WEBVTT - Miss Congeniality 

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<v Speaker 1>On the Bell cast, the questions asked if movies have

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<v Speaker 1>women in um, are all their discussions just boyfriends and

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<v Speaker 1>husbands or do they have individualism? The patriarchy? Zef in

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<v Speaker 1>best start changing it with the beck Del Cast. Hey, DC,

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<v Speaker 1>what's up? Thanks for being here. I'm Caitlin, I'm Jamie.

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<v Speaker 1>Thanks for coming to the Backtel cast. Yeah, and uh

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<v Speaker 1>so right at the top for listeners at home. We're

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<v Speaker 1>in Washington, d C. And we are at an intimate

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<v Speaker 1>gathering at Emissary and DC has everyone that wanted a

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<v Speaker 1>nipple jello shot had one. They're making their way around.

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<v Speaker 1>They're right typical man, they're right in front of them.

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<v Speaker 1>Uh So, I mean, we've really to set the scene.

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<v Speaker 1>We've got a spread, We've got jello shots of nipples,

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<v Speaker 1>of various eyes is. We've got a lot of nipple

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<v Speaker 1>representation in the jello shots. I'm going to pick up

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<v Speaker 1>a particularly large one here. It's good. Uh And then

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<v Speaker 1>if you guys need a drink at any point in

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<v Speaker 1>the show, the Five Nips and the Free Bush are

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<v Speaker 1>available at the bar. So thank you Emissary for making

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<v Speaker 1>us these specialty cocktails. They're delicious, They're really really good.

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<v Speaker 1>And thanks for having us. That will pass the Bechtel

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<v Speaker 1>did what is It's hard at the live episodes because

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<v Speaker 1>it's like they know what it's about, but we still

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<v Speaker 1>have to say it. We have to housekeeping. So we

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<v Speaker 1>we talk about the portrayal of women in movies, we

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<v Speaker 1>use the Bechtel test as a jumping off point, which

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<v Speaker 1>is a test developed by cartoonist and writer Alison Bechtel

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<v Speaker 1>that requires any piece of media have two female identifying

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<v Speaker 1>characters with names speak to each other about something other

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<v Speaker 1>than a man for more than two lines of dialogue.

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<v Speaker 1>You'd think it would be possible for every movie to

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<v Speaker 1>do this, but if you were at our Nightmare Before

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<v Speaker 1>Christmas episode just now, you'll know that Tim Burton can't

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<v Speaker 1>do it. I cannot do it. Some people can. It's hard,

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<v Speaker 1>it's not hard, but it's it's not hard. It's so easy.

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<v Speaker 1>We have been talking for minutes. I haven't brought Tim Burton.

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<v Speaker 1>And that's on that thing that I said I would

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<v Speaker 1>never do. I did it. So we're talking about Miss

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<v Speaker 1>Congeniality today. Yes, clap if you have seen Miss Congeniality. Yeah,

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<v Speaker 1>and no shame, no judgment. Clap if you have not

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<v Speaker 1>seen Miss Congeniality. One bartender in the bag, not bad.

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<v Speaker 1>Everyone did their homework. Everyone. I love when everyone does

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<v Speaker 1>their homework. It's very exciting. Yeah. Also, this is a

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<v Speaker 1>modern classic and there's no excuse. So Miss Congeniality is

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<v Speaker 1>spoiler alert. Oh has been one of my favorite movies. Really. Okay,

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<v Speaker 1>so that's so. As you might have noticed, we don't

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<v Speaker 1>have a guest because this is this is just us, baby,

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<v Speaker 1>It's an intimate gathering. So what's your history. I love

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<v Speaker 1>this movie. I'm pretty sure I didn't see I was

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<v Speaker 1>too young to see it in theaters brag, but I did.

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<v Speaker 1>My My cousin Tammy is here and we have for

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<v Speaker 1>sure watched this movie together nine million times. There are

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<v Speaker 1>various vhs is of it circulating throughout the family and

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<v Speaker 1>the world. Yeah, it was just like one of my

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<v Speaker 1>Still the only form of self defense I know is

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<v Speaker 1>saying from Miss Congeniality I like memorized. I was like, oh,

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<v Speaker 1>this is useful. I don't know if I could actually

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<v Speaker 1>execute it, but yeah, whatever, solar up. No, I'm kidding,

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<v Speaker 1>solar Plexus is hard. It's the gut. Tammy is a

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<v Speaker 1>black belt also, Yeah, she's like a triple black belt.

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<v Speaker 1>I encourage everyone to fight my cousin after the show.

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<v Speaker 1>She'll she'll win. But yeah, no, it's It's always been

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<v Speaker 1>one of my favorites. I think I first saw it

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<v Speaker 1>either with my mom my cousins were both, but I

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<v Speaker 1>watched it at least once a year. Wow, okay, I

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<v Speaker 1>love it so much. Great. I haven't seen this movie much.

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<v Speaker 1>Sorry I didn't grow but they probably only saw it

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<v Speaker 1>for the first time a few years ago and uh

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<v Speaker 1>enjoyed it. I watched it. Here's why I watched it

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<v Speaker 1>because I don't know if you know this or not,

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<v Speaker 1>but I did get a master's degree in screen running

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<v Speaker 1>from Boston University. I hate to bring it up, but

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<v Speaker 1>I wrote a script with a similar ish premise. Um.

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<v Speaker 1>My script was about a woman who takes improv classes

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<v Speaker 1>so that she can learn how to go undercover as

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<v Speaker 1>an FBI agent. Very cool story, I agree, So did

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<v Speaker 1>not make it to the big don't know anyway, So

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<v Speaker 1>that was like the script I was writing. And I

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<v Speaker 1>watched this movie as research. Would have been in like

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<v Speaker 1>two thousand thirteen or something like that that I saw

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<v Speaker 1>this for the first time. Okay, okay, So we came

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<v Speaker 1>in at a very different points a late Miss Congeniality bloomer.

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<v Speaker 1>It's okay, you got there, that's all that count. Uh,

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<v Speaker 1>there's okay, something that I suspect will be polarizing, not

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<v Speaker 1>as polarizing as dry scams web scams, but maybe close

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<v Speaker 1>as Miss Congeniality was the first movie I saw Michael

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<v Speaker 1>Caine in. Mm right, Caitlin first saw Michael Caine and Muppets,

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<v Speaker 1>Christmas Carol. Yeah, lots and not have a feeling that

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<v Speaker 1>maybe there's some Batman people and there is well I'm

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<v Speaker 1>sure he's been in other movies. But that's so wait okay,

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<v Speaker 1>so so clap, clap, your a little pause together. If

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<v Speaker 1>Miss Congeniality was your first cane, okay, we got a few.

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<v Speaker 1>If Muppets was your first cane, if Batman was your

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<v Speaker 1>first cane, yeah, we're adults here, right. How about the movie?

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<v Speaker 1>Is it Elfie from? This is a real thing that

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<v Speaker 1>Michael Kine was in? Again, I have a master's degree.

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<v Speaker 1>It was from like the seventies or something, so coming

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<v Speaker 1>in with slightly different backgrounds, but so shall I do

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<v Speaker 1>the recap? Let's do it. Okay, So Miss Congeniality we

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<v Speaker 1>meet Gracie Heart. She's an FBI agent. She's a little

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<v Speaker 1>rough around the edges, but when we meet her when

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<v Speaker 1>she's a kid. For yes, she punches two boys in

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<v Speaker 1>one scene. Great moment in cinema. It's great. I like

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<v Speaker 1>that scene a lot because I don't know. I thought

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<v Speaker 1>it was like, there there's a boy that is about

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<v Speaker 1>to get beat up because he's being a quote unquote

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<v Speaker 1>like sissy and like he sucks, and then Gracie comes

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<v Speaker 1>to his rescue by punching out the bully. And then

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<v Speaker 1>she approaches the boy she saved and she's like, hey,

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<v Speaker 1>I think you're great. She has a little bit of

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<v Speaker 1>a crush on him, and then he rejects her and

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<v Speaker 1>it's like, now I look even stupider because I needed

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<v Speaker 1>a girl to rescue me. And then she punches him out.

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<v Speaker 1>I feel this is a very like realistic depiction of

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<v Speaker 1>how a young boy would react in that situation. Definitely,

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<v Speaker 1>and I wish that I could punch. I found that

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<v Speaker 1>seemed very cathartic and good. My only problem with it

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<v Speaker 1>is when he's like, you're a girl and she's like,

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<v Speaker 1>well you're a girl, using girl as an insult. Yeah,

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<v Speaker 1>But other than that yeah, perfect scene, no notes perfect.

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<v Speaker 1>So then she we meet her as an adult and

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<v Speaker 1>she's got a middle part. Guys, she's in bad shape.

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<v Speaker 1>The movie would have you believe middle there's nothing wrong

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<v Speaker 1>with them, but for some reason that is like code

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<v Speaker 1>for like, yeah, she's got a middle part and she

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<v Speaker 1>doesn't plug. So she is undercover with the FBI. She's

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<v Speaker 1>a field agent, but you know, she's got frizzy hair,

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<v Speaker 1>so she's not hot yet, and she and her crew

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<v Speaker 1>are looking for a serial killer named the Citizen. The

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<v Speaker 1>figure out that the Citizen is planning to target the

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<v Speaker 1>Misunited States pageant, so they're like, hey, we better send

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<v Speaker 1>someone undercover to like scope this out. Then there's a

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<v Speaker 1>very sinister scene using hacker technology that is just hacker

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<v Speaker 1>technology is often misapplied, and speaking on behalf of my community,

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<v Speaker 1>I apologize where they do. They're looking for the right agent,

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<v Speaker 1>which just means that they're looking at pictures of their

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<v Speaker 1>co workers in bikinis, and everyone is like t he

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<v Speaker 1>he we love this, and then oh what if we

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<v Speaker 1>put our austin a bikini? And then oh wait, he's

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<v Speaker 1>right behind me and we're and we're laughing, and we're

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<v Speaker 1>laughing but we're troubled in the year. That's not good.

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<v Speaker 1>We can unpack that scene at a moment. There's a lot. Yeah.

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<v Speaker 1>So the agent that they end up selecting to go

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<v Speaker 1>under cover to participate in the Miss United States pageants,

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<v Speaker 1>Sandra Bullock, turns out she's hot and her colleague Matthews

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<v Speaker 1>played by Benjamin Bratt, Oh my god, hot, terrible character,

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<v Speaker 1>unbelievably handsome man. So he's leading this operation and he

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<v Speaker 1>convinces her to do this whole thing. So they meet

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<v Speaker 1>with Miss morning Side, Kathy morning Side, Candy Bergen, and

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<v Speaker 1>Stan Fields are all buddy shot. The Chat that's what

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<v Speaker 1>they call him. They call a shot. That's disgusting, okay,

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<v Speaker 1>the shot they meet with the shot. Okay. So she

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<v Speaker 1>enters the contest as Miss New Jersey and she gets

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<v Speaker 1>teamed up with Victor Michael Caine. Great impression both of

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<v Speaker 1>us because he's like a pageant coach, and he gives

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<v Speaker 1>her this major makeover. They bring her to like a

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<v Speaker 1>warehouse like they's so it's like an airplane hangar. Are

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<v Speaker 1>you ever so ugly you need someone to rent a

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<v Speaker 1>building to fix you? It's upsetting how much Princess Diaries

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<v Speaker 1>they need a room for a couple hours. But Sandra Bullock,

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<v Speaker 1>apparently Sandra Bullock in her middle part, are so suffering.

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<v Speaker 1>The flags at half masted and they like locked down.

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<v Speaker 1>I don't even know where they are. Yeah, it's a

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<v Speaker 1>giant building and they needed it to turn Sandra look

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<v Speaker 1>into a beautiful woman. Believable. So then she goes to

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<v Speaker 1>the orientation. She meets miss Rhode Island. Oh god, we

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<v Speaker 1>love her. So you know she's working on her things.

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<v Speaker 1>She like it is a beauty queen. Now she does

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<v Speaker 1>her talent. This this thing you the listeners at home,

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<v Speaker 1>Jamie and I both just rubbed our fingers on our classes.

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<v Speaker 1>Would be so confusing context alright, So and then they

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<v Speaker 1>get some new evidence that the envelope from the Citizen

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<v Speaker 1>was licked by a woman, which is like, what is this?

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<v Speaker 1>DNA does that? We know she's a woman, but that's

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<v Speaker 1>not that's not how that works. Well anyways, the movie

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<v Speaker 1>has to continue, so right, So Kathy morning Side is

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<v Speaker 1>mean to her, victors mean to her. She's like, I quit.

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<v Speaker 1>But then Benjamin Brad's like, but look how hot I

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<v Speaker 1>am And he's like She's like, okay, I'll stay. Then

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<v Speaker 1>I get there like, oh, miss Rhode Island, she's a

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<v Speaker 1>terrorist maybe because she's like Tita and they're like, she's

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<v Speaker 1>she's just in Peta, like that's it. She's like for,

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<v Speaker 1>I don't like for and they're like, well, clearly she's

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<v Speaker 1>a killer. She's but in order to like try to

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<v Speaker 1>coax some information out of her, she hangs out with

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<v Speaker 1>the gals and gets closer to them, maybe even make

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<v Speaker 1>some friends, and learns a little sounding about herself something.

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<v Speaker 1>And then she learns that Miss morning Side is getting

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<v Speaker 1>fired by we already knew the shot was getting fixed,

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<v Speaker 1>we didn't know that Candy was getting dumped as well,

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<v Speaker 1>and this is a game changer. Also, Candy Bergen has

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<v Speaker 1>an unfuckable son who becomes relevant as the movie goes on. Yes, Frank,

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<v Speaker 1>that sounds cruel, but he is dressed like a turtle repeatedly,

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<v Speaker 1>and he's literally the turtle turtle guy. But then they

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<v Speaker 1>catch the citizens are like, wait a minute, we we

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<v Speaker 1>got him. There's no need to be here at the

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<v Speaker 1>pageant anymore. But our friend Heart, she's got a hunch

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<v Speaker 1>and she's like, no, I think we need to keep

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<v Speaker 1>our eye on Miss morning Side, which is true because

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<v Speaker 1>she ends up being so bitter that she got fired

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<v Speaker 1>that and that's God's implied that she lost a pageant

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<v Speaker 1>twenty five years ago and poisoned the winner so that

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<v Speaker 1>she could claim the throne. She's I also don't understand

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<v Speaker 1>was her plan to blow someone's head up? Yes, okay,

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<v Speaker 1>that is exactly the plan. That's a bad plan because

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<v Speaker 1>the crown is like a bomb, right, but it's like that,

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<v Speaker 1>I don't know. I'm just like, of all people, Miss

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<v Speaker 1>Rhode Island, she's so pure well so, so it's time

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<v Speaker 1>for the may and pageant and hearts like, I gotta

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<v Speaker 1>do my talent, but the water glasses got drank, so

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<v Speaker 1>then she has to do the sing scene thing she

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<v Speaker 1>gets she kicks Benjamin Bratt's ass on stage, very satisfying.

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<v Speaker 1>It's really cool. Yeah, and then she makes it into

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<v Speaker 1>the top five and everything's exciting trigged, but we are

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<v Speaker 1>still drilled. And then Mr Rhode Island wins, but hearts

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<v Speaker 1>like she figures out that it's the crown that's the bomb,

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<v Speaker 1>so she like flings herself at her and you know,

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<v Speaker 1>rips off the crown. There's a whole scuffle. The chat

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<v Speaker 1>is like the show must go on keeps singing its

0:14:42.600 --> 0:14:45.920
<v Speaker 1>line roots where he's just saying the lyrics to the

0:14:45.960 --> 0:14:51.040
<v Speaker 1>song five seconds after they've been song is great. It's

0:14:51.040 --> 0:14:54.160
<v Speaker 1>also one of those classic scenes of like it's taking

0:14:54.240 --> 0:14:58.640
<v Speaker 1>forever to detonate a bomb for no reason, like her

0:14:58.720 --> 0:15:02.760
<v Speaker 1>Turtle Son's like I'm gonna do it. It's like normally

0:15:02.840 --> 0:15:07.080
<v Speaker 1>fingers slipped, and then it falls down stair by stair,

0:15:07.200 --> 0:15:11.440
<v Speaker 1>and then finally Candice Burgend is like, I'm gonna blow

0:15:11.560 --> 0:15:15.960
<v Speaker 1>up Miss Rhode Island's head, but she fails. She fells heart,

0:15:16.040 --> 0:15:18.760
<v Speaker 1>saves the day, and then at the end she gets

0:15:19.160 --> 0:15:24.240
<v Speaker 1>voted believe it or not, Miss Congeniality, it's nice, which

0:15:24.280 --> 0:15:31.560
<v Speaker 1>means that you didn't win, but you're nice, yeah, which

0:15:31.760 --> 0:15:38.760
<v Speaker 1>is something that is achievable for people. Yes, Okay, so

0:15:38.840 --> 0:15:42.760
<v Speaker 1>that's the movie. Good Night, No, I'm kidding. Um, So

0:15:42.760 --> 0:15:46.200
<v Speaker 1>where should we start. Let's start with the relationship because

0:15:46.200 --> 0:15:47.920
<v Speaker 1>that is like one of the things I don't like

0:15:48.000 --> 0:15:50.120
<v Speaker 1>about the movie that I just really want to knock off.

0:15:50.920 --> 0:15:53.160
<v Speaker 1>At the top, se can just sing this movie's praises,

0:15:53.480 --> 0:15:59.640
<v Speaker 1>but the relationship in this movie sucks. Yeah, it's a bummer.

0:16:00.040 --> 0:16:04.280
<v Speaker 1>Benjamin Bratt's face and physique are wasted in this movie.

0:16:04.800 --> 0:16:07.120
<v Speaker 1>But it's because and it's weird because it's like I

0:16:07.120 --> 0:16:10.440
<v Speaker 1>think the movie sort of like it. It tries to

0:16:10.480 --> 0:16:14.720
<v Speaker 1>paint them as equals, but in ways that just demonstrate

0:16:14.800 --> 0:16:19.840
<v Speaker 1>their imbalance in the workplace even more. Where at the beginning, especially,

0:16:20.400 --> 0:16:23.960
<v Speaker 1>he's treating her like one of the guys, and he's like, oh,

0:16:24.040 --> 0:16:27.040
<v Speaker 1>we like you know, we like funk with each other.

0:16:27.200 --> 0:16:30.360
<v Speaker 1>We insult each other, but all of his insults are

0:16:31.000 --> 0:16:35.680
<v Speaker 1>very pointedly misogynist about her body. He slaps her ass

0:16:35.760 --> 0:16:39.240
<v Speaker 1>at one point, he makes comments about how he doesn't

0:16:39.240 --> 0:16:41.720
<v Speaker 1>find her attractive all the time, and then the whole

0:16:41.880 --> 0:16:45.200
<v Speaker 1>journey of this relationship is like he respects her after

0:16:45.320 --> 0:16:48.800
<v Speaker 1>she gets a makeover and is just as good at

0:16:48.800 --> 0:16:51.360
<v Speaker 1>her job as she ever was and is the same person,

0:16:51.840 --> 0:16:56.600
<v Speaker 1>but now she has a hair straightener and he's in love.

0:16:56.760 --> 0:16:59.960
<v Speaker 1>I hate it. Some of my favorite lines from him are,

0:17:00.400 --> 0:17:05.359
<v Speaker 1>by the way, you look like hell really cute. I

0:17:05.440 --> 0:17:09.240
<v Speaker 1>think McDonald, their male boss, is more feminine than you.

0:17:09.320 --> 0:17:13.520
<v Speaker 1>I'd rather kiss him, so you know, he's a feminist

0:17:12.720 --> 0:17:17.880
<v Speaker 1>icon to punch. It's a homophobic joke and a misogynist joke.

0:17:18.880 --> 0:17:23.160
<v Speaker 1>Mr Bratt right, he is like he's sexist, he's homophobic.

0:17:23.480 --> 0:17:26.840
<v Speaker 1>It's just like toxic masculinity all over the place. But

0:17:27.240 --> 0:17:30.520
<v Speaker 1>he's the love interest l O L. It's weird. Yeah,

0:17:30.600 --> 0:17:33.159
<v Speaker 1>and it's it's weird because it's like you do, I mean,

0:17:33.320 --> 0:17:35.639
<v Speaker 1>especially the nice younger. I had like a deep affection

0:17:35.760 --> 0:17:40.320
<v Speaker 1>for that character. But it's because there you can tell

0:17:40.560 --> 0:17:44.479
<v Speaker 1>the reason she likes him. But her character, who were

0:17:44.520 --> 0:17:47.600
<v Speaker 1>sort of led to believe calls people out, doesn't really

0:17:47.640 --> 0:17:50.000
<v Speaker 1>call him out to the extent that he deserves to

0:17:50.080 --> 0:17:52.840
<v Speaker 1>be called out right, because she calls out Michael Caine's

0:17:52.880 --> 0:17:56.600
<v Speaker 1>character a lot. She's always like everyone, Yeah, she calls

0:17:56.600 --> 0:18:01.600
<v Speaker 1>out these little boys at the beginning almost for yeah.

0:18:01.640 --> 0:18:05.000
<v Speaker 1>So so that whole character in that relationship, I mean,

0:18:05.040 --> 0:18:08.600
<v Speaker 1>it's like it's a movie in two thousand. There's gonna

0:18:08.680 --> 0:18:13.760
<v Speaker 1>be uh romance shoehorned in. But it's like there there

0:18:13.800 --> 0:18:17.320
<v Speaker 1>were enough good elements of his character that it could

0:18:17.359 --> 0:18:20.720
<v Speaker 1>have been a more level, fair relationship and there didn't

0:18:20.760 --> 0:18:23.239
<v Speaker 1>need to be so many cast off Like most of

0:18:23.280 --> 0:18:26.760
<v Speaker 1>the stuff in this movie that sucks is pretty fixable

0:18:27.000 --> 0:18:29.760
<v Speaker 1>of Like, it's a lot of just cast off misogynists

0:18:29.760 --> 0:18:32.080
<v Speaker 1>and homophobic jokes that don't need to be there. They

0:18:32.080 --> 0:18:36.840
<v Speaker 1>don't really add anything, and by like, just don't do that.

0:18:37.320 --> 0:18:39.560
<v Speaker 1>And it's weird because so this movie was written by

0:18:40.080 --> 0:18:44.120
<v Speaker 1>two women and a guy, Katie Ford and Karen Lucas

0:18:44.200 --> 0:18:47.159
<v Speaker 1>and Mark Lawrence. I was trying to do research on

0:18:47.240 --> 0:18:51.240
<v Speaker 1>each of them. Couldn't find a ton on karenen Lucas.

0:18:51.280 --> 0:18:53.800
<v Speaker 1>But Katie Ford is a queer woman, so you would

0:18:53.800 --> 0:18:55.919
<v Speaker 1>think that there wouldn't be quite so much kind of

0:18:55.960 --> 0:18:59.200
<v Speaker 1>casual homophobia in it. But then it was also two

0:18:59.240 --> 0:19:02.720
<v Speaker 1>thousand so and the other end of that is there's

0:19:02.840 --> 0:19:06.960
<v Speaker 1>more queer characters in this movie than in most movies

0:19:07.080 --> 0:19:10.640
<v Speaker 1>of that time and still now where there's I mean

0:19:10.680 --> 0:19:14.359
<v Speaker 1>at least two characters that have direct impact on the

0:19:14.359 --> 0:19:18.680
<v Speaker 1>plot that identify as queer. And it's not like coding

0:19:18.760 --> 0:19:21.719
<v Speaker 1>and all the bullshit were used to where Michael Caine's

0:19:21.800 --> 0:19:28.080
<v Speaker 1>character identifies as queer. Wait see, I found he's like

0:19:28.080 --> 0:19:32.680
<v Speaker 1>wex your pubes. It's all a character. I found him

0:19:32.720 --> 0:19:36.400
<v Speaker 1>to be more coded that way than identifiably that way.

0:19:36.440 --> 0:19:39.399
<v Speaker 1>But I might have missed something. Well. He implies several

0:19:39.440 --> 0:19:43.280
<v Speaker 1>times that he's in relationships with men and and at

0:19:43.320 --> 0:19:46.960
<v Speaker 1>one point plays it off as a homophobic joke where

0:19:46.960 --> 0:19:49.399
<v Speaker 1>he's talking to someone he knows and he says about

0:19:49.480 --> 0:19:54.000
<v Speaker 1>Benjamin Bratt's character like he he's with me, and she's like, oh,

0:19:54.240 --> 0:19:58.440
<v Speaker 1>so to me that it's not an explicit statement, but

0:19:58.640 --> 0:20:00.479
<v Speaker 1>that I don't know. That went a step further than

0:20:00.560 --> 0:20:03.960
<v Speaker 1>coding to me, because usually like a coded character in

0:20:04.000 --> 0:20:07.200
<v Speaker 1>my head is like playing to every trope and not

0:20:07.359 --> 0:20:11.200
<v Speaker 1>acknowledging anything outside of a trope where he is acknowledging

0:20:11.880 --> 0:20:14.720
<v Speaker 1>he is attracted to men and he's been in relationships

0:20:14.720 --> 0:20:16.920
<v Speaker 1>with men. I feel like it's alluded to several times

0:20:17.520 --> 0:20:19.440
<v Speaker 1>where that was just my read of it. There's a

0:20:19.520 --> 0:20:24.040
<v Speaker 1>moment where he grasps Benjamin Bratt's shoulder and then he's like,

0:20:24.080 --> 0:20:26.400
<v Speaker 1>what a pity that he can't that he can't stay

0:20:29.200 --> 0:20:34.280
<v Speaker 1>and stop with that impression. And then at the end

0:20:34.320 --> 0:20:38.200
<v Speaker 1>of the movie, Miss New York comes out to the

0:20:38.200 --> 0:20:42.800
<v Speaker 1>world on stage and says that it's like, what is

0:20:42.840 --> 0:20:46.480
<v Speaker 1>the line she has? Oh, it's she says, it's great, Oh,

0:20:46.560 --> 0:20:48.800
<v Speaker 1>hang on, I got it here, and her girlfriend's in

0:20:48.800 --> 0:20:51.280
<v Speaker 1>the crowd and she's like yes, and then we're like

0:20:51.560 --> 0:20:56.040
<v Speaker 1>love winds and then she's dragged off stage. So it's like, okay,

0:20:56.680 --> 0:20:58.959
<v Speaker 1>so it's I just want to let all the lesbians

0:20:58.960 --> 0:21:00.760
<v Speaker 1>out there. No. If I can make it into the

0:21:00.800 --> 0:21:03.840
<v Speaker 1>top ten, so can you. And then she's like love you,

0:21:04.240 --> 0:21:08.400
<v Speaker 1>Tina or something Tina's like, and then we're like yeah.

0:21:08.640 --> 0:21:12.720
<v Speaker 1>But then immediately after that they cut to the TV station.

0:21:13.160 --> 0:21:14.720
<v Speaker 1>It's weird. It's like you get a good moment and

0:21:14.760 --> 0:21:16.879
<v Speaker 1>then it's sort of cast off in the next moment

0:21:17.160 --> 0:21:19.240
<v Speaker 1>where the TV people are like, can we even say

0:21:19.480 --> 0:21:25.360
<v Speaker 1>lesbian on television? And it's like no, no, no, right,

0:21:25.720 --> 0:21:28.920
<v Speaker 1>I don't know. Like that mostly worked for me because

0:21:29.119 --> 0:21:32.560
<v Speaker 1>so like Miss New York says says that, and then

0:21:32.640 --> 0:21:36.080
<v Speaker 1>like Gracie collapse and woos to show her support, and

0:21:36.119 --> 0:21:39.639
<v Speaker 1>then William Shatner is like, stay tuned for our final

0:21:39.720 --> 0:21:44.120
<v Speaker 1>five lesbians contestants. And then after that the guy behind

0:21:44.160 --> 0:21:47.280
<v Speaker 1>the scenes is like can we even say And then

0:21:47.320 --> 0:21:49.760
<v Speaker 1>there's a woman who's like, you got a problem with that?

0:21:49.960 --> 0:21:52.280
<v Speaker 1>So to me, like the men are made to look

0:21:52.320 --> 0:21:55.080
<v Speaker 1>like bumbling idiots who like can't hang, and then the

0:21:55.119 --> 0:21:57.679
<v Speaker 1>women in that scene are all like kind of challenging

0:21:57.680 --> 0:22:00.320
<v Speaker 1>the status quo. Well, I would even say that it's

0:22:00.359 --> 0:22:03.000
<v Speaker 1>restricted to gender. I just think that in that scene,

0:22:03.080 --> 0:22:07.920
<v Speaker 1>everyone whose side we're firmly on, which includes Victor, are

0:22:08.160 --> 0:22:12.480
<v Speaker 1>pro miss New York basically coming out to the world

0:22:13.119 --> 0:22:16.480
<v Speaker 1>on live TV, and so everyone whose corner we're in

0:22:16.720 --> 0:22:19.520
<v Speaker 1>is cool with it and not shamy. And yeah, the

0:22:19.600 --> 0:22:23.640
<v Speaker 1>guy who's like like he's made to look that way,

0:22:23.760 --> 0:22:26.760
<v Speaker 1>the movie wants you to see him that way. So yeah,

0:22:26.800 --> 0:22:28.560
<v Speaker 1>so I was okay with that. What didn't work for

0:22:28.600 --> 0:22:32.040
<v Speaker 1>me so well was the scene where Victor tells, like

0:22:32.080 --> 0:22:35.280
<v Speaker 1>a backstage hand, he's like, Benjamin Brett's is with me,

0:22:35.680 --> 0:22:39.240
<v Speaker 1>and then he's like, I'm not with him with him

0:22:39.240 --> 0:22:42.199
<v Speaker 1>because he is wildly insecure about his sexuality and he

0:22:42.280 --> 0:22:44.959
<v Speaker 1>does not like gay people. But again, he is poised

0:22:45.000 --> 0:22:48.280
<v Speaker 1>as the love interest in standard book kisses a homophobe.

0:22:48.320 --> 0:22:51.800
<v Speaker 1>At the end of the movie, Sandy, there are still

0:22:51.840 --> 0:22:53.760
<v Speaker 1>there are problems, and he was also in The blind Side,

0:22:53.800 --> 0:22:58.080
<v Speaker 1>so she's got certainly some problematic things of her catalog.

0:22:58.920 --> 0:23:02.680
<v Speaker 1>The way this movie handles queerness is kind of all

0:23:02.760 --> 0:23:06.359
<v Speaker 1>over the place. But I don't know if for two

0:23:06.359 --> 0:23:09.800
<v Speaker 1>thousand it acknowledges queerness in the way that most mainstream

0:23:09.840 --> 0:23:13.119
<v Speaker 1>movies wouldn't give it. That. Yeah, So back to the

0:23:13.160 --> 0:23:16.560
<v Speaker 1>conversation about the Benjamin Bratt character and he is in

0:23:16.640 --> 0:23:20.800
<v Speaker 1>a pool and that's good. Uh, well, you see his nipples.

0:23:23.040 --> 0:23:26.040
<v Speaker 1>That's great. Yeah, there's that whole scene where their heart

0:23:26.080 --> 0:23:29.200
<v Speaker 1>and Matthews are wrestling. Whenever he's trying to convince her

0:23:29.320 --> 0:23:34.040
<v Speaker 1>to like take this undercover role, there's moments where like

0:23:34.160 --> 0:23:38.000
<v Speaker 1>she he's like, just do a few like button shipping exercises,

0:23:38.160 --> 0:23:40.959
<v Speaker 1>tighten ess, slap or in the ass. He slaps her

0:23:40.960 --> 0:23:42.480
<v Speaker 1>in the ass again. At the end of the scene.

0:23:43.119 --> 0:23:47.280
<v Speaker 1>There's a moment where like she has his head right

0:23:47.440 --> 0:23:51.440
<v Speaker 1>in her crotch and they're like doing this whole thing.

0:23:51.560 --> 0:23:53.280
<v Speaker 1>So it's like, oh, I wonder if these characters have

0:23:53.400 --> 0:23:57.680
<v Speaker 1>sexual tension, that that is a thing that whenever, like

0:23:58.240 --> 0:24:00.720
<v Speaker 1>a woman is fighting a man in a movie, I

0:24:00.720 --> 0:24:03.639
<v Speaker 1>feel like it always comes down to the head between

0:24:03.680 --> 0:24:06.880
<v Speaker 1>the legs and it becomes this like sexual subtext of

0:24:07.160 --> 0:24:09.520
<v Speaker 1>I know that's a legitimate move you can do, but

0:24:09.640 --> 0:24:13.080
<v Speaker 1>must we every single time? And must we deliver a cute,

0:24:13.080 --> 0:24:15.800
<v Speaker 1>little punchy line while we do it, like squeeze head

0:24:15.800 --> 0:24:21.840
<v Speaker 1>of like you I was gonna say, you're cute, but

0:24:21.880 --> 0:24:26.360
<v Speaker 1>whatever equip not you're cute that's not equip that's just

0:24:26.440 --> 0:24:29.520
<v Speaker 1>a feeling. I feel like I feel like Black Widow

0:24:29.520 --> 0:24:31.880
<v Speaker 1>does it all the time, and like the Avengers movies.

0:24:32.080 --> 0:24:36.800
<v Speaker 1>It happens in the Jumanji Welcome to the Jungle Ever

0:24:36.880 --> 0:24:40.680
<v Speaker 1>heard of it? Is there a fandom for that feeling,

0:24:40.760 --> 0:24:44.200
<v Speaker 1>doesn't it? It's the guy who can find the nipple? Basically,

0:24:44.240 --> 0:24:50.000
<v Speaker 1>any any movie where there is a like female action star,

0:24:50.920 --> 0:24:53.920
<v Speaker 1>you can better believe that she is wrapping her pussy

0:24:54.040 --> 0:24:57.320
<v Speaker 1>around his face and using it to slam him into

0:24:57.320 --> 0:25:00.639
<v Speaker 1>the ground. He's like, Wow, she's powerful, and you're just

0:25:00.680 --> 0:25:04.600
<v Speaker 1>like ick, yeah, that's gross. And of course that moment

0:25:04.680 --> 0:25:08.680
<v Speaker 1>happens a lot, and usually in narratives where a woman

0:25:08.760 --> 0:25:13.479
<v Speaker 1>who is like unusually strong or good at fighting is

0:25:13.520 --> 0:25:16.000
<v Speaker 1>forced to prove that over and over and over, which

0:25:16.040 --> 0:25:19.560
<v Speaker 1>this movie does a few times. Hey, i think it's

0:25:20.040 --> 0:25:23.280
<v Speaker 1>about time for us to just take a little quick break.

0:25:23.480 --> 0:25:33.040
<v Speaker 1>I'm tired. I'm tired news the way okay, transition a

0:25:33.040 --> 0:25:35.400
<v Speaker 1>little bit to the way Gracie is treated by her

0:25:35.440 --> 0:25:39.880
<v Speaker 1>co workers again is all over the place where they

0:25:39.960 --> 0:25:45.000
<v Speaker 1>definitely know she's good and they do seem to respect her,

0:25:45.480 --> 0:25:49.480
<v Speaker 1>and like the opening sequence in Like the Present day

0:25:50.160 --> 0:25:53.200
<v Speaker 1>is Gracie makes a call during they're trying to catch

0:25:53.240 --> 0:25:56.359
<v Speaker 1>some Russian guys. There's a briefcase, it's all very vague,

0:25:56.880 --> 0:25:59.879
<v Speaker 1>but Gracie makes a call where she saves him for

0:26:00.119 --> 0:26:02.679
<v Speaker 1>choking to death, and that choice results in one of

0:26:02.720 --> 0:26:06.560
<v Speaker 1>her co workers getting shot. So that I thought was

0:26:06.640 --> 0:26:09.960
<v Speaker 1>like a cool scene and a good example of like

0:26:10.400 --> 0:26:14.800
<v Speaker 1>watching a female protagonist be flawed and funk up but

0:26:14.840 --> 0:26:18.840
<v Speaker 1>in a way that isn't pointed or makes her seem incompetent,

0:26:19.000 --> 0:26:22.320
<v Speaker 1>and the way she's treated like she's punished for it

0:26:22.440 --> 0:26:26.520
<v Speaker 1>because she fucked up, but it's not. The subtext isn't

0:26:26.560 --> 0:26:29.639
<v Speaker 1>like you're stupid or you don't know what you're doing.

0:26:29.680 --> 0:26:31.320
<v Speaker 1>It's like you made a choice and it was the

0:26:31.359 --> 0:26:37.400
<v Speaker 1>wrong choice for not following orders, which is a legitimate

0:26:37.480 --> 0:26:40.560
<v Speaker 1>reason to get in trouble, especially when like people's lives

0:26:40.600 --> 0:26:42.840
<v Speaker 1>around the line. I want a whole movie about Gracie

0:26:42.840 --> 0:26:45.720
<v Speaker 1>and her boss. I really like that they got a

0:26:45.720 --> 0:26:49.480
<v Speaker 1>fun dynamic. And also in that scene, she saves herself.

0:26:49.520 --> 0:26:52.640
<v Speaker 1>So she gets like kind of held hostage by one

0:26:52.680 --> 0:26:55.240
<v Speaker 1>of the bad guys and he's holding a knife to her,

0:26:55.560 --> 0:26:58.080
<v Speaker 1>but she does the sing thing, so she does that

0:26:58.119 --> 0:27:00.280
<v Speaker 1>and she saves herself. But that, yeah, so she gets

0:27:00.280 --> 0:27:03.360
<v Speaker 1>in trouble, so she does kind of have to like, well,

0:27:03.560 --> 0:27:05.600
<v Speaker 1>I'd say that, like, at no point does she have

0:27:05.720 --> 0:27:09.119
<v Speaker 1>to like prove her competency at any point to the

0:27:09.160 --> 0:27:13.600
<v Speaker 1>other characters. It's weird. It's like but smaller stuff though,

0:27:13.640 --> 0:27:16.919
<v Speaker 1>where it's and she she I guess makes this point

0:27:17.040 --> 0:27:20.120
<v Speaker 1>to Benjamin Bratt at one point of like, she's ultimately

0:27:20.200 --> 0:27:25.000
<v Speaker 1>chosen for that assignment because she looks conventionally attractive in

0:27:25.080 --> 0:27:28.960
<v Speaker 1>a bathing suit. And even though Benjamin Bratt later is like, no,

0:27:29.119 --> 0:27:33.160
<v Speaker 1>it's not, it is like that is the clearly implied

0:27:33.240 --> 0:27:36.679
<v Speaker 1>reason that she's chosen. It's like she's competent, but it

0:27:36.720 --> 0:27:40.119
<v Speaker 1>doesn't hurt to look great in a bathing suit on

0:27:40.240 --> 0:27:43.560
<v Speaker 1>top of being a you know, badass fighter. So that

0:27:43.760 --> 0:27:48.160
<v Speaker 1>is sinister. And then in the next scene, just going

0:27:48.200 --> 0:27:52.880
<v Speaker 1>back to that original, so Gracie is punished by her

0:27:52.920 --> 0:27:56.520
<v Speaker 1>boss kind of rightfully, so she fox up, and then

0:27:56.600 --> 0:28:00.480
<v Speaker 1>Benjamin Bratt's character is put in charge of the beauty

0:28:00.520 --> 0:28:05.080
<v Speaker 1>pageant thing, and then there's a whole scene where he

0:28:05.480 --> 0:28:08.639
<v Speaker 1>is incompetent because he's like, oh, so what are we

0:28:08.720 --> 0:28:11.520
<v Speaker 1>doing here? And then Gracie will make a suggestion He's like,

0:28:11.600 --> 0:28:13.639
<v Speaker 1>we're going to do that, and then she makes another

0:28:13.920 --> 0:28:16.160
<v Speaker 1>He's like, we're going to do that as well, where

0:28:16.200 --> 0:28:19.600
<v Speaker 1>she is doing the job for him and it's pretty

0:28:19.600 --> 0:28:21.920
<v Speaker 1>clearly spelled out, but then that kind of goes away

0:28:21.920 --> 0:28:24.000
<v Speaker 1>as it goes on, and later he's like, I'm about

0:28:24.040 --> 0:28:26.840
<v Speaker 1>the job. I was like, really, because we doesn't seem

0:28:26.840 --> 0:28:29.800
<v Speaker 1>like you're very good at it. I read that scene

0:28:29.920 --> 0:28:33.679
<v Speaker 1>as because it's a room full of men and they

0:28:33.720 --> 0:28:35.840
<v Speaker 1>know that they have to work on this pageant thing,

0:28:36.320 --> 0:28:42.160
<v Speaker 1>so they're like, oh, no, a thing that women do. Ah,

0:28:42.280 --> 0:28:45.560
<v Speaker 1>and they like just completely forget how to do their job.

0:28:45.640 --> 0:28:49.000
<v Speaker 1>And then like Heart comes in with like the oh

0:28:49.040 --> 0:28:53.120
<v Speaker 1>she's a girl, but she's like, yeah, called the pageant

0:28:53.160 --> 0:28:55.240
<v Speaker 1>and then called the network, set up meetings with them,

0:28:55.360 --> 0:28:59.200
<v Speaker 1>like call the San Antonio people, let's get jurisdiction there,

0:28:59.280 --> 0:29:01.480
<v Speaker 1>like all this like common sense stuff that they shouldn't

0:29:01.680 --> 0:29:06.840
<v Speaker 1>to do, but they're just like girls stuff. Yeah, they

0:29:06.880 --> 0:29:10.720
<v Speaker 1>lose their ship and then we get to the computer

0:29:10.920 --> 0:29:17.440
<v Speaker 1>scene click click. There are many scenes of like male

0:29:17.680 --> 0:29:22.440
<v Speaker 1>gaze throughout the movie Freaky, like Y two K male

0:29:22.520 --> 0:29:26.280
<v Speaker 1>gaze where it's like not just male gaze, but male

0:29:26.320 --> 0:29:30.520
<v Speaker 1>gaze via a Windows computer, which just seems so much

0:29:30.560 --> 0:29:34.400
<v Speaker 1>worse now. Right. So the first one is when they're

0:29:34.400 --> 0:29:37.200
<v Speaker 1>all crowded around and then they like make a game

0:29:37.240 --> 0:29:39.920
<v Speaker 1>of it, so're like, okay, female agents under the age

0:29:39.920 --> 0:29:43.440
<v Speaker 1>of thirty five who aren't pregnant as hell, who do

0:29:43.480 --> 0:29:46.040
<v Speaker 1>we got? And then they're just like they're making women's

0:29:46.080 --> 0:29:49.080
<v Speaker 1>bodies a spectacle. They have like popcorn. They have this

0:29:49.240 --> 0:29:53.720
<v Speaker 1>weird software that can put one bathing suit on anyone,

0:29:54.320 --> 0:29:59.720
<v Speaker 1>which is not real, but the photoshops are convincing, um,

0:29:59.800 --> 0:30:01.480
<v Speaker 1>but it is that it's just like a whole scene

0:30:01.480 --> 0:30:04.560
<v Speaker 1>where they go through women they don't know and they're

0:30:04.560 --> 0:30:09.280
<v Speaker 1>like or like, and then they start putting bathing suits

0:30:09.280 --> 0:30:12.520
<v Speaker 1>on man and then that's played as a joke, which

0:30:12.600 --> 0:30:16.320
<v Speaker 1>is also just like how embarrassing if if a man

0:30:16.440 --> 0:30:20.040
<v Speaker 1>presents as feminine at all exactly, And then and then

0:30:20.080 --> 0:30:22.800
<v Speaker 1>they get to Gracie and they're like, also, why would

0:30:22.840 --> 0:30:27.920
<v Speaker 1>the FBI know what she looks like naked? That's what

0:30:28.040 --> 0:30:33.920
<v Speaker 1>that software implies, is like, we have your nudes and

0:30:34.080 --> 0:30:39.360
<v Speaker 1>we will use them because they could just have because

0:30:39.360 --> 0:30:40.920
<v Speaker 1>all of a sudden, they just have a picture of

0:30:40.960 --> 0:30:44.239
<v Speaker 1>her from multiple angles in a bathing suit. You're just like,

0:30:44.320 --> 0:30:47.400
<v Speaker 1>that's not out the government works. Maybe we'll listen to

0:30:47.400 --> 0:30:49.080
<v Speaker 1>this in a year and be like, that is how

0:30:49.120 --> 0:30:53.600
<v Speaker 1>the governors. But as far as I know, they don't

0:30:53.600 --> 0:30:56.800
<v Speaker 1>have nudes from every angle in the year two thousand. No, No,

0:30:56.920 --> 0:31:00.640
<v Speaker 1>I don't know. Ask Massage. Maybe he knows. So that's

0:31:00.680 --> 0:31:03.160
<v Speaker 1>the first very male gaze you've seen where yeah, it's

0:31:03.160 --> 0:31:06.360
<v Speaker 1>either like uggling women's bodies who they find attractive, or

0:31:07.120 --> 0:31:11.560
<v Speaker 1>it's any woman who's not like conventionally beautiful by Western standards,

0:31:11.720 --> 0:31:13.400
<v Speaker 1>or like there's like an age element too. If a

0:31:13.480 --> 0:31:16.600
<v Speaker 1>woman's over a certain age, they get a grown and yeah,

0:31:16.840 --> 0:31:20.600
<v Speaker 1>it's bad. So the second male gaze moment is heart

0:31:20.880 --> 0:31:24.040
<v Speaker 1>is like equipped with like a little camera and she's

0:31:24.160 --> 0:31:27.720
<v Speaker 1>being introduced to the other contestants and all the like

0:31:27.880 --> 0:31:33.600
<v Speaker 1>FBI men are seeing this. They're like a girl, what's

0:31:34.280 --> 0:31:38.840
<v Speaker 1>legs losing their ship? And that comes back a bunch

0:31:38.840 --> 0:31:42.000
<v Speaker 1>of time. I mean that comes back when they're spending

0:31:42.040 --> 0:31:45.320
<v Speaker 1>time together alone and having conversations. That happens whenever she's

0:31:45.320 --> 0:31:48.400
<v Speaker 1>in a dressing room or backstage. You just cut to

0:31:48.840 --> 0:31:52.240
<v Speaker 1>Benjamin Bratt and a bunch of men who have recently

0:31:52.240 --> 0:31:57.800
<v Speaker 1>gotten their SAG cards. It's just like panting frantically and

0:31:57.920 --> 0:32:02.080
<v Speaker 1>you're just like, oh great, they're they're federal agents and

0:32:02.120 --> 0:32:04.920
<v Speaker 1>we trust them. Um yeah, but they're yeah, they're just

0:32:04.960 --> 0:32:08.640
<v Speaker 1>like completely objectifying and like oggling over every woman they see.

0:32:08.920 --> 0:32:12.360
<v Speaker 1>And then my my last point about that is that

0:32:12.760 --> 0:32:16.920
<v Speaker 1>a demonstration that Benjamin Brott's character has grown is that

0:32:17.040 --> 0:32:19.840
<v Speaker 1>like sometimes like two thirds into the movie, when they're

0:32:19.840 --> 0:32:22.360
<v Speaker 1>doing that at the screen he steps in front of

0:32:22.880 --> 0:32:26.680
<v Speaker 1>when they're about to look at Gracie's boobs, and he's like, guys, no,

0:32:27.800 --> 0:32:32.680
<v Speaker 1>he comes in on his fucking horses. Actually, we shouldn't

0:32:32.680 --> 0:32:36.640
<v Speaker 1>do this because I decided I respected my colleagues since

0:32:36.720 --> 0:32:41.560
<v Speaker 1>she became hot. You're like, you don't get a trophy

0:32:41.600 --> 0:32:45.840
<v Speaker 1>for that. You're all bad. Yeah. Another thing I wanted

0:32:45.840 --> 0:32:49.360
<v Speaker 1>to talk about is how Gracie Hart does not like

0:32:49.600 --> 0:32:54.280
<v Speaker 1>other women at first at first, which I like, I

0:32:54.400 --> 0:32:57.040
<v Speaker 1>understand why the movie made this choice there put it's

0:32:57.040 --> 0:32:59.280
<v Speaker 1>like fish out of water scenario. It's like, Okay, who

0:32:59.360 --> 0:33:01.840
<v Speaker 1>best would be the person to put into this like

0:33:01.880 --> 0:33:04.120
<v Speaker 1>beauty pageant role? Shure, it's going to be like a

0:33:04.200 --> 0:33:07.760
<v Speaker 1>woman who's rough around the edges, who doesn't like to

0:33:07.840 --> 0:33:10.000
<v Speaker 1>be around other women and stuff like that, but like

0:33:10.360 --> 0:33:13.600
<v Speaker 1>the way she treats and talks to other women. In

0:33:13.640 --> 0:33:16.280
<v Speaker 1>the beginning of the movie, Shenamin Bread's on a date

0:33:16.320 --> 0:33:21.160
<v Speaker 1>with someone and Heart is very patronizing to her, and

0:33:21.200 --> 0:33:24.320
<v Speaker 1>we get her name, so, like her name is Beth,

0:33:24.440 --> 0:33:27.520
<v Speaker 1>and she's like, I'd love to hear yeah, because she's

0:33:27.560 --> 0:33:29.720
<v Speaker 1>writing a paper on like criminal justice, and she's like,

0:33:29.760 --> 0:33:32.440
<v Speaker 1>I'd love to hear a woman's opinion, and Heart is like,

0:33:32.960 --> 0:33:36.360
<v Speaker 1>get out of my face, you idiot, you young idiot.

0:33:37.040 --> 0:33:40.800
<v Speaker 1>And uh, it's not a great pass. It's not a

0:33:40.840 --> 0:33:44.680
<v Speaker 1>good pass, but it is a pass. It's it's interesting.

0:33:44.720 --> 0:33:47.080
<v Speaker 1>I mean, you can see that a lot of I

0:33:47.080 --> 0:33:50.000
<v Speaker 1>think what would have been helpful is under having some

0:33:50.080 --> 0:33:53.560
<v Speaker 1>context for why Grace he feels that way, because the

0:33:53.600 --> 0:33:56.080
<v Speaker 1>only thing we know about her other than what we

0:33:56.120 --> 0:33:59.440
<v Speaker 1>see unfold in real time is that scene at the

0:33:59.520 --> 0:34:01.520
<v Speaker 1>very beginning of her when she was a little kid,

0:34:01.560 --> 0:34:03.480
<v Speaker 1>and that's kind of the only context we have for

0:34:04.000 --> 0:34:06.440
<v Speaker 1>who she is and why she is the person she

0:34:06.480 --> 0:34:09.400
<v Speaker 1>has later on. Right, So if we had I agree

0:34:09.400 --> 0:34:12.720
<v Speaker 1>that that is like it's a choice that the writers

0:34:12.760 --> 0:34:14.640
<v Speaker 1>have to make for the story to work and for

0:34:14.719 --> 0:34:17.640
<v Speaker 1>like the growth to seem effective. But it wouldn't have

0:34:17.719 --> 0:34:20.800
<v Speaker 1>hurt to have a little bit of background on Gracie

0:34:20.840 --> 0:34:25.200
<v Speaker 1>and like what makes her inclined to be like a tomboy,

0:34:25.239 --> 0:34:27.839
<v Speaker 1>or like why is she more comfortable around men than

0:34:27.880 --> 0:34:30.719
<v Speaker 1>she is around women, Because that's like a character choice

0:34:30.760 --> 0:34:33.640
<v Speaker 1>you can make if you explain why that is. I

0:34:33.640 --> 0:34:36.760
<v Speaker 1>don't know. I also think there are other ways to

0:34:36.800 --> 0:34:39.680
<v Speaker 1>make her be a fish out of water without making

0:34:39.680 --> 0:34:43.200
<v Speaker 1>her actively hate every other woman she's ever talked to,

0:34:43.239 --> 0:34:45.799
<v Speaker 1>because like their moments where she's like, I'm not going

0:34:45.840 --> 0:34:49.000
<v Speaker 1>to parade around in a swimsuit like some airhead bimbo

0:34:49.400 --> 0:34:51.720
<v Speaker 1>that goes by the name of Gracie Lou free Bush,

0:34:51.800 --> 0:34:57.880
<v Speaker 1>which is how she gives them, and we love it there.

0:34:58.840 --> 0:35:01.120
<v Speaker 1>I don't know. I mean, I'm I'm very attached to

0:35:01.160 --> 0:35:04.920
<v Speaker 1>this movie, and I will continue to make excuses for it. Uh,

0:35:04.960 --> 0:35:07.640
<v Speaker 1>but she gets there. I don't know. I feel that

0:35:08.160 --> 0:35:12.600
<v Speaker 1>this movie does a pretty good job of showing different,

0:35:13.239 --> 0:35:18.959
<v Speaker 1>at least two different versions of femininity and what a

0:35:18.960 --> 0:35:21.319
<v Speaker 1>woman can be, and then showing a version of femininity

0:35:21.360 --> 0:35:26.000
<v Speaker 1>that's very commonly condescended to and uh, you know is

0:35:26.360 --> 0:35:31.359
<v Speaker 1>male gayzey. But in getting to know individuals, like she

0:35:31.640 --> 0:35:36.440
<v Speaker 1>makes friends and sees value and like learns how to

0:35:36.680 --> 0:35:39.160
<v Speaker 1>interact with other women and have friendships in that at

0:35:39.200 --> 0:35:43.400
<v Speaker 1>the end the speech, and it's great. I don't know.

0:35:43.800 --> 0:35:48.319
<v Speaker 1>I I like her character's growth. I think it's very

0:35:48.600 --> 0:35:50.640
<v Speaker 1>it makes me cry. It's a it's a it's a

0:35:50.640 --> 0:35:53.440
<v Speaker 1>beautiful character arc. But yeah, I guess I would just

0:35:53.480 --> 0:35:56.239
<v Speaker 1>argue that there are other ways that that could have

0:35:56.320 --> 0:35:59.560
<v Speaker 1>been handled where she isn't so antagonistic to women. Again,

0:35:59.560 --> 0:36:02.360
<v Speaker 1>I understan when the choice was made narratively, but it

0:36:02.440 --> 0:36:06.239
<v Speaker 1>just means there's another example of a woman hating other

0:36:06.320 --> 0:36:09.879
<v Speaker 1>women or women not getting along. But the nice thing

0:36:09.960 --> 0:36:12.640
<v Speaker 1>is that that is overcome by the end of the movie,

0:36:13.000 --> 0:36:15.800
<v Speaker 1>right it is. I don't know. I feel like sometimes

0:36:15.880 --> 0:36:18.960
<v Speaker 1>in like media stuff, it can be valuable to see

0:36:19.080 --> 0:36:22.120
<v Speaker 1>a very common trope and then have it be commented

0:36:22.200 --> 0:36:25.520
<v Speaker 1>upon or resolved. That worked for me. But speaking of

0:36:26.000 --> 0:36:32.400
<v Speaker 1>women on women violence, let's talk about Candy doing this.

0:36:32.760 --> 0:36:36.279
<v Speaker 1>Candy is a deep well of trauma and she's what

0:36:36.560 --> 0:36:41.040
<v Speaker 1>isn't she funked up about? There's first of all, masterful

0:36:41.239 --> 0:36:45.799
<v Speaker 1>before the pants suits on this character iconic, iconic. She

0:36:46.160 --> 0:36:51.000
<v Speaker 1>There is a Bettel passing scene where Canada's Burger threatens

0:36:51.040 --> 0:36:54.719
<v Speaker 1>to kill Sandra b it is. It's great, one of

0:36:54.760 --> 0:36:58.759
<v Speaker 1>my favorite passes of the entire podcast. She was like,

0:36:58.920 --> 0:37:01.480
<v Speaker 1>this is my thing and if you suck it up,

0:37:01.520 --> 0:37:04.040
<v Speaker 1>I will murder you with my hands. And we've graduated

0:37:04.080 --> 0:37:07.360
<v Speaker 1>from the she's all that you should kill yourself to

0:37:08.040 --> 0:37:11.400
<v Speaker 1>this congeniality I will kill you. Let's get rid of

0:37:11.400 --> 0:37:15.960
<v Speaker 1>the middleman. I will kill you makes so much more active. Yes, yes, yes, yes, um.

0:37:16.120 --> 0:37:17.759
<v Speaker 1>The main thing I wanted to say about her as

0:37:17.800 --> 0:37:20.600
<v Speaker 1>the female villain is that I feel like female villains

0:37:20.600 --> 0:37:23.400
<v Speaker 1>and I know they're exceptions to this role, but I

0:37:23.400 --> 0:37:27.239
<v Speaker 1>feel like it's more common that female villains are there

0:37:27.239 --> 0:37:30.720
<v Speaker 1>in the story when the protagonist is also a woman,

0:37:31.440 --> 0:37:35.319
<v Speaker 1>as if to say, oh, a woman couldn't defeat a

0:37:35.360 --> 0:37:39.080
<v Speaker 1>male hero, but if she's matched up, right, But if

0:37:39.080 --> 0:37:42.839
<v Speaker 1>she's set up against a woman, then we as the

0:37:42.840 --> 0:37:46.280
<v Speaker 1>audience have an easier time believing that she could pose

0:37:46.280 --> 0:37:49.479
<v Speaker 1>a threat to the female hero. That's really I've never

0:37:49.560 --> 0:37:52.000
<v Speaker 1>thought of that, but that I mean, if you just

0:37:52.080 --> 0:38:01.759
<v Speaker 1>do a cursory review of princess movies, versus Yep, I'm

0:38:01.800 --> 0:38:07.720
<v Speaker 1>convinced we've got half of an example, and yeah, filling

0:38:07.800 --> 0:38:11.480
<v Speaker 1>the rest of the blanks. She's right, No, that's a

0:38:11.480 --> 0:38:14.719
<v Speaker 1>great point. And and there's that I don't know. The

0:38:15.840 --> 0:38:19.439
<v Speaker 1>her character is challenging because you are you're given more

0:38:19.440 --> 0:38:22.240
<v Speaker 1>context for her character than you are given for most

0:38:22.320 --> 0:38:26.120
<v Speaker 1>people in the entire movie where you find out that

0:38:26.160 --> 0:38:28.440
<v Speaker 1>she was the runner up twenty five years ago, and

0:38:28.520 --> 0:38:31.879
<v Speaker 1>it's still very mad about it, to the point where

0:38:31.880 --> 0:38:35.239
<v Speaker 1>she's sabotaging, she wants to blow up someone's head a

0:38:35.320 --> 0:38:40.880
<v Speaker 1>quarter century later about it. The bitterness attributed to her character,

0:38:41.080 --> 0:38:43.440
<v Speaker 1>I feel like, is almost speaking to your point. A

0:38:43.440 --> 0:38:49.239
<v Speaker 1>little bit is something commonly attributed to older female characters,

0:38:50.160 --> 0:38:54.319
<v Speaker 1>where in a movie with like a younger protagonist, if

0:38:54.320 --> 0:38:57.000
<v Speaker 1>they are older women around them, they either serve as

0:38:57.040 --> 0:38:59.959
<v Speaker 1>like a mother a nurturing role, or if they're the villain,

0:39:00.239 --> 0:39:03.560
<v Speaker 1>they're bitter about something that happened when they were younger,

0:39:04.000 --> 0:39:09.160
<v Speaker 1>and they take out that bitterness by punishing or for instance,

0:39:09.200 --> 0:39:14.000
<v Speaker 1>blowing the head up of someone younger than which is

0:39:14.160 --> 0:39:17.960
<v Speaker 1>frustrated because it's like having Candice Bergen's character in this

0:39:18.040 --> 0:39:20.279
<v Speaker 1>movie is amazing and it kind of it's it's kind

0:39:20.280 --> 0:39:23.760
<v Speaker 1>of a waste in some ways, and a lazy writing

0:39:23.880 --> 0:39:27.200
<v Speaker 1>choice to make like an age is like, oh, she's

0:39:27.239 --> 0:39:32.000
<v Speaker 1>bitter because she's not, you know, a beautiful twenty five

0:39:32.080 --> 0:39:35.160
<v Speaker 1>year old anymore, and because that's just such a common

0:39:35.200 --> 0:39:38.360
<v Speaker 1>thing attributed to older female characters ever, as they're just

0:39:38.520 --> 0:39:42.399
<v Speaker 1>pissed that they're not so funk that her sound looks

0:39:42.400 --> 0:39:45.880
<v Speaker 1>like a turtle. Also, but yeah, I don't know, I

0:39:45.920 --> 0:39:49.000
<v Speaker 1>liked I liked her. I liked that at least you

0:39:49.239 --> 0:39:52.680
<v Speaker 1>she's not based. I'm just holding this nipple and I

0:39:52.920 --> 0:40:00.640
<v Speaker 1>wanted to feel I'm gonna slither it down my throat. Okay, um,

0:40:00.680 --> 0:40:05.960
<v Speaker 1>I like that. At least the writers gave enough consideration

0:40:06.000 --> 0:40:08.960
<v Speaker 1>to that character to give her a backstory, because otherwise

0:40:08.960 --> 0:40:12.520
<v Speaker 1>it would just be like a woman is crazy for

0:40:12.560 --> 0:40:14.880
<v Speaker 1>no reason. So at least we get context. But the

0:40:14.960 --> 0:40:19.960
<v Speaker 1>context is kind of lazy writing as well. So he

0:40:20.080 --> 0:40:22.960
<v Speaker 1>way to like fake a bunch of serial killer notes,

0:40:23.160 --> 0:40:28.600
<v Speaker 1>so skills. She also appears to be like good at

0:40:28.640 --> 0:40:31.279
<v Speaker 1>her job of being in charge of the pageant. It

0:40:31.320 --> 0:40:34.279
<v Speaker 1>seems very successful, and but also she wants to blow

0:40:34.320 --> 0:40:37.640
<v Speaker 1>people up and that's bad and so it's hard Michael

0:40:37.719 --> 0:40:41.279
<v Speaker 1>Caine also has a backstory where he I mean, it's

0:40:41.360 --> 0:40:44.279
<v Speaker 1>sort of he's just like, I won't the champion, Like

0:40:44.360 --> 0:40:46.760
<v Speaker 1>he's treating her kind of like Sea Biscuit. But also

0:40:49.760 --> 0:40:53.160
<v Speaker 1>also we're like rooting for him. I don't know, right,

0:40:53.320 --> 0:40:59.040
<v Speaker 1>can we? So let's talk about the makeover the make right,

0:40:59.120 --> 0:41:03.720
<v Speaker 1>So Vick Michael Caine takes one look at Heart, knowing

0:41:03.760 --> 0:41:05.400
<v Speaker 1>that he's going to have to make her over, but

0:41:05.440 --> 0:41:09.400
<v Speaker 1>he doesn't. He's like, if you're crazy, Heart, I quit

0:41:09.600 --> 0:41:14.160
<v Speaker 1>right here and now. Similar thing happens in Princess Diaries,

0:41:15.600 --> 0:41:20.600
<v Speaker 1>like it's more fun the way it offense and Princess Diaries.

0:41:20.760 --> 0:41:23.200
<v Speaker 1>If we've got to have a makeover scene for me,

0:41:23.760 --> 0:41:28.839
<v Speaker 1>I go Princess Diaries every time. It's frustrating. Okay, this

0:41:28.920 --> 0:41:33.480
<v Speaker 1>is something that is perhaps deeply rooted in my psyche.

0:41:34.440 --> 0:41:38.600
<v Speaker 1>Every time I see the reveal on the makeover scene,

0:41:38.920 --> 0:41:46.480
<v Speaker 1>I still am like, Wow, she's so pretty, and then

0:41:46.560 --> 0:41:50.560
<v Speaker 1>I feel horrible about myself. But the reveal shot is

0:41:51.320 --> 0:41:54.000
<v Speaker 1>it bangs. I don't know, like it's it's it's weird.

0:41:54.200 --> 0:41:57.080
<v Speaker 1>It's like, I guess that's just like the core of

0:41:57.080 --> 0:42:00.440
<v Speaker 1>our podcast too. It's just like, oh, I that I

0:42:00.480 --> 0:42:05.480
<v Speaker 1>feel this way, but at least I understand why. But

0:42:05.640 --> 0:42:10.000
<v Speaker 1>that reveal shot to Mustang Sally, Holy shit, it's very rewarding.

0:42:10.280 --> 0:42:15.240
<v Speaker 1>But also I know, I know it. For this movie,

0:42:15.840 --> 0:42:22.279
<v Speaker 1>the makeover is justified based on the context of the story, right,

0:42:22.719 --> 0:42:27.120
<v Speaker 1>Although could you argue why do beauty pageants exist in

0:42:27.160 --> 0:42:30.720
<v Speaker 1>the first place and why is the expectation for women

0:42:30.760 --> 0:42:32.960
<v Speaker 1>to be so beautiful? But that's not the question this

0:42:32.960 --> 0:42:35.759
<v Speaker 1>movie is asking, right. Yeah, so at least she's getting

0:42:35.760 --> 0:42:40.360
<v Speaker 1>a makeover to be able to participate in a beauty pageant.

0:42:40.600 --> 0:42:47.480
<v Speaker 1>Sorry scholarship pro scholarship, as we say sorry, So I

0:42:47.520 --> 0:42:50.400
<v Speaker 1>don't know. It's kind of a cut and dry standard

0:42:50.480 --> 0:42:54.000
<v Speaker 1>makeover sne where she has a middle part and then

0:42:54.400 --> 0:42:58.239
<v Speaker 1>she doesn't. She's she's been Sandra Book the whole time.

0:42:59.040 --> 0:43:01.840
<v Speaker 1>The reason she has the makeover is I would argue

0:43:01.880 --> 0:43:04.319
<v Speaker 1>that she's it's like one of those not like the

0:43:04.400 --> 0:43:08.759
<v Speaker 1>other girls women where you know, she choose with her

0:43:08.840 --> 0:43:12.680
<v Speaker 1>mouth open, she doesn't care about her hair, she doesn't

0:43:13.080 --> 0:43:16.319
<v Speaker 1>you know, she's clumsy. She wears gender neutral clothing most

0:43:16.320 --> 0:43:18.160
<v Speaker 1>of the time. Here's where we start to pull from

0:43:18.239 --> 0:43:21.480
<v Speaker 1>the Liz Lemon Book of Feminism that I find very

0:43:21.560 --> 0:43:25.440
<v Speaker 1>troubling of like, let's present what no one can deny

0:43:25.640 --> 0:43:29.560
<v Speaker 1>is a very conventionally attractive woman and just call her

0:43:29.680 --> 0:43:33.160
<v Speaker 1>ugly over and over and just hope we can gaslight

0:43:33.160 --> 0:43:35.960
<v Speaker 1>our own audience into being like, yeah, Tina Fey looks

0:43:36.040 --> 0:43:40.359
<v Speaker 1>like shit and like just by I don't know that's

0:43:40.360 --> 0:43:43.640
<v Speaker 1>something this movie does that on one hand, you never

0:43:43.680 --> 0:43:47.280
<v Speaker 1>see women eat food in movies, and that is something

0:43:47.320 --> 0:43:50.040
<v Speaker 1>that it's like, at least we see her eating like

0:43:50.080 --> 0:43:54.680
<v Speaker 1>a normal person would, but she's dipping steak into spaghetti.

0:43:54.719 --> 0:43:59.960
<v Speaker 1>I wouldn't. Well, I guess this comes down to a lifestyle,

0:44:00.960 --> 0:44:04.760
<v Speaker 1>not just shame that I've dipped things and other things

0:44:04.800 --> 0:44:09.200
<v Speaker 1>that shouldn't have been dipped in. Perhaps I've I've dipped

0:44:09.200 --> 0:44:13.799
<v Speaker 1>many things same, but I'll to say it's it's weird

0:44:13.800 --> 0:44:15.799
<v Speaker 1>because it's like you do get to see someone eat

0:44:15.880 --> 0:44:18.919
<v Speaker 1>like a human being, and when food is taken from

0:44:18.920 --> 0:44:21.239
<v Speaker 1>her and beauty pattern food is given to her, the

0:44:21.280 --> 0:44:24.959
<v Speaker 1>movie is commenting on it and like, this is fucked up.

0:44:25.000 --> 0:44:28.360
<v Speaker 1>It doesn't to me suggest and this is what women

0:44:28.480 --> 0:44:31.640
<v Speaker 1>should do. Like it. She's upset about it, she's annoyed

0:44:31.680 --> 0:44:34.080
<v Speaker 1>with it, she doesn't want to do it. But on

0:44:34.120 --> 0:44:37.479
<v Speaker 1>the other hand, it's like she's Sandra Bullock. Like it's

0:44:37.880 --> 0:44:41.960
<v Speaker 1>annoying and frustrating in movies to try to gasolate your

0:44:42.000 --> 0:44:43.759
<v Speaker 1>audience at the top of a movie and be like,

0:44:44.120 --> 0:44:48.600
<v Speaker 1>she looks horrible and look, she's such a slob. She's

0:44:48.640 --> 0:44:51.960
<v Speaker 1>called a slob over and over and over, and it's like, no,

0:44:52.160 --> 0:44:54.680
<v Speaker 1>she's Sandra Bullock just like every time. It's like, you

0:44:54.719 --> 0:44:56.839
<v Speaker 1>can't just give Tina Fee a cheese stick and call

0:44:56.880 --> 0:45:00.399
<v Speaker 1>it a day. You can't like it's that is just

0:45:00.480 --> 0:45:03.640
<v Speaker 1>a half hearted attempt at I don't know, I don't

0:45:03.680 --> 0:45:10.759
<v Speaker 1>like it. Side side Caitlin, Yeah, I'm tired. Can we

0:45:10.800 --> 0:45:19.560
<v Speaker 1>take a break, Let's just take a quick break. Yeah.

0:45:19.600 --> 0:45:23.279
<v Speaker 1>I think the makeover is justified narratively, unlike it is

0:45:23.680 --> 0:45:28.480
<v Speaker 1>in other movies. It's not just like, well, men don't

0:45:28.760 --> 0:45:32.920
<v Speaker 1>enjoy you, so but all the fix it. But again

0:45:33.000 --> 0:45:35.000
<v Speaker 1>I have to go. But and maybe this is, you know,

0:45:35.080 --> 0:45:39.520
<v Speaker 1>opening up the conversation to beauty pageants and because it

0:45:39.600 --> 0:45:44.160
<v Speaker 1>is the makeup over justified whenever we consider I don't

0:45:44.200 --> 0:45:46.040
<v Speaker 1>know where I land on this because on one hand,

0:45:46.400 --> 0:45:48.640
<v Speaker 1>I'm like, your body, your choice, if you want to

0:45:48.680 --> 0:45:52.319
<v Speaker 1>participate in a beauty pageant like you do you, but

0:45:52.600 --> 0:45:57.560
<v Speaker 1>also because women have historically only been valued for their appearance,

0:45:58.080 --> 0:46:01.160
<v Speaker 1>and then things like you know America and other beauty

0:46:01.200 --> 0:46:05.360
<v Speaker 1>pageants just reinforce that and have historically been very racist,

0:46:05.400 --> 0:46:07.919
<v Speaker 1>which we can also touch on. But because like there's

0:46:07.960 --> 0:46:11.640
<v Speaker 1>no Mr America or is there. I don't know, but

0:46:11.680 --> 0:46:14.880
<v Speaker 1>I don't think so, not that we know of there. Yeah,

0:46:15.040 --> 0:46:19.520
<v Speaker 1>that's that's a weird I don't know, that's tricky. I've

0:46:19.640 --> 0:46:22.839
<v Speaker 1>I would feel weird coming down on either side of

0:46:22.920 --> 0:46:25.160
<v Speaker 1>that argument, because it's like, if it's what you want

0:46:25.200 --> 0:46:27.840
<v Speaker 1>to do and you feel good and empowered and comfortable

0:46:27.920 --> 0:46:31.279
<v Speaker 1>with everything that's happening, great, but there are, like you

0:46:31.320 --> 0:46:37.640
<v Speaker 1>were saying, like very clear examples of those being harmful

0:46:37.719 --> 0:46:40.680
<v Speaker 1>to the women participating in them and certainly to like

0:46:40.880 --> 0:46:44.520
<v Speaker 1>young women and like young boys, seeing that this is

0:46:44.560 --> 0:46:46.840
<v Speaker 1>how we present women and this is what you're supposed

0:46:46.840 --> 0:46:49.080
<v Speaker 1>to look like, slash, this is what you're supposed to

0:46:49.120 --> 0:46:53.200
<v Speaker 1>be attracted to. So a lot just reinforces that like

0:46:53.280 --> 0:46:57.560
<v Speaker 1>standard of beauty that we need to dismantle, am I right?

0:46:59.080 --> 0:47:03.960
<v Speaker 1>But also like a piece so there's sort of you know,

0:47:04.120 --> 0:47:06.239
<v Speaker 1>but I mean Grazie Heart does have a lot of

0:47:06.239 --> 0:47:09.319
<v Speaker 1>opinions on beauty pageants, which she comes around on by

0:47:09.320 --> 0:47:12.680
<v Speaker 1>the end, but in the beginning she's like, it's like

0:47:12.760 --> 0:47:16.000
<v Speaker 1>feminism never happened, Like any woman that would want to

0:47:16.040 --> 0:47:19.440
<v Speaker 1>participate in a beauty pageant is catering to a misogynistic

0:47:19.480 --> 0:47:23.239
<v Speaker 1>neanderthal mentality. I wish she like at the end of

0:47:23.280 --> 0:47:26.640
<v Speaker 1>the movie was like, well, there's arguments to be made

0:47:26.680 --> 0:47:34.839
<v Speaker 1>either way, but she's like, pageants are awesome, and you're like, oh, okay,

0:47:34.880 --> 0:47:38.040
<v Speaker 1>I don't know, right, And then like Benjamin Brott over

0:47:38.120 --> 0:47:40.960
<v Speaker 1>here is like, hey, you can get scholarship money, you

0:47:41.000 --> 0:47:45.480
<v Speaker 1>can see the world. He's very pro pageant, so wonder why,

0:47:46.400 --> 0:47:50.319
<v Speaker 1>but also like, great, if you can get scholarships, why

0:47:50.360 --> 0:47:53.040
<v Speaker 1>do you need to prove that you look fuckable in

0:47:53.080 --> 0:47:56.560
<v Speaker 1>a bathing suit too? You know, the classic question again,

0:47:56.640 --> 0:47:59.600
<v Speaker 1>I don't know. I don't know, but the way the

0:47:59.640 --> 0:48:03.480
<v Speaker 1>story explores that, although I do wish that she didn't

0:48:03.520 --> 0:48:07.640
<v Speaker 1>just the movie's conclusion isn't like pageants good, keep them going,

0:48:08.000 --> 0:48:12.440
<v Speaker 1>Like yeah, that seems kind of like a Kappa, but

0:48:12.600 --> 0:48:15.399
<v Speaker 1>we you know, the story takes extra care to like

0:48:15.600 --> 0:48:19.880
<v Speaker 1>get to know at least five of the contestants and

0:48:19.960 --> 0:48:22.600
<v Speaker 1>see how they interact with each other and learn at

0:48:22.680 --> 0:48:24.759
<v Speaker 1>least a little bit about each of them. You learn

0:48:25.000 --> 0:48:28.600
<v Speaker 1>most about Rhode Island, but there's I'm trying to remember

0:48:28.600 --> 0:48:34.839
<v Speaker 1>the states New York, California, Texas. Those are you think

0:48:34.880 --> 0:48:38.719
<v Speaker 1>the four main and plus Rhode Island and then Gracie's

0:48:38.719 --> 0:48:42.920
<v Speaker 1>New Jersey. But like, you see them interact and they're

0:48:43.080 --> 0:48:47.600
<v Speaker 1>very often not talking about men. They're talking about their backgrounds.

0:48:47.840 --> 0:48:51.080
<v Speaker 1>They're talking about what they're like, plans or strategies are

0:48:51.120 --> 0:48:54.640
<v Speaker 1>in the competition. They give each other advice, they exchange

0:48:54.680 --> 0:48:57.440
<v Speaker 1>gossip while drunk and covered in paint. They do a

0:48:57.440 --> 0:49:00.319
<v Speaker 1>lot of stuff. And so by the end, when like

0:49:00.560 --> 0:49:05.280
<v Speaker 1>the characters we know make the top ten, you're happy

0:49:05.360 --> 0:49:08.040
<v Speaker 1>for them, which seems like kind of hard to do

0:49:08.200 --> 0:49:11.239
<v Speaker 1>and a story with so many different characters, I appreciated

0:49:11.320 --> 0:49:13.480
<v Speaker 1>that they went out of the way to show that

0:49:13.560 --> 0:49:17.000
<v Speaker 1>they were people that wanted to be there and felt

0:49:17.000 --> 0:49:20.239
<v Speaker 1>empowered by being there. Is that a weird cop out

0:49:20.239 --> 0:49:23.359
<v Speaker 1>in its way? Probably, But also we get to know

0:49:23.440 --> 0:49:26.560
<v Speaker 1>them and that's nice. Yeah, And the story could have

0:49:26.560 --> 0:49:28.759
<v Speaker 1>easily not gone in that direction. It could have been,

0:49:28.800 --> 0:49:32.399
<v Speaker 1>like I could have been bitches. Yeah, and rather than

0:49:32.440 --> 0:49:36.440
<v Speaker 1>focusing on the like friendship that happens among them, it's

0:49:36.480 --> 0:49:41.719
<v Speaker 1>more focused on the like romantic relationship with which, by

0:49:41.719 --> 0:49:44.480
<v Speaker 1>the way, I also I just want to add how

0:49:44.920 --> 0:49:54.040
<v Speaker 1>Benjamin Bratt's character asks out Gracie because he says something like, hey,

0:49:54.080 --> 0:49:57.279
<v Speaker 1>before we get back to New Jersey, you get all

0:49:57.480 --> 0:50:00.320
<v Speaker 1>ugly again. Do you want to go out to dinner?

0:50:00.680 --> 0:50:04.480
<v Speaker 1>And then if we fuck after that's cool. Just still

0:50:04.600 --> 0:50:07.920
<v Speaker 1>be hot to me, like you're just like yikes. And

0:50:07.920 --> 0:50:16.080
<v Speaker 1>then then she's like yes, and then it's an early interaction.

0:50:16.160 --> 0:50:18.799
<v Speaker 1>It's not good right this movie. I don't know. I

0:50:18.880 --> 0:50:21.839
<v Speaker 1>love I love it. And then there's those parts. It's

0:50:21.840 --> 0:50:24.359
<v Speaker 1>a two other there's a there's some other parts. Uh

0:50:25.800 --> 0:50:32.000
<v Speaker 1>problematic thing. Sorry. There's a scene at the very beginning

0:50:32.000 --> 0:50:35.360
<v Speaker 1>whenever Heart is like in that restaurant. She's got like

0:50:35.400 --> 0:50:37.200
<v Speaker 1>the book with the camera in it, and she's like

0:50:37.200 --> 0:50:40.880
<v Speaker 1>trying to survey, like the people the woman with two asses.

0:50:41.840 --> 0:50:45.719
<v Speaker 1>A woman gets fat shamed. Uh. There's jokes that make

0:50:45.840 --> 0:50:49.160
<v Speaker 1>light of being deaf and being a mute. There's jokes

0:50:49.160 --> 0:50:52.400
<v Speaker 1>that make light of eating disorders. Uhh Yeah. There's a

0:50:52.480 --> 0:50:56.840
<v Speaker 1>very pointed comment from Gracie to Rhode Island, her best

0:50:56.920 --> 0:51:00.640
<v Speaker 1>friend at there, and she's allegedly shalling up to make

0:51:00.680 --> 0:51:04.520
<v Speaker 1>her feel better and brings pizza and beer, and then

0:51:04.840 --> 0:51:07.200
<v Speaker 1>you know, all the women are like, you can't, we

0:51:07.280 --> 0:51:10.960
<v Speaker 1>don't eat that, and Gracey says something you canto like

0:51:11.160 --> 0:51:13.480
<v Speaker 1>who cares? Rodel was just going to throw it up anyways,

0:51:13.480 --> 0:51:16.040
<v Speaker 1>which is outting her eating disorder, and it's just like,

0:51:16.920 --> 0:51:19.919
<v Speaker 1>oh God, we're supposed to like the protagonists, like what

0:51:19.960 --> 0:51:23.000
<v Speaker 1>the funk are you doing there? And in making light

0:51:23.040 --> 0:51:26.279
<v Speaker 1>of like what is a serious issue inside of that

0:51:26.320 --> 0:51:30.080
<v Speaker 1>community and for women in general. So yeah, funk. That

0:51:30.520 --> 0:51:34.360
<v Speaker 1>does not age well that joke. Nor does There's a

0:51:34.400 --> 0:51:37.480
<v Speaker 1>reference to Rainman, and then she like makes fun of

0:51:37.520 --> 0:51:43.359
<v Speaker 1>people with developmental disabilities. Weird Rainman reference, and that's got

0:51:43.440 --> 0:51:47.240
<v Speaker 1>Jurassic Park reference, so I guess that can stay whatever.

0:51:48.280 --> 0:51:50.960
<v Speaker 1>I like, there's a lot of it is. It's all

0:51:51.040 --> 0:51:54.080
<v Speaker 1>this little stuff that it's like, we don't lose anything

0:51:54.200 --> 0:51:56.520
<v Speaker 1>from the meaning of this movie by losing these like

0:51:56.960 --> 0:52:00.440
<v Speaker 1>shitty little interactions that could be replaced with other stuff. Right.

0:52:00.440 --> 0:52:02.840
<v Speaker 1>There's another one where the reason that she's able to

0:52:02.880 --> 0:52:06.279
<v Speaker 1>even enter into the contest because miss New Jersey was

0:52:06.320 --> 0:52:08.880
<v Speaker 1>discovered as working at porn films, So it's like shaming

0:52:08.920 --> 0:52:12.200
<v Speaker 1>people who work in the sex industry or working porn,

0:52:12.640 --> 0:52:15.279
<v Speaker 1>so which a lot of been again leverage to be

0:52:15.320 --> 0:52:18.440
<v Speaker 1>a criticism of the beauty pageant, but it isn't. It's

0:52:18.520 --> 0:52:20.640
<v Speaker 1>right for a joke. So it's a lot of like

0:52:21.239 --> 0:52:26.320
<v Speaker 1>early two thousand's era like problematic jokes that they weren't

0:52:26.400 --> 0:52:31.040
<v Speaker 1>thinking of. But we as sophisticated eighteen years later audiences,

0:52:32.280 --> 0:52:36.160
<v Speaker 1>we have never made a mistake or been wrong. Yeah. No,

0:52:36.280 --> 0:52:38.520
<v Speaker 1>I agree that that was another moment that you're just

0:52:38.560 --> 0:52:42.560
<v Speaker 1>like Jesus Christ. That's uh from people that were supposed

0:52:42.560 --> 0:52:48.040
<v Speaker 1>to like I love Rhode Island, and I love that

0:52:48.120 --> 0:52:51.439
<v Speaker 1>there's there's just like a range of different types of

0:52:51.680 --> 0:52:54.800
<v Speaker 1>women where the you know, Gracie's assumption at the beginning

0:52:54.920 --> 0:52:58.400
<v Speaker 1>is like every woman who participates in a beauty pageant

0:52:58.440 --> 0:53:01.439
<v Speaker 1>is a specific way, and then we see that there's

0:53:01.480 --> 0:53:03.960
<v Speaker 1>a lot of different types of people. Well, I argue

0:53:04.000 --> 0:53:07.600
<v Speaker 1>that it's sort of like half lazily written to state

0:53:08.120 --> 0:53:12.160
<v Speaker 1>that they're coming from, Yeah, the Texas girls like the Alamo,

0:53:12.560 --> 0:53:17.240
<v Speaker 1>You're like, all right, New York talks about a bagel

0:53:17.680 --> 0:53:20.440
<v Speaker 1>like you're just like, Okay, I guess there's a teacerent

0:53:20.480 --> 0:53:24.360
<v Speaker 1>amount of diversity among that like group though, So yeah,

0:53:24.560 --> 0:53:27.080
<v Speaker 1>so I mean there there is diversity in in the

0:53:27.239 --> 0:53:30.160
<v Speaker 1>group of women we get to know. Um, it seems

0:53:30.160 --> 0:53:33.279
<v Speaker 1>like the pageant majority, but the women we get to

0:53:33.320 --> 0:53:37.600
<v Speaker 1>know the best are still It wasn't yes because Gracie

0:53:37.719 --> 0:53:43.560
<v Speaker 1>and Rhode Island, but God love Rhode Island. That I

0:53:43.600 --> 0:53:46.719
<v Speaker 1>was just gonna ask, what's your favorite date? What's your

0:53:46.719 --> 0:53:50.560
<v Speaker 1>perfect day? She's such a dumbass. It's so sweet, but

0:53:50.560 --> 0:53:54.080
<v Speaker 1>but like in a in a very endearing I love her. Yeah,

0:53:54.360 --> 0:53:59.719
<v Speaker 1>she's she should be Miss Congeniality. Well she's misses. My

0:53:59.800 --> 0:54:04.040
<v Speaker 1>head didn't blow up, so she should be thrilled. Can

0:54:04.080 --> 0:54:07.160
<v Speaker 1>we talk about the scene where Miss Rhode Island talks

0:54:07.200 --> 0:54:13.200
<v Speaker 1>about her college professor attacking her. Yes, because can and

0:54:13.400 --> 0:54:17.839
<v Speaker 1>we will. So this is when Heart is coaxing information

0:54:18.000 --> 0:54:20.640
<v Speaker 1>out of let's not let her get up the hook.

0:54:20.680 --> 0:54:26.120
<v Speaker 1>She's actively trying to get people drunk for information. That's

0:54:26.239 --> 0:54:30.000
<v Speaker 1>very much her intention is Like, she doesn't quite rufy

0:54:30.080 --> 0:54:33.880
<v Speaker 1>her colleagues, but she is not as drunk as everyone

0:54:33.880 --> 0:54:36.879
<v Speaker 1>else on purpose. She also just comes out and says, hey,

0:54:36.920 --> 0:54:41.479
<v Speaker 1>have you ever committed a crime? Who was credited? Her job?

0:54:42.239 --> 0:54:47.040
<v Speaker 1>Who was she? Kiano Reeves and point Break come on, Keiana.

0:54:47.320 --> 0:54:50.000
<v Speaker 1>Point Break literally goes into a Burger joints like I'm

0:54:50.040 --> 0:54:54.359
<v Speaker 1>in the FBI. This is my name, Like it's like compulsive.

0:54:54.440 --> 0:54:59.320
<v Speaker 1>He can't help it. So she's like, hey, is anything

0:54:59.400 --> 0:55:02.240
<v Speaker 1>like have you ever done anything bad? And then Cheryl

0:55:02.320 --> 0:55:05.520
<v Speaker 1>ms Rhode Island talks about how her college professor attacked her,

0:55:06.040 --> 0:55:08.440
<v Speaker 1>and then Heart says, did you report him? And she

0:55:08.520 --> 0:55:11.040
<v Speaker 1>said no, I never told anyone before, but this kind

0:55:11.040 --> 0:55:14.120
<v Speaker 1>of thing happens all the time. And then Heart says, no,

0:55:14.280 --> 0:55:17.600
<v Speaker 1>it doesn't, and then we are like, yes, it does.

0:55:18.440 --> 0:55:20.160
<v Speaker 1>And then she talks about how there's like all these

0:55:20.160 --> 0:55:22.479
<v Speaker 1>maneuvers that she could show you. She's of course talking

0:55:22.480 --> 0:55:26.480
<v Speaker 1>about sing sing. We got a lot of foreshadowing for

0:55:26.560 --> 0:55:31.040
<v Speaker 1>saying until it happens. That interaction is interesting where it

0:55:31.400 --> 0:55:35.520
<v Speaker 1>gets like percent of the way there for me, where

0:55:35.600 --> 0:55:40.120
<v Speaker 1>in my head Gracie's reaction to Cheryl telling her that

0:55:40.840 --> 0:55:44.280
<v Speaker 1>makes sense for that character because Gracie has been fighting

0:55:44.320 --> 0:55:47.240
<v Speaker 1>people her whole life, so in her head that doesn't

0:55:47.320 --> 0:55:51.759
<v Speaker 1>happen because she is tough and aggressive and fights people off.

0:55:52.480 --> 0:55:55.919
<v Speaker 1>There should have been something done inside of that same

0:55:55.960 --> 0:55:58.560
<v Speaker 1>scene to like you're saying to be like, no, that

0:55:58.640 --> 0:56:02.880
<v Speaker 1>does happen. And Gracie, as much as she is doing

0:56:03.040 --> 0:56:05.520
<v Speaker 1>a good thing in theory by teaching Cheryl how to

0:56:05.560 --> 0:56:09.399
<v Speaker 1>defend herself, is also like this happens all the time,

0:56:09.520 --> 0:56:13.200
<v Speaker 1>like putting the onus and the responsibility on the woman

0:56:13.239 --> 0:56:15.680
<v Speaker 1>to defend herself because there's no way around it. You're

0:56:15.680 --> 0:56:17.680
<v Speaker 1>gonna get attacked, so you have to learn how to

0:56:17.680 --> 0:56:22.440
<v Speaker 1>defend yourself, versus acknowledging that this shouldn't be happening, Like

0:56:22.520 --> 0:56:24.600
<v Speaker 1>That's all that would have taken for me for that

0:56:24.640 --> 0:56:27.960
<v Speaker 1>scene to work, is like I'm sorry that happened to you,

0:56:28.040 --> 0:56:31.760
<v Speaker 1>and acknowledging that that's a common thing, and then show

0:56:32.400 --> 0:56:35.080
<v Speaker 1>Cheryl how to kick someone's ask great, I shouldn't have

0:56:35.120 --> 0:56:38.000
<v Speaker 1>to teach you this. We should teach men not to attack.

0:56:38.239 --> 0:56:42.720
<v Speaker 1>But here's saying, but in order to survive the world

0:56:42.719 --> 0:56:46.800
<v Speaker 1>as it's been set up so far, break someone's nose,

0:56:47.040 --> 0:56:50.960
<v Speaker 1>like fair, what do you have anything else? Most of

0:56:51.000 --> 0:56:56.160
<v Speaker 1>my stuff? I think in general, I really like Gracie.

0:56:56.200 --> 0:57:00.400
<v Speaker 1>I think that where her character lands is death. Definitely

0:57:00.880 --> 0:57:05.120
<v Speaker 1>frustrating where we are to assume she's keeping the makeover,

0:57:05.560 --> 0:57:09.600
<v Speaker 1>she's going to you know, take that change on permanently.

0:57:10.000 --> 0:57:13.520
<v Speaker 1>It's not until she gets her makeover that she's able

0:57:13.560 --> 0:57:16.480
<v Speaker 1>to find romantic love or has interest in romantic love

0:57:16.520 --> 0:57:19.720
<v Speaker 1>that we know of. And she ends in kind of

0:57:19.760 --> 0:57:26.360
<v Speaker 1>like a little bit too propageant, a little uncritical of like, yeah,

0:57:26.520 --> 0:57:28.959
<v Speaker 1>so no one got blown up, so this system is

0:57:29.160 --> 0:57:34.760
<v Speaker 1>doing good. And then the last interaction between Gracie and

0:57:35.280 --> 0:57:39.440
<v Speaker 1>Miss morning Side was I don't know, like in theory,

0:57:39.520 --> 0:57:42.720
<v Speaker 1>that's a cathartic moment for Gracie because she gets to

0:57:43.200 --> 0:57:48.200
<v Speaker 1>clap back at Candice Bergen because Candasburgen says yeah, yeah,

0:57:48.240 --> 0:57:54.800
<v Speaker 1>and then Sandy says yes, and we're like, oh a callback.

0:57:55.160 --> 0:58:01.160
<v Speaker 1>But Cannisburgen is chaotic evil in this that character didn't

0:58:01.160 --> 0:58:04.760
<v Speaker 1>have to just be like pure evil. Like again, just

0:58:04.760 --> 0:58:06.760
<v Speaker 1>getting back to what we talked about of how those

0:58:06.800 --> 0:58:10.000
<v Speaker 1>characters are written. Is sort of satisfying to see her

0:58:10.040 --> 0:58:14.960
<v Speaker 1>sent off to jail, but it's also cheap to put

0:58:15.040 --> 0:58:17.320
<v Speaker 1>women against each other and then be like and now

0:58:17.360 --> 0:58:20.240
<v Speaker 1>you go to prison, you're bad. And it's not like

0:58:20.280 --> 0:58:22.920
<v Speaker 1>the system she was working with and was always bad, whatever,

0:58:23.840 --> 0:58:27.160
<v Speaker 1>it's a perfect movie. A couple of other things I

0:58:27.160 --> 0:58:30.560
<v Speaker 1>wanted to touch on. One of those more problematic components

0:58:30.600 --> 0:58:33.880
<v Speaker 1>of the movie is the constant idea that's presented that

0:58:34.440 --> 0:58:37.720
<v Speaker 1>people who identify as women need to be presenting as

0:58:37.760 --> 0:58:41.080
<v Speaker 1>more feminine, like just a constant thing. Like Michael Caine's

0:58:41.120 --> 0:58:43.960
<v Speaker 1>character says like, I've I've taken a woman without a

0:58:44.000 --> 0:58:48.280
<v Speaker 1>discernible trace of estrogen and turned her into a lady.

0:58:48.360 --> 0:58:51.480
<v Speaker 1>Benjamin Bratt's like always nagging her, being like, you look

0:58:51.600 --> 0:58:55.120
<v Speaker 1>like ship until you looked hot with that makeover, and

0:58:55.240 --> 0:58:58.920
<v Speaker 1>now I love you. Yeah, I mean, well that that's

0:58:59.360 --> 0:59:01.640
<v Speaker 1>kind of I feel like the fact that she decides

0:59:01.680 --> 0:59:03.640
<v Speaker 1>to keep the makeover kind of says it all in

0:59:03.720 --> 0:59:07.000
<v Speaker 1>terms of where the movie stands on that, and that's

0:59:07.200 --> 0:59:09.560
<v Speaker 1>that's a bad Just make us wash her hair and

0:59:09.640 --> 0:59:12.400
<v Speaker 1>not straighten it, and then it's like, weirdly that would

0:59:12.400 --> 0:59:16.480
<v Speaker 1>be progress. That's fucked. Yeah, I think that's those are

0:59:16.520 --> 0:59:20.600
<v Speaker 1>the main points that I had. Yeah, should we take

0:59:20.720 --> 0:59:26.360
<v Speaker 1>any see if anyone has any questions thoughts that we didn't, Yeah, Oh,

0:59:30.120 --> 0:59:32.400
<v Speaker 1>the question you asked, So the question was which actor

0:59:32.480 --> 0:59:34.880
<v Speaker 1>should have been placed with Alfred Molina Okay, well, we've

0:59:34.880 --> 0:59:37.919
<v Speaker 1>got a lot of options. Do I think he could

0:59:37.920 --> 0:59:40.600
<v Speaker 1>have replaced the Chat I do. Do I think he

0:59:40.640 --> 0:59:44.520
<v Speaker 1>could have replaced Michael Caine? I do, but not quite.

0:59:44.960 --> 0:59:47.800
<v Speaker 1>Do I feel like he should have replaced Benjamin Bratt Absolutely.

0:59:48.280 --> 0:59:52.240
<v Speaker 1>I think if Alfred Molina is playing the Benjamin Bratt character,

0:59:52.840 --> 0:59:56.120
<v Speaker 1>they have to rewrite it right because they're like, people

0:59:56.160 --> 0:59:58.360
<v Speaker 1>are going to believe bad things coming out of Alfred

0:59:58.360 --> 1:00:05.080
<v Speaker 1>Blina's math. He is a sweet teddy bear who respects women,

1:00:05.160 --> 1:00:06.760
<v Speaker 1>and he's going to be doc Cock one day. We

1:00:06.800 --> 1:00:09.600
<v Speaker 1>can't disrespect him like this. I think he would he

1:00:09.600 --> 1:00:16.800
<v Speaker 1>should replace Benjamin Bratt. Final answer any other questions or thoughts, Alright,

1:00:16.840 --> 1:00:21.640
<v Speaker 1>you gotta, we gotta. They're like leave retired. Um, it

1:00:21.640 --> 1:00:26.040
<v Speaker 1>doesn't pass the Bectel test. It does a lot. There's

1:00:26.080 --> 1:00:29.880
<v Speaker 1>almost an entire scene that passes the Actel test from

1:00:30.080 --> 1:00:33.160
<v Speaker 1>what I could whenever all the contestants are being introduced

1:00:33.160 --> 1:00:35.720
<v Speaker 1>to each other when yes, and then there's also almost

1:00:35.760 --> 1:00:40.919
<v Speaker 1>a whole scene between Cheryl and Gracie that you get

1:00:40.960 --> 1:00:44.959
<v Speaker 1>significantly in there before before a man is brought up,

1:00:45.040 --> 1:00:48.720
<v Speaker 1>which is cool, and I think it's like a testament

1:00:48.720 --> 1:00:52.080
<v Speaker 1>again to like the story having a vested interest in

1:00:52.280 --> 1:00:56.640
<v Speaker 1>you getting to know who these women are, which is great. Yeah. Um.

1:00:56.760 --> 1:01:00.200
<v Speaker 1>And then there's of course the scene where Kathy morning

1:01:00.240 --> 1:01:02.360
<v Speaker 1>Side says, if you get in my way, I will

1:01:02.480 --> 1:01:07.600
<v Speaker 1>kill you kens Bergen who she is, given it her all,

1:01:07.640 --> 1:01:09.880
<v Speaker 1>I love it. I would pay her to threaten me.

1:01:12.120 --> 1:01:15.160
<v Speaker 1>And then yeah, I think there's a couple others here,

1:01:15.240 --> 1:01:18.600
<v Speaker 1>and there's I mean, there's there's a bunch. Usually if

1:01:18.640 --> 1:01:22.280
<v Speaker 1>there's a scene with contestants, it passes at least once

1:01:22.400 --> 1:01:25.840
<v Speaker 1>inside of your average scene. If it's a scene with

1:01:26.400 --> 1:01:29.920
<v Speaker 1>Gracie and miss morning Side, usually it passes. It takes

1:01:29.920 --> 1:01:31.800
<v Speaker 1>a while because it takes it just takes Gracie a

1:01:31.840 --> 1:01:34.080
<v Speaker 1>while to get to the pageant. But once we get there,

1:01:34.640 --> 1:01:38.400
<v Speaker 1>it's relatively smooth sailing. If we're getting into it. Are

1:01:38.440 --> 1:01:43.840
<v Speaker 1>they usually talking about traditionally feminine things such as beauty pageants, makeup?

1:01:44.160 --> 1:01:49.760
<v Speaker 1>And yes, but you know the test is flawed. Also,

1:01:49.960 --> 1:01:53.640
<v Speaker 1>there's the whenever Benjamin Bratt's character is like, hey, we

1:01:53.720 --> 1:01:58.200
<v Speaker 1>suspect miss Rhode Island is a terrorist, go talk to

1:01:58.200 --> 1:02:00.919
<v Speaker 1>her and get some information out of her. She's like, wait,

1:02:00.960 --> 1:02:06.240
<v Speaker 1>you want me to talk to And they're like yeah,

1:02:06.440 --> 1:02:08.160
<v Speaker 1>and she's like, what do I talk about? And they're

1:02:08.160 --> 1:02:13.480
<v Speaker 1>like leg waxings, fake orgasms, the inability of men to commit,

1:02:13.600 --> 1:02:18.760
<v Speaker 1>which is mostly what I talk about. It's like where

1:02:18.920 --> 1:02:22.520
<v Speaker 1>is the lie? So that was a funny joke, some

1:02:22.560 --> 1:02:28.520
<v Speaker 1>fun fun commentary, but like it shows that, like she

1:02:28.600 --> 1:02:31.840
<v Speaker 1>does not even understand the concept of a woman talking

1:02:31.880 --> 1:02:36.040
<v Speaker 1>to another woman. They play up the tomboy aspect to

1:02:36.280 --> 1:02:38.040
<v Speaker 1>so much. She's like, do you want me to beat

1:02:38.080 --> 1:02:41.480
<v Speaker 1>it out of her? Like what? We have seen her

1:02:41.600 --> 1:02:44.320
<v Speaker 1>kick Benjamin Brad's ass multiple times at that point, so

1:02:44.360 --> 1:02:47.640
<v Speaker 1>it does seem to be their friendship dynamic. Yeah, yeah,

1:02:48.080 --> 1:02:52.439
<v Speaker 1>she's just rowdy. Yeah. Shall we rate the movie? Yeah

1:02:52.880 --> 1:02:57.560
<v Speaker 1>on our five nipple scale? Yeah, Okay, what do you

1:02:57.600 --> 1:03:00.480
<v Speaker 1>think I would say? I think I'm going to give

1:03:00.520 --> 1:03:06.000
<v Speaker 1>it a three. Okay, you can go higher if you want,

1:03:06.160 --> 1:03:08.920
<v Speaker 1>But I feel I think there's there's too many kind

1:03:08.920 --> 1:03:10.920
<v Speaker 1>of problematic things that don't ange well for me to

1:03:10.960 --> 1:03:16.160
<v Speaker 1>go higher. But because it's Gracie Hart who is driving

1:03:16.160 --> 1:03:19.160
<v Speaker 1>the narrative, she I don't think at any point has

1:03:19.200 --> 1:03:21.960
<v Speaker 1>to be saved by a man. She's always saving herself.

1:03:22.000 --> 1:03:24.840
<v Speaker 1>She's always advocating for herself and standing up for herself,

1:03:24.840 --> 1:03:28.440
<v Speaker 1>defending herself. Um oh, one thing we didn't say is

1:03:28.600 --> 1:03:30.440
<v Speaker 1>that she is the only one who doesn't give up

1:03:30.440 --> 1:03:33.960
<v Speaker 1>on the mission. All the men quit yah, and she stays. Right,

1:03:34.000 --> 1:03:36.760
<v Speaker 1>it's her hunch that like keeps her in the game.

1:03:37.160 --> 1:03:40.640
<v Speaker 1>And she's right. She's really good at her job. She's like, hey, everyone,

1:03:40.680 --> 1:03:44.320
<v Speaker 1>I'm really good at like decoding stuff. She's basically a hacker.

1:03:44.600 --> 1:03:50.720
<v Speaker 1>She's hacking, so I'm biased sorts. So yeah, she's the

1:03:50.720 --> 1:03:53.880
<v Speaker 1>one who does everything. She staves the day at the end.

1:03:54.920 --> 1:03:59.720
<v Speaker 1>But as we discuss, there's you know, problematic things casual

1:03:59.760 --> 1:04:04.120
<v Speaker 1>home phobia. The romance thing is big where we're like, yeah,

1:04:04.400 --> 1:04:06.320
<v Speaker 1>we're supposed to root for her to end up with

1:04:06.360 --> 1:04:11.000
<v Speaker 1>this guy who thinks she's ugly as hell until she

1:04:11.160 --> 1:04:17.080
<v Speaker 1>gets a very painful procedure done. He's constantly nagging her,

1:04:17.120 --> 1:04:19.560
<v Speaker 1>and he also like it's like I need to watch

1:04:19.720 --> 1:04:23.200
<v Speaker 1>these things happen to you. Like he's there for her

1:04:23.360 --> 1:04:28.560
<v Speaker 1>various waxing. It's like, leave. I think he took the

1:04:28.640 --> 1:04:32.520
<v Speaker 1>day off to do that. You there could have been

1:04:32.520 --> 1:04:35.920
<v Speaker 1>an opportunity to comment more on like the standards of

1:04:35.960 --> 1:04:40.280
<v Speaker 1>beauty that society has decided or a thing, but it

1:04:40.360 --> 1:04:42.000
<v Speaker 1>kind of misses out on some of that. It does

1:04:42.160 --> 1:04:44.880
<v Speaker 1>provide some commentary, but I think it misses on other

1:04:44.880 --> 1:04:48.240
<v Speaker 1>opportunities and definitely doesn't go all the way. Yeah, So

1:04:49.080 --> 1:04:52.080
<v Speaker 1>I'm gonna let land in the three and I'm gonna

1:04:52.160 --> 1:04:55.960
<v Speaker 1>give one to Gracie Hart, I'm going to give one

1:04:56.280 --> 1:05:01.280
<v Speaker 1>to Candice, and i will give my final nipple to

1:05:01.720 --> 1:05:04.440
<v Speaker 1>the bare nipple that we do see of Benjamin Bratt's

1:05:06.160 --> 1:05:10.480
<v Speaker 1>I am going to go three and they have. Uh

1:05:11.080 --> 1:05:15.680
<v Speaker 1>maybe three quarters four feels wrong for some reasons, but

1:05:16.120 --> 1:05:18.240
<v Speaker 1>as close to a four as I can get without

1:05:18.240 --> 1:05:22.280
<v Speaker 1>it be three and quarters. Three and three quarters works

1:05:22.320 --> 1:05:24.080
<v Speaker 1>for me. Like you were saying, there are a lot

1:05:24.120 --> 1:05:28.520
<v Speaker 1>of missed opportunities and just kind of general lazy y

1:05:28.600 --> 1:05:33.160
<v Speaker 1>two K writing on the only woman we see who's

1:05:33.240 --> 1:05:35.840
<v Speaker 1>over the age of forty is written to be very

1:05:35.880 --> 1:05:40.040
<v Speaker 1>bitter and villainous. There was an opportunity to incorporate women

1:05:40.080 --> 1:05:43.920
<v Speaker 1>of color in a more meaningful way, of like, even

1:05:44.160 --> 1:05:47.080
<v Speaker 1>though it is a diverse group of women, we get

1:05:47.120 --> 1:05:50.480
<v Speaker 1>to know, the three primary women we see and get

1:05:50.520 --> 1:05:53.800
<v Speaker 1>to know well are still white ladies. But in general,

1:05:53.880 --> 1:05:56.000
<v Speaker 1>I mean, I think it does well in terms of

1:05:56.040 --> 1:05:58.200
<v Speaker 1>it would have been very easy, like we were saying earlier,

1:05:58.480 --> 1:06:01.560
<v Speaker 1>to make the stickle at the beauty pageant that the

1:06:01.600 --> 1:06:05.960
<v Speaker 1>women were mean. And you know, that is more Gracie's

1:06:05.960 --> 1:06:09.320
<v Speaker 1>obstacle to overcome. You know, she dislikes women, and she's

1:06:09.480 --> 1:06:13.280
<v Speaker 1>right to at least the obstacle is that she's wrong

1:06:13.360 --> 1:06:16.480
<v Speaker 1>and she cares about these women. And and you know

1:06:16.560 --> 1:06:19.280
<v Speaker 1>at the end of the movie where she's late because

1:06:19.320 --> 1:06:22.040
<v Speaker 1>she's in the FBI, etcetera, and they help her with

1:06:22.080 --> 1:06:24.200
<v Speaker 1>her makeup and they get her ready, and that's like

1:06:24.240 --> 1:06:29.280
<v Speaker 1>a nice moment, and I just choked up. Anyways, I

1:06:29.320 --> 1:06:33.120
<v Speaker 1>love this movie. I think it's and and and it

1:06:33.200 --> 1:06:39.880
<v Speaker 1>taught me how to sing. And Gracie is a I think,

1:06:39.880 --> 1:06:44.040
<v Speaker 1>a great effective character whose arc works, although I wish

1:06:44.080 --> 1:06:46.160
<v Speaker 1>she didn't end on the side of like and now

1:06:46.760 --> 1:06:49.479
<v Speaker 1>I learned that beauty pageants are awesome and being hot

1:06:49.560 --> 1:06:53.680
<v Speaker 1>is cool. By oh and now I'm armed and fabulous.

1:06:55.200 --> 1:06:58.800
<v Speaker 1>So I'm gonna give it three and three quarters, okay

1:06:59.520 --> 1:07:04.280
<v Speaker 1>to to Gracie, one to New York and then the

1:07:04.320 --> 1:07:08.880
<v Speaker 1>remainder to Tina, her girlfriend. Yeah, the sequel we're all

1:07:08.920 --> 1:07:15.480
<v Speaker 1>waiting for. Also, Sandra Bullock comedic Powerhouse. The pratt falls

1:07:15.520 --> 1:07:21.600
<v Speaker 1>in this movie, the brat falls. They Okay, I deserved there.

1:07:23.400 --> 1:07:26.800
<v Speaker 1>She prat falls during a dramatic scene. It's great. She's

1:07:26.840 --> 1:07:29.280
<v Speaker 1>at the beginning where she's like upset and at her

1:07:29.320 --> 1:07:32.320
<v Speaker 1>apartment she's like the punchy bag. I got so much rage.

1:07:32.400 --> 1:07:34.520
<v Speaker 1>But she's still prat falls because she's Sandra Bullock and

1:07:34.560 --> 1:07:38.240
<v Speaker 1>she's committed to who she is. I want Sandra Bullock

1:07:38.280 --> 1:07:43.360
<v Speaker 1>and Hillary Duff to prat fall off. Who is the

1:07:43.400 --> 1:07:48.280
<v Speaker 1>true master? Yeah, well I think I think that's our show. Yeah,

1:07:48.280 --> 1:07:50.840
<v Speaker 1>thank you so much for so much for coming. Thanks

1:07:50.880 --> 1:07:56.640
<v Speaker 1>to Emissaries, huge, thank you Laura, Sam and Alias for

1:07:56.720 --> 1:07:59.880
<v Speaker 1>having us here at Emissary Listeners. If you're ever in DC,

1:08:00.040 --> 1:08:01.919
<v Speaker 1>you come check this place out. Is this really cool?

1:08:02.000 --> 1:08:05.960
<v Speaker 1>Like it's a cafe, it's a bar, it's everything. It's

1:08:05.960 --> 1:08:10.880
<v Speaker 1>there's just good for nipples. See what happens delicious jello nipples.

1:08:10.880 --> 1:08:15.919
<v Speaker 1>I'm drunk. There's too many of these nimes. Thanks again

1:08:15.960 --> 1:08:18.839
<v Speaker 1>to Emissary and everyone here, and thanks to you audience

1:08:18.880 --> 1:08:21.719
<v Speaker 1>for coming. Enjoying the rest to night. That's mere