WEBVTT - Ruby Sparks with Jesse David Fox

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<v Speaker 1>On the Bechdecast. The questions asked if movies have.

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<v Speaker 2>Women and them, are all their discussions just boyfriends and husbands,

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<v Speaker 2>or do they have individualism? It's the patriarchy, f and

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<v Speaker 2>bast start changing it with the Bechdel cast.

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<v Speaker 1>Hey Jamie, Hey Caitlyn, I have a secret what. I

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<v Speaker 1>wrote a story about a character named Jamie Loftus, and

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<v Speaker 1>then we were like hosting a podcast together in my story.

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<v Speaker 1>And then suddenly.

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<v Speaker 3>Bur Bonour, wow you're feel Wait Jesse, can you see Jamie?

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<v Speaker 3>Oh wow your homage?

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<v Speaker 1>She shut them Kitleen, Oh shit them you too, bark

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<v Speaker 1>bark anyway.

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<v Speaker 3>Hi. Wow. I panics because I was like, I know

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<v Speaker 3>the bit I want to do, but I don't have

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<v Speaker 3>the skills. I can't. I'm ill equipped, but I wrote

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<v Speaker 3>and fringe we.

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<v Speaker 1>Anyway, Hi, this is the Bechdel Test. My name is

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<v Speaker 1>Caitlin Dorante, my.

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<v Speaker 3>Name is Jamie Loftus, and I'm controlled by Caitlyn Dorante.

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<v Speaker 1>Mmm, sorry about it.

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<v Speaker 3>I frequently find that everything in my life changes. I

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<v Speaker 3>have friends, I lose them. I'm on all fours, barking

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<v Speaker 3>like a dog. I'm calling Caitlyn a genius non stop.

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<v Speaker 1>Yeah, thank you.

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<v Speaker 3>It's honestly kind of an incredible way to live. You know,

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<v Speaker 3>the surrender of free will has its drawbacks, but you

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<v Speaker 3>know she does let me go to sleep. Sometimes You're welcome.

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<v Speaker 3>Thank you.

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<v Speaker 1>You're a genius, yes, I know. Anyway, this is our

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<v Speaker 1>show where we examine movies through an intersectional feminist lens,

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<v Speaker 1>using the Bechdel Test simply as a jumping off point.

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<v Speaker 1>But Jamie, my creation, what is it?

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<v Speaker 3>Well? The Bechdel Test is a media metric created originally

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<v Speaker 3>by queer cartoonist Alison Bechdel, often called the Bechdel Wallace Test.

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<v Speaker 3>A lot of versions of the test. The version we

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<v Speaker 3>use is this one. We require that there be two

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<v Speaker 3>characters of a marginalized gender with names talking to each

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<v Speaker 3>other about something other than a man for more than

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<v Speaker 3>two lines of dialogue in some sort of meaningful way.

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<v Speaker 3>Can't really be more specific than that you know it

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<v Speaker 3>when you see it. So those are sort of our requirements. God,

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<v Speaker 3>this is like such an interesting movie to talk about

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<v Speaker 3>in regards to the Bechdel Test, because I feel like

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<v Speaker 3>this movie came out in a stretch of time where

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<v Speaker 3>the Bechdel Test was also frequently discussed, often in a

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<v Speaker 3>way that I feel like it is no longer discussed

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<v Speaker 3>now in a good way. I'm excited to talk about

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<v Speaker 3>this movie same And we have a returning guest.

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<v Speaker 1>We sure do. Our guest is the senior editor at Vulture.

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<v Speaker 1>He's the host of Good One podcast, and his book,

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<v Speaker 1>entitled comedy Book Boom, is out on November seventh. It's

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<v Speaker 1>Jesse David Fox.

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<v Speaker 3>Welcome back. Hello.

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<v Speaker 4>I was trying to think it if I know any

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<v Speaker 4>words in French, and I don't. That's the word.

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<v Speaker 3>And a happy bonjor to you and happy book. Congratulations

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<v Speaker 3>on the book.

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<v Speaker 4>Oh, thank you so much. Congratulations on your book.

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<v Speaker 3>Thank you. I was baiting you.

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<v Speaker 1>I made Jamie write that book. Isn't that a congratulation.

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<v Speaker 4>You wrote every word for her to sit down to.

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<v Speaker 1>Type to rewrite. Yes, You're welcome again.

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<v Speaker 3>Mister Haitlin did not want to eat a hot dog,

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<v Speaker 3>and so they went really like four dy chest to

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<v Speaker 3>find a way to get the book written. Welcome back.

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<v Speaker 3>I realized as we were preparing for this episode, because

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<v Speaker 3>we're covering Ruby Sparks twenty twelve, that on your first

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<v Speaker 3>episode we also kind of did not a similar plot,

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<v Speaker 3>but we did her with you years and years ago,

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<v Speaker 3>and it's yet another movie about a.

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<v Speaker 4>Man that a writer creating a contra that he can

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<v Speaker 4>control as a way of getting over an ex girlfriend

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<v Speaker 4>that also was a failure because he tried to control

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<v Speaker 4>that relationship.

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<v Speaker 3>Yeah. Yeah, Like he's the sort of guy I mean,

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<v Speaker 3>I guess that they're still out there. I've met them.

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<v Speaker 3>They're still around. They're kind of an unkillable mutant species.

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<v Speaker 3>But it is interesting that these two movies. Yeah, they're

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<v Speaker 3>a guy that's like, I couldn't be a bad person.

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<v Speaker 3>I'm shy you.

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<v Speaker 4>It was the cultural zenith of that guy as hero

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<v Speaker 4>that's shorthand for somewhat redeemable because it's this type of guy. Now,

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<v Speaker 4>this movie, I think, not to get ahead of it,

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<v Speaker 4>I'm trying to remember if this watching this movie helped

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<v Speaker 4>me get over that part of myself that also thought

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<v Speaker 4>that about like me that was like, well, I'm quiet,

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<v Speaker 4>so I guess I'm nice. Or did this movie reinforce

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<v Speaker 4>that feeling in me.

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<v Speaker 3>I'm really excited to talk to you about that because

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<v Speaker 3>this movie is now eleven years old, and it's like

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<v Speaker 3>we would have covered this movie very differently when this

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<v Speaker 3>show started seven years ago.

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<v Speaker 1>Yeah, for sure, and by.

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<v Speaker 3>Differently, I mean worse because you grow in all that stuff.

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<v Speaker 3>I'm so excited to talk about this movie. I was

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<v Speaker 3>pleasantly surprised by how much it broke my brain. But Jesse,

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<v Speaker 3>what is your history with this film?

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<v Speaker 4>I didn't see it in theaters, but I do believe

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<v Speaker 4>I saw it soon after, but I can't totally remember when.

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<v Speaker 4>But I do feel like this type of movie like Fox, Searchlight,

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<v Speaker 4>rom Com Adjacent or whatever, was like my favorite type

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<v Speaker 4>of movie, like Zoe Cazant's starring.

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<v Speaker 3>Movies directors of Little Miss Sunshine. You're like, yes, I'm listening.

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<v Speaker 3>I'm listening.

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<v Speaker 4>Yes, all of this was like exactly my aesthetics. So

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<v Speaker 4>I know I saw it. I assume like once it

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<v Speaker 4>was on was streaming around that. I don't know how

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<v Speaker 4>I saw it, but I know I saw it and then.

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<v Speaker 1>On demand or something disgusting.

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<v Speaker 4>And then I was like, I had a memory of

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<v Speaker 4>this discourse around this and Zoe's sort of relationship to

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<v Speaker 4>the termatic Pixie dream Girl. I remember reading an interview

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<v Speaker 4>she said X and then I realized, oh, that was

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<v Speaker 4>that interview I did with her where I asked her

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<v Speaker 4>about like, now, how she feels because the creator of

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<v Speaker 4>the termatic Pixie dream Girl regretted it, and then she

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<v Speaker 4>was sort of the champion of how maybe the term,

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<v Speaker 4>unlike the Bechdel test, was sort of like sloppily applied

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<v Speaker 4>at the time.

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<v Speaker 3>Yes, and that's like I totally agree. I mean, you

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<v Speaker 3>can't tell someone how to, you know, deal with their

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<v Speaker 3>own word that they made popular, and like Nathan Raven

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<v Speaker 3>is amazing, But it did feel like retracting it entirely

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<v Speaker 3>was an overcorrection. It was just like, no, it's a thing,

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<v Speaker 3>but just like not in every single case that someone

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<v Speaker 3>says it is right, yes, right.

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<v Speaker 4>It became a way to fairly quickly disregard female performances

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<v Speaker 4>and female characters so much so then if you then reject,

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<v Speaker 4>you're like, well then are we Then we forgot The

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<v Speaker 4>first point was to criticize a type of female character

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<v Speaker 4>that this movie also was trying to criticize exactly. And

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<v Speaker 4>then now we're back to partly the aesthetics of this

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<v Speaker 4>character doesn't exist in the same way anymore, because like

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<v Speaker 4>it was so associated with like certain types of haircuts

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<v Speaker 4>and clothes.

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<v Speaker 3>My minit right, she's got the bangs, she's got the

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<v Speaker 3>little cap sleeve dresses and you're like, yep, yep, we

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<v Speaker 3>were there, we saw it.

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<v Speaker 4>Yeah, So because for your people have bangs, I don't know,

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<v Speaker 4>like I don't know gen Z's relationship to this idea. Yeah,

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<v Speaker 4>and it seems like it, if anything, it has like

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<v Speaker 4>it's right for a resurgence, right. It is like not

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<v Speaker 4>so removed from like girl Dinner or whatever.

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<v Speaker 3>Right. I think that this can like exist in conversation

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<v Speaker 3>with I don't know what, like whatever every generation things

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<v Speaker 3>that they've solved things and reinvented the wheel, and they

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<v Speaker 3>never have and they never will. And that's just sort

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<v Speaker 3>of my view on the state of things. And yeah,

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<v Speaker 3>it's like gen Z has their version of these too.

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<v Speaker 3>That will also be embarrassing to look back on ten

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<v Speaker 3>years from now. I was thinking of Girl Dinner, Girl

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<v Speaker 3>Math Girl, which is like something that I've sort of

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<v Speaker 3>let fly at different points as well. When there's that

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<v Speaker 3>Christmas in a line of like you haven't written a woman,

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<v Speaker 3>You've written a girl, And I'm like, and what do

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<v Speaker 3>you mean by what you know?

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<v Speaker 1>What are you saying?

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<v Speaker 4>What side do you then take by saying that I

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<v Speaker 4>am Switzerland.

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<v Speaker 3>I think let the girls do what they want. Let

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<v Speaker 3>the girls do what they want.

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<v Speaker 1>That character makes some like very good points, and then

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<v Speaker 1>he makes some very bad points throughout the movie. He's

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<v Speaker 1>very inconsistent.

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<v Speaker 3>I mean, but that's kind of what I appreciated about him.

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<v Speaker 3>I'm like, that seems like a guy that exists in

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<v Speaker 3>the world where he's like, I love my wife so much,

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<v Speaker 3>but I would change her if I could.

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<v Speaker 4>And you're like, yeah, he is a similar you know,

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<v Speaker 4>insomuch as this movie's in conversation with like five hundred

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<v Speaker 4>Days of Summer. He like is very much in the

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<v Speaker 4>same ilk as like the DOOTI Er the more do

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<v Speaker 4>characters of that movie. Yeah, he was like this version

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<v Speaker 4>in that movie. They're both browier than the lead, but

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<v Speaker 4>also like the conscience of the movie because in that

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<v Speaker 4>movie is like I would give my wife bigger tits

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<v Speaker 4>if I could, but in retrospect it wouldn't change anything, right.

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<v Speaker 3>But I love that broad Yeah, the chad conscience of

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<v Speaker 3>the film.

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<v Speaker 4>So it is interesting to be like, is everything this

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<v Speaker 4>character says ultimately the person we should be supporting there is? Yeah,

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<v Speaker 4>because that line is the like philosophical thesis I guess

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<v Speaker 4>of the movie.

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<v Speaker 3>I mean, yeah, way more so than anything Calvin e

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<v Speaker 3>versus or for sure, I didn't make that connection. I also,

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<v Speaker 3>I mean, this movie feels very much a cousin to

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<v Speaker 3>five hundred Days of Summer. I haven't seen five hundred

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<v Speaker 3>Days of Summer recently. Yeah, I mean I haven't really

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<v Speaker 3>revisited it. But I was at Ikea with a man

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<v Speaker 3>recently and was like, wow, is something bad about to

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<v Speaker 3>happen to me?

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<v Speaker 4>Did you run around?

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<v Speaker 3>No, very intentionally stayed stills of behavior. I tried to

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<v Speaker 3>really stay as still as possible and really like stay

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<v Speaker 3>the path and get the plates I had come there for.

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<v Speaker 3>Another similarity that this movie had with five Hundred Days

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<v Speaker 3>the Summer is that I hate the last scene.

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<v Speaker 4>Yes, sure, very similar last seed?

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<v Speaker 2>Yeah?

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<v Speaker 1>Similar? Yes.

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<v Speaker 3>Oh.

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<v Speaker 1>I can't wait to talk about the ending of this

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<v Speaker 1>movie and the rest of it. All right, James, what

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<v Speaker 1>is your relationship with this movie?

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<v Speaker 3>Ruby Sparks, I had not seen this movie, and I

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<v Speaker 3>didn't know a lot about it. I think that we

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<v Speaker 3>were all there in the twenty tens Manic Pixie dream

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<v Speaker 3>Girl mess of attempt to have a conversation, you know,

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<v Speaker 3>which we were a part of, and like, I just

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<v Speaker 3>never got to this movie because based off of like

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<v Speaker 3>what I was catching from this conversation, it seemed like

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<v Speaker 3>to me it was framed as a movie that was

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<v Speaker 3>purpose trading these tropes as opposed to criticizing and interacting

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<v Speaker 3>with them. And I think that that just like stuck

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<v Speaker 3>in my head. And also, to be fair, the marketing

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<v Speaker 3>does not really do much to change your mind. I

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<v Speaker 3>went back and watched the trailer as well as the

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<v Speaker 3>original reviews of this movie, which I'm like, Zoe Cazan

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<v Speaker 3>kind of a playing a game of forty chess there,

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<v Speaker 3>because it's like everyone received this as like a quirky

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<v Speaker 3>what was the god? The Atlantic review Ruby sparks a

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<v Speaker 3>charming tale of boy makes girl, and You're like, uh

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<v Speaker 3>huh uh huh uh huh did they see the scene

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<v Speaker 3>where he made her bark like a dog and call

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<v Speaker 3>him a genius? Apparently they didn't. But yeah, I had

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<v Speaker 3>avoided this movie because I thought it was a perpetrator

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<v Speaker 3>and not a and I was really pleasantly surprised by

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<v Speaker 3>this movie. I really enjoyed it. I mean there's stuff

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<v Speaker 3>about it that I would just love a rundown of

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<v Speaker 3>what the studio notes were for this movie, because I

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<v Speaker 3>feel like that last scene doesn't feel consistent with what

0:11:58.720 --> 0:12:03.360
<v Speaker 3>is happening even minutes before. And I think Zoe Czanne

0:12:03.400 --> 0:12:05.280
<v Speaker 3>is a terrific writer, and so I'm like, I just

0:12:05.320 --> 0:12:08.360
<v Speaker 3>don't think she would do that. But there's a lot

0:12:08.400 --> 0:12:10.400
<v Speaker 3>of cool stuff in this movie that I feel like

0:12:10.480 --> 0:12:14.640
<v Speaker 3>I haven't seen done quite this well in other places.

0:12:14.720 --> 0:12:17.520
<v Speaker 3>I liked it, Caitlin, What's your History?

0:12:18.160 --> 0:12:20.800
<v Speaker 1>I also had never seen it, and I think I

0:12:20.840 --> 0:12:23.679
<v Speaker 1>had a very similar experience as you, Jamie, as far

0:12:23.679 --> 0:12:26.920
<v Speaker 1>as like people would talk about it all the time

0:12:27.040 --> 0:12:33.640
<v Speaker 1>in a pretty critical way, and either I misunderstood what

0:12:33.800 --> 0:12:38.160
<v Speaker 1>they were criticizing, or the people who were criticizing it

0:12:38.400 --> 0:12:42.080
<v Speaker 1>misunderstood what the movie was. Either way, I also thought

0:12:42.120 --> 0:12:46.560
<v Speaker 1>it was like, Wow, a classic example of a manic

0:12:46.600 --> 0:12:51.640
<v Speaker 1>pixie dream girl presented uncritically, and isn't that awesome? And

0:12:51.720 --> 0:12:54.120
<v Speaker 1>so I also was just like, I don't really feel

0:12:54.120 --> 0:12:56.880
<v Speaker 1>compelled to watch this, or again, I might have been

0:12:56.880 --> 0:13:00.640
<v Speaker 1>misunderstanding what people were saying about it. Way, I'd never

0:13:00.640 --> 0:13:02.560
<v Speaker 1>seen it, and so when I was watching it, I

0:13:02.600 --> 0:13:05.079
<v Speaker 1>was like, wait a minute, the things I thought about

0:13:05.080 --> 0:13:08.520
<v Speaker 1>this movie don't seem to be the things that are

0:13:08.679 --> 0:13:13.120
<v Speaker 1>actually here in this movie. So I found it refreshing.

0:13:13.400 --> 0:13:17.880
<v Speaker 1>In some ways, I found it challenging, Like I was like, wow,

0:13:17.960 --> 0:13:20.960
<v Speaker 1>what hang on? And I think I'm going to like

0:13:21.040 --> 0:13:24.040
<v Speaker 1>be processing a lot of my thoughts about this movie

0:13:24.040 --> 0:13:27.800
<v Speaker 1>in real time on this episode. But I was pleasantly

0:13:27.840 --> 0:13:31.400
<v Speaker 1>surprised by it, especially going in with like pretty low

0:13:31.400 --> 0:13:34.200
<v Speaker 1>expectations based on the buzz.

0:13:34.240 --> 0:13:36.640
<v Speaker 3>I do feel like if the ending was fused with

0:13:36.720 --> 0:13:39.480
<v Speaker 3>a bit it would like do really well coming out

0:13:39.559 --> 0:13:42.040
<v Speaker 3>right now. And also if the outfits were better.

0:13:42.360 --> 0:13:43.920
<v Speaker 4>Well, I think they were good for the time.

0:13:44.440 --> 0:13:45.959
<v Speaker 3>At the time, they were incredible.

0:13:46.080 --> 0:13:49.680
<v Speaker 4>Well honestly, that is like truly the most dating part

0:13:49.720 --> 0:13:51.640
<v Speaker 4>of my life. So literally every single person I dated

0:13:51.720 --> 0:13:53.880
<v Speaker 4>for like seven years stress like that. So I'm like,

0:13:54.480 --> 0:13:57.520
<v Speaker 4>that's the feminine ideal of like what I imagine people

0:13:57.520 --> 0:13:59.599
<v Speaker 4>should dress like, So I don't have a problem. He

0:13:59.720 --> 0:14:03.959
<v Speaker 4>dressed terribly. He dressed also only in a tan and green.

0:14:04.120 --> 0:14:06.640
<v Speaker 4>It was like such a clear director.

0:14:06.320 --> 0:14:08.480
<v Speaker 1>Stoy is he Shaggy from Scooby Doo.

0:14:08.640 --> 0:14:12.160
<v Speaker 3>He was serving Shaggy the whole movie, including on the poster.

0:14:12.960 --> 0:14:15.760
<v Speaker 4>But I do think the ending is even two years

0:14:15.840 --> 0:14:18.920
<v Speaker 4>later or whenever, like inside Eama, Shumer became the most

0:14:18.920 --> 0:14:22.720
<v Speaker 4>popular show on television. The studio notes would be like end.

0:14:22.960 --> 0:14:25.400
<v Speaker 4>It's the exact opposite way, like we want this to

0:14:25.440 --> 0:14:27.960
<v Speaker 4>be the most heavy handed ending possible.

0:14:28.720 --> 0:14:31.280
<v Speaker 3>Yeah, he would get hit by a eighteen wheel yeer

0:14:31.840 --> 0:14:33.040
<v Speaker 3>a couple of years later.

0:14:34.880 --> 0:14:35.640
<v Speaker 1>Yeah.

0:14:35.680 --> 0:14:38.600
<v Speaker 3>This movie, I will say, proves a theory that I

0:14:38.680 --> 0:14:41.960
<v Speaker 3>was recently revisiting, or at least Zoe Cuzam feels the

0:14:42.000 --> 0:14:45.160
<v Speaker 3>same way because it is fiction. But that the moment

0:14:45.320 --> 0:14:50.200
<v Speaker 3>someone becomes famous, they stop maturing forever, or at least

0:14:50.240 --> 0:14:54.680
<v Speaker 3>stop maturing in some ways forever. Yeah, and that's Calvin

0:14:54.680 --> 0:14:58.240
<v Speaker 3>to the core. He's behaving so nineteen, this entire movie

0:14:58.280 --> 0:14:59.640
<v Speaker 3>in spite of being thirty.

0:15:00.240 --> 0:15:03.280
<v Speaker 1>Yeah, shall I do the recap and then we'll go

0:15:03.360 --> 0:15:03.760
<v Speaker 1>from there.

0:15:04.240 --> 0:15:04.960
<v Speaker 3>Let's recap.

0:15:05.200 --> 0:15:07.320
<v Speaker 1>Oh wait, let's take a break first, and then we'll

0:15:07.360 --> 0:15:07.840
<v Speaker 1>come back.

0:15:19.680 --> 0:15:20.400
<v Speaker 3>And we're back.

0:15:20.600 --> 0:15:26.520
<v Speaker 1>Okay, here is the recap. We open on a silhouetted

0:15:26.680 --> 0:15:31.360
<v Speaker 1>image of a woman being like, there you are. I've

0:15:31.400 --> 0:15:36.120
<v Speaker 1>been looking for you, tee. What why are you looking

0:15:36.160 --> 0:15:36.800
<v Speaker 1>at me like that?

0:15:37.320 --> 0:15:41.720
<v Speaker 3>Zoe zan is he he hahi on the storm, Yes,

0:15:41.920 --> 0:15:45.720
<v Speaker 3>I love it, And then Calvin Weirfields wakes up.

0:15:45.960 --> 0:15:49.600
<v Speaker 1>That's Paul Dano. He was having a dream about this woman.

0:15:50.200 --> 0:15:55.080
<v Speaker 1>Calvin is a writer who ten years ago wrote an

0:15:55.080 --> 0:15:59.600
<v Speaker 1>acclaimed novel when he was only nineteen, but he since

0:15:59.640 --> 0:16:02.160
<v Speaker 1>has not been able to write much of anything.

0:16:02.440 --> 0:16:04.040
<v Speaker 3>I found these scenes triggering.

0:16:05.040 --> 0:16:09.280
<v Speaker 1>I was like, relatable much. We see him, like, you know,

0:16:09.600 --> 0:16:13.000
<v Speaker 1>sitting down trying to write, but his writer's block is

0:16:13.080 --> 0:16:17.680
<v Speaker 1>very intense, so we see him instead hanging out with

0:16:17.760 --> 0:16:22.320
<v Speaker 1>his dog, Scottie. He hangs out with his brother Harry

0:16:22.440 --> 0:16:27.800
<v Speaker 1>played by Chrismasina. Awesome baffling. How in what world are

0:16:27.840 --> 0:16:28.840
<v Speaker 1>they brothers.

0:16:28.640 --> 0:16:32.160
<v Speaker 4>And grew up seemingly in California despite he seems so

0:16:32.240 --> 0:16:34.360
<v Speaker 4>Midwestern and him the most New york Man.

0:16:36.480 --> 0:16:40.240
<v Speaker 3>Right. I've also read in like the original press tour,

0:16:40.400 --> 0:16:44.400
<v Speaker 3>like both Paul Dana and Christmasina were like, We're aware

0:16:44.440 --> 0:16:51.320
<v Speaker 3>we look nothing alike, but we enjoyed it. You're like, okay, okay, okay, boys.

0:16:51.760 --> 0:16:55.840
<v Speaker 1>So Calvin seems to not have much in the way

0:16:55.880 --> 0:16:59.040
<v Speaker 1>of friends. He seems to struggle to meet and connect

0:16:59.080 --> 0:17:05.240
<v Speaker 1>with people. He goes to a therapist, Elliott Gold. His

0:17:05.320 --> 0:17:08.240
<v Speaker 1>name is doctor Rosenthal or something, but Elliott Gold is

0:17:08.240 --> 0:17:12.280
<v Speaker 1>his therapist. He gives Calvin a little writing assignment to

0:17:12.760 --> 0:17:16.399
<v Speaker 1>try to help him to start writing again, and the

0:17:16.440 --> 0:17:21.320
<v Speaker 1>assignment is to write a page where someone meets Calvin's dog,

0:17:21.520 --> 0:17:25.360
<v Speaker 1>Scottie and likes the dog for who he is, despite

0:17:25.560 --> 0:17:30.639
<v Speaker 1>him being skittish and slobbery. Then that night, Calvin has

0:17:30.680 --> 0:17:33.640
<v Speaker 1>a dream about the same woman who we will come

0:17:33.640 --> 0:17:35.080
<v Speaker 1>to know as Ruby Sparks.

0:17:35.359 --> 0:17:38.520
<v Speaker 3>I think their writing in this scene is so good

0:17:38.640 --> 0:17:41.439
<v Speaker 3>because she's just like challenging him in such a movie

0:17:41.480 --> 0:17:46.320
<v Speaker 3>way where I watched this movie back to back twice

0:17:46.880 --> 0:17:50.080
<v Speaker 3>and watching that scene go back, where it's like I

0:17:50.080 --> 0:17:52.840
<v Speaker 3>would have loved that exchange when I was in high school.

0:17:52.840 --> 0:17:54.840
<v Speaker 3>I'm like, Wow, she's not like other girls. She's really

0:17:55.119 --> 0:17:59.119
<v Speaker 3>like given him, like she's a handful. But when you

0:17:59.160 --> 0:18:02.800
<v Speaker 3>watch that scene back, like she's challenging him in the

0:18:02.800 --> 0:18:05.720
<v Speaker 3>safest way possible, Like she's only ever allowed to challenge

0:18:05.800 --> 0:18:08.480
<v Speaker 3>him in a way that is safe for him.

0:18:08.520 --> 0:18:11.880
<v Speaker 1>Also, she's not like other girls. She doesn't know who

0:18:12.040 --> 0:18:13.320
<v Speaker 1>f Scott Fitzgerald is.

0:18:13.800 --> 0:18:17.400
<v Speaker 4>Yeah, and he gets to tell her for how acclaimed

0:18:17.400 --> 0:18:20.399
<v Speaker 4>of an author is. The books around this movie are

0:18:20.440 --> 0:18:23.600
<v Speaker 4>so they are like a teenager's collection of books.

0:18:23.960 --> 0:18:27.359
<v Speaker 1>Catcher in the Rye, Great Gats be like the stuff

0:18:27.400 --> 0:18:30.560
<v Speaker 1>that you read because you're supposed you like are required

0:18:30.600 --> 0:18:31.640
<v Speaker 1>to in high school.

0:18:32.000 --> 0:18:37.760
<v Speaker 3>Yeah, it really felt like James Franco novelist era unfortunately.

0:18:37.320 --> 0:18:38.360
<v Speaker 4>Which is also this time.

0:18:38.440 --> 0:18:39.640
<v Speaker 3>Yeah, yeah, it's true.

0:18:41.920 --> 0:18:47.480
<v Speaker 1>Anyway, So this dream woman meets and likes Scottie the Dog,

0:18:47.960 --> 0:18:51.400
<v Speaker 1>and then Calvin wakes up from this dream suddenly very

0:18:51.440 --> 0:18:55.720
<v Speaker 1>inspired by the woman, and he starts writing page after

0:18:55.840 --> 0:19:01.200
<v Speaker 1>page about Ruby Sparks. He has his brother Harry read

0:19:01.400 --> 0:19:05.840
<v Speaker 1>what he's written of this manuscript so far, and Harry

0:19:05.920 --> 0:19:10.200
<v Speaker 1>basically tells him that Calvin does not understand women, and

0:19:10.480 --> 0:19:14.359
<v Speaker 1>that he's like written a very like tropy manic pixie

0:19:14.480 --> 0:19:17.320
<v Speaker 1>dreamgirl type and that no one is going to want

0:19:17.359 --> 0:19:17.919
<v Speaker 1>to read this.

0:19:18.119 --> 0:19:22.960
<v Speaker 3>This Chad is a literary critic. He is absolutely killing

0:19:23.040 --> 0:19:25.479
<v Speaker 3>it in this scene. We'll get back to how his

0:19:25.480 --> 0:19:27.960
<v Speaker 3>wife is treated, because we are told a lot about her,

0:19:28.080 --> 0:19:31.080
<v Speaker 3>even though we see her one time and she's like,

0:19:31.119 --> 0:19:34.440
<v Speaker 3>why is this bra here? You're like, good job movie.

0:19:34.880 --> 0:19:37.560
<v Speaker 4>So he's a sports agent but able to like read

0:19:37.640 --> 0:19:41.560
<v Speaker 4>and digest a short story in like a dinner with

0:19:41.600 --> 0:19:42.040
<v Speaker 4>his brother.

0:19:42.200 --> 0:19:45.760
<v Speaker 3>I really, I actually really liked that choice. I like

0:19:45.800 --> 0:19:49.080
<v Speaker 3>that it is not challenged. They're like, yeah, he's a

0:19:49.080 --> 0:19:51.520
<v Speaker 3>bit of a reader when he's not managing sports?

0:19:52.000 --> 0:19:55.880
<v Speaker 4>Is it a It's also like they let the how

0:19:55.920 --> 0:19:58.160
<v Speaker 4>you code the actors in your brain do so much

0:19:58.160 --> 0:20:00.359
<v Speaker 4>work of filling out who these people are, Like, well,

0:20:00.359 --> 0:20:01.800
<v Speaker 4>he's a Christmas an a type, so obviously he's a

0:20:01.800 --> 0:20:04.080
<v Speaker 4>sport agent. You won't realize that until like way later

0:20:04.160 --> 0:20:05.080
<v Speaker 4>in the movie.

0:20:04.960 --> 0:20:09.719
<v Speaker 3>Yeah, yeah, yeah, yeah, Okay.

0:20:09.760 --> 0:20:15.600
<v Speaker 1>So, despite his brother's criticism, Calvin continues to fantasize about

0:20:15.640 --> 0:20:21.200
<v Speaker 1>and write about Ruby, writing this story where she and

0:20:21.359 --> 0:20:24.280
<v Speaker 1>a guy very much like himself down to like that

0:20:24.359 --> 0:20:28.159
<v Speaker 1>character also being named Calvin, being so in love with

0:20:28.200 --> 0:20:33.040
<v Speaker 1>each other. One day, as he is about to leave

0:20:33.119 --> 0:20:37.800
<v Speaker 1>home for a meeting, a woman is suddenly in Calvin's kitchen,

0:20:38.000 --> 0:20:42.240
<v Speaker 1>and this woman is Ruby Sparks, played by Zoe Kazan.

0:20:42.600 --> 0:20:50.320
<v Speaker 3>Ruby. Ruby what her most recent episode, I already brought

0:20:50.400 --> 0:20:52.720
<v Speaker 3>up Shaggy. This is what I bring to the show.

0:20:53.040 --> 0:20:57.160
<v Speaker 1>I mean, well, Shaggy the dog more like Scottie the dog,

0:20:57.359 --> 0:20:59.440
<v Speaker 1>who I think is the best character in the movie

0:20:59.480 --> 0:21:02.520
<v Speaker 1>because he pisses on Calvin's bed and that makes him

0:21:02.560 --> 0:21:03.879
<v Speaker 1>mask who he is.

0:21:04.800 --> 0:21:07.680
<v Speaker 4>Do you think that was inspired by Calvin and Hobbes

0:21:07.760 --> 0:21:10.560
<v Speaker 4>or they guess the image of Oh no, I guess Calvin.

0:21:11.000 --> 0:21:12.480
<v Speaker 4>Calvin is the one that peeces though.

0:21:13.720 --> 0:21:18.959
<v Speaker 1>Oh, because Calvin and Hobbes, Hobbes and Shaw. Anyway, think

0:21:19.040 --> 0:21:20.120
<v Speaker 1>about it, you know.

0:21:20.359 --> 0:21:23.960
<v Speaker 3>Scotti and Calvin, we got there, Scotty and Calvin exactly.

0:21:23.960 --> 0:21:27.399
<v Speaker 4>The three most iconic duos of the last thirty years.

0:21:27.680 --> 0:21:29.560
<v Speaker 3>Yes, yes, it's all making sense.

0:21:30.240 --> 0:21:34.439
<v Speaker 1>Okay. So Ruby Sparks is in Calvin's kitchen and she

0:21:34.520 --> 0:21:38.240
<v Speaker 1>appears to be a real life person who does not

0:21:38.320 --> 0:21:42.120
<v Speaker 1>realize she is a figment of Calvin's imagination that has

0:21:42.680 --> 0:21:46.080
<v Speaker 1>magically materialized, and he will not tell her that for

0:21:46.119 --> 0:21:50.480
<v Speaker 1>a long time. Anyway, Calvin, he's freaking out. He thinks

0:21:50.480 --> 0:21:53.760
<v Speaker 1>he's hallucinating, that he's like, you know, losing his mind,

0:21:54.359 --> 0:21:57.840
<v Speaker 1>and Ruby is just like, what's wrong, babe? Is everything? Okay?

0:21:58.880 --> 0:22:01.960
<v Speaker 1>So Calvin tries to sneak out of the house, but

0:22:02.080 --> 0:22:04.120
<v Speaker 1>Ruby's like, where are you going? Can I come with you?

0:22:04.600 --> 0:22:07.520
<v Speaker 1>So she rides along with him, but then he ditches

0:22:07.560 --> 0:22:11.080
<v Speaker 1>her because he's meeting up with this woman, Mabel played

0:22:11.119 --> 0:22:14.800
<v Speaker 1>by Alia Shokut, who gave him her number at a

0:22:14.800 --> 0:22:18.520
<v Speaker 1>book event. Because she's like kind of like this groupie

0:22:19.280 --> 0:22:22.720
<v Speaker 1>type who's like trying to sleep with him, and he

0:22:22.800 --> 0:22:25.280
<v Speaker 1>doesn't have any friends, so this is like the person

0:22:25.320 --> 0:22:28.600
<v Speaker 1>he called. They go out for coffee, but Ruby spots

0:22:28.640 --> 0:22:31.960
<v Speaker 1>them and thinks Calvin is cheating on her, so Ruby

0:22:32.000 --> 0:22:34.960
<v Speaker 1>starts to make a commotion and he figures no one

0:22:35.000 --> 0:22:39.440
<v Speaker 1>else can hear or see Ruby, but everyone around him

0:22:39.480 --> 0:22:43.840
<v Speaker 1>is like, yes, I can see this woman. So Ruby

0:22:43.960 --> 0:22:46.480
<v Speaker 1>is real in the sense that she now exists in

0:22:46.520 --> 0:22:50.800
<v Speaker 1>the world and everyone can see her, and Calvin is like, Wow,

0:22:50.960 --> 0:22:54.360
<v Speaker 1>I have a real life girlfriend. Now awesome, And then

0:22:54.400 --> 0:22:57.160
<v Speaker 1>we get this montage of like them being in love.

0:22:57.200 --> 0:22:59.840
<v Speaker 1>They're going to a zombie film festival at the Hall

0:23:00.040 --> 0:23:03.400
<v Speaker 1>would Forever Cemetery. They're going to an arcade.

0:23:03.040 --> 0:23:05.440
<v Speaker 3>Like attempt at the IKEA scene.

0:23:05.720 --> 0:23:08.920
<v Speaker 4>Yeah, yeah, they do run through. Is it a video

0:23:08.920 --> 0:23:09.280
<v Speaker 4>game place?

0:23:09.400 --> 0:23:11.000
<v Speaker 1>Yea, sort of like an arcade.

0:23:11.200 --> 0:23:13.600
<v Speaker 4>Yeah, it is a pitch perfect. This part of this

0:23:13.680 --> 0:23:16.440
<v Speaker 4>movie is those movies, and at this point you're watching

0:23:16.480 --> 0:23:18.680
<v Speaker 4>a probably like, oh, I guess it's just like another

0:23:18.720 --> 0:23:21.080
<v Speaker 4>one of those movies. If you didn't know that this

0:23:21.200 --> 0:23:22.760
<v Speaker 4>was making fun of that, you'd just be like, Oh,

0:23:22.800 --> 0:23:24.119
<v Speaker 4>I guess we're just going to do that, And I

0:23:24.160 --> 0:23:25.440
<v Speaker 4>haven't seen that for a while.

0:23:25.240 --> 0:23:29.640
<v Speaker 3>So involuntarily like Regina Spector starts playing in the back

0:23:29.680 --> 0:23:32.639
<v Speaker 3>of your head and you're like, no, no, I didn't

0:23:32.680 --> 0:23:34.600
<v Speaker 3>consent to this, right.

0:23:35.920 --> 0:23:40.119
<v Speaker 1>So then Calvin tells his brother how Ruby is real now,

0:23:40.560 --> 0:23:43.439
<v Speaker 1>and Harry is like, that's not possible. Talk to your

0:23:43.520 --> 0:23:47.360
<v Speaker 1>therapist because you've lost your mind. But then Calvin introduces

0:23:47.400 --> 0:23:51.200
<v Speaker 1>Harry to Ruby. Harry still thinks it's some kind of hoax,

0:23:51.320 --> 0:23:54.040
<v Speaker 1>like maybe she's an impostor who's trying to trick Calvin.

0:23:54.359 --> 0:23:57.560
<v Speaker 1>So Harry tells Calvin to write something about her and

0:23:57.600 --> 0:24:00.480
<v Speaker 1>if it comes true, then they'll know that this real.

0:24:00.880 --> 0:24:05.080
<v Speaker 1>So Calvin writes that Ruby speaks fluent French, and then

0:24:05.240 --> 0:24:10.800
<v Speaker 1>suddenly Ruby is speaking fluent French, and Harry is like, wow,

0:24:10.920 --> 0:24:13.880
<v Speaker 1>this is awesome. You can make her do anything you want.

0:24:13.920 --> 0:24:16.639
<v Speaker 1>You can give her huge titties, you can you know,

0:24:16.760 --> 0:24:17.320
<v Speaker 1>change her.

0:24:17.240 --> 0:24:20.960
<v Speaker 3>And sleep where he's really going, leaning into the sports

0:24:21.040 --> 0:24:23.280
<v Speaker 3>agent side of his character.

0:24:24.200 --> 0:24:26.679
<v Speaker 4>Not the sympathetic brothers like you need more therapy. But

0:24:26.720 --> 0:24:28.720
<v Speaker 4>now he's like, well, now that I know you're okay,

0:24:29.080 --> 0:24:31.200
<v Speaker 4>immediately my second order.

0:24:31.080 --> 0:24:36.080
<v Speaker 3>And don't give blow jobs after a couple months. That scene,

0:24:36.119 --> 0:24:38.240
<v Speaker 3>I mean, it's a low for that character, but again,

0:24:38.640 --> 0:24:42.399
<v Speaker 3>very rewatchable scene where Calvin is like, I wouldn't change

0:24:42.440 --> 0:24:44.800
<v Speaker 3>a hair in Ruby's head. She's amazing.

0:24:45.240 --> 0:24:48.440
<v Speaker 4>I love for Can I ask since I've seen this before,

0:24:48.440 --> 0:24:50.199
<v Speaker 4>so I knew where it was going at that moment,

0:24:50.720 --> 0:24:54.600
<v Speaker 4>were you both still being like maybe fuck this movie?

0:24:54.640 --> 0:24:56.360
<v Speaker 4>Like maybe this movie is doing.

0:24:56.400 --> 0:24:57.720
<v Speaker 1>Is I couldn't tell.

0:24:57.880 --> 0:25:01.800
<v Speaker 4>Yeah, cool because like rewatching that's the first time, like

0:25:01.880 --> 0:25:05.080
<v Speaker 4>my stomach starts hurting or whatever, or like or you're

0:25:05.160 --> 0:25:07.520
<v Speaker 4>just like, don't do this. These people like be different

0:25:07.520 --> 0:25:08.200
<v Speaker 4>people already.

0:25:08.520 --> 0:25:10.399
<v Speaker 3>I do know that I was still very on the

0:25:10.400 --> 0:25:12.439
<v Speaker 3>fence at that point in the movie. But I think that,

0:25:12.680 --> 0:25:16.159
<v Speaker 3>like Paul Dano's performance is really good because on the

0:25:16.200 --> 0:25:17.760
<v Speaker 3>second watch, I'm like, oh, yeah, I don't think I

0:25:17.800 --> 0:25:20.240
<v Speaker 3>believed him the first time. The way that he says it.

0:25:20.240 --> 0:25:22.560
<v Speaker 3>It's like, I think, honestly where I was like, maybe

0:25:22.560 --> 0:25:26.160
<v Speaker 3>this movie is interesting and good because when I saw

0:25:26.119 --> 0:25:29.119
<v Speaker 3>it was written by Zoe kuzannam okay, okay, promising, And

0:25:29.160 --> 0:25:32.160
<v Speaker 3>then when he first calls his ex girlfriend a slut

0:25:32.200 --> 0:25:35.080
<v Speaker 3>in therapy, I'm like, yeah, maybe this movie is going

0:25:35.160 --> 0:25:37.000
<v Speaker 3>to be which if you haven't seen this movie, that

0:25:37.000 --> 0:25:38.800
<v Speaker 3>sounds like a very bizarre comment to be like, maybe

0:25:38.800 --> 0:25:44.240
<v Speaker 3>this movie rules, but like it's to show the like sympathetic,

0:25:44.359 --> 0:25:48.040
<v Speaker 3>like tortured artist writer character and then have him say

0:25:48.080 --> 0:25:50.680
<v Speaker 3>something awful early on in a way that, like, even

0:25:50.720 --> 0:25:52.960
<v Speaker 3>in twenty twelve, you would be like, well, that's an

0:25:53.000 --> 0:25:58.080
<v Speaker 3>obviously cruel thing to say about someone. This person lacks introspection,

0:25:58.320 --> 0:25:58.920
<v Speaker 3>I would get.

0:25:59.520 --> 0:26:02.040
<v Speaker 1>Yeah. I think where I was was because we've seen

0:26:02.119 --> 0:26:06.040
<v Speaker 1>him say pretty nasty things about women before this, and

0:26:06.080 --> 0:26:10.639
<v Speaker 1>then the way he just describes and characterizes Ruby. I

0:26:10.680 --> 0:26:14.280
<v Speaker 1>was like, oh, he's a shitty person, yeah, and he

0:26:14.320 --> 0:26:15.560
<v Speaker 1>does not respect when when.

0:26:15.400 --> 0:26:18.239
<v Speaker 3>He gives her the backstory, Oh, we'll talk about it.

0:26:18.800 --> 0:26:21.919
<v Speaker 1>Yeah, yes. But I was like, oh, I bet he

0:26:22.000 --> 0:26:25.720
<v Speaker 1>is going to try to change and manipulate Ruby, especially

0:26:25.720 --> 0:26:28.639
<v Speaker 1>because he doesn't tell her right away that she's a

0:26:28.640 --> 0:26:33.560
<v Speaker 1>figment of his imagination. But I wasn't sure. Well, I

0:26:33.600 --> 0:26:36.480
<v Speaker 1>wasn't sure if the movie was going to be critical

0:26:36.520 --> 0:26:39.120
<v Speaker 1>of his behavior or just be like here it is,

0:26:39.119 --> 0:26:42.399
<v Speaker 1>isn't this squirky? So at that point I wasn't sure

0:26:42.680 --> 0:26:43.760
<v Speaker 1>where was going to go.

0:26:44.119 --> 0:26:47.959
<v Speaker 4>Also, like the language, especially twenty twelve, especially to a

0:26:47.960 --> 0:26:50.200
<v Speaker 4>male audience member, You're like, yeah, that's how guys talk

0:26:50.280 --> 0:26:52.080
<v Speaker 4>or whatever, like what do you even note? Like the

0:26:52.080 --> 0:26:55.800
<v Speaker 4>subtlety of it is even more subtle than where I

0:26:55.840 --> 0:26:59.439
<v Speaker 4>guess guys more frequently called women's sluts, not necessarily as

0:26:59.480 --> 0:27:04.320
<v Speaker 4>a pejorative, but like clearly Zoe knew, Like you see

0:27:04.320 --> 0:27:06.320
<v Speaker 4>it now, they're like, oh, this is actually she was

0:27:06.359 --> 0:27:08.160
<v Speaker 4>giving bread crumbs. I guess in the first act.

0:27:08.359 --> 0:27:11.440
<v Speaker 3>Yeah, it's such a rewatchable movie. It's so cool where

0:27:11.480 --> 0:27:13.560
<v Speaker 3>it's like, yeah, there are the big obvious things where

0:27:13.600 --> 0:27:15.280
<v Speaker 3>you're like, oh, I don't I don't like this guy.

0:27:15.520 --> 0:27:17.840
<v Speaker 3>But I didn't even realize all of the clues that

0:27:17.880 --> 0:27:20.040
<v Speaker 3>they leave behind of like what a piece of shitty is?

0:27:20.480 --> 0:27:21.920
<v Speaker 3>Just like in real life, what.

0:27:21.960 --> 0:27:25.040
<v Speaker 1>A treat mister snowman? I gave you all the clue

0:27:25.160 --> 0:27:28.639
<v Speaker 1>or what is plan? I gave you all the clues?

0:27:29.440 --> 0:27:33.200
<v Speaker 3>That's from the Snowman. Some man was a guy, right,

0:27:33.840 --> 0:27:36.240
<v Speaker 3>but was a snowman?

0:27:38.760 --> 0:27:42.640
<v Speaker 1>Refer to our Matreon episode about truly my Memory.

0:27:42.920 --> 0:27:46.520
<v Speaker 3>I'm like many Black Mind wipes after every episode.

0:27:46.600 --> 0:27:47.440
<v Speaker 1>I don't know why did.

0:27:47.920 --> 0:27:48.880
<v Speaker 3>I don't know why we did.

0:27:48.960 --> 0:27:50.439
<v Speaker 1>I don't know why we covered that, but I think

0:27:50.480 --> 0:27:51.200
<v Speaker 1>it was just like.

0:27:51.200 --> 0:27:55.920
<v Speaker 3>Lockdown and let's do something amazing. Cool, Let's bring joy

0:27:56.280 --> 0:27:59.000
<v Speaker 3>to the okay to the world.

0:27:59.240 --> 0:28:02.760
<v Speaker 1>Okay. So well, Harry is like, wow, you can change

0:28:02.760 --> 0:28:05.560
<v Speaker 1>her and make her do whatever you want, and Calvin's like, no,

0:28:05.720 --> 0:28:07.919
<v Speaker 1>I'm never going to write about her again, and he

0:28:08.320 --> 0:28:13.520
<v Speaker 1>locks his manuscript away in a drawer. But after some time,

0:28:14.040 --> 0:28:18.880
<v Speaker 1>Calvin starts to realize that Ruby isn't this idealized version

0:28:19.040 --> 0:28:22.320
<v Speaker 1>of a woman who he fictionalized, that she's a real

0:28:22.359 --> 0:28:26.200
<v Speaker 1>person who has free will. She isn't at his beck

0:28:26.240 --> 0:28:29.000
<v Speaker 1>and call all the time, you know, sometimes she's too

0:28:29.080 --> 0:28:32.000
<v Speaker 1>tired for sex. She wants to get a job at

0:28:32.040 --> 0:28:33.840
<v Speaker 1>a coffee shop so that she doesn't have to be

0:28:33.880 --> 0:28:35.320
<v Speaker 1>financially dependent on him.

0:28:35.359 --> 0:28:37.400
<v Speaker 3>The way that he reacts to her wanting a job

0:28:37.440 --> 0:28:39.920
<v Speaker 3>by being like, look over here, this thing I just

0:28:39.960 --> 0:28:42.480
<v Speaker 3>said no to you can have it. Now, shut up

0:28:42.520 --> 0:28:44.920
<v Speaker 3>about getting a job. And you're like, oh, no, what

0:28:45.040 --> 0:28:47.440
<v Speaker 3>year is a oh? And that's howats all women?

0:28:48.360 --> 0:28:52.760
<v Speaker 1>Mm hm. And then Ruby is also starting to realize

0:28:52.800 --> 0:28:57.280
<v Speaker 1>that Calvin is a pretty shitty boyfriend and person, especially

0:28:57.360 --> 0:29:00.560
<v Speaker 1>after they go to this trip to visit calvin mom

0:29:00.720 --> 0:29:06.440
<v Speaker 1>played by Annette Benning and her husband Antonio benderis where

0:29:06.480 --> 0:29:10.400
<v Speaker 1>the whole time, Calvin is being just like kind of mean,

0:29:10.640 --> 0:29:13.480
<v Speaker 1>and he's very stubborn. He's no fun to be around.

0:29:13.520 --> 0:29:16.640
<v Speaker 1>He's disrespectful, and Ruby calls him out for it, and

0:29:16.680 --> 0:29:19.800
<v Speaker 1>she also tells him that she's lonely. She wants to

0:29:19.800 --> 0:29:22.520
<v Speaker 1>make friends. She wants to take an art class and

0:29:22.840 --> 0:29:26.200
<v Speaker 1>spend a few nights at her own apartment each week.

0:29:26.640 --> 0:29:30.120
<v Speaker 1>So she's, you know, trying to establish healthy boundaries. And

0:29:30.440 --> 0:29:34.000
<v Speaker 1>he does not like this. He gets more and more insecure.

0:29:34.440 --> 0:29:37.640
<v Speaker 1>He cannot deal with her being her own person.

0:29:37.880 --> 0:29:39.440
<v Speaker 3>He doesn't want her to have friends.

0:29:40.080 --> 0:29:42.840
<v Speaker 1>Mm hmm. And one night, when she's out with her

0:29:42.880 --> 0:29:47.120
<v Speaker 1>friends from her class, he takes the manuscript that he

0:29:47.240 --> 0:29:50.240
<v Speaker 1>was writing about Ruby. He takes it back out of

0:29:50.280 --> 0:29:55.479
<v Speaker 1>the drawer and writes Ruby was miserable without Calvin. And

0:29:55.520 --> 0:29:58.880
<v Speaker 1>then he immediately gets a call from Ruby saying I

0:29:58.920 --> 0:30:03.440
<v Speaker 1>want to come home. And then she becomes cartoonishly clingy,

0:30:03.520 --> 0:30:05.040
<v Speaker 1>and codependence.

0:30:04.760 --> 0:30:07.200
<v Speaker 4>Gets do some acting. It's a big yes.

0:30:07.240 --> 0:30:11.360
<v Speaker 1>It's so good in the yes, yeah, yep, which he

0:30:11.520 --> 0:30:14.840
<v Speaker 1>starts to feel suffocated by this clinginess, so then he

0:30:14.960 --> 0:30:20.040
<v Speaker 1>types another sentence that Ruby is filled with effervescent joy,

0:30:20.120 --> 0:30:25.280
<v Speaker 1>and then she becomes cartoonishly and annoyingly joyous.

0:30:25.880 --> 0:30:28.360
<v Speaker 4>Annoying to him, I think this is I think it's

0:30:28.440 --> 0:30:29.000
<v Speaker 4>very cute to.

0:30:28.920 --> 0:30:33.000
<v Speaker 3>Those it's everything but the like being woken up by

0:30:33.000 --> 0:30:35.240
<v Speaker 3>a baby deer kind of thing.

0:30:37.280 --> 0:30:40.640
<v Speaker 1>And now he's concerned that she's only happy because he

0:30:40.680 --> 0:30:43.160
<v Speaker 1>wrote her to be happy, but he wants to be

0:30:43.200 --> 0:30:47.440
<v Speaker 1>able to make her organically value concern, so then he

0:30:47.480 --> 0:30:52.240
<v Speaker 1>writes Ruby was just Ruby happy or sad however she felt,

0:30:53.000 --> 0:30:57.560
<v Speaker 1>and now it seems like she's experiencing mood swings and

0:30:57.600 --> 0:31:00.719
<v Speaker 1>that she doesn't really have control over her own emotions,

0:31:01.480 --> 0:31:03.280
<v Speaker 1>and he's trying to make her feel better. He's like,

0:31:03.360 --> 0:31:06.040
<v Speaker 1>let's go to this book party. And they go to

0:31:06.080 --> 0:31:10.280
<v Speaker 1>this party hosted by another writer played by Steve Coogan

0:31:11.320 --> 0:31:16.160
<v Speaker 1>who tries to come on to Ruby, and then Calvin

0:31:16.280 --> 0:31:19.440
<v Speaker 1>catches them together in a swimming pool when they're in

0:31:19.480 --> 0:31:23.760
<v Speaker 1>their underwear, so Calvin freaks out and brings her home.

0:31:24.280 --> 0:31:28.200
<v Speaker 1>There's a whole interaction also between Calvin and his ex

0:31:28.240 --> 0:31:31.280
<v Speaker 1>girlfriend Lyla at this party. We'll talk about that later,

0:31:31.760 --> 0:31:35.120
<v Speaker 1>but at home, Calvin is like, Ruby, you embarrassed me.

0:31:35.400 --> 0:31:38.000
<v Speaker 1>You're supposed to be my girlfriend, so act like it,

0:31:38.520 --> 0:31:42.080
<v Speaker 1>and they have this whole argument that will unpack later,

0:31:42.240 --> 0:31:45.720
<v Speaker 1>but basically, she's like, you don't get to decide what

0:31:45.840 --> 0:31:48.000
<v Speaker 1>I do and what I don't do, Like I'm my

0:31:48.040 --> 0:31:50.880
<v Speaker 1>own person. And he's like, you want to bet because

0:31:50.960 --> 0:31:55.280
<v Speaker 1>I can make you do whatever I want. And she's like, what.

0:31:55.200 --> 0:31:58.440
<v Speaker 3>This scene is brutal, absolute hard to watch.

0:31:58.440 --> 0:32:01.400
<v Speaker 4>I measure writing it for yourself to do with yours.

0:32:04.360 --> 0:32:05.920
<v Speaker 4>She Ruby sparks herself.

0:32:06.600 --> 0:32:08.360
<v Speaker 3>Kill you guys, what are you doing?

0:32:09.320 --> 0:32:12.720
<v Speaker 1>Yeah? Really wild? But Calvin goes to his typewriter and

0:32:13.200 --> 0:32:15.560
<v Speaker 1>there's a whole scene that plays out like a horror

0:32:15.560 --> 0:32:18.560
<v Speaker 1>movie where he types a bunch of stuff and makes

0:32:18.560 --> 0:32:21.800
<v Speaker 1>her do things and prevents her from doing other things,

0:32:21.840 --> 0:32:26.720
<v Speaker 1>such as leaving, to show her that she is his creation,

0:32:27.680 --> 0:32:33.280
<v Speaker 1>and she's obviously horrified and betrayed and she's sobbing. And

0:32:33.320 --> 0:32:36.440
<v Speaker 1>then when she finally has the opportunity, she runs away.

0:32:37.360 --> 0:32:42.080
<v Speaker 1>And then Calvin, I guess, realizing that he shouldn't have

0:32:42.080 --> 0:32:45.760
<v Speaker 1>done all that stuff, returns to his typewriter and writes

0:32:46.200 --> 0:32:49.920
<v Speaker 1>as soon as Ruby left the house, the past released her.

0:32:50.200 --> 0:32:54.080
<v Speaker 1>She was no longer Calvin's creation. She was free, and

0:32:54.760 --> 0:32:58.640
<v Speaker 1>he is devastated that she's gone, But again he is

0:32:58.720 --> 0:33:01.520
<v Speaker 1>like it was the right thing to do, and we're

0:33:01.520 --> 0:33:05.520
<v Speaker 1>like duh. And then the movie ends with Calvin turning

0:33:05.680 --> 0:33:10.320
<v Speaker 1>this story that just unfolded into a new novel. The

0:33:10.400 --> 0:33:14.040
<v Speaker 1>novel gets published, people read it, they love it. And

0:33:14.080 --> 0:33:18.080
<v Speaker 1>then one day Calvin is walking Scottie the dog in

0:33:18.120 --> 0:33:19.960
<v Speaker 1>the park and Scotty runs over.

0:33:20.000 --> 0:33:23.800
<v Speaker 3>The same scene where it's like sort of a Frankenstein

0:33:23.880 --> 0:33:28.200
<v Speaker 3>of yeah, kind of eternal Sunshine and the end of

0:33:28.280 --> 0:33:29.760
<v Speaker 3>five hundred Days of Summer.

0:33:29.960 --> 0:33:36.120
<v Speaker 1>Yeah, where Scotty runs over to Ruby, who does not

0:33:36.320 --> 0:33:40.200
<v Speaker 1>recognize Calvin or remember anything about their relationship since he

0:33:40.280 --> 0:33:43.360
<v Speaker 1>had like released her from the past, And then they

0:33:43.400 --> 0:33:48.120
<v Speaker 1>start chatting and it's implied that they're going to reconnect

0:33:48.360 --> 0:33:53.560
<v Speaker 1>and possibly like get together. The end run the other

0:33:53.640 --> 0:33:57.640
<v Speaker 1>way truly. So that's the movie. Let's take another quick

0:33:57.640 --> 0:34:13.440
<v Speaker 1>break and we'll be back to discuss, and we're back. Okay,

0:34:15.360 --> 0:34:16.040
<v Speaker 1>we start?

0:34:16.239 --> 0:34:17.480
<v Speaker 3>Where can we start?

0:34:17.880 --> 0:34:19.600
<v Speaker 1>Where can we start?

0:34:21.000 --> 0:34:21.400
<v Speaker 3>I don't know.

0:34:21.440 --> 0:34:25.080
<v Speaker 1>Again. I was expecting something very different based on the

0:34:25.239 --> 0:34:29.799
<v Speaker 1>comments and criticism I had heard about this movie in

0:34:30.080 --> 0:34:33.520
<v Speaker 1>years past, and was surprised to learn that it is

0:34:33.640 --> 0:34:39.040
<v Speaker 1>like to some extent, an indictment of the type of

0:34:39.080 --> 0:34:44.560
<v Speaker 1>like misogynist man who is not capable of a relationship

0:34:44.600 --> 0:34:48.640
<v Speaker 1>with a real human woman because he projects some fantasy

0:34:48.960 --> 0:34:52.160
<v Speaker 1>or ideal onto her. Then he resents her.

0:34:52.239 --> 0:34:54.959
<v Speaker 3>Movie that we've covered with Jesse before.

0:34:57.000 --> 0:35:00.600
<v Speaker 1>What a man falling in love with falt some one

0:35:00.600 --> 0:35:02.320
<v Speaker 1>who's not a real woman.

0:35:02.239 --> 0:35:03.560
<v Speaker 4>Yeah, their idea of who they are.

0:35:03.640 --> 0:35:06.920
<v Speaker 1>Yeah, And then resents when she cannot live up to

0:35:07.160 --> 0:35:12.040
<v Speaker 1>his like projection or idealized version of her, and he

0:35:12.320 --> 0:35:16.839
<v Speaker 1>resents that she has free will, and which is very

0:35:16.840 --> 0:35:17.959
<v Speaker 1>abusive along the way.

0:35:18.160 --> 0:35:21.000
<v Speaker 3>The core of this movie is he hates that his

0:35:21.080 --> 0:35:24.200
<v Speaker 3>girlfriends have free will. Unfortunate.

0:35:25.400 --> 0:35:28.520
<v Speaker 4>Yes, yeah, it's sort of my main problem with the movie,

0:35:28.760 --> 0:35:31.400
<v Speaker 4>not philosophically, but sort of, Well, the ending is a

0:35:31.400 --> 0:35:33.920
<v Speaker 4>whole other thing, but like they spend so much time

0:35:33.960 --> 0:35:36.760
<v Speaker 4>with him trying to prove that he's not going crazy

0:35:37.560 --> 0:35:40.719
<v Speaker 4>that it then underlines the sort of like magic of

0:35:40.760 --> 0:35:44.480
<v Speaker 4>it where I feel like if he accepted that she exists,

0:35:45.040 --> 0:35:48.200
<v Speaker 4>his actions would feel less because of the magical concept

0:35:48.239 --> 0:35:50.799
<v Speaker 4>and more because of his behavior, you know what I mean.

0:35:50.840 --> 0:35:53.239
<v Speaker 4>Like it sometimes I feel like it's supposed to be

0:35:53.280 --> 0:35:55.640
<v Speaker 4>ambiguous if he's making decisions, because like, well, you can't

0:35:55.640 --> 0:35:57.640
<v Speaker 4>have a job, you don't have a social security number,

0:35:57.640 --> 0:36:00.920
<v Speaker 4>you're a fake person or whatever. Yeah, But I only

0:36:00.960 --> 0:36:03.279
<v Speaker 4>am thinking that because they spend so much time, and

0:36:03.320 --> 0:36:05.920
<v Speaker 4>that seems like such a studio thing, being like, no

0:36:05.920 --> 0:36:08.360
<v Speaker 4>one's gonna believe this. You have to have three different

0:36:08.400 --> 0:36:12.040
<v Speaker 4>characters verified, right, And I think that's partly like first

0:36:12.080 --> 0:36:16.239
<v Speaker 4>time screenwriter getting to make a movie. She can't be

0:36:16.360 --> 0:36:20.319
<v Speaker 4>like nine million movies do. Like every single Woody Allen

0:36:20.400 --> 0:36:23.280
<v Speaker 4>movie literally does this where they're just like, some magical

0:36:23.320 --> 0:36:24.920
<v Speaker 4>thing happens and they don't have to prove it. And

0:36:24.960 --> 0:36:27.719
<v Speaker 4>I think this is all to say. I do think

0:36:27.760 --> 0:36:33.240
<v Speaker 4>it obscures the like, oh, I'm watching a rom com,

0:36:33.280 --> 0:36:36.080
<v Speaker 4>like a magical rom com quality to it, because you're like, oh,

0:36:36.120 --> 0:36:38.040
<v Speaker 4>it's a magical rom com where this thing happens. I

0:36:38.080 --> 0:36:40.399
<v Speaker 4>guess it's also how he's able to justify why this

0:36:40.440 --> 0:36:41.520
<v Speaker 4>is a book at the end of it.

0:36:42.400 --> 0:36:44.600
<v Speaker 3>Also, I feel like setting up the therapist character and

0:36:44.600 --> 0:36:48.040
<v Speaker 3>then having him not included for the vast majority of

0:36:48.120 --> 0:36:50.319
<v Speaker 3>the movie. I'm like, he has to find out like

0:36:50.360 --> 0:36:52.919
<v Speaker 3>if that's gonna be the thrust, like or maybe don't

0:36:52.960 --> 0:36:55.520
<v Speaker 3>include that character. I don't know. I was confused about.

0:36:55.640 --> 0:36:58.520
<v Speaker 4>I also thought he's a really well written, therapist and

0:36:58.560 --> 0:37:01.200
<v Speaker 4>really well performed. He goes can it be bad and goes,

0:37:01.320 --> 0:37:03.200
<v Speaker 4>I'd like for it to be very bad. I was like,

0:37:03.320 --> 0:37:07.560
<v Speaker 4>everything about that seed is perfectly and then he's just gone, Yeah.

0:37:07.600 --> 0:37:10.120
<v Speaker 3>I saw a piece in Collider a couple of years

0:37:10.160 --> 0:37:13.000
<v Speaker 3>ago in twenty and twenty one ever heard of it

0:37:13.239 --> 0:37:16.920
<v Speaker 3>by Tony Oysen, which you know it's I had this

0:37:16.960 --> 0:37:18.560
<v Speaker 3>thought as I was watching, and I think that this

0:37:18.680 --> 0:37:22.719
<v Speaker 3>is maybe a trapping of current film criticism where you're like,

0:37:22.840 --> 0:37:27.680
<v Speaker 3>this movie is actually a horror movie. Everything about that, Yeah,

0:37:27.719 --> 0:37:29.880
<v Speaker 3>But I do think that this writer kind of unpacked

0:37:29.880 --> 0:37:32.919
<v Speaker 3>that pretty well, and save for the ending, the movie

0:37:33.000 --> 0:37:34.520
<v Speaker 3>kind of plays out that way in a way that

0:37:34.640 --> 0:37:38.920
<v Speaker 3>feels mostly intentional. But I've seen this. I've seen this

0:37:38.960 --> 0:37:42.879
<v Speaker 3>movie characterize so many different ways in different like i've

0:37:42.880 --> 0:37:44.680
<v Speaker 3>seen a characterize, and I think the way that we're

0:37:44.880 --> 0:37:47.279
<v Speaker 3>going to be coming at it today where this is

0:37:47.320 --> 0:37:51.839
<v Speaker 3>like a I think, like such a well done sort

0:37:51.880 --> 0:37:55.520
<v Speaker 3>of takedown of this like stock character that viewers in

0:37:55.560 --> 0:37:59.040
<v Speaker 3>twenty twelve weren't even prepared and like did not maybe

0:37:59.120 --> 0:38:01.680
<v Speaker 3>get it. I also described when it came out as

0:38:02.160 --> 0:38:05.600
<v Speaker 3>more of a commentary on like the beginning of a

0:38:05.640 --> 0:38:10.600
<v Speaker 3>relationship versus the difficult reality of actually being with someone,

0:38:10.840 --> 0:38:13.960
<v Speaker 3>which I feel like is referenced more in the relationship

0:38:14.000 --> 0:38:18.279
<v Speaker 3>between the brothers of Like, No, she's a person, and like,

0:38:18.760 --> 0:38:21.600
<v Speaker 3>things will not be amazing every day and it's not

0:38:21.640 --> 0:38:24.080
<v Speaker 3>going to be like dick sucking city. That's not how

0:38:24.080 --> 0:38:28.879
<v Speaker 3>a relationship works, and he's like, I'm sure, sure, Christmas, Na,

0:38:29.080 --> 0:38:32.399
<v Speaker 3>I'm not gonna get my like anyways. So there's that

0:38:32.520 --> 0:38:34.400
<v Speaker 3>read of it as well, and I've seen Zoe xand

0:38:34.480 --> 0:38:38.120
<v Speaker 3>speak to both parts of it, so I just want

0:38:38.120 --> 0:38:40.680
<v Speaker 3>to acknowledge that, but I am more interested in what

0:38:40.800 --> 0:38:44.040
<v Speaker 3>we're talking about. You're like, yeah, relationships are hard, But

0:38:44.280 --> 0:38:46.640
<v Speaker 3>I feel like that would play out if the story

0:38:46.680 --> 0:38:50.640
<v Speaker 3>wasn't so based in control of one over the other,

0:38:50.680 --> 0:38:52.759
<v Speaker 3>because it's like, I think that you can have that

0:38:52.880 --> 0:38:56.120
<v Speaker 3>discussion in a very like surface sense, but it only

0:38:56.160 --> 0:38:59.080
<v Speaker 3>applies to this couple so far, because it's like he

0:38:59.200 --> 0:39:02.120
<v Speaker 3>is ge peddling the shit out of her the entire

0:39:02.200 --> 0:39:05.600
<v Speaker 3>Like she can barely participate in their relationship because of

0:39:06.160 --> 0:39:09.120
<v Speaker 3>the controls that are the reason that she's even there.

0:39:09.440 --> 0:39:12.359
<v Speaker 3>So I don't know. Yeah, that rate of it didn't

0:39:12.440 --> 0:39:13.399
<v Speaker 3>hit for me as much.

0:39:13.920 --> 0:39:19.000
<v Speaker 4>If anything, I feel like it uses that theme as

0:39:19.040 --> 0:39:22.840
<v Speaker 4>a sort of like trojan horse for like the actual

0:39:23.080 --> 0:39:26.680
<v Speaker 4>like satirical point is making, right, Like I think that's

0:39:26.760 --> 0:39:29.200
<v Speaker 4>essentially like what five Hundred Days of Summer is about, right, Like,

0:39:29.719 --> 0:39:32.080
<v Speaker 4>insomuch as five hundred Days of Summer does not feel

0:39:32.080 --> 0:39:33.920
<v Speaker 4>like this movie at all, even though like that is

0:39:34.000 --> 0:39:35.880
<v Speaker 4>essentially the point of five hundred Day Summer is that

0:39:35.920 --> 0:39:40.839
<v Speaker 4>because by the she barks like a dog part, you're like, oh,

0:39:40.920 --> 0:39:43.360
<v Speaker 4>holy shit, like that scene a shot like a horror film.

0:39:43.680 --> 0:39:45.560
<v Speaker 4>You can see a version of this with a different

0:39:45.600 --> 0:39:48.880
<v Speaker 4>third act that become like a Black Mirror episode, like

0:39:48.880 --> 0:39:51.319
<v Speaker 4>if it's like really heavy handed, but instead it's sort

0:39:51.320 --> 0:39:56.360
<v Speaker 4>of like just subtle enough that essentially I think it

0:39:56.400 --> 0:39:59.040
<v Speaker 4>makes it a much more like graceful critique, but also

0:39:59.040 --> 0:40:02.600
<v Speaker 4>I guess can make it so dumb people or people

0:40:02.600 --> 0:40:06.360
<v Speaker 4>who are not prone no, not you, like I'm just

0:40:06.360 --> 0:40:09.359
<v Speaker 4>a magic male critics being like what an interesting rom com? Right,

0:40:09.360 --> 0:40:13.240
<v Speaker 4>So it's like and I do think that's like always

0:40:13.239 --> 0:40:15.719
<v Speaker 4>the sort of problem with satire where either like I'm

0:40:15.760 --> 0:40:18.239
<v Speaker 4>gonna be so heavy handed that it's so annoying, right

0:40:18.360 --> 0:40:21.960
<v Speaker 4>like most Black Mirror episodes, or do it like this,

0:40:22.000 --> 0:40:24.200
<v Speaker 4>which is like, oh, it can kind of trick certain

0:40:24.239 --> 0:40:26.560
<v Speaker 4>people into being like, oh, I thought I was going

0:40:26.600 --> 0:40:29.200
<v Speaker 4>to rom com. I now realize my title understanding of

0:40:29.280 --> 0:40:30.000
<v Speaker 4>dating is wrong.

0:40:30.600 --> 0:40:33.120
<v Speaker 3>Right. I don't like the last scene, but I feel

0:40:33.120 --> 0:40:35.480
<v Speaker 3>like if it was maybe played a little bit different,

0:40:35.840 --> 0:40:38.920
<v Speaker 3>it could have that black mirror quality to it, and

0:40:39.000 --> 0:40:42.480
<v Speaker 3>I like mileage definitely varies on that. But the idea that,

0:40:42.680 --> 0:40:45.960
<v Speaker 3>for whatever reason I don't understand the magical rules of

0:40:46.000 --> 0:40:49.440
<v Speaker 3>this universe that Mine in Black wipes Ruby's memories the

0:40:49.480 --> 0:40:51.200
<v Speaker 3>way that it does every time I press stop on

0:40:51.200 --> 0:40:54.319
<v Speaker 3>my zoom recorder. But like the fact that she could

0:40:54.360 --> 0:40:58.040
<v Speaker 3>be much like Clementine and Joel in Eternal Sunshine of

0:40:58.080 --> 0:41:00.920
<v Speaker 3>the Spotless Mind, she could be stuck in this loop

0:41:00.960 --> 0:41:04.000
<v Speaker 3>of having to like be with this nightmare of a

0:41:04.040 --> 0:41:08.960
<v Speaker 3>person who is incapable of growth forever question mark. But

0:41:09.200 --> 0:41:10.799
<v Speaker 3>I don't think that that's what the last thing's trying

0:41:10.800 --> 0:41:12.400
<v Speaker 3>to say. I think there's a read of it that

0:41:12.480 --> 0:41:15.640
<v Speaker 3>you're like, oh, she's trapped, She's trapped, and that is

0:41:16.400 --> 0:41:19.840
<v Speaker 3>the ending of a horror movie that is final destination.

0:41:20.320 --> 0:41:22.759
<v Speaker 1>Right, But no, I think the ending is actually like

0:41:23.239 --> 0:41:28.240
<v Speaker 1>the studio being like this needs a happier, more uplifting ending,

0:41:28.520 --> 0:41:31.080
<v Speaker 1>So let's have it so that he meets her again

0:41:31.280 --> 0:41:34.480
<v Speaker 1>and now he's a redeemed man. And even though he

0:41:34.600 --> 0:41:38.160
<v Speaker 1>was so abusive to her prior to this, he redeemed

0:41:38.239 --> 0:41:41.440
<v Speaker 1>himself because he apologized in the book that he wrote

0:41:41.480 --> 0:41:42.239
<v Speaker 1>about and it is.

0:41:42.200 --> 0:41:45.839
<v Speaker 3>Actively Yeah, the thing he's actively profiting from and will

0:41:45.840 --> 0:41:50.520
<v Speaker 3>buy a second house with good for him and we it's.

0:41:51.840 --> 0:41:55.640
<v Speaker 4>I don't understand what narrative thrust we're supposed to believe

0:41:55.920 --> 0:41:57.360
<v Speaker 4>earned any sort of redemption.

0:41:57.640 --> 0:42:01.040
<v Speaker 3>So glad narrative thrust is he's really been getting into

0:42:01.080 --> 0:42:04.880
<v Speaker 3>the word therust recently, and just even the tacit support

0:42:04.920 --> 0:42:07.720
<v Speaker 3>of it, it makes me physically ill. No, I agree,

0:42:07.960 --> 0:42:10.320
<v Speaker 3>And I think that like a different version of this again,

0:42:10.360 --> 0:42:13.600
<v Speaker 3>it's like the two movies that it feels like that

0:42:13.719 --> 0:42:17.560
<v Speaker 3>last scene are influenced by. It's not completely dissimilar from

0:42:17.560 --> 0:42:19.799
<v Speaker 3>the end of Eternal Sunshine, except you do get the

0:42:19.880 --> 0:42:24.680
<v Speaker 3>clear feeling from Eternal Sunshine that their relationship will fail again. Yeah,

0:42:24.719 --> 0:42:26.799
<v Speaker 3>it will fail for the same reasons, and they are

0:42:26.960 --> 0:42:30.160
<v Speaker 3>agreeing that they're going to do it anyways. Where it's

0:42:30.160 --> 0:42:33.640
<v Speaker 3>like Ruby again, she is just like she has no autonomy,

0:42:34.160 --> 0:42:37.920
<v Speaker 3>she has none of the information, and so she is

0:42:38.000 --> 0:42:40.600
<v Speaker 3>like doomed to be because it's like, what is he

0:42:40.640 --> 0:42:43.040
<v Speaker 3>going to do in this happy version ending? Is he

0:42:43.120 --> 0:42:46.440
<v Speaker 3>going to not tell her again? Yeah, it seems like

0:42:46.480 --> 0:42:47.480
<v Speaker 3>it's about to happen.

0:42:47.960 --> 0:42:48.680
<v Speaker 1>You won't know.

0:42:48.880 --> 0:42:51.680
<v Speaker 4>Yeah, that's a fix for now. I'm like if he

0:42:51.760 --> 0:42:54.239
<v Speaker 4>literally if the movie cuts with him being like, I

0:42:54.239 --> 0:42:55.520
<v Speaker 4>have to tell you something.

0:42:55.760 --> 0:43:00.120
<v Speaker 3>Then that's interesting. Ooh. I kind of like, yeah, very

0:43:00.400 --> 0:43:02.239
<v Speaker 3>would have to change and then you're like, oh, this

0:43:02.360 --> 0:43:05.440
<v Speaker 3>was kind of a horror movie because I think Calvin

0:43:05.560 --> 0:43:08.400
<v Speaker 3>is a really I mean, he's despicable, he's the worst,

0:43:08.400 --> 0:43:12.720
<v Speaker 3>but he's a really interesting, like well written character where

0:43:12.880 --> 0:43:15.120
<v Speaker 3>he is saying stuff at the beginning of the movie,

0:43:15.320 --> 0:43:18.120
<v Speaker 3>like he has that line girls aren't interested in me,

0:43:18.360 --> 0:43:20.640
<v Speaker 3>They're interested in some idea of me, which is basically

0:43:20.680 --> 0:43:24.680
<v Speaker 3>identical to something Clementine says in Eternal Sunshine, and he

0:43:24.719 --> 0:43:27.920
<v Speaker 3>does mean that he is worried about it. Seems like

0:43:28.040 --> 0:43:31.239
<v Speaker 3>part of the reason he's reclusive is because he's insecure

0:43:31.360 --> 0:43:34.640
<v Speaker 3>about his work, obviously based on his past relationship, and

0:43:34.760 --> 0:43:38.080
<v Speaker 3>he's worried about being I guess in he feels the

0:43:38.120 --> 0:43:40.480
<v Speaker 3>reason he's not in a relationship is because he's afraid

0:43:40.760 --> 0:43:44.600
<v Speaker 3>that they will want mister cool literary guy and not

0:43:44.719 --> 0:43:47.480
<v Speaker 3>who he actually is. Problem being he has no idea

0:43:47.520 --> 0:43:50.480
<v Speaker 3>who he actually is and has no interest.

0:43:50.960 --> 0:43:53.160
<v Speaker 1>Well that, And it's like, I think this movie is

0:43:53.200 --> 0:43:57.440
<v Speaker 1>like kind of commenting on the hypocrisy of this exactly

0:43:57.480 --> 0:44:00.560
<v Speaker 1>because Ruby says that exact thing later, right, His concern

0:44:00.640 --> 0:44:03.360
<v Speaker 1>is I want someone who wants me for me, not

0:44:03.520 --> 0:44:06.279
<v Speaker 1>some idea of me, And then all he wants is

0:44:06.600 --> 0:44:09.600
<v Speaker 1>his idea of what a girlfriend should be.

0:44:09.760 --> 0:44:12.000
<v Speaker 3>Yeah, which is like, I just think it's so well

0:44:12.120 --> 0:44:14.360
<v Speaker 3>because I didn't catch that on the I mean, you

0:44:14.400 --> 0:44:16.240
<v Speaker 3>can't really if you don't know what's going to happen.

0:44:16.480 --> 0:44:18.960
<v Speaker 3>That line feels kind of innocuous in the first viewing,

0:44:19.000 --> 0:44:21.160
<v Speaker 3>but on the second viewing and you're like, damn, she's good,

0:44:21.719 --> 0:44:24.440
<v Speaker 3>she got my ass good. And that scene is doubled

0:44:24.440 --> 0:44:28.920
<v Speaker 3>down on when his relationship with Lila is clarified at

0:44:28.920 --> 0:44:31.239
<v Speaker 3>that party, being as vague as possible. I have a

0:44:31.280 --> 0:44:34.560
<v Speaker 3>friend who went through something like that not too long ago,

0:44:34.800 --> 0:44:38.200
<v Speaker 3>where everyone's version of their breakup is going to be

0:44:38.239 --> 0:44:42.680
<v Speaker 3>different and never completely objectively accurate. Impossible to have an

0:44:42.680 --> 0:44:46.880
<v Speaker 3>objective experience of that. But similar to how like Calvin

0:44:47.600 --> 0:44:51.200
<v Speaker 3>chose the element of the breakup that was painful for him,

0:44:51.200 --> 0:44:53.440
<v Speaker 3>because of course, getting broken up with after your parent

0:44:53.640 --> 0:44:57.759
<v Speaker 3>has recently died would be painful for anyone that's disorienting,

0:44:57.960 --> 0:45:02.640
<v Speaker 3>but chooses the one th that requires no self examination

0:45:02.719 --> 0:45:06.560
<v Speaker 3>on his part to blame the entire failure of their relationship.

0:45:06.719 --> 0:45:09.400
<v Speaker 3>We're removing contexts of years of when his father was

0:45:09.440 --> 0:45:12.200
<v Speaker 3>alive and he was a piece of shit. And I

0:45:12.200 --> 0:45:13.680
<v Speaker 3>don't know, I mean, I think that that is like

0:45:13.719 --> 0:45:16.759
<v Speaker 3>a pretty common thing that you see in breakups that

0:45:17.320 --> 0:45:20.239
<v Speaker 3>doesn't really know a gender in how it's perpetrated. But

0:45:20.280 --> 0:45:22.000
<v Speaker 3>I see men do it a lot.

0:45:23.760 --> 0:45:27.320
<v Speaker 1>Yeah, And I really liked that inclusion of that scene

0:45:27.400 --> 0:45:29.400
<v Speaker 1>with him and Lila at the party toward the end

0:45:29.400 --> 0:45:31.600
<v Speaker 1>of the movie, because again, the only context we have

0:45:31.719 --> 0:45:34.600
<v Speaker 1>up until that point was she broke up with him

0:45:34.680 --> 0:45:39.200
<v Speaker 1>shortly after his father died. He calls her a heartless slut.

0:45:39.880 --> 0:45:43.200
<v Speaker 1>She I think was his only past relationship they were

0:45:43.200 --> 0:45:46.400
<v Speaker 1>together for five years. Other than that, we don't know anything.

0:45:46.440 --> 0:45:48.880
<v Speaker 1>And then we get her side of the story, and

0:45:48.920 --> 0:45:52.040
<v Speaker 1>I'm like fully on board with I'm like, yes, I

0:45:52.080 --> 0:45:53.839
<v Speaker 1>believe everything you're saying lie.

0:45:53.880 --> 0:45:56.840
<v Speaker 3>And she also acknowledges that it hurt that she chose

0:45:56.880 --> 0:45:58.560
<v Speaker 3>the moment to break up with him that she did,

0:45:58.600 --> 0:46:00.600
<v Speaker 3>but also that that doesn't mean that she was wrong

0:46:00.719 --> 0:46:03.520
<v Speaker 3>or needs to regret it, and like having that full

0:46:03.640 --> 0:46:08.279
<v Speaker 3>messiness acknowledged. And also it's so clear that like, yeah,

0:46:08.320 --> 0:46:10.160
<v Speaker 3>he couldn't love her for who she is, and when

0:46:10.200 --> 0:46:13.880
<v Speaker 3>she started to want things outside of their relationship, he

0:46:13.880 --> 0:46:14.719
<v Speaker 3>couldn't handle it.

0:46:15.320 --> 0:46:17.640
<v Speaker 1>He couldn't handle it. He couldn't handle that she was

0:46:17.760 --> 0:46:21.759
<v Speaker 1>also an aspiring novelist, Like he felt very threatened and

0:46:21.880 --> 0:46:27.160
<v Speaker 1>was making progress, right, he begrudgingly helped her in her career,

0:46:27.400 --> 0:46:30.920
<v Speaker 1>but again he just like didn't want her to be

0:46:30.960 --> 0:46:34.400
<v Speaker 1>more successful than him or anything like that. Yeah, she says, like,

0:46:35.440 --> 0:46:38.280
<v Speaker 1>you weren't curious about me. You just had this image

0:46:38.280 --> 0:46:41.080
<v Speaker 1>of who I was, and anything I did that contradicted

0:46:41.120 --> 0:46:44.239
<v Speaker 1>it you just ignored. And this is exactly what he

0:46:44.320 --> 0:46:49.560
<v Speaker 1>does to Ruby. And we're like, yeah, okay, mister pattern

0:46:49.640 --> 0:46:51.120
<v Speaker 1>of behavior, Oh.

0:46:51.080 --> 0:46:52.080
<v Speaker 3>God is ask Kathan.

0:46:54.000 --> 0:46:55.560
<v Speaker 4>I also think, I mean, part of the reason I

0:46:55.560 --> 0:46:59.279
<v Speaker 4>think the character works and that you allow yourself to

0:46:59.280 --> 0:47:02.080
<v Speaker 4>sort of be surprised or tricked or whatever. By the

0:47:02.160 --> 0:47:07.320
<v Speaker 4>movie is that, like Zoe seems empathetic to like writers

0:47:07.360 --> 0:47:10.240
<v Speaker 4>and this character as a writer. And I do think

0:47:10.480 --> 0:47:12.600
<v Speaker 4>it's from a few things. One, it's like our parents

0:47:12.640 --> 0:47:17.880
<v Speaker 4>are famously writers. She comes from a very famous all

0:47:17.880 --> 0:47:20.959
<v Speaker 4>the way, all the ways down nepo baby. But also

0:47:21.160 --> 0:47:24.760
<v Speaker 4>like she is dealing with like how she is perceived

0:47:24.760 --> 0:47:27.279
<v Speaker 4>in Hollywood or whatever, Like she understands that she grew

0:47:27.360 --> 0:47:29.480
<v Speaker 4>up in Hollywood, so she knows different types of people.

0:47:29.520 --> 0:47:32.880
<v Speaker 4>And I do think there's a deep understanding of this

0:47:32.920 --> 0:47:36.520
<v Speaker 4>person's psychology that's not just like a sensitive misogynist. It's

0:47:36.640 --> 0:47:39.000
<v Speaker 4>just like a cartoon villain's like there you.

0:47:39.000 --> 0:47:42.520
<v Speaker 3>Ever heard that turn of phrase before? What a scary phrase, But.

0:47:42.520 --> 0:47:44.920
<v Speaker 4>It just like clearly she's like, oh, I know how

0:47:45.600 --> 0:47:47.960
<v Speaker 4>the wheels of this person's brain work to make them

0:47:47.960 --> 0:47:51.480
<v Speaker 4>the victim of all situations, and like how good they are.

0:47:52.160 --> 0:47:54.719
<v Speaker 4>It's almost like because these people are writers, their ability

0:47:54.760 --> 0:47:59.080
<v Speaker 4>to create the other person in relationships is like heightened.

0:47:59.120 --> 0:48:01.439
<v Speaker 4>And because the aracters were written as writers, it makes

0:48:01.640 --> 0:48:03.719
<v Speaker 4>sense as well. You're like, well, like it makes sense

0:48:03.760 --> 0:48:06.920
<v Speaker 4>that he would make up fake people in real relationships

0:48:06.920 --> 0:48:08.799
<v Speaker 4>and fake relationships. He's a writer. That's what he does,

0:48:08.840 --> 0:48:11.719
<v Speaker 4>and I think that allows it to not just be

0:48:12.760 --> 0:48:14.520
<v Speaker 4>you know, a black Mirror episode or whatever, where it's

0:48:14.560 --> 0:48:16.759
<v Speaker 4>like it's just an idea of a person and you

0:48:16.880 --> 0:48:18.920
<v Speaker 4>just project nothing. It's honest, Like Paul Dano is not

0:48:19.080 --> 0:48:21.480
<v Speaker 4>a blank vessel. He's like a very specifically written person.

0:48:21.600 --> 0:48:23.520
<v Speaker 4>She wrote it for him, and.

0:48:23.560 --> 0:48:26.640
<v Speaker 3>Also like cool with Paul Dano to like take that on,

0:48:26.800 --> 0:48:30.680
<v Speaker 3>and I think, like, do it really thoughtfully. I can't

0:48:30.719 --> 0:48:33.319
<v Speaker 3>imagine shooting that scene with someone I'd been in a

0:48:33.320 --> 0:48:36.040
<v Speaker 3>relationship with for five years. But then I can't imagine

0:48:36.080 --> 0:48:40.439
<v Speaker 3>being in a relationship for five years, so it's complicated. Yeah,

0:48:40.440 --> 0:48:43.200
<v Speaker 3>there are other parts of the second If you watch

0:48:43.280 --> 0:48:45.840
<v Speaker 3>this movie, unfortunately you do have to watch it again

0:48:46.080 --> 0:48:49.480
<v Speaker 3>soon after because it is just like a very rewarding rewatch.

0:48:49.960 --> 0:48:53.120
<v Speaker 3>I think that another element of his character that resonated

0:48:53.480 --> 0:48:58.879
<v Speaker 3>for me and felt familiar perhaps was that Calvin has

0:48:58.960 --> 0:49:04.680
<v Speaker 3>this very juvenile again, just like the amount of guardrails

0:49:04.719 --> 0:49:08.319
<v Speaker 3>that this guy has set up to resist any introspection

0:49:08.840 --> 0:49:13.279
<v Speaker 3>or self reflection. It's like the corn Mazon signs, Like

0:49:13.320 --> 0:49:16.359
<v Speaker 3>it's unbelievable how he's done this, and he has this

0:49:16.400 --> 0:49:19.400
<v Speaker 3>you know core belief that like women don't like him.

0:49:20.000 --> 0:49:23.360
<v Speaker 3>He also has a very clear idea of what constitutes

0:49:23.440 --> 0:49:26.600
<v Speaker 3>a bad guy and a bad partner, and he repeats

0:49:26.600 --> 0:49:28.680
<v Speaker 3>it over and over in a way that is like

0:49:29.239 --> 0:49:32.239
<v Speaker 3>it reminds me of like tropes we've talked about in

0:49:32.280 --> 0:49:35.160
<v Speaker 3>the past, Katling, where it's like patriarchy, the guy where

0:49:35.200 --> 0:49:38.120
<v Speaker 3>you're just like the most like he's like, kicks the

0:49:38.200 --> 0:49:40.959
<v Speaker 3>door down, pulls someone's hair, and is like, I don't

0:49:41.000 --> 0:49:43.719
<v Speaker 3>think women should vote. And then any other man in

0:49:43.760 --> 0:49:47.400
<v Speaker 3>the room, because this guy has behaved so terribly, is

0:49:47.440 --> 0:49:53.000
<v Speaker 3>given like narrative impunity to act in more subtly misogynistic

0:49:53.040 --> 0:49:55.960
<v Speaker 3>ways because there is this blowhard and the way that

0:49:56.000 --> 0:49:58.520
<v Speaker 3>he describes I mean, the two things that stick out

0:49:58.520 --> 0:50:01.800
<v Speaker 3>to me is like the where he's imagining Ruby before

0:50:01.960 --> 0:50:05.480
<v Speaker 3>she crosses into the real world, where she's like, I

0:50:05.600 --> 0:50:08.520
<v Speaker 3>usually date guys that are kind of like shitty to me.

0:50:08.960 --> 0:50:10.799
<v Speaker 3>And then he says why would you date a guy

0:50:10.920 --> 0:50:12.960
<v Speaker 3>like that? Which is always what the guy who was

0:50:13.000 --> 0:50:15.920
<v Speaker 3>about to do that says immediately before he starts doing it.

0:50:16.560 --> 0:50:19.440
<v Speaker 3>Bone chilling interaction to watch. And then I think the

0:50:19.560 --> 0:50:23.560
<v Speaker 3>choices that he makes to flesh out her character is

0:50:23.600 --> 0:50:26.680
<v Speaker 3>also very telling of how he views himself to be

0:50:27.000 --> 0:50:30.600
<v Speaker 3>not like other guys, which is, yeah, we talked about

0:50:30.600 --> 0:50:32.640
<v Speaker 3>not like other girls all the time, but he clearly

0:50:32.680 --> 0:50:36.000
<v Speaker 3>thinks he is like different from all these other men.

0:50:36.480 --> 0:50:38.360
<v Speaker 3>And also, what was this book he wrote when he

0:50:38.400 --> 0:50:41.640
<v Speaker 3>was nineteen about? Because this writing is stinky. She's twenty

0:50:41.680 --> 0:50:45.080
<v Speaker 3>six from Dayton, Ohio. Her first crushes are Humphrey Bogart

0:50:45.120 --> 0:50:47.680
<v Speaker 3>and John Lennon, kicked out of high school for He

0:50:47.719 --> 0:50:51.520
<v Speaker 3>also projects a story of child sex abuse onto her

0:50:51.800 --> 0:50:53.600
<v Speaker 3>to romanticize her.

0:50:54.200 --> 0:50:56.040
<v Speaker 1>And make it like it was her fault.

0:50:56.200 --> 0:50:59.040
<v Speaker 3>There is like a romantic lark that she took when

0:50:59.120 --> 0:50:59.880
<v Speaker 3>she was a child.

0:51:00.719 --> 0:51:01.799
<v Speaker 1>Yeah, right, he says this.

0:51:01.800 --> 0:51:04.680
<v Speaker 3>At one point, She's like, I'm a mess, and he's like,

0:51:04.800 --> 0:51:07.520
<v Speaker 3>I love that you're a mess. But he doesn't. He

0:51:07.719 --> 0:51:10.880
<v Speaker 3>like loves The parts of her messiness that he finds

0:51:10.960 --> 0:51:14.319
<v Speaker 3>charming are like waighs in for him to control her

0:51:14.680 --> 0:51:17.279
<v Speaker 3>of like she doesn't know how to pay her bills. Well,

0:51:17.320 --> 0:51:20.480
<v Speaker 3>that's the way for me to control her. Little things

0:51:20.640 --> 0:51:23.200
<v Speaker 3>that he enjoys doing. But when it comes to actually

0:51:23.200 --> 0:51:25.480
<v Speaker 3>being a person he does, I don't know. It's all planted,

0:51:25.560 --> 0:51:26.640
<v Speaker 3>really really thoughtfully.

0:51:27.840 --> 0:51:29.560
<v Speaker 4>Yeah, it's like he only likes the part of her

0:51:29.600 --> 0:51:31.759
<v Speaker 4>that's like, instead of kissing, she jumps into a pool

0:51:31.800 --> 0:51:32.239
<v Speaker 4>with her clothes.

0:51:32.680 --> 0:51:34.960
<v Speaker 3>Right, I'm shy, but.

0:51:34.960 --> 0:51:37.560
<v Speaker 4>That scene where she's the sort of character breakdown scene

0:51:37.640 --> 0:51:40.720
<v Speaker 4>does feel like literally a note for note five hundred

0:51:40.760 --> 0:51:44.040
<v Speaker 4>days a summer thing, because I do feel like that

0:51:44.160 --> 0:51:46.400
<v Speaker 4>movie uses dating an older man as a way of

0:51:46.440 --> 0:51:50.279
<v Speaker 4>showing like she's sort of like on particular, it's so

0:51:50.320 --> 0:51:52.960
<v Speaker 4>hard to understand like what those writers were thinking, where

0:51:53.000 --> 0:51:55.120
<v Speaker 4>it's clear Zoe was thinking, this is what those guys

0:51:55.160 --> 0:51:58.239
<v Speaker 4>think is like cool or whatever exactly.

0:51:58.360 --> 0:52:02.960
<v Speaker 1>It's like I know that Zoe Kauzanne rejects the calling

0:52:03.120 --> 0:52:06.479
<v Speaker 1>of Ruby Sparks the character a manic pixie dream girl,

0:52:06.520 --> 0:52:09.880
<v Speaker 1>and I tend to agree, like this movie isn't putting

0:52:10.040 --> 0:52:13.759
<v Speaker 1>out that character as like, here's a story about a

0:52:13.760 --> 0:52:16.960
<v Speaker 1>manic pixie dream girl. It's an indictment of that trope.

0:52:17.719 --> 0:52:21.799
<v Speaker 1>But the character that he develops in this list of characteristics,

0:52:21.880 --> 0:52:25.000
<v Speaker 1>he's like, I think, rattling off to his therapist toward

0:52:25.080 --> 0:52:28.680
<v Speaker 1>the beginning, he has developed a manic pixie dream girl. Yeah,

0:52:28.719 --> 0:52:31.160
<v Speaker 1>and then when she turns out to not be that

0:52:31.360 --> 0:52:35.200
<v Speaker 1>and be a much more like nuanced and complex person.

0:52:35.560 --> 0:52:38.640
<v Speaker 1>He doesn't know how to interact or deal with that.

0:52:39.040 --> 0:52:42.120
<v Speaker 1>And then again, like Harry, his brother, who is somehow

0:52:42.160 --> 0:52:49.200
<v Speaker 1>like a genius in literary criticism, and his inconsistencies are

0:52:49.440 --> 0:52:51.120
<v Speaker 1>I don't know what to make of them exactly, but

0:52:51.239 --> 0:52:51.719
<v Speaker 1>he's just.

0:52:51.800 --> 0:52:54.360
<v Speaker 3>Willing to give it a pass just because it's like,

0:52:54.440 --> 0:52:57.600
<v Speaker 3>I do feel like there's I mean, not so cartoonishly so,

0:52:57.680 --> 0:52:59.759
<v Speaker 3>but I do feel like there's people like that out

0:52:59.760 --> 0:53:05.000
<v Speaker 3>there who like, are essentially good partners in their actions,

0:53:05.520 --> 0:53:07.960
<v Speaker 3>but also talk shit about their partners in a way

0:53:07.960 --> 0:53:08.880
<v Speaker 3>that can be ugly.

0:53:09.600 --> 0:53:12.000
<v Speaker 1>Let me just list a few things he says, and

0:53:12.000 --> 0:53:16.000
<v Speaker 1>they're almost all in one conversation, but it's in the car, no,

0:53:16.080 --> 0:53:19.040
<v Speaker 1>when they're like sitting by the pool. Oh oh, okay,

0:53:19.080 --> 0:53:21.440
<v Speaker 1>write the manuscript. So he's, well, there's that. The car

0:53:21.520 --> 0:53:27.320
<v Speaker 1>is pret because that's all. So he says, like, okay,

0:53:27.400 --> 0:53:31.000
<v Speaker 1>who reads love stories women? And it was like, okay, reductive.

0:53:31.040 --> 0:53:33.120
<v Speaker 1>But then he's like, but women aren't going to want

0:53:33.160 --> 0:53:37.240
<v Speaker 1>to read this because quirky, messy women whose problems only

0:53:37.320 --> 0:53:41.520
<v Speaker 1>make them endearing are not real. He's like, women will

0:53:41.520 --> 0:53:43.720
<v Speaker 1>see right through this, and you've written a shitty character

0:53:43.960 --> 0:53:47.680
<v Speaker 1>and he says, like the honeymoon phase thing doesn't last.

0:53:47.800 --> 0:53:50.279
<v Speaker 1>Women are different up closes, he starts talking about his

0:53:50.320 --> 0:53:52.399
<v Speaker 1>own relationship, and then he says some weird things because

0:53:52.400 --> 0:53:56.759
<v Speaker 1>he's like, I love Susie, my wife, his wife, but

0:53:56.800 --> 0:54:00.680
<v Speaker 1>she's a weirdo. For example, sometimes she's me as fuck

0:54:00.800 --> 0:54:04.879
<v Speaker 1>for no reason. You're like, okay, sir, let's.

0:54:04.600 --> 0:54:10.480
<v Speaker 3>Like recalibrate our definition of weirdo here because I'm not understanding.

0:54:11.160 --> 0:54:13.520
<v Speaker 1>And also, is she mean as fuck or are you

0:54:13.760 --> 0:54:17.440
<v Speaker 1>just a dipshit who's like not a great partner and

0:54:17.480 --> 0:54:19.080
<v Speaker 1>she's calling you out for it? I don't know.

0:54:19.160 --> 0:54:22.040
<v Speaker 4>I do think that line makes the most sense of

0:54:22.120 --> 0:54:25.040
<v Speaker 4>like other things he says is too sophisticated, but that

0:54:25.080 --> 0:54:28.640
<v Speaker 4>feels like actually his best way of being like both

0:54:28.840 --> 0:54:32.320
<v Speaker 4>empathetic to his wife but also unable to understand. Yeah

0:54:32.360 --> 0:54:35.080
<v Speaker 4>why right, So he's like, women are complicated, like my

0:54:35.280 --> 0:54:39.160
<v Speaker 4>wife confuses me all the time, right, And you're like, well,

0:54:39.200 --> 0:54:42.440
<v Speaker 4>at least he understands that they're not only projections, but

0:54:42.560 --> 0:54:46.040
<v Speaker 4>like he should not hypothetically be sophisticated enough to be

0:54:46.160 --> 0:54:49.359
<v Speaker 4>like and that's because women are three dimensional, you know,

0:54:49.400 --> 0:54:51.680
<v Speaker 4>Like he's not like a media studies professor. Right, so

0:54:51.719 --> 0:54:54.360
<v Speaker 4>it's like he's a sports agent of course, which you

0:54:54.400 --> 0:54:57.920
<v Speaker 4>don't know that. But so that line I thought was

0:54:58.600 --> 0:55:01.680
<v Speaker 4>like exactly, I think what I can magine that read

0:55:01.719 --> 0:55:02.360
<v Speaker 4>a level.

0:55:02.120 --> 0:55:04.319
<v Speaker 3>Of emotional intelligence they would be capable of.

0:55:04.640 --> 0:55:06.080
<v Speaker 4>I also think part of the problem is there's so

0:55:06.160 --> 0:55:09.440
<v Speaker 4>few characters in this movie. Yeah, that like ultimately characters

0:55:09.480 --> 0:55:12.759
<v Speaker 4>have to carry weight beyond their roles because you're like,

0:55:13.080 --> 0:55:14.880
<v Speaker 4>it's only like three actors.

0:55:15.080 --> 0:55:17.120
<v Speaker 3>Yeah, and then there's like little they're like, we have

0:55:17.400 --> 0:55:21.600
<v Speaker 3>Antonio Banderas for thirty six hours have fun data. He's

0:55:21.640 --> 0:55:24.160
<v Speaker 3>gonna make a chair, very magic mic of him to do.

0:55:25.560 --> 0:55:28.360
<v Speaker 3>Oh my gosh, yeah's magic micing. But I do like

0:55:28.480 --> 0:55:31.760
<v Speaker 3>his version of like a homemade better than chair better.

0:55:31.920 --> 0:55:34.560
<v Speaker 3>But also it looks like a prop from the Blair

0:55:34.600 --> 0:55:39.520
<v Speaker 3>Witch Project, though I don't know. Before we hop back,

0:55:39.560 --> 0:55:41.800
<v Speaker 3>I just I wanted to take a moment for Susie

0:55:41.880 --> 0:55:45.000
<v Speaker 3>because we are sort of talking about her. Yes, here's

0:55:45.120 --> 0:55:49.320
<v Speaker 3>Susie Corner there felt to me like and speaking to

0:55:49.440 --> 0:55:51.719
<v Speaker 3>yours just saying Jesse, like the fact that she just

0:55:51.840 --> 0:55:53.520
<v Speaker 3>does not get a lot of screen time at all.

0:55:53.560 --> 0:55:56.239
<v Speaker 3>I think she's talked about more than we actually see

0:55:56.280 --> 0:56:00.799
<v Speaker 3>her talking, which to me kind of undercut. But what

0:56:01.320 --> 0:56:04.440
<v Speaker 3>that's I think, like, really the main weakness of this

0:56:04.520 --> 0:56:07.320
<v Speaker 3>movie for me is I wish that, But it depends

0:56:07.360 --> 0:56:09.400
<v Speaker 3>on who you view to be the main character of

0:56:09.440 --> 0:56:12.440
<v Speaker 3>this movie. I do wish that we got more moments

0:56:13.160 --> 0:56:15.839
<v Speaker 3>with women. I think it would have been cool if

0:56:15.840 --> 0:56:18.440
<v Speaker 3>we got more moments with Ruby and women, because I

0:56:18.440 --> 0:56:22.799
<v Speaker 3>think that not to be gender prescriptive, but people who

0:56:22.840 --> 0:56:25.759
<v Speaker 3>have been in bad relationships can smell it on you

0:56:25.800 --> 0:56:28.279
<v Speaker 3>a little bit, and it would have been cool to

0:56:28.320 --> 0:56:31.759
<v Speaker 3>see her have an interaction with someone who is like,

0:56:32.280 --> 0:56:34.600
<v Speaker 3>things don't feel quite right. I think it would have

0:56:34.600 --> 0:56:36.880
<v Speaker 3>been cool to give Ruby some sort of friend or

0:56:36.920 --> 0:56:40.200
<v Speaker 3>ally to like help her tease out like I don't know.

0:56:40.320 --> 0:56:43.040
<v Speaker 3>That undercuts the moment where she's completely shocked. But also

0:56:43.239 --> 0:56:45.120
<v Speaker 3>no person she would meet in the world would be like,

0:56:45.320 --> 0:56:49.840
<v Speaker 3>I know what's happening. Paul Dano writes down what you

0:56:49.920 --> 0:56:52.040
<v Speaker 3>do and that's why you can speak French now, But

0:56:52.120 --> 0:56:54.160
<v Speaker 3>just like someone for her to process that confusion would

0:56:54.160 --> 0:56:56.080
<v Speaker 3>have been cool, and Susie would have been an interesting

0:56:56.160 --> 0:56:59.040
<v Speaker 3>character to maybe be that person. But we don't know

0:56:59.080 --> 0:57:01.799
<v Speaker 3>anything about her. We know that she's a weirdo and

0:57:02.160 --> 0:57:05.040
<v Speaker 3>maybe she's mean, but also maybe she's not. We don't

0:57:05.080 --> 0:57:07.120
<v Speaker 3>know enough about her to even get a read on

0:57:07.480 --> 0:57:09.359
<v Speaker 3>what the reality of that would be. And then also

0:57:09.400 --> 0:57:12.399
<v Speaker 3>she almost left him once. Hmm, I forgot about that part,

0:57:12.400 --> 0:57:14.680
<v Speaker 3>which I think is a cool detail. But again, if

0:57:14.719 --> 0:57:18.240
<v Speaker 3>you don't know the character is just like, well, she's

0:57:18.280 --> 0:57:20.840
<v Speaker 3>just sort of like plot meat. This is kind of

0:57:20.880 --> 0:57:21.640
<v Speaker 3>how she's treated.

0:57:22.560 --> 0:57:26.280
<v Speaker 1>And she's I think the only person of color with

0:57:26.720 --> 0:57:30.720
<v Speaker 1>any significant speaking lines. But again she's also not one

0:57:30.720 --> 0:57:33.400
<v Speaker 1>of the least developed characters and yeah, not significant.

0:57:33.400 --> 0:57:37.640
<v Speaker 4>Well it's like I guess alia. That's why I thought,

0:57:37.680 --> 0:57:40.080
<v Speaker 4>like if I read the script and somehow had this

0:57:40.160 --> 0:57:43.040
<v Speaker 4>ability to give Zoe a nome and Fleishman in Trouble

0:57:43.080 --> 0:57:45.400
<v Speaker 4>did not exist already, but yet time how I knew it.

0:57:45.400 --> 0:57:47.720
<v Speaker 4>It's like it'd be so useful if the third act

0:57:47.840 --> 0:57:50.520
<v Speaker 4>switch perspective, because like now, it's like, what does a

0:57:50.520 --> 0:57:53.360
<v Speaker 4>person with no memory of anything but a personality and

0:57:53.400 --> 0:57:56.240
<v Speaker 4>a history, how do they become a person? That would

0:57:56.280 --> 0:58:00.600
<v Speaker 4>be interesting, that's not the movie was trying to make

0:58:00.640 --> 0:58:03.320
<v Speaker 4>a comment on people like Paul Dano or whatever. And

0:58:03.400 --> 0:58:06.640
<v Speaker 4>I imagine also, who knows if the duty was like, well,

0:58:06.680 --> 0:58:09.640
<v Speaker 4>got to follow the protagonist, which is mister man Paul Dano.

0:58:10.520 --> 0:58:14.520
<v Speaker 4>Ruby Sparks is a manifestation for him to like grow up.

0:58:14.840 --> 0:58:16.840
<v Speaker 4>It did feel like a very that time, where like

0:58:16.880 --> 0:58:19.360
<v Speaker 4>that's the only plot a man could do, which is like,

0:58:20.000 --> 0:58:21.760
<v Speaker 4>I mean, it's literally exactly what happened with five hundred

0:58:21.800 --> 0:58:23.520
<v Speaker 4>days summer. Even though it is making fun of five

0:58:23.600 --> 0:58:27.120
<v Speaker 4>hundred days a summer, the plot still follows that way, even

0:58:27.160 --> 0:58:31.560
<v Speaker 4>beyond when it's like useful for us as the viewer, Yeah.

0:58:31.360 --> 0:58:33.800
<v Speaker 3>I mean any sort of perspective shift, even if it

0:58:33.840 --> 0:58:36.840
<v Speaker 3>doesn't do the hard fleshman is in trouble thing. To

0:58:36.920 --> 0:58:40.280
<v Speaker 3>see Ruby in a scene without Calvin, I think would

0:58:40.280 --> 0:58:42.480
<v Speaker 3>have been useful, and I don't think would have necessarily

0:58:42.720 --> 0:58:45.360
<v Speaker 3>challenged the reality of the movie we're in already.

0:58:46.360 --> 0:58:48.439
<v Speaker 4>Does she have a scene where she talks to his mom?

0:58:48.880 --> 0:58:51.800
<v Speaker 1>I can't remember, not really one on one, I don't

0:58:51.840 --> 0:58:54.120
<v Speaker 1>say sure, ooh, now I need to watch the third time.

0:58:54.200 --> 0:58:56.520
<v Speaker 3>I'm pretty sure that we outside of when she's like

0:58:56.840 --> 0:58:59.440
<v Speaker 3>calling him from a bar, I don't know that we

0:58:59.480 --> 0:59:01.280
<v Speaker 3>ever see a scene where they're not together, because she

0:59:01.400 --> 0:59:04.800
<v Speaker 3>I think recaps a conversation she had with his mom

0:59:05.240 --> 0:59:08.400
<v Speaker 3>to him. I'm pretty sure that that's how we find

0:59:08.400 --> 0:59:09.000
<v Speaker 3>out about.

0:59:08.840 --> 0:59:13.080
<v Speaker 4>That, because can you imagine that scene, which would in

0:59:13.440 --> 0:59:16.160
<v Speaker 4>Solva Bechdel problem but like still would be like she

0:59:16.280 --> 0:59:18.280
<v Speaker 4>goes like look my boys, blah blah blah, you know,

0:59:18.360 --> 0:59:21.080
<v Speaker 4>like something. You can imagine that scene where like she

0:59:21.360 --> 0:59:24.080
<v Speaker 4>knows that both her sons have these sort of like

0:59:24.120 --> 0:59:27.640
<v Speaker 4>problems with women, but like something, something, something, at least

0:59:27.640 --> 0:59:30.160
<v Speaker 4>that would be like, what is Annette Benning's perspective on

0:59:30.200 --> 0:59:32.560
<v Speaker 4>any of these things happening other than she has a

0:59:32.600 --> 0:59:34.880
<v Speaker 4>nice plant and like it's cool to be married to

0:59:35.320 --> 0:59:38.880
<v Speaker 4>Antonio Benderis, whose character's name is mort not remember.

0:59:38.720 --> 0:59:43.640
<v Speaker 3>Yeah that, Like again, I really really like Zoeka Is

0:59:43.680 --> 0:59:46.720
<v Speaker 3>in I think she's like some of our s tier nepotism,

0:59:47.240 --> 0:59:49.520
<v Speaker 3>I really do, but I do like I thought the

0:59:49.560 --> 0:59:52.320
<v Speaker 3>mom character again kind of like a missed opportunity and

0:59:52.400 --> 0:59:56.080
<v Speaker 3>felt very like I've seen this character a million times,

0:59:56.080 --> 0:59:59.440
<v Speaker 3>like Polo mom to Woo Woo mom, unless that's like

0:59:59.520 --> 1:00:02.520
<v Speaker 3>her being This is a clear rom com stock character

1:00:02.600 --> 1:00:05.280
<v Speaker 3>that we've seen before, so I don't know, I'd be curious,

1:00:05.320 --> 1:00:08.480
<v Speaker 3>like what the reasoning was. I understand that like on

1:00:08.560 --> 1:00:12.920
<v Speaker 3>the rewatch Calvin's reaction to his own mother is a

1:00:13.040 --> 1:00:16.520
<v Speaker 3>huge red flag and very very self involved, where he

1:00:16.600 --> 1:00:19.800
<v Speaker 3>clearly is unwilling to accept a version of his mother

1:00:19.920 --> 1:00:22.440
<v Speaker 3>that is not comforting and familiar to him, which is

1:00:22.480 --> 1:00:25.400
<v Speaker 3>how he treats women in general. I think it's interesting

1:00:25.440 --> 1:00:27.800
<v Speaker 3>that there is I don't really know what the timeline is,

1:00:27.840 --> 1:00:30.560
<v Speaker 3>but there is like an undercurrent of like Calvin very

1:00:30.680 --> 1:00:33.800
<v Speaker 3>likely has not processed grieving for his father and is

1:00:33.840 --> 1:00:37.240
<v Speaker 3>projecting that onto his mom, certainly more so than his brother,

1:00:37.720 --> 1:00:39.240
<v Speaker 3>who he sees all the time. It seems like he

1:00:39.280 --> 1:00:43.800
<v Speaker 3>avoids his mom and judges her for being in love again.

1:00:44.080 --> 1:00:46.640
<v Speaker 3>And I think we're led to believe embracing a truer

1:00:46.760 --> 1:00:50.480
<v Speaker 3>version of herself. Yeah, but like I wish that they

1:00:50.560 --> 1:00:51.160
<v Speaker 3>used her more.

1:00:51.680 --> 1:00:53.840
<v Speaker 4>It's interesting because now that you talk about it from

1:00:53.880 --> 1:00:56.160
<v Speaker 4>the respective of grief, right, So he's like essentially, as

1:00:56.200 --> 1:00:59.120
<v Speaker 4>we said, like he's nineteen and never stays nineteen, and

1:00:59.160 --> 1:01:02.520
<v Speaker 4>then like he responds like a kids dad died, and

1:01:02.520 --> 1:01:04.920
<v Speaker 4>then he resents people who respond like a grown up

1:01:04.960 --> 1:01:07.760
<v Speaker 4>whose partner died or whatever. And it's like that scene

1:01:07.760 --> 1:01:10.800
<v Speaker 4>with him and the bunny or whatever in the therapist's

1:01:10.800 --> 1:01:14.240
<v Speaker 4>office where he's like, not only does he need a

1:01:14.280 --> 1:01:16.720
<v Speaker 4>bunny to comfort him or whatever? He then is like

1:01:16.920 --> 1:01:20.440
<v Speaker 4>jealous that maybe someone else, right, and that is like

1:01:21.400 --> 1:01:23.480
<v Speaker 4>how does sort of his grief and need to be

1:01:23.520 --> 1:01:26.880
<v Speaker 4>comfort and his possessative interact with each other. And you

1:01:26.920 --> 1:01:29.520
<v Speaker 4>see it all from that scene, right, you just wouldn't

1:01:29.520 --> 1:01:31.480
<v Speaker 4>think of it. Right at that scene, You're like, Oh,

1:01:31.480 --> 1:01:33.280
<v Speaker 4>he's a quirky boy and he's gonna beet a quirky girl,

1:01:33.320 --> 1:01:35.080
<v Speaker 4>and this is gonna be like and there is a

1:01:35.080 --> 1:01:37.920
<v Speaker 4>thing where his characters only referred to as a boy,

1:01:38.040 --> 1:01:41.080
<v Speaker 4>like they're all girls and boys, so there is something

1:01:41.080 --> 1:01:44.000
<v Speaker 4>where like, oh, of course a boy wants a girl, right,

1:01:44.320 --> 1:01:44.960
<v Speaker 4>Like follow.

1:01:44.720 --> 1:01:47.040
<v Speaker 3>It up on when Christmasina is like, you haven't written

1:01:47.040 --> 1:01:49.400
<v Speaker 3>a woman, You've written a girl. Kind of clarifies maybe

1:01:49.440 --> 1:01:51.960
<v Speaker 3>what that means, even though I'm like justice for girls.

1:01:52.080 --> 1:01:55.680
<v Speaker 3>But yeah, like I'm starting to I'm like, is this

1:01:55.760 --> 1:01:58.120
<v Speaker 3>the most genius movie of all time? Because I also

1:01:58.160 --> 1:02:01.080
<v Speaker 3>think you see early indicates of the type of person

1:02:01.120 --> 1:02:02.920
<v Speaker 3>he is in the way that he treats his dog,

1:02:03.320 --> 1:02:05.680
<v Speaker 3>where first of all, he I think it's no mistake

1:02:05.720 --> 1:02:08.840
<v Speaker 3>that he later makes Ruby act like his dog, but

1:02:09.040 --> 1:02:11.880
<v Speaker 3>it's a really early conversation between him and his therapist

1:02:11.960 --> 1:02:15.080
<v Speaker 3>that seems kind of innocuous, but it's like he wants

1:02:15.120 --> 1:02:16.960
<v Speaker 3>to have a dog because he wants to have fun

1:02:17.000 --> 1:02:18.800
<v Speaker 3>with his dog. But every time we see that he

1:02:18.800 --> 1:02:21.200
<v Speaker 3>needs to take care of his dog, he's annoyed. He

1:02:21.240 --> 1:02:23.720
<v Speaker 3>doesn't want to do it. He wants to offfload the

1:02:23.960 --> 1:02:27.560
<v Speaker 3>difficult part of having a dog to someone else, and

1:02:27.600 --> 1:02:30.840
<v Speaker 3>that's really depressing because it's like he views women as

1:02:31.080 --> 1:02:33.600
<v Speaker 3>dogs and that he also doesn't want to care to

1:02:33.960 --> 1:02:36.720
<v Speaker 3>the difficult parts of a human relationship.

1:02:36.960 --> 1:02:39.600
<v Speaker 1>And he wanted the dog so that there would be

1:02:39.640 --> 1:02:41.920
<v Speaker 1>this kind of built in excuse for people to stop

1:02:41.960 --> 1:02:44.200
<v Speaker 1>and pet the dog, and then he'd meet people, because

1:02:44.200 --> 1:02:47.560
<v Speaker 1>he seems to struggle meeting with people and connecting with people,

1:02:47.600 --> 1:02:50.240
<v Speaker 1>but he's never like looked into why that is.

1:02:50.680 --> 1:02:53.360
<v Speaker 3>Or they're like, I can't criticize someone for getting a

1:02:53.400 --> 1:02:55.480
<v Speaker 3>pet to feel more connected to the world.

1:02:55.640 --> 1:02:57.200
<v Speaker 1>No, I'm not criticizing, but.

1:02:57.800 --> 1:03:01.000
<v Speaker 3>Totally like it's like another indication of like he will

1:03:01.040 --> 1:03:04.600
<v Speaker 3>do backflips to avoid self reflection.

1:03:05.440 --> 1:03:08.320
<v Speaker 4>You know what's an interesting example like the Alia Shotcat scene,

1:03:08.800 --> 1:03:12.600
<v Speaker 4>which is so he's at first you're like he's using

1:03:12.680 --> 1:03:15.440
<v Speaker 4>this person. But even when she's like we're gonna have sex,

1:03:15.480 --> 1:03:18.640
<v Speaker 4>he's like he spits out a drink, like it's almost like, oh, no,

1:03:18.720 --> 1:03:20.760
<v Speaker 4>I was using you just for this one thing of

1:03:20.840 --> 1:03:23.080
<v Speaker 4>like getting a bearings of reality. I don't I'm not

1:03:23.120 --> 1:03:25.000
<v Speaker 4>even using you in the way you think I'm trying

1:03:25.000 --> 1:03:27.560
<v Speaker 4>to use you. And he can't even control he doesn't

1:03:27.560 --> 1:03:31.280
<v Speaker 4>even like that, and but that also then reaffirms he

1:03:31.480 --> 1:03:33.240
<v Speaker 4>does that. He goes, I'm a good guy. I'm just

1:03:33.360 --> 1:03:36.040
<v Speaker 4>using this human being as a way of getting a

1:03:36.040 --> 1:03:38.680
<v Speaker 4>grip with reality. I'm not using her to have sex.

1:03:38.720 --> 1:03:41.280
<v Speaker 4>That's like what bad guys do. And you're like, but

1:03:41.360 --> 1:03:42.840
<v Speaker 4>she wants to have sex, he.

1:03:42.760 --> 1:03:45.120
<v Speaker 3>Doesn't get it. Yeah, And it's like, by his own

1:03:45.560 --> 1:03:47.800
<v Speaker 3>description of women up to this point, we know that

1:03:48.120 --> 1:03:52.880
<v Speaker 3>he is judging her severely for wanting to have sex

1:03:52.880 --> 1:03:55.040
<v Speaker 3>with him in spite of not knowing him very well,

1:03:55.120 --> 1:03:58.040
<v Speaker 3>which is like she clearly doesn't give a shit, but

1:03:58.120 --> 1:04:00.760
<v Speaker 3>it's like he's judging her for that, and yeah, he

1:04:01.080 --> 1:04:03.280
<v Speaker 3>says to her, he's like, I don't want that. Like

1:04:03.280 --> 1:04:05.440
<v Speaker 3>he basically says like, I'm not using you for anything,

1:04:05.600 --> 1:04:09.360
<v Speaker 3>And I think he believes that scary, bone chilling.

1:04:09.560 --> 1:04:15.480
<v Speaker 1>Yeah, truly a conversation that I felt really like, damn,

1:04:15.720 --> 1:04:18.720
<v Speaker 1>this is well written, and this is very emblematic of

1:04:18.760 --> 1:04:22.360
<v Speaker 1>the type of emotional abuse that this type of guy

1:04:22.640 --> 1:04:27.760
<v Speaker 1>inflicts on people. Is the scene right after they've returned

1:04:27.880 --> 1:04:31.480
<v Speaker 1>from that party where she got in the pool and

1:04:31.560 --> 1:04:35.160
<v Speaker 1>she says, you have all these rules and you don't

1:04:35.160 --> 1:04:37.400
<v Speaker 1>tell me what they are until I've broken one, and

1:04:37.440 --> 1:04:39.760
<v Speaker 1>then you get to be disappointed in me. And he

1:04:39.800 --> 1:04:42.360
<v Speaker 1>says like, here are my rules. Don't fuck other men

1:04:42.480 --> 1:04:44.960
<v Speaker 1>and don't let them think about fucking you. And she's like, okay,

1:04:44.960 --> 1:04:48.000
<v Speaker 1>so what now I'm responsible for what other people are thinking?

1:04:48.440 --> 1:04:51.280
<v Speaker 1>And he's like, yeah, when you act a certain way,

1:04:51.360 --> 1:04:53.560
<v Speaker 1>it leads people on. When you take off your clothes

1:04:53.600 --> 1:04:55.960
<v Speaker 1>at a party, it makes people think you're a slut.

1:04:56.440 --> 1:04:58.960
<v Speaker 1>And I'd prefer if you didn't do that. Is that

1:04:59.120 --> 1:04:59.760
<v Speaker 1>clear enough?

1:05:00.080 --> 1:05:00.440
<v Speaker 3>Were you?

1:05:00.560 --> 1:05:03.080
<v Speaker 1>And it's just like Wow, everything about how he is

1:05:03.120 --> 1:05:08.160
<v Speaker 1>in a relationship, his controlling, this, his possessiveness, his condescension,

1:05:08.920 --> 1:05:11.880
<v Speaker 1>it's like all just right there on display in a

1:05:11.880 --> 1:05:15.240
<v Speaker 1>way that felt like very authentic to how that type

1:05:15.240 --> 1:05:16.840
<v Speaker 1>of abuse plays out.

1:05:17.080 --> 1:05:21.200
<v Speaker 3>And I was just like, damn, yeah, well.

1:05:21.120 --> 1:05:25.680
<v Speaker 4>It's also like how a guy like that uses quirkiness

1:05:25.720 --> 1:05:28.040
<v Speaker 4>as like a sort of shield or whatever, which is

1:05:28.120 --> 1:05:33.200
<v Speaker 4>like by sort of like being lighthearted, he doesn't have

1:05:33.280 --> 1:05:36.400
<v Speaker 4>to like actually reveal what he's actually thinking the entire time, right,

1:05:36.440 --> 1:05:39.680
<v Speaker 4>So it's like hypothetically this entire time he's mad at

1:05:39.680 --> 1:05:42.440
<v Speaker 4>her or resents her, or it is like he creates her,

1:05:42.480 --> 1:05:44.280
<v Speaker 4>and he's like you dressed. You can imagine him being

1:05:44.280 --> 1:05:46.040
<v Speaker 4>like you dressed like a slud even though he described

1:05:46.080 --> 1:05:47.880
<v Speaker 4>how I didn't even think of that.

1:05:48.040 --> 1:05:50.120
<v Speaker 3>Yeah.

1:05:50.160 --> 1:05:54.240
<v Speaker 4>But then he's like finally where he's like pushed, You're like, oh,

1:05:54.400 --> 1:05:56.720
<v Speaker 4>you've been all of these thoughts have been locked and loaded.

1:05:57.720 --> 1:06:02.880
<v Speaker 4>And a worse movie would like somewhat like Frankenstein. It right,

1:06:02.920 --> 1:06:06.440
<v Speaker 4>it's like you're my creation. But because the movie is

1:06:06.480 --> 1:06:11.040
<v Speaker 4>like ridden more in defense of Frankenstein, Conder's just acting

1:06:11.120 --> 1:06:14.360
<v Speaker 4>as Frankenstein would frank Stein's monster, not frank Stein and

1:06:14.400 --> 1:06:16.920
<v Speaker 4>doctor Frankstein. I would just be so fascinated to have

1:06:16.960 --> 1:06:20.840
<v Speaker 4>a brain of a person who was really on board

1:06:21.360 --> 1:06:23.720
<v Speaker 4>with Paul Daniel's characters in the entire time, and then

1:06:23.760 --> 1:06:27.280
<v Speaker 4>that happens, and does that person go, yes, she is wrong,

1:06:27.280 --> 1:06:29.400
<v Speaker 4>she shouldn't sleep with that guy where that scene seems

1:06:29.440 --> 1:06:31.680
<v Speaker 4>to be like, this is why a character would do this,

1:06:31.760 --> 1:06:34.160
<v Speaker 4>because it's almost like, I think, what's interesting about this movie.

1:06:34.200 --> 1:06:36.400
<v Speaker 4>It's like it's about human relationships, but it's also like

1:06:36.600 --> 1:06:40.040
<v Speaker 4>a media critique, right, but it doesn't feel just like

1:06:40.080 --> 1:06:43.120
<v Speaker 4>a media critique, and I think it all it works

1:06:43.160 --> 1:06:44.760
<v Speaker 4>into all of those levels that're just sort of like, oh,

1:06:44.800 --> 1:06:46.920
<v Speaker 4>what is it saying about how movies are structures and

1:06:46.920 --> 1:06:52.040
<v Speaker 4>how that feeds into how people meant specifically think how

1:06:52.240 --> 1:06:53.920
<v Speaker 4>gender roles are supposed to play out, right, It's like

1:06:53.960 --> 1:06:58.000
<v Speaker 4>the idea of roles. It's like on multiple levels, which

1:06:58.080 --> 1:07:00.960
<v Speaker 4>I think is why she's so smart and good and

1:07:01.000 --> 1:07:03.640
<v Speaker 4>also built in is like I'm going to write really big,

1:07:03.680 --> 1:07:05.840
<v Speaker 4>crazy parts for me and my partner to like go.

1:07:05.840 --> 1:07:08.960
<v Speaker 3>Off, which is like very very cool, which.

1:07:08.800 --> 1:07:11.440
<v Speaker 4>Is notable because like this is a huge breakthrough for

1:07:11.520 --> 1:07:14.000
<v Speaker 4>her as an actress. Like Paul had been in stuff

1:07:14.000 --> 1:07:16.640
<v Speaker 4>because he was a little missunshine, but she's like, yeah,

1:07:16.720 --> 1:07:18.360
<v Speaker 4>there would be like he was a big actor and

1:07:18.400 --> 1:07:20.600
<v Speaker 4>she was just sort of like bouncing around doing theater

1:07:21.000 --> 1:07:25.439
<v Speaker 4>and then does this and again writes a movie way later,

1:07:25.440 --> 1:07:27.800
<v Speaker 4>but like then becomes much more notable as an actress,

1:07:28.200 --> 1:07:33.240
<v Speaker 4>oddly enough, almost exclusively playing romantic leads in like lighthearted

1:07:33.280 --> 1:07:35.880
<v Speaker 4>indie comedies. But it also works on sort of the

1:07:35.880 --> 1:07:37.680
<v Speaker 4>basic level of like I want to showcase for us

1:07:37.680 --> 1:07:42.200
<v Speaker 4>to show like I'm also not just what Hollywood thinks

1:07:42.240 --> 1:07:43.560
<v Speaker 4>I am when they picture me.

1:07:43.640 --> 1:07:46.120
<v Speaker 3>Sure, yeah, I'm like excited to see I mean, i

1:07:46.120 --> 1:07:48.040
<v Speaker 3>haven't seen more from her since, but like I'm excited

1:07:48.040 --> 1:07:49.840
<v Speaker 3>to just keep seeing more from her because she's I

1:07:49.840 --> 1:07:52.080
<v Speaker 3>mean that sort of speaks to the last thing I

1:07:52.160 --> 1:07:54.480
<v Speaker 3>wanted to just like touch on she sort of talked

1:07:54.480 --> 1:07:57.080
<v Speaker 3>about earlier, but just that, Like, this movie just feels

1:07:57.200 --> 1:07:59.600
<v Speaker 3>very ahead of its time in a way I wasn't expecting.

1:08:00.240 --> 1:08:03.520
<v Speaker 3>I watched back some of the original press tour of

1:08:03.560 --> 1:08:06.120
<v Speaker 3>this and it's a lot of Zoe and Paul and

1:08:06.320 --> 1:08:10.919
<v Speaker 3>Paul being asked more questions and Paul being asked There

1:08:10.960 --> 1:08:13.640
<v Speaker 3>was one just like subtle stuff that like watching it

1:08:13.680 --> 1:08:17.480
<v Speaker 3>ten years later in like three sixtyp you're like, ooh,

1:08:17.760 --> 1:08:21.360
<v Speaker 3>do not talk to my friend that way. There's either

1:08:21.479 --> 1:08:24.519
<v Speaker 3>just like switching the direction to talk to Paul Dano

1:08:24.560 --> 1:08:26.760
<v Speaker 3>about something when they're there, to talk about the movie

1:08:26.760 --> 1:08:29.280
<v Speaker 3>that she wrote, and start in and then also just

1:08:29.439 --> 1:08:32.080
<v Speaker 3>like little stuff that like, oh, I think this may

1:08:32.080 --> 1:08:34.120
<v Speaker 3>have happened to me before, where it's like a scene

1:08:34.120 --> 1:08:36.680
<v Speaker 3>that Zoe Kazan has written, and there she's asked more

1:08:36.760 --> 1:08:40.080
<v Speaker 3>than once, like how much improv happened in that scene,

1:08:40.160 --> 1:08:42.799
<v Speaker 3>as if it was unbelievable that she could have written

1:08:43.000 --> 1:08:46.719
<v Speaker 3>a well constructed scene. It just made my blood boil.

1:08:47.120 --> 1:08:49.160
<v Speaker 4>She went to Yale for playwright.

1:08:49.280 --> 1:08:53.000
<v Speaker 3>Like she wrote it, Dude, it doesn't sound improvise whatsoever.

1:08:53.600 --> 1:08:56.240
<v Speaker 3>And then I just wanted to share the lead on

1:08:56.320 --> 1:08:59.880
<v Speaker 3>this glowing New York Times review of this movie from

1:09:00.000 --> 1:09:03.920
<v Speaker 3>twenty twelve, it's the critics pick by Stephen Holden, who

1:09:04.040 --> 1:09:07.439
<v Speaker 3>hasn't entertained a fantasy of romantic omnipotence in which a

1:09:07.520 --> 1:09:10.960
<v Speaker 3>dream partner complies with your every wish in the language

1:09:11.000 --> 1:09:14.920
<v Speaker 3>of my fair lady. Oh, wouldn't it be loverly? But wait?

1:09:17.040 --> 1:09:20.599
<v Speaker 3>Would unquestioning obedience really answer your deepest longings? Or would

1:09:20.600 --> 1:09:23.679
<v Speaker 3>it rob you of the thrill of the chase? Might

1:09:23.680 --> 1:09:26.800
<v Speaker 3>playing puppet master awaken inner demons that drive you to

1:09:26.840 --> 1:09:31.360
<v Speaker 3>behave monstrously? Ruby Sparks is an ingenious and delightful variation

1:09:31.439 --> 1:09:34.760
<v Speaker 3>on the Pygmalion myth toy is whimsically with these questions.

1:09:34.960 --> 1:09:38.000
<v Speaker 3>As the initially perfect relationship between an author and has

1:09:38.040 --> 1:09:43.120
<v Speaker 3>sprung to life, creation goes through changes. That's how a

1:09:43.280 --> 1:09:46.200
<v Speaker 3>positive review of this movie would go.

1:09:47.720 --> 1:09:49.600
<v Speaker 1>In twenty twelve.

1:09:49.760 --> 1:09:50.719
<v Speaker 3>Ten years ago.

1:09:51.479 --> 1:09:57.280
<v Speaker 1>Brudal Well, I'll contrast that with a few quotes from

1:09:57.520 --> 1:09:59.960
<v Speaker 1>Zoe Kazan just to kind of like contextualize where she

1:10:00.160 --> 1:10:03.000
<v Speaker 1>coming from and like how the development of this movie

1:10:03.040 --> 1:10:05.439
<v Speaker 1>went and where the idea came from. I guess she

1:10:05.600 --> 1:10:10.639
<v Speaker 1>was inspired because she was like going home one night

1:10:10.720 --> 1:10:15.360
<v Speaker 1>and saw a discarded mannequin that she thought was a body,

1:10:15.520 --> 1:10:17.799
<v Speaker 1>and she was like, oh no, and then she realized

1:10:17.840 --> 1:10:19.439
<v Speaker 1>it was a mannequin. But she's like, what if, like

1:10:20.360 --> 1:10:24.280
<v Speaker 1>there was this like discard like just like a I

1:10:24.280 --> 1:10:28.120
<v Speaker 1>don't even know actually how I don't know how that

1:10:28.400 --> 1:10:31.800
<v Speaker 1>turned into this idea. But she was also inspired by

1:10:32.240 --> 1:10:37.320
<v Speaker 1>the myth of Pigmalion, and then she started writing a

1:10:37.360 --> 1:10:39.639
<v Speaker 1>chunk of the script and then she realized the thing

1:10:39.680 --> 1:10:43.599
<v Speaker 1>that she wanted to explore with this is the kind

1:10:43.600 --> 1:10:47.519
<v Speaker 1>of idea of love versus the actuality of it. And

1:10:47.760 --> 1:10:51.040
<v Speaker 1>she has a few quotes that I want to share

1:10:51.840 --> 1:10:55.519
<v Speaker 1>I'll paraphrase this first part where she describes how you

1:10:55.520 --> 1:10:59.479
<v Speaker 1>know her mom is a feminist and she was raised

1:10:59.640 --> 1:11:03.680
<v Speaker 1>with feminist thinking, and her parents had a kind of

1:11:03.720 --> 1:11:09.160
<v Speaker 1>non traditional relationship where traditional gender roles weren't that observed,

1:11:10.240 --> 1:11:14.559
<v Speaker 1>and she says, quote, but with my first relationships, I've

1:11:14.560 --> 1:11:18.880
<v Speaker 1>found myself being expected to behave in an almost subservient way.

1:11:19.240 --> 1:11:22.000
<v Speaker 1>It was shocking. I couldn't believe how traditional the roles

1:11:22.000 --> 1:11:24.960
<v Speaker 1>are for so many people. My girlfriends would sometimes say

1:11:25.000 --> 1:11:27.840
<v Speaker 1>to me, God, you're so lucky, he loves you so much,

1:11:28.080 --> 1:11:30.720
<v Speaker 1>and I would think to myself, I'm so lonely. I

1:11:30.760 --> 1:11:33.800
<v Speaker 1>feel like a doll unquote. And I feel like that

1:11:34.000 --> 1:11:37.479
<v Speaker 1>informs like a lot of what this story is about.

1:11:38.080 --> 1:11:41.439
<v Speaker 1>She also says, quote, I haven't seen a lot of

1:11:41.479 --> 1:11:44.800
<v Speaker 1>things from that perspective, that idea of being gazed at,

1:11:44.840 --> 1:11:47.479
<v Speaker 1>but never seen that moment when you think I am

1:11:47.560 --> 1:11:50.360
<v Speaker 1>so strong and so brave inside and you're treating me

1:11:50.479 --> 1:11:52.760
<v Speaker 1>like a baby. So I wanted to explore that in

1:11:52.800 --> 1:11:56.519
<v Speaker 1>a way that wasn't unkind or alienating for men, because

1:11:56.520 --> 1:12:00.720
<v Speaker 1>I love men unquote, and maybe like that almost makes

1:12:01.640 --> 1:12:08.680
<v Speaker 1>men are awesome. She says, huge move for Jesse. And

1:12:08.720 --> 1:12:11.400
<v Speaker 1>it also makes me wonder like was that a studio

1:12:11.439 --> 1:12:13.840
<v Speaker 1>note at the end, or is she saying like men

1:12:13.920 --> 1:12:17.000
<v Speaker 1>do reserve redemption sometimes I don't know, it's we don't

1:12:17.040 --> 1:12:17.760
<v Speaker 1>know either way.

1:12:17.800 --> 1:12:20.160
<v Speaker 3>I would just be interested to hear her talk about

1:12:20.200 --> 1:12:20.960
<v Speaker 3>this movie. Now.

1:12:21.680 --> 1:12:24.639
<v Speaker 1>Yeah, the final thing I want to share from her

1:12:25.040 --> 1:12:28.080
<v Speaker 1>is she says, quote, I'm very girly. I've been girly

1:12:28.120 --> 1:12:31.479
<v Speaker 1>since day one, but being girly led to relationships where

1:12:31.520 --> 1:12:34.000
<v Speaker 1>the guy has a very strong idea of me. But

1:12:34.200 --> 1:12:37.559
<v Speaker 1>it's an idea that it's only appropriate for adult. Just

1:12:37.600 --> 1:12:40.679
<v Speaker 1>because I'm girly doesn't mean I'm a lost little girl.

1:12:40.920 --> 1:12:44.080
<v Speaker 1>I hate that you're either a little lost girl, or

1:12:44.120 --> 1:12:47.120
<v Speaker 1>you're a bitch who doesn't need men, or you're a

1:12:47.240 --> 1:12:50.840
<v Speaker 1>nurturing motherly type. I have all of those things inside me.

1:12:51.160 --> 1:12:55.160
<v Speaker 1>Who doesn't unquote, And so just like this collection of

1:12:55.240 --> 1:12:59.320
<v Speaker 1>quotes is I think like very informative for like what

1:12:59.640 --> 1:13:01.880
<v Speaker 1>her and just were with this movie. And we talk

1:13:01.960 --> 1:13:03.880
<v Speaker 1>about this a lot, especially that last quote as far

1:13:03.920 --> 1:13:08.920
<v Speaker 1>as like, oh, hyper femininity has been kind of criticized

1:13:08.960 --> 1:13:12.040
<v Speaker 1>by many different types of people, but including feminists, because

1:13:12.080 --> 1:13:14.240
<v Speaker 1>it's like, oh, well, you're just like succumbing to this

1:13:14.400 --> 1:13:16.280
<v Speaker 1>expectation of what a woman.

1:13:16.400 --> 1:13:18.599
<v Speaker 3>Would be guilty of it early in the show.

1:13:18.600 --> 1:13:23.320
<v Speaker 1>I've definitely done it throughout my life. Yeah, and I

1:13:23.479 --> 1:13:25.320
<v Speaker 1>like this. She's like, no, like just because I'm this

1:13:25.439 --> 1:13:28.120
<v Speaker 1>way doesn't mean that I'm not also other things and

1:13:28.160 --> 1:13:32.400
<v Speaker 1>that I'm not complicated and that I am not a feminist.

1:13:32.520 --> 1:13:36.720
<v Speaker 1>So yeah, I just I liked those quotes and I

1:13:36.840 --> 1:13:38.160
<v Speaker 1>liked where she was coming from.

1:13:38.479 --> 1:13:40.880
<v Speaker 4>Yeah, it was around these times. There was like I

1:13:40.880 --> 1:13:42.880
<v Speaker 4>don't remember when New Girl started, but I feel like

1:13:43.040 --> 1:13:46.240
<v Speaker 4>New Girl was partly also like the debate about like

1:13:46.280 --> 1:13:49.000
<v Speaker 4>the idea of Zoe Deschanel, because like people were like

1:13:49.080 --> 1:13:53.439
<v Speaker 4>making fun of like hello Giggles type people people were yeah,

1:13:53.479 --> 1:13:54.920
<v Speaker 4>and that was so she was like on the front

1:13:54.960 --> 1:13:58.719
<v Speaker 4>line of like quirky people can also have depth or whatever.

1:13:59.560 --> 1:14:01.280
<v Speaker 4>Now like that it's not like the number one thing

1:14:01.320 --> 1:14:03.960
<v Speaker 4>this movie is about, but it is somewhat defense of like,

1:14:04.479 --> 1:14:06.640
<v Speaker 4>you know, quirky people are complicated. They just sort of

1:14:06.680 --> 1:14:09.800
<v Speaker 4>manifest those complications with different ways.

1:14:09.800 --> 1:14:12.920
<v Speaker 1>But on the Calvin character, as he's like listing off

1:14:12.960 --> 1:14:15.679
<v Speaker 1>the traits of the Ruby Sparks character, he says something

1:14:15.760 --> 1:14:19.400
<v Speaker 1>like she's complicated and that's what I like about her. Well,

1:14:19.439 --> 1:14:21.280
<v Speaker 1>it's first of all, you did not develop her to

1:14:21.320 --> 1:14:25.400
<v Speaker 1>be complicated. She just became complicated because she materialized as

1:14:25.400 --> 1:14:28.360
<v Speaker 1>a human in the world. And secondly, you don't like

1:14:28.439 --> 1:14:31.520
<v Speaker 1>that about her. You do not like this she's complicated.

1:14:32.040 --> 1:14:34.719
<v Speaker 4>Yeah, you just like that. She's like a Zoeka's hand type.

1:14:35.160 --> 1:14:38.559
<v Speaker 3>Yeah, like character actors who appear in round cons a lot.

1:14:38.840 --> 1:14:41.960
<v Speaker 3>She's been typed a lot over the years too. And

1:14:42.680 --> 1:14:45.720
<v Speaker 3>I think it is interesting to like look at hers

1:14:45.760 --> 1:14:49.000
<v Speaker 3>and Paul Dano's career alongside each other because they've been

1:14:49.000 --> 1:14:52.640
<v Speaker 3>together for so long, and it's like they're both tremendously

1:14:52.680 --> 1:14:56.840
<v Speaker 3>talented actors, and it's like he easily gets more opportunities

1:14:56.880 --> 1:15:00.280
<v Speaker 3>to show range and to try shit out, and he's

1:15:00.320 --> 1:15:03.639
<v Speaker 3>still a type Like you're not casting Paul Dano for

1:15:04.320 --> 1:15:05.920
<v Speaker 3>certain kinds of roles.

1:15:05.720 --> 1:15:08.840
<v Speaker 1>But like he's not the Terminator, but he is.

1:15:08.960 --> 1:15:12.519
<v Speaker 3>The Riddler, right, And it's like Zoe Kzan doesn't get

1:15:12.520 --> 1:15:14.960
<v Speaker 3>those kinds of opportunity or at least that I know of.

1:15:15.640 --> 1:15:18.120
<v Speaker 4>No, she gets to play a journalist in a movie, right,

1:15:18.120 --> 1:15:21.240
<v Speaker 4>It's like she's she said, and like it's her and

1:15:21.280 --> 1:15:24.920
<v Speaker 4>Carrie Mulligan which are both Zoe kzan Cary Mulligan types,

1:15:24.960 --> 1:15:26.280
<v Speaker 4>and it's the only reason they get to both be

1:15:26.320 --> 1:15:27.960
<v Speaker 4>in a movie. It's because it's about two journalists. Like,

1:15:28.000 --> 1:15:30.200
<v Speaker 4>she doesn't get to play the villain in a Batman movie,

1:15:30.240 --> 1:15:32.800
<v Speaker 4>which would be like imagine she played Poison Ivy. It's

1:15:32.840 --> 1:15:35.160
<v Speaker 4>the weirdest take on that characters be cool.

1:15:35.880 --> 1:15:37.919
<v Speaker 3>And it's interesting because it seems like she's like interacting

1:15:37.960 --> 1:15:40.759
<v Speaker 3>with these ideas ten years before it you know, continues

1:15:40.760 --> 1:15:41.160
<v Speaker 3>to happen.

1:15:42.120 --> 1:15:45.680
<v Speaker 4>Yeah, because I imagined someone informed by going on auditions

1:15:45.760 --> 1:15:48.519
<v Speaker 4>and you know, it's like quirky person types and the

1:15:48.600 --> 1:15:50.719
<v Speaker 4>and going into auditions and everyone is like a different

1:15:50.800 --> 1:15:54.640
<v Speaker 4>version of regards of how manic they are Pixie in

1:15:54.680 --> 1:15:55.720
<v Speaker 4>some capacity.

1:15:56.240 --> 1:15:59.080
<v Speaker 1>Yeah, sorry, I was just distracted by my thought of,

1:15:59.160 --> 1:16:01.200
<v Speaker 1>you know, who does get to be a Batman villain,

1:16:01.680 --> 1:16:03.120
<v Speaker 1>Zoe Kravit.

1:16:04.000 --> 1:16:08.560
<v Speaker 3>There can only be one nepotism Zoe in the Batman universe,

1:16:09.320 --> 1:16:14.439
<v Speaker 3>Zoe k Yeah. Oh wow wow Yeah continues. Does this

1:16:14.479 --> 1:16:16.519
<v Speaker 3>movie pass the Maxels test? I don't think it does.

1:16:17.200 --> 1:16:19.800
<v Speaker 3>I don't think it does. I don't think so. That's

1:16:19.840 --> 1:16:23.200
<v Speaker 3>a bummer. Yeah, I could see that being a creative

1:16:23.520 --> 1:16:25.800
<v Speaker 3>choice because I would be really surprised if Zoe Xan

1:16:25.960 --> 1:16:28.280
<v Speaker 3>was not aware of this metric, just based on what

1:16:28.320 --> 1:16:30.600
<v Speaker 3>I know about her. Maybe that's not true, but I

1:16:30.600 --> 1:16:33.240
<v Speaker 3>do think that it would probably be true. But I

1:16:33.320 --> 1:16:36.920
<v Speaker 3>don't think that the movie. I don't know. I still

1:16:36.960 --> 1:16:38.920
<v Speaker 3>think it's a fantastic movie that has a lot to

1:16:38.960 --> 1:16:42.639
<v Speaker 3>say about Jinda, But I don't think that the movie

1:16:42.640 --> 1:16:46.000
<v Speaker 3>would be harmed by and I think in some ways

1:16:46.040 --> 1:16:49.320
<v Speaker 3>in my brain version of this movie, it could be

1:16:49.760 --> 1:16:52.800
<v Speaker 3>helped along in an interesting way by giving Zoe a

1:16:52.840 --> 1:16:55.880
<v Speaker 3>woman in the real world to have some sort of

1:16:55.960 --> 1:16:59.720
<v Speaker 3>like or just watch Zoe observe other people's relationships and

1:17:00.200 --> 1:17:02.760
<v Speaker 3>talked to someone about it. Like it just feels like

1:17:02.840 --> 1:17:06.000
<v Speaker 3>because we do see her being active as she gains

1:17:06.040 --> 1:17:09.800
<v Speaker 3>autonomy without even realizing that that's what's happening. But it

1:17:09.800 --> 1:17:11.599
<v Speaker 3>would have been cool to see her talk to people

1:17:11.640 --> 1:17:14.760
<v Speaker 3>instead of just reacting to Calvin. So I feel like

1:17:14.760 --> 1:17:16.800
<v Speaker 3>this would be stronger if she talked to more women.

1:17:17.560 --> 1:17:19.760
<v Speaker 1>There could be even be a scene where like she

1:17:20.680 --> 1:17:25.360
<v Speaker 1>either becomes friends with Susie or has like a girlfriend

1:17:25.479 --> 1:17:28.040
<v Speaker 1>from her acting class or something like that, and they

1:17:28.080 --> 1:17:32.600
<v Speaker 1>talk about Calvin's shitty behavior.

1:17:32.520 --> 1:17:34.840
<v Speaker 3>And where she sees a woman being treated worse than

1:17:34.880 --> 1:17:36.680
<v Speaker 3>she is and like how does she feel about that?

1:17:37.040 --> 1:17:40.519
<v Speaker 1>Or like right, right, right, And then if Ruby calls

1:17:40.600 --> 1:17:43.680
<v Speaker 1>him out on his behavior, then he would probably just

1:17:43.720 --> 1:17:47.639
<v Speaker 1>write another sentence on his manuscript of like Ruby has

1:17:47.680 --> 1:17:52.439
<v Speaker 1>an intense distrust of other women because women are petty

1:17:52.640 --> 1:17:53.439
<v Speaker 1>or something like that.

1:17:54.080 --> 1:17:57.080
<v Speaker 3>Yeah, intentionally keeping her from other women would have been

1:17:57.080 --> 1:17:57.880
<v Speaker 3>an interesting choice.

1:17:58.000 --> 1:17:59.680
<v Speaker 1>Yeah, yeah, it.

1:17:59.640 --> 1:18:03.000
<v Speaker 4>Seems like because both like intentionally the movie was like

1:18:03.160 --> 1:18:06.200
<v Speaker 4>I have to follow the beats of male protagonist hero movie,

1:18:06.240 --> 1:18:08.439
<v Speaker 4>even if he're subverting it. Yeah, right, I think, which

1:18:08.439 --> 1:18:10.559
<v Speaker 4>I talked about last time, which is like sometimes if

1:18:10.560 --> 1:18:13.600
<v Speaker 4>you do the strictest version of like Hero's Journey, it's like, well,

1:18:13.640 --> 1:18:16.200
<v Speaker 4>there's no room for anyone else. But also I imagine

1:18:16.920 --> 1:18:19.439
<v Speaker 4>it's also, as we said, there's so little cast, there's

1:18:19.479 --> 1:18:21.720
<v Speaker 4>so few speaking roles. That's why it was like it

1:18:21.720 --> 1:18:23.000
<v Speaker 4>has to be the mother because there's only so much

1:18:23.000 --> 1:18:24.960
<v Speaker 4>budget for her, Like all the people in her class

1:18:25.000 --> 1:18:27.320
<v Speaker 4>have to be extra. She couldn't be like not some

1:18:27.400 --> 1:18:30.040
<v Speaker 4>good painting, right, we can't even see her painting class.

1:18:30.800 --> 1:18:32.760
<v Speaker 3>No, we don't know if she's any good, which does

1:18:32.760 --> 1:18:35.120
<v Speaker 3>feel like a creative twice. I don't think he cares.

1:18:35.640 --> 1:18:37.840
<v Speaker 3>It's not like her paintings are hanging up, which also

1:18:37.880 --> 1:18:39.000
<v Speaker 3>is like, yeah, he just doesn't give it. He just

1:18:39.000 --> 1:18:41.200
<v Speaker 3>wants her to do a romantic sounding thing. He doesn't

1:18:41.240 --> 1:18:41.920
<v Speaker 3>want to look at it.

1:18:42.800 --> 1:18:45.760
<v Speaker 4>No, he prefers that she's good at cooking, right.

1:18:45.400 --> 1:18:48.360
<v Speaker 1>Right, although I think we see some of her illustrations

1:18:48.400 --> 1:18:50.479
<v Speaker 1>and paintings like in the bedroom.

1:18:50.920 --> 1:18:52.360
<v Speaker 4>Yeah it's paintings of him, right.

1:18:52.280 --> 1:18:56.200
<v Speaker 1>Yeah, it's literally paintings of him, yes, yeah, but again

1:18:56.280 --> 1:18:58.879
<v Speaker 1>he wrote her that way or something. I don't know anyway,

1:18:59.360 --> 1:19:02.080
<v Speaker 1>Nipple Skill our scale of zero to find the rector

1:19:02.439 --> 1:19:07.120
<v Speaker 1>Jesse based how the movie fares from an intersectional feminist lens,

1:19:07.160 --> 1:19:09.800
<v Speaker 1>I think I'm gonna give this a three and a half.

1:19:09.920 --> 1:19:14.160
<v Speaker 1>I'm docking it for the ending, which is a little

1:19:14.240 --> 1:19:18.960
<v Speaker 1>too sugary and Hollywood e and maybe it was a

1:19:18.960 --> 1:19:22.800
<v Speaker 1>studio note or not, We're not sure. But basically, the

1:19:22.840 --> 1:19:25.320
<v Speaker 1>Calvin character gets a redemption that I don't think he

1:19:25.760 --> 1:19:29.800
<v Speaker 1>has earned at this point, and I don't like that

1:19:30.200 --> 1:19:33.680
<v Speaker 1>he's like presented with what seems to be an opportunity

1:19:33.720 --> 1:19:36.960
<v Speaker 1>to like reconnect with her and like have a second chance.

1:19:37.120 --> 1:19:42.200
<v Speaker 1>And again I don't not to say that people don't

1:19:42.240 --> 1:19:45.120
<v Speaker 1>deserve a redemption. It's a case by case scenario. But

1:19:46.040 --> 1:19:50.040
<v Speaker 1>this person doesn't this person at this time, this character

1:19:50.720 --> 1:19:54.200
<v Speaker 1>does not because he has not earned it at this time.

1:19:54.400 --> 1:19:57.800
<v Speaker 1>So I did not like how the movie concludes. But

1:19:58.120 --> 1:20:01.400
<v Speaker 1>everything up until that point, for the most part, I thought,

1:20:01.520 --> 1:20:08.320
<v Speaker 1>was like a really interesting characterization of men's expectations of

1:20:08.400 --> 1:20:12.120
<v Speaker 1>like what a hetero romance with a woman should be

1:20:12.360 --> 1:20:15.080
<v Speaker 1>or not, you know, hashtag not all men, but like

1:20:16.160 --> 1:20:19.360
<v Speaker 1>a very kind of in general or like, you know,

1:20:19.520 --> 1:20:23.679
<v Speaker 1>under patriarchy. This is how a lot of men feel

1:20:23.720 --> 1:20:25.680
<v Speaker 1>and how they operate and how they behave and what

1:20:25.720 --> 1:20:29.400
<v Speaker 1>their conduct is like in these types of relationships, and

1:20:29.800 --> 1:20:34.680
<v Speaker 1>it still happens. We're not past it yet. So I

1:20:34.720 --> 1:20:39.080
<v Speaker 1>thought it was a really interesting exploration of all of that.

1:20:39.880 --> 1:20:42.639
<v Speaker 1>But also it's a very such a white movie, and

1:20:43.000 --> 1:20:47.920
<v Speaker 1>it's like we're in Los Angeles and what do we why? Anyway,

1:20:48.200 --> 1:20:51.719
<v Speaker 1>three and a half nipples, maybe even four, I'm not sure.

1:20:52.760 --> 1:20:56.000
<v Speaker 1>Let's go three point seventy five, and I'll give one

1:20:56.000 --> 1:20:59.599
<v Speaker 1>to Zoe Kazan. I'll give one to the actor who

1:20:59.600 --> 1:21:03.400
<v Speaker 1>plays Susie, which is Tony Trucks. I will give one

1:21:03.600 --> 1:21:07.639
<v Speaker 1>to Annette Benning, and I'll give my three quarters nipple

1:21:08.240 --> 1:21:13.200
<v Speaker 1>to Scottie the Dog and specifically the piss on male

1:21:13.960 --> 1:21:14.759
<v Speaker 1>Calvin's bed.

1:21:16.680 --> 1:21:21.519
<v Speaker 3>I had a similar fruitless battle between three point five

1:21:21.560 --> 1:21:24.719
<v Speaker 3>and four, so I'll do the same three point seventy five.

1:21:24.800 --> 1:21:28.439
<v Speaker 3>I think that this movie is pretty fucking amazing. I

1:21:28.479 --> 1:21:30.439
<v Speaker 3>do appreciate and want to shout out the fact that

1:21:30.439 --> 1:21:34.120
<v Speaker 3>it is co directed by a woman, Valerie Ferris of

1:21:34.240 --> 1:21:37.560
<v Speaker 3>Jonathan Dayton and Valerie Ferris who previously did Little Miss Sunshine.

1:21:37.720 --> 1:21:40.519
<v Speaker 3>It is written by Zoe exam Like. I think it's

1:21:40.640 --> 1:21:44.960
<v Speaker 3>very very rare, even in this subgenre of like good

1:21:45.040 --> 1:21:49.200
<v Speaker 3>movies that address this trope, to have a woman involved

1:21:49.200 --> 1:21:52.639
<v Speaker 3>at the highest level, which is interesting, and so I'm

1:21:52.640 --> 1:21:54.800
<v Speaker 3>actually giving it four because I just changed my mind.

1:21:55.040 --> 1:21:58.639
<v Speaker 3>I do, however, think that like this entire subgenre also

1:21:58.760 --> 1:22:03.000
<v Speaker 3>does take place in upper class white families with I

1:22:03.040 --> 1:22:07.040
<v Speaker 3>don't think any exception which does feel worth examining. Yes,

1:22:07.080 --> 1:22:11.080
<v Speaker 3>especially because you're saying we're in LA like, it's ridiculous

1:22:11.120 --> 1:22:14.679
<v Speaker 3>to have Antonio banderaz In essentially a glorified cameo role

1:22:15.200 --> 1:22:19.080
<v Speaker 3>alias katt In essentially a glorified cameo role and Susie

1:22:19.360 --> 1:22:24.720
<v Speaker 3>truly not involved in any meaningful way, so I am

1:22:24.760 --> 1:22:27.280
<v Speaker 3>critical of that. I don't like the ending, obviously, but

1:22:27.479 --> 1:22:29.400
<v Speaker 3>the majority of the movie. I think this movie is

1:22:29.439 --> 1:22:31.719
<v Speaker 3>so ahead of its time. I think is really good

1:22:32.439 --> 1:22:36.559
<v Speaker 3>and it made me want to watch more. Zoe exam

1:22:36.600 --> 1:22:39.080
<v Speaker 3>by ZOEA Kasan because I don't want to watch she

1:22:39.160 --> 1:22:43.640
<v Speaker 3>said again, unfortunately, not because I'm a misogynist, because it

1:22:43.720 --> 1:22:48.680
<v Speaker 3>was boring and I do want all the president's men

1:22:48.960 --> 1:22:51.200
<v Speaker 3>with women journalists. But that was not it. And that's

1:22:51.240 --> 1:22:52.559
<v Speaker 3>the rude thing I'm saying at the end.

1:22:52.600 --> 1:22:56.360
<v Speaker 1>For no reason, Jamie. I can't believe that you, my creation,

1:22:56.479 --> 1:22:59.439
<v Speaker 1>would say something like that. So I type something you

1:22:59.560 --> 1:23:02.160
<v Speaker 1>said on my typewriter, the.

1:23:01.960 --> 1:23:05.840
<v Speaker 3>Best reporting of our time, and it was like being

1:23:05.840 --> 1:23:08.840
<v Speaker 3>a mother is hard, and you're like, oh my god. Anyways,

1:23:09.960 --> 1:23:11.880
<v Speaker 3>we're talking about the movie Ruby Sparks, which I'm giving

1:23:11.880 --> 1:23:16.559
<v Speaker 3>four nipples to right now. I am giving one to Susie,

1:23:16.640 --> 1:23:21.080
<v Speaker 3>I'm giving one to Ruby Sparks herself, I'm giving one

1:23:21.280 --> 1:23:25.840
<v Speaker 3>to Alias Chacott, and I am giving one to you.

1:23:25.840 --> 1:23:27.720
<v Speaker 3>Think I'm gonna give it to Emmanette Benning, I'm not.

1:23:27.760 --> 1:23:29.720
<v Speaker 3>I'm giving it to Christmasina because I had a great

1:23:29.720 --> 1:23:30.400
<v Speaker 3>time watching them.

1:23:31.080 --> 1:23:31.400
<v Speaker 1>Wow.

1:23:31.560 --> 1:23:34.880
<v Speaker 3>Yeah, a guy who likes sports and can read talk

1:23:34.920 --> 1:23:38.719
<v Speaker 3>about there's there's a lot being subverted in this movie.

1:23:39.000 --> 1:23:42.400
<v Speaker 3>I'm kidding. Uh huh, I'm going to a hockey game tomorrow.

1:23:43.080 --> 1:23:47.280
<v Speaker 1>Wow incredible, Jesse, what say you?

1:23:48.680 --> 1:23:51.479
<v Speaker 4>I will also give it four nipples. I have a

1:23:51.479 --> 1:23:54.640
<v Speaker 4>bad memory, but I've decided to retcon my brain to

1:23:54.680 --> 1:23:57.920
<v Speaker 4>be like this movie changed my life and maybe because

1:23:58.400 --> 1:24:02.760
<v Speaker 4>the flaws in my own ways, like how I approach relationships.

1:24:02.800 --> 1:24:04.839
<v Speaker 4>I don't know if that's true, but it seems around

1:24:04.840 --> 1:24:07.040
<v Speaker 4>the time where I was like starting to get better

1:24:07.040 --> 1:24:10.559
<v Speaker 4>at understanding people or people or whatever. Like I also think,

1:24:11.760 --> 1:24:14.760
<v Speaker 4>you know, like I never said friend zone, probably, but

1:24:14.840 --> 1:24:17.360
<v Speaker 4>I maybe did, you know, Like I was raised in

1:24:17.400 --> 1:24:19.840
<v Speaker 4>this culture and I had to learn, and I think

1:24:19.880 --> 1:24:24.280
<v Speaker 4>this movie was formative and like helping. I think Five

1:24:24.360 --> 1:24:26.920
<v Speaker 4>Hundred Days of Summer is somewhat also about how a

1:24:26.920 --> 1:24:29.559
<v Speaker 4>certain type of guy creates an idea of a woman

1:24:30.760 --> 1:24:34.240
<v Speaker 4>and then realizes like, oh, maybe I'm creating idea. I

1:24:34.280 --> 1:24:35.640
<v Speaker 4>don't love her, I love the idea of where, but

1:24:35.720 --> 1:24:37.880
<v Speaker 4>kind of really lets that person off the hook. And

1:24:37.920 --> 1:24:41.360
<v Speaker 4>this movie, like really makes you sit with how grotesque

1:24:41.400 --> 1:24:45.360
<v Speaker 4>it can look. And like that scene where it's that

1:24:45.479 --> 1:24:47.240
<v Speaker 4>scene that we talked about being really tough to watch,

1:24:47.360 --> 1:24:49.600
<v Speaker 4>like forces you to like confront that like this is

1:24:49.640 --> 1:24:51.160
<v Speaker 4>the worst it possible can be. And I think that's

1:24:51.200 --> 1:24:54.400
<v Speaker 4>really impressive. But as we said, it's like it is

1:24:55.160 --> 1:24:59.040
<v Speaker 4>a narrow world. So and then I will give these

1:24:59.120 --> 1:25:02.360
<v Speaker 4>nipples too. One for Zoe Kazan the writer. One for

1:25:02.400 --> 1:25:06.040
<v Speaker 4>Zoe Kazan the actress because while doing the script, she

1:25:06.080 --> 1:25:08.120
<v Speaker 4>also found a way to show all different types of

1:25:08.120 --> 1:25:10.720
<v Speaker 4>moves she can do and like that's the benefit of

1:25:10.720 --> 1:25:13.160
<v Speaker 4>Nepo Baby, and he's like, well, I'm gonna write this movie,

1:25:13.200 --> 1:25:15.360
<v Speaker 4>I must have like showcased different things.

1:25:15.479 --> 1:25:19.760
<v Speaker 3>Speaks French, yeah yeah, which is a very Kazan thing

1:25:19.800 --> 1:25:20.000
<v Speaker 3>to do.

1:25:21.120 --> 1:25:23.479
<v Speaker 4>One for Paul Dano for reading the script being like, yeah,

1:25:23.479 --> 1:25:24.680
<v Speaker 4>we should do this, me and you.

1:25:25.360 --> 1:25:26.799
<v Speaker 3>What's the worst that could happen?

1:25:28.040 --> 1:25:29.719
<v Speaker 1>They're still together as far as like, oh.

1:25:29.600 --> 1:25:30.280
<v Speaker 3>They got two kids.

1:25:30.920 --> 1:25:33.280
<v Speaker 4>I see Paul Dano around with.

1:25:33.360 --> 1:25:36.360
<v Speaker 3>One of Melissa Lozada will have a multiple time guests

1:25:36.360 --> 1:25:37.719
<v Speaker 3>of the show. I met him at a coffee shop

1:25:37.720 --> 1:25:40.280
<v Speaker 3>once and had a full on It wasn't a romcom moment,

1:25:40.400 --> 1:25:42.000
<v Speaker 3>but he was just like, what book are you reading?

1:25:42.040 --> 1:25:44.719
<v Speaker 3>And She's like, and I thought I was gonna pass out.

1:25:46.280 --> 1:25:48.759
<v Speaker 4>The first time I talked to Zoe, we talked about books.

1:25:48.840 --> 1:25:49.959
<v Speaker 4>I can't remember why.

1:25:50.360 --> 1:25:56.040
<v Speaker 1>A couple who reads books are so pervasive, so important.

1:25:57.920 --> 1:26:01.639
<v Speaker 4>They are real Brooklyn parents and actors through and through.

1:26:02.720 --> 1:26:05.280
<v Speaker 4>And then I have one more nipple and it will

1:26:05.320 --> 1:26:10.680
<v Speaker 4>go to Valerie Ferris and Jonathan Dayton for remind me

1:26:10.760 --> 1:26:13.320
<v Speaker 4>what twenty twelve was like and having a soundtrack that

1:26:13.400 --> 1:26:15.880
<v Speaker 4>was not souf fun Stevens but sounded like the mood

1:26:15.880 --> 1:26:19.160
<v Speaker 4>board was like, well soup on Stevens like, and I

1:26:19.240 --> 1:26:23.200
<v Speaker 4>missed that. So kudos to them for this being the

1:26:23.240 --> 1:26:25.799
<v Speaker 4>first project they did after that movie.

1:26:26.560 --> 1:26:29.840
<v Speaker 1>Nice Jesse, thank you so much for joining us. Thank

1:26:30.080 --> 1:26:32.559
<v Speaker 1>us about your book before you go.

1:26:33.200 --> 1:26:33.800
<v Speaker 3>Geez oh.

1:26:34.000 --> 1:26:35.280
<v Speaker 4>Books are so important.

1:26:35.400 --> 1:26:38.759
<v Speaker 3>We just important. And Zoe Kazan read them.

1:26:39.360 --> 1:26:40.760
<v Speaker 4>If I see them on the street, I gotta give

1:26:40.800 --> 1:26:43.519
<v Speaker 4>him a copy. The book is called Comedy Book. It's

1:26:43.520 --> 1:26:46.280
<v Speaker 4>a book about comedy functions as an art form and

1:26:46.720 --> 1:26:52.559
<v Speaker 4>as part of our culture. It's no it's like a heady,

1:26:53.400 --> 1:26:56.760
<v Speaker 4>big book about the last forty years or so of

1:26:56.800 --> 1:27:01.120
<v Speaker 4>comedy most related to our topic of conversation is I

1:27:01.160 --> 1:27:04.439
<v Speaker 4>talk about context in satire and is it better for

1:27:04.520 --> 1:27:08.880
<v Speaker 4>satire to be really heavy handed allah Black Mirror or

1:27:08.880 --> 1:27:11.320
<v Speaker 4>for it to be something like this where people might

1:27:11.360 --> 1:27:14.640
<v Speaker 4>get confused. I don't pick a side, but it's an

1:27:14.640 --> 1:27:17.360
<v Speaker 4>easter egg. I ultimately would prefer something like this then

1:27:17.360 --> 1:27:21.519
<v Speaker 4>to Black Mirror. Yeah, and it's a bookstores. I'm doing

1:27:21.520 --> 1:27:24.759
<v Speaker 4>comedy shows for it. One in New York on November seventh,

1:27:25.160 --> 1:27:29.800
<v Speaker 4>one in LA on November thirteenth. Go to those please.

1:27:30.360 --> 1:27:33.080
<v Speaker 3>It's a wonderful book. I'm like, I'm enjoying it so much.

1:27:33.360 --> 1:27:36.920
<v Speaker 3>It's been my Sunday book. It's been keeping me company. Yes.

1:27:37.640 --> 1:27:40.120
<v Speaker 1>Is there anything social media as you'd like to?

1:27:40.439 --> 1:27:43.240
<v Speaker 4>Oh my name on all of them. I'm going to

1:27:43.479 --> 1:27:46.400
<v Speaker 4>leave or x after the book comes out, but until then,

1:27:46.640 --> 1:27:49.040
<v Speaker 4>if this is before that, I'm so on Twitter, but

1:27:49.160 --> 1:27:53.040
<v Speaker 4>not Instagram's where I use just to promote things cool

1:27:53.200 --> 1:27:55.600
<v Speaker 4>and post Simpson's screenshots.

1:27:55.760 --> 1:28:02.200
<v Speaker 1>That's work that's important, and you follow us also mostly

1:28:02.240 --> 1:28:05.880
<v Speaker 1>on Instagram. At Bechdel Cast, you can subscribe to our

1:28:06.640 --> 1:28:10.479
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1:28:10.640 --> 1:28:15.559
<v Speaker 1>a matron where We do two bonus episodes every month,

1:28:15.600 --> 1:28:19.519
<v Speaker 1>plus access to the back catalog of around one hundred

1:28:19.520 --> 1:28:22.400
<v Speaker 1>and fifty bonus episodes, all for five dollars a month.

1:28:22.479 --> 1:28:25.320
<v Speaker 3>If you want more episodes on our Matreon about someone

1:28:25.360 --> 1:28:29.080
<v Speaker 3>being controlled, we did three episodes about Pinocchio so that

1:28:29.200 --> 1:28:33.240
<v Speaker 3>you can you can go check that out. You can

1:28:33.280 --> 1:28:37.040
<v Speaker 3>get our mergencypublic dot com slash the Bechdel Cast, and

1:28:37.120 --> 1:28:39.880
<v Speaker 3>with that, let's go to a park and meet all

1:28:39.880 --> 1:28:43.040
<v Speaker 3>over and groundhog Day the worst relationship ever.

1:28:43.840 --> 1:28:47.240
<v Speaker 1>Okay, bye bye bye by