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Speaker 1: Hello everybody, How are you welcome to another episode of

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Speaker 1: I Saw What You Did?

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Speaker 2: My name is Millie.

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Speaker 1: To Jericho, I'm Danielle Henderson, and we are back to

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Speaker 1: talk about film with you once again. Right off the bat,

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Speaker 1: I want to apologize to everybody. I'm feeling a little

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Speaker 1: under the weather. I've got a little sinus thing, so

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Speaker 1: I'm probably gonna sound a tiny bit different, hopefully not, but.

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Speaker 2: I just want to say it up front. What's going

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Speaker 2: on with you?

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Speaker 1: A ton?

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Speaker 2: How was your birthday last week? It was great. I

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Speaker 2: got to watch RoboCop. That's all a forty four year

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Speaker 2: old woman wants in this world, truly a birthday dream.

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Speaker 1: Yeah, I feel bad that, you know, we basically sat

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Speaker 1: there and talked about fathers and RoboCop and it was

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Speaker 1: your birthday, and you're a little sicky.

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Speaker 3: You didn't tell anybody. I don't make a big deal

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Speaker 3: out of my birthday. Really, I never do.

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Speaker 2: Yeah. I kind of like to, you know, just kind

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Speaker 2: of keep it quiet, do my own thing. It's not like.

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Speaker 3: Once you're I mean, people who celebrate their birthday weeks.

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Speaker 3: We can't be friends. Like I'm not that person, especially

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Speaker 3: if you're over age thirty like, once you're in your thirties,

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Speaker 3: you cannot pay your friends in pizza and beer to

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Speaker 3: move your apartment or your house. And I don't think

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Speaker 3: you should be celebrating a birthday week. But to each

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Speaker 3: their own. I'm just saying, I go, I go completely

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Speaker 3: the opposite way. I run in the other direction.

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Speaker 1: Yeah, I need to stay very quiet right now because

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Speaker 1: there are people in my life that do that.

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Speaker 2: And I also saying nothing.

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Speaker 3: But yeah, I think another reason I kept it low

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Speaker 3: key is that I've got another big thing going on.

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Speaker 1: Yeah, because okay, so like last time, for the past

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Speaker 1: couple of weeks, you know, you were mentioning, oh, I

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Speaker 1: have all this stuff in the hopper, but I can't

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Speaker 1: really talk about it. And I just assumed it was

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Speaker 1: work stuff. But I actually think now you have like

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Speaker 1: this big, one of the biggest personal things that could

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Speaker 1: ever happen to somebody.

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Speaker 3: Right, Yeah, Yeah, I bought a house adult clap for

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Speaker 3: an adult beautiful, beautiful, and it's not in Los Angeles,

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Speaker 3: so I had to move cross country to New York.

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Speaker 2: It's in my hometown.

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Speaker 3: My Grandma's going to be moving in with me, amazing,

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Speaker 3: And yeah, I don't know if you guys, remember if you,

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Speaker 3: I guess it was like a month and a half ago,

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Speaker 3: a little while ago, a few weeks ago, when I

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Speaker 3: was encouraging Millie to come up with a death plan,

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Speaker 3: and we talked about our wills and our.

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Speaker 2: Last will and testaments.

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Speaker 3: And that's why I had to do one, because I

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Speaker 3: actually own something now.

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Speaker 2: But let me ask you so.

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Speaker 1: Because I'm very curious about this simply because you know,

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Speaker 1: I think a lot of people, over the course of

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Speaker 1: the pandemic have begun to sort of understand a little

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Speaker 1: bit more about how.

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Speaker 2: They live and where they live, and like the space

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Speaker 2: that they live.

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Speaker 1: I mean, come on, you spend like a year and

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Speaker 1: a half inside and you're like looking around your house

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Speaker 1: going like is this big enough? Is this what I want?

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Speaker 1: Can I stand to be here for another five years

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Speaker 1: or whatever? So I've been talking a lot with people

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Speaker 1: like friends and family who are also like I'm thinking

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Speaker 1: about buying a house. I'm thinking me personally, I'm thinking

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Speaker 1: about buying a house too.

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Speaker 2: So what made you come to this decision? It was

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Speaker 2: a couple of different things, namely that my grandma's dementias

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Speaker 2: is progressing to a point where she's not going to

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Speaker 2: be able to live on her own for much longer,

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Speaker 2: and she absolutely does not want to live in a home,

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Speaker 2: and no one else in my family can really take

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Speaker 2: her in. So I was forced with this decision of like, Okay,

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Speaker 2: either I put her someplace where she doesn't want to be,

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Speaker 2: or I just figure something else out. But it was

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Speaker 2: actually that was a portion of it. That was a

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Speaker 2: big part of it.

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Speaker 3: But I think the biggest thing is just like I've

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Speaker 3: just reached a point in my life where I'm just

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Speaker 3: kind of done with living in cities. Like I love

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Speaker 3: visiting cities, I love seeing my friends in cities. As

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Speaker 3: a writer, it is miserable to try to write in

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Speaker 3: a one bedroom apartment in the middle of la like

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Speaker 3: it just has I've worked, I've tried every single kind

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Speaker 3: of work around I could think of, and I just

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Speaker 3: couldn't make it work. You know. My neighbor in my

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Speaker 3: last apartment was just like a partier, like party through

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Speaker 3: the pandemic, loud, drunk all the time, just super selfish.

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Speaker 2: And horrible, and I just couldn't relax.

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Speaker 3: And I just really I worked too hard in my

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Speaker 3: life to be at a point where I can't relax

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Speaker 3: and enjoy myself and kind of have the life that

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Speaker 3: I want. So it's kind of like dovetailed nicely. Like

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Speaker 3: I definitely I think I would have moved somewhere. I

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Speaker 3: don't know that I would have moved back to my hometown,

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Speaker 3: but I was ready to get it.

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Speaker 1: That's another part of that that's interesting because you know,

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Speaker 1: obviously when we did the episode about Nobody's fool and

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Speaker 1: we've talked a lot about Warwick, where you're from in

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Speaker 1: New York, and I always it seems obviously very charming.

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Speaker 2: Oh yeah, you go and come visit.

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Speaker 1: Listen, I don't even care if you say no right now,

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Speaker 1: I'm still coming. Like I set it up as an

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Speaker 1: artist retreat. I'll pretend I'm an artist. I will live

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Speaker 1: on your property for three months. I will grow vegetables.

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Speaker 1: I'm very much into this idea. So beautiful, don't worry

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Speaker 1: about it. I'm coming. So not only are you buying

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Speaker 1: a house, but you're also like going back to your hometown,

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Speaker 1: which is this whole other component that's very interesting to me.

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Speaker 1: So what made you decide to do that besides Grandma?

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Speaker 1: Was there any other reason?

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Speaker 2: No, it was literally my grandma.

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Speaker 3: Like I would have chosen somewhere else, and I'm glad

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Speaker 3: to be where I am. Like, I think it's going

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Speaker 3: to be exciting to be back there. I'm coming back

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Speaker 3: at a different point in my life and I'm a

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Speaker 3: totally different person. But it was never going It's never

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Speaker 3: been my first choice if not.

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Speaker 2: For her, And.

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Speaker 3: I'm okay with it though, Like I like my hometown.

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Speaker 3: I think that I've you know, have had enough therapy

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Speaker 3: to move back there. And truly, things have been going

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Speaker 3: in such a fast clip that I haven't even had

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Speaker 3: time to process the fact that I'm moving back to

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Speaker 3: my hometown.

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Speaker 2: Yeah.

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Speaker 1: Yeah, it's just like do it now and deal with

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Speaker 1: it later. Exactly how long has it been since you've

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Speaker 1: lived in your hometown.

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Speaker 3: I left when I was seventeen, when graduate high school.

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Speaker 3: Yeah yeah, and I went back. I lived there for

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Speaker 3: like six months before I moved to Alaska, and I

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Speaker 3: just like stayed with my grandma and saved a little

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Speaker 3: bit of money. But that was, you know, my early twenties.

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Speaker 3: So I've been back to visit, but I haven't lived

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Speaker 3: there like full time in a long time. But I

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Speaker 3: think it's going to be all right. I've got a

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Speaker 3: couple of friends there and my brother is close by.

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Speaker 3: Plus I've got space, man, Like, I am not sweating

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Speaker 3: it at all. I've got tons and tons of space.

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Speaker 2: My house.

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Speaker 3: Used to be in an actual barn and it is

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Speaker 3: a tiny farm currently, so I.

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Speaker 2: Have like a barn.

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Speaker 3: I've got a silo, I've got like other buildings, and

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Speaker 3: I've got some acres so I have space, Like, I

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Speaker 3: don't have to run into people that I don't want to. Plus,

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Speaker 3: I left that town of virgin I can run into

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Speaker 3: anyone I want in the grocery store.

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Speaker 2: I've not seen any dicks. It's gonna be great.

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Speaker 3: There's no Bradage, no Beliage. I just up and left.

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Speaker 3: So yeah, I think it's it's a big deal. I

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Speaker 3: moved from a one bedroom apartment. I have like, you know,

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Speaker 3: a lot of space to feel eventually, but I'm not

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Speaker 3: rushing to do it. And yeah, I think I'm just

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Speaker 3: trying to get excited about the idea of like owning something,

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Speaker 3: which I just haven't. It has not been the focus

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Speaker 3: of my adult life and I never thought this would happen.

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Speaker 1: Yeah, I have to say I I have always wanted

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Speaker 1: to own my own house, and I just think it's

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Speaker 1: I don't know. I know a lot of people who

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Speaker 1: don't find value in that and say the opposite that

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Speaker 1: basically owning is a more of a hassle and the

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Speaker 1: I have a lot of friends who are homeowners that

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Speaker 1: are like I wish I was just a renter. I

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Speaker 1: envy you, but I'm with you, like I I didn't,

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Speaker 1: I wouldn't have expected to really want it after a

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Speaker 1: certain amount of time. Like I think that once you

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Speaker 1: collapse the sort of the narrative of like well, I'm

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Speaker 1: gonna get married and have my kids and move into

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Speaker 1: my house, then it's sort of like whatever, like that's

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Speaker 1: you're now you're in a free fall and you don't

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Speaker 1: know what's what. So does it matter if you own?

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Speaker 1: Does it matter if you stay in a town for

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Speaker 1: a long period of time. I mean it's just that

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Speaker 1: there's no rules. Once you were checked the rules, then

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Speaker 1: there's no rules, right, No, there's total freedom. But I

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Speaker 1: but I think I always wanted to own, like I

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Speaker 1: always and and and I think what's so attractive about

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Speaker 1: like what you're doing is that I really want the land. Yeah,

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Speaker 1: you know, I I say this is I'm not like

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Speaker 1: a farmer. Let's get serious.

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Speaker 2: I'm not.

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Speaker 1: I was never in four h I would be horrified

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Speaker 1: to get up and like, you know, have to figure

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Speaker 1: out how to like get pests off my crops and stuff.

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Speaker 2: That would just be like so stressful to me.

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Speaker 1: But there's always this idea that I've had that like, oh,

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Speaker 1: I would love to have like a garden and like

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Speaker 1: gross and vegetables. You know, my mother is like a

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Speaker 1: huge gardener. She's an amazing garden in her backyard, and

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Speaker 1: she's taught me kind of a lot about growing flowers

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Speaker 1: and plants. And yeah, so I've always wanted like space,

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Speaker 1: and that was the thing about La that was so

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Speaker 1: hard was that I did not have any outdoor space whatsoever.

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Speaker 1: You know a lot of people in La live in

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Speaker 1: apartment buildings and there's not really anything. They don't have yards,

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Speaker 1: they don't have porches. A lot of times I didn't even.

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Speaker 2: Have a porch.

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Speaker 1: So I'm just like sitting here looking at you having

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Speaker 1: gone through this process and knowing that you have like acreage,

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Speaker 1: and I'm.

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Speaker 2: Like, oh my god, I got to do that. I

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Speaker 2: got to like get on this tip.

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Speaker 3: This is inspiring one hundred first then and I look,

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Speaker 3: I did it alone. Yeah, I don't come from family money.

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Speaker 3: You can do it on your own. Like it might

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Speaker 3: be harder to figure some stuff out, but you know,

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Speaker 3: I had to learn a long time ago how to

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Speaker 3: ask questions and ask for help, and I did. There's

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Speaker 3: a lot that I didn't understand, and I just asked

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Speaker 3: people to explain it to me.

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Speaker 1: Yeah, I mean, honestly, like for a very long time,

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Speaker 1: the idea that a single woman would buy her own

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Speaker 1: house was kind of unheard of, and like the laws

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Speaker 1: reflected that a lot for up until like recently, but

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Speaker 1: I think a lot more of us are doing it

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Speaker 1: obviously right now. For me, I think the biggest challenge

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Speaker 1: with you know, just doing the research of trying to

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Speaker 1: figure out if this is something I actually want to

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Speaker 1: do and where that's another question obviously is just the market,

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Speaker 1: because of course everybody is buying wanting to buy houses,

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Speaker 1: like right now, everybody wants to buy a house because

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Speaker 1: of the pad and everybody that was in already in

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Speaker 1: a house, they want to upgrade and have more rooms

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Speaker 1: than everybody who was living in apartments like me want

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Speaker 1: their own space. So it's really competitive, and I hope

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Speaker 1: that changes because honestly, as like a first time home buyer,

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Speaker 1: Like it's terrifying, just the idea of like, you know,

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Speaker 1: getting pre approved from mortgage, putting down money, knowing that

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Speaker 1: you're going to have to compete for homes because the

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Speaker 1: inventory is small right now. So I'm just knowing that

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Speaker 1: and knowing that you've just done it and now you're

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Speaker 1: there is so impressive.

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Speaker 3: But I do think this is important to talk about.

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Speaker 3: Like I am a single black woman who just bought

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Speaker 3: a farm. I just bought a house with land on

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Speaker 3: my own. This house, my mortgage, and this is this

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Speaker 3: is also part of the reason that I was like, yeah,

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Speaker 3: I got to get the fuck out of here. My

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Speaker 3: mortgage for this house is half of what it costs

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Speaker 3: to rent a one bedroom apartment in LA.

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Speaker 2: Yeah.

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Speaker 3: I did in La was work like that is it

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Speaker 3: was a great place for my career and a terrible

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Speaker 3: place for me personally.

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Speaker 2: Like I did not have a life. I didn't do anything.

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Speaker 3: I never we were talking about it the other day,

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Speaker 3: Like I never went to the observatory, I never went

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Speaker 3: to Joshua Tree, I never.

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Speaker 2: Went into Big Sir. I didn't do anything.

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Speaker 3: I stayed in my house and I worked for almost

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Speaker 3: five years.

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Speaker 2: Listen I'll just tell you right now. The observatory the Okay,

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Speaker 2: I don't want to, don't I'll listen. You guys can go.

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Speaker 2: It's fun.

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Speaker 1: But really for me when I went up there, because

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Speaker 1: I hiked up there too. May remember, Yeah, and I

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Speaker 1: actually have a harrowing story where my friend Heather, my

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Speaker 1: friend Heather Jewet and I hiked up to the observatory

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Speaker 1: and then we decided to take this, like, you know.

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Speaker 2: The path, let's take it.

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Speaker 1: It was like this kind of dirt path that actually

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Speaker 1: didn't go anywhere but to the actual cafeteria of the observatory.

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Speaker 1: And we were like on the side of a mountain,

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Speaker 1: freaking the fuck out, like on our hands and knees,

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Speaker 1: like wedding dirt on our faces. And all we do

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Speaker 1: is we pop up at the end of the trail

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Speaker 1: and there's like people eating French rubbers with their families,

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Speaker 1: and so I was like, oh shit. And then we

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Speaker 1: were like should we jump over the wall because we

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Speaker 1: don't want to come back because it's really steep.

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Speaker 2: And then when we finally went back and then went.

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Speaker 1: To the observatory, I was like, oh, this is it.

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Speaker 1: This is where they filmed right rubble without a cause,

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Speaker 1: and then there's that creepy there's that creepy statue face

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Speaker 1: of James Dean, and then that was this is where.

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Speaker 2: They filmed Rush Rush by Paula Abduel. This is where

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Speaker 2: Kean Reeves.

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Speaker 1: Was romantic with Paula Abdul No, and that's I don't know.

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Speaker 1: I mean, the Observatory is great, but I just want

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Speaker 1: to say that my experience of it wasn't this grand

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Speaker 1: thing that.

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Speaker 3: This is part of it though for like my and

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Speaker 3: I will take this on as my own, like I'm

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Speaker 3: not blaming LA for my experience of La.

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Speaker 2: LA is great for what it is for people who

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Speaker 2: want it.

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Speaker 3: I am genuinely and have been since the day I

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Speaker 3: got here. I have been genuinely not curious about this city.

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Speaker 3: Like I don't I didn't do anything because I didn't

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Speaker 3: really want to. There's nothing here that felt like it

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Speaker 3: fit me. And so one thing, I think that's why

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Speaker 3: I'm kind of not nervous about moving back to New York,

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Speaker 3: because I just fit in there.

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Speaker 2: I don't fit in in LA.

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Speaker 3: I never felt like I fit in LA, and my

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Speaker 3: lack of community like proved that, And so I'm kind

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Speaker 3: of excited to just get back to a place where,

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Speaker 3: you know, I don't have to feel like a loser,

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Speaker 3: because I really did in LA. Like, I didn't date,

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Speaker 3: I did not do anything. My life stopped for almost

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Speaker 3: five years. All I did was work. I moved here

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Speaker 3: to work, and that's what I did, and I'm excited

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Speaker 3: to get back to like myself.

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Speaker 1: Well, I'm just gonna say, for the record, having been

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Speaker 1: a friend of yours while you lived in LA, you

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Speaker 1: weren't a loser because I don't have losers. I definitely

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Speaker 1: don't start podcasts with losers. I'm just saying, but I

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Speaker 1: get it because I've had probably the worst experiences of

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Speaker 1: my life since moving to La.

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Speaker 2: Yeah bad, oh.

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Speaker 1: Yeah, Like truly, LA was giving me a message like

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Speaker 1: you should not live here because we're just going to

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Speaker 1: keep throwing terrible things at you.

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Speaker 2: But I understand that.

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Speaker 1: I understand the feeling of not connecting with the city

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Speaker 1: and you know, and yeah, working all the time and

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Speaker 1: not having any fun sucks, and that will really color

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Speaker 1: your perspective about anywhere you are. And I know we

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Speaker 1: have a lot of people who live in LA that

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Speaker 1: listen to this podcast and they will probably like reach

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Speaker 1: out to us and be like La loves you, Danielle stay,

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Speaker 1: but fuck it.

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Speaker 2: She about a farm. She's leaving a farm.

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Speaker 1: Give her a farm in Silver Lake and she'll stay.

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Speaker 1: But if not, she's got to go.

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Speaker 3: Look, I'm turning my silo into an office, so you

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Speaker 3: can give me that situation.

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Speaker 2: In the middle of La.

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Speaker 3: I'll come back. I'll come back if I can have zero.

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Speaker 3: My next neighbor is another farm. My brother Corey, who's

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Speaker 3: probably listening to this right now, he keeps telling me like,

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Speaker 3: you should get a dog or a gun, and I'm like,

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Speaker 3: I'm not doing either of them. Get a security system.

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Speaker 3: It's like security systems can be bypassed. And I'm like,

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Speaker 3: in the middle of nowhere, Okay, I'm.

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Speaker 1: Always gonna advocate for people getting dogs, So I think

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Speaker 1: you should get a dog.

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Speaker 2: And actually, I can say with one of those little

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Speaker 2: sissy space like.

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Speaker 1: Grandmama shotguns, I'm not gonna lie. I see you with it,

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Speaker 1: and I know your gun, I know your gun adverse.

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Speaker 2: But I'm just saying, looks wise, I see it for you.

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Speaker 1: But honestly, like you know you you have to stop

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Speaker 1: watching a twenty four movies at least for the first

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Speaker 1: like two or three years that you live in this farm.

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Speaker 1: I can't don't watch anything like, don't watch like The

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Speaker 1: Wicker Man, don't watch Children of the Corn, don't watch

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Speaker 1: anything that is like in.

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Speaker 2: A rural environment that involves like hey, bails or something.

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Speaker 3: Just don't you know what I watched the other night

356
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Speaker 3: on purpose for fun, The History of violence.

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Speaker 2: Yikes. See, you can't be doing that. Shit made my

358
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Speaker 2: grandma's like, what are we moving in this? She is ready.

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Speaker 3: This is the other thing, like she is gonna have

360
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Speaker 3: the whole place booby trapped, so don't even worry about it.

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Speaker 3: She already hasn't like a weapon in every fucking room

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Speaker 3: of her of her apartment. So I guarantee I'll just

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Speaker 3: be sitting on the couch one day and get stabbed

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Speaker 3: by one of her knives as she's put in the couch.

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Speaker 1: Listen, you made me watch Hereditary and I've seen what

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Speaker 1: happens in creepy attics.

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Speaker 3: So but this is also the cool thing about this place.

368
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Speaker 3: I don't have a basement, which I did not want.

369
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Speaker 3: I did not want a creepy ass East Coast basement.

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Speaker 3: You can keep that shit, and I kind of have

371
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Speaker 3: an addict, but it's only for like the fans in

372
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Speaker 3: the electrical shit in the house, So it's I literally

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Speaker 3: live in just the house, Like I don't have to

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Speaker 3: worry about people living above me or like squatters hanging

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Speaker 3: out in a basement.

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Speaker 2: Just make sure you clear the attic of any dolls

377
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Speaker 2: and you'll.

378
00:18:03,400 --> 00:18:07,919
Speaker 3: Oh, haunted dolls. Get the shit out of here. This

379
00:18:08,000 --> 00:18:10,080
Speaker 3: is exactly you've seen. This place is exactly the kind

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Speaker 3: of place. Though I actually asked the previous owner. They're like,

381
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Speaker 3: do you want to keep anything in the barn, And

382
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Speaker 3: I'm like, clear it the fuck out. I don't want

383
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Speaker 3: any talisman hanging around ready to bring me some bad luck.

384
00:18:22,000 --> 00:18:24,600
Speaker 3: Get claw foot tub. I'm sure it's beautiful. Get it

385
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Speaker 3: the fuck out of here.

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Speaker 2: I don't need any witch meetings in hell, No, I

387
00:18:30,440 --> 00:18:33,040
Speaker 2: don't want any. I don't want any bones of animals

388
00:18:33,040 --> 00:18:34,879
Speaker 2: that used to be here. Like, get it out.

389
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Speaker 3: I'll deal with the poison ivy, get everything else out

390
00:18:37,680 --> 00:18:40,960
Speaker 3: of here. But it's exciting, and I'm in that weird week.

391
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Speaker 3: So like I'm in that weird in between week where

392
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Speaker 3: none of my stuff has arrived. Yeah, and it won't

393
00:18:46,359 --> 00:18:49,399
Speaker 3: for like another five days. So I generally just like

394
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Speaker 3: I picked the smallest room and you know, just hold

395
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Speaker 3: up there in my air mattress with carrot, like like

396
00:18:56,359 --> 00:18:58,960
Speaker 3: someone who's you know, been released from captivity. But some

397
00:18:59,160 --> 00:19:01,520
Speaker 3: can't handle being in the wild, yeah, or being in

398
00:19:01,560 --> 00:19:05,040
Speaker 3: open spaces. So it'll be all right. Eventually I'll creep

399
00:19:05,119 --> 00:19:06,760
Speaker 3: out to the rest of the house, my grandma will

400
00:19:06,760 --> 00:19:11,639
Speaker 3: move in, and then I'll just be hanging clothes on

401
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Speaker 3: a laundry line for the rest of my damn life.

402
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Speaker 1: Listen, I love to see it, and I'm very proud

403
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Speaker 1: of you.

404
00:19:17,520 --> 00:19:18,080
Speaker 2: We all are.

405
00:19:18,320 --> 00:19:22,119
Speaker 1: Congratulations on your new house. I think we should have

406
00:19:22,720 --> 00:19:25,520
Speaker 1: a I saw what you did convention. Once you get

407
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Speaker 1: things up and running in the farm.

408
00:19:27,480 --> 00:19:30,280
Speaker 3: So completely, we're having a whole We'll have a whole

409
00:19:30,320 --> 00:19:32,280
Speaker 3: gam we can look, we can project movies on the

410
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Speaker 3: side of the barn.

411
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Speaker 2: It'll be great. Ah, And not for nothing.

412
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Speaker 3: But my whole goal and plan with this place is

413
00:19:39,760 --> 00:19:42,560
Speaker 3: this is going to be like our Golden Girls retirement place.

414
00:19:44,680 --> 00:19:45,680
Speaker 2: I've already talked.

415
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Speaker 3: It out with my friend Amy, Amy L's I know

416
00:19:47,640 --> 00:19:50,040
Speaker 3: you're listening as well, Like we were thinking about it

417
00:19:50,080 --> 00:19:53,640
Speaker 3: a lot during the pandemic, and I think, look, single women,

418
00:19:53,680 --> 00:19:56,600
Speaker 3: we need to take care of ourselves and like, I

419
00:19:56,680 --> 00:19:59,159
Speaker 3: have got the space and people can just come on.

420
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Speaker 2: Listen. I'm ready to mad Max Fury Road with you. Yeah.

421
00:20:06,080 --> 00:20:07,720
Speaker 2: You know, I got archery range that up back there.

422
00:20:07,760 --> 00:20:11,080
Speaker 2: I had some hay delivered. Hell yeah, she's gonna be tight.

423
00:20:11,480 --> 00:20:14,080
Speaker 3: But yeah, I'm proud of myself too. I think that's

424
00:20:14,960 --> 00:20:18,240
Speaker 3: it's a strange thing to consider one being proud of myself,

425
00:20:18,240 --> 00:20:20,040
Speaker 3: which I have not spent most of my life feeling.

426
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Speaker 2: But I was.

427
00:20:21,880 --> 00:20:23,840
Speaker 3: You know, I was raised on welfare with a single mom,

428
00:20:24,280 --> 00:20:25,680
Speaker 3: and I'm doing this.

429
00:20:26,200 --> 00:20:29,960
Speaker 2: Yeah, it's really important, you know. Man, good for you.

430
00:20:30,760 --> 00:20:32,440
Speaker 2: Everything's all right, and you're gonna get there. We're gonna

431
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Speaker 2: have her little houses.

432
00:20:33,920 --> 00:20:35,840
Speaker 3: Oh my god, We're gonna have two different because you

433
00:20:35,920 --> 00:20:38,639
Speaker 3: have to, because we need a Southern Golden Girls outpost

434
00:20:39,160 --> 00:20:39,680
Speaker 3: for the winter.

435
00:20:40,200 --> 00:20:40,520
Speaker 2: Listen.

436
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Speaker 1: I've been collecting my desert rows, throw pillows and.

437
00:20:47,280 --> 00:20:48,560
Speaker 2: My wicker furniture.

438
00:20:49,280 --> 00:20:54,320
Speaker 1: I have a little hope chest filled yes eighties grandma

439
00:20:54,400 --> 00:20:57,600
Speaker 1: furniture and knickknacks, and it just needs a home.

440
00:20:57,760 --> 00:21:01,520
Speaker 2: It needs a place. I'm gonna send you some quilts.

441
00:21:02,040 --> 00:21:05,200
Speaker 1: Oh my god, I'm ready. I'm so ready. You want

442
00:21:05,200 --> 00:21:06,359
Speaker 1: to get into some films.

443
00:21:06,800 --> 00:21:09,160
Speaker 3: You know what, I would love to Let's celebrate with

444
00:21:09,440 --> 00:21:14,200
Speaker 3: some films.

445
00:21:15,680 --> 00:21:20,080
Speaker 2: All right, So we got a theme this week. Weird,

446
00:21:20,480 --> 00:21:21,200
Speaker 2: we got a theme.

447
00:21:22,480 --> 00:21:24,239
Speaker 1: We do themes a lot here and I saw what

448
00:21:24,280 --> 00:21:27,000
Speaker 1: you did and this one, you know, I thank you

449
00:21:27,040 --> 00:21:31,080
Speaker 1: and I talked this out one night and it totally

450
00:21:31,080 --> 00:21:36,000
Speaker 1: makes sense to us and we are excited to sort

451
00:21:36,040 --> 00:21:38,960
Speaker 1: of dig into it. So this the theme for this

452
00:21:39,000 --> 00:21:40,480
Speaker 1: week is.

453
00:21:40,440 --> 00:21:44,879
Speaker 3: Called Hysterical Women who have every Right to be hysterical.

454
00:21:46,080 --> 00:21:52,919
Speaker 1: Yes, let's talk about the idea of women and hysteria, right, yeah,

455
00:21:52,960 --> 00:21:55,240
Speaker 1: because I think this is something that I think I

456
00:21:55,320 --> 00:21:58,280
Speaker 1: even touched upon when I've talked about like the psychobidtic films,

457
00:21:58,280 --> 00:22:02,080
Speaker 1: you know, when we did like Jane and I saw

458
00:22:02,080 --> 00:22:05,560
Speaker 1: what you did. Just this idea that like, you know, obviously,

459
00:22:05,640 --> 00:22:09,200
Speaker 1: like there are so many stories of women who are

460
00:22:09,760 --> 00:22:15,719
Speaker 1: you know, quote unquote crazy, hysterical, psychotic, right, And you know,

461
00:22:15,960 --> 00:22:20,760
Speaker 1: however that narrative gets tucked into the story is variable,

462
00:22:20,800 --> 00:22:22,680
Speaker 1: but it's like at the at the heart of it

463
00:22:22,720 --> 00:22:25,000
Speaker 1: is just this idea that we've grown up as women

464
00:22:25,080 --> 00:22:32,720
Speaker 1: like watching television, reading books, watching movies, hearing songs about

465
00:22:33,119 --> 00:22:36,800
Speaker 1: you know, crazy women, hysterical women, and so I don't know,

466
00:22:36,840 --> 00:22:40,520
Speaker 1: I think we like wanted to unpack that a little bit, right.

467
00:22:40,760 --> 00:22:44,240
Speaker 3: Yeah, completely completely, And I think that especially with my

468
00:22:44,359 --> 00:22:48,120
Speaker 3: movie and your movie as well, like your movie strangely

469
00:22:48,160 --> 00:22:52,440
Speaker 3: plays into the kind of second wave feminism that I'm

470
00:22:52,520 --> 00:22:54,159
Speaker 3: going to address in my in my movie.

471
00:22:54,200 --> 00:22:56,639
Speaker 2: But there's this real there.

472
00:22:56,520 --> 00:22:59,440
Speaker 3: Was this real need to like publicly address the way

473
00:22:59,520 --> 00:23:05,760
Speaker 3: that the patriarchy was harming women's mental health, like in

474
00:23:05,800 --> 00:23:08,680
Speaker 3: a real way. So when we get into my film,

475
00:23:08,720 --> 00:23:10,520
Speaker 3: I'll probably talk a little bit more about it, but

476
00:23:11,280 --> 00:23:13,560
Speaker 3: you know, it was a women's health movement that happened

477
00:23:13,600 --> 00:23:18,199
Speaker 3: around this notion that people were constantly using any reason

478
00:23:18,320 --> 00:23:20,960
Speaker 3: to call women crazy and then not only do just

479
00:23:21,040 --> 00:23:24,840
Speaker 3: call them crazy or hysterical, but then to write them

480
00:23:24,880 --> 00:23:26,760
Speaker 3: off from society as a result.

481
00:23:27,160 --> 00:23:31,400
Speaker 1: And I think it's interesting that our movies are different

482
00:23:32,160 --> 00:23:35,840
Speaker 1: because to me, my movie, it's it's not a Hitchcock movie,

483
00:23:35,880 --> 00:23:38,040
Speaker 1: but it feels like a Hitchcock movie. It's just kind

484
00:23:38,040 --> 00:23:41,160
Speaker 1: of got that pacing, and it's you know, it's basically,

485
00:23:41,200 --> 00:23:42,760
Speaker 1: you know, it's a classic film. It was made in

486
00:23:42,760 --> 00:23:46,360
Speaker 1: the forties, but it's it's more or less a psychological

487
00:23:46,400 --> 00:23:49,359
Speaker 1: thriller or thriller, and yours I think is more of

488
00:23:49,400 --> 00:23:51,199
Speaker 1: like a family drama.

489
00:23:50,800 --> 00:23:52,880
Speaker 2: It's not a horror film.

490
00:23:52,760 --> 00:23:55,440
Speaker 3: You know, No, no, not at all, and it's i

491
00:23:55,520 --> 00:23:58,959
Speaker 3: mean it's horrifying it parts, but it's not a horror film,

492
00:23:59,359 --> 00:24:02,280
Speaker 3: and it's it's it's dramatic in a way that feels

493
00:24:02,560 --> 00:24:05,320
Speaker 3: very real. But that's more I think because of the director,

494
00:24:05,359 --> 00:24:08,480
Speaker 3: which we'll get into as well. But yeah, I think

495
00:24:08,480 --> 00:24:12,600
Speaker 3: there's a history of this in gender studies and in

496
00:24:12,640 --> 00:24:15,720
Speaker 3: studying the dynamics of gender that has just always been

497
00:24:15,760 --> 00:24:16,359
Speaker 3: interesting to me.

498
00:24:17,080 --> 00:24:20,160
Speaker 1: Yeah, And to that point, I mean both these movies,

499
00:24:21,400 --> 00:24:26,080
Speaker 1: the husbands play into the drama, you know, and it

500
00:24:26,160 --> 00:24:30,679
Speaker 1: is it's basically, you know, the woman in the film

501
00:24:31,040 --> 00:24:35,560
Speaker 1: who is maybe quote unquote hysterical, right, and sort of

502
00:24:35,600 --> 00:24:38,400
Speaker 1: the men that in their lives and how that sort

503
00:24:38,440 --> 00:24:42,440
Speaker 1: of plays out. And it's different obviously in our choices,

504
00:24:42,560 --> 00:24:43,760
Speaker 1: but it.

505
00:24:43,800 --> 00:24:45,679
Speaker 2: Just kind of serves the theme. I just like that.

506
00:24:45,960 --> 00:24:48,520
Speaker 1: I like it when two movies that seem different sort

507
00:24:48,520 --> 00:24:49,520
Speaker 1: of fit the theme.

508
00:24:50,560 --> 00:24:52,240
Speaker 2: So I'm excited to talk about it.

509
00:24:52,560 --> 00:24:56,600
Speaker 3: Well, let's get into it. Yeah, you're going first, right, Yeah,

510
00:24:56,680 --> 00:24:57,440
Speaker 3: I'm going first.

511
00:24:57,480 --> 00:25:00,080
Speaker 2: God, this is a good one.

512
00:25:00,280 --> 00:25:04,800
Speaker 3: So my movie, which fits our theme of hysterical women

513
00:25:04,840 --> 00:25:08,320
Speaker 3: who have every right to be hysterical. Was written and

514
00:25:08,400 --> 00:25:13,280
Speaker 3: directed by John Cassavetties, released in nineteen seventy four, A

515
00:25:13,359 --> 00:25:16,720
Speaker 3: Woman under the influence Mabel's.

516
00:25:16,280 --> 00:25:20,280
Speaker 2: Not crazy, She's unusual. Tell me what you want, how

517
00:25:20,359 --> 00:25:23,960
Speaker 2: I want it to be. I can be that, I

518
00:25:24,040 --> 00:25:25,120
Speaker 2: can be anything.

519
00:25:25,240 --> 00:25:25,920
Speaker 1: You know.

520
00:25:27,320 --> 00:25:29,560
Speaker 3: There's a lot to say about this about this film,

521
00:25:29,600 --> 00:25:31,960
Speaker 3: and I'm just going to say up top that we

522
00:25:32,000 --> 00:25:36,560
Speaker 3: could do two to three full episodes about John Cassavetties

523
00:25:37,000 --> 00:25:37,639
Speaker 3: on his own.

524
00:25:38,720 --> 00:25:39,520
Speaker 2: So I'm going to try to.

525
00:25:39,520 --> 00:25:43,760
Speaker 3: Keep this more about the film and more about Mabel Longetti,

526
00:25:43,840 --> 00:25:48,159
Speaker 3: the character in the film played by Gina Rollins, but

527
00:25:48,359 --> 00:25:49,800
Speaker 3: he is I'm going to give a little bit of

528
00:25:49,840 --> 00:25:50,680
Speaker 3: background about him.

529
00:25:50,560 --> 00:25:51,360
Speaker 2: Because it's important.

530
00:25:52,000 --> 00:25:55,520
Speaker 3: So this film was again released in nineteen seventy four.

531
00:25:56,240 --> 00:25:59,600
Speaker 3: Gina Rollins was nominated for a Best Actress Oscar in

532
00:25:59,640 --> 00:26:04,240
Speaker 3: nineteen seventy five for this film. John Cassavettis was nominated

533
00:26:04,760 --> 00:26:10,320
Speaker 3: as Best Director, and Gina Rollins and John Cassavettis were married.

534
00:26:10,960 --> 00:26:13,439
Speaker 3: They're a real life married couple and she starred in

535
00:26:13,480 --> 00:26:17,520
Speaker 3: a ton of his films and they met in nineteen

536
00:26:17,560 --> 00:26:20,600
Speaker 3: fifty three when she was a student at the American

537
00:26:20,600 --> 00:26:24,040
Speaker 3: Academy of Dramatic Arts, and he had just left the

538
00:26:24,359 --> 00:26:26,480
Speaker 3: American Academy of Dramatic Arts and was kind of a

539
00:26:26,480 --> 00:26:30,399
Speaker 3: struggling actor, and he acted in a few things that

540
00:26:30,440 --> 00:26:32,800
Speaker 3: you would definitely know, so he kind of did hit

541
00:26:32,800 --> 00:26:34,600
Speaker 3: his shard as an actor, and he used a lot

542
00:26:34,600 --> 00:26:37,240
Speaker 3: of the money that he made as an actor to

543
00:26:37,280 --> 00:26:41,439
Speaker 3: fund his own movies. And so they were married for

544
00:26:41,480 --> 00:26:45,320
Speaker 3: his entire life. But he died really tragically young in

545
00:26:45,400 --> 00:26:48,720
Speaker 3: nineteen eighty nine when he was fifty nine years old,

546
00:26:48,760 --> 00:26:51,359
Speaker 3: because he had cirrhosis and he was a long time

547
00:26:51,480 --> 00:26:55,200
Speaker 3: alcohol abuser, so he had sorosis of the liver died

548
00:26:55,200 --> 00:26:58,840
Speaker 3: at fifty nine, and again they stayed married for his

549
00:26:59,320 --> 00:27:03,880
Speaker 3: whole life. When we're looking at these films and looking

550
00:27:03,960 --> 00:27:07,080
Speaker 3: at who, you know, John Cassavetti's was as a filmmaker,

551
00:27:07,560 --> 00:27:11,080
Speaker 3: it's really easy to see how there are definitely some

552
00:27:11,160 --> 00:27:13,280
Speaker 3: moments and some characters where he's pulling from his own

553
00:27:13,320 --> 00:27:16,520
Speaker 3: life inexperience, and he's really I'm going to kind of

554
00:27:16,560 --> 00:27:19,560
Speaker 3: get into some of the what critics have said about

555
00:27:19,600 --> 00:27:22,240
Speaker 3: him as well, but I like his work for that reason,

556
00:27:22,280 --> 00:27:25,879
Speaker 3: like it's very distinctly his to me, and when I

557
00:27:25,880 --> 00:27:27,440
Speaker 3: watch his films, like I know I'm watching a.

558
00:27:27,400 --> 00:27:28,639
Speaker 2: John Cassavetti's film.

559
00:27:29,240 --> 00:27:31,840
Speaker 3: I did see a really funny I didn't read it,

560
00:27:31,880 --> 00:27:33,879
Speaker 3: but I saw a really funny headline for an article

561
00:27:33,960 --> 00:27:36,919
Speaker 3: that's like, how the hell do you watch John Cassavetti's films?

562
00:27:36,920 --> 00:27:40,840
Speaker 2: Like where should you even begin? Like of those kind

563
00:27:40,840 --> 00:27:42,160
Speaker 2: of like what do you do with this guy?

564
00:27:42,560 --> 00:27:45,840
Speaker 3: I don't think he's that complicated personally, but I do

565
00:27:45,920 --> 00:27:48,280
Speaker 3: think he's got like a nice wide range of work

566
00:27:48,320 --> 00:27:49,920
Speaker 3: that I can see where you'd want to know where

567
00:27:49,920 --> 00:27:50,440
Speaker 3: to jump in.

568
00:27:50,800 --> 00:27:54,080
Speaker 1: Yeah, I mean, I think that he is obviously one

569
00:27:54,080 --> 00:27:57,960
Speaker 1: of those like legendary filmmakers. There's so much myth around

570
00:27:58,040 --> 00:28:02,000
Speaker 1: him and so much respect that gets hurled at him,

571
00:28:02,320 --> 00:28:05,800
Speaker 1: and you know, he made a lot of great films

572
00:28:05,840 --> 00:28:08,399
Speaker 1: and he was a pioneer at independent cinema for sure.

573
00:28:08,920 --> 00:28:10,439
Speaker 2: But I think also like if you're.

574
00:28:10,320 --> 00:28:13,000
Speaker 1: Not used to watching independent movies, if you're not used

575
00:28:13,040 --> 00:28:17,320
Speaker 1: to watching people kind of just talk things out, then

576
00:28:17,359 --> 00:28:21,280
Speaker 1: it might seem a little jarring. And so yeah, I

577
00:28:21,280 --> 00:28:23,720
Speaker 1: think there are people that that don't know where to start.

578
00:28:23,760 --> 00:28:25,920
Speaker 1: I don't know how to jump into Cassavettes, and I

579
00:28:25,960 --> 00:28:29,480
Speaker 1: actually think this movie is the best one to jump into.

580
00:28:29,600 --> 00:28:34,080
Speaker 2: That's just me personally, but yeah, so I totally understand.

581
00:28:34,680 --> 00:28:37,360
Speaker 3: I agree, and I think it's I was reading a lot,

582
00:28:37,440 --> 00:28:38,640
Speaker 3: like I said, I was reading a lot of you know,

583
00:28:38,640 --> 00:28:41,400
Speaker 3: what critics had said about this film and about Cassavetti's work.

584
00:28:42,120 --> 00:28:45,600
Speaker 3: And Ray Carney, who is a film critic who did

585
00:28:45,600 --> 00:28:48,200
Speaker 3: a lot of interviews with Cassavettes before he died, and

586
00:28:48,280 --> 00:28:50,440
Speaker 3: kind of like throughout his I think the last part

587
00:28:50,480 --> 00:28:54,520
Speaker 3: of his career, he counts to this film as part

588
00:28:54,520 --> 00:28:57,880
Speaker 3: of what he calls the marriage Trilogy. So he said

589
00:28:57,920 --> 00:29:00,600
Speaker 3: that a Woman under the influence Many in My Moscowitz

590
00:29:00,680 --> 00:29:03,720
Speaker 3: and Faces so Many Moscowitz was released in nineteen seventy one.

591
00:29:04,240 --> 00:29:06,920
Speaker 3: Faces was released in nineteen sixty eight. So he said

592
00:29:06,920 --> 00:29:08,880
Speaker 3: that these three films are kind of like for him,

593
00:29:09,000 --> 00:29:11,040
Speaker 3: a part of the marriage Trilogy. So if you're going

594
00:29:11,080 --> 00:29:13,520
Speaker 3: to jump in if to Cassavetties, if you're interested at all,

595
00:29:14,080 --> 00:29:15,560
Speaker 3: I think this is a great film to start with,

596
00:29:15,600 --> 00:29:17,200
Speaker 3: and then go look at those other two because they're.

597
00:29:17,000 --> 00:29:19,480
Speaker 2: Fucking great too, They're mugging great.

598
00:29:20,480 --> 00:29:23,840
Speaker 3: But a brief synopsis of this film, and again I

599
00:29:23,840 --> 00:29:25,560
Speaker 3: don't know if this is even going to do it

600
00:29:25,920 --> 00:29:30,440
Speaker 3: justice because this film is so intense. But Mabel and

601
00:29:30,520 --> 00:29:34,880
Speaker 3: Nick Longetti, who were played by Gina Rollins and Peter Falk.

602
00:29:35,800 --> 00:29:39,520
Speaker 3: She's an LA housewife, he's a construction worker, and they're

603
00:29:39,600 --> 00:29:46,880
Speaker 3: navigating marriage and parenthood through increasingly erratic behavior and aggressive

604
00:29:46,920 --> 00:29:49,640
Speaker 3: attempts to show each other love in a way that

605
00:29:50,280 --> 00:29:54,680
Speaker 3: showcases their nonexistent normalcy, which is a lot.

606
00:29:54,760 --> 00:29:58,080
Speaker 1: I know, wow, that's quite a What is that a

607
00:29:58,080 --> 00:29:59,280
Speaker 1: one sentence synopsis?

608
00:29:59,280 --> 00:30:01,880
Speaker 3: That's ques one sentence I'm trying to do the one

609
00:30:01,920 --> 00:30:02,840
Speaker 3: sentence bangers.

610
00:30:03,120 --> 00:30:05,680
Speaker 2: Yeah, man. But because what really stands out.

611
00:30:05,720 --> 00:30:08,880
Speaker 3: To me about this film is that it feels like

612
00:30:09,080 --> 00:30:12,719
Speaker 3: and again this is also kind of a reason why

613
00:30:12,760 --> 00:30:15,040
Speaker 3: I can't I feel like you can't really spoil this movie.

614
00:30:15,080 --> 00:30:16,520
Speaker 2: So I am going to try to talk about.

615
00:30:16,360 --> 00:30:19,320
Speaker 3: It from beginning to end as much as possible, because

616
00:30:19,400 --> 00:30:22,960
Speaker 3: Roger Ebert said, and in his review of the film

617
00:30:23,680 --> 00:30:26,880
Speaker 3: in nineteen eighty eight. It's posted on Rogeribert dot com

618
00:30:26,920 --> 00:30:30,120
Speaker 3: if you're at all interested, but he said, there is

619
00:30:30,200 --> 00:30:33,480
Speaker 3: no safe resolution. At the end of a Cassavetti's film,

620
00:30:33,840 --> 00:30:37,480
Speaker 3: you feel the tumult of life goes on uninterrupted that

621
00:30:37,640 --> 00:30:40,920
Speaker 3: each film is a curtain raised on a play already

622
00:30:41,120 --> 00:30:44,520
Speaker 3: in progress, and that is exactly what this movie feels

623
00:30:44,560 --> 00:30:48,880
Speaker 3: like to me. Yeah, so I feel like there's there's

624
00:30:48,880 --> 00:30:53,760
Speaker 3: something so fresh about seeing the turmoil and there is

625
00:30:53,800 --> 00:30:57,320
Speaker 3: some resolution, but you're not ever really put in a

626
00:30:57,320 --> 00:31:00,160
Speaker 3: comfortable place in this film, and I bucket.

627
00:30:59,800 --> 00:31:00,800
Speaker 2: I love it. I love it.

628
00:31:02,120 --> 00:31:06,320
Speaker 3: So this is really a story about a woman who

629
00:31:06,360 --> 00:31:08,440
Speaker 3: and this is an important distinction to make, and this

630
00:31:08,480 --> 00:31:13,600
Speaker 3: plays into my concept of our theme. This is more

631
00:31:14,280 --> 00:31:17,560
Speaker 3: a movie about a woman having a breakdown than it

632
00:31:17,640 --> 00:31:21,560
Speaker 3: is a woman dealing with a mental illness to me, sure,

633
00:31:22,040 --> 00:31:24,160
Speaker 3: and I know that there's no there hasn't really been

634
00:31:24,200 --> 00:31:29,720
Speaker 3: a definitive diagnosis of a mental illness in the film. Yeah,

635
00:31:30,240 --> 00:31:34,080
Speaker 3: but we're really watching someone crumble under the weight of

636
00:31:34,840 --> 00:31:40,080
Speaker 3: a responsibility to a lifestyle that she doesn't necessarily want, right,

637
00:31:40,680 --> 00:31:42,840
Speaker 3: So it feels more like a breakdown to me for

638
00:31:43,720 --> 00:31:46,160
Speaker 3: that reason, which is why I felt comfortable putting it

639
00:31:46,200 --> 00:31:48,560
Speaker 3: in this theme of every right women who have every

640
00:31:48,640 --> 00:31:51,960
Speaker 3: right to be hysterical, because we're seeing the effect of

641
00:31:52,280 --> 00:31:55,800
Speaker 3: life on someone who might have been a little bit

642
00:31:55,880 --> 00:31:58,880
Speaker 3: unstable to begin with. But certainly isn't helped by the

643
00:31:58,920 --> 00:32:01,800
Speaker 3: cause of being a mother of a young mother of

644
00:32:01,880 --> 00:32:05,440
Speaker 3: three with a husband who is not really around. He

645
00:32:05,520 --> 00:32:09,120
Speaker 3: works a lot, but they still love each other, and

646
00:32:09,160 --> 00:32:10,560
Speaker 3: it just, I don't know, it just felt like I

647
00:32:10,600 --> 00:32:12,840
Speaker 3: needed to make that distinction because I'm not at any

648
00:32:12,880 --> 00:32:17,160
Speaker 3: point going to be diagnosing her yea, saying, you know,

649
00:32:17,440 --> 00:32:19,480
Speaker 3: like this is what she had. That's not what this

650
00:32:19,600 --> 00:32:25,080
Speaker 3: movie was about. But Mabel, to me is just an

651
00:32:25,080 --> 00:32:30,000
Speaker 3: electric character. And you can tell that from her entrance

652
00:32:30,000 --> 00:32:31,640
Speaker 3: in the film, Like the first time that you see

653
00:32:31,680 --> 00:32:36,280
Speaker 3: her on the screen, she's coming out of her house shouting.

654
00:32:36,680 --> 00:32:39,440
Speaker 3: She's yelling not to yell to her kids as she's

655
00:32:39,760 --> 00:32:42,400
Speaker 3: packing them into a car and sending them away for

656
00:32:42,440 --> 00:32:44,800
Speaker 3: the night with her mother. And she's just this like

657
00:32:45,000 --> 00:32:48,400
Speaker 3: ball of nervous energy, and she's hopping around on one foot.

658
00:32:48,560 --> 00:32:50,920
Speaker 2: She's like, you know, she dropped her shoe, and.

659
00:32:50,840 --> 00:32:53,400
Speaker 3: She's putting a bike in the trunk, and you know,

660
00:32:53,440 --> 00:32:57,400
Speaker 3: she is just electric from the minute you seer. And

661
00:32:57,760 --> 00:33:00,400
Speaker 3: she does have these little kind of like quirks and

662
00:33:00,440 --> 00:33:02,800
Speaker 3: you know where she kind of sputters and throws her

663
00:33:02,840 --> 00:33:04,200
Speaker 3: thumb over her shoulder alot.

664
00:33:06,720 --> 00:33:07,680
Speaker 2: But for the most.

665
00:33:07,480 --> 00:33:11,120
Speaker 3: Part, it's like you're seeing a very harried woman who's

666
00:33:11,200 --> 00:33:14,000
Speaker 3: trying to run a household. And this is also a

667
00:33:14,040 --> 00:33:20,680
Speaker 3: house with no privacy. There's no privacy. So Mabel and

668
00:33:20,800 --> 00:33:25,120
Speaker 3: Nick sleep in their dining room on a pullout sofa,

669
00:33:25,200 --> 00:33:28,160
Speaker 3: and there's always kids over, and there's always kids around,

670
00:33:28,160 --> 00:33:30,200
Speaker 3: and her mother and mother in law.

671
00:33:30,320 --> 00:33:31,280
Speaker 2: Are always there.

672
00:33:31,680 --> 00:33:34,640
Speaker 3: And I think it's also kind of fun that the

673
00:33:34,720 --> 00:33:37,280
Speaker 3: mom's in the film. So Mabel's mother and Nick's mother

674
00:33:37,320 --> 00:33:40,680
Speaker 3: are played by Gina Rollin's mother and John Cassavetti's mother,

675
00:33:42,320 --> 00:33:45,280
Speaker 3: so it's a real family affair. But so we start

676
00:33:45,280 --> 00:33:47,680
Speaker 3: out in this place where we're watching someone kind of

677
00:33:47,720 --> 00:33:49,800
Speaker 3: just rush to get her kids out of the way

678
00:33:49,880 --> 00:33:53,200
Speaker 3: because she's having a night out with her husband, which

679
00:33:53,240 --> 00:33:55,320
Speaker 3: is very common in this you know, sixties and seventies,

680
00:33:55,320 --> 00:33:57,280
Speaker 3: like we're getting a sitter, we're gonna spend some time together.

681
00:33:58,000 --> 00:34:02,520
Speaker 3: And so when Nick calls and he's already displaying a

682
00:34:02,560 --> 00:34:04,640
Speaker 3: little bit of anger, you know, he's yelling at his

683
00:34:04,640 --> 00:34:06,640
Speaker 3: boss about how he's not going to work tonight because

684
00:34:06,640 --> 00:34:09,279
Speaker 3: he's got a date with his wife. But he ends

685
00:34:09,360 --> 00:34:12,839
Speaker 3: up working anyway, and we kind of watch Mabel at

686
00:34:12,840 --> 00:34:14,520
Speaker 3: the house because he hasn't called.

687
00:34:15,200 --> 00:34:18,759
Speaker 2: He just goes to work an extra shift and does not.

688
00:34:18,719 --> 00:34:22,360
Speaker 3: Call her, and we see him talk about that with

689
00:34:22,520 --> 00:34:26,080
Speaker 3: his coworkers, like his coworkers are like, you should call her,

690
00:34:26,480 --> 00:34:27,000
Speaker 3: and he's.

691
00:34:26,800 --> 00:34:28,280
Speaker 2: Like, I don't know, she's going to go crazy.

692
00:34:28,320 --> 00:34:30,680
Speaker 3: Like so he's kind of afraid of her a little bit,

693
00:34:31,239 --> 00:34:34,160
Speaker 3: so he doesn't call her all night, and we're watching

694
00:34:35,000 --> 00:34:38,800
Speaker 3: Mabel just kind of devolve into this. You know, she's

695
00:34:38,880 --> 00:34:42,040
Speaker 3: drinking a six pack by herself at a table. She

696
00:34:42,239 --> 00:34:45,879
Speaker 3: wanders out into the street and into a bar where

697
00:34:45,880 --> 00:34:48,520
Speaker 3: she picks up a stranger and she does like this

698
00:34:48,680 --> 00:34:50,680
Speaker 3: really dangerous thing. And this is all was in the

699
00:34:50,719 --> 00:34:53,400
Speaker 3: first you know, thirty minutes of the film, and so

700
00:34:53,560 --> 00:34:55,759
Speaker 3: you're not quite sure how to feel about her when

701
00:34:55,800 --> 00:34:59,680
Speaker 3: you meet her, because you're like, I don't understand this

702
00:34:59,760 --> 00:35:01,759
Speaker 3: woman men's reaction.

703
00:35:01,520 --> 00:35:02,440
Speaker 2: To being alone.

704
00:35:03,160 --> 00:35:07,480
Speaker 3: And you know, again the cultural narrative is always moms

705
00:35:07,520 --> 00:35:09,640
Speaker 3: love to be alone. But I think she's built her

706
00:35:09,680 --> 00:35:13,560
Speaker 3: whole life around the happiness of her family and her kids,

707
00:35:14,440 --> 00:35:17,960
Speaker 3: and not just their happiness, but wanting them to be

708
00:35:18,200 --> 00:35:21,200
Speaker 3: to have fun and for her to be fun with them.

709
00:35:21,480 --> 00:35:24,640
Speaker 3: So in an empty house, she just she cannot calm down,

710
00:35:25,120 --> 00:35:27,960
Speaker 3: Like she really wanders out into the street like someone

711
00:35:28,040 --> 00:35:32,080
Speaker 3: who is not in control of what she's doing.

712
00:35:32,480 --> 00:35:36,399
Speaker 1: Right, And you're right about what you said earlier. Which

713
00:35:36,440 --> 00:35:38,800
Speaker 1: makes this movie I think a little bit more compelling

714
00:35:38,880 --> 00:35:42,280
Speaker 1: for me personally, which is that they don't.

715
00:35:42,120 --> 00:35:45,440
Speaker 2: Tell you what this is whether or not.

716
00:35:45,600 --> 00:35:48,560
Speaker 1: I mean, they sort of suggest that she drinks a lot, right,

717
00:35:48,840 --> 00:35:51,440
Speaker 1: but also that she just might be quirky.

718
00:35:51,640 --> 00:35:51,799
Speaker 2: Right.

719
00:35:51,840 --> 00:35:55,040
Speaker 1: There are moments where you know, her quirkiness kind of

720
00:35:55,080 --> 00:35:57,319
Speaker 1: comes out and you're like ooh, but then she kind

721
00:35:57,320 --> 00:35:59,480
Speaker 1: of like pulls it back in a little bit and

722
00:35:59,600 --> 00:36:02,960
Speaker 1: feel the responsibility, Like that whole scene about her picking

723
00:36:03,040 --> 00:36:05,960
Speaker 1: up the kids and she's kind of on the street

724
00:36:06,360 --> 00:36:08,719
Speaker 1: and she's asking these women, you know what time is

725
00:36:08,760 --> 00:36:10,640
Speaker 1: it she's got to pick her kids up? And you're

726
00:36:10,640 --> 00:36:12,520
Speaker 1: like wondering at one moment, oh my gosh, she's just

727
00:36:12,560 --> 00:36:14,160
Speaker 1: like out on the loose and she's just kind of

728
00:36:14,200 --> 00:36:16,839
Speaker 1: running around. But then she actually picks up her kids

729
00:36:16,880 --> 00:36:18,680
Speaker 1: like she has has a purpose and so.

730
00:36:19,000 --> 00:36:21,160
Speaker 2: The bus comes, Yeah, the bus comes.

731
00:36:21,360 --> 00:36:25,520
Speaker 1: She's definitely doing what she is what she has said

732
00:36:25,560 --> 00:36:28,480
Speaker 1: she's doing. So that is interesting to me that they

733
00:36:28,520 --> 00:36:31,160
Speaker 1: don't really define what it is, and I think that

734
00:36:31,160 --> 00:36:33,719
Speaker 1: that I think we're so wanting that a lot of

735
00:36:33,760 --> 00:36:35,719
Speaker 1: times in these kind of stories, like we want to

736
00:36:35,760 --> 00:36:38,799
Speaker 1: know what's wrong with her, what's her deal, and they

737
00:36:38,800 --> 00:36:41,120
Speaker 1: don't really fully give it to you, and it just

738
00:36:41,200 --> 00:36:43,480
Speaker 1: makes you feel like, Okay, this might be a little

739
00:36:43,480 --> 00:36:45,399
Speaker 1: bit more textured, you.

740
00:36:45,360 --> 00:36:49,880
Speaker 3: Know exactly, And that plays into like what you just

741
00:36:49,960 --> 00:36:53,319
Speaker 3: said about the texture really plays into this part of

742
00:36:53,360 --> 00:36:57,759
Speaker 3: the Ebert. The Ebert review that I think hit me

743
00:36:58,200 --> 00:36:59,839
Speaker 3: really hard in the gut because I read it after

744
00:36:59,840 --> 00:37:03,000
Speaker 3: I watch the film and after I wrote my own notes,

745
00:37:03,000 --> 00:37:05,920
Speaker 3: because I hate reading what critics have to say before

746
00:37:05,960 --> 00:37:08,160
Speaker 3: I actually know what I want to say.

747
00:37:08,239 --> 00:37:10,160
Speaker 2: Yeah, exactly, I know what you mean.

748
00:37:10,480 --> 00:37:12,319
Speaker 3: So I read it after what it really does like

749
00:37:12,520 --> 00:37:14,439
Speaker 3: this does make sense based on what you just said,

750
00:37:14,480 --> 00:37:18,879
Speaker 3: which is so. Ebert says that because Cassavetti's work felt

751
00:37:18,920 --> 00:37:23,120
Speaker 3: so fresh, it was assumed that Cassavettis was an improvisational filmmaker.

752
00:37:23,400 --> 00:37:26,319
Speaker 3: Not true, he was the writer of his films, but

753
00:37:26,400 --> 00:37:29,719
Speaker 3: because he based their stories on his own emotional experience

754
00:37:30,360 --> 00:37:33,960
Speaker 3: and because his actors were family or friends, his world

755
00:37:34,000 --> 00:37:37,600
Speaker 3: felt spontaneous. There was never the arc of a plot,

756
00:37:37,920 --> 00:37:42,319
Speaker 3: but the terror of free Fall. Yeah, and that is

757
00:37:42,400 --> 00:37:45,000
Speaker 3: mabele to a t for me, where it's like you're

758
00:37:45,040 --> 00:37:49,040
Speaker 3: not even realizing yet that there's not a distinctive narrative

759
00:37:49,080 --> 00:37:52,719
Speaker 3: because you're just in this fear place of what the

760
00:37:52,760 --> 00:37:55,280
Speaker 3: fuck's going to happen next and why is it happening

761
00:37:55,560 --> 00:38:01,120
Speaker 3: because there's no explanation. I just yeah, I love those scenes,

762
00:38:01,120 --> 00:38:04,360
Speaker 3: and especially that scene where where things really start to

763
00:38:04,440 --> 00:38:06,840
Speaker 3: kick off is when Mabel has the kids come home

764
00:38:07,560 --> 00:38:09,520
Speaker 3: from school and she wants to throw them at party.

765
00:38:09,520 --> 00:38:11,319
Speaker 3: She wants to throw a party with them, and they're

766
00:38:11,320 --> 00:38:14,279
Speaker 3: having some friends come over, so they're in the backyard.

767
00:38:14,520 --> 00:38:15,320
Speaker 2: You know, she's got.

768
00:38:15,160 --> 00:38:18,680
Speaker 3: Balloons blown up and the kids who come over are

769
00:38:18,760 --> 00:38:21,680
Speaker 3: dropped off by their dad, and their dad you can

770
00:38:21,719 --> 00:38:24,239
Speaker 3: tell as someone who just never does this, Like he's

771
00:38:24,239 --> 00:38:26,600
Speaker 3: totally wearing a suit, like he's like a business guy,

772
00:38:26,640 --> 00:38:28,480
Speaker 3: and he's like, look, my wife couldn't drop him off.

773
00:38:28,520 --> 00:38:30,600
Speaker 2: I said I'd take them. I gotta go, and.

774
00:38:30,520 --> 00:38:33,480
Speaker 3: She's like, no, calm, hang out, play, and she's always

775
00:38:33,520 --> 00:38:35,160
Speaker 3: kind of like, you know, she's wearing a house dress.

776
00:38:35,200 --> 00:38:37,680
Speaker 3: She never really looks the part of the stay at

777
00:38:37,680 --> 00:38:40,239
Speaker 3: home mom either, which adds to that layer of like

778
00:38:40,320 --> 00:38:42,560
Speaker 3: what's going on because she's like, she's not fully dressed

779
00:38:42,600 --> 00:38:45,640
Speaker 3: and she's wearing slippers, and you know, but she's really

780
00:38:45,680 --> 00:38:48,839
Speaker 3: excited and she's she loves her kids, she loves being

781
00:38:48,880 --> 00:38:52,520
Speaker 3: around her kids, and so that she ushers everyone outside.

782
00:38:52,600 --> 00:38:55,920
Speaker 3: She makes the dad stay and ushers them all out

783
00:38:55,920 --> 00:38:58,600
Speaker 3: to this party where I don't know, I think one

784
00:38:58,640 --> 00:39:01,520
Speaker 3: of the funniest lines in the movie happens where's she's

785
00:39:01,560 --> 00:39:03,959
Speaker 3: trying to get the kids to do Swan Lake and

786
00:39:04,000 --> 00:39:07,439
Speaker 3: she keeps saying die die for mister Jensen, like or they.

787
00:39:07,320 --> 00:39:11,359
Speaker 2: All fall to the ground. It's very cute. But in this.

788
00:39:11,400 --> 00:39:15,359
Speaker 3: Party, she's acting very childlike herself, and she's very like

789
00:39:15,480 --> 00:39:18,520
Speaker 3: fluttering around and dancing and trying to get him to

790
00:39:18,520 --> 00:39:20,560
Speaker 3: have fun, and he is not only is he not

791
00:39:20,640 --> 00:39:24,600
Speaker 3: feeling it, he's worried, and he says to her flat out.

792
00:39:24,760 --> 00:39:26,480
Speaker 3: You know. She sends the kids upstairs and she's like,

793
00:39:26,520 --> 00:39:29,440
Speaker 3: you know, go change, we'll do costumes and makeup. And

794
00:39:29,480 --> 00:39:31,120
Speaker 3: he's like, I don't know that I want to leave

795
00:39:31,160 --> 00:39:33,720
Speaker 3: my kids with you, like you're acting a little little screwy.

796
00:39:34,800 --> 00:39:39,080
Speaker 3: And at this point, kids are running around naked like

797
00:39:39,320 --> 00:39:42,600
Speaker 3: there is just it's chaos in the house and he's

798
00:39:42,640 --> 00:39:45,239
Speaker 3: not exactly wrong, but the kids are also fine and

799
00:39:45,280 --> 00:39:49,000
Speaker 3: totally having fun. So Nick walks in in the middle

800
00:39:49,000 --> 00:39:52,280
Speaker 3: of this scene with this guy he's never seen before

801
00:39:52,600 --> 00:39:55,960
Speaker 3: in the house with his wife. The kids are running everywhere,

802
00:39:56,040 --> 00:39:59,359
Speaker 3: and because you know Mabel brought that guy home at

803
00:39:59,400 --> 00:40:02,799
Speaker 3: the beginning of the film, he left right before Nick

804
00:40:02,840 --> 00:40:05,480
Speaker 3: gets home, so but you kind of get the feeling

805
00:40:05,520 --> 00:40:07,240
Speaker 3: that this is not the first time that's happened.

806
00:40:08,200 --> 00:40:10,440
Speaker 2: So Nick comes in and really.

807
00:40:10,600 --> 00:40:13,400
Speaker 3: Flips out and like hits the guy, and you know,

808
00:40:13,800 --> 00:40:17,920
Speaker 3: they're fighting and screaming. And what we've seen of Nick

809
00:40:18,000 --> 00:40:20,440
Speaker 3: so far is that he's got a temper like in this.

810
00:40:20,600 --> 00:40:23,399
Speaker 3: You know, when he when he does come home after

811
00:40:23,440 --> 00:40:26,239
Speaker 3: this night of not calling Mabel, he comes home with

812
00:40:26,320 --> 00:40:29,520
Speaker 3: eight guys from work, and you know, she's like, well,

813
00:40:29,560 --> 00:40:31,399
Speaker 3: do you want to have spaghetti? Like, you know, she's

814
00:40:31,440 --> 00:40:33,360
Speaker 3: trying to do the upstanding wife thing, and she's like,

815
00:40:33,360 --> 00:40:36,359
Speaker 3: I'll be anything you want me to be. But she's

816
00:40:36,360 --> 00:40:39,600
Speaker 3: sitting at this table looking around at everyone and asking

817
00:40:39,680 --> 00:40:43,399
Speaker 3: them so quietly, like what's your name and what's your name?

818
00:40:44,120 --> 00:40:46,839
Speaker 3: And she just doesn't feel comfortable in her own home,

819
00:40:46,880 --> 00:40:49,200
Speaker 3: and Nick doesn't help her feel comfortable, but then he

820
00:40:49,280 --> 00:40:52,840
Speaker 3: yells at her when she tries to make herself comfortable.

821
00:40:53,000 --> 00:40:55,880
Speaker 3: She tries to like dance and kind of sing and

822
00:40:55,960 --> 00:40:57,680
Speaker 3: you know, kind of get to know these guys.

823
00:40:58,400 --> 00:41:03,719
Speaker 1: So this life this Nick character is really interesting to

824
00:41:03,760 --> 00:41:08,120
Speaker 1: me too, right, because so you have Peter Falk obviously

825
00:41:08,280 --> 00:41:13,600
Speaker 1: like beloved Peter Falk Colombo, right, I knew of him

826
00:41:13,640 --> 00:41:16,440
Speaker 1: before I saw this movie, and immediately I'm just I

827
00:41:16,440 --> 00:41:17,879
Speaker 1: always gravitate towards Peter Falk.

828
00:41:17,880 --> 00:41:18,920
Speaker 2: I think he's a great actor.

829
00:41:19,600 --> 00:41:23,600
Speaker 1: But his vibe it's very hard to pin down because, Okay,

830
00:41:24,239 --> 00:41:26,640
Speaker 1: you can tell that he truly loves his wife and

831
00:41:26,680 --> 00:41:30,359
Speaker 1: that he you know, sort of is always like in

832
00:41:30,400 --> 00:41:33,480
Speaker 1: this moment where he's just trying to encourage her to

833
00:41:33,640 --> 00:41:36,560
Speaker 1: like be yourself, right, right, because he's kind of like

834
00:41:37,040 --> 00:41:38,839
Speaker 1: the thing that I think that that really comes out

835
00:41:38,880 --> 00:41:42,239
Speaker 1: in this scene this coworkers that come home to eat

836
00:41:42,239 --> 00:41:47,800
Speaker 1: the spaghetti scene is sort of watching him be embarrassed

837
00:41:48,680 --> 00:41:51,319
Speaker 1: by his wife, and that is I think a thing

838
00:41:51,360 --> 00:41:55,000
Speaker 1: that continuously happens throughout the movie for Nick's character is

839
00:41:55,040 --> 00:41:59,480
Speaker 1: that he's embarrassed of his wife and sort of interacting

840
00:42:00,400 --> 00:42:05,080
Speaker 1: with when she interacts with other guys that he knows, so,

841
00:42:05,280 --> 00:42:07,759
Speaker 1: you know, so Nick's character is kind of like a

842
00:42:07,840 --> 00:42:09,040
Speaker 1: construction worker.

843
00:42:09,080 --> 00:42:11,160
Speaker 2: He works for the city, works with the sewer.

844
00:42:10,880 --> 00:42:14,080
Speaker 1: System, and so you know a lot of his the

845
00:42:14,080 --> 00:42:16,440
Speaker 1: guys that he works with, they come home and you know,

846
00:42:16,480 --> 00:42:18,560
Speaker 1: they're just kind of like, you.

847
00:42:18,520 --> 00:42:20,280
Speaker 2: Know, got a guy's guys types.

848
00:42:20,480 --> 00:42:22,759
Speaker 1: And I think that that's a big factor and how

849
00:42:22,760 --> 00:42:25,239
Speaker 1: he feels when when his wife comes around, because he

850
00:42:25,320 --> 00:42:28,759
Speaker 1: wants to like I don't know, like sort of not

851
00:42:28,880 --> 00:42:31,520
Speaker 1: impress them, but just I think he wants so badly

852
00:42:31,600 --> 00:42:33,240
Speaker 1: to just not have drama.

853
00:42:34,080 --> 00:42:37,680
Speaker 2: Well that's interesting though, because what's weird about.

854
00:42:37,360 --> 00:42:40,040
Speaker 3: It to me is and I kept feeling with this

855
00:42:40,080 --> 00:42:43,280
Speaker 3: throughout that whole scene and every scene after as well.

856
00:42:43,760 --> 00:42:46,560
Speaker 2: They all know about her. They all constantly ask like,

857
00:42:46,600 --> 00:42:47,800
Speaker 2: how's Mabel? How's Mabel?

858
00:42:47,880 --> 00:42:51,040
Speaker 3: So he clearly has said something to them or felt

859
00:42:51,080 --> 00:42:55,160
Speaker 3: comfortable enough talking about how he thinks she's a little nuts,

860
00:42:55,160 --> 00:42:55,680
Speaker 3: a little great.

861
00:42:55,760 --> 00:42:56,880
Speaker 2: Like however he would.

862
00:42:56,600 --> 00:42:59,560
Speaker 3: Say it, you know, he's already told to spread her

863
00:42:59,560 --> 00:43:02,239
Speaker 3: business out there without her knowledge, so they're kind of

864
00:43:02,320 --> 00:43:04,640
Speaker 3: like all these guys are treating her with kid gloves

865
00:43:04,880 --> 00:43:06,080
Speaker 3: because of what he's told them.

866
00:43:06,120 --> 00:43:09,920
Speaker 1: About her, right, And it's weird that he would suggest

867
00:43:09,920 --> 00:43:13,120
Speaker 1: to her like, you know, you're fine, Like you're not

868
00:43:13,239 --> 00:43:16,239
Speaker 1: you're you're fine, You're not quote unquote crazy hysterical, you

869
00:43:16,280 --> 00:43:18,279
Speaker 1: just be yourself, like, don't worry about it. But then

870
00:43:18,320 --> 00:43:20,400
Speaker 1: he's also like talking out of the other side of

871
00:43:20,440 --> 00:43:22,680
Speaker 1: his mouth about it, right, He's basically like, I don't know,

872
00:43:22,760 --> 00:43:23,520
Speaker 1: she's unpredictable.

873
00:43:23,560 --> 00:43:25,040
Speaker 2: I don't know what's going to happen, you know.

874
00:43:25,080 --> 00:43:28,840
Speaker 1: And it's just sort of like that weird disconnect of

875
00:43:28,920 --> 00:43:31,959
Speaker 1: his character that feels like different types of ways about

876
00:43:32,000 --> 00:43:32,560
Speaker 1: the situation.

877
00:43:32,640 --> 00:43:34,359
Speaker 2: But ultimately the idea of.

878
00:43:34,440 --> 00:43:38,839
Speaker 1: Kind of that male embarrassment of women's emotions that is

879
00:43:39,040 --> 00:43:40,680
Speaker 1: really interesting to me, you know.

880
00:43:40,880 --> 00:43:43,879
Speaker 3: Oh, it's and it's also fascinating because as this fight,

881
00:43:43,960 --> 00:43:46,920
Speaker 3: so after this fight goes on with this you know

882
00:43:46,960 --> 00:43:49,719
Speaker 3: this guy who you know, mister Jensen, who comes to

883
00:43:49,760 --> 00:43:51,800
Speaker 3: drop off his kids. Yeah, and he you know, grabs

884
00:43:51,840 --> 00:43:54,480
Speaker 3: the kids and leaves the house. It really devolves into

885
00:43:54,520 --> 00:43:57,359
Speaker 3: a scene where he's calling this doctor to come and

886
00:43:57,400 --> 00:43:59,759
Speaker 3: you know, kind of try to calm Mabel down, and

887
00:43:59,800 --> 00:44:03,440
Speaker 3: she ends up being committed for six months. Yeah, and

888
00:44:03,560 --> 00:44:09,920
Speaker 3: in that six months, Nicks to me, Nick's own madness surfaces. Yeah,

889
00:44:09,960 --> 00:44:12,319
Speaker 3: and he's not much better off than she is.

890
00:44:13,080 --> 00:44:15,960
Speaker 1: Absolutely the sea where he like takes the kids to

891
00:44:16,040 --> 00:44:16,799
Speaker 1: the beach.

892
00:44:16,840 --> 00:44:18,359
Speaker 2: And puts them on the back of the truck. I'm

893
00:44:18,440 --> 00:44:21,520
Speaker 2: just like, so you like having.

894
00:44:21,600 --> 00:44:24,560
Speaker 1: Now you're in the situation that she's in where you're

895
00:44:24,680 --> 00:44:25,440
Speaker 1: the caretaker.

896
00:44:25,880 --> 00:44:28,960
Speaker 2: You're not pulled together, like you've got.

897
00:44:29,040 --> 00:44:31,400
Speaker 1: Your own issues when it comes to like how to

898
00:44:31,480 --> 00:44:33,880
Speaker 1: be and how to be proper and how to be

899
00:44:33,960 --> 00:44:36,960
Speaker 1: respectable quote unquote, and the kind of parrot you need

900
00:44:37,000 --> 00:44:38,760
Speaker 1: to be in the eyes of like other.

901
00:44:38,640 --> 00:44:40,840
Speaker 2: People, you know what I mean. It's not he's not

902
00:44:40,920 --> 00:44:42,160
Speaker 2: great at it either's.

903
00:44:42,680 --> 00:44:44,759
Speaker 3: And if you're holding if you're holding her up to

904
00:44:44,840 --> 00:44:48,840
Speaker 3: this standard where the paragon of her success is her children,

905
00:44:50,120 --> 00:44:53,560
Speaker 3: he's failing it that miserably when in her absence, Like

906
00:44:53,600 --> 00:44:55,880
Speaker 3: he's letting his kids drink beer with him in the

907
00:44:55,920 --> 00:44:58,880
Speaker 3: back of a truck on the flatbed of a pickup

908
00:44:58,880 --> 00:45:01,200
Speaker 3: truck with no seatbelts or anything, and he pulled him

909
00:45:01,200 --> 00:45:03,000
Speaker 3: out of school to do this, Like he is not

910
00:45:04,040 --> 00:45:06,839
Speaker 3: he's actually more dangerous to them than she is, right

911
00:45:07,320 --> 00:45:11,040
Speaker 3: in a lot of ways. And so his own madness

912
00:45:11,080 --> 00:45:13,600
Speaker 3: is like part of her issue as well. I think

913
00:45:13,640 --> 00:45:17,600
Speaker 3: that she's not dealing with someone who can respond to

914
00:45:17,640 --> 00:45:19,959
Speaker 3: her and what she needs in a way that makes

915
00:45:19,960 --> 00:45:22,800
Speaker 3: her feel safe or comfortable, because you can absolutely tell

916
00:45:23,320 --> 00:45:25,720
Speaker 3: that when she does feel safe and comfortable, she doesn't

917
00:45:25,760 --> 00:45:28,399
Speaker 3: act like that, and it's hard for her to get

918
00:45:28,440 --> 00:45:30,919
Speaker 3: to that point on her own. But speaking of those kids,

919
00:45:30,960 --> 00:45:33,319
Speaker 3: they're the three kids in the movie, I don't know

920
00:45:33,360 --> 00:45:35,359
Speaker 3: what happened to the actual actress. I tried to look

921
00:45:35,360 --> 00:45:37,840
Speaker 3: her up at the gret name's Christina Grassanti, but the

922
00:45:38,000 --> 00:45:41,640
Speaker 3: character of Maria the little kid one hundred percent went

923
00:45:41,680 --> 00:45:44,040
Speaker 3: on to front a punk band like one percent.

924
00:45:45,800 --> 00:45:47,960
Speaker 2: I was like, that little girl is after my own

925
00:45:48,000 --> 00:45:48,680
Speaker 2: heart right now.

926
00:45:48,719 --> 00:45:51,200
Speaker 3: I love that. I love all those kids, but she

927
00:45:51,400 --> 00:45:54,680
Speaker 3: particularly cracks me up. So when Mabel, Mabel goes away

928
00:45:54,719 --> 00:45:58,560
Speaker 3: for six months and when she comes home, Nick wants

929
00:45:58,600 --> 00:46:02,360
Speaker 3: to have this huge party, like he's just again. He

930
00:46:02,400 --> 00:46:06,319
Speaker 3: doesn't ever read the situation about what she needs. He's

931
00:46:06,360 --> 00:46:09,480
Speaker 3: always trying to pretend that everything's okay and that she

932
00:46:09,640 --> 00:46:11,320
Speaker 3: can be okay in any situation.

933
00:46:12,040 --> 00:46:13,120
Speaker 2: And so his.

934
00:46:13,000 --> 00:46:14,839
Speaker 3: Mom and like everyone's telling him, like this is a

935
00:46:14,880 --> 00:46:17,680
Speaker 3: bad idea, but you know, people are of course excited

936
00:46:17,680 --> 00:46:19,719
Speaker 3: to see her, but again, he's kind of spreading her

937
00:46:19,719 --> 00:46:23,000
Speaker 3: business out there on the street, and for his own

938
00:46:23,080 --> 00:46:26,680
Speaker 3: need to feel comfortable and normal quote unquote, he wants

939
00:46:26,760 --> 00:46:28,360
Speaker 3: to have people around and just treat it like a

940
00:46:28,400 --> 00:46:31,399
Speaker 3: party when it's like your wife's coming home from six

941
00:46:31,480 --> 00:46:34,400
Speaker 3: months away. And when she does come home, by the

942
00:46:34,400 --> 00:46:38,040
Speaker 3: time she gets there, thankfully, like his mother's like kicked

943
00:46:38,040 --> 00:46:41,200
Speaker 3: everyone out. Basically, she's like, yo, this like we love you,

944
00:46:41,239 --> 00:46:42,680
Speaker 3: thank you for coming, but you cannot be here.

945
00:46:42,680 --> 00:46:44,879
Speaker 2: This is not right. And she did it, not Nick.

946
00:46:45,200 --> 00:46:46,919
Speaker 2: He said the mom to do it right.

947
00:46:47,000 --> 00:46:49,000
Speaker 3: He sent her to do it. He was outside pacing

948
00:46:49,000 --> 00:46:52,480
Speaker 3: in the rain, and she did it. And so there's

949
00:46:52,520 --> 00:46:56,400
Speaker 3: a very small gathering when Mabel does come home, and

950
00:46:57,440 --> 00:47:00,000
Speaker 3: she still can't handle it. So imagine if that big

951
00:47:00,080 --> 00:47:04,000
Speaker 3: party had happened, and there's this really heartbreaking scene because

952
00:47:04,000 --> 00:47:07,880
Speaker 3: it's her parents and you know, Nick's mother and like

953
00:47:07,920 --> 00:47:11,000
Speaker 3: a family friend like and the doctor who committed her.

954
00:47:12,040 --> 00:47:15,160
Speaker 2: We can talk about doctor Shawl all day, but he's there.

955
00:47:16,640 --> 00:47:19,640
Speaker 3: And really it's heartbreaking because there's this one point where

956
00:47:19,680 --> 00:47:21,759
Speaker 3: you can see her starting to be so uncomfortable with

957
00:47:21,800 --> 00:47:24,680
Speaker 3: what's going on and being watched and being looked at

958
00:47:24,719 --> 00:47:27,080
Speaker 3: and she's trying to keep it together, and she even says,

959
00:47:27,160 --> 00:47:29,640
Speaker 3: you know, I'm just trying to, like, you know, be

960
00:47:29,760 --> 00:47:30,560
Speaker 3: here and have fun.

961
00:47:30,560 --> 00:47:31,680
Speaker 2: Like I'm just trying to be here.

962
00:47:32,200 --> 00:47:35,319
Speaker 3: And she looks at one point across the table at

963
00:47:35,360 --> 00:47:37,359
Speaker 3: her father and says, you.

964
00:47:37,280 --> 00:47:39,759
Speaker 2: Know, are you going to defend me? Or are you

965
00:47:39,800 --> 00:47:40,719
Speaker 2: going to stick up for me?

966
00:47:42,200 --> 00:47:44,319
Speaker 3: And he's like, I don't understand what she means, and

967
00:47:44,360 --> 00:47:47,319
Speaker 3: her mother is like, you totally understand what she means.

968
00:47:47,320 --> 00:47:50,080
Speaker 3: Like she's looking and clearly has been for quite some

969
00:47:50,200 --> 00:47:54,560
Speaker 3: time for someone in her life to stop making her

970
00:47:54,600 --> 00:47:56,480
Speaker 3: feel like shit and making her feel like she's doing

971
00:47:56,560 --> 00:47:59,319
Speaker 3: everything wrong. So she's just like begging in a very

972
00:47:59,400 --> 00:48:02,920
Speaker 3: quiet way in that moment for the man she's had

973
00:48:02,920 --> 00:48:06,480
Speaker 3: the longest relationship with in her life, her father, to

974
00:48:07,719 --> 00:48:09,960
Speaker 3: tell every to kind of show everyone that she's okay,

975
00:48:10,000 --> 00:48:12,560
Speaker 3: that she doesn't need all of this kid gloves and

976
00:48:12,600 --> 00:48:16,160
Speaker 3: pampering and everything. It's just it's heartbreaking. It's absolutely heartbreaking,

977
00:48:17,200 --> 00:48:19,719
Speaker 3: and that whole scene kind of devolves again in its

978
00:48:19,760 --> 00:48:25,040
Speaker 3: own way into this really erratic scene where she ends up.

979
00:48:25,200 --> 00:48:27,480
Speaker 3: This is kind of also how she displays her discomfort,

980
00:48:27,520 --> 00:48:29,680
Speaker 3: like she ends up you know, kind of dancing on

981
00:48:29,719 --> 00:48:32,400
Speaker 3: the table and doing ballet moves on the table, and

982
00:48:32,440 --> 00:48:34,920
Speaker 3: it's shot really interestingly because you're not looking at her

983
00:48:34,960 --> 00:48:37,160
Speaker 3: do it. It's shot from behind her, so you're looking

984
00:48:37,200 --> 00:48:41,640
Speaker 3: at everyone's reaction to her, which is just again like

985
00:48:41,760 --> 00:48:44,799
Speaker 3: really really astute way to kind of direct that kind

986
00:48:44,800 --> 00:48:47,680
Speaker 3: of scene. I think the knee jerk reaction is like

987
00:48:47,719 --> 00:48:49,200
Speaker 3: you want to see what she's doing, but you can

988
00:48:49,200 --> 00:48:53,239
Speaker 3: only see like blurs of movement from her. And since

989
00:48:53,280 --> 00:48:55,359
Speaker 3: so since you're looking at out and you're looking at

990
00:48:55,360 --> 00:48:59,200
Speaker 3: people's reaction to her, what you're seeing now is Nick

991
00:48:59,320 --> 00:49:02,439
Speaker 3: kind of pleading with her, and her kids are all

992
00:49:02,480 --> 00:49:05,600
Speaker 3: pushing him away and trying to like defend They're trying

993
00:49:05,600 --> 00:49:07,759
Speaker 3: to defend their mom, like they like get away from her,

994
00:49:07,800 --> 00:49:11,280
Speaker 3: like they're literally fighting their own dad, which again heartbreaking

995
00:49:11,280 --> 00:49:14,600
Speaker 3: in its own way, but also wild to see that

996
00:49:14,680 --> 00:49:17,040
Speaker 3: their connection to her is not based on her acting

997
00:49:17,320 --> 00:49:20,160
Speaker 3: a particular way, right, And so he's trying to drag

998
00:49:20,239 --> 00:49:21,839
Speaker 3: him upstairs and put them to bed, and they keep

999
00:49:21,920 --> 00:49:25,800
Speaker 3: running down and you know, people leave the party, and

1000
00:49:25,840 --> 00:49:28,680
Speaker 3: again it just really it's just it's brutal. It's a

1001
00:49:28,719 --> 00:49:32,279
Speaker 3: brutal scene towards the end of the film, and it

1002
00:49:32,320 --> 00:49:34,960
Speaker 3: really hit me. That's when I started looking up and

1003
00:49:35,640 --> 00:49:38,200
Speaker 3: kind of correlating this film to some things that i'd

1004
00:49:38,640 --> 00:49:40,880
Speaker 3: you know, read about second wave feminism and the women's

1005
00:49:40,880 --> 00:49:46,440
Speaker 3: health movement, particularly because in nineteen sixty three, when Betty

1006
00:49:46,520 --> 00:49:49,759
Speaker 3: for Dan released The Feminine Mystique, it was kind of

1007
00:49:49,800 --> 00:49:52,239
Speaker 3: about this, you know, it was she referred to it

1008
00:49:52,280 --> 00:49:55,040
Speaker 3: as the problem with No Name, which is that, you know,

1009
00:49:55,120 --> 00:50:00,080
Speaker 3: women were not being fulfilled as housewives and mothers, that

1010
00:50:00,080 --> 00:50:02,319
Speaker 3: they were being told that they should be happy with

1011
00:50:02,360 --> 00:50:04,719
Speaker 3: their lives. And I'm going to add the caveat here

1012
00:50:05,480 --> 00:50:08,160
Speaker 3: because I remember distinctly fighting with a professor about this

1013
00:50:08,800 --> 00:50:13,640
Speaker 3: feminine mystique is not intersectional, and it is you have

1014
00:50:13,680 --> 00:50:17,080
Speaker 3: to read every sentence in that book with the disclaimer

1015
00:50:17,120 --> 00:50:21,520
Speaker 3: at the end for white women. Of course, you know,

1016
00:50:21,560 --> 00:50:24,000
Speaker 3: it's the problem that has no name for white women.

1017
00:50:26,600 --> 00:50:29,120
Speaker 3: But this is again, like a movie that's very indicative

1018
00:50:29,120 --> 00:50:33,319
Speaker 3: of what that looks like, because like I you know,

1019
00:50:33,360 --> 00:50:35,520
Speaker 3: like I said before, it's looking at the ways that

1020
00:50:35,719 --> 00:50:39,320
Speaker 3: living in these oppressive systems have had an effect on

1021
00:50:39,360 --> 00:50:43,440
Speaker 3: the mental health of women and the reaction to the

1022
00:50:43,480 --> 00:50:45,560
Speaker 3: effect that it had on women as they started to

1023
00:50:45,640 --> 00:50:48,600
Speaker 3: voice their discomfort, and as they started to voice their displeasure,

1024
00:50:49,160 --> 00:50:51,080
Speaker 3: was that they were just drugged up and given pills.

1025
00:50:51,120 --> 00:50:53,799
Speaker 3: And Mabel says that when she comes back from you know,

1026
00:50:53,840 --> 00:50:58,040
Speaker 3: her six months stay at this institution, she describes very

1027
00:50:58,040 --> 00:51:03,480
Speaker 3: plainly how she got electro shock thera me and it's

1028
00:51:03,520 --> 00:51:06,360
Speaker 3: like electra. She was talking about her drug regimen and

1029
00:51:06,360 --> 00:51:08,080
Speaker 3: when they brought her pills and when she got her

1030
00:51:08,120 --> 00:51:11,120
Speaker 3: shock treatment, and it was like, we were trying everything

1031
00:51:11,120 --> 00:51:16,440
Speaker 3: we could culturally to literally medicate women into complacency, right,

1032
00:51:17,160 --> 00:51:20,680
Speaker 3: And I think that that can't be denied in this world.

1033
00:51:20,760 --> 00:51:22,600
Speaker 3: And part of the reason to me that she is

1034
00:51:22,640 --> 00:51:26,600
Speaker 3: a character who has every right to be hysterical is

1035
00:51:26,600 --> 00:51:29,919
Speaker 3: because she's this big personality that's being crushed into this

1036
00:51:30,120 --> 00:51:35,440
Speaker 3: small and also shrinking world. And her husband is incredibly

1037
00:51:35,520 --> 00:51:39,480
Speaker 3: volatile and unstable, and her mother and mother in law

1038
00:51:39,480 --> 00:51:41,680
Speaker 3: and the people in her life are not supportive of

1039
00:51:41,719 --> 00:51:45,240
Speaker 3: her artistry or creativity. So it would be really easy

1040
00:51:45,280 --> 00:51:47,400
Speaker 3: to look at this movie and be like, this is

1041
00:51:47,560 --> 00:51:50,920
Speaker 3: a story about a woman with a mental health issue.

1042
00:51:51,200 --> 00:51:52,759
Speaker 3: But I think that's why it was important for me

1043
00:51:52,800 --> 00:51:55,000
Speaker 3: to draw the distinction early on that for me, this

1044
00:51:55,040 --> 00:51:57,840
Speaker 3: is more a movie about a woman having a breakdown

1045
00:51:58,360 --> 00:52:00,360
Speaker 3: and what that looks like to me.

1046
00:52:03,000 --> 00:52:05,920
Speaker 2: Yeah, I gotta say it's such a great movie.

1047
00:52:06,480 --> 00:52:10,680
Speaker 1: It's really like the pacing of it is so interesting

1048
00:52:10,719 --> 00:52:12,560
Speaker 1: because it does really feel like you're just being dropped

1049
00:52:12,560 --> 00:52:17,120
Speaker 1: into the middle of this family. And like you know,

1050
00:52:17,200 --> 00:52:19,520
Speaker 1: I said before, when it comes to cassabetes is that

1051
00:52:19,560 --> 00:52:22,279
Speaker 1: thing where, like you know, he if you were not

1052
00:52:22,400 --> 00:52:25,239
Speaker 1: used to seeing independent film, and especially if you've not

1053
00:52:25,280 --> 00:52:29,120
Speaker 1: seen like seventies independent.

1054
00:52:28,560 --> 00:52:30,879
Speaker 2: Film and you know, maybe early eighties independent film.

1055
00:52:31,040 --> 00:52:33,200
Speaker 1: I mean, there's a lot of this happening, and so

1056
00:52:33,440 --> 00:52:38,600
Speaker 1: I think it does feel immediate and emotional to a

1057
00:52:38,680 --> 00:52:42,480
Speaker 1: degree it makes people feel uncomfortable maybe, and you know,

1058
00:52:43,080 --> 00:52:44,960
Speaker 1: when it comes down to it, I think that like

1059
00:52:45,560 --> 00:52:48,759
Speaker 1: the biggest takeaway for me was this idea of like

1060
00:52:49,560 --> 00:52:54,320
Speaker 1: the motherhood aspect and the idea that was the topic

1061
00:52:54,360 --> 00:52:56,680
Speaker 1: of motherhood and how she was as a mother and

1062
00:52:56,719 --> 00:52:58,960
Speaker 1: if she was a fit mother, if she was allowed

1063
00:52:59,000 --> 00:53:01,600
Speaker 1: to be around kids. This neighbor doesn't want to drop

1064
00:53:01,600 --> 00:53:05,160
Speaker 1: his kids off at this woman's house because he's seeing

1065
00:53:05,200 --> 00:53:09,680
Speaker 1: her as this like hysterical, weird, unconventional person.

1066
00:53:11,200 --> 00:53:13,040
Speaker 2: And you know, I think.

1067
00:53:12,880 --> 00:53:17,560
Speaker 1: That that's obviously there's that that expectation for mother is

1068
00:53:17,600 --> 00:53:19,719
Speaker 1: that there have to be like a steady hand and

1069
00:53:19,760 --> 00:53:22,120
Speaker 1: that you know, they take care of everybody, and they don't.

1070
00:53:22,280 --> 00:53:24,080
Speaker 1: They're not allowed to freak out, they're not allowed to

1071
00:53:24,080 --> 00:53:27,160
Speaker 1: have a breakdown, they're not allowed to think anything except

1072
00:53:27,160 --> 00:53:29,080
Speaker 1: for the survival of the family.

1073
00:53:29,640 --> 00:53:32,320
Speaker 2: And you know, it's just interesting how this movie.

1074
00:53:32,120 --> 00:53:36,040
Speaker 1: Kind of shows that and how it's complicated but also

1075
00:53:36,360 --> 00:53:38,680
Speaker 1: shows you what happens when like you actually take the

1076
00:53:38,760 --> 00:53:40,160
Speaker 1: mother out and then put.

1077
00:53:39,960 --> 00:53:42,080
Speaker 2: The dat in there and the dad's not granity there

1078
00:53:42,160 --> 00:53:46,200
Speaker 2: right exactly exactly. Yeah, Yeah, I love it. I love

1079
00:53:46,239 --> 00:53:46,720
Speaker 2: this movie.

1080
00:53:46,920 --> 00:53:49,720
Speaker 3: I think that it's it is such an intense ride

1081
00:53:49,840 --> 00:53:52,840
Speaker 3: of a movie to watch, which is so bizarre to

1082
00:53:52,880 --> 00:53:55,279
Speaker 3: say about a family drama, but it's totally true to me.

1083
00:53:55,280 --> 00:53:57,360
Speaker 2: Like it's just a ride.

1084
00:53:57,440 --> 00:54:01,600
Speaker 3: And I think Gina Allens is absolutely incredible in this movie.

1085
00:54:02,280 --> 00:54:04,040
Speaker 3: And there are so many moments where I forgot she

1086
00:54:04,120 --> 00:54:07,399
Speaker 3: was acting and I was just in this story. Same

1087
00:54:07,480 --> 00:54:10,240
Speaker 3: with Peter Falk, Like if you only know him from Colombo,

1088
00:54:10,280 --> 00:54:14,560
Speaker 3: you should watch him in some cassavettis films Man's compelling.

1089
00:54:14,200 --> 00:54:15,719
Speaker 2: Actor the best.

1090
00:54:17,080 --> 00:54:19,920
Speaker 1: All right, So we're going to take a sharp tonal

1091
00:54:20,040 --> 00:54:26,520
Speaker 1: detour and get into my movie for this week, for

1092
00:54:26,600 --> 00:54:31,600
Speaker 1: the theme of hysterical women who had every right to

1093
00:54:31,600 --> 00:54:35,319
Speaker 1: be hysterical. This is a movie from nineteen forty four.

1094
00:54:35,480 --> 00:54:38,799
Speaker 1: It was directed by George Cooker and it's called Gaslights.

1095
00:54:44,360 --> 00:54:47,360
Speaker 2: And you thought I was being cool?

1096
00:54:48,160 --> 00:54:51,200
Speaker 1: People always making you a prisoner.

1097
00:54:51,360 --> 00:54:54,880
Speaker 2: Oh, you're the kindest man in the world. I'm sorry,

1098
00:54:54,880 --> 00:55:00,280
Speaker 2: I'm sorry, I'm sorry. Sorry. Okay.

1099
00:55:01,440 --> 00:55:03,680
Speaker 1: The first thing I will say about this film, this

1100
00:55:03,760 --> 00:55:07,319
Speaker 1: film was adapted from a play of the same name

1101
00:55:08,160 --> 00:55:12,120
Speaker 1: that was released in nineteen thirty eight and is actually

1102
00:55:12,320 --> 00:55:18,160
Speaker 1: a remake hello of a British film from the same name.

1103
00:55:18,239 --> 00:55:20,920
Speaker 1: So basically the play comes out in thirty eight. Nineteen

1104
00:55:20,960 --> 00:55:23,560
Speaker 1: forty there is a British version of Gaslight in film,

1105
00:55:23,600 --> 00:55:25,719
Speaker 1: and then the forty four version was a remake of that.

1106
00:55:25,920 --> 00:55:28,839
Speaker 2: All right, now, George Coocker, you.

1107
00:55:28,800 --> 00:55:31,120
Speaker 1: Know, if you're a classic movie head like I am,

1108
00:55:31,200 --> 00:55:33,239
Speaker 1: you definitely know who he is. I mean, he did

1109
00:55:33,239 --> 00:55:36,520
Speaker 1: the Philadelphia Story, he did the Judy Garland version of

1110
00:55:36,520 --> 00:55:39,600
Speaker 1: A Star is Born, My Fair Lady, many many, many,

1111
00:55:39,640 --> 00:55:43,640
Speaker 1: many other things. So if I am going to give

1112
00:55:45,200 --> 00:55:48,839
Speaker 1: a one sentence synopsis of Gaslight.

1113
00:55:48,719 --> 00:55:52,960
Speaker 2: Okay, good luck. Yeah right, it would be as follows.

1114
00:55:53,640 --> 00:55:57,480
Speaker 1: A woman moves back into the house where as a

1115
00:55:57,520 --> 00:56:02,960
Speaker 1: young girl, she watched her aunt be murdered with her

1116
00:56:03,000 --> 00:56:06,120
Speaker 1: new husband, who is trying to convince her.

1117
00:56:05,960 --> 00:56:08,400
Speaker 2: That she's insane beautiful.

1118
00:56:08,960 --> 00:56:11,880
Speaker 1: I just now that you've got these like one sentenced synopsis,

1119
00:56:11,920 --> 00:56:14,760
Speaker 1: I feel too. I only can respond in kind.

1120
00:56:14,840 --> 00:56:17,799
Speaker 2: Basically, I like it because gives the more time to

1121
00:56:17,920 --> 00:56:18,640
Speaker 2: talk about the movie.

1122
00:56:18,800 --> 00:56:21,839
Speaker 1: Yeah, but you know, so first of all, this this

1123
00:56:21,960 --> 00:56:26,080
Speaker 1: film takes place like in the plot, it's it's takes

1124
00:56:26,080 --> 00:56:30,439
Speaker 1: place like the nineteen hundreds, maybe like Edwardian era.

1125
00:56:30,680 --> 00:56:33,000
Speaker 2: Is that what it's called. Yeah, you can tell by

1126
00:56:33,000 --> 00:56:33,560
Speaker 2: the bustles.

1127
00:56:33,800 --> 00:56:36,279
Speaker 1: Yeah, it was like whatever the whatever the era is

1128
00:56:36,800 --> 00:56:42,200
Speaker 1: where housekeepers are wearing frilly bonnets and aprons, and people

1129
00:56:42,360 --> 00:56:44,720
Speaker 1: use gas lamps in their homes.

1130
00:56:45,440 --> 00:56:48,840
Speaker 2: Electric man, no, electric No. And of course.

1131
00:56:50,280 --> 00:56:52,719
Speaker 1: At this point in time, I think we all know

1132
00:56:52,800 --> 00:56:58,360
Speaker 1: the term gas lighting, right, It gets used a lot, especially.

1133
00:56:57,960 --> 00:56:58,680
Speaker 2: On the internet.

1134
00:56:59,680 --> 00:57:02,400
Speaker 1: But just to let you know, this is where it

1135
00:57:02,440 --> 00:57:07,959
Speaker 1: came from, and it's in reference to the nefarious use

1136
00:57:08,239 --> 00:57:11,160
Speaker 1: of gas lamps in this film, which I will discuss

1137
00:57:11,239 --> 00:57:16,080
Speaker 1: in just a moment. So to get into the film

1138
00:57:16,120 --> 00:57:21,760
Speaker 1: a little bit. We have classic film legend Ingrid Bergman,

1139
00:57:22,960 --> 00:57:26,400
Speaker 1: who stars as Paula. She's the said woman from the

1140
00:57:26,440 --> 00:57:27,680
Speaker 1: synopsis I just gave you.

1141
00:57:28,000 --> 00:57:28,440
Speaker 2: Okay.

1142
00:57:29,000 --> 00:57:32,760
Speaker 1: So before the start of this movie, it's understood that

1143
00:57:32,920 --> 00:57:36,520
Speaker 1: Paula's mother has died and she was at some point

1144
00:57:36,560 --> 00:57:38,880
Speaker 1: as a child sent to live with her aunt, Alice,

1145
00:57:39,600 --> 00:57:43,200
Speaker 1: who was this very famous opera singer. Okay, and they're

1146
00:57:43,240 --> 00:57:48,120
Speaker 1: living in this house in London, number nine Thornton Square

1147
00:57:48,240 --> 00:57:55,200
Speaker 1: to be exact. And while they're living there, the aunt.

1148
00:57:54,880 --> 00:57:56,520
Speaker 2: Is murdered, okay.

1149
00:57:57,200 --> 00:58:01,160
Speaker 1: And after she's murdered, Paula is sent to Italy to

1150
00:58:01,360 --> 00:58:04,000
Speaker 1: train as an opera singer. I guess she's going to

1151
00:58:04,040 --> 00:58:06,520
Speaker 1: take over the family business. I guess that's what's happening.

1152
00:58:07,800 --> 00:58:10,880
Speaker 1: And when she's in Italy, she meets a man named

1153
00:58:10,920 --> 00:58:14,720
Speaker 1: Gregory who is played by Charles Boyer, and I want

1154
00:58:14,760 --> 00:58:16,439
Speaker 1: to talk about him right off the bat.

1155
00:58:16,880 --> 00:58:19,240
Speaker 2: He is bad news from the jump to me, Oh

1156
00:58:19,280 --> 00:58:21,760
Speaker 2: my god, I don't even know where to begin with

1157
00:58:22,120 --> 00:58:23,720
Speaker 2: two weeks. Two weeks.

1158
00:58:23,960 --> 00:58:27,479
Speaker 1: That is like so many red flags. We must point

1159
00:58:27,520 --> 00:58:31,120
Speaker 1: them out. First of all, when he's introduced, it's clear

1160
00:58:31,200 --> 00:58:36,959
Speaker 1: that Paula is sprung Okay, he's French, he's debonair. She's

1161
00:58:37,040 --> 00:58:40,280
Speaker 1: never been so happy in her life. And as you said,

1162
00:58:40,440 --> 00:58:45,560
Speaker 1: they get married after two weeks of knowing each other, okay,

1163
00:58:46,000 --> 00:58:48,560
Speaker 1: which even in nineteen forty four seems.

1164
00:58:48,240 --> 00:58:51,000
Speaker 2: A little crazy. I just have to say, it's wild.

1165
00:58:51,600 --> 00:58:53,520
Speaker 3: And she tried to get a week away from him

1166
00:58:53,560 --> 00:58:55,480
Speaker 3: and he shows up like she could not from the

1167
00:58:55,520 --> 00:58:57,960
Speaker 3: beginning get an inch away from this dude.

1168
00:58:58,280 --> 00:59:00,600
Speaker 2: Yeah, it's upset of love.

1169
00:59:00,720 --> 00:59:03,640
Speaker 1: I mean, it's just it's two weeks in a fever

1170
00:59:03,840 --> 00:59:06,760
Speaker 1: and they're like, let's do this. But so after they

1171
00:59:06,760 --> 00:59:09,120
Speaker 1: get married, he starts talking about how he's like, you know,

1172
00:59:09,240 --> 00:59:11,160
Speaker 1: Italy's great or whatever, but I want to move back

1173
00:59:11,160 --> 00:59:11,640
Speaker 1: to London.

1174
00:59:12,200 --> 00:59:14,560
Speaker 2: But guess what, I don't have anywhere to live.

1175
00:59:15,080 --> 00:59:23,080
Speaker 4: Oh, And of course Paula is like, well, I do

1176
00:59:23,200 --> 00:59:25,920
Speaker 4: have this boarded up old house where I watched my

1177
00:59:26,040 --> 00:59:26,640
Speaker 4: aunt die.

1178
00:59:28,320 --> 00:59:29,160
Speaker 2: You know how you do?

1179
00:59:29,440 --> 00:59:29,680
Speaker 3: You know?

1180
00:59:29,840 --> 00:59:34,160
Speaker 1: I just have this haunted house where a brutal crime happened.

1181
00:59:35,720 --> 00:59:39,240
Speaker 1: And Gregory is like, perfect, let's go. When's the next train?

1182
00:59:40,800 --> 00:59:47,320
Speaker 1: Just like what, So, here's the thing. Paula is definitely.

1183
00:59:46,880 --> 00:59:49,000
Speaker 2: Not over the death of her aunt.

1184
00:59:48,800 --> 00:59:51,680
Speaker 1: Because basically she's like, actually, I have told you that information,

1185
00:59:51,760 --> 00:59:52,880
Speaker 1: but you know, like I don't really know if I

1186
00:59:52,880 --> 00:59:55,959
Speaker 1: want to actually do it right. She's bugging out, She's

1187
00:59:55,960 --> 00:59:59,040
Speaker 1: bugging the fuck out, and Gregory is like, listen, we'll

1188
00:59:59,040 --> 01:00:00,040
Speaker 1: just put all of her old.

1189
00:59:59,840 --> 01:00:03,120
Speaker 2: Things an attic. It'll be fine, you know. And then

1190
01:00:03,480 --> 01:00:05,160
Speaker 2: like later on. I can't tell if it was like

1191
01:00:05,240 --> 01:00:05,919
Speaker 2: later on that day.

1192
01:00:06,000 --> 01:00:08,920
Speaker 1: I could be wrong because I've seen this movie several times,

1193
01:00:08,960 --> 01:00:09,920
Speaker 1: but it had been a while.

1194
01:00:09,960 --> 01:00:12,040
Speaker 2: But at some.

1195
01:00:12,160 --> 01:00:16,040
Speaker 1: Point right after this that Paula finds this book in

1196
01:00:16,080 --> 01:00:19,480
Speaker 1: a drawer that has this letter that's stuck into the

1197
01:00:19,520 --> 01:00:22,880
Speaker 1: pages and it was written to her aunt by some

1198
01:00:23,080 --> 01:00:28,160
Speaker 1: guy named Sergius Bauer. Okay, so already I'm sitting here

1199
01:00:28,200 --> 01:00:33,080
Speaker 1: going I'm thinking of making this move to this house

1200
01:00:33,160 --> 01:00:35,720
Speaker 1: that has a lot of bad feelings for me. And

1201
01:00:35,760 --> 01:00:39,720
Speaker 1: then I find this haunted letter in a.

1202
01:00:39,760 --> 01:00:43,360
Speaker 3: Book addressed to my aunt whose murder has never been

1203
01:00:43,400 --> 01:00:44,720
Speaker 3: solved exactly.

1204
01:00:46,080 --> 01:00:49,480
Speaker 1: And yet what happens They go anyway. I would have

1205
01:00:49,480 --> 01:00:51,480
Speaker 1: been like, fuck it, we are staying in Italy. I

1206
01:00:51,560 --> 01:00:54,080
Speaker 1: know it to be a lovely place. We can carry

1207
01:00:54,080 --> 01:00:58,200
Speaker 1: on our lives here completely. But they go to But

1208
01:00:58,320 --> 01:01:01,240
Speaker 1: they go to London, and like by the way Gregory

1209
01:01:01,320 --> 01:01:05,640
Speaker 1: catches Paula with this letter from Sgis Surgis Bauer and

1210
01:01:05,720 --> 01:01:09,960
Speaker 1: he completely loses his shit on her. Okay, second red flag.

1211
01:01:10,600 --> 01:01:12,760
Speaker 1: So they move to London. They go to this house

1212
01:01:13,640 --> 01:01:16,640
Speaker 1: that she basically doesn't really want to live in but

1213
01:01:16,720 --> 01:01:21,120
Speaker 1: wants to like keep her man happy, right, and she's like,

1214
01:01:22,000 --> 01:01:25,040
Speaker 1: over the days and weeks and months to come, she's like, oh,

1215
01:01:25,080 --> 01:01:27,000
Speaker 1: I just cannot do anything right by this guy.

1216
01:01:27,040 --> 01:01:28,720
Speaker 2: Okay. He gives her like.

1217
01:01:28,680 --> 01:01:31,120
Speaker 1: A cameo or like a broach, you know, the thing

1218
01:01:31,160 --> 01:01:34,560
Speaker 1: that goes like on the caller or whatever. And he's like,

1219
01:01:34,640 --> 01:01:36,440
Speaker 1: this is from my mother and it was my grandmother

1220
01:01:36,520 --> 01:01:37,760
Speaker 1: is and I want you to have him blah blah

1221
01:01:37,760 --> 01:01:40,960
Speaker 1: blah blah. And then suddenly she just loses it. It's like

1222
01:01:41,120 --> 01:01:45,400
Speaker 1: gone from her purse and she has to apologize a

1223
01:01:45,480 --> 01:01:46,880
Speaker 1: million times over to him.

1224
01:01:47,600 --> 01:01:49,560
Speaker 3: But he does creepy shit like he's like, I'm going

1225
01:01:49,600 --> 01:01:52,520
Speaker 3: to put it in here. You remember it's here, right, yep,

1226
01:01:52,800 --> 01:01:54,160
Speaker 3: Like he's the one who puts it in the bag.

1227
01:01:54,200 --> 01:01:56,520
Speaker 3: And he's like, you remember that, I'm putting it here,

1228
01:01:56,520 --> 01:01:58,880
Speaker 3: like he's so he infantilizes her so much.

1229
01:01:59,720 --> 01:02:03,120
Speaker 1: Yeah, yeah, because what happens is other things start disappearing

1230
01:02:03,200 --> 01:02:07,200
Speaker 1: all over the house, Okay, And Gregory is instantly like, Paula,

1231
01:02:07,320 --> 01:02:09,760
Speaker 1: why do you keep hiding things? Like He's already like

1232
01:02:10,560 --> 01:02:13,760
Speaker 1: there's no other possible explanation for any of this shit

1233
01:02:13,800 --> 01:02:17,320
Speaker 1: other than Paula is doing crazy things, like she's a

1234
01:02:17,360 --> 01:02:18,720
Speaker 1: crazy lady, right, and.

1235
01:02:18,640 --> 01:02:22,880
Speaker 2: She doesn't remember doing them, so she's extra upset. Yeah,

1236
01:02:23,400 --> 01:02:25,040
Speaker 2: because she's got this husband of hers.

1237
01:02:25,040 --> 01:02:28,720
Speaker 1: It's basically like you know, telling her like he's giving

1238
01:02:28,720 --> 01:02:32,040
Speaker 1: her things or he's like things are leaving his sight.

1239
01:02:31,960 --> 01:02:33,240
Speaker 2: And it's her fault all the time.

1240
01:02:33,440 --> 01:02:33,640
Speaker 1: Right.

1241
01:02:34,120 --> 01:02:37,760
Speaker 2: And at night, Gregory goes.

1242
01:02:37,440 --> 01:02:40,400
Speaker 1: To work all right, at his office or his man

1243
01:02:40,480 --> 01:02:43,960
Speaker 1: cave or whatever the fuck, right, and Paula is alone

1244
01:02:44,160 --> 01:02:47,960
Speaker 1: in this house and she's hearing like strange footsteps, and

1245
01:02:48,000 --> 01:02:51,280
Speaker 1: she's seeing the gas lights, like the lamps in the

1246
01:02:51,360 --> 01:02:56,480
Speaker 1: house sort of dim and brightened randomly on their own. Okay,

1247
01:02:56,800 --> 01:03:01,240
Speaker 1: now here's my thing. Okay, I'm sitting here going is

1248
01:03:01,280 --> 01:03:05,440
Speaker 1: it completely unreasonable to assume that the gas lights are

1249
01:03:05,480 --> 01:03:07,440
Speaker 1: going on and off because you are living in a

1250
01:03:07,480 --> 01:03:09,160
Speaker 1: house where you saw a murder.

1251
01:03:09,960 --> 01:03:12,800
Speaker 3: Well, there's also that scene where because he hires these

1252
01:03:12,840 --> 01:03:15,240
Speaker 3: two maids, and there's this scene where one of the

1253
01:03:15,280 --> 01:03:17,040
Speaker 3: maids is like, well, maybe it's just the gas and

1254
01:03:17,080 --> 01:03:20,040
Speaker 3: the pipes, and sometimes it's forceful and sometimes it's weak.

1255
01:03:20,120 --> 01:03:20,360
Speaker 2: You know.

1256
01:03:20,480 --> 01:03:23,439
Speaker 3: She's like trying to make all these excuses.

1257
01:03:24,520 --> 01:03:26,360
Speaker 1: I mean, listen, I got more to say bout the

1258
01:03:26,360 --> 01:03:29,120
Speaker 1: housekeepers later, of course, but it's just the thing where

1259
01:03:29,120 --> 01:03:33,760
Speaker 1: it's like, so she like tells her husband this like thing,

1260
01:03:34,000 --> 01:03:37,040
Speaker 1: like who hasn't told their partner once or twice in

1261
01:03:37,080 --> 01:03:39,880
Speaker 1: their relationship? I think there's a ghost in here. That

1262
01:03:40,040 --> 01:03:43,479
Speaker 1: just seems like total typical shit between couples that's said

1263
01:03:43,800 --> 01:03:47,400
Speaker 1: at one point someone in the relationship thinks that there's

1264
01:03:47,440 --> 01:03:50,320
Speaker 1: a ghost in the house or in the airbnb.

1265
01:03:50,000 --> 01:03:55,040
Speaker 2: Or wherever the fuck you are. Okay, he doesn't. I

1266
01:03:55,120 --> 01:03:56,360
Speaker 2: feel like that's the case.

1267
01:03:56,400 --> 01:03:58,760
Speaker 1: How I've been in relationships where I was definitely the

1268
01:03:58,760 --> 01:04:01,720
Speaker 1: person to be like, this apartment has a ghost in it,

1269
01:04:01,800 --> 01:04:05,600
Speaker 1: I can tell it, you know. But I'm just saying

1270
01:04:06,000 --> 01:04:11,360
Speaker 1: that the reaction of Gregory to this, right, and here's

1271
01:04:11,400 --> 01:04:14,560
Speaker 1: the thing, she is living in a haunted house. Technically,

1272
01:04:14,600 --> 01:04:17,000
Speaker 1: I'm not saying that this is what's happening, but just

1273
01:04:17,040 --> 01:04:21,000
Speaker 1: the idea that she has the thought. Gregory is like,

1274
01:04:21,240 --> 01:04:26,560
Speaker 1: you are fucking crazy woman, like you and that imagination again.

1275
01:04:27,040 --> 01:04:29,320
Speaker 2: You know, I need to have you send away crazy town.

1276
01:04:29,520 --> 01:04:31,280
Speaker 1: Like you can't keep saying all this stuff, all the

1277
01:04:31,280 --> 01:04:32,040
Speaker 1: stuff's missing.

1278
01:04:32,360 --> 01:04:34,560
Speaker 2: Now you're talking about ghosts because the lights are going

1279
01:04:34,560 --> 01:04:34,920
Speaker 2: on and off.

1280
01:04:34,960 --> 01:04:35,120
Speaker 1: I mean.

1281
01:04:35,160 --> 01:04:37,320
Speaker 2: So he's basically like, you.

1282
01:04:37,280 --> 01:04:40,160
Speaker 1: Know, essentially like making her feel like everything that she

1283
01:04:40,280 --> 01:04:42,480
Speaker 1: does is insane.

1284
01:04:42,040 --> 01:04:44,520
Speaker 2: Quote unquote hysterical quote unquote, you know what I mean,

1285
01:04:44,600 --> 01:04:46,760
Speaker 2: like and her fault and her faults.

1286
01:04:47,520 --> 01:04:50,800
Speaker 1: And so what ends up happening is that Paula is

1287
01:04:50,800 --> 01:04:53,520
Speaker 1: isolated in this house by Gregory because at this point

1288
01:04:53,600 --> 01:04:55,880
Speaker 1: she's she's too crazy, she can't be let loose out

1289
01:04:55,920 --> 01:04:59,400
Speaker 1: on the streets. And he's convinced her that she's a kleptomaniac,

1290
01:05:00,280 --> 01:05:03,200
Speaker 1: that she's seeing ghosts, and that she's basically having some

1291
01:05:03,240 --> 01:05:06,040
Speaker 1: sort of breakdown, okay, and so he doesn't let her

1292
01:05:06,040 --> 01:05:08,160
Speaker 1: go out. She wants to go out to the goddamn opera.

1293
01:05:08,240 --> 01:05:11,960
Speaker 1: She wants to go and watch somebody play Edwardian piano,

1294
01:05:12,520 --> 01:05:15,840
Speaker 1: and he's like, no, we're telling people. No, if somebody

1295
01:05:15,840 --> 01:05:18,440
Speaker 1: comes to visit, you get those housekeepers to tell them

1296
01:05:18,440 --> 01:05:21,520
Speaker 1: you are sick. So it's basically like he's just breaking

1297
01:05:21,560 --> 01:05:26,520
Speaker 1: her down and he's getting jealous anytime somebody wants to

1298
01:05:26,680 --> 01:05:27,840
Speaker 1: see her talk to her.

1299
01:05:29,040 --> 01:05:31,680
Speaker 2: And then you know, he hires this.

1300
01:05:31,720 --> 01:05:35,520
Speaker 1: Young housekeeper okay, who is played by the one and

1301
01:05:35,600 --> 01:05:41,720
Speaker 1: only Angela Lansbury okay, which I think was her first movie.

1302
01:05:41,800 --> 01:05:44,120
Speaker 2: I believe that this was her first movie.

1303
01:05:44,240 --> 01:05:47,919
Speaker 1: And I don't really know if like National Velvet came

1304
01:05:47,920 --> 01:05:50,280
Speaker 1: out before this movie, but they both came out in

1305
01:05:50,320 --> 01:05:52,560
Speaker 1: nineteen forty four, so I don't know which one, but

1306
01:05:52,760 --> 01:05:56,000
Speaker 1: I do believe this might be her first film. But

1307
01:05:56,320 --> 01:06:02,800
Speaker 1: Angela Lansbury's character has a legit weird vibe to her. Okay,

1308
01:06:03,040 --> 01:06:06,760
Speaker 1: she's got a legit vibe and it's definitely weird. And

1309
01:06:06,840 --> 01:06:09,840
Speaker 1: of course, when Paula is telling Gregory this, he's like,

1310
01:06:09,880 --> 01:06:13,640
Speaker 1: see everything you do is convincing me that you are just.

1311
01:06:13,560 --> 01:06:16,160
Speaker 2: A crazy lady, hysterical woman.

1312
01:06:16,360 --> 01:06:20,160
Speaker 1: Like now you think this woman is weird and has

1313
01:06:20,200 --> 01:06:23,920
Speaker 1: it out for you, Like you know, he's really putting.

1314
01:06:23,640 --> 01:06:25,240
Speaker 2: Her in a situation, all right.

1315
01:06:25,760 --> 01:06:28,480
Speaker 1: And obviously that's the horror of this film, is just

1316
01:06:28,520 --> 01:06:31,880
Speaker 1: this idea that somebody is basically telling you that you're

1317
01:06:31,880 --> 01:06:35,280
Speaker 1: crazy and you feel like you're not, but maybe you

1318
01:06:35,360 --> 01:06:39,560
Speaker 1: are right the big question. So Paula's only real saving

1319
01:06:39,600 --> 01:06:42,439
Speaker 1: grace at this point in this film is that there's

1320
01:06:42,480 --> 01:06:46,200
Speaker 1: this detective at Scotland Yard who is played by Joseph Cotton,

1321
01:06:46,800 --> 01:06:49,080
Speaker 1: and he just happens to be this big fan of

1322
01:06:49,120 --> 01:06:52,560
Speaker 1: her aunt right, and he senses that there's something going

1323
01:06:52,600 --> 01:06:55,360
Speaker 1: on with paul and Gregory okay, so he attempts to

1324
01:06:55,400 --> 01:06:58,040
Speaker 1: sort of get in the house and try to get

1325
01:06:58,080 --> 01:07:00,840
Speaker 1: access to Paula and many different points of the film

1326
01:07:00,840 --> 01:07:03,480
Speaker 1: because he's like, yo, is there some fuck shit about

1327
01:07:03,480 --> 01:07:05,240
Speaker 1: I need to find this out right.

1328
01:07:05,360 --> 01:07:07,400
Speaker 3: And the way that he sees her for the first

1329
01:07:07,400 --> 01:07:11,520
Speaker 3: time absolutely cracks me up, because after being isolated in

1330
01:07:11,600 --> 01:07:15,360
Speaker 3: this house forever, Gregory finally says like, hey, let's go

1331
01:07:15,440 --> 01:07:17,080
Speaker 3: for a day out and she's like, oh my god,

1332
01:07:17,080 --> 01:07:19,000
Speaker 3: this is so exciting. She gets all dressed up and

1333
01:07:19,040 --> 01:07:22,360
Speaker 3: then they go to the Tower of London where it's

1334
01:07:22,400 --> 01:07:26,760
Speaker 3: all about murder and fucking jewels and shit, and he's

1335
01:07:26,840 --> 01:07:27,840
Speaker 3: bugging out about the.

1336
01:07:27,840 --> 01:07:31,280
Speaker 2: Jewels and she's like, what the fuck's going on? Like

1337
01:07:31,360 --> 01:07:32,520
Speaker 2: she's that's where she.

1338
01:07:32,480 --> 01:07:35,880
Speaker 3: Loses the brooch, Like so when, so when when Cameron

1339
01:07:35,920 --> 01:07:38,960
Speaker 3: foresees her. He thinks he's seeing it goes because apparently

1340
01:07:38,960 --> 01:07:40,080
Speaker 3: she looks just like her aunt.

1341
01:07:40,480 --> 01:07:43,400
Speaker 2: Right, But they're at the Tower of London.

1342
01:07:43,080 --> 01:07:44,880
Speaker 3: Like she thought she was going to some fancy, high

1343
01:07:44,920 --> 01:07:47,240
Speaker 3: society affair, and he's.

1344
01:07:47,080 --> 01:07:48,840
Speaker 2: Like, yo, what's going on?

1345
01:07:50,120 --> 01:07:53,640
Speaker 1: Yeah, exactly, Like Gregory is definitely on one.

1346
01:07:53,720 --> 01:07:54,840
Speaker 2: And he's a sleep.

1347
01:07:55,080 --> 01:07:58,560
Speaker 1: He's a slick dude, because Joseph Cotton is really trying

1348
01:07:58,560 --> 01:08:01,360
Speaker 1: to put the thumbscrews on this guy, but he's not,

1349
01:08:01,800 --> 01:08:03,720
Speaker 1: you know, the guy shutting him down left to right.

1350
01:08:04,200 --> 01:08:07,120
Speaker 1: And at some point, I gotta talk about my favorite

1351
01:08:07,160 --> 01:08:09,800
Speaker 1: character in this movie. Okay, So at some point, Joseph

1352
01:08:09,840 --> 01:08:13,560
Speaker 1: Cotton's character sort of teams up with this old lady

1353
01:08:14,760 --> 01:08:17,439
Speaker 1: who's named Miss Thwaits.

1354
01:08:17,400 --> 01:08:18,679
Speaker 2: Flood thirsty Bessie.

1355
01:08:19,000 --> 01:08:22,799
Speaker 1: Okay that Paula actually met on the train in Italy

1356
01:08:22,840 --> 01:08:25,080
Speaker 1: at the very beginning of this movie. So, as it

1357
01:08:25,120 --> 01:08:31,440
Speaker 1: turns out, this lady, missus Thwaites or Miss Thwaits, she lives.

1358
01:08:31,160 --> 01:08:32,080
Speaker 2: In Thornton Square.

1359
01:08:32,320 --> 01:08:35,680
Speaker 1: And let me just tell you, folks, Miss Thwaits is

1360
01:08:35,720 --> 01:08:41,120
Speaker 1: a murder reno of the highest order. Okay, This lady

1361
01:08:41,320 --> 01:08:45,479
Speaker 1: reads so many murder books that her family calls her

1362
01:08:45,680 --> 01:08:49,599
Speaker 1: blood thirsty Bessie Gooday.

1363
01:08:49,600 --> 01:08:52,639
Speaker 2: I love her so much. She is so great.

1364
01:08:52,720 --> 01:08:55,280
Speaker 1: I love honestly, Like when it comes down to like

1365
01:08:55,320 --> 01:08:57,720
Speaker 1: classic film characters, I love this type of character, like

1366
01:08:57,760 --> 01:09:01,000
Speaker 1: the old lady that kind of comes into the plot

1367
01:09:01,320 --> 01:09:04,120
Speaker 1: and she's kind of like a nosy neighbor, right, and

1368
01:09:04,360 --> 01:09:08,000
Speaker 1: she's obsessed with this idea that she lives in the

1369
01:09:08,040 --> 01:09:11,880
Speaker 1: same neighborhood where the Alice Alquis murder happened. And she

1370
01:09:12,040 --> 01:09:17,840
Speaker 1: has no idea that she's offering diggy biscuits, as we

1371
01:09:17,920 --> 01:09:22,480
Speaker 1: find out, are digestive biscuits, but she calls them diggy biscuits.

1372
01:09:22,880 --> 01:09:27,040
Speaker 1: I was like, holy shit, best, but she has no

1373
01:09:27,120 --> 01:09:31,040
Speaker 1: idea that she's offering these diggy biscuits to Alice's niece

1374
01:09:31,240 --> 01:09:31,840
Speaker 1: on the train.

1375
01:09:32,200 --> 01:09:34,519
Speaker 2: Okay, Like she has no idea, but she's obsessed with

1376
01:09:34,560 --> 01:09:35,120
Speaker 2: this murder.

1377
01:09:35,200 --> 01:09:37,040
Speaker 1: She ends up kind of teaming up with Joseph Cotton's

1378
01:09:37,080 --> 01:09:39,519
Speaker 1: character because I think she realizes that there's something up.

1379
01:09:39,800 --> 01:09:42,000
Speaker 1: So you got like a detective and a murder, you know,

1380
01:09:42,680 --> 01:09:43,960
Speaker 1: together on the case.

1381
01:09:44,240 --> 01:09:47,880
Speaker 2: I think we've seen this before exactly right.

1382
01:09:47,920 --> 01:09:52,519
Speaker 1: People will know this situation very well. Okay, and listen,

1383
01:09:53,040 --> 01:09:55,559
Speaker 1: all right, I am not giving away the ending of

1384
01:09:55,560 --> 01:10:00,240
Speaker 1: this film, despite everybody writing us telling us to give

1385
01:10:00,240 --> 01:10:03,439
Speaker 1: away the endings of films on this podcast, Okay, because

1386
01:10:03,600 --> 01:10:04,000
Speaker 1: I don't know.

1387
01:10:04,080 --> 01:10:06,559
Speaker 2: It's just like I don't feel good about it. Yeah,

1388
01:10:06,600 --> 01:10:08,120
Speaker 2: I don't want to. I don't want to do it

1389
01:10:08,160 --> 01:10:08,759
Speaker 2: for this film.

1390
01:10:08,800 --> 01:10:11,679
Speaker 1: I think in particular because I feel like I want

1391
01:10:11,720 --> 01:10:15,160
Speaker 1: you all to watch an old movie once in a while. Okay,

1392
01:10:15,800 --> 01:10:19,000
Speaker 1: do the work, all right, So you must. You must

1393
01:10:19,000 --> 01:10:21,160
Speaker 1: watch an old movie from the forties sometimes. And I'm

1394
01:10:21,160 --> 01:10:23,800
Speaker 1: not gonna give it away, but anyway, do it for

1395
01:10:23,880 --> 01:10:24,920
Speaker 1: bloodthirsty Bessie.

1396
01:10:24,920 --> 01:10:26,000
Speaker 2: Okay, let's just do it for her.

1397
01:10:27,160 --> 01:10:30,439
Speaker 1: But but yeah, when I when I talked about this earlier,

1398
01:10:30,479 --> 01:10:32,880
Speaker 1: I mean, this movie feels very hitchcocky, and and that's

1399
01:10:32,920 --> 01:10:36,120
Speaker 1: in that way that it's very psychological, you know it.

1400
01:10:36,520 --> 01:10:39,000
Speaker 1: But this movie was it won several Oscars when it

1401
01:10:39,000 --> 01:10:41,120
Speaker 1: came out. I mean, it's obviously like in the National

1402
01:10:41,120 --> 01:10:44,040
Speaker 1: Film Registry at the Library of Congress. But you know more,

1403
01:10:44,240 --> 01:10:47,720
Speaker 1: more interestingly, I think from from for most people is

1404
01:10:47,720 --> 01:10:50,160
Speaker 1: that it is it becomes a part of the lexicon

1405
01:10:50,240 --> 01:10:53,800
Speaker 1: and the pop culture sort of legend of what is

1406
01:10:53,880 --> 01:10:56,400
Speaker 1: happening in the film, which is this concept of gaslighting,

1407
01:10:56,439 --> 01:11:00,960
Speaker 1: this concept of like you have this guy who is

1408
01:11:01,240 --> 01:11:01,880
Speaker 1: trying to.

1409
01:11:02,280 --> 01:11:04,880
Speaker 2: You know, basically tell his wife that.

1410
01:11:04,840 --> 01:11:07,240
Speaker 1: She's crazy, and he's doing he's setting up all these

1411
01:11:07,240 --> 01:11:09,880
Speaker 1: scenarios to where she will always fail, she will always

1412
01:11:09,880 --> 01:11:12,439
Speaker 1: be the crazy person, she will always be hysterical. And

1413
01:11:12,600 --> 01:11:15,479
Speaker 1: just this idea, I mean, just like, if you want

1414
01:11:15,520 --> 01:11:17,040
Speaker 1: to talk about it sort of in a general sense,

1415
01:11:17,040 --> 01:11:20,240
Speaker 1: that's a very stressful situation to be in. It's this

1416
01:11:20,360 --> 01:11:23,120
Speaker 1: idea that your ticket has already been written and you

1417
01:11:23,160 --> 01:11:25,400
Speaker 1: can't change it, and you're just sort of like trapped

1418
01:11:25,760 --> 01:11:28,679
Speaker 1: in this situation where somebody thinks you're nuts.

1419
01:11:28,960 --> 01:11:29,240
Speaker 2: Okay.

1420
01:11:29,320 --> 01:11:31,679
Speaker 3: Well, and also, just like Mabel and a woman under

1421
01:11:31,680 --> 01:11:35,240
Speaker 3: the influence, he wants to have her committed, like he

1422
01:11:35,400 --> 01:11:38,439
Speaker 3: threatens her with that, and he can because men could

1423
01:11:38,520 --> 01:11:42,240
Speaker 3: just commit women back then because they didn't like how

1424
01:11:42,240 --> 01:11:42,920
Speaker 3: they were acting.

1425
01:11:44,120 --> 01:11:47,680
Speaker 1: Absolutely so real grit and that, I think too is

1426
01:11:47,680 --> 01:11:49,439
Speaker 1: the is a big takeaway for me whenever I watch

1427
01:11:49,479 --> 01:11:52,439
Speaker 1: this film, is that, yes, in this era, I mean,

1428
01:11:52,479 --> 01:11:54,720
Speaker 1: obviously we're talking about nineteen forty four, but also we're

1429
01:11:54,720 --> 01:11:58,280
Speaker 1: talking about like nineteen hundred too, you had like little

1430
01:11:58,280 --> 01:12:00,760
Speaker 1: to no agency as a woman, and you are a

1431
01:12:00,760 --> 01:12:03,720
Speaker 1: man's property if you're married, okay, and he gets to.

1432
01:12:03,680 --> 01:12:05,200
Speaker 2: Do whatever he wants with you. He gets to tell

1433
01:12:05,200 --> 01:12:06,519
Speaker 2: you when it not to go. You know, he gets

1434
01:12:06,520 --> 01:12:08,320
Speaker 2: to tell you.

1435
01:12:07,720 --> 01:12:10,920
Speaker 1: Can't go out, you can't do anything, you will be

1436
01:12:11,000 --> 01:12:15,080
Speaker 1: committed if you, you know, do some crazy stuff quote unquote.

1437
01:12:15,160 --> 01:12:17,160
Speaker 2: And it's just sort of like I mean, it just

1438
01:12:17,320 --> 01:12:19,240
Speaker 2: felt like such a trap for.

1439
01:12:19,240 --> 01:12:22,559
Speaker 1: Her, and what ends up happening is that she really

1440
01:12:22,600 --> 01:12:26,479
Speaker 1: does have to like lean on other people in her

1441
01:12:26,600 --> 01:12:30,519
Speaker 1: orbit to basically clear her own name, you know, because

1442
01:12:30,800 --> 01:12:33,440
Speaker 1: of that idea, she can't just like do it for herself.

1443
01:12:33,960 --> 01:12:39,880
Speaker 1: And you know, it's just very it's it's a it's.

1444
01:12:39,439 --> 01:12:40,759
Speaker 2: A nerve wracking film.

1445
01:12:41,360 --> 01:12:48,040
Speaker 1: Charles Boyet's character is like evil fuck boy boyfriend one

1446
01:12:48,080 --> 01:12:48,439
Speaker 1: oh one.

1447
01:12:48,920 --> 01:12:54,759
Speaker 3: He's got women out here kissing bibles, like run away

1448
01:12:54,760 --> 01:12:58,240
Speaker 3: from that shit, immediately kiss this Bible.

1449
01:12:58,280 --> 01:13:00,320
Speaker 2: So I know you're telling the truth. I do not

1450
01:13:00,360 --> 01:13:01,719
Speaker 2: think so, sir.

1451
01:13:02,400 --> 01:13:04,160
Speaker 1: I mean, if some guy after two weeks is like

1452
01:13:04,200 --> 01:13:07,200
Speaker 1: we're moving into your murder house, no thank.

1453
01:13:07,040 --> 01:13:09,360
Speaker 2: You, oh thanks, not not into it.

1454
01:13:09,800 --> 01:13:13,160
Speaker 1: But it's you know, it's just very interesting and like

1455
01:13:13,160 --> 01:13:15,280
Speaker 1: like I said, it's one of those movies where you know,

1456
01:13:15,400 --> 01:13:18,920
Speaker 1: anytime it's on, I watch it, and you know, I

1457
01:13:18,920 --> 01:13:22,920
Speaker 1: think it really does kind of contribute to the larger

1458
01:13:23,000 --> 01:13:26,080
Speaker 1: theme of this week, which is that her hysteria quote

1459
01:13:26,120 --> 01:13:30,719
Speaker 1: unquote is basically being imposed on her by her husband,

1460
01:13:31,160 --> 01:13:36,320
Speaker 1: all right, And but she deserves to be hysterical about

1461
01:13:36,320 --> 01:13:38,240
Speaker 1: the situation that she said, which is that this guy

1462
01:13:38,400 --> 01:13:41,799
Speaker 1: is fucking setting her up, and you know, she deserves

1463
01:13:41,840 --> 01:13:43,839
Speaker 1: to like know more about that and to feel emotional

1464
01:13:43,880 --> 01:13:47,280
Speaker 1: about that. But then that all that her fake hysteria

1465
01:13:47,360 --> 01:13:53,240
Speaker 1: quote unquote is so easily able to stick for her,

1466
01:13:53,320 --> 01:13:55,840
Speaker 1: and that other people are sort of, you know, getting

1467
01:13:55,880 --> 01:13:58,519
Speaker 1: the message that she's this crazy woman and it's all

1468
01:13:58,520 --> 01:13:59,880
Speaker 1: her husband's fault, you know.

1469
01:14:00,080 --> 01:14:03,040
Speaker 3: Well, and not only does she deserve to be hysterical

1470
01:14:03,080 --> 01:14:06,640
Speaker 3: about that, but I think it's enough for her to

1471
01:14:06,760 --> 01:14:08,800
Speaker 3: not want to move into the house where her aunt

1472
01:14:08,960 --> 01:14:10,960
Speaker 3: was murdered like that.

1473
01:14:10,960 --> 01:14:11,519
Speaker 2: That's where it.

1474
01:14:11,439 --> 01:14:13,120
Speaker 3: Begins to me where she has every right to be

1475
01:14:13,200 --> 01:14:15,519
Speaker 3: hysterical of like him forcing her to go back to

1476
01:14:15,560 --> 01:14:18,720
Speaker 3: this place where she is clearly uncomfortable and does not

1477
01:14:18,760 --> 01:14:20,800
Speaker 3: want to go. And she's trying it because she's like,

1478
01:14:21,400 --> 01:14:23,559
Speaker 3: you know, with you, I'll have the strength to do anything.

1479
01:14:23,600 --> 01:14:27,720
Speaker 3: But that is absolutely not true, and she is emotionally

1480
01:14:27,760 --> 01:14:30,600
Speaker 3: devastated from a trauma that happened years before that she

1481
01:14:30,640 --> 01:14:32,639
Speaker 3: never addressed because they just shipped her off to some

1482
01:14:33,080 --> 01:14:33,799
Speaker 3: opera singer.

1483
01:14:35,320 --> 01:14:38,320
Speaker 1: And the fact that he uses her own trauma against

1484
01:14:38,360 --> 01:14:41,200
Speaker 1: her is so wicked. It's so wicked, and I'm just

1485
01:14:41,200 --> 01:14:43,960
Speaker 1: like yo. Charles Boy's character is truly one of the

1486
01:14:44,040 --> 01:14:45,479
Speaker 1: most evil of.

1487
01:14:45,439 --> 01:14:47,360
Speaker 2: All tibbous devious.

1488
01:14:47,400 --> 01:14:50,120
Speaker 3: The only the next worst thing that a guy does

1489
01:14:50,120 --> 01:14:54,400
Speaker 3: in this movie is when when Joseph Cotton's character Cameron,

1490
01:14:54,400 --> 01:14:54,760
Speaker 3: when he.

1491
01:14:54,720 --> 01:14:57,600
Speaker 2: Says he's at that big opera event.

1492
01:14:57,640 --> 01:14:59,800
Speaker 3: At that lady's house and he's like, I don't want

1493
01:14:59,800 --> 01:15:01,760
Speaker 3: to say next to her she has adenoids.

1494
01:15:02,040 --> 01:15:07,000
Speaker 2: Ah okay, like that I'm gaslighting you. That's like, please

1495
01:15:07,040 --> 01:15:08,160
Speaker 2: give me adenoids, dude.

1496
01:15:08,200 --> 01:15:10,760
Speaker 1: All day long, I was like, I actually had to

1497
01:15:10,800 --> 01:15:14,280
Speaker 1: look up adenoids because I was unclear on what it

1498
01:15:14,400 --> 01:15:15,120
Speaker 1: was like.

1499
01:15:15,240 --> 01:15:17,679
Speaker 3: All the men in this world are just popping off

1500
01:15:17,760 --> 01:15:21,040
Speaker 3: too much on things about women, and all of these

1501
01:15:21,040 --> 01:15:23,880
Speaker 3: women have They all have a reason to be out

1502
01:15:23,880 --> 01:15:27,880
Speaker 3: on the street with pitchforks and like flaming torches because

1503
01:15:27,960 --> 01:15:31,679
Speaker 3: all of these men are varying degrees of fucked up.

1504
01:15:32,120 --> 01:15:36,120
Speaker 2: Yeah, oh my god, you know, Oh what a movie.

1505
01:15:36,360 --> 01:15:37,759
Speaker 2: But I love this movie.

1506
01:15:37,800 --> 01:15:39,800
Speaker 3: And I think i'd heard of it in the context

1507
01:15:39,800 --> 01:15:44,519
Speaker 3: of feminism because you know, when I was in school,

1508
01:15:44,520 --> 01:15:46,880
Speaker 3: we talked about it a lot and the concept of

1509
01:15:47,000 --> 01:15:50,160
Speaker 3: how men often make women feel like their problems should

1510
01:15:50,160 --> 01:15:54,120
Speaker 3: be minimized or that they're non existent. But this is

1511
01:15:54,160 --> 01:15:56,960
Speaker 3: my first time seeing the film, and I really appreciated

1512
01:15:57,080 --> 01:16:02,120
Speaker 3: seeing having the context for where that concept comes from.

1513
01:16:02,400 --> 01:16:05,280
Speaker 1: Yeah, honestly, you know, I was trying to do a

1514
01:16:05,320 --> 01:16:07,960
Speaker 1: little bit of research on the concept, like of when

1515
01:16:08,400 --> 01:16:11,760
Speaker 1: people started using the term gaslighting, because I don't to me,

1516
01:16:11,840 --> 01:16:13,880
Speaker 1: it seems super modern, Like I was like, oh, this

1517
01:16:13,960 --> 01:16:17,680
Speaker 1: is like some Instagram thing, But I think that there

1518
01:16:17,760 --> 01:16:21,000
Speaker 1: is reference to it even from the sixties. It was

1519
01:16:21,040 --> 01:16:23,920
Speaker 1: even mentioned in sort of psychology papers and stuff like

1520
01:16:23,960 --> 01:16:26,800
Speaker 1: I think somebody mentioned it in the eighties of using

1521
01:16:26,880 --> 01:16:28,080
Speaker 1: the term gaslighting.

1522
01:16:28,479 --> 01:16:30,519
Speaker 2: So, you know, as much as I.

1523
01:16:30,479 --> 01:16:33,479
Speaker 1: Thought it was like, you know, some somebody on Twitter

1524
01:16:33,520 --> 01:16:36,719
Speaker 1: being funny and using the term gaslight for the concept,

1525
01:16:36,800 --> 01:16:39,519
Speaker 1: you know, I think it's been around actually for a

1526
01:16:39,560 --> 01:16:40,479
Speaker 1: long while, but I do.

1527
01:16:40,600 --> 01:16:41,880
Speaker 2: I do think it's cool though.

1528
01:16:41,920 --> 01:16:45,639
Speaker 1: When you have the opportunity to watch an older movie

1529
01:16:46,000 --> 01:16:48,720
Speaker 1: that is a reference point for something that's modern, Like

1530
01:16:48,720 --> 01:16:51,320
Speaker 1: when you see a meme or something and you finally

1531
01:16:51,320 --> 01:16:53,439
Speaker 1: watch the movie of what the meme is.

1532
01:16:53,560 --> 01:16:54,360
Speaker 2: I think it's cool.

1533
01:16:54,920 --> 01:16:58,080
Speaker 1: Yeah, and I think that, you know, we will eventually

1534
01:16:58,120 --> 01:17:00,680
Speaker 1: do it as a theme. I think that might be

1535
01:17:00,720 --> 01:17:03,400
Speaker 1: an idea for later on in the year.

1536
01:17:03,560 --> 01:17:05,240
Speaker 2: But yeah, I.

1537
01:17:05,479 --> 01:17:07,680
Speaker 1: Think I think it was a good This theme was

1538
01:17:07,720 --> 01:17:11,559
Speaker 1: a good opportunity to revisit gas Light, and man, it hits.

1539
01:17:11,400 --> 01:17:13,479
Speaker 2: Completely such a good movie, such a good one.

1540
01:17:13,680 --> 01:17:17,120
Speaker 3: Ingrid Bourbon is just like, ugh, I know so many

1541
01:17:17,120 --> 01:17:19,160
Speaker 3: times where she'll turn her face in profile and I'm like,

1542
01:17:19,160 --> 01:17:20,840
Speaker 3: you're Isabella Rossellini's mom.

1543
01:17:21,240 --> 01:17:25,280
Speaker 2: I know, I know, just such beauty in that family.

1544
01:17:25,760 --> 01:17:27,160
Speaker 3: But this is a this is a great film. It

1545
01:17:27,200 --> 01:17:30,599
Speaker 3: definitely made me never It got my hackles up. Oh yeah,

1546
01:17:30,840 --> 01:17:33,320
Speaker 3: got my hackles up, like I don't trust anyone.

1547
01:17:33,360 --> 01:17:37,479
Speaker 1: The cautionary tale to cautionary tales, right.

1548
01:17:39,600 --> 01:17:41,000
Speaker 3: I saw this movie and then I went out to

1549
01:17:41,000 --> 01:17:43,240
Speaker 3: the grocery store and this guy tried to hold the

1550
01:17:43,240 --> 01:17:44,280
Speaker 3: door open for me, and I'm like.

1551
01:17:44,280 --> 01:17:50,120
Speaker 1: Why, I'm not crazy, You're it's a vision. Sorry, that's

1552
01:17:50,160 --> 01:17:52,719
Speaker 1: a suicidal Tendency song. We don't want to get sued.

1553
01:17:53,600 --> 01:17:59,240
Speaker 2: Oh good, well, okay, I enjoyed doing this week's theme

1554
01:17:59,360 --> 01:18:02,040
Speaker 2: so much, me too. Do you want to give them

1555
01:18:02,040 --> 01:18:05,639
Speaker 2: the movies for next week? I would love nothing more.

1556
01:18:07,040 --> 01:18:10,479
Speaker 3: So our movies for next week are Don't Tell Mom

1557
01:18:10,640 --> 01:18:15,439
Speaker 3: the Babysitters Dead from nineteen ninety one and Working Girl

1558
01:18:15,640 --> 01:18:17,120
Speaker 3: from nineteen eighty eight.

1559
01:18:18,000 --> 01:18:21,439
Speaker 2: Oh my god, it's a couple of bangers. We got

1560
01:18:21,439 --> 01:18:23,720
Speaker 2: an all banger week again, wouldn't it be great?

1561
01:18:23,720 --> 01:18:25,800
Speaker 3: I I was like, Don't Tell Mom the Babysitters Dead

1562
01:18:25,840 --> 01:18:27,760
Speaker 3: from nineteen twenty four.

1563
01:18:30,400 --> 01:18:32,360
Speaker 2: Of course that was ninety one. What other year could

1564
01:18:32,360 --> 01:18:37,120
Speaker 2: that movie have come out? Oh my god. I literally

1565
01:18:37,160 --> 01:18:39,840
Speaker 2: could not be more excited to watch these movies.

1566
01:18:40,760 --> 01:18:43,559
Speaker 3: Watch these movies with us, get ready for it? Yeah,

1567
01:18:43,720 --> 01:18:44,679
Speaker 3: try to gets the theme.

1568
01:18:45,080 --> 01:18:49,160
Speaker 1: Also, we've got merch Hey, it's over in the exactly

1569
01:18:49,240 --> 01:18:53,320
Speaker 1: Right shop at Exactlyrightmedia dot com. But yeah, we have

1570
01:18:53,360 --> 01:18:55,720
Speaker 1: a lot of fun on those bonus episodes. Honestly, it

1571
01:18:55,760 --> 01:18:56,559
Speaker 1: really is fun.

1572
01:18:56,760 --> 01:18:58,920
Speaker 2: Yeah, and we've got some good ones coming up too.

1573
01:18:59,320 --> 01:18:59,519
Speaker 3: Yeah.

1574
01:18:59,640 --> 01:19:02,280
Speaker 1: Yeah, they're a great way to kind of like, you know,

1575
01:19:02,360 --> 01:19:04,880
Speaker 1: we were a little bit looser and we just kind

1576
01:19:04,880 --> 01:19:08,480
Speaker 1: of we don't really go to strong on the backstories

1577
01:19:08,479 --> 01:19:10,599
Speaker 1: of things. We just like hang out and it's it's

1578
01:19:10,640 --> 01:19:15,720
Speaker 1: a it's a great place. Well all right, Danielle as

1579
01:19:15,760 --> 01:19:17,559
Speaker 1: always see you.

1580
01:19:17,520 --> 01:19:19,000
Speaker 2: Next time, See you next time.

1581
01:19:25,520 --> 01:19:29,040
Speaker 3: This has been an exactly right production. Our producers Alexisa Marissi,

1582
01:19:29,200 --> 01:19:32,760
Speaker 3: our engineers on Aalise Nelson. Our theme songs by Tom Bryfogel,

1583
01:19:33,120 --> 01:19:36,719
Speaker 3: artwork by Garrett Ross. Our executive producers are Georgia hart Start,

1584
01:19:36,840 --> 01:19:40,040
Speaker 3: Karen Till, Gareth and Danielle Kramer. Follow us on Instagram

1585
01:19:40,080 --> 01:19:42,840
Speaker 3: and Twitter at I saw pod email us at I

1586
01:19:42,880 --> 01:19:45,160
Speaker 3: saw what you did pod at Gmail, and please don't

1587
01:19:45,160 --> 01:19:49,080
Speaker 3: forget to listen, subscribe, leave us a review on Apple Podcast, Stitcher,

1588
01:19:49,240 --> 01:20:00,439
Speaker 3: or wherever you listen. Food