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Speaker 1: On the Bechdel Cast.

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Speaker 2: The questions asked if movies.

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Speaker 3: Have women and them, are all their discussions just boyfriends

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Speaker 3: and husbands, or do they have individualism? It's the patriarchy,

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Speaker 3: Zeph and bast start changing it with the Bechdel Cast.

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Speaker 4: Hello, and welcome to the Bechdel Cast. My name is

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Speaker 4: Caitlyn Dronte. And I was like, we can't do it

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Speaker 4: silly intro for this because this movie's too sad. No wow,

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Speaker 4: So I just went into the normal thing.

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Speaker 1: Well, I was gonna say, Kaitlyn, get in front of me,

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Speaker 1: Sally Field, punch Kaitlin in the face. You'll feel better.

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Speaker 1: This is your one opportunity to punch a host of

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Speaker 1: the Bechtel Cast. Will that not cure your incurable grief?

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Speaker 5: Give it a try? And then we all start laugh And.

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Speaker 4: I would let Sally Field punch me in the face.

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Speaker 1: One yeah, yeah, And I think that that's a really nope.

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Speaker 1: If your friend's going through it in a way that

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Speaker 1: it's impossible to truly offer comfort, I'm going to keep

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Speaker 1: that in the back of my mind to be like,

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Speaker 1: I know you're going through a difficult time and nothing

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Speaker 1: I can say will really help. But if you would

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Speaker 1: like to punch me in the face. I would understand.

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Speaker 1: Maybe it would help. Welcome to the back. I'll offer

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Speaker 1: that sometimes. Please. Yeah, I'm sure it would be cathartic

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Speaker 1: if you punch me in the face. I don't know.

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Speaker 1: I don't know. We'll never know. I don't know.

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Speaker 4: We'll find out maybe someday.

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Speaker 5: My name is Jamie Loftus.

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Speaker 1: I'm the other host of the Bechel Cast, the one

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Speaker 1: that just made it sound like I have a kink.

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Speaker 5: We're about getting punched in the face.

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Speaker 4: Hey, which I don't wrong, but.

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Speaker 1: No shame if you do. Uh well, cool opening. This

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Speaker 1: is the really pro kink beginning. This is our first

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Speaker 1: episode with a new addition to the.

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Speaker 5: Bechel Cast family.

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Speaker 1: Little kitten Casper is sitting behind me right now, and

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Speaker 1: I have to remember not to lean back or I'll

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Speaker 1: kill him. He's so small.

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Speaker 4: Bechdel Cast more like Bechdel Cast. Asper more like Bechdel Cats.

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Speaker 5: Exactly.

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Speaker 1: Now we have the Bechdel Cats Fleas in the other room.

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Speaker 1: Fleees really having a series of come to Jesus moments

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Speaker 1: about the new guy. He kind of keeps staring into

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Speaker 1: the distance, contemplating about how he used to be the

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Speaker 1: center of my world, and now.

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Speaker 5: Things are exactly the same. He just doesn't realize it yet.

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Speaker 1: Well, talking about my two boy cats great example of

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Speaker 1: something that would not pass the Bechdel test, except spiritually,

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Speaker 1: in which it does well.

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Speaker 4: I mean cats don't have gender, so I feel like

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Speaker 4: talking about cats does pass the Bechdel test.

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Speaker 1: I'll take it. I'll take it. Yeah, But we use

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Speaker 1: a really amazing opening today. We use the Bechdel test

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Speaker 1: as a jumping off point for discussion in a larger

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Speaker 1: intersectional feminist analysis of your favorite movies in the world. But, Caitlin,

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Speaker 1: what the hell is the Bechdel test tella?

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Speaker 4: It is a media metric created by queer cartoonist Alison Bechdel,

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Speaker 4: sometimes called the Bechdel Wallace Test. It first appeared as

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Speaker 4: a kind of one off bit in her comic Dykes

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Speaker 4: to Watch out For in the eighties. Examining how women

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Speaker 4: hardly ever talk to each other in movies and there's

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Speaker 4: very little representation of queer women was the origins of

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Speaker 4: the test. It has since been used more widely and

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Speaker 4: there are many versions of it. Our version is, do

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Speaker 4: two people of a marginalized gender with names speak to

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Speaker 4: each other? About something other than a man, and we

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Speaker 4: especially like it when it's a narratively substantial conversation and

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Speaker 4: not just like throw away dialogue.

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Speaker 1: Which we will find. There's no issues with today's movie,

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Speaker 1: at least in that department, although there's plenty of stuff

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Speaker 1: to talk about where. Finally doing an episode on Steel

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Speaker 1: Magnolius before we bear our guest in, I just wanted

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Speaker 1: to shout out because people have asked us like where

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Speaker 1: is it seems like a glaring hole, woman centric movie.

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Speaker 1: We did record an episode over two years ago on

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Speaker 1: this movie.

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Speaker 5: With iconic guest Aaron Haynes. Shout out Aaron Haynes.

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Speaker 1: The audio corrupted, the podcast God said no podcast Zeus

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Speaker 1: sent a lightning bolt, and we said, well fine, we'll

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Speaker 1: just have to wait, and when we know, we know.

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Speaker 1: And now we know because we have an incredible guest

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Speaker 1: and we have a lot of thoughts that we've been sitting.

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Speaker 5: On for years at this point, which you're Steel.

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Speaker 4: Magnolious, it is very true. And our guest is an actress.

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Speaker 4: You've seen her on Netflix's Dear White People. She's the

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Speaker 4: host of the podcast Trials to Triumphs on the Oprah

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Speaker 4: Winfrey Network. And you remember her on our episode on Misery.

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Speaker 4: It's Ashley, Blaine, Feathers and Jenkins.

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Speaker 1: Welcome back, Hi, thank you.

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Speaker 6: I have like a raspy, deep tone to my voice

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Speaker 6: these days. I don't know what's happening, but I've been

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Speaker 6: getting a lot of compliments on it.

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Speaker 2: Honestly, Okay, I just wow. But it's not my normal voice.

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Speaker 6: So people that do know my voice are probably like, oh,

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Speaker 6: is that Ashley.

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Speaker 2: It's me, everybody, it's me.

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Speaker 4: Not an imposter.

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Speaker 5: The strike has changed us all the strike changed my voice.

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Speaker 2: Actually, yes, that's what's happened.

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Speaker 6: I'm so fatigued from the strike that my voice has

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Speaker 6: been altered.

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Speaker 1: Let's go with that. I feel it. Well, welcome back.

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Speaker 1: We're so excited to have you, and we're really excited

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Speaker 1: to be covering this movie. I guess I needed two

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Speaker 1: years to think more about it because I had a

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Speaker 1: very different viewing experience this time. But actually, to start,

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Speaker 1: what is your history with this movie?

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Speaker 5: What's your connection to it?

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Speaker 6: Okay, So I was born in December of nineteen eighty seven,

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Speaker 6: so this movie came out in nineteen eighty nine. You know,

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Speaker 6: so I was really young, but I have a sister

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Speaker 6: who's nine years.

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Speaker 2: Older than me. My house was really my mom, Me.

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Speaker 6: And my mom, my sister, and my dad and I

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Speaker 6: come from a small family, but it's mostly women. So

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Speaker 6: I grew up watching a lot of women's centered films

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Speaker 6: and shows. And you know, Lifetime was always on. We

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Speaker 6: were watching Lifetime movies, like I have such fond memories

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Speaker 6: of like sitting in between my mom's legs she's braiding

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Speaker 6: my hair, or watching something on Lifetime.

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Speaker 2: But because I have a sister who's almost.

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Speaker 6: A decade older than me, and my mom, they always

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Speaker 6: were showing me movies that they had watched.

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Speaker 2: Obviously you know what I mean.

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Speaker 6: But I was too young to watch and they were

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Speaker 6: so excited to show them to me as I grew up.

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Speaker 6: So in a lot of ways, I grew up on

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Speaker 6: Still Magnolia's, Like I, if I look back, it was

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Speaker 6: probably a movie that was playing when I was really

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Speaker 6: young and like not able to understand what it was,

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Speaker 6: but then it was a.

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Speaker 2: Movie I watched many times over my lifetime.

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Speaker 6: And when I think of the movie, I think of

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Speaker 6: my mom, and I think of my sister and my

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Speaker 6: nana and us watching it together and crying every time.

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Speaker 2: And you know, I think of.

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Speaker 6: Me too as a young kid who wanted to be

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Speaker 6: an actor, And it also was a movie although there

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Speaker 6: wasn't anybody that looked like me in the movie necessarily,

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Speaker 6: it was definitely a movie where I thought, even at

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Speaker 6: a young age, this is the type of movie I

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Speaker 6: would want to be in though, where it's about love

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Speaker 6: and it's about family, and it's about togetherness and it's

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Speaker 6: about tragedy and it's about healing and you know, all

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Speaker 6: of those things.

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Speaker 2: So it was a movie that I was really drawn to,

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Speaker 2: and the performances are just so good.

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Speaker 6: So when I think about my history with this movie,

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Speaker 6: I think about being deeply inspired by just like the

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Speaker 6: actors in the movie, like no one missed, everyone was

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Speaker 6: knocking it out of the park. And as a young

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Speaker 6: woman who always wanted to act, it's a movie that's

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Speaker 6: always been on my list as one that's like nobody

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Speaker 6: can say anything bad about it.

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Speaker 1: I mean, God, this cast is act sacking. Holy shit,

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Speaker 1: It's so I was surprised that no one on this

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Speaker 1: cast won in Oscar Wild. In my mind, Sally Field

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Speaker 1: won an Oscar for this, and then I double checked

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Speaker 1: it and she did not.

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Speaker 4: Ridiculous, Oh was this not the you like me, you

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Speaker 4: really like me?

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Speaker 1: No? I think that was like, wait, what was that for? Yeah?

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Speaker 4: Because what is that?

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Speaker 2: I'm confused?

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Speaker 1: She has like an iconic Oscar's speech in which she says, Kate,

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Speaker 1: she's just like you like me, you really like me?

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Speaker 2: Oh, I got it.

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Speaker 1: Oh that was for Norma Ray, which we are another

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Speaker 1: popular across we haven't covered.

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Speaker 5: I still haven't seen Norma Ray.

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Speaker 2: And I'm obsessed with Sally Feels and I need to

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Speaker 2: see it.

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Speaker 1: She's awesome and she's Oh my god, she kills it

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Speaker 1: in this movie. That's Oh, that's so sweet that you

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Speaker 1: have such a strong connection to that.

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Speaker 2: Yeah, so cool, Like I truly grew up on it.

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Speaker 4: Yeah, Jamie, what about you? What's your relationship with it?

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Speaker 1: I did not have an extensive relationship with this movie

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Speaker 1: until we first watched it a couple of years ago,

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Speaker 1: and I have returned to it. It has become kind

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Speaker 1: of like a comfort movie because it's usually streaming somewhere.

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Speaker 1: I think I've watched it. I watched it once with

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Speaker 1: my mom over the summer because she hadn't seen it,

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Speaker 1: and then I watched it again to prepare, and I

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Speaker 1: also watched the twenty twelve Queen Latifa version of of Steel.

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Speaker 1: Magnolias also liked that one. And there's so much to

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Speaker 1: talk about with this movie, but I really enjoyed it.

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Speaker 1: I think that it's obviously rare to get, especially a

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Speaker 1: story written by a man that is so generous to

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Speaker 1: showing such a wide variety of like types of women,

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Speaker 1: so many different personalities. Obviously, this movie is far from

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Speaker 1: diverse in spite of where it takes place, which is nuts,

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Speaker 1: but a wide, you know, variety of ages classes, just

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Speaker 1: more than your condition to expect from a movie that

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Speaker 1: came out in nineteen eighty nine. And I find this

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Speaker 1: movie very comforting. This movie is like soup.

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Speaker 4: You know, it's kind of chicken noodle soup.

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Speaker 5: Yeah, you're like, I know what happens.

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Speaker 1: I know Julia Roberts, Well, spoiler alert, she's not gonna

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Speaker 1: make it. I've seen this movie three times and she

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Speaker 1: never makes it.

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Speaker 2: She does not.

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Speaker 1: But what I got out of this feeling experience that

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Speaker 1: was a little different was I just learned more about

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Speaker 1: the context of why this movie exists. And it was

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Speaker 1: based on a play by Robert Harling, who also wrote

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Speaker 1: the screenplay, and it's about his sister, like his sister

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Speaker 1: is the Julia Roberts character, and so we could talk

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Speaker 1: a little bit about that and sort of this journey

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Speaker 1: in which like a total non writer wrote this really

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Speaker 1: famous movie. Yeah, Caitlin Win's Your History was still mcnilia's.

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Speaker 4: I had seen it once before in college, just because

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Speaker 4: again I was making a point to see notable movies.

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Speaker 4: Didn't really matter what genre or what era. I was

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Speaker 4: just like, this is a movie that people have talked about.

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Speaker 4: It's on lists of notable movies, so I've got to

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Speaker 4: see it.

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Speaker 5: The Eternal Student.

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Speaker 4: Oh my gosh, such a student of phlim.

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Speaker 7: Yeah, and I will say it's not exactly my type

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Speaker 7: of movie, slice of life, real world dramas.

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Speaker 1: You hate women also, I hate women famously, Yeah.

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Speaker 4: And their stories, and I just don't want.

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Speaker 2: To see it.

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Speaker 1: I don't, well Kaylen sees a woman having an arc,

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Speaker 1: They're like.

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Speaker 4: Enough, I'm like, boo, where are the explosions? And that's

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Speaker 4: actually kind of sadly true. But you know, my tastes

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Speaker 4: are my tastes, and I cannot even hope it. But

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Speaker 4: I appreciate this movie for what it is, and as

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Speaker 4: a stoic, I'm always like a movie is probably not

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Speaker 4: going to make me cry. And every time I watch

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Speaker 4: this movie, I cry so many times. It's just so

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Speaker 4: heart wrenching.

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Speaker 1: It's like genetically engineered to make you cry, you know,

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Speaker 1: like you are made of stone. It felt like it

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Speaker 1: was basic made of steel. It's true, you don't cry,

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Speaker 1: but everyone maybe Weezer doesn't cry, but almost everybody cries.

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Speaker 4: I think Weezer's got tears in her eyes. I mean,

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Speaker 4: she's crying.

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Speaker 1: She's made of steel, but she's not made of stone. Oh,

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Speaker 1: this movie is too much. I just yeah, I'm really

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Speaker 1: excited to talk about it.

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Speaker 4: Let's take a quick break and then let's come back

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Speaker 4: and do the recap, and we're back. Okay, So here's

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Speaker 4: the recap. So I'm going to focus on the main storyline,

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Speaker 4: which is Julia Roberts' character's story, but each of the

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Speaker 4: main characters have little subplots that oh pretty much just

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Speaker 4: like gloss over in the recap, figuring that we will

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Speaker 4: talk about them in a lot more detail in the discussion.

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Speaker 1: Gotcha.

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Speaker 4: So we are in a small town in Louisiana. The

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Speaker 4: movie begins on the wedding day of Shelby Eatonton that's

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Speaker 4: Julia Roberts. She and her mom, Malin played by Sally Field,

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Speaker 4: are scrambling around preparing for the wedding. Shelby's dad, Drum,

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Speaker 4: played by Tom Scarett, is trying to scare birds out

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Speaker 4: of a tree by shooting a gun at them.

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Speaker 1: Sure.

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Speaker 4: Sure. We are also following Annell played by Daryl Hannah,

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Speaker 4: who goes to a salon owned by Truvy that's Dolly Parton,

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Speaker 4: and Truvie gives Annell a job in the salon as

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Speaker 4: a glamour technician. But there's also like discussion about like

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Speaker 4: Annelle seems to have a.

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Speaker 1: Past, Vannelle and Truvie are the best characters to me?

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Speaker 2: To me, Oh, okay, I'm gonna hear about.

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Speaker 4: Okay. So then we also meet Shelby's groom to be, Jackson,

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Speaker 4: played by Dylan McDermott, who, by the way, we meet

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Speaker 4: because he sneaks into Shelby's room and bathroom while she's

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Speaker 4: in the middle of a bath without knocking on the

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Speaker 4: door or anything.

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Speaker 1: It's nineteen eighty nine, so we're like, aw romantic home intrusion.

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Speaker 4: By yeah, and not like ooh, invasion of privacy is

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Speaker 4: so sweet Okay. We also meet Weezer Uh played by

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Speaker 4: Shirley McLain, the grumpy neighbor of the Eatonton family, as

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Speaker 4: well as Clarie played by Olympiadcaucus. She is recently widowed,

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Speaker 4: and it seems like Weezer and Clarie are like best

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Speaker 4: buds but also kind of frenemies but BFFs.

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Speaker 1: Also kind of queer codd There's a few moments with

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Speaker 1: Weezer and Clary where I'm like, hmm, maybe it's just me,

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Speaker 1: but I would like for them to kiss.

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Speaker 4: Yeah, no, I agree.

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Speaker 2: I never thought that.

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Speaker 1: Maybe I'm just my perverted little But there are a

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Speaker 1: few bombs where is is like, maybe it was just

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Speaker 1: forbidden at the time, but clearly they belong together because

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Speaker 1: they treat each other like it's a school yard crush.

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Speaker 2: They do looking.

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Speaker 1: Back to.

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Speaker 4: So I'm for it.

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Speaker 2: The layers, there's.

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Speaker 4: So many, so many layers. It's like an onion.

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Speaker 5: Such as feminist scholar.

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Speaker 4: Sure okay. So Shelby and Malin go to get their

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Speaker 4: hair done at Truevi's salon, during which Shelby has a

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Speaker 4: medical emergency. It turns out that she has diabetes. They

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Speaker 4: give her juice and we just get kind of more

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Speaker 4: information about her condition, and she recently received news that

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Speaker 4: having children isn't possible due to her condition. Shelby had

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Speaker 4: been having second thoughts about marrying Jackson because she's afraid

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Speaker 4: she would be denying him the chance to have children,

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Speaker 4: but she and Jackson go through with the wedding and

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Speaker 4: we see the reception at the Eaton House.

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Speaker 1: Everyone's armadillo cake with gray frosting grape wine.

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Speaker 4: Then we cut to Christmas time where Shelby reveals to

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Speaker 4: her mom that she's pregnant. Akas pregnant, and she does

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Speaker 4: she has a little Greg and she has a little

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Speaker 4: Greg soon. But Melinn is not happy about this pregnancy

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Speaker 4: announcement because our Gregnancy announcement, because shell be carrying a

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Speaker 4: baby is very dangerous to her health. But Shelby really

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Speaker 4: wants to have a child of her own. And the

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Speaker 4: other women also learn about the pregnancy and they realize

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Speaker 4: it's not necessarily happy news because of this risk associated

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Speaker 4: with it. We cut to a year later, after the

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Speaker 4: baby the Greg if you will Yes, Jackson Junior has

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Speaker 4: been born patit Greg yep. They celebrate his first birthday.

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Speaker 4: Then Shelby and maln returned to Truvi's salon. A lot

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Speaker 4: of scenes take place there. Shelby gets her haircut very short,

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Speaker 4: making her the baldest woman in charge.

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Speaker 1: Yes, you know, and for newer listeners to the show,

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Speaker 1: the baldest woman in Charge rule real old hold over

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Speaker 1: from the show in which in movies, very often the

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Speaker 1: woman with the shortest haircut has the most narrative pathwer

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Speaker 1: Why is this? We don't know, but it's something we've

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Speaker 1: Why is Leonardo DiCaprio fully submerged in water in his

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Speaker 1: clothes in so many movies? We don't know. It's just

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Speaker 1: something that you see happening and you have to speak up.

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Speaker 4: Yeah, you have to maybe make a letterboxed list about it.

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Speaker 4: I'm going to make a letterbox list. I want to

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Speaker 4: make one for the Bechdel Cast, by the way, I

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Speaker 4: don't know if people know that we're on letterboxed, but

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Speaker 4: we are, so you should follow us and I'll make

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Speaker 4: a list of all the movies in which Leonardo DiCaprio

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Speaker 4: is fully submerged in water wearing his clothes, because it's

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Speaker 4: so many.

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Speaker 1: I haven't seen Killers of the Flower Moon yet, but

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Speaker 1: I would say it's honestly a safe bet that he

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Speaker 1: will be fully submerged in all his clothes, never copless,

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Speaker 1: always in the clothes. Yep, let's continue, Yes, Okay.

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Speaker 4: So they're at this lawn and as Shelby is getting

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Speaker 4: a manicure, Truvy notices some severe bruising on Shelby's arms.

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Speaker 4: Turns out it's from dialysis because having a baby put

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Speaker 4: a lot of strain on her kidneys, and she is

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Speaker 4: in need of a kidney transplant, and her mother, Milin

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Speaker 4: is donating one of her kidneys to Shelby.

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Speaker 5: Moinn truly mother of the Century. Yeah, yeah, at Molinn.

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Speaker 4: And the surgery is the following day, and everyone gathers

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Speaker 4: at the hospital. They're nervous, but the surgery goes well

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Speaker 4: and everything seems all right at first. Some time passes,

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Speaker 4: and one day Shelby is at home taking care of

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Speaker 4: Jackson Junior, and she collapses. We cut to the hospital.

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Speaker 4: Her body is rejecting the kidney transplant and she is

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Speaker 4: in a coma. Milnn stays with Shelby day and night

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Speaker 4: trying to get her to wake up from the coma.

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Speaker 4: More time passes, she isn't waking up, She doesn't show

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Speaker 4: any signs of ever waking up, so they make the

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Speaker 4: decision to take her off life support and she dies.

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Speaker 4: We see the funeral, We get the iconic monologue from

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Speaker 4: Sally Field She's just so mad she wants to hit

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Speaker 4: something hard. This is when Clary is like, hit weezer

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Speaker 4: puncher in the face. And they all end up laughing

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Speaker 4: about it because.

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Speaker 1: That scene makes me cry like a fucking baby. I mean, like,

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Speaker 1: obviously Shelby dying makes me cry, but the funeral seed, Oh,

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Speaker 1: it's so good.

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Speaker 5: It's so good.

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Speaker 4: Yeah, it really is, so this kind of moment of levity.

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Speaker 4: They're all laughing about it, and the movie ends with

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Speaker 4: everyone accepting that life goes on. And then Annelle, who

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Speaker 4: has a pregnancy of her own by the way, she

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Speaker 4: goes into labor and everyone to the hospital the and.

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Speaker 5: It always kind of cracks me up.

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Speaker 1: I think we maybe talked about this the first time

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Speaker 1: we discussed this movie. The last shot of this movie

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Speaker 1: is so bizarre to me because you see like all

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Speaker 1: of the women that we've gotten to know and love,

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Speaker 1: and we're like, this is so cool. And then you

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Speaker 1: see like Annell's husband and I think one of Shelby's brothers,

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Speaker 1: and he's wearing a bunny suit. Oh yeah, and they're

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Speaker 1: on a motorcycle.

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Speaker 5: And that's the last shot.

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Speaker 1: You're like, what I mean, it makes sense that he's coming,

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Speaker 1: but I don't know this.

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Speaker 6: Classic we have to end this movie about all these

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Speaker 6: women with the man that we don't know.

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Speaker 5: In a like menacing looking rabbit suit. I was like,

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Speaker 5: what is this?

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Speaker 2: It's weird?

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Speaker 5: What am I looking at?

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Speaker 1: Anyways? Weird last shot? But yes, so so so much

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Speaker 1: to talk about.

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Speaker 4: Yeah, let's take a quick break and we will come

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Speaker 4: back to discuss.

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Speaker 5: And we're back.

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Speaker 1: Before we get into the nitty gritty here, I do

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Speaker 1: want to know who are your faves? I would say,

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Speaker 1: because there's so many women in this story who kind

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Speaker 1: of come in pairs. Because you've got Mellyn and Shelby,

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Speaker 1: You've got Weezer and Clarie, You've got Annell and Truviy.

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Speaker 1: Who's your favorite pair of gals? I'm team Truvia in

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Speaker 1: a Noell, I really like their relationship.

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Speaker 2: Why do you love their relationship?

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Speaker 1: I love it because I just like a mentorship story

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Speaker 1: that isn't necessarily a mother daughter story. And I really

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Speaker 1: like Annelle's story of you know, coming from an impossible circumstance.

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Speaker 1: She's like ashamed of her own poverty, She's ashamed of

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Speaker 1: having been in an abusive relationship. And then meets Dolly Parton,

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Speaker 1: who is like, here's a solution to your problems. Just

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Speaker 1: be more like Dolly Parton, and it changes Annelle's life

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Speaker 1: and she just becomes baby Dolly Parton.

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Speaker 5: And I love that. I love their relationship.

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Speaker 1: I sort of wish, like, if I could have my way,

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Speaker 1: I would have Annell remain Dolly Parton and not you know,

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Speaker 1: be like I want to be a mother and a housewife.

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Speaker 1: But I really like Annelle in act too of this

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Speaker 1: movie so good where she's she's like, I have a boyfriend.

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Speaker 1: I don't even know if I like him. My hair

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Speaker 1: looks great. I'm happy. I just I love Anel and

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Speaker 1: I love how good Truvia is.

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Speaker 6: It's a good transformation. She has a good like through

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Speaker 6: line in the story.

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Speaker 2: I think it's really good.

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Speaker 6: I think my favorite I do love a mother daughter.

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Speaker 6: It just gets me every time. So, you know, Shelby

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Speaker 6: and Milinn and in a lot of ways, they are

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Speaker 6: the heart of the movie, and like it's their love,

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Speaker 6: their relationship, their commitment.

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Speaker 2: To one another, that is like really just beautiful to me.

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Speaker 6: And then I think like a close second is honestly

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Speaker 6: like Clarie and Weezer, And it's because like this is

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Speaker 6: a big cast, but you need characters like that, like

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Speaker 6: you need the juxtaposition of characters like that in a cast.

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Speaker 6: And I think they're so well done, like it's like

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Speaker 6: done to perfection for me, So they are a close second.

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Speaker 6: But yeah, Malyna and Shelby are just it's just beautiful

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Speaker 6: watching this mother.

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Speaker 2: It's weird because it's like you're watching her.

438
00:24:33,400 --> 00:24:35,960
Speaker 6: You're watching a mother allow what she thinks is almost

439
00:24:35,960 --> 00:24:38,320
Speaker 6: like allow her daughter to make decisions for herself, even

440
00:24:38,359 --> 00:24:42,919
Speaker 6: though she's a grown woman. But you also see the

441
00:24:42,960 --> 00:24:46,879
Speaker 6: mother intuition of her, like instinctively knowing like this isn't

442
00:24:46,880 --> 00:24:50,440
Speaker 6: gonna be good, Like you can see that she knows

443
00:24:50,640 --> 00:24:54,360
Speaker 6: like it's not gonna end up well, and you can

444
00:24:54,440 --> 00:24:57,200
Speaker 6: also see I think that Shelby knows it's not gonna

445
00:24:57,280 --> 00:25:00,200
Speaker 6: end up well, but they both are committed to life,

446
00:25:00,560 --> 00:25:03,520
Speaker 6: loving each other and just hoping that maybe there's an

447
00:25:03,560 --> 00:25:07,440
Speaker 6: outcome that isn't worst case scenario it ends up being.

448
00:25:07,240 --> 00:25:08,920
Speaker 2: That, but also just the blessing of.

449
00:25:10,560 --> 00:25:13,760
Speaker 6: You know, Shell be still having her son and like

450
00:25:13,800 --> 00:25:16,879
Speaker 6: it's the lesson of like she wanted more life with

451
00:25:16,920 --> 00:25:20,560
Speaker 6: her son, but she also got to experience it, and

452
00:25:20,600 --> 00:25:23,399
Speaker 6: maybe that was enough for her, you know what I mean, Like,

453
00:25:23,520 --> 00:25:26,879
Speaker 6: maybe that was okay. And sometimes that happens, and I

454
00:25:26,920 --> 00:25:28,840
Speaker 6: think it's the people that are left behind that are

455
00:25:28,840 --> 00:25:33,960
Speaker 6: grieving the most. But for Shelby, I thought maybe she was, like,

456
00:25:34,000 --> 00:25:35,840
Speaker 6: I'm just grateful that I had the opportunity.

457
00:25:36,880 --> 00:25:41,040
Speaker 1: I mean, it's so well first, can't who's your favorite parent?

458
00:25:41,560 --> 00:25:44,119
Speaker 4: Oh? And I'm not just saying this to be like

459
00:25:44,560 --> 00:25:47,400
Speaker 4: to say a different answer from everyone else, but I'm

460
00:25:47,920 --> 00:25:50,960
Speaker 4: I'm Weezer and Clari all the day that we all

461
00:25:51,119 --> 00:25:55,240
Speaker 4: have a different parent. Yeah, Weezer's my gal. I want

462
00:25:55,240 --> 00:25:59,280
Speaker 4: to be exactly like Weezer when I get older. And yeah,

463
00:25:59,280 --> 00:26:02,560
Speaker 4: I just I love that friendship to I love this

464
00:26:02,680 --> 00:26:06,600
Speaker 4: scene where Clarity is like Anne Berlin had six fingers

465
00:26:06,640 --> 00:26:08,959
Speaker 4: on one hand. I'm telling you this to make you

466
00:26:09,000 --> 00:26:13,159
Speaker 4: more cultured and broaden your horizons and then we users

467
00:26:13,240 --> 00:26:14,879
Speaker 4: just like I don't give a shit about that. I

468
00:26:14,920 --> 00:26:19,000
Speaker 4: hate plays and movies and blah blah blah.

469
00:26:19,040 --> 00:26:24,400
Speaker 1: So I mean and just so so so well played

470
00:26:24,680 --> 00:26:29,679
Speaker 1: to like, I love Shirley McLean so much. What a

471
00:26:29,760 --> 00:26:34,240
Speaker 1: legend truly. Okay, so let's go back to Molin and

472
00:26:34,280 --> 00:26:37,200
Speaker 1: Shelby for a second, because I agree that they are

473
00:26:37,280 --> 00:26:40,960
Speaker 1: like as close to protagonists as this movie can get,

474
00:26:41,040 --> 00:26:44,159
Speaker 1: because the you know, main beats of the story go

475
00:26:44,280 --> 00:26:48,760
Speaker 1: around Shelby's life and death. Basically, yes, So what I

476
00:26:48,840 --> 00:26:50,840
Speaker 1: didn't know and I think that we didn't talk about

477
00:26:50,840 --> 00:26:53,360
Speaker 1: this very extensively the first time we discussed this movie

478
00:26:53,440 --> 00:26:57,080
Speaker 1: is you know, I think that it viewed out of context.

479
00:26:57,480 --> 00:27:01,679
Speaker 1: There appeared to be some kind of trophy things at

480
00:27:01,720 --> 00:27:04,359
Speaker 1: play here where I always feel like hyper tuned to

481
00:27:04,480 --> 00:27:08,560
Speaker 1: like motherhood is the most important thing that anyone with

482
00:27:08,600 --> 00:27:11,359
Speaker 1: a uterus can do and blow blah, and like, I

483
00:27:11,359 --> 00:27:14,080
Speaker 1: think that that's true. But when I learned more about

484
00:27:14,160 --> 00:27:17,119
Speaker 1: the context of why this movie exists in the first place,

485
00:27:17,440 --> 00:27:21,600
Speaker 1: it's all very based in the author's life and the

486
00:27:21,640 --> 00:27:27,200
Speaker 1: author's sister, Susan. So there is a as close as

487
00:27:27,240 --> 00:27:28,959
Speaker 1: this movie has to an oral history.

488
00:27:29,520 --> 00:27:33,080
Speaker 5: In a magazine called Garden and Gun.

489
00:27:32,840 --> 00:27:36,320
Speaker 4: Question Mark, I saw that and as soon as I

490
00:27:36,359 --> 00:27:37,920
Speaker 4: was like, you, you don't want to read this, and.

491
00:27:37,840 --> 00:27:42,880
Speaker 1: I just unfortunately the article is quite good. I think

492
00:27:42,880 --> 00:27:46,560
Speaker 1: it is like a southern magazine, so it makes sense

493
00:27:46,600 --> 00:27:49,320
Speaker 1: that they would write about Steele Magnolius. It's very saving

494
00:27:49,400 --> 00:27:52,160
Speaker 1: movie either way. I was put together by a writer

495
00:27:52,240 --> 00:27:56,200
Speaker 1: named Julia Reid in twenty seventeen. There's interviews with Shirley

496
00:27:56,280 --> 00:28:00,400
Speaker 1: maclain as well as Margot Martindale, who is the original oh.

497
00:28:00,560 --> 00:28:06,919
Speaker 2: Yeah in the play love Margo. Also wow, didn't know

498
00:28:07,040 --> 00:28:07,880
Speaker 2: that back.

499
00:28:07,760 --> 00:28:09,440
Speaker 4: Here director Margot Martindale. Yep.

500
00:28:10,080 --> 00:28:13,439
Speaker 6: So only heavy hitters can participate in anything that has

501
00:28:13,480 --> 00:28:14,400
Speaker 6: to do with Still.

502
00:28:14,160 --> 00:28:20,880
Speaker 1: Magnolias, right, So it's primarily the writer Robert Harling, Margot Martindale,

503
00:28:20,880 --> 00:28:24,359
Speaker 1: who played Mullin off Broadway, and Shirley McLain are the

504
00:28:24,359 --> 00:28:26,840
Speaker 1: three main sources for this story. But it's a lot

505
00:28:26,840 --> 00:28:29,840
Speaker 1: of Robert Harling talking about how his sister was a

506
00:28:29,840 --> 00:28:32,159
Speaker 1: Type one diabetic who really wanted to have a baby

507
00:28:32,200 --> 00:28:35,639
Speaker 1: and died very young. Like her story lines up pretty

508
00:28:35,640 --> 00:28:39,800
Speaker 1: closely with Shelby's. And he was an actor.

509
00:28:39,840 --> 00:28:41,000
Speaker 5: He was Viga New York.

510
00:28:41,480 --> 00:28:43,480
Speaker 1: He is from the South, he was queer like, he

511
00:28:43,560 --> 00:28:47,360
Speaker 1: had all these separate struggles with his family because he's

512
00:28:47,400 --> 00:28:50,360
Speaker 1: a boomer, you know, then lost his sister really young.

513
00:28:50,360 --> 00:28:53,440
Speaker 1: Who was always so supportive towards him, and so he

514
00:28:54,000 --> 00:28:56,640
Speaker 1: wanted to, even though he wasn't a writer, wanted to

515
00:28:57,520 --> 00:29:01,960
Speaker 1: memorialize her in some way, and so wrote a play

516
00:29:02,280 --> 00:29:04,880
Speaker 1: version of this, which makes Once you know this movie

517
00:29:05,000 --> 00:29:07,160
Speaker 1: was originally a play, it totally makes sense because the

518
00:29:07,200 --> 00:29:12,640
Speaker 1: set pieces are so like the parlor, the wedding, the funeral,

519
00:29:14,360 --> 00:29:18,920
Speaker 1: the hospital. But he originally wrote it off Broadway and

520
00:29:19,360 --> 00:29:23,440
Speaker 1: was afraid to tell his family because he was afraid

521
00:29:23,480 --> 00:29:26,440
Speaker 1: that they would find it disrespectful. And so I have

522
00:29:26,440 --> 00:29:28,640
Speaker 1: a quote from him here speaking to that where he

523
00:29:28,680 --> 00:29:32,400
Speaker 1: first showed his mom the script. It's so sad. He's like,

524
00:29:32,760 --> 00:29:34,560
Speaker 1: you don't have to read it. It's about you and

525
00:29:34,600 --> 00:29:37,800
Speaker 1: Susan and the whole thing. But she's a steel magnolia.

526
00:29:37,880 --> 00:29:39,720
Speaker 1: She was going to read it. I gave her the

527
00:29:39,760 --> 00:29:41,880
Speaker 1: script and I'd walk past and she'd be sobbing, and

528
00:29:41,920 --> 00:29:44,800
Speaker 1: I felt terrible. Afterward, I said, Mom, will just kill it.

529
00:29:44,840 --> 00:29:46,720
Speaker 1: I can't put you through this, and she said it's

530
00:29:46,720 --> 00:29:49,800
Speaker 1: wonderful because it's true. She just closed it and that

531
00:29:49,920 --> 00:29:51,920
Speaker 1: was it. End of topic. And they saw the show.

532
00:29:52,000 --> 00:29:55,080
Speaker 1: They were very supportive of it. The show is very successful.

533
00:29:55,480 --> 00:30:00,680
Speaker 1: And then it was turned into this gigantic movie. And

534
00:30:01,120 --> 00:30:04,040
Speaker 1: the only other things I think that are notable about

535
00:30:04,040 --> 00:30:06,520
Speaker 1: the production, other than it being based on a true story,

536
00:30:06,960 --> 00:30:07,920
Speaker 1: is that the.

537
00:30:07,720 --> 00:30:11,200
Speaker 4: Director of this movie nasty.

538
00:30:11,840 --> 00:30:16,440
Speaker 1: He was mean, and Shirley McLain yelled at him. But yes,

539
00:30:16,680 --> 00:30:21,520
Speaker 1: the director, Herbert Ross, who also, I mean, directed a

540
00:30:21,520 --> 00:30:25,600
Speaker 1: bunch of famous movies, and I guess was a shitty

541
00:30:25,640 --> 00:30:29,560
Speaker 1: person and was cruel to Julia Roberts and Dolly Parton,

542
00:30:29,840 --> 00:30:34,040
Speaker 1: like what kind of person must you be? But Shirley

543
00:30:34,120 --> 00:30:37,680
Speaker 1: McClain got wind of it, and she said, then one day,

544
00:30:37,680 --> 00:30:40,520
Speaker 1: I basically told him to go fuck himself, and everybody

545
00:30:40,560 --> 00:30:44,200
Speaker 1: heard it and things got better after that. So Shirley

546
00:30:44,280 --> 00:30:48,120
Speaker 1: McLain just simply not fucking around. Never has been some.

547
00:30:48,080 --> 00:30:50,719
Speaker 6: One had to say it, apparently, and it would make

548
00:30:50,800 --> 00:30:52,720
Speaker 6: sense that it was hard it literally, if someone was

549
00:30:52,760 --> 00:30:54,800
Speaker 6: like guess who in the cast said that, I would

550
00:30:54,920 --> 00:30:59,760
Speaker 6: be like, gave me the million dollars easily.

551
00:31:00,800 --> 00:31:03,959
Speaker 5: So those are the sort of main production beats.

552
00:31:04,000 --> 00:31:07,040
Speaker 1: But I think that it was sort of helped me

553
00:31:07,440 --> 00:31:10,920
Speaker 1: work through my feelings on Shelby's character, at her relationship

554
00:31:10,920 --> 00:31:13,840
Speaker 1: with Mullyann, knowing how close it was to the author.

555
00:31:13,960 --> 00:31:17,160
Speaker 4: Yeah, Yeah, I'll add to that just a little bit

556
00:31:17,240 --> 00:31:21,280
Speaker 4: by sharing some kind of like quotes and paraphrasing of

557
00:31:21,360 --> 00:31:25,880
Speaker 4: what Robert Harlan has said. I'm pulling from a daily

558
00:31:26,000 --> 00:31:28,840
Speaker 4: Mail dot co dot UK.

559
00:31:29,120 --> 00:31:31,360
Speaker 1: You're like, I won't read the Garden and Gun piece,

560
00:31:31,440 --> 00:31:34,560
Speaker 1: but let me take faith Brustworthy.

561
00:31:35,600 --> 00:31:39,080
Speaker 4: Yeah, our sources today are really good. But they did

562
00:31:39,080 --> 00:31:44,600
Speaker 4: an interview with him. Robert Harling was talking about his

563
00:31:44,840 --> 00:31:48,840
Speaker 4: choice to write this. He obviously did it to honor

564
00:31:48,880 --> 00:31:54,560
Speaker 4: his sister's memory and kind of keep her metaphorically alive,

565
00:31:55,280 --> 00:31:57,840
Speaker 4: so to speak. He wrote the first draft in like

566
00:31:57,880 --> 00:32:00,000
Speaker 4: ten days or something like that. It came out very quickly,

567
00:32:00,760 --> 00:32:04,760
Speaker 4: and he speaks about trying to kind of capture the

568
00:32:04,880 --> 00:32:09,640
Speaker 4: language of how the women around him spoke. And he says,

569
00:32:10,320 --> 00:32:12,360
Speaker 4: I don't care what people say. I wrote down what

570
00:32:12,440 --> 00:32:15,680
Speaker 4: I heard. The women in my town talked in bumper stickers.

571
00:32:16,200 --> 00:32:20,200
Speaker 4: They were funny, funny people. And I'm like watching this

572
00:32:20,280 --> 00:32:24,960
Speaker 4: and I'm like, is this how people talk? Is this like? What? Like?

573
00:32:25,000 --> 00:32:28,160
Speaker 4: They're so quippi and I love the quippy dialogue. And

574
00:32:28,200 --> 00:32:31,160
Speaker 4: he was saying, like, no, this is authentically how the

575
00:32:31,160 --> 00:32:33,120
Speaker 4: people in my town spoke.

576
00:32:33,400 --> 00:32:35,760
Speaker 1: And I also loved He had a quote in that

577
00:32:35,920 --> 00:32:39,920
Speaker 1: oral history piece about how he was really nervous he

578
00:32:40,320 --> 00:32:43,200
Speaker 1: would never admit who he based Weezer on because he

579
00:32:43,280 --> 00:32:47,440
Speaker 1: was afraid that she'd be offended. Oh yeah, but that

580
00:32:47,600 --> 00:32:49,840
Speaker 1: his mom saw the play, it was like, oh, it's

581
00:32:49,880 --> 00:32:51,840
Speaker 1: obvious who that is. And he was like, oh, well,

582
00:32:52,480 --> 00:32:54,400
Speaker 1: I guess I'm not as sneaky as I thought.

583
00:32:55,400 --> 00:32:56,400
Speaker 4: Cats out of the bag.

584
00:32:56,480 --> 00:32:59,360
Speaker 6: I just love that, like Weezer is described as a

585
00:32:59,400 --> 00:33:02,840
Speaker 6: town ground and like it's just so funny because like

586
00:33:03,200 --> 00:33:07,080
Speaker 6: every town has one, everybody knows one, you.

587
00:33:07,120 --> 00:33:09,240
Speaker 2: Know what I mean? And I think that there needed

588
00:33:09,240 --> 00:33:11,000
Speaker 2: to be one in this movie and.

589
00:33:11,040 --> 00:33:14,360
Speaker 5: Play yeah, and they're always beloved character.

590
00:33:14,480 --> 00:33:14,920
Speaker 2: Yeah.

591
00:33:15,040 --> 00:33:18,320
Speaker 1: I also I wish that this movie had the courage

592
00:33:18,640 --> 00:33:22,880
Speaker 1: to let Weezer and Clary be queer. I will die

593
00:33:22,880 --> 00:33:25,000
Speaker 1: on this hill. I think that that is the ultimate

594
00:33:25,240 --> 00:33:28,800
Speaker 1: what should happen. But I also do think it's powerful

595
00:33:28,840 --> 00:33:31,640
Speaker 1: that they gave her a boyfriend that she hated who

596
00:33:31,680 --> 00:33:34,360
Speaker 1: was shorter than her. I was like, wow, representation matters.

597
00:33:35,200 --> 00:33:37,880
Speaker 1: As a six foot TALLOVID who has dated many shorter

598
00:33:37,920 --> 00:33:41,000
Speaker 1: men that she did not like, I felt seen in

599
00:33:41,040 --> 00:33:46,640
Speaker 1: that moment. But Okaya, back to Molina Shelby. Yeah, their relationship.

600
00:33:46,800 --> 00:33:50,160
Speaker 1: I think I didn't respond to it as well the

601
00:33:50,200 --> 00:33:51,920
Speaker 1: first time I saw this movie.

602
00:33:51,960 --> 00:33:52,400
Speaker 5: I don't know.

603
00:33:53,000 --> 00:33:57,560
Speaker 1: I think it's more just like because their relationship is

604
00:33:57,720 --> 00:34:02,840
Speaker 1: so entrenched in the idea of maternal sacrifice, right like

605
00:34:03,000 --> 00:34:07,080
Speaker 1: on both ends, where Molynn is not just willing to

606
00:34:07,240 --> 00:34:10,560
Speaker 1: physically do anything she can to support her daughter, but

607
00:34:10,760 --> 00:34:15,640
Speaker 1: emotionally we see her really struggle with accepting her daughter's

608
00:34:15,760 --> 00:34:18,200
Speaker 1: decisions because she knows that it's going to hurt her.

609
00:34:18,680 --> 00:34:21,040
Speaker 1: But the more I watch this movie, the more I

610
00:34:21,080 --> 00:34:23,840
Speaker 1: appreciate it. And maybe it's just like getting a little

611
00:34:23,840 --> 00:34:26,520
Speaker 1: older myself, where you know, I don't think it is

612
00:34:26,840 --> 00:34:32,239
Speaker 1: fair that this is an expectation of women or of

613
00:34:32,760 --> 00:34:36,120
Speaker 1: mothers in general, where we see we see fathers throughout

614
00:34:36,120 --> 00:34:40,919
Speaker 1: this movie, but they're mostly like hindrances, incidental. Yeah, they're

615
00:34:40,960 --> 00:34:45,719
Speaker 1: like blowing up trees, They're like leaking your pregnancy in public,

616
00:34:46,239 --> 00:34:50,480
Speaker 1: Like they're not being super helpful, which is you know,

617
00:34:51,000 --> 00:34:54,360
Speaker 1: authentic to a lot of parents. Is like the mom

618
00:34:54,560 --> 00:35:01,720
Speaker 1: is carrying the physical and emotional burden of her children's lives.

619
00:35:02,000 --> 00:35:04,080
Speaker 1: And I think when I take it into context of

620
00:35:04,320 --> 00:35:07,719
Speaker 1: we have so many other characters who are women in

621
00:35:07,760 --> 00:35:10,719
Speaker 1: this movie that are not in their story is not

622
00:35:10,840 --> 00:35:14,240
Speaker 1: entrenched in motherhood. I mean, we got Weezer, We've got Truviy,

623
00:35:14,320 --> 00:35:17,120
Speaker 1: We've got you know, there's plenty of other people to

624
00:35:17,480 --> 00:35:21,880
Speaker 1: look to for different kinds of stories, and Mulnn especially.

625
00:35:22,120 --> 00:35:24,280
Speaker 1: I love Shelby, but I just I feel for Malyn

626
00:35:24,440 --> 00:35:27,839
Speaker 1: so much. She's put in this horrible position to have

627
00:35:27,880 --> 00:35:31,360
Speaker 1: to kind of like grin and bear it through knowing

628
00:35:31,920 --> 00:35:35,080
Speaker 1: what is going to happen, and it's I think it's

629
00:35:35,160 --> 00:35:39,680
Speaker 1: just like so well performed, and like what else can

630
00:35:39,719 --> 00:35:42,080
Speaker 1: you do not have a relationship with your daughter when

631
00:35:42,120 --> 00:35:44,760
Speaker 1: you know you're gonna lose her. It's just so sad.

632
00:35:45,600 --> 00:35:48,080
Speaker 1: And then she has to raise Shelby's damn kid for her.

633
00:35:48,200 --> 00:35:51,680
Speaker 1: I was like, Mulin, give this woman a break. Oh

634
00:35:51,719 --> 00:35:53,759
Speaker 1: my god, I don't know.

635
00:35:53,840 --> 00:35:56,279
Speaker 6: I think I really I think part of it is

636
00:35:56,320 --> 00:35:57,480
Speaker 6: getting older that.

637
00:35:57,480 --> 00:35:59,399
Speaker 2: Allows me to connect with it even more. I mean,

638
00:35:59,400 --> 00:36:01,200
Speaker 2: I always, I always.

639
00:36:00,840 --> 00:36:03,520
Speaker 6: Have loved a mother daughter's story, but I think, especially

640
00:36:03,560 --> 00:36:06,000
Speaker 6: as I get older, I'm like, ooh, this is really

641
00:36:06,960 --> 00:36:07,840
Speaker 6: it's just real.

642
00:36:08,200 --> 00:36:09,400
Speaker 2: Like my mom.

643
00:36:09,360 --> 00:36:12,240
Speaker 6: Said to me once, it's just me and my sister.

644
00:36:12,320 --> 00:36:13,759
Speaker 6: But she said to me once and it made so

645
00:36:13,840 --> 00:36:17,279
Speaker 6: much sense. She was like, you're only as happy as

646
00:36:17,320 --> 00:36:19,319
Speaker 6: a mother. She was like, you're only as happy as

647
00:36:19,360 --> 00:36:22,440
Speaker 6: your least happy child, And that applies to happiness, that

648
00:36:22,480 --> 00:36:24,160
Speaker 6: applies to health, that applies to.

649
00:36:24,160 --> 00:36:28,120
Speaker 2: Anything, like right, some mothers really.

650
00:36:28,120 --> 00:36:32,680
Speaker 6: Struggle with like being able to kind of like be detached,

651
00:36:32,680 --> 00:36:34,360
Speaker 6: for a lack of a better term, from their children,

652
00:36:34,440 --> 00:36:38,160
Speaker 6: like not taking everything that's going on with their children

653
00:36:38,320 --> 00:36:40,480
Speaker 6: on for themselves. And I think that's what we saw

654
00:36:40,560 --> 00:36:42,799
Speaker 6: with Malynne. But like I said, it makes me think

655
00:36:42,800 --> 00:36:45,680
Speaker 6: about what my mom said, Like Moline is struggling because

656
00:36:45,680 --> 00:36:47,640
Speaker 6: her daughter's struggling. And I think there's even a point

657
00:36:47,680 --> 00:36:51,720
Speaker 6: in the movie where she almost there's this this feeling

658
00:36:51,719 --> 00:36:54,520
Speaker 6: of where she's like, don't you see, like there's no

659
00:36:54,560 --> 00:36:58,720
Speaker 6: other way for me to be, Like I can't enjoy

660
00:36:58,800 --> 00:37:00,439
Speaker 6: my life if my daughter is dying.

661
00:37:00,480 --> 00:37:03,000
Speaker 2: It's impossible for me to do, Like I don't know

662
00:37:03,040 --> 00:37:05,279
Speaker 2: what you all expect from me, you know what I mean?

663
00:37:05,320 --> 00:37:07,440
Speaker 2: Like I wish I felt differently too.

664
00:37:07,480 --> 00:37:10,319
Speaker 6: I'm paraphrasing all this obviously, but like that was the

665
00:37:10,480 --> 00:37:14,040
Speaker 6: energy of like I can't enjoy my life when my

666
00:37:14,120 --> 00:37:20,600
Speaker 6: daughter's losing hers I can't. And I just think it's real,

667
00:37:21,160 --> 00:37:23,439
Speaker 6: Like it's very very, very very real.

668
00:37:23,560 --> 00:37:25,560
Speaker 2: And you know, in the end.

669
00:37:25,560 --> 00:37:28,520
Speaker 6: Like you were saying, you know she you know, Shelby dies,

670
00:37:28,560 --> 00:37:33,040
Speaker 6: she has to raise Jackson Junior. And I think that

671
00:37:33,200 --> 00:37:37,040
Speaker 6: Malynn looks at it as like, thank you God, like

672
00:37:37,120 --> 00:37:39,120
Speaker 6: I still have a piece of my daughter with me.

673
00:37:39,239 --> 00:37:41,680
Speaker 2: This is not how I wanted it to go, but

674
00:37:41,960 --> 00:37:44,160
Speaker 2: like I get.

675
00:37:43,920 --> 00:37:46,719
Speaker 6: This, Like I think she almost saw it as like

676
00:37:46,760 --> 00:37:50,120
Speaker 6: a gift, like, oh my God, like she truly is

677
00:37:50,160 --> 00:37:52,160
Speaker 6: always with me and I get to have a piece

678
00:37:52,200 --> 00:37:54,120
Speaker 6: of her with me for the rest of my life.

679
00:37:54,800 --> 00:37:57,600
Speaker 6: And I just think that's really beautiful and like the

680
00:37:57,640 --> 00:38:02,919
Speaker 6: thought that, like life does go on, no parent wants

681
00:38:02,960 --> 00:38:06,040
Speaker 6: to lose their child. But with her knowing that she

682
00:38:06,160 --> 00:38:09,360
Speaker 6: has to keep living for her daughter's child, it just

683
00:38:09,400 --> 00:38:12,440
Speaker 6: shows that like she still has a purpose in her life.

684
00:38:12,520 --> 00:38:14,920
Speaker 6: She still is able to keep going on loving and

685
00:38:14,920 --> 00:38:17,880
Speaker 6: giving that love she gave Shelby giving it to Jackson Junior.

686
00:38:18,080 --> 00:38:19,960
Speaker 2: And she's going to be okay.

687
00:38:20,000 --> 00:38:21,600
Speaker 6: There's a spirit of like she's going to be okay,

688
00:38:21,719 --> 00:38:24,279
Speaker 6: especially because she has all of these women around her

689
00:38:24,320 --> 00:38:26,400
Speaker 6: who love and support her and are going to make

690
00:38:26,400 --> 00:38:29,120
Speaker 6: sure she's lifted through it. And so I also love,

691
00:38:29,360 --> 00:38:35,200
Speaker 6: you know, the messaging of like sisterhood and community. If

692
00:38:35,239 --> 00:38:37,040
Speaker 6: you were to throw all these people together, they don't

693
00:38:37,080 --> 00:38:40,479
Speaker 6: really fit right, Like you would be like, why does.

694
00:38:40,400 --> 00:38:42,399
Speaker 2: This person know that person? Why is this person hanging

695
00:38:42,440 --> 00:38:42,640
Speaker 2: out with?

696
00:38:42,680 --> 00:38:44,600
Speaker 1: Like, but when you.

697
00:38:44,560 --> 00:38:47,160
Speaker 6: See what they all experience together and how they held

698
00:38:47,200 --> 00:38:51,359
Speaker 6: each other through it, then you're like, oh wow, Like

699
00:38:52,239 --> 00:38:54,080
Speaker 6: the only way that Melinne could have gotten through this

700
00:38:54,120 --> 00:38:56,759
Speaker 6: was with community. The only way and now takes the

701
00:38:57,360 --> 00:39:00,279
Speaker 6: shield was through community. And it truly is this all

702
00:39:00,360 --> 00:39:02,800
Speaker 6: Louisiana town, But it's a community and it's a village

703
00:39:03,080 --> 00:39:04,120
Speaker 6: and it's powerful.

704
00:39:04,600 --> 00:39:06,799
Speaker 2: And that's a big takeaway for me in the film too.

705
00:39:07,120 --> 00:39:10,799
Speaker 1: I think that's so beautifully put Ashley, Like how the

706
00:39:10,880 --> 00:39:13,839
Speaker 1: community of women, even though we know that there are

707
00:39:13,920 --> 00:39:16,719
Speaker 1: men in this community and that they're important to the community,

708
00:39:17,120 --> 00:39:22,400
Speaker 1: but this story is so clearly focused on like Maln

709
00:39:22,800 --> 00:39:26,200
Speaker 1: couldn't have made it through this experience without the women

710
00:39:26,239 --> 00:39:28,680
Speaker 1: in her life, because I feel like often in stories

711
00:39:28,680 --> 00:39:32,240
Speaker 1: about mothers and daughters, like one of the two gets

712
00:39:32,280 --> 00:39:34,680
Speaker 1: lost in the shuffle. Kind of Yeah, I like that

713
00:39:34,760 --> 00:39:37,600
Speaker 1: this movie, and I'm sure it's partially because the author

714
00:39:37,719 --> 00:39:41,760
Speaker 1: was writing and thinking about his own mother. We get

715
00:39:41,840 --> 00:39:46,719
Speaker 1: moments to like really see Milinn process and like struggle

716
00:39:47,000 --> 00:39:50,319
Speaker 1: with it. There's that scene at the party where her

717
00:39:51,080 --> 00:39:55,960
Speaker 1: dufus husband is like, Shelby's pregnant without seeming to it

718
00:39:56,000 --> 00:39:58,799
Speaker 1: seems like he cannot engage with the stakes of that

719
00:39:58,880 --> 00:40:01,160
Speaker 1: situation and he's sort of bull dozing through it because

720
00:40:01,200 --> 00:40:02,680
Speaker 1: he's like, we have to be happy, so we're going

721
00:40:02,760 --> 00:40:04,520
Speaker 1: to be happy. We don't really know what his journey is.

722
00:40:04,520 --> 00:40:06,319
Speaker 1: I don't really care what his journey is. But we

723
00:40:06,400 --> 00:40:11,440
Speaker 1: see Melynn like she feels like shit in the other room,

724
00:40:11,560 --> 00:40:14,080
Speaker 1: and all of the other women, you know, they're like,

725
00:40:14,120 --> 00:40:17,280
Speaker 1: why are you acting this way? And she's like, because

726
00:40:17,320 --> 00:40:20,279
Speaker 1: I'm going to lose my daughter, like I think, and

727
00:40:21,280 --> 00:40:23,080
Speaker 1: I like that. They Yeah. You get those moments to

728
00:40:23,080 --> 00:40:26,480
Speaker 1: see her really struggling with it, and through having those

729
00:40:26,520 --> 00:40:30,239
Speaker 1: conversations with the other women, get the compassion that she

730
00:40:30,440 --> 00:40:33,799
Speaker 1: needs to move forward, and also the reminder that, like

731
00:40:34,280 --> 00:40:38,600
Speaker 1: as horrible as the situation is, Shelby needs you. And

732
00:40:38,640 --> 00:40:43,160
Speaker 1: Shelby gets those moments too where you know she is

733
00:40:43,239 --> 00:40:46,680
Speaker 1: making a very informed decision, she knows what she's doing.

734
00:40:46,760 --> 00:40:50,560
Speaker 1: She knows what the stakes are and it's what she wants.

735
00:40:50,880 --> 00:40:53,440
Speaker 1: And I feel like it's very built into her character,

736
00:40:53,880 --> 00:40:56,239
Speaker 1: is that, like, it's what she wants. She wants to

737
00:40:56,239 --> 00:41:01,080
Speaker 1: have a biological child, and I appreciate that the alternatives

738
00:41:01,080 --> 00:41:03,480
Speaker 1: are brought up repeatedly and she's like, no, I don't

739
00:41:03,480 --> 00:41:05,800
Speaker 1: want that, because I think sometimes it's like there's yeah,

740
00:41:05,880 --> 00:41:07,320
Speaker 1: like a biological child.

741
00:41:07,360 --> 00:41:08,960
Speaker 5: It's the only way.

742
00:41:09,760 --> 00:41:13,040
Speaker 1: But everyone's like, Shelby, you could adopt a baby, and

743
00:41:13,080 --> 00:41:14,799
Speaker 1: she's like, no, it's not what I want. This is

744
00:41:14,800 --> 00:41:18,160
Speaker 1: what I want to do. And you know, I think

745
00:41:18,200 --> 00:41:22,200
Speaker 1: that that is as much as you want to be, like, Shelby,

746
00:41:22,880 --> 00:41:27,640
Speaker 1: come on, you'd be a great mother to an adopted baby, Shelby,

747
00:41:27,680 --> 00:41:31,400
Speaker 1: come on. I do appreciate, though, that her character is

748
00:41:31,640 --> 00:41:35,240
Speaker 1: very clear on what she wants, is not being naive

749
00:41:35,320 --> 00:41:39,360
Speaker 1: about what the stakes of that are, and is doing

750
00:41:39,400 --> 00:41:43,319
Speaker 1: what is right for her, and that you see that

751
00:41:43,400 --> 00:41:47,400
Speaker 1: tension between Jackson and Malynn that kind of results in

752
00:41:47,440 --> 00:41:50,680
Speaker 1: that because I think Malynn is wanting Jackson to push

753
00:41:50,719 --> 00:41:53,279
Speaker 1: back on it more and Jackson sort of like, I

754
00:41:53,360 --> 00:41:55,720
Speaker 1: have to accept what she wants.

755
00:41:58,080 --> 00:41:58,319
Speaker 2: Yeah.

756
00:41:58,400 --> 00:42:02,719
Speaker 4: I also appreciate that I feel like Generally speaking, a

757
00:42:02,760 --> 00:42:06,400
Speaker 4: lot of people's kind of immediate reaction to learning that

758
00:42:06,520 --> 00:42:11,520
Speaker 4: someone is pregnant is like, oh my god, that's amazing, congratulations,

759
00:42:11,640 --> 00:42:15,600
Speaker 4: best news ever, And rarely do you see people being

760
00:42:16,120 --> 00:42:21,399
Speaker 4: pragmatic about that type of news, and like, is this

761
00:42:21,520 --> 00:42:25,000
Speaker 4: the best choice financially? Is this the best choice for

762
00:42:25,040 --> 00:42:29,600
Speaker 4: your health? And I appreciate that Malinn is like being

763
00:42:29,680 --> 00:42:32,880
Speaker 4: very pragmatic about this, like do you know the risks

764
00:42:33,200 --> 00:42:36,239
Speaker 4: because the first time you hear that, oh, it's not

765
00:42:36,400 --> 00:42:39,879
Speaker 4: possible for Shelby to get pregnant, and so we think, oh,

766
00:42:40,160 --> 00:42:45,839
Speaker 4: there's something about her physiology that will make getting pregnant impossible.

767
00:42:46,400 --> 00:42:49,560
Speaker 4: But then we learn that what was meant by that

768
00:42:49,760 --> 00:42:53,440
Speaker 4: is like, if you do get pregnant, this could be

769
00:42:53,440 --> 00:42:58,799
Speaker 4: potentially lethal to your health. And later in a conversation

770
00:42:58,960 --> 00:43:02,520
Speaker 4: when Mali and it's revealed to the other group of

771
00:43:02,560 --> 00:43:05,440
Speaker 4: women that Shelby is pregnant. I can't remember if Millenne

772
00:43:05,440 --> 00:43:08,560
Speaker 4: tellism or not, but again, their a gut reaction, Oh

773
00:43:08,600 --> 00:43:11,839
Speaker 4: my god, amazing, this is wonderful because we thought she

774
00:43:11,880 --> 00:43:14,640
Speaker 4: couldn't get pregnant, and it's like, no, it's not that

775
00:43:14,719 --> 00:43:17,320
Speaker 4: she couldn't get pregnant. It's that she shouldn't. There's a

776
00:43:17,360 --> 00:43:20,560
Speaker 4: big difference, and so they have this discussion about it,

777
00:43:20,600 --> 00:43:24,000
Speaker 4: and people realize like, oh, this is this is a

778
00:43:24,080 --> 00:43:27,640
Speaker 4: huge risk. And I just appreciate like the pragmatism that

779
00:43:28,080 --> 00:43:31,880
Speaker 4: goes into discussing that, because I feel like that is

780
00:43:31,920 --> 00:43:36,239
Speaker 4: often left out of those conversations, and I just appreciated

781
00:43:36,239 --> 00:43:36,600
Speaker 4: seeing it.

782
00:43:36,680 --> 00:43:37,120
Speaker 2: I agree.

783
00:43:37,320 --> 00:43:41,080
Speaker 1: I also wanted to just touch on really quickly how

784
00:43:41,400 --> 00:43:43,360
Speaker 1: this movie because I feel like I cannot think of

785
00:43:43,400 --> 00:43:48,759
Speaker 1: many movies where there's a character who has diabetes. I

786
00:43:49,000 --> 00:43:52,480
Speaker 1: don't know a lot about diabetes as a condition, so

787
00:43:52,520 --> 00:43:54,440
Speaker 1: I wanted to do a little research into it to

788
00:43:54,480 --> 00:43:58,040
Speaker 1: see if, because it is such a common thing, to

789
00:43:58,080 --> 00:44:01,480
Speaker 1: see how people who have to type one diabetes felt

790
00:44:01,520 --> 00:44:04,080
Speaker 1: about how it's portrayed in the space of this movie.

791
00:44:04,120 --> 00:44:08,920
Speaker 1: And again with the knowledge that this is a dramatized

792
00:44:09,400 --> 00:44:12,680
Speaker 1: version of what happened to the writer's sister. But there

793
00:44:12,680 --> 00:44:14,960
Speaker 1: does seem to be a sort of split.

794
00:44:15,160 --> 00:44:17,920
Speaker 5: Opinion in the community.

795
00:44:18,000 --> 00:44:21,400
Speaker 1: I think some people find it to be over dramatized,

796
00:44:21,520 --> 00:44:23,880
Speaker 1: and you know a way that it's like, you know,

797
00:44:24,200 --> 00:44:27,400
Speaker 1: type one diabetes is certainly not a death sentence in

798
00:44:27,440 --> 00:44:29,919
Speaker 1: the way that I think this movie, you could read

799
00:44:30,000 --> 00:44:34,560
Speaker 1: this movie presenting it. There's a writer named Rachel Kerstetter

800
00:44:34,680 --> 00:44:38,120
Speaker 1: who wrote in Healthline about watching this movie after getting

801
00:44:38,160 --> 00:44:42,000
Speaker 1: diagnosed with type one diabetes. She says, I know, Steel

802
00:44:42,040 --> 00:44:44,800
Speaker 1: mcnulias brings up a lot of different opinions and feelings,

803
00:44:44,960 --> 00:44:47,839
Speaker 1: especially among US ladies. I mentioned to my best friend

804
00:44:47,840 --> 00:44:49,799
Speaker 1: I was going to watch it, and she recommended very

805
00:44:49,840 --> 00:44:52,080
Speaker 1: strongly that I shouldn't, but of course I did.

806
00:44:52,920 --> 00:44:53,239
Speaker 5: She said.

807
00:44:53,280 --> 00:44:55,879
Speaker 1: The reality is that Steele mcnuliaus portrays a time when

808
00:44:55,920 --> 00:44:59,200
Speaker 1: diabetes management was much different from today, a time before

809
00:44:59,280 --> 00:45:02,440
Speaker 1: continuous glue, the coast monitors existed, and even insulin pumps

810
00:45:02,480 --> 00:45:05,400
Speaker 1: were really mainstream, before the A one C test was

811
00:45:05,480 --> 00:45:09,120
Speaker 1: established as a gold standard for diabetes management, and prior

812
00:45:09,160 --> 00:45:13,280
Speaker 1: to factor acting insulins and analogs being introduced. Today's reality

813
00:45:13,320 --> 00:45:16,880
Speaker 1: is thankfully different, even though economic and cultural gaps certainly

814
00:45:16,880 --> 00:45:20,560
Speaker 1: exists that prevent people from getting ideal treatment. But basically,

815
00:45:20,600 --> 00:45:26,160
Speaker 1: she felt that it was somewhat dramatized because Shelby's character

816
00:45:26,280 --> 00:45:29,200
Speaker 1: is so specific. I think there's a world and we

817
00:45:29,239 --> 00:45:31,839
Speaker 1: talk about this with a lot of conditions we've seen

818
00:45:31,840 --> 00:45:36,160
Speaker 1: portrayed on screen. You know, presenting a condition and presenting

819
00:45:36,160 --> 00:45:38,480
Speaker 1: it in a pretty prescriptive way that like, if you

820
00:45:38,520 --> 00:45:41,839
Speaker 1: didn't know anything about type one diabetes, this movie would

821
00:45:41,840 --> 00:45:45,560
Speaker 1: probably scare you. And I just thought it was interesting

822
00:45:45,560 --> 00:45:48,280
Speaker 1: that there was a fair amount of diversity of opinion,

823
00:45:48,320 --> 00:45:51,960
Speaker 1: although everyone seems too that. I mean, the few pieces

824
00:45:51,960 --> 00:45:54,320
Speaker 1: that I read, there was a general agreement that this

825
00:45:54,520 --> 00:46:01,040
Speaker 1: scene where Shelby's character has a hypoglycemic attack and her

826
00:46:01,080 --> 00:46:06,319
Speaker 1: mother gives her juice, that that was pretty authentic and

827
00:46:06,800 --> 00:46:11,440
Speaker 1: well done, and other parts were a little more divisive.

828
00:46:11,640 --> 00:46:13,440
Speaker 1: But I really, I mean, I thought that was a

829
00:46:13,800 --> 00:46:17,680
Speaker 1: wonderful scene from the mother daughter perspective too, of just

830
00:46:17,840 --> 00:46:21,000
Speaker 1: like I feel like it's really it's like this dynamic

831
00:46:21,040 --> 00:46:23,160
Speaker 1: that I'm like, oh, that's been me and my mom

832
00:46:23,239 --> 00:46:26,799
Speaker 1: at some point where like Mullin is like, you know,

833
00:46:27,200 --> 00:46:29,920
Speaker 1: being kind of bullish and it's kind of like come on,

834
00:46:30,400 --> 00:46:34,000
Speaker 1: like drink the fucking juice, dude, and you know, Shelby's

835
00:46:34,040 --> 00:46:36,759
Speaker 1: being combat of it. Just like the steaks of the

836
00:46:36,800 --> 00:46:39,239
Speaker 1: scene are very high, but there's still this just like

837
00:46:40,120 --> 00:46:44,239
Speaker 1: vaguely combative mother daughter dynamic existing within that high stake

838
00:46:44,320 --> 00:46:46,240
Speaker 1: scene that I thought was really good.

839
00:46:46,680 --> 00:46:49,880
Speaker 6: Yeah, I think That's one of the most memorable scenes

840
00:46:49,920 --> 00:46:51,840
Speaker 6: in the movie. I think when people think of Still Macho,

841
00:46:52,040 --> 00:46:55,680
Speaker 6: know as you think of the Orange Juice and the Punch, Yeah,

842
00:46:55,800 --> 00:47:02,120
Speaker 6: like those are two movie yes, well yeah, yeah, but yeah,

843
00:47:02,239 --> 00:47:05,399
Speaker 6: like those are like I would say, like, if you're

844
00:47:05,400 --> 00:47:08,919
Speaker 6: talking about Still Magnolia is somebody, it's bound to be like, oh, yeah,

845
00:47:08,960 --> 00:47:10,040
Speaker 6: the Orange Juice scene.

846
00:47:10,160 --> 00:47:12,760
Speaker 2: That was crazy, Like that's what people are going to say.

847
00:47:12,640 --> 00:47:16,640
Speaker 4: Yeah, for sure. It seems like Shelby is like upset.

848
00:47:16,960 --> 00:47:19,160
Speaker 4: She feels that her mom is trying to like micro

849
00:47:19,320 --> 00:47:21,560
Speaker 4: manage her, and it's like, well, she's trying to save

850
00:47:21,560 --> 00:47:25,520
Speaker 4: your life, right, yeah, but also like, yeah, you don't

851
00:47:25,520 --> 00:47:29,400
Speaker 4: want your mom interfering in all of your business all

852
00:47:29,480 --> 00:47:33,960
Speaker 4: the time. It is just like a very authentic, nuanced

853
00:47:34,080 --> 00:47:37,200
Speaker 4: mother daughter relationship that I think feels very familiar for

854
00:47:37,400 --> 00:47:41,680
Speaker 4: a lot of people. And it's obviously caring and loving,

855
00:47:42,000 --> 00:47:45,200
Speaker 4: but it's not without its faults and it's not There's

856
00:47:45,200 --> 00:47:48,080
Speaker 4: a scene where Shelby tells her mom that she's pregnant

857
00:47:48,120 --> 00:47:52,840
Speaker 4: and Melynn has this reaction of like, I'm not happy

858
00:47:52,880 --> 00:47:55,040
Speaker 4: for I'm not really going to congratulate you, because I

859
00:47:55,040 --> 00:47:58,720
Speaker 4: don't think this is a responsible choice, and all Shelby

860
00:47:58,760 --> 00:48:03,080
Speaker 4: wants is her mom support, and she says something like,

861
00:48:03,360 --> 00:48:06,440
Speaker 4: you're just pissed off because you can't control me anymore,

862
00:48:06,680 --> 00:48:12,080
Speaker 4: Like you don't. And I remember having a similar situation

863
00:48:12,360 --> 00:48:15,040
Speaker 4: with my mom where, you know, I was like a

864
00:48:15,239 --> 00:48:18,759
Speaker 4: full adult. My mom was still trying to micromanage a

865
00:48:18,800 --> 00:48:20,160
Speaker 4: lot of things in my life, and I was like,

866
00:48:20,239 --> 00:48:23,720
Speaker 4: you can't do this anymore. I am my own person.

867
00:48:23,840 --> 00:48:26,239
Speaker 4: I am very capable of making my own decisions. I

868
00:48:26,320 --> 00:48:29,600
Speaker 4: have my own autonomy. You don't get to call the

869
00:48:29,600 --> 00:48:33,200
Speaker 4: shots anymore, and you haven't been able to for a while, mom.

870
00:48:33,640 --> 00:48:37,640
Speaker 4: But it's just such a familiar thing, yeah, for so

871
00:48:37,680 --> 00:48:38,839
Speaker 4: many people, and that I.

872
00:48:38,840 --> 00:48:41,719
Speaker 1: Love that line from Shelby where she's like, don't talk

873
00:48:41,760 --> 00:48:44,399
Speaker 1: about me like I'm not here like I think, and

874
00:48:44,600 --> 00:48:48,600
Speaker 1: just that she's struggling. But it's like that is such

875
00:48:48,600 --> 00:48:52,960
Speaker 1: a dehumanizing, like feeling controlled, where Melyinn is and Melynn

876
00:48:53,080 --> 00:48:56,520
Speaker 1: is talking about her like Shelby isn't sitting in front

877
00:48:56,520 --> 00:48:58,560
Speaker 1: of her. And that doesn't mean that Melyn is bad

878
00:48:58,760 --> 00:49:01,520
Speaker 1: or wrong. She's just trying to manage the moment. But

879
00:49:02,000 --> 00:49:05,319
Speaker 1: of course that would be hurtful. I think that this

880
00:49:05,360 --> 00:49:10,400
Speaker 1: movie like it rewards A rewatches so much because the

881
00:49:10,440 --> 00:49:13,320
Speaker 1: first time I watched this movie, I was confused because

882
00:49:14,200 --> 00:49:18,600
Speaker 1: the exact nature of Shelby's condition is like you don't

883
00:49:18,600 --> 00:49:21,520
Speaker 1: find out for a while, like what exactly is going on?

884
00:49:22,080 --> 00:49:24,480
Speaker 1: And the first time you're seeing it, you're like, why

885
00:49:24,640 --> 00:49:27,800
Speaker 1: is this marriage? Like what is going on with this marriage?

886
00:49:27,840 --> 00:49:31,600
Speaker 1: Maybe happening, maybe not happening. It felt like an interesting

887
00:49:31,640 --> 00:49:34,120
Speaker 1: experience where it's just like you never know what someone's

888
00:49:34,160 --> 00:49:36,200
Speaker 1: going through, You never know what's going on in someone's life,

889
00:49:36,239 --> 00:49:40,440
Speaker 1: and witnessing a relationship dynamic isn't understanding it because with

890
00:49:40,480 --> 00:49:43,200
Speaker 1: both Shelby and Jackson and Shelby and Malin, it's not

891
00:49:43,280 --> 00:49:46,000
Speaker 1: immediately clear what's going on. I remember the first time

892
00:49:46,000 --> 00:49:47,800
Speaker 1: I was watching it, I was like, why is Shelby

893
00:49:47,840 --> 00:49:50,920
Speaker 1: being such a brat? Or like in different moments, I'm

894
00:49:50,920 --> 00:49:54,319
Speaker 1: like why is Jackson being so pushy? Or like, which

895
00:49:54,440 --> 00:49:56,520
Speaker 1: you could still like why why is the Lynn being

896
00:49:56,560 --> 00:49:59,440
Speaker 1: so mean to her? Like what is and being.

897
00:49:59,239 --> 00:50:01,799
Speaker 4: Like you should quit your job? Is you shouldn't be

898
00:50:01,800 --> 00:50:03,479
Speaker 4: on your feet all day? I was like, yeah, whoa,

899
00:50:03,640 --> 00:50:05,360
Speaker 4: what decade are.

900
00:50:05,239 --> 00:50:09,120
Speaker 1: We in the context, It's like, oh, okay, even if

901
00:50:09,160 --> 00:50:12,359
Speaker 1: you don't agree with every dynamic, the context of it

902
00:50:12,440 --> 00:50:13,440
Speaker 1: makes sense.

903
00:50:14,080 --> 00:50:16,120
Speaker 5: And I don't know, I don't feel like there's a lot.

904
00:50:16,040 --> 00:50:17,879
Speaker 1: Of movies like that that when you watch it back,

905
00:50:17,920 --> 00:50:20,759
Speaker 1: you're like, oh, you know exactly where everyone's coming from,

906
00:50:20,800 --> 00:50:24,160
Speaker 1: whether they are being overly controlling or like you know,

907
00:50:24,360 --> 00:50:26,319
Speaker 1: bringing too much of themselves to the table or not.

908
00:50:26,560 --> 00:50:27,279
Speaker 1: Like it's just.

909
00:50:28,800 --> 00:50:31,760
Speaker 5: It's really cool. And I you know, every single time.

910
00:50:31,560 --> 00:50:35,160
Speaker 1: You're just like, Shelby, come on, Shelby, listen to your mother.

911
00:50:35,760 --> 00:50:38,360
Speaker 1: Mother knows best, but she's gotta she's got to do

912
00:50:38,400 --> 00:50:42,400
Speaker 1: it her way. And and I love yeah that, Like

913
00:50:42,440 --> 00:50:47,000
Speaker 1: for Molin, there is as happy an ending as is

914
00:50:47,080 --> 00:50:49,440
Speaker 1: available to her where she's still, like you're saying, Ashley

915
00:50:49,480 --> 00:50:52,160
Speaker 1: still has a piece of her daughter and has this

916
00:50:52,480 --> 00:50:57,760
Speaker 1: community to raise her daughter. And then there's a baby

917
00:50:57,800 --> 00:51:01,400
Speaker 1: Shelby on the way with a.

918
00:51:01,480 --> 00:51:04,080
Speaker 4: Now oh yes, yes, can we talk.

919
00:51:03,920 --> 00:51:05,319
Speaker 5: About it now a little bit?

920
00:51:05,960 --> 00:51:06,400
Speaker 4: Yes?

921
00:51:06,520 --> 00:51:07,239
Speaker 5: I love it now.

922
00:51:08,239 --> 00:51:10,640
Speaker 1: I just think she's I.

923
00:51:10,160 --> 00:51:12,600
Speaker 4: Don't sorry about it.

924
00:51:12,840 --> 00:51:16,400
Speaker 1: I mean I've sort of said exactly why already. But

925
00:51:16,719 --> 00:51:19,760
Speaker 1: there's a few She's not like a super big character,

926
00:51:19,880 --> 00:51:21,600
Speaker 1: but there's a few story but it's of hers that

927
00:51:21,640 --> 00:51:24,600
Speaker 1: I really appreciated that. It's just again, like stuff you

928
00:51:24,600 --> 00:51:30,319
Speaker 1: don't see very often. She is very insecure about where

929
00:51:30,360 --> 00:51:33,680
Speaker 1: she's at in her life. She's insecure about her own poverty.

930
00:51:33,800 --> 00:51:37,239
Speaker 1: That's seen at the wedding where she is hungry but

931
00:51:37,480 --> 00:51:41,040
Speaker 1: doesn't have money for food and then is told like, no,

932
00:51:41,120 --> 00:51:43,319
Speaker 1: it's a wedding, the food is free, and she's like,

933
00:51:43,400 --> 00:51:46,440
Speaker 1: oh shit, Like she was hungry and was like embarrassed

934
00:51:46,719 --> 00:51:49,560
Speaker 1: to tell anybody and embarrassed that like.

935
00:51:49,520 --> 00:51:55,239
Speaker 4: She has this torrid past quote unquote, and she was

936
00:51:55,400 --> 00:51:58,919
Speaker 4: very kind of withholding about that information because she wasn't

937
00:51:58,960 --> 00:52:01,600
Speaker 4: sure how she would be received. And oh, will anyone

938
00:52:01,719 --> 00:52:04,560
Speaker 4: hire a woman who may or may not be married,

939
00:52:04,680 --> 00:52:08,279
Speaker 4: because she like she's not sure of the legitimacy of

940
00:52:08,320 --> 00:52:10,880
Speaker 4: her marriage, if it's actually legal or not. Her husband

941
00:52:11,120 --> 00:52:14,680
Speaker 4: is like a criminal on the run of course, like

942
00:52:14,920 --> 00:52:19,120
Speaker 4: that you would be probably like self conscious of and

943
00:52:19,560 --> 00:52:22,600
Speaker 4: yeah it's and everyone's just like it's okay, we'll take

944
00:52:22,640 --> 00:52:24,000
Speaker 4: care of you, and you're like.

945
00:52:23,760 --> 00:52:25,960
Speaker 1: Exactly, I just I really like that. And it's like

946
00:52:26,080 --> 00:52:28,840
Speaker 1: her arc is pretty simple from there again, it's like

947
00:52:28,960 --> 00:52:32,880
Speaker 1: pretty prescriptive and unimaginative that like her happy ending is

948
00:52:32,920 --> 00:52:36,520
Speaker 1: like finding a guy who isn't evil and having a baby.

949
00:52:36,760 --> 00:52:40,280
Speaker 1: I don't think we're necessarily told exactly what Annelle wants

950
00:52:40,360 --> 00:52:42,680
Speaker 1: out of life, so maybe that is what she wanted.

951
00:52:42,800 --> 00:52:46,520
Speaker 1: I'm not totally clear. In my dream scenario, she and

952
00:52:46,680 --> 00:52:52,720
Speaker 1: Truvy open a successful chain of salons across the globe.

953
00:52:53,400 --> 00:52:56,520
Speaker 1: But I mean, I do like that she you know,

954
00:52:56,600 --> 00:52:59,120
Speaker 1: it's through her friendship with these women and especially through

955
00:52:59,160 --> 00:53:04,040
Speaker 1: her mentorship with Truvy that she doesn't just like improve

956
00:53:04,080 --> 00:53:08,520
Speaker 1: her life materially, but also seems to like rid herself

957
00:53:08,560 --> 00:53:11,080
Speaker 1: of a lot of the shame and embarrassment that we

958
00:53:11,120 --> 00:53:15,080
Speaker 1: see her experiencing when Truviy first gives her a shot.

959
00:53:15,200 --> 00:53:19,840
Speaker 4: So I via these relationships with all these women.

960
00:53:19,920 --> 00:53:23,120
Speaker 1: We do have the classic trope though of like, wow,

961
00:53:23,360 --> 00:53:27,560
Speaker 1: Daryl Hannah famously hot woman. If you took your glasses off,

962
00:53:27,600 --> 00:53:32,480
Speaker 1: you'd be so beautiful. Yeah, you're like sure, great.

963
00:53:32,640 --> 00:53:35,479
Speaker 2: Yeah, I also love all the names. That's just great,

964
00:53:35,600 --> 00:53:37,040
Speaker 2: so good character names.

965
00:53:37,080 --> 00:53:39,480
Speaker 4: Weezer now which.

966
00:53:39,320 --> 00:53:42,080
Speaker 6: Weezer is spelled with the oh, by the way, it's

967
00:53:42,120 --> 00:53:44,320
Speaker 6: not like her bad name.

968
00:53:45,600 --> 00:53:49,120
Speaker 4: Her name is I think Louisa or Louisa, Louise, something

969
00:53:49,160 --> 00:53:51,799
Speaker 4: like that, And so her nickname is is Weezer, which

970
00:53:51,800 --> 00:53:53,080
Speaker 4: I think is kind of brilliant.

971
00:53:53,560 --> 00:53:54,960
Speaker 6: Yeah, like, how do you even come up with that?

972
00:53:55,040 --> 00:53:56,640
Speaker 6: Is that a thing that people are doing in Louisiana?

973
00:53:56,719 --> 00:53:58,440
Speaker 6: Like I would have literally never thought.

974
00:53:58,239 --> 00:54:01,920
Speaker 2: Of that, right, And I'm going name is?

975
00:54:01,960 --> 00:54:03,680
Speaker 1: I mean, I'm like, and when did that? Can you

976
00:54:03,719 --> 00:54:06,800
Speaker 1: imagine calling a child like Wheezer a good home.

977
00:54:06,800 --> 00:54:12,080
Speaker 4: For Yeah, get your ass over here. The thing I

978
00:54:12,120 --> 00:54:15,400
Speaker 4: don't like about Annelle's character is when she gets like

979
00:54:16,080 --> 00:54:19,520
Speaker 4: very holier than now religious.

980
00:54:19,120 --> 00:54:19,959
Speaker 2: It gets weird.

981
00:54:20,160 --> 00:54:22,399
Speaker 4: But I do like that she seems to come around

982
00:54:22,440 --> 00:54:24,279
Speaker 4: a little bit on the end where someone tells her

983
00:54:24,280 --> 00:54:26,640
Speaker 4: to lighten up, and then she makes like a joke

984
00:54:27,320 --> 00:54:29,760
Speaker 4: kind of at her own expense, and then she gets

985
00:54:29,800 --> 00:54:31,120
Speaker 4: pushed cut to a few months.

986
00:54:31,160 --> 00:54:34,520
Speaker 1: There's like one point where Annelle talks out of turn

987
00:54:34,840 --> 00:54:38,719
Speaker 1: in like I think a hyper religious guy ambulance like, yeah, no,

988
00:54:38,840 --> 00:54:40,719
Speaker 1: you're not going to get me to be a happy kid.

989
00:54:40,880 --> 00:54:43,800
Speaker 1: My daughter died, Get the fuck out of my face.

990
00:54:43,840 --> 00:54:47,000
Speaker 1: And you're like, yeah, she deserved that. She deserved that

991
00:54:47,040 --> 00:54:47,560
Speaker 1: big time.

992
00:54:48,400 --> 00:54:50,000
Speaker 4: And so I do like that her arc is like

993
00:54:50,120 --> 00:54:53,040
Speaker 4: her lightning up and we even see her tell her

994
00:54:53,120 --> 00:54:55,360
Speaker 4: husband that he has to lighten up, so it's like, Okay,

995
00:54:55,400 --> 00:54:56,600
Speaker 4: she's starting to get it.

996
00:54:56,920 --> 00:55:01,640
Speaker 1: Right, and she's I think also maybe the same ages

997
00:55:01,640 --> 00:55:03,160
Speaker 1: shall be But I think she's maybe supposed to be

998
00:55:03,200 --> 00:55:06,839
Speaker 1: the youngest character too, Like she's pretty young. And although

999
00:55:06,920 --> 00:55:09,120
Speaker 1: Julia Roberts was twenty two in this movie, and she's

1000
00:55:09,160 --> 00:55:11,520
Speaker 1: already like fucking oh.

1001
00:55:11,480 --> 00:55:12,680
Speaker 4: I thought she was only nineteen.

1002
00:55:12,920 --> 00:55:14,880
Speaker 5: Oh maybe it was shot even earlier.

1003
00:55:14,960 --> 00:55:15,359
Speaker 1: I don't know.

1004
00:55:15,800 --> 00:55:18,480
Speaker 5: She might have been nineteen and missed pizza doesn't matter.

1005
00:55:19,320 --> 00:55:19,920
Speaker 2: Oh wow.

1006
00:55:20,480 --> 00:55:24,320
Speaker 1: And yeah, I think the companion character Tonel is Truvy.

1007
00:55:25,120 --> 00:55:28,120
Speaker 1: I love Truvy. I also I don't like that she's

1008
00:55:28,200 --> 00:55:32,800
Speaker 1: burdened with this like needing to reconcile with her shitty

1009
00:55:33,080 --> 00:55:36,880
Speaker 1: husband storyline. I would have rather that real estate be

1010
00:55:37,000 --> 00:55:39,719
Speaker 1: used for kind of anything else. What I love about

1011
00:55:39,760 --> 00:55:43,280
Speaker 1: Truvia is that she's Dolly Parton. That's great. I also

1012
00:55:43,320 --> 00:55:47,920
Speaker 1: love that she is like a business owner. She prioritizes

1013
00:55:48,040 --> 00:55:53,840
Speaker 1: giving like young women in her community opportunities. She's a gossip,

1014
00:55:53,920 --> 00:55:57,360
Speaker 1: she's a good friend. She's very empathetic and like the

1015
00:55:57,440 --> 00:56:00,399
Speaker 1: stuff with her and her husband, which by the end

1016
00:56:00,400 --> 00:56:03,120
Speaker 1: seems to be like way more important to the story

1017
00:56:03,120 --> 00:56:05,360
Speaker 1: than we were originally led to believe. I just like,

1018
00:56:05,640 --> 00:56:08,960
Speaker 1: I feel pretty ambivalent towards it. I'm just like, yeah, like,

1019
00:56:09,600 --> 00:56:12,360
Speaker 1: you're not good enough for her, You're not gonna gives

1020
00:56:12,360 --> 00:56:12,799
Speaker 1: me you are.

1021
00:56:13,560 --> 00:56:16,319
Speaker 4: Well, that's that's one of my criticisms about this movie.

1022
00:56:16,360 --> 00:56:18,960
Speaker 4: But I'm also trying not to be too critical of

1023
00:56:18,960 --> 00:56:21,200
Speaker 4: it because it is, you know, it's a very female

1024
00:56:21,280 --> 00:56:26,080
Speaker 4: driven story that centers this group of women and their

1025
00:56:26,160 --> 00:56:28,560
Speaker 4: lives and their relationships, and we get to see what's

1026
00:56:28,680 --> 00:56:33,399
Speaker 4: important to them, and they're you know, pursuing the things

1027
00:56:33,400 --> 00:56:35,920
Speaker 4: that are important to them. The things that are important

1028
00:56:35,960 --> 00:56:39,759
Speaker 4: to them are often what you'd associate with very like

1029
00:56:40,360 --> 00:56:45,759
Speaker 4: traditional womanhood or traditional femininity type of things. And again,

1030
00:56:45,800 --> 00:56:47,600
Speaker 4: I don't want to be too critical of that because

1031
00:56:48,120 --> 00:56:54,000
Speaker 4: many people men, some feminists will be like, oh, things

1032
00:56:54,040 --> 00:56:59,239
Speaker 4: that are so hyper feminine or so traditionally rooted in

1033
00:56:59,360 --> 00:57:03,520
Speaker 4: like what's expected of womanhood or whatever. I think it's

1034
00:57:03,560 --> 00:57:04,920
Speaker 4: overly criticized.

1035
00:57:05,080 --> 00:57:07,799
Speaker 1: Yeah, in a way that is that makes those ambitions

1036
00:57:07,840 --> 00:57:11,480
Speaker 1: see amazing salid which obviously the point Phrasem is letting

1037
00:57:11,520 --> 00:57:13,879
Speaker 1: everyone do what the fuck they want. It's safe, just.

1038
00:57:13,880 --> 00:57:17,280
Speaker 4: Do whatever the fuck they want. And yeah, this is

1039
00:57:17,280 --> 00:57:19,600
Speaker 4: a movie made in the eighties that seems to very

1040
00:57:19,680 --> 00:57:23,640
Speaker 4: much reflect the values of like southern white women in one.

1041
00:57:25,440 --> 00:57:31,160
Speaker 6: Very eighties it's like very eighties Louisiana, Like, yeah, they're

1042
00:57:31,200 --> 00:57:32,360
Speaker 6: in a parish, like.

1043
00:57:32,880 --> 00:57:36,000
Speaker 4: Mmm mm hmmm. And in that way, it doesn't like

1044
00:57:36,280 --> 00:57:39,640
Speaker 4: those things don't interest me personally. So that's one of

1045
00:57:39,680 --> 00:57:42,880
Speaker 4: the reasons I have a hard time connecting with this movie.

1046
00:57:42,960 --> 00:57:45,520
Speaker 4: But there's something to be said for a movie that

1047
00:57:45,680 --> 00:57:49,600
Speaker 4: centers women and allows women to talk about what's important

1048
00:57:50,000 --> 00:57:52,840
Speaker 4: to them, even if it doesn't reflect my exact experience.

1049
00:57:53,200 --> 00:57:57,480
Speaker 6: Yeah, it definitely doesn't reflect my experience, but I like,

1050
00:57:57,560 --> 00:57:58,520
Speaker 6: couldn't be any further.

1051
00:57:58,720 --> 00:58:02,760
Speaker 2: But again, I think what helps me is.

1052
00:58:03,320 --> 00:58:05,760
Speaker 6: That I am a daughter of a mother, so I

1053
00:58:05,800 --> 00:58:10,880
Speaker 6: can connect to that and community and sisterhood has two

1054
00:58:11,120 --> 00:58:13,440
Speaker 6: saved my life in a lot of ways. And so

1055
00:58:14,360 --> 00:58:18,000
Speaker 6: again that's something that I have a different perspective of

1056
00:58:18,040 --> 00:58:20,520
Speaker 6: it at the older I get, and I think it's

1057
00:58:21,240 --> 00:58:26,080
Speaker 6: the portrayal of that in this movie is actually really beautiful. Yeah,

1058
00:58:26,160 --> 00:58:27,960
Speaker 6: And can I also add I think something else I

1059
00:58:28,000 --> 00:58:34,000
Speaker 6: really like about the movie is that it highlights how

1060
00:58:34,080 --> 00:58:37,040
Speaker 6: in your tribe or in your community, there's a lot

1061
00:58:37,080 --> 00:58:38,800
Speaker 6: of diversity and I don't mean.

1062
00:58:40,640 --> 00:58:41,919
Speaker 2: Ethnic diversity.

1063
00:58:43,400 --> 00:58:46,120
Speaker 4: Do they not know as single black or brown person?

1064
00:58:46,760 --> 00:58:49,520
Speaker 6: Yikes, one in one thousand percent. They were avoiding the

1065
00:58:49,520 --> 00:58:52,320
Speaker 6: black people in the town. It's fine, I know it.

1066
00:58:52,480 --> 00:58:53,280
Speaker 6: We don't even have it.

1067
00:58:53,360 --> 00:58:54,480
Speaker 1: We're in Louisiana.

1068
00:58:54,760 --> 00:58:56,600
Speaker 6: They were on the other side of town. They never

1069
00:58:56,640 --> 00:58:58,280
Speaker 6: saw them, never interacted with black people.

1070
00:58:58,320 --> 00:58:58,880
Speaker 2: Probably, But.

1071
00:59:00,360 --> 00:59:03,200
Speaker 6: There's a lot of diversity. There's a lot of personality diversity,

1072
00:59:03,920 --> 00:59:06,040
Speaker 6: and I think that you know, when you look at

1073
00:59:06,240 --> 00:59:09,720
Speaker 6: your friend circles or your community, it's the same for you.

1074
00:59:09,960 --> 00:59:13,080
Speaker 6: Like you have to have different characters in your story

1075
00:59:13,760 --> 00:59:15,520
Speaker 6: because you never know which one you're gonna need to

1076
00:59:15,560 --> 00:59:19,920
Speaker 6: call on, and if everybody's the same, then that's not

1077
00:59:20,040 --> 00:59:22,600
Speaker 6: really helpful or productive. So I love that they're all

1078
00:59:22,760 --> 00:59:26,400
Speaker 6: such distinct characters, which again it happens in movies, but

1079
00:59:26,480 --> 00:59:29,360
Speaker 6: I think they're very distinct because it was a play,

1080
00:59:29,720 --> 00:59:32,800
Speaker 6: like to your point, like you know, there's a wedding,

1081
00:59:32,840 --> 00:59:34,760
Speaker 6: there's a funeral, there's a hospital.

1082
00:59:34,960 --> 00:59:38,080
Speaker 2: But anyway, I do like the diversity and personality in.

1083
00:59:38,040 --> 00:59:41,360
Speaker 4: The movie for sure, because even though we get you know,

1084
00:59:41,520 --> 00:59:46,680
Speaker 4: with Annell and Truvi's subplots, they're pretty centered around the

1085
00:59:46,760 --> 00:59:51,120
Speaker 4: men in their lives and those different dynamics. Then you've

1086
00:59:51,120 --> 00:59:55,560
Speaker 4: got Clari and Weezer, and their subplots are more focused

1087
00:59:55,600 --> 01:00:00,760
Speaker 4: on the friendship among themselves and they're like kind of

1088
01:00:00,840 --> 01:00:04,600
Speaker 4: love hate relationship where they're always getting on each other's cases,

1089
01:00:04,640 --> 01:00:07,840
Speaker 4: but it's out of a place of love. And again,

1090
01:00:07,880 --> 01:00:11,040
Speaker 4: I love the Clary trying to like broaden their cultural

1091
01:00:11,080 --> 01:00:14,040
Speaker 4: horizons and Weezer being like I don't like to watch

1092
01:00:14,080 --> 01:00:16,520
Speaker 4: movies because they only have naked people in them, and

1093
01:00:16,600 --> 01:00:18,200
Speaker 4: I hate books, and I hate.

1094
01:00:18,160 --> 01:00:21,120
Speaker 1: I love Clary and Weezer. I mean, like, again, this

1095
01:00:21,280 --> 01:00:29,680
Speaker 1: movie is so glaringly excessively white in Louisiana. And we'll

1096
01:00:29,680 --> 01:00:32,760
Speaker 1: get to in a second how there was a remake

1097
01:00:32,800 --> 01:00:35,120
Speaker 1: of this movie with an all black cast in twenty

1098
01:00:35,160 --> 01:00:37,840
Speaker 1: twelve that I believe aired on Lifetime. We'll get there

1099
01:00:37,840 --> 01:00:41,320
Speaker 1: in a second. But Clary and Weezer, I don't want

1100
01:00:41,360 --> 01:00:46,640
Speaker 1: to know how they vote. However, I do, like, I

1101
01:00:46,760 --> 01:00:52,080
Speaker 1: just love a couple of broads saying fucking whatever.

1102
01:00:52,280 --> 01:00:53,720
Speaker 5: It is so fun to watch.

1103
01:00:54,200 --> 01:00:57,920
Speaker 1: They both seem like pretty wealthy as well, where it's

1104
01:00:57,920 --> 01:00:59,720
Speaker 1: like there's that great line from Weezer where it's like

1105
01:00:59,720 --> 01:01:01,800
Speaker 1: people are only nice to me because I have more

1106
01:01:01,840 --> 01:01:04,960
Speaker 1: money than God, and I was like, whoa okay, or

1107
01:01:05,120 --> 01:01:08,320
Speaker 1: like Clarie doing the like you know whatever, girl bossing

1108
01:01:08,320 --> 01:01:11,280
Speaker 1: the fuck out, Yes a radio station so she could

1109
01:01:11,360 --> 01:01:15,320
Speaker 1: like be a sports commentator question Mark. Like they're on

1110
01:01:15,440 --> 01:01:19,360
Speaker 1: these side quests. We get those moments together and we

1111
01:01:19,400 --> 01:01:22,400
Speaker 1: also see I think it's like with Clary that Weezer

1112
01:01:22,520 --> 01:01:27,400
Speaker 1: is most comfortable showing her gentler side, even if Clarie

1113
01:01:27,440 --> 01:01:28,600
Speaker 1: is only going to give her shit for it. But

1114
01:01:28,640 --> 01:01:30,440
Speaker 1: I always think of the scene of the two of

1115
01:01:30,480 --> 01:01:34,240
Speaker 1: them in the grocery store where Weezer said, you know,

1116
01:01:34,320 --> 01:01:38,840
Speaker 1: sort of something casual and offhand about death in front

1117
01:01:38,880 --> 01:01:42,400
Speaker 1: of Shelby, not realizing what Shelby was going through, and

1118
01:01:42,440 --> 01:01:44,920
Speaker 1: then saying to Clarie when they were alone, like I

1119
01:01:44,960 --> 01:01:48,040
Speaker 1: shouldn't have said that, that was wrong. I had no idea.

1120
01:01:48,280 --> 01:01:51,880
Speaker 1: And it's just nice to see like they are the

1121
01:01:51,960 --> 01:01:55,560
Speaker 1: more cartoony characters of the cast, which I think older

1122
01:01:55,600 --> 01:01:58,240
Speaker 1: women are often written to be more cartoonish, But it

1123
01:01:58,280 --> 01:02:01,520
Speaker 1: doesn't bug me because we have the context for who

1124
01:02:01,560 --> 01:02:05,800
Speaker 1: they are and we see other sides of them. They're

1125
01:02:05,840 --> 01:02:10,880
Speaker 1: not just acting out these like stereotype older women characters.

1126
01:02:10,920 --> 01:02:12,320
Speaker 1: They get moments to be together.

1127
01:02:12,360 --> 01:02:15,440
Speaker 4: I don't even think they're written cartoonishly. I think they're

1128
01:02:15,560 --> 01:02:16,760
Speaker 4: just extentially I.

1129
01:02:16,720 --> 01:02:19,080
Speaker 1: Mean, whos are getting dragged around by a horse of

1130
01:02:19,120 --> 01:02:20,480
Speaker 1: a dog for the better.

1131
01:02:20,280 --> 01:02:20,640
Speaker 5: Part of it?

1132
01:02:20,760 --> 01:02:22,240
Speaker 1: Yeah, that's truth I love.

1133
01:02:22,640 --> 01:02:24,920
Speaker 4: But also I'm just like, I don't know, I feel

1134
01:02:24,920 --> 01:02:28,240
Speaker 4: like some people just be doing that.

1135
01:02:28,480 --> 01:02:31,760
Speaker 2: Yeah, it all tracked for me. It didn't. No one

1136
01:02:31,880 --> 01:02:33,800
Speaker 2: felt too big or too small to me.

1137
01:02:33,880 --> 01:02:36,640
Speaker 6: Actually it all worked, and I think the small town

1138
01:02:36,680 --> 01:02:39,040
Speaker 6: of it all helps that. I think that if this

1139
01:02:39,200 --> 01:02:43,840
Speaker 6: like took place in Los Angeles that like it wouldn't

1140
01:02:43,880 --> 01:02:44,200
Speaker 6: work in.

1141
01:02:44,200 --> 01:02:45,920
Speaker 2: The same way, you know what I mean, or like

1142
01:02:46,480 --> 01:02:49,600
Speaker 2: Seattle or something. I don't know it, but there is

1143
01:02:49,640 --> 01:02:53,280
Speaker 2: something that made it really believable for me. And it didn't.

1144
01:02:53,520 --> 01:02:55,440
Speaker 6: It didn't bump me, and I tend to get bumped

1145
01:02:55,680 --> 01:02:57,280
Speaker 6: very easily when watching things.

1146
01:02:57,280 --> 01:02:58,960
Speaker 2: I'm always bumped.

1147
01:02:59,760 --> 01:03:01,480
Speaker 1: Yeah, I think they all feel it. And I think

1148
01:03:01,480 --> 01:03:05,680
Speaker 1: that like the story really takes time for every character

1149
01:03:05,920 --> 01:03:08,760
Speaker 1: at some point to have a moment that we see

1150
01:03:09,800 --> 01:03:13,080
Speaker 1: either like a more vulnerable part of them or have

1151
01:03:13,200 --> 01:03:16,120
Speaker 1: more information about them to contextualize why they're acting the

1152
01:03:16,120 --> 01:03:19,080
Speaker 1: way they are. And I just I mean, I could

1153
01:03:19,120 --> 01:03:24,680
Speaker 1: have watched different arrangements of these six characters for another hour,

1154
01:03:24,880 --> 01:03:28,920
Speaker 1: like I really wanted, I wanted to touch really quickly on. Yes,

1155
01:03:28,960 --> 01:03:31,840
Speaker 1: there was a remake of this movie in twenty twelve.

1156
01:03:32,840 --> 01:03:39,640
Speaker 1: It was directed by Kenny Leon, who was most noted

1157
01:03:39,640 --> 01:03:41,919
Speaker 1: before then for directing a Broadway production of A Raisin

1158
01:03:42,000 --> 01:03:45,800
Speaker 1: in the Sun. A black director and a black leading cast.

1159
01:03:45,840 --> 01:03:49,800
Speaker 1: We had Queen Latifa, Jill Scott, Alfred Woodard at Apero Adouye,

1160
01:03:50,360 --> 01:03:54,520
Speaker 1: Felicia Rossad, and Condola Rashad. It was I think the

1161
01:03:54,560 --> 01:03:57,240
Speaker 1: movie got kind of mixed reviews when it came out,

1162
01:03:57,520 --> 01:04:01,480
Speaker 1: and it was only broadcast on television in spite of

1163
01:04:02,080 --> 01:04:05,000
Speaker 1: I mean, that's like an unbelievable.

1164
01:04:04,400 --> 01:04:06,080
Speaker 4: Cast, truly.

1165
01:04:06,400 --> 01:04:09,640
Speaker 1: And I watched it two years ago when we first

1166
01:04:09,640 --> 01:04:12,960
Speaker 1: covered it. I haven't rewatched it same. It is the

1167
01:04:13,040 --> 01:04:16,600
Speaker 1: same movie, right made with I think like a far

1168
01:04:17,160 --> 01:04:21,919
Speaker 1: lesser budget, which seems to be very pointed, right.

1169
01:04:22,080 --> 01:04:26,920
Speaker 4: And we've had similar discussions about like all female reboots

1170
01:04:26,960 --> 01:04:33,440
Speaker 4: of like originally male casted movies, So we've seen kind

1171
01:04:33,440 --> 01:04:37,680
Speaker 4: of an uptick. Especially I feel like twenty eighteen or

1172
01:04:37,720 --> 01:04:40,920
Speaker 4: so was like the peak of I guess the all

1173
01:04:40,960 --> 01:04:44,320
Speaker 4: black reboot for lack of a better term, where you

1174
01:04:44,520 --> 01:04:49,240
Speaker 4: got movies like Death at a Funeral, what women want

1175
01:04:49,840 --> 01:04:50,960
Speaker 4: instead of what men want.

1176
01:04:50,960 --> 01:04:51,880
Speaker 5: I blocked that out.

1177
01:04:52,080 --> 01:04:55,200
Speaker 4: You got little instead of big. So in a lot

1178
01:04:55,200 --> 01:04:58,280
Speaker 4: of these cases, they were not only like black reboots,

1179
01:04:58,320 --> 01:05:03,520
Speaker 4: but all female reboots. The point being like with these reboots,

1180
01:05:03,520 --> 01:05:07,560
Speaker 4: they take an existing marketable property with either a predominantly

1181
01:05:07,680 --> 01:05:11,880
Speaker 4: white cast or male cast or both, and then reboot

1182
01:05:11,920 --> 01:05:15,480
Speaker 4: it with like, oh, now it's all women, or now

1183
01:05:15,480 --> 01:05:19,720
Speaker 4: it's black people or both, rather than giving women and

1184
01:05:19,880 --> 01:05:24,000
Speaker 4: black people a chance to just tell their own original stories.

1185
01:05:24,640 --> 01:05:27,240
Speaker 1: Yes, and this was in twenty twelve, so I feel

1186
01:05:27,240 --> 01:05:30,600
Speaker 1: like it's even a little bit ahead of that trend. Yes, yeah,

1187
01:05:30,720 --> 01:05:33,120
Speaker 1: I mean my feeling on it, it's kind of twofold

1188
01:05:33,280 --> 01:05:35,640
Speaker 1: where the reboot culture, I mean, I think at this

1189
01:05:35,720 --> 01:05:38,760
Speaker 1: point it's played out to the point where it's no

1190
01:05:38,840 --> 01:05:41,240
Speaker 1: longer even financially successful.

1191
01:05:41,600 --> 01:05:42,960
Speaker 4: But I think it just like.

1192
01:05:43,040 --> 01:05:48,560
Speaker 1: Sets marginalized creatives and performers up for failure by like

1193
01:05:48,800 --> 01:05:52,400
Speaker 1: not giving anyone the opportunity to tell an original story.

1194
01:05:52,480 --> 01:05:56,320
Speaker 1: It's like, no, actually this like we know that this

1195
01:05:56,400 --> 01:05:59,760
Speaker 1: story works, so maybe people will like, you know, It's

1196
01:05:59,840 --> 01:06:04,120
Speaker 1: just it feels condescending and shitty and to be given

1197
01:06:04,320 --> 01:06:09,320
Speaker 1: such a smaller budget and platform than the original Steel

1198
01:06:09,360 --> 01:06:12,560
Speaker 1: Magnolias on top of that feels insult to injury.

1199
01:06:12,680 --> 01:06:15,920
Speaker 5: Even though the cast is fantastic.

1200
01:06:15,880 --> 01:06:19,080
Speaker 2: Yeah for sure. I mean the cast is stacked.

1201
01:06:19,200 --> 01:06:23,120
Speaker 6: Kenney Leon is a very well known director, especially in

1202
01:06:23,200 --> 01:06:27,280
Speaker 6: the theater world. You know, I think for me, I

1203
01:06:27,760 --> 01:06:32,560
Speaker 6: as a black woman, as a black artist, I always

1204
01:06:32,800 --> 01:06:38,720
Speaker 6: like feel bad basically, like when I don't connect with

1205
01:06:39,960 --> 01:06:43,800
Speaker 6: the black version of something, it almost feels like I

1206
01:06:43,880 --> 01:06:45,360
Speaker 6: have to or I should.

1207
01:06:45,960 --> 01:06:47,240
Speaker 2: I don't know if that's making sense.

1208
01:06:47,760 --> 01:06:50,720
Speaker 6: Hopefully it does, but there's this like guilt associated with it,

1209
01:06:50,760 --> 01:06:53,280
Speaker 6: like if I don't like love it, And I think

1210
01:06:53,320 --> 01:06:58,120
Speaker 6: for me, the biggest issue. I thought the cast was fantastic,

1211
01:06:58,720 --> 01:07:00,560
Speaker 6: but I think the biggest issue from me when we

1212
01:07:00,600 --> 01:07:02,880
Speaker 6: do this, when we do the black version of something,

1213
01:07:03,000 --> 01:07:06,600
Speaker 6: or the you know, LATINX version of something or whatever

1214
01:07:07,440 --> 01:07:13,040
Speaker 6: the Asian version of something, is that oftentimes it's trying

1215
01:07:13,080 --> 01:07:17,680
Speaker 6: to be too much like the original version that's already

1216
01:07:17,680 --> 01:07:22,040
Speaker 6: too white. So it's almost like it has to be

1217
01:07:22,200 --> 01:07:25,480
Speaker 6: more different, and it wasn't different enough for me to

1218
01:07:25,640 --> 01:07:29,080
Speaker 6: resonate with it, if that makes sense, Like it was

1219
01:07:29,120 --> 01:07:30,840
Speaker 6: like you, I think you said, like it was basically

1220
01:07:30,920 --> 01:07:33,640
Speaker 6: the exact same thing. It couldn't be the exact same

1221
01:07:33,680 --> 01:07:37,280
Speaker 6: thing because now we're dealing with black women. We don't

1222
01:07:37,400 --> 01:07:41,560
Speaker 6: live the same experience and even kind of the same way.

1223
01:07:42,440 --> 01:07:46,520
Speaker 6: So I needed more of a differentiation outside of just

1224
01:07:47,880 --> 01:07:51,680
Speaker 6: we're in a black hair salon doing black hair. It's

1225
01:07:51,760 --> 01:07:55,520
Speaker 6: not enough, you know. And another like this is like

1226
01:07:55,560 --> 01:07:57,480
Speaker 6: a small note, but kind of a big note to me,

1227
01:07:58,240 --> 01:08:00,720
Speaker 6: is that like I think for a short shot and

1228
01:08:00,720 --> 01:08:04,600
Speaker 6: Condola shots should have played the daughter. Yeah, they should

1229
01:08:04,600 --> 01:08:05,520
Speaker 6: have been Melin and Shelby.

1230
01:08:05,800 --> 01:08:08,600
Speaker 2: That would have to me. I don't know why Queen

1231
01:08:08,680 --> 01:08:09,520
Speaker 2: Latifa was Milan.

1232
01:08:09,720 --> 01:08:13,960
Speaker 6: I'm very confused by love Ql, but like I just

1233
01:08:14,200 --> 01:08:17,920
Speaker 6: needed And so it makes me like think like we're

1234
01:08:18,120 --> 01:08:21,600
Speaker 6: Felicia and Condola, like we by no means want to

1235
01:08:21,600 --> 01:08:24,920
Speaker 6: play mother and daughter. Like I'm just like, why why

1236
01:08:24,960 --> 01:08:26,479
Speaker 6: didn't she do it with her actual mother?

1237
01:08:26,720 --> 01:08:28,880
Speaker 2: I just don't understand that's her actual mother.

1238
01:08:28,960 --> 01:08:31,760
Speaker 6: I just think that would have been It would have

1239
01:08:31,800 --> 01:08:34,640
Speaker 6: been beautiful, I think, And because for me it was

1240
01:08:34,720 --> 01:08:37,479
Speaker 6: Quinn Latifah and Condola that I kind of didn't really believe.

1241
01:08:37,720 --> 01:08:39,720
Speaker 2: I just was kind of like, it's not your mom.

1242
01:08:40,400 --> 01:08:43,800
Speaker 6: Because your mom's sitting right there seeing it was contracting.

1243
01:08:44,560 --> 01:08:47,120
Speaker 6: It was not confusing, it was distracting. I just was

1244
01:08:47,120 --> 01:08:50,560
Speaker 6: watching the whole time, like, but your actual mom is

1245
01:08:50,600 --> 01:08:52,759
Speaker 6: sitting there and you're both fantastic actors.

1246
01:08:52,880 --> 01:08:55,040
Speaker 2: Why couldn't Why didn't we do that?

1247
01:08:55,360 --> 01:08:57,519
Speaker 6: But anyway, that's kind of like my review of that.

1248
01:08:57,600 --> 01:09:00,360
Speaker 6: But and I remember when this came out. I remember

1249
01:09:00,840 --> 01:09:02,000
Speaker 6: auditioning for Shelby.

1250
01:09:02,560 --> 01:09:03,120
Speaker 2: Yeah, I mean this.

1251
01:09:03,200 --> 01:09:05,439
Speaker 6: I moved to LA in twenty ten. You know, I

1252
01:09:05,479 --> 01:09:07,360
Speaker 6: was twenty four years old at that time. Like this

1253
01:09:07,520 --> 01:09:10,240
Speaker 6: was the time that they were calling all the black girls.

1254
01:09:10,280 --> 01:09:12,160
Speaker 6: It was like a big deal. And again, you all

1255
01:09:12,240 --> 01:09:14,519
Speaker 6: know my history and my connection to the movie, so

1256
01:09:14,560 --> 01:09:17,320
Speaker 6: I was like, this is great. Condola obviously got the part,

1257
01:09:17,360 --> 01:09:20,599
Speaker 6: and she's lovely and fantastic. But I remember this time,

1258
01:09:20,680 --> 01:09:23,240
Speaker 6: and I remember being, you know, anticipating and watching it

1259
01:09:23,280 --> 01:09:26,120
Speaker 6: with all my girlfriends and feeling exactly what I just

1260
01:09:26,160 --> 01:09:29,720
Speaker 6: told you, Like, why aren't I fully connecting with this?

1261
01:09:30,920 --> 01:09:31,639
Speaker 2: It's my truth.

1262
01:09:32,960 --> 01:09:36,360
Speaker 1: Yeah, I am very frustrated by that pattern. I am

1263
01:09:36,439 --> 01:09:39,960
Speaker 1: hopeful that it seems like at least it's not happening

1264
01:09:39,960 --> 01:09:42,800
Speaker 1: with the frequency that it was this time five or

1265
01:09:42,800 --> 01:09:44,880
Speaker 1: six years ago, but it's still Yeah, I don't think so.

1266
01:09:45,680 --> 01:09:49,439
Speaker 1: It's so clear even in like, I mean, part of

1267
01:09:49,479 --> 01:09:52,040
Speaker 1: the reason that Steel Magnolius works is because it is

1268
01:09:52,120 --> 01:09:55,479
Speaker 1: so specific in the story that it's telling, and so

1269
01:09:55,560 --> 01:09:58,400
Speaker 1: it's like every community should have the opportunity to tell

1270
01:09:58,400 --> 01:10:02,120
Speaker 1: a story with that level of sephicity instead of treating

1271
01:10:02,120 --> 01:10:04,679
Speaker 1: it as a one size fits all kind of story.

1272
01:10:05,080 --> 01:10:08,320
Speaker 4: Yes, yeah, I just saw a mother daughter movie last

1273
01:10:08,400 --> 01:10:09,320
Speaker 4: night in the theater.

1274
01:10:09,560 --> 01:10:10,680
Speaker 1: I saw X.

1275
01:10:13,240 --> 01:10:15,040
Speaker 4: No, I did it, well, I did see saw X,

1276
01:10:15,080 --> 01:10:17,439
Speaker 4: but I did a double feature of Saw X and

1277
01:10:17,840 --> 01:10:22,479
Speaker 4: the Persian version, which is a very culturally specific mother

1278
01:10:22,600 --> 01:10:26,960
Speaker 4: daughter story in which, like motherhood plays a very large

1279
01:10:27,280 --> 01:10:30,880
Speaker 4: role in both of their narratives, and it's just like

1280
01:10:30,920 --> 01:10:36,080
Speaker 4: a very interesting examination of a mother daughter relationship. Would

1281
01:10:36,080 --> 01:10:38,120
Speaker 4: recommend people see it.

1282
01:10:38,640 --> 01:10:42,040
Speaker 6: My favorite mother daughter movie is Oh my gosh, you

1283
01:10:42,040 --> 01:10:44,120
Speaker 6: guys want to guess what my favorite mother daughter movie is?

1284
01:10:44,200 --> 01:10:45,639
Speaker 4: Oh my god? Can we have a hint.

1285
01:10:47,400 --> 01:10:49,920
Speaker 2: One of the actors and Still Magnolias is in it?

1286
01:10:50,760 --> 01:10:54,960
Speaker 4: Ooh, okay, is it.

1287
01:10:55,040 --> 01:10:56,920
Speaker 6: One of my favorite movies of all time? Actually, but

1288
01:10:56,960 --> 01:10:58,120
Speaker 6: it's a mother daughter movie?

1289
01:10:58,280 --> 01:10:58,760
Speaker 4: Oh my god?

1290
01:10:58,880 --> 01:11:03,680
Speaker 1: Is it? Dolly Garden Sally partner in another mother daughter movie.

1291
01:11:04,439 --> 01:11:06,840
Speaker 2: I don't I'm not Dolly.

1292
01:11:07,240 --> 01:11:08,640
Speaker 4: Is it Julia Robbers?

1293
01:11:09,560 --> 01:11:11,280
Speaker 2: I can't tell you who it is, but she's in.

1294
01:11:11,560 --> 01:11:12,760
Speaker 2: Do you want me to tell you what the movie is?

1295
01:11:13,120 --> 01:11:20,760
Speaker 1: Just terms of endearment, surely, But Shirley McClain is the goat.

1296
01:11:20,840 --> 01:11:25,639
Speaker 1: Oh my gosh, her favorite endearment forever. It's beautiful. I've

1297
01:11:25,760 --> 01:11:30,880
Speaker 1: just rewatched The Apartment. She's just s t here. I

1298
01:11:30,920 --> 01:11:33,800
Speaker 1: was like, what's my favorite mother daughter movie? I need

1299
01:11:33,840 --> 01:11:38,920
Speaker 1: to think about it. I'm like, Freaky Friday, that's a

1300
01:11:39,800 --> 01:11:43,080
Speaker 1: favorite one. But oh god, we should do we haven't done.

1301
01:11:43,160 --> 01:11:43,839
Speaker 1: Terms of endearment.

1302
01:11:43,920 --> 01:11:45,799
Speaker 6: I was gonna say, if you guys do that one, please,

1303
01:11:45,840 --> 01:11:46,680
Speaker 6: I want to come back and talk.

1304
01:11:46,920 --> 01:11:48,479
Speaker 4: Absolutely, you'll be coming back.

1305
01:11:48,520 --> 01:11:50,120
Speaker 2: That's one of my favorite movies of all time.

1306
01:11:50,520 --> 01:11:54,600
Speaker 4: Absolutely, a couple of things I want to talk about.

1307
01:11:55,280 --> 01:11:59,599
Speaker 4: And these are just sort of stray thought. Actually they're

1308
01:11:59,680 --> 01:12:03,280
Speaker 4: kind of about the men in the movie. While brave

1309
01:12:03,320 --> 01:12:05,599
Speaker 4: of me to bring up the men in the movie,

1310
01:12:06,400 --> 01:12:10,000
Speaker 4: but as we've already mentioned, they're kind of not entirely

1311
01:12:10,040 --> 01:12:14,479
Speaker 4: incidental to the plot. But they're certainly not the main

1312
01:12:14,720 --> 01:12:18,920
Speaker 4: characters by any stretch of the imagination. And yeah, the

1313
01:12:18,960 --> 01:12:21,639
Speaker 4: way that they are often talked about or just presented

1314
01:12:21,640 --> 01:12:26,320
Speaker 4: on screen is like they're a nuisance, They're annoying. A

1315
01:12:26,400 --> 01:12:31,040
Speaker 4: drum is like just bullying Weezer the whole time, in

1316
01:12:31,120 --> 01:12:33,439
Speaker 4: like a kind of playful way but also sometimes a

1317
01:12:33,439 --> 01:12:34,040
Speaker 4: scary way.

1318
01:12:34,520 --> 01:12:36,160
Speaker 1: I'm like, I don't even know if you see Milan

1319
01:12:36,280 --> 01:12:38,040
Speaker 1: and him speak, I.

1320
01:12:38,080 --> 01:12:41,760
Speaker 4: Don't think so. But he does say He's like, I

1321
01:12:41,840 --> 01:12:44,200
Speaker 4: make it a point never to deal with my wife,

1322
01:12:44,280 --> 01:12:48,759
Speaker 4: and it's like, okay, feminist icon drum, Yeah, makes I

1323
01:12:48,800 --> 01:12:51,720
Speaker 4: do appreciate. So Shelby has two brothers who have a

1324
01:12:51,760 --> 01:12:53,880
Speaker 4: couple of lines here and there, but they're kind of

1325
01:12:53,880 --> 01:12:57,640
Speaker 4: barely characters, which I think is especially interesting because the

1326
01:12:57,680 --> 01:13:02,400
Speaker 4: writer who wrote this movie Your Sister is presumably one

1327
01:13:02,400 --> 01:13:04,439
Speaker 4: of those brothers, and he didn't even write a character

1328
01:13:04,479 --> 01:13:07,320
Speaker 4: for himself, which I think the way that a lot

1329
01:13:07,320 --> 01:13:11,400
Speaker 4: of male egos are would not allow for like that

1330
01:13:11,520 --> 01:13:14,479
Speaker 4: to happen in most cases. So I was like pleasantly surprised,

1331
01:13:14,479 --> 01:13:17,960
Speaker 4: I'm in this icon Robert Harlan, Yes, and then yeah,

1332
01:13:18,000 --> 01:13:21,080
Speaker 4: we get a few other men, like we meet Jackson

1333
01:13:21,439 --> 01:13:25,880
Speaker 4: a few times, and although the way he's described Shelby's

1334
01:13:25,920 --> 01:13:28,200
Speaker 4: like I thought he was a pest at first, but

1335
01:13:28,280 --> 01:13:30,160
Speaker 4: then he kind of grew on me and now I

1336
01:13:30,200 --> 01:13:33,639
Speaker 4: love him and it's like, okay, wow, tale as old

1337
01:13:33,640 --> 01:13:38,760
Speaker 4: as time. We talked a little bit about Spud Truviy's husbands.

1338
01:13:38,920 --> 01:13:41,479
Speaker 1: Spud gets the best deal out of anyone, and I

1339
01:13:41,520 --> 01:13:44,960
Speaker 1: don't understand why. At the end, they're like like, is

1340
01:13:44,960 --> 01:13:47,479
Speaker 1: it just because it's Sam Shepard where they're like Spud,

1341
01:13:48,040 --> 01:13:51,000
Speaker 1: you know, he was distant and rude for the majority

1342
01:13:51,040 --> 01:13:51,920
Speaker 1: of the movie, but.

1343
01:13:52,240 --> 01:13:53,200
Speaker 5: Shell be dying.

1344
01:13:53,360 --> 01:13:55,559
Speaker 1: It almost feels like I've walck to remember sort of

1345
01:13:55,560 --> 01:13:58,040
Speaker 1: thing where it's like it wasn't until this young woman

1346
01:13:58,160 --> 01:14:00,639
Speaker 1: died in an untimely way that I, as a man,

1347
01:14:00,760 --> 01:14:04,360
Speaker 1: learned I should be a little nicer. And you're like, whatever,

1348
01:14:05,000 --> 01:14:07,439
Speaker 1: what what is that trope? It's so weird.

1349
01:14:07,840 --> 01:14:08,400
Speaker 4: I don't know.

1350
01:14:08,760 --> 01:14:10,920
Speaker 5: It's a very tiny part of this movie, but I

1351
01:14:10,960 --> 01:14:14,439
Speaker 5: was just like, great, Yeah, it's weird.

1352
01:14:14,920 --> 01:14:18,600
Speaker 1: Yeah, especially because I'm like, truth, he deserves the absolute

1353
01:14:18,640 --> 01:14:21,160
Speaker 1: best and she has to accept this, this scraps of

1354
01:14:21,200 --> 01:14:21,519
Speaker 1: a man.

1355
01:14:22,400 --> 01:14:25,400
Speaker 4: Yeah, she also has a scary son. People are like

1356
01:14:25,760 --> 01:14:27,759
Speaker 4: turned out, Okay, he's just a little scary.

1357
01:14:28,240 --> 01:14:32,080
Speaker 1: Yeah, honestly, like that'll be me one day I wanted

1358
01:14:32,120 --> 01:14:34,519
Speaker 1: to also just quickly shut up. Robert Harley also wrote

1359
01:14:34,560 --> 01:14:37,360
Speaker 1: The First Wives Club, Just something oh to.

1360
01:14:38,360 --> 01:14:40,160
Speaker 4: He also wrote soap Dish.

1361
01:14:40,439 --> 01:14:44,960
Speaker 8: I want to say, Okay, I also I hate to

1362
01:14:45,000 --> 01:14:49,080
Speaker 8: add this in there, please, but Pa, he's Presbyterian and

1363
01:14:49,080 --> 01:14:50,720
Speaker 8: he's gay, which I'm Presbyterian as well.

1364
01:14:51,600 --> 01:14:53,360
Speaker 2: But he also owns a plantation.

1365
01:14:53,560 --> 01:14:57,440
Speaker 1: I saw that, yes in Louisiana.

1366
01:14:57,960 --> 01:15:04,360
Speaker 6: Which says was built in eighteen thirty, who held as

1367
01:15:04,360 --> 01:15:07,000
Speaker 6: many as one hundred and four enslaved people.

1368
01:15:06,760 --> 01:15:07,600
Speaker 2: On the property.

1369
01:15:07,960 --> 01:15:13,360
Speaker 6: Okay, well, yeah, so he he owns a plantation. So

1370
01:15:13,400 --> 01:15:16,000
Speaker 6: I gotta say it's it's knocking it down on my

1371
01:15:16,080 --> 01:15:16,760
Speaker 6: list a little bit.

1372
01:15:16,960 --> 01:15:18,880
Speaker 4: I gotten fuck that guy.

1373
01:15:18,960 --> 01:15:22,559
Speaker 1: Yeah yeah, Robert as someone to whose bread and butter

1374
01:15:22,720 --> 01:15:29,360
Speaker 1: is writing stories of wealthy white women, not the plantation.

1375
01:15:29,720 --> 01:15:33,880
Speaker 2: Robert, like I guess Jesus doing it took a turn.

1376
01:15:33,960 --> 01:15:36,880
Speaker 2: It took a turn for me, everybody, it's taking a turn.

1377
01:15:37,280 --> 01:15:40,599
Speaker 1: Yeah, yeah, take a wrecking ball to it, Robert.

1378
01:15:40,680 --> 01:15:46,720
Speaker 6: For Fox's sakes, it's great, but writing it in the

1379
01:15:46,800 --> 01:15:49,400
Speaker 6: living room of the plantation is stressing me out.

1380
01:15:49,840 --> 01:15:52,120
Speaker 5: Yes, oh, for fuck's sake.

1381
01:15:52,840 --> 01:16:00,320
Speaker 4: Well, that's the end of the episode. I think I

1382
01:16:00,320 --> 01:16:02,360
Speaker 4: want to say about like the way men are characterized

1383
01:16:02,439 --> 01:16:05,320
Speaker 4: in this movie. That kind of brings it back to

1384
01:16:05,360 --> 01:16:09,320
Speaker 4: the title of the movie. Moline is talking about the

1385
01:16:09,400 --> 01:16:12,800
Speaker 4: moment that they take Shelby off of life support and

1386
01:16:13,240 --> 01:16:17,200
Speaker 4: her being in the hospital room as Shelby passes away.

1387
01:16:17,400 --> 01:16:21,759
Speaker 4: She's describing how Drum left, he couldn't take it, Jackson left.

1388
01:16:22,000 --> 01:16:23,920
Speaker 4: I find it amusing. Men are supposed to be made

1389
01:16:23,920 --> 01:16:27,639
Speaker 4: out of steel or something, and then meanwhile, like all

1390
01:16:27,680 --> 01:16:29,559
Speaker 4: these men who are supposed to be you know, these

1391
01:16:29,680 --> 01:16:33,519
Speaker 4: very hold it together. Oh nothing affects me because I'm

1392
01:16:33,520 --> 01:16:37,360
Speaker 4: a big strong man kind of thing. They couldn't like

1393
01:16:37,400 --> 01:16:39,840
Speaker 4: handle it emotionally, which I mean fair like it is

1394
01:16:39,880 --> 01:16:42,760
Speaker 4: a very upsetting thing and devastating thing to deal with.

1395
01:16:43,280 --> 01:16:45,519
Speaker 4: But I guess just kind of like the comment on

1396
01:16:46,520 --> 01:16:51,320
Speaker 4: we as women, our strength is undervalue because it's emotional strength,

1397
01:16:51,600 --> 01:16:57,120
Speaker 4: whereas like societally, we favor like the perceived physical strength

1398
01:16:57,280 --> 01:17:02,800
Speaker 4: of men. Even though I don't want to be making

1399
01:17:02,800 --> 01:17:06,320
Speaker 4: sweeping generalizations here, but I just like this. She's like,

1400
01:17:06,360 --> 01:17:08,200
Speaker 4: wait a minute, men are supposed to be the strong

1401
01:17:08,240 --> 01:17:12,800
Speaker 4: ones made of steel, but actually we are the steel magnolius.

1402
01:17:14,160 --> 01:17:18,839
Speaker 4: So I don't know what my point is, but it's something.

1403
01:17:20,479 --> 01:17:23,600
Speaker 1: Is there any other stuff we wanted to touch on?

1404
01:17:24,840 --> 01:17:26,599
Speaker 4: This movie is very dense. I feel like we've only

1405
01:17:26,680 --> 01:17:28,120
Speaker 4: kind of scratched the surface.

1406
01:17:28,360 --> 01:17:29,519
Speaker 5: But I could keep going.

1407
01:17:29,960 --> 01:17:31,920
Speaker 2: I feel it be covered a lot about it. I

1408
01:17:32,000 --> 01:17:32,960
Speaker 2: feel good I've done.

1409
01:17:32,840 --> 01:17:33,639
Speaker 4: A great job here.

1410
01:17:33,680 --> 01:17:37,360
Speaker 1: Today I'm reeling from this Robert Harling situation.

1411
01:17:38,560 --> 01:17:42,360
Speaker 4: Yeah, it really puts a damper on the whole damn thing.

1412
01:17:42,439 --> 01:17:43,120
Speaker 2: It took a turn.

1413
01:17:43,280 --> 01:17:46,120
Speaker 6: Not gonna lie, but you know, I mean, also, what

1414
01:17:46,160 --> 01:17:49,680
Speaker 6: we have to be honest about is like I had

1415
01:17:49,760 --> 01:17:51,439
Speaker 6: to say it, but like, of course he probably owns

1416
01:17:51,439 --> 01:17:54,760
Speaker 6: a plantation, Like it's he's from Louisiana.

1417
01:17:54,960 --> 01:17:56,920
Speaker 2: Like it's not it's.

1418
01:17:56,800 --> 01:18:00,840
Speaker 6: Not that surprising, which is the sad part really, but

1419
01:18:01,000 --> 01:18:04,680
Speaker 6: like yeah, but reading it is like, oh wow, got

1420
01:18:04,840 --> 01:18:05,840
Speaker 6: I gotta got, I gotta god.

1421
01:18:05,880 --> 01:18:08,880
Speaker 1: Who really don't somebody someone who has like a formative

1422
01:18:08,880 --> 01:18:11,719
Speaker 1: influence on you as a kid, owns a plantation. It's

1423
01:18:11,800 --> 01:18:13,480
Speaker 1: just fucking ridiculous.

1424
01:18:13,920 --> 01:18:17,240
Speaker 6: Yeah, but you know what not to like turn this

1425
01:18:17,400 --> 01:18:20,320
Speaker 6: into that, But like it's just a part of being

1426
01:18:20,400 --> 01:18:21,400
Speaker 6: black in America.

1427
01:18:22,520 --> 01:18:25,080
Speaker 2: Like at any turn, you find.

1428
01:18:24,800 --> 01:18:27,960
Speaker 6: Out that something you've loved or something you've known or

1429
01:18:28,000 --> 01:18:31,559
Speaker 6: something you've been a part of that it's connected to

1430
01:18:32,360 --> 01:18:37,440
Speaker 6: slavery in some way or something that like a construct

1431
01:18:37,439 --> 01:18:41,160
Speaker 6: that was meant to harm my people, and like it's

1432
01:18:41,240 --> 01:18:42,760
Speaker 6: part of the trauma, you.

1433
01:18:42,720 --> 01:18:43,280
Speaker 2: Know what I mean.

1434
01:18:43,600 --> 01:18:46,280
Speaker 6: But it's also, like I said, part of the protection

1435
01:18:46,479 --> 01:18:50,320
Speaker 6: is like having the awareness of like I'm not really shocked.

1436
01:18:51,800 --> 01:18:56,000
Speaker 6: It all tracks like it tracks, but yeah, someone that

1437
01:18:56,040 --> 01:18:58,599
Speaker 6: ownes a plantation can also write a beautiful movie too.

1438
01:18:59,520 --> 01:19:02,439
Speaker 2: That back. People then made a remake up Let's see.

1439
01:19:02,680 --> 01:19:05,160
Speaker 1: I'm like, how do you How did you fucking sleep it?

1440
01:19:05,320 --> 01:19:06,920
Speaker 6: Like did they not know that? I didn't know that

1441
01:19:07,000 --> 01:19:08,920
Speaker 6: to make right now? So maybe they didn't either, I

1442
01:19:08,960 --> 01:19:12,080
Speaker 6: don't know. But like we then made a whole remake

1443
01:19:12,120 --> 01:19:13,919
Speaker 6: of a man's movie who Owns a Plantation?

1444
01:19:14,760 --> 01:19:19,360
Speaker 2: It's you know, yeah, it's a lot of thoughts.

1445
01:19:20,000 --> 01:19:23,960
Speaker 4: Yeah, in the movie, you do see people of color

1446
01:19:24,040 --> 01:19:27,960
Speaker 4: every so often, but they're always people working at the.

1447
01:19:27,880 --> 01:19:29,479
Speaker 1: West, like a few wedding guests.

1448
01:19:29,800 --> 01:19:32,439
Speaker 4: It's maybe a nurse. I think there's a black woman

1449
01:19:32,479 --> 01:19:35,639
Speaker 4: who's a nurse who speaks to Shelby for like two

1450
01:19:35,720 --> 01:19:37,880
Speaker 4: lines of dialogue, but I think those are the only

1451
01:19:37,920 --> 01:19:40,120
Speaker 4: lines of dialogue spoken by a person of color in

1452
01:19:40,160 --> 01:19:49,240
Speaker 4: the entire movie. Yeah, so yeah, Well, should we move

1453
01:19:49,320 --> 01:19:51,400
Speaker 4: on to the Bechdel test and whether or not this.

1454
01:19:51,479 --> 01:19:54,919
Speaker 1: Movie, Yes, yes, it does for almost the entire movie.

1455
01:19:55,200 --> 01:19:58,840
Speaker 4: It Yeah, it does. They do once again, and I'm

1456
01:19:58,880 --> 01:20:00,880
Speaker 4: trying not to be too critical this, but they are

1457
01:20:00,920 --> 01:20:05,280
Speaker 4: almost constantly talking about like very traditionally feminine things, which

1458
01:20:05,640 --> 01:20:08,880
Speaker 4: again is neither inherently positive or negative. Do I wish

1459
01:20:09,120 --> 01:20:13,559
Speaker 4: we saw them talk about something other than weddings, babies,

1460
01:20:13,640 --> 01:20:16,360
Speaker 4: relationships with men, which obviously that part doesn't pass the

1461
01:20:16,360 --> 01:20:18,040
Speaker 4: Bechdel test, But you know, they're talking about the color.

1462
01:20:18,080 --> 01:20:21,240
Speaker 1: It's also a lot of health. Like, there's a lot

1463
01:20:21,280 --> 01:20:23,479
Speaker 1: of talk about health. There's a lot of talk about like.

1464
01:20:23,680 --> 01:20:27,040
Speaker 4: They talk about Anne Boleyn having six fingers on one hand,

1465
01:20:27,200 --> 01:20:29,439
Speaker 4: and that is the best pass of the movie.

1466
01:20:29,520 --> 01:20:31,160
Speaker 1: I mean, they are talking about a lot of traditionally

1467
01:20:31,160 --> 01:20:33,800
Speaker 1: feminine things, but I think that that is inherent to

1468
01:20:34,080 --> 01:20:38,680
Speaker 1: this community. And you're getting a big range of opinions

1469
01:20:38,800 --> 01:20:40,960
Speaker 1: on these issues too, Because if it would be just

1470
01:20:41,000 --> 01:20:44,479
Speaker 1: more like we can all agree that wedding and baby

1471
01:20:44,760 --> 01:20:47,400
Speaker 1: is awesome, Like if everyone was of the same mind,

1472
01:20:47,400 --> 01:20:49,599
Speaker 1: I would maybe be more bothered by it. But because

1473
01:20:49,600 --> 01:20:54,320
Speaker 1: of like this community and the fact that each character

1474
01:20:54,680 --> 01:20:58,120
Speaker 1: has a pretty significantly different opinion on these issues.

1475
01:20:58,160 --> 01:21:02,880
Speaker 4: I think it's true they do. They gossip about other women.

1476
01:21:03,000 --> 01:21:07,240
Speaker 4: In one case are fat shaming another woman, which.

1477
01:21:07,120 --> 01:21:09,000
Speaker 1: Dolly was wrong for that that woman was having the

1478
01:21:09,040 --> 01:21:12,880
Speaker 1: time of her life and she looked great, so bye whatever.

1479
01:21:13,600 --> 01:21:18,160
Speaker 4: Yes, the movie does not really pass the reverse Spectel test,

1480
01:21:18,600 --> 01:21:21,479
Speaker 4: meaning like men barely talk to each other. We see

1481
01:21:21,520 --> 01:21:24,280
Speaker 4: a few interactions between Shelby's dad and her brothers, but

1482
01:21:24,360 --> 01:21:27,920
Speaker 4: other than that, it is almost exclusively women talking to

1483
01:21:28,000 --> 01:21:31,920
Speaker 4: each other. Sometimes they're talking about men, although I do

1484
01:21:32,000 --> 01:21:36,439
Speaker 4: think that when Weezer, in response to something Annelle says,

1485
01:21:36,960 --> 01:21:40,200
Speaker 4: Weezer says, men are the most horrible creatures. They will

1486
01:21:40,280 --> 01:21:42,479
Speaker 4: ruin your life, you mark my words. I think that

1487
01:21:42,720 --> 01:21:44,519
Speaker 4: still does pass the Bechdel tests.

1488
01:21:44,680 --> 01:21:47,519
Speaker 1: The spirit of the line passes the Bechdel test.

1489
01:21:47,720 --> 01:21:50,640
Speaker 4: Yeah. Oh, and then really quickly they talk about I

1490
01:21:50,640 --> 01:21:55,400
Speaker 4: think it's Clari's nephew coming out is gay, and they're

1491
01:21:55,400 --> 01:21:58,960
Speaker 4: all kind of like, what is what is that? What

1492
01:21:59,120 --> 01:22:02,040
Speaker 4: are gay people? Nineteen eighty nine?

1493
01:22:02,160 --> 01:22:02,479
Speaker 1: Huh?

1494
01:22:02,840 --> 01:22:05,479
Speaker 4: And they have they all have track lighting in their

1495
01:22:05,479 --> 01:22:08,240
Speaker 4: homes and they're all named what is it? Like Mark

1496
01:22:08,960 --> 01:22:14,000
Speaker 4: Steve or something. Anyway, it was a less homophobic view

1497
01:22:14,520 --> 01:22:16,920
Speaker 4: of queerness than I thought, Yeah, it's gonna happen.

1498
01:22:16,920 --> 01:22:19,000
Speaker 1: It didn't feel especially because it was written by a

1499
01:22:19,000 --> 01:22:21,439
Speaker 1: gay writer. Like I was just like, yeah, is this

1500
01:22:21,600 --> 01:22:24,320
Speaker 1: how this writer heard people talking about him when he

1501
01:22:24,360 --> 01:22:25,720
Speaker 1: was growing I don't know. I sort of gave that

1502
01:22:25,760 --> 01:22:28,840
Speaker 1: a pass just because the writer is from this area.

1503
01:22:28,560 --> 01:22:29,240
Speaker 5: It is queer.

1504
01:22:30,120 --> 01:22:31,880
Speaker 1: I also was like, I don't really know what they're

1505
01:22:31,920 --> 01:22:34,600
Speaker 1: talking about here, if I'm being honest, I don't know

1506
01:22:34,640 --> 01:22:39,080
Speaker 1: what track lighting is. And so I have no opinion

1507
01:22:39,920 --> 01:22:43,120
Speaker 1: on that exchange. But what about the most important metric

1508
01:22:43,160 --> 01:22:44,360
Speaker 1: in the entire world.

1509
01:22:44,840 --> 01:22:47,600
Speaker 4: Our nipple scale, where we rate the movie on a

1510
01:22:47,640 --> 01:22:50,720
Speaker 4: scale of zero to five nipples based on examining it

1511
01:22:50,760 --> 01:22:54,679
Speaker 4: through an intersectional feminist lens. I think I'll go ahead

1512
01:22:54,720 --> 01:22:58,719
Speaker 4: and give this a little split down the middle, two

1513
01:22:58,800 --> 01:23:02,360
Speaker 4: and a half nipples. I do appreciate that it is

1514
01:23:03,120 --> 01:23:08,640
Speaker 4: a story that centers women dealing with everyday life and

1515
01:23:08,720 --> 01:23:14,520
Speaker 4: also more kind of significant life moments grief and tragedy,

1516
01:23:15,120 --> 01:23:17,880
Speaker 4: but also like you know, celebrations of life and having

1517
01:23:17,960 --> 01:23:22,880
Speaker 4: babies and you know, getting married, and again very much

1518
01:23:22,880 --> 01:23:26,639
Speaker 4: reflecting the values of the time and the values of yeah,

1519
01:23:26,680 --> 01:23:30,000
Speaker 4: like southern white women in the eighties. But it's a

1520
01:23:30,000 --> 01:23:33,680
Speaker 4: story that centers women and female friendships and female relationships

1521
01:23:33,680 --> 01:23:36,719
Speaker 4: and mother daughter relationships and all these things that most

1522
01:23:36,760 --> 01:23:41,760
Speaker 4: movies ignore. And it kind of sidelines men the way

1523
01:23:41,840 --> 01:23:45,840
Speaker 4: that most movies do not, especially movies written by men.

1524
01:23:45,920 --> 01:23:49,360
Speaker 4: So I thought it was a really interesting movie in

1525
01:23:49,400 --> 01:23:53,280
Speaker 4: that regard, and it is I think, a very nice

1526
01:23:53,920 --> 01:23:59,960
Speaker 4: way to honor that real life person memory Susan Susan.

1527
01:24:00,680 --> 01:24:06,400
Speaker 4: And the movie is so so terribly white. And although

1528
01:24:06,439 --> 01:24:10,080
Speaker 4: there is a little diversity among the personalities of the women,

1529
01:24:10,520 --> 01:24:14,679
Speaker 4: the generations and ages, the class the women, we see

1530
01:24:14,680 --> 01:24:19,520
Speaker 4: different classes, but it is they really just don't want

1531
01:24:19,680 --> 01:24:23,320
Speaker 4: to be friends with any non white people. Yeah, and

1532
01:24:23,360 --> 01:24:26,400
Speaker 4: that's pretty fucked up. I guess two and a half,

1533
01:24:26,400 --> 01:24:31,320
Speaker 4: maybe three nipples, and I'll give one to the Armadillo cake,

1534
01:24:32,240 --> 01:24:36,719
Speaker 4: I'll give one to Weezer, and I'll give one to Cleary.

1535
01:24:37,600 --> 01:24:40,960
Speaker 1: Yeah, I'm gonna go three. I would have gone three

1536
01:24:40,960 --> 01:24:42,680
Speaker 1: and a half, but in spite of things I just

1537
01:24:42,800 --> 01:24:46,920
Speaker 1: learned about, Robert Harling cannot So I'll go three. I

1538
01:24:46,920 --> 01:24:49,400
Speaker 1: think that there is Yeah, just to echo it, you

1539
01:24:49,400 --> 01:24:53,320
Speaker 1: said Caitlin. There is a clear lack of diversity in

1540
01:24:53,439 --> 01:24:58,839
Speaker 1: terms of the races of these women. It feels pointed,

1541
01:24:59,400 --> 01:25:01,880
Speaker 1: and I don't know, I'm gonna be thinking about the

1542
01:25:01,920 --> 01:25:04,720
Speaker 1: conversation we had with the reboot for a while. I

1543
01:25:04,720 --> 01:25:06,920
Speaker 1: think that there is an interesting kind of second act

1544
01:25:07,040 --> 01:25:10,440
Speaker 1: to the way that it seems like it was attempted

1545
01:25:10,479 --> 01:25:13,759
Speaker 1: to course correct when the reality is that there should

1546
01:25:13,760 --> 01:25:16,880
Speaker 1: have been a widely funded, you know, ensemble movie about

1547
01:25:16,920 --> 01:25:20,200
Speaker 1: black women. It didn't need to be the same story

1548
01:25:20,200 --> 01:25:24,280
Speaker 1: over again. So I think that for what this movie is,

1549
01:25:24,400 --> 01:25:27,080
Speaker 1: there are a lot of unique aspects to it.

1550
01:25:27,320 --> 01:25:30,559
Speaker 5: I like the mother daughter relationship.

1551
01:25:30,120 --> 01:25:34,479
Speaker 1: And just this like impossible, emotionally driven situation. And I

1552
01:25:34,560 --> 01:25:36,320
Speaker 1: like that they're surrounded by women that are so different

1553
01:25:36,360 --> 01:25:40,439
Speaker 1: from them who they very much need to make it through.

1554
01:25:40,520 --> 01:25:43,360
Speaker 1: I think that that is like the core beautiful thing

1555
01:25:43,360 --> 01:25:45,800
Speaker 1: about this movie, and that it has the good sense

1556
01:25:45,840 --> 01:25:47,559
Speaker 1: to keep the men in their life very much on

1557
01:25:47,600 --> 01:25:51,200
Speaker 1: the sidelines, which you never ever ever get. Like the

1558
01:25:51,280 --> 01:25:54,639
Speaker 1: gripes I have with the presence men do have never

1559
01:25:54,760 --> 01:25:59,120
Speaker 1: last more than thirty seconds, So I can live with that. Yeah,

1560
01:25:59,160 --> 01:26:02,800
Speaker 1: So I'm going to give this movie three nipples. I'm

1561
01:26:02,840 --> 01:26:06,439
Speaker 1: going to give one the Weezer. I'm also going to

1562
01:26:06,479 --> 01:26:08,040
Speaker 1: give one to the Armadilla Cake, and I'm going to

1563
01:26:08,080 --> 01:26:09,960
Speaker 1: give the final one to the woman dancing at the wedding.

1564
01:26:10,000 --> 01:26:13,720
Speaker 1: She did nothing wrong. Mm hmmm, Ashley, what do you think?

1565
01:26:13,800 --> 01:26:17,439
Speaker 6: Yeah, I think I'm gonna go with three two. I'm

1566
01:26:17,479 --> 01:26:21,040
Speaker 6: gonna give it three nipples. You know, just everything you

1567
01:26:21,080 --> 01:26:22,760
Speaker 6: all said. I mean, I think kind of to go

1568
01:26:22,800 --> 01:26:24,960
Speaker 6: back to what you said about like the lack of diversity,

1569
01:26:25,640 --> 01:26:29,080
Speaker 6: I think the truth is, like I'm okay with it,

1570
01:26:29,160 --> 01:26:33,160
Speaker 6: only because it wouldn't have made sense anyway, Like if

1571
01:26:33,160 --> 01:26:35,679
Speaker 6: they had a random black friend, I wouldn't have believed

1572
01:26:35,680 --> 01:26:37,719
Speaker 6: it would. It felt like they threw a random black

1573
01:26:37,760 --> 01:26:41,439
Speaker 6: woman in there. So I mean, like I'm okay with that.

1574
01:26:41,600 --> 01:26:44,320
Speaker 6: It was authentic to like these women living in the

1575
01:26:44,400 --> 01:26:48,120
Speaker 6: small parish in Louisiana, Like it made sense. But yeah,

1576
01:26:48,200 --> 01:26:50,280
Speaker 6: it's still a movie I love, but now a movie

1577
01:26:50,320 --> 01:26:51,719
Speaker 6: that has a problematic writer.

1578
01:26:53,200 --> 01:26:56,559
Speaker 2: So there's that. And then I would give a nipple

1579
01:26:56,880 --> 01:26:58,320
Speaker 2: to Malinn.

1580
01:26:58,720 --> 01:27:01,160
Speaker 6: I'm going to give one to Shelby, and I'm going

1581
01:27:01,240 --> 01:27:02,479
Speaker 6: to give one to the black nurse.

1582
01:27:02,880 --> 01:27:03,759
Speaker 2: She deserves a nimple.

1583
01:27:03,960 --> 01:27:06,519
Speaker 4: She does, she really does I think she was given

1584
01:27:06,520 --> 01:27:08,719
Speaker 4: a name too. I think Shelby says her name.

1585
01:27:08,960 --> 01:27:10,120
Speaker 2: I can't think of him right now.

1586
01:27:10,320 --> 01:27:11,960
Speaker 1: And I like that we got to see Shelby at

1587
01:27:11,960 --> 01:27:13,599
Speaker 1: work too. I feel like you never get to see

1588
01:27:13,600 --> 01:27:15,360
Speaker 1: who been at works, so quick shout out to that

1589
01:27:15,439 --> 01:27:15,760
Speaker 1: as well.

1590
01:27:15,880 --> 01:27:17,320
Speaker 2: Yes, yeah, all.

1591
01:27:17,280 --> 01:27:19,599
Speaker 1: Right, well Ashley, thank you so much for joining us

1592
01:27:19,600 --> 01:27:22,400
Speaker 1: and talking about this, and please come back for terms

1593
01:27:22,400 --> 01:27:24,240
Speaker 1: of endearment, I mean please.

1594
01:27:24,360 --> 01:27:26,559
Speaker 2: Yeah, I can't wait. I can't wait to get the email.

1595
01:27:26,320 --> 01:27:28,639
Speaker 5: That we're going to our resident Shirley McLean expert.

1596
01:27:29,320 --> 01:27:29,759
Speaker 2: Yeah.

1597
01:27:29,840 --> 01:27:31,759
Speaker 1: I love her, she's the girls.

1598
01:27:32,640 --> 01:27:32,880
Speaker 2: Yeah.

1599
01:27:32,920 --> 01:27:34,679
Speaker 1: Where can we find you? Where can we find your work?

1600
01:27:34,680 --> 01:27:36,960
Speaker 1: Where can we find you online? Yeah?

1601
01:27:37,160 --> 01:27:42,479
Speaker 6: You can find me at Ashley Blaine on Instagram. You

1602
01:27:42,479 --> 01:27:47,080
Speaker 6: can also follow my podcast at Trials to Triumphs pod,

1603
01:27:47,640 --> 01:27:49,720
Speaker 6: which also on Instagram and Facebook.

1604
01:27:50,520 --> 01:27:52,320
Speaker 2: And then you can listen to my podcast each and

1605
01:27:52,320 --> 01:27:56,439
Speaker 2: every Monday wherever you get your podcasts. Yeah, Trials to Triumphs.

1606
01:27:56,479 --> 01:27:58,560
Speaker 2: Listen to it and get inspired.

1607
01:27:59,160 --> 01:28:03,400
Speaker 1: So and you can find us as always on an

1608
01:28:03,439 --> 01:28:07,519
Speaker 1: Instagram and Twitter at Bechdel Cast. Keep your eyes peeled.

1609
01:28:07,560 --> 01:28:10,240
Speaker 1: We've got some live shows being announced in the next

1610
01:28:10,240 --> 01:28:14,280
Speaker 1: couple of weeks. If you live in California or Texas. Interestingly,

1611
01:28:15,720 --> 01:28:19,120
Speaker 1: and yeah, you can get our merch at teapublic dot com,

1612
01:28:19,120 --> 01:28:20,600
Speaker 1: slash The Bechdel.

1613
01:28:20,280 --> 01:28:24,760
Speaker 4: Cast, and also our Patreon aka Matreon, where you get

1614
01:28:24,760 --> 01:28:29,360
Speaker 4: two bonus episodes every month. I was like, what time,

1615
01:28:29,400 --> 01:28:31,880
Speaker 4: I'm fram my brain just broke all of a sudden. Okay,

1616
01:28:31,880 --> 01:28:36,200
Speaker 4: it's working two episodes every month, Yes, including all of

1617
01:28:36,240 --> 01:28:40,000
Speaker 4: the back catalog of bonus episodes, which is around one

1618
01:28:40,120 --> 01:28:42,519
Speaker 4: hundred and fifty episodes. Can you believe it?

1619
01:28:42,560 --> 01:28:45,439
Speaker 1: We've had the stamp Patreon going since twenty seventeen. There's

1620
01:28:45,439 --> 01:28:48,920
Speaker 1: tons of content there, goodness, and yes, I am calling

1621
01:28:48,960 --> 01:28:50,799
Speaker 1: it content because I'm tired.

1622
01:28:51,000 --> 01:28:53,280
Speaker 4: It's sort of like our content creator.

1623
01:28:54,040 --> 01:28:56,880
Speaker 5: Oh okay, you've gone too far. You've gone too far.

1624
01:28:57,800 --> 01:29:03,800
Speaker 1: We're just people, okay. And with that, let's all get

1625
01:29:03,840 --> 01:29:06,200
Speaker 1: on the back of some guy's motorcycle and go meet

1626
01:29:06,240 --> 01:29:08,800
Speaker 1: baby Shelby. Hope you get your bunny Sudan.

1627
01:29:08,560 --> 01:29:16,439
Speaker 4: Yek got it right here, Okay, Bye bye. The Bechdel

1628
01:29:16,479 --> 01:29:20,080
Speaker 4: Cast is a production of iHeartMedia, hosted by Caitlin Derante

1629
01:29:20,120 --> 01:29:24,120
Speaker 4: and Jamie loftis produced by Sophie Lichterman, edited by Mola Board.

1630
01:29:24,600 --> 01:29:27,759
Speaker 4: Our theme song was composed by Mike Kaplan with vocals

1631
01:29:27,800 --> 01:29:31,760
Speaker 4: by Katherine Volskrosenski. Our logo in Merch is designed by

1632
01:29:31,880 --> 01:29:36,000
Speaker 4: Jamie Loftis and a special thanks to Aristotle Acevedo. For

1633
01:29:36,040 --> 01:29:39,759
Speaker 4: more information about the podcast, please visit Linktree Slash Bechdel

1634
01:29:39,800 --> 01:29:40,120
Speaker 4: Cast