WEBVTT - Reality Bites with Bridget Todd

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<v Speaker 1>On the bel Cast, the questions asked if movies have

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<v Speaker 1>women in them, are all their discussions just boyfriends and husbands,

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<v Speaker 1>or do they have individualism? The patriarchy? Zef in best

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<v Speaker 1>start changing it with the beck Del Cast. Hey, Jamie, Hey, Caitlin,

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<v Speaker 1>my Sharona is playing Turn it Up and Let's dance. Caitlin,

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<v Speaker 1>did you know that My Sharona is a song about

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<v Speaker 1>an underage girl? I did not know that, like extremely underage,

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<v Speaker 1>like thirteen. Yikes. Well, well, welcome to the Bechdel Cast.

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<v Speaker 1>That was my That's one of my favorite bubbles to burst.

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<v Speaker 1>Not because but that was something I learned while I

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<v Speaker 1>was making Lolita podcast, because I was just making a

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<v Speaker 1>superlist of popular songs that are actually about exploiting young women.

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<v Speaker 1>And My Sharona is I mean, look, if you want

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<v Speaker 1>to pause the podcast and take a gander at the lyrics,

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<v Speaker 1>be my guest, but it is, uh, it is a

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<v Speaker 1>rough road. My my dad. That was one of my

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<v Speaker 1>dad's favorite songs. And I was like, Dad, you gotta

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<v Speaker 1>you gotta take a peep at these lyrics, and he

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<v Speaker 1>was like, oh my, oh my. Now look this is

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<v Speaker 1>just a sampling of one of the elements of culture

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<v Speaker 1>that maybe don't age very well. Welcome to the Bexel Cast.

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<v Speaker 1>My name is Jamie Lofts and my name is Caitlin Durante.

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<v Speaker 1>And this is a podcast where basically we take media

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<v Speaker 1>that you love and point out everything that's wrong with

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<v Speaker 1>it from an intersectional feminist lens. I think that's a

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<v Speaker 1>little harsh. We we take a look at it from

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<v Speaker 1>an intersexual fevtist lens. We're not a part of the

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<v Speaker 1>ruin everything culture. We take a look at things that

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<v Speaker 1>just happens sometimes as a byproduct of what we do,

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<v Speaker 1>because a lot of things kind of just ruined themselves.

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<v Speaker 1>I guess so is that fair to say anyway? Um So,

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<v Speaker 1>we used the Bechtel Test as a jumping off point

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<v Speaker 1>to initiate a larger conversation. And the Bechtel Test, of course,

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<v Speaker 1>is a media metric created by queer cartoonist Alison Becktel,

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<v Speaker 1>sometimes called the Bechtel Wallace Test, originally conceived as a

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<v Speaker 1>just kind of one off joke in a comic by

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<v Speaker 1>Alison Becktel called Begs to Watch Out for Uh, and

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<v Speaker 1>has since been kind of repurposed as this media metric.

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<v Speaker 1>There are many versions of it, the one that we

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<v Speaker 1>use requires that two people of a marginalized gender who

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<v Speaker 1>have names must speak to each other, and their conversation

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<v Speaker 1>has to be about something other than a man, and

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<v Speaker 1>ideally it's a narratively meaningful conversation. Oh yeah, oh yeah.

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<v Speaker 1>And today we have a long time request with a

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<v Speaker 1>much beloved guest, so let's get to it. We're covering

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<v Speaker 1>reality bites directed by one bend Still are written by

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<v Speaker 1>one Helen child Dress Childress. Don't know, sure, don't know,

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<v Speaker 1>and we'll never know. And that's on in hernalized misogynt

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<v Speaker 1>we know how to pronounce Ben Stiller's name makes you think, okay,

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<v Speaker 1>uh so look at her wonderful returning guests in here. Indeed,

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<v Speaker 1>she is the host of the podcast There Are No

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<v Speaker 1>Girls on the Internet. She's the host of the new

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<v Speaker 1>podcast Internet Hate Machine on cool Zone Media. Check it out.

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<v Speaker 1>And do you remember her from our episode on Eve's

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<v Speaker 1>by You. It's Bridget Todd. I'm so excited to be here.

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<v Speaker 1>Thank you for having me, Thank you for bringing us

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<v Speaker 1>reality bites. I'm very excited, too excited. Did did to

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<v Speaker 1>discuss us us us this movie? Um that you have

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<v Speaker 1>brought us? I feel like This movie is very often

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<v Speaker 1>held up as like this is the gen X movie, which,

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<v Speaker 1>as many you know, and we can bitch all day

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<v Speaker 1>about jen X and we will, but I will say

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<v Speaker 1>it must suck as a generation to be told like

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<v Speaker 1>this is you when you like it or not. Like,

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<v Speaker 1>I don't think that millennials really have a movie that

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<v Speaker 1>is like made like this is your defining thing. I

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<v Speaker 1>think I would resent it on. I would just resent

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<v Speaker 1>it automatically. So to our gen X listeners, whether you

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<v Speaker 1>like this movie or or not, I think it's just

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<v Speaker 1>I feel like it's the only generation I know of

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<v Speaker 1>that is like, there's one movie about gen X and

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<v Speaker 1>it involves one of the most toxic relationships I've ever seen.

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<v Speaker 1>Committed to film. Oh, brother, um that said, I'm excited

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<v Speaker 1>to discuss this movie. There were elements of it I

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<v Speaker 1>liked very much. So bridget to kick us off. What

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<v Speaker 1>is your history with reality bites? Oh, I have a

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<v Speaker 1>long history with this movie. That's why I suggested it.

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<v Speaker 1>I loved it when I first saw it. I saw

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<v Speaker 1>it as a young person, maybe I saw it in

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<v Speaker 1>high school. I even had the soundtrack that I bought

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<v Speaker 1>from the Salvation Army, which the soundtracks, slaps sound it

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<v Speaker 1>really is. Yeah. I loved it, And I also think

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<v Speaker 1>it was a movie that when I was young in

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<v Speaker 1>the suburbs, I thought, when I'm an adult, this my

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<v Speaker 1>life is gonna be like this. It's gonna be cool,

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<v Speaker 1>creative young people hanging around in a group house, you know,

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<v Speaker 1>smoking weed out of cans and quitting with each other.

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<v Speaker 1>It really presented a life that I found aspirational at

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<v Speaker 1>the time. And it's funny because watching it now, I'm like,

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<v Speaker 1>thank God, that wasn't my eye. Yeah, not a great

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<v Speaker 1>fate as it turns out. Jamie. What is your relationship

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<v Speaker 1>in history with this movie? Um, I don't have much

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<v Speaker 1>of history with it. I had never seen it before.

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<v Speaker 1>It never really never came across my desk as a youth.

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<v Speaker 1>I have worked with one of the producers of this

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<v Speaker 1>movie before, Stacy Shure. She's really really awesome. So I'm

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<v Speaker 1>coming in a little bit biased here because I just

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<v Speaker 1>think that she's like championed so many movies that centerr

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<v Speaker 1>women and queer stories, and like she She's done a

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<v Speaker 1>lot of really really cool work. But I never actually

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<v Speaker 1>like sat with this movie before and watched it, and

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<v Speaker 1>honestly I was coming in thinking maybe I wouldn't like

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<v Speaker 1>it very much at all. They're definitely like I mean,

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<v Speaker 1>I think that this movie, like I didn't know much

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<v Speaker 1>about the history. I didn't know it was like written

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<v Speaker 1>by a young woman that is like very much pulling

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<v Speaker 1>from her own experience, which I think is really cool

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<v Speaker 1>and especially in would have been super rare. And then

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<v Speaker 1>just like I don't know. I mean, my main issue

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<v Speaker 1>with this movie, which I'm sure we'll be talking about,

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<v Speaker 1>is it's like hyper focus on this shitty relationship that

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<v Speaker 1>I mean, and amongst other things. But it felt like

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<v Speaker 1>there were a lot of things that that this movie

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<v Speaker 1>was commenting on that even when characters sucked, they sucked

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<v Speaker 1>contextually in a way that felt like there's a lot

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<v Speaker 1>of satire and a lot of commentary on like why

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<v Speaker 1>people are making the choices they are, Like no characters

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<v Speaker 1>goats completely uncriticized by the movie except for like this

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<v Speaker 1>relationship that I just have Like oh um, But but

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<v Speaker 1>I'm very excited to talk about it. I feel like

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<v Speaker 1>there's a lot of it resonated more than I was

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<v Speaker 1>expecting it too. For me, Caitlin, what is your history

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<v Speaker 1>with reality bites? I Honestly, I am not sure if

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<v Speaker 1>I had seen it before, because there were parts that

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<v Speaker 1>were very familiar to me, the my Sharonas scene in particular.

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<v Speaker 1>I that scene is really fun. It is. But what

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<v Speaker 1>I remember even more than them dancing to that song

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<v Speaker 1>was the line where they're like, Avian is naive spelled backwards.

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<v Speaker 1>I don't know why Corny jed x line. Ever, why

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<v Speaker 1>did I remember that so much? I'm not sure. I

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<v Speaker 1>think there's a very real possibility that I had only

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<v Speaker 1>ever seen that seen probably from that movie Trivia Game.

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<v Speaker 1>Seen it, Oh my god, And that's just why I

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<v Speaker 1>remember seeing it. That's the millennials true movie. Oh yeah,

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<v Speaker 1>Oh you just a lot to memory for me of

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<v Speaker 1>how much I love seen it and I haven't played

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<v Speaker 1>it in years seen it kind of rules. Yeah, oh yeah,

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<v Speaker 1>that's so much cultural osmosis. Um. Maybe that maybe I

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<v Speaker 1>had seen that scene that way too. Also, this is

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<v Speaker 1>like Janine Garofolo being I was like, that's the true

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<v Speaker 1>harbinger of of a gen x um classic. Is like

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<v Speaker 1>Jennine Garofolo in a supporting role. Yeah, we've done it.

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<v Speaker 1>That's how you know. Um. But yeah, the rest of

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<v Speaker 1>the movie wasn't super familiar to me, so I think

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<v Speaker 1>I had actually seen the whole thing, and it was

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<v Speaker 1>just that scene in the gas station that I saw

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<v Speaker 1>and then thought I had seen the whole movie. I'm

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<v Speaker 1>not really sure. So, yeah, not super familiar with this movie.

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<v Speaker 1>But but there's a lot to talk about there is

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<v Speaker 1>This is not the primary thing to talk about. But

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<v Speaker 1>I didn't know Steve Zon was in this movie, and

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<v Speaker 1>as a known Zon head, I was like, who, well, well,

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<v Speaker 1>look who we have here, Stevenson. I love Stevenson so much.

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<v Speaker 1>The fact that anyone would say in a movie that

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<v Speaker 1>no one wants to have sex with Steve Zon, I'm like,

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<v Speaker 1>you're gonna want to check your notes on that one.

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<v Speaker 1>I do love Steve Zon. Do you remember when he

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<v Speaker 1>played the cat Stewart a little? Of course. I remember

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<v Speaker 1>when he played Stewart Little. Yeah. He played Nathan Lane's

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<v Speaker 1>best friend and his only line was snow volume of

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<v Speaker 1>best friend. God, he's so delightful. It's such a delight

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<v Speaker 1>when he like, no one's ever sad to see Steve's on.

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<v Speaker 1>He's what was your Is that your favorite Steve's on movie?

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<v Speaker 1>Stewart Little Yes. I'm trying to think of where I

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<v Speaker 1>first fell in love with steve 'son, it would have

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<v Speaker 1>been I remember this is I don't think where I

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<v Speaker 1>fell in love with him, But he was in a

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<v Speaker 1>Christen Early Christen Stewart movie called Speak, which is about

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<v Speaker 1>a very traumatic it's very traumatic, but Steve's On plays

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<v Speaker 1>the nice teacher of a middle schooler who experiences pretty

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<v Speaker 1>horrific abuse. And so Steve's On, You're like, oh, nice,

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<v Speaker 1>Mr He's just always Mr Nice. He's always Mr Nice?

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<v Speaker 1>Is Mr Nice? He cannot play a villain. Um, I've

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<v Speaker 1>accept in White Lotos, where he definitely does. Oh that's

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<v Speaker 1>I didn't finish that series. Um. I first saw him

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<v Speaker 1>in the movie joy Ride. What's that? It's basically a

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<v Speaker 1>remake of the movie Duel where a scary truck driver

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<v Speaker 1>terrorizes Steve's On, Paul Walker and Lely Sobieski And it's

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<v Speaker 1>pretty cool. What else is Stevenson is also and You've

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<v Speaker 1>Got Mail? I think maybe that's the last time I

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<v Speaker 1>got thrilled to see him on the show in a

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<v Speaker 1>movie I had. The Whites did not like. It's funny.

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<v Speaker 1>I'm looking at his IMDb reality bites. Was only that

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<v Speaker 1>like the fourth movie he had ever been in he

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<v Speaker 1>was in an episode of All My Children, a movie,

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<v Speaker 1>a TV movie called First Love, Fatal Love, another movie

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<v Speaker 1>called Rain Without Thunder, an episode of a show called

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<v Speaker 1>South Beach, and then reality bites like that was his

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<v Speaker 1>This was like early Steve's On. This was his break,

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<v Speaker 1>this big break. I read that because the casting process,

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<v Speaker 1>for I mean, the production of this movie is just

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<v Speaker 1>like wild in general. But I read that Ethan Hawk

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<v Speaker 1>had just like done a play with Steve's on and

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<v Speaker 1>was like, he's cool for human and then Steve's on

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<v Speaker 1>being Mr nice Um was really enthusiastic about playing a

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<v Speaker 1>queer character who is like who comes out of the

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<v Speaker 1>closet and is loved and accepted for it because he's

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<v Speaker 1>Mr nice So the only movie I've ever seen him

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<v Speaker 1>being not nice in is um a perfect getaway. He's like,

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<v Speaker 1>I don't want to spoil it, but it's got I

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<v Speaker 1>think Mila Djovlovich maybe uh. And he's very much the villain,

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<v Speaker 1>like not just like the villain like in White Lotus

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<v Speaker 1>where it's like, oh, he's rich and has a lot

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<v Speaker 1>of privilege, A villain villain like a bad guys. Good

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<v Speaker 1>for him. He's got range. I also remembering he's Mr

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<v Speaker 1>Nice And I don't know if anyone else was a

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<v Speaker 1>baby sitter and saw the Diary of a Wimpy Kid

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<v Speaker 1>movie series, but he's he's Mr Dad in that one,

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<v Speaker 1>and yeah, sure he makes some mistakes, but at the

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<v Speaker 1>end of the day, he's Mr Nice. Well, shall we

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<v Speaker 1>move on from Steve's on? The beginning of the ence

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<v Speaker 1>is in this movie this is a feminist movie podcast,

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<v Speaker 1>which you wouldn't have guessed from that conversation at Tirade

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<v Speaker 1>about Steve's on about how he's nice. Yeah, let's recap

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<v Speaker 1>the movie, shall we? Let's do it? Okay, So we

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<v Speaker 1>open on Lelna. That's Winona writer. She's giving a speech

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<v Speaker 1>at her college graduation, which effectively sets up the theme

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<v Speaker 1>of the movie, which is like, Hey, there are all

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<v Speaker 1>these problems in the world, but what do we do

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<v Speaker 1>about them? I don't know that. I like how every

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<v Speaker 1>generation will, especially now that like we're no longer the

0:13:10.320 --> 0:13:13.640
<v Speaker 1>youngest generation and we're growing crustier with each passing day.

0:13:14.040 --> 0:13:16.880
<v Speaker 1>I do think it's like funny how that this is

0:13:16.920 --> 0:13:19.800
<v Speaker 1>the question of literally every generation. But everyone is like,

0:13:20.080 --> 0:13:22.280
<v Speaker 1>but it was my idea. We're kind of the first

0:13:22.320 --> 0:13:25.360
<v Speaker 1>people to have this problem and it's like, wow, Dan

0:13:25.800 --> 0:13:29.680
<v Speaker 1>getting old is punishing. It was not our idea, and

0:13:29.720 --> 0:13:35.400
<v Speaker 1>we are also fumbling it. So amazing. Yeah, Okay, So

0:13:35.440 --> 0:13:38.920
<v Speaker 1>then we see video footage because Lelena is making a

0:13:38.960 --> 0:13:43.400
<v Speaker 1>documentary about her friends. Her friends are Troy Dyer. That's

0:13:43.440 --> 0:13:48.760
<v Speaker 1>Ethan hawk Hot mm hmmm. His character is despicable. His

0:13:48.840 --> 0:13:54.280
<v Speaker 1>character is horrible. Yeah, Vicky, that's Janine Garoffalo and Sammy

0:13:54.720 --> 0:13:59.880
<v Speaker 1>Steve's on of the Zones sence Hot. There's I just

0:14:00.920 --> 0:14:05.120
<v Speaker 1>I'm going to be annoying today. Um there was. I

0:14:05.160 --> 0:14:09.480
<v Speaker 1>was thinking of just like other very gen xy movies

0:14:09.520 --> 0:14:12.040
<v Speaker 1>and things in general, and I was thinking about Rent,

0:14:12.440 --> 0:14:15.400
<v Speaker 1>which I feel like also goes in this category very much.

0:14:15.880 --> 0:14:21.560
<v Speaker 1>Also features I think, a visibly terrible documentary about someone's friends.

0:14:22.280 --> 0:14:24.120
<v Speaker 1>It was a very niceties thing to do to think

0:14:24.160 --> 0:14:26.400
<v Speaker 1>that you were. I mean, I guess it's like how

0:14:26.440 --> 0:14:28.840
<v Speaker 1>millennials and gen z use social media to be like

0:14:29.680 --> 0:14:31.920
<v Speaker 1>get ready with me, and it's like, God, everyone's so

0:14:32.080 --> 0:14:36.280
<v Speaker 1>fucking boring and you all have the same instincts exactly. Yeah,

0:14:36.400 --> 0:14:40.000
<v Speaker 1>And I think that to document our lives and make

0:14:40.040 --> 0:14:44.280
<v Speaker 1>them public. I do think that Winona Writer's fake documentary

0:14:44.320 --> 0:14:49.640
<v Speaker 1>in Reality Bites seems more interesting than Anthony Rapp's fake

0:14:49.800 --> 0:14:54.600
<v Speaker 1>documentary in rent That's a professional opinion question. I mean

0:14:54.720 --> 0:14:59.360
<v Speaker 1>his documentary is just videoing his I mean, Lena is

0:14:59.560 --> 0:15:02.520
<v Speaker 1>like act them questions about like what's it like to

0:15:02.560 --> 0:15:04.600
<v Speaker 1>be worried about AIDS? What's it like to do this?

0:15:04.680 --> 0:15:08.040
<v Speaker 1>Like she's asking them their perspective the documentary. If I

0:15:08.040 --> 0:15:10.440
<v Speaker 1>haven't seen Rented a long time, so excuse me if

0:15:10.440 --> 0:15:14.040
<v Speaker 1>I'm misremembering, But if I recall correctly, he's just like

0:15:14.200 --> 0:15:16.560
<v Speaker 1>got a camera in his friend's faces and they're just

0:15:16.640 --> 0:15:19.840
<v Speaker 1>living their lives. Yeah, he's trying to do him more

0:15:19.960 --> 0:15:24.640
<v Speaker 1>Like I'm just like, is who's getting releases for these things? Logistically?

0:15:25.120 --> 0:15:28.080
<v Speaker 1>Like who's getting releases for this? Yeah? He was just

0:15:28.160 --> 0:15:31.960
<v Speaker 1>bringing his camera to like like support groups in a

0:15:32.000 --> 0:15:36.040
<v Speaker 1>way that you're like, this is illegal mark following this

0:15:36.080 --> 0:15:41.280
<v Speaker 1>person's anonymity or whatever. Yeah, she's anyway, Here's They both

0:15:41.280 --> 0:15:43.680
<v Speaker 1>probably would suck, But I think when known as this

0:15:43.840 --> 0:15:46.680
<v Speaker 1>is more interesting and it seems like at least everyone

0:15:46.880 --> 0:15:51.640
<v Speaker 1>is willingly participating. That's true time. Here's my hot and

0:15:51.720 --> 0:15:55.920
<v Speaker 1>potentially terrible take, is that the TV network in your

0:15:55.960 --> 0:16:02.080
<v Speaker 1>Face version of who are not think is like not

0:16:02.120 --> 0:16:05.120
<v Speaker 1>that bad? Totally agree, I'm so I would that. I

0:16:05.120 --> 0:16:08.520
<v Speaker 1>was going to totally say the same thing. I thank you, honestly,

0:16:08.560 --> 0:16:11.120
<v Speaker 1>I truly so. I'm sure we'll get to this and

0:16:11.120 --> 0:16:12.840
<v Speaker 1>I maybe I'm jumping the gun. But the scene when

0:16:12.880 --> 0:16:15.640
<v Speaker 1>they show it, I was like, it just seems like

0:16:15.680 --> 0:16:18.120
<v Speaker 1>the bumper or the teaser, like you don't even what

0:16:18.160 --> 0:16:21.520
<v Speaker 1>was so bad about it they I truly don't get it, Okay,

0:16:21.760 --> 0:16:24.600
<v Speaker 1>my As I was watching that, I was like, how

0:16:24.640 --> 0:16:28.200
<v Speaker 1>different is this from the trailer to reality bites? It's

0:16:28.400 --> 0:16:31.680
<v Speaker 1>pretty similar and very similar, but that's like I feel

0:16:31.680 --> 0:16:34.760
<v Speaker 1>like that's kind of like one of the bizarro like.

0:16:35.200 --> 0:16:37.440
<v Speaker 1>I mean, I know the word irony is used really

0:16:37.480 --> 0:16:39.040
<v Speaker 1>heavily in this movie, but that's like kind of the

0:16:39.080 --> 0:16:41.640
<v Speaker 1>weird irony of this movie is like a movie about

0:16:41.680 --> 0:16:43.680
<v Speaker 1>selling out, but like you would have had to have

0:16:43.760 --> 0:16:46.240
<v Speaker 1>sold out in order for it to be made. It's

0:16:46.240 --> 0:16:50.520
<v Speaker 1>a studio movie, right. I don't know, Jamie, define irony.

0:16:51.200 --> 0:16:55.120
<v Speaker 1>You can't. It's undefinable. Literally, I was as she was

0:16:55.120 --> 0:16:56.960
<v Speaker 1>fumbling with that, I was like, oh, I would have

0:16:57.560 --> 0:17:00.200
<v Speaker 1>I would not have been able to do that, would

0:17:00.200 --> 0:17:03.320
<v Speaker 1>have sucked it up. I also think that what Ethan

0:17:03.360 --> 0:17:06.520
<v Speaker 1>hawks characters definition is like also not quite the right

0:17:06.560 --> 0:17:10.000
<v Speaker 1>definition of irony? Was this before or after the Atlantis

0:17:10.000 --> 0:17:15.000
<v Speaker 1>Morrissette song This exchangees I was like, could no one

0:17:15.119 --> 0:17:21.120
<v Speaker 1>in this generation correctly define that word? We don't know anyway. Okay,

0:17:21.160 --> 0:17:25.359
<v Speaker 1>So Lene is making this documentary about her friends. We

0:17:25.400 --> 0:17:30.320
<v Speaker 1>see footage of them talking. They're goofing around, they're speaking

0:17:30.400 --> 0:17:33.320
<v Speaker 1>on their lives and their future plans, and they all

0:17:33.359 --> 0:17:35.800
<v Speaker 1>seem kind of aimless and they they're not really sure

0:17:36.280 --> 0:17:39.600
<v Speaker 1>what to do or how to proceed. Then we cut

0:17:39.640 --> 0:17:43.600
<v Speaker 1>to Lelena having dinner with her parents. Her dad gives

0:17:43.640 --> 0:17:46.639
<v Speaker 1>her a gas card, which he says he'll pay the

0:17:46.640 --> 0:17:49.760
<v Speaker 1>bill on for a year. He also gives her his

0:17:49.800 --> 0:17:53.520
<v Speaker 1>old BMW. There's some debate about whether or not she

0:17:53.520 --> 0:17:56.840
<v Speaker 1>should take the BMW because she mentioned being more morally

0:17:56.840 --> 0:18:00.359
<v Speaker 1>opposed to BMW's in her graduation speech, but ultimately she

0:18:00.440 --> 0:18:08.280
<v Speaker 1>takes the car and loaded the privilege these kids have,

0:18:08.560 --> 0:18:12.800
<v Speaker 1>um I know. Yeah. So then Lena we see her

0:18:12.840 --> 0:18:16.320
<v Speaker 1>at her job as a I think production assistant on

0:18:16.480 --> 0:18:21.640
<v Speaker 1>a morning talk show for Frasier's dad. Oh my god, right,

0:18:22.640 --> 0:18:26.280
<v Speaker 1>second only the two times I gasped, No, three times

0:18:26.280 --> 0:18:30.760
<v Speaker 1>I gasped. First Steve's on reveal, second, Fraser's dad revel,

0:18:31.080 --> 0:18:36.600
<v Speaker 1>Third she chooses ethan Hawk reveal just just just. But

0:18:36.760 --> 0:18:41.600
<v Speaker 1>Frasier's dad absolutely killing in this movie. And his character

0:18:41.760 --> 0:18:45.000
<v Speaker 1>is a menal jerk he learned, just like in Frasier,

0:18:45.040 --> 0:18:51.879
<v Speaker 1>except in Frasier it's complicated. I mean, he's he's like

0:18:51.920 --> 0:18:54.199
<v Speaker 1>a softie that we love, but he does run for

0:18:54.280 --> 0:18:57.080
<v Speaker 1>like an extreme like he doesn't even vote for like

0:18:57.119 --> 0:19:00.439
<v Speaker 1>an extremist candidate, and might have some and not so

0:19:00.520 --> 0:19:04.360
<v Speaker 1>great political positions. I would not because I think, isn't

0:19:04.359 --> 0:19:07.879
<v Speaker 1>he like a former cop? Like you? You're like, I

0:19:07.920 --> 0:19:09.719
<v Speaker 1>don't want to know how this guy votes, but I

0:19:09.760 --> 0:19:14.560
<v Speaker 1>do love the just the character setup of I love

0:19:14.600 --> 0:19:19.840
<v Speaker 1>my fancy sons, my fancy lad son, my I love

0:19:19.920 --> 0:19:23.600
<v Speaker 1>my weird fancy sons. You're like, well, someone's gotta a

0:19:23.600 --> 0:19:27.000
<v Speaker 1>little aside. I I only I watched Fraser for the

0:19:27.040 --> 0:19:29.879
<v Speaker 1>first time in The Pandemic and my partner loves the show,

0:19:30.040 --> 0:19:32.479
<v Speaker 1>and I was like, oh, isn't it about a gruff

0:19:32.520 --> 0:19:35.439
<v Speaker 1>guy who has two sons who are British for some reason?

0:19:35.440 --> 0:19:38.159
<v Speaker 1>And he was like, no, they're not British, They're just fancy.

0:19:39.160 --> 0:19:42.400
<v Speaker 1>I always, for whatever reason, I did assume they were British.

0:19:42.480 --> 0:19:45.480
<v Speaker 1>I would say that Kelsey Grammar and David Hyde Piers

0:19:45.840 --> 0:19:49.800
<v Speaker 1>do sort of affect a like movie like Transatlantic accent

0:19:49.920 --> 0:19:53.200
<v Speaker 1>for their roles. It's not they don't sound like they're

0:19:53.240 --> 0:19:58.680
<v Speaker 1>from Seattle. They sound like Rose DeWitt Picater from Titanic. Yes,

0:19:59.359 --> 0:20:01.480
<v Speaker 1>they sound they sound like they're from a place that

0:20:01.560 --> 0:20:08.440
<v Speaker 1>never existed. But I mean, look, the Fraser reboot, goddamn

0:20:08.440 --> 0:20:10.720
<v Speaker 1>if I'm not going to watch it. They shut down

0:20:11.119 --> 0:20:14.880
<v Speaker 1>one of my favorite local bars to film, which is weird.

0:20:14.920 --> 0:20:17.760
<v Speaker 1>That's a thing that's happening. A Fraser reboot. Oh yeah,

0:20:17.800 --> 0:20:19.879
<v Speaker 1>I don't know about this. There's going to be a

0:20:19.880 --> 0:20:23.680
<v Speaker 1>Fraser reboot. And they shut down this bar near me

0:20:23.720 --> 0:20:26.399
<v Speaker 1>called the Thirsty Crow, just like a fun but like

0:20:26.520 --> 0:20:28.760
<v Speaker 1>grimy little bar. I was like, what is Fraser going

0:20:28.800 --> 0:20:33.280
<v Speaker 1>to do there? Get killed? Like I don't know. Okay,

0:20:33.359 --> 0:20:37.239
<v Speaker 1>So so we see Lena at her job. Then she

0:20:37.280 --> 0:20:39.760
<v Speaker 1>gets into a minor car accident with this guy named

0:20:39.800 --> 0:20:44.159
<v Speaker 1>Michael played by Ben Stiller, and they meet via this

0:20:44.240 --> 0:20:46.879
<v Speaker 1>car accident and they kind of hit it off and

0:20:46.920 --> 0:20:51.800
<v Speaker 1>he asks her for a date. Meanwhile, Troy slash Ethan

0:20:51.880 --> 0:20:55.399
<v Speaker 1>Hawk has been fired from his newsstand job for eating

0:20:55.400 --> 0:20:59.320
<v Speaker 1>a Snickers bar, so he has to move into Lelena

0:20:59.359 --> 0:21:02.240
<v Speaker 1>and Vicki's apartment and he crashes on the couch for

0:21:02.280 --> 0:21:05.320
<v Speaker 1>a while. We also learn more about the dynamic between

0:21:05.320 --> 0:21:09.280
<v Speaker 1>Troy and Lelena, which is a bit contentious. It's a

0:21:09.280 --> 0:21:13.720
<v Speaker 1>bit will they or won't they? The friends are hanging out,

0:21:13.760 --> 0:21:17.680
<v Speaker 1>we see more documentary footage Lelena and Vicky and Sammy

0:21:17.800 --> 0:21:21.480
<v Speaker 1>dance to my Sharona in the convenience store. Troy is like,

0:21:21.600 --> 0:21:24.879
<v Speaker 1>I'm too cool to dance. You're like, shut up. I

0:21:25.440 --> 0:21:31.040
<v Speaker 1>hate him. I can't stand Troy can't stand. He reminds

0:21:31.320 --> 0:21:35.040
<v Speaker 1>I'm discovering that a lot of nineties ethan Hot characters

0:21:35.080 --> 0:21:38.440
<v Speaker 1>are really deplorable. Because Before Sunrise is one of my

0:21:38.440 --> 0:21:42.080
<v Speaker 1>favorite movies. But I went back and rewatched that recently.

0:21:42.160 --> 0:21:44.320
<v Speaker 1>I was like, oh my god, his character is awful

0:21:44.920 --> 0:21:47.679
<v Speaker 1>in that movie. He gets a little more mature and

0:21:47.760 --> 0:21:50.680
<v Speaker 1>Before Sunset, but I still haven't seen it. I mean,

0:21:50.720 --> 0:21:53.800
<v Speaker 1>it's like there's I I'm it's it's so confusing. I

0:21:53.800 --> 0:21:57.160
<v Speaker 1>wish I could was anyone able to find like because

0:21:57.320 --> 0:22:01.479
<v Speaker 1>I read that this script was written like sevent dy times,

0:22:01.840 --> 0:22:04.320
<v Speaker 1>so it sounds like there was like studio notes on

0:22:04.400 --> 0:22:07.439
<v Speaker 1>notes on notes on notes. Um. So I'm just like

0:22:07.880 --> 0:22:11.560
<v Speaker 1>because it seems like the final script goes all the

0:22:11.600 --> 0:22:14.960
<v Speaker 1>way up to like, yeah, fuck this guy, but then

0:22:15.480 --> 0:22:18.320
<v Speaker 1>at the last second it's like, nah, he's great, he's great,

0:22:18.400 --> 0:22:20.399
<v Speaker 1>and you gotta marry him. And I was like, that

0:22:20.480 --> 0:22:23.040
<v Speaker 1>has to be a studio notes. Like I cannot conceive

0:22:23.119 --> 0:22:25.200
<v Speaker 1>of a world because it's like the movie goes all

0:22:25.240 --> 0:22:28.200
<v Speaker 1>the like she does the she does the right thing,

0:22:28.520 --> 0:22:35.520
<v Speaker 1>she bails. Yeah. Anyways. Yeah, So then Lelena goes on

0:22:35.560 --> 0:22:39.399
<v Speaker 1>her date with Michael Ak Ben Stiller. They make out,

0:22:39.960 --> 0:22:42.600
<v Speaker 1>which Troy sees and he gets upset about this and

0:22:42.640 --> 0:22:44.920
<v Speaker 1>he picks a fight with Lelena and she's like, if

0:22:44.920 --> 0:22:46.800
<v Speaker 1>you have a problem, just say it, and he's like,

0:22:46.920 --> 0:22:49.200
<v Speaker 1>I love you, and it seems like he's being sincere,

0:22:49.480 --> 0:22:51.760
<v Speaker 1>but it turns out he's just being an asshole, even

0:22:51.800 --> 0:22:54.440
<v Speaker 1>though it is clear that he is in love with her,

0:22:54.840 --> 0:22:58.199
<v Speaker 1>but he won't admit it. Anoying Can I Can I

0:22:58.240 --> 0:23:01.000
<v Speaker 1>ask a question there? Because that's something in rewatching this movie,

0:23:01.040 --> 0:23:03.000
<v Speaker 1>I was sort of like, what is this? And I

0:23:03.040 --> 0:23:07.159
<v Speaker 1>know people are complicated and I've certainly been there, what

0:23:07.320 --> 0:23:10.080
<v Speaker 1>is the vibe of like being in love with each other?

0:23:10.600 --> 0:23:12.840
<v Speaker 1>It's also in plan that they've hooked up drunkenly at

0:23:12.880 --> 0:23:15.840
<v Speaker 1>least once in the past, at least once. Like why

0:23:15.880 --> 0:23:19.639
<v Speaker 1>are they so against admitting it, talking about it, communicating

0:23:19.680 --> 0:23:22.480
<v Speaker 1>about it? Like I understand that in in the in

0:23:22.480 --> 0:23:24.199
<v Speaker 1>the universe of the film, it's supposed to be like

0:23:24.280 --> 0:23:26.320
<v Speaker 1>they can't admit it, you know, they don't want to

0:23:26.359 --> 0:23:29.760
<v Speaker 1>ruin the friendship. Why not, Like why it's communicating openly

0:23:29.800 --> 0:23:32.800
<v Speaker 1>about how you feel such a villain in the universe

0:23:32.800 --> 0:23:35.840
<v Speaker 1>of this film. I feel like my assumption was like

0:23:36.200 --> 0:23:40.199
<v Speaker 1>they're twenty two and extremely emotionally immature, Like that was

0:23:40.240 --> 0:23:43.360
<v Speaker 1>sort of mine. And like especially Troy, like I mean,

0:23:43.800 --> 0:23:46.320
<v Speaker 1>we can we'll talk about Lena and all the ways

0:23:46.359 --> 0:23:50.000
<v Speaker 1>where like she's very messy and a lot of regards,

0:23:50.680 --> 0:23:54.679
<v Speaker 1>especially with her own privilege, and like she's just like

0:23:54.960 --> 0:23:58.280
<v Speaker 1>bad at navigating it. But like Troy especially, I feel

0:23:58.280 --> 0:24:01.199
<v Speaker 1>like he's like I don't know, like I'm trying. I

0:24:01.240 --> 0:24:03.800
<v Speaker 1>was watching this movie, I was thinking, all this bad

0:24:03.840 --> 0:24:05.960
<v Speaker 1>advice my mom has given me at different points in

0:24:06.000 --> 0:24:09.600
<v Speaker 1>my life, but where she's like, well, sometimes like people

0:24:09.680 --> 0:24:13.199
<v Speaker 1>run away because they know that they can't handle a

0:24:13.240 --> 0:24:17.840
<v Speaker 1>relationship even if they care about you. And I was like, yeah,

0:24:18.000 --> 0:24:20.280
<v Speaker 1>like I can sort of see that in Troy, of

0:24:20.320 --> 0:24:23.960
<v Speaker 1>like he knows he's a piece of ship to some extent,

0:24:24.680 --> 0:24:27.119
<v Speaker 1>and like even if you love someone and you know

0:24:27.200 --> 0:24:29.440
<v Speaker 1>you're a piece of ship, but then but then he's

0:24:29.480 --> 0:24:32.080
<v Speaker 1>also so unwilling to work on himself that you're just like,

0:24:33.160 --> 0:24:35.800
<v Speaker 1>I don't know, I don't know, what do you guys think? Well,

0:24:35.840 --> 0:24:37.760
<v Speaker 1>I would have definitely had the hots for Ethan Hawk's

0:24:37.840 --> 0:24:40.200
<v Speaker 1>character when I was in my early twenties, No question.

0:24:40.760 --> 0:24:43.600
<v Speaker 1>I would have let him suck up my life, suck

0:24:43.680 --> 0:24:46.800
<v Speaker 1>up my credit, crash on my couch, no question in

0:24:46.840 --> 0:24:48.960
<v Speaker 1>my mind, I would have gotten sucked up in that

0:24:49.080 --> 0:24:52.199
<v Speaker 1>Troy tornado. Happily, I would have been in love with

0:24:52.240 --> 0:24:54.320
<v Speaker 1>steve 'son and then he would have come out to me,

0:24:54.440 --> 0:24:57.120
<v Speaker 1>and then I would have been like, I'm happy for you,

0:24:57.200 --> 0:25:01.879
<v Speaker 1>and then I would have cried for weeks and then

0:25:01.880 --> 0:25:05.400
<v Speaker 1>we would have been friends forever. But yeah, I mean

0:25:05.440 --> 0:25:07.600
<v Speaker 1>I don't get the whole Oh, we love each other,

0:25:07.800 --> 0:25:11.600
<v Speaker 1>but we refuse to admit it thing. I mean I do.

0:25:11.920 --> 0:25:14.720
<v Speaker 1>But for me, at least, if I like someone romantically,

0:25:15.240 --> 0:25:18.399
<v Speaker 1>I go out of my way to tell them, see

0:25:18.440 --> 0:25:20.919
<v Speaker 1>I will, I will be quiet about it forever. So

0:25:21.000 --> 0:25:24.000
<v Speaker 1>I do understand like where he's coming from. But also,

0:25:24.200 --> 0:25:27.360
<v Speaker 1>but but I feel like that gets conflated with like,

0:25:27.760 --> 0:25:30.960
<v Speaker 1>and so he's allowed to be an asshole and neg everything.

0:25:31.000 --> 0:25:33.080
<v Speaker 1>She says. It's like, well, it's one thing to not

0:25:33.200 --> 0:25:36.760
<v Speaker 1>express your romantic feelings to someone, but that doesn't automatically

0:25:36.760 --> 0:25:38.960
<v Speaker 1>translate to like, and you get to be at evil

0:25:39.040 --> 0:25:42.000
<v Speaker 1>villain because you can't. But i'fe like that's where a

0:25:42.040 --> 0:25:48.200
<v Speaker 1>lot of the masculine issues that Troy has, that's where

0:25:48.200 --> 0:25:51.200
<v Speaker 1>a lot of them live. The film really like validates

0:25:51.320 --> 0:25:54.679
<v Speaker 1>his antisocial dick behavior, And it's supposed to be like, well,

0:25:54.720 --> 0:25:58.400
<v Speaker 1>he's an artist, he's tortured, he's emotionally unavailable, and we're

0:25:58.400 --> 0:26:01.679
<v Speaker 1>supposed to not find that problematic as of you. We're

0:26:01.720 --> 0:26:04.920
<v Speaker 1>supposed to like empathize for him being in that state,

0:26:05.000 --> 0:26:07.520
<v Speaker 1>as opposed to be like, well, you're an adult and

0:26:07.560 --> 0:26:09.760
<v Speaker 1>you are responsible for communicating the way that you feel.

0:26:09.800 --> 0:26:12.000
<v Speaker 1>If you can't, we're not all supposed to find it

0:26:12.080 --> 0:26:15.119
<v Speaker 1>charming or whatever, right, And it's like there are moments

0:26:15.160 --> 0:26:19.240
<v Speaker 1>where Laney like does explicitly say that where she's just like, oh,

0:26:19.320 --> 0:26:22.400
<v Speaker 1>you're a fucking artist. Then like where is the art at?

0:26:22.600 --> 0:26:25.000
<v Speaker 1>Like what are you doing? What? You don't do shit?

0:26:25.760 --> 0:26:27.680
<v Speaker 1>Like she calls him out on his ship, but then

0:26:27.760 --> 0:26:31.040
<v Speaker 1>like the but then she just ends up with him anyways,

0:26:31.280 --> 0:26:34.840
<v Speaker 1>and the I don't It is a tricky movie because

0:26:34.840 --> 0:26:37.480
<v Speaker 1>sometimes you're like, you know, there's a lot of criticisms

0:26:37.520 --> 0:26:39.960
<v Speaker 1>I would have of these characters that I'm like, yeah,

0:26:40.000 --> 0:26:42.480
<v Speaker 1>I probably did something like that when I was twenty two.

0:26:42.480 --> 0:26:48.200
<v Speaker 1>I probably did something emotionally volatile and weird. Um. But

0:26:48.600 --> 0:26:55.359
<v Speaker 1>it's it's tricky. Um. There's this through line in the movie,

0:26:55.480 --> 0:26:58.640
<v Speaker 1>or this kind of like subplot where Vicky we learned

0:26:58.640 --> 0:27:00.920
<v Speaker 1>that she has a lot of casual X and then

0:27:01.000 --> 0:27:05.159
<v Speaker 1>she becomes worried that she is HIV positive because a

0:27:05.160 --> 0:27:07.560
<v Speaker 1>friend of hers tested positive for HIV, so we see

0:27:07.560 --> 0:27:12.399
<v Speaker 1>her going to get tested. We then see a scene

0:27:12.400 --> 0:27:17.000
<v Speaker 1>where Lena's boss aka Mr. Fraser's dad is an asshole

0:27:17.000 --> 0:27:20.440
<v Speaker 1>to her, so she retaliates by humiliating him on air,

0:27:21.080 --> 0:27:23.840
<v Speaker 1>which gets her fired. So now she's worried about money.

0:27:23.920 --> 0:27:28.800
<v Speaker 1>She's worried about paying rent. Troy consoles her and in

0:27:28.880 --> 0:27:32.480
<v Speaker 1>so doing, he surprised kisses her and she's like, no,

0:27:32.840 --> 0:27:36.840
<v Speaker 1>it'll ruin our friendship. And also I'm dating Michael. Troy's

0:27:36.840 --> 0:27:41.680
<v Speaker 1>ability to make anything and everything about himself is um

0:27:42.320 --> 0:27:50.080
<v Speaker 1>infurious staggering. Yeah. Meanwhile, Lelena shows Michael her documentary and

0:27:50.200 --> 0:27:53.520
<v Speaker 1>he is like a VP of programming for this TV

0:27:53.600 --> 0:27:57.640
<v Speaker 1>network similar to MTV called in Your Face, and he

0:27:57.680 --> 0:28:01.640
<v Speaker 1>thinks this documentary would be great programing for the network,

0:28:01.800 --> 0:28:06.000
<v Speaker 1>but Lena isn't sure about that. Um. We also see

0:28:06.040 --> 0:28:11.240
<v Speaker 1>Troy after having been rejected by Lena. He's being pretty distant.

0:28:12.080 --> 0:28:14.640
<v Speaker 1>Then we see Lilena trying to get a new job

0:28:14.640 --> 0:28:18.280
<v Speaker 1>in television, but she can't get hired for anything. She

0:28:18.400 --> 0:28:24.679
<v Speaker 1>then considers a hot dog job's hot dog David Spade

0:28:24.720 --> 0:28:29.320
<v Speaker 1>hot dog cameo, Hello there. And I also like that

0:28:29.640 --> 0:28:32.840
<v Speaker 1>she can't hack in the world of hot dogs. She's

0:28:33.359 --> 0:28:37.000
<v Speaker 1>that I found to be good hot dog representation of

0:28:37.080 --> 0:28:40.280
<v Speaker 1>like not just anyone can work in hot dogs, which

0:28:40.320 --> 0:28:43.520
<v Speaker 1>is true. And on the other end, I appreciate that

0:28:43.560 --> 0:28:46.600
<v Speaker 1>there's a through line with Laney that she is a

0:28:46.800 --> 0:28:51.040
<v Speaker 1>smart and creative young woman who is constantly thwarted by

0:28:51.080 --> 0:28:56.520
<v Speaker 1>being bad at math. Um don't know that? Yeah, it's

0:28:56.560 --> 0:28:59.080
<v Speaker 1>like I know this, I know this struggle. I know

0:28:59.160 --> 0:29:02.800
<v Speaker 1>this pain at math, bad at money numbers in general

0:29:02.920 --> 0:29:05.400
<v Speaker 1>or not her strong suit like no way either. Let's

0:29:05.400 --> 0:29:08.920
<v Speaker 1>be real, could either of you to add two numbers

0:29:08.960 --> 0:29:11.360
<v Speaker 1>like that in your head? Like he he throws her

0:29:11.480 --> 0:29:14.680
<v Speaker 1>like three dred and sixteen plus twenty nine, Like you

0:29:14.720 --> 0:29:16.920
<v Speaker 1>couldn't add that in your head quickly without a piece

0:29:16.960 --> 0:29:20.160
<v Speaker 1>of paper, right right? And she also like I do

0:29:20.280 --> 0:29:22.600
<v Speaker 1>like how I mean, like when not the writer's the bet,

0:29:22.600 --> 0:29:26.840
<v Speaker 1>Like I love this character like just buckles under like

0:29:27.200 --> 0:29:31.320
<v Speaker 1>one milliss thing of pressure at any time. They're like

0:29:31.360 --> 0:29:34.360
<v Speaker 1>to find a word, she's like and like explode And

0:29:34.360 --> 0:29:36.600
<v Speaker 1>he's like, what's stupiless too? And she's like, I don't

0:29:36.640 --> 0:29:40.240
<v Speaker 1>know that is that doesn't have My favorite line of

0:29:40.320 --> 0:29:42.360
<v Speaker 1>the whole movie when she can't add the numbers that

0:29:42.400 --> 0:29:45.200
<v Speaker 1>she's guessing and David's fate is like it's not an option,

0:29:46.880 --> 0:29:49.120
<v Speaker 1>and then that that seems, I mean, it is a

0:29:49.120 --> 0:29:53.120
<v Speaker 1>well written like the line that it ends on. Rai's like, look,

0:29:53.120 --> 0:29:55.280
<v Speaker 1>I've been at this job for six months, for a

0:29:55.280 --> 0:30:01.240
<v Speaker 1>reason like that's honestly the funniest scene in the movie.

0:30:02.240 --> 0:30:05.560
<v Speaker 1>The scene that proceeds that we'll talk about. But there's

0:30:05.600 --> 0:30:13.120
<v Speaker 1>some really fucked up ablest language and ideology that's happening there. Yes, Okay,

0:30:13.280 --> 0:30:17.200
<v Speaker 1>So Lena, she's struggling to get a new job. She's

0:30:17.200 --> 0:30:19.840
<v Speaker 1>bumming around for a while. Then she calls a psychic

0:30:19.880 --> 0:30:22.200
<v Speaker 1>cot line and racks up a huge phone bill. So

0:30:22.240 --> 0:30:23.760
<v Speaker 1>now she has to figure out how to pay it

0:30:23.800 --> 0:30:26.320
<v Speaker 1>off and get her life back on track. So she

0:30:26.400 --> 0:30:30.200
<v Speaker 1>basically starts running a scam where she pays for people's

0:30:30.240 --> 0:30:33.680
<v Speaker 1>gas with her dad's gas card but makes the customers

0:30:33.680 --> 0:30:36.440
<v Speaker 1>give her cash. So she's collecting the cash knowing that

0:30:36.520 --> 0:30:39.720
<v Speaker 1>her dad will pay off the gas card, and that's

0:30:39.720 --> 0:30:41.840
<v Speaker 1>how she like earns enough money to pay for this

0:30:41.920 --> 0:30:45.840
<v Speaker 1>phone bill. She she taps in and out of her privilege.

0:30:46.640 --> 0:30:52.440
<v Speaker 1>It's wild, It's wild. Yeah. So then Michael tells Lena

0:30:52.880 --> 0:30:55.760
<v Speaker 1>that his network wants to buy her documentary and make

0:30:55.840 --> 0:30:59.160
<v Speaker 1>it a series. Um, and she's very excited about that

0:30:59.200 --> 0:31:01.800
<v Speaker 1>because she's like, this solve my money problems. And then

0:31:02.080 --> 0:31:05.960
<v Speaker 1>Michael and Troy argue because Troy is being an asshole

0:31:06.160 --> 0:31:09.239
<v Speaker 1>and he's like, you don't know what Lena needs, and

0:31:09.280 --> 0:31:11.560
<v Speaker 1>Michael's like, I know what she needs in a way

0:31:11.600 --> 0:31:14.120
<v Speaker 1>that you never will, and you're like, oh my god,

0:31:14.800 --> 0:31:18.680
<v Speaker 1>put your dicks away and stop trying to measure them.

0:31:19.360 --> 0:31:21.120
<v Speaker 1>And then and then the fact that they go back

0:31:21.160 --> 0:31:26.400
<v Speaker 1>for round two before the end of the movie. I'm like, you, guys, this,

0:31:26.400 --> 0:31:30.640
<v Speaker 1>this is such a bad look. She shouldn't pick. I

0:31:30.680 --> 0:31:33.719
<v Speaker 1>was really hoping she would do the thing where she

0:31:34.160 --> 0:31:37.400
<v Speaker 1>is like, wait a second, I'm twenty two. I picked nobody.

0:31:37.520 --> 0:31:41.440
<v Speaker 1>I picked myself right, Yeah. Yeah, Sex in the City

0:31:41.480 --> 0:31:45.560
<v Speaker 1>finale style. I mean I I do I in the

0:31:45.640 --> 0:31:48.880
<v Speaker 1>universe of this film. I always wonder is Michael such

0:31:48.920 --> 0:31:50.760
<v Speaker 1>a bad guy? Like what did he do that was

0:31:50.880 --> 0:31:52.959
<v Speaker 1>other than with the movie? Like what do you do

0:31:53.000 --> 0:31:55.720
<v Speaker 1>that was so wrong? I have the same thoughts. I

0:31:55.760 --> 0:31:58.320
<v Speaker 1>don't hate Michael. I think it's very interesting that the

0:31:58.320 --> 0:32:01.200
<v Speaker 1>movie seems to want I mean, I feel we're supposed

0:32:01.240 --> 0:32:05.520
<v Speaker 1>to dislike Michael because he works for a corporation, but

0:32:05.680 --> 0:32:08.520
<v Speaker 1>he's like a yuppie sellout. Yeah, he's a yuppie sellout.

0:32:08.800 --> 0:32:12.520
<v Speaker 1>But the messaging of this movie is so muddled where

0:32:12.520 --> 0:32:16.120
<v Speaker 1>it's like it's okay if some people are sellout, but

0:32:16.200 --> 0:32:19.600
<v Speaker 1>it's not okay if other people are. Again, I just

0:32:19.640 --> 0:32:22.000
<v Speaker 1>like it makes me want to read earlier drafts of

0:32:22.040 --> 0:32:25.800
<v Speaker 1>this movie because I found Michael to be a pretty

0:32:25.840 --> 0:32:28.880
<v Speaker 1>sympathetic character, and I liked that the movie went out

0:32:28.880 --> 0:32:32.840
<v Speaker 1>of its way to characterize him as like a guy

0:32:32.960 --> 0:32:36.480
<v Speaker 1>that had dreams but was bad at math, and like

0:32:36.880 --> 0:32:40.080
<v Speaker 1>he's like, I don't know, it's so weird because you

0:32:40.200 --> 0:32:42.400
<v Speaker 1>put yourself in gen X brain and we you know,

0:32:42.640 --> 0:32:45.000
<v Speaker 1>we all work for fucking I heart radio. We don't

0:32:45.040 --> 0:32:47.160
<v Speaker 1>have a like to stand on when it comes to

0:32:47.280 --> 0:32:51.200
<v Speaker 1>like being yuppie fucking sellouts here, we are not even

0:32:51.360 --> 0:32:53.360
<v Speaker 1>a little bit. I take what I am. I am,

0:32:53.480 --> 0:32:56.680
<v Speaker 1>I have a price, people have met it. You know

0:32:57.160 --> 0:33:00.160
<v Speaker 1>what can I say? Right like and and it's a

0:33:00.280 --> 0:33:02.600
<v Speaker 1>very twenty two year old mentality. And I don't even

0:33:02.680 --> 0:33:05.160
<v Speaker 1>mean that in a negative way. I think, like young

0:33:05.200 --> 0:33:09.640
<v Speaker 1>people being vehemently anti capitalist is always a net good thing.

0:33:09.720 --> 0:33:13.160
<v Speaker 1>But but to put all of the evils of capitalism

0:33:13.160 --> 0:33:17.200
<v Speaker 1>onto like one benz Diller, who is the only person

0:33:17.280 --> 0:33:20.760
<v Speaker 1>in the movie, or the only man in the movie

0:33:21.120 --> 0:33:25.240
<v Speaker 1>who seems to a be willing to apologize for when

0:33:25.240 --> 0:33:30.440
<v Speaker 1>he fox up and be like accept Laney's decisions and

0:33:30.640 --> 0:33:35.160
<v Speaker 1>like seems to like genuinely respect and love her. I

0:33:35.640 --> 0:33:38.240
<v Speaker 1>felt like a sellout for kind of being like is

0:33:38.240 --> 0:33:41.200
<v Speaker 1>he not bad? But like is he saying I don't know?

0:33:41.560 --> 0:33:43.760
<v Speaker 1>Are we are we old by saying is he that bad?

0:33:43.800 --> 0:33:46.200
<v Speaker 1>But I don't think he's that bad. He is sweet

0:33:46.240 --> 0:33:49.680
<v Speaker 1>to her. Troy treats her like shit, Like there's a

0:33:49.760 --> 0:33:52.880
<v Speaker 1>noble difference in the way that those two guys treat her.

0:33:52.920 --> 0:33:55.400
<v Speaker 1>And I also feel like he is you know, he

0:33:55.520 --> 0:33:58.520
<v Speaker 1>like wants to siphon off corporate money to get her

0:33:58.840 --> 0:34:02.040
<v Speaker 1>art out into the world, which again you would think

0:34:02.240 --> 0:34:05.560
<v Speaker 1>is exactly what's happening by reality bites being made and

0:34:05.640 --> 0:34:10.439
<v Speaker 1>by producers championing this young writer and like, so there's

0:34:10.480 --> 0:34:13.760
<v Speaker 1>all these like interesting parallels that I'm like, I don't

0:34:13.960 --> 0:34:18.759
<v Speaker 1>hate Michael. I understand people's criticisms of him, like ideologically,

0:34:19.400 --> 0:34:23.200
<v Speaker 1>but like he seems like a pretty nice guy. I

0:34:23.280 --> 0:34:25.600
<v Speaker 1>don't know, Yeah, I would let him take me to

0:34:25.640 --> 0:34:29.239
<v Speaker 1>the aquarium restaurant. I'm just saying. Watching that's when I

0:34:29.320 --> 0:34:31.920
<v Speaker 1>was in high school. But I first watched it, I

0:34:32.000 --> 0:34:35.440
<v Speaker 1>was like, Oh, he's such a yuppy fuck. Troy is

0:34:35.480 --> 0:34:38.319
<v Speaker 1>the is clearly the right match for her. Watching it

0:34:38.440 --> 0:34:41.280
<v Speaker 1>recently in my thirties, I was like that, Michael seems

0:34:41.320 --> 0:34:43.400
<v Speaker 1>like a nice guy, probably got a furrow one k

0:34:43.600 --> 0:34:49.719
<v Speaker 1>taking her to dinner. Guy, Like I literally was like, dude,

0:34:49.840 --> 0:34:51.360
<v Speaker 1>I don't know. I was like at this point, like

0:34:52.120 --> 0:34:55.920
<v Speaker 1>you can't be emotionally abusive and make me pay your rent,

0:34:56.239 --> 0:35:01.080
<v Speaker 1>like you make a fucking lane man, And like, anyways,

0:35:01.239 --> 0:35:03.799
<v Speaker 1>he really I think he really has choice number in

0:35:03.840 --> 0:35:06.640
<v Speaker 1>that scene where he's trying when they have their second conversation,

0:35:06.800 --> 0:35:09.719
<v Speaker 1>like you're like the Jester, like holding a skull, Like

0:35:10.200 --> 0:35:12.320
<v Speaker 1>it comes out terribly, But I think that he really

0:35:12.440 --> 0:35:14.640
<v Speaker 1>is the only person in the movie who really see

0:35:14.719 --> 0:35:17.760
<v Speaker 1>Stoy for who he actually is, which is just somebody

0:35:17.760 --> 0:35:20.719
<v Speaker 1>who wants to make crafts jokes while really offering not

0:35:20.800 --> 0:35:24.480
<v Speaker 1>a lot himself. Is that Yeah? And I also was like,

0:35:24.520 --> 0:35:28.840
<v Speaker 1>would I ultimately date a guy fumbling that hard to

0:35:28.840 --> 0:35:32.319
<v Speaker 1>make a Hamlet reference? Yes, of course I would. Where

0:35:32.320 --> 0:35:35.520
<v Speaker 1>he's like in the Clown and the Skull and he's alone,

0:35:35.840 --> 0:35:40.879
<v Speaker 1>You're like, yeah, man, yeah, okay, we're all I guess

0:35:40.880 --> 0:35:45.279
<v Speaker 1>we're all on team Michael. It doesn't feel like a

0:35:45.320 --> 0:35:48.040
<v Speaker 1>great place to be but what's the alternative? But here

0:35:48.080 --> 0:35:52.400
<v Speaker 1>we are. Yeah, apparently it's she has to end up

0:35:52.440 --> 0:35:56.440
<v Speaker 1>with a guy buddy movie, right, There's no alternative, So

0:35:56.920 --> 0:36:02.399
<v Speaker 1>these are the choices. Okay, So, speaking of selling out,

0:36:02.520 --> 0:36:05.640
<v Speaker 1>Lena sees what the In her Face network did to

0:36:05.800 --> 0:36:10.200
<v Speaker 1>her documentary footage, which basically makes a mockery of her

0:36:10.239 --> 0:36:13.000
<v Speaker 1>and her friends. So she's furious and she storms out

0:36:13.640 --> 0:36:18.160
<v Speaker 1>back home. She and Troy talk and he's like, I

0:36:18.239 --> 0:36:22.000
<v Speaker 1>do love you for real this time, and then they

0:36:22.000 --> 0:36:25.920
<v Speaker 1>smooch and then they frick. But then the next morning,

0:36:26.160 --> 0:36:30.160
<v Speaker 1>Troy is very distant and he bails, and Lena goes

0:36:30.200 --> 0:36:34.120
<v Speaker 1>to his show that night, I think where Michael shows

0:36:34.200 --> 0:36:39.120
<v Speaker 1>up and apologizes to Lelena for the whole network mishap.

0:36:40.040 --> 0:36:42.200
<v Speaker 1>He's like, let's go to New York and we'll show

0:36:42.200 --> 0:36:44.759
<v Speaker 1>the network the series the way that you want it

0:36:44.800 --> 0:36:47.520
<v Speaker 1>to be. But then Troy pops up and he's like,

0:36:47.800 --> 0:36:50.920
<v Speaker 1>I panicked this morning, and yeah, I know him an asshole,

0:36:51.000 --> 0:36:54.360
<v Speaker 1>but I'm the only real thing you have. Oh my god,

0:36:54.400 --> 0:37:00.200
<v Speaker 1>that speech a legendary, a legendarily bad. And she well,

0:37:00.200 --> 0:37:02.680
<v Speaker 1>this is like, what what drives me up a wall

0:37:02.719 --> 0:37:05.520
<v Speaker 1>about this movie is she reacts appropriately, She's like, go

0:37:05.680 --> 0:37:09.000
<v Speaker 1>fuck yourself, because he literally is like, yeah, I'm gonna

0:37:09.080 --> 0:37:12.520
<v Speaker 1>treat you bad. Yeah, I'm gonna disappear out of nowhere. Yeah.

0:37:12.560 --> 0:37:16.440
<v Speaker 1>I don't play by anyone's rules, and I don't respect you, God,

0:37:16.920 --> 0:37:22.880
<v Speaker 1>but I love you. And dude, oh my god, imagine

0:37:22.880 --> 0:37:25.400
<v Speaker 1>that a man like said that to you, all defiantly

0:37:25.480 --> 0:37:28.040
<v Speaker 1>expecting you to like marry him because of that pet

0:37:28.120 --> 0:37:31.160
<v Speaker 1>or something, or like run away with him. The audacity

0:37:31.200 --> 0:37:34.160
<v Speaker 1>of straight man. Let me tell you, Oh my god,

0:37:34.280 --> 0:37:38.480
<v Speaker 1>I was. I was a pretty exceptionally um bad decision

0:37:38.560 --> 0:37:40.880
<v Speaker 1>maker at twenty two, but even I wouldn't have gone

0:37:40.920 --> 0:37:44.920
<v Speaker 1>for that bullshit. He's he's literally telling on himself in

0:37:45.000 --> 0:37:47.359
<v Speaker 1>a in a way that it's like almost doing her

0:37:47.400 --> 0:37:49.360
<v Speaker 1>a favor because then you're like, okay, you're telling me

0:37:49.360 --> 0:37:52.319
<v Speaker 1>who you are. Now I can walk away. There has

0:37:52.360 --> 0:37:54.920
<v Speaker 1>to be a version of this movie where she walks away,

0:37:55.120 --> 0:37:57.920
<v Speaker 1>like I would hope. So, what the hell do you think?

0:37:57.920 --> 0:38:00.400
<v Speaker 1>It's like one of those situations like I was it

0:38:00.480 --> 0:38:03.280
<v Speaker 1>Pretty in Pink or Sixteen Candles where there's two apparently

0:38:03.280 --> 0:38:06.440
<v Speaker 1>two versions where she chooses the one guy and then

0:38:06.480 --> 0:38:08.960
<v Speaker 1>she chooses the other audiences didn't like it, Like, do

0:38:09.000 --> 0:38:11.640
<v Speaker 1>you think there's a cut of the scripts somewhere where

0:38:12.000 --> 0:38:15.200
<v Speaker 1>she doesn't choose him. I think it's pretty in pink.

0:38:15.320 --> 0:38:18.120
<v Speaker 1>I'm guessing if there were seventy drafts, the coin couldn't

0:38:18.120 --> 0:38:20.719
<v Speaker 1>have flipped in his favor and all seventy right, I

0:38:20.760 --> 0:38:24.440
<v Speaker 1>don't know what you would think, right, Yeah. Anyway, point

0:38:24.520 --> 0:38:28.720
<v Speaker 1>is that this love triangle slash like competition between Troy

0:38:28.760 --> 0:38:33.520
<v Speaker 1>and Michael for Lolene's affection. It's like reaching its peak here.

0:38:34.120 --> 0:38:37.560
<v Speaker 1>Then Troy leaves town. We find out it's because his

0:38:37.680 --> 0:38:41.279
<v Speaker 1>father passed away, but he doesn't really tell Lolena that

0:38:41.360 --> 0:38:43.760
<v Speaker 1>he's leaving, and so she's looking for him. She's thinking

0:38:43.760 --> 0:38:47.520
<v Speaker 1>about him, she's moping around, and then Sammy's like, oh no,

0:38:47.600 --> 0:38:52.000
<v Speaker 1>Troy went to Chicago. So she's about to go after him.

0:38:52.080 --> 0:38:55.560
<v Speaker 1>But before she can, Troy shows up at her doorstep

0:38:55.840 --> 0:38:58.160
<v Speaker 1>and he's like, I love you, and I wish I

0:38:58.200 --> 0:39:02.320
<v Speaker 1>had behaved differently the morning after we smooched and fricked,

0:39:02.880 --> 0:39:05.840
<v Speaker 1>and then they smooch again, and then we flash forward

0:39:05.880 --> 0:39:09.120
<v Speaker 1>in time. They're together, it seems like they live together,

0:39:09.560 --> 0:39:12.440
<v Speaker 1>and then the movie ends with Lilane's dad calling and

0:39:12.480 --> 0:39:15.000
<v Speaker 1>being like, why is there a nine dollar bill on

0:39:15.160 --> 0:39:18.680
<v Speaker 1>my gas card? Yeah? The end, Can I say something

0:39:18.680 --> 0:39:22.440
<v Speaker 1>about that? Because the scene where Okay, they smooch and

0:39:22.440 --> 0:39:26.399
<v Speaker 1>they frick, he wakes up, feels weird, bails Okay. Then

0:39:26.920 --> 0:39:29.160
<v Speaker 1>Laney is like where is Hei. There's like a montage

0:39:29.160 --> 0:39:32.080
<v Speaker 1>where it's like that's sad you two song is playing

0:39:32.120 --> 0:39:34.040
<v Speaker 1>and it's like have you seen him? Like she's like

0:39:34.040 --> 0:39:36.520
<v Speaker 1>going to all his old haunts and like finding his laundry,

0:39:36.760 --> 0:39:38.560
<v Speaker 1>and then Steve's on it is like, oh, his dad

0:39:38.640 --> 0:39:40.719
<v Speaker 1>is sick. He's in Chicago. I ever heard of a

0:39:40.800 --> 0:39:42.920
<v Speaker 1>fucking phone? Like, I guess I feel like, I mean,

0:39:42.960 --> 0:39:45.600
<v Speaker 1>he does call her, but then he's like I can't.

0:39:45.840 --> 0:39:49.200
<v Speaker 1>Oh that's all right. I hate it. It's like I

0:39:49.239 --> 0:39:52.160
<v Speaker 1>guess i'd just be like in the universe of the film,

0:39:52.239 --> 0:39:56.839
<v Speaker 1>him not being able to physically express himself verbally even

0:39:56.840 --> 0:39:58.440
<v Speaker 1>this to be like, Yo, my dad is really sick.

0:39:58.440 --> 0:40:00.239
<v Speaker 1>I'm gonna be gone for a couple of days. Talk

0:40:00.320 --> 0:40:02.359
<v Speaker 1>to you. Then I don't think we're weird. When he

0:40:02.400 --> 0:40:06.120
<v Speaker 1>shows up unexpectedly at her door, we're supposed to be like, wow,

0:40:06.239 --> 0:40:08.640
<v Speaker 1>this is so heavy, and in reality, it's like he

0:40:08.760 --> 0:40:11.680
<v Speaker 1>just skipped town for a legitimate reason, but couldn't even

0:40:11.719 --> 0:40:15.040
<v Speaker 1>leave her a voicemail letting her know, Like, and why,

0:40:15.080 --> 0:40:17.640
<v Speaker 1>I guess I feel like why is it treated as

0:40:17.760 --> 0:40:21.200
<v Speaker 1>deep in the movie or like like a weighty emotional

0:40:21.320 --> 0:40:24.080
<v Speaker 1>choice all he had, Like he couldn't leave a message, right,

0:40:24.440 --> 0:40:27.000
<v Speaker 1>and then him showing back up is like, oh my gosh,

0:40:27.040 --> 0:40:29.600
<v Speaker 1>it's so romantic that he just showed up on her

0:40:29.640 --> 0:40:33.240
<v Speaker 1>doorstep and professed his love after he's been an asshole

0:40:33.280 --> 0:40:35.919
<v Speaker 1>to her for the entire movie, which is like, it's

0:40:36.000 --> 0:40:40.240
<v Speaker 1>so it's such an abrupt way to end it, because

0:40:40.239 --> 0:40:43.320
<v Speaker 1>it's like if there was a draft of the script

0:40:43.360 --> 0:40:48.480
<v Speaker 1>produced where the fact like it's it's referenced twice early

0:40:48.520 --> 0:40:53.280
<v Speaker 1>in the movie that Troy is dealing with a terminally

0:40:53.320 --> 0:40:57.200
<v Speaker 1>ill parent, and like the I can't imagine, thankfully, I

0:40:57.200 --> 0:41:00.920
<v Speaker 1>can't imagine the existential stress that comes with that, especially

0:41:00.920 --> 0:41:04.359
<v Speaker 1>when you're so young. Like that is a real thing

0:41:04.520 --> 0:41:08.520
<v Speaker 1>that I'm sure, I mean like causes people to act

0:41:08.560 --> 0:41:11.920
<v Speaker 1>out and like you know, like that grieving process is

0:41:11.960 --> 0:41:14.719
<v Speaker 1>a real thing, but like there's no emphasis put on it,

0:41:15.000 --> 0:41:18.840
<v Speaker 1>and it's made to seem like well, because the horrible

0:41:18.920 --> 0:41:23.120
<v Speaker 1>thing happens that excuses how poorly he's treated people this

0:41:23.360 --> 0:41:27.120
<v Speaker 1>entire movie, when it's like there's I don't know, like

0:41:27.400 --> 0:41:29.640
<v Speaker 1>I always we've talked about this a bunch on the show,

0:41:29.680 --> 0:41:33.279
<v Speaker 1>but there's like such a dearth of like movies that

0:41:33.680 --> 0:41:38.120
<v Speaker 1>address grief in a in a thoughtful way, and it's

0:41:38.160 --> 0:41:41.840
<v Speaker 1>like that there is an opportunity to like explore it

0:41:41.840 --> 0:41:44.719
<v Speaker 1>with Troy's character, but like it just doesn't really go

0:41:44.800 --> 0:41:47.120
<v Speaker 1>there because it's like you obviously like feel for him,

0:41:47.120 --> 0:41:49.040
<v Speaker 1>he's lost a parent, but it doesn't mean that he

0:41:49.080 --> 0:41:52.960
<v Speaker 1>hasn't been treating Laney like ship seemingly before his dad

0:41:53.040 --> 0:41:55.920
<v Speaker 1>was even sick. Like it's like he's just been an

0:41:55.920 --> 0:41:59.080
<v Speaker 1>at Like he's an asshole going through something horrible. That's

0:41:59.080 --> 0:42:02.040
<v Speaker 1>an interesting thing to explore, but you can't just like

0:42:02.160 --> 0:42:05.239
<v Speaker 1>forgive the behavior. I don't know, he does nothing to

0:42:05.239 --> 0:42:08.480
<v Speaker 1>redeem himself. That's exactly it. We we as the audience

0:42:08.560 --> 0:42:12.040
<v Speaker 1>never see him, Like what is the thing that we

0:42:12.080 --> 0:42:14.440
<v Speaker 1>don't see him grappling with any of that, like coming

0:42:14.440 --> 0:42:17.759
<v Speaker 1>to realize, you know, I have treated her badly and

0:42:17.960 --> 0:42:19.799
<v Speaker 1>I have like not treated her the way that I

0:42:19.800 --> 0:42:22.000
<v Speaker 1>wanted to treat her, And you know I've learned from

0:42:22.000 --> 0:42:24.439
<v Speaker 1>my behavior. You don't you don't see any of that,

0:42:25.080 --> 0:42:26.640
<v Speaker 1>you know where you just are spant to be like,

0:42:26.640 --> 0:42:29.480
<v Speaker 1>oh his dad passed away, that was some sort of

0:42:29.520 --> 0:42:32.600
<v Speaker 1>emotional block or weight lifted, and now he's gonna show

0:42:32.680 --> 0:42:34.640
<v Speaker 1>up at her door and she's gonna be thrilled to

0:42:34.680 --> 0:42:38.520
<v Speaker 1>have him. Like I think if the movie had shown

0:42:38.640 --> 0:42:40.440
<v Speaker 1>us a little bit or like built like built that

0:42:40.520 --> 0:42:43.160
<v Speaker 1>out a little bit more, I would be more willing

0:42:43.160 --> 0:42:45.880
<v Speaker 1>to accept it. Also, sign oute Jamie, how many beverages

0:42:45.920 --> 0:42:48.280
<v Speaker 1>do you have? Because I've seen now the coffee whatever

0:42:48.360 --> 0:42:54.479
<v Speaker 1>than the kids. This is I'm impressed. I'm impressed. Look

0:42:54.520 --> 0:42:57.280
<v Speaker 1>we've got we've got three. We've got three on rotation

0:42:57.440 --> 0:43:01.000
<v Speaker 1>right now, pretty cool, or or any of the diet cokes,

0:43:01.040 --> 0:43:06.200
<v Speaker 1>because you know who loves the diet coke. Jamie's got

0:43:06.239 --> 0:43:08.600
<v Speaker 1>a diet coke. I was like, wow, quirky white girl

0:43:08.680 --> 0:43:11.480
<v Speaker 1>drinks too many big gulps. Someone has my fucking number,

0:43:11.960 --> 0:43:15.360
<v Speaker 1>Like ridiculous. By the way, we need to take a

0:43:15.440 --> 0:43:25.959
<v Speaker 1>quick break and then we will come right back. And

0:43:26.080 --> 0:43:29.240
<v Speaker 1>we're back and we're so hydrated and we're doing great.

0:43:29.440 --> 0:43:32.280
<v Speaker 1>I would say that most actually the things I'm drinking

0:43:32.320 --> 0:43:36.759
<v Speaker 1>are not contributing to hydration. Um, by the time this

0:43:36.800 --> 0:43:39.200
<v Speaker 1>episode comes out, I will have already said something about it.

0:43:39.200 --> 0:43:42.640
<v Speaker 1>But I've been working at um Haunted hey Ride, and

0:43:42.760 --> 0:43:44.640
<v Speaker 1>so I just I forgot I had all all of

0:43:44.680 --> 0:43:47.319
<v Speaker 1>my last night's hay Ride beverages, and so I've just

0:43:47.400 --> 0:43:53.120
<v Speaker 1>kind of been draining them throughout the morning and afternoon. Beautiful. Um,

0:43:53.160 --> 0:43:57.200
<v Speaker 1>so we we've we started talking about the Lana slash

0:43:57.200 --> 0:44:02.400
<v Speaker 1>Troy slash Michael love my angle. What else needs to

0:44:02.400 --> 0:44:06.600
<v Speaker 1>be said about that? Yeah, let's let's kind of tackle it.

0:44:06.680 --> 0:44:10.520
<v Speaker 1>So I this kind of gets into my curiosity about

0:44:10.520 --> 0:44:14.520
<v Speaker 1>like how this movie was written and made. Okay, so

0:44:14.600 --> 0:44:18.560
<v Speaker 1>a lot of this revolves around the writer, Helen child

0:44:18.600 --> 0:44:22.239
<v Speaker 1>Dress or Childress I'm truly not totally sure, but there's

0:44:22.280 --> 0:44:24.080
<v Speaker 1>a there is a piece that came out a couple

0:44:24.080 --> 0:44:29.000
<v Speaker 1>of years ago from Atlantic writer Sriah Roberts, um work

0:44:29.040 --> 0:44:32.880
<v Speaker 1>I really like, but about sort of the legacy of

0:44:32.920 --> 0:44:36.759
<v Speaker 1>this movie and um, how it's remembered because I guess

0:44:36.800 --> 0:44:39.480
<v Speaker 1>when this movie came out, it was not popular with

0:44:39.560 --> 0:44:42.880
<v Speaker 1>its target audience nor which I feel like is a

0:44:43.000 --> 0:44:45.400
<v Speaker 1>very gen ic thing of like fucky, you don't make

0:44:45.440 --> 0:44:49.120
<v Speaker 1>a corporate movie that me, you know, so like whatever,

0:44:49.200 --> 0:44:52.279
<v Speaker 1>I get it, But how Helen child Dress is like

0:44:52.440 --> 0:44:55.839
<v Speaker 1>kind of been left out of the narrative even like

0:44:55.880 --> 0:45:00.480
<v Speaker 1>it just feels like a very hollywoody story where studios

0:45:00.480 --> 0:45:03.640
<v Speaker 1>were like, Okay, gen X, like they're now viable consumers

0:45:03.719 --> 0:45:06.080
<v Speaker 1>or whatever by the early nineties, and we want to

0:45:06.160 --> 0:45:10.520
<v Speaker 1>have a like generation defining studio movie because there had

0:45:10.560 --> 0:45:13.319
<v Speaker 1>been a couple of indie movies that had done well.

0:45:13.440 --> 0:45:17.080
<v Speaker 1>There was a a Richard link Letter movie that I've

0:45:17.120 --> 0:45:20.000
<v Speaker 1>never seen that, but like they were like, Okay, there's

0:45:20.000 --> 0:45:23.319
<v Speaker 1>an audience for this, let's do a studio version of it.

0:45:24.080 --> 0:45:26.920
<v Speaker 1>So they bring in this young writer, like Helen child

0:45:27.000 --> 0:45:31.120
<v Speaker 1>Dress is is Laney in a lot of ways, which

0:45:31.400 --> 0:45:35.959
<v Speaker 1>she's very much admitted to. And so she's like being

0:45:36.000 --> 0:45:39.160
<v Speaker 1>given five hundred dollars a week to write this movie.

0:45:39.520 --> 0:45:42.640
<v Speaker 1>Laney makes four dollars a week. She's pulling from her

0:45:42.640 --> 0:45:46.919
<v Speaker 1>own experiences and her own friends. But by she wasn't

0:45:46.960 --> 0:45:50.200
<v Speaker 1>even invited to the twenty five year reunion of this movie,

0:45:50.280 --> 0:45:55.160
<v Speaker 1>like it got swallowed full by Hollywood, and like, I mean,

0:45:55.239 --> 0:45:58.040
<v Speaker 1>I don't know, like whatever, I can't make a character

0:45:58.120 --> 0:46:01.040
<v Speaker 1>judgment on Ben Stiller based on this, but it seems

0:46:01.080 --> 0:46:03.840
<v Speaker 1>like this is more remembered as like Ben Stiller's first

0:46:04.239 --> 0:46:08.319
<v Speaker 1>directed movie and not like Helen Child. Dress's experience is

0:46:08.360 --> 0:46:11.320
<v Speaker 1>committed to film. She also has not gotten a script

0:46:11.719 --> 0:46:17.080
<v Speaker 1>produced since, which feels relevant. Um, we just wanted to

0:46:17.120 --> 0:46:24.040
<v Speaker 1>share a quick quote from her from nine also to

0:46:24.160 --> 0:46:26.959
<v Speaker 1>tie it back to the love triangle that was ben

0:46:27.080 --> 0:46:31.319
<v Speaker 1>Stiller's suggestion and idea. Helen Child just early versions of

0:46:31.320 --> 0:46:35.560
<v Speaker 1>the script gave fuller pictures of all I guess four

0:46:35.760 --> 0:46:37.880
<v Speaker 1>main characters live, so there was more Steve's on, there

0:46:37.920 --> 0:46:41.040
<v Speaker 1>was more Janine Garoffalo, but ben Stiller was like, let's

0:46:41.120 --> 0:46:43.799
<v Speaker 1>keep it focused on the relationship, which is what we

0:46:43.840 --> 0:46:46.600
<v Speaker 1>all have hated the most. Interestingly the note from the

0:46:46.600 --> 0:46:53.680
<v Speaker 1>male director. But um, yeah, she said. Um. Helen Child

0:46:53.719 --> 0:46:57.640
<v Speaker 1>was said, I have worked consistently and constantly for twenty

0:46:57.680 --> 0:47:01.760
<v Speaker 1>nine years. Um. They estimated she's written forty screenplays since

0:47:02.360 --> 0:47:05.359
<v Speaker 1>Reality Bites. Um. She says. Of the handful she wrote

0:47:05.360 --> 0:47:07.920
<v Speaker 1>on Spacked, half were sold er optioned. Most of them

0:47:07.960 --> 0:47:10.840
<v Speaker 1>feature female protagonists. In all sincerity, I think that was

0:47:10.880 --> 0:47:16.200
<v Speaker 1>a problem. Um, which is I mean, nineteen is a

0:47:16.239 --> 0:47:19.640
<v Speaker 1>stretch we have well covered, and so that is definitely

0:47:19.719 --> 0:47:22.640
<v Speaker 1>a thing. So yeah, and and to be clear, so

0:47:22.680 --> 0:47:27.000
<v Speaker 1>she she went for like two decades or slightly more

0:47:27.120 --> 0:47:29.680
<v Speaker 1>without any writing credit. So if you look at her

0:47:29.719 --> 0:47:32.440
<v Speaker 1>I am dB, she does have some writing credits from

0:47:32.480 --> 0:47:36.839
<v Speaker 1>like I think sixteen and beyond, I think for mostly television.

0:47:37.480 --> 0:47:40.479
<v Speaker 1>But yeah, she made this movie that ended up being

0:47:40.600 --> 0:47:44.920
<v Speaker 1>this like cult classic, like people still ride for this movie.

0:47:45.280 --> 0:47:49.640
<v Speaker 1>But ben Stiller hasn't had trouble directing more movies. And yeah,

0:47:49.719 --> 0:47:52.719
<v Speaker 1>she's not given the credit where credit is due for

0:47:52.800 --> 0:47:56.400
<v Speaker 1>like telling her own story and for example, like the

0:47:57.040 --> 0:48:00.600
<v Speaker 1>I'm also pulling this from that Atlantic piece. But um,

0:48:00.640 --> 0:48:04.080
<v Speaker 1>the iconic my Sharona dancing at the gas station scene

0:48:04.400 --> 0:48:07.880
<v Speaker 1>is like one of the producers of this movie, Michael

0:48:07.880 --> 0:48:12.799
<v Speaker 1>Shamberg credited that scene to Ben Stiller entirely. He's like, yeah,

0:48:12.880 --> 0:48:17.520
<v Speaker 1>that was Ben Stiller's idea. But Helen Childress was like, um, hello,

0:48:17.600 --> 0:48:21.000
<v Speaker 1>I wrote that into the screenplay in the script, So

0:48:21.120 --> 0:48:24.080
<v Speaker 1>how and what why was it his idea? It wasn't.

0:48:24.120 --> 0:48:28.319
<v Speaker 1>It was just this male producer failing to give the screenwriter,

0:48:28.440 --> 0:48:33.080
<v Speaker 1>Helen her Duke, credit for writing that scene into the movie.

0:48:33.200 --> 0:48:36.160
<v Speaker 1>And then when that was pointed out, this guy Shamberg

0:48:36.280 --> 0:48:39.360
<v Speaker 1>was like, oops, uh, yeah, I guess she does. And

0:48:39.400 --> 0:48:42.960
<v Speaker 1>then he said something like, so she deserves credit for

0:48:43.040 --> 0:48:46.759
<v Speaker 1>guiding Ben's direction. And then he says, I think the

0:48:46.840 --> 0:48:49.880
<v Speaker 1>reason that I mistakenly gave Ben all the credit was

0:48:49.960 --> 0:48:53.400
<v Speaker 1>that he was determined to give this feature film his

0:48:53.520 --> 0:48:58.000
<v Speaker 1>feature film directorial debut a strong visual style. So the

0:48:58.040 --> 0:49:01.000
<v Speaker 1>guy can't even like her, But like, what does that

0:49:01.040 --> 0:49:05.000
<v Speaker 1>have to do with Like it's again bare minimum ship, Like, oh,

0:49:05.080 --> 0:49:08.640
<v Speaker 1>he directed the script, like that's that's his job. She

0:49:08.719 --> 0:49:13.239
<v Speaker 1>wrote the scene like it's hurt. So yeah, It's just

0:49:13.320 --> 0:49:15.560
<v Speaker 1>all of this is very indicative of the way that

0:49:16.160 --> 0:49:22.880
<v Speaker 1>women in Hollywood are often erased from the narrative, forgotten about, ignored,

0:49:23.040 --> 0:49:26.120
<v Speaker 1>not given do credit, all of that stuff. All that

0:49:26.280 --> 0:49:29.160
<v Speaker 1>to say, also, this movie is produced by Danny de Vito.

0:49:29.320 --> 0:49:31.520
<v Speaker 1>Just wanted to throw that out there. Danny. I don't

0:49:31.560 --> 0:49:34.799
<v Speaker 1>have any more information than that, but to bring it

0:49:34.840 --> 0:49:38.360
<v Speaker 1>back to the love triangle. Focusing on the love triangle

0:49:38.719 --> 0:49:42.080
<v Speaker 1>was very much a Ben Stiller note, and it's the

0:49:42.080 --> 0:49:44.360
<v Speaker 1>thing that we that bothered us the most. In that

0:49:44.440 --> 0:49:47.320
<v Speaker 1>Atlantic piece, they do talk a little bit about Michael,

0:49:47.440 --> 0:49:51.240
<v Speaker 1>but in a way that I thought was interesting where

0:49:51.520 --> 0:49:53.440
<v Speaker 1>like that character it seems like went through a lot

0:49:53.480 --> 0:49:56.200
<v Speaker 1>of different drafts and Ben Stiller wasn't originally supposed to

0:49:56.239 --> 0:49:58.880
<v Speaker 1>play the character, and then eventually he's like, oh, I

0:49:58.880 --> 0:50:02.480
<v Speaker 1>can pull from my own experience as you know, like

0:50:02.680 --> 0:50:04.520
<v Speaker 1>not even to insult it, but like you know, as

0:50:04.560 --> 0:50:09.200
<v Speaker 1>like a working sellout basically to you know, kind of

0:50:09.200 --> 0:50:11.000
<v Speaker 1>flesh out this character and like, I feel like I

0:50:11.040 --> 0:50:15.040
<v Speaker 1>can relate with some of these moral dilemmas. And I

0:50:15.080 --> 0:50:18.080
<v Speaker 1>guess that he and Helen Child just would improvise as

0:50:18.120 --> 0:50:21.080
<v Speaker 1>the two characters to like figure out what that relationship was,

0:50:21.120 --> 0:50:24.000
<v Speaker 1>which I thought was kind of a fun way to write.

0:50:24.680 --> 0:50:27.800
<v Speaker 1>I'm sure that that's part of the reason why Michael

0:50:27.840 --> 0:50:30.680
<v Speaker 1>does come out as a more sympathetic character than if

0:50:30.719 --> 0:50:32.759
<v Speaker 1>he was just written as like, this is the guy

0:50:32.840 --> 0:50:35.160
<v Speaker 1>you don't want to end up with, this is Mr Business,

0:50:35.280 --> 0:50:39.440
<v Speaker 1>this is Mr Evil. Right, I'm seeing not to bring

0:50:39.560 --> 0:50:42.399
<v Speaker 1>up Titanic again, But what choice do I have? I mean,

0:50:43.520 --> 0:50:45.799
<v Speaker 1>I think it would have been, yeah, kind of an

0:50:46.120 --> 0:50:49.120
<v Speaker 1>easier or like maybe a lazier choice to have like

0:50:49.200 --> 0:50:52.359
<v Speaker 1>the Ben Stiller character be like cal Hockley, and then

0:50:52.440 --> 0:50:54.960
<v Speaker 1>you have your like Ethan Hawk being more of the

0:50:55.680 --> 0:50:59.919
<v Speaker 1>Jack Dawson who is artsy and poor and who isn't

0:51:00.040 --> 0:51:03.319
<v Speaker 1>some cog in the capitalist machine like the boyfriend at

0:51:03.320 --> 0:51:06.400
<v Speaker 1>the beginning of every lifetime movie, where like, this woman

0:51:06.480 --> 0:51:08.760
<v Speaker 1>is uptight, woman is dating like a guy who only

0:51:08.800 --> 0:51:11.240
<v Speaker 1>cares about his job, and she needs to date someone

0:51:11.280 --> 0:51:14.239
<v Speaker 1>who is free and wants to save this Christmas tree

0:51:14.239 --> 0:51:17.560
<v Speaker 1>farm or whatever. She needs to move back home and

0:51:17.640 --> 0:51:20.759
<v Speaker 1>start a Christmas tree farm and that's uh, and and

0:51:20.800 --> 0:51:22.960
<v Speaker 1>go to church tomorrow while you're at it. That's a

0:51:22.960 --> 0:51:28.520
<v Speaker 1>more respectable outcome for a woman. Yeah, but yeah, just

0:51:28.600 --> 0:51:32.799
<v Speaker 1>to put I guess a button on the love triangle thing,

0:51:33.400 --> 0:51:36.120
<v Speaker 1>it feels like such a trophy choice to have a

0:51:36.160 --> 0:51:40.839
<v Speaker 1>woman be in this like hetero love triangle where she

0:51:40.920 --> 0:51:44.960
<v Speaker 1>has to pick one or the other and the option

0:51:45.000 --> 0:51:48.000
<v Speaker 1>of like not picking one of them isn't presented, and

0:51:48.000 --> 0:51:51.600
<v Speaker 1>then ultimately she picks the worst option of the two

0:51:51.640 --> 0:51:55.799
<v Speaker 1>guys because again, both aren't great options, but at least

0:51:55.840 --> 0:52:01.640
<v Speaker 1>Michael is nice to her and Troy enjoy such an asshole,

0:52:01.960 --> 0:52:04.239
<v Speaker 1>and it just kind of sends this message that so

0:52:04.280 --> 0:52:08.800
<v Speaker 1>many movies and in so much media has delivered to audience,

0:52:08.840 --> 0:52:11.000
<v Speaker 1>which is that, oh yeah, a man can treat a

0:52:11.040 --> 0:52:13.799
<v Speaker 1>woman like shit, uh, and he doesn't have to apologize

0:52:13.840 --> 0:52:18.239
<v Speaker 1>for it, and she will still pick him for reasons unclear.

0:52:19.400 --> 0:52:23.759
<v Speaker 1>I personally blame the studio executives for that. I feel

0:52:23.760 --> 0:52:27.160
<v Speaker 1>comfortable blaming the studio executives for perpetuating that because it

0:52:27.200 --> 0:52:31.080
<v Speaker 1>just feels like very nineties Hollywood studio notes in general,

0:52:31.280 --> 0:52:33.319
<v Speaker 1>because it sounds like Helen Child just wanted to take

0:52:33.360 --> 0:52:37.120
<v Speaker 1>it in a totally different direction that would have allowed

0:52:37.160 --> 0:52:41.040
<v Speaker 1>you to explore these side characters who I think are

0:52:41.120 --> 0:52:45.520
<v Speaker 1>like really interesting, and there's a lot like the you

0:52:45.600 --> 0:52:48.960
<v Speaker 1>do get a fair amount with Lena and Um and

0:52:49.120 --> 0:52:52.400
<v Speaker 1>Vicky and their friendship, but like, I just like I

0:52:52.440 --> 0:52:55.400
<v Speaker 1>wanted to see more of that because there's so I

0:52:55.480 --> 0:52:58.000
<v Speaker 1>was trying to think of other friendships that It's like,

0:52:58.080 --> 0:53:02.879
<v Speaker 1>it's a loving, supportive friendship that is constantly challenged by

0:53:03.040 --> 0:53:07.040
<v Speaker 1>like class issues, which is like something I have you

0:53:07.080 --> 0:53:09.920
<v Speaker 1>don't really see in movies very often. I was like,

0:53:10.160 --> 0:53:12.319
<v Speaker 1>I'm you know, I want to see the version of

0:53:12.320 --> 0:53:14.000
<v Speaker 1>this movie that's more focused on that. I want to

0:53:14.000 --> 0:53:16.520
<v Speaker 1>see the version of this movie where you know, our

0:53:16.600 --> 0:53:21.600
<v Speaker 1>only openly queer character gets more than like mentioning three

0:53:21.640 --> 0:53:25.399
<v Speaker 1>quarters through the movie by the way I'm coming out,

0:53:25.760 --> 0:53:28.200
<v Speaker 1>I mean great, but you know, you just don't get

0:53:28.200 --> 0:53:31.759
<v Speaker 1>a lot. Where's Where's my son? Yeah, and I think

0:53:31.920 --> 0:53:34.799
<v Speaker 1>the point that you make about flushing out those those

0:53:34.840 --> 0:53:37.799
<v Speaker 1>side characters more, I think is so apt, especially with

0:53:37.880 --> 0:53:40.480
<v Speaker 1>somebody like Vicky, because you know, they allude to the

0:53:40.480 --> 0:53:43.480
<v Speaker 1>fact that Vicky is obsessed with like seventies pop culture,

0:53:43.800 --> 0:53:46.280
<v Speaker 1>and so if she's you know, just graduated from college,

0:53:46.280 --> 0:53:48.560
<v Speaker 1>that's probably her childhood. So are we supposed to under

0:53:48.719 --> 0:53:50.719
<v Speaker 1>We're supposed to like what's going on there that she

0:53:50.960 --> 0:53:54.960
<v Speaker 1>is someone who is a you know, sexual libertine, but

0:53:55.120 --> 0:53:59.600
<v Speaker 1>it's perhaps obsessed with the ideality childhood of her youth.

0:53:59.680 --> 0:54:01.960
<v Speaker 1>Like I feel that there's a draft of the movie

0:54:02.000 --> 0:54:04.719
<v Speaker 1>that made that flushes that out, But in the in

0:54:04.719 --> 0:54:07.719
<v Speaker 1>the version that we see, we're left to connect these

0:54:07.760 --> 0:54:09.839
<v Speaker 1>dots that are not really connected for us in ways

0:54:09.880 --> 0:54:13.160
<v Speaker 1>that I think just don't really work. It's confusing. Yeah,

0:54:13.160 --> 0:54:15.160
<v Speaker 1>it's like I would love to know why she's so

0:54:15.320 --> 0:54:17.719
<v Speaker 1>fixated on disc and I bridget You're probably right that

0:54:17.800 --> 0:54:22.360
<v Speaker 1>it's just like a childhood nostalgia thing, but we just

0:54:22.400 --> 0:54:24.399
<v Speaker 1>don't even get I didn't even think that yet, that

0:54:24.480 --> 0:54:28.200
<v Speaker 1>thread is never really connected. And then that, I mean

0:54:29.160 --> 0:54:32.040
<v Speaker 1>is one thing I did like is that like much

0:54:32.239 --> 0:54:36.520
<v Speaker 1>like us and I probably for generation ever because whenever

0:54:36.640 --> 0:54:39.040
<v Speaker 1>special as we think we are. Um. I did like

0:54:39.120 --> 0:54:42.560
<v Speaker 1>how these characters are constantly trying to contextualize their own

0:54:42.600 --> 0:54:47.799
<v Speaker 1>experience using pop culture. Where even when Vicky is talking

0:54:47.840 --> 0:54:50.719
<v Speaker 1>about her stress about waiting for to find out if

0:54:50.760 --> 0:54:53.840
<v Speaker 1>she is HIV positive or negative, which I thought was

0:54:54.080 --> 0:54:58.719
<v Speaker 1>I mean, I wasn't expecting that to be tackled within

0:54:58.760 --> 0:55:01.239
<v Speaker 1>this movie, and I thought it was pretty tastefully and

0:55:01.320 --> 0:55:05.560
<v Speaker 1>thoughtfully done. Um. But the way that she explains her

0:55:05.600 --> 0:55:09.560
<v Speaker 1>anxiety is like imagining herself as a character on Melrose

0:55:09.600 --> 0:55:13.200
<v Speaker 1>Place and right, but like the way that it's presented

0:55:13.360 --> 0:55:19.480
<v Speaker 1>isn't condescending. It doesn't make her seem silly or like unintelligent.

0:55:19.560 --> 0:55:22.560
<v Speaker 1>It's like, oh yeah, that's like, not only are you

0:55:22.640 --> 0:55:27.719
<v Speaker 1>worried about potentially being very sick? Like also I feel

0:55:27.719 --> 0:55:31.640
<v Speaker 1>like that in that like simple exchange, she's describing how

0:55:32.040 --> 0:55:35.440
<v Speaker 1>she thinks the world will perceive her if the results

0:55:35.440 --> 0:55:39.000
<v Speaker 1>come back a certain way. Because pop culture trains you

0:55:39.040 --> 0:55:40.799
<v Speaker 1>how to see the world in so many ways, and

0:55:41.360 --> 0:55:44.480
<v Speaker 1>like moments like that, I was like that is awesome.

0:55:44.520 --> 0:55:47.120
<v Speaker 1>You never get stuff like that that's interesting. I have

0:55:47.239 --> 0:55:51.880
<v Speaker 1>mixed feelings about the way the movie handles HIV and AIDS.

0:55:52.280 --> 0:55:54.920
<v Speaker 1>Um the movie seems to be quite obsessed with it.

0:55:55.000 --> 0:55:57.560
<v Speaker 1>Number one, there are several references and like sometimes kind

0:55:57.560 --> 0:56:00.800
<v Speaker 1>of like offhand jokes made about it, or like characters

0:56:00.800 --> 0:56:05.080
<v Speaker 1>will make an offhand comment or joke about HIV and AIDS.

0:56:05.600 --> 0:56:10.000
<v Speaker 1>And then the kind of main conflict that the Vicki

0:56:10.120 --> 0:56:13.600
<v Speaker 1>characters is dealing with is that she is worried that

0:56:13.640 --> 0:56:17.160
<v Speaker 1>she might be positive for HIV, and so she goes

0:56:17.200 --> 0:56:19.760
<v Speaker 1>to get tested. And this is based on her having

0:56:20.560 --> 0:56:23.400
<v Speaker 1>you know, multiple sexual partners. She has a little book

0:56:23.840 --> 0:56:27.279
<v Speaker 1>like a sex diary, seems, where she like writes down

0:56:27.360 --> 0:56:29.400
<v Speaker 1>the names and the dates of the people she had

0:56:29.400 --> 0:56:32.600
<v Speaker 1>sex with. She doesn't always remember their names. I used

0:56:32.640 --> 0:56:36.759
<v Speaker 1>to do that based on this movie because I saw

0:56:36.800 --> 0:56:38.960
<v Speaker 1>this movie when I was a version and when I

0:56:38.960 --> 0:56:40.840
<v Speaker 1>started having sex, I was like, oh, you're supposed to

0:56:40.880 --> 0:56:43.520
<v Speaker 1>keep a diary. I don't have it anymore, but in

0:56:43.520 --> 0:56:48.520
<v Speaker 1>my early days of being sexual, I love it. It

0:56:48.520 --> 0:56:51.279
<v Speaker 1>could be a helpful tool, I feel like, But you know,

0:56:51.840 --> 0:56:55.080
<v Speaker 1>so she gets tested, she's waiting on the results. Um

0:56:55.120 --> 0:56:58.680
<v Speaker 1>Prior to her getting the results, she you know, expresses

0:56:58.719 --> 0:57:01.160
<v Speaker 1>a lot of concern about, you know, yeah, the way

0:57:01.320 --> 0:57:04.160
<v Speaker 1>she might be perceived or what her life might be

0:57:04.320 --> 0:57:09.400
<v Speaker 1>like if she is HIV positive. I just felt that, Okay,

0:57:09.840 --> 0:57:15.840
<v Speaker 1>for this to be an issue that a hetero sis

0:57:15.960 --> 0:57:21.120
<v Speaker 1>woman is dealing with, when HIV and AIDS is something

0:57:21.120 --> 0:57:24.480
<v Speaker 1>that largely affected the queer community, it just feels like

0:57:24.480 --> 0:57:27.240
<v Speaker 1>a weird erature of that. And obviously I'm not saying

0:57:27.280 --> 0:57:32.760
<v Speaker 1>that hetero people cannot become HIV positive and have AIDS,

0:57:32.840 --> 0:57:36.640
<v Speaker 1>but it's an issue that was famously not handled well

0:57:36.680 --> 0:57:39.920
<v Speaker 1>because it disproportionately affected the queer community, and you know,

0:57:39.960 --> 0:57:45.160
<v Speaker 1>like Reagan and and other administrations and institutions didn't give

0:57:45.200 --> 0:57:47.960
<v Speaker 1>a shit about the queer community. So it was just

0:57:48.040 --> 0:57:53.240
<v Speaker 1>like very mishandled basically every administration. Right. So for a

0:57:53.320 --> 0:57:56.480
<v Speaker 1>straight character to have a storyline where she's concerned about this,

0:57:56.600 --> 0:58:00.680
<v Speaker 1>it just felt kind of maybe indicative of that erasure.

0:58:01.240 --> 0:58:02.880
<v Speaker 1>But I was like, well, what's the alternative to have

0:58:02.960 --> 0:58:05.400
<v Speaker 1>the one queer character in the movie to be concerned

0:58:05.400 --> 0:58:07.640
<v Speaker 1>about that. I wouldn't want that either. I mean I

0:58:07.640 --> 0:58:10.560
<v Speaker 1>think that that then you could really easily skew into

0:58:11.240 --> 0:58:16.560
<v Speaker 1>tragedy porn. And my understanding is that um Helen Childress

0:58:16.600 --> 0:58:19.400
<v Speaker 1>is not a queer writer, and so it's like, would

0:58:19.400 --> 0:58:22.720
<v Speaker 1>it have been her place? I also was not sure.

0:58:22.760 --> 0:58:26.080
<v Speaker 1>I mean, I wasn't surprised that this movie had a

0:58:26.160 --> 0:58:29.720
<v Speaker 1>preoccupation with the AIDS epidemic because it was started being

0:58:29.760 --> 0:58:33.960
<v Speaker 1>written in It makes total sense to me that this

0:58:34.040 --> 0:58:37.760
<v Speaker 1>would be something that these characters would realistically be talking

0:58:37.800 --> 0:58:42.440
<v Speaker 1>and thinking about. But I mean, yeah, I I wasn't

0:58:42.680 --> 0:58:44.760
<v Speaker 1>quite sure where to place it. I thought it was

0:58:44.840 --> 0:58:49.000
<v Speaker 1>like interesting that they tackled the subject at all. I

0:58:49.000 --> 0:58:52.000
<v Speaker 1>think it would have been a really easy issue that

0:58:52.040 --> 0:58:55.400
<v Speaker 1>this group of friends would have been thinking about to

0:58:55.600 --> 0:58:59.720
<v Speaker 1>erase from a major studio movie. I don't know. Yeah,

0:58:59.760 --> 0:59:02.440
<v Speaker 1>I guess it's like with this specific writer in this

0:59:02.480 --> 0:59:05.760
<v Speaker 1>specific movie. Yeah, I mean, I wouldn't have preferred it

0:59:05.840 --> 0:59:09.720
<v Speaker 1>if the steves On character was if his whole storyline

0:59:09.760 --> 0:59:13.320
<v Speaker 1>was defined by that. But then I guess that that's

0:59:13.360 --> 0:59:16.080
<v Speaker 1>also the thing with having only one queer character in

0:59:16.120 --> 0:59:20.480
<v Speaker 1>your movie. Like, I don't know, it didn't bother me

0:59:21.080 --> 0:59:26.560
<v Speaker 1>that much, but also I'm completely open to that story

0:59:26.600 --> 0:59:30.320
<v Speaker 1>point not being yeah, yeah, curious would if any listeners

0:59:30.320 --> 0:59:34.800
<v Speaker 1>have any insight on that. Um, can we talk about

0:59:35.200 --> 0:59:39.720
<v Speaker 1>the steves On character, Sammy, Let's talk about on Baby,

0:59:41.200 --> 0:59:44.240
<v Speaker 1>that's gonna be a new segment on the show, and

0:59:44.240 --> 0:59:51.160
<v Speaker 1>then talk about the steves On intersections. Okay, So it

0:59:51.200 --> 0:59:56.120
<v Speaker 1>didn't even register with me that he is a queer

0:59:56.200 --> 1:00:00.400
<v Speaker 1>character for a while, which does a few things. Signals

1:00:00.440 --> 1:00:01.920
<v Speaker 1>to me that he is just allowed to be a

1:00:02.000 --> 1:00:05.280
<v Speaker 1>queer character without that being like the first or defining

1:00:05.360 --> 1:00:08.760
<v Speaker 1>thing you know about him, So his queerness is normalized

1:00:08.960 --> 1:00:11.760
<v Speaker 1>in the story and in the world that he occupies.

1:00:12.040 --> 1:00:15.560
<v Speaker 1>I also didn't notice any stereotypes of gay men being

1:00:15.680 --> 1:00:19.880
<v Speaker 1>used with his character. But also he's kind of barely

1:00:19.920 --> 1:00:23.479
<v Speaker 1>in the movie. He's the only character of the friend

1:00:23.520 --> 1:00:27.480
<v Speaker 1>group that we see that we never see with a

1:00:27.600 --> 1:00:31.120
<v Speaker 1>romantic or sexual partner, except there's maybe like one quick

1:00:31.160 --> 1:00:33.080
<v Speaker 1>little scene where Sammy's in a diner with a guy

1:00:33.160 --> 1:00:36.520
<v Speaker 1>named Lance. Yeah he's he, and he does introduce him

1:00:36.600 --> 1:00:40.600
<v Speaker 1>as his boyfriend. Oh okay, I missed that. Okay, but

1:00:40.680 --> 1:00:43.520
<v Speaker 1>that's such a quick throwaway moment, and clearly because I

1:00:43.680 --> 1:00:48.400
<v Speaker 1>missed that part. So the fact that he like he's

1:00:48.440 --> 1:00:50.480
<v Speaker 1>just not allowed to have any kind of like romantic

1:00:50.520 --> 1:00:53.800
<v Speaker 1>subplot the way that other characters that's kind of like

1:00:53.840 --> 1:00:56.560
<v Speaker 1>the focus of the movie. I did really like the

1:00:56.600 --> 1:01:01.760
<v Speaker 1>scene where you see him and Vicky kind of like

1:01:01.840 --> 1:01:04.560
<v Speaker 1>doing this bit where they're rehearsing him coming out to

1:01:04.640 --> 1:01:07.600
<v Speaker 1>his family. Um, it's cute. And then you see the

1:01:07.640 --> 1:01:10.320
<v Speaker 1>aftermath of him coming out to his family and they

1:01:10.360 --> 1:01:14.240
<v Speaker 1>did not receive the information. Well there, they don't seem

1:01:14.280 --> 1:01:17.080
<v Speaker 1>to be supportive, and you see how that affects him.

1:01:17.280 --> 1:01:20.400
<v Speaker 1>You you see him talking about, you know, the reasons

1:01:20.440 --> 1:01:25.200
<v Speaker 1>that he has chosen to be celibate, that he you know,

1:01:25.320 --> 1:01:28.200
<v Speaker 1>hadn't been honest with himself about who he is, and

1:01:28.240 --> 1:01:29.680
<v Speaker 1>you just like you see a lot of his kind

1:01:29.720 --> 1:01:35.160
<v Speaker 1>of him expressing his inner struggles in a way that

1:01:35.520 --> 1:01:38.840
<v Speaker 1>a lot of movies, especially from that era, never bothered

1:01:38.880 --> 1:01:42.760
<v Speaker 1>to do or just like never handled well. So I

1:01:42.800 --> 1:01:47.040
<v Speaker 1>thought that was it's queer representation in a movie at

1:01:47.040 --> 1:01:51.320
<v Speaker 1>a time where there was very little on screen queer representation,

1:01:51.560 --> 1:01:55.880
<v Speaker 1>and when it was there, it was usually really grossly mishandled.

1:01:56.640 --> 1:02:01.560
<v Speaker 1>This representation isn't necessarily the best. Again, his character is

1:02:01.680 --> 1:02:04.040
<v Speaker 1>kind of the of the four friends, like he has

1:02:04.080 --> 1:02:08.360
<v Speaker 1>the least screen time and I think it's Helen Child.

1:02:08.480 --> 1:02:11.280
<v Speaker 1>Riss did indicate that she wrote many versions of this group,

1:02:11.720 --> 1:02:14.120
<v Speaker 1>wasn't the case. So again, it's like a studio issue

1:02:14.160 --> 1:02:17.520
<v Speaker 1>of like, well, sure we can have an openly gay character,

1:02:17.720 --> 1:02:21.240
<v Speaker 1>but not too much where. And this also feels like

1:02:21.240 --> 1:02:25.280
<v Speaker 1>an era where I mean, even going back to Rent

1:02:25.480 --> 1:02:29.800
<v Speaker 1>of like queer characters are or like the movie Philadelphia,

1:02:29.840 --> 1:02:31.560
<v Speaker 1>which I've never seen but I know what happens in it.

1:02:31.640 --> 1:02:34.560
<v Speaker 1>We're like, Okay, we could have gay characters on screen,

1:02:34.800 --> 1:02:37.680
<v Speaker 1>but only if the worst possible thing happens to them.

1:02:37.760 --> 1:02:40.680
<v Speaker 1>And so it's like we're not interested at this point

1:02:40.760 --> 1:02:44.720
<v Speaker 1>in pop culture of like just exploring a queer person's

1:02:44.800 --> 1:02:46.680
<v Speaker 1>day to day life in the way that this movie

1:02:46.720 --> 1:02:50.640
<v Speaker 1>seems to be interested in. But then the studio doesn't

1:02:50.680 --> 1:02:52.800
<v Speaker 1>let you go all the way of just like letting

1:02:53.400 --> 1:02:57.200
<v Speaker 1>a gay man be a person, like and Steve's on

1:02:57.320 --> 1:03:01.200
<v Speaker 1>such as sweetie, where's his first line? Where he's like

1:03:01.240 --> 1:03:03.120
<v Speaker 1>such a He's just like, I don't know, I want

1:03:03.120 --> 1:03:12.400
<v Speaker 1>a career. Oh, Mr Nice, Mr Nice. Yeah, let's take

1:03:12.440 --> 1:03:22.000
<v Speaker 1>another break and then we will be right back and

1:03:22.200 --> 1:03:24.520
<v Speaker 1>we're back. I wanted to go back a little bit

1:03:24.560 --> 1:03:30.280
<v Speaker 1>to the so this is a very white middle to

1:03:30.400 --> 1:03:34.640
<v Speaker 1>upper middle class. I think maybe spans because the middle

1:03:34.680 --> 1:03:36.960
<v Speaker 1>class existed when this movie came out, which is kind

1:03:36.960 --> 1:03:40.400
<v Speaker 1>of like confusing to navigate. I think that. I mean,

1:03:40.600 --> 1:03:44.840
<v Speaker 1>obviously they're all young white people who have done some college,

1:03:44.920 --> 1:03:47.360
<v Speaker 1>and it seems like Ethan Hawk didn't finish college, not

1:03:47.400 --> 1:03:50.280
<v Speaker 1>because it was financially struggling, but like because it was

1:03:50.360 --> 1:03:55.400
<v Speaker 1>like a that was his ideological preference. So it wasn't

1:03:55.440 --> 1:03:57.360
<v Speaker 1>like he had to drop out because he couldn't afford it.

1:03:58.080 --> 1:04:00.640
<v Speaker 1>So as far as class, because I think it's like

1:04:00.800 --> 1:04:03.760
<v Speaker 1>interesting and telling that this is like hailed as the

1:04:04.200 --> 1:04:07.440
<v Speaker 1>gen X movie, even if Janet's audiences didn't like it

1:04:07.440 --> 1:04:10.800
<v Speaker 1>at the time, and it's still so centered on the

1:04:10.800 --> 1:04:15.280
<v Speaker 1>white middle to upper middle class experience. Oh yeah, there's

1:04:15.320 --> 1:04:18.320
<v Speaker 1>a lot of like social issues that get brought up

1:04:18.360 --> 1:04:20.560
<v Speaker 1>in the movie that the characters talk about, Like so

1:04:20.640 --> 1:04:26.840
<v Speaker 1>many movies ignore societal ills that are affecting you know,

1:04:26.960 --> 1:04:29.280
<v Speaker 1>people across the globe. But they're talking about like the

1:04:29.400 --> 1:04:32.840
<v Speaker 1>energy crisis and the environment. They're talking about class and

1:04:33.000 --> 1:04:37.600
<v Speaker 1>wages and workers rights, they talk about world hunger. Like

1:04:37.640 --> 1:04:40.520
<v Speaker 1>these things get brought up and the movie is largely

1:04:40.560 --> 1:04:43.680
<v Speaker 1>about a young woman who's like optimistic and she wants

1:04:43.680 --> 1:04:45.400
<v Speaker 1>to make a difference in the world and she wants

1:04:45.400 --> 1:04:49.080
<v Speaker 1>to try to help fix some of these societal ills.

1:04:49.120 --> 1:04:51.360
<v Speaker 1>But then she ultimately like doesn't really do anything and

1:04:51.400 --> 1:04:54.920
<v Speaker 1>she just like kind of marinates in her privilege and

1:04:54.960 --> 1:05:01.520
<v Speaker 1>makes a documentary about her friends what happens in Rent. Also,

1:05:01.600 --> 1:05:04.400
<v Speaker 1>she acts like working retail after college it's the world,

1:05:04.600 --> 1:05:07.640
<v Speaker 1>like the worst thing that, Like everybody works retail after

1:05:07.680 --> 1:05:09.560
<v Speaker 1>college and it's not that like she makes it seem

1:05:09.600 --> 1:05:12.120
<v Speaker 1>like it's the worst thing in the world. Okay, So

1:05:12.320 --> 1:05:15.440
<v Speaker 1>I had so many feelings about that plot point, and

1:05:15.480 --> 1:05:17.840
<v Speaker 1>that was another thing where it's like that to me

1:05:18.000 --> 1:05:20.840
<v Speaker 1>was like what was really interesting about Like the tension

1:05:20.880 --> 1:05:25.920
<v Speaker 1>between Vicky and Lena is like something that does genuinely

1:05:25.960 --> 1:05:28.880
<v Speaker 1>suck about Lelena is she like wants to have her

1:05:29.000 --> 1:05:32.760
<v Speaker 1>like cool, burnout friends, but she always there is an

1:05:32.800 --> 1:05:34.680
<v Speaker 1>element to her character where she always has to view

1:05:34.720 --> 1:05:38.720
<v Speaker 1>herself as a little bit above them, which is complicated

1:05:38.920 --> 1:05:41.360
<v Speaker 1>because like there are things she says them like you're

1:05:41.360 --> 1:05:45.240
<v Speaker 1>being an asshole. I know you're technically correct, where especially Troy,

1:05:45.480 --> 1:05:49.320
<v Speaker 1>Troy is not paying rent. He refuses to look for work,

1:05:49.600 --> 1:05:53.240
<v Speaker 1>like he's just being He is like actively mooching off

1:05:53.280 --> 1:05:55.400
<v Speaker 1>of her and then negging her all the time, which

1:05:55.480 --> 1:05:58.720
<v Speaker 1>is like go fund yourself. Situations very different with Vicky.

1:05:58.760 --> 1:06:01.920
<v Speaker 1>I feel like it's telling that the only two people

1:06:02.040 --> 1:06:06.760
<v Speaker 1>who live in this four person apartment are the two women. Um,

1:06:06.800 --> 1:06:09.200
<v Speaker 1>I don't think that Sammy has a job for most

1:06:09.240 --> 1:06:12.040
<v Speaker 1>of the movie. Yeah, Also, I don't think he lives

1:06:12.280 --> 1:06:14.040
<v Speaker 1>does he live there? I think he lives somewhere else,

1:06:14.080 --> 1:06:16.640
<v Speaker 1>But I don't know ifwhere he lives somewhere else because

1:06:16.680 --> 1:06:20.280
<v Speaker 1>at one point he comes in and um, went Ona rogers, like,

1:06:20.320 --> 1:06:22.040
<v Speaker 1>what are you even doing here? You don't live here?

1:06:22.480 --> 1:06:25.760
<v Speaker 1>But she says that's Detroit too, and he does, and

1:06:26.120 --> 1:06:28.440
<v Speaker 1>they call it the Maxi Pad, which leads me to

1:06:28.440 --> 1:06:30.880
<v Speaker 1>believe that it's a house where only women live. Yeah.

1:06:31.800 --> 1:06:34.520
<v Speaker 1>I don't know, I might been reading too much into that. No,

1:06:34.680 --> 1:06:37.320
<v Speaker 1>I like that, But like with Vicky, I mean, like

1:06:37.400 --> 1:06:39.920
<v Speaker 1>she I don't know, like there is kind of this.

1:06:40.280 --> 1:06:42.720
<v Speaker 1>I wish that we could have explored it more because

1:06:42.760 --> 1:06:46.280
<v Speaker 1>it's like Lenna is, you know, trying to like live

1:06:46.360 --> 1:06:49.040
<v Speaker 1>life on her own terms while being while actively denying

1:06:49.080 --> 1:06:52.400
<v Speaker 1>her own privilege, but you know, capitalizing on her own

1:06:52.400 --> 1:06:56.200
<v Speaker 1>privilege when it suits her. Where Vicky it seems like

1:06:56.240 --> 1:06:59.320
<v Speaker 1>she's from the lower middle class baby, it seems like

1:06:59.360 --> 1:07:01.400
<v Speaker 1>she doesn't have of a safety net in the way

1:07:01.440 --> 1:07:04.920
<v Speaker 1>that Lolena does. And she's working at the Gap, she

1:07:05.000 --> 1:07:07.919
<v Speaker 1>becomes a manager. She's like taking pride in her work

1:07:07.920 --> 1:07:09.680
<v Speaker 1>in a way that I thought was like really cool,

1:07:09.920 --> 1:07:12.880
<v Speaker 1>Like she was just like, oh, you know that sort

1:07:12.920 --> 1:07:15.640
<v Speaker 1>of shy, like I feel like a corporate sellout, but

1:07:15.680 --> 1:07:19.360
<v Speaker 1>I'm also like I've never taken pride in my work before,

1:07:19.400 --> 1:07:22.600
<v Speaker 1>and like that's a cool feeling, and that was like

1:07:22.640 --> 1:07:25.360
<v Speaker 1>a cool element to that character. And then Lolena thinking

1:07:25.440 --> 1:07:28.360
<v Speaker 1>she's a little too good for it and and like

1:07:28.600 --> 1:07:32.160
<v Speaker 1>openly expressing that to Vicky and Vicky being local, fuck

1:07:32.240 --> 1:07:35.960
<v Speaker 1>you, you you elitist break. There's there's there's like a couple

1:07:36.000 --> 1:07:39.000
<v Speaker 1>of different times in the movie where someone calls another

1:07:39.120 --> 1:07:42.280
<v Speaker 1>character out and you're like, yeah, good for you, and

1:07:42.280 --> 1:07:44.000
<v Speaker 1>then it's just kind of dropped, and then we cut

1:07:44.000 --> 1:07:46.840
<v Speaker 1>to the next scene and everyone's getting along again. Yeah,

1:07:46.880 --> 1:07:50.000
<v Speaker 1>what that gap thing? In particular, when La lana Is

1:07:50.360 --> 1:07:52.040
<v Speaker 1>thinks that she's high and mighty, she's like, I'm not

1:07:52.040 --> 1:07:53.880
<v Speaker 1>going to work at the Gap for Christ's sake. But

1:07:53.920 --> 1:07:55.960
<v Speaker 1>then when she's at her low moment, when she's on

1:07:56.000 --> 1:07:59.760
<v Speaker 1>the couch, chain smoking, racking up money to the mine,

1:08:00.040 --> 1:08:02.240
<v Speaker 1>she's like, oh, you think you're hot, ship because you

1:08:02.320 --> 1:08:05.320
<v Speaker 1>work at the Gap. Like it's interesting how for her

1:08:05.400 --> 1:08:08.080
<v Speaker 1>the gap is like beneath her. But then also she

1:08:08.120 --> 1:08:13.040
<v Speaker 1>feels like it's being lorded over her later, right, Lena,

1:08:13.440 --> 1:08:16.280
<v Speaker 1>So yeah, I wish that Vicky we just got a

1:08:16.320 --> 1:08:19.839
<v Speaker 1>little more Vicky context. But I do like the peaks

1:08:19.880 --> 1:08:23.160
<v Speaker 1>you have into her life of like, I don't know,

1:08:23.240 --> 1:08:26.439
<v Speaker 1>it was sweet that her parents, uh love each other,

1:08:26.479 --> 1:08:29.040
<v Speaker 1>but she's very grossed out by their relationship and like, oh,

1:08:29.120 --> 1:08:32.240
<v Speaker 1>good for you, Vicky, good for you. Your parents love

1:08:32.280 --> 1:08:34.680
<v Speaker 1>each other. Oh I didn't read that that way at all.

1:08:34.720 --> 1:08:36.760
<v Speaker 1>I read it is that they don't like each other

1:08:36.920 --> 1:08:40.160
<v Speaker 1>and they like the romance is completely dead. We shipped

1:08:40.200 --> 1:08:42.880
<v Speaker 1>with the door open. I thincause that's how dead the

1:08:43.000 --> 1:08:45.479
<v Speaker 1>romance I think shipping. I think that you can have

1:08:45.640 --> 1:08:48.000
<v Speaker 1>romance and ship with the door open. I agree the

1:08:48.040 --> 1:08:50.519
<v Speaker 1>two are not mutually exclusive, but I think it's a

1:08:50.600 --> 1:08:53.439
<v Speaker 1>very naive take on Vicky's part. It's like, well, I

1:08:53.479 --> 1:08:56.760
<v Speaker 1>think maybe they're they're in super love because you can

1:08:56.800 --> 1:08:59.080
<v Speaker 1>if you can see someone take a ship and still

1:08:59.120 --> 1:09:05.639
<v Speaker 1>be like you like, let's smooch and frick um. So

1:09:05.960 --> 1:09:09.759
<v Speaker 1>I mentioned this, but so as Lelena is like trying

1:09:09.800 --> 1:09:12.680
<v Speaker 1>to sort out her money troubles and trying to get

1:09:12.720 --> 1:09:15.439
<v Speaker 1>another job after she kind of like puts down working

1:09:15.560 --> 1:09:17.800
<v Speaker 1>at the Gap. She then goes to her mom for

1:09:18.000 --> 1:09:20.880
<v Speaker 1>a loan, and her mom suggests, well, why don't you

1:09:20.880 --> 1:09:23.719
<v Speaker 1>work at a fast food restaurant. This is the scene

1:09:23.720 --> 1:09:26.800
<v Speaker 1>where the R word is just casually thrown around by

1:09:26.880 --> 1:09:30.920
<v Speaker 1>multiple characters. Several characters. Yeah, and not just in this scene,

1:09:30.920 --> 1:09:34.519
<v Speaker 1>although it gets it gets said other times. And Lena

1:09:34.920 --> 1:09:39.080
<v Speaker 1>dismisses a job at a fast food restaurant citing a

1:09:39.280 --> 1:09:42.840
<v Speaker 1>very ablest reason. I do. I do appreciate that the

1:09:42.880 --> 1:09:45.519
<v Speaker 1>movie kind of makes a point to show that a

1:09:45.640 --> 1:09:48.880
<v Speaker 1>job at a fast food restaurant is harder and takes

1:09:48.880 --> 1:09:55.240
<v Speaker 1>more skills. She cannot she cannot add eighty five together

1:09:55.400 --> 1:09:58.439
<v Speaker 1>quickly or whatever the numbers were. Because the movie does

1:09:58.439 --> 1:10:01.680
<v Speaker 1>have little moments of commentary like that, like kind of

1:10:01.760 --> 1:10:04.280
<v Speaker 1>class commentary, and I think it has a lot of

1:10:04.320 --> 1:10:07.760
<v Speaker 1>good moments. Yeah, there's a scene that seems to be

1:10:07.920 --> 1:10:12.439
<v Speaker 1>satirizing networks like MTV and the entertainment of that era

1:10:12.840 --> 1:10:17.240
<v Speaker 1>where Laney's watching a show and I forget what it's called,

1:10:17.600 --> 1:10:20.960
<v Speaker 1>but it's this woman. She's like the host of this show.

1:10:21.000 --> 1:10:23.479
<v Speaker 1>It's like a fashion fashion it's meant to be House

1:10:23.479 --> 1:10:26.760
<v Speaker 1>of Style. Did y'all watch that? Oh my god? Empty.

1:10:26.880 --> 1:10:28.280
<v Speaker 1>I might be older than you all, but it's it's

1:10:28.280 --> 1:10:31.479
<v Speaker 1>clearly meant to be MTV's House of Style. Cindy Crawford

1:10:31.479 --> 1:10:33.280
<v Speaker 1>got her start on that show, like it was like

1:10:33.800 --> 1:10:36.559
<v Speaker 1>it was that checked that but I think so it

1:10:36.640 --> 1:10:40.200
<v Speaker 1>was like in the nineties it was MTVS Fashion and

1:10:40.200 --> 1:10:42.479
<v Speaker 1>it was always kind of like edgy hip hop fashion.

1:10:42.479 --> 1:10:46.120
<v Speaker 1>But yeah, it was their fashion show. Okay, So what

1:10:46.439 --> 1:10:48.680
<v Speaker 1>happens in this like you know this like kind of

1:10:48.720 --> 1:10:52.000
<v Speaker 1>spoof version of that on the In Your Face Network

1:10:52.560 --> 1:10:55.719
<v Speaker 1>is it's this woman, she's the host of this show.

1:10:56.040 --> 1:10:58.400
<v Speaker 1>And she's like today we're in I think they're in

1:10:58.439 --> 1:11:01.840
<v Speaker 1>Compton and she's where in Compton? And you can buy

1:11:01.880 --> 1:11:06.400
<v Speaker 1>this this Bandanna. It's got red for crips and blue

1:11:06.439 --> 1:11:08.360
<v Speaker 1>for bloods or I don't even know if I have

1:11:08.400 --> 1:11:12.679
<v Speaker 1>the colors right, And she's like and it's only seventy yeah,

1:11:12.840 --> 1:11:16.719
<v Speaker 1>and it's made by Donna Carro and famously a bougee

1:11:16.760 --> 1:11:19.800
<v Speaker 1>white woman. I actually love that comment. It's like the

1:11:20.000 --> 1:11:22.840
<v Speaker 1>movie does try to do some nineties commentary of like

1:11:22.880 --> 1:11:26.120
<v Speaker 1>that was the vibe of the nineties, like corporations and

1:11:26.160 --> 1:11:29.920
<v Speaker 1>white rich people co opting like black folks and like

1:11:30.000 --> 1:11:34.320
<v Speaker 1>Latino folks and like like working class like fashion and

1:11:34.360 --> 1:11:36.960
<v Speaker 1>like making it a thousand dollars and then selling it

1:11:37.000 --> 1:11:41.440
<v Speaker 1>back to people exactly. Yeah. I thought that, like especially

1:11:41.560 --> 1:11:44.240
<v Speaker 1>for some reason, like the TV stuff especially, I thought

1:11:44.280 --> 1:11:47.200
<v Speaker 1>was really really effective with the I mean, even with

1:11:47.240 --> 1:11:50.080
<v Speaker 1>the Frasier's Dad Show, where it was very clearly like

1:11:50.200 --> 1:11:52.720
<v Speaker 1>parodying a lot of daytime TV where it was like,

1:11:53.479 --> 1:11:57.400
<v Speaker 1>you know, exploitative thing and tragic thing where you know,

1:11:57.920 --> 1:12:02.240
<v Speaker 1>he's like today we have this amazing child and and

1:12:02.439 --> 1:12:06.400
<v Speaker 1>someone with Alzheimer's disease and you're just like it, that

1:12:06.600 --> 1:12:08.720
<v Speaker 1>is clear like what they're trying to do. And then

1:12:09.120 --> 1:12:13.240
<v Speaker 1>I also thought it was like interesting that how when

1:12:13.280 --> 1:12:16.520
<v Speaker 1>on a writer is like duped by a TV psychic

1:12:17.040 --> 1:12:20.280
<v Speaker 1>and like that that was just a little montage of

1:12:20.320 --> 1:12:23.600
<v Speaker 1>like predatory TV scams of the nine nineties because it

1:12:23.640 --> 1:12:28.160
<v Speaker 1>was like TV College, TV Psychics and like just little

1:12:28.360 --> 1:12:32.840
<v Speaker 1>ways that the culture of this time preyed on desperation

1:12:32.920 --> 1:12:35.839
<v Speaker 1>and loneliness, which is like there's a different generational reboot

1:12:35.880 --> 1:12:39.120
<v Speaker 1>of how to prey on desperation and loneliness. And I

1:12:39.160 --> 1:12:44.080
<v Speaker 1>thought it was like kind of a fun comment on it. Oh,

1:12:44.120 --> 1:12:46.160
<v Speaker 1>the TV Psychic scene has my favorite line of the

1:12:46.200 --> 1:12:48.559
<v Speaker 1>movie where when her roommate is coming to talk to

1:12:48.560 --> 1:12:50.280
<v Speaker 1>her about the phone bill over the phone, the TV

1:12:50.320 --> 1:12:54.080
<v Speaker 1>Psychic is like, Laney, I said that you're in great danger, dangerous,

1:12:55.720 --> 1:12:58.479
<v Speaker 1>And then and then Jean in Gruffalo is like, we

1:12:58.560 --> 1:13:01.439
<v Speaker 1>have a four phone. What the fuck it's from this

1:13:01.560 --> 1:13:03.960
<v Speaker 1>nine number? And then you just see when on a

1:13:04.000 --> 1:13:09.839
<v Speaker 1>writer like very slowly hanging up the phone. That's comedy.

1:13:10.320 --> 1:13:13.200
<v Speaker 1>I thought it was good. Yeah, Like it's like part

1:13:13.200 --> 1:13:16.200
<v Speaker 1>of the reason that the ending to this movie bumps

1:13:16.240 --> 1:13:17.680
<v Speaker 1>me out so much is I feel like there's so

1:13:17.680 --> 1:13:21.719
<v Speaker 1>many like strong threads of like ways this movie could

1:13:21.720 --> 1:13:24.240
<v Speaker 1>have gone. Characters, they could have expanded on more topics,

1:13:24.280 --> 1:13:26.320
<v Speaker 1>they could have taken a little further, because it's like

1:13:26.479 --> 1:13:30.880
<v Speaker 1>with Troy and Laney, like they're both shitty in their ways.

1:13:30.920 --> 1:13:34.800
<v Speaker 1>Troy is by far worse, And I would hope that

1:13:35.439 --> 1:13:37.920
<v Speaker 1>if Laney had done what I wanted her to do

1:13:38.000 --> 1:13:40.960
<v Speaker 1>at the end and just like got her shipped together

1:13:41.080 --> 1:13:42.680
<v Speaker 1>and figured out who she was as a person and

1:13:42.720 --> 1:13:45.680
<v Speaker 1>worked a retail job and wasn't a total snob, I'm

1:13:45.680 --> 1:13:48.439
<v Speaker 1>sure that these would be issues that hopefully would course

1:13:48.479 --> 1:13:51.240
<v Speaker 1>correct later in her life. Troy maybe permanently broken. But

1:13:51.360 --> 1:13:55.439
<v Speaker 1>like how Troy's central, Like it feels like what they're

1:13:55.439 --> 1:13:57.479
<v Speaker 1>trying to ask with that character, I don't know, let

1:13:57.520 --> 1:13:58.600
<v Speaker 1>me know what you think, because I was like, it

1:13:58.640 --> 1:14:01.800
<v Speaker 1>seems like Troy is trying to do the thing where

1:14:01.800 --> 1:14:07.559
<v Speaker 1>he's like saying something valid, but his methods are shitty

1:14:07.720 --> 1:14:10.639
<v Speaker 1>and like don't make any difference for anything. Where it's

1:14:10.640 --> 1:14:15.040
<v Speaker 1>like he wants to exist outside of capitalism. He resents capitalism,

1:14:15.080 --> 1:14:18.120
<v Speaker 1>he resents that you are expected, you know, certain things

1:14:18.160 --> 1:14:20.960
<v Speaker 1>are expected of you to exist in a society and

1:14:21.200 --> 1:14:27.200
<v Speaker 1>be considered someone worthy of respect. A valid question and

1:14:27.280 --> 1:14:33.959
<v Speaker 1>like fair, but like he sucks and like he's useless

1:14:34.000 --> 1:14:36.240
<v Speaker 1>and he's mean, and then in the end he's kind

1:14:36.280 --> 1:14:40.120
<v Speaker 1>of like rewarded by getting everything he ever wanted. So

1:14:41.320 --> 1:14:45.160
<v Speaker 1>why I mean, because he's a white guy who had

1:14:45.200 --> 1:14:48.320
<v Speaker 1>a safety net the whole time. That's why I like,

1:14:48.479 --> 1:14:50.559
<v Speaker 1>at one point it's like a throwaway thing. But I

1:14:50.600 --> 1:14:54.839
<v Speaker 1>think that Lena's dad set up a cushy job interview

1:14:54.880 --> 1:14:57.360
<v Speaker 1>for Troy that he didn't go to, and I think

1:14:57.360 --> 1:14:59.000
<v Speaker 1>he didn't go to it because he was like hanging

1:14:59.040 --> 1:15:02.519
<v Speaker 1>out with her. I think that like her dad definitely

1:15:02.640 --> 1:15:04.120
<v Speaker 1>is like I said, I'm a job interview and he

1:15:04.160 --> 1:15:06.680
<v Speaker 1>couldn't even bother to show up. And so you're right

1:15:06.720 --> 1:15:09.960
<v Speaker 1>that it's it's as someone who is a former like

1:15:10.520 --> 1:15:13.040
<v Speaker 1>slacker knew a lot of like slacker types that were

1:15:13.080 --> 1:15:16.080
<v Speaker 1>anti capitalists. It's really easy to be that way when

1:15:16.120 --> 1:15:17.960
<v Speaker 1>you have a safety net, when people are looking out

1:15:17.960 --> 1:15:19.639
<v Speaker 1>for you and someone can make a call and get

1:15:19.680 --> 1:15:22.360
<v Speaker 1>you a job. And I think Troy is very good

1:15:22.360 --> 1:15:27.080
<v Speaker 1>at presenting his his rejection of all that stuff ideologically

1:15:27.080 --> 1:15:29.400
<v Speaker 1>on the outside, but not so good at acknowledging what

1:15:29.479 --> 1:15:33.080
<v Speaker 1>he actually has access to, which is not nothing. Right. Yeah,

1:15:33.280 --> 1:15:36.760
<v Speaker 1>And it's like Troy's life, I mean, his life would

1:15:36.800 --> 1:15:40.679
<v Speaker 1>become so much more difficult if Laney and Vicky weren't

1:15:40.720 --> 1:15:43.400
<v Speaker 1>constantly doing what he's yelling at them for all the time,

1:15:43.479 --> 1:15:46.240
<v Speaker 1>which is working so that they all have a place

1:15:46.280 --> 1:15:49.320
<v Speaker 1>to live, which Troy is not contributing to and is

1:15:49.439 --> 1:15:53.840
<v Speaker 1>in fact actively hostile to them for like working so

1:15:53.920 --> 1:15:55.880
<v Speaker 1>that he has somewhere to yell at them at. Like

1:15:56.360 --> 1:15:59.280
<v Speaker 1>it's just it's so messy, and it's like the movie

1:15:59.320 --> 1:16:02.799
<v Speaker 1>seems to know that, but then the ending it's it's wild.

1:16:02.920 --> 1:16:08.000
<v Speaker 1>It's wild. I also find it fascinating and maybe this

1:16:08.080 --> 1:16:12.960
<v Speaker 1>is some irony that the movie loves to talk about.

1:16:13.000 --> 1:16:17.519
<v Speaker 1>But like the the like paradox of this being a

1:16:17.560 --> 1:16:20.080
<v Speaker 1>movie about characters who are like, oh my god, selling

1:16:20.120 --> 1:16:22.639
<v Speaker 1>out is like the worst thing you can do, and

1:16:22.680 --> 1:16:26.680
<v Speaker 1>like it might be tempting, but ultimately your loser if

1:16:26.680 --> 1:16:31.560
<v Speaker 1>you sell out. But then this was also a studio movie,

1:16:31.840 --> 1:16:35.559
<v Speaker 1>and Ben Stiller said something like it's a strange thing

1:16:35.640 --> 1:16:38.760
<v Speaker 1>because it was a studio movie about the ideas of

1:16:38.760 --> 1:16:42.800
<v Speaker 1>commodification and descent or whatever. And the idea that it

1:16:42.880 --> 1:16:46.440
<v Speaker 1>was a universal movie, meaning like the movie studio universal,

1:16:47.080 --> 1:16:50.320
<v Speaker 1>a universal movie that was really sort of independent minded,

1:16:50.840 --> 1:16:53.040
<v Speaker 1>was something that we struggled with. So it's like the

1:16:53.120 --> 1:16:58.040
<v Speaker 1>same studio that released Jurassic Park the year before was

1:16:58.080 --> 1:17:02.280
<v Speaker 1>also releasing reality Bites and clearly made a bunch of

1:17:02.320 --> 1:17:05.400
<v Speaker 1>script changes, and like all, they had all these studio notes,

1:17:05.479 --> 1:17:08.840
<v Speaker 1>and it's probably the reason that Lelaney ends up with

1:17:08.920 --> 1:17:11.400
<v Speaker 1>Troy at the end, because that's kind of like the

1:17:11.439 --> 1:17:15.040
<v Speaker 1>more like right gretty romantic choice for her to make,

1:17:15.320 --> 1:17:17.559
<v Speaker 1>which I mean, I was glad that at least, like

1:17:17.720 --> 1:17:20.720
<v Speaker 1>the major players and this who worked in this movie,

1:17:20.760 --> 1:17:22.519
<v Speaker 1>I'll seem aware of that because it's like it's a

1:17:22.640 --> 1:17:26.080
<v Speaker 1>pointed to just truly like what are you going to do?

1:17:26.479 --> 1:17:31.240
<v Speaker 1>Like what the like? Because all of the you know,

1:17:31.439 --> 1:17:34.040
<v Speaker 1>like they're all of the resources are in the hands

1:17:34.040 --> 1:17:37.240
<v Speaker 1>of big studios, like, right, what the funk are you

1:17:37.280 --> 1:17:40.760
<v Speaker 1>gonna do? And it it's I don't know it. Have

1:17:40.800 --> 1:17:43.760
<v Speaker 1>either of you ever seen SLC Punk? I have not

1:17:44.000 --> 1:17:46.280
<v Speaker 1>know I have. I've seen it many times. Do you

1:17:46.320 --> 1:17:48.559
<v Speaker 1>like it? Um? I liked it when I was in

1:17:48.600 --> 1:17:51.680
<v Speaker 1>high school. I rewatched it maybe two years ago. I

1:17:51.720 --> 1:17:53.880
<v Speaker 1>actually think about it. I like not to kind of

1:17:53.880 --> 1:17:55.200
<v Speaker 1>spoil the ending. I don't know if you'll have like

1:17:55.240 --> 1:17:57.559
<v Speaker 1>a philosop I was. I wanted to talk about the

1:17:57.600 --> 1:18:00.320
<v Speaker 1>ending to SELC Punk because I think I like it better. Yeah,

1:18:00.520 --> 1:18:03.640
<v Speaker 1>the the ending is great because it's like, oh, this

1:18:03.680 --> 1:18:06.360
<v Speaker 1>whole time, all of that ideology was BS and you

1:18:06.439 --> 1:18:08.760
<v Speaker 1>sold that in the end and turns out you just

1:18:08.880 --> 1:18:11.240
<v Speaker 1>like we're a poser like everybody else, and that's fine.

1:18:11.280 --> 1:18:13.240
<v Speaker 1>It's called growing up. The end, like, I kind of

1:18:13.280 --> 1:18:17.160
<v Speaker 1>love that. Yeah, like so, I the only time I've

1:18:17.160 --> 1:18:21.000
<v Speaker 1>seen Slski punk I was on Molly Nights, but I

1:18:21.040 --> 1:18:24.760
<v Speaker 1>really loved him. But but the ending, in spite of

1:18:24.800 --> 1:18:27.840
<v Speaker 1>me being high out of my mind, the ending really

1:18:27.960 --> 1:18:31.200
<v Speaker 1>stuck with me as one of the more like, you know,

1:18:31.280 --> 1:18:33.800
<v Speaker 1>it doesn't feel good to watch, but it is an

1:18:33.800 --> 1:18:37.320
<v Speaker 1>honest depiction of like. And also it's a Matthew Willard

1:18:37.400 --> 1:18:41.639
<v Speaker 1>joint Caitlin, Oh, I I've unfamiliar. I just have yet

1:18:41.640 --> 1:18:45.280
<v Speaker 1>to succeeded. And unlike Reality Bites, it's a true indie movie.

1:18:45.400 --> 1:18:48.320
<v Speaker 1>It made like two dollars and it like premiered at

1:18:48.320 --> 1:18:51.160
<v Speaker 1>Sundance And but but yeah, like the the way, I

1:18:51.520 --> 1:18:53.880
<v Speaker 1>was sort of wondering if Reality Bites would take that

1:18:53.960 --> 1:18:57.240
<v Speaker 1>sort of option where it's like, you know, it seems

1:18:57.320 --> 1:19:02.280
<v Speaker 1>inevitable that this grew at least you know, two or

1:19:02.320 --> 1:19:04.920
<v Speaker 1>three out of the four are gonna end up selling

1:19:04.920 --> 1:19:08.519
<v Speaker 1>out in the way that adults are forced to under

1:19:08.520 --> 1:19:12.400
<v Speaker 1>capitalism more often than not. But I was wondering how

1:19:12.439 --> 1:19:14.439
<v Speaker 1>self aware it's like that it didn't do it in

1:19:14.479 --> 1:19:17.000
<v Speaker 1>a very self aware because even in the like the

1:19:17.040 --> 1:19:20.960
<v Speaker 1>closing line of the movie, Laney is like, it's acknowledging

1:19:21.000 --> 1:19:23.040
<v Speaker 1>that Laney has used her privilege to get to where

1:19:23.120 --> 1:19:25.760
<v Speaker 1>she's at with Troy, because it's her doubt on the

1:19:25.760 --> 1:19:30.320
<v Speaker 1>phone who you know, like all four boomer criticism of

1:19:30.439 --> 1:19:32.360
<v Speaker 1>like look at this, you know how they opened the

1:19:32.400 --> 1:19:35.080
<v Speaker 1>movie with like your revolution, you know, you traded your

1:19:35.080 --> 1:19:39.280
<v Speaker 1>revolution for shoulder pads. Fair, fair criticism. But it's like

1:19:39.720 --> 1:19:41.640
<v Speaker 1>our characters are well on their way to doing the

1:19:41.680 --> 1:19:44.000
<v Speaker 1>same fucking thing by the end of the movie, but

1:19:44.400 --> 1:19:46.759
<v Speaker 1>it's not quite willing to like go there and admit

1:19:46.800 --> 1:19:49.679
<v Speaker 1>it in a way that s LC punk was like, yeah,

1:19:49.800 --> 1:19:53.040
<v Speaker 1>little or to suit Now he's uh, he just got

1:19:53.080 --> 1:19:55.400
<v Speaker 1>to the law school. He went to law school. He

1:19:55.439 --> 1:19:59.639
<v Speaker 1>went to play shaggy. He's a corporate stooge. I mean,

1:20:00.160 --> 1:20:05.519
<v Speaker 1>Lillard's taking that Scooby Money can't even blame. It's funny,

1:20:05.520 --> 1:20:08.719
<v Speaker 1>like we're like, okay, so in the universe of the film, nobody,

1:20:08.880 --> 1:20:11.960
<v Speaker 1>only certain people are allowed to sell out if if

1:20:11.960 --> 1:20:15.200
<v Speaker 1>the clock spins five years later, like are we to

1:20:15.240 --> 1:20:19.160
<v Speaker 1>believe that Troy is still under employed and like blowing

1:20:19.160 --> 1:20:21.840
<v Speaker 1>off job interviews and sort of intentionally getting fired. And

1:20:21.920 --> 1:20:24.479
<v Speaker 1>Lena is like, certainly they would have, like you would

1:20:24.479 --> 1:20:26.280
<v Speaker 1>have to get a job at some point, Like that's

1:20:26.840 --> 1:20:31.679
<v Speaker 1>life and life is unsustainable otherwise. Right, It's like he's

1:20:31.720 --> 1:20:34.360
<v Speaker 1>not gonna If there's one person who's not going to

1:20:34.479 --> 1:20:40.400
<v Speaker 1>singlehandedly dismantle American capitalism, it's Troy for Reality bite like

1:20:40.840 --> 1:20:43.960
<v Speaker 1>he's gonna have to do something at some point. And

1:20:44.000 --> 1:20:46.000
<v Speaker 1>I feel like such a like a mom saying that,

1:20:46.000 --> 1:20:48.320
<v Speaker 1>where I'm like, get your life together, young man. But

1:20:49.600 --> 1:20:53.519
<v Speaker 1>you know what I do starts a podcast. No, he

1:20:53.520 --> 1:20:57.320
<v Speaker 1>starts a podcast and we're a part of the problem. Yeah,

1:20:57.360 --> 1:20:59.519
<v Speaker 1>you think Troy from Reality, but it's wouldn't be fucking

1:20:59.560 --> 1:21:05.040
<v Speaker 1>podcast two he's got. He's probably got two podcasts he has.

1:21:05.080 --> 1:21:07.240
<v Speaker 1>Oh you know who he is. I know exactly who

1:21:07.240 --> 1:21:10.360
<v Speaker 1>he is. He is like the leftist podcaster who was

1:21:10.400 --> 1:21:14.439
<v Speaker 1>all like, oh, like class solidarity but makes three dollars

1:21:14.479 --> 1:21:16.840
<v Speaker 1>a year via Patreon, but you would never know it

1:21:16.880 --> 1:21:20.640
<v Speaker 1>because he talks about like class workfare every week in

1:21:20.680 --> 1:21:24.520
<v Speaker 1>the podcast. That's who he never volunteered a weaken his life. Yeah,

1:21:24.840 --> 1:21:30.040
<v Speaker 1>absolutely no. No. Oh, look, we're all a bunch of

1:21:30.040 --> 1:21:33.519
<v Speaker 1>fucking sellouts. We're a feminist podcast on the I Heart

1:21:33.600 --> 1:21:38.400
<v Speaker 1>Radio network. At the end of the day, if it's like, well, shit, fuck,

1:21:39.360 --> 1:21:43.280
<v Speaker 1>we're the end of SLC punk. Um, okay, yeah, does

1:21:43.320 --> 1:21:46.639
<v Speaker 1>anyone have anything else they want to talk about? It's

1:21:46.640 --> 1:21:49.599
<v Speaker 1>everything ahead that might have been it. Yeah, the same.

1:21:49.880 --> 1:21:54.160
<v Speaker 1>Does this movie pass the Bechtel test? It does. Yeah,

1:21:54.280 --> 1:21:58.840
<v Speaker 1>We've got We've got some conversations, We've got some various combinations.

1:21:58.880 --> 1:22:02.800
<v Speaker 1>It's a lot of Lelaney and Vicky I think is

1:22:03.479 --> 1:22:07.719
<v Speaker 1>most of the Bechtel test passing convos. But what about

1:22:07.720 --> 1:22:12.800
<v Speaker 1>that nipple scale, the famous flawless nipple scale where we

1:22:12.840 --> 1:22:16.080
<v Speaker 1>write the movie on a scale of zero to five nipples.

1:22:16.120 --> 1:22:20.799
<v Speaker 1>Based on examining the movie through an intersectional feminist lens,

1:22:22.360 --> 1:22:24.960
<v Speaker 1>I feel like it's maybe like a two or a

1:22:25.000 --> 1:22:26.479
<v Speaker 1>two and a half, just one of those kind of

1:22:26.520 --> 1:22:29.840
<v Speaker 1>split down the middle ones, or maybe it's less than that.

1:22:29.920 --> 1:22:33.040
<v Speaker 1>Let me talk through this. Um. I appreciate that this

1:22:33.120 --> 1:22:37.479
<v Speaker 1>is a movie, like written by a woman writing about

1:22:37.479 --> 1:22:42.360
<v Speaker 1>her own experiences. It's coming from a pretty privileged place

1:22:42.479 --> 1:22:46.400
<v Speaker 1>because at least the characters it's like, yeah, they're broke,

1:22:47.160 --> 1:22:51.280
<v Speaker 1>but they're broke in the way that white college graduates

1:22:51.320 --> 1:22:55.760
<v Speaker 1>from supportive middle class families working entry level jobs are

1:22:55.840 --> 1:22:59.759
<v Speaker 1>broke broke, not poor. Right, So it just feels gross

1:22:59.800 --> 1:23:03.240
<v Speaker 1>to make a movie where things like money and labor

1:23:03.479 --> 1:23:07.920
<v Speaker 1>and socioeconomic class are major themes of the movie, but

1:23:08.320 --> 1:23:12.800
<v Speaker 1>the movie only features educated, middle class white people. UM.

1:23:12.840 --> 1:23:16.920
<v Speaker 1>I do not like that the movie is predicated on

1:23:16.960 --> 1:23:19.559
<v Speaker 1>which of these two guys is she going to choose

1:23:19.720 --> 1:23:24.760
<v Speaker 1>because she has to pick one because hetero romance must prevail,

1:23:25.360 --> 1:23:27.879
<v Speaker 1>and then she picks the guy who has been actively

1:23:27.960 --> 1:23:31.320
<v Speaker 1>cruel to her throughout the entire movie. I hate that

1:23:31.400 --> 1:23:34.719
<v Speaker 1>for her. Um. There are some things I do like. Um,

1:23:34.760 --> 1:23:39.120
<v Speaker 1>there's some interesting satire. There is a queer character whose

1:23:39.280 --> 1:23:43.280
<v Speaker 1>queerness is normalized within the story, even though that character

1:23:43.439 --> 1:23:46.360
<v Speaker 1>gets the least amount of screen time in this version

1:23:46.400 --> 1:23:49.240
<v Speaker 1>of the story at least. Um, But it's you know,

1:23:49.320 --> 1:23:53.040
<v Speaker 1>queer representation that was I would say, generally more positive

1:23:53.080 --> 1:23:57.560
<v Speaker 1>than you would tend to find in this era. Um.

1:23:57.600 --> 1:23:59.400
<v Speaker 1>And yeah, as I think I like Trailed Off, But

1:23:59.479 --> 1:24:03.360
<v Speaker 1>it's a a woman writing this screenplay about her life,

1:24:03.360 --> 1:24:06.360
<v Speaker 1>about her experiences and her relationships. It seems like it

1:24:06.439 --> 1:24:11.120
<v Speaker 1>got studio notes to death almost uh seventy different drafts

1:24:11.240 --> 1:24:14.880
<v Speaker 1>kind of thing. But um, I don't know, it's just

1:24:16.600 --> 1:24:19.120
<v Speaker 1>have I come to any conclusion. No, I'm gonna give

1:24:19.120 --> 1:24:23.120
<v Speaker 1>it two nipples. I'll give one to one on a

1:24:23.160 --> 1:24:26.519
<v Speaker 1>writer because I do love Oneona, and I'll give the

1:24:26.520 --> 1:24:30.680
<v Speaker 1>other nipple to screenwriter Helen child Dress, who again has

1:24:30.720 --> 1:24:32.960
<v Speaker 1>been kind of like left out of the conversation about

1:24:33.040 --> 1:24:37.679
<v Speaker 1>this movie and like isn't given credit where credit is due. Yeah,

1:24:37.760 --> 1:24:42.080
<v Speaker 1>so there you have it. I'm gonna go two and

1:24:42.080 --> 1:24:45.439
<v Speaker 1>a half on this one. Maybe maybe I'm talented to

1:24:45.479 --> 1:24:49.560
<v Speaker 1>do three, but I I the the centering of the

1:24:49.680 --> 1:24:53.800
<v Speaker 1>relationship is just like so frustrating that I guess I'm

1:24:53.800 --> 1:24:57.519
<v Speaker 1>going to do too and a half. Um again, yes,

1:24:57.560 --> 1:25:00.240
<v Speaker 1>like this is yet another you know, quote on quote

1:25:00.280 --> 1:25:03.600
<v Speaker 1>generation to finding movie that solely focuses on you know,

1:25:03.840 --> 1:25:07.040
<v Speaker 1>middle class uh six white people. I do appreciate that

1:25:07.080 --> 1:25:11.960
<v Speaker 1>there is some different class backgrounds and discussion of class.

1:25:11.960 --> 1:25:14.519
<v Speaker 1>I feel like most movies like this, just like or

1:25:14.600 --> 1:25:17.240
<v Speaker 1>most you know, coming of age movies, class exists in

1:25:17.240 --> 1:25:19.679
<v Speaker 1>a complete and total void. So at least then that's

1:25:19.720 --> 1:25:22.840
<v Speaker 1>not the case. Um, this movie asks a lot of

1:25:22.880 --> 1:25:25.640
<v Speaker 1>interesting questions. I think that, you know, the answers are

1:25:25.640 --> 1:25:28.800
<v Speaker 1>really complicated because we also like our generation is not

1:25:28.840 --> 1:25:31.360
<v Speaker 1>going to have the answers and uh, you know gen

1:25:31.439 --> 1:25:36.200
<v Speaker 1>Z best of luck, but and then there's no more generations.

1:25:36.439 --> 1:25:39.799
<v Speaker 1>Uh So Ultimately, yeah, I think that this movie asks

1:25:40.080 --> 1:25:42.840
<v Speaker 1>a lot of interesting questions. It challenged me in some ways,

1:25:42.880 --> 1:25:47.120
<v Speaker 1>it frustrated me and others, and uh it made me

1:25:47.120 --> 1:25:51.120
<v Speaker 1>want to rewatch SLC Punk um. But I do appreciate

1:25:51.160 --> 1:25:54.000
<v Speaker 1>that this movie, um is you know, written by a

1:25:54.040 --> 1:25:57.880
<v Speaker 1>woman who has lived out a similar experience. Um. I

1:25:57.920 --> 1:26:02.639
<v Speaker 1>think that her career since is very indicative of how disposable, um,

1:26:02.720 --> 1:26:06.080
<v Speaker 1>women creatives can be in Hollywood, especially during this era.

1:26:06.160 --> 1:26:09.479
<v Speaker 1>I'm glad that there has been some motion against that

1:26:09.640 --> 1:26:11.960
<v Speaker 1>since it doesn't seem to be something that happens quite

1:26:11.960 --> 1:26:14.759
<v Speaker 1>as much, and that there are a lot of women

1:26:14.760 --> 1:26:17.479
<v Speaker 1>in high positions in this production. You have a woman

1:26:17.600 --> 1:26:19.679
<v Speaker 1>editor of a woman writer, you have a woman producer.

1:26:20.760 --> 1:26:24.000
<v Speaker 1>But yeah, I don't know if this this Honestly, this

1:26:24.040 --> 1:26:28.519
<v Speaker 1>movie is like challenging for for me, and uh, you know,

1:26:28.800 --> 1:26:32.799
<v Speaker 1>being an adult sellout is fucking embarrassing and it's also

1:26:33.680 --> 1:26:38.600
<v Speaker 1>unfortunately kind of a part of being an American and

1:26:39.360 --> 1:26:42.640
<v Speaker 1>it Uh I guess that that's all I have to

1:26:42.640 --> 1:26:45.960
<v Speaker 1>say about it. Uh yeah, So I'll go two and

1:26:45.960 --> 1:26:49.240
<v Speaker 1>a half and I'm giving them all to Helen because, um,

1:26:49.720 --> 1:26:53.200
<v Speaker 1>it's ridiculous that justice for Helen event Stiller is getting

1:26:53.240 --> 1:26:57.040
<v Speaker 1>credit for ship shoot it. Yeah yeah, bridget Yeah, I'm

1:26:57.080 --> 1:26:59.480
<v Speaker 1>going First of all, I love that we're just explicitly

1:26:59.600 --> 1:27:03.599
<v Speaker 1>identify playing as adults sellouts, and this feminist adults sell

1:27:03.600 --> 1:27:05.360
<v Speaker 1>out is going two and a half nipples, and I

1:27:05.400 --> 1:27:10.120
<v Speaker 1>completely agree, mostly for Helen children. It's like justice for her.

1:27:10.439 --> 1:27:12.479
<v Speaker 1>I had no idea about the ways that she was

1:27:12.520 --> 1:27:16.040
<v Speaker 1>sort of written out of her own experience, and that

1:27:16.200 --> 1:27:19.040
<v Speaker 1>just sucks that this is a movie about her life

1:27:19.439 --> 1:27:23.280
<v Speaker 1>that is so accredited to Ben Stiller, a man, that

1:27:23.360 --> 1:27:24.760
<v Speaker 1>she just gets written out of it. Like I was

1:27:24.800 --> 1:27:28.400
<v Speaker 1>googling pictures, it was difficult to even find pictures of

1:27:28.520 --> 1:27:30.799
<v Speaker 1>her with the cast, and like, this was her story,

1:27:30.880 --> 1:27:33.800
<v Speaker 1>So most of those nipples are going to her. Also,

1:27:33.920 --> 1:27:37.240
<v Speaker 1>Jeanine Garoffalo, I have a soft spot for je Garoffalo

1:27:37.479 --> 1:27:42.680
<v Speaker 1>supporting casting. Yeah, in this movie, I once loved it

1:27:42.720 --> 1:27:45.439
<v Speaker 1>as a youth, watching it as an adult, it's I agree,

1:27:45.439 --> 1:27:49.639
<v Speaker 1>it's challenging, but yeah, I I like a movie that

1:27:50.080 --> 1:27:53.400
<v Speaker 1>makes it attempt to show queerness in the nineties in

1:27:53.400 --> 1:27:56.120
<v Speaker 1>a way that it's not so traumatic and Steve Zon

1:27:56.200 --> 1:27:59.040
<v Speaker 1>doesn't die or something like I Think for the time,

1:27:59.080 --> 1:28:02.599
<v Speaker 1>I'm gonna go too and a a half of fair. Yeah, Bridget,

1:28:02.600 --> 1:28:06.840
<v Speaker 1>thank you so much for joining us, Thank you for returning.

1:28:07.040 --> 1:28:11.320
<v Speaker 1>Come back any time. Oh it's always a blast. Anytime

1:28:11.400 --> 1:28:15.439
<v Speaker 1>you're you're about to get sick of me? Impossible, can't happen,

1:28:15.520 --> 1:28:17.719
<v Speaker 1>won't happen? Tell us all about your your new show

1:28:17.760 --> 1:28:20.800
<v Speaker 1>on cool Zone. Oh yes. So Internet Hate Machine is

1:28:20.800 --> 1:28:24.320
<v Speaker 1>an exploration of kind of an unpleasant topic, which is

1:28:24.360 --> 1:28:27.280
<v Speaker 1>the online harassment of women, specifically black women, but women

1:28:27.280 --> 1:28:30.360
<v Speaker 1>of color in general, and how I believe that is

1:28:30.360 --> 1:28:34.160
<v Speaker 1>connected to our current sort of political and social healthscape.

1:28:34.200 --> 1:28:37.800
<v Speaker 1>I guess I'll say, uh, and so yeah, it's it's

1:28:37.840 --> 1:28:40.479
<v Speaker 1>but it's I swear it's not dark. It's not a

1:28:40.520 --> 1:28:43.559
<v Speaker 1>start of it sounds, but yeah, it's an exploration of

1:28:43.600 --> 1:28:46.080
<v Speaker 1>the ways that all of these things online, the way

1:28:46.080 --> 1:28:48.000
<v Speaker 1>that black women have been treated, have gotten us to

1:28:48.040 --> 1:28:51.200
<v Speaker 1>a place where those same tactics and those same ills

1:28:51.400 --> 1:28:53.360
<v Speaker 1>impact all of us and really make it hard for

1:28:53.439 --> 1:28:55.920
<v Speaker 1>us to have a functioning democracy. So if that sounds

1:28:55.960 --> 1:28:59.280
<v Speaker 1>like something that you're interested in exploring, please check it out.

1:28:59.320 --> 1:29:04.879
<v Speaker 1>The new season or the first season drops October. So excited,

1:29:05.720 --> 1:29:08.599
<v Speaker 1>thank you, thank you so much for coming back. We'll

1:29:08.600 --> 1:29:10.360
<v Speaker 1>be we'll be plugging the hill out of the show

1:29:11.439 --> 1:29:13.479
<v Speaker 1>and anything else you want to plug. As far as

1:29:13.520 --> 1:29:16.360
<v Speaker 1>your social media handles, yeah, you can follow me on

1:29:16.439 --> 1:29:19.000
<v Speaker 1>Instagram at bridget Marie in d C or on Twitter

1:29:19.040 --> 1:29:21.280
<v Speaker 1>at bridget Marie. And I have my own long running,

1:29:21.800 --> 1:29:27.519
<v Speaker 1>long running two years podcast, podcast World. I'm I'm proudly

1:29:27.520 --> 1:29:29.760
<v Speaker 1>claiming that's a long time. Two years. That's a long

1:29:29.800 --> 1:29:33.160
<v Speaker 1>time called there are No Girls on the Internet. Please

1:29:33.240 --> 1:29:37.000
<v Speaker 1>check it out amazing and you can follow us on

1:29:37.040 --> 1:29:40.759
<v Speaker 1>Twitter and Instagram at bechtel Cast. You can subscribe to

1:29:40.920 --> 1:29:46.360
<v Speaker 1>our Matreon at patreon dot com slash becktel Cast. It

1:29:46.640 --> 1:29:48.720
<v Speaker 1>is five dollars a month and it gets you to

1:29:49.560 --> 1:29:53.280
<v Speaker 1>bonus episodes every month, plus the entire back catalog of

1:29:53.360 --> 1:29:57.920
<v Speaker 1>bonus episodes. You can also get our merch at t

1:29:58.080 --> 1:30:00.720
<v Speaker 1>public dot com slash the backtel Pass. This is such

1:30:00.720 --> 1:30:03.400
<v Speaker 1>a funny way to end the episode after reality bites

1:30:03.640 --> 1:30:08.320
<v Speaker 1>or like in conclusion, capitalism our exclusion. Give us five

1:30:08.360 --> 1:30:13.479
<v Speaker 1>dollars a month and support us on Hellscape social media

1:30:13.560 --> 1:30:18.040
<v Speaker 1>platforms that are actively running the world. Um, you know,

1:30:18.200 --> 1:30:20.760
<v Speaker 1>or we can just go fund ourselves whatever you want. Uh.

1:30:21.600 --> 1:30:26.240
<v Speaker 1>On that note, let's go watch Fraser's dad's TV show. Honestly,

1:30:26.360 --> 1:30:29.639
<v Speaker 1>I would watch it if I had pneumonia. Yeah, let's

1:30:29.760 --> 1:30:31.719
<v Speaker 1>let's do it. Okay, Bye,