speaker 3>which still happens all the time. But it's like if

1:04:14.400 --> 1:04:17.960
<v Speaker 3>we we created a simulation where Jim Carrey lived in

1:04:18.080 --> 1:04:22.120
<v Speaker 3>Spice World and said this was how nineteen ninety five was. Guys,

1:04:22.280 --> 1:04:27.560
<v Speaker 3>we swear, but yeah, just like that, a refusal to

1:04:27.600 --> 1:04:30.120
<v Speaker 3>present the world as it is, but insisting that this

1:04:30.360 --> 1:04:32.960
<v Speaker 3>is the world, which is like that whole opening sequence

1:04:33.480 --> 1:04:36.160
<v Speaker 3>of all the actors being like this is basically real.

1:04:36.440 --> 1:04:40.760
<v Speaker 3>We basically are okay with this. It's so dark.

1:04:41.320 --> 1:04:46.000
<v Speaker 4>Yeah, well, and it's like you also, what's the what's

1:04:46.040 --> 1:04:47.960
<v Speaker 4>the oh man, I'm not going to get the quote right.

1:04:48.040 --> 1:04:51.720
<v Speaker 4>I'm horrible quoting stuff. But the in World War Two

1:04:51.720 --> 1:04:54.040
<v Speaker 4>where they talk about Nazis and they're like, it wasn't

1:04:54.080 --> 1:04:56.440
<v Speaker 4>the soldiers that were like always the issue was like

1:04:56.520 --> 1:05:00.440
<v Speaker 4>my neighbors that were also complicit in everything. The complete

1:05:00.480 --> 1:05:05.240
<v Speaker 4>complicity of the removal of freedom from this person, and

1:05:05.440 --> 1:05:08.560
<v Speaker 4>everyone just it's going along with it because it's benefiting them.

1:05:09.000 --> 1:05:12.560
<v Speaker 3>And there are there are I mean, Truman's neighbors are

1:05:12.640 --> 1:05:15.720
<v Speaker 3>a black family in the in this world, but we

1:05:15.760 --> 1:05:18.440
<v Speaker 3>only get to see them say good morning. Like I

1:05:18.800 --> 1:05:21.520
<v Speaker 3>don't know. This movie is so tight that it's like

1:05:21.760 --> 1:05:25.160
<v Speaker 3>there's a million small interactions that could be It's entirely

1:05:25.200 --> 1:05:30.240
<v Speaker 3>its own movie, but it would be interested a series. Well,

1:05:30.280 --> 1:05:32.320
<v Speaker 3>I was like, I would be interested in just more

1:05:32.360 --> 1:05:37.240
<v Speaker 3>simulation stories that don't center around white protagonists, because that,

1:05:37.400 --> 1:05:39.840
<v Speaker 3>I mean, I think we've at this point gotten there's

1:05:39.880 --> 1:05:42.920
<v Speaker 3>there's a few around white women like step for wives.

1:05:43.040 --> 1:05:47.080
<v Speaker 3>Don't worry Darling. Uh, there's certainly two very famous ones

1:05:47.120 --> 1:05:50.080
<v Speaker 3>back to back about white men, Truman Show and The Matrix.

1:05:51.040 --> 1:05:53.760
<v Speaker 2>Well, I mean Keanu is mixed, but.

1:05:54.000 --> 1:05:57.479
<v Speaker 3>Oh sorry, that's true. Yeah sorry, white white passing then yeah,

1:05:57.520 --> 1:06:00.400
<v Speaker 3>but you know, I think that there there is a

1:06:00.800 --> 1:06:03.600
<v Speaker 3>dearth of at least that I know of. If listeners

1:06:03.640 --> 1:06:06.440
<v Speaker 3>know of simulation stories that don't revolve around white or

1:06:06.480 --> 1:06:09.800
<v Speaker 3>white passing characters, drop them in the chat. I just

1:06:09.880 --> 1:06:10.680
<v Speaker 3>love a simulation.

1:06:11.080 --> 1:06:15.800
<v Speaker 4>I don't like horror movies, but is the second Jordan

1:06:15.880 --> 1:06:20.240
<v Speaker 4>Peel movie, Well, US Goppelgangers is that kind of that?

1:06:20.360 --> 1:06:22.439
<v Speaker 4>I never saw it. I'm scared, but.

1:06:22.760 --> 1:06:24.959
<v Speaker 2>Not not quite.

1:06:25.160 --> 1:06:25.520
<v Speaker 4>I don't know.

1:06:25.600 --> 1:06:28.400
<v Speaker 3>I guess I wouldn't know how to describe what happens

1:06:28.440 --> 1:06:31.240
<v Speaker 3>in US. Yeah, I mean I want to. I think

1:06:31.360 --> 1:06:34.400
<v Speaker 3>I do want to see it again, because yeah, I

1:06:34.440 --> 1:06:36.880
<v Speaker 3>don't know how to describe what happens. It's not quite that.

1:06:36.920 --> 1:06:37.480
<v Speaker 2>But it's not that.

1:06:37.520 --> 1:06:40.240
<v Speaker 3>It's not really it's not not that. I don't know

1:06:40.240 --> 1:06:40.560
<v Speaker 3>whether it.

1:06:41.040 --> 1:06:43.080
<v Speaker 4>Feels like a theme that i'd like to see Jordan

1:06:43.240 --> 1:06:44.000
<v Speaker 4>Peel explore.

1:06:44.400 --> 1:06:48.160
<v Speaker 3>I think I would do a couple masterfully. Yeah, yes,

1:06:48.520 --> 1:06:52.439
<v Speaker 3>oh m that Shyamalan The Village get Out is get

1:06:52.440 --> 1:06:56.000
<v Speaker 3>Out does have set simulation elements to it, kind of

1:06:56.120 --> 1:06:56.480
<v Speaker 3>like there.

1:06:57.080 --> 1:07:00.840
<v Speaker 2>There's definitely like a world that's not what it's right,

1:07:00.880 --> 1:07:04.680
<v Speaker 2>It's very small, but right, I don't know. Let's well,

1:07:04.760 --> 1:07:06.240
<v Speaker 2>little people keep pondering it.

1:07:06.480 --> 1:07:08.720
<v Speaker 3>Yeah, we should do a simulation theme on the Matreon

1:07:08.880 --> 1:07:11.080
<v Speaker 3>or something that would be interesting.

1:07:11.200 --> 1:07:15.000
<v Speaker 2>Let's do it. Yeah, does anyone have anything else they'd

1:07:15.040 --> 1:07:16.040
<v Speaker 2>like to talk about.

1:07:17.720 --> 1:07:20.200
<v Speaker 4>I'm just trying to I'm looking through all my all

1:07:20.320 --> 1:07:22.760
<v Speaker 4>my notes of stuff. I think just the you know,

1:07:22.800 --> 1:07:25.600
<v Speaker 4>what's interesting is the Jimmy you mentioned, like the self

1:07:25.640 --> 1:07:28.120
<v Speaker 4>surveillance culture that we have going on now. I would

1:07:28.240 --> 1:07:32.240
<v Speaker 4>really like to watch this movie with like some gen zs,

1:07:32.440 --> 1:07:35.040
<v Speaker 4>some older alphas to be like, what do you think

1:07:35.120 --> 1:07:38.120
<v Speaker 4>because you all have each other's locations, Like flap cameras

1:07:38.120 --> 1:07:41.360
<v Speaker 4>are such a big discussion happening now, Like does this

1:07:41.560 --> 1:07:45.439
<v Speaker 4>like horrify you to your core in the same kind

1:07:45.480 --> 1:07:47.880
<v Speaker 4>of way because now a lot of these younger people

1:07:47.880 --> 1:07:51.280
<v Speaker 4>have been raised in They're much more comfortable to surveillance

1:07:51.320 --> 1:07:53.080
<v Speaker 4>from a young age in a similar way, you know.

1:07:53.720 --> 1:07:56.400
<v Speaker 4>So I just want to know if this hits as

1:07:56.440 --> 1:07:58.560
<v Speaker 4>hard if you've been more raised in.

1:07:58.520 --> 1:07:59.960
<v Speaker 2>It, more acclimated to it.

1:08:00.200 --> 1:08:02.280
<v Speaker 4>Yeah, I mean, I know so many people love to

1:08:02.320 --> 1:08:05.160
<v Speaker 4>share locations, and I'm always kind of horrified at the

1:08:05.160 --> 1:08:05.720
<v Speaker 4>idea of it.

1:08:06.360 --> 1:08:07.040
<v Speaker 3>I only do it.

1:08:06.960 --> 1:08:08.840
<v Speaker 2>If I'm going on a date and I think I

1:08:08.920 --> 1:08:10.400
<v Speaker 2>might be murdered. But then I.

1:08:10.560 --> 1:08:12.200
<v Speaker 3>Yeah, but that's kind of it.

1:08:12.280 --> 1:08:15.240
<v Speaker 4>Yeah, that's fair. Yeah, that's fair.

1:08:15.280 --> 1:08:19.960
<v Speaker 2>Well, there's not only this self surveillance component to it,

1:08:20.040 --> 1:08:24.400
<v Speaker 2>but there's also just regular ass surveillance. To share a

1:08:24.400 --> 1:08:28.280
<v Speaker 2>little anecdote, I recently got back from a trip overseas,

1:08:28.560 --> 1:08:35.360
<v Speaker 2>and I have global entry brag, and I like was

1:08:35.439 --> 1:08:38.599
<v Speaker 2>walking through the global entry line to like whatever pass

1:08:38.680 --> 1:08:41.760
<v Speaker 2>through customs and blah blah blah. Normally there would be

1:08:41.960 --> 1:08:46.960
<v Speaker 2>a camera that like unfortunately scans all your biometrics and

1:08:47.000 --> 1:08:48.720
<v Speaker 2>your face and all that stuff, and then it like

1:08:49.200 --> 1:08:53.080
<v Speaker 2>lets you go on through. There wasn't even that. There

1:08:53.120 --> 1:08:54.960
<v Speaker 2>wasn't even a camera, so I don't even know what

1:08:55.160 --> 1:08:59.360
<v Speaker 2>had scanned me. But I'm walking through and a guy

1:08:59.600 --> 1:09:02.240
<v Speaker 2>was just like, you're good to go, Caitlin, And I'm like,

1:09:02.280 --> 1:09:04.080
<v Speaker 2>how do you know it was me? How do you

1:09:04.160 --> 1:09:08.320
<v Speaker 2>know that I'm here? Like it was so freaky, And

1:09:08.560 --> 1:09:12.240
<v Speaker 2>I think it just speaks to the level of surveillance

1:09:12.400 --> 1:09:15.520
<v Speaker 2>and again with all the biometric data that's being collected

1:09:15.680 --> 1:09:18.080
<v Speaker 2>and yeah, and never going to be able to like

1:09:18.720 --> 1:09:20.519
<v Speaker 2>have any privacy.

1:09:20.439 --> 1:09:25.640
<v Speaker 3>Like classic police surveillance, and like how all surveillance technology

1:09:25.800 --> 1:09:27.439
<v Speaker 3>is inherently.

1:09:27.040 --> 1:09:28.960
<v Speaker 5>Racist because of the data sets that they're.

1:09:28.800 --> 1:09:32.120
<v Speaker 3>Trained on and they're transphobic because of the data sets

1:09:32.160 --> 1:09:35.000
<v Speaker 3>that they're trained on. It just like it's endless. And

1:09:35.040 --> 1:09:37.880
<v Speaker 3>then yeah, like we have ring cameras and surveil each

1:09:37.960 --> 1:09:41.880
<v Speaker 3>other and there has to be a generational difference like

1:09:42.040 --> 1:09:45.479
<v Speaker 3>there too, because I personally, I do not want to

1:09:45.520 --> 1:09:47.599
<v Speaker 3>know where my fiance is at. I'm like, if you're

1:09:47.640 --> 1:09:50.040
<v Speaker 3>gonna cheat on me, do it normal style, Like it's

1:09:50.080 --> 1:09:53.519
<v Speaker 3>none of my business, none of my business, and it's

1:09:53.600 --> 1:09:55.639
<v Speaker 3>it's first of all, it's creepy to me. And it's

1:09:55.640 --> 1:09:58.800
<v Speaker 3>also like feels like I don't trust someone, Like I think,

1:09:59.840 --> 1:10:01.719
<v Speaker 3>like what you're talking about, Kayle, it makes total sense

1:10:01.760 --> 1:10:05.360
<v Speaker 3>because that's safety and temporary. But then at some point

1:10:05.360 --> 1:10:07.960
<v Speaker 3>it's like if I don't know, if if I need

1:10:08.000 --> 1:10:11.720
<v Speaker 3>to like put an Apple tag on a boyfriend, then

1:10:11.880 --> 1:10:13.280
<v Speaker 3>I'm probably not a boyfriend.

1:10:13.360 --> 1:10:14.439
<v Speaker 2>Then you shouldn't be with that.

1:10:14.920 --> 1:10:18.559
<v Speaker 4>Yeah, right, But it's like a societal urging of the

1:10:18.560 --> 1:10:21.240
<v Speaker 4>breaking down of trust between us, right, you know, It's

1:10:21.280 --> 1:10:24.280
<v Speaker 4>like they don't want us to have that instinct to

1:10:24.400 --> 1:10:25.280
<v Speaker 4>just trust somebody.

1:10:25.479 --> 1:10:27.000
<v Speaker 3>Yeah, you know, bleak.

1:10:27.439 --> 1:10:29.960
<v Speaker 4>I just, man, there's so many conversations. But I also

1:10:30.200 --> 1:10:32.080
<v Speaker 4>I was just one more thing. I just I always

1:10:32.080 --> 1:10:36.760
<v Speaker 4>love to think about Truman getting out seeing Sylvia and

1:10:36.800 --> 1:10:40.680
<v Speaker 4>then some lawyer comes and gets him all his residuals

1:10:40.720 --> 1:10:43.520
<v Speaker 4>and he gets to do whatever the hell he wants.

1:10:43.880 --> 1:10:44.600
<v Speaker 3>For the rest of it.

1:10:44.760 --> 1:10:46.599
<v Speaker 4>He gets to travel a whole world because he's got

1:10:46.640 --> 1:10:47.679
<v Speaker 4>MySpace Tom money.

1:10:47.720 --> 1:10:49.439
<v Speaker 3>Now, oh my god.

1:10:49.520 --> 1:10:51.920
<v Speaker 2>All he wants is to travel and explore.

1:10:52.600 --> 1:10:55.880
<v Speaker 3>He wants to see Fiji. Oh I mean yeah, I

1:10:55.920 --> 1:11:01.280
<v Speaker 3>want him to see the world and go off the grid. Yes, absolutely, yeah.

1:11:01.360 --> 1:11:03.120
<v Speaker 4>The only person that's allowed to be an off grid

1:11:03.120 --> 1:11:05.799
<v Speaker 4>prepper truly is Truman Burbanks truly.

1:11:06.000 --> 1:11:07.680
<v Speaker 3>And the person who's really earned it.

1:11:07.800 --> 1:11:11.080
<v Speaker 4>Yeah, yeah, yeah, Well.

1:11:11.400 --> 1:11:14.280
<v Speaker 3>It doesn't pass the Bechdel test. Look, we have to

1:11:14.320 --> 1:11:16.559
<v Speaker 3>say it. It doesn't. It just doesn't.

1:11:17.120 --> 1:11:20.320
<v Speaker 2>The only scene where women are interacting is the Merral

1:11:20.439 --> 1:11:23.679
<v Speaker 2>character in Truman's mom and they're talking about True.

1:11:23.520 --> 1:11:28.320
<v Speaker 3>They're talking about Truman, which I'm willing to be generous

1:11:28.360 --> 1:11:32.280
<v Speaker 3>and say that's by design that these characters wouldn't have

1:11:32.479 --> 1:11:35.559
<v Speaker 3>personal relationships with each other because their coworkers and their

1:11:35.600 --> 1:11:38.479
<v Speaker 3>relationship would be incidental to the focus of the show.

1:11:39.280 --> 1:11:42.559
<v Speaker 3>Blah blah blah. But I still think that there's far

1:11:42.640 --> 1:11:47.360
<v Speaker 3>more room for not white guys in this story than exists,

1:11:47.360 --> 1:11:50.200
<v Speaker 3>which just feels product of nineteen ninety eight.

1:11:50.840 --> 1:11:51.080
<v Speaker 4>Yeah.

1:11:51.240 --> 1:11:54.320
<v Speaker 3>Actually, but what about the most important metric in the world,

1:11:54.400 --> 1:11:57.479
<v Speaker 3>the Bechdel cast Nipple scale.

1:11:56.920 --> 1:12:00.880
<v Speaker 2>Our skill, where we rate the movie zero five nipples

1:12:00.920 --> 1:12:05.439
<v Speaker 2>based on examining it through an intersectional feminist lens. This

1:12:05.479 --> 1:12:08.720
<v Speaker 2>is a tricky one because it's not necessarily like promoting

1:12:08.800 --> 1:12:14.120
<v Speaker 2>any ideas of intersectional feminism, but it is examining all

1:12:14.160 --> 1:12:15.920
<v Speaker 2>of these things that we've talked about, as far as

1:12:16.680 --> 1:12:18.320
<v Speaker 2>exploitation and media.

1:12:19.000 --> 1:12:22.879
<v Speaker 3>Living in a society, society.

1:12:24.120 --> 1:12:29.080
<v Speaker 2>Product placement, and like you know, promoting rampant consumption and consumerism,

1:12:29.920 --> 1:12:35.440
<v Speaker 2>selling this idea of a like white hetero status quo utopia,

1:12:36.439 --> 1:12:38.559
<v Speaker 2>et cetera, et cetera. And I think the movie has

1:12:38.600 --> 1:12:43.080
<v Speaker 2>a lot to say about that. So honestly, I think

1:12:43.120 --> 1:12:47.360
<v Speaker 2>I'm going to give it like three nipples, and they're

1:12:47.439 --> 1:12:52.160
<v Speaker 2>going to queer icons. The two old women who watch

1:12:52.280 --> 1:12:54.800
<v Speaker 2>the Truman Show together at home on the couch, and

1:12:54.800 --> 1:12:56.840
<v Speaker 2>they're always like snuggling with each other.

1:12:57.120 --> 1:12:57.839
<v Speaker 3>It's cute.

1:12:57.840 --> 1:12:58.280
<v Speaker 4>I love that.

1:12:58.800 --> 1:13:02.080
<v Speaker 3>It's cute. I love this movie, and I'm going to

1:13:02.120 --> 1:13:05.960
<v Speaker 3>give it two nipples, just mainly because it's just like

1:13:06.160 --> 1:13:10.080
<v Speaker 3>having It has a lot of interesting societal commentary, but

1:13:10.479 --> 1:13:14.679
<v Speaker 3>is mostly still relegated to how society shapes and affects

1:13:15.520 --> 1:13:18.160
<v Speaker 3>this specific white guy. And I do think that that

1:13:18.280 --> 1:13:21.479
<v Speaker 3>is intentional for all of these reasons. But I'm more

1:13:21.560 --> 1:13:24.760
<v Speaker 3>I guess thinking about the characters that we meet outside

1:13:24.920 --> 1:13:28.840
<v Speaker 3>of people who aren't the nineteen ninety eight characters we meet,

1:13:28.920 --> 1:13:31.840
<v Speaker 3>I still feel like there that is an opportunity to

1:13:31.920 --> 1:13:34.280
<v Speaker 3>show a more diverse array of characters, to show you

1:13:34.320 --> 1:13:37.439
<v Speaker 3>the world that Truman is not able to participate in.

1:13:38.280 --> 1:13:40.600
<v Speaker 3>That said, it's pretty close to a perfect movie, and

1:13:40.640 --> 1:13:42.400
<v Speaker 3>I love it very much and it's a part of

1:13:42.439 --> 1:13:49.280
<v Speaker 3>my family now. But I'm two nipples, one to LAURELINI

1:13:49.880 --> 1:13:52.599
<v Speaker 3>and one two. Oh my gosh, I don't think I've

1:13:52.600 --> 1:13:57.120
<v Speaker 3>seen her in anything else. Natasha macklhone shout out to.

1:13:57.080 --> 1:13:58.439
<v Speaker 2>Her, Brandy, how about you.

1:13:59.479 --> 1:14:03.080
<v Speaker 4>I'll give it. I'll give it three as well, I

1:14:03.080 --> 1:14:05.360
<v Speaker 4>think for similar reasons I'll give I'll give it a

1:14:05.400 --> 1:14:07.599
<v Speaker 4>little bit more, just because I think that it is also,

1:14:07.720 --> 1:14:11.000
<v Speaker 4>like I don't know, showing that the way that like

1:14:11.120 --> 1:14:14.960
<v Speaker 4>a straight white Ki can also become a victim of

1:14:15.000 --> 1:14:17.519
<v Speaker 4>the assign of things. I think maybe hopefully that helps

1:14:17.560 --> 1:14:21.000
<v Speaker 4>that story break through to some people that might need that,

1:14:21.680 --> 1:14:23.600
<v Speaker 4>because it is, like, you know, ultimately, like even the

1:14:23.640 --> 1:14:26.679
<v Speaker 4>system that in theory is like benefiting you, you will

1:14:26.720 --> 1:14:28.960
<v Speaker 4>ultimately become a victim of it if you step outside

1:14:28.960 --> 1:14:33.240
<v Speaker 4>of it. It's a prison, still a prison. And I'm

1:14:33.240 --> 1:14:36.880
<v Speaker 4>gonna give him. I'm gonna give alter Jim Carrey. I'm

1:14:36.880 --> 1:14:39.280
<v Speaker 4>just so proud of him. I'm just so proud of him.

1:14:39.520 --> 1:14:41.840
<v Speaker 3>Close personal friend, my close personal friend.

1:14:42.040 --> 1:14:44.080
<v Speaker 4>I'm just I'm just so proud of him. He was

1:14:44.640 --> 1:14:47.000
<v Speaker 4>he dropped out of high school in ninth grade and

1:14:47.160 --> 1:14:49.879
<v Speaker 4>was like houses with his family for years in Canada.

1:14:49.960 --> 1:14:51.960
<v Speaker 4>And like I just, I'm just always so proud of him.

1:14:52.320 --> 1:14:56.479
<v Speaker 4>He's a problematic fave for life. He always will be fair.

1:14:56.680 --> 1:15:00.400
<v Speaker 2>We all get at least one. Yeah, well, thank you

1:15:00.439 --> 1:15:04.080
<v Speaker 2>so much for coming back and having this discussion with us.

1:15:04.320 --> 1:15:07.000
<v Speaker 4>Come back anytime, Yeah, come back absolutely.

1:15:07.360 --> 1:15:10.439
<v Speaker 2>Tell us what you want to plug and where to

1:15:10.840 --> 1:15:13.799
<v Speaker 2>where to if people want to watch your.

1:15:15.560 --> 1:15:18.080
<v Speaker 3>Seven oh yeah.

1:15:17.680 --> 1:15:22.680
<v Speaker 4>Please come surveil me on Instagram at brand Dazzle on Instagram,

1:15:22.800 --> 1:15:25.479
<v Speaker 4>I'm on TikTok at Brand Dazzle is here. I barely

1:15:25.560 --> 1:15:27.920
<v Speaker 4>use it, but if you follow me, maybe I feel

1:15:27.960 --> 1:15:32.880
<v Speaker 4>compelled to. My new comedy special is called Milk Job.

1:15:33.400 --> 1:15:36.760
<v Speaker 4>It is available everywhere that you listen to audio, but

1:15:36.800 --> 1:15:40.280
<v Speaker 4>also it is available on video at YouTube dot com,

1:15:40.320 --> 1:15:43.120
<v Speaker 4>slash at sign burn This Records, which is a record

1:15:43.200 --> 1:15:45.000
<v Speaker 4>label that I started a few years ago to try

1:15:45.040 --> 1:15:48.360
<v Speaker 4>to create a more artist friendly space in the comedy

1:15:48.400 --> 1:15:52.599
<v Speaker 4>industry because it's getting bad and worse all the time,

1:15:53.360 --> 1:15:56.719
<v Speaker 4>and I'm just trying to create like an equitable space

1:15:56.760 --> 1:15:59.280
<v Speaker 4>to try to like help out people around the country

1:15:59.280 --> 1:16:01.519
<v Speaker 4>that I've meet that are like pillars in their own

1:16:01.520 --> 1:16:05.040
<v Speaker 4>local comedy scenes, are keeping like an independent alternative to

1:16:05.760 --> 1:16:10.439
<v Speaker 4>the current mainstream bs afloat that's awesome. Basically, Yeah, it's

1:16:10.520 --> 1:16:13.920
<v Speaker 4>like I'm I'm a punk rock kid through and through,

1:16:13.920 --> 1:16:15.640
<v Speaker 4>and I'm trying to like bring that ethos to more

1:16:15.680 --> 1:16:18.519
<v Speaker 4>and more to comedy, and like it's important that there

1:16:18.600 --> 1:16:23.439
<v Speaker 4>is a healthy working class middle the middle class in comedy.

1:16:23.640 --> 1:16:26.280
<v Speaker 4>And yeah, if you want to come and listen to

1:16:26.320 --> 1:16:28.439
<v Speaker 4>some comics you might not have heard of but are

1:16:28.560 --> 1:16:31.040
<v Speaker 4>very funny and are very funny and are very good people.

1:16:31.080 --> 1:16:33.360
<v Speaker 4>These are the metrics by which I am trying to

1:16:33.400 --> 1:16:35.680
<v Speaker 4>build a label, and I'm really proud of it and

1:16:35.720 --> 1:16:39.800
<v Speaker 4>the comedy. The YouTube shape page is almost monetized, and

1:16:39.840 --> 1:16:41.760
<v Speaker 4>what would mean a lot to me is if you

1:16:41.760 --> 1:16:44.720
<v Speaker 4>could subscribe but then also definitely watch the special and

1:16:44.760 --> 1:16:46.280
<v Speaker 4>then if you want to throw it on a few

1:16:46.280 --> 1:16:48.200
<v Speaker 4>more times on mute, I wouldn't be mad at you.

1:16:49.280 --> 1:16:52.120
<v Speaker 4>I'm about one thousand hours from being fully monetized and

1:16:52.200 --> 1:16:54.639
<v Speaker 4>that would mean a lot. So I'm it's insight. We're

1:16:54.720 --> 1:16:57.280
<v Speaker 4>very close and you guys could get me there and

1:16:57.320 --> 1:16:59.000
<v Speaker 4>that would mean a lot to me and a lot

1:16:59.000 --> 1:16:59.519
<v Speaker 4>of good people.

1:16:59.640 --> 1:17:04.080
<v Speaker 3>Amazing cast hive you night, and we'll have the link

1:17:04.080 --> 1:17:05.080
<v Speaker 3>in the description as well.

1:17:05.280 --> 1:17:07.599
<v Speaker 4>Yes, absolutely leave a comment. Let me know how many

1:17:07.680 --> 1:17:10.880
<v Speaker 4>nipples you would give German show in on on milk job.

1:17:10.920 --> 1:17:13.920
<v Speaker 4>I would love that. Yeah, please please do.

1:17:15.400 --> 1:17:21.439
<v Speaker 2>And with that, good night inwe night is it on,

1:17:21.520 --> 1:17:25.200
<v Speaker 2>good afternoon and good night bye bye.

1:17:28.520 --> 1:17:31.880
<v Speaker 3>The Bechdel Cast is a production of iHeartMedia, hosted and

1:17:31.960 --> 1:17:34.160
<v Speaker 3>produced by Me, Jamie Loftus.

1:17:34.040 --> 1:17:37.519
<v Speaker 2>And Me Caitlyn Durrante. The podcast is also produced by

1:17:37.640 --> 1:17:39.160
<v Speaker 2>Sophie Lichtermann and.

1:17:39.200 --> 1:17:42.360
<v Speaker 5>Edited by Caitlyn Durrante. Ever Heard of Them? That's me

1:17:42.960 --> 1:17:46.120
<v Speaker 5>and our logo and merch and all of our artwork

1:17:46.160 --> 1:17:49.720
<v Speaker 5>in fact are designed by Jamie Loftus, Ever heard of Her?

1:17:49.920 --> 1:17:52.880
<v Speaker 3>Oh My God? And our theme song, by the way,

1:17:53.040 --> 1:17:54.800
<v Speaker 3>was composed by Mike Kaplan.

1:17:54.680 --> 1:17:57.800
<v Speaker 2>With vocals by Katherine Vosskrasinski.

1:17:57.320 --> 1:17:59.920
<v Speaker 3>Iconic and a special thanks to the one and all

1:18:00.520 --> 1:18:01.800
<v Speaker 3>Aristotle Acevedo.

1:18:02.320 --> 1:18:06.120
<v Speaker 2>For more information about the podcast, please visit Linktree slash

1:18:06.160 --> 1:18:06.960
<v Speaker 2>Spectelcast