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Speaker 1: On the dol Cast, the questions asked if movies have

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Speaker 1: women and are all their discussions just boyfriends and husbands

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Speaker 1: or do they happen individualism, the patriarchy, zef in best

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Speaker 1: start changing it with the Beck dol Cast. Hello there

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Speaker 1: but Bush, Welcome to Nope? No, well good? Can you start? Hi,

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Speaker 1: Welcome to the Beck dol Cas. My name is Caitlin O.

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Speaker 1: Caitlin Jimmy. I'm like, there's too many hard continents. I'm

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Speaker 1: not gonna do it. There's one hard count. This is

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Speaker 1: the best cost there's we gotta stop. We have to stop.

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Speaker 1: I think that it's good that we got it out

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Speaker 1: at the top because out of our system we don't

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Speaker 1: know how to do it. This is the Battel Cast.

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Speaker 1: We talk about the portrayal of women in movies. Let

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Speaker 1: me talk about the portrayal of French people, and maybe

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Speaker 1: specifically we all talk about Beauty and the Beast and

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Speaker 1: today's starring al. We use the Betel test as a

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Speaker 1: jumping off point to start a larger conversation about how

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Speaker 1: women are represented and treated and portrayed in cinema. The

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Speaker 1: cinema take there's that really good flight of the Conquered song.

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Speaker 1: And anyway, the reason we're talking about French people in

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Speaker 1: France so much is that we're talking about the movie Amily.

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Speaker 1: But before we get into it, let's introduce our guest,

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Speaker 1: who has been very patiently waiting, so sorry. She is

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Speaker 1: the co creator and co writer of Mom Presents. I

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Speaker 1: think these guys are hot stuff. Hanna Michaels, Hey here,

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Speaker 1: thanks for having me. I was having fun listening to that.

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Speaker 1: That's the name of the sign. Why does that come

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Speaker 1: up in that? There's there must be someone I forget

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Speaker 1: what happens that makes that song happen? Oh you know what,

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Speaker 1: I bet it is? I bet in New Zealand they

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Speaker 1: take French like we take Spanish like it's just obligatory.

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Speaker 1: So then there's those phrases that you just know and

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Speaker 1: nothing else, right, Yeah, that's why they keep saying BiblioTech

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Speaker 1: and disc atteche. Yeah. Well, anyway, so we're talking about Emily. Hannah,

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Speaker 1: when did you first see this movie? What is your

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Speaker 1: relationship to it? Tell us everything? What I realized when

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Speaker 1: I watched it again is I don't actually hate Emily.

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Speaker 1: I hate dudes who suggest I would like Amily. Okay,

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Speaker 1: I agree with that I did enjoy rewatching this movie.

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Speaker 1: I was kind of because sometimes when we revisit movies

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Speaker 1: that I've been attached to in my past, it's, I mean,

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Speaker 1: as it is for us all we have to take

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Speaker 1: a long, hard look at a movie we love and say, oh, no,

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Speaker 1: like this is shaped who I am in a way

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Speaker 1: that has had negative effects. I was ready for that

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Speaker 1: to happen for Emily, and I was not as disappointed

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Speaker 1: as I thought I would be. Yeah, yeah, same, same.

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Speaker 1: I My reaction to it the first time was really angry,

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Speaker 1: and then looking back, it's just like, oh, this is

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Speaker 1: my relationship with a dude who suggested that I watch it,

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Speaker 1: Like this is right? So you were projecting some maybe

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Speaker 1: negative feelings towards a specific man to the movie. I mean,

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Speaker 1: Emily is like, I guess, an anxious pixie dream girl

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Speaker 1: kind of. She's not like a yeah, she's not manic,

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Speaker 1: but she's romanticized for social anxiety in a lot of ways.

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Speaker 1: This movie does a lot of weird stuff with mental

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Speaker 1: illness where she's like, but okay, that was a choice. Yeah,

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Speaker 1: A lot of choices are made. Yeah yeah, yeah. There's

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Speaker 1: a lot of stalking in this movie. So a lot

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Speaker 1: of stalking, a lot of orchestrating of like very like

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Speaker 1: Rube old Berg, almost crazy things where you have to

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Speaker 1: go to this place and then to follow these arrows

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Speaker 1: to do this thing and then look through this thing

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Speaker 1: and did it. Was one of those things where there's

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Speaker 1: a few scenes especially and where I'm getting way ahead,

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Speaker 1: but like the you know, last third of this movie

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Speaker 1: is I'm only basically setting up this really demented obstacle

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Speaker 1: course to make some guy fell in love with her.

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Speaker 1: And the twist is it works. But but if you

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Speaker 1: score that movie a little bit differently, it's straight up

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Speaker 1: a murder film because she's like at pay phones wearing sunglasses,

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Speaker 1: and if there's like a little like no no no, no, no, no,

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Speaker 1: no no no, I was like, Oh, she's dangerous. She's

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Speaker 1: a scary lady. Okay. I do agree that there is

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Speaker 1: a specific kind of guy who will recommend this movie

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Speaker 1: to you, And I don't know exactly what it is

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Speaker 1: about them that bothers me, but I know that all

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Speaker 1: the music from my least favorite student film of all

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Speaker 1: time is ripped directly from Emily. Are you talking about

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Speaker 1: love Boccardi Boston? Of course I'm talking about Love Boccardi Boston.

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Speaker 1: It's online to all our listeners. You gotta watch Love

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Speaker 1: but already, Bosson. If you've dated me for over I

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Speaker 1: would say three weeks you've seen lave Paccardi Bosson. If

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Speaker 1: you haven't, it's available to you online. Uh, it's And

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Speaker 1: Caitlin because we've been dating for what a year and

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Speaker 1: a half now, Yeah, Caitlin has seen Lumbaccardi boss And

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Speaker 1: I think what twice one and a half one and

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Speaker 1: a half, Well, that can be resolved. But yeah, it's

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Speaker 1: like it's it's in a shitty student film that like

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Speaker 1: uses Emily's music in a very egregious, transparent, earnest way

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Speaker 1: that will make you just want to die. That's the

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Speaker 1: other thing I realized. It's not the movie, it's the

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Speaker 1: offshoots from Like, if there's no Emily, there's no Garden State.

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Speaker 1: If there's no Emily, there's no Travelocity gnome Um. Yeah, yeah,

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Speaker 1: that that tracks. It just created like a cultural moment

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Speaker 1: where it's like there's a lot of cool romantic ship,

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Speaker 1: but also there's a lot of romanticizing people who aren't people.

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Speaker 1: They're just idea, is right. I first saw the movie

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Speaker 1: I Want to say I was in college. This movie

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Speaker 1: also came out in two thousand and one, another two

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Speaker 1: thousand one joint. I saw it in college. I had

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Speaker 1: a friend recommended to me a woman as a matter

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Speaker 1: of fact, so not there was no man who was saying, well,

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Speaker 1: I watched this, like this movie, you should watch it,

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Speaker 1: um I had is how they all talked. Yeah, when

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Speaker 1: I went skiing, when did you? When I went to

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Speaker 1: Late Runner with me? I saw it probably around like

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Speaker 1: two thousand four five, a few years after it came out.

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Speaker 1: This is interesting because there's one of the few foreign films.

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Speaker 1: Is the first foreign movie we've done on the podcast.

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Speaker 1: It's one of the few foreign films that have crossed

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Speaker 1: over into mainstream American cinema in a pretty big way,

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Speaker 1: a big way. I meant to do more research on

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Speaker 1: sort of film cinema history. I'll go into this a

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Speaker 1: little bit later. I didn't do enough research, but I'll

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Speaker 1: just say what I know from the film classes I

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Speaker 1: took in college, where I did get one of two

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Speaker 1: degrees that I do have in film, the second one

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Speaker 1: being a master's degree in screenwriting from Boston. I don't

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Speaker 1: like to bring it up. I can't believe you made

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Speaker 1: me bring it up, but I did do that. So

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Speaker 1: I just it's out there now and now you know.

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Speaker 1: But I'm interested in exploring French cinema a bit and

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Speaker 1: why maybe this movie, unlike many other French films, was

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Speaker 1: able to sort of crossover into American mainstream cinema. Anyway. Yeah,

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Speaker 1: I saw it in college. I remember liking it enough

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Speaker 1: that I bought it on DVD and I was like, Oh,

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Speaker 1: what a fun, whimsical movie. And then I don't think

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Speaker 1: I watched it again, even though I did have it

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Speaker 1: very accessible to me on DVD because also brag, I

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Speaker 1: have a DVD player. Uh, there's no way around it.

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Speaker 1: But I did. I like it, just went on the shelf,

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Speaker 1: and then I haven't watched it again until yesterday. So

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Speaker 1: it shows you how much I cared about rewatching it.

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Speaker 1: I came to this movie, and I'm curious that how

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Speaker 1: many young women have this experience. I first became aware

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Speaker 1: of this movie on basically Tumbler and Tumbler adjacent websites.

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Speaker 1: I was like eight or nine when the movie came out,

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Speaker 1: so I wasn't I wasn't aware of it of French

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Speaker 1: cinema at that time. But fast forward a couple of

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Speaker 1: years when I was in high school. I do remember

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Speaker 1: seeing it. It It would pop up a lot. There's a

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Speaker 1: lot of screen caps I can remember clearly, specifically the

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Speaker 1: one where she says that I'm nobody's little weasel. Saw

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Speaker 1: that a million times on the primitive internet in my

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Speaker 1: old life journal where I wrote poetry. That's probably where, yeah,

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Speaker 1: like websites like that, because I'm like, this would have

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Speaker 1: been a little bit before Tumbler was big, because Tumbler

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Speaker 1: was really big when I was like in late high

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Speaker 1: school college. But stuff like that, where I had seen

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Speaker 1: so much of this movie, I'm like, this looks cute.

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Speaker 1: What's this? What's this? And then as finally I saw

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Speaker 1: it on TV and was like, oh my god, like

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Speaker 1: I really really really liked this movie in high school,

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Speaker 1: kind of forgot about it, and then rewatched it, I

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Speaker 1: would say, for the first time in at least five

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Speaker 1: years today, and it I was pleasantly surprised that there's

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Speaker 1: one specific plot point in this movie that I had

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Speaker 1: totally forgotten that I find very upsetting. But for the

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Speaker 1: most part, I'm like, oh, this is misguided in a

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Speaker 1: lot of ways, But given the fact that it's two

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Speaker 1: thousand and one. I was pleasantly surprised at how well

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Speaker 1: it held up for me. Yeah, it's cute. It's it's

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Speaker 1: a lot more cute than I'm giving it credit for

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Speaker 1: because of the dudes who are like, hey, your socially

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Speaker 1: anxious watch this. But yes, yes, but other than that, like,

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Speaker 1: it's a cute film with some ideas about love that

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Speaker 1: are not the greatest, but that's fine because we all

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Speaker 1: didn't have those. How did you first come across That's

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Speaker 1: part of why is I dated some dude in college

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Speaker 1: and I was older than you guys when I saw it,

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Speaker 1: which is probably another reason, um that I didn't as

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Speaker 1: much if I know what you mean, but you like

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Speaker 1: for the first time, right, I just want everyone to

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Speaker 1: know that I'm thirty one. My god. She's like Kyl's

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Speaker 1: like compulsively spouting information. She's like, I went to college,

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Speaker 1: this is my age. Please don't say her PIN number.

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Speaker 1: I'm having a stroke anyway, that's what you do catchphrase. Um.

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Speaker 1: I definitely think that if I had seen this movie

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Speaker 1: in college for the first time, I probably still would

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Speaker 1: have liked it. I don't think I would have been

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Speaker 1: as extremely attached to it as I was in high school,

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Speaker 1: because it's so easy to plug yourself into Emily and

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Speaker 1: be like, oh there is some sort of as well.

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Speaker 1: As long as you make an incredibly complicated and scary

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Speaker 1: plan to force someone to fall in love with you,

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Speaker 1: you can still be a little bit shy, which at

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Speaker 1: that time I was very responsive to that message. Sure,

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Speaker 1: as a fourteen year old girl with the back bace,

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Speaker 1: I was like, oh, hell yeah, we can pull this off. Yes,

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Speaker 1: he has a twenty three year old girl. I was like, No,

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Speaker 1: that doesn't work. I've tried it. I'll do the recap

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Speaker 1: of the story. We focus on a character named Amalie.

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Speaker 1: She is a French gal living in France. Ever heard

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Speaker 1: of it? Isn't she in Paris? I'm not sure, but

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Speaker 1: I would guess so. French listeners, those who have not

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Speaker 1: abandoned us, let us know where Emily takes place, if

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Speaker 1: it's in Paris or not also missed opportunity. No one

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Speaker 1: draws her like one of their French girls. Anyway, I

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Speaker 1: just had to shoehorn that Titanic reference in there, and

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Speaker 1: I am not sorry. God Almighty Emily is about a

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Speaker 1: young woman. We meet her as a child so part

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Speaker 1: of the story is that her dad doesn't hug her enough,

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Speaker 1: so she and he's a doctor, so whenever he gives

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Speaker 1: her a monthly check up, her heart beats so fast

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Speaker 1: that the excitement of him touching her that it makes

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Speaker 1: him think that she has a heart condition, and then

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Speaker 1: it affects her entire rest of her life because which

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Speaker 1: first of all means probably her dad's not a very

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Speaker 1: good doctor, or he's like, maybe I should get a

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Speaker 1: second opinion, like it's nuts, so he is. So they're like, well,

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Speaker 1: she has a heart condition, she can't go to school,

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Speaker 1: so she's homeschooled then, and like doesn't ever get to

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Speaker 1: be socialized out in the world really, so she's she

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Speaker 1: ends up being this kind of like isolated adult who's

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Speaker 1: very shy. She's socially awkward. She doesn't necessarily feel complete

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Speaker 1: as a person, and a three year old person would

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Speaker 1: feel this way, yes, but the way that they resolve

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Speaker 1: it for Emily is just like come on, right, because

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Speaker 1: so she's also like sort of take a night class,

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Speaker 1: Emily figure out. So this in his first to adulthood

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Speaker 1: where she's still but she has a job. Now, she's

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Speaker 1: out in the world. She's a waitress at a cafe,

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Speaker 1: but she's still kind of a loner. She doesn't relate

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Speaker 1: well with other people, and she's also sort of prone

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Speaker 1: to flights of fancies. She's a very whimsical Oh yeah,

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Speaker 1: her thing is She's like, I don't like sex, but

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Speaker 1: what I love is contaminating food with my hands. There's

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Speaker 1: all these tie shots of Omily just dip in her

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Speaker 1: paws into open bag, like that's someone's food. You can't

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Speaker 1: do that. They're the sexual politics of this movie, and well,

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Speaker 1: we can get into this later as well. The sexual

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Speaker 1: politics of this movie are very all over the place,

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Speaker 1: where it's for better or worse. It's usually pretty clear

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Speaker 1: where a movie falls on sex, of like whether it's

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Speaker 1: being demonized or whether it's being like very pro sex,

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Speaker 1: but this movie is kind of all over the place

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Speaker 1: where it's not it's not critical of Emily for not

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Speaker 1: being interested in sex, but there is something about the

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Speaker 1: way that sex is portrayed in this movie that does

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Speaker 1: feel a little bit I don't think prudish is the word,

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Speaker 1: but something adjacent to that. Well, we can like dig

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Speaker 1: into that, but yeah, the way that sex is treated

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Speaker 1: in this movie is weird and also I think is

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Speaker 1: something that I was very responsive to as a fourteen

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Speaker 1: year old in the back brace of like I don't

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Speaker 1: need to have sex. I can just you know, put

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Speaker 1: my hand in some of food and come that way

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Speaker 1: have orgasms from skipping rap, right, I mean, we we've

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Speaker 1: got the We've got This is like one of the

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Speaker 1: Hallmark like not like the other girls. Um yeah, sorry, continue.

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Speaker 1: So she's this, you know, kind of socially awkward, like

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Speaker 1: you sort of said, maybe not manic, but but the

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Speaker 1: HIXI dream girl in a sense. But don't worry, she's hot.

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Speaker 1: She's very cute. The story starts with her finding a

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Speaker 1: little box in her bathroom that a little boy had

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Speaker 1: left forty years earlier. It is like a period piece

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Speaker 1: to an extent, not a lot, not only a few

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Speaker 1: years removed from when it came out. But there is

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Speaker 1: this through line of the movie where it takes place

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Speaker 1: just as Princess Die passes away. You can't say die dies.

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Speaker 1: That's just makes it seem like you're making a joke,

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Speaker 1: which we would never Uh, it's not so Princess Night

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Speaker 1: passes away during this movie, And that was another I

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Speaker 1: was like, that was definitely a choice that I'm not

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Speaker 1: quite sure why that was the choice, but interesting, well,

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Speaker 1: it's a catalyst of her she finds out about this.

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Speaker 1: She drops like the lid to her perfume or something

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Speaker 1: like that. It rolls across the floor and un wedges

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Speaker 1: this like hiding spot basically where this little box was,

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Speaker 1: and she's she digs it out and she's like, oh,

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Speaker 1: it's this. This little boy left all of this little

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Speaker 1: like toys and tokens and treasures behind. So she's like,

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Speaker 1: I'm gonna find out who this belonged to. I'm going

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Speaker 1: to return it to him, and if he's moved by it,

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Speaker 1: I'm actually going to be a do gooder from now on.

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Speaker 1: So she sort of like takes on this project and

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Speaker 1: she starts to figure out who this person might be,

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Speaker 1: and in so doing, she runs into this man named Nino,

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Speaker 1: who also is a bit of a manage tricks tricksie man.

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Speaker 1: I would like half of the cast of this movie

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Speaker 1: is just like, yeah, this is a vague, cartoony wow,

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Speaker 1: Like I mean, it almost reads is a fairy tale.

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Speaker 1: This movie, to me, does there's that guy with hollow bones.

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Speaker 1: I did forget about all hollow bones anyway, So she

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Speaker 1: comes across this guy who's like rummaging around under this

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Speaker 1: photo booth in a subway station, and they kind of

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Speaker 1: make eyes at each other and they're like, Oh, this

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Speaker 1: guy comes back later because as she starts like doing

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Speaker 1: her do goodie, she comes in contact with him again

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Speaker 1: in this scene where he's trying to return something to

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Speaker 1: someone else, and then he loses a book and she

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Speaker 1: picks up this book, so she's like, I have to

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Speaker 1: return this book to him, and it's full of all

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Speaker 1: of these discarded photographs from the people have taken at

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Speaker 1: these photo booths. So he has this like hobby I

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Speaker 1: guess of like finding the he's thrown away ripped up photos,

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Speaker 1: putting him in a like a photo album. And then

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Speaker 1: he it makes him come. I don't know why he does,

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Speaker 1: so we have to they're hand in the basket of food,

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Speaker 1: the texture of the page. You're like, this book is

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Speaker 1: being come on all the time. Fine, right, So then

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Speaker 1: she sort of orchestrates this whole thing to get the

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Speaker 1: book back to him, but because she's so shy, she

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Speaker 1: can't actually meet him in real life. Meanwhile, he like

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Speaker 1: there's like hints that she's falling in love with him,

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Speaker 1: even though she doesn't know who he is or they've

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Speaker 1: never spoken. And then also he loves her back. You

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Speaker 1: see her like throbbing heart the second she sees him.

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Speaker 1: It's like I love it first sight, which automatically when

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Speaker 1: I was fourteen and I was like, but now I'm

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Speaker 1: just like like I'm gonna launch myself through a pane

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Speaker 1: of glass. Especially with that thing with her dad in

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Speaker 1: her heart earlier, that's just kind of like, oh, yeah,

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Speaker 1: I was like, that's a call back to your dad. Touched.

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Speaker 1: That's not good. That didn't even register for me, but yeah,

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Speaker 1: that's not good. Her her relationship with and that is

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Speaker 1: like another that's like something that is kind of I

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Speaker 1: feel like dropped in the movie where at the beginning

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Speaker 1: there's a lot of like I think if you saw

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Speaker 1: the first ten minutes of this movie, you would think

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Speaker 1: that this would be This movie would have a lot

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Speaker 1: to do with Emily's relationship to her father, because you

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Speaker 1: learned about Emily's father before you even learn about her.

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Speaker 1: You hear his whole life story. Then you hear a

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Speaker 1: little bit about her mom, not as much because it's

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Speaker 1: a movie. We can't be talking about women too much. Uh,

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Speaker 1: And then you hit the plot point where it's like

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Speaker 1: daddy never touched and again, the translation might be funky,

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Speaker 1: we don't know, but there was like a line that

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Speaker 1: was basically like like every six year old girl Emily

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Speaker 1: wanted to be hugged by her daddy more than anything

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Speaker 1: in the world. And that is like such a strongly

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Speaker 1: worded statement that you feel like it would come back more.

335
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Speaker 1: But the dad is kind of dropped in the movie

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Speaker 1: event like where she sees him a lot, it's clear

337
00:19:00,760 --> 00:19:04,720
Speaker 1: that he is socially weird and doesn't quite know how

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Speaker 1: to connect with her when she's an adult as well,

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00:19:07,640 --> 00:19:11,240
Speaker 1: but it's it's not really like I was surprised that

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00:19:11,280 --> 00:19:13,760
Speaker 1: they put so much emphasis on that, and at the

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Speaker 1: very beginning of the movie, and then he kind of

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Speaker 1: disappears from the narrative and is replaced with a different

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Speaker 1: older guy who's the artist, older guy m R. Which

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Speaker 1: which kind of reminded me of Shape of Water was

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Speaker 1: kind of I don't know, that was a similar relationship

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Speaker 1: of like, yeah, genue and artist who failing but has

347
00:19:34,800 --> 00:19:39,960
Speaker 1: lots of exposition to say. But anyways, Yeah, also, she

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Speaker 1: she has a dead mom, so she is like a

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Speaker 1: Disney princess this is a fairy tale. Mom dies in

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Speaker 1: a crazy way. I did laugh if I forgot that.

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Speaker 1: I forgot that her mom died like that because someone

352
00:19:48,760 --> 00:19:50,840
Speaker 1: is trying to commit suicide by jumping off a building

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Speaker 1: and lands on her mom, killing her mom. I think

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Speaker 1: she was successful in the suicide, but I don't think

355
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Speaker 1: she firs the suicidal fish. And now this it's there's

356
00:20:01,359 --> 00:20:03,399
Speaker 1: a lot of suicide in the first like ten minutes

357
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Speaker 1: of this movie, which again sort of we don't come

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00:20:06,119 --> 00:20:08,760
Speaker 1: back to it. It's weird. It's a weird tonal start.

359
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Speaker 1: There's I mean, I think the film like I can't.

360
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Speaker 1: I just said film, Well, no, thank you, I have retired.

361
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Speaker 1: I just called it the film. But the visual consistency

362
00:20:20,440 --> 00:20:23,080
Speaker 1: in this movie is pretty much across the board, like

363
00:20:23,280 --> 00:20:26,280
Speaker 1: it's a very this whole movie was dipped in some

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Speaker 1: very ornate piss like it's a very yellowy movie. It's

365
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Speaker 1: a very Cepia romantic looking movie. But totally the story

366
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Speaker 1: is weird. You think it could be a movie about parents? Yeah,

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Speaker 1: because I mean there's this voiceover throughout the whole thing,

368
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Speaker 1: and it's like focusing on a lot of different things

369
00:20:43,000 --> 00:20:45,280
Speaker 1: that really don't have anything to do with the story,

370
00:20:45,920 --> 00:20:49,119
Speaker 1: all these subplots get introduced, where so the main plot,

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00:20:49,200 --> 00:20:52,320
Speaker 1: which also doesn't even come up in the story until

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Speaker 1: maybe forty or forty five minutes in, where she needs

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Speaker 1: to return this photo album to this guy, so that

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00:20:58,920 --> 00:21:02,680
Speaker 1: becomes the main plot where she's orchestrating ways to get

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Speaker 1: them to meet up again so that she can return it,

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00:21:05,000 --> 00:21:06,639
Speaker 1: but she doesn't actually want to meet him because she

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00:21:06,720 --> 00:21:09,960
Speaker 1: like returns it from Afar. And then like she's also

378
00:21:10,040 --> 00:21:12,560
Speaker 1: kind of chickening out because she's so shy that she

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00:21:12,600 --> 00:21:15,399
Speaker 1: can't meet this person. And then she also orchestrates this

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00:21:15,440 --> 00:21:18,320
Speaker 1: thing where she's gonna help him solve the mystery of

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Speaker 1: who this one particular person is in the photo album,

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Speaker 1: this bald guy who keeps popping up over and over

383
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Speaker 1: and it's like, who's this guy? And she helps him

384
00:21:26,520 --> 00:21:31,679
Speaker 1: figures out. So while all this is happening, she's also

385
00:21:32,480 --> 00:21:36,800
Speaker 1: helping some of her colleagues falling but helping people know.

386
00:21:36,960 --> 00:21:41,560
Speaker 1: She's interfering with people's lives, and she's breaking her friend

387
00:21:41,640 --> 00:21:46,040
Speaker 1: up with a scary criminal like that that's the thing

388
00:21:46,080 --> 00:21:51,480
Speaker 1: that okay, but you know what keep going. She also

389
00:21:51,520 --> 00:21:54,240
Speaker 1: like breaks and enters into this guy's house. Granted this

390
00:21:54,280 --> 00:21:58,720
Speaker 1: guy is very mean, but like she's like making key

391
00:21:58,760 --> 00:22:00,399
Speaker 1: copies so that she can go and his house and

392
00:22:00,440 --> 00:22:03,800
Speaker 1: funk with all of his ship and like I like that. Yeah,

393
00:22:03,800 --> 00:22:08,040
Speaker 1: And then she's like encouraging her dad via this garden

394
00:22:08,080 --> 00:22:12,680
Speaker 1: gnome to travel by like sending him she steals his

395
00:22:12,760 --> 00:22:17,440
Speaker 1: gnome and then sends him photos in other countries. So

396
00:22:17,480 --> 00:22:19,960
Speaker 1: she's yeah, she's basically just like trying to inspire people

397
00:22:20,040 --> 00:22:22,520
Speaker 1: to be like better people. But actually the twist is

398
00:22:22,960 --> 00:22:25,800
Speaker 1: she's not a complete person herself. Like she's fixing other

399
00:22:25,800 --> 00:22:28,200
Speaker 1: people's messes, but her own life is still a mess.

400
00:22:28,480 --> 00:22:33,960
Speaker 1: And don't worry. There's a heavy handed painting metaphor into that.

401
00:22:34,520 --> 00:22:36,720
Speaker 1: Maybe she's just here as some here are some things

402
00:22:36,720 --> 00:22:39,400
Speaker 1: that we say at the painting. Maybe she's just different.

403
00:22:41,560 --> 00:22:45,119
Speaker 1: She can't relate with other people. I just lost French.

404
00:22:46,280 --> 00:22:49,159
Speaker 1: She has an absolute right to mess up her life.

405
00:22:49,359 --> 00:22:51,280
Speaker 1: And then there's one point where All bird Bones is

406
00:22:51,320 --> 00:22:55,520
Speaker 1: like enough, It's like we have to stop talking at

407
00:22:55,520 --> 00:22:59,560
Speaker 1: this painting right now. There. Yeah, it's almost like an

408
00:22:59,560 --> 00:23:03,800
Speaker 1: Emma Ish austiny, like she's interfering a lot and not

409
00:23:03,920 --> 00:23:06,879
Speaker 1: dealing with her own problems. Is what it becomes, but

410
00:23:06,920 --> 00:23:09,600
Speaker 1: it takes a while for us to get there. For

411
00:23:09,960 --> 00:23:12,480
Speaker 1: I sort of forgot. I'm like, I forget exactly how

412
00:23:12,520 --> 00:23:15,399
Speaker 1: far into the movie she actually it takes her to

413
00:23:15,440 --> 00:23:17,320
Speaker 1: get the box to the guy, and it was sooner

414
00:23:17,359 --> 00:23:19,480
Speaker 1: than I thought. And then the objective of the movie

415
00:23:19,480 --> 00:23:22,280
Speaker 1: switches again to general meddling, and then at the end

416
00:23:22,320 --> 00:23:27,360
Speaker 1: it switches again to trapping me in a relationship with her.

417
00:23:28,800 --> 00:23:30,880
Speaker 1: So they're like, her objectives are always I mean, it's

418
00:23:30,880 --> 00:23:35,680
Speaker 1: always sort of too fill the void is I guess

419
00:23:35,760 --> 00:23:40,200
Speaker 1: the overarching thing. But yeah, like the specific objectives changes

420
00:23:40,200 --> 00:23:42,800
Speaker 1: a couple of different times. There's not a ton of consistency.

421
00:23:43,040 --> 00:23:46,240
Speaker 1: I will say that the scene I forgot that because

422
00:23:46,240 --> 00:23:47,720
Speaker 1: it used to make me cry in high school. But

423
00:23:47,720 --> 00:23:49,480
Speaker 1: it made me cry this sound too of when he

424
00:23:49,520 --> 00:23:54,280
Speaker 1: actually gets the box back, and like like that that

425
00:23:54,320 --> 00:23:57,000
Speaker 1: gets me every time. With the scene with the marbles,

426
00:23:57,040 --> 00:23:59,880
Speaker 1: well to launch us into the discussion, so the movie

427
00:24:00,160 --> 00:24:04,040
Speaker 1: with finally she's able to have a face to face

428
00:24:04,080 --> 00:24:06,840
Speaker 1: with this guy Nino, who she's been trying to connect with.

429
00:24:07,640 --> 00:24:11,440
Speaker 1: She catches him in a net. She pulls him into

430
00:24:11,520 --> 00:24:15,520
Speaker 1: her apartment and they start kissing, even though they've never

431
00:24:15,560 --> 00:24:18,359
Speaker 1: really spoken to each other, and then the next scene

432
00:24:18,400 --> 00:24:21,399
Speaker 1: is them like holding each other's naked bodies. So it

433
00:24:21,440 --> 00:24:24,000
Speaker 1: all worked out. They got together because she traps him

434
00:24:24,000 --> 00:24:27,159
Speaker 1: in her Venus fly trap and their in love. This

435
00:24:27,320 --> 00:24:31,800
Speaker 1: had a negative effect on how I my entire life.

436
00:24:32,560 --> 00:24:34,280
Speaker 1: So that's the end of the story and every and

437
00:24:34,280 --> 00:24:37,520
Speaker 1: they're happy now. They're so happy to launch us into

438
00:24:37,520 --> 00:24:41,720
Speaker 1: the discussion all of her objectives starting from like finding

439
00:24:42,000 --> 00:24:46,000
Speaker 1: whose box this belongs to helping her debt, like they're

440
00:24:46,040 --> 00:24:50,480
Speaker 1: all either to help a man or to help a

441
00:24:50,760 --> 00:24:55,280
Speaker 1: female friend of hers get at a man. Hard agree

442
00:24:55,280 --> 00:24:59,160
Speaker 1: with that there. I at one point I wrote, Emily

443
00:24:59,480 --> 00:25:04,200
Speaker 1: is a guys gal, and I think that that is

444
00:25:04,280 --> 00:25:06,680
Speaker 1: to an extent true. And it's not that she's ever

445
00:25:07,040 --> 00:25:10,920
Speaker 1: hostile or mean to the women in her life. She isn't.

446
00:25:11,400 --> 00:25:14,439
Speaker 1: But every character that we see her create a sustaining

447
00:25:14,520 --> 00:25:16,800
Speaker 1: bond with in this movie is a man, and that

448
00:25:17,280 --> 00:25:19,520
Speaker 1: you know, you can go to a character based She

449
00:25:19,640 --> 00:25:23,359
Speaker 1: was raised by her dad basically, but she seems to

450
00:25:23,440 --> 00:25:26,800
Speaker 1: connect easier with men. Where she hangs up with bird Bones,

451
00:25:27,040 --> 00:25:32,399
Speaker 1: she becomes very attached to Nino Nino. Nino Nino keep

452
00:25:32,440 --> 00:25:39,560
Speaker 1: saying exactly but like everyone we see her connect with

453
00:25:39,760 --> 00:25:44,160
Speaker 1: in a meaningful way is a man. Also Lucien. Lucien.

454
00:25:44,960 --> 00:25:49,640
Speaker 1: Lucien was my fucking favorite. I so adorable. So he's

455
00:25:49,720 --> 00:25:53,960
Speaker 1: the character who worked. He and this other guy or whatever,

456
00:25:54,400 --> 00:25:57,680
Speaker 1: the guy that she puts foot cream in his toothcaste, right, Yeah,

457
00:25:57,880 --> 00:26:00,280
Speaker 1: they worked. They worked together at a market it and

458
00:26:00,359 --> 00:26:05,679
Speaker 1: this older guy is very very mean to Lucien and

459
00:26:05,880 --> 00:26:08,040
Speaker 1: insults him and brates him and all this stuff. So

460
00:26:08,440 --> 00:26:15,120
Speaker 1: she Jame's rubbing up on your live so helps Lucien

461
00:26:16,560 --> 00:26:20,879
Speaker 1: by like basically publicly humiliating his boss, who's just like

462
00:26:21,000 --> 00:26:25,679
Speaker 1: really awful, who spirals into this like manic state and

463
00:26:25,880 --> 00:26:30,800
Speaker 1: becomes it seems like borderline suicidal. In one scene, Yeah,

464
00:26:31,040 --> 00:26:33,520
Speaker 1: I can tell you with certainty I have put foot

465
00:26:33,520 --> 00:26:36,200
Speaker 1: cream on my teeth and I'm not I don't need

466
00:26:36,240 --> 00:26:40,400
Speaker 1: help with that. He loses his ship. That's like he's

467
00:26:40,440 --> 00:26:42,439
Speaker 1: like someone's been in my home. And then he like

468
00:26:42,800 --> 00:26:45,520
Speaker 1: can't put his shoes on anymore, and he's vibrating and

469
00:26:45,560 --> 00:26:48,600
Speaker 1: he's calling the psychiatric Association, and it's just like, well,

470
00:26:48,600 --> 00:26:52,000
Speaker 1: that only happens because she plugs that number into his phone.

471
00:26:52,119 --> 00:26:55,440
Speaker 1: He doesn't deliberately call that number. Okay, she makes him

472
00:26:55,480 --> 00:26:58,040
Speaker 1: think that she's basically gaslighting him because she's making him

473
00:26:58,080 --> 00:27:04,119
Speaker 1: think that the most whimsical guest lighting really beautifully scored

474
00:27:04,200 --> 00:27:07,359
Speaker 1: according to music to this. But that is how she

475
00:27:07,400 --> 00:27:09,919
Speaker 1: approaches a lot of these situations where she goes. So

476
00:27:10,000 --> 00:27:12,560
Speaker 1: there's this guy, a regular at her cafe, who is

477
00:27:12,600 --> 00:27:14,959
Speaker 1: there to see one of her colleagues, Gina, because they

478
00:27:15,040 --> 00:27:20,040
Speaker 1: used to date. His character's name is Joseph, Joseph, and

479
00:27:21,200 --> 00:27:24,480
Speaker 1: he's got his eye on Gina. Meanwhile, Georgette, she works

480
00:27:24,520 --> 00:27:27,960
Speaker 1: at the tobacco counter. So Umily's like, what if I

481
00:27:28,000 --> 00:27:31,400
Speaker 1: set these two up instead? So she goes to Joseph

482
00:27:31,440 --> 00:27:34,520
Speaker 1: and she's like, can't you see how much Georgette is

483
00:27:34,560 --> 00:27:38,280
Speaker 1: like doing all this stuff to get She's not She's

484
00:27:38,359 --> 00:27:41,800
Speaker 1: just got like nasal spray. And then she goes to

485
00:27:41,840 --> 00:27:44,000
Speaker 1: Georgette and it is like, don't you see how much

486
00:27:44,119 --> 00:27:46,720
Speaker 1: Joseph is like always sitting so close to you? And

487
00:27:46,760 --> 00:27:49,399
Speaker 1: then they have sex in a public space in the

488
00:27:49,400 --> 00:27:53,159
Speaker 1: bathroom that's very loud, knocks all the glasses over and

489
00:27:53,240 --> 00:27:57,240
Speaker 1: the cadet sex and this movie is very loud. So yeah,

490
00:27:57,240 --> 00:28:01,960
Speaker 1: she's basically like manipulating everybody but it's it's okay because

491
00:28:02,000 --> 00:28:06,720
Speaker 1: she's helping them. That character Joseph is to me, and

492
00:28:07,080 --> 00:28:09,679
Speaker 1: I vaguely remember that, I didn't remember the specifics of

493
00:28:09,760 --> 00:28:13,320
Speaker 1: exactly how that story unfold. That part really that really

494
00:28:13,359 --> 00:28:17,240
Speaker 1: bugged me. Of like, he is actively stalking his ex

495
00:28:17,280 --> 00:28:21,199
Speaker 1: girlfriend every day. No one ever thinks to call someone

496
00:28:21,320 --> 00:28:24,040
Speaker 1: say hey, seems like this guy might be dangerous. He's

497
00:28:24,160 --> 00:28:28,320
Speaker 1: literally Uni bomber, carrying around a tape recorder and staring

498
00:28:28,320 --> 00:28:30,440
Speaker 1: at his ex girlfriend all day and people are kind

499
00:28:30,440 --> 00:28:32,920
Speaker 1: of mean to Gina about it, and they're like, well,

500
00:28:32,920 --> 00:28:35,320
Speaker 1: it just just tell him to go away. I'm like,

501
00:28:35,359 --> 00:28:37,720
Speaker 1: this is not on her. He's the one who has

502
00:28:37,760 --> 00:28:43,000
Speaker 1: seemingly left his job full time stalk her, and every

503
00:28:43,000 --> 00:28:45,120
Speaker 1: time she does anything, he's like, what are you doing?

504
00:28:45,160 --> 00:28:47,560
Speaker 1: What are you doing? Are you You're fucking him? Like

505
00:28:47,600 --> 00:28:50,320
Speaker 1: there's you know, which I'm just like, oh, jeez, I've

506
00:28:50,400 --> 00:28:52,880
Speaker 1: dated that guy. I mean, I've used to date a

507
00:28:52,880 --> 00:28:54,240
Speaker 1: guy who would show up in my work for my

508
00:28:54,240 --> 00:28:56,480
Speaker 1: whole shift and just be like just keeping an eye

509
00:28:56,520 --> 00:28:59,840
Speaker 1: on you. And it's like, no, uh, we're married now,

510
00:29:01,560 --> 00:29:05,520
Speaker 1: Uh you know, he's stalking her. And then Emily goes

511
00:29:05,520 --> 00:29:07,080
Speaker 1: over to him, and I'm like, oh, does she tell

512
00:29:07,160 --> 00:29:09,160
Speaker 1: him to funk off? Like that would be cool? But

513
00:29:09,240 --> 00:29:11,000
Speaker 1: she doesn't. She's like, oh, let me just hook you

514
00:29:11,080 --> 00:29:14,480
Speaker 1: up with my friend, this very stable guy who's always

515
00:29:14,520 --> 00:29:17,360
Speaker 1: harassing my coworker. Let me just hook him up with

516
00:29:17,400 --> 00:29:19,640
Speaker 1: my other coworker like that. I'm just like, then he

517
00:29:19,720 --> 00:29:22,080
Speaker 1: starts harassing her too, like they have sex, but then

518
00:29:22,120 --> 00:29:25,160
Speaker 1: they're like relationship goes sour, and then he's like doing

519
00:29:25,200 --> 00:29:27,320
Speaker 1: the same thing over again, which I'm glad at least

520
00:29:27,320 --> 00:29:29,840
Speaker 1: that Georgette gets the funk out of there, because I

521
00:29:29,920 --> 00:29:32,880
Speaker 1: was so worried that that would be like, yeah, the take,

522
00:29:32,920 --> 00:29:36,520
Speaker 1: because I forgot how that subplot ended. But it was like, oh, yeah,

523
00:29:36,600 --> 00:29:38,440
Speaker 1: she does. She does tell him to sunk off, and

524
00:29:38,440 --> 00:29:41,040
Speaker 1: then there's that interesting and I thought this was an

525
00:29:41,120 --> 00:29:45,360
Speaker 1: interesting um exchange between whoever that failed writer is who's

526
00:29:45,360 --> 00:29:49,200
Speaker 1: always at the cafe, Miss Susanne, who is the like

527
00:29:49,480 --> 00:29:55,920
Speaker 1: brassy bartender lady and Joseph. Georgette is like, I'm done,

528
00:29:55,960 --> 00:29:58,600
Speaker 1: funck off, goodbye, I've got to go, you know, raw

529
00:29:58,680 --> 00:30:02,760
Speaker 1: daga bottle of nasals, right or whatever. She does, But

530
00:30:03,080 --> 00:30:07,480
Speaker 1: there's Suzanne. She says women need air and then Joseph says,

531
00:30:07,520 --> 00:30:09,680
Speaker 1: you give women air, they blow you off, which is

532
00:30:09,680 --> 00:30:15,760
Speaker 1: like he's a feminist. But it was interesting to see,

533
00:30:15,960 --> 00:30:18,040
Speaker 1: Like I feel like that was the point where the

534
00:30:18,120 --> 00:30:22,040
Speaker 1: movie finally passed some decisive judgment on that character, because

535
00:30:22,120 --> 00:30:25,080
Speaker 1: before it was like, Oh, this guy's like quirky and

536
00:30:25,160 --> 00:30:28,680
Speaker 1: weird and we know he shouldn't be here, but maybe

537
00:30:28,720 --> 00:30:31,720
Speaker 1: he's just misguided and needs love. And it's like, no,

538
00:30:31,840 --> 00:30:35,360
Speaker 1: this guy needs help, like he needs to not training

539
00:30:35,480 --> 00:30:38,440
Speaker 1: orders filed against him to not be in this cafe,

540
00:30:39,760 --> 00:30:42,160
Speaker 1: but the movie seemed like weirdly tolerant of his pres

541
00:30:42,200 --> 00:30:44,760
Speaker 1: and so finally, by the end with that line, I

542
00:30:44,840 --> 00:30:47,560
Speaker 1: was like, Okay, good, now we can write him off

543
00:30:47,600 --> 00:30:50,040
Speaker 1: as like the movie thinks this guy sucks. I don't

544
00:30:50,040 --> 00:30:53,480
Speaker 1: know why it took so long to reach that conclusion,

545
00:30:53,840 --> 00:30:56,080
Speaker 1: because it seems pretty obvious from moment one. But I

546
00:30:56,120 --> 00:30:57,600
Speaker 1: don't think that that would have been obvious to me

547
00:30:57,640 --> 00:30:59,600
Speaker 1: the first time I saw this movie, because that's like

548
00:30:59,680 --> 00:31:02,800
Speaker 1: kind of just like an exaggerated cartooning version of like

549
00:31:02,880 --> 00:31:07,200
Speaker 1: the Chase narrative, like just hang out, Yeah, just hang out,

550
00:31:07,240 --> 00:31:09,800
Speaker 1: She's yours. This whole movie is a like on the

551
00:31:09,880 --> 00:31:12,440
Speaker 1: Chase narrative. There's a there's a scene with Nino in

552
00:31:12,800 --> 00:31:16,360
Speaker 1: the porn shop where he works, where he's talking about

553
00:31:16,360 --> 00:31:19,040
Speaker 1: how he loves Emilie because of the mystery, and there's

554
00:31:19,040 --> 00:31:21,040
Speaker 1: supposed to be that big contrast with the porn shop,

555
00:31:21,080 --> 00:31:24,000
Speaker 1: and it's just like, if you watch that as a team,

556
00:31:24,080 --> 00:31:26,360
Speaker 1: you're like, Yeah, the mystery is fucking great, And if

557
00:31:26,360 --> 00:31:30,520
Speaker 1: you watch that now, it's just like, no, fucking buy

558
00:31:30,520 --> 00:31:34,840
Speaker 1: me a vibrator. It's right. His colleague is actively like

559
00:31:34,960 --> 00:31:41,120
Speaker 1: putting price tags on her name. Her name is Eva,

560
00:31:41,240 --> 00:31:44,720
Speaker 1: and she is She basically only provides exposition. But I'm like,

561
00:31:44,760 --> 00:31:46,880
Speaker 1: I wanted what does she do? Like, yeah, can we

562
00:31:46,920 --> 00:31:50,560
Speaker 1: stop watching amily and watch whatever she's doing. She seems

563
00:31:50,600 --> 00:31:53,239
Speaker 1: to be enjoying her life. There are a lot of

564
00:31:53,240 --> 00:31:55,920
Speaker 1: female characters in this movie. There are, um the way

565
00:31:55,920 --> 00:31:57,640
Speaker 1: they were treated is all over the board. But the

566
00:31:57,720 --> 00:32:02,400
Speaker 1: characters that I found, and perhaps I've missed him, Emily,

567
00:32:02,800 --> 00:32:09,160
Speaker 1: Emily's mom, Georgette Madeleine, the land neighbor lady, who I

568
00:32:09,240 --> 00:32:13,480
Speaker 1: have some things to say, well, Gina, my dame, Suzanne,

569
00:32:14,040 --> 00:32:17,480
Speaker 1: the newsstand lady who does she have a name? I

570
00:32:17,640 --> 00:32:21,400
Speaker 1: never caught it, Okay, maybe because French. We didn't catch it,

571
00:32:21,400 --> 00:32:24,000
Speaker 1: but I couldn't find a name for her, but she

572
00:32:24,200 --> 00:32:27,840
Speaker 1: she's in a bunch of different scenes, the video girl Eva.

573
00:32:28,000 --> 00:32:30,520
Speaker 1: There's at one point a stripper named Samantha that Nino

574
00:32:30,600 --> 00:32:33,480
Speaker 1: tries to talk to, but she's busy dancing in a box.

575
00:32:33,520 --> 00:32:35,680
Speaker 1: It's the whole thing, and those are the ones that

576
00:32:35,760 --> 00:32:39,360
Speaker 1: I There's one more that I call Philmine, who is

577
00:32:39,440 --> 00:32:44,200
Speaker 1: the flight attendant who helps Yes Emily take pictures with

578
00:32:44,520 --> 00:32:49,000
Speaker 1: her dad's gnome in other parts of the world. Amazing, Yes,

579
00:32:49,320 --> 00:32:53,320
Speaker 1: but she is basically like she's a tertiary character, hardly

580
00:32:53,400 --> 00:32:55,880
Speaker 1: has anything to do with the story. Most of these

581
00:32:55,920 --> 00:33:04,120
Speaker 1: female characters exist in relay shintoman or their primary objective

582
00:33:04,320 --> 00:33:07,680
Speaker 1: or plot line has to do with getting a man,

583
00:33:07,960 --> 00:33:12,160
Speaker 1: which sucks a lot. Emily's plotline is all over the place,

584
00:33:12,200 --> 00:33:16,600
Speaker 1: but it eventually settles on getting a man. Georgette, she's

585
00:33:16,720 --> 00:33:20,600
Speaker 1: basically coerced into having a man and then leaves them,

586
00:33:20,600 --> 00:33:23,640
Speaker 1: which is like okay. Gina, who I really liked to

587
00:33:23,720 --> 00:33:26,160
Speaker 1: that and another character I felt was like under serviced.

588
00:33:26,720 --> 00:33:30,440
Speaker 1: Gina doesn't do anything wrong this entire movie. She's very nice,

589
00:33:30,480 --> 00:33:34,320
Speaker 1: she's very tolerant of Emily being a weirdo. But everyone

590
00:33:34,440 --> 00:33:37,760
Speaker 1: is kind of always like Gina is loose, and I'm like, no,

591
00:33:37,840 --> 00:33:39,880
Speaker 1: it's just because that guy Joseph's always saying are you

592
00:33:39,920 --> 00:33:43,080
Speaker 1: sleeping with him? Like she's not, she's and even if

593
00:33:43,120 --> 00:33:46,200
Speaker 1: she has leave her alone, Oh yeah, Okay, Madeleine Madeleine

594
00:33:46,440 --> 00:33:51,720
Speaker 1: the neighbor weird subplot, so she's I think one of

595
00:33:51,760 --> 00:33:54,320
Speaker 1: the first scenes in this movie that passes the Bactele

596
00:33:54,360 --> 00:33:57,760
Speaker 1: test is the scene between Emily. Spoiler alert it does test,

597
00:33:58,120 --> 00:34:02,560
Speaker 1: but the scene between Emily and Madeleine the neighbor. She's

598
00:34:02,600 --> 00:34:04,760
Speaker 1: always trying to figure out who this box belongs to,

599
00:34:05,120 --> 00:34:08,560
Speaker 1: and Malone's like, Hi, I'm Madeleine. My husband died forty

600
00:34:08,640 --> 00:34:11,040
Speaker 1: years ago and it ruined my life and I was

601
00:34:11,120 --> 00:34:14,960
Speaker 1: just like, whoa coming in hot. Yeah, she's still like

602
00:34:15,040 --> 00:34:18,000
Speaker 1: devastated by it and it concerns all of her energy.

603
00:34:18,160 --> 00:34:20,960
Speaker 1: But that's literally all we know about her, and we

604
00:34:21,000 --> 00:34:22,360
Speaker 1: don't see her for a while, or we see her

605
00:34:22,400 --> 00:34:24,239
Speaker 1: for like two seconds or whatever, and then at the

606
00:34:24,400 --> 00:34:27,440
Speaker 1: end we get like she she receives, you know, the

607
00:34:27,560 --> 00:34:31,040
Speaker 1: letter from the letter from her husband saying like I

608
00:34:31,080 --> 00:34:34,000
Speaker 1: love you and blah blah blah, and her the end

609
00:34:34,040 --> 00:34:36,640
Speaker 1: beat to her character, she like makes out with a

610
00:34:36,680 --> 00:34:41,040
Speaker 1: framed portrait of her dead husband, and I was like, like,

611
00:34:41,120 --> 00:34:44,080
Speaker 1: I don't know. That storyline confused me because didn't she

612
00:34:44,160 --> 00:34:47,200
Speaker 1: already have letters from him, which we learned early on.

613
00:34:47,320 --> 00:34:49,000
Speaker 1: She's like, yeah, but I don't think that they like

614
00:34:49,080 --> 00:34:54,400
Speaker 1: said as explicitly like I love you. I thought that

615
00:34:54,480 --> 00:35:00,080
Speaker 1: was what I thought. It's all about his day or what. No,

616
00:35:00,239 --> 00:35:03,440
Speaker 1: I see, Okay, yeah, it's it's supposed to be Emily

617
00:35:03,560 --> 00:35:07,760
Speaker 1: providing closure, but what it ends up is Emily keeping

618
00:35:07,840 --> 00:35:11,360
Speaker 1: the myth of this forty year dead guy alive for

619
00:35:11,440 --> 00:35:16,120
Speaker 1: this poor woe fueling the fire, yeah, like extended, especially

620
00:35:16,160 --> 00:35:19,359
Speaker 1: if fast forward like six months and Madeline finds out

621
00:35:19,400 --> 00:35:23,320
Speaker 1: the letter was fake. Oh yeah, that's going to result

622
00:35:23,360 --> 00:35:28,440
Speaker 1: in some serious psychological consequences. So that was That was

623
00:35:28,520 --> 00:35:30,480
Speaker 1: like one of the female characters that I felt was

624
00:35:30,560 --> 00:35:34,680
Speaker 1: like most disservice and just felt like not even underwritten,

625
00:35:34,719 --> 00:35:37,640
Speaker 1: but just like that was a choice that I don't

626
00:35:37,680 --> 00:35:40,560
Speaker 1: know without but that was a choice because there are

627
00:35:40,760 --> 00:35:44,160
Speaker 1: so many subplots that you think one of them might be, Oh,

628
00:35:44,200 --> 00:35:49,080
Speaker 1: Emily's helping this person reconnect with a friend or Emily's

629
00:35:49,120 --> 00:35:51,960
Speaker 1: helping she does kind of Again, do they not have

630
00:35:52,080 --> 00:35:54,959
Speaker 1: night classes in France? Do they not have paint nine

631
00:35:54,960 --> 00:35:57,840
Speaker 1: in France? There's plenty of things you can do with

632
00:35:57,920 --> 00:36:01,480
Speaker 1: your time that aren't actively sad lives of others in

633
00:36:01,520 --> 00:36:06,040
Speaker 1: a very tweet way. With banks, yeah, and helping people

634
00:36:06,360 --> 00:36:10,399
Speaker 1: and interfering with people's lives always as it relates to men.

635
00:36:10,560 --> 00:36:12,359
Speaker 1: So like I feel like she if she did want

636
00:36:12,360 --> 00:36:15,160
Speaker 1: to be this do good or who's helping people? Great,

637
00:36:15,400 --> 00:36:19,279
Speaker 1: So maybe volunteer at a food bank. Maybe like go

638
00:36:19,400 --> 00:36:22,440
Speaker 1: to an animal shelter and pet some dogs. Don't grab

639
00:36:22,520 --> 00:36:25,960
Speaker 1: the nearest blind person and starts shouting at them, and

640
00:36:26,360 --> 00:36:28,160
Speaker 1: she didn't even know where he was going. She just

641
00:36:28,400 --> 00:36:31,400
Speaker 1: leads him, like leave you here, and then he was

642
00:36:31,520 --> 00:36:37,120
Speaker 1: like where I am blind? I do want to point

643
00:36:37,120 --> 00:36:39,640
Speaker 1: out though, that speaking I mean animals, she does have

644
00:36:39,719 --> 00:36:42,920
Speaker 1: a cat, and that cat most likely has eight nipples.

645
00:36:42,960 --> 00:36:49,200
Speaker 1: This has been additor, subtracted, you know, only so full

646
00:36:49,239 --> 00:36:52,200
Speaker 1: of whimsy that she might have just an extra nipple.

647
00:36:54,480 --> 00:36:57,560
Speaker 1: She may have just amputated because she just made a

648
00:36:57,560 --> 00:37:02,040
Speaker 1: necklace of cat nipple and sold it on. Yeah, she

649
00:37:02,239 --> 00:37:04,800
Speaker 1: you know, I'm only it's just like if someone breathed

650
00:37:04,880 --> 00:37:09,440
Speaker 1: life into Etsy dot com. There she is. She is

651
00:37:09,480 --> 00:37:13,000
Speaker 1: et dot com. So I think he might be able

652
00:37:13,120 --> 00:37:15,600
Speaker 1: to write off the fact that so much of her

653
00:37:15,640 --> 00:37:20,040
Speaker 1: motivation and her decisions and actions are based around like

654
00:37:20,480 --> 00:37:25,400
Speaker 1: romantic pursuits, either for herself or helping other people, because again,

655
00:37:25,440 --> 00:37:28,279
Speaker 1: like this is sort of a fairy tale, so it's

656
00:37:28,280 --> 00:37:32,160
Speaker 1: going to be this like, oh, a romantic narrative with

657
00:37:32,200 --> 00:37:35,000
Speaker 1: all of these romantic subplots and stuff like that, but like,

658
00:37:35,320 --> 00:37:38,520
Speaker 1: I don't know, there's just it's also it doesn't have

659
00:37:38,600 --> 00:37:41,680
Speaker 1: to be exclusively that, because there's so many other characters

660
00:37:41,719 --> 00:37:45,000
Speaker 1: and so many other either like fully fledged subplots or

661
00:37:45,040 --> 00:37:48,920
Speaker 1: just sort of like story beats that relate to whatever character.

662
00:37:49,760 --> 00:37:54,680
Speaker 1: It could be her helping a fellow woman take her

663
00:37:54,840 --> 00:37:58,440
Speaker 1: driver's license tests, Like why is it always like, oh,

664
00:37:58,480 --> 00:37:59,920
Speaker 1: I have to help set you up with a man

665
00:38:00,040 --> 00:38:02,399
Speaker 1: in or I have to do It's always just it's

666
00:38:02,440 --> 00:38:06,359
Speaker 1: so focused on either helping men or helping women get men.

667
00:38:06,840 --> 00:38:09,440
Speaker 1: And if you can conceive of a suicidal fish, you

668
00:38:09,480 --> 00:38:12,760
Speaker 1: can probably come up with problems that are development. Yeah, exactly.

669
00:38:12,800 --> 00:38:16,480
Speaker 1: She has a great yardstick. She has a vivid imagination,

670
00:38:16,840 --> 00:38:18,960
Speaker 1: Like you would think that she'd be able to like

671
00:38:19,160 --> 00:38:24,319
Speaker 1: transcend just helping people find a boyfriend, right. Can we

672
00:38:24,360 --> 00:38:28,120
Speaker 1: talk about how especially with this story where she is

673
00:38:28,360 --> 00:38:33,319
Speaker 1: trying to get Nino and her to cross paths, but

674
00:38:33,480 --> 00:38:35,920
Speaker 1: not really because she keeps chickening out, but all the

675
00:38:35,960 --> 00:38:39,839
Speaker 1: measures that she goes through to orchestrate this is so

676
00:38:39,880 --> 00:38:43,239
Speaker 1: she like gets him to come to this park thing.

677
00:38:43,760 --> 00:38:47,320
Speaker 1: She calls a pay phone. He gets on the phone

678
00:38:47,719 --> 00:38:50,759
Speaker 1: and she's like, follow the blue arrows, and then he

679
00:38:50,960 --> 00:38:53,960
Speaker 1: runs and follows the arrows. I swear to God score

680
00:38:54,000 --> 00:39:00,160
Speaker 1: the scene differently, and it's fucking score crazy. It's like hate.

681
00:39:00,400 --> 00:39:05,879
Speaker 1: She's gonna kill him. She's wearing sunglasses. She's gonna kill him.

682
00:39:05,960 --> 00:39:08,320
Speaker 1: It's not good. Like it's just it's bad. Put that

683
00:39:08,400 --> 00:39:10,120
Speaker 1: on top. So he follows the arrows and then he

684
00:39:10,160 --> 00:39:12,880
Speaker 1: comes up to this man who is dressed as a

685
00:39:12,960 --> 00:39:17,600
Speaker 1: statue pointing at something. So she apparently paid a person

686
00:39:17,880 --> 00:39:25,120
Speaker 1: like a street performer to wait there waits in this economy,

687
00:39:25,239 --> 00:39:29,080
Speaker 1: I guess maybe there's a little bit postling boom. It

688
00:39:29,160 --> 00:39:31,800
Speaker 1: was a child too, Like a child is less terrifying

689
00:39:31,800 --> 00:39:34,520
Speaker 1: to you to talk to than this guy. Then she

690
00:39:34,560 --> 00:39:36,920
Speaker 1: also pays a kid to be like hey, make sure

691
00:39:36,960 --> 00:39:39,239
Speaker 1: you look at what the guy's pointing at. So she

692
00:39:39,280 --> 00:39:41,359
Speaker 1: pays someone to dress up as a statue and then

693
00:39:41,400 --> 00:39:44,760
Speaker 1: point at some binoculars, and then she apparently also pays

694
00:39:44,760 --> 00:39:47,200
Speaker 1: a kid to tell him where to look in case

695
00:39:47,200 --> 00:39:49,359
Speaker 1: she's an idiot, which she is, so then he runs

696
00:39:49,440 --> 00:39:51,640
Speaker 1: up and he looks through the binoculars, and then he

697
00:39:51,680 --> 00:39:55,520
Speaker 1: sees her returning his book. Then she figures out who

698
00:39:55,600 --> 00:39:59,480
Speaker 1: this mystery person is who keeps appearing in his photo album.

699
00:39:59,600 --> 00:40:03,000
Speaker 1: Turns out he's a repairman for these photo booths. So

700
00:40:03,160 --> 00:40:06,319
Speaker 1: she also want rather than just like meeting Nino and

701
00:40:06,360 --> 00:40:08,600
Speaker 1: saying like, hey, um, let's go for a drink, and

702
00:40:08,600 --> 00:40:10,520
Speaker 1: then on their day they say, hey, you know that

703
00:40:10,600 --> 00:40:14,120
Speaker 1: person that was like in all of your photos, that

704
00:40:14,160 --> 00:40:16,880
Speaker 1: bald guy. I actually figured out who he was. Um,

705
00:40:16,920 --> 00:40:19,680
Speaker 1: it's just the repairman. Instead of doing that, which would

706
00:40:19,680 --> 00:40:23,520
Speaker 1: have been so much easier, she orchestrates a whole other

707
00:40:23,560 --> 00:40:27,480
Speaker 1: thing where she deliberately breaks a photo booth and then

708
00:40:27,520 --> 00:40:30,360
Speaker 1: tells him where to go so that he can so

709
00:40:30,440 --> 00:40:35,160
Speaker 1: that a lot I will say, I just made some

710
00:40:35,239 --> 00:40:39,800
Speaker 1: connections to something that I recently did in my personal

711
00:40:39,840 --> 00:40:43,080
Speaker 1: life that could be perhaps trades back to no, because

712
00:40:43,080 --> 00:40:46,239
Speaker 1: you already know and it's really embarrassing. Okay, But like

713
00:40:46,560 --> 00:40:49,040
Speaker 1: all I had to say, if we are to look

714
00:40:49,120 --> 00:40:53,400
Speaker 1: at Emily as a movie that is directed at primarily

715
00:40:53,480 --> 00:40:56,080
Speaker 1: young women women, which I don't think it's unreasonable to say,

716
00:40:56,080 --> 00:40:59,359
Speaker 1: I think that that's the probably assumed who the movie

717
00:40:59,400 --> 00:41:02,880
Speaker 1: stuck with the most for sure, especially if it's like

718
00:41:03,160 --> 00:41:08,960
Speaker 1: shy young women. This is not a responsible blueprint to

719
00:41:09,120 --> 00:41:12,520
Speaker 1: present young women with. Uh, in terms of just like

720
00:41:12,640 --> 00:41:16,400
Speaker 1: you gotta do like it looks, you know, it's visually interesting,

721
00:41:17,280 --> 00:41:21,359
Speaker 1: shout out to the accordions, but the yeah, like saying like,

722
00:41:21,400 --> 00:41:25,280
Speaker 1: if you're a young woman who's uncomfortable approaching romantic partners,

723
00:41:25,320 --> 00:41:28,240
Speaker 1: that you should instead of gaslight them half to death,

724
00:41:28,560 --> 00:41:31,719
Speaker 1: destroying your own personal life in the process, and that

725
00:41:31,760 --> 00:41:35,200
Speaker 1: will achieve you a free ride on a moped like

726
00:41:35,280 --> 00:41:41,480
Speaker 1: that patently untrue, And and watching it unfold was it's

727
00:41:41,520 --> 00:41:44,600
Speaker 1: it's interesting because it is you know, that romantic subplot

728
00:41:44,719 --> 00:41:47,759
Speaker 1: is not subtle, but the way it unfolds is so

729
00:41:47,960 --> 00:41:50,799
Speaker 1: like there's so many red flags that we just blaze

730
00:41:50,880 --> 00:41:53,120
Speaker 1: past them. And because we love Emily and we love

731
00:41:53,239 --> 00:41:58,160
Speaker 1: Bangs uh, and so yeah, there are moments where I'm like,

732
00:41:58,280 --> 00:42:01,000
Speaker 1: we should the movie, you should be passing a little

733
00:42:01,000 --> 00:42:03,560
Speaker 1: bit of judgment on her right now, but it's ned's

734
00:42:03,600 --> 00:42:05,919
Speaker 1: never gonna happen. And again, I think you can chalk

735
00:42:06,000 --> 00:42:09,640
Speaker 1: this up to it being so whimsical and fairytale like

736
00:42:09,719 --> 00:42:12,600
Speaker 1: that you can't really take it that seriously. It's you know,

737
00:42:12,680 --> 00:42:14,360
Speaker 1: I think you're supposed to just walk away from this

738
00:42:14,440 --> 00:42:17,560
Speaker 1: being like, oh, what a fun fairytale like story. But

739
00:42:17,680 --> 00:42:20,520
Speaker 1: for young women who are watching this, who might not

740
00:42:20,920 --> 00:42:24,680
Speaker 1: make that connection because they're fourteen year old brains haven't

741
00:42:24,760 --> 00:42:27,480
Speaker 1: fully developed. They're gonna be like, wow, look how oh

742
00:42:27,520 --> 00:42:29,960
Speaker 1: my god love, and you're just supposed to like do

743
00:42:30,040 --> 00:42:33,359
Speaker 1: all these grand gestures and then a boy will like me.

744
00:42:33,880 --> 00:42:37,799
Speaker 1: And one, it's extremely heteronormative. Every relationship in this movie

745
00:42:37,840 --> 00:42:41,280
Speaker 1: is is always so extremely white movie. There's one okay,

746
00:42:41,320 --> 00:42:44,640
Speaker 1: there's one point where a lesbian hits on Emily and

747
00:42:44,719 --> 00:42:49,040
Speaker 1: she is terrified. Oh yeah yeah, And it's not even

748
00:42:49,080 --> 00:42:53,640
Speaker 1: that like she's being friendly. It's not like I feel like, yeah,

749
00:42:53,680 --> 00:42:56,640
Speaker 1: I feel like that. The way that that scene is

750
00:42:56,680 --> 00:43:01,239
Speaker 1: like filmed and like continually cutting back to a horrified

751
00:43:01,840 --> 00:43:05,200
Speaker 1: Audrey tend to like, yeah, because that is a pretty

752
00:43:05,239 --> 00:43:10,640
Speaker 1: innocuous interaction that could be interpreted as friendliness. But the way, yeah,

753
00:43:10,640 --> 00:43:13,680
Speaker 1: the way it's filmed is like, yeah, she's a gay

754
00:43:13,760 --> 00:43:18,200
Speaker 1: person in France and like, yeah, obviously idiot. Well then

755
00:43:18,360 --> 00:43:20,640
Speaker 1: so like, but I feel like this movie depicts Paris

756
00:43:20,680 --> 00:43:22,279
Speaker 1: the way that a lot of movies depict in New

757
00:43:22,360 --> 00:43:24,640
Speaker 1: York City, and it's like, oh, only white people here,

758
00:43:25,120 --> 00:43:28,919
Speaker 1: even though Paris is a very diverse city. Yes, so

759
00:43:29,040 --> 00:43:31,480
Speaker 1: it's craze. Like I just remember that scene in the

760
00:43:31,520 --> 00:43:36,239
Speaker 1: beginning where the voiceover the narration is like Emily likes

761
00:43:36,280 --> 00:43:39,520
Speaker 1: to amuse herself with silly questions like oh, I wonder

762
00:43:39,520 --> 00:43:41,879
Speaker 1: how many people are having orgasms right now? And then

763
00:43:41,880 --> 00:43:43,520
Speaker 1: it's like all these quick cuts of all the people

764
00:43:45,120 --> 00:43:47,680
Speaker 1: couples having sex. Yeah, I love a lot of ages

765
00:43:47,719 --> 00:43:49,880
Speaker 1: and body types, but all straight white couples, yes, And

766
00:43:49,920 --> 00:43:52,720
Speaker 1: I was just like, wow, so much diversity and Emily.

767
00:43:54,520 --> 00:43:58,600
Speaker 1: But the the use of narration in this movie quick,

768
00:43:58,920 --> 00:44:02,600
Speaker 1: because it's a lot of it bothers me. I think

769
00:44:02,960 --> 00:44:06,319
Speaker 1: that a very simple choice that could have been made.

770
00:44:06,800 --> 00:44:11,680
Speaker 1: Give us a female narrator. Why did the narrator of

771
00:44:11,719 --> 00:44:15,760
Speaker 1: this movie who talk about lazy writing, but like, why

772
00:44:15,760 --> 00:44:17,600
Speaker 1: why was it a man? Like, why is there a

773
00:44:17,640 --> 00:44:19,840
Speaker 1: man talking over half of this movie that is a

774
00:44:19,840 --> 00:44:22,160
Speaker 1: woman's story, because that makes it seem like it's coming

775
00:44:22,200 --> 00:44:24,719
Speaker 1: from a male perspective, even though the main character of

776
00:44:24,719 --> 00:44:27,600
Speaker 1: the story is a woman. That really bothered me on

777
00:44:27,719 --> 00:44:31,759
Speaker 1: this view because I forgot how much of it there

778
00:44:31,840 --> 00:44:34,279
Speaker 1: is is And again it's like a weird thing that

779
00:44:34,560 --> 00:44:36,840
Speaker 1: I'm like, did this At what point did this movie

780
00:44:36,960 --> 00:44:39,400
Speaker 1: change hands in terms of who wrote it? Because the

781
00:44:40,200 --> 00:44:44,400
Speaker 1: top half of this movie is so heavy in voiceover narration,

782
00:44:45,360 --> 00:44:48,120
Speaker 1: especially like the first half hour where there's not even

783
00:44:48,160 --> 00:44:51,040
Speaker 1: a lot of dialogue. There's like a set up through

784
00:44:51,360 --> 00:44:54,000
Speaker 1: the voiceover and then like two lines of dialogue to

785
00:44:54,040 --> 00:44:56,120
Speaker 1: punctuate the scene, and then we're onto the next thing,

786
00:44:56,600 --> 00:44:58,799
Speaker 1: but then it sort of goes away. I don't think

787
00:44:58,840 --> 00:45:01,680
Speaker 1: that's that unusual though, for any movie to have in

788
00:45:01,760 --> 00:45:04,080
Speaker 1: the beginning of the movie, when they're all the exposition

789
00:45:04,160 --> 00:45:06,760
Speaker 1: is basically happening, for there to be a lot of narration,

790
00:45:06,800 --> 00:45:09,960
Speaker 1: and then for that too, I agree, I agree, But

791
00:45:10,000 --> 00:45:13,840
Speaker 1: the thing that it was, I felt like it was

792
00:45:14,000 --> 00:45:17,040
Speaker 1: too much, especially because a lot of the exposition were

793
00:45:17,040 --> 00:45:18,920
Speaker 1: given at the beginning of the movie. Doesn't really have

794
00:45:18,960 --> 00:45:21,719
Speaker 1: a lot of bearing on the rest of the movie, like, yeah,

795
00:45:21,760 --> 00:45:24,759
Speaker 1: the first time minutes about her dad's touching of her

796
00:45:25,040 --> 00:45:28,520
Speaker 1: or the lack thereof which they really drill into you.

797
00:45:28,600 --> 00:45:32,000
Speaker 1: And then but why you know, but yeah, really simple

798
00:45:32,080 --> 00:45:34,400
Speaker 1: choice that could have been made. Give us a female

799
00:45:34,719 --> 00:45:38,400
Speaker 1: narrator would have made more sense. Yeah, the first thirty

800
00:45:38,560 --> 00:45:40,600
Speaker 1: minutes of this movie is kind of like a series

801
00:45:40,640 --> 00:45:45,440
Speaker 1: of Okay Cupid profiles. It's just like you're just like,

802
00:45:45,680 --> 00:45:51,880
Speaker 1: what questions were you asking it? Okay does ask those questions?

803
00:45:52,680 --> 00:45:55,880
Speaker 1: They never fu with okay Cupid. It was a big

804
00:45:55,920 --> 00:45:59,600
Speaker 1: okay Cupid head. There is a question on okay Cupid

805
00:45:59,680 --> 00:46:02,800
Speaker 1: that is is would you be okay with making dolphin

806
00:46:02,880 --> 00:46:09,239
Speaker 1: noises for your partner? Which, like, IM get any more specifics? Yeah,

807
00:46:09,760 --> 00:46:12,680
Speaker 1: I mean the person who wrote that question has a

808
00:46:12,719 --> 00:46:16,040
Speaker 1: dolphin noise thing, and that's fine, but that's very specifically.

809
00:46:16,080 --> 00:46:19,720
Speaker 1: That's just way too specific. I would do it in public,

810
00:46:20,000 --> 00:46:22,279
Speaker 1: but I wouldn't do it in a well, no one

811
00:46:22,320 --> 00:46:25,680
Speaker 1: asked me, But no one's ever asked me that question.

812
00:46:25,719 --> 00:46:27,680
Speaker 1: But if that were to come up, like I'll make

813
00:46:27,719 --> 00:46:31,200
Speaker 1: a dolphin noise and if we're at a Walmart, Well

814
00:46:31,840 --> 00:46:33,640
Speaker 1: back to a point I was trying to make it

815
00:46:33,760 --> 00:46:37,479
Speaker 1: never got there a while ago. I'm sorry, it's quite

816
00:46:37,520 --> 00:46:41,200
Speaker 1: all right. Oh my god, I probably distracted myself. Um,

817
00:46:41,440 --> 00:46:46,000
Speaker 1: you're all under arrest now, my god. But I was saying, like,

818
00:46:46,360 --> 00:46:48,520
Speaker 1: you can chalk this up to this movie being a

819
00:46:48,560 --> 00:46:51,799
Speaker 1: fairy tale, so like the depiction of romantic love isn't

820
00:46:51,840 --> 00:46:55,520
Speaker 1: going to be very realistic. But the fact that, like

821
00:46:55,640 --> 00:46:59,240
Speaker 1: you see these two characters fall in love without even

822
00:46:59,440 --> 00:47:01,919
Speaker 1: ever knowing each other's actually like very reminiscent of snow

823
00:47:01,960 --> 00:47:06,120
Speaker 1: White our recent episode on that movie where snow White

824
00:47:06,120 --> 00:47:09,080
Speaker 1: decides she likes Prince Charming even though their only interaction

825
00:47:09,160 --> 00:47:12,080
Speaker 1: had been him scaring her and her running away and

826
00:47:12,120 --> 00:47:25,719
Speaker 1: then singing right and then well like song I have

827
00:47:25,960 --> 00:47:30,720
Speaker 1: but one song, and then but then he also mysteriously

828
00:47:31,200 --> 00:47:35,640
Speaker 1: loves her, even though again they've never interacted hot. So

829
00:47:35,880 --> 00:47:40,279
Speaker 1: I just think it's irresponsible to keep making romantic stories

830
00:47:40,600 --> 00:47:44,120
Speaker 1: that are reminiscent of these fairy tales that depict romantic

831
00:47:44,200 --> 00:47:48,600
Speaker 1: love so horribly and like so unrealistically. It's like, why

832
00:47:48,640 --> 00:47:51,480
Speaker 1: do we keep doing this? Granted this was seventeen years

833
00:47:51,520 --> 00:47:56,640
Speaker 1: ago that this movie came out, but yeah, um, and ultimately.

834
00:47:56,800 --> 00:48:00,640
Speaker 1: I mean, something that does bug me about this movie

835
00:48:00,800 --> 00:48:04,120
Speaker 1: is that after all this where On only does grow

836
00:48:04,160 --> 00:48:07,719
Speaker 1: as a character outside of her romantic self, where she

837
00:48:07,800 --> 00:48:10,000
Speaker 1: does like learn to connect with people in a way

838
00:48:10,040 --> 00:48:12,640
Speaker 1: she hadn't before. She gets a little bit more confident

839
00:48:12,719 --> 00:48:15,640
Speaker 1: in herself, she's a little bit less shy, she you know,

840
00:48:15,800 --> 00:48:17,880
Speaker 1: has more like she does come into her own to

841
00:48:17,920 --> 00:48:22,000
Speaker 1: an extent. But then it just becomes like and because

842
00:48:22,040 --> 00:48:25,560
Speaker 1: she did all that, she has a boyfriend now and

843
00:48:25,760 --> 00:48:29,320
Speaker 1: making that seem like the end game of like working

844
00:48:29,360 --> 00:48:37,240
Speaker 1: on yourself is like fuck, like right where the truth

845
00:48:37,320 --> 00:48:40,200
Speaker 1: is the reward is you have to just keep doing

846
00:48:40,239 --> 00:48:43,160
Speaker 1: that forever. You have to work on yourself, and then

847
00:48:43,200 --> 00:48:45,360
Speaker 1: one day there's no more work to be done because

848
00:48:45,400 --> 00:48:49,040
Speaker 1: you've passed away. I think you can look at it

849
00:48:49,080 --> 00:48:50,839
Speaker 1: like that, and you can also look at it like

850
00:48:51,400 --> 00:48:54,359
Speaker 1: her pursuit of a man is what fixed her, Like

851
00:48:54,520 --> 00:48:57,239
Speaker 1: she she didn't bother to do any of this stuff

852
00:48:57,320 --> 00:49:00,279
Speaker 1: until she decided, oh, I have to try to meet

853
00:49:00,360 --> 00:49:03,120
Speaker 1: this man, and that's what is making me a whole

854
00:49:03,200 --> 00:49:07,440
Speaker 1: complete person exactly exactly. And then she's trying to do

855
00:49:07,520 --> 00:49:11,239
Speaker 1: that for other people to to various results, even though

856
00:49:11,320 --> 00:49:13,520
Speaker 1: they did not ask for her and did not want

857
00:49:13,520 --> 00:49:16,200
Speaker 1: to end it ends up fucking with them, like poor,

858
00:49:16,400 --> 00:49:18,560
Speaker 1: Who knows when Georgette is going to be able to

859
00:49:18,600 --> 00:49:21,760
Speaker 1: trust again. Honestly, I bet she's not on okay Cupid

860
00:49:21,840 --> 00:49:25,920
Speaker 1: right now. She deleted her profile. She's already a hypochondry.

861
00:49:26,400 --> 00:49:31,080
Speaker 1: Like he threw a very nervous person into a toxic situation,

862
00:49:31,280 --> 00:49:35,680
Speaker 1: knowingly not smart, not good. Uh. There's that exchange between

863
00:49:35,800 --> 00:49:39,479
Speaker 1: Georgette and the news stand lady where the news stand

864
00:49:39,520 --> 00:49:42,200
Speaker 1: lady says a woman without love whil it's like a

865
00:49:42,280 --> 00:49:46,920
Speaker 1: flower without sun. I was like, oh god, I'm I

866
00:49:47,360 --> 00:49:50,759
Speaker 1: feel ill feminist icon newstand lady. I just nodded so

867
00:49:50,880 --> 00:49:55,480
Speaker 1: vigorously my head. That was just I don't And that

868
00:49:55,640 --> 00:49:57,839
Speaker 1: was like like a number of topics in this movie.

869
00:49:57,880 --> 00:50:01,600
Speaker 1: I'm like, where does the movie actually fall on that?

870
00:50:02,000 --> 00:50:04,680
Speaker 1: It is unclear because for some characters it seems like,

871
00:50:05,000 --> 00:50:08,560
Speaker 1: oh fuck that. But then with Emily, you know, her

872
00:50:10,200 --> 00:50:14,440
Speaker 1: improvement is love, and so dudes in Emily's life seemed

873
00:50:14,480 --> 00:50:16,640
Speaker 1: to imply that at some point it will be quote

874
00:50:16,719 --> 00:50:20,319
Speaker 1: unquote too late for her. Chill. She's twenty three. Yeah,

875
00:50:20,400 --> 00:50:22,879
Speaker 1: Once they said, through some sort of expedition that she's

876
00:50:22,880 --> 00:50:25,040
Speaker 1: twenty three. I was like, oh, where are we wearing?

877
00:50:25,120 --> 00:50:32,000
Speaker 1: What's what's wrong? Bitch? On thirty one? There Caitlin's do

878
00:50:32,120 --> 00:50:39,160
Speaker 1: catchphrase bit. I wanted to explore I hinted at this earlier,

879
00:50:39,239 --> 00:50:42,320
Speaker 1: but why this movie might have been able to cross

880
00:50:42,360 --> 00:50:48,080
Speaker 1: over into American audiences whereas most foreign films don't. I

881
00:50:48,160 --> 00:50:51,760
Speaker 1: was like trying to remember what I learned about French cinema,

882
00:50:52,360 --> 00:50:54,920
Speaker 1: and I don't remember a lot, so apologies, and I

883
00:50:54,920 --> 00:50:57,560
Speaker 1: should have researched this more. What I do remember is

884
00:50:58,040 --> 00:51:00,920
Speaker 1: the main difference between a lot of American cinema and

885
00:51:00,960 --> 00:51:05,280
Speaker 1: a lot of foreign cinema in general, is that American

886
00:51:05,320 --> 00:51:09,279
Speaker 1: cinema is like very structured and formulaic, whereas a lot

887
00:51:09,320 --> 00:51:12,680
Speaker 1: of French and then just other cinema from other countries

888
00:51:12,719 --> 00:51:16,600
Speaker 1: that are not the US, those narratives, I think tend

889
00:51:16,640 --> 00:51:19,680
Speaker 1: to be not quite so structured and not quite so

890
00:51:19,800 --> 00:51:24,000
Speaker 1: like rigidly formulaic. So I think one of the reasons

891
00:51:24,040 --> 00:51:26,200
Speaker 1: that this movie was able to cross over. And then

892
00:51:26,239 --> 00:51:30,720
Speaker 1: it does resemble sort of like the love story fairy

893
00:51:30,719 --> 00:51:36,200
Speaker 1: tales and like the whimsical romance that American audiences love.

894
00:51:36,920 --> 00:51:39,399
Speaker 1: But again, I wish I had remembered more or read

895
00:51:39,640 --> 00:51:41,719
Speaker 1: more about it. So if you are a condosseur of

896
00:51:41,760 --> 00:51:44,520
Speaker 1: French cinema, feel free to tweet at us and let

897
00:51:44,520 --> 00:51:47,520
Speaker 1: me know what I'm sucking up about it. But yeah,

898
00:51:47,520 --> 00:51:49,520
Speaker 1: I just thought that was interesting that this is one

899
00:51:49,520 --> 00:51:55,759
Speaker 1: of the few non English speaking movies that crossed over. Yeah,

900
00:51:55,840 --> 00:51:57,200
Speaker 1: and it was a big hit. It had a ten

901
00:51:57,239 --> 00:52:01,040
Speaker 1: million dollar budget, grossed hundreds seven me four point two,

902
00:52:02,520 --> 00:52:04,839
Speaker 1: big old hit. So it wasn't a hit when it

903
00:52:04,920 --> 00:52:08,600
Speaker 1: came out. I think that perhaps uh and and I

904
00:52:08,680 --> 00:52:11,600
Speaker 1: truly know very little about international cinema. I'm not even

905
00:52:11,560 --> 00:52:14,680
Speaker 1: go in a hazard, I guess. But it was associated

906
00:52:14,719 --> 00:52:19,080
Speaker 1: with a company called Mila Max that I'm sure was

907
00:52:20,200 --> 00:52:25,080
Speaker 1: a feminist icon Mirramax femtassa on Harvey Weinstein and fantasy

908
00:52:25,200 --> 00:52:27,759
Speaker 1: on Bob Weinstein, you know, the whole bit. But I

909
00:52:27,800 --> 00:52:31,680
Speaker 1: think that that association and that this was like peak Mirramax,

910
00:52:31,920 --> 00:52:34,640
Speaker 1: like Chicago too. Thou two is about to come out,

911
00:52:34,680 --> 00:52:37,879
Speaker 1: baby that ship, so uh so I think that there

912
00:52:38,080 --> 00:52:41,280
Speaker 1: was probably some sort of push. But in terms of narrative, yeah,

913
00:52:41,360 --> 00:52:45,439
Speaker 1: I mean American people respond to unrealistic love stories all

914
00:52:45,440 --> 00:52:48,040
Speaker 1: the time, all the time, and also I think that

915
00:52:48,080 --> 00:52:53,080
Speaker 1: there is like, uh Francophile thing that factors into like

916
00:52:53,800 --> 00:52:56,439
Speaker 1: it's a it's a weird love hate relationship where people

917
00:52:56,719 --> 00:53:00,160
Speaker 1: my dad says Starbucks is French. But also I was

918
00:53:00,200 --> 00:53:04,080
Speaker 1: obsessed with Emily when I was a teenager personally because France,

919
00:53:04,760 --> 00:53:07,800
Speaker 1: because France. There's a there's a really great comedian in

920
00:53:07,880 --> 00:53:10,000
Speaker 1: New York named Ruby mccollist who has this great bit

921
00:53:10,040 --> 00:53:13,399
Speaker 1: about how obsessed teenage girls are with France because of

922
00:53:13,600 --> 00:53:16,440
Speaker 1: the romance that it implies, and like you know, like

923
00:53:16,520 --> 00:53:20,680
Speaker 1: the looping lid and the whole bit where I know

924
00:53:20,760 --> 00:53:24,600
Speaker 1: girls who dropped out of Spanish class and took French

925
00:53:24,719 --> 00:53:29,440
Speaker 1: because of this movie. Yeah like this, I mean, I

926
00:53:29,760 --> 00:53:35,600
Speaker 1: feel like French culture plus American teenage girls equals wet moisture.

927
00:53:37,320 --> 00:53:41,040
Speaker 1: That's what it boils down. Aristotle is gonna Killby's upset.

928
00:53:42,960 --> 00:53:44,920
Speaker 1: Can I just say that I wish that the insiding

929
00:53:44,960 --> 00:53:49,399
Speaker 1: incident instead of Princess Dies Death. I wish it had

930
00:53:49,440 --> 00:53:53,879
Speaker 1: been Emily seeing on the television a trailer for Titanic,

931
00:53:55,520 --> 00:54:00,120
Speaker 1: because that was that's what made her drop the thing,

932
00:54:00,360 --> 00:54:03,560
Speaker 1: and that's how she found the box. I think Princess

933
00:54:03,600 --> 00:54:06,760
Speaker 1: Dies Death was one of the first memories I ever

934
00:54:07,120 --> 00:54:12,440
Speaker 1: like clearly remember my mom weeping, yeah when that happened,

935
00:54:13,040 --> 00:54:16,160
Speaker 1: and my brother being there and a very tiny baby,

936
00:54:16,520 --> 00:54:18,680
Speaker 1: and he was probably weeping too because he was a baby,

937
00:54:18,760 --> 00:54:22,319
Speaker 1: not because he was a big fan of Princess. But

938
00:54:22,520 --> 00:54:25,759
Speaker 1: I'm interested in and I have truly no context. I

939
00:54:26,000 --> 00:54:28,560
Speaker 1: tried to do some research on what the motivation was

940
00:54:28,719 --> 00:54:31,360
Speaker 1: because this movie came out No. One. But it's set

941
00:54:30,640 --> 00:54:35,000
Speaker 1: in like the two weeks, and they give you the dates,

942
00:54:35,120 --> 00:54:38,600
Speaker 1: even like they repeating that they're repeating dates, and I

943
00:54:39,960 --> 00:54:43,000
Speaker 1: am not sure, like the way they talk about Princess Die.

944
00:54:43,120 --> 00:54:46,640
Speaker 1: There's one point where bird Bones gets piste off at

945
00:54:46,680 --> 00:54:50,000
Speaker 1: Lucienne and goes Princess d Princess Deep, and I'm just like,

946
00:54:50,040 --> 00:54:52,880
Speaker 1: why is he piste off about Princess Die? And like

947
00:54:52,960 --> 00:54:55,479
Speaker 1: does it have to do with like the death of

948
00:54:55,520 --> 00:54:58,399
Speaker 1: an icon? The death of a beautiful woman? I feel

949
00:54:58,440 --> 00:55:01,680
Speaker 1: like is referenced at one point where the news standlady

950
00:55:01,680 --> 00:55:04,440
Speaker 1: says something about like, oh, isn't it so sad she

951
00:55:04,520 --> 00:55:07,440
Speaker 1: was so beautiful and beautiful and then normally is like, oh,

952
00:55:07,480 --> 00:55:09,200
Speaker 1: what it would have been okay if she was old

953
00:55:09,239 --> 00:55:11,719
Speaker 1: and ugly? And then the new Standlady turns out it's

954
00:55:11,719 --> 00:55:14,399
Speaker 1: not a feminist icon because she's like, yeah, yeah, look

955
00:55:14,400 --> 00:55:16,759
Speaker 1: at mother Teresa, Like, is if like it? She looks

956
00:55:17,280 --> 00:55:20,120
Speaker 1: because she was old, right, she old, and she looks

957
00:55:20,160 --> 00:55:24,160
Speaker 1: like there is what she's saying. Yeah, I say, Mother

958
00:55:24,320 --> 00:55:31,719
Speaker 1: Teresa hot. Anyways, Yeah, that was That was something that

959
00:55:31,800 --> 00:55:35,319
Speaker 1: I totally forgot was a part of the narrative. But

960
00:55:35,320 --> 00:55:37,440
Speaker 1: it does. It comes up over and over. It is

961
00:55:37,480 --> 00:55:39,920
Speaker 1: the inciting incident of the movie to an extent, and

962
00:55:39,960 --> 00:55:42,600
Speaker 1: I couldn't exactly put my finger on why. I'd be

963
00:55:42,640 --> 00:55:44,719
Speaker 1: curious to know what the answer that is. Impair that

964
00:55:44,760 --> 00:55:48,239
Speaker 1: with like this artificial like clock that some people are

965
00:55:48,280 --> 00:55:51,719
Speaker 1: putting on Emily Like, yeah, it's I wonder if it's

966
00:55:51,760 --> 00:55:54,479
Speaker 1: something to do with that, And I don't know where.

967
00:55:54,480 --> 00:55:56,759
Speaker 1: It's like, oh, if you don't do something now with

968
00:55:56,840 --> 00:55:58,719
Speaker 1: your life, you might die in a car crash when

969
00:55:58,719 --> 00:56:01,840
Speaker 1: you're young. Yeah is that? Like I don't know. I

970
00:56:02,000 --> 00:56:04,640
Speaker 1: just like what they do. But also it's like, well

971
00:56:04,640 --> 00:56:07,479
Speaker 1: you better find a guy now when and that worked

972
00:56:07,520 --> 00:56:11,560
Speaker 1: out well for Princess Die. I don't know, it's it's

973
00:56:11,640 --> 00:56:14,400
Speaker 1: kind of all over the place. Now I have to

974
00:56:14,440 --> 00:56:17,440
Speaker 1: go home and watch a twelve hour documentary about Princess

975
00:56:17,480 --> 00:56:22,440
Speaker 1: Die Again done before I'll do it again. She's an

976
00:56:22,600 --> 00:56:29,040
Speaker 1: icon whatever great beanie baby loved the memorial Iconic Beanie Baby.

977
00:56:29,360 --> 00:56:31,560
Speaker 1: If only all of our lives could be boiled down

978
00:56:31,560 --> 00:56:34,480
Speaker 1: into one iconic beanie baby. I'm going to start designing

979
00:56:35,280 --> 00:56:40,520
Speaker 1: my memorial beanie baby. Now. Mine would be Paddington to

980
00:56:41,120 --> 00:56:46,479
Speaker 1: the Beanie Baby bear perfect. I don't even know. Mine

981
00:56:46,520 --> 00:56:49,160
Speaker 1: is just going to be a bean bag with a

982
00:56:49,200 --> 00:56:53,120
Speaker 1: little sad face and sharpiet. They remember those stuffed animals

983
00:56:53,160 --> 00:56:56,080
Speaker 1: that like, um, they're so big in the nineties. You

984
00:56:56,080 --> 00:56:58,920
Speaker 1: you open them up and there's a bunch of little

985
00:56:58,920 --> 00:57:02,160
Speaker 1: ones inside, So you're like performing a c section on

986
00:57:02,200 --> 00:57:05,640
Speaker 1: these stuffed animals? Am I making this up? I swear

987
00:57:05,680 --> 00:57:11,359
Speaker 1: to god? I remember, I don't remember expand the smell Crow.

988
00:57:11,680 --> 00:57:14,160
Speaker 1: What kind of animals was it? Like different dogs and

989
00:57:14,280 --> 00:57:16,360
Speaker 1: like unicorns, and you'd open them up and they're a

990
00:57:16,360 --> 00:57:19,680
Speaker 1: bunch of little ones inside. I said they were giving bird.

991
00:57:20,000 --> 00:57:22,840
Speaker 1: I guess, I don't know. I can really into a

992
00:57:22,920 --> 00:57:25,520
Speaker 1: couple of years ago, there were these these free app

993
00:57:25,560 --> 00:57:28,000
Speaker 1: games that I found just because I was like trolling

994
00:57:28,040 --> 00:57:30,800
Speaker 1: the app store, and they were like all these offbrand

995
00:57:30,800 --> 00:57:33,240
Speaker 1: app games where you can give a C section to,

996
00:57:33,320 --> 00:57:38,760
Speaker 1: like the characters in Frozen. There's some of the wild

997
00:57:38,800 --> 00:57:40,960
Speaker 1: I wonder if they're still online, because they were straight

998
00:57:41,040 --> 00:57:43,280
Speaker 1: up you were giving like what appeared to be a

999
00:57:43,360 --> 00:57:47,440
Speaker 1: pretty realistic C section where you would sedate Princess Elsa.

1000
00:57:48,240 --> 00:57:52,080
Speaker 1: She's extremely pregnant. It's crazy. You can give a C

1001
00:57:52,240 --> 00:57:57,160
Speaker 1: section to the snow man and a human white baby

1002
00:57:57,200 --> 00:58:01,760
Speaker 1: boy comes out no matter what you do. Every you

1003
00:58:01,840 --> 00:58:04,360
Speaker 1: give this no man a C section. He's pregnant with

1004
00:58:04,400 --> 00:58:11,240
Speaker 1: a Caucasian man. It's the man the way we I'm sorry,

1005
00:58:12,080 --> 00:58:15,200
Speaker 1: that's my memorial stuffed animal, though for sure, I want

1006
00:58:15,240 --> 00:58:18,439
Speaker 1: my memorials to be an app where you could give

1007
00:58:18,480 --> 00:58:24,600
Speaker 1: me but it looks very realist. If it turns out

1008
00:58:24,680 --> 00:58:28,400
Speaker 1: this isn't not a memory and just something psychologically terrible

1009
00:58:28,520 --> 00:58:34,480
Speaker 1: about me, no, I believe you. I swear everyone. If

1010
00:58:34,520 --> 00:58:39,040
Speaker 1: anyone's still playing the Frozen C Section games at me

1011
00:58:39,120 --> 00:58:41,920
Speaker 1: on Twitter. I forget the name of it. I'm afraid

1012
00:58:41,960 --> 00:58:44,920
Speaker 1: of what will happen if I search Frozen C Section online,

1013
00:58:44,960 --> 00:58:46,600
Speaker 1: so I'm not going to do that. But if you

1014
00:58:46,640 --> 00:58:48,840
Speaker 1: remember the name of the game, I'm pretty sure it

1015
00:58:48,920 --> 00:58:51,160
Speaker 1: was free I'm pretty sure that it was like one

1016
00:58:51,200 --> 00:58:52,840
Speaker 1: of those apps where you could tell they had like

1017
00:58:52,880 --> 00:58:56,560
Speaker 1: photoshopped a lot of like it looked too real. It

1018
00:58:56,600 --> 00:58:58,959
Speaker 1: looked too and the baby comes out, baby covered in goop.

1019
00:58:59,160 --> 00:59:01,160
Speaker 1: And then and then you gotta put a crown on

1020
00:59:01,200 --> 00:59:05,080
Speaker 1: it because it's royalty. Because I checked out as soon

1021
00:59:05,080 --> 00:59:07,480
Speaker 1: as you said frozen c section because that just sounds

1022
00:59:07,480 --> 00:59:10,240
Speaker 1: like the aisle at the grocery store, where like the

1023
00:59:10,360 --> 00:59:15,040
Speaker 1: frozen seafood is. This is gonna derail my fucking day.

1024
00:59:15,120 --> 00:59:18,360
Speaker 1: I have I have things I have to do, and

1025
00:59:17,640 --> 00:59:21,160
Speaker 1: now I just started playing the frozen c section game again.

1026
00:59:22,400 --> 00:59:25,080
Speaker 1: All right, Well, let's get back on track and Emily,

1027
00:59:25,200 --> 00:59:27,400
Speaker 1: is there any final thoughts anyone has about the movie?

1028
00:59:28,160 --> 00:59:33,640
Speaker 1: As far as Emily as a character and her character development,

1029
00:59:33,680 --> 00:59:36,880
Speaker 1: I think it's better than a lot of movies we

1030
00:59:37,360 --> 00:59:40,840
Speaker 1: see because we at least have a very clear understanding

1031
00:59:40,840 --> 00:59:42,840
Speaker 1: of what her personality is like. We know a lot

1032
00:59:42,880 --> 00:59:45,120
Speaker 1: of her corks, we know a lot of her backstory.

1033
00:59:45,800 --> 00:59:50,960
Speaker 1: We see her and her personality having an effect on

1034
00:59:51,080 --> 00:59:54,120
Speaker 1: this story and having an effect on the decisions she

1035
00:59:54,200 --> 00:59:57,080
Speaker 1: makes and how she approaches things. Um, A lot of

1036
00:59:57,080 --> 00:59:59,800
Speaker 1: movies don't bother to develop their female characters enough for

1037
01:00:00,000 --> 01:00:02,240
Speaker 1: we would see stuff like that. So I actually I

1038
01:00:02,240 --> 01:00:06,520
Speaker 1: think her character development is better than a lot of

1039
01:00:06,520 --> 01:00:09,840
Speaker 1: movies we've seen. But because the bar is so low,

1040
01:00:09,920 --> 01:00:14,600
Speaker 1: that doesn't necessarily mean that the character development is superb, right,

1041
01:00:14,880 --> 01:00:17,520
Speaker 1: But I think and it's and maybe this is like

1042
01:00:17,560 --> 01:00:20,479
Speaker 1: it has to do with it not being cut and dry,

1043
01:00:20,680 --> 01:00:24,320
Speaker 1: kind of boring American movie, that it is like what

1044
01:00:24,400 --> 01:00:27,479
Speaker 1: we that we do see changes in Emily. We don't

1045
01:00:27,480 --> 01:00:31,680
Speaker 1: see her go from flawed to unflawed, which for a

1046
01:00:31,720 --> 01:00:34,680
Speaker 1: story about twenty three year old woman, makes sense. Like

1047
01:00:34,960 --> 01:00:37,640
Speaker 1: at the end, she's not gonna be like I've figured

1048
01:00:37,680 --> 01:00:41,320
Speaker 1: it out, I'm good. So in that way, it's like, okay, cool.

1049
01:00:41,400 --> 01:00:44,560
Speaker 1: But but yeah, the way that the story, the place

1050
01:00:44,600 --> 01:00:48,720
Speaker 1: they leave us with self improvement equals boyfriend, eventually it

1051
01:00:48,840 --> 01:00:53,840
Speaker 1: just is like not good. Uh. We hinted that the

1052
01:00:54,000 --> 01:00:59,000
Speaker 1: movie does pass the backdult test. She does have a

1053
01:00:59,000 --> 01:01:02,960
Speaker 1: lot of conversations with the other female characters like Susan

1054
01:01:03,400 --> 01:01:07,880
Speaker 1: and Jit and Gina. The first the first time I

1055
01:01:07,920 --> 01:01:10,360
Speaker 1: noticed it passing was with her mom. Oh yes, because

1056
01:01:10,360 --> 01:01:13,200
Speaker 1: she's teaching her some grammar lessons and stuff like that. Yes,

1057
01:01:13,600 --> 01:01:16,920
Speaker 1: a lot of the conversations are about men or men

1058
01:01:17,000 --> 01:01:20,280
Speaker 1: get mentioned in them. But because of our version of

1059
01:01:20,280 --> 01:01:22,240
Speaker 1: the test where just has to be a two line

1060
01:01:22,280 --> 01:01:26,000
Speaker 1: exchange between two women and a man is not mentioned,

1061
01:01:26,440 --> 01:01:30,200
Speaker 1: there are several of those. Tons of the conversations in

1062
01:01:30,200 --> 01:01:33,000
Speaker 1: this movie between women, Oh man will get mentioned, or

1063
01:01:33,040 --> 01:01:34,760
Speaker 1: the whole conversation is about a man. So it does

1064
01:01:34,800 --> 01:01:39,880
Speaker 1: not necessarily pass super handily if you're comparing conversations about

1065
01:01:40,240 --> 01:01:43,640
Speaker 1: men to not. It was more isolated incident than I

1066
01:01:43,680 --> 01:01:46,880
Speaker 1: would have thought. Yes, especially the movie with so many

1067
01:01:46,920 --> 01:01:50,400
Speaker 1: women in it. At one point that Gina and Georgiette

1068
01:01:50,520 --> 01:01:54,280
Speaker 1: leaning to have a conversation and Joseph speaks into his

1069
01:01:54,360 --> 01:01:58,840
Speaker 1: tape recorder blatant female conspiracy, that was just like the

1070
01:01:59,080 --> 01:02:03,440
Speaker 1: perfect en cap is right, Joseph. I mean, the Joseph

1071
01:02:03,680 --> 01:02:05,960
Speaker 1: plotline for me is by far the worst part of

1072
01:02:06,000 --> 01:02:09,680
Speaker 1: this movie. Yeah. God, I just hate especially when movies

1073
01:02:09,720 --> 01:02:12,000
Speaker 1: are directed at teenage girls. I just feel like uber

1074
01:02:12,040 --> 01:02:14,600
Speaker 1: sensitive to like, oh, you're just telling them all the

1075
01:02:14,640 --> 01:02:16,960
Speaker 1: wrong things here, and it takes too long for the movie.

1076
01:02:17,000 --> 01:02:20,600
Speaker 1: The past judgment on it bugs me. Yeah, I think

1077
01:02:20,920 --> 01:02:23,360
Speaker 1: also the reason one of the reasons the movie doesn't

1078
01:02:23,440 --> 01:02:27,240
Speaker 1: pass the test better is that we already touched on this,

1079
01:02:27,280 --> 01:02:32,160
Speaker 1: but like she has female acquaintances and colleagues, but no

1080
01:02:32,240 --> 01:02:35,760
Speaker 1: real female friendships that we see. All of her kind

1081
01:02:35,760 --> 01:02:38,360
Speaker 1: of close friendships are either with the guy with brittle bones,

1082
01:02:39,000 --> 01:02:42,919
Speaker 1: her pal Lucien at the market, her dad, Like all

1083
01:02:42,960 --> 01:02:46,840
Speaker 1: of the more meaningful relationships she has are all with men.

1084
01:02:47,120 --> 01:02:50,560
Speaker 1: So she's a guy gal. She's a guys gale. So

1085
01:02:50,760 --> 01:02:53,920
Speaker 1: when she is talking to women, it's usually because she's

1086
01:02:53,960 --> 01:02:57,600
Speaker 1: tricking them into thinking a random creep at the coffee

1087
01:02:57,720 --> 01:03:02,360
Speaker 1: shop that they work at likes her. So that's frustrating.

1088
01:03:04,800 --> 01:03:08,760
Speaker 1: So Emily holds up better than I would have thought.

1089
01:03:09,040 --> 01:03:11,640
Speaker 1: I definitely think she could have benefited from a female friend.

1090
01:03:11,680 --> 01:03:13,840
Speaker 1: I don't know exactly why we had to kill her

1091
01:03:13,880 --> 01:03:17,479
Speaker 1: mom other than that's a funny, like the jokey way

1092
01:03:17,520 --> 01:03:20,360
Speaker 1: that they kill her off. But it's like, Okay, that's

1093
01:03:20,400 --> 01:03:22,600
Speaker 1: such huge consequences on the story that it's like that

1094
01:03:22,680 --> 01:03:24,960
Speaker 1: can't just be like a random decision that's made and

1095
01:03:25,040 --> 01:03:27,320
Speaker 1: it never really comes up again. Yeah, that doesn't pay,

1096
01:03:28,080 --> 01:03:33,640
Speaker 1: Like that's never referenced after it just it just becomes like, well,

1097
01:03:33,680 --> 01:03:35,920
Speaker 1: that's why there's no mom, and that's and her dad

1098
01:03:36,040 --> 01:03:41,400
Speaker 1: is probably more introverted than he was before. Um shall

1099
01:03:41,440 --> 01:03:44,840
Speaker 1: we rank, let's rank. Let's right. Um, we've got our

1100
01:03:44,880 --> 01:03:47,240
Speaker 1: nipple scales your to five nipples. Based on its portrayal

1101
01:03:47,240 --> 01:03:51,040
Speaker 1: of women, I'm gonna land somewhere around a two or

1102
01:03:51,120 --> 01:03:56,440
Speaker 1: two and a half. Because it's a fairy tale. I

1103
01:03:56,480 --> 01:03:58,800
Speaker 1: think that you could use that to excuse a lot

1104
01:03:58,840 --> 01:04:00,680
Speaker 1: of the things that happen and a lot of the

1105
01:04:00,720 --> 01:04:05,000
Speaker 1: choices that are made, such as the super unrealistic portrayal

1106
01:04:05,200 --> 01:04:09,600
Speaker 1: of romantic relationships. But I'm tired of using that as

1107
01:04:09,640 --> 01:04:12,600
Speaker 1: an excuse because it turns out fairy tales don't treat

1108
01:04:12,640 --> 01:04:15,880
Speaker 1: women well, and fairy tales do not like prepare you

1109
01:04:15,960 --> 01:04:20,120
Speaker 1: for a healthy life. Right. Remember that Disney Princess roast

1110
01:04:20,160 --> 01:04:22,360
Speaker 1: we did where we realized both of our characters are

1111
01:04:22,720 --> 01:04:24,680
Speaker 1: just horrible things happen to them, and they have no

1112
01:04:24,760 --> 01:04:27,720
Speaker 1: We have no personality to build up. There's nothing. Oh yeah, yeah, yeah,

1113
01:04:27,760 --> 01:04:29,800
Speaker 1: Because well because you were so and I was Cinderella,

1114
01:04:29,840 --> 01:04:33,160
Speaker 1: and we were both at an extreme disadvantage we had

1115
01:04:33,480 --> 01:04:36,200
Speaker 1: we had the oldest movies, so we had no personality. No,

1116
01:04:37,240 --> 01:04:40,360
Speaker 1: we looked great though, Oh of course, that's what's important.

1117
01:04:40,640 --> 01:04:43,280
Speaker 1: I'm sorry, it's it's all these fairy tales I took

1118
01:04:43,280 --> 01:04:47,360
Speaker 1: in as a trial, right, So there's that. But she

1119
01:04:47,400 --> 01:04:51,360
Speaker 1: does have she has agency, although she goes to very

1120
01:04:51,400 --> 01:04:54,680
Speaker 1: extreme lengths to get what she wants. We didn't touch

1121
01:04:54,720 --> 01:04:56,480
Speaker 1: on this that much, but I do want to just

1122
01:04:56,520 --> 01:04:58,560
Speaker 1: acknowledge that I feel like mental illness is treated in

1123
01:04:58,560 --> 01:05:01,480
Speaker 1: a very weird way in this movie, to the to

1124
01:05:01,520 --> 01:05:04,200
Speaker 1: the point where I don't I wouldn't even know how

1125
01:05:04,240 --> 01:05:08,160
Speaker 1: to approach that discussion because it's not spoken about at all.

1126
01:05:08,240 --> 01:05:10,640
Speaker 1: But there's some like indications we see of it that

1127
01:05:10,680 --> 01:05:14,680
Speaker 1: are sort of either dismissed as quirky or I don't

1128
01:05:14,680 --> 01:05:16,840
Speaker 1: know there it was just like a very uncanny it

1129
01:05:16,920 --> 01:05:19,160
Speaker 1: didn't I think that's why I had such a bad

1130
01:05:19,200 --> 01:05:21,320
Speaker 1: reaction to it. Actually, know that you're saying that, like

1131
01:05:21,800 --> 01:05:26,960
Speaker 1: people are simultaneously fetishizing and chastising Emily's mental illness. Yea,

1132
01:05:27,240 --> 01:05:30,520
Speaker 1: And fucking dudes who would suggest you watch Emily will

1133
01:05:30,520 --> 01:05:34,200
Speaker 1: probably do that like to you. Yeah, Yeah, that's I

1134
01:05:34,200 --> 01:05:36,640
Speaker 1: think that's exactly why it's not really Emily that I

1135
01:05:36,680 --> 01:05:39,280
Speaker 1: have a problem with. It's same way like a manic

1136
01:05:39,280 --> 01:05:42,920
Speaker 1: pixie dream girl character. Fine, but that reflects on so

1137
01:05:43,040 --> 01:05:46,440
Speaker 1: much exactly. Yeah, the people who are like drawn to

1138
01:05:46,520 --> 01:05:50,480
Speaker 1: and exploit Like, yeah, it's not. That's why it becomes

1139
01:05:50,480 --> 01:05:53,920
Speaker 1: the responsibility of filmmakers and storytellers that if you do

1140
01:05:54,000 --> 01:05:56,440
Speaker 1: want to tell a story about a character like that,

1141
01:05:56,520 --> 01:05:58,680
Speaker 1: you have to frame them in a way that like,

1142
01:05:59,240 --> 01:06:01,200
Speaker 1: then you don't have these fucking idiots who are watching

1143
01:06:01,200 --> 01:06:04,200
Speaker 1: this being like, oh I think you would look watching

1144
01:06:04,280 --> 01:06:10,040
Speaker 1: because you like, is there responsibility to like responsibly frame

1145
01:06:10,400 --> 01:06:14,400
Speaker 1: characters and frame mental illness and things like that so

1146
01:06:14,480 --> 01:06:17,920
Speaker 1: that the viewer gets the right message right. And it

1147
01:06:18,080 --> 01:06:19,760
Speaker 1: is like when I got when a guy does say,

1148
01:06:19,760 --> 01:06:22,960
Speaker 1: oh you'd love Emily, they're making a specific comment about

1149
01:06:22,960 --> 01:06:25,880
Speaker 1: how they view you, and it is not actually very complimented.

1150
01:06:27,200 --> 01:06:30,240
Speaker 1: So as someone who has received a similar like oh

1151
01:06:30,280 --> 01:06:33,560
Speaker 1: you probably would love that, I was like, um, fuck off,

1152
01:06:34,760 --> 01:06:41,680
Speaker 1: my favorite movie is Doubt You Can. So, yeah, I

1153
01:06:41,720 --> 01:06:44,080
Speaker 1: think I'm gonna I'm gonna go with a two nipple

1154
01:06:44,240 --> 01:06:49,160
Speaker 1: rating because even though she her character development is decent,

1155
01:06:49,640 --> 01:06:52,360
Speaker 1: all of her motivations and all of her friendships and

1156
01:06:52,400 --> 01:06:57,080
Speaker 1: pretty much her entire world is centered around male characters,

1157
01:06:57,560 --> 01:07:01,280
Speaker 1: and she is like interest it in self improvement or

1158
01:07:01,320 --> 01:07:03,520
Speaker 1: maybe it's not even sure if she is or not.

1159
01:07:03,560 --> 01:07:05,640
Speaker 1: That's what ends up happening, but it's hard to say

1160
01:07:05,680 --> 01:07:09,600
Speaker 1: if that's an actual goal of hers. But that happens

1161
01:07:09,920 --> 01:07:12,200
Speaker 1: because a man helps her get there, and then the

1162
01:07:12,280 --> 01:07:15,360
Speaker 1: reward of her like fixing herself a little bit, is

1163
01:07:15,720 --> 01:07:19,600
Speaker 1: a man. So I think not watching it through the

1164
01:07:19,600 --> 01:07:22,640
Speaker 1: Bechtel cast lens, I think the movie does hold up

1165
01:07:22,760 --> 01:07:24,640
Speaker 1: for a movie that came out in two thousand one

1166
01:07:24,800 --> 01:07:27,520
Speaker 1: better than we expected, but when we are looking at

1167
01:07:27,520 --> 01:07:31,120
Speaker 1: it through this lens, it's not great. So that's why

1168
01:07:31,120 --> 01:07:32,960
Speaker 1: it's a two nipples from me. I'm going to give

1169
01:07:33,000 --> 01:07:35,640
Speaker 1: my nipples. One goes to the cat, whose name we

1170
01:07:35,800 --> 01:07:38,600
Speaker 1: never find out, so if she bigs to the cat,

1171
01:07:38,680 --> 01:07:41,920
Speaker 1: it cannot pass the Bechtel test uh. And then the

1172
01:07:41,960 --> 01:07:47,200
Speaker 1: other nipple, I'm gonna give it to Gina, Emily's colleague

1173
01:07:47,240 --> 01:07:50,240
Speaker 1: in the cafe, because I think she was robbed a

1174
01:07:50,240 --> 01:07:52,880
Speaker 1: bit by the narrative. More could have happened with her

1175
01:07:53,040 --> 01:07:56,560
Speaker 1: she had. There's potential for that to be a better situation,

1176
01:07:56,640 --> 01:08:01,439
Speaker 1: better character, better storyline, what have you. I guess I'll

1177
01:08:01,440 --> 01:08:04,320
Speaker 1: go to as well, but we always go at the

1178
01:08:04,360 --> 01:08:06,600
Speaker 1: same But it's but two does sound right for this,

1179
01:08:06,640 --> 01:08:09,240
Speaker 1: which is always on the same page, which is so

1180
01:08:09,560 --> 01:08:13,920
Speaker 1: in love, which is the reward we got for working

1181
01:08:13,960 --> 01:08:18,560
Speaker 1: on our side. But yeah, I I'd give it to

1182
01:08:18,800 --> 01:08:22,000
Speaker 1: as well because it's like with Emily, we do like

1183
01:08:22,040 --> 01:08:24,840
Speaker 1: you're saying, she does make progress as a person. That

1184
01:08:25,000 --> 01:08:28,040
Speaker 1: is nice to see. The progress is a result of

1185
01:08:28,080 --> 01:08:30,680
Speaker 1: her own choices. For the most party, she does have

1186
01:08:30,720 --> 01:08:32,920
Speaker 1: a lot of agency. I just think that this movie

1187
01:08:32,960 --> 01:08:35,599
Speaker 1: is kind of harmful in that it can be used

1188
01:08:35,600 --> 01:08:39,480
Speaker 1: as a blueprint. First, I'm not so healthy interpersonal behaviors

1189
01:08:39,880 --> 01:08:43,040
Speaker 1: for young people. As a young person who did like

1190
01:08:43,360 --> 01:08:46,439
Speaker 1: ape this behavior, Yeah, I don't like it. I don't

1191
01:08:46,439 --> 01:08:48,599
Speaker 1: like the way that it treats mental illness. I don't

1192
01:08:48,600 --> 01:08:51,960
Speaker 1: like the way it treats Gina. I'm going to give

1193
01:08:52,040 --> 01:08:57,080
Speaker 1: one of my nippies to Lucien because I really love him,

1194
01:08:57,560 --> 01:09:01,519
Speaker 1: and I'm going to give my other nippy to Prison's

1195
01:09:01,560 --> 01:09:07,599
Speaker 1: die friends in Paradise. Two nipples great, I'm gonna bisect

1196
01:09:07,640 --> 01:09:09,080
Speaker 1: a nipple right in half and give it two and

1197
01:09:09,120 --> 01:09:12,680
Speaker 1: a half nipples. Yeah, I'm giving a one nipple too.

1198
01:09:12,800 --> 01:09:15,960
Speaker 1: I think Gina to she she deserves better. She does.

1199
01:09:17,200 --> 01:09:20,479
Speaker 1: People are endorsing her being stalked, which is just someone

1200
01:09:20,520 --> 01:09:24,080
Speaker 1: in the comedy community not fun to watch. And then

1201
01:09:24,439 --> 01:09:30,960
Speaker 1: there's that and then Eva cool definitely giving her a nipple,

1202
01:09:31,040 --> 01:09:34,920
Speaker 1: and half nipple goes to Emily. Well, there you go, Gang,

1203
01:09:34,960 --> 01:09:41,320
Speaker 1: we did it. We did France, the backt Cost Conquerors France. Hannah,

1204
01:09:41,360 --> 01:09:43,280
Speaker 1: thank you so much for being here, Thank you for

1205
01:09:43,320 --> 01:09:46,000
Speaker 1: having me. Where can people follow you online? What would

1206
01:09:46,000 --> 01:09:48,760
Speaker 1: you like to plug? I would like to plug a

1207
01:09:48,760 --> 01:09:53,519
Speaker 1: book I wrote with Alex Fere who loves Emily X.

1208
01:09:54,360 --> 01:09:56,720
Speaker 1: But it's called mom Presents. I think these guys are

1209
01:09:56,720 --> 01:09:59,360
Speaker 1: hot stuff and it's like kind of a cross between

1210
01:09:59,560 --> 01:10:02,599
Speaker 1: um like a Christmas letter from a mom to her

1211
01:10:02,680 --> 01:10:06,599
Speaker 1: daughter and Maxim magazine, or like a playgirl. It's so funny.

1212
01:10:07,960 --> 01:10:10,800
Speaker 1: It was really fun to write. The reason we wrote

1213
01:10:10,840 --> 01:10:13,720
Speaker 1: is because we were walking from a target and we

1214
01:10:13,880 --> 01:10:17,599
Speaker 1: saw a guy who was just buying tissues and energy drinks,

1215
01:10:18,120 --> 01:10:21,559
Speaker 1: and so we write about this guy and then it

1216
01:10:21,640 --> 01:10:26,800
Speaker 1: just became a series of profiles of weird dudes. And

1217
01:10:27,080 --> 01:10:29,479
Speaker 1: you can follow me on Twitter at Hannah Michael's which

1218
01:10:29,520 --> 01:10:31,360
Speaker 1: is spelled h A n A m I c h

1219
01:10:31,479 --> 01:10:34,960
Speaker 1: E l S. I'm on Google Herble. But good luck. Well,

1220
01:10:35,040 --> 01:10:39,800
Speaker 1: we'll help people find you. Don't we'll help people find you,

1221
01:10:40,160 --> 01:10:43,880
Speaker 1: and then they can show up at the cafe every

1222
01:10:43,920 --> 01:10:48,519
Speaker 1: single day with their tape or corner. Hey. Hey. You

1223
01:10:48,560 --> 01:10:52,360
Speaker 1: can follow the Batchel Cast on social media platforms such

1224
01:10:52,400 --> 01:10:55,160
Speaker 1: as Twitter, Instagram, and Facebook. You can go to our

1225
01:10:55,200 --> 01:10:57,559
Speaker 1: website back toelcast dot com. You can tweet at us,

1226
01:10:57,560 --> 01:11:00,120
Speaker 1: you can email us. You can buy our mer ur.

1227
01:11:00,640 --> 01:11:03,639
Speaker 1: You can subscribe to our Patreon, which is five dollars

1228
01:11:03,640 --> 01:11:06,480
Speaker 1: a month and it gets you two extra bonus episodes

1229
01:11:06,520 --> 01:11:08,519
Speaker 1: that no one else can get unless you're a matron.

1230
01:11:09,600 --> 01:11:13,960
Speaker 1: And you can ignore the harmful messages that movies like

1231
01:11:14,000 --> 01:11:17,120
Speaker 1: Emily send out that you're just going to fall in

1232
01:11:17,160 --> 01:11:19,680
Speaker 1: love with someone who you've never actually met or spoken with,

1233
01:11:20,120 --> 01:11:23,360
Speaker 1: but because you're both a little whimsical, you're actually destined

1234
01:11:23,400 --> 01:11:25,439
Speaker 1: to be together. Instead, I say you should become a

1235
01:11:25,439 --> 01:11:29,840
Speaker 1: woman in STEMP by downloading the c section out and

1236
01:11:29,920 --> 01:11:34,519
Speaker 1: you're basically assert and you're halfway there. Uh well, thanks

1237
01:11:34,560 --> 01:11:39,439
Speaker 1: for being here, Hannah. I have a few surgery instinct's

1238
01:11:39,479 --> 01:11:43,240
Speaker 1: o'clock and tonight, but thanks for listening. Gang