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Speaker 1: On the Bechdel Cast. The questions asked if movies have

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

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Speaker 1: husbands or do they have individualism? It's the patriarchy, zeph

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Speaker 1: and best start changing it with the Bechdel Cast.

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Speaker 2: Hey, Jamie, Hey Caitlin, I bought a bus. Do you

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Speaker 2: want to drive through the Australian out Back with me?

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Speaker 3: Yes?

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Speaker 4: But I don't have a driver's license, so you will

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Speaker 4: be doing all of the driving. I'll just be drinking

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Speaker 4: slowly in the back.

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Speaker 5: If that's okay with.

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Speaker 2: You, Well, I will also be drinking question Mark, because

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Speaker 2: Hugo Weaving's character is like, I'll have a Long Island

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Speaker 2: iced tea even though he was driving. It's desert rules.

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Speaker 4: I feel like it's almost Vegas rules for DUIs.

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Speaker 5: And I'm kidding. It seems like they could really have

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Speaker 5: fallen in a hole and died.

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Speaker 2: It seems like it. But I think when we inevitably

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Speaker 2: tour in Australia someday, hopefully we should do it the

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Speaker 2: way they do it in the movie.

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Speaker 5: We should do it bus style.

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Speaker 4: Absolutely, I'm going in hard pro Abba.

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Speaker 5: Well, same same, Bernadette.

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Speaker 4: You would have hated Mama Mia hated it.

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Speaker 5: Yes, I think it's funny that they're like duking it that.

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Speaker 4: I don't know if Priscilla, Queen of the Desert is

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Speaker 4: still on Broadway, but it was on Broadway for some time,

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Speaker 4: and just having Priscilla and Mama Mia duking it out

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Speaker 4: on Broadway just feels appropriate, feels beautiful.

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Speaker 5: Yeah, No, I love that. Anyways.

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Speaker 4: Welcome to the podcast. Welcome to the Bechdel Cast. My

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Speaker 4: name's Jamie Loftus.

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Speaker 2: My name is Caitlin Durante. This is our show where

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Speaker 2: we examine movies through an intersectional feminist lens, using the

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Speaker 2: Bechdel Test simply as a jumping off point. We're just

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Speaker 2: trying to get the conversation going. But Jamie, what's the

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Speaker 2: Bechdel Test?

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Speaker 5: Wow? I can tell you.

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Speaker 4: It is a media metric creative by queer cartoonist Alison

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Speaker 4: Bechdel off and called the Bechdel Wallace Test due to

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Speaker 4: it was co created with Alison Bechdell's friend Liz Wallace.

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Speaker 4: Was originally made as a sort of one off joke

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Speaker 4: in Alison Bechdell's great comic series Dikes To Watch Out For.

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Speaker 4: It was originally written not just to talk about how

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Speaker 4: infrequently characters of marginalized genders speak to each other in movies,

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Speaker 4: but also in a queer context that has sort of

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Speaker 4: been stripped back in the mainstream interpretation of this test.

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Speaker 5: Lots of versions of it.

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Speaker 4: The one we use require us that two characters of

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Speaker 4: a marginalized gender with names speak to each other for

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Speaker 4: more than two lines of dialogue, and it cannot be

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Speaker 4: about a man.

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Speaker 5: And yeah, that's the test. It sure is.

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Speaker 4: Honestly, I was just really enjoying right before we start

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Speaker 4: recording an article written about the search for the bus,

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Speaker 4: which of all the micro discussions to have about this movie.

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Speaker 4: I appreciate that there is a long essay in The

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Speaker 4: Guardian about finding the bus.

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Speaker 5: It took thirty year, but they found the bus. I

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Speaker 5: love that.

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Speaker 4: Well.

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Speaker 2: Priscilla is a character I think when they drive Priscilla

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Speaker 2: that passes the Bechdel test. I can't explain how or why,

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Speaker 2: but it does. Yeah, Priscilla's an important member of the cast.

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Speaker 5: I'm so excited for this episode.

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Speaker 4: It has been a long time request and we just

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Speaker 4: have sort of been waiting for the right guest, the

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Speaker 4: right moment, and it's happened and we're.

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Speaker 5: Here, so let's get our guests in here.

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Speaker 2: Let's do it. He's a writer, YouTuber and podcaster.

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Speaker 5: It's Matt Baum.

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Speaker 3: Hello, welcome, Hi, Hello, thank you so much for having me.

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Speaker 4: Oh my gosh, we're big fans. We cite you. I

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Speaker 4: feel like every other week.

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Speaker 3: Oh yay, I'm big fans of the show too, so

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Speaker 3: I'm delighted we could be. I don't know, we can

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Speaker 3: have this mutual admiration going on.

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Speaker 2: Do you want to come with us on our bus

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Speaker 2: tour around Australia.

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Speaker 3: On our scary buzz Oh for sure, yes, yeah, you know,

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Speaker 3: I'm very much when I travel. I'm very into like

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Speaker 3: preparation and lists and making sure everybody has what they need.

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Speaker 3: Like I'm the one with the sunscreen, the electrolytes and

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Speaker 3: everything so and I don't drink, so like you could

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Speaker 3: be handling the stolely and I'll just be back there

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Speaker 3: making sure everybody's got gatorade and they've got cold compresses.

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Speaker 5: Yeah, oh you gotta come, you gotta come.

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Speaker 3: I would have like folding bikes in the back of

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Speaker 3: the bus for when the bus breaks down. We're like,

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Speaker 3: all right now we're just biking to Alice Springs.

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Speaker 4: Right, perfect, we have like thermal suits to prevent the

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Speaker 4: heat exhaustion.

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Speaker 5: Like it's all good.

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Speaker 3: Yeah, exactly, love it.

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Speaker 2: So Matt, tell us about your relationship with this movie.

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Speaker 4: Oh yeah, yeah, we've both seen your video about it

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Speaker 4: from Gosh a couple of years ago now, but yeah,

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Speaker 4: what's your history.

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Speaker 3: Yeah, you know, I did a video on YouTube, because

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Speaker 3: that's where I spent so much of my time. I

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Speaker 3: did a video on YouTube about Priscilla, but I didn't

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Speaker 3: really talk in that video about it's like meaning to me,

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Speaker 3: which is when I was a teenager in the nineties

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Speaker 3: in suburban Connecticut. This was like my most intense I

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Speaker 3: don't know, like locusts of queer energy. Because it was

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Speaker 3: on VH one late at night. They had segments between

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Speaker 3: at the commercial breaks that were hosted by RuPaul. So

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Speaker 3: RuPaul would come on and like she'd have some comment

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Speaker 3: about the movie. She'd mentioned something about like the costume

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Speaker 3: designer wearing a dress made of like mex gold cards,

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Speaker 3: and you know, she'd like throw out all this like

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Speaker 3: fun trivia stuff, and this was so much more gay

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Speaker 3: anything that I was getting anywhere else. So Priscilla really was,

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Speaker 3: you know, an entry point for me into queer culture.

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Speaker 3: Like I'd read a little bit about like the Stonewall

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Speaker 3: Riots and history and serious stuff, but seeing that like,

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Speaker 3: oh and this is fun too. Not just fun, but

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Speaker 3: there's others out there and you can have a party

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Speaker 3: and you can find like a neighborhood where you belong.

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Speaker 3: There was so much packed into this film.

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Speaker 5: Absolutely, Jamie, what's your relationship?

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Speaker 4: My relationship is? I saw it starting pretty young. My

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Speaker 4: aunt had a copy of it, I think on maybe

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Speaker 4: on VHS something like that, and it sort of was

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Speaker 4: like a fun comfort movie.

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Speaker 5: This movie and The Bird Cage.

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Speaker 4: Were both I think the Bird Cage did ultimately get

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Speaker 4: the heavier play, but I yeah, I watched this movie

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Speaker 4: once every couple of years for.

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Speaker 5: A long time, and it's always interesting to revisit.

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Speaker 4: I feel like every time I revisit it, you know,

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Speaker 4: you get something new out of it. It's certainly a

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Speaker 4: product of it's time and with the old discuss.

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Speaker 5: But I really love it.

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Speaker 4: I also just love a road movie, like it's just

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Speaker 4: I don't know, it's This movie is a blast, and

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Speaker 4: I think the performances are wonderful. And to prepare for

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Speaker 4: this because I had just watched Priscilla a couple of

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Speaker 4: months ago and found a documentary that was produced about

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Speaker 4: the history of it that is narrated by Terrence Stamp.

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Speaker 2: Oh, yes, I just watched that on like, yeah one

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Speaker 2: point seven five Speed on YouTube.

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Speaker 4: I've done that, Yeah, because I've also talked about this

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Speaker 4: movie on a different podcast, So I like had just

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Speaker 4: watched it and rewatched it, and it's a really sweet

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Speaker 4: documentary and I think it's very funny that, you know,

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Speaker 4: it's like Terrence Stamp is kind of like the number

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Speaker 4: one fan Priscilla.

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Speaker 5: He's like, I'm going to narrate it. But yeah, I

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Speaker 5: mean learning about the production of this movie sort of

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Speaker 5: made me appreciate.

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Speaker 4: It in ways I didn't know because not only I mean,

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Speaker 4: was there certainly major spots I wasn't aware of with

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Speaker 4: queer culture when I first watched this movie as a kid,

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Speaker 4: but also there's a lot about Australian culture that I

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Speaker 4: did not know or understand, and I think if you're

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Speaker 4: not Australian and you would just completely miss it. So

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Speaker 4: I learned a lot, and so yeah, I'm really excited

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Speaker 4: to talk about it on this show.

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Speaker 5: There's so much to talk about. Caitlyn what's your history

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Speaker 5: with Priscilla.

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Speaker 2: I had only seen this once before when I was

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Speaker 2: watching the hundreds of movies when I first started film

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Speaker 2: school in the mid two thousands, so I had heard

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Speaker 2: about it and I was like, oh, I know that

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Speaker 2: this is like an iconic entry into queer cinema, and

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Speaker 2: I really liked it. I thought it was such a

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Speaker 2: fun romp of the other queer movies I had seen.

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Speaker 2: It was tonally lighter than so many of them. That

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Speaker 2: and the bird Cage were too that I saw around

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Speaker 2: the same time as well, and I was like, Oh,

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Speaker 2: it's it's so refreshing to see these movies that like

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Speaker 2: celebrate queer joy. But I didn't watch it again for

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Speaker 2: some reason, and I didn't remember a lot about it

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Speaker 2: going into this rewatch, except for I remembered the abba

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Speaker 2: piece of poo in the vial.

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Speaker 5: I mean, unforgettable, unforgettable.

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Speaker 2: I remembered some of the iconic imagery as far as

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Speaker 2: like the I think it's the Felicia character on the

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Speaker 2: roof of the bus with like the flowing thing behind,

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Speaker 2: I mean.

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Speaker 4: The costumes are unbelievable, and the one that all sticks

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Speaker 4: me is the flip flop dress, the flip flap dress

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Speaker 4: is my favor.

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Speaker 5: Flip flop dress is so good.

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Speaker 2: I remembered the ping pong ball scene.

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Speaker 5: We'll get to that. Oh my god, the ping pong

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Speaker 5: ball scene. This was the first viewing where I really

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Speaker 5: truly recognized the weird sound effect they added in post.

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Speaker 4: You know, when you're shooting a ping pong ball and

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Speaker 4: if you're pussy and it goes booo like, it's like

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Speaker 4: a little fish blowing up bubble disgusting, disgusting.

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Speaker 5: We'll talk about it.

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Speaker 4: But anyways, if no one has ever recognized the weird

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Speaker 4: like ping pong ball ejection dot MP three they put

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Speaker 4: in there, it's there multiple times, and you're.

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Speaker 2: Like, oh, why, it's wild. Anyway, So I remembered a

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Speaker 2: few of those iconic moments, but I forgot a lot

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Speaker 2: else about it. So it was really fun to revisit

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Speaker 2: and be reminded of some of the things that are

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Speaker 2: really fun and great about this movie and some of

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Speaker 2: the things that don't hold up so well and sert

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Speaker 2: ping pong ball dot MP three.

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Speaker 3: Yeah.

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Speaker 2: Yeah. Should we get into the recap and we'll go

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Speaker 2: from there.

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Speaker 4: Let's do it.

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Speaker 2: Okay, So we are in Sydney, Australia, I ever heard

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Speaker 2: of heard of it?

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Speaker 4: Yeah?

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Speaker 3: Wow, wow, huh it Actually it looks really appealing, you know,

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Speaker 3: And I didn't get the first time I watched the

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Speaker 3: movie when I was a teenager, I was like, why

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Speaker 3: are they so down on this place? There's a game

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Speaker 3: more and they're like it. There's people who are like

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Speaker 3: waving goodbye when they leave, like it seems nice, and

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Speaker 3: I just I didn't get like why they were why

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Speaker 3: they had Sydney fatigue.

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Speaker 5: Yeah, I don't know.

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Speaker 3: I think that's one of the things that you need

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Speaker 3: like Australian context to really appreciate.

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Speaker 5: It kind of reminded me.

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Speaker 4: I mean, just like my relationship with like I guess

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Speaker 4: I've only really lived in like two big cities, but

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Speaker 4: like both times, you know, you have days where you're

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Speaker 4: like this place is a shithole, this place is cooked, and.

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Speaker 5: Then someone visits and they're like, wow, this is the

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Speaker 5: most beautiful.

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Speaker 4: You know, You're like, oh, yeah, I guess, I guess

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Speaker 4: I sort of forget that there is beautiful things around

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Speaker 4: me because I'm so annoyed with everyone all the time.

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Speaker 3: I could relate with that exactly. Yeah, that grass is

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Speaker 3: greener of the grass is Always Greener. Yeah, Yeah, what's

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Speaker 3: that movie that. It's about like a bunch of people

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Speaker 3: who get trapped in an explosion in the Lincoln Tunnel

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Speaker 3: or something like that. It's from like the early nineties.

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Speaker 5: Going on Daylight. Sylvester salone, right, that sounds right.

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Speaker 3: It starts like all these people like it just random

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Speaker 3: people entering the Link tunnel in or which whichever, I

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Speaker 3: don't know, whichever one it was. And one of them

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Speaker 3: is this woman who's moving out of New York and

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Speaker 3: she like her whole like little car, it's like a gremlin,

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Speaker 3: is like loaded up with every possession and she's like

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Speaker 3: screamingly furious at New York and she's driving to the town.

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Speaker 3: She's like, I've had it up to hair with all

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Speaker 3: your shit, New York. Like it's her introduction to that character.

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Speaker 3: That's kind of how these these drag queens feel to me.

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Speaker 3: At the start of the movie.

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Speaker 5: They're done, they're done.

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Speaker 2: Oh gosh. Anyway, so we're in We're in Sydney, and

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Speaker 2: we open on a drag show where drag queens Mitzi

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Speaker 2: played by Hugo Weaving and Felicia played by Guy Peers

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Speaker 2: are performing. But the crowd is lackluster, if not hostile

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Speaker 2: toward them.

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Speaker 5: They're throwing cans.

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Speaker 2: Yeah, and they're like, we're sick of this shit. And

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Speaker 2: then Mitzi, who also goes by the name Tick, receives

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Speaker 2: a call from a woman who we don't yet know

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Speaker 2: who this is, who pitches something to Mitzi off screen.

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Speaker 2: Mitzi seems down for it, then calls her friend, Bernadette

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Speaker 2: played by Terence Stamp, whose husband had just died.

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Speaker 5: Her husband her what's her husband's name? Her husband has

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Speaker 5: kind of a weird name.

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Speaker 4: It's like tuba, trombone, trombone, trumpet, trump some brass instrument,

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Speaker 4: and you're like, is this.

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Speaker 5: An Australia thing? Can you just be named Trumpet?

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Speaker 2: So we learned that Bernadette's her husband Trumpet, has just

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Speaker 2: passed away. So Mitzi and Felicia attend the funeral. Also,

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Speaker 2: it's worth noting here that Bernadette is a trans woman.

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Speaker 2: Mitzi and Felicia are, as far as we know, CIS

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Speaker 2: men who are drag performers. I will probably just refer

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Speaker 2: to them as Mitzi and Felicia, although they are also

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Speaker 2: known as Tick and Adam anyway. So they attend the

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Speaker 2: funeral where Mitzi invites Bernadette to come along on an

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Speaker 2: upcoming tour I guess, a road trip to Alice Springs,

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Speaker 2: which is in the outback, for a string of shows

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Speaker 2: that will begin in a few weeks. And Mitzi also

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Speaker 2: invites Felicia to Bernadette's dismay, because she thinks Felicia is

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Speaker 2: a bit.

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Speaker 5: Much not entirely wrong.

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Speaker 2: She's correct, So Felicia provides the transportation for this trip.

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Speaker 2: Because Felicia buys a bus with her like homophobic mombs

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Speaker 2: money yeah, and names it Priscilla, Queen of the Desert.

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Speaker 2: They pack up, they load into Priscilla the bus, and

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Speaker 2: they head out on the road. They're driving, they're singing,

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Speaker 2: they're chatting. Bernadette and Felicia are not getting along. This

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Speaker 2: is the start of Felicia dead naming Bernadette, a trend

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Speaker 2: which happens throughout the movie. We'll talk about that. Then

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Speaker 2: Mitzi reveals the reason she got this gig in Alice Springs,

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Speaker 2: which is that her wife, her wife, her his wife

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Speaker 2: offered up the gig at this hotel that I think

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Speaker 2: hotel Casino.

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Speaker 3: Ye things, yeah, she runs this like I think Casino

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Speaker 3: is probably a resort it's yeah, yeah, I like that.

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Speaker 3: I get the impression that, like Alice Springs, I don't

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Speaker 3: know that this is exactly right, but it's sort of

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Speaker 3: like Bronson, Missouri, Like it's a lower tier, middle of

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Speaker 3: the country sort of destination. That's right, not too expensive it,

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Speaker 3: but it's also like there's more culture than you'll find

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Speaker 3: if you go like twenty miles outside of it, so

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Speaker 3: it's sort of like a little a little oasis.

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Speaker 5: Yeah, yeah, that feels right.

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Speaker 4: I mean, and Australian listeners feel free to correct us,

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Speaker 4: but that did feel right. I don't know, especially based

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Speaker 4: on the reaction towards the end spoiler alert, when Bernadette

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Speaker 4: decides to stay there, moving from Sydney and everyone's like, what.

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Speaker 5: The fuck are you talking?

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Speaker 2: Yeah, yeah, So Mitsi reveals this about having a wife,

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Speaker 2: and the other two are shocked. They didn't know about

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Speaker 2: this wife, who Mitsi is estranged from. Felicia keeps ragging

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Speaker 2: on Mitzi about it. Then they stop in a small town.

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Speaker 2: Mitzi and Felicia are both in just wild drag costumes.

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Speaker 2: This is where we see the flip flop dress. Felicia

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Speaker 2: is in this like blue plastic wig and they go

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Speaker 2: out to a bar, and many of the townspeople are

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Speaker 2: very you know, queer phobic toward them, but then the

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Speaker 2: group mostly warms up to the trio, although the following

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Speaker 2: morning they wake up to see that Priscilla the bus

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Speaker 2: has been vandalized with a homophobic slur painted across the

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Speaker 2: side of the bus. Felicia also dead names Bernadette again,

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Speaker 2: and she understandably lashes out at Felicia. They set off again,

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Speaker 2: taking a shortcut on a dirt road, but oh no,

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Speaker 2: oh no, Priscilla the bus breaks down, so Bernadette sets

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Speaker 2: off on foot into the desert to try to find

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Speaker 2: some help. Meanwhile, Felicia paints over the vandalism on the bus,

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Speaker 2: turning Priscilla into a like pinkish color.

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Speaker 5: That is not what lavender is, that's.

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Speaker 3: True, Actually, lavender I think would be a little more blue.

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Speaker 4: The yeah, but whatever, but at this point I don't

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Speaker 4: want to encourage anymore infighting on this bus, Like, fine.

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Speaker 2: Fine, what you want. And then Bernadette eventually comes back

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Speaker 2: with help, although the man sees Mitzi in drag and

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Speaker 2: immediately speeds off, so they're stranded still and they use

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Speaker 2: the time to start rehearsing for the upcoming shows. Then

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Speaker 2: a man named Alan played by Alan Dargan. Dargan finds

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Speaker 2: the trio and brings them to a party that he

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Speaker 2: and his friends and family are having in the desert. Mitzy, Bernadette,

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Speaker 2: and Felicia put on a little show for the group.

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Speaker 2: Alan gets into drag and joins them. The next day,

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Speaker 2: Alan helps them get a tow truck and then disappears

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Speaker 2: from the movie.

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Speaker 5: I wish Alan went with that. I know, it felt

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Speaker 5: like the movie setting it up for Alan to come

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Speaker 5: with and it.

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Speaker 3: Yeah, I know, I really want the Alan story, Like

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Speaker 3: they they've opened his eyes and he's open theirs and

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Speaker 3: now I don't know, they part ways and the camera

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Speaker 3: goes with our heroes. But I just I want another

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Speaker 3: movie where it goes with him.

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Speaker 5: Yeah, it's been off. He was a natural.

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Speaker 2: Mm.

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Speaker 5: Yeah.

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Speaker 2: So then they get a toe from a guy named

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Speaker 2: Bob played by Bill Hunter to this small town. The

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Speaker 2: trio has dinner with Bob and his wife Cynthia played

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Speaker 2: by Julia Cortez who Bob is very cruel too, and

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Speaker 2: we will talk about that as well. But Bob suggests

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Speaker 2: the trio perform their show at a local pub and

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Speaker 2: They're like, I don't know if this town is gonna

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Speaker 2: go for the type of show that we do, and

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Speaker 2: Bob is like, no, it'll be fine. I for one

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Speaker 2: love drag shows. He was a fan of the Lay

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Speaker 2: Girls from back in the day when he used to

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Speaker 2: live Sydney, and he's like, no, it'll be great. So

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Speaker 2: the trio does their show and sure enough, the audience

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Speaker 2: hates it, but they're interrupted when Cynthia comes into the

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Speaker 2: bar proceeds to get on stage, put ping pong balls

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Speaker 2: into her vagina and then pop them back out again,

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Speaker 2: and everyone is.

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Speaker 4: Like woohoo, Encore. I mean, an impressive feat. But we'll circle.

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Speaker 3: Back to it. Yes, I gotta say this scene was

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Speaker 3: absolutely befuddling to me when I saw it as a teenager.

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Speaker 3: Because VH one trimmed it. There was a little bit

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Speaker 3: of a made for cable edit here that made the

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Speaker 3: scene absolutely more mystifying. It was mortifying and mystifying, and

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Speaker 3: I could tell that something like embarrassing had happened, but

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Speaker 3: enough of the scene had been chopped out that it

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Speaker 3: was totally totally befuddling. So I gotta say, like, once

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Speaker 3: I finally saw that the proper movie like I actually

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Speaker 3: got it on VHS. Actually the movie I was like,

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Speaker 3: oh okay, But otherwise it just seems like she shows up,

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Speaker 3: everybody cheers, and then everyone gets met, and I'm like,

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Speaker 3: why is Felicia cackling and why are they so stunned?

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Speaker 5: Like what is happening?

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Speaker 3: She's just dancing?

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Speaker 4: Yeah, exactly, that's I mean, having pulled things out of

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Speaker 4: my vagina on stage many times before the raw launch

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Speaker 4: that Cynthia is able to do.

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Speaker 5: I you know, the keegel drop, the hints drop that,

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Speaker 5: I know the keegel I like, I was fascined.

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Speaker 4: I mean, obviously you could tell from the cinematography did

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Speaker 4: not happen because of ping pong ejection dot MP three,

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Speaker 4: But it was like, is it possible?

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Speaker 3: Could it be done?

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Speaker 2: What's the movie where there's a character on stage you

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Speaker 2: see them like spread eagle, and it seems like ping

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Speaker 2: pong balls are shooting out of this character's vagina, But

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Speaker 2: then it cuts to the like reverse angle, and it

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Speaker 2: you just see that character like hitting.

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Speaker 5: A ping pong ball.

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Speaker 2: Movies with hitting the ping pong balls with a ping

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Speaker 2: pong paddle, and so the joke is like, oh, you

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Speaker 2: think the balls are coming out of the vagina, but

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Speaker 2: they're just hitting them with a paddle.

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Speaker 5: What movie is this? Does anyone know? No idea?

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Speaker 3: I would like to watch it? Yeah? Was this more

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Speaker 3: of a thing? Was this a reference people to be like, oh, yeah,

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Speaker 3: that thing?

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Speaker 4: I hope that this is the kind of thing where

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Speaker 4: our listeners are like, you didn't know about that.

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Speaker 2: I feel like I've seen this referred to in other

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Speaker 2: And I don't know if Priscilla quin in the Desert

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Speaker 2: is like the genesis of this, like patient zero.

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Speaker 5: Yeah, but like I definitely have seen it referred to

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Speaker 5: in other things.

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Speaker 3: Wow. I will say I went to a show this

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Speaker 3: many years ago at Acbar in La It was an

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Speaker 3: AS themed art show and there was a performance by

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Speaker 3: somebody who comes out. There's a stage, we're all sitting

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Speaker 3: in the audience. There's I don't know, like twenty five

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Speaker 3: people in the audience, and so this person comes out

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Speaker 3: and lays down a drop cloth and we're like, what's

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Speaker 3: coming next? And then they come out and very very

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Speaker 3: deliberately put down these little paint squeezy paint bottles with

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Speaker 3: like it looks kind of like in a kitchen when

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Speaker 3: you have like the squeeze bottles with like the plastic lid,

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Speaker 3: you know, the nozzle on top, very deliberately lays them

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Speaker 3: down their full of pain around the edge of the stage.

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Speaker 3: We're like, what is happening here? They remove their clothes

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Speaker 3: and then they very deliberately insert the paint into themselves

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Speaker 3: and then silently, by the way, there's no sound happening,

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Speaker 3: they move from corner to corner to corner of the

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Speaker 3: drop cloth and create a work of art by ejecting

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Speaker 3: the paint onto the drop cloth. And amazing, I will

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Speaker 3: tell you the you could have heard a pin drop

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Speaker 3: from the audience. We were transfixed by this artwork. And

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Speaker 3: then as I recall, it was hanging on the wall

438
00:22:52,600 --> 00:22:53,239
Speaker 3: by the end of the night.

439
00:22:53,359 --> 00:22:56,960
Speaker 5: So anyway, that is amazing.

440
00:22:58,000 --> 00:23:03,200
Speaker 3: God. Yeah, I think it was. The event, as I recall,

441
00:23:03,320 --> 00:23:06,280
Speaker 3: was called the whole story, and I was just like

442
00:23:06,720 --> 00:23:08,800
Speaker 3: one butt themed piece of art after another.

443
00:23:09,200 --> 00:23:09,680
Speaker 5: Amazing.

444
00:23:09,920 --> 00:23:10,240
Speaker 2: Wow.

445
00:23:10,640 --> 00:23:12,520
Speaker 5: I love a pun I love a whole story.

446
00:23:13,200 --> 00:23:15,480
Speaker 4: Well, listeners, I mean, if there is a time honor

447
00:23:15,560 --> 00:23:18,320
Speaker 4: tradition of ping pong ball whole ejection.

448
00:23:18,760 --> 00:23:19,520
Speaker 3: Do let us know.

449
00:23:19,840 --> 00:23:22,879
Speaker 4: No need to send links, but like you know, sounds

450
00:23:22,960 --> 00:23:25,280
Speaker 4: to me I want to, Yeah, send Caitlin the whole links.

451
00:23:25,600 --> 00:23:28,800
Speaker 4: I uh, yeah, maybe you've just lived too sheltered a life.

452
00:23:29,080 --> 00:23:32,440
Speaker 5: Well, time to break free, Jamie. I wonder what movie

453
00:23:32,480 --> 00:23:33,600
Speaker 5: you're thinking. I don't know.

454
00:23:33,760 --> 00:23:35,200
Speaker 2: It's a movie I've seen a couple of times, but

455
00:23:35,520 --> 00:23:38,440
Speaker 2: clearly not enough to even remember what the movie is.

456
00:23:38,600 --> 00:23:43,000
Speaker 2: It's some comedy, I'm guessing because like, and that's a

457
00:23:43,040 --> 00:23:46,879
Speaker 2: pretty funny joke, like, oh you think and then the reveal, Oh,

458
00:23:46,960 --> 00:23:48,080
Speaker 2: they're just hitting it with a paddle.

459
00:23:48,520 --> 00:23:49,280
Speaker 1: Anyway, it's like.

460
00:23:49,320 --> 00:23:54,119
Speaker 3: A zucker, like a police squad type or like I

461
00:23:54,160 --> 00:23:56,200
Speaker 3: feel like Leslie Nielsen would be adjacent to that joke

462
00:23:56,240 --> 00:23:56,640
Speaker 3: in some way.

463
00:23:57,080 --> 00:23:58,680
Speaker 5: Yeah, a Hangover movie.

464
00:23:59,040 --> 00:24:03,080
Speaker 2: Sorry, I'm looking m I don't think so that those

465
00:24:03,160 --> 00:24:05,200
Speaker 2: movies aren't smart enough for a joke like that.

466
00:24:06,160 --> 00:24:10,440
Speaker 4: Bradley Cooper talks about catching Vagina launched ping punk ball.

467
00:24:10,760 --> 00:24:12,880
Speaker 5: What a headline, And that's not even from a movie,

468
00:24:15,480 --> 00:24:16,560
Speaker 5: it's just from his journey.

469
00:24:17,760 --> 00:24:20,000
Speaker 2: We'll figure it out maybe by the end of the episode.

470
00:24:20,040 --> 00:24:23,080
Speaker 2: But anyway, so we see this scene where Cynthia is

471
00:24:23,200 --> 00:24:26,919
Speaker 2: launching ping pong balls out of her pussy and everyone

472
00:24:27,040 --> 00:24:31,040
Speaker 2: loves it except for Bob, who is humiliated. And this

473
00:24:31,280 --> 00:24:35,040
Speaker 2: seems to dissolve his marriage with Cynthia because she packs

474
00:24:35,119 --> 00:24:39,639
Speaker 2: up her car and leaves, and Bob joins Bernadette, Mitzi,

475
00:24:39,760 --> 00:24:41,800
Speaker 2: and Felicia on their road trip.

476
00:24:42,200 --> 00:24:43,840
Speaker 5: Then this is the part of the movie where I

477
00:24:43,920 --> 00:24:46,240
Speaker 5: start screaming, Bernadette, you can do better.

478
00:24:47,040 --> 00:24:50,119
Speaker 2: Oh my gosh. They are obsessed with Bob and it's like,

479
00:24:50,240 --> 00:24:54,439
Speaker 2: did you not see him being horribly abusive to his wife?

480
00:24:55,320 --> 00:24:56,399
Speaker 5: Like what the fuck?

481
00:24:57,280 --> 00:25:01,080
Speaker 2: Anyway, so they stop in another small town. Mitzi and

482
00:25:01,200 --> 00:25:05,520
Speaker 2: Bernadette enjoy a quiet dinner where they discuss Mitzi wanting

483
00:25:05,560 --> 00:25:11,560
Speaker 2: to have children, they discuss Bernadette's transition. Meanwhile, Felicia gets

484
00:25:11,800 --> 00:25:15,000
Speaker 2: all dulled up in drag, and I don't know exactly

485
00:25:15,040 --> 00:25:17,760
Speaker 2: how to phrase this, but it's not the like campy,

486
00:25:18,280 --> 00:25:21,800
Speaker 2: exaggerated show drag that we've seen her in up until

487
00:25:21,840 --> 00:25:25,560
Speaker 2: this point. It's more like attempting to pass as a

488
00:25:25,680 --> 00:25:26,399
Speaker 2: CIS woman.

489
00:25:27,400 --> 00:25:29,040
Speaker 5: And Felicia goes to this.

490
00:25:29,160 --> 00:25:34,720
Speaker 2: Gathering of men drinking beer in a parking lot. Bob

491
00:25:34,840 --> 00:25:38,040
Speaker 2: is there too, and Felicia flirts with one of the

492
00:25:38,160 --> 00:25:41,639
Speaker 2: men and he's into it at first, but then sees

493
00:25:42,480 --> 00:25:45,560
Speaker 2: Felicia's arm hair. I think that's like the giveaway that

494
00:25:45,800 --> 00:25:50,159
Speaker 2: this is not a CIS woman, so he assaults and

495
00:25:50,280 --> 00:25:52,639
Speaker 2: starts chasing Felicia, and.

496
00:25:52,840 --> 00:25:56,920
Speaker 5: Only then does Bob reveal that he knows Felicia right.

497
00:25:57,480 --> 00:26:01,520
Speaker 2: Because Bob intervenes. Mitzi and Bernadette see this happening, and

498
00:26:01,720 --> 00:26:06,160
Speaker 2: they step in and stop this, you know, mob of homophobes,

499
00:26:06,800 --> 00:26:10,680
Speaker 2: and they get Felicia to safety. We see Bernadette first

500
00:26:10,960 --> 00:26:15,800
Speaker 2: be rating, then consoling Felicia, and then the group sets

501
00:26:15,840 --> 00:26:21,159
Speaker 2: off again toward their destination. Bob at some point tells

502
00:26:21,359 --> 00:26:24,360
Speaker 2: the others that Cynthia basically.

503
00:26:24,240 --> 00:26:27,920
Speaker 5: Tricked him into marrying her or something happened like that.

504
00:26:28,680 --> 00:26:34,320
Speaker 2: Again, we'll discuss that further later. Then Bernadette and Bob

505
00:26:34,560 --> 00:26:38,440
Speaker 2: are kind of vibing, and then they finally arrive at

506
00:26:38,640 --> 00:26:43,800
Speaker 2: their destination, Alice Springs ever heard of it, and Mitzi

507
00:26:44,160 --> 00:26:49,600
Speaker 2: reunites with her his wife Marian played by Sarah Chadwick,

508
00:26:50,520 --> 00:26:53,119
Speaker 2: and then we get a reveal that they have a

509
00:26:53,200 --> 00:26:57,600
Speaker 2: child together, a little boy named benj which Mitzi knows about,

510
00:26:57,800 --> 00:27:01,719
Speaker 2: but Bernadette and Felicia obviously don't, so they're shocked.

511
00:27:01,840 --> 00:27:06,040
Speaker 5: Once again. Mitzy loves to have a little secret. Yes, yes,

512
00:27:08,800 --> 00:27:09,320
Speaker 5: and so.

513
00:27:09,560 --> 00:27:14,160
Speaker 2: They prep for and put on the first show their

514
00:27:14,200 --> 00:27:20,200
Speaker 2: lip sinking to finally it's happened to me, my veaz

515
00:27:20,400 --> 00:27:25,000
Speaker 2: and I just cannot hide it. And there are lots

516
00:27:25,119 --> 00:27:29,560
Speaker 2: of elaborate costumes and costume changes which just through the

517
00:27:29,680 --> 00:27:34,080
Speaker 2: magic of film editing, just happened. At the end of

518
00:27:34,119 --> 00:27:37,960
Speaker 2: the show, Mitzy sees that Benje was watching the whole time,

519
00:27:38,359 --> 00:27:43,879
Speaker 2: and Mitzy faints embarrassed to know that Benge knows about

520
00:27:44,200 --> 00:27:49,359
Speaker 2: Mitzy being a drag performer, but Benje is fine with it.

521
00:27:49,720 --> 00:27:53,680
Speaker 2: He seems proud of his father, doesn't care that he's gay.

522
00:27:54,520 --> 00:27:58,320
Speaker 2: And then Marion and Bene join the group on the

523
00:27:58,440 --> 00:28:01,960
Speaker 2: road in Priscilla the Bus so the MITSI can spend

524
00:28:02,240 --> 00:28:06,479
Speaker 2: more time with and get to know Bene. Though Mitzi

525
00:28:06,640 --> 00:28:10,040
Speaker 2: is putting on more of the like tick persona, like

526
00:28:10,200 --> 00:28:13,879
Speaker 2: pretending to be straight, dressing more masculine, I guess, like

527
00:28:14,080 --> 00:28:17,879
Speaker 2: wanting to be a quote unquote good example for Bene.

528
00:28:18,240 --> 00:28:20,639
Speaker 2: But he doesn't give a fuck, and he's like, I

529
00:28:21,040 --> 00:28:23,720
Speaker 2: want to see the abba show that you do. Do

530
00:28:23,800 --> 00:28:24,600
Speaker 2: you have a boyfriend?

531
00:28:24,640 --> 00:28:25,159
Speaker 5: What's going on?

532
00:28:25,800 --> 00:28:28,800
Speaker 4: It reminded me of like this is incredibly different genre,

533
00:28:28,920 --> 00:28:31,800
Speaker 4: but how in every Mary Kate Nashley movie, the kids

534
00:28:31,840 --> 00:28:33,840
Speaker 4: are obsessed with like do you have a boyfriend?

535
00:28:33,880 --> 00:28:35,080
Speaker 5: When are you getting married?

536
00:28:35,320 --> 00:28:38,640
Speaker 4: Like if Bench is a character like that where anytime

537
00:28:39,560 --> 00:28:43,080
Speaker 4: he's talking to his dad, he's like, do you have

538
00:28:43,160 --> 00:28:43,720
Speaker 4: a boyfriend?

539
00:28:43,840 --> 00:28:44,200
Speaker 3: Tell me?

540
00:28:44,560 --> 00:28:47,920
Speaker 5: It's like, wow, I can't imagine asking my parents.

541
00:28:48,000 --> 00:28:50,560
Speaker 4: So, I mean, I understand the narrative function, but it

542
00:28:50,640 --> 00:28:52,280
Speaker 4: just always makes me laugh when a child does that

543
00:28:52,760 --> 00:28:55,360
Speaker 4: in a movie, because I feel most children really do

544
00:28:55,560 --> 00:28:58,040
Speaker 4: not want to know what theirs are up to.

545
00:28:58,680 --> 00:29:02,080
Speaker 3: Correct I Also I love that Benji is like unfazed

546
00:29:02,160 --> 00:29:05,480
Speaker 3: by Felicia, like that character, the guy Piers character, like

547
00:29:05,720 --> 00:29:08,040
Speaker 3: the whole movie. His deal has been I like to

548
00:29:08,040 --> 00:29:09,760
Speaker 3: get a rise out of people. I like to piss

549
00:29:09,800 --> 00:29:13,760
Speaker 3: people off, shock people, and this kid like actually is

550
00:29:13,840 --> 00:29:16,920
Speaker 3: surprising to him. And they had this very brief scene

551
00:29:16,920 --> 00:29:19,360
Speaker 3: together and by the end of it, I think Benji

552
00:29:19,400 --> 00:29:21,040
Speaker 3: says something like do you want to play Lego? Or

553
00:29:21,080 --> 00:29:23,960
Speaker 3: something like that, and like they're actually sort of like

554
00:29:24,120 --> 00:29:28,120
Speaker 3: well matched because Felicia is so childish and they actually

555
00:29:28,400 --> 00:29:30,040
Speaker 3: are a good pair, the two of them.

556
00:29:30,240 --> 00:29:34,440
Speaker 2: Yeah, yeah, because Felicia's like, you know your dad's gay, right,

557
00:29:34,800 --> 00:29:36,680
Speaker 2: and Benj's like, I don't give a fuck, Let's go

558
00:29:36,800 --> 00:29:37,560
Speaker 2: play Lego.

559
00:29:37,880 --> 00:29:40,720
Speaker 3: Yeah, it's just very sweet, and.

560
00:29:40,880 --> 00:29:42,560
Speaker 4: I like that it seems like, I mean, I know

561
00:29:42,680 --> 00:29:45,480
Speaker 4: that Felicia is going back to city to be a

562
00:29:45,520 --> 00:29:47,360
Speaker 4: performer again, but it also seems like there's gonna be

563
00:29:47,480 --> 00:29:48,280
Speaker 4: like a very.

564
00:29:48,240 --> 00:29:50,480
Speaker 5: Found family kind of nature.

565
00:29:50,640 --> 00:29:52,640
Speaker 4: And because we'll talk about it, but that's like so

566
00:29:52,800 --> 00:29:55,400
Speaker 4: much of what makes this movie so special, because we

567
00:29:55,480 --> 00:29:58,600
Speaker 4: know at the very beginning of the movie that Felicia

568
00:29:58,840 --> 00:30:03,800
Speaker 4: Adams family are wealthy homophobes and that there isn't much

569
00:30:03,840 --> 00:30:04,800
Speaker 4: support to be had there.

570
00:30:04,920 --> 00:30:07,680
Speaker 5: So by the end, you know, they are.

571
00:30:07,760 --> 00:30:11,480
Speaker 4: All co parenting the most nineteen nineties looking child I've

572
00:30:11,480 --> 00:30:12,480
Speaker 4: ever seen in my life.

573
00:30:14,280 --> 00:30:16,960
Speaker 3: That's true. That's true. That like just a little bit later.

574
00:30:17,400 --> 00:30:20,240
Speaker 3: If this movie had been made later or earlier, I

575
00:30:20,280 --> 00:30:22,880
Speaker 3: can't do math, it would be Ryan Philippe Like that

576
00:30:23,120 --> 00:30:25,760
Speaker 3: is kind of yea. The vibe that this kid has

577
00:30:26,000 --> 00:30:27,480
Speaker 3: Mark Holmes, I think is the actor's name.

578
00:30:28,360 --> 00:30:31,400
Speaker 5: The hair, the clothes, like the.

579
00:30:31,440 --> 00:30:34,560
Speaker 3: Stripe shirt, the chunky sneakers, like I think he's got

580
00:30:34,640 --> 00:30:38,600
Speaker 3: cargo shorts. Like it's very yeah, Like, and you know what,

581
00:30:38,680 --> 00:30:40,440
Speaker 3: if it's been made a few years later, you would

582
00:30:40,440 --> 00:30:41,920
Speaker 3: have had like the Zelda trifle. It has been the

583
00:30:41,960 --> 00:30:45,920
Speaker 3: green Zelda Triforce T shirt, the cargo shorts, black sneakers.

584
00:30:46,520 --> 00:30:48,560
Speaker 3: That's that's the kid. We would have had their.

585
00:30:48,640 --> 00:30:50,200
Speaker 5: Child uniform of the day.

586
00:30:51,600 --> 00:30:57,080
Speaker 2: Yeah. Then we see Mitzi, Bernadette and Felicia in Drag

587
00:30:57,240 --> 00:31:01,480
Speaker 2: climbing a mountain a reference to I think Fleicia saying like,

588
00:31:01,720 --> 00:31:04,840
Speaker 2: I want to climb this mountain kings something as a

589
00:31:04,920 --> 00:31:08,720
Speaker 2: queen and then Bernadette was like, oh, a cock and

590
00:31:08,800 --> 00:31:11,360
Speaker 2: a frock on a rock. So I think that they're

591
00:31:11,400 --> 00:31:13,000
Speaker 2: fulfilling that dream.

592
00:31:13,040 --> 00:31:15,480
Speaker 5: The prophecy has been realized.

593
00:31:15,680 --> 00:31:19,680
Speaker 3: Yes, there's something so interestingly patriotic about this movie, like

594
00:31:19,800 --> 00:31:24,560
Speaker 3: Australian patriotic, where so many components of it are celebrating

595
00:31:24,600 --> 00:31:27,600
Speaker 3: Australian history and culture and not always I think nailing

596
00:31:27,640 --> 00:31:30,880
Speaker 3: it exactly. They you know the I think the treatment

597
00:31:30,920 --> 00:31:33,600
Speaker 3: of Aboriginal characters is a little dismissive and stuff like that.

598
00:31:34,640 --> 00:31:37,800
Speaker 3: But you know that final Drag number where there's so

599
00:31:37,840 --> 00:31:42,280
Speaker 3: many like iconic Australian elements. Yeah, I will survive with

600
00:31:42,360 --> 00:31:45,840
Speaker 3: a DIGGERI do. Is so lovely. It's my favorite number

601
00:31:45,840 --> 00:31:48,000
Speaker 3: in the in the film is like hearing that sort

602
00:31:48,040 --> 00:31:50,920
Speaker 3: of mashup and like then that like that. I think

603
00:31:50,920 --> 00:31:53,120
Speaker 3: it's King's Canyon at the end. That was actually going

604
00:31:53,200 --> 00:31:55,440
Speaker 3: to be Ularu. They want to do it on I

605
00:31:55,520 --> 00:31:58,240
Speaker 3: forget what the there's an English language name for it,

606
00:31:59,040 --> 00:32:02,760
Speaker 3: the something rock anyway, but they weren't able to shoot

607
00:32:02,800 --> 00:32:06,520
Speaker 3: there because of like cultural concerns around the filming there,

608
00:32:06,920 --> 00:32:09,080
Speaker 3: and so they went to this other location. But yeah,

609
00:32:09,120 --> 00:32:11,840
Speaker 3: there's just there's so much. There's so much Australia, and like,

610
00:32:11,960 --> 00:32:14,080
Speaker 3: isn't it great to be Australian about this film?

611
00:32:14,400 --> 00:32:17,440
Speaker 4: Yeah, which is why I didn't realize, I mean until

612
00:32:17,480 --> 00:32:19,600
Speaker 4: I was like looking into the background and watch this

613
00:32:19,680 --> 00:32:22,640
Speaker 4: documentary how widely embraced it was, to the point where

614
00:32:22,720 --> 00:32:25,480
Speaker 4: it was like, uh, there were references to Priscilla the

615
00:32:25,520 --> 00:32:29,720
Speaker 4: bus in the Olympics when they came to Austria. You're like, oh,

616
00:32:29,880 --> 00:32:34,400
Speaker 4: it's like it's loved like that. Like that's fascinating. Anyway, Sorry,

617
00:32:34,440 --> 00:32:36,480
Speaker 4: I know, I know the recap's almost over, but it

618
00:32:36,640 --> 00:32:40,440
Speaker 4: is interesting. Yeah, that like sort of underlying patriotism that on.

619
00:32:40,680 --> 00:32:42,600
Speaker 4: You know, the first ten years I was watching this movie,

620
00:32:42,640 --> 00:32:45,360
Speaker 4: I just didn't know enough about Australia to even recognize.

621
00:32:46,600 --> 00:32:47,280
Speaker 5: Yeah for sure.

622
00:32:48,400 --> 00:32:51,360
Speaker 2: Okay, so the movie basically ends where they're back at

623
00:32:51,400 --> 00:32:55,040
Speaker 2: the hotel. Bernadette reveals that she has decided to stay

624
00:32:55,320 --> 00:32:58,360
Speaker 2: in Alice Springs for a while with Bob, and again

625
00:32:58,440 --> 00:33:00,840
Speaker 2: we're like, you can do better, Bernadette.

626
00:33:01,080 --> 00:33:04,960
Speaker 5: She's vulnerable, she'll dump him, I hope. So Trombone just

627
00:33:05,120 --> 00:33:06,360
Speaker 5: died or whatever.

628
00:33:07,200 --> 00:33:12,000
Speaker 2: But yeah, but they say goodbye, and then Mitsy and

629
00:33:12,080 --> 00:33:15,880
Speaker 2: Felicia go back to Sydney. They do the Abbess show,

630
00:33:16,600 --> 00:33:19,000
Speaker 2: lip syncing to Mama Mia.

631
00:33:19,600 --> 00:33:22,560
Speaker 5: Here we go again, the second movie this year that

632
00:33:22,800 --> 00:33:24,000
Speaker 5: ends with that song.

633
00:33:24,440 --> 00:33:27,960
Speaker 2: So there you go, yes, indeed, and then benj is

634
00:33:28,200 --> 00:33:34,360
Speaker 2: in the audience watching gleefully the end. So let's take

635
00:33:34,400 --> 00:33:37,080
Speaker 2: a quick break and we'll come back to discuss.

636
00:33:46,400 --> 00:33:50,240
Speaker 5: And we're back. Where do we want to start the

637
00:33:51,040 --> 00:33:53,000
Speaker 5: discussion today? I mean, I guess maybe a little bit

638
00:33:53,040 --> 00:33:57,120
Speaker 5: of background, mm hmm, it would be appropriate.

639
00:33:57,400 --> 00:34:02,680
Speaker 4: So this movie was directed by Stephan Elliott, who was

640
00:34:02,800 --> 00:34:04,600
Speaker 4: not out at the time this.

641
00:34:04,720 --> 00:34:07,480
Speaker 5: Movie came out, but is a gay director.

642
00:34:07,960 --> 00:34:11,279
Speaker 4: And I didn't know, yeah until watching this documentary how

643
00:34:12,040 --> 00:34:15,600
Speaker 4: rooted this movie was in the drag scene that he

644
00:34:15,920 --> 00:34:19,160
Speaker 4: was very much a like, huge fan of in Sydney

645
00:34:19,320 --> 00:34:23,000
Speaker 4: in the eighties. We'll link to this documentary in the

646
00:34:23,080 --> 00:34:27,479
Speaker 4: description because it is really a fun celebration of this movie,

647
00:34:27,719 --> 00:34:32,680
Speaker 4: and that the character of Tick or Mitzi was based

648
00:34:32,840 --> 00:34:37,120
Speaker 4: on this famous Australian drag performer, Cindy Pastel. And so

649
00:34:37,200 --> 00:34:39,719
Speaker 4: I mean, there's just like all of these fascinating just

650
00:34:40,320 --> 00:34:42,000
Speaker 4: how this came to be, where you know, he was

651
00:34:42,040 --> 00:34:44,560
Speaker 4: working in film by day and going to drag clubs

652
00:34:44,560 --> 00:34:47,879
Speaker 4: by night and then eventually married it in this beautiful way.

653
00:34:47,920 --> 00:34:49,640
Speaker 4: And he was also only thirty when he directed this,

654
00:34:49,920 --> 00:34:51,719
Speaker 4: which always makes me mad.

655
00:34:55,680 --> 00:34:59,480
Speaker 2: Yeah, And I read that after this script at least

656
00:34:59,520 --> 00:35:03,279
Speaker 2: the first d came together pretty quickly, after Stefan had

657
00:35:03,320 --> 00:35:07,480
Speaker 2: the idea and wrote the screenplay and was trying to

658
00:35:07,520 --> 00:35:10,959
Speaker 2: get this movie off the ground. He and some producers

659
00:35:11,239 --> 00:35:15,000
Speaker 2: were trying to get it financed, pitching it around, having

660
00:35:15,080 --> 00:35:18,000
Speaker 2: a hard time getting the financing, which comes as no

661
00:35:18,160 --> 00:35:21,880
Speaker 2: surprise because again the landscape, the media landscape, the global

662
00:35:21,920 --> 00:35:27,080
Speaker 2: cultural landscape, the attitude toward queer people in this era,

663
00:35:27,880 --> 00:35:30,400
Speaker 2: because this was the early nineties, which also I.

664
00:35:30,400 --> 00:35:33,080
Speaker 4: Mean, it was interesting listening to him talk about the

665
00:35:33,239 --> 00:35:36,120
Speaker 4: reasons that he was being turned down for funding, because

666
00:35:36,160 --> 00:35:38,919
Speaker 4: it sounded like, I mean, it was certainly in part

667
00:35:39,040 --> 00:35:43,120
Speaker 4: because it was a queer story, but also he mentions

668
00:35:43,239 --> 00:35:46,360
Speaker 4: that part of the criticism was that it was too funny,

669
00:35:46,960 --> 00:35:48,960
Speaker 4: and so it was like, oh, sure, you can tell

670
00:35:49,080 --> 00:35:50,319
Speaker 4: a queer story.

671
00:35:50,320 --> 00:35:53,920
Speaker 5: Maybe, but only if it's completely tragic.

672
00:35:54,120 --> 00:35:58,000
Speaker 4: Yeah, depressing, and there's not a moment of joy expressed throughout.

673
00:35:58,239 --> 00:36:01,800
Speaker 4: And I don't know he is, you know, using some

674
00:36:01,960 --> 00:36:05,040
Speaker 4: choice language to describe that process, but yeah, it was

675
00:36:05,160 --> 00:36:07,680
Speaker 4: just like it. You know, it's like incredibly frustrating to

676
00:36:07,760 --> 00:36:10,120
Speaker 4: be like, well, you know, maybe you we'll consider funding

677
00:36:10,160 --> 00:36:13,719
Speaker 4: this if the characters don't have a happy ending or

678
00:36:13,920 --> 00:36:15,840
Speaker 4: like don't experience joy, and.

679
00:36:16,080 --> 00:36:16,880
Speaker 5: You know, it's like fuck you.

680
00:36:17,840 --> 00:36:19,680
Speaker 3: Yeah, you know, you look at the landscape of what's

681
00:36:19,719 --> 00:36:22,440
Speaker 3: happening around this time. I mean, mainstream is expecting a

682
00:36:22,520 --> 00:36:25,520
Speaker 3: gay movie to be like Longtime Companion or Philadelphia, which

683
00:36:25,560 --> 00:36:27,359
Speaker 3: I think was I think came out the same year

684
00:36:27,400 --> 00:36:29,719
Speaker 3: or around the same time. There's so much there's just

685
00:36:29,920 --> 00:36:34,719
Speaker 3: so much tragedy. It's hard to think of frothy gay

686
00:36:34,800 --> 00:36:38,440
Speaker 3: comedies from the early nineties, you know, kind of understandably,

687
00:36:38,560 --> 00:36:40,640
Speaker 3: like there's a lot of like really tragic stuff going

688
00:36:40,640 --> 00:36:43,600
Speaker 3: on at this point in history. However, boy, oh boy,

689
00:36:43,640 --> 00:36:45,320
Speaker 3: you need to laugh you know, queer people were not

690
00:36:45,480 --> 00:36:48,000
Speaker 3: all like doom and gloom all the time, but you

691
00:36:48,040 --> 00:36:51,280
Speaker 3: wouldn't know it from the culture that was getting funded totally.

692
00:36:51,760 --> 00:36:55,600
Speaker 2: And then casting this movie was another a pill battle

693
00:36:55,719 --> 00:37:00,960
Speaker 2: where they went out to several people. Any actors they

694
00:37:01,040 --> 00:37:05,279
Speaker 2: approached were either not available or simply not interested. They

695
00:37:05,360 --> 00:37:08,480
Speaker 2: didn't want to play a drag queen or a trans

696
00:37:08,560 --> 00:37:13,200
Speaker 2: woman or anything along those lines. And Terence Stamp, who

697
00:37:13,600 --> 00:37:19,160
Speaker 2: ultimately got cast as Bernadette, talks about how terrified he

698
00:37:19,440 --> 00:37:23,720
Speaker 2: was of playing this role and even you know, days

699
00:37:23,880 --> 00:37:26,839
Speaker 2: into shooting, was still like, oh my god, I don't

700
00:37:26,880 --> 00:37:29,960
Speaker 2: know if I can do this, and then describing like

701
00:37:30,280 --> 00:37:34,279
Speaker 2: during one scene everything just kind of like clicked and

702
00:37:34,400 --> 00:37:38,160
Speaker 2: he like stepped over the barrier and described just like

703
00:37:38,280 --> 00:37:42,480
Speaker 2: feeling fearless and eventually like you know, embraced the role

704
00:37:42,880 --> 00:37:47,360
Speaker 2: and you know, loves the movie now. But and you know,

705
00:37:47,920 --> 00:37:51,520
Speaker 2: part of the problem is that this is a movie

706
00:37:51,560 --> 00:37:57,080
Speaker 2: about queer people and the cast is all sis had

707
00:37:57,200 --> 00:37:58,360
Speaker 2: people question.

708
00:37:58,320 --> 00:38:02,440
Speaker 3: Mark, Yeah, as far as I know, you know, who

709
00:38:02,520 --> 00:38:05,120
Speaker 3: knows what's truly in their hearts, in their private lives.

710
00:38:05,200 --> 00:38:07,920
Speaker 3: But of course, you know, I love that this is

711
00:38:07,960 --> 00:38:10,480
Speaker 3: a film with a trans character, but I don't love

712
00:38:10,680 --> 00:38:13,520
Speaker 3: that it's played by as his man that is not

713
00:38:13,560 --> 00:38:15,960
Speaker 3: actually played by a trans woman. On the other hand,

714
00:38:16,080 --> 00:38:17,759
Speaker 3: you know, there was no Janet Monk type. You know,

715
00:38:18,239 --> 00:38:21,160
Speaker 3: the industry was not, let us say, nurturing trans talent

716
00:38:21,239 --> 00:38:25,960
Speaker 3: in the early nineteen nineties, so you know, obviously those

717
00:38:26,040 --> 00:38:29,800
Speaker 3: actors existed, but finding them and also getting funding for

718
00:38:29,840 --> 00:38:32,120
Speaker 3: something requires having some amount of star power in there.

719
00:38:32,160 --> 00:38:33,919
Speaker 3: And so Terreen Staff is, you know, this is somebody

720
00:38:33,920 --> 00:38:36,359
Speaker 3: who had been in movies for a long time, Billy

721
00:38:36,400 --> 00:38:39,919
Speaker 3: Budden then all the way up to Superman three four,

722
00:38:40,600 --> 00:38:43,120
Speaker 3: one of the Superman's is so you know, this is

723
00:38:43,160 --> 00:38:44,600
Speaker 3: somebody who has a bit of a name. So I

724
00:38:44,719 --> 00:38:47,160
Speaker 3: understand the need to get either Stamp or they went

725
00:38:47,200 --> 00:38:50,759
Speaker 3: to Tony Curtis before him, and like what trans star

726
00:38:50,840 --> 00:38:52,200
Speaker 3: could they have gone to at this point, because the

727
00:38:52,280 --> 00:38:55,760
Speaker 3: industry and even the independent film scene was really keeping

728
00:38:55,960 --> 00:38:59,600
Speaker 3: transactors down, was suppressing them, you know at that time.

729
00:39:00,120 --> 00:39:02,520
Speaker 4: And there's such a like, I mean, this sort of

730
00:39:02,680 --> 00:39:05,520
Speaker 4: run of queer movies in the mid nineties that you

731
00:39:05,680 --> 00:39:07,440
Speaker 4: sort of see that trend again and again. I know that,

732
00:39:07,880 --> 00:39:12,239
Speaker 4: like it's impossible to encounter any article about Priscilla. That

733
00:39:12,440 --> 00:39:16,600
Speaker 4: doesn't mention the parallels between Tu Wong Fu, which is,

734
00:39:16,880 --> 00:39:19,720
Speaker 4: you know, for what it's worth, for all the annoying

735
00:39:19,719 --> 00:39:22,960
Speaker 4: Reddit posts I saw, they were developed independently of each other.

736
00:39:23,320 --> 00:39:26,479
Speaker 4: It is a you know, coincidence, but much the same.

737
00:39:26,560 --> 00:39:30,800
Speaker 4: You know where the movie was going with big names

738
00:39:30,840 --> 00:39:32,680
Speaker 4: that were all as far as we know it sis

739
00:39:32,719 --> 00:39:35,800
Speaker 4: head men. Yeah, it's like very much a product of

740
00:39:35,880 --> 00:39:38,800
Speaker 4: its time. And and I mean my instinct is like,

741
00:39:38,880 --> 00:39:43,319
Speaker 4: here is an opportunity to give a transactor a big

742
00:39:43,440 --> 00:39:47,400
Speaker 4: opportunity and make a career. But it seems like the

743
00:39:47,560 --> 00:39:51,040
Speaker 4: choice was, well, do we stand a better chance of

744
00:39:51,120 --> 00:39:53,719
Speaker 4: getting funding if we put a star in it, which

745
00:39:53,800 --> 00:39:57,200
Speaker 4: is really unfortunate kind of what is the word I'm

746
00:39:57,200 --> 00:40:01,720
Speaker 4: looking for, like business d decision to make.

747
00:40:01,920 --> 00:40:04,279
Speaker 3: I would have loved to have seen. I think Calpernia

748
00:40:04,320 --> 00:40:09,080
Speaker 3: Adams was working around this time, and you know, again

749
00:40:09,320 --> 00:40:11,400
Speaker 3: not like a very famous, well known name, but I mean,

750
00:40:11,440 --> 00:40:13,359
Speaker 3: there you go, there's a trans woman who I think

751
00:40:13,360 --> 00:40:15,719
Speaker 3: would have been pretty astonishing in this role. Now I

752
00:40:15,760 --> 00:40:17,520
Speaker 3: don't think she's the right age for that, but like

753
00:40:17,640 --> 00:40:19,359
Speaker 3: I you know, I'm racking my brains to even think

754
00:40:19,400 --> 00:40:23,480
Speaker 3: of somebody obscure who could have played this character. And

755
00:40:23,760 --> 00:40:27,000
Speaker 3: I cannot think of anybody who's being given opportunities, any

756
00:40:27,040 --> 00:40:30,680
Speaker 3: transactress who is being given opportunities in ninety three ninety

757
00:40:30,760 --> 00:40:31,920
Speaker 3: four are kidding me, like.

758
00:40:32,080 --> 00:40:34,800
Speaker 4: Which is really too bad because we know that Stephan Elliott,

759
00:40:34,800 --> 00:40:37,960
Speaker 4: you know, certainly knew plenty of transperformers and plenty of

760
00:40:38,040 --> 00:40:39,759
Speaker 4: drag performers because that.

761
00:40:39,840 --> 00:40:41,840
Speaker 5: Was what the story was inspired by. I don't know,

762
00:40:42,040 --> 00:40:42,960
Speaker 5: it's difficult.

763
00:40:43,000 --> 00:40:45,600
Speaker 4: I don't want to come down on Stephan Elliott too

764
00:40:45,640 --> 00:40:47,960
Speaker 4: hard because it is like a miracle that this movie

765
00:40:48,200 --> 00:40:48,800
Speaker 4: was made.

766
00:40:48,800 --> 00:40:50,840
Speaker 5: At the time and in the climate it was made in.

767
00:40:51,480 --> 00:40:56,480
Speaker 3: But nonetheless, yeah, missed opportunity. But that's just you know.

768
00:40:56,680 --> 00:40:58,440
Speaker 3: I think something that you see a bunch in this

769
00:40:58,560 --> 00:41:01,960
Speaker 3: film is cultural rules that we kind of maybe take

770
00:41:02,000 --> 00:41:04,439
Speaker 3: for granted, or at least have the privilege of having

771
00:41:04,480 --> 00:41:08,000
Speaker 3: now just didn't exist. Like the taboo around dead naming,

772
00:41:08,640 --> 00:41:11,160
Speaker 3: I don't think was as widely known. I mean, obviously

773
00:41:11,320 --> 00:41:14,320
Speaker 3: trans people understood why that was unacceptable then, but I

774
00:41:14,440 --> 00:41:16,560
Speaker 3: think it was not looked at. I think it was

775
00:41:16,560 --> 00:41:18,360
Speaker 3: still you know, by other queer people. It was just

776
00:41:18,480 --> 00:41:21,000
Speaker 3: kind of a joke to know somebody's dead name. Then

777
00:41:21,320 --> 00:41:23,520
Speaker 3: it wasn't understood to be the taboo that it should

778
00:41:23,520 --> 00:41:23,680
Speaker 3: have been.

779
00:41:23,960 --> 00:41:24,120
Speaker 4: Right.

780
00:41:24,400 --> 00:41:27,279
Speaker 2: So that's the thing about this movie where in some

781
00:41:27,480 --> 00:41:31,680
Speaker 2: ways it's ahead of its time and kind of helped

782
00:41:31,840 --> 00:41:35,320
Speaker 2: push the needle forward as far as queer representation in

783
00:41:35,800 --> 00:41:36,600
Speaker 2: mainstream media.

784
00:41:36,880 --> 00:41:38,399
Speaker 3: Yeah, it's a brave film in a lot of ways,

785
00:41:38,600 --> 00:41:39,000
Speaker 3: but at the.

786
00:41:39,000 --> 00:41:44,040
Speaker 2: Same time, it's still very of the time where it's

787
00:41:44,320 --> 00:41:47,560
Speaker 2: you know, casting assists actor to play a trans character,

788
00:41:48,360 --> 00:41:49,680
Speaker 2: and it's the thing where it's like, Okay, if they

789
00:41:49,719 --> 00:41:52,920
Speaker 2: need a star, I get that, but like, then why

790
00:41:53,040 --> 00:41:56,759
Speaker 2: not cast the role of Mitzi because Hugo Weaving at

791
00:41:56,800 --> 00:42:00,239
Speaker 2: the time was basically unknown. So like, cast as star

792
00:42:00,719 --> 00:42:04,440
Speaker 2: for Mitzi and then cast an unknown you know, if

793
00:42:04,480 --> 00:42:07,760
Speaker 2: you're gonna have an unknown actor anyway, cast an unknown

794
00:42:07,840 --> 00:42:10,279
Speaker 2: transactor for the role of Bernadette.

795
00:42:10,480 --> 00:42:10,600
Speaker 4: Right.

796
00:42:10,760 --> 00:42:13,480
Speaker 2: But at least this movie to bring up Tu wang

797
00:42:13,560 --> 00:42:16,360
Speaker 2: Fu again, because that's a movie, as we discussed on

798
00:42:16,400 --> 00:42:21,480
Speaker 2: that episode, doesn't seem to understand the distinction between drag

799
00:42:21,640 --> 00:42:27,440
Speaker 2: performers and trans women, whereas this movie does understand that distinction.

800
00:42:28,239 --> 00:42:31,440
Speaker 2: But again, it has the trans character played by a

801
00:42:31,560 --> 00:42:35,360
Speaker 2: sis actor. We also see several examples of you know,

802
00:42:35,480 --> 00:42:40,120
Speaker 2: Sis had people being horribly queer phobic toward these characters

803
00:42:40,760 --> 00:42:43,120
Speaker 2: and that being framed as a bad thing. But then

804
00:42:43,160 --> 00:42:46,040
Speaker 2: there are many other examples in the movie of bigotry

805
00:42:46,160 --> 00:42:49,800
Speaker 2: that is not condemned by the movie, such as Felicia

806
00:42:49,920 --> 00:42:54,200
Speaker 2: constantly dead naming and being transphobic toward Bernadette, or white

807
00:42:54,320 --> 00:42:58,320
Speaker 2: characters being cruel to Cynthia.

808
00:42:58,000 --> 00:42:58,520
Speaker 5: For example.

809
00:42:58,640 --> 00:43:02,399
Speaker 2: So it's a step in the right direction, but it's

810
00:43:02,440 --> 00:43:05,879
Speaker 2: also doing some very outdated, problematic things.

811
00:43:06,239 --> 00:43:06,439
Speaker 4: Yeah.

812
00:43:06,520 --> 00:43:09,880
Speaker 3: Boy, that's Cynthia character is so complex. At least my

813
00:43:10,080 --> 00:43:14,320
Speaker 3: feelings about her are very complex, because personally, I do

814
00:43:14,560 --> 00:43:18,120
Speaker 3: regard the character as being pretty racist and misogynists. However,

815
00:43:18,360 --> 00:43:21,560
Speaker 3: I've spoken to a lot of other Filipino people who say, no,

816
00:43:21,640 --> 00:43:24,160
Speaker 3: we actually I think she's funny and I like her. Yeah,

817
00:43:24,160 --> 00:43:26,000
Speaker 3: I get why she's she's tropy, and I get why

818
00:43:26,080 --> 00:43:28,759
Speaker 3: it's you know, a negative depiction, but also it's a

819
00:43:28,800 --> 00:43:31,080
Speaker 3: lot of fun to see her. And somebody compared it

820
00:43:31,160 --> 00:43:34,080
Speaker 3: to how a lot of queer people just really love

821
00:43:34,800 --> 00:43:37,680
Speaker 3: Cruella de Ville for example, or you know, there's like

822
00:43:37,840 --> 00:43:40,560
Speaker 3: there's corell Is probably not a great example because she's

823
00:43:40,560 --> 00:43:43,880
Speaker 3: not queer herself. I don't explicitly at least a.

824
00:43:44,000 --> 00:43:47,480
Speaker 2: Queer quoted villain like all those Disney movies are.

825
00:43:47,800 --> 00:43:50,279
Speaker 3: Yeah, Hollywood Montrose is another one that I look at like,

826
00:43:50,360 --> 00:43:55,200
Speaker 3: this is a problomatic character being played by a as

827
00:43:55,239 --> 00:43:59,160
Speaker 3: far as I know, heterosexual actor Mishaque Taylor. But I

828
00:43:59,320 --> 00:44:01,920
Speaker 3: just I love of Hollywood Montrose and the Mannequin movies.

829
00:44:02,080 --> 00:44:04,880
Speaker 3: He's just so much fun. It's trophy and problematic, but

830
00:44:04,960 --> 00:44:06,359
Speaker 3: he's just soonat fun to watch.

831
00:44:06,600 --> 00:44:09,080
Speaker 4: I saw Mannequin for the first time this year and

832
00:44:09,400 --> 00:44:13,560
Speaker 4: was blown away. My god, what incredible characters.

833
00:44:13,680 --> 00:44:16,920
Speaker 3: Oh yeah, just like, here's the thing that Hollywood and

834
00:44:17,239 --> 00:44:20,759
Speaker 3: that Cynthia and Priscilla have is there scene stealers. They're

835
00:44:20,800 --> 00:44:22,440
Speaker 3: chewing the scenery, they're having such a good time, that

836
00:44:22,520 --> 00:44:24,880
Speaker 3: are running circles right or made characters, they're just stealing

837
00:44:24,920 --> 00:44:28,040
Speaker 3: the scene. And you know, if I was seeing myself

838
00:44:28,120 --> 00:44:29,800
Speaker 3: in that role as I am with, you know, in

839
00:44:29,840 --> 00:44:32,160
Speaker 3: a role like Hollywood, Like there's a lot of that

840
00:44:32,200 --> 00:44:35,000
Speaker 3: I see about him that is aspirational, I'd be like, yeah, cool,

841
00:44:35,080 --> 00:44:38,240
Speaker 3: good for you and the fact that you are playing

842
00:44:38,320 --> 00:44:41,839
Speaker 3: into some really negative tropes but also seems like you're

843
00:44:41,880 --> 00:44:43,480
Speaker 3: having a good time with it, and it's not like,

844
00:44:44,480 --> 00:44:46,400
Speaker 3: you know, this is where I think they differ. Hollywood

845
00:44:46,440 --> 00:44:49,440
Speaker 3: feels affectionate and Cynthia actually feels like this feels like

846
00:44:49,480 --> 00:44:52,120
Speaker 3: a malicious depiction. And I've heard Stephen Ellie olertefin Elliott

847
00:44:52,120 --> 00:44:54,440
Speaker 3: talk about like they were trying to send up they

848
00:44:54,480 --> 00:44:57,000
Speaker 3: were trying to make fun of racism. But I think

849
00:44:57,160 --> 00:45:00,480
Speaker 3: that it perhaps lacks some clarity for sure.

850
00:45:00,960 --> 00:45:02,160
Speaker 5: Yeah, yeah, I.

851
00:45:02,239 --> 00:45:04,200
Speaker 4: Was fascinated to hear that in your video, and I

852
00:45:04,520 --> 00:45:07,400
Speaker 4: like the I mean, I'm never gonna argue a reclaiming

853
00:45:07,520 --> 00:45:10,040
Speaker 4: like it's not my place at all, but I did

854
00:45:10,239 --> 00:45:12,720
Speaker 4: see that there was there also has been like pretty

855
00:45:12,760 --> 00:45:15,520
Speaker 4: significant criticism of it, Like at the time the movie

856
00:45:15,680 --> 00:45:21,000
Speaker 4: was released, pulling from I believe scholarly journal Wikipedia here,

857
00:45:21,480 --> 00:45:26,080
Speaker 4: but there was a representative from the Center for Filipino

858
00:45:26,200 --> 00:45:31,200
Speaker 4: Concerns named Marginson, who you know, said more of what

859
00:45:31,360 --> 00:45:34,200
Speaker 4: I sort of thought might be the criticism around this character,

860
00:45:34,400 --> 00:45:37,160
Speaker 4: saying that she was portrayed as quote a gold digger,

861
00:45:37,200 --> 00:45:39,960
Speaker 4: a prostitute, an entertainer whose expertise is popping out ping

862
00:45:40,080 --> 00:45:43,640
Speaker 4: pong balls from her sex organ what a phrase, a manic, depressive,

863
00:45:43,880 --> 00:45:47,560
Speaker 4: loud and vulgar, the worst stereotype of the Filipina. She

864
00:45:47,719 --> 00:45:50,320
Speaker 4: argued that by portraying Cynthia in this manner, the filmmakers

865
00:45:50,320 --> 00:45:53,720
Speaker 4: were quote violently killing the dignity of Filipino women, something

866
00:45:53,800 --> 00:45:56,759
Speaker 4: she feared that would lead to quote more violence against us.

867
00:45:57,600 --> 00:45:59,720
Speaker 4: So there was also I mean, there has been plenty

868
00:45:59,760 --> 00:46:04,560
Speaker 4: of around the character as well. I understand the argument

869
00:46:04,640 --> 00:46:07,600
Speaker 4: for reclaiming not gonna you know, obviously be like you

870
00:46:07,719 --> 00:46:10,960
Speaker 4: can't do that, but I feel for this character. And

871
00:46:11,040 --> 00:46:13,640
Speaker 4: it also it's so weird because we just recorded an

872
00:46:13,680 --> 00:46:16,880
Speaker 4: episode about my best friend's wedding. Bear with me here,

873
00:46:17,840 --> 00:46:21,520
Speaker 4: But how like I think that Cynthia, for all of

874
00:46:21,560 --> 00:46:25,600
Speaker 4: her campiness, like her presence, also serves to make Bob look,

875
00:46:25,880 --> 00:46:28,440
Speaker 4: I think worse in a way that the movie doesn't

876
00:46:28,480 --> 00:46:31,200
Speaker 4: really seem to recognize or have an interest in examining,

877
00:46:31,239 --> 00:46:34,240
Speaker 4: because we see him basically like he locks up her stuff,

878
00:46:34,520 --> 00:46:36,680
Speaker 4: He's like kind of holding her hostage in the house.

879
00:46:36,840 --> 00:46:39,279
Speaker 4: He's dismissive to her at every turn. It's made to

880
00:46:39,320 --> 00:46:42,840
Speaker 4: be a joke. And then you know, when she escapes

881
00:46:43,000 --> 00:46:46,120
Speaker 4: question Mark to do the Pingpung dot MP three routine,

882
00:46:47,320 --> 00:46:50,200
Speaker 4: he like yanks her off stage and it's like very

883
00:46:50,239 --> 00:46:54,240
Speaker 4: physically violent, way fully abusive, and then when she leaves

884
00:46:54,440 --> 00:46:57,000
Speaker 4: that's also made to be like a joke, like she's

885
00:46:57,120 --> 00:46:58,600
Speaker 4: being unreasonable.

886
00:46:59,000 --> 00:47:00,600
Speaker 5: We're like I would.

887
00:47:00,440 --> 00:47:03,160
Speaker 3: Leave, you know, And yeah, what I want from here's

888
00:47:03,400 --> 00:47:07,520
Speaker 3: my rewrite of Cynthia that I would have pitched where

889
00:47:07,520 --> 00:47:09,720
Speaker 3: I involved in this movie, which I want a scene

890
00:47:09,840 --> 00:47:12,120
Speaker 3: instead of her like storming out and leaving, I would

891
00:47:12,160 --> 00:47:14,800
Speaker 3: want like a little more intimate scene between her and

892
00:47:14,840 --> 00:47:18,040
Speaker 3: Bernadette where like it's the day after. They're like Bernadette's

893
00:47:18,040 --> 00:47:20,000
Speaker 3: just drinking coffee by herself and Cynthia comes over and

894
00:47:20,120 --> 00:47:23,920
Speaker 3: she like drops the act and she's like, look, I

895
00:47:24,080 --> 00:47:27,160
Speaker 3: just married this guy because I needed the immigration status

896
00:47:27,320 --> 00:47:29,799
Speaker 3: and I can't do this anymore. I'm exhausted. I'm getting

897
00:47:29,800 --> 00:47:31,800
Speaker 3: out of here. You can have them. Good luck to you,

898
00:47:32,160 --> 00:47:35,600
Speaker 3: and like so that Cynthia is not like this cartoon character,

899
00:47:35,640 --> 00:47:38,000
Speaker 3: because all the other characters are so well like realized,

900
00:47:38,440 --> 00:47:40,440
Speaker 3: just some moment where it's like Cynthia knows what's going on.

901
00:47:40,640 --> 00:47:44,839
Speaker 3: She's not like this hyper sexual freak and she's just like, yeah,

902
00:47:44,840 --> 00:47:46,600
Speaker 3: all right, this is my act. I'm going back to

903
00:47:46,680 --> 00:47:49,480
Speaker 3: Sydney and I'm going to seek my fortune out there,

904
00:47:50,120 --> 00:47:52,440
Speaker 3: and you know, like I want to see Cynthia and

905
00:47:53,000 --> 00:47:56,120
Speaker 3: Bernadette realize that they are equals or peers in some way,

906
00:47:56,160 --> 00:47:58,440
Speaker 3: and then they're just like these ships that are crossing

907
00:47:58,520 --> 00:48:00,720
Speaker 3: in the night. And Cynthia wants Bernadet. That's life, Bernette,

908
00:48:00,760 --> 00:48:04,640
Speaker 3: Cynthia's life, Okay, cool, Now she's a person. We don't

909
00:48:04,680 --> 00:48:06,120
Speaker 3: get that, No, we don't.

910
00:48:06,520 --> 00:48:09,759
Speaker 4: You know, that's a way to bring, you know, potentially

911
00:48:09,920 --> 00:48:13,440
Speaker 4: bring Bob and Bernadette together in a way that feels

912
00:48:13,440 --> 00:48:16,239
Speaker 4: a little less icky. If Bernadette is like standing up

913
00:48:16,280 --> 00:48:18,239
Speaker 4: for Cynthia, like, look, if you don't want to be

914
00:48:18,280 --> 00:48:20,080
Speaker 4: married to her, that's fine, but you can't treat her

915
00:48:20,200 --> 00:48:23,359
Speaker 4: like that, and Bob having to recognize and at least

916
00:48:23,520 --> 00:48:26,960
Speaker 4: acknowledge how he's acting. It doesn't absolve him anything. I

917
00:48:27,040 --> 00:48:31,400
Speaker 4: think that, you know, Bernadette Anthea should ditch him personally,

918
00:48:31,560 --> 00:48:34,759
Speaker 4: but like, I don't know, I was a little like

919
00:48:35,120 --> 00:48:39,160
Speaker 4: it feels very of its time that Bob's behavior specifically

920
00:48:39,280 --> 00:48:43,160
Speaker 4: goes so unexamined because after this sort of like run

921
00:48:43,480 --> 00:48:46,960
Speaker 4: of him being only abusive to his wife, which we're

922
00:48:46,960 --> 00:48:50,160
Speaker 4: not supposed to care about because of all these heavy

923
00:48:50,600 --> 00:48:55,880
Speaker 4: racial and gender stereotyping that Cynthia has. He just turns

924
00:48:55,960 --> 00:48:59,239
Speaker 4: to you know, he turns to the gals and makes

925
00:48:59,280 --> 00:49:02,319
Speaker 4: a little joke. He's like, well, you know, some days

926
00:49:02,360 --> 00:49:04,920
Speaker 4: you just shouldn't wake up. And then he's like the

927
00:49:05,040 --> 00:49:07,680
Speaker 4: primary romantic interest of the movie.

928
00:49:07,760 --> 00:49:11,200
Speaker 5: And you're like, it's it's naturally annoying.

929
00:49:11,080 --> 00:49:15,200
Speaker 2: Right because they join in on like the racism and

930
00:49:15,360 --> 00:49:21,440
Speaker 2: misogyny that both Bob is hurling at Cynthia and that

931
00:49:21,600 --> 00:49:24,439
Speaker 2: the movie is because they you know, they talk about

932
00:49:24,480 --> 00:49:28,360
Speaker 2: her like she's property that Bob should have quote unquote

933
00:49:28,440 --> 00:49:32,400
Speaker 2: sold her off. And to me, it's a reminder that

934
00:49:32,640 --> 00:49:36,960
Speaker 2: not everyone who belongs to a marginalized community will automatically

935
00:49:37,040 --> 00:49:41,719
Speaker 2: show solidarity or allyship to other marginalized communities.

936
00:49:41,840 --> 00:49:42,480
Speaker 5: Unfortunately.

937
00:49:43,200 --> 00:49:47,120
Speaker 2: For example, there is a history of white queer people

938
00:49:47,400 --> 00:49:52,480
Speaker 2: being racist. There's a history of cis gay people being transphobic.

939
00:49:52,560 --> 00:49:55,720
Speaker 2: You know, we see examples of both in this movie.

940
00:49:55,920 --> 00:50:00,000
Speaker 2: And it's not as though we're seeing something unrealistic, unfortun

941
00:50:00,160 --> 00:50:04,000
Speaker 2: Really the problem is the movie presents that but doesn't

942
00:50:04,080 --> 00:50:06,399
Speaker 2: challenge it or frame it as a bad thing.

943
00:50:07,040 --> 00:50:08,960
Speaker 3: I think the best you can say, and this is

944
00:50:09,040 --> 00:50:12,560
Speaker 3: not absolving it is hey, it's the nineties, Like this

945
00:50:12,760 --> 00:50:16,279
Speaker 3: is just reflecting some very common attitudes that would I

946
00:50:16,360 --> 00:50:18,919
Speaker 3: think evolve into like the edgy racism of South Park.

947
00:50:19,080 --> 00:50:22,560
Speaker 3: But you know, the thing of like the man having

948
00:50:22,640 --> 00:50:25,759
Speaker 3: some possession of the wife, and especially in like a

949
00:50:25,800 --> 00:50:28,400
Speaker 3: more rough and tumble sort of context like the Australian outback,

950
00:50:28,880 --> 00:50:31,480
Speaker 3: and you know, the casual homophobia, the casual raises, the

951
00:50:31,520 --> 00:50:34,240
Speaker 3: casual mibsogy, and that's just you know, hey, it's the nineties.

952
00:50:34,560 --> 00:50:38,120
Speaker 3: Not good. It's not a good thing. But like the

953
00:50:38,200 --> 00:50:41,799
Speaker 3: conversation about hey, maybe let's not do this, like would

954
00:50:41,800 --> 00:50:44,480
Speaker 3: have been greeted with like such an eye roll of like,

955
00:50:44,560 --> 00:50:48,000
Speaker 3: oh boy, here come the politically correct police. Right.

956
00:50:49,640 --> 00:50:51,680
Speaker 4: But it's like if they wouldn't even have had to

957
00:50:51,760 --> 00:50:54,600
Speaker 4: do that, if they had just written this character better,

958
00:50:54,960 --> 00:50:57,120
Speaker 4: like if they'd written Cynthia Bettery, they wouldn't have needed

959
00:50:57,320 --> 00:50:59,920
Speaker 4: to have to address all the horrible Like I don't know,

960
00:51:00,120 --> 00:51:01,840
Speaker 4: I mean whatever, it's nineteen ninety four, and I know

961
00:51:01,960 --> 00:51:04,080
Speaker 4: that it's like putting twenty twenty four morals on a

962
00:51:04,160 --> 00:51:06,680
Speaker 4: nineteen ninety four movie as a non starter, but it's

963
00:51:06,760 --> 00:51:08,719
Speaker 4: even for nineteen ninety four. I feel like you know

964
00:51:08,840 --> 00:51:11,799
Speaker 4: there was room for improvement because it was criticized at

965
00:51:11,800 --> 00:51:12,359
Speaker 4: the time as well.

966
00:51:12,560 --> 00:51:14,239
Speaker 3: Exactly. Yeah, No, you know who knew that it was

967
00:51:14,320 --> 00:51:16,520
Speaker 3: racist was people who were the object of that kind

968
00:51:16,520 --> 00:51:18,759
Speaker 3: of racism there right, They could have told you it

969
00:51:18,880 --> 00:51:21,000
Speaker 3: wasn't like a discovery waiting to be made.

970
00:51:21,480 --> 00:51:25,040
Speaker 4: The positive things that I will say, you know, for

971
00:51:25,760 --> 00:51:29,760
Speaker 4: the Bernadette Bob relationship, although I don't care for Bomb,

972
00:51:30,719 --> 00:51:33,759
Speaker 4: is that I was, you know, I guess, like on

973
00:51:33,920 --> 00:51:36,480
Speaker 4: the analysis pleasantly surprised that, first of all, that our

974
00:51:36,520 --> 00:51:39,799
Speaker 4: only trans character has a love story, which I feel

975
00:51:39,800 --> 00:51:42,680
Speaker 4: like is you know, certainly a rarity at this time,

976
00:51:43,000 --> 00:51:45,840
Speaker 4: and also that the oldest character has a love story,

977
00:51:45,960 --> 00:51:48,680
Speaker 4: because that also feels very unusual, and people over a

978
00:51:48,719 --> 00:51:52,440
Speaker 4: certain age don't have access to romance stories in successful

979
00:51:52,960 --> 00:51:57,320
Speaker 4: iconic movies. So I appreciated those aspects, but the actual

980
00:51:57,840 --> 00:52:01,000
Speaker 4: the guy himself wasn't a fo Yeah.

981
00:52:01,120 --> 00:52:03,800
Speaker 3: I would have loved you know, Bob could maybe have

982
00:52:03,920 --> 00:52:06,879
Speaker 3: been redeemed somewhat for me if he had some quick

983
00:52:06,960 --> 00:52:09,800
Speaker 3: scene with Bernadette where he's talking about Cynthia and he's like,

984
00:52:10,280 --> 00:52:13,360
Speaker 3: I fucked up, you know, just something where he's you know,

985
00:52:13,520 --> 00:52:16,000
Speaker 3: instead Bernadt just calls him a gentleman, but you know,

986
00:52:16,160 --> 00:52:18,719
Speaker 3: some like awareness from him of like, you know, I

987
00:52:18,800 --> 00:52:20,880
Speaker 3: got into a shitty situation there, and I could have

988
00:52:20,960 --> 00:52:22,759
Speaker 3: done it. I wish I could redo. I wish I

989
00:52:22,760 --> 00:52:25,360
Speaker 3: could make up for what I did wrong there and

990
00:52:25,800 --> 00:52:28,440
Speaker 3: without realizing, and he starts doing nice things for Bernadette

991
00:52:28,440 --> 00:52:29,600
Speaker 3: and then the two of them eventually. I don't know,

992
00:52:29,680 --> 00:52:31,759
Speaker 3: I'm writing this whole. It's a completely different movie at

993
00:52:31,800 --> 00:52:32,120
Speaker 3: this point.

994
00:52:32,200 --> 00:52:35,120
Speaker 5: But you just have to write another movie, I think, Matt,

995
00:52:35,480 --> 00:52:35,960
Speaker 5: it's you know.

996
00:52:35,960 --> 00:52:38,440
Speaker 3: What, it's the Alan story, and we see what Alan's

997
00:52:38,440 --> 00:52:40,880
Speaker 3: been up to for the last thirty years. Yeah, and

998
00:52:41,520 --> 00:52:44,240
Speaker 3: he encounters Bernadette and Bob out in the desert or something.

999
00:52:44,440 --> 00:52:49,320
Speaker 4: And you know, I forgot to revisit this. I know

1000
00:52:49,400 --> 00:52:51,480
Speaker 4: that when I watched this movie and talked about it

1001
00:52:51,520 --> 00:52:53,720
Speaker 4: a couple of months ago, I had just refreshed myself

1002
00:52:53,800 --> 00:52:55,520
Speaker 4: on it. A lot of what we're talking about is

1003
00:52:55,560 --> 00:52:57,160
Speaker 4: course corrected in the.

1004
00:52:57,800 --> 00:52:59,160
Speaker 5: Big musical adaptation.

1005
00:52:59,400 --> 00:53:02,400
Speaker 4: It's not a into one, and I'm trying to remember

1006
00:53:02,520 --> 00:53:05,600
Speaker 4: what the specific changes were. But for those that have

1007
00:53:05,680 --> 00:53:08,480
Speaker 4: seen the musical, please let us know, because there were

1008
00:53:08,800 --> 00:53:13,360
Speaker 4: deliberate changes to sort of nineteen ninety four elements of

1009
00:53:13,520 --> 00:53:18,799
Speaker 4: this movie to adapt it for the stage. Transactors are

1010
00:53:18,960 --> 00:53:22,000
Speaker 4: in the main cast. I mean there's that I definitely remember.

1011
00:53:22,040 --> 00:53:24,000
Speaker 4: I think that there were plot elements adjusted as well

1012
00:53:24,120 --> 00:53:29,280
Speaker 4: to give Cynthia a fuller character, and I believe flushing

1013
00:53:29,360 --> 00:53:33,520
Speaker 4: out the character of Marion a little more as well.

1014
00:53:34,400 --> 00:53:37,520
Speaker 4: So anyways, if you've seen the show, I would love

1015
00:53:37,600 --> 00:53:41,120
Speaker 4: to see this on stage. I want to see a

1016
00:53:41,160 --> 00:53:42,240
Speaker 4: bus inside of a building.

1017
00:53:43,360 --> 00:53:45,880
Speaker 3: It reminds me of there's this point in the nineteen

1018
00:53:45,920 --> 00:53:49,040
Speaker 3: seventies where Broadway got very like kind of high on

1019
00:53:49,120 --> 00:53:51,279
Speaker 3: its own supply of like scenery and set pieces and

1020
00:53:51,360 --> 00:53:53,479
Speaker 3: revolving stage, isn't it, you know, even into the nineties

1021
00:53:53,480 --> 00:53:56,200
Speaker 3: with the helicopter and the chandelier. But there's this musical

1022
00:53:56,280 --> 00:53:59,680
Speaker 3: in the seventies called on the twentieth Century Limited or

1023
00:53:59,719 --> 00:54:02,760
Speaker 3: the two Century Limited that had like a giant train

1024
00:54:02,920 --> 00:54:06,320
Speaker 3: set piece, Like that's kind of what the giant, glittery,

1025
00:54:06,400 --> 00:54:10,200
Speaker 3: gleaming bus in the Priscilla Stage musical must feel like

1026
00:54:10,760 --> 00:54:14,080
Speaker 3: when it was coming through Los Angeles. The Priscilla the Musical.

1027
00:54:14,440 --> 00:54:16,840
Speaker 3: This would have been like twenty eleven or twelve. Maybe

1028
00:54:17,360 --> 00:54:19,680
Speaker 3: I was working as an event photographer at the time,

1029
00:54:19,719 --> 00:54:21,360
Speaker 3: and I was hired to shoot the red carpet, the

1030
00:54:21,360 --> 00:54:23,880
Speaker 3: step and repeat outside I think it was the Pantagius

1031
00:54:24,160 --> 00:54:26,640
Speaker 3: wherever it was playing in LA, And I remember, like

1032
00:54:26,760 --> 00:54:28,800
Speaker 3: I shot the Red Carpet, and you know, it's that

1033
00:54:28,920 --> 00:54:31,440
Speaker 3: whole like nightmare scenario of like all the photographers like

1034
00:54:31,480 --> 00:54:33,520
Speaker 3: shouting everybody's name, look at me, look at me, all

1035
00:54:33,600 --> 00:54:36,279
Speaker 3: right over here. And at one point Willim walks through.

1036
00:54:36,560 --> 00:54:38,000
Speaker 3: Will and the drag We knew a lot of people

1037
00:54:38,040 --> 00:54:39,600
Speaker 3: know from Drag Race and a lot of other appearances

1038
00:54:39,680 --> 00:54:42,560
Speaker 3: in LA and other shows, and as far as I know,

1039
00:54:42,640 --> 00:54:46,200
Speaker 3: Willim had no connection to this show and not done

1040
00:54:46,239 --> 00:54:48,440
Speaker 3: anything with it. And the story that I was kind

1041
00:54:48,480 --> 00:54:51,160
Speaker 3: of getting from like William just talking to other people

1042
00:54:51,160 --> 00:54:53,839
Speaker 3: on the Red Carpet was he just saw that there

1043
00:54:53,960 --> 00:54:57,440
Speaker 3: was this red carpet happening, and like as a drag personality,

1044
00:54:57,560 --> 00:54:59,520
Speaker 3: just like kind of walked his way onto it and

1045
00:54:59,560 --> 00:55:03,160
Speaker 3: then just home afterwards, just saw like, oh, the drag thing.

1046
00:55:03,400 --> 00:55:05,080
Speaker 3: I'll just walk my way on the air and then

1047
00:55:05,120 --> 00:55:07,960
Speaker 3: walk off. I don't know if that's one hundred percent

1048
00:55:08,000 --> 00:55:10,000
Speaker 3: the situation, but that's like what I was understanding from

1049
00:55:10,120 --> 00:55:11,719
Speaker 3: like the gossip that he was giving to the other

1050
00:55:11,760 --> 00:55:12,839
Speaker 3: photographers who were there.

1051
00:55:13,560 --> 00:55:14,520
Speaker 5: That's incredible.

1052
00:55:14,800 --> 00:55:17,600
Speaker 3: Yeah, it does look like a great Like these songs

1053
00:55:17,719 --> 00:55:19,879
Speaker 3: are so good, you know, same thing with Mama Mia.

1054
00:55:19,960 --> 00:55:22,480
Speaker 3: It's just like an excuse to like hear songs that

1055
00:55:22,560 --> 00:55:25,280
Speaker 3: you love to hear and see some really fantastic costumes.

1056
00:55:25,719 --> 00:55:28,640
Speaker 4: Yeah, and this won the Academy Award for Costumes and

1057
00:55:29,560 --> 00:55:33,560
Speaker 4: rightfully so, I think, like for all these movies' faults,

1058
00:55:34,160 --> 00:55:38,000
Speaker 4: it is pretty amazing how well and how successful and

1059
00:55:38,080 --> 00:55:41,759
Speaker 4: beloved this movie was instantly it wasn't. I mean, it's

1060
00:55:41,800 --> 00:55:43,920
Speaker 4: considered a cult classic, but I kind of hesitate to

1061
00:55:43,960 --> 00:55:45,920
Speaker 4: even call it a cult classic because it was a

1062
00:55:46,040 --> 00:55:49,000
Speaker 4: huge mainstream success when it came out. It was like

1063
00:55:49,120 --> 00:55:51,279
Speaker 4: one of the highest grossing movies that had ever come

1064
00:55:51,320 --> 00:55:52,600
Speaker 4: out of Australia ever.

1065
00:55:53,480 --> 00:55:57,560
Speaker 5: And it centered around queer characters, and you know, the

1066
00:55:57,640 --> 00:55:58,520
Speaker 5: flaws are the flaws.

1067
00:55:58,560 --> 00:56:01,520
Speaker 4: But I think that that is really cool and you know, lad,

1068
00:56:01,719 --> 00:56:05,160
Speaker 4: I would imagine to other movies and just like you know,

1069
00:56:05,239 --> 00:56:07,839
Speaker 4: a point of success of like here is a queer

1070
00:56:07,920 --> 00:56:10,759
Speaker 4: movie by a queer director. Let's put money behind more

1071
00:56:10,920 --> 00:56:13,520
Speaker 4: projects like this, which is stop and go over the years,

1072
00:56:13,600 --> 00:56:16,839
Speaker 4: but that in itself is really cool because this movie

1073
00:56:16,920 --> 00:56:19,279
Speaker 4: was made for less than two million dollars and made

1074
00:56:19,400 --> 00:56:21,280
Speaker 4: back its budget like fifteen times.

1075
00:56:21,719 --> 00:56:23,959
Speaker 3: Yeah, I think, you know, for better for worse. Something

1076
00:56:24,280 --> 00:56:27,080
Speaker 3: nice about Australia is that it doesn't have the same

1077
00:56:27,400 --> 00:56:31,840
Speaker 3: moral panic as the US around drag. I mean, especially

1078
00:56:31,920 --> 00:56:35,520
Speaker 3: in recent years. But I think just like with panto

1079
00:56:35,640 --> 00:56:39,320
Speaker 3: shows and drag and camp in the UK, in Australia

1080
00:56:39,320 --> 00:56:41,600
Speaker 3: it's much more of a fun and sometimes this is

1081
00:56:41,640 --> 00:56:43,799
Speaker 3: you know, a negative thing, like you know, people who

1082
00:56:44,600 --> 00:56:47,040
Speaker 3: are gender non conforming are minimized or seen as pure

1083
00:56:47,160 --> 00:56:49,960
Speaker 3: entertainment rather than as full human beings. But you don't

1084
00:56:50,000 --> 00:56:52,080
Speaker 3: have like the panic off like oh no, a man

1085
00:56:52,239 --> 00:56:56,400
Speaker 3: in a dress, save the children, shield their eyes, you know.

1086
00:56:56,480 --> 00:56:59,239
Speaker 3: I think that's how you can have drag in the

1087
00:56:59,719 --> 00:57:02,560
Speaker 3: ceremonies of the Olympics and Kylie Minogue singing this ab

1088
00:57:02,680 --> 00:57:04,880
Speaker 3: a song and paying tribute to this, like it becomes

1089
00:57:04,920 --> 00:57:07,279
Speaker 3: this national icon like for US it's like Bruce Springsteen

1090
00:57:07,360 --> 00:57:09,600
Speaker 3: or something in the US. And I love that in

1091
00:57:09,640 --> 00:57:12,960
Speaker 3: Australia they have like this national pride in drag culture

1092
00:57:13,040 --> 00:57:14,560
Speaker 3: and that's you know, I look at that as a

1093
00:57:14,600 --> 00:57:16,840
Speaker 3: queer person I'm like, that's, you know, part of my

1094
00:57:17,000 --> 00:57:21,760
Speaker 3: culture that everybody's like celebrating. And imagine, imagine the US

1095
00:57:21,840 --> 00:57:25,920
Speaker 3: Olympics even today. Imagine you know, we're gonna get the Olympics.

1096
00:57:25,960 --> 00:57:27,880
Speaker 3: I think in two years in la or maybe four

1097
00:57:27,960 --> 00:57:30,960
Speaker 3: whatever it is, four or four years. Yeah, I the

1098
00:57:31,160 --> 00:57:33,640
Speaker 3: uh from both of you when I mentioned that you're

1099
00:57:33,720 --> 00:57:34,560
Speaker 3: dretting it already.

1100
00:57:34,720 --> 00:57:38,000
Speaker 2: But I saw that a few months ago. In April

1101
00:57:38,080 --> 00:57:42,320
Speaker 2: twenty twenty four, the director Stephan Elliott announced that work

1102
00:57:42,440 --> 00:57:47,080
Speaker 2: on a sequel was underway, with the original cast reprising

1103
00:57:47,120 --> 00:57:48,560
Speaker 2: their roles, which is no offense.

1104
00:57:48,600 --> 00:57:51,200
Speaker 4: How I found out how Terence Stamp was still alive.

1105
00:57:51,520 --> 00:57:52,760
Speaker 4: He's like eighty six.

1106
00:57:52,880 --> 00:57:56,200
Speaker 2: He's alive, He's kicking. And I don't know if the

1107
00:57:56,280 --> 00:57:58,880
Speaker 2: movie will happen or not, but I'd be interested to

1108
00:57:58,920 --> 00:58:03,440
Speaker 2: see updates that they hopefully make as far as you know,

1109
00:58:03,600 --> 00:58:10,400
Speaker 2: eliminating the racism and the casualness with which Felicia is dead,

1110
00:58:10,480 --> 00:58:14,480
Speaker 2: naming Bernadette, all that kind of stuff. And we've kind

1111
00:58:14,480 --> 00:58:17,120
Speaker 2: of touched on this a little bit, but the way

1112
00:58:17,680 --> 00:58:23,680
Speaker 2: Alan and the other Aboriginal characters are not at all characterized.

1113
00:58:23,880 --> 00:58:28,400
Speaker 2: They're mostly just there's set dressing for these three main

1114
00:58:28,600 --> 00:58:34,280
Speaker 2: white characters. Yeah, this is happening after a scene in

1115
00:58:34,520 --> 00:58:38,280
Speaker 2: which Felicia starts to tell what seems like it's going

1116
00:58:38,360 --> 00:58:42,040
Speaker 2: to be a very anti native joke. So like these

1117
00:58:42,240 --> 00:58:47,880
Speaker 2: characters attitudes toward anyone who is not white is abhorrent

1118
00:58:48,160 --> 00:58:50,320
Speaker 2: and on full display.

1119
00:58:50,120 --> 00:58:54,400
Speaker 4: Which fikes like the Australian nationalism a little yes, a

1120
00:58:54,520 --> 00:58:59,040
Speaker 4: side eyed, because Australia has certainly colonized quite a bit

1121
00:58:59,160 --> 00:59:03,320
Speaker 4: in its death and so to you know, be dismissive.

1122
00:59:02,800 --> 00:59:05,720
Speaker 5: Towards indigenous people and just really anyone who isn't white

1123
00:59:05,760 --> 00:59:08,600
Speaker 5: and then be like in Australia is the greatest country ever.

1124
00:59:08,840 --> 00:59:12,400
Speaker 4: You're like, okay, I tried to like map that onto

1125
00:59:12,520 --> 00:59:15,600
Speaker 4: like an American story, and you're like, yeah, not awesome.

1126
00:59:16,760 --> 00:59:19,800
Speaker 4: But then also, you know, there is the argument for like,

1127
00:59:20,480 --> 00:59:24,440
Speaker 4: you know, having a drag show about Australia being this like.

1128
00:59:24,720 --> 00:59:27,120
Speaker 5: Inclusiveness that you don't normally see.

1129
00:59:27,880 --> 00:59:31,919
Speaker 4: Very complicated, but yeah, in general, I mean, I guess

1130
00:59:31,960 --> 00:59:35,200
Speaker 4: I just really wish that Alan got on the bus.

1131
00:59:35,640 --> 00:59:37,840
Speaker 4: I know, he was such an interest and I feel

1132
00:59:37,840 --> 00:59:40,240
Speaker 4: like we got to know him a little bit better

1133
00:59:40,440 --> 00:59:42,840
Speaker 4: than we got to know other characters in these like

1134
00:59:43,560 --> 00:59:46,960
Speaker 4: stopovers on this road journey. And I wonder if there

1135
00:59:47,000 --> 00:59:50,959
Speaker 4: was a draft of this script where he joined the crew,

1136
00:59:51,520 --> 00:59:53,400
Speaker 4: it would have been you know, wouldn't have you know,

1137
00:59:53,880 --> 00:59:57,560
Speaker 4: resolved the way that this movie treats non white people

1138
00:59:57,600 --> 01:00:00,240
Speaker 4: in general, but it would it would have helped, would

1139
01:00:00,240 --> 01:00:02,360
Speaker 4: have helped to actually include him.

1140
01:00:02,920 --> 01:00:05,880
Speaker 3: I would love for a sequel to really lean into

1141
01:00:05,960 --> 01:00:09,120
Speaker 3: the Aboriginal culture and to blend. Because we get just

1142
01:00:09,200 --> 01:00:11,360
Speaker 3: a little hint of it. We get the digerido, we

1143
01:00:11,480 --> 01:00:15,360
Speaker 3: get some Aboriginal language, some singing in this sort of

1144
01:00:15,440 --> 01:00:18,680
Speaker 3: remix of I will survive. But if we get like fully,

1145
01:00:19,520 --> 01:00:23,600
Speaker 3: you know, an Aboriginal approach to gender, like and performance,

1146
01:00:23,680 --> 01:00:27,840
Speaker 3: and are like merging with more you know, European Western

1147
01:00:27,920 --> 01:00:30,920
Speaker 3: kind of traditions, and we see those two things. I mean,

1148
01:00:31,000 --> 01:00:33,720
Speaker 3: I what a great opportunity for some conflict intention too,

1149
01:00:33,960 --> 01:00:36,440
Speaker 3: for Native people to say, we've been doing you know,

1150
01:00:36,560 --> 01:00:39,640
Speaker 3: we've had our own attitudes about gender and sexual oritation

1151
01:00:39,720 --> 01:00:43,600
Speaker 3: identity for thousands of years, folks, and so this is

1152
01:00:43,680 --> 01:00:45,880
Speaker 3: our approach. And we're going on a road trip now,

1153
01:00:46,640 --> 01:00:48,720
Speaker 3: you know, like a road trip to the big city.

1154
01:00:48,840 --> 01:00:50,480
Speaker 3: Like it's going in the other direction. I don't know,

1155
01:00:50,600 --> 01:00:53,120
Speaker 3: whatever it could be, but boy, oh boy, I would

1156
01:00:53,120 --> 01:00:54,600
Speaker 3: love to see it. I don't know that's Stefan Elliott's

1157
01:00:54,600 --> 01:00:56,200
Speaker 3: story to tell. Maybe he's an ep on that's kind

1158
01:00:56,200 --> 01:00:58,160
Speaker 3: of a project. But I would love to just hand

1159
01:00:58,200 --> 01:01:01,880
Speaker 3: the reins over to some great Aboriginal writers and directors

1160
01:01:01,960 --> 01:01:03,240
Speaker 3: and see where they take it.

1161
01:01:03,520 --> 01:01:07,400
Speaker 4: Yeah, I just I am curious to see We're a

1162
01:01:07,440 --> 01:01:09,160
Speaker 4: sequel with Go and I hope that. I mean, at

1163
01:01:09,240 --> 01:01:12,320
Speaker 4: very least it does seem because there were changes made

1164
01:01:12,360 --> 01:01:14,040
Speaker 4: to the musical that Stephan Elliott is.

1165
01:01:14,120 --> 01:01:18,280
Speaker 5: Not like closed off to, you know, acknowledging.

1166
01:01:17,800 --> 01:01:22,160
Speaker 4: Where their shortcomings in the original text. Have more nice

1167
01:01:22,240 --> 01:01:25,960
Speaker 4: things to say about the movie say them I really love,

1168
01:01:26,440 --> 01:01:28,680
Speaker 4: I mean, for all of their faults, I really appreciate,

1169
01:01:28,760 --> 01:01:34,080
Speaker 4: like how wildly different that Bernadette and Tick and Adam

1170
01:01:34,480 --> 01:01:37,880
Speaker 4: or Mitzi and Felicia are, and that all of the

1171
01:01:37,960 --> 01:01:41,520
Speaker 4: conflict between them, you know, it just is very organic.

1172
01:01:41,720 --> 01:01:44,280
Speaker 4: Sometimes it's like a generational conflict that is going on.

1173
01:01:44,440 --> 01:01:47,600
Speaker 4: Sometimes it's a personality clash, like I don't know, it

1174
01:01:47,880 --> 01:01:51,000
Speaker 4: is just so fun to watch them together, and especially

1175
01:01:51,160 --> 01:01:55,160
Speaker 4: with the relationship with Bernadette and Felicia, I think that

1176
01:01:55,280 --> 01:01:59,800
Speaker 4: that's like a really interesting and thoughtfully written friendship.

1177
01:02:00,040 --> 01:02:03,400
Speaker 5: Outside of the fact that Felicia like just repeatedly.

1178
01:02:03,000 --> 01:02:07,600
Speaker 4: Dead naming Bernadette, you do get a glimpse of like

1179
01:02:07,760 --> 01:02:11,920
Speaker 4: Bernadette retaliates, but it's not clear that Felicia's actually learned

1180
01:02:11,960 --> 01:02:16,200
Speaker 4: a lesson because it continues to happen to the very end.

1181
01:02:16,200 --> 01:02:20,360
Speaker 5: Of the movie. It's the last line, come on, it's ridiculous.

1182
01:02:21,520 --> 01:02:23,320
Speaker 3: That is the one area where I wish Felicia had

1183
01:02:23,320 --> 01:02:25,200
Speaker 3: done a little bit more growing up, Like if right,

1184
01:02:25,360 --> 01:02:27,600
Speaker 3: if he was driving off and said Bernadette, and like

1185
01:02:27,640 --> 01:02:28,720
Speaker 3: it was the first time he called it by a

1186
01:02:28,760 --> 01:02:30,840
Speaker 3: proper name, and that would have been such a better ending.

1187
01:02:30,960 --> 01:02:34,160
Speaker 4: Come on. But there were moments with those characters that

1188
01:02:34,240 --> 01:02:36,880
Speaker 4: I appreciated, I mean, you do, I think, like the

1189
01:02:37,240 --> 01:02:40,760
Speaker 4: really lowest point of the movie is when Felicia is

1190
01:02:40,800 --> 01:02:44,080
Speaker 4: attacked by the angry mob, which obviously was reflective of

1191
01:02:44,560 --> 01:02:48,320
Speaker 4: how queer people were brutalized in Sydney, and there were

1192
01:02:48,360 --> 01:02:51,080
Speaker 4: a lot of examples sort of given throughout the documentary

1193
01:02:51,120 --> 01:02:54,160
Speaker 4: we'll be linking to of how that reflected, you know,

1194
01:02:54,240 --> 01:02:58,000
Speaker 4: real life at that time, and that Bernadette steps up

1195
01:02:58,200 --> 01:03:02,760
Speaker 4: and puts the fact that she doesn't really like Felicia aside,

1196
01:03:02,840 --> 01:03:04,920
Speaker 4: and they have a moment and they I don't know.

1197
01:03:05,320 --> 01:03:10,240
Speaker 4: I appreciated some moments worked, and that unfortunately was undercut

1198
01:03:10,400 --> 01:03:13,240
Speaker 4: by Adam Felicia's complete.

1199
01:03:12,960 --> 01:03:15,200
Speaker 5: Lack of growth when it came to dead naming.

1200
01:03:16,280 --> 01:03:19,880
Speaker 4: And then with Mitty I really liked, I mean just

1201
01:03:20,240 --> 01:03:23,200
Speaker 4: the when I was like returning to watch this movie

1202
01:03:23,240 --> 01:03:26,280
Speaker 4: earlier this year, like you always sort of expect.

1203
01:03:26,560 --> 01:03:30,400
Speaker 5: Marian to be not who she is, Like you don't.

1204
01:03:30,520 --> 01:03:34,080
Speaker 4: I never am expecting for her to be like loving

1205
01:03:34,280 --> 01:03:36,680
Speaker 4: and accepting, just because of how you know, how the

1206
01:03:36,760 --> 01:03:40,120
Speaker 4: world is and how we've seen characters act in this

1207
01:03:40,280 --> 01:03:43,440
Speaker 4: movie towards the girls leading up to this point. I

1208
01:03:43,480 --> 01:03:46,040
Speaker 4: think it's really cool to see, you know, that happy

1209
01:03:46,160 --> 01:03:49,520
Speaker 4: ending for Mitty and that you know this whole that

1210
01:03:49,640 --> 01:03:52,720
Speaker 4: all these anxieties that are expressed throughout the movie of

1211
01:03:52,800 --> 01:03:55,360
Speaker 4: like will I be accepted? Will I be able to

1212
01:03:55,440 --> 01:03:57,880
Speaker 4: be a parent and do this job? And the answer

1213
01:03:58,000 --> 01:04:01,240
Speaker 4: is of course you can, and that Benji is such

1214
01:04:01,280 --> 01:04:04,040
Speaker 4: a sweetheart, and also a little Mary Kate and Ashley.

1215
01:04:03,800 --> 01:04:05,520
Speaker 5: Of like do you have my boyfriend? Do you have

1216
01:04:05,600 --> 01:04:08,640
Speaker 5: my boyfriend? I think it is sweet, you know, and

1217
01:04:08,760 --> 01:04:11,760
Speaker 5: something that you weren't seeing in movies very often.

1218
01:04:11,880 --> 01:04:14,120
Speaker 4: And you get the flip side of that as well,

1219
01:04:14,240 --> 01:04:18,080
Speaker 4: with the understanding that you know, Bernadette was rejected by

1220
01:04:18,160 --> 01:04:22,960
Speaker 4: her family and that Adam has a deeply complicated relationship

1221
01:04:23,240 --> 01:04:26,720
Speaker 4: with his mom where he's like, I'll take the bus money,

1222
01:04:26,760 --> 01:04:28,680
Speaker 4: but we're never going to be close, you know. Like

1223
01:04:29,080 --> 01:04:32,160
Speaker 4: you see the sort of wide array of how these

1224
01:04:32,240 --> 01:04:34,680
Speaker 4: characters interact with their own families and all of the

1225
01:04:35,120 --> 01:04:37,680
Speaker 4: struggles they have, and I thought it was you know,

1226
01:04:37,760 --> 01:04:40,640
Speaker 4: I mean, not perfect, but pretty well done. Yeah.

1227
01:04:41,000 --> 01:04:45,640
Speaker 2: We also see that flashback of Felicia slash Adam telling

1228
01:04:46,480 --> 01:04:50,200
Speaker 2: the story of how when Adam was a little boy,

1229
01:04:50,600 --> 01:04:56,440
Speaker 2: his uncle tried to sexually abuse him, and Adam recalls

1230
01:04:56,560 --> 01:05:00,880
Speaker 2: this memory with laughter because like he pulled the plug

1231
01:05:00,960 --> 01:05:03,800
Speaker 2: of the bathtub and whatever.

1232
01:05:03,640 --> 01:05:05,640
Speaker 3: We turned the tables on his abuse are yeah.

1233
01:05:05,680 --> 01:05:10,080
Speaker 2: Yeah, but it's like interesting way to frame a story

1234
01:05:10,280 --> 01:05:13,560
Speaker 2: about an attempt at sexual abuse, like child sexual abuse.

1235
01:05:13,560 --> 01:05:15,920
Speaker 2: I don't know if there were certain examples where this

1236
01:05:16,080 --> 01:05:19,200
Speaker 2: movie felt like it was taking a very serious situation

1237
01:05:19,680 --> 01:05:22,600
Speaker 2: and like making light of it in a way that

1238
01:05:22,720 --> 01:05:26,920
Speaker 2: felt tonally dissonant and weird, and like I understand, like

1239
01:05:27,360 --> 01:05:31,640
Speaker 2: adding comedy in an attempt to like make a serious

1240
01:05:31,680 --> 01:05:36,200
Speaker 2: topic more palatable or like finding humor, and I mean,

1241
01:05:36,360 --> 01:05:39,200
Speaker 2: you know, tragedy plus time equals comedy. But like the

1242
01:05:39,240 --> 01:05:42,960
Speaker 2: way this movie handled some of those examples, I was like, Okay,

1243
01:05:43,320 --> 01:05:44,000
Speaker 2: I guess.

1244
01:05:44,400 --> 01:05:48,200
Speaker 4: I don't feel comfortable being like that works or it doesn't,

1245
01:05:48,200 --> 01:05:52,120
Speaker 4: because I do sure appreciate that it's coming from, you know,

1246
01:05:52,560 --> 01:05:55,480
Speaker 4: a situation where I think, you know, Stephan Elliott is

1247
01:05:55,560 --> 01:06:01,080
Speaker 4: setting you up for a very tragic reveal and then

1248
01:06:01,360 --> 01:06:04,680
Speaker 4: Adam gets the upper hand, and yeah, I don't know.

1249
01:06:04,760 --> 01:06:08,240
Speaker 4: I mean, I definitely would understand if that doesn't play

1250
01:06:08,560 --> 01:06:10,400
Speaker 4: for everyone, but I also understand why it does.

1251
01:06:10,480 --> 01:06:13,440
Speaker 5: Plays like a cathartic win which I feel like.

1252
01:06:13,440 --> 01:06:15,960
Speaker 4: The characters in this movie at different points, you know,

1253
01:06:16,040 --> 01:06:20,720
Speaker 4: because there are the real life queer phobia and homophobia

1254
01:06:20,760 --> 01:06:24,120
Speaker 4: and transphobia of the world is constantly you know, basically

1255
01:06:24,280 --> 01:06:27,560
Speaker 4: following them around and is sometimes inside of the bus itself.

1256
01:06:28,640 --> 01:06:30,600
Speaker 4: But you do have like a series of moments in

1257
01:06:30,680 --> 01:06:32,600
Speaker 4: this movie where I think, as an audience member and

1258
01:06:32,800 --> 01:06:36,280
Speaker 4: just understanding the time this movie came out, you expect

1259
01:06:36,840 --> 01:06:40,200
Speaker 4: something horrible to happen, and then the character's triumph and

1260
01:06:40,520 --> 01:06:43,680
Speaker 4: that's cathartic, and yeah, moment to moment, I don't know,

1261
01:06:43,920 --> 01:06:45,800
Speaker 4: you know, I get that it doesn't always work, but

1262
01:06:46,840 --> 01:06:47,200
Speaker 4: I don't know.

1263
01:06:47,960 --> 01:06:50,240
Speaker 3: Yeah, I think the triumph at the end, you know,

1264
01:06:50,320 --> 01:06:53,880
Speaker 3: it's certainly not saying like, isn't child abuse hilarious? I

1265
01:06:53,960 --> 01:06:56,920
Speaker 3: think that we're coming from a dark place with a

1266
01:06:57,000 --> 01:07:00,800
Speaker 3: lot of the humorous situations, and you're right that there

1267
01:07:00,880 --> 01:07:02,880
Speaker 3: is a catharsis of we came out on top to

1268
01:07:03,160 --> 01:07:05,320
Speaker 3: you know, the extent that we could have in this situation.

1269
01:07:05,440 --> 01:07:07,440
Speaker 3: You know, whether it's that flashback or I don't know,

1270
01:07:07,480 --> 01:07:09,760
Speaker 3: find getting the chosen family at the end, there's the

1271
01:07:10,280 --> 01:07:13,680
Speaker 3: gay bashing where the basher gets beaten up by Bernadette.

1272
01:07:14,200 --> 01:07:17,520
Speaker 3: There's the woman in It's not in kouber Peedia, it's

1273
01:07:17,560 --> 01:07:21,280
Speaker 3: in Broken Hill, where the woman in the bar is like, no,

1274
01:07:21,440 --> 01:07:25,520
Speaker 3: you can't. Your kind isn't welcome here, and Bernadette has

1275
01:07:25,560 --> 01:07:29,760
Speaker 3: this incredibly off colored joke that everybody laughs at. And

1276
01:07:30,840 --> 01:07:32,960
Speaker 3: I guess, to me, the question is is the movie

1277
01:07:33,000 --> 01:07:34,880
Speaker 3: punching down? And I don't think it is. I think

1278
01:07:34,920 --> 01:07:38,080
Speaker 3: it's actually punching up and successfully most of the time.

1279
01:07:38,840 --> 01:07:44,440
Speaker 2: I tend to agree. There is the portrayal of working class,

1280
01:07:44,840 --> 01:07:48,160
Speaker 2: small town people kind of painted with a very broad

1281
01:07:48,280 --> 01:07:52,120
Speaker 2: brush of being like, they're not smart, they're closed minded, bigots,

1282
01:07:52,240 --> 01:07:55,600
Speaker 2: things like that, And I mean that is a stereotype

1283
01:07:55,640 --> 01:07:59,440
Speaker 2: that is to some degree rooted in reality, but to

1284
01:07:59,680 --> 01:08:03,959
Speaker 2: paint all people like that with that broad stroke, which

1285
01:08:04,040 --> 01:08:07,280
Speaker 2: I guess is kind of subverted with Bob a little bit.

1286
01:08:07,320 --> 01:08:09,520
Speaker 4: But like and the fact that we know that Adam

1287
01:08:09,720 --> 01:08:13,600
Speaker 4: is from a fabulously wealthy family who are also openly homophobic.

1288
01:08:14,000 --> 01:08:15,440
Speaker 5: I mean, we don't get but we don't get it

1289
01:08:15,480 --> 01:08:18,639
Speaker 5: as much time. That's sort of like a flash yeah scene.

1290
01:08:18,880 --> 01:08:21,320
Speaker 3: Yeah. Ultimately, you know, I get the sense that Adam,

1291
01:08:22,000 --> 01:08:24,240
Speaker 3: his good looks and his money have insulated him from

1292
01:08:24,280 --> 01:08:26,880
Speaker 3: a lot of suffering that the other characters may be

1293
01:08:27,120 --> 01:08:30,120
Speaker 3: very familiar with. And so you know, it's not awesome

1294
01:08:30,240 --> 01:08:34,280
Speaker 3: that he gets knocked around a little bit at one point,

1295
01:08:34,720 --> 01:08:37,800
Speaker 3: but he experiences a gay bashing. It is terrifying. And

1296
01:08:38,000 --> 01:08:40,280
Speaker 3: then I really do love the you know, I think

1297
01:08:40,320 --> 01:08:41,800
Speaker 3: that has to happen so that we get the scene

1298
01:08:41,840 --> 01:08:43,840
Speaker 3: where Bernadette has that wonderful line, don't let it drag

1299
01:08:43,880 --> 01:08:46,479
Speaker 3: you down, let it toughen you up, and it sucks

1300
01:08:46,560 --> 01:08:49,240
Speaker 3: that as a minority, you do have to make that

1301
01:08:49,520 --> 01:08:52,360
Speaker 3: choice to either be dragged down or to toughen up.

1302
01:08:52,800 --> 01:08:56,519
Speaker 3: And it's not always easy to do. Yeah, exactly, but

1303
01:08:57,520 --> 01:09:00,439
Speaker 3: you know, look, sometimes that is the choice. Either you

1304
01:09:00,880 --> 01:09:04,320
Speaker 3: can wallow forever or you can grate your teeth and

1305
01:09:04,560 --> 01:09:06,599
Speaker 3: power through it, sometimes with the help of other people.

1306
01:09:07,680 --> 01:09:07,880
Speaker 4: Yeah.

1307
01:09:07,920 --> 01:09:10,400
Speaker 3: I love that scene, Like let it toughen you Up

1308
01:09:10,520 --> 01:09:12,680
Speaker 3: is something that it sucks that you have to do it,

1309
01:09:12,800 --> 01:09:13,120
Speaker 3: but you do.

1310
01:09:13,960 --> 01:09:17,840
Speaker 2: Yeah, And I do appreciate that. I wish this happened

1311
01:09:17,840 --> 01:09:22,320
Speaker 2: to a greater degree, especially between Felicia and Bernadette. But

1312
01:09:22,920 --> 01:09:26,880
Speaker 2: this trip, you know, strengthens their bond. They realize that

1313
01:09:27,000 --> 01:09:32,519
Speaker 2: they need each other for just support and love and safety,

1314
01:09:32,920 --> 01:09:37,960
Speaker 2: and that this trip brings these friends closer together in

1315
01:09:38,080 --> 01:09:38,840
Speaker 2: a beautiful way.

1316
01:09:39,040 --> 01:09:41,880
Speaker 3: It really is the like it's the perfect road trip movie.

1317
01:09:42,240 --> 01:09:45,360
Speaker 3: It's just like it's so Joseph Campbell, and it's like,

1318
01:09:45,880 --> 01:09:48,720
Speaker 3: you know, the hero's journey of these characters. And I

1319
01:09:48,800 --> 01:09:50,560
Speaker 3: know the comparison is often made Too Wang Fou. I

1320
01:09:50,600 --> 01:09:52,960
Speaker 3: really do think, you know, there's a lot to recommend

1321
01:09:52,960 --> 01:09:55,040
Speaker 3: about Tou Wong Fu. There are some things to recommend

1322
01:09:55,040 --> 01:09:56,800
Speaker 3: about Too Wong fou and I think that this movie

1323
01:09:56,920 --> 01:10:00,040
Speaker 3: really out does most other road Like I'm trying I

1324
01:10:00,040 --> 01:10:01,439
Speaker 3: think of a road trip film that I like as

1325
01:10:01,520 --> 01:10:02,960
Speaker 3: much as this one. I can't think of anything.

1326
01:10:03,479 --> 01:10:08,680
Speaker 2: My tops are little Sun Sunshine, and I would classify

1327
01:10:08,920 --> 01:10:12,960
Speaker 2: Mad Max Fury Road as a road trip. Okay, Similarly

1328
01:10:13,240 --> 01:10:17,240
Speaker 2: through the Australian Outback, I think is where the.

1329
01:10:17,400 --> 01:10:21,840
Speaker 4: Yeah it's I rewatched Yeah, because I saw Furiosa the

1330
01:10:21,880 --> 01:10:23,559
Speaker 4: same week that I rewatched this, I was like, Oh,

1331
01:10:23,840 --> 01:10:26,880
Speaker 4: Australian outback road trip movies, you know, they come in

1332
01:10:26,920 --> 01:10:27,599
Speaker 4: all genres.

1333
01:10:28,680 --> 01:10:31,280
Speaker 3: Yeah, you know, talk about like Joseph Kandler, like the

1334
01:10:31,400 --> 01:10:35,800
Speaker 3: Dan Harmon story circle, like the journey back to our

1335
01:10:35,880 --> 01:10:39,360
Speaker 3: point of origin having changed. Like it is so clear

1336
01:10:39,479 --> 01:10:43,080
Speaker 3: the parallels between Priscilla and Fury Road are so interesting

1337
01:10:43,120 --> 01:10:46,200
Speaker 3: now that you mention it. It really does match up

1338
01:10:46,240 --> 01:10:48,800
Speaker 3: to a lot of those plot beats that we expect

1339
01:10:48,840 --> 01:10:52,000
Speaker 3: from a road trip movie from a really well tightly plotted,

1340
01:10:52,960 --> 01:10:56,080
Speaker 3: eight part structured kind of story. It really hits them

1341
01:10:56,840 --> 01:10:58,800
Speaker 3: at kind of the same points, doesn't it.

1342
01:10:59,080 --> 01:11:02,360
Speaker 4: Yeah, I think so, yeah, Yeah, there's I mean, there's

1343
01:11:02,600 --> 01:11:05,200
Speaker 4: no doubt there's I totally understand why this movie is

1344
01:11:05,200 --> 01:11:05,559
Speaker 4: a classic.

1345
01:11:05,600 --> 01:11:06,840
Speaker 5: There's so much to love about it.

1346
01:11:07,960 --> 01:11:11,280
Speaker 4: The last the just like a moment where just speaking

1347
01:11:11,360 --> 01:11:14,919
Speaker 4: to your point, Matt about the resilience of these characters.

1348
01:11:15,760 --> 01:11:21,120
Speaker 5: After the bus is uh, you know, graffitied with slurs.

1349
01:11:21,280 --> 01:11:26,160
Speaker 4: There's just like that one moment with Mitsy tick something

1350
01:11:26,240 --> 01:11:28,639
Speaker 4: akin to like, you know, you always think it's going

1351
01:11:28,720 --> 01:11:32,720
Speaker 4: to get easier, but it still hurts every time, and

1352
01:11:33,120 --> 01:11:37,000
Speaker 4: it's just a passing moment and within five minutes, you

1353
01:11:37,080 --> 01:11:40,799
Speaker 4: know they've moved on. They're painting the bus allegedly lavender

1354
01:11:41,080 --> 01:11:44,160
Speaker 4: like they're you know, a singing exactly.

1355
01:11:44,320 --> 01:11:46,439
Speaker 5: But you have those sort of like moments of.

1356
01:11:47,120 --> 01:11:49,880
Speaker 4: Reflection that I feel like really speaks to that this

1357
01:11:50,200 --> 01:11:53,400
Speaker 4: is a queer movie from a queer director, because there

1358
01:11:53,439 --> 01:11:57,720
Speaker 4: are plenty of movies centered around queer people that come

1359
01:11:57,720 --> 01:11:58,559
Speaker 4: out in the nineties that.

1360
01:11:59,160 --> 01:12:01,280
Speaker 5: Are written and directed by straight people. And there's like

1361
01:12:01,400 --> 01:12:03,840
Speaker 5: a dissonant element to it.

1362
01:12:04,080 --> 01:12:08,719
Speaker 4: And I think like when Stephan Elliott hits, he hits

1363
01:12:09,160 --> 01:12:10,880
Speaker 4: and when he missed his evisus, but that's you know,

1364
01:12:11,120 --> 01:12:11,599
Speaker 4: the natrue.

1365
01:12:11,960 --> 01:12:14,320
Speaker 3: Can you imagine if they had done this movie just

1366
01:12:14,320 --> 01:12:16,120
Speaker 3: a little bit differently, Like I can one hundred percent

1367
01:12:16,240 --> 01:12:20,360
Speaker 3: see some like Grant Awarding body being like you need

1368
01:12:20,520 --> 01:12:22,439
Speaker 3: you need a straight character to get the audience in,

1369
01:12:22,800 --> 01:12:25,120
Speaker 3: like if they had like a fourth character on the

1370
01:12:25,160 --> 01:12:27,720
Speaker 3: bus who is like they're straight. I don't know. It's

1371
01:12:27,800 --> 01:12:30,439
Speaker 3: like now I'm thinking of like meat Loaf from Spice World,

1372
01:12:30,560 --> 01:12:34,599
Speaker 3: but like there's some straight character in the mix there

1373
01:12:34,680 --> 01:12:41,400
Speaker 3: who's yeah, you girls crazy? Oh yeah yeah. Metaf is

1374
01:12:41,400 --> 01:12:43,720
Speaker 3: their must driver in space. I know this because it

1375
01:12:43,800 --> 01:12:45,720
Speaker 3: came out on VHS when I was working at a

1376
01:12:45,760 --> 01:12:47,519
Speaker 3: video store and we had like a list of like

1377
01:12:47,680 --> 01:12:49,840
Speaker 3: five movies that we could play, is like Armageddon and

1378
01:12:50,000 --> 01:12:53,040
Speaker 3: like all these like action films, and the only two

1379
01:12:53,040 --> 01:12:56,720
Speaker 3: I could stomach were The Pro Shot of Cats and

1380
01:12:57,520 --> 01:13:00,519
Speaker 3: uh and Spice World so many a top. I put

1381
01:13:00,560 --> 01:13:03,400
Speaker 3: Spice World on because I couldn't stomach any other any

1382
01:13:03,439 --> 01:13:05,280
Speaker 3: other thing in the on the on the approved list

1383
01:13:05,360 --> 01:13:06,840
Speaker 3: for what was it, Strawberries?

1384
01:13:07,640 --> 01:13:11,080
Speaker 5: Okay, yeah, god, I need to rewatch Spice World. It's

1385
01:13:11,080 --> 01:13:14,639
Speaker 5: been too damn long. I'm saying, what a what a treasure.

1386
01:13:15,080 --> 01:13:17,360
Speaker 3: I would say, give yourself permission to have the finger

1387
01:13:17,560 --> 01:13:20,160
Speaker 3: on fast forward because there's some bits that's like all right,

1388
01:13:20,240 --> 01:13:22,120
Speaker 3: just get me to the next music, get me hearing

1389
01:13:22,200 --> 01:13:24,160
Speaker 3: the next song. But I would say the opening. The

1390
01:13:24,200 --> 01:13:26,840
Speaker 3: opening of Spice World is I think one of the

1391
01:13:26,960 --> 01:13:29,160
Speaker 3: I wouldn't put in the top ten, but it's it's

1392
01:13:29,200 --> 01:13:31,840
Speaker 3: an upper tier opening of a movie with the music

1393
01:13:31,880 --> 01:13:33,639
Speaker 3: in that and the finale is a lot of fun.

1394
01:13:34,160 --> 01:13:36,040
Speaker 3: There's a moment where, oh my god, I love it

1395
01:13:36,120 --> 01:13:37,800
Speaker 3: so much. There's a moment where a woman gives birth

1396
01:13:37,920 --> 01:13:39,840
Speaker 3: and the Spice girls are all crowded around this woman

1397
01:13:39,840 --> 01:13:42,080
Speaker 3: who's literally just given birth, and one of them says,

1398
01:13:42,360 --> 01:13:46,360
Speaker 3: that's real girl power, and it is such an incredible moment.

1399
01:13:46,439 --> 01:13:48,040
Speaker 3: I love it so much. Every time I see a

1400
01:13:48,080 --> 01:13:51,400
Speaker 3: woman do something Amazican movie, I think that's real girl power.

1401
01:13:51,800 --> 01:13:56,000
Speaker 4: Nice feminism is such a trip, like what happened to

1402
01:13:56,120 --> 01:13:58,080
Speaker 4: You're like, what are you saying?

1403
01:13:58,439 --> 01:14:00,960
Speaker 5: What are you on about? It's great?

1404
01:14:01,080 --> 01:14:03,519
Speaker 3: Yeah, don't anyway, So that's what's going down is if

1405
01:14:03,560 --> 01:14:05,360
Speaker 3: you like, if you like the soil, liquid to the desert,

1406
01:14:05,439 --> 01:14:11,000
Speaker 3: check out Spice World. Wonderful takeaway Yeah, two bus movies. Yes.

1407
01:14:11,920 --> 01:14:17,759
Speaker 2: My other takeaway is ultimately, and to not a huge degree,

1408
01:14:17,840 --> 01:14:21,400
Speaker 2: but this is a story about fathers and sons, but

1409
01:14:21,800 --> 01:14:26,920
Speaker 2: a really like endearing one where it's kind of flipped

1410
01:14:27,600 --> 01:14:29,479
Speaker 2: as far as like what you would normally see as

1411
01:14:29,520 --> 01:14:32,479
Speaker 2: far as like a queer child not sure if they're

1412
01:14:32,560 --> 01:14:36,439
Speaker 2: going to get the acceptance and approval of their parent,

1413
01:14:36,640 --> 01:14:39,680
Speaker 2: and then we get this flip, and you know, it

1414
01:14:40,000 --> 01:14:42,519
Speaker 2: also happens in the way that we see it represented

1415
01:14:42,600 --> 01:14:45,720
Speaker 2: in this movie as far as the parent wondering if

1416
01:14:46,160 --> 01:14:49,000
Speaker 2: you know, his child will accept him as a drag

1417
01:14:49,120 --> 01:14:51,640
Speaker 2: performer and a gay man and things like that, and

1418
01:14:51,760 --> 01:14:56,200
Speaker 2: the kid is absolutely fine with it. And it speaks

1419
01:14:56,479 --> 01:14:59,760
Speaker 2: to how ridiculous it is that there's all this like

1420
01:15:00,040 --> 01:15:05,120
Speaker 2: anti drag and anti trans legislation in the US and

1421
01:15:05,200 --> 01:15:08,479
Speaker 2: elsewhere that it's they're justifying it as far as like,

1422
01:15:08,640 --> 01:15:11,080
Speaker 2: but the kids protect the kids, and it's just like,

1423
01:15:11,680 --> 01:15:16,160
Speaker 2: if you just don't teach kids hate, and he'll be

1424
01:15:16,320 --> 01:15:17,680
Speaker 2: fucking fine with it.

1425
01:15:18,040 --> 01:15:20,759
Speaker 3: Oh yeah, it's wild because there's an episode of Alice,

1426
01:15:20,840 --> 01:15:24,080
Speaker 3: the sitcom from like the mid seventies, where she's really

1427
01:15:24,160 --> 01:15:25,560
Speaker 3: worried that her son is going to find out that

1428
01:15:25,640 --> 01:15:27,120
Speaker 3: her friend is gay, and at the end of the

1429
01:15:27,160 --> 01:15:29,360
Speaker 3: episode she finally she like sits them down. She's like,

1430
01:15:29,680 --> 01:15:31,160
Speaker 3: all right, I need to let you know there's something

1431
01:15:31,200 --> 01:15:32,880
Speaker 3: that you need to know about this guy, and the

1432
01:15:32,960 --> 01:15:38,040
Speaker 3: kids like yeah, and like I thought, yeah, that's that's it.

1433
01:15:38,760 --> 01:15:39,879
Speaker 3: That's always the situation.

1434
01:15:39,920 --> 01:15:43,320
Speaker 4: The kids are like so yeah, yeah, exactly, And at

1435
01:15:43,320 --> 01:15:46,280
Speaker 4: the end it's like, yeah, extremely clear that Benji is

1436
01:15:46,360 --> 01:15:49,400
Speaker 4: like better off now because like his family has like

1437
01:15:49,479 --> 01:15:52,280
Speaker 4: tripled in size overnight, so.

1438
01:15:52,360 --> 01:15:55,640
Speaker 5: Many people to play legos with, Like, what more do

1439
01:15:55,720 --> 01:15:56,559
Speaker 5: you want as a kid?

1440
01:15:56,880 --> 01:15:57,320
Speaker 4: Is fun?

1441
01:15:57,400 --> 01:15:59,600
Speaker 5: People to play legos with? Who love you? Come on?

1442
01:16:00,240 --> 01:16:04,439
Speaker 3: I do wonder like tick is tick slash mitzi. As

1443
01:16:04,479 --> 01:16:06,960
Speaker 3: far as I can tell, this is like her main

1444
01:16:07,360 --> 01:16:09,640
Speaker 3: bread and butter is doing drag and now she's got

1445
01:16:09,760 --> 01:16:13,200
Speaker 3: to raise a kid on this on this income. Now,

1446
01:16:13,280 --> 01:16:16,439
Speaker 3: I know the nineties are different and the economics are different,

1447
01:16:16,439 --> 01:16:18,240
Speaker 3: and we're not all spending like ninety percent of our

1448
01:16:18,280 --> 01:16:21,519
Speaker 3: income on rent and in those days, right, But you know,

1449
01:16:21,680 --> 01:16:24,360
Speaker 3: becoming a parent isn't just you know, assuming the role

1450
01:16:24,439 --> 01:16:27,800
Speaker 3: of parenting full time. There's a lot of work that

1451
01:16:27,920 --> 01:16:30,760
Speaker 3: this character's about to take on, and you know that's

1452
01:16:30,800 --> 01:16:33,640
Speaker 3: not what this movie is. But yeah, I do, like

1453
01:16:34,160 --> 01:16:35,680
Speaker 3: it's kind of like there's some movies where I'm like,

1454
01:16:35,840 --> 01:16:38,240
Speaker 3: what happened the next day? Like Ghost is very much

1455
01:16:38,320 --> 01:16:39,479
Speaker 3: like I think about that all the time. With the

1456
01:16:39,520 --> 01:16:41,760
Speaker 3: movie ghosts, Like what right the day the next day

1457
01:16:41,840 --> 01:16:43,600
Speaker 3: after ghosts? Like they call the police at the end

1458
01:16:43,640 --> 01:16:45,200
Speaker 3: of that film, and you know there's all this stuff

1459
01:16:45,200 --> 01:16:49,000
Speaker 3: that happens, like somebody gets killed. Anyway, what's the next

1460
01:16:49,080 --> 01:16:51,439
Speaker 3: day after? You know, they all get back to Sydney,

1461
01:16:51,640 --> 01:16:53,800
Speaker 3: and you know, I would love to see like that

1462
01:16:53,960 --> 01:16:55,920
Speaker 3: kid's first day at school at his new school in

1463
01:16:55,960 --> 01:16:58,240
Speaker 3: Sydney or whatever, maybe his homeschool, who knows whatever?

1464
01:16:58,400 --> 01:17:01,320
Speaker 2: Another spinoff we need and addition to the Alan spinoff?

1465
01:17:02,160 --> 01:17:04,080
Speaker 5: Yeah, yes, does that?

1466
01:17:04,200 --> 01:17:07,000
Speaker 4: You would have anything else to say about Priscilla Queen

1467
01:17:07,040 --> 01:17:11,240
Speaker 4: of the Desert, Not really, just that I love this cast.

1468
01:17:11,800 --> 01:17:15,040
Speaker 2: I mean, Hugo Weaving is in several of my favorite

1469
01:17:15,080 --> 01:17:18,639
Speaker 2: movies a La the Matrix and Lord of the Rings.

1470
01:17:19,160 --> 01:17:21,880
Speaker 2: I love that he went on to have a career

1471
01:17:22,240 --> 01:17:25,760
Speaker 2: where he was like in these like huge blockbuster, high

1472
01:17:25,800 --> 01:17:29,439
Speaker 2: grossing franchises. I also love him in Fifa Vendetta. I

1473
01:17:29,560 --> 01:17:33,519
Speaker 2: love Guy Pearce. He is one of my crushes. Uh

1474
01:17:34,640 --> 01:17:39,559
Speaker 2: he's so handsome. Terence Stamp. He plays a hilarious character

1475
01:17:39,680 --> 01:17:41,240
Speaker 2: in one of my favorite movies, bow Finger.

1476
01:17:41,960 --> 01:17:46,200
Speaker 3: Oh my God, I welcome to Mine Think. Oh my god,

1477
01:17:46,320 --> 01:17:47,400
Speaker 3: I love that film.

1478
01:17:47,600 --> 01:17:49,880
Speaker 5: It's so good. It's so good, we've got to cover it.

1479
01:17:50,000 --> 01:17:53,720
Speaker 5: I know, does anyone want a Bowfinger episode? Let us know?

1480
01:17:54,240 --> 01:17:59,000
Speaker 3: Directed by Frank Oz the uh yeah, the Piggy Like,

1481
01:17:59,479 --> 01:18:01,360
Speaker 3: what do you have to do here? Yuh yeah?

1482
01:18:02,200 --> 01:18:07,160
Speaker 2: Anyway, so great cast and yeah, I really like this

1483
01:18:07,400 --> 01:18:09,599
Speaker 2: movie despite its flaws.

1484
01:18:10,160 --> 01:18:12,479
Speaker 3: I will say this is what I you know, always

1485
01:18:12,520 --> 01:18:14,639
Speaker 3: tell people about Priscilla is it is a great movie

1486
01:18:14,680 --> 01:18:16,960
Speaker 3: to watch with friends, like watching a group, because the

1487
01:18:17,080 --> 01:18:18,560
Speaker 3: music's so great and the dance is so great, that

1488
01:18:18,920 --> 01:18:21,360
Speaker 3: mood is great. It is a fantastic movie to see

1489
01:18:21,400 --> 01:18:23,240
Speaker 3: in like a huge group, like if there's like a

1490
01:18:23,360 --> 01:18:25,640
Speaker 3: movie's in the park or just on midnight film or

1491
01:18:26,080 --> 01:18:27,800
Speaker 3: and I just want to throw it out there if

1492
01:18:27,800 --> 01:18:31,080
Speaker 3: anybody wants to organize a big screening at a venue

1493
01:18:31,160 --> 01:18:33,080
Speaker 3: for Priscilla Queen of the Desert, fly me out to

1494
01:18:33,120 --> 01:18:35,560
Speaker 3: introduce to apprecio whatever. I love this film. It is

1495
01:18:35,680 --> 01:18:39,720
Speaker 3: so great to see as a mass group experience. It's

1496
01:18:39,800 --> 01:18:42,719
Speaker 3: just one of those films that really like just begs

1497
01:18:42,760 --> 01:18:45,280
Speaker 3: to be seen with three hundred people. Yeah.

1498
01:18:45,520 --> 01:18:47,960
Speaker 4: I would absolutely love to see this movie with a crowd.

1499
01:18:48,080 --> 01:18:50,839
Speaker 4: Oh my god, it's a classic. It's a damn classic.

1500
01:18:51,000 --> 01:18:54,519
Speaker 4: It's I can't believe it's thirty years old. This year's wild,

1501
01:18:54,760 --> 01:18:57,120
Speaker 4: and I mean would I also would.

1502
01:18:56,880 --> 01:18:58,800
Speaker 5: Love to see the musical Holy shit.

1503
01:18:58,960 --> 01:19:02,000
Speaker 4: Yeah, if you're a fan of this movie, definitely check

1504
01:19:02,040 --> 01:19:05,400
Speaker 4: out the documentary as well. It's a very it's a fun,

1505
01:19:05,840 --> 01:19:08,000
Speaker 4: complimentary companion piece.

1506
01:19:08,680 --> 01:19:11,840
Speaker 5: Indeed, does this movie pass the Bechdel test?

1507
01:19:12,439 --> 01:19:16,879
Speaker 2: I already made a case for when they drive Priscilla,

1508
01:19:17,960 --> 01:19:22,160
Speaker 2: it passes. Yeah, I mean, I guess it depends on

1509
01:19:22,720 --> 01:19:29,280
Speaker 2: if you count Mitzi and Felicia when they're like in

1510
01:19:29,439 --> 01:19:34,080
Speaker 2: their drag personas speaking to each other. If you consider

1511
01:19:34,200 --> 01:19:37,080
Speaker 2: that a pass I'm fine with it. Obviously, drag is

1512
01:19:37,439 --> 01:19:41,320
Speaker 2: a subversion of gender, so I'm like, yeah, I'm fine

1513
01:19:41,479 --> 01:19:43,840
Speaker 2: with that. I would consider their conversations a past.

1514
01:19:43,920 --> 01:19:48,599
Speaker 4: It passes regardless, because Bernadette has conversations with Marian, brief

1515
01:19:48,640 --> 01:19:54,439
Speaker 4: conversation with Marion, and also sherl who she beats in

1516
01:19:54,560 --> 01:19:56,120
Speaker 4: that drinking contest.

1517
01:19:57,040 --> 01:20:01,840
Speaker 3: So yeah, it's not the warmest interaction, but yeah, no, no, And.

1518
01:20:02,439 --> 01:20:04,800
Speaker 4: I think her interaction with Mary it's pretty passing, you know,

1519
01:20:04,960 --> 01:20:07,160
Speaker 4: like what is the stage like big.

1520
01:20:07,160 --> 01:20:07,760
Speaker 5: Or something like that.

1521
01:20:09,320 --> 01:20:12,360
Speaker 4: But yeah, I mean it certainly does pass. And I yeah,

1522
01:20:12,400 --> 01:20:15,280
Speaker 4: I think regardless of where you land on that it passes.

1523
01:20:15,680 --> 01:20:18,120
Speaker 3: I think his passage happens in sort of a blurry

1524
01:20:18,320 --> 01:20:21,479
Speaker 3: area of the gender spectrum, like it's somewhere I wouldn't

1525
01:20:21,479 --> 01:20:24,080
Speaker 3: say like I would say, maybe it passes, like the

1526
01:20:24,160 --> 01:20:26,640
Speaker 3: schmech Deel test, Like it's so it's so close.

1527
01:20:28,080 --> 01:20:32,679
Speaker 5: Spiritually the clear pass. Yeah, yeah, the Schmechdel test. Fishould

1528
01:20:33,080 --> 01:20:35,439
Speaker 5: start introducing this, right, But.

1529
01:20:35,520 --> 01:20:38,759
Speaker 2: What about our nipple scale, where we rate the movie

1530
01:20:38,880 --> 01:20:41,720
Speaker 2: on a scale of zero to five nipples based on

1531
01:20:42,439 --> 01:20:46,639
Speaker 2: examining it through an intersectional feminist lens. I think I'll

1532
01:20:46,680 --> 01:20:50,599
Speaker 2: go like a three or three point five on this one.

1533
01:20:51,040 --> 01:20:56,040
Speaker 2: I appreciate its place in history and how it helped

1534
01:20:56,520 --> 01:21:02,000
Speaker 2: move the needle on queer representation in mainstream although, as

1535
01:21:02,040 --> 01:21:07,000
Speaker 2: we've discussed, there's some very of the time elements of

1536
01:21:07,120 --> 01:21:09,599
Speaker 2: it and also not of the time. Yeah, I mean

1537
01:21:09,920 --> 01:21:14,920
Speaker 2: the racist and sexist portrayal of the Cynthia character. Justice

1538
01:21:14,960 --> 01:21:21,599
Speaker 2: for Cynthia, having the Aboriginal characters mostly just as scenery

1539
01:21:21,720 --> 01:21:25,479
Speaker 2: and backdrop while the focus is always on the white characters.

1540
01:21:26,479 --> 01:21:29,759
Speaker 2: I think I'll land on a three point five nipples.

1541
01:21:30,120 --> 01:21:34,920
Speaker 2: I'll give one to Julia Cortez, who played Cynthia. I

1542
01:21:34,960 --> 01:21:41,840
Speaker 2: will give one to Alan Dargin Dargan who was an

1543
01:21:41,880 --> 01:21:47,360
Speaker 2: Australian musician and seems to be playing himself question mark

1544
01:21:47,400 --> 01:21:49,880
Speaker 2: in this movie because if you look on IMDb, his

1545
01:21:50,080 --> 01:21:54,960
Speaker 2: character is credited as Aboriginal man, but they call him Allan,

1546
01:21:55,120 --> 01:21:57,960
Speaker 2: which is that person's real first name. So I'm like,

1547
01:21:58,960 --> 01:22:02,639
Speaker 2: is he just amos himself? We're not sure, but one

1548
01:22:02,720 --> 01:22:06,679
Speaker 2: nipple to him. I'll give one nipple to my crush,

1549
01:22:06,800 --> 01:22:11,360
Speaker 2: guy Peers. I hope he is not problematic. You always

1550
01:22:11,560 --> 01:22:15,840
Speaker 2: run the risk of saying you like a man and

1551
01:22:16,000 --> 01:22:19,120
Speaker 2: then you find out later that he's horrible, So hopefully

1552
01:22:19,200 --> 01:22:21,960
Speaker 2: that's not true. And I'll give my half nipple to

1553
01:22:23,040 --> 01:22:23,719
Speaker 2: Hugo Weaving.

1554
01:22:24,439 --> 01:22:25,880
Speaker 5: I'll go three and a half in this as well.

1555
01:22:26,320 --> 01:22:29,880
Speaker 5: I mean on the movies, I like, it's higher than that.

1556
01:22:30,200 --> 01:22:32,880
Speaker 4: But I think for all the reasons we've discussed today,

1557
01:22:33,160 --> 01:22:37,000
Speaker 4: it's a classic. It's a stepping stone movie that led

1558
01:22:37,080 --> 01:22:40,640
Speaker 4: to more thoughtfully inclusive movies. But there's so much to

1559
01:22:40,760 --> 01:22:43,439
Speaker 4: love about this movie, and I guess I will I

1560
01:22:43,520 --> 01:22:45,479
Speaker 4: will just leave it at that because we've been talking

1561
01:22:45,520 --> 01:22:48,200
Speaker 4: for an hour and a half, so I would give

1562
01:22:48,200 --> 01:22:51,040
Speaker 4: it three and a half. I'm gonna give one to

1563
01:22:51,240 --> 01:22:55,360
Speaker 4: Priscilla the Bus, who is recently discovered and is now

1564
01:22:55,439 --> 01:22:57,320
Speaker 4: going into a museum as is her right.

1565
01:22:57,800 --> 01:22:59,200
Speaker 5: Wow, I'm going to give.

1566
01:22:59,120 --> 01:23:02,600
Speaker 4: One to Julia car because I will give one to

1567
01:23:03,000 --> 01:23:06,800
Speaker 4: Stephan Elliott. And finally, I would like to give my

1568
01:23:07,040 --> 01:23:08,960
Speaker 4: last half nipple to a city pastel, who is the

1569
01:23:09,080 --> 01:23:14,799
Speaker 4: inspiration for Tick Slash MIDSI and is a cool testament

1570
01:23:14,880 --> 01:23:19,120
Speaker 4: to how this movie sort of captured a lot of

1571
01:23:19,360 --> 01:23:23,320
Speaker 4: the drag scene and characters and people that Stephan Elliott

1572
01:23:23,439 --> 01:23:26,040
Speaker 4: loved from his formative years and put them in a

1573
01:23:26,080 --> 01:23:27,479
Speaker 4: classic movie, which is always cool.

1574
01:23:29,160 --> 01:23:30,280
Speaker 5: Yeah, Matt, what do you think?

1575
01:23:30,920 --> 01:23:34,560
Speaker 3: You know, I think I'd be inclined to assign it

1576
01:23:34,640 --> 01:23:38,360
Speaker 3: to nipples. And one of them goes to the three

1577
01:23:38,479 --> 01:23:40,400
Speaker 3: heroes on the bus and they can distribute it like

1578
01:23:40,479 --> 01:23:44,919
Speaker 3: a like an evenly broken up pie chart amongst themselves,

1579
01:23:45,320 --> 01:23:48,080
Speaker 3: and the other to the Australian outback itself and you know,

1580
01:23:48,400 --> 01:23:52,880
Speaker 3: rising rising like ayers rock above the desert is the

1581
01:23:53,240 --> 01:23:57,200
Speaker 3: center of that nipple going out to Australia, just the

1582
01:23:57,280 --> 01:23:59,960
Speaker 3: country for you know, embracing this film.

1583
01:24:00,280 --> 01:24:03,080
Speaker 5: Mm hmmm, hell yeah, amazing. Well, Matt, Thank you so

1584
01:24:03,240 --> 01:24:04,160
Speaker 5: much for being with us.

1585
01:24:04,240 --> 01:24:06,960
Speaker 3: This was so much fun, my pleasure. Thanks for having

1586
01:24:07,000 --> 01:24:08,800
Speaker 3: me on and giving me a reason to talk about

1587
01:24:08,840 --> 01:24:10,519
Speaker 3: this movie. It's been a big part of my life

1588
01:24:10,560 --> 01:24:13,280
Speaker 3: ever since I discovered it. Thanks thanks to RuPaul on

1589
01:24:13,360 --> 01:24:13,840
Speaker 3: vh one.

1590
01:24:14,439 --> 01:24:17,040
Speaker 5: Wow, I love that.

1591
01:24:17,439 --> 01:24:21,040
Speaker 2: Where can people follow you online? Check out your work?

1592
01:24:21,320 --> 01:24:22,080
Speaker 2: Tell us everything.

1593
01:24:22,600 --> 01:24:24,600
Speaker 3: Yeah, so I've got a video from a couple of

1594
01:24:24,680 --> 01:24:27,000
Speaker 3: years ago that i did on YouTube about this film.

1595
01:24:27,560 --> 01:24:31,839
Speaker 3: I make videos on YouTube about the making of movies

1596
01:24:31,960 --> 01:24:35,519
Speaker 3: and television from a queer perspective, so you can find me.

1597
01:24:35,640 --> 01:24:37,680
Speaker 3: Just search for my name Matt Baum on YouTube. Just

1598
01:24:37,760 --> 01:24:39,920
Speaker 3: had one about Howard Ashman and the making of Little

1599
01:24:39,920 --> 01:24:41,280
Speaker 3: Shop of Horrors and The Little Mermaid.

1600
01:24:41,360 --> 01:24:42,320
Speaker 5: Incredible work.

1601
01:24:42,640 --> 01:24:45,280
Speaker 3: Thank you. And I'm working on one now about my

1602
01:24:45,360 --> 01:24:49,599
Speaker 3: so called life the TV show, so that'll be coming soon.

1603
01:24:49,720 --> 01:24:51,920
Speaker 3: And you can also get my book I wrote about

1604
01:24:52,439 --> 01:24:55,320
Speaker 3: the history of queer characters on sitcoms. That's the books

1605
01:24:55,320 --> 01:24:58,920
Speaker 3: called High Honey. I'm Homo and I just turned a

1606
01:24:59,040 --> 01:25:04,120
Speaker 3: year old, So yeah, I talk about gays on sitcoms.

1607
01:25:04,479 --> 01:25:06,439
Speaker 3: And I've also got a podcast called The Suws of Paris,

1608
01:25:06,479 --> 01:25:09,200
Speaker 3: where I chat with queer folks about entertainment that's important

1609
01:25:09,200 --> 01:25:10,559
Speaker 3: to them, So you can find the Seers of Paris

1610
01:25:10,800 --> 01:25:15,000
Speaker 3: wherever you listen to your podcasts. Nice, amazing, Yay, thank

1611
01:25:15,040 --> 01:25:18,080
Speaker 3: you so much, a pleasure, Come back anytime, happy to.

1612
01:25:18,439 --> 01:25:21,920
Speaker 2: You can follow us on Instagram mostly these days. At

1613
01:25:21,960 --> 01:25:25,600
Speaker 2: Bechdel Cast. You can go to our Patreon aka Matreon,

1614
01:25:25,960 --> 01:25:30,479
Speaker 2: where we do two bonus episodes every month on a

1615
01:25:30,600 --> 01:25:36,080
Speaker 2: brilliant amazing theme and that's five dollars a month. Plus

1616
01:25:36,160 --> 01:25:39,320
Speaker 2: you get access to our back catalog of bonus episodes

1617
01:25:39,360 --> 01:25:42,040
Speaker 2: there's over one hundred and fifty at this point, all

1618
01:25:42,120 --> 01:25:45,200
Speaker 2: for five dollars a month at patreon dot com slash

1619
01:25:45,400 --> 01:25:47,120
Speaker 2: Bechtel Cast, and.

1620
01:25:47,200 --> 01:25:49,679
Speaker 4: You can get our merch at teapublic dot com slash

1621
01:25:49,920 --> 01:25:51,799
Speaker 4: v Bechtel Cast.

1622
01:25:52,160 --> 01:25:53,719
Speaker 5: Never too early to holiday shop.

1623
01:25:56,720 --> 01:25:59,880
Speaker 4: And with that, let's let's hop on the bus. Let's

1624
01:25:59,920 --> 01:26:01,960
Speaker 4: go well, let's go back to Sydney and raise our

1625
01:26:02,000 --> 01:26:03,240
Speaker 4: young son, shall.

1626
01:26:03,000 --> 01:26:10,639
Speaker 2: We yes while singing Abba Bye bye. The Bechdel Cast

1627
01:26:10,760 --> 01:26:14,120
Speaker 2: is a production of iHeartMedia, hosted by Caitlin Derante and

1628
01:26:14,200 --> 01:26:18,120
Speaker 2: Jamie loftis produced by Sophie Lichterman, edited by Mola Boord.

1629
01:26:18,600 --> 01:26:21,719
Speaker 2: Our theme song was composed by Mike Kaplan with vocals

1630
01:26:21,800 --> 01:26:25,760
Speaker 2: by Katherine Voskressensky. Our logo and merch is designed by

1631
01:26:25,840 --> 01:26:29,880
Speaker 2: Jamie Loftis and a special thanks to Aristotle Acevedo. For

1632
01:26:30,040 --> 01:26:33,719
Speaker 2: more information about the podcast, please visit Linktree Slash Bechdel

1633
01:26:33,800 --> 01:26:34,040
Speaker 2: Cast