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

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

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Speaker 1: or do they have individualism? The patriarchy? Zef in best

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Speaker 1: start changing it with the beck Del Cast. Hey, Jamie, Hey, Caitlin,

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Speaker 1: my Sharona is playing Turn it Up and Let's dance. Caitlin,

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Speaker 1: did you know that My Sharona is a song about

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Speaker 1: an underage girl? I did not know that, like extremely underage,

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Speaker 1: like thirteen. Yikes. Well, well, welcome to the Bechdel Cast.

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Speaker 1: That was my That's one of my favorite bubbles to burst.

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Speaker 1: Not because but that was something I learned while I

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Speaker 1: was making Lolita podcast, because I was just making a

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Speaker 1: superlist of popular songs that are actually about exploiting young women.

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Speaker 1: And My Sharona is I mean, look, if you want

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Speaker 1: to pause the podcast and take a gander at the lyrics,

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Speaker 1: be my guest, but it is, uh, it is a

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Speaker 1: rough road. My my dad. That was one of my

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Speaker 1: dad's favorite songs. And I was like, Dad, you gotta

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Speaker 1: you gotta take a peep at these lyrics, and he

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Speaker 1: was like, oh my, oh my. Now look this is

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Speaker 1: just a sampling of one of the elements of culture

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Speaker 1: that maybe don't age very well. Welcome to the Bexel Cast.

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Speaker 1: My name is Jamie Lofts and my name is Caitlin Durante.

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Speaker 1: And this is a podcast where basically we take media

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Speaker 1: that you love and point out everything that's wrong with

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Speaker 1: it from an intersectional feminist lens. I think that's a

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Speaker 1: little harsh. We we take a look at it from

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Speaker 1: an intersexual fevtist lens. We're not a part of the

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Speaker 1: ruin everything culture. We take a look at things that

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Speaker 1: just happens sometimes as a byproduct of what we do,

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Speaker 1: because a lot of things kind of just ruined themselves.

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Speaker 1: I guess so is that fair to say anyway? Um So,

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Speaker 1: we used the Bechtel Test as a jumping off point

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Speaker 1: to initiate a larger conversation. And the Bechtel Test, of course,

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Speaker 1: is a media metric created by queer cartoonist Alison Becktel,

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Speaker 1: sometimes called the Bechtel Wallace Test, originally conceived as a

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Speaker 1: just kind of one off joke in a comic by

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Speaker 1: Alison Becktel called Begs to Watch Out for Uh, and

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Speaker 1: has since been kind of repurposed as this media metric.

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Speaker 1: There are many versions of it, the one that we

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Speaker 1: use requires that two people of a marginalized gender who

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Speaker 1: have names must speak to each other, and their conversation

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Speaker 1: has to be about something other than a man, and

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Speaker 1: ideally it's a narratively meaningful conversation. Oh yeah, oh yeah.

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Speaker 1: And today we have a long time request with a

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Speaker 1: much beloved guest, so let's get to it. We're covering

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Speaker 1: reality bites directed by one bend Still are written by

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Speaker 1: one Helen child Dress Childress. Don't know, sure, don't know,

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Speaker 1: and we'll never know. And that's on in hernalized misogynt

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Speaker 1: we know how to pronounce Ben Stiller's name makes you think, okay,

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Speaker 1: uh so look at her wonderful returning guests in here. Indeed,

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Speaker 1: she is the host of the podcast There Are No

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Speaker 1: Girls on the Internet. She's the host of the new

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Speaker 1: podcast Internet Hate Machine on cool Zone Media. Check it out.

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Speaker 1: And do you remember her from our episode on Eve's

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Speaker 1: by You. It's Bridget Todd. I'm so excited to be here.

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Speaker 1: Thank you for having me, Thank you for bringing us

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Speaker 1: reality bites. I'm very excited, too excited. Did did to

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Speaker 1: discuss us us us this movie? Um that you have

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Speaker 1: brought us? I feel like This movie is very often

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Speaker 1: held up as like this is the gen X movie, which,

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Speaker 1: as many you know, and we can bitch all day

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Speaker 1: about jen X and we will, but I will say

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Speaker 1: it must suck as a generation to be told like

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Speaker 1: this is you when you like it or not. Like,

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Speaker 1: I don't think that millennials really have a movie that

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Speaker 1: is like made like this is your defining thing. I

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Speaker 1: think I would resent it on. I would just resent

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Speaker 1: it automatically. So to our gen X listeners, whether you

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Speaker 1: like this movie or or not, I think it's just

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Speaker 1: I feel like it's the only generation I know of

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Speaker 1: that is like, there's one movie about gen X and

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Speaker 1: it involves one of the most toxic relationships I've ever seen.

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Speaker 1: Committed to film. Oh, brother, um that said, I'm excited

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Speaker 1: to discuss this movie. There were elements of it I

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Speaker 1: liked very much. So bridget to kick us off. What

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Speaker 1: is your history with reality bites? Oh, I have a

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Speaker 1: long history with this movie. That's why I suggested it.

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Speaker 1: I loved it when I first saw it. I saw

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Speaker 1: it as a young person, maybe I saw it in

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Speaker 1: high school. I even had the soundtrack that I bought

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Speaker 1: from the Salvation Army, which the soundtracks, slaps sound it

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Speaker 1: really is. Yeah. I loved it, And I also think

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Speaker 1: it was a movie that when I was young in

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Speaker 1: the suburbs, I thought, when I'm an adult, this my

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Speaker 1: life is gonna be like this. It's gonna be cool,

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Speaker 1: creative young people hanging around in a group house, you know,

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Speaker 1: smoking weed out of cans and quitting with each other.

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Speaker 1: It really presented a life that I found aspirational at

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Speaker 1: the time. And it's funny because watching it now, I'm like,

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Speaker 1: thank God, that wasn't my eye. Yeah, not a great

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Speaker 1: fate as it turns out. Jamie. What is your relationship

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Speaker 1: in history with this movie? Um, I don't have much

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Speaker 1: of history with it. I had never seen it before.

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Speaker 1: It never really never came across my desk as a youth.

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Speaker 1: I have worked with one of the producers of this

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Speaker 1: movie before, Stacy Shure. She's really really awesome. So I'm

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Speaker 1: coming in a little bit biased here because I just

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Speaker 1: think that she's like championed so many movies that centerr

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Speaker 1: women and queer stories, and like she She's done a

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Speaker 1: lot of really really cool work. But I never actually

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Speaker 1: like sat with this movie before and watched it, and

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Speaker 1: honestly I was coming in thinking maybe I wouldn't like

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Speaker 1: it very much at all. They're definitely like I mean,

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Speaker 1: I think that this movie, like I didn't know much

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Speaker 1: about the history. I didn't know it was like written

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Speaker 1: by a young woman that is like very much pulling

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Speaker 1: from her own experience, which I think is really cool

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Speaker 1: and especially in would have been super rare. And then

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Speaker 1: just like I don't know. I mean, my main issue

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Speaker 1: with this movie, which I'm sure we'll be talking about,

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Speaker 1: is it's like hyper focus on this shitty relationship that

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Speaker 1: I mean, and amongst other things. But it felt like

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Speaker 1: there were a lot of things that that this movie

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Speaker 1: was commenting on that even when characters sucked, they sucked

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Speaker 1: contextually in a way that felt like there's a lot

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Speaker 1: of satire and a lot of commentary on like why

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Speaker 1: people are making the choices they are, Like no characters

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Speaker 1: goats completely uncriticized by the movie except for like this

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Speaker 1: relationship that I just have Like oh um, But but

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Speaker 1: I'm very excited to talk about it. I feel like

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Speaker 1: there's a lot of it resonated more than I was

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Speaker 1: expecting it too. For me, Caitlin, what is your history

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Speaker 1: with reality bites? I Honestly, I am not sure if

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Speaker 1: I had seen it before, because there were parts that

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Speaker 1: were very familiar to me, the my Sharonas scene in particular.

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Speaker 1: I that scene is really fun. It is. But what

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Speaker 1: I remember even more than them dancing to that song

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Speaker 1: was the line where they're like, Avian is naive spelled backwards.

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Speaker 1: I don't know why Corny jed x line. Ever, why

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Speaker 1: did I remember that so much? I'm not sure. I

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Speaker 1: think there's a very real possibility that I had only

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Speaker 1: ever seen that seen probably from that movie Trivia Game.

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Speaker 1: Seen it, Oh my god, And that's just why I

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Speaker 1: remember seeing it. That's the millennials true movie. Oh yeah,

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Speaker 1: Oh you just a lot to memory for me of

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Speaker 1: how much I love seen it and I haven't played

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Speaker 1: it in years seen it kind of rules. Yeah, oh yeah,

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Speaker 1: that's so much cultural osmosis. Um. Maybe that maybe I

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Speaker 1: had seen that scene that way too. Also, this is

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Speaker 1: like Janine Garofolo being I was like, that's the true

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Speaker 1: harbinger of of a gen x um classic. Is like

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Speaker 1: Jennine Garofolo in a supporting role. Yeah, we've done it.

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Speaker 1: That's how you know. Um. But yeah, the rest of

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Speaker 1: the movie wasn't super familiar to me, so I think

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Speaker 1: I had actually seen the whole thing, and it was

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Speaker 1: just that scene in the gas station that I saw

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Speaker 1: and then thought I had seen the whole movie. I'm

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Speaker 1: not really sure. So, yeah, not super familiar with this movie.

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Speaker 1: But but there's a lot to talk about there is

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Speaker 1: This is not the primary thing to talk about. But

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Speaker 1: I didn't know Steve Zon was in this movie, and

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Speaker 1: as a known Zon head, I was like, who, well, well,

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Speaker 1: look who we have here, Stevenson. I love Stevenson so much.

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Speaker 1: The fact that anyone would say in a movie that

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Speaker 1: no one wants to have sex with Steve Zon, I'm like,

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Speaker 1: you're gonna want to check your notes on that one.

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Speaker 1: I do love Steve Zon. Do you remember when he

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Speaker 1: played the cat Stewart a little? Of course. I remember

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Speaker 1: when he played Stewart Little. Yeah. He played Nathan Lane's

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Speaker 1: best friend and his only line was snow volume of

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Speaker 1: best friend. God, he's so delightful. It's such a delight

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Speaker 1: when he like, no one's ever sad to see Steve's on.

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Speaker 1: He's what was your Is that your favorite Steve's on movie?

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Speaker 1: Stewart Little Yes. I'm trying to think of where I

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Speaker 1: first fell in love with steve 'son, it would have

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Speaker 1: been I remember this is I don't think where I

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Speaker 1: fell in love with him, But he was in a

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Speaker 1: Christen Early Christen Stewart movie called Speak, which is about

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Speaker 1: a very traumatic it's very traumatic, but Steve's On plays

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Speaker 1: the nice teacher of a middle schooler who experiences pretty

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Speaker 1: horrific abuse. And so Steve's On, You're like, oh, nice,

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Speaker 1: Mr He's just always Mr Nice. He's always Mr Nice?

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Speaker 1: Is Mr Nice? He cannot play a villain. Um, I've

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Speaker 1: accept in White Lotos, where he definitely does. Oh that's

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Speaker 1: I didn't finish that series. Um. I first saw him

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Speaker 1: in the movie joy Ride. What's that? It's basically a

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Speaker 1: remake of the movie Duel where a scary truck driver

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Speaker 1: terrorizes Steve's On, Paul Walker and Lely Sobieski And it's

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Speaker 1: pretty cool. What else is Stevenson is also and You've

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Speaker 1: Got Mail? I think maybe that's the last time I

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Speaker 1: got thrilled to see him on the show in a

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Speaker 1: movie I had. The Whites did not like. It's funny.

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Speaker 1: I'm looking at his IMDb reality bites. Was only that

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Speaker 1: like the fourth movie he had ever been in he

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Speaker 1: was in an episode of All My Children, a movie,

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Speaker 1: a TV movie called First Love, Fatal Love, another movie

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Speaker 1: called Rain Without Thunder, an episode of a show called

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Speaker 1: South Beach, and then reality bites like that was his

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Speaker 1: This was like early Steve's On. This was his break,

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Speaker 1: this big break. I read that because the casting process,

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Speaker 1: for I mean, the production of this movie is just

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Speaker 1: like wild in general. But I read that Ethan Hawk

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Speaker 1: had just like done a play with Steve's on and

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Speaker 1: was like, he's cool for human and then Steve's on

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Speaker 1: being Mr nice Um was really enthusiastic about playing a

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Speaker 1: queer character who is like who comes out of the

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Speaker 1: closet and is loved and accepted for it because he's

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Speaker 1: Mr nice So the only movie I've ever seen him

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Speaker 1: being not nice in is um a perfect getaway. He's like,

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Speaker 1: I don't want to spoil it, but it's got I

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Speaker 1: think Mila Djovlovich maybe uh. And he's very much the villain,

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Speaker 1: like not just like the villain like in White Lotus

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Speaker 1: where it's like, oh, he's rich and has a lot

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Speaker 1: of privilege, A villain villain like a bad guys. Good

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Speaker 1: for him. He's got range. I also remembering he's Mr

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Speaker 1: Nice And I don't know if anyone else was a

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Speaker 1: baby sitter and saw the Diary of a Wimpy Kid

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Speaker 1: movie series, but he's he's Mr Dad in that one,

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Speaker 1: and yeah, sure he makes some mistakes, but at the

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Speaker 1: end of the day, he's Mr Nice. Well, shall we

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Speaker 1: move on from Steve's on? The beginning of the ence

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Speaker 1: is in this movie this is a feminist movie podcast,

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Speaker 1: which you wouldn't have guessed from that conversation at Tirade

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Speaker 1: about Steve's on about how he's nice. Yeah, let's recap

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Speaker 1: the movie, shall we? Let's do it? Okay, So we

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Speaker 1: open on Lelna. That's Winona writer. She's giving a speech

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Speaker 1: at her college graduation, which effectively sets up the theme

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Speaker 1: of the movie, which is like, Hey, there are all

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Speaker 1: these problems in the world, but what do we do

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Speaker 1: about them? I don't know that. I like how every

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Speaker 1: generation will, especially now that like we're no longer the

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Speaker 1: youngest generation and we're growing crustier with each passing day.

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Speaker 1: I do think it's like funny how that this is

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Speaker 1: the question of literally every generation. But everyone is like,

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Speaker 1: but it was my idea. We're kind of the first

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Speaker 1: people to have this problem and it's like, wow, Dan

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Speaker 1: getting old is punishing. It was not our idea, and

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Speaker 1: we are also fumbling it. So amazing. Yeah, Okay, So

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Speaker 1: then we see video footage because Lelena is making a

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Speaker 1: documentary about her friends. Her friends are Troy Dyer. That's

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Speaker 1: Ethan hawk Hot mm hmmm. His character is despicable. His

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Speaker 1: character is horrible. Yeah, Vicky, that's Janine Garoffalo and Sammy

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Speaker 1: Steve's on of the Zones sence Hot. There's I just

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Speaker 1: I'm going to be annoying today. Um there was. I

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Speaker 1: was thinking of just like other very gen xy movies

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Speaker 1: and things in general, and I was thinking about Rent,

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Speaker 1: which I feel like also goes in this category very much.

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Speaker 1: Also features I think, a visibly terrible documentary about someone's friends.

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Speaker 1: It was a very niceties thing to do to think

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Speaker 1: that you were. I mean, I guess it's like how

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Speaker 1: millennials and gen z use social media to be like

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Speaker 1: get ready with me, and it's like, God, everyone's so

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Speaker 1: fucking boring and you all have the same instincts exactly. Yeah,

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Speaker 1: And I think that to document our lives and make

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Speaker 1: them public. I do think that Winona Writer's fake documentary

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Speaker 1: in Reality Bites seems more interesting than Anthony Rapp's fake

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Speaker 1: documentary in rent That's a professional opinion question. I mean

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Speaker 1: his documentary is just videoing his I mean, Lena is

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Speaker 1: like act them questions about like what's it like to

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Speaker 1: be worried about AIDS? What's it like to do this?

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Speaker 1: Like she's asking them their perspective the documentary. If I

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Speaker 1: haven't seen Rented a long time, so excuse me if

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Speaker 1: I'm misremembering, But if I recall correctly, he's just like

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Speaker 1: got a camera in his friend's faces and they're just

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Speaker 1: living their lives. Yeah, he's trying to do him more

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Speaker 1: Like I'm just like, is who's getting releases for these things? Logistically?

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Speaker 1: Like who's getting releases for this? Yeah? He was just

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Speaker 1: bringing his camera to like like support groups in a

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Speaker 1: way that you're like, this is illegal mark following this

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Speaker 1: person's anonymity or whatever. Yeah, she's anyway, Here's They both

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Speaker 1: probably would suck, But I think when known as this

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Speaker 1: is more interesting and it seems like at least everyone

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Speaker 1: is willingly participating. That's true time. Here's my hot and

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Speaker 1: potentially terrible take, is that the TV network in your

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Speaker 1: Face version of who are not think is like not

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Speaker 1: that bad? Totally agree, I'm so I would that. I

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Speaker 1: was going to totally say the same thing. I thank you, honestly,

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Speaker 1: I truly so. I'm sure we'll get to this and

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Speaker 1: I maybe I'm jumping the gun. But the scene when

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Speaker 1: they show it, I was like, it just seems like

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Speaker 1: the bumper or the teaser, like you don't even what

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Speaker 1: was so bad about it they I truly don't get it, Okay,

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Speaker 1: my As I was watching that, I was like, how

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Speaker 1: different is this from the trailer to reality bites? It's

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Speaker 1: pretty similar and very similar, but that's like I feel

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Speaker 1: like that's kind of like one of the bizarro like.

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Speaker 1: I mean, I know the word irony is used really

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Speaker 1: heavily in this movie, but that's like kind of the

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Speaker 1: weird irony of this movie is like a movie about

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Speaker 1: selling out, but like you would have had to have

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Speaker 1: sold out in order for it to be made. It's

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Speaker 1: a studio movie, right. I don't know, Jamie, define irony.

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Speaker 1: You can't. It's undefinable. Literally, I was as she was

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Speaker 1: fumbling with that, I was like, oh, I would have

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Speaker 1: I would not have been able to do that, would

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Speaker 1: have sucked it up. I also think that what Ethan

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Speaker 1: hawks characters definition is like also not quite the right

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Speaker 1: definition of irony? Was this before or after the Atlantis

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Speaker 1: Morrissette song This exchangees I was like, could no one

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Speaker 1: in this generation correctly define that word? We don't know anyway. Okay,

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Speaker 1: So Lene is making this documentary about her friends. We

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Speaker 1: see footage of them talking. They're goofing around, they're speaking

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Speaker 1: on their lives and their future plans, and they all

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Speaker 1: seem kind of aimless and they they're not really sure

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Speaker 1: what to do or how to proceed. Then we cut

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Speaker 1: to Lelena having dinner with her parents. Her dad gives

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Speaker 1: her a gas card, which he says he'll pay the

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Speaker 1: bill on for a year. He also gives her his

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Speaker 1: old BMW. There's some debate about whether or not she

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Speaker 1: should take the BMW because she mentioned being more morally

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Speaker 1: opposed to BMW's in her graduation speech, but ultimately she

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Speaker 1: takes the car and loaded the privilege these kids have,

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Speaker 1: um I know. Yeah. So then Lena we see her

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Speaker 1: at her job as a I think production assistant on

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Speaker 1: a morning talk show for Frasier's dad. Oh my god, right,

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Speaker 1: second only the two times I gasped, No, three times

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Speaker 1: I gasped. First Steve's on reveal, second, Fraser's dad revel,

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Speaker 1: Third she chooses ethan Hawk reveal just just just. But

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Speaker 1: Frasier's dad absolutely killing in this movie. And his character

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Speaker 1: is a menal jerk he learned, just like in Frasier,

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Speaker 1: except in Frasier it's complicated. I mean, he's he's like

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Speaker 1: a softie that we love, but he does run for

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Speaker 1: like an extreme like he doesn't even vote for like

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Speaker 1: an extremist candidate, and might have some and not so

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Speaker 1: great political positions. I would not because I think, isn't

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Speaker 1: he like a former cop? Like you? You're like, I

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Speaker 1: don't want to know how this guy votes, but I

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Speaker 1: do love the just the character setup of I love

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Speaker 1: my fancy sons, my fancy lad son, my I love

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Speaker 1: my weird fancy sons. You're like, well, someone's gotta a

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Speaker 1: little aside. I I only I watched Fraser for the

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Speaker 1: first time in The Pandemic and my partner loves the show,

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Speaker 1: and I was like, oh, isn't it about a gruff

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Speaker 1: guy who has two sons who are British for some reason?

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Speaker 1: And he was like, no, they're not British, They're just fancy.

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Speaker 1: I always, for whatever reason, I did assume they were British.

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Speaker 1: I would say that Kelsey Grammar and David Hyde Piers

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Speaker 1: do sort of affect a like movie like Transatlantic accent

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Speaker 1: for their roles. It's not they don't sound like they're

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Speaker 1: from Seattle. They sound like Rose DeWitt Picater from Titanic. Yes,

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Speaker 1: they sound they sound like they're from a place that

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Speaker 1: never existed. But I mean, look, the Fraser reboot, goddamn

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Speaker 1: if I'm not going to watch it. They shut down

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Speaker 1: one of my favorite local bars to film, which is weird.

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Speaker 1: That's a thing that's happening. A Fraser reboot. Oh yeah,

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Speaker 1: I don't know about this. There's going to be a

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Speaker 1: Fraser reboot. And they shut down this bar near me

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Speaker 1: called the Thirsty Crow, just like a fun but like

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Speaker 1: grimy little bar. I was like, what is Fraser going

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Speaker 1: to do there? Get killed? Like I don't know. Okay,

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Speaker 1: So so we see Lena at her job. Then she

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Speaker 1: gets into a minor car accident with this guy named

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Speaker 1: Michael played by Ben Stiller, and they meet via this

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Speaker 1: car accident and they kind of hit it off and

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Speaker 1: he asks her for a date. Meanwhile, Troy slash Ethan

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Speaker 1: Hawk has been fired from his newsstand job for eating

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Speaker 1: a Snickers bar, so he has to move into Lelena

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Speaker 1: and Vicki's apartment and he crashes on the couch for

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Speaker 1: a while. We also learn more about the dynamic between

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Speaker 1: Troy and Lelena, which is a bit contentious. It's a

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Speaker 1: bit will they or won't they? The friends are hanging out,

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Speaker 1: we see more documentary footage Lelena and Vicky and Sammy

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Speaker 1: dance to my Sharona in the convenience store. Troy is like,

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Speaker 1: I'm too cool to dance. You're like, shut up. I

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Speaker 1: hate him. I can't stand Troy can't stand. He reminds

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Speaker 1: I'm discovering that a lot of nineties ethan Hot characters

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Speaker 1: are really deplorable. Because Before Sunrise is one of my

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Speaker 1: favorite movies. But I went back and rewatched that recently.

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Speaker 1: I was like, oh my god, his character is awful

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Speaker 1: in that movie. He gets a little more mature and

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Speaker 1: Before Sunset, but I still haven't seen it. I mean,

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Speaker 1: it's like there's I I'm it's it's so confusing. I

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Speaker 1: wish I could was anyone able to find like because

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Speaker 1: I read that this script was written like sevent dy times,

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Speaker 1: so it sounds like there was like studio notes on

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Speaker 1: notes on notes on notes. Um. So I'm just like

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Speaker 1: because it seems like the final script goes all the

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Speaker 1: way up to like, yeah, fuck this guy, but then

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Speaker 1: at the last second it's like, nah, he's great, he's great,

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Speaker 1: and you gotta marry him. And I was like, that

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Speaker 1: has to be a studio notes. Like I cannot conceive

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Speaker 1: of a world because it's like the movie goes all

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Speaker 1: the like she does the she does the right thing,

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Speaker 1: she bails. Yeah. Anyways. Yeah, So then Lelena goes on

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Speaker 1: her date with Michael Ak Ben Stiller. They make out,

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Speaker 1: which Troy sees and he gets upset about this and

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Speaker 1: he picks a fight with Lelena and she's like, if

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Speaker 1: you have a problem, just say it, and he's like,

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Speaker 1: I love you, and it seems like he's being sincere,

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Speaker 1: but it turns out he's just being an asshole, even

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Speaker 1: though it is clear that he is in love with her,

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Speaker 1: but he won't admit it. Anoying Can I Can I

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Speaker 1: ask a question there? Because that's something in rewatching this movie,

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Speaker 1: I was sort of like, what is this? And I

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Speaker 1: know people are complicated and I've certainly been there, what

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Speaker 1: is the vibe of like being in love with each other?

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Speaker 1: It's also in plan that they've hooked up drunkenly at

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Speaker 1: least once in the past, at least once. Like why

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Speaker 1: are they so against admitting it, talking about it, communicating

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Speaker 1: about it? Like I understand that in in the in

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Speaker 1: the universe of the film, it's supposed to be like

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Speaker 1: they can't admit it, you know, they don't want to

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Speaker 1: ruin the friendship. Why not, Like why it's communicating openly

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Speaker 1: about how you feel such a villain in the universe

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Speaker 1: of this film. I feel like my assumption was like

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Speaker 1: they're twenty two and extremely emotionally immature, Like that was

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Speaker 1: sort of mine. And like especially Troy, like I mean,

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Speaker 1: we can we'll talk about Lena and all the ways

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Speaker 1: where like she's very messy and a lot of regards,

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Speaker 1: especially with her own privilege, and like she's just like

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Speaker 1: bad at navigating it. But like Troy especially, I feel

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Speaker 1: like he's like I don't know, like I'm trying. I

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Speaker 1: was watching this movie, I was thinking, all this bad

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Speaker 1: advice my mom has given me at different points in

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Speaker 1: my life, but where she's like, well, sometimes like people

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Speaker 1: run away because they know that they can't handle a

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Speaker 1: relationship even if they care about you. And I was like, yeah,

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Speaker 1: like I can sort of see that in Troy, of

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Speaker 1: like he knows he's a piece of ship to some extent,

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Speaker 1: and like even if you love someone and you know

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Speaker 1: you're a piece of ship, but then but then he's

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Speaker 1: also so unwilling to work on himself that you're just like,

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Speaker 1: I don't know, I don't know, what do you guys think? Well,

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Speaker 1: I would have definitely had the hots for Ethan Hawk's

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Speaker 1: character when I was in my early twenties, No question.

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Speaker 1: I would have let him suck up my life, suck

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Speaker 1: up my credit, crash on my couch, no question in

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Speaker 1: my mind, I would have gotten sucked up in that

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Speaker 1: Troy tornado. Happily, I would have been in love with

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Speaker 1: steve 'son and then he would have come out to me,

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Speaker 1: and then I would have been like, I'm happy for you,

422
00:24:57,200 --> 00:25:01,879
Speaker 1: and then I would have cried for weeks and then

423
00:25:01,880 --> 00:25:05,400
Speaker 1: we would have been friends forever. But yeah, I mean

424
00:25:05,440 --> 00:25:07,600
Speaker 1: I don't get the whole Oh, we love each other,

425
00:25:07,800 --> 00:25:11,600
Speaker 1: but we refuse to admit it thing. I mean I do.

426
00:25:11,920 --> 00:25:14,720
Speaker 1: But for me, at least, if I like someone romantically,

427
00:25:15,240 --> 00:25:18,399
Speaker 1: I go out of my way to tell them, see

428
00:25:18,440 --> 00:25:20,919
Speaker 1: I will, I will be quiet about it forever. So

429
00:25:21,000 --> 00:25:24,000
Speaker 1: I do understand like where he's coming from. But also,

430
00:25:24,200 --> 00:25:27,360
Speaker 1: but but I feel like that gets conflated with like,

431
00:25:27,760 --> 00:25:30,960
Speaker 1: and so he's allowed to be an asshole and neg everything.

432
00:25:31,000 --> 00:25:33,080
Speaker 1: She says. It's like, well, it's one thing to not

433
00:25:33,200 --> 00:25:36,760
Speaker 1: express your romantic feelings to someone, but that doesn't automatically

434
00:25:36,760 --> 00:25:38,960
Speaker 1: translate to like, and you get to be at evil

435
00:25:39,040 --> 00:25:42,000
Speaker 1: villain because you can't. But i'fe like that's where a

436
00:25:42,040 --> 00:25:48,200
Speaker 1: lot of the masculine issues that Troy has, that's where

437
00:25:48,200 --> 00:25:51,200
Speaker 1: a lot of them live. The film really like validates

438
00:25:51,320 --> 00:25:54,679
Speaker 1: his antisocial dick behavior, And it's supposed to be like, well,

439
00:25:54,720 --> 00:25:58,400
Speaker 1: he's an artist, he's tortured, he's emotionally unavailable, and we're

440
00:25:58,400 --> 00:26:01,679
Speaker 1: supposed to not find that problematic as of you. We're

441
00:26:01,720 --> 00:26:04,920
Speaker 1: supposed to like empathize for him being in that state,

442
00:26:05,000 --> 00:26:07,520
Speaker 1: as opposed to be like, well, you're an adult and

443
00:26:07,560 --> 00:26:09,760
Speaker 1: you are responsible for communicating the way that you feel.

444
00:26:09,800 --> 00:26:12,000
Speaker 1: If you can't, we're not all supposed to find it

445
00:26:12,080 --> 00:26:15,119
Speaker 1: charming or whatever, right, And it's like there are moments

446
00:26:15,160 --> 00:26:19,240
Speaker 1: where Laney like does explicitly say that where she's just like, oh,

447
00:26:19,320 --> 00:26:22,400
Speaker 1: you're a fucking artist. Then like where is the art at?

448
00:26:22,600 --> 00:26:25,000
Speaker 1: Like what are you doing? What? You don't do shit?

449
00:26:25,760 --> 00:26:27,680
Speaker 1: Like she calls him out on his ship, but then

450
00:26:27,760 --> 00:26:31,040
Speaker 1: like the but then she just ends up with him anyways,

451
00:26:31,280 --> 00:26:34,840
Speaker 1: and the I don't It is a tricky movie because

452
00:26:34,840 --> 00:26:37,480
Speaker 1: sometimes you're like, you know, there's a lot of criticisms

453
00:26:37,520 --> 00:26:39,960
Speaker 1: I would have of these characters that I'm like, yeah,

454
00:26:40,000 --> 00:26:42,480
Speaker 1: I probably did something like that when I was twenty two.

455
00:26:42,480 --> 00:26:48,200
Speaker 1: I probably did something emotionally volatile and weird. Um. But

456
00:26:48,600 --> 00:26:55,359
Speaker 1: it's it's tricky. Um. There's this through line in the movie,

457
00:26:55,480 --> 00:26:58,640
Speaker 1: or this kind of like subplot where Vicky we learned

458
00:26:58,640 --> 00:27:00,920
Speaker 1: that she has a lot of casual X and then

459
00:27:01,000 --> 00:27:05,159
Speaker 1: she becomes worried that she is HIV positive because a

460
00:27:05,160 --> 00:27:07,560
Speaker 1: friend of hers tested positive for HIV, so we see

461
00:27:07,560 --> 00:27:12,399
Speaker 1: her going to get tested. We then see a scene

462
00:27:12,400 --> 00:27:17,000
Speaker 1: where Lena's boss aka Mr. Fraser's dad is an asshole

463
00:27:17,000 --> 00:27:20,440
Speaker 1: to her, so she retaliates by humiliating him on air,

464
00:27:21,080 --> 00:27:23,840
Speaker 1: which gets her fired. So now she's worried about money.

465
00:27:23,920 --> 00:27:28,800
Speaker 1: She's worried about paying rent. Troy consoles her and in

466
00:27:28,880 --> 00:27:32,480
Speaker 1: so doing, he surprised kisses her and she's like, no,

467
00:27:32,840 --> 00:27:36,840
Speaker 1: it'll ruin our friendship. And also I'm dating Michael. Troy's

468
00:27:36,840 --> 00:27:41,680
Speaker 1: ability to make anything and everything about himself is um

469
00:27:42,320 --> 00:27:50,080
Speaker 1: infurious staggering. Yeah. Meanwhile, Lelena shows Michael her documentary and

470
00:27:50,200 --> 00:27:53,520
Speaker 1: he is like a VP of programming for this TV

471
00:27:53,600 --> 00:27:57,640
Speaker 1: network similar to MTV called in Your Face, and he

472
00:27:57,680 --> 00:28:01,640
Speaker 1: thinks this documentary would be great programing for the network,

473
00:28:01,800 --> 00:28:06,000
Speaker 1: but Lena isn't sure about that. Um. We also see

474
00:28:06,040 --> 00:28:11,240
Speaker 1: Troy after having been rejected by Lena. He's being pretty distant.

475
00:28:12,080 --> 00:28:14,640
Speaker 1: Then we see Lilena trying to get a new job

476
00:28:14,640 --> 00:28:18,280
Speaker 1: in television, but she can't get hired for anything. She

477
00:28:18,400 --> 00:28:24,679
Speaker 1: then considers a hot dog job's hot dog David Spade

478
00:28:24,720 --> 00:28:29,320
Speaker 1: hot dog cameo, Hello there. And I also like that

479
00:28:29,640 --> 00:28:32,840
Speaker 1: she can't hack in the world of hot dogs. She's

480
00:28:33,359 --> 00:28:37,000
Speaker 1: that I found to be good hot dog representation of

481
00:28:37,080 --> 00:28:40,280
Speaker 1: like not just anyone can work in hot dogs, which

482
00:28:40,320 --> 00:28:43,520
Speaker 1: is true. And on the other end, I appreciate that

483
00:28:43,560 --> 00:28:46,600
Speaker 1: there's a through line with Laney that she is a

484
00:28:46,800 --> 00:28:51,040
Speaker 1: smart and creative young woman who is constantly thwarted by

485
00:28:51,080 --> 00:28:56,520
Speaker 1: being bad at math. Um don't know that? Yeah, it's

486
00:28:56,560 --> 00:28:59,080
Speaker 1: like I know this, I know this struggle. I know

487
00:28:59,160 --> 00:29:02,800
Speaker 1: this pain at math, bad at money numbers in general

488
00:29:02,920 --> 00:29:05,400
Speaker 1: or not her strong suit like no way either. Let's

489
00:29:05,400 --> 00:29:08,920
Speaker 1: be real, could either of you to add two numbers

490
00:29:08,960 --> 00:29:11,360
Speaker 1: like that in your head? Like he he throws her

491
00:29:11,480 --> 00:29:14,680
Speaker 1: like three dred and sixteen plus twenty nine, Like you

492
00:29:14,720 --> 00:29:16,920
Speaker 1: couldn't add that in your head quickly without a piece

493
00:29:16,960 --> 00:29:20,160
Speaker 1: of paper, right right? And she also like I do

494
00:29:20,280 --> 00:29:22,600
Speaker 1: like how I mean, like when not the writer's the bet,

495
00:29:22,600 --> 00:29:26,840
Speaker 1: Like I love this character like just buckles under like

496
00:29:27,200 --> 00:29:31,320
Speaker 1: one milliss thing of pressure at any time. They're like

497
00:29:31,360 --> 00:29:34,360
Speaker 1: to find a word, she's like and like explode And

498
00:29:34,360 --> 00:29:36,600
Speaker 1: he's like, what's stupiless too? And she's like, I don't

499
00:29:36,640 --> 00:29:40,240
Speaker 1: know that is that doesn't have My favorite line of

500
00:29:40,320 --> 00:29:42,360
Speaker 1: the whole movie when she can't add the numbers that

501
00:29:42,400 --> 00:29:45,200
Speaker 1: she's guessing and David's fate is like it's not an option,

502
00:29:46,880 --> 00:29:49,120
Speaker 1: and then that that seems, I mean, it is a

503
00:29:49,120 --> 00:29:53,120
Speaker 1: well written like the line that it ends on. Rai's like, look,

504
00:29:53,120 --> 00:29:55,280
Speaker 1: I've been at this job for six months, for a

505
00:29:55,280 --> 00:30:01,240
Speaker 1: reason like that's honestly the funniest scene in the movie.

506
00:30:02,240 --> 00:30:05,560
Speaker 1: The scene that proceeds that we'll talk about. But there's

507
00:30:05,600 --> 00:30:13,120
Speaker 1: some really fucked up ablest language and ideology that's happening there. Yes, Okay,

508
00:30:13,280 --> 00:30:17,200
Speaker 1: So Lena, she's struggling to get a new job. She's

509
00:30:17,200 --> 00:30:19,840
Speaker 1: bumming around for a while. Then she calls a psychic

510
00:30:19,880 --> 00:30:22,200
Speaker 1: cot line and racks up a huge phone bill. So

511
00:30:22,240 --> 00:30:23,760
Speaker 1: now she has to figure out how to pay it

512
00:30:23,800 --> 00:30:26,320
Speaker 1: off and get her life back on track. So she

513
00:30:26,400 --> 00:30:30,200
Speaker 1: basically starts running a scam where she pays for people's

514
00:30:30,240 --> 00:30:33,680
Speaker 1: gas with her dad's gas card but makes the customers

515
00:30:33,680 --> 00:30:36,440
Speaker 1: give her cash. So she's collecting the cash knowing that

516
00:30:36,520 --> 00:30:39,720
Speaker 1: her dad will pay off the gas card, and that's

517
00:30:39,720 --> 00:30:41,840
Speaker 1: how she like earns enough money to pay for this

518
00:30:41,920 --> 00:30:45,840
Speaker 1: phone bill. She she taps in and out of her privilege.

519
00:30:46,640 --> 00:30:52,440
Speaker 1: It's wild, It's wild. Yeah. So then Michael tells Lena

520
00:30:52,880 --> 00:30:55,760
Speaker 1: that his network wants to buy her documentary and make

521
00:30:55,840 --> 00:30:59,160
Speaker 1: it a series. Um, and she's very excited about that

522
00:30:59,200 --> 00:31:01,800
Speaker 1: because she's like, this solve my money problems. And then

523
00:31:02,080 --> 00:31:05,960
Speaker 1: Michael and Troy argue because Troy is being an asshole

524
00:31:06,160 --> 00:31:09,239
Speaker 1: and he's like, you don't know what Lena needs, and

525
00:31:09,280 --> 00:31:11,560
Speaker 1: Michael's like, I know what she needs in a way

526
00:31:11,600 --> 00:31:14,120
Speaker 1: that you never will, and you're like, oh my god,

527
00:31:14,800 --> 00:31:18,680
Speaker 1: put your dicks away and stop trying to measure them.

528
00:31:19,360 --> 00:31:21,120
Speaker 1: And then and then the fact that they go back

529
00:31:21,160 --> 00:31:26,400
Speaker 1: for round two before the end of the movie. I'm like, you, guys, this,

530
00:31:26,400 --> 00:31:30,640
Speaker 1: this is such a bad look. She shouldn't pick. I

531
00:31:30,680 --> 00:31:33,719
Speaker 1: was really hoping she would do the thing where she

532
00:31:34,160 --> 00:31:37,400
Speaker 1: is like, wait a second, I'm twenty two. I picked nobody.

533
00:31:37,520 --> 00:31:41,440
Speaker 1: I picked myself right, Yeah. Yeah, Sex in the City

534
00:31:41,480 --> 00:31:45,560
Speaker 1: finale style. I mean I I do I in the

535
00:31:45,640 --> 00:31:48,880
Speaker 1: universe of this film. I always wonder is Michael such

536
00:31:48,920 --> 00:31:50,760
Speaker 1: a bad guy? Like what did he do that was

537
00:31:50,880 --> 00:31:52,959
Speaker 1: other than with the movie? Like what do you do

538
00:31:53,000 --> 00:31:55,720
Speaker 1: that was so wrong? I have the same thoughts. I

539
00:31:55,760 --> 00:31:58,320
Speaker 1: don't hate Michael. I think it's very interesting that the

540
00:31:58,320 --> 00:32:01,200
Speaker 1: movie seems to want I mean, I feel we're supposed

541
00:32:01,240 --> 00:32:05,520
Speaker 1: to dislike Michael because he works for a corporation, but

542
00:32:05,680 --> 00:32:08,520
Speaker 1: he's like a yuppie sellout. Yeah, he's a yuppie sellout.

543
00:32:08,800 --> 00:32:12,520
Speaker 1: But the messaging of this movie is so muddled where

544
00:32:12,520 --> 00:32:16,120
Speaker 1: it's like it's okay if some people are sellout, but

545
00:32:16,200 --> 00:32:19,600
Speaker 1: it's not okay if other people are. Again, I just

546
00:32:19,640 --> 00:32:22,000
Speaker 1: like it makes me want to read earlier drafts of

547
00:32:22,040 --> 00:32:25,800
Speaker 1: this movie because I found Michael to be a pretty

548
00:32:25,840 --> 00:32:28,880
Speaker 1: sympathetic character, and I liked that the movie went out

549
00:32:28,880 --> 00:32:32,840
Speaker 1: of its way to characterize him as like a guy

550
00:32:32,960 --> 00:32:36,480
Speaker 1: that had dreams but was bad at math, and like

551
00:32:36,880 --> 00:32:40,080
Speaker 1: he's like, I don't know, it's so weird because you

552
00:32:40,200 --> 00:32:42,400
Speaker 1: put yourself in gen X brain and we you know,

553
00:32:42,640 --> 00:32:45,000
Speaker 1: we all work for fucking I heart radio. We don't

554
00:32:45,040 --> 00:32:47,160
Speaker 1: have a like to stand on when it comes to

555
00:32:47,280 --> 00:32:51,200
Speaker 1: like being yuppie fucking sellouts here, we are not even

556
00:32:51,360 --> 00:32:53,360
Speaker 1: a little bit. I take what I am. I am,

557
00:32:53,480 --> 00:32:56,680
Speaker 1: I have a price, people have met it. You know

558
00:32:57,160 --> 00:33:00,160
Speaker 1: what can I say? Right like and and it's a

559
00:33:00,280 --> 00:33:02,600
Speaker 1: very twenty two year old mentality. And I don't even

560
00:33:02,680 --> 00:33:05,160
Speaker 1: mean that in a negative way. I think, like young

561
00:33:05,200 --> 00:33:09,640
Speaker 1: people being vehemently anti capitalist is always a net good thing.

562
00:33:09,720 --> 00:33:13,160
Speaker 1: But but to put all of the evils of capitalism

563
00:33:13,160 --> 00:33:17,200
Speaker 1: onto like one benz Diller, who is the only person

564
00:33:17,280 --> 00:33:20,760
Speaker 1: in the movie, or the only man in the movie

565
00:33:21,120 --> 00:33:25,240
Speaker 1: who seems to a be willing to apologize for when

566
00:33:25,240 --> 00:33:30,440
Speaker 1: he fox up and be like accept Laney's decisions and

567
00:33:30,640 --> 00:33:35,160
Speaker 1: like seems to like genuinely respect and love her. I

568
00:33:35,640 --> 00:33:38,240
Speaker 1: felt like a sellout for kind of being like is

569
00:33:38,240 --> 00:33:41,200
Speaker 1: he not bad? But like is he saying I don't know?

570
00:33:41,560 --> 00:33:43,760
Speaker 1: Are we are we old by saying is he that bad?

571
00:33:43,800 --> 00:33:46,200
Speaker 1: But I don't think he's that bad. He is sweet

572
00:33:46,240 --> 00:33:49,680
Speaker 1: to her. Troy treats her like shit, Like there's a

573
00:33:49,760 --> 00:33:52,880
Speaker 1: noble difference in the way that those two guys treat her.

574
00:33:52,920 --> 00:33:55,400
Speaker 1: And I also feel like he is you know, he

575
00:33:55,520 --> 00:33:58,520
Speaker 1: like wants to siphon off corporate money to get her

576
00:33:58,840 --> 00:34:02,040
Speaker 1: art out into the world, which again you would think

577
00:34:02,240 --> 00:34:05,560
Speaker 1: is exactly what's happening by reality bites being made and

578
00:34:05,640 --> 00:34:10,439
Speaker 1: by producers championing this young writer and like, so there's

579
00:34:10,480 --> 00:34:13,760
Speaker 1: all these like interesting parallels that I'm like, I don't

580
00:34:13,960 --> 00:34:18,759
Speaker 1: hate Michael. I understand people's criticisms of him, like ideologically,

581
00:34:19,400 --> 00:34:23,200
Speaker 1: but like he seems like a pretty nice guy. I

582
00:34:23,280 --> 00:34:25,600
Speaker 1: don't know, Yeah, I would let him take me to

583
00:34:25,640 --> 00:34:29,239
Speaker 1: the aquarium restaurant. I'm just saying. Watching that's when I

584
00:34:29,320 --> 00:34:31,920
Speaker 1: was in high school. But I first watched it, I

585
00:34:32,000 --> 00:34:35,440
Speaker 1: was like, Oh, he's such a yuppy fuck. Troy is

586
00:34:35,480 --> 00:34:38,319
Speaker 1: the is clearly the right match for her. Watching it

587
00:34:38,440 --> 00:34:41,280
Speaker 1: recently in my thirties, I was like that, Michael seems

588
00:34:41,320 --> 00:34:43,400
Speaker 1: like a nice guy, probably got a furrow one k

589
00:34:43,600 --> 00:34:49,719
Speaker 1: taking her to dinner. Guy, Like I literally was like, dude,

590
00:34:49,840 --> 00:34:51,360
Speaker 1: I don't know. I was like at this point, like

591
00:34:52,120 --> 00:34:55,920
Speaker 1: you can't be emotionally abusive and make me pay your rent,

592
00:34:56,239 --> 00:35:01,080
Speaker 1: like you make a fucking lane man, And like, anyways,

593
00:35:01,239 --> 00:35:03,799
Speaker 1: he really I think he really has choice number in

594
00:35:03,840 --> 00:35:06,640
Speaker 1: that scene where he's trying when they have their second conversation,

595
00:35:06,800 --> 00:35:09,719
Speaker 1: like you're like the Jester, like holding a skull, Like

596
00:35:10,200 --> 00:35:12,320
Speaker 1: it comes out terribly, But I think that he really

597
00:35:12,440 --> 00:35:14,640
Speaker 1: is the only person in the movie who really see

598
00:35:14,719 --> 00:35:17,760
Speaker 1: Stoy for who he actually is, which is just somebody

599
00:35:17,760 --> 00:35:20,719
Speaker 1: who wants to make crafts jokes while really offering not

600
00:35:20,800 --> 00:35:24,480
Speaker 1: a lot himself. Is that Yeah? And I also was like,

601
00:35:24,520 --> 00:35:28,840
Speaker 1: would I ultimately date a guy fumbling that hard to

602
00:35:28,840 --> 00:35:32,319
Speaker 1: make a Hamlet reference? Yes, of course I would. Where

603
00:35:32,320 --> 00:35:35,520
Speaker 1: he's like in the Clown and the Skull and he's alone,

604
00:35:35,840 --> 00:35:40,879
Speaker 1: You're like, yeah, man, yeah, okay, we're all I guess

605
00:35:40,880 --> 00:35:45,279
Speaker 1: we're all on team Michael. It doesn't feel like a

606
00:35:45,320 --> 00:35:48,040
Speaker 1: great place to be but what's the alternative? But here

607
00:35:48,080 --> 00:35:52,400
Speaker 1: we are. Yeah, apparently it's she has to end up

608
00:35:52,440 --> 00:35:56,440
Speaker 1: with a guy buddy movie, right, There's no alternative, So

609
00:35:56,920 --> 00:36:02,399
Speaker 1: these are the choices. Okay, So, speaking of selling out,

610
00:36:02,520 --> 00:36:05,640
Speaker 1: Lena sees what the In her Face network did to

611
00:36:05,800 --> 00:36:10,200
Speaker 1: her documentary footage, which basically makes a mockery of her

612
00:36:10,239 --> 00:36:13,000
Speaker 1: and her friends. So she's furious and she storms out

613
00:36:13,640 --> 00:36:18,160
Speaker 1: back home. She and Troy talk and he's like, I

614
00:36:18,239 --> 00:36:22,000
Speaker 1: do love you for real this time, and then they

615
00:36:22,000 --> 00:36:25,920
Speaker 1: smooch and then they frick. But then the next morning,

616
00:36:26,160 --> 00:36:30,160
Speaker 1: Troy is very distant and he bails, and Lena goes

617
00:36:30,200 --> 00:36:34,120
Speaker 1: to his show that night, I think where Michael shows

618
00:36:34,200 --> 00:36:39,120
Speaker 1: up and apologizes to Lelena for the whole network mishap.

619
00:36:40,040 --> 00:36:42,200
Speaker 1: He's like, let's go to New York and we'll show

620
00:36:42,200 --> 00:36:44,759
Speaker 1: the network the series the way that you want it

621
00:36:44,800 --> 00:36:47,520
Speaker 1: to be. But then Troy pops up and he's like,

622
00:36:47,800 --> 00:36:50,920
Speaker 1: I panicked this morning, and yeah, I know him an asshole,

623
00:36:51,000 --> 00:36:54,360
Speaker 1: but I'm the only real thing you have. Oh my god,

624
00:36:54,400 --> 00:37:00,200
Speaker 1: that speech a legendary, a legendarily bad. And she well,

625
00:37:00,200 --> 00:37:02,680
Speaker 1: this is like, what what drives me up a wall

626
00:37:02,719 --> 00:37:05,520
Speaker 1: about this movie is she reacts appropriately, She's like, go

627
00:37:05,680 --> 00:37:09,000
Speaker 1: fuck yourself, because he literally is like, yeah, I'm gonna

628
00:37:09,080 --> 00:37:12,520
Speaker 1: treat you bad. Yeah, I'm gonna disappear out of nowhere. Yeah.

629
00:37:12,560 --> 00:37:16,440
Speaker 1: I don't play by anyone's rules, and I don't respect you, God,

630
00:37:16,920 --> 00:37:22,880
Speaker 1: but I love you. And dude, oh my god, imagine

631
00:37:22,880 --> 00:37:25,400
Speaker 1: that a man like said that to you, all defiantly

632
00:37:25,480 --> 00:37:28,040
Speaker 1: expecting you to like marry him because of that pet

633
00:37:28,120 --> 00:37:31,160
Speaker 1: or something, or like run away with him. The audacity

634
00:37:31,200 --> 00:37:34,160
Speaker 1: of straight man. Let me tell you, Oh my god,

635
00:37:34,280 --> 00:37:38,480
Speaker 1: I was. I was a pretty exceptionally um bad decision

636
00:37:38,560 --> 00:37:40,880
Speaker 1: maker at twenty two, but even I wouldn't have gone

637
00:37:40,920 --> 00:37:44,920
Speaker 1: for that bullshit. He's he's literally telling on himself in

638
00:37:45,000 --> 00:37:47,359
Speaker 1: a in a way that it's like almost doing her

639
00:37:47,400 --> 00:37:49,360
Speaker 1: a favor because then you're like, okay, you're telling me

640
00:37:49,360 --> 00:37:52,319
Speaker 1: who you are. Now I can walk away. There has

641
00:37:52,360 --> 00:37:54,920
Speaker 1: to be a version of this movie where she walks away,

642
00:37:55,120 --> 00:37:57,920
Speaker 1: like I would hope. So, what the hell do you think?

643
00:37:57,920 --> 00:38:00,400
Speaker 1: It's like one of those situations like I was it

644
00:38:00,480 --> 00:38:03,280
Speaker 1: Pretty in Pink or Sixteen Candles where there's two apparently

645
00:38:03,280 --> 00:38:06,440
Speaker 1: two versions where she chooses the one guy and then

646
00:38:06,480 --> 00:38:08,960
Speaker 1: she chooses the other audiences didn't like it, Like, do

647
00:38:09,000 --> 00:38:11,640
Speaker 1: you think there's a cut of the scripts somewhere where

648
00:38:12,000 --> 00:38:15,200
Speaker 1: she doesn't choose him. I think it's pretty in pink.

649
00:38:15,320 --> 00:38:18,120
Speaker 1: I'm guessing if there were seventy drafts, the coin couldn't

650
00:38:18,120 --> 00:38:20,719
Speaker 1: have flipped in his favor and all seventy right, I

651
00:38:20,760 --> 00:38:24,440
Speaker 1: don't know what you would think, right, Yeah. Anyway, point

652
00:38:24,520 --> 00:38:28,720
Speaker 1: is that this love triangle slash like competition between Troy

653
00:38:28,760 --> 00:38:33,520
Speaker 1: and Michael for Lolene's affection. It's like reaching its peak here.

654
00:38:34,120 --> 00:38:37,560
Speaker 1: Then Troy leaves town. We find out it's because his

655
00:38:37,680 --> 00:38:41,279
Speaker 1: father passed away, but he doesn't really tell Lolena that

656
00:38:41,360 --> 00:38:43,760
Speaker 1: he's leaving, and so she's looking for him. She's thinking

657
00:38:43,760 --> 00:38:47,520
Speaker 1: about him, she's moping around, and then Sammy's like, oh no,

658
00:38:47,600 --> 00:38:52,000
Speaker 1: Troy went to Chicago. So she's about to go after him.

659
00:38:52,080 --> 00:38:55,560
Speaker 1: But before she can, Troy shows up at her doorstep

660
00:38:55,840 --> 00:38:58,160
Speaker 1: and he's like, I love you, and I wish I

661
00:38:58,200 --> 00:39:02,320
Speaker 1: had behaved differently the morning after we smooched and fricked,

662
00:39:02,880 --> 00:39:05,840
Speaker 1: and then they smooch again, and then we flash forward

663
00:39:05,880 --> 00:39:09,120
Speaker 1: in time. They're together, it seems like they live together,

664
00:39:09,560 --> 00:39:12,440
Speaker 1: and then the movie ends with Lilane's dad calling and

665
00:39:12,480 --> 00:39:15,000
Speaker 1: being like, why is there a nine dollar bill on

666
00:39:15,160 --> 00:39:18,680
Speaker 1: my gas card? Yeah? The end, Can I say something

667
00:39:18,680 --> 00:39:22,440
Speaker 1: about that? Because the scene where Okay, they smooch and

668
00:39:22,440 --> 00:39:26,399
Speaker 1: they frick, he wakes up, feels weird, bails Okay. Then

669
00:39:26,920 --> 00:39:29,160
Speaker 1: Laney is like where is Hei. There's like a montage

670
00:39:29,160 --> 00:39:32,080
Speaker 1: where it's like that's sad you two song is playing

671
00:39:32,120 --> 00:39:34,040
Speaker 1: and it's like have you seen him? Like she's like

672
00:39:34,040 --> 00:39:36,520
Speaker 1: going to all his old haunts and like finding his laundry,

673
00:39:36,760 --> 00:39:38,560
Speaker 1: and then Steve's on it is like, oh, his dad

674
00:39:38,640 --> 00:39:40,719
Speaker 1: is sick. He's in Chicago. I ever heard of a

675
00:39:40,800 --> 00:39:42,920
Speaker 1: fucking phone? Like, I guess I feel like, I mean,

676
00:39:42,960 --> 00:39:45,600
Speaker 1: he does call her, but then he's like I can't.

677
00:39:45,840 --> 00:39:49,200
Speaker 1: Oh that's all right. I hate it. It's like I

678
00:39:49,239 --> 00:39:52,160
Speaker 1: guess i'd just be like in the universe of the film,

679
00:39:52,239 --> 00:39:56,839
Speaker 1: him not being able to physically express himself verbally even

680
00:39:56,840 --> 00:39:58,440
Speaker 1: this to be like, Yo, my dad is really sick.

681
00:39:58,440 --> 00:40:00,239
Speaker 1: I'm gonna be gone for a couple of days. Talk

682
00:40:00,320 --> 00:40:02,359
Speaker 1: to you. Then I don't think we're weird. When he

683
00:40:02,400 --> 00:40:06,120
Speaker 1: shows up unexpectedly at her door, we're supposed to be like, wow,

684
00:40:06,239 --> 00:40:08,640
Speaker 1: this is so heavy, and in reality, it's like he

685
00:40:08,760 --> 00:40:11,680
Speaker 1: just skipped town for a legitimate reason, but couldn't even

686
00:40:11,719 --> 00:40:15,040
Speaker 1: leave her a voicemail letting her know, Like, and why,

687
00:40:15,080 --> 00:40:17,640
Speaker 1: I guess I feel like why is it treated as

688
00:40:17,760 --> 00:40:21,200
Speaker 1: deep in the movie or like like a weighty emotional

689
00:40:21,320 --> 00:40:24,080
Speaker 1: choice all he had, Like he couldn't leave a message, right,

690
00:40:24,440 --> 00:40:27,000
Speaker 1: and then him showing back up is like, oh my gosh,

691
00:40:27,040 --> 00:40:29,600
Speaker 1: it's so romantic that he just showed up on her

692
00:40:29,640 --> 00:40:33,240
Speaker 1: doorstep and professed his love after he's been an asshole

693
00:40:33,280 --> 00:40:35,919
Speaker 1: to her for the entire movie, which is like, it's

694
00:40:36,000 --> 00:40:40,240
Speaker 1: so it's such an abrupt way to end it, because

695
00:40:40,239 --> 00:40:43,320
Speaker 1: it's like if there was a draft of the script

696
00:40:43,360 --> 00:40:48,480
Speaker 1: produced where the fact like it's it's referenced twice early

697
00:40:48,520 --> 00:40:53,280
Speaker 1: in the movie that Troy is dealing with a terminally

698
00:40:53,320 --> 00:40:57,200
Speaker 1: ill parent, and like the I can't imagine, thankfully, I

699
00:40:57,200 --> 00:41:00,920
Speaker 1: can't imagine the existential stress that comes with that, especially

700
00:41:00,920 --> 00:41:04,359
Speaker 1: when you're so young. Like that is a real thing

701
00:41:04,520 --> 00:41:08,520
Speaker 1: that I'm sure, I mean like causes people to act

702
00:41:08,560 --> 00:41:11,920
Speaker 1: out and like you know, like that grieving process is

703
00:41:11,960 --> 00:41:14,719
Speaker 1: a real thing, but like there's no emphasis put on it,

704
00:41:15,000 --> 00:41:18,840
Speaker 1: and it's made to seem like well, because the horrible

705
00:41:18,920 --> 00:41:23,120
Speaker 1: thing happens that excuses how poorly he's treated people this

706
00:41:23,360 --> 00:41:27,120
Speaker 1: entire movie, when it's like there's I don't know, like

707
00:41:27,400 --> 00:41:29,640
Speaker 1: I always we've talked about this a bunch on the show,

708
00:41:29,680 --> 00:41:33,279
Speaker 1: but there's like such a dearth of like movies that

709
00:41:33,680 --> 00:41:38,120
Speaker 1: address grief in a in a thoughtful way, and it's

710
00:41:38,160 --> 00:41:41,840
Speaker 1: like that there is an opportunity to like explore it

711
00:41:41,840 --> 00:41:44,719
Speaker 1: with Troy's character, but like it just doesn't really go

712
00:41:44,800 --> 00:41:47,120
Speaker 1: there because it's like you obviously like feel for him,

713
00:41:47,120 --> 00:41:49,040
Speaker 1: he's lost a parent, but it doesn't mean that he

714
00:41:49,080 --> 00:41:52,960
Speaker 1: hasn't been treating Laney like ship seemingly before his dad

715
00:41:53,040 --> 00:41:55,920
Speaker 1: was even sick. Like it's like he's just been an

716
00:41:55,920 --> 00:41:59,080
Speaker 1: at Like he's an asshole going through something horrible. That's

717
00:41:59,080 --> 00:42:02,040
Speaker 1: an interesting thing to explore, but you can't just like

718
00:42:02,160 --> 00:42:05,239
Speaker 1: forgive the behavior. I don't know, he does nothing to

719
00:42:05,239 --> 00:42:08,480
Speaker 1: redeem himself. That's exactly it. We we as the audience

720
00:42:08,560 --> 00:42:12,040
Speaker 1: never see him, Like what is the thing that we

721
00:42:12,080 --> 00:42:14,440
Speaker 1: don't see him grappling with any of that, like coming

722
00:42:14,440 --> 00:42:17,759
Speaker 1: to realize, you know, I have treated her badly and

723
00:42:17,960 --> 00:42:19,799
Speaker 1: I have like not treated her the way that I

724
00:42:19,800 --> 00:42:22,000
Speaker 1: wanted to treat her, And you know I've learned from

725
00:42:22,000 --> 00:42:24,439
Speaker 1: my behavior. You don't you don't see any of that,

726
00:42:25,080 --> 00:42:26,640
Speaker 1: you know where you just are spant to be like,

727
00:42:26,640 --> 00:42:29,480
Speaker 1: oh his dad passed away, that was some sort of

728
00:42:29,520 --> 00:42:32,600
Speaker 1: emotional block or weight lifted, and now he's gonna show

729
00:42:32,680 --> 00:42:34,640
Speaker 1: up at her door and she's gonna be thrilled to

730
00:42:34,680 --> 00:42:38,520
Speaker 1: have him. Like I think if the movie had shown

731
00:42:38,640 --> 00:42:40,440
Speaker 1: us a little bit or like built like built that

732
00:42:40,520 --> 00:42:43,160
Speaker 1: out a little bit more, I would be more willing

733
00:42:43,160 --> 00:42:45,880
Speaker 1: to accept it. Also, sign oute Jamie, how many beverages

734
00:42:45,920 --> 00:42:48,280
Speaker 1: do you have? Because I've seen now the coffee whatever

735
00:42:48,360 --> 00:42:54,479
Speaker 1: than the kids. This is I'm impressed. I'm impressed. Look

736
00:42:54,520 --> 00:42:57,280
Speaker 1: we've got we've got three. We've got three on rotation

737
00:42:57,440 --> 00:43:01,000
Speaker 1: right now, pretty cool, or or any of the diet cokes,

738
00:43:01,040 --> 00:43:06,200
Speaker 1: because you know who loves the diet coke. Jamie's got

739
00:43:06,239 --> 00:43:08,600
Speaker 1: a diet coke. I was like, wow, quirky white girl

740
00:43:08,680 --> 00:43:11,480
Speaker 1: drinks too many big gulps. Someone has my fucking number,

741
00:43:11,960 --> 00:43:15,360
Speaker 1: Like ridiculous. By the way, we need to take a

742
00:43:15,440 --> 00:43:25,959
Speaker 1: quick break and then we will come right back. And

743
00:43:26,080 --> 00:43:29,240
Speaker 1: we're back and we're so hydrated and we're doing great.

744
00:43:29,440 --> 00:43:32,280
Speaker 1: I would say that most actually the things I'm drinking

745
00:43:32,320 --> 00:43:36,759
Speaker 1: are not contributing to hydration. Um, by the time this

746
00:43:36,800 --> 00:43:39,200
Speaker 1: episode comes out, I will have already said something about it.

747
00:43:39,200 --> 00:43:42,640
Speaker 1: But I've been working at um Haunted hey Ride, and

748
00:43:42,760 --> 00:43:44,640
Speaker 1: so I just I forgot I had all all of

749
00:43:44,680 --> 00:43:47,319
Speaker 1: my last night's hay Ride beverages, and so I've just

750
00:43:47,400 --> 00:43:53,120
Speaker 1: kind of been draining them throughout the morning and afternoon. Beautiful. Um,

751
00:43:53,160 --> 00:43:57,200
Speaker 1: so we we've we started talking about the Lana slash

752
00:43:57,200 --> 00:44:02,400
Speaker 1: Troy slash Michael love my angle. What else needs to

753
00:44:02,400 --> 00:44:06,600
Speaker 1: be said about that? Yeah, let's let's kind of tackle it.

754
00:44:06,680 --> 00:44:10,520
Speaker 1: So I this kind of gets into my curiosity about

755
00:44:10,520 --> 00:44:14,520
Speaker 1: like how this movie was written and made. Okay, so

756
00:44:14,600 --> 00:44:18,560
Speaker 1: a lot of this revolves around the writer, Helen child

757
00:44:18,600 --> 00:44:22,239
Speaker 1: Dress or Childress I'm truly not totally sure, but there's

758
00:44:22,280 --> 00:44:24,080
Speaker 1: a there is a piece that came out a couple

759
00:44:24,080 --> 00:44:29,000
Speaker 1: of years ago from Atlantic writer Sriah Roberts, um work

760
00:44:29,040 --> 00:44:32,880
Speaker 1: I really like, but about sort of the legacy of

761
00:44:32,920 --> 00:44:36,759
Speaker 1: this movie and um, how it's remembered because I guess

762
00:44:36,800 --> 00:44:39,480
Speaker 1: when this movie came out, it was not popular with

763
00:44:39,560 --> 00:44:42,880
Speaker 1: its target audience nor which I feel like is a

764
00:44:43,000 --> 00:44:45,400
Speaker 1: very gen ic thing of like fucky, you don't make

765
00:44:45,440 --> 00:44:49,120
Speaker 1: a corporate movie that me, you know, so like whatever,

766
00:44:49,200 --> 00:44:52,279
Speaker 1: I get it, But how Helen child Dress is like

767
00:44:52,440 --> 00:44:55,839
Speaker 1: kind of been left out of the narrative even like

768
00:44:55,880 --> 00:45:00,480
Speaker 1: it just feels like a very hollywoody story where studios

769
00:45:00,480 --> 00:45:03,640
Speaker 1: were like, Okay, gen X, like they're now viable consumers

770
00:45:03,719 --> 00:45:06,080
Speaker 1: or whatever by the early nineties, and we want to

771
00:45:06,160 --> 00:45:10,520
Speaker 1: have a like generation defining studio movie because there had

772
00:45:10,560 --> 00:45:13,319
Speaker 1: been a couple of indie movies that had done well.

773
00:45:13,440 --> 00:45:17,080
Speaker 1: There was a a Richard link Letter movie that I've

774
00:45:17,120 --> 00:45:20,000
Speaker 1: never seen that, but like they were like, Okay, there's

775
00:45:20,000 --> 00:45:23,319
Speaker 1: an audience for this, let's do a studio version of it.

776
00:45:24,080 --> 00:45:26,920
Speaker 1: So they bring in this young writer, like Helen child

777
00:45:27,000 --> 00:45:31,120
Speaker 1: Dress is is Laney in a lot of ways, which

778
00:45:31,400 --> 00:45:35,959
Speaker 1: she's very much admitted to. And so she's like being

779
00:45:36,000 --> 00:45:39,160
Speaker 1: given five hundred dollars a week to write this movie.

780
00:45:39,520 --> 00:45:42,640
Speaker 1: Laney makes four dollars a week. She's pulling from her

781
00:45:42,640 --> 00:45:46,919
Speaker 1: own experiences and her own friends. But by she wasn't

782
00:45:46,960 --> 00:45:50,200
Speaker 1: even invited to the twenty five year reunion of this movie,

783
00:45:50,280 --> 00:45:55,160
Speaker 1: like it got swallowed full by Hollywood, and like, I mean,

784
00:45:55,239 --> 00:45:58,040
Speaker 1: I don't know, like whatever, I can't make a character

785
00:45:58,120 --> 00:46:01,040
Speaker 1: judgment on Ben Stiller based on this, but it seems

786
00:46:01,080 --> 00:46:03,840
Speaker 1: like this is more remembered as like Ben Stiller's first

787
00:46:04,239 --> 00:46:08,319
Speaker 1: directed movie and not like Helen Child. Dress's experience is

788
00:46:08,360 --> 00:46:11,320
Speaker 1: committed to film. She also has not gotten a script

789
00:46:11,719 --> 00:46:17,080
Speaker 1: produced since, which feels relevant. Um, we just wanted to

790
00:46:17,120 --> 00:46:24,040
Speaker 1: share a quick quote from her from nine also to

791
00:46:24,160 --> 00:46:26,959
Speaker 1: tie it back to the love triangle that was ben

792
00:46:27,080 --> 00:46:31,319
Speaker 1: Stiller's suggestion and idea. Helen Child just early versions of

793
00:46:31,320 --> 00:46:35,560
Speaker 1: the script gave fuller pictures of all I guess four

794
00:46:35,760 --> 00:46:37,880
Speaker 1: main characters live, so there was more Steve's on, there

795
00:46:37,920 --> 00:46:41,040
Speaker 1: was more Janine Garoffalo, but ben Stiller was like, let's

796
00:46:41,120 --> 00:46:43,799
Speaker 1: keep it focused on the relationship, which is what we

797
00:46:43,840 --> 00:46:46,600
Speaker 1: all have hated the most. Interestingly the note from the

798
00:46:46,600 --> 00:46:53,680
Speaker 1: male director. But um, yeah, she said. Um. Helen Child

799
00:46:53,719 --> 00:46:57,640
Speaker 1: was said, I have worked consistently and constantly for twenty

800
00:46:57,680 --> 00:47:01,760
Speaker 1: nine years. Um. They estimated she's written forty screenplays since

801
00:47:02,360 --> 00:47:05,359
Speaker 1: Reality Bites. Um. She says. Of the handful she wrote

802
00:47:05,360 --> 00:47:07,920
Speaker 1: on Spacked, half were sold er optioned. Most of them

803
00:47:07,960 --> 00:47:10,840
Speaker 1: feature female protagonists. In all sincerity, I think that was

804
00:47:10,880 --> 00:47:16,200
Speaker 1: a problem. Um, which is I mean, nineteen is a

805
00:47:16,239 --> 00:47:19,640
Speaker 1: stretch we have well covered, and so that is definitely

806
00:47:19,719 --> 00:47:22,640
Speaker 1: a thing. So yeah, and and to be clear, so

807
00:47:22,680 --> 00:47:27,000
Speaker 1: she she went for like two decades or slightly more

808
00:47:27,120 --> 00:47:29,680
Speaker 1: without any writing credit. So if you look at her

809
00:47:29,719 --> 00:47:32,440
Speaker 1: I am dB, she does have some writing credits from

810
00:47:32,480 --> 00:47:36,839
Speaker 1: like I think sixteen and beyond, I think for mostly television.

811
00:47:37,480 --> 00:47:40,479
Speaker 1: But yeah, she made this movie that ended up being

812
00:47:40,600 --> 00:47:44,920
Speaker 1: this like cult classic, like people still ride for this movie.

813
00:47:45,280 --> 00:47:49,640
Speaker 1: But ben Stiller hasn't had trouble directing more movies. And yeah,

814
00:47:49,719 --> 00:47:52,719
Speaker 1: she's not given the credit where credit is due for

815
00:47:52,800 --> 00:47:56,400
Speaker 1: like telling her own story and for example, like the

816
00:47:57,040 --> 00:48:00,600
Speaker 1: I'm also pulling this from that Atlantic piece. But um,

817
00:48:00,640 --> 00:48:04,080
Speaker 1: the iconic my Sharona dancing at the gas station scene

818
00:48:04,400 --> 00:48:07,880
Speaker 1: is like one of the producers of this movie, Michael

819
00:48:07,880 --> 00:48:12,799
Speaker 1: Shamberg credited that scene to Ben Stiller entirely. He's like, yeah,

820
00:48:12,880 --> 00:48:17,520
Speaker 1: that was Ben Stiller's idea. But Helen Childress was like, um, hello,

821
00:48:17,600 --> 00:48:21,000
Speaker 1: I wrote that into the screenplay in the script, So

822
00:48:21,120 --> 00:48:24,080
Speaker 1: how and what why was it his idea? It wasn't.

823
00:48:24,120 --> 00:48:28,319
Speaker 1: It was just this male producer failing to give the screenwriter,

824
00:48:28,440 --> 00:48:33,080
Speaker 1: Helen her Duke, credit for writing that scene into the movie.

825
00:48:33,200 --> 00:48:36,160
Speaker 1: And then when that was pointed out, this guy Shamberg

826
00:48:36,280 --> 00:48:39,360
Speaker 1: was like, oops, uh, yeah, I guess she does. And

827
00:48:39,400 --> 00:48:42,960
Speaker 1: then he said something like, so she deserves credit for

828
00:48:43,040 --> 00:48:46,759
Speaker 1: guiding Ben's direction. And then he says, I think the

829
00:48:46,840 --> 00:48:49,880
Speaker 1: reason that I mistakenly gave Ben all the credit was

830
00:48:49,960 --> 00:48:53,400
Speaker 1: that he was determined to give this feature film his

831
00:48:53,520 --> 00:48:58,000
Speaker 1: feature film directorial debut a strong visual style. So the

832
00:48:58,040 --> 00:49:01,000
Speaker 1: guy can't even like her, But like, what does that

833
00:49:01,040 --> 00:49:05,000
Speaker 1: have to do with Like it's again bare minimum ship, Like, oh,

834
00:49:05,080 --> 00:49:08,640
Speaker 1: he directed the script, like that's that's his job. She

835
00:49:08,719 --> 00:49:13,239
Speaker 1: wrote the scene like it's hurt. So yeah, It's just

836
00:49:13,320 --> 00:49:15,560
Speaker 1: all of this is very indicative of the way that

837
00:49:16,160 --> 00:49:22,880
Speaker 1: women in Hollywood are often erased from the narrative, forgotten about, ignored,

838
00:49:23,040 --> 00:49:26,120
Speaker 1: not given do credit, all of that stuff. All that

839
00:49:26,280 --> 00:49:29,160
Speaker 1: to say, also, this movie is produced by Danny de Vito.

840
00:49:29,320 --> 00:49:31,520
Speaker 1: Just wanted to throw that out there. Danny. I don't

841
00:49:31,560 --> 00:49:34,799
Speaker 1: have any more information than that, but to bring it

842
00:49:34,840 --> 00:49:38,360
Speaker 1: back to the love triangle. Focusing on the love triangle

843
00:49:38,719 --> 00:49:42,080
Speaker 1: was very much a Ben Stiller note, and it's the

844
00:49:42,080 --> 00:49:44,360
Speaker 1: thing that we that bothered us the most. In that

845
00:49:44,440 --> 00:49:47,320
Speaker 1: Atlantic piece, they do talk a little bit about Michael,

846
00:49:47,440 --> 00:49:51,240
Speaker 1: but in a way that I thought was interesting where

847
00:49:51,520 --> 00:49:53,440
Speaker 1: like that character it seems like went through a lot

848
00:49:53,480 --> 00:49:56,200
Speaker 1: of different drafts and Ben Stiller wasn't originally supposed to

849
00:49:56,239 --> 00:49:58,880
Speaker 1: play the character, and then eventually he's like, oh, I

850
00:49:58,880 --> 00:50:02,480
Speaker 1: can pull from my own experience as you know, like

851
00:50:02,680 --> 00:50:04,520
Speaker 1: not even to insult it, but like you know, as

852
00:50:04,560 --> 00:50:09,200
Speaker 1: like a working sellout basically to you know, kind of

853
00:50:09,200 --> 00:50:11,000
Speaker 1: flesh out this character and like, I feel like I

854
00:50:11,040 --> 00:50:15,040
Speaker 1: can relate with some of these moral dilemmas. And I

855
00:50:15,080 --> 00:50:18,080
Speaker 1: guess that he and Helen Child just would improvise as

856
00:50:18,120 --> 00:50:21,080
Speaker 1: the two characters to like figure out what that relationship was,

857
00:50:21,120 --> 00:50:24,000
Speaker 1: which I thought was kind of a fun way to write.

858
00:50:24,680 --> 00:50:27,800
Speaker 1: I'm sure that that's part of the reason why Michael

859
00:50:27,840 --> 00:50:30,680
Speaker 1: does come out as a more sympathetic character than if

860
00:50:30,719 --> 00:50:32,759
Speaker 1: he was just written as like, this is the guy

861
00:50:32,840 --> 00:50:35,160
Speaker 1: you don't want to end up with, this is Mr Business,

862
00:50:35,280 --> 00:50:39,440
Speaker 1: this is Mr Evil. Right, I'm seeing not to bring

863
00:50:39,560 --> 00:50:42,399
Speaker 1: up Titanic again, But what choice do I have? I mean,

864
00:50:43,520 --> 00:50:45,799
Speaker 1: I think it would have been, yeah, kind of an

865
00:50:46,120 --> 00:50:49,120
Speaker 1: easier or like maybe a lazier choice to have like

866
00:50:49,200 --> 00:50:52,359
Speaker 1: the Ben Stiller character be like cal Hockley, and then

867
00:50:52,440 --> 00:50:54,960
Speaker 1: you have your like Ethan Hawk being more of the

868
00:50:55,680 --> 00:50:59,919
Speaker 1: Jack Dawson who is artsy and poor and who isn't

869
00:51:00,040 --> 00:51:03,319
Speaker 1: some cog in the capitalist machine like the boyfriend at

870
00:51:03,320 --> 00:51:06,400
Speaker 1: the beginning of every lifetime movie, where like, this woman

871
00:51:06,480 --> 00:51:08,760
Speaker 1: is uptight, woman is dating like a guy who only

872
00:51:08,800 --> 00:51:11,240
Speaker 1: cares about his job, and she needs to date someone

873
00:51:11,280 --> 00:51:14,239
Speaker 1: who is free and wants to save this Christmas tree

874
00:51:14,239 --> 00:51:17,560
Speaker 1: farm or whatever. She needs to move back home and

875
00:51:17,640 --> 00:51:20,759
Speaker 1: start a Christmas tree farm and that's uh, and and

876
00:51:20,800 --> 00:51:22,960
Speaker 1: go to church tomorrow while you're at it. That's a

877
00:51:22,960 --> 00:51:28,520
Speaker 1: more respectable outcome for a woman. Yeah, but yeah, just

878
00:51:28,600 --> 00:51:32,799
Speaker 1: to put I guess a button on the love triangle thing,

879
00:51:33,400 --> 00:51:36,120
Speaker 1: it feels like such a trophy choice to have a

880
00:51:36,160 --> 00:51:40,839
Speaker 1: woman be in this like hetero love triangle where she

881
00:51:40,920 --> 00:51:44,960
Speaker 1: has to pick one or the other and the option

882
00:51:45,000 --> 00:51:48,000
Speaker 1: of like not picking one of them isn't presented, and

883
00:51:48,000 --> 00:51:51,600
Speaker 1: then ultimately she picks the worst option of the two

884
00:51:51,640 --> 00:51:55,799
Speaker 1: guys because again, both aren't great options, but at least

885
00:51:55,840 --> 00:52:01,640
Speaker 1: Michael is nice to her and Troy enjoy such an asshole,

886
00:52:01,960 --> 00:52:04,239
Speaker 1: and it just kind of sends this message that so

887
00:52:04,280 --> 00:52:08,800
Speaker 1: many movies and in so much media has delivered to audience,

888
00:52:08,840 --> 00:52:11,000
Speaker 1: which is that, oh yeah, a man can treat a

889
00:52:11,040 --> 00:52:13,799
Speaker 1: woman like shit, uh, and he doesn't have to apologize

890
00:52:13,840 --> 00:52:18,239
Speaker 1: for it, and she will still pick him for reasons unclear.

891
00:52:19,400 --> 00:52:23,759
Speaker 1: I personally blame the studio executives for that. I feel

892
00:52:23,760 --> 00:52:27,160
Speaker 1: comfortable blaming the studio executives for perpetuating that because it

893
00:52:27,200 --> 00:52:31,080
Speaker 1: just feels like very nineties Hollywood studio notes in general,

894
00:52:31,280 --> 00:52:33,319
Speaker 1: because it sounds like Helen Child just wanted to take

895
00:52:33,360 --> 00:52:37,120
Speaker 1: it in a totally different direction that would have allowed

896
00:52:37,160 --> 00:52:41,040
Speaker 1: you to explore these side characters who I think are

897
00:52:41,120 --> 00:52:45,520
Speaker 1: like really interesting, and there's a lot like the you

898
00:52:45,600 --> 00:52:48,960
Speaker 1: do get a fair amount with Lena and Um and

899
00:52:49,120 --> 00:52:52,400
Speaker 1: Vicky and their friendship, but like, I just like I

900
00:52:52,440 --> 00:52:55,400
Speaker 1: wanted to see more of that because there's so I

901
00:52:55,480 --> 00:52:58,000
Speaker 1: was trying to think of other friendships that It's like,

902
00:52:58,080 --> 00:53:02,879
Speaker 1: it's a loving, supportive friendship that is constantly challenged by

903
00:53:03,040 --> 00:53:07,040
Speaker 1: like class issues, which is like something I have you

904
00:53:07,080 --> 00:53:09,920
Speaker 1: don't really see in movies very often. I was like,

905
00:53:10,160 --> 00:53:12,319
Speaker 1: I'm you know, I want to see the version of

906
00:53:12,320 --> 00:53:14,000
Speaker 1: this movie that's more focused on that. I want to

907
00:53:14,000 --> 00:53:16,520
Speaker 1: see the version of this movie where you know, our

908
00:53:16,600 --> 00:53:21,600
Speaker 1: only openly queer character gets more than like mentioning three

909
00:53:21,640 --> 00:53:25,399
Speaker 1: quarters through the movie by the way I'm coming out,

910
00:53:25,760 --> 00:53:28,200
Speaker 1: I mean great, but you know, you just don't get

911
00:53:28,200 --> 00:53:31,759
Speaker 1: a lot. Where's Where's my son? Yeah, and I think

912
00:53:31,920 --> 00:53:34,799
Speaker 1: the point that you make about flushing out those those

913
00:53:34,840 --> 00:53:37,799
Speaker 1: side characters more, I think is so apt, especially with

914
00:53:37,880 --> 00:53:40,480
Speaker 1: somebody like Vicky, because you know, they allude to the

915
00:53:40,480 --> 00:53:43,480
Speaker 1: fact that Vicky is obsessed with like seventies pop culture,

916
00:53:43,800 --> 00:53:46,280
Speaker 1: and so if she's you know, just graduated from college,

917
00:53:46,280 --> 00:53:48,560
Speaker 1: that's probably her childhood. So are we supposed to under

918
00:53:48,719 --> 00:53:50,719
Speaker 1: We're supposed to like what's going on there that she

919
00:53:50,960 --> 00:53:54,960
Speaker 1: is someone who is a you know, sexual libertine, but

920
00:53:55,120 --> 00:53:59,600
Speaker 1: it's perhaps obsessed with the ideality childhood of her youth.

921
00:53:59,680 --> 00:54:01,960
Speaker 1: Like I feel that there's a draft of the movie

922
00:54:02,000 --> 00:54:04,719
Speaker 1: that made that flushes that out, But in the in

923
00:54:04,719 --> 00:54:07,719
Speaker 1: the version that we see, we're left to connect these

924
00:54:07,760 --> 00:54:09,839
Speaker 1: dots that are not really connected for us in ways

925
00:54:09,880 --> 00:54:13,160
Speaker 1: that I think just don't really work. It's confusing. Yeah,

926
00:54:13,160 --> 00:54:15,160
Speaker 1: it's like I would love to know why she's so

927
00:54:15,320 --> 00:54:17,719
Speaker 1: fixated on disc and I bridget You're probably right that

928
00:54:17,800 --> 00:54:22,360
Speaker 1: it's just like a childhood nostalgia thing, but we just

929
00:54:22,400 --> 00:54:24,399
Speaker 1: don't even get I didn't even think that yet, that

930
00:54:24,480 --> 00:54:28,200
Speaker 1: thread is never really connected. And then that, I mean

931
00:54:29,160 --> 00:54:32,040
Speaker 1: is one thing I did like is that like much

932
00:54:32,239 --> 00:54:36,520
Speaker 1: like us and I probably for generation ever because whenever

933
00:54:36,640 --> 00:54:39,040
Speaker 1: special as we think we are. Um. I did like

934
00:54:39,120 --> 00:54:42,560
Speaker 1: how these characters are constantly trying to contextualize their own

935
00:54:42,600 --> 00:54:47,799
Speaker 1: experience using pop culture. Where even when Vicky is talking

936
00:54:47,840 --> 00:54:50,719
Speaker 1: about her stress about waiting for to find out if

937
00:54:50,760 --> 00:54:53,840
Speaker 1: she is HIV positive or negative, which I thought was

938
00:54:54,080 --> 00:54:58,719
Speaker 1: I mean, I wasn't expecting that to be tackled within

939
00:54:58,760 --> 00:55:01,239
Speaker 1: this movie, and I thought it was pretty tastefully and

940
00:55:01,320 --> 00:55:05,560
Speaker 1: thoughtfully done. Um. But the way that she explains her

941
00:55:05,600 --> 00:55:09,560
Speaker 1: anxiety is like imagining herself as a character on Melrose

942
00:55:09,600 --> 00:55:13,200
Speaker 1: Place and right, but like the way that it's presented

943
00:55:13,360 --> 00:55:19,480
Speaker 1: isn't condescending. It doesn't make her seem silly or like unintelligent.

944
00:55:19,560 --> 00:55:22,560
Speaker 1: It's like, oh yeah, that's like, not only are you

945
00:55:22,640 --> 00:55:27,719
Speaker 1: worried about potentially being very sick? Like also I feel

946
00:55:27,719 --> 00:55:31,640
Speaker 1: like that in that like simple exchange, she's describing how

947
00:55:32,040 --> 00:55:35,440
Speaker 1: she thinks the world will perceive her if the results

948
00:55:35,440 --> 00:55:39,000
Speaker 1: come back a certain way. Because pop culture trains you

949
00:55:39,040 --> 00:55:40,799
Speaker 1: how to see the world in so many ways, and

950
00:55:41,360 --> 00:55:44,480
Speaker 1: like moments like that, I was like that is awesome.

951
00:55:44,520 --> 00:55:47,120
Speaker 1: You never get stuff like that that's interesting. I have

952
00:55:47,239 --> 00:55:51,880
Speaker 1: mixed feelings about the way the movie handles HIV and AIDS.

953
00:55:52,280 --> 00:55:54,920
Speaker 1: Um the movie seems to be quite obsessed with it.

954
00:55:55,000 --> 00:55:57,560
Speaker 1: Number one, there are several references and like sometimes kind

955
00:55:57,560 --> 00:56:00,800
Speaker 1: of like offhand jokes made about it, or like characters

956
00:56:00,800 --> 00:56:05,080
Speaker 1: will make an offhand comment or joke about HIV and AIDS.

957
00:56:05,600 --> 00:56:10,000
Speaker 1: And then the kind of main conflict that the Vicki

958
00:56:10,120 --> 00:56:13,600
Speaker 1: characters is dealing with is that she is worried that

959
00:56:13,640 --> 00:56:17,160
Speaker 1: she might be positive for HIV, and so she goes

960
00:56:17,200 --> 00:56:19,760
Speaker 1: to get tested. And this is based on her having

961
00:56:20,560 --> 00:56:23,400
Speaker 1: you know, multiple sexual partners. She has a little book

962
00:56:23,840 --> 00:56:27,279
Speaker 1: like a sex diary, seems, where she like writes down

963
00:56:27,360 --> 00:56:29,400
Speaker 1: the names and the dates of the people she had

964
00:56:29,400 --> 00:56:32,600
Speaker 1: sex with. She doesn't always remember their names. I used

965
00:56:32,640 --> 00:56:36,759
Speaker 1: to do that based on this movie because I saw

966
00:56:36,800 --> 00:56:38,960
Speaker 1: this movie when I was a version and when I

967
00:56:38,960 --> 00:56:40,840
Speaker 1: started having sex, I was like, oh, you're supposed to

968
00:56:40,880 --> 00:56:43,520
Speaker 1: keep a diary. I don't have it anymore, but in

969
00:56:43,520 --> 00:56:48,520
Speaker 1: my early days of being sexual, I love it. It

970
00:56:48,520 --> 00:56:51,279
Speaker 1: could be a helpful tool, I feel like, But you know,

971
00:56:51,840 --> 00:56:55,080
Speaker 1: so she gets tested, she's waiting on the results. Um

972
00:56:55,120 --> 00:56:58,680
Speaker 1: Prior to her getting the results, she you know, expresses

973
00:56:58,719 --> 00:57:01,160
Speaker 1: a lot of concern about, you know, yeah, the way

974
00:57:01,320 --> 00:57:04,160
Speaker 1: she might be perceived or what her life might be

975
00:57:04,320 --> 00:57:09,400
Speaker 1: like if she is HIV positive. I just felt that, Okay,

976
00:57:09,840 --> 00:57:15,840
Speaker 1: for this to be an issue that a hetero sis

977
00:57:15,960 --> 00:57:21,120
Speaker 1: woman is dealing with, when HIV and AIDS is something

978
00:57:21,120 --> 00:57:24,480
Speaker 1: that largely affected the queer community, it just feels like

979
00:57:24,480 --> 00:57:27,240
Speaker 1: a weird erature of that. And obviously I'm not saying

980
00:57:27,280 --> 00:57:32,760
Speaker 1: that hetero people cannot become HIV positive and have AIDS,

981
00:57:32,840 --> 00:57:36,640
Speaker 1: but it's an issue that was famously not handled well

982
00:57:36,680 --> 00:57:39,920
Speaker 1: because it disproportionately affected the queer community, and you know,

983
00:57:39,960 --> 00:57:45,160
Speaker 1: like Reagan and and other administrations and institutions didn't give

984
00:57:45,200 --> 00:57:47,960
Speaker 1: a shit about the queer community. So it was just

985
00:57:48,040 --> 00:57:53,240
Speaker 1: like very mishandled basically every administration. Right. So for a

986
00:57:53,320 --> 00:57:56,480
Speaker 1: straight character to have a storyline where she's concerned about this,

987
00:57:56,600 --> 00:58:00,680
Speaker 1: it just felt kind of maybe indicative of that erasure.

988
00:58:01,240 --> 00:58:02,880
Speaker 1: But I was like, well, what's the alternative to have

989
00:58:02,960 --> 00:58:05,400
Speaker 1: the one queer character in the movie to be concerned

990
00:58:05,400 --> 00:58:07,640
Speaker 1: about that. I wouldn't want that either. I mean I

991
00:58:07,640 --> 00:58:10,560
Speaker 1: think that that then you could really easily skew into

992
00:58:11,240 --> 00:58:16,560
Speaker 1: tragedy porn. And my understanding is that um Helen Childress

993
00:58:16,600 --> 00:58:19,400
Speaker 1: is not a queer writer, and so it's like, would

994
00:58:19,400 --> 00:58:22,720
Speaker 1: it have been her place? I also was not sure.

995
00:58:22,760 --> 00:58:26,080
Speaker 1: I mean, I wasn't surprised that this movie had a

996
00:58:26,160 --> 00:58:29,720
Speaker 1: preoccupation with the AIDS epidemic because it was started being

997
00:58:29,760 --> 00:58:33,960
Speaker 1: written in It makes total sense to me that this

998
00:58:34,040 --> 00:58:37,760
Speaker 1: would be something that these characters would realistically be talking

999
00:58:37,800 --> 00:58:42,440
Speaker 1: and thinking about. But I mean, yeah, I I wasn't

1000
00:58:42,680 --> 00:58:44,760
Speaker 1: quite sure where to place it. I thought it was

1001
00:58:44,840 --> 00:58:49,000
Speaker 1: like interesting that they tackled the subject at all. I

1002
00:58:49,000 --> 00:58:52,000
Speaker 1: think it would have been a really easy issue that

1003
00:58:52,040 --> 00:58:55,400
Speaker 1: this group of friends would have been thinking about to

1004
00:58:55,600 --> 00:58:59,720
Speaker 1: erase from a major studio movie. I don't know. Yeah,

1005
00:58:59,760 --> 00:59:02,440
Speaker 1: I guess it's like with this specific writer in this

1006
00:59:02,480 --> 00:59:05,760
Speaker 1: specific movie. Yeah, I mean, I wouldn't have preferred it

1007
00:59:05,840 --> 00:59:09,720
Speaker 1: if the steves On character was if his whole storyline

1008
00:59:09,760 --> 00:59:13,320
Speaker 1: was defined by that. But then I guess that that's

1009
00:59:13,360 --> 00:59:16,080
Speaker 1: also the thing with having only one queer character in

1010
00:59:16,120 --> 00:59:20,480
Speaker 1: your movie. Like, I don't know, it didn't bother me

1011
00:59:21,080 --> 00:59:26,560
Speaker 1: that much, but also I'm completely open to that story

1012
00:59:26,600 --> 00:59:30,320
Speaker 1: point not being yeah, yeah, curious would if any listeners

1013
00:59:30,320 --> 00:59:34,800
Speaker 1: have any insight on that. Um, can we talk about

1014
00:59:35,200 --> 00:59:39,720
Speaker 1: the steves On character, Sammy, Let's talk about on Baby,

1015
00:59:41,200 --> 00:59:44,240
Speaker 1: that's gonna be a new segment on the show, and

1016
00:59:44,240 --> 00:59:51,160
Speaker 1: then talk about the steves On intersections. Okay, So it

1017
00:59:51,200 --> 00:59:56,120
Speaker 1: didn't even register with me that he is a queer

1018
00:59:56,200 --> 01:00:00,400
Speaker 1: character for a while, which does a few things. Signals

1019
01:00:00,440 --> 01:00:01,920
Speaker 1: to me that he is just allowed to be a

1020
01:00:02,000 --> 01:00:05,280
Speaker 1: queer character without that being like the first or defining

1021
01:00:05,360 --> 01:00:08,760
Speaker 1: thing you know about him, So his queerness is normalized

1022
01:00:08,960 --> 01:00:11,760
Speaker 1: in the story and in the world that he occupies.

1023
01:00:12,040 --> 01:00:15,560
Speaker 1: I also didn't notice any stereotypes of gay men being

1024
01:00:15,680 --> 01:00:19,880
Speaker 1: used with his character. But also he's kind of barely

1025
01:00:19,920 --> 01:00:23,479
Speaker 1: in the movie. He's the only character of the friend

1026
01:00:23,520 --> 01:00:27,480
Speaker 1: group that we see that we never see with a

1027
01:00:27,600 --> 01:00:31,120
Speaker 1: romantic or sexual partner, except there's maybe like one quick

1028
01:00:31,160 --> 01:00:33,080
Speaker 1: little scene where Sammy's in a diner with a guy

1029
01:00:33,160 --> 01:00:36,520
Speaker 1: named Lance. Yeah he's he, and he does introduce him

1030
01:00:36,600 --> 01:00:40,600
Speaker 1: as his boyfriend. Oh okay, I missed that. Okay, but

1031
01:00:40,680 --> 01:00:43,520
Speaker 1: that's such a quick throwaway moment, and clearly because I

1032
01:00:43,680 --> 01:00:48,400
Speaker 1: missed that part. So the fact that he like he's

1033
01:00:48,440 --> 01:00:50,480
Speaker 1: just not allowed to have any kind of like romantic

1034
01:00:50,520 --> 01:00:53,800
Speaker 1: subplot the way that other characters that's kind of like

1035
01:00:53,840 --> 01:00:56,560
Speaker 1: the focus of the movie. I did really like the

1036
01:00:56,600 --> 01:01:01,760
Speaker 1: scene where you see him and Vicky kind of like

1037
01:01:01,840 --> 01:01:04,560
Speaker 1: doing this bit where they're rehearsing him coming out to

1038
01:01:04,640 --> 01:01:07,600
Speaker 1: his family. Um, it's cute. And then you see the

1039
01:01:07,640 --> 01:01:10,320
Speaker 1: aftermath of him coming out to his family and they

1040
01:01:10,360 --> 01:01:14,240
Speaker 1: did not receive the information. Well there, they don't seem

1041
01:01:14,280 --> 01:01:17,080
Speaker 1: to be supportive, and you see how that affects him.

1042
01:01:17,280 --> 01:01:20,400
Speaker 1: You you see him talking about, you know, the reasons

1043
01:01:20,440 --> 01:01:25,200
Speaker 1: that he has chosen to be celibate, that he you know,

1044
01:01:25,320 --> 01:01:28,200
Speaker 1: hadn't been honest with himself about who he is, and

1045
01:01:28,240 --> 01:01:29,680
Speaker 1: you just like you see a lot of his kind

1046
01:01:29,720 --> 01:01:35,160
Speaker 1: of him expressing his inner struggles in a way that

1047
01:01:35,520 --> 01:01:38,840
Speaker 1: a lot of movies, especially from that era, never bothered

1048
01:01:38,880 --> 01:01:42,760
Speaker 1: to do or just like never handled well. So I

1049
01:01:42,800 --> 01:01:47,040
Speaker 1: thought that was it's queer representation in a movie at

1050
01:01:47,040 --> 01:01:51,320
Speaker 1: a time where there was very little on screen queer representation,

1051
01:01:51,560 --> 01:01:55,880
Speaker 1: and when it was there, it was usually really grossly mishandled.

1052
01:01:56,640 --> 01:02:01,560
Speaker 1: This representation isn't necessarily the best. Again, his character is

1053
01:02:01,680 --> 01:02:04,040
Speaker 1: kind of the of the four friends, like he has

1054
01:02:04,080 --> 01:02:08,360
Speaker 1: the least screen time and I think it's Helen Child.

1055
01:02:08,480 --> 01:02:11,280
Speaker 1: Riss did indicate that she wrote many versions of this group,

1056
01:02:11,720 --> 01:02:14,120
Speaker 1: wasn't the case. So again, it's like a studio issue

1057
01:02:14,160 --> 01:02:17,520
Speaker 1: of like, well, sure we can have an openly gay character,

1058
01:02:17,720 --> 01:02:21,240
Speaker 1: but not too much where. And this also feels like

1059
01:02:21,240 --> 01:02:25,280
Speaker 1: an era where I mean, even going back to Rent

1060
01:02:25,480 --> 01:02:29,800
Speaker 1: of like queer characters are or like the movie Philadelphia,

1061
01:02:29,840 --> 01:02:31,560
Speaker 1: which I've never seen but I know what happens in it.

1062
01:02:31,640 --> 01:02:34,560
Speaker 1: We're like, Okay, we could have gay characters on screen,

1063
01:02:34,800 --> 01:02:37,680
Speaker 1: but only if the worst possible thing happens to them.

1064
01:02:37,760 --> 01:02:40,680
Speaker 1: And so it's like we're not interested at this point

1065
01:02:40,760 --> 01:02:44,720
Speaker 1: in pop culture of like just exploring a queer person's

1066
01:02:44,800 --> 01:02:46,680
Speaker 1: day to day life in the way that this movie

1067
01:02:46,720 --> 01:02:50,640
Speaker 1: seems to be interested in. But then the studio doesn't

1068
01:02:50,680 --> 01:02:52,800
Speaker 1: let you go all the way of just like letting

1069
01:02:53,400 --> 01:02:57,200
Speaker 1: a gay man be a person, like and Steve's on

1070
01:02:57,320 --> 01:03:01,200
Speaker 1: such as sweetie, where's his first line? Where he's like

1071
01:03:01,240 --> 01:03:03,120
Speaker 1: such a He's just like, I don't know, I want

1072
01:03:03,120 --> 01:03:12,400
Speaker 1: a career. Oh, Mr Nice, Mr Nice. Yeah, let's take

1073
01:03:12,440 --> 01:03:22,000
Speaker 1: another break and then we will be right back and

1074
01:03:22,200 --> 01:03:24,520
Speaker 1: we're back. I wanted to go back a little bit

1075
01:03:24,560 --> 01:03:30,280
Speaker 1: to the so this is a very white middle to

1076
01:03:30,400 --> 01:03:34,640
Speaker 1: upper middle class. I think maybe spans because the middle

1077
01:03:34,680 --> 01:03:36,960
Speaker 1: class existed when this movie came out, which is kind

1078
01:03:36,960 --> 01:03:40,400
Speaker 1: of like confusing to navigate. I think that. I mean,

1079
01:03:40,600 --> 01:03:44,840
Speaker 1: obviously they're all young white people who have done some college,

1080
01:03:44,920 --> 01:03:47,360
Speaker 1: and it seems like Ethan Hawk didn't finish college, not

1081
01:03:47,400 --> 01:03:50,280
Speaker 1: because it was financially struggling, but like because it was

1082
01:03:50,360 --> 01:03:55,400
Speaker 1: like a that was his ideological preference. So it wasn't

1083
01:03:55,440 --> 01:03:57,360
Speaker 1: like he had to drop out because he couldn't afford it.

1084
01:03:58,080 --> 01:04:00,640
Speaker 1: So as far as class, because I think it's like

1085
01:04:00,800 --> 01:04:03,760
Speaker 1: interesting and telling that this is like hailed as the

1086
01:04:04,200 --> 01:04:07,440
Speaker 1: gen X movie, even if Janet's audiences didn't like it

1087
01:04:07,440 --> 01:04:10,800
Speaker 1: at the time, and it's still so centered on the

1088
01:04:10,800 --> 01:04:15,280
Speaker 1: white middle to upper middle class experience. Oh yeah, there's

1089
01:04:15,320 --> 01:04:18,320
Speaker 1: a lot of like social issues that get brought up

1090
01:04:18,360 --> 01:04:20,560
Speaker 1: in the movie that the characters talk about, Like so

1091
01:04:20,640 --> 01:04:26,840
Speaker 1: many movies ignore societal ills that are affecting you know,

1092
01:04:26,960 --> 01:04:29,280
Speaker 1: people across the globe. But they're talking about like the

1093
01:04:29,400 --> 01:04:32,840
Speaker 1: energy crisis and the environment. They're talking about class and

1094
01:04:33,000 --> 01:04:37,600
Speaker 1: wages and workers rights, they talk about world hunger. Like

1095
01:04:37,640 --> 01:04:40,520
Speaker 1: these things get brought up and the movie is largely

1096
01:04:40,560 --> 01:04:43,680
Speaker 1: about a young woman who's like optimistic and she wants

1097
01:04:43,680 --> 01:04:45,400
Speaker 1: to make a difference in the world and she wants

1098
01:04:45,400 --> 01:04:49,080
Speaker 1: to try to help fix some of these societal ills.

1099
01:04:49,120 --> 01:04:51,360
Speaker 1: But then she ultimately like doesn't really do anything and

1100
01:04:51,400 --> 01:04:54,920
Speaker 1: she just like kind of marinates in her privilege and

1101
01:04:54,960 --> 01:05:01,520
Speaker 1: makes a documentary about her friends what happens in Rent. Also,

1102
01:05:01,600 --> 01:05:04,400
Speaker 1: she acts like working retail after college it's the world,

1103
01:05:04,600 --> 01:05:07,640
Speaker 1: like the worst thing that, Like everybody works retail after

1104
01:05:07,680 --> 01:05:09,560
Speaker 1: college and it's not that like she makes it seem

1105
01:05:09,600 --> 01:05:12,120
Speaker 1: like it's the worst thing in the world. Okay, So

1106
01:05:12,320 --> 01:05:15,440
Speaker 1: I had so many feelings about that plot point, and

1107
01:05:15,480 --> 01:05:17,840
Speaker 1: that was another thing where it's like that to me

1108
01:05:18,000 --> 01:05:20,840
Speaker 1: was like what was really interesting about Like the tension

1109
01:05:20,880 --> 01:05:25,920
Speaker 1: between Vicky and Lena is like something that does genuinely

1110
01:05:25,960 --> 01:05:28,880
Speaker 1: suck about Lelena is she like wants to have her

1111
01:05:29,000 --> 01:05:32,760
Speaker 1: like cool, burnout friends, but she always there is an

1112
01:05:32,800 --> 01:05:34,680
Speaker 1: element to her character where she always has to view

1113
01:05:34,720 --> 01:05:38,720
Speaker 1: herself as a little bit above them, which is complicated

1114
01:05:38,920 --> 01:05:41,360
Speaker 1: because like there are things she says them like you're

1115
01:05:41,360 --> 01:05:45,240
Speaker 1: being an asshole. I know you're technically correct, where especially Troy,

1116
01:05:45,480 --> 01:05:49,320
Speaker 1: Troy is not paying rent. He refuses to look for work,

1117
01:05:49,600 --> 01:05:53,240
Speaker 1: like he's just being He is like actively mooching off

1118
01:05:53,280 --> 01:05:55,400
Speaker 1: of her and then negging her all the time, which

1119
01:05:55,480 --> 01:05:58,720
Speaker 1: is like go fund yourself. Situations very different with Vicky.

1120
01:05:58,760 --> 01:06:01,920
Speaker 1: I feel like it's telling that the only two people

1121
01:06:02,040 --> 01:06:06,760
Speaker 1: who live in this four person apartment are the two women. Um,

1122
01:06:06,800 --> 01:06:09,200
Speaker 1: I don't think that Sammy has a job for most

1123
01:06:09,240 --> 01:06:12,040
Speaker 1: of the movie. Yeah, Also, I don't think he lives

1124
01:06:12,280 --> 01:06:14,040
Speaker 1: does he live there? I think he lives somewhere else,

1125
01:06:14,080 --> 01:06:16,640
Speaker 1: But I don't know ifwhere he lives somewhere else because

1126
01:06:16,680 --> 01:06:20,280
Speaker 1: at one point he comes in and um, went Ona rogers, like,

1127
01:06:20,320 --> 01:06:22,040
Speaker 1: what are you even doing here? You don't live here?

1128
01:06:22,480 --> 01:06:25,760
Speaker 1: But she says that's Detroit too, and he does, and

1129
01:06:26,120 --> 01:06:28,440
Speaker 1: they call it the Maxi Pad, which leads me to

1130
01:06:28,440 --> 01:06:30,880
Speaker 1: believe that it's a house where only women live. Yeah.

1131
01:06:31,800 --> 01:06:34,520
Speaker 1: I don't know, I might been reading too much into that. No,

1132
01:06:34,680 --> 01:06:37,320
Speaker 1: I like that, But like with Vicky, I mean, like

1133
01:06:37,400 --> 01:06:39,920
Speaker 1: she I don't know, like there is kind of this.

1134
01:06:40,280 --> 01:06:42,720
Speaker 1: I wish that we could have explored it more because

1135
01:06:42,760 --> 01:06:46,280
Speaker 1: it's like Lenna is, you know, trying to like live

1136
01:06:46,360 --> 01:06:49,040
Speaker 1: life on her own terms while being while actively denying

1137
01:06:49,080 --> 01:06:52,400
Speaker 1: her own privilege, but you know, capitalizing on her own

1138
01:06:52,400 --> 01:06:56,200
Speaker 1: privilege when it suits her. Where Vicky it seems like

1139
01:06:56,240 --> 01:06:59,320
Speaker 1: she's from the lower middle class baby, it seems like

1140
01:06:59,360 --> 01:07:01,400
Speaker 1: she doesn't have of a safety net in the way

1141
01:07:01,440 --> 01:07:04,920
Speaker 1: that Lolena does. And she's working at the Gap, she

1142
01:07:05,000 --> 01:07:07,919
Speaker 1: becomes a manager. She's like taking pride in her work

1143
01:07:07,920 --> 01:07:09,680
Speaker 1: in a way that I thought was like really cool,

1144
01:07:09,920 --> 01:07:12,880
Speaker 1: Like she was just like, oh, you know that sort

1145
01:07:12,920 --> 01:07:15,640
Speaker 1: of shy, like I feel like a corporate sellout, but

1146
01:07:15,680 --> 01:07:19,360
Speaker 1: I'm also like I've never taken pride in my work before,

1147
01:07:19,400 --> 01:07:22,600
Speaker 1: and like that's a cool feeling, and that was like

1148
01:07:22,640 --> 01:07:25,360
Speaker 1: a cool element to that character. And then Lolena thinking

1149
01:07:25,440 --> 01:07:28,360
Speaker 1: she's a little too good for it and and like

1150
01:07:28,600 --> 01:07:32,160
Speaker 1: openly expressing that to Vicky and Vicky being local, fuck

1151
01:07:32,240 --> 01:07:35,960
Speaker 1: you, you you elitist break. There's there's there's like a couple

1152
01:07:36,000 --> 01:07:39,000
Speaker 1: of different times in the movie where someone calls another

1153
01:07:39,120 --> 01:07:42,280
Speaker 1: character out and you're like, yeah, good for you, and

1154
01:07:42,280 --> 01:07:44,000
Speaker 1: then it's just kind of dropped, and then we cut

1155
01:07:44,000 --> 01:07:46,840
Speaker 1: to the next scene and everyone's getting along again. Yeah,

1156
01:07:46,880 --> 01:07:50,000
Speaker 1: what that gap thing? In particular, when La lana Is

1157
01:07:50,360 --> 01:07:52,040
Speaker 1: thinks that she's high and mighty, she's like, I'm not

1158
01:07:52,040 --> 01:07:53,880
Speaker 1: going to work at the Gap for Christ's sake. But

1159
01:07:53,920 --> 01:07:55,960
Speaker 1: then when she's at her low moment, when she's on

1160
01:07:56,000 --> 01:07:59,760
Speaker 1: the couch, chain smoking, racking up money to the mine,

1161
01:08:00,040 --> 01:08:02,240
Speaker 1: she's like, oh, you think you're hot, ship because you

1162
01:08:02,320 --> 01:08:05,320
Speaker 1: work at the Gap. Like it's interesting how for her

1163
01:08:05,400 --> 01:08:08,080
Speaker 1: the gap is like beneath her. But then also she

1164
01:08:08,120 --> 01:08:13,040
Speaker 1: feels like it's being lorded over her later, right, Lena,

1165
01:08:13,440 --> 01:08:16,280
Speaker 1: So yeah, I wish that Vicky we just got a

1166
01:08:16,320 --> 01:08:19,839
Speaker 1: little more Vicky context. But I do like the peaks

1167
01:08:19,880 --> 01:08:23,160
Speaker 1: you have into her life of like, I don't know,

1168
01:08:23,240 --> 01:08:26,439
Speaker 1: it was sweet that her parents, uh love each other,

1169
01:08:26,479 --> 01:08:29,040
Speaker 1: but she's very grossed out by their relationship and like, oh,

1170
01:08:29,120 --> 01:08:32,240
Speaker 1: good for you, Vicky, good for you. Your parents love

1171
01:08:32,280 --> 01:08:34,680
Speaker 1: each other. Oh I didn't read that that way at all.

1172
01:08:34,720 --> 01:08:36,760
Speaker 1: I read it is that they don't like each other

1173
01:08:36,920 --> 01:08:40,160
Speaker 1: and they like the romance is completely dead. We shipped

1174
01:08:40,200 --> 01:08:42,880
Speaker 1: with the door open. I thincause that's how dead the

1175
01:08:43,000 --> 01:08:45,479
Speaker 1: romance I think shipping. I think that you can have

1176
01:08:45,640 --> 01:08:48,000
Speaker 1: romance and ship with the door open. I agree the

1177
01:08:48,040 --> 01:08:50,519
Speaker 1: two are not mutually exclusive, but I think it's a

1178
01:08:50,600 --> 01:08:53,439
Speaker 1: very naive take on Vicky's part. It's like, well, I

1179
01:08:53,479 --> 01:08:56,760
Speaker 1: think maybe they're they're in super love because you can

1180
01:08:56,800 --> 01:08:59,080
Speaker 1: if you can see someone take a ship and still

1181
01:08:59,120 --> 01:09:05,639
Speaker 1: be like you like, let's smooch and frick um. So

1182
01:09:05,960 --> 01:09:09,759
Speaker 1: I mentioned this, but so as Lelena is like trying

1183
01:09:09,800 --> 01:09:12,680
Speaker 1: to sort out her money troubles and trying to get

1184
01:09:12,720 --> 01:09:15,439
Speaker 1: another job after she kind of like puts down working

1185
01:09:15,560 --> 01:09:17,800
Speaker 1: at the Gap. She then goes to her mom for

1186
01:09:18,000 --> 01:09:20,880
Speaker 1: a loan, and her mom suggests, well, why don't you

1187
01:09:20,880 --> 01:09:23,719
Speaker 1: work at a fast food restaurant. This is the scene

1188
01:09:23,720 --> 01:09:26,800
Speaker 1: where the R word is just casually thrown around by

1189
01:09:26,880 --> 01:09:30,920
Speaker 1: multiple characters. Several characters. Yeah, and not just in this scene,

1190
01:09:30,920 --> 01:09:34,519
Speaker 1: although it gets it gets said other times. And Lena

1191
01:09:34,920 --> 01:09:39,080
Speaker 1: dismisses a job at a fast food restaurant citing a

1192
01:09:39,280 --> 01:09:42,840
Speaker 1: very ablest reason. I do. I do appreciate that the

1193
01:09:42,880 --> 01:09:45,519
Speaker 1: movie kind of makes a point to show that a

1194
01:09:45,640 --> 01:09:48,880
Speaker 1: job at a fast food restaurant is harder and takes

1195
01:09:48,880 --> 01:09:55,240
Speaker 1: more skills. She cannot she cannot add eighty five together

1196
01:09:55,400 --> 01:09:58,439
Speaker 1: quickly or whatever the numbers were. Because the movie does

1197
01:09:58,439 --> 01:10:01,680
Speaker 1: have little moments of commentary like that, like kind of

1198
01:10:01,760 --> 01:10:04,280
Speaker 1: class commentary, and I think it has a lot of

1199
01:10:04,320 --> 01:10:07,760
Speaker 1: good moments. Yeah, there's a scene that seems to be

1200
01:10:07,920 --> 01:10:12,439
Speaker 1: satirizing networks like MTV and the entertainment of that era

1201
01:10:12,840 --> 01:10:17,240
Speaker 1: where Laney's watching a show and I forget what it's called,

1202
01:10:17,600 --> 01:10:20,960
Speaker 1: but it's this woman. She's like the host of this show.

1203
01:10:21,000 --> 01:10:23,479
Speaker 1: It's like a fashion fashion it's meant to be House

1204
01:10:23,479 --> 01:10:26,760
Speaker 1: of Style. Did y'all watch that? Oh my god? Empty.

1205
01:10:26,880 --> 01:10:28,280
Speaker 1: I might be older than you all, but it's it's

1206
01:10:28,280 --> 01:10:31,479
Speaker 1: clearly meant to be MTV's House of Style. Cindy Crawford

1207
01:10:31,479 --> 01:10:33,280
Speaker 1: got her start on that show, like it was like

1208
01:10:33,800 --> 01:10:36,559
Speaker 1: it was that checked that but I think so it

1209
01:10:36,640 --> 01:10:40,200
Speaker 1: was like in the nineties it was MTVS Fashion and

1210
01:10:40,200 --> 01:10:42,479
Speaker 1: it was always kind of like edgy hip hop fashion.

1211
01:10:42,479 --> 01:10:46,120
Speaker 1: But yeah, it was their fashion show. Okay, So what

1212
01:10:46,439 --> 01:10:48,680
Speaker 1: happens in this like you know this like kind of

1213
01:10:48,720 --> 01:10:52,000
Speaker 1: spoof version of that on the In Your Face Network

1214
01:10:52,560 --> 01:10:55,719
Speaker 1: is it's this woman, she's the host of this show.

1215
01:10:56,040 --> 01:10:58,400
Speaker 1: And she's like today we're in I think they're in

1216
01:10:58,439 --> 01:11:01,840
Speaker 1: Compton and she's where in Compton? And you can buy

1217
01:11:01,880 --> 01:11:06,400
Speaker 1: this this Bandanna. It's got red for crips and blue

1218
01:11:06,439 --> 01:11:08,360
Speaker 1: for bloods or I don't even know if I have

1219
01:11:08,400 --> 01:11:12,679
Speaker 1: the colors right, And she's like and it's only seventy yeah,

1220
01:11:12,840 --> 01:11:16,719
Speaker 1: and it's made by Donna Carro and famously a bougee

1221
01:11:16,760 --> 01:11:19,800
Speaker 1: white woman. I actually love that comment. It's like the

1222
01:11:20,000 --> 01:11:22,840
Speaker 1: movie does try to do some nineties commentary of like

1223
01:11:22,880 --> 01:11:26,120
Speaker 1: that was the vibe of the nineties, like corporations and

1224
01:11:26,160 --> 01:11:29,920
Speaker 1: white rich people co opting like black folks and like

1225
01:11:30,000 --> 01:11:34,320
Speaker 1: Latino folks and like like working class like fashion and

1226
01:11:34,360 --> 01:11:36,960
Speaker 1: like making it a thousand dollars and then selling it

1227
01:11:37,000 --> 01:11:41,440
Speaker 1: back to people exactly. Yeah. I thought that, like especially

1228
01:11:41,560 --> 01:11:44,240
Speaker 1: for some reason, like the TV stuff especially, I thought

1229
01:11:44,280 --> 01:11:47,200
Speaker 1: was really really effective with the I mean, even with

1230
01:11:47,240 --> 01:11:50,080
Speaker 1: the Frasier's Dad Show, where it was very clearly like

1231
01:11:50,200 --> 01:11:52,720
Speaker 1: parodying a lot of daytime TV where it was like,

1232
01:11:53,479 --> 01:11:57,400
Speaker 1: you know, exploitative thing and tragic thing where you know,

1233
01:11:57,920 --> 01:12:02,240
Speaker 1: he's like today we have this amazing child and and

1234
01:12:02,439 --> 01:12:06,400
Speaker 1: someone with Alzheimer's disease and you're just like it, that

1235
01:12:06,600 --> 01:12:08,720
Speaker 1: is clear like what they're trying to do. And then

1236
01:12:09,120 --> 01:12:13,240
Speaker 1: I also thought it was like interesting that how when

1237
01:12:13,280 --> 01:12:16,520
Speaker 1: on a writer is like duped by a TV psychic

1238
01:12:17,040 --> 01:12:20,280
Speaker 1: and like that that was just a little montage of

1239
01:12:20,320 --> 01:12:23,600
Speaker 1: like predatory TV scams of the nine nineties because it

1240
01:12:23,640 --> 01:12:28,160
Speaker 1: was like TV College, TV Psychics and like just little

1241
01:12:28,360 --> 01:12:32,840
Speaker 1: ways that the culture of this time preyed on desperation

1242
01:12:32,920 --> 01:12:35,839
Speaker 1: and loneliness, which is like there's a different generational reboot

1243
01:12:35,880 --> 01:12:39,120
Speaker 1: of how to prey on desperation and loneliness. And I

1244
01:12:39,160 --> 01:12:44,080
Speaker 1: thought it was like kind of a fun comment on it. Oh,

1245
01:12:44,120 --> 01:12:46,160
Speaker 1: the TV Psychic scene has my favorite line of the

1246
01:12:46,200 --> 01:12:48,559
Speaker 1: movie where when her roommate is coming to talk to

1247
01:12:48,560 --> 01:12:50,280
Speaker 1: her about the phone bill over the phone, the TV

1248
01:12:50,320 --> 01:12:54,080
Speaker 1: Psychic is like, Laney, I said that you're in great danger, dangerous,

1249
01:12:55,720 --> 01:12:58,479
Speaker 1: And then and then Jean in Gruffalo is like, we

1250
01:12:58,560 --> 01:13:01,439
Speaker 1: have a four phone. What the fuck it's from this

1251
01:13:01,560 --> 01:13:03,960
Speaker 1: nine number? And then you just see when on a

1252
01:13:04,000 --> 01:13:09,839
Speaker 1: writer like very slowly hanging up the phone. That's comedy.

1253
01:13:10,320 --> 01:13:13,200
Speaker 1: I thought it was good. Yeah, Like it's like part

1254
01:13:13,200 --> 01:13:16,200
Speaker 1: of the reason that the ending to this movie bumps

1255
01:13:16,240 --> 01:13:17,680
Speaker 1: me out so much is I feel like there's so

1256
01:13:17,680 --> 01:13:21,719
Speaker 1: many like strong threads of like ways this movie could

1257
01:13:21,720 --> 01:13:24,240
Speaker 1: have gone. Characters, they could have expanded on more topics,

1258
01:13:24,280 --> 01:13:26,320
Speaker 1: they could have taken a little further, because it's like

1259
01:13:26,479 --> 01:13:30,880
Speaker 1: with Troy and Laney, like they're both shitty in their ways.

1260
01:13:30,920 --> 01:13:34,800
Speaker 1: Troy is by far worse, And I would hope that

1261
01:13:35,439 --> 01:13:37,920
Speaker 1: if Laney had done what I wanted her to do

1262
01:13:38,000 --> 01:13:40,960
Speaker 1: at the end and just like got her shipped together

1263
01:13:41,080 --> 01:13:42,680
Speaker 1: and figured out who she was as a person and

1264
01:13:42,720 --> 01:13:45,680
Speaker 1: worked a retail job and wasn't a total snob, I'm

1265
01:13:45,680 --> 01:13:48,439
Speaker 1: sure that these would be issues that hopefully would course

1266
01:13:48,479 --> 01:13:51,240
Speaker 1: correct later in her life. Troy maybe permanently broken. But

1267
01:13:51,360 --> 01:13:55,439
Speaker 1: like how Troy's central, Like it feels like what they're

1268
01:13:55,439 --> 01:13:57,479
Speaker 1: trying to ask with that character, I don't know, let

1269
01:13:57,520 --> 01:13:58,600
Speaker 1: me know what you think, because I was like, it

1270
01:13:58,640 --> 01:14:01,800
Speaker 1: seems like Troy is trying to do the thing where

1271
01:14:01,800 --> 01:14:07,559
Speaker 1: he's like saying something valid, but his methods are shitty

1272
01:14:07,720 --> 01:14:10,639
Speaker 1: and like don't make any difference for anything. Where it's

1273
01:14:10,640 --> 01:14:15,040
Speaker 1: like he wants to exist outside of capitalism. He resents capitalism,

1274
01:14:15,080 --> 01:14:18,120
Speaker 1: he resents that you are expected, you know, certain things

1275
01:14:18,160 --> 01:14:20,960
Speaker 1: are expected of you to exist in a society and

1276
01:14:21,200 --> 01:14:27,200
Speaker 1: be considered someone worthy of respect. A valid question and

1277
01:14:27,280 --> 01:14:33,959
Speaker 1: like fair, but like he sucks and like he's useless

1278
01:14:34,000 --> 01:14:36,240
Speaker 1: and he's mean, and then in the end he's kind

1279
01:14:36,280 --> 01:14:40,120
Speaker 1: of like rewarded by getting everything he ever wanted. So

1280
01:14:41,320 --> 01:14:45,160
Speaker 1: why I mean, because he's a white guy who had

1281
01:14:45,200 --> 01:14:48,320
Speaker 1: a safety net the whole time. That's why I like,

1282
01:14:48,479 --> 01:14:50,559
Speaker 1: at one point it's like a throwaway thing. But I

1283
01:14:50,600 --> 01:14:54,839
Speaker 1: think that Lena's dad set up a cushy job interview

1284
01:14:54,880 --> 01:14:57,360
Speaker 1: for Troy that he didn't go to, and I think

1285
01:14:57,360 --> 01:14:59,000
Speaker 1: he didn't go to it because he was like hanging

1286
01:14:59,040 --> 01:15:02,519
Speaker 1: out with her. I think that like her dad definitely

1287
01:15:02,640 --> 01:15:04,120
Speaker 1: is like I said, I'm a job interview and he

1288
01:15:04,160 --> 01:15:06,680
Speaker 1: couldn't even bother to show up. And so you're right

1289
01:15:06,720 --> 01:15:09,960
Speaker 1: that it's it's as someone who is a former like

1290
01:15:10,520 --> 01:15:13,040
Speaker 1: slacker knew a lot of like slacker types that were

1291
01:15:13,080 --> 01:15:16,080
Speaker 1: anti capitalists. It's really easy to be that way when

1292
01:15:16,120 --> 01:15:17,960
Speaker 1: you have a safety net, when people are looking out

1293
01:15:17,960 --> 01:15:19,639
Speaker 1: for you and someone can make a call and get

1294
01:15:19,680 --> 01:15:22,360
Speaker 1: you a job. And I think Troy is very good

1295
01:15:22,360 --> 01:15:27,080
Speaker 1: at presenting his his rejection of all that stuff ideologically

1296
01:15:27,080 --> 01:15:29,400
Speaker 1: on the outside, but not so good at acknowledging what

1297
01:15:29,479 --> 01:15:33,080
Speaker 1: he actually has access to, which is not nothing. Right. Yeah,

1298
01:15:33,280 --> 01:15:36,760
Speaker 1: And it's like Troy's life, I mean, his life would

1299
01:15:36,800 --> 01:15:40,679
Speaker 1: become so much more difficult if Laney and Vicky weren't

1300
01:15:40,720 --> 01:15:43,400
Speaker 1: constantly doing what he's yelling at them for all the time,

1301
01:15:43,479 --> 01:15:46,240
Speaker 1: which is working so that they all have a place

1302
01:15:46,280 --> 01:15:49,320
Speaker 1: to live, which Troy is not contributing to and is

1303
01:15:49,439 --> 01:15:53,840
Speaker 1: in fact actively hostile to them for like working so

1304
01:15:53,920 --> 01:15:55,880
Speaker 1: that he has somewhere to yell at them at. Like

1305
01:15:56,360 --> 01:15:59,280
Speaker 1: it's just it's so messy, and it's like the movie

1306
01:15:59,320 --> 01:16:02,799
Speaker 1: seems to know that, but then the ending it's it's wild.

1307
01:16:02,920 --> 01:16:08,000
Speaker 1: It's wild. I also find it fascinating and maybe this

1308
01:16:08,080 --> 01:16:12,960
Speaker 1: is some irony that the movie loves to talk about.

1309
01:16:13,000 --> 01:16:17,519
Speaker 1: But like the the like paradox of this being a

1310
01:16:17,560 --> 01:16:20,080
Speaker 1: movie about characters who are like, oh my god, selling

1311
01:16:20,120 --> 01:16:22,639
Speaker 1: out is like the worst thing you can do, and

1312
01:16:22,680 --> 01:16:26,680
Speaker 1: like it might be tempting, but ultimately your loser if

1313
01:16:26,680 --> 01:16:31,560
Speaker 1: you sell out. But then this was also a studio movie,

1314
01:16:31,840 --> 01:16:35,559
Speaker 1: and Ben Stiller said something like it's a strange thing

1315
01:16:35,640 --> 01:16:38,760
Speaker 1: because it was a studio movie about the ideas of

1316
01:16:38,760 --> 01:16:42,800
Speaker 1: commodification and descent or whatever. And the idea that it

1317
01:16:42,880 --> 01:16:46,440
Speaker 1: was a universal movie, meaning like the movie studio universal,

1318
01:16:47,080 --> 01:16:50,320
Speaker 1: a universal movie that was really sort of independent minded,

1319
01:16:50,840 --> 01:16:53,040
Speaker 1: was something that we struggled with. So it's like the

1320
01:16:53,120 --> 01:16:58,040
Speaker 1: same studio that released Jurassic Park the year before was

1321
01:16:58,080 --> 01:17:02,280
Speaker 1: also releasing reality Bites and clearly made a bunch of

1322
01:17:02,320 --> 01:17:05,400
Speaker 1: script changes, and like all, they had all these studio notes,

1323
01:17:05,479 --> 01:17:08,840
Speaker 1: and it's probably the reason that Lelaney ends up with

1324
01:17:08,920 --> 01:17:11,400
Speaker 1: Troy at the end, because that's kind of like the

1325
01:17:11,439 --> 01:17:15,040
Speaker 1: more like right gretty romantic choice for her to make,

1326
01:17:15,320 --> 01:17:17,559
Speaker 1: which I mean, I was glad that at least, like

1327
01:17:17,720 --> 01:17:20,720
Speaker 1: the major players and this who worked in this movie,

1328
01:17:20,760 --> 01:17:22,519
Speaker 1: I'll seem aware of that because it's like it's a

1329
01:17:22,640 --> 01:17:26,080
Speaker 1: pointed to just truly like what are you going to do?

1330
01:17:26,479 --> 01:17:31,240
Speaker 1: Like what the like? Because all of the you know,

1331
01:17:31,439 --> 01:17:34,040
Speaker 1: like they're all of the resources are in the hands

1332
01:17:34,040 --> 01:17:37,240
Speaker 1: of big studios, like, right, what the funk are you

1333
01:17:37,280 --> 01:17:40,760
Speaker 1: gonna do? And it it's I don't know it. Have

1334
01:17:40,800 --> 01:17:43,760
Speaker 1: either of you ever seen SLC Punk? I have not

1335
01:17:44,000 --> 01:17:46,280
Speaker 1: know I have. I've seen it many times. Do you

1336
01:17:46,320 --> 01:17:48,559
Speaker 1: like it? Um? I liked it when I was in

1337
01:17:48,600 --> 01:17:51,680
Speaker 1: high school. I rewatched it maybe two years ago. I

1338
01:17:51,720 --> 01:17:53,880
Speaker 1: actually think about it. I like not to kind of

1339
01:17:53,880 --> 01:17:55,200
Speaker 1: spoil the ending. I don't know if you'll have like

1340
01:17:55,240 --> 01:17:57,559
Speaker 1: a philosop I was. I wanted to talk about the

1341
01:17:57,600 --> 01:18:00,320
Speaker 1: ending to SELC Punk because I think I like it better. Yeah,

1342
01:18:00,520 --> 01:18:03,640
Speaker 1: the the ending is great because it's like, oh, this

1343
01:18:03,680 --> 01:18:06,360
Speaker 1: whole time, all of that ideology was BS and you

1344
01:18:06,439 --> 01:18:08,760
Speaker 1: sold that in the end and turns out you just

1345
01:18:08,880 --> 01:18:11,240
Speaker 1: like we're a poser like everybody else, and that's fine.

1346
01:18:11,280 --> 01:18:13,240
Speaker 1: It's called growing up. The end, like, I kind of

1347
01:18:13,280 --> 01:18:17,160
Speaker 1: love that. Yeah, like so, I the only time I've

1348
01:18:17,160 --> 01:18:21,000
Speaker 1: seen Slski punk I was on Molly Nights, but I

1349
01:18:21,040 --> 01:18:24,760
Speaker 1: really loved him. But but the ending, in spite of

1350
01:18:24,800 --> 01:18:27,840
Speaker 1: me being high out of my mind, the ending really

1351
01:18:27,960 --> 01:18:31,200
Speaker 1: stuck with me as one of the more like, you know,

1352
01:18:31,280 --> 01:18:33,800
Speaker 1: it doesn't feel good to watch, but it is an

1353
01:18:33,800 --> 01:18:37,320
Speaker 1: honest depiction of like. And also it's a Matthew Willard

1354
01:18:37,400 --> 01:18:41,639
Speaker 1: joint Caitlin, Oh, I I've unfamiliar. I just have yet

1355
01:18:41,640 --> 01:18:45,280
Speaker 1: to succeeded. And unlike Reality Bites, it's a true indie movie.

1356
01:18:45,400 --> 01:18:48,320
Speaker 1: It made like two dollars and it like premiered at

1357
01:18:48,320 --> 01:18:51,160
Speaker 1: Sundance And but but yeah, like the the way, I

1358
01:18:51,520 --> 01:18:53,880
Speaker 1: was sort of wondering if Reality Bites would take that

1359
01:18:53,960 --> 01:18:57,240
Speaker 1: sort of option where it's like, you know, it seems

1360
01:18:57,320 --> 01:19:02,280
Speaker 1: inevitable that this grew at least you know, two or

1361
01:19:02,320 --> 01:19:04,920
Speaker 1: three out of the four are gonna end up selling

1362
01:19:04,920 --> 01:19:08,519
Speaker 1: out in the way that adults are forced to under

1363
01:19:08,520 --> 01:19:12,400
Speaker 1: capitalism more often than not. But I was wondering how

1364
01:19:12,439 --> 01:19:14,439
Speaker 1: self aware it's like that it didn't do it in

1365
01:19:14,479 --> 01:19:17,000
Speaker 1: a very self aware because even in the like the

1366
01:19:17,040 --> 01:19:20,960
Speaker 1: closing line of the movie, Laney is like, it's acknowledging

1367
01:19:21,000 --> 01:19:23,040
Speaker 1: that Laney has used her privilege to get to where

1368
01:19:23,120 --> 01:19:25,760
Speaker 1: she's at with Troy, because it's her doubt on the

1369
01:19:25,760 --> 01:19:30,320
Speaker 1: phone who you know, like all four boomer criticism of

1370
01:19:30,439 --> 01:19:32,360
Speaker 1: like look at this, you know how they opened the

1371
01:19:32,400 --> 01:19:35,080
Speaker 1: movie with like your revolution, you know, you traded your

1372
01:19:35,080 --> 01:19:39,280
Speaker 1: revolution for shoulder pads. Fair, fair criticism. But it's like

1373
01:19:39,720 --> 01:19:41,640
Speaker 1: our characters are well on their way to doing the

1374
01:19:41,680 --> 01:19:44,000
Speaker 1: same fucking thing by the end of the movie, but

1375
01:19:44,400 --> 01:19:46,759
Speaker 1: it's not quite willing to like go there and admit

1376
01:19:46,800 --> 01:19:49,679
Speaker 1: it in a way that s LC punk was like, yeah,

1377
01:19:49,800 --> 01:19:53,040
Speaker 1: little or to suit Now he's uh, he just got

1378
01:19:53,080 --> 01:19:55,400
Speaker 1: to the law school. He went to law school. He

1379
01:19:55,439 --> 01:19:59,639
Speaker 1: went to play shaggy. He's a corporate stooge. I mean,

1380
01:20:00,160 --> 01:20:05,519
Speaker 1: Lillard's taking that Scooby Money can't even blame. It's funny,

1381
01:20:05,520 --> 01:20:08,719
Speaker 1: like we're like, okay, so in the universe of the film, nobody,

1382
01:20:08,880 --> 01:20:11,960
Speaker 1: only certain people are allowed to sell out if if

1383
01:20:11,960 --> 01:20:15,200
Speaker 1: the clock spins five years later, like are we to

1384
01:20:15,240 --> 01:20:19,160
Speaker 1: believe that Troy is still under employed and like blowing

1385
01:20:19,160 --> 01:20:21,840
Speaker 1: off job interviews and sort of intentionally getting fired. And

1386
01:20:21,920 --> 01:20:24,479
Speaker 1: Lena is like, certainly they would have, like you would

1387
01:20:24,479 --> 01:20:26,280
Speaker 1: have to get a job at some point, Like that's

1388
01:20:26,840 --> 01:20:31,679
Speaker 1: life and life is unsustainable otherwise. Right, It's like he's

1389
01:20:31,720 --> 01:20:34,360
Speaker 1: not gonna If there's one person who's not going to

1390
01:20:34,479 --> 01:20:40,400
Speaker 1: singlehandedly dismantle American capitalism, it's Troy for Reality bite like

1391
01:20:40,840 --> 01:20:43,960
Speaker 1: he's gonna have to do something at some point. And

1392
01:20:44,000 --> 01:20:46,000
Speaker 1: I feel like such a like a mom saying that,

1393
01:20:46,000 --> 01:20:48,320
Speaker 1: where I'm like, get your life together, young man. But

1394
01:20:49,600 --> 01:20:53,519
Speaker 1: you know what I do starts a podcast. No, he

1395
01:20:53,520 --> 01:20:57,320
Speaker 1: starts a podcast and we're a part of the problem. Yeah,

1396
01:20:57,360 --> 01:20:59,519
Speaker 1: you think Troy from Reality, but it's wouldn't be fucking

1397
01:20:59,560 --> 01:21:05,040
Speaker 1: podcast two he's got. He's probably got two podcasts he has.

1398
01:21:05,080 --> 01:21:07,240
Speaker 1: Oh you know who he is. I know exactly who

1399
01:21:07,240 --> 01:21:10,360
Speaker 1: he is. He is like the leftist podcaster who was

1400
01:21:10,400 --> 01:21:14,439
Speaker 1: all like, oh, like class solidarity but makes three dollars

1401
01:21:14,479 --> 01:21:16,840
Speaker 1: a year via Patreon, but you would never know it

1402
01:21:16,880 --> 01:21:20,640
Speaker 1: because he talks about like class workfare every week in

1403
01:21:20,680 --> 01:21:24,520
Speaker 1: the podcast. That's who he never volunteered a weaken his life. Yeah,

1404
01:21:24,840 --> 01:21:30,040
Speaker 1: absolutely no. No. Oh, look, we're all a bunch of

1405
01:21:30,040 --> 01:21:33,519
Speaker 1: fucking sellouts. We're a feminist podcast on the I Heart

1406
01:21:33,600 --> 01:21:38,400
Speaker 1: Radio network. At the end of the day, if it's like, well, shit, fuck,

1407
01:21:39,360 --> 01:21:43,280
Speaker 1: we're the end of SLC punk. Um, okay, yeah, does

1408
01:21:43,320 --> 01:21:46,639
Speaker 1: anyone have anything else they want to talk about? It's

1409
01:21:46,640 --> 01:21:49,599
Speaker 1: everything ahead that might have been it. Yeah, the same.

1410
01:21:49,880 --> 01:21:54,160
Speaker 1: Does this movie pass the Bechtel test? It does. Yeah,

1411
01:21:54,280 --> 01:21:58,840
Speaker 1: We've got We've got some conversations, We've got some various combinations.

1412
01:21:58,880 --> 01:22:02,800
Speaker 1: It's a lot of Lelaney and Vicky I think is

1413
01:22:03,479 --> 01:22:07,719
Speaker 1: most of the Bechtel test passing convos. But what about

1414
01:22:07,720 --> 01:22:12,800
Speaker 1: that nipple scale, the famous flawless nipple scale where we

1415
01:22:12,840 --> 01:22:16,080
Speaker 1: write the movie on a scale of zero to five nipples.

1416
01:22:16,120 --> 01:22:20,799
Speaker 1: Based on examining the movie through an intersectional feminist lens,

1417
01:22:22,360 --> 01:22:24,960
Speaker 1: I feel like it's maybe like a two or a

1418
01:22:25,000 --> 01:22:26,479
Speaker 1: two and a half, just one of those kind of

1419
01:22:26,520 --> 01:22:29,840
Speaker 1: split down the middle ones, or maybe it's less than that.

1420
01:22:29,920 --> 01:22:33,040
Speaker 1: Let me talk through this. Um. I appreciate that this

1421
01:22:33,120 --> 01:22:37,479
Speaker 1: is a movie, like written by a woman writing about

1422
01:22:37,479 --> 01:22:42,360
Speaker 1: her own experiences. It's coming from a pretty privileged place

1423
01:22:42,479 --> 01:22:46,400
Speaker 1: because at least the characters it's like, yeah, they're broke,

1424
01:22:47,160 --> 01:22:51,280
Speaker 1: but they're broke in the way that white college graduates

1425
01:22:51,320 --> 01:22:55,760
Speaker 1: from supportive middle class families working entry level jobs are

1426
01:22:55,840 --> 01:22:59,759
Speaker 1: broke broke, not poor. Right, So it just feels gross

1427
01:22:59,800 --> 01:23:03,240
Speaker 1: to make a movie where things like money and labor

1428
01:23:03,479 --> 01:23:07,920
Speaker 1: and socioeconomic class are major themes of the movie, but

1429
01:23:08,320 --> 01:23:12,800
Speaker 1: the movie only features educated, middle class white people. UM.

1430
01:23:12,840 --> 01:23:16,920
Speaker 1: I do not like that the movie is predicated on

1431
01:23:16,960 --> 01:23:19,559
Speaker 1: which of these two guys is she going to choose

1432
01:23:19,720 --> 01:23:24,760
Speaker 1: because she has to pick one because hetero romance must prevail,

1433
01:23:25,360 --> 01:23:27,879
Speaker 1: and then she picks the guy who has been actively

1434
01:23:27,960 --> 01:23:31,320
Speaker 1: cruel to her throughout the entire movie. I hate that

1435
01:23:31,400 --> 01:23:34,719
Speaker 1: for her. Um. There are some things I do like. Um,

1436
01:23:34,760 --> 01:23:39,120
Speaker 1: there's some interesting satire. There is a queer character whose

1437
01:23:39,280 --> 01:23:43,280
Speaker 1: queerness is normalized within the story, even though that character

1438
01:23:43,439 --> 01:23:46,360
Speaker 1: gets the least amount of screen time in this version

1439
01:23:46,400 --> 01:23:49,240
Speaker 1: of the story at least. Um, But it's you know,

1440
01:23:49,320 --> 01:23:53,040
Speaker 1: queer representation that was I would say, generally more positive

1441
01:23:53,080 --> 01:23:57,560
Speaker 1: than you would tend to find in this era. Um.

1442
01:23:57,600 --> 01:23:59,400
Speaker 1: And yeah, as I think I like Trailed Off, But

1443
01:23:59,479 --> 01:24:03,360
Speaker 1: it's a a woman writing this screenplay about her life,

1444
01:24:03,360 --> 01:24:06,360
Speaker 1: about her experiences and her relationships. It seems like it

1445
01:24:06,439 --> 01:24:11,120
Speaker 1: got studio notes to death almost uh seventy different drafts

1446
01:24:11,240 --> 01:24:14,880
Speaker 1: kind of thing. But um, I don't know, it's just

1447
01:24:16,600 --> 01:24:19,120
Speaker 1: have I come to any conclusion. No, I'm gonna give

1448
01:24:19,120 --> 01:24:23,120
Speaker 1: it two nipples. I'll give one to one on a

1449
01:24:23,160 --> 01:24:26,519
Speaker 1: writer because I do love Oneona, and I'll give the

1450
01:24:26,520 --> 01:24:30,680
Speaker 1: other nipple to screenwriter Helen child Dress, who again has

1451
01:24:30,720 --> 01:24:32,960
Speaker 1: been kind of like left out of the conversation about

1452
01:24:33,040 --> 01:24:37,679
Speaker 1: this movie and like isn't given credit where credit is due. Yeah,

1453
01:24:37,760 --> 01:24:42,080
Speaker 1: so there you have it. I'm gonna go two and

1454
01:24:42,080 --> 01:24:45,439
Speaker 1: a half on this one. Maybe maybe I'm talented to

1455
01:24:45,479 --> 01:24:49,560
Speaker 1: do three, but I I the the centering of the

1456
01:24:49,680 --> 01:24:53,800
Speaker 1: relationship is just like so frustrating that I guess I'm

1457
01:24:53,800 --> 01:24:57,519
Speaker 1: going to do too and a half. Um again, yes,

1458
01:24:57,560 --> 01:25:00,240
Speaker 1: like this is yet another you know, quote on quote

1459
01:25:00,280 --> 01:25:03,600
Speaker 1: generation to finding movie that solely focuses on you know,

1460
01:25:03,840 --> 01:25:07,040
Speaker 1: middle class uh six white people. I do appreciate that

1461
01:25:07,080 --> 01:25:11,960
Speaker 1: there is some different class backgrounds and discussion of class.

1462
01:25:11,960 --> 01:25:14,519
Speaker 1: I feel like most movies like this, just like or

1463
01:25:14,600 --> 01:25:17,240
Speaker 1: most you know, coming of age movies, class exists in

1464
01:25:17,240 --> 01:25:19,679
Speaker 1: a complete and total void. So at least then that's

1465
01:25:19,720 --> 01:25:22,840
Speaker 1: not the case. Um, this movie asks a lot of

1466
01:25:22,880 --> 01:25:25,640
Speaker 1: interesting questions. I think that, you know, the answers are

1467
01:25:25,640 --> 01:25:28,800
Speaker 1: really complicated because we also like our generation is not

1468
01:25:28,840 --> 01:25:31,360
Speaker 1: going to have the answers and uh, you know gen

1469
01:25:31,439 --> 01:25:36,200
Speaker 1: Z best of luck, but and then there's no more generations.

1470
01:25:36,439 --> 01:25:39,799
Speaker 1: Uh So Ultimately, yeah, I think that this movie asks

1471
01:25:40,080 --> 01:25:42,840
Speaker 1: a lot of interesting questions. It challenged me in some ways,

1472
01:25:42,880 --> 01:25:47,120
Speaker 1: it frustrated me and others, and uh it made me

1473
01:25:47,120 --> 01:25:51,120
Speaker 1: want to rewatch SLC Punk um. But I do appreciate

1474
01:25:51,160 --> 01:25:54,000
Speaker 1: that this movie, um is you know, written by a

1475
01:25:54,040 --> 01:25:57,880
Speaker 1: woman who has lived out a similar experience. Um. I

1476
01:25:57,920 --> 01:26:02,639
Speaker 1: think that her career since is very indicative of how disposable, um,

1477
01:26:02,720 --> 01:26:06,080
Speaker 1: women creatives can be in Hollywood, especially during this era.

1478
01:26:06,160 --> 01:26:09,479
Speaker 1: I'm glad that there has been some motion against that

1479
01:26:09,640 --> 01:26:11,960
Speaker 1: since it doesn't seem to be something that happens quite

1480
01:26:11,960 --> 01:26:14,759
Speaker 1: as much, and that there are a lot of women

1481
01:26:14,760 --> 01:26:17,479
Speaker 1: in high positions in this production. You have a woman

1482
01:26:17,600 --> 01:26:19,679
Speaker 1: editor of a woman writer, you have a woman producer.

1483
01:26:20,760 --> 01:26:24,000
Speaker 1: But yeah, I don't know if this this Honestly, this

1484
01:26:24,040 --> 01:26:28,519
Speaker 1: movie is like challenging for for me, and uh, you know,

1485
01:26:28,800 --> 01:26:32,799
Speaker 1: being an adult sellout is fucking embarrassing and it's also

1486
01:26:33,680 --> 01:26:38,600
Speaker 1: unfortunately kind of a part of being an American and

1487
01:26:39,360 --> 01:26:42,640
Speaker 1: it Uh I guess that that's all I have to

1488
01:26:42,640 --> 01:26:45,960
Speaker 1: say about it. Uh yeah, So I'll go two and

1489
01:26:45,960 --> 01:26:49,240
Speaker 1: a half and I'm giving them all to Helen because, um,

1490
01:26:49,720 --> 01:26:53,200
Speaker 1: it's ridiculous that justice for Helen event Stiller is getting

1491
01:26:53,240 --> 01:26:57,040
Speaker 1: credit for ship shoot it. Yeah yeah, bridget Yeah, I'm

1492
01:26:57,080 --> 01:26:59,480
Speaker 1: going First of all, I love that we're just explicitly

1493
01:26:59,600 --> 01:27:03,599
Speaker 1: identify playing as adults sellouts, and this feminist adults sell

1494
01:27:03,600 --> 01:27:05,360
Speaker 1: out is going two and a half nipples, and I

1495
01:27:05,400 --> 01:27:10,120
Speaker 1: completely agree, mostly for Helen children. It's like justice for her.

1496
01:27:10,439 --> 01:27:12,479
Speaker 1: I had no idea about the ways that she was

1497
01:27:12,520 --> 01:27:16,040
Speaker 1: sort of written out of her own experience, and that

1498
01:27:16,200 --> 01:27:19,040
Speaker 1: just sucks that this is a movie about her life

1499
01:27:19,439 --> 01:27:23,280
Speaker 1: that is so accredited to Ben Stiller, a man, that

1500
01:27:23,360 --> 01:27:24,760
Speaker 1: she just gets written out of it. Like I was

1501
01:27:24,800 --> 01:27:28,400
Speaker 1: googling pictures, it was difficult to even find pictures of

1502
01:27:28,520 --> 01:27:30,799
Speaker 1: her with the cast, and like, this was her story,

1503
01:27:30,880 --> 01:27:33,800
Speaker 1: So most of those nipples are going to her. Also,

1504
01:27:33,920 --> 01:27:37,240
Speaker 1: Jeanine Garoffalo, I have a soft spot for je Garoffalo

1505
01:27:37,479 --> 01:27:42,680
Speaker 1: supporting casting. Yeah, in this movie, I once loved it

1506
01:27:42,720 --> 01:27:45,439
Speaker 1: as a youth, watching it as an adult, it's I agree,

1507
01:27:45,439 --> 01:27:49,639
Speaker 1: it's challenging, but yeah, I I like a movie that

1508
01:27:50,080 --> 01:27:53,400
Speaker 1: makes it attempt to show queerness in the nineties in

1509
01:27:53,400 --> 01:27:56,120
Speaker 1: a way that it's not so traumatic and Steve Zon

1510
01:27:56,200 --> 01:27:59,040
Speaker 1: doesn't die or something like I Think for the time,

1511
01:27:59,080 --> 01:28:02,599
Speaker 1: I'm gonna go too and a a half of fair. Yeah, Bridget,

1512
01:28:02,600 --> 01:28:06,840
Speaker 1: thank you so much for joining us, Thank you for returning.

1513
01:28:07,040 --> 01:28:11,320
Speaker 1: Come back any time. Oh it's always a blast. Anytime

1514
01:28:11,400 --> 01:28:15,439
Speaker 1: you're you're about to get sick of me? Impossible, can't happen,

1515
01:28:15,520 --> 01:28:17,719
Speaker 1: won't happen? Tell us all about your your new show

1516
01:28:17,760 --> 01:28:20,800
Speaker 1: on cool Zone. Oh yes. So Internet Hate Machine is

1517
01:28:20,800 --> 01:28:24,320
Speaker 1: an exploration of kind of an unpleasant topic, which is

1518
01:28:24,360 --> 01:28:27,280
Speaker 1: the online harassment of women, specifically black women, but women

1519
01:28:27,280 --> 01:28:30,360
Speaker 1: of color in general, and how I believe that is

1520
01:28:30,360 --> 01:28:34,160
Speaker 1: connected to our current sort of political and social healthscape.

1521
01:28:34,200 --> 01:28:37,800
Speaker 1: I guess I'll say, uh, and so yeah, it's it's

1522
01:28:37,840 --> 01:28:40,479
Speaker 1: but it's I swear it's not dark. It's not a

1523
01:28:40,520 --> 01:28:43,559
Speaker 1: start of it sounds, but yeah, it's an exploration of

1524
01:28:43,600 --> 01:28:46,080
Speaker 1: the ways that all of these things online, the way

1525
01:28:46,080 --> 01:28:48,000
Speaker 1: that black women have been treated, have gotten us to

1526
01:28:48,040 --> 01:28:51,200
Speaker 1: a place where those same tactics and those same ills

1527
01:28:51,400 --> 01:28:53,360
Speaker 1: impact all of us and really make it hard for

1528
01:28:53,439 --> 01:28:55,920
Speaker 1: us to have a functioning democracy. So if that sounds

1529
01:28:55,960 --> 01:28:59,280
Speaker 1: like something that you're interested in exploring, please check it out.

1530
01:28:59,320 --> 01:29:04,879
Speaker 1: The new season or the first season drops October. So excited,

1531
01:29:05,720 --> 01:29:08,599
Speaker 1: thank you, thank you so much for coming back. We'll

1532
01:29:08,600 --> 01:29:10,360
Speaker 1: be we'll be plugging the hill out of the show

1533
01:29:11,439 --> 01:29:13,479
Speaker 1: and anything else you want to plug. As far as

1534
01:29:13,520 --> 01:29:16,360
Speaker 1: your social media handles, yeah, you can follow me on

1535
01:29:16,439 --> 01:29:19,000
Speaker 1: Instagram at bridget Marie in d C or on Twitter

1536
01:29:19,040 --> 01:29:21,280
Speaker 1: at bridget Marie. And I have my own long running,

1537
01:29:21,800 --> 01:29:27,519
Speaker 1: long running two years podcast, podcast World. I'm I'm proudly

1538
01:29:27,520 --> 01:29:29,760
Speaker 1: claiming that's a long time. Two years. That's a long

1539
01:29:29,800 --> 01:29:33,160
Speaker 1: time called there are No Girls on the Internet. Please

1540
01:29:33,240 --> 01:29:37,000
Speaker 1: check it out amazing and you can follow us on

1541
01:29:37,040 --> 01:29:40,759
Speaker 1: Twitter and Instagram at bechtel Cast. You can subscribe to

1542
01:29:40,920 --> 01:29:46,360
Speaker 1: our Matreon at patreon dot com slash becktel Cast. It

1543
01:29:46,640 --> 01:29:48,720
Speaker 1: is five dollars a month and it gets you to

1544
01:29:49,560 --> 01:29:53,280
Speaker 1: bonus episodes every month, plus the entire back catalog of

1545
01:29:53,360 --> 01:29:57,920
Speaker 1: bonus episodes. You can also get our merch at t

1546
01:29:58,080 --> 01:30:00,720
Speaker 1: public dot com slash the backtel Pass. This is such

1547
01:30:00,720 --> 01:30:03,400
Speaker 1: a funny way to end the episode after reality bites

1548
01:30:03,640 --> 01:30:08,320
Speaker 1: or like in conclusion, capitalism our exclusion. Give us five

1549
01:30:08,360 --> 01:30:13,479
Speaker 1: dollars a month and support us on Hellscape social media

1550
01:30:13,560 --> 01:30:18,040
Speaker 1: platforms that are actively running the world. Um, you know,

1551
01:30:18,200 --> 01:30:20,760
Speaker 1: or we can just go fund ourselves whatever you want. Uh.

1552
01:30:21,600 --> 01:30:26,240
Speaker 1: On that note, let's go watch Fraser's dad's TV show. Honestly,

1553
01:30:26,360 --> 01:30:29,639
Speaker 1: I would watch it if I had pneumonia. Yeah, let's

1554
01:30:29,760 --> 01:30:31,719
Speaker 1: let's do it. Okay, Bye,