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

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Speaker 2: Women and them, are all their discussions just boyfriends and husbands,

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Speaker 2: or do they have individualism? It's the patriarchy, Zephyn bast

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Speaker 2: start changing it with the Bechdel Cast.

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Speaker 3: Oh no, I fell off a boat and I can't

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Speaker 3: remember who I am.

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Speaker 1: Oh nor well, I have an issue with that story,

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Speaker 1: and the issue is that the wrong gender fell off

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Speaker 1: the boat. Let's make it again thirty years later for

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Speaker 1: some reason and fix none of the problems.

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Speaker 3: I watched that remake last night, and I have some

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Speaker 3: things to say about it. Oh, I will get there.

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Speaker 1: I simply was like, I not even Anna Faris could

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Speaker 1: get me to watch the reboot, although I mean, look, look,

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Speaker 1: two powerful blondes have played this rancid plot and also two.

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Speaker 3: Guys and two men.

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Speaker 1: Okay, okay, Welcome to the Bechdel Cast. This is like,

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Speaker 1: this is the day. This is the day in which

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Speaker 1: we see if we've been preparing for nine years for

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Speaker 1: this episode.

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Speaker 3: Truly, this is the overboard episode which we will examine

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Speaker 3: through an intersectional feminist lens, which is what we do

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Speaker 3: on this podcast using the Bechdel test. Simply as a

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Speaker 3: jumping off point. But what's that?

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Speaker 1: Well, okay, it is pertinent today and does it pass, Yes,

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Speaker 1: but in a really hostile way. Maybe one of my

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Speaker 1: favorite hostile passes. The Bechdel Test is a media materic

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Speaker 1: created by friend of the Pod Alison Bechtel. It was

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Speaker 1: originally created in the eighties as a part of her

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Speaker 1: incredible comic collection dis to Watch Out For, as a

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Speaker 1: one off bit that was specifically referencing the fact that

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Speaker 1: there are never queer women talking to each other's in cinema.

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Speaker 1: It has since been sort of adapted to a more

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Speaker 1: mainstream way. There's a lot of versions of the test.

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Speaker 1: Our version requires that two people of a marginal gender

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Speaker 1: with names speak to each other about something other than

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Speaker 1: a man for more than two lines of dialogue that

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Speaker 1: are plot important. I actually feel like it is very

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Speaker 1: relevant to today's episode. Sometimes we cover movies where the

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Speaker 1: test is not quite as applicable or relevant. Today, I

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Speaker 1: feel like this is an old school Bechdel cast episode,

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Speaker 1: like I had like stretched before I Stretched, and I

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Speaker 1: also ate Chips before.

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Speaker 3: It feels like something we should have covered within the

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Speaker 3: first year of the show. You know what I mean?

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Speaker 1: Well, this is one of the movies though, if correct

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Speaker 1: me if I'm wrong, I feel like this is a

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Speaker 1: movie we have almost covered like six times. It's been

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Speaker 1: on Matreon polls at different times. We've had other guests shortlisted,

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Speaker 1: and then we're like, we almost covered it when the

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Speaker 1: reboot came out, but then no one saw the reboots,

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Speaker 1: so we were like, never mind. Like, this is a

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Speaker 1: movie that we've come so close to covering many times.

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Speaker 1: But I'm very glad that we wait it because I

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Speaker 1: feel like we are ready. We're ready to kill this

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Speaker 1: movie once and for all. We have an incredible guest here,

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Speaker 1: so let's get them in the mix.

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Speaker 3: They are the host of the podcast Worse than You.

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Speaker 3: It's Mo Fry Passic. Hello, welcome.

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Speaker 4: I'm just doing push ups over here.

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Speaker 1: This is what the Feminist podcast was made for.

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Speaker 5: I'm so excited.

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Speaker 1: So let us know what your history with this film is.

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Speaker 1: I'm very curious.

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Speaker 5: I'm so I'm so excited.

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Speaker 4: So my history is like, this is the reason I

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Speaker 4: suggested it because like formative, Okay, I would describe this

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Speaker 4: as one of my stuck in the players, which is

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Speaker 4: my term for when you're a kid and you either

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Speaker 4: go to like a cabin or it's your you know,

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Speaker 4: babysitter's basement, and there's always a shitty TV and there's

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Speaker 4: one VCR stuck in the player and it's just always

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Speaker 4: on and it's like what they turn on and you play.

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Speaker 4: And so this was a very stuck in the player

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Speaker 4: movie in my family.

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Speaker 3: The VHS that you can't get out of the.

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Speaker 4: Machine exactly, and so I've watched it. So it was

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Speaker 4: so funny because in the true like Audihd Queno way,

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Speaker 4: I was like, I'm rewatching it.

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Speaker 5: I'm rewatching it. And then I was like, I'll rewatch

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Speaker 5: it Monday night.

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Speaker 4: And then I realized, truly knowing the pod was Monday morning,

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Speaker 4: didn't rewatch it. And then I was reviewing it, I go, oh,

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Speaker 4: I haven't memorized. I'm pretty sure I have this movie

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Speaker 4: memorized it because it was like on from Ages I

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Speaker 4: want to say five to eleven and Goldiehan. The fashion,

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Speaker 4: it was one of the most fantastic things.

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Speaker 1: The fashion is unbelievable. The boat fashion alone is just

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Speaker 1: like I'm like, bring it back. Oh, maybe don't bring it,

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Speaker 1: but like bring it back for me. I want it.

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Speaker 5: And I'm curious.

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Speaker 4: This kicks it off because I grew up in very

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Speaker 4: famous household, you know, and we're very conscious of those things.

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Speaker 4: But I didn't clack it necessarily as a kid, because

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Speaker 4: I was a kid who didn't think, right you could

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Speaker 4: make out with the person or get a date, because

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Speaker 4: you know, you just didn't think that was for you,

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Speaker 4: if you're like a nerd or whatever it is. And

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Speaker 4: so then all movies and romantic movies were orchestration based,

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Speaker 4: and so it's like it was this huge orchestration where

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Speaker 4: don't worry, like they'll end up together, and so it

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Speaker 4: was so orchestrated and ridiculous. I thought of it from

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Speaker 4: that perspective, not from an absolutely Stockholm syndrome kidnapping.

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Speaker 1: So I, well, I guess speaking to I had not

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Speaker 1: seen this movie before. I don't know why, because I

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Speaker 1: mean it might have just been I don't know. I

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Speaker 1: feel like I've seen the vast majority of like would

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Speaker 1: I would also say I was raised in a feminist

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Speaker 1: household for the time, you know, like nineties girl power.

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Speaker 1: We were for it in the home. It was not

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Speaker 1: it was I think it was like progressive for the time, right,

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Speaker 1: but we were, But like I was absolutely still watching

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Speaker 1: every problematic rom Com under the Sun. This was just

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Speaker 1: not one of them.

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Speaker 5: Oh so it didn't hit you, so it didn't hit me.

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Speaker 1: I definitely see and we'll talk about it. I definitely

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Speaker 1: see the things this movie is doing to try to

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Speaker 1: get around the concept, like the fact that goldieh. I mean,

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Speaker 1: first of all, Goldie Han like this movie. In my

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Speaker 1: I have no nostalgia for this movie. I think it

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Speaker 1: just like straight up fucking sucks. But I think Goldiehan

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Speaker 1: turns in a great performance in a terrible movie. I

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Speaker 1: think she genuinely does That's an awesome job in this movie.

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Speaker 1: She's super funny. She somehow, I think, manages to pull

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Speaker 1: off this like absurd arc for this character, Like when

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Speaker 1: she returns.

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Speaker 4: I literally just got chills when she has to go

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Speaker 4: back to the boat. The nuance in her acting.

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Speaker 1: It is wild, how like close she gets to selling

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Speaker 1: you on the premise. Like I think Goldiehan as Tire,

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Speaker 1: I feel like she is like the reason that the

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Speaker 1: movie is loved. Or that's my that's my biased opinion

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Speaker 1: because I love Goldie Han. But but yeah, I don't

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Speaker 1: know this. This movie has a dark aura for me.

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Speaker 1: I haven't seen the reboot. I feel bad because I'm like, mo,

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Speaker 1: you like it, I've I don't really have a lot

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Speaker 1: of nice things to say about it, but we'll talk

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Speaker 1: about it.

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Speaker 5: I'll feel bad.

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Speaker 1: It's very funny. I think that of all of the

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Speaker 1: takeaways from this movie, the thing that I left being

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Speaker 1: most like ah about is I found the score to

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Speaker 1: this movie so grating. I found the banjo's no like,

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Speaker 1: and it was informed by nothing other than the scene ending,

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Speaker 1: like it just happened at the end of every scene

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Speaker 1: where was like rain and it was like but it

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Speaker 1: was like eighties banjo, So it was electric. It was

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Speaker 1: electric banjo.

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Speaker 5: I hated it.

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Speaker 3: The score was written by Alan Silvestri, who, for my money,

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Speaker 3: is most famous for the Back to the Future score.

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Speaker 3: I see, okay, and I think also like who framed

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Speaker 3: Roger Rabbit and a lot of those like more actiony.

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Speaker 5: But cartoonish too, right, Yeah.

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Speaker 3: Exactly, so, I think he does pretty well at those

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Speaker 3: those genres. But it doesn't really make sense for a

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Speaker 3: rom com.

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Speaker 5: So but is that evidence that was intentionally supposed to

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Speaker 5: be camp?

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Speaker 1: Maybe it could it could be if so, I was

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Speaker 1: like every like by the end. And also, this movie

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Speaker 1: is so long for what it is Okay, I feel bad.

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Speaker 1: I so, I had never seen it before, and I

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Speaker 1: watched it and I was like, wow, this is this

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Speaker 1: is the movie we've been preparing to cover because it

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Speaker 1: has a lot of it's really kind of playing the

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Speaker 1: hits on tropes we've discussed over the years. So I'm

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Speaker 1: excited to talk about it. Love Kurt Russell and Goldie Hahn.

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Speaker 1: I believe in their love. I also think their relationship

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Speaker 1: probably sold this movie at the time because everyone's like, well,

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Speaker 1: that didn't. Actually we know that they're happy and they're

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Speaker 1: together and like their son took his first steps on

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Speaker 1: the set of this movie, and like they're a Hollywood couple.

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Speaker 1: It's charming and they're still like it's great. But I

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Speaker 1: don't know why as a married couple you'd be like

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Speaker 1: or whatever a couple that you'd be like, you know,

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Speaker 1: it would be a fun plot to play out together.

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Speaker 1: It almost feels like a sex thing that they're doing.

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Speaker 1: You're like, oh, I feel like I shouldn't be watching this.

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Speaker 5: Watch that's incredible.

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Speaker 1: It is kind of a porn setup. It's a porny setup.

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Speaker 4: Actually, I'm sorry, he's like non shirt in the cedar closet.

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Speaker 5: Yeah, that's porny as hell.

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Speaker 1: Enemy's to Lovers a classic.

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Speaker 3: It's showing his nipples, et cetera.

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Speaker 1: So I think, my, my, yeah, I think the movie

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Speaker 1: is terrible, but it's definitely fun to talk about. I'm excited. Caitlyn.

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Speaker 1: When's your history with this movie.

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Speaker 3: I didn't grow up with it either. I didn't see

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Speaker 3: it until we had already started the podcast.

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Speaker 1: There.

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Speaker 3: There have been a few movies that we've gotten so

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Speaker 3: many requests for that I wasn't familiar with that. I

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Speaker 3: was like, oh, I should probably just kind of preemptively

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Speaker 3: prepare myself for this when we inevitably cover this movie someday,

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Speaker 3: and this was one of those. So I probably watched

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Speaker 3: it for the first time I don't know, maybe five

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Speaker 3: to seven years ago, so I don't have any nostalgia

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Speaker 3: for it. However, I don't think it absolutely well, Okay,

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Speaker 3: let me, I don't think it sucks. I well, okay, I.

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Speaker 1: Think it's I'm the bitch of the episode. I don't know.

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Speaker 5: I'm obsessed with people hating it. You're right too, I

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Speaker 5: think I think it.

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Speaker 3: To be clear, I think it sucks. From a Bechdel

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Speaker 3: cast perspective, it will fare terribly from a high concept

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Speaker 3: rom com from the eighties. No, I like, I think

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Speaker 3: the script is not horrible. Like again, I like it's

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Speaker 3: bad from our perspective, but I don't know, like I didn't,

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Speaker 3: I don't hate it. I don't love it.

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Speaker 1: Movie that feels like a movie is sure.

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Speaker 3: Right, I mean again the high conceptness of the premise.

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Speaker 3: But but but there's there's like the high concept you're

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Speaker 3: referred to includes forced motherhood and.

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Speaker 1: Enslaving.

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Speaker 3: Like yeah, no, it's good. It's a concept. It's gonna

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Speaker 3: get like zero nipples from me, But but.

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Speaker 5: It got too from Kurt.

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Speaker 1: It's true, he's tips out whole movie. And like Kurt

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Speaker 1: Russell is awesome and hot and charming, and again, like

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Speaker 1: these two actors are so like and obviously they have

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Speaker 1: ridiculous chemistry because they have a child together. I also

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Speaker 1: love that the Grandpa from Gilmore Girls is he's there,

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Speaker 1: is the villain, and his lines just took me out

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Speaker 1: without fail like I thought he was, like he's whatever.

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Speaker 1: We'll talk about him because I feel like he fulfills.

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Speaker 5: Talk about a queer performance as well.

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Speaker 1: Performance. He's like I'm shooting skeat, like he's all of

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Speaker 1: his lines or like I'm written like he's always just

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Speaker 1: saying what he's doing, which I think is hilarious, hilarious

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Speaker 1: thing for a character to do, where he's like, I'm

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Speaker 1: dancing and I'm rich, and you're like, but he sells

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Speaker 1: it because it's ever herman Like this movie. I like,

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Speaker 1: I guess speaking to what you're saying. It's like super campy,

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Speaker 1: and there were moments that I laughed, it's fun. Just

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Speaker 1: I just hate what's happening to the main character the

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Speaker 1: whole time. And I hated Kurt Russell's character. They're like,

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Speaker 1: here's a bunch of uh, here's a bunch of stereotypes

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Speaker 1: around poor people in this world. They're all true. You're like,

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Speaker 1: why why here are stereotypes around single fathers in this world?

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Speaker 1: They're all true. You're like this man, I like the

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Speaker 1: pee Wee Kid.

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Speaker 3: I like the pee Wee well Kid. That kid is

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Speaker 3: very Jamie Codin.

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Speaker 1: That was Yeah, it was like I felt seen in

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Speaker 1: the pee Wee Kid character.

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Speaker 3: I also liked it.

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Speaker 1: Weirdly, I don't know if this is like a directorial choice,

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Speaker 1: but the kid, we're acting like kids in this movie.

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Speaker 5: I adore that part. Like it was like endearing. They

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Speaker 5: wanted to be feral, but they were actually just being

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Speaker 5: kids in a house.

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Speaker 1: It seemed like they were big, like they were like

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Speaker 1: almost improvising or something, which felt which feels weird in

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Speaker 1: a scripted movie, but it was kind of refreshing to

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Speaker 1: see kids that were like just did Yeah, kind of

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Speaker 1: seemed loose doing what they want.

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Speaker 3: Yeah, yeah, true, But uh, either way, this movie gives

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Speaker 3: us so very much to talk about it.

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Speaker 4: I know, who theories, rich text, high concept, rich text, overboard.

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Speaker 3: Yeah, exactly. So let's take a quick break and then

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Speaker 3: we'll come back for the recap.

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Speaker 1: And we're back.

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Speaker 3: Okay, we're back.

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Speaker 1: What happened in this movie? It's actually so much.

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Speaker 3: It's a lot, And you're right, Jamie, it it's almost

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Speaker 3: two hours long. I firmly believe that no rom com

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Speaker 3: should be longer than like ninety five minutes.

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Speaker 1: So I'm like, if we've got a gaslight this woman

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Speaker 1: to death, we could take out a few rounds. We

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Speaker 1: could take out a few rounds of gaslight.

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Speaker 5: There were so many rounds.

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Speaker 1: It was like shockingly thorough to the point where it's

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Speaker 1: all diabolical.

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Speaker 5: And the only redeeming part of him is that he

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Speaker 5: was owed money.

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Speaker 1: What for six hundred dollars he did this? Maybe you're

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Speaker 1: going to jail, Like what do you mean?

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Speaker 3: He human trafficked a person.

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Speaker 1: He human traffic And that's like kind of the tip

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Speaker 1: of the iceberg somehow. Anyways, I love movie premises Where

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Speaker 1: Your Life.

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Speaker 5: So there's this really.

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Speaker 1: Like wealthy socialite and no one cares where she is.

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Speaker 3: Well, that's even less believable in the remake really because

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Speaker 3: it came out in twenty eighteen. Oh yeah, and it

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Speaker 3: takes place in twenty eighteen when there was so much

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Speaker 3: more technology to be able to like track a person

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Speaker 3: slash like, notice that you're looking at a famous person whatever.

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Speaker 1: I mean, it's like it's fat, Like I'm not gonna

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Speaker 1: cinema since this. But it is funny that she that

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Speaker 1: no one is looking for her except her mother, who

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Speaker 1: for most of the movie only appears in you could tell.

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Speaker 1: They shot all of her scenes in basically a day,

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Speaker 1: and she just kept changing dresses like she's just.

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Speaker 3: Like sitting in her fancy bed with her fancy dogs,

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Speaker 3: being like, where's my daughter?

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Speaker 5: Those dogs?

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Speaker 4: Though, that was like informative to like my whole aesthetic

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Speaker 4: though that was hugely aspiring.

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Speaker 1: I like that this movie. I mean, it's like not

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Speaker 1: really plot relevant, but they just elect to go for

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Speaker 1: like a very eighties like opulent aesthetic troop Beverly Hills. Yeah, yeah, yeah,

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Speaker 1: where it's it's oh I loved I wish I had

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Speaker 1: watched Troop Beverly Hills instead, but but yeah, like where

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Speaker 1: it's like, I mean, and this is reference where they're

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Speaker 1: like calling her TACKI and You're like, no, she's she's beautiful,

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Speaker 1: she's perfect.

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Speaker 4: Well doesn't you even call her nails tack to? And

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Speaker 4: like even the language of that.

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Speaker 5: Too is so like double entendre maybe yeah a little bit.

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Speaker 1: Yeah, I do. I do like that. That's one of

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Speaker 1: the I mean. And this is like when I read

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Speaker 1: interviews with the writer, it was like she it made sense.

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Speaker 1: We were like, oh, yeah, this is clearly intentional. But

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Speaker 1: this movie weirdly does feel like it takes place in

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Speaker 1: like nineteen thirty five, because it's like, that's such a

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Speaker 1: good point writing a screwball comedy, like it's a it's

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Speaker 1: it feels like almost like a Catherine Hepburn kind of

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Speaker 1: premise totally.

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Speaker 4: And now that even thinking about like the way at

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Speaker 4: the fancy events like his top like even their succeedos,

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Speaker 4: or like a little nineteen thirties gilded like or whatever

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Speaker 4: it is.

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Speaker 1: And certainly the gender roles put put upon. Not that

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Speaker 1: these gender roles didn't exist to the eighties, but it

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Speaker 1: just it just feels like a script that was written

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Speaker 1: in nineteen thirty five that was for some reason made

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Speaker 1: in nineteen eighty seven.

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Speaker 3: Anyways, in any case, the plot of the movie is this,

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Speaker 3: We meet Dean Prophet played by Kurt Russell. He's a

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Speaker 3: carpenter who is hired by a wealthy woman named Joanna

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Speaker 3: played by Goldie Hahn to remodel the walk in closet

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Speaker 3: on her and her husband's yacht. And he, of course

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Speaker 3: is played by Edward Herman aka the Grandpa from Gilmore Girls,

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Speaker 3: so basically kind of the same character as he plays

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Speaker 3: in Gilmore Girls.

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Speaker 5: But like, just like a rich maybe he's booked him

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Speaker 5: the job.

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Speaker 1: It kind of I do believe that this would be Wait, mo,

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Speaker 1: did you watch Gilmore Girls? Were Gilmore Girls? Oh, it's

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Speaker 1: one of my favorites. It's the most millennial basic thing

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Speaker 1: about me, and I celebrate it.

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Speaker 5: I love that.

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Speaker 1: But yeah, I would buy that this is the like

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Speaker 1: Grandpa from Gilmore Girls. The character is like Koke years like,

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Speaker 1: We're like he was weird in the eighties. He was

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Speaker 1: like skinny and running around on a bow. Two no's

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Speaker 1: we were all doing it right.

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Speaker 5: I love that.

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Speaker 3: So Joanna is very entitled and elitist and she's grossed

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Speaker 3: out by working class people like Dean, and she has

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Speaker 3: him build shelves and shoe racks and.

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Speaker 1: He does a great job.

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Speaker 3: He'd liked he does.

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Speaker 1: He's basically a mechanical engineer.

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Speaker 5: No, because she doesn't want mobs.

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Speaker 3: So well, he used the wrong materials. He used oak,

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Speaker 3: and she wanted cedar, but she did not say that

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Speaker 3: she wanted cedar, so they argue. He calls her out

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Speaker 3: for being awful and entitled. She fires him and refuses

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Speaker 3: to pay him the six hundred dollars for materials and labor,

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Speaker 3: and she pushes Dean and all of his tools overboard.

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Speaker 1: Right, that's the name of the movie. And this is

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Speaker 1: where you have to ask yourself. I would be so

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Speaker 1: upset if that happened to me. Would I be upset

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Speaker 1: enough to kidnap and traffic the person who had done

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Speaker 1: it to me? I don't know. I might have brought

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Speaker 1: her to small claims court, maybe, but that's not what

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Speaker 1: movies are about. There's a part in that sequence where like, again,

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Speaker 1: Goldiehan is fabulous. This entire sequence, she looks incredible. She's

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Speaker 1: so funny. And then there's like that weird exchange she

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Speaker 1: has with her butler where she's like talking about she's

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Speaker 1: talking about caviar in this really horny way. For some reason,

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Speaker 1: You're like, I don't know why that happened, but I

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Speaker 1: loved that it happened, where she's like needs to be

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Speaker 1: round and hard and burst in your mouth, and you're like, yeah, it.

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Speaker 4: Was so like it's also like her performance of like

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Speaker 4: I Know how to be rich, and it was like yeah,

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Speaker 4: like I feel like it cannot be stated.

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Speaker 5: It feels like plot important.

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Speaker 4: That her voice is Chauncy is the husband, and then

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Speaker 4: the voice changed because it's very.

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Speaker 3: Like it has to this doesn't sit up.

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Speaker 5: It's like may West.

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Speaker 1: It's a big choice.

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Speaker 3: Yeah.

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Speaker 1: It feels like, yeah, she's like pulling from old Hollywood. Yeah,

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Speaker 1: and it's like working even though she looks so eighties

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Speaker 1: and she's acting so through. I don't know, Goldiehan can

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Speaker 1: do it anything. Goldiehann undefeated.

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Speaker 3: My note about this scene. I kept trying to draw

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Speaker 3: all of the parallels between this movie and Titanic, because,

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Speaker 3: I mean, hello, movie about a rich woman and a

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Speaker 3: poor man who meet on a boat and fall in love,

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Speaker 3: and then at the end of the movie they're both

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Speaker 3: submerged in water, fully clothed. It's true, that's the plot

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Speaker 3: of Titanic.

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Speaker 5: True.

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Speaker 3: But there's the part at the dinner scene in Titanic

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Speaker 3: where one of the boat staff says, how do you

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Speaker 3: take your caviat and and then I was like, oh,

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Speaker 3: what if it was that question? But then Goldiehan's response

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Speaker 3: of cavia should be round and hard and of adequate size.

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Speaker 3: It should burst in your mouth at precisely the right moment.

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Speaker 3: I mean, so that was my fun little bit I

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Speaker 3: was doing with myself.

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Speaker 1: I really wish Billy Zane was in this movie. He

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Speaker 1: would be great in this movie.

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Speaker 5: He would be a good hut. How old was he then?

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Speaker 1: He's still pretty young. I mean he was in he

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Speaker 1: was an adult. He was in because he was in

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Speaker 1: Back to the Future.

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Speaker 3: I was ten years before Titanic.

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Speaker 1: Yeah, a young Zay. I would love a young Zay

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Speaker 1: in this. I don't know what he would do, but

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Speaker 1: I just like to have him around.

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Speaker 3: Yeah, he plays the pewee herman kid anyway. So they're

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Speaker 3: arguing on the boat, Joanna and Dean are. She pushes

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Speaker 3: him off overboard with all of his tools, and so

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Speaker 3: Dean heads home, where he's a single father to four

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Speaker 3: young and unruly children because his wife died three years prior,

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Speaker 3: so he's got a lot on his plate right now.

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Speaker 1: I have such thoughts about the choice to kill off

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Speaker 1: the wife instead of have her like abandon them bail

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Speaker 1: on the family, which I feel like works way better

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Speaker 1: with the story. But I think sometimes movies just like

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Speaker 1: they're like there's a oh no, we just got to

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Speaker 1: kill her, like it's just Disney Princess mode, because I

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Speaker 1: just feel like it's it's there's whatever. It's a silly movie,

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Speaker 1: but I am gonna that we come here to pick

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Speaker 1: it to death. We have The children are clearly like

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Speaker 1: first of all, Kurt Russell Top five most evil characters

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Speaker 1: in film for doing for also doing this to his children.

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Speaker 1: They clearly lost their mother when they were very young,

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Speaker 1: and it as written they are constantly thinking about this.

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Speaker 1: He for some reason, isn't he is like not really

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Speaker 1: thinking about the dead wife very much. He's mostly thinking

438
00:22:33,880 --> 00:22:35,160
Speaker 1: about the six hundred dollars.

439
00:22:35,400 --> 00:22:38,080
Speaker 4: I think a genius psychological thriller would be this entire

440
00:22:38,119 --> 00:22:41,720
Speaker 4: movie from the middle kid's perspective, where it's just fuzzy

441
00:22:41,800 --> 00:22:43,360
Speaker 4: enough to be like, my mom died.

442
00:22:43,160 --> 00:22:46,159
Speaker 5: But that's my mom. My mom's back, right.

443
00:22:46,200 --> 00:22:51,040
Speaker 1: I'm like, say, something, did they look similar? Like there's

444
00:22:51,160 --> 00:22:55,280
Speaker 1: no trace of this woman in their home either, right,

445
00:22:55,640 --> 00:22:59,080
Speaker 1: like she does. I just feel like her picture would

446
00:22:59,160 --> 00:23:02,480
Speaker 1: be around. I don't know, I don't know. Everyone grieves

447
00:23:02,480 --> 00:23:06,200
Speaker 1: it a different way. And yeah, Kurt Russell is dealing

448
00:23:06,280 --> 00:23:09,080
Speaker 1: with his grief by kidnapping a different.

449
00:23:08,760 --> 00:23:12,320
Speaker 3: Woman, kidnapping a woman to force her to be the

450
00:23:12,359 --> 00:23:14,679
Speaker 3: mother of his children so that he can just resume

451
00:23:14,720 --> 00:23:17,840
Speaker 3: his life of like going bowling and drinking beers with

452
00:23:17,880 --> 00:23:18,399
Speaker 3: his friends.

453
00:23:18,400 --> 00:23:20,959
Speaker 1: Which also, yeah, I mean just speaking to I just

454
00:23:21,200 --> 00:23:24,639
Speaker 1: I again, Like Kurt Russell is so charming, and I

455
00:23:24,720 --> 00:23:28,040
Speaker 1: hate this character because it is like I don't think,

456
00:23:28,160 --> 00:23:30,479
Speaker 1: I mean, let me know if you disagree, Like I

457
00:23:30,560 --> 00:23:34,080
Speaker 1: couldn't really parse. It seems like he was doing this anyways,

458
00:23:34,080 --> 00:23:36,280
Speaker 1: like he was just a straight up negligent parent. Because

459
00:23:36,320 --> 00:23:40,400
Speaker 1: the house is a pit, the kids are alone, which

460
00:23:40,440 --> 00:23:42,560
Speaker 1: their principal points out, but the movie is like, and

461
00:23:42,600 --> 00:23:43,760
Speaker 1: she's a bitch to do that.

462
00:23:44,280 --> 00:23:47,840
Speaker 4: But what confuses me is the performance of being a slob,

463
00:23:47,880 --> 00:23:49,680
Speaker 4: Like when he comes back in, he pours alcohol and

464
00:23:49,760 --> 00:23:52,480
Speaker 4: himself to smell like he's fucked up, right, And I'm like,

465
00:23:52,640 --> 00:23:53,719
Speaker 4: aren't you fucked up?

466
00:23:53,800 --> 00:23:55,800
Speaker 5: The g's what I mean? And so I like, does

467
00:23:55,840 --> 00:23:58,840
Speaker 5: he want to be a slob? Because to like cut

468
00:23:58,920 --> 00:24:00,879
Speaker 5: like what was that? You know what I mean? Like,

469
00:24:00,880 --> 00:24:02,359
Speaker 5: what was that performance from him?

470
00:24:02,640 --> 00:24:06,439
Speaker 1: It's one of the many confusing like I feel like

471
00:24:06,800 --> 00:24:10,280
Speaker 1: trying to say something about class that doesn't really happen

472
00:24:10,960 --> 00:24:14,800
Speaker 1: at least I thought in this movie where like the

473
00:24:14,840 --> 00:24:17,360
Speaker 1: principle comes over, and the principle is also a very

474
00:24:17,359 --> 00:24:20,320
Speaker 1: confusing character because like she does have some good points,

475
00:24:20,359 --> 00:24:22,399
Speaker 1: but then she's also has some terrible point, like you

476
00:24:22,440 --> 00:24:24,440
Speaker 1: just don't know what to do with her. But Kurt

477
00:24:24,520 --> 00:24:26,560
Speaker 1: Russell's kind of like I thought they were setting up

478
00:24:26,720 --> 00:24:29,240
Speaker 1: him up to be like I'm doing my best, but

479
00:24:29,359 --> 00:24:32,280
Speaker 1: like I'm a single parent and I'm like a working

480
00:24:32,280 --> 00:24:34,159
Speaker 1: class guy and I have to work a lot to

481
00:24:34,200 --> 00:24:37,680
Speaker 1: support my four kids without any help from anyone else.

482
00:24:38,000 --> 00:24:40,439
Speaker 1: And so he's like you know, she's judging him and

483
00:24:40,480 --> 00:24:43,480
Speaker 1: he's upset about that. But then you see his parenting

484
00:24:43,640 --> 00:24:47,280
Speaker 1: and it is pretty negligent, so negligent, and so you're

485
00:24:47,359 --> 00:24:51,120
Speaker 1: just like, so she was right, like what is this say?

486
00:24:51,240 --> 00:24:53,600
Speaker 4: I think that's their attempt, though I do think their

487
00:24:53,640 --> 00:24:57,200
Speaker 4: attempt like him performing like is also like telling you audience, like,

488
00:24:57,240 --> 00:24:58,040
Speaker 4: don't worry, he's safe.

489
00:24:58,080 --> 00:25:00,520
Speaker 5: He's not going to rape her tonight because it's you

490
00:25:00,560 --> 00:25:03,200
Speaker 5: know what I mean that. We're also like we'll.

491
00:25:03,000 --> 00:25:05,840
Speaker 3: Get we'll get there, we have to get there.

492
00:25:06,280 --> 00:25:08,520
Speaker 1: That whole thing. We're there. Like I was like, that's

493
00:25:08,520 --> 00:25:11,120
Speaker 1: why I'm rooting for him, because he didn't dissulter.

494
00:25:11,560 --> 00:25:13,520
Speaker 5: But I think they really think that that is like

495
00:25:13,800 --> 00:25:16,920
Speaker 5: checking the box of like, see he's a good guys,

496
00:25:16,960 --> 00:25:17,480
Speaker 5: a good.

497
00:25:17,359 --> 00:25:20,159
Speaker 1: Guy, I agree, which is where that's what we can

498
00:25:20,160 --> 00:25:22,080
Speaker 1: get into it later. But that's why I think they

499
00:25:22,160 --> 00:25:26,320
Speaker 1: make the Edward Herman character so evil so that Kurt

500
00:25:26,400 --> 00:25:34,439
Speaker 1: Russell seems viable by comparison. Yes, yes, anyways, sorry, but

501
00:25:34,680 --> 00:25:35,879
Speaker 1: we're still about.

502
00:25:36,960 --> 00:25:40,719
Speaker 3: Well, Okay, So we see Dean back at home and

503
00:25:40,760 --> 00:25:42,919
Speaker 3: we see that he has a lot on his plate

504
00:25:43,080 --> 00:25:46,520
Speaker 3: of being a single father and also trying to find

505
00:25:46,840 --> 00:25:51,359
Speaker 3: steady work. He has this friend Billy, who they have

506
00:25:51,680 --> 00:25:56,600
Speaker 3: a dream of building a mini golf course together. So

507
00:25:56,720 --> 00:25:57,680
Speaker 3: we'll put a pin in that.

508
00:25:57,880 --> 00:26:04,240
Speaker 5: Billy is so Randy Quaid coated. Also, it's true.

509
00:26:03,080 --> 00:26:06,600
Speaker 1: And there I did take note of, like the fact

510
00:26:06,680 --> 00:26:08,719
Speaker 1: that I didn't know they were gonna that they were

511
00:26:08,720 --> 00:26:10,760
Speaker 1: actually going to build a very expensive golf course. But

512
00:26:10,800 --> 00:26:12,639
Speaker 1: because this was a comedy that came out in the eighties,

513
00:26:12,680 --> 00:26:14,280
Speaker 1: I'm like, for sure, we're going to see a very

514
00:26:14,320 --> 00:26:16,919
Speaker 1: expensive golf course set piece for no reason late in

515
00:26:16,960 --> 00:26:21,879
Speaker 1: the movie. And sure enough we do this. Also we haven't,

516
00:26:22,000 --> 00:26:25,160
Speaker 1: I don't think said yet. Directed by Gary Marshall, Friend

517
00:26:25,200 --> 00:26:29,360
Speaker 1: of the Pod, a man who we love and who

518
00:26:29,400 --> 00:26:32,879
Speaker 1: sometimes plagues us. I mean because like Princess Diary is

519
00:26:32,920 --> 00:26:35,680
Speaker 1: one of my favorite movies ever he directed it. Which

520
00:26:35,720 --> 00:26:38,000
Speaker 1: is you can tell because Hector Alizondo is in this

521
00:26:38,080 --> 00:26:40,760
Speaker 1: movie for two seconds, and he's in every Gary Marshall movie.

522
00:26:41,119 --> 00:26:42,960
Speaker 3: Wow, I thought I didn't even notice him.

523
00:26:43,080 --> 00:26:45,679
Speaker 1: He plays the guy on the news who starts singing

524
00:26:45,920 --> 00:26:49,320
Speaker 1: like the fisher mil Oh my god, young Hector Alixander

525
00:26:50,200 --> 00:26:52,959
Speaker 1: is him. Yeah, and I love that, Like one of

526
00:26:52,960 --> 00:26:55,440
Speaker 1: my favorite little Hollywood anecdotes is just I think they

527
00:26:55,520 --> 00:26:57,840
Speaker 1: like randomly met and then Gary Marshall's like, I want

528
00:26:57,880 --> 00:26:59,560
Speaker 1: to put you in all my movies, and then he did.

529
00:27:00,200 --> 00:27:05,000
Speaker 5: That's like his Hitchcock signature, you know what I mean, yeah.

530
00:27:04,720 --> 00:27:08,080
Speaker 1: Something, because he's like obviously her charactor Alizondo and Princess

531
00:27:08,080 --> 00:27:13,200
Speaker 1: Diary's incredible, But like he I think, like many directors,

532
00:27:14,040 --> 00:27:15,879
Speaker 1: Gary Marshall made a lot of great movies, and then

533
00:27:15,920 --> 00:27:18,040
Speaker 1: there was a clear point of falloff in the way

534
00:27:18,119 --> 00:27:20,560
Speaker 1: that there's a clear Tim Burton fall off, in the

535
00:27:20,560 --> 00:27:23,800
Speaker 1: way that there was a clear Robert Zemeckis' has been on.

536
00:27:24,359 --> 00:27:27,240
Speaker 3: What do you mean Welcome tomorrowin is the best movie ever.

537
00:27:27,359 --> 00:27:29,520
Speaker 5: Yeah, that bomber Jacket. Nobody can be.

538
00:27:31,400 --> 00:27:33,439
Speaker 1: Like, I don't know, directors get old and then the

539
00:27:33,520 --> 00:27:36,080
Speaker 1: movies start to suck. But like, but this is still

540
00:27:36,160 --> 00:27:39,760
Speaker 1: kind of Gary Marshall's thriving, Like the Princess diarys is

541
00:27:39,800 --> 00:27:43,359
Speaker 1: fifteen years away, and then he gets into New York'sey

542
00:27:43,600 --> 00:27:46,600
Speaker 1: Valentine's Day kind of the ones that we covered because.

543
00:27:46,359 --> 00:27:49,960
Speaker 4: I would argue about him specifically though, that he didn't

544
00:27:50,000 --> 00:27:53,000
Speaker 4: fall off society fell off because he knows Trope better

545
00:27:53,040 --> 00:27:56,720
Speaker 4: than anybody Princess Diary's the Beautiful, the glasses off here,

546
00:27:56,920 --> 00:28:01,880
Speaker 4: the circumstance, orchestration love like he's hitting it, that sort

547
00:28:01,920 --> 00:28:05,520
Speaker 4: of seventh grade seven minutes in Heaven Forced Together, he

548
00:28:05,720 --> 00:28:06,640
Speaker 4: like nails it.

549
00:28:06,680 --> 00:28:07,800
Speaker 1: That is very true.

550
00:28:07,920 --> 00:28:10,480
Speaker 3: That's what I'm talking about, the high concept promise.

551
00:28:10,680 --> 00:28:14,639
Speaker 1: Yeah, the Times, The Times did not go in in

552
00:28:14,720 --> 00:28:17,960
Speaker 1: our friend Gary's favor. Oh right, because he also did

553
00:28:18,240 --> 00:28:23,160
Speaker 1: run Away Bride. God Yeah, pretty Woman. Orchestration yes, prolific, prolific.

554
00:28:23,760 --> 00:28:26,239
Speaker 1: So yeah, this is actually made before a lot of

555
00:28:26,240 --> 00:28:30,760
Speaker 1: his best movies. I don't know, Puzzling, Puzzling anyways, just

556
00:28:30,760 --> 00:28:34,119
Speaker 1: wanted to shout out Hector Elizondo before I forgot that's.

557
00:28:33,960 --> 00:28:37,800
Speaker 3: A really good chest of course. Okay, so we get

558
00:28:38,040 --> 00:28:43,200
Speaker 3: a better sense of Dean's home life. Meanwhile, on Joanna's

559
00:28:43,400 --> 00:28:50,320
Speaker 3: yacht that night, she accidentally and kind of randomly falls overboard.

560
00:28:50,640 --> 00:28:52,800
Speaker 3: I assumed because I already knew the premise of this

561
00:28:52,840 --> 00:28:54,680
Speaker 3: movie going in before the first time I watched it,

562
00:28:54,720 --> 00:28:56,240
Speaker 3: and I was like, Oh, there's going to be some

563
00:28:56,640 --> 00:28:59,680
Speaker 3: big thing that gets her to fall overboard, and it's

564
00:28:59,760 --> 00:29:02,720
Speaker 3: just like quite random. So I was like, oh, okay, anyway,

565
00:29:03,520 --> 00:29:06,520
Speaker 3: she falls off the boat and washes up on shore

566
00:29:07,040 --> 00:29:09,640
Speaker 3: with amnesia. She does not.

567
00:29:09,760 --> 00:29:12,160
Speaker 5: Remember who she is, a classic trope.

568
00:29:12,360 --> 00:29:15,800
Speaker 3: I mean women be bunking their heads and forgetting it.

569
00:29:16,080 --> 00:29:18,640
Speaker 1: Now. That's now, that's what I call trope. Seen most

570
00:29:18,640 --> 00:29:21,760
Speaker 1: recently in Falling for Christmas darring Lizzie Lohan. She can

571
00:29:21,920 --> 00:29:25,320
Speaker 1: amnesia in that Oh my god, she she gets bombed.

572
00:29:25,360 --> 00:29:28,080
Speaker 1: She gets bombed. I forget it's on a ski slope,

573
00:29:28,120 --> 00:29:29,360
Speaker 1: because it's a Christmas movie.

574
00:29:29,400 --> 00:29:32,880
Speaker 4: If somebody in my world had amnesia, then neuroses don't

575
00:29:32,920 --> 00:29:33,320
Speaker 4: come out of.

576
00:29:33,320 --> 00:29:33,720
Speaker 1: I'm so sorry.

577
00:29:33,760 --> 00:29:37,640
Speaker 5: You're never gonna think odds and everyone is usually just like, hey, okay,

578
00:29:37,920 --> 00:29:38,800
Speaker 5: you'll remember soon.

579
00:29:40,200 --> 00:29:43,080
Speaker 1: The sequence when she first gets amniesia, I think is

580
00:29:43,400 --> 00:29:46,520
Speaker 1: very funny, and it's a high for the character because

581
00:29:46,680 --> 00:29:50,160
Speaker 1: she is like they're like canonically, she cannot not be

582
00:29:50,400 --> 00:29:52,440
Speaker 1: a pain in the ass. It is just like her

583
00:29:52,560 --> 00:29:55,760
Speaker 1: core quality. She can forgets everything about herself, including her

584
00:29:55,760 --> 00:29:58,560
Speaker 1: government name. But first and foremost she is.

585
00:29:58,720 --> 00:30:02,040
Speaker 5: A bitch and best read is so right.

586
00:30:02,200 --> 00:30:04,600
Speaker 1: It's so funny her core.

587
00:30:06,480 --> 00:30:09,080
Speaker 3: She has no memory of who she is or anything

588
00:30:09,120 --> 00:30:13,720
Speaker 3: about her past. Her husband Grant sees a news report

589
00:30:13,920 --> 00:30:16,720
Speaker 3: about you know, this woman in the hospital with amnesia

590
00:30:16,840 --> 00:30:19,440
Speaker 3: and he's like, WHOA, that's my wife. So he goes

591
00:30:19,520 --> 00:30:23,040
Speaker 3: to pick her up, but she's still, as we were

592
00:30:23,080 --> 00:30:26,720
Speaker 3: just saying, very cruel and entitled. So he sees this

593
00:30:26,840 --> 00:30:30,800
Speaker 3: as his chance to escape her. Yeah, and so he's

594
00:30:30,840 --> 00:30:33,360
Speaker 3: like just kidding, I don't know her and he leaves.

595
00:30:33,520 --> 00:30:36,040
Speaker 5: She's also looking like fraggle Rock in this. I love

596
00:30:36,480 --> 00:30:37,600
Speaker 5: how obsessed.

597
00:30:37,120 --> 00:30:40,200
Speaker 1: With it she is not she is not looking awesome,

598
00:30:40,440 --> 00:30:43,000
Speaker 1: but I mean she's had a rough couple of days,

599
00:30:43,440 --> 00:30:45,800
Speaker 1: and this is I think, Okay, I'm like, probably not

600
00:30:45,840 --> 00:30:49,800
Speaker 1: intended commentary, but well, I guess kind of like the

601
00:30:49,840 --> 00:30:53,320
Speaker 1: two people she is surrounded by throughout this, including after

602
00:30:53,400 --> 00:30:57,200
Speaker 1: Kurt Russell gets his little idea, is she's surrounded by

603
00:30:57,200 --> 00:30:59,120
Speaker 1: a doctor and a cop, both of who do not

604
00:30:59,240 --> 00:31:03,000
Speaker 1: believe her, and gaslight like join in on the gaslight.

605
00:31:03,280 --> 00:31:05,360
Speaker 1: And I was like, you know, but I felt like

606
00:31:05,400 --> 00:31:08,120
Speaker 1: that was like a good little bit of writing. You're like, oh, yeah,

607
00:31:08,240 --> 00:31:11,520
Speaker 1: truth and comedy there it is. I don't know if

608
00:31:11,520 --> 00:31:17,040
Speaker 1: they meant it, but I was like, that's true. Doctors

609
00:31:17,040 --> 00:31:19,560
Speaker 1: and cops famously don't believe women about anything.

610
00:31:20,200 --> 00:31:22,760
Speaker 4: And it did set up because he was so you know,

611
00:31:22,840 --> 00:31:25,600
Speaker 4: misogynistic it did set him up to release her to Rando.

612
00:31:26,640 --> 00:31:28,200
Speaker 1: It's true, It's true.

613
00:31:28,520 --> 00:31:31,640
Speaker 3: Yeah. So Dean also shows up at the hospital because

614
00:31:31,640 --> 00:31:35,840
Speaker 3: he sees this same news story and realizes that he

615
00:31:35,920 --> 00:31:39,120
Speaker 3: can get Joanna to pay off the debt. She owes

616
00:31:39,200 --> 00:31:45,840
Speaker 3: him if he pretends that she is his wife and

617
00:31:46,120 --> 00:31:48,920
Speaker 3: makes her take care of his house and his kids.

618
00:31:49,600 --> 00:31:52,160
Speaker 3: So he goes to the hospital to be like, I'm

619
00:31:52,160 --> 00:31:56,280
Speaker 3: your husband. She of course doesn't recognize him and refuses

620
00:31:56,320 --> 00:31:57,160
Speaker 3: to believe this.

621
00:31:57,360 --> 00:32:01,000
Speaker 1: Which, again I think a lesser movie a trope that

622
00:32:01,040 --> 00:32:04,840
Speaker 1: we don't see in this movie necessarily born sexy Yesterday,

623
00:32:05,960 --> 00:32:07,960
Speaker 1: which I feel like is a common bunk on the

624
00:32:08,000 --> 00:32:11,240
Speaker 1: head trope, or like a lady gets bomked on the

625
00:32:11,280 --> 00:32:14,720
Speaker 1: head or hatches out of an egg and like falls

626
00:32:14,760 --> 00:32:16,760
Speaker 1: in love with the first person she needs, which does

627
00:32:17,040 --> 00:32:20,440
Speaker 1: technically happen here. But she is resistant to it, which

628
00:32:20,480 --> 00:32:24,800
Speaker 1: I think makes the character more credible, but also makes

629
00:32:24,880 --> 00:32:27,520
Speaker 1: the premise more ichy because she is resisting it every

630
00:32:27,520 --> 00:32:28,200
Speaker 1: step of the way.

631
00:32:28,280 --> 00:32:28,960
Speaker 5: A lot of nos.

632
00:32:29,360 --> 00:32:33,000
Speaker 1: Oh yes, yeah, a lot of nos. She is not like, Okay,

633
00:32:33,080 --> 00:32:35,080
Speaker 1: let's try it. She sort of never does that.

634
00:32:35,400 --> 00:32:39,680
Speaker 3: So true, and he tries a few little he has

635
00:32:39,720 --> 00:32:42,280
Speaker 3: a few little tricks up his sleeve to try to

636
00:32:42,480 --> 00:32:46,240
Speaker 3: get this to work, such as he surprised kisses her. Yeah,

637
00:32:46,520 --> 00:32:49,760
Speaker 3: he makes up a backstory about her.

638
00:32:50,320 --> 00:32:50,960
Speaker 5: He's named her.

639
00:32:51,120 --> 00:32:54,280
Speaker 3: Also, he gives her.

640
00:32:54,080 --> 00:32:56,280
Speaker 1: Oh when she keeps the old name. At the end,

641
00:32:56,320 --> 00:32:59,800
Speaker 1: I was like, this movie is evil, evil or queer?

642
00:33:02,400 --> 00:33:04,960
Speaker 1: I wind up both win. I like that.

643
00:33:07,960 --> 00:33:11,160
Speaker 3: So he's trying these things, and then he's like, well,

644
00:33:11,520 --> 00:33:14,320
Speaker 3: if I wasn't her husband, then how would I know

645
00:33:14,440 --> 00:33:18,479
Speaker 3: about the birthmark on her ass because he saw a

646
00:33:18,480 --> 00:33:22,720
Speaker 3: birthmark earlier when she was wearing a thong bathing suit.

647
00:33:22,600 --> 00:33:25,480
Speaker 1: Which I read is like pivoted to be a different

648
00:33:25,640 --> 00:33:28,320
Speaker 1: racist joke in the twenty eighteen one that he has

649
00:33:28,360 --> 00:33:33,040
Speaker 1: like a speedy Gonzalez tattoo or something. This is true, Okay.

650
00:33:33,520 --> 00:33:35,760
Speaker 1: I read the premise to the reboot, and I would

651
00:33:35,760 --> 00:33:37,880
Speaker 1: just that was because I was like, oh, let's see

652
00:33:37,880 --> 00:33:39,440
Speaker 1: how much they changed it. Maybe I'll watch it.

653
00:33:39,480 --> 00:33:41,520
Speaker 4: But then they were also like, I need everyone to

654
00:33:41,520 --> 00:33:44,480
Speaker 4: know that he's like a strawberry shape birth more. And

655
00:33:44,520 --> 00:33:47,880
Speaker 4: then this woman in a hospital gown in a public

656
00:33:47,920 --> 00:33:50,640
Speaker 4: waiting room and has to go behind a TV and

657
00:33:50,680 --> 00:33:51,520
Speaker 4: pull up her own gown.

658
00:33:51,560 --> 00:33:54,680
Speaker 5: The doctor's like well, legally, if you have it, you gotta.

659
00:33:54,400 --> 00:34:00,360
Speaker 3: Go ground, by which they are like, yep, that's proof

660
00:34:00,480 --> 00:34:03,720
Speaker 3: enough for us, let's send you off with this random man.

661
00:34:03,960 --> 00:34:07,280
Speaker 1: I'm choosing to see that as incisive commentary.

662
00:34:10,440 --> 00:34:13,080
Speaker 3: Yes, yes, let's go with that. But yeah, the doctor

663
00:34:13,120 --> 00:34:16,399
Speaker 3: and the Cop release Joanna to Dean, although her new

664
00:34:16,480 --> 00:34:19,080
Speaker 3: name is Annie now the doctor and the Cop.

665
00:34:19,440 --> 00:34:23,480
Speaker 1: I'd like, come on, and yeah, she's on TV. I

666
00:34:24,280 --> 00:34:27,759
Speaker 1: like that again because this is like such a I

667
00:34:27,800 --> 00:34:30,279
Speaker 1: watched The Women over the weekend, so I'm like in

668
00:34:30,640 --> 00:34:33,719
Speaker 1: screwball comedy mode, but like they go out of the

669
00:34:33,760 --> 00:34:36,520
Speaker 1: way to show you why no one is looking for

670
00:34:36,840 --> 00:34:40,480
Speaker 1: her kind of like everyone like just happens to miss

671
00:34:40,520 --> 00:34:43,920
Speaker 1: the newscast and she canonically has no friends because she's

672
00:34:43,920 --> 00:34:48,439
Speaker 1: an asshole question mark. So long story short, no one's

673
00:34:48,440 --> 00:34:52,160
Speaker 1: looking for her. This is I mean, the news loves

674
00:34:52,200 --> 00:34:55,120
Speaker 1: to bend over backwards for a missing white woman, but

675
00:34:55,320 --> 00:34:56,400
Speaker 1: not in this world.

676
00:34:56,560 --> 00:34:58,680
Speaker 4: Well, also, doesn't it like come on when Howard the

677
00:34:58,760 --> 00:35:01,000
Speaker 4: husband is like making out with Bimbo in the thing

678
00:35:01,040 --> 00:35:04,160
Speaker 4: and he like turns off the thing, it's like actively

679
00:35:04,239 --> 00:35:07,600
Speaker 4: shown like we're not taking her back, and even if

680
00:35:07,640 --> 00:35:09,480
Speaker 4: it plays, I'm gonna turn it off, right.

681
00:35:09,520 --> 00:35:11,880
Speaker 1: They're like, there's three people in the world who know

682
00:35:11,920 --> 00:35:14,360
Speaker 1: who this lady is and they all hate her, and

683
00:35:14,440 --> 00:35:16,239
Speaker 1: you're like, okay, got it.

684
00:35:17,760 --> 00:35:24,960
Speaker 3: Yes, So Dean takes Joanna aka Annie home to his

685
00:35:25,200 --> 00:35:30,880
Speaker 3: very messy house and very rambunctious children. Travis is the eldest.

686
00:35:31,360 --> 00:35:34,640
Speaker 3: There are twins Greg and Charlie, and then the youngest

687
00:35:35,239 --> 00:35:40,480
Speaker 3: is Joe, who is mister pee Wee Herman. And the

688
00:35:40,600 --> 00:35:44,160
Speaker 3: kids are all in on the ruse and they are

689
00:35:44,200 --> 00:35:48,120
Speaker 3: totally fine to pretend that Annie is and always has

690
00:35:48,200 --> 00:35:49,320
Speaker 3: been their mother.

691
00:35:49,680 --> 00:35:53,600
Speaker 1: This is so he is so evil for this. I'm like,

692
00:35:53,760 --> 00:35:58,600
Speaker 1: that is so horrible. I hate him. I hate him.

693
00:35:58,719 --> 00:35:59,320
Speaker 3: He's nasty.

694
00:35:59,600 --> 00:35:59,799
Speaker 1: Right.

695
00:36:00,000 --> 00:36:02,319
Speaker 4: There's like a kid's book that I had that I

696
00:36:02,320 --> 00:36:04,000
Speaker 4: don't find this data anywhere else, but it's like a

697
00:36:04,080 --> 00:36:06,600
Speaker 4: legitimate book. I have it on like artists and they

698
00:36:06,600 --> 00:36:09,560
Speaker 4: would like make cartoons of artists to learn about their lives,

699
00:36:09,920 --> 00:36:12,000
Speaker 4: and I do think it's true. One of the cartoons

700
00:36:12,080 --> 00:36:14,640
Speaker 4: was about Salvador Dolli and like, maybe why you're so

701
00:36:14,719 --> 00:36:17,520
Speaker 4: messed up in that his parents had a son named

702
00:36:17,560 --> 00:36:20,480
Speaker 4: Salvador who lived till he was nine and he passed away,

703
00:36:21,000 --> 00:36:22,960
Speaker 4: and then they had Salvador Dolli, the artist we know,

704
00:36:23,719 --> 00:36:25,520
Speaker 4: but they treated him as if he was that son,

705
00:36:26,120 --> 00:36:28,520
Speaker 4: and so Salvador would be like, I don't want my beans.

706
00:36:28,480 --> 00:36:31,239
Speaker 4: I'm like, you love beans. You've always loved being Salvador. Oh,

707
00:36:31,400 --> 00:36:35,040
Speaker 4: and like that's the comic they did four children, but

708
00:36:35,400 --> 00:36:37,520
Speaker 4: they would like they forced him to be and it

709
00:36:37,520 --> 00:36:40,920
Speaker 4: feels exactly like what it would create, just absolute splitting

710
00:36:40,920 --> 00:36:43,040
Speaker 4: in the brain and like psychop it that he'd be like,

711
00:36:43,280 --> 00:36:44,440
Speaker 4: that's my mom.

712
00:36:44,440 --> 00:36:45,640
Speaker 5: We're doing a bit is kids.

713
00:36:45,960 --> 00:36:49,800
Speaker 1: I'm like, you're fucking your kids have forever forever.

714
00:36:50,239 --> 00:36:50,680
Speaker 3: Yeah.

715
00:36:50,920 --> 00:36:53,120
Speaker 1: I kept waiting for one of the kids to like

716
00:36:53,200 --> 00:36:56,160
Speaker 1: threaten to tell, but they really are. I mean they're

717
00:36:56,280 --> 00:36:57,840
Speaker 1: they're on board and then.

718
00:36:57,880 --> 00:37:00,120
Speaker 3: And then they're overboard and they're over.

719
00:37:02,800 --> 00:37:06,160
Speaker 1: Because once Goldie Han is gaslight enough to become Mommy

720
00:37:06,400 --> 00:37:09,880
Speaker 1: and she's like hose spraying Mommy, they're like, oh like

721
00:37:10,760 --> 00:37:14,200
Speaker 1: her rustle most evil character ever because he just like

722
00:37:14,280 --> 00:37:15,840
Speaker 1: everyone he loves.

723
00:37:15,760 --> 00:37:19,319
Speaker 4: He when we enter that home, do you guys watch

724
00:37:19,400 --> 00:37:21,360
Speaker 4: this talk about stuck in the player We had I

725
00:37:21,400 --> 00:37:23,759
Speaker 4: got it for free, taped to a pizza box in

726
00:37:23,800 --> 00:37:30,600
Speaker 4: a sleeve, but a DVD of Mister Mom.

727
00:37:28,280 --> 00:37:32,040
Speaker 3: I make a mister Mom reference in my recap because

728
00:37:32,040 --> 00:37:34,400
Speaker 3: of the montage where she starts doing all of the

729
00:37:34,400 --> 00:37:36,319
Speaker 3: domestic chores and she's horrible at them.

730
00:37:36,400 --> 00:37:38,239
Speaker 1: Actually, yes, exactly she is.

731
00:37:39,320 --> 00:37:41,279
Speaker 5: And it's such an eighties Yes, I love you did

732
00:37:41,280 --> 00:37:43,680
Speaker 5: that because it's an eighties mess house. It's the exact

733
00:37:43,719 --> 00:37:44,360
Speaker 5: same kind.

734
00:37:45,280 --> 00:37:49,080
Speaker 1: Yes, yeah, like there they were just like, okay, every

735
00:37:49,120 --> 00:37:52,400
Speaker 1: production designer works from the same pile of garbage.

736
00:37:52,880 --> 00:37:55,000
Speaker 4: And like, and there's always like an iron and ironing

737
00:37:55,000 --> 00:37:57,000
Speaker 4: board on top of something it shouldn't be.

738
00:37:57,239 --> 00:37:58,240
Speaker 3: Oh no, it's burning.

739
00:37:58,560 --> 00:37:59,600
Speaker 5: Yeah.

740
00:37:59,760 --> 00:38:02,480
Speaker 1: I did laugh because it reminded of me trying to

741
00:38:02,520 --> 00:38:04,320
Speaker 1: cook when she just shoves that. She keeps trying to

742
00:38:04,360 --> 00:38:07,080
Speaker 1: shove the chicken, and like a whole carrot loved her.

743
00:38:07,600 --> 00:38:10,000
Speaker 1: Oh I just I was like, wow, okay.

744
00:38:09,800 --> 00:38:12,040
Speaker 5: The eminem is on the on the white bread with

745
00:38:12,080 --> 00:38:14,200
Speaker 5: the nuga heaven. I want that right now.

746
00:38:14,840 --> 00:38:18,279
Speaker 1: Like Goudiehan is so funny. It's it's not fair.

747
00:38:18,200 --> 00:38:21,160
Speaker 3: It's but all okay. Something that I think subverts a

748
00:38:21,239 --> 00:38:26,560
Speaker 3: trope is that a woman's holding a chainsaw. Oh we

749
00:38:26,600 --> 00:38:29,000
Speaker 3: don't know why, we don't know what her chores is,

750
00:38:29,120 --> 00:38:31,359
Speaker 3: that she needs to be wielding a chainsaw. But she's

751
00:38:31,400 --> 00:38:33,359
Speaker 3: really bad at it, and she cuts the head off

752
00:38:33,400 --> 00:38:35,880
Speaker 3: of a scarecrow and that's feminism.

753
00:38:36,000 --> 00:38:38,520
Speaker 4: But you're still right because it was she was doing

754
00:38:38,680 --> 00:38:39,640
Speaker 4: the feminine chores and.

755
00:38:39,719 --> 00:38:43,720
Speaker 1: Like, what what was that? Like, Yeah, she's like also

756
00:38:44,120 --> 00:38:46,319
Speaker 1: chopping wood. I guess it's because like they live in

757
00:38:46,360 --> 00:38:50,520
Speaker 1: the woods that I'm like, maybe this is a feminine children. Well, Kaitlyne,

758
00:38:50,560 --> 00:38:54,120
Speaker 1: you're from I'm from the wood woods. I was like, Okay,

759
00:38:54,320 --> 00:38:55,880
Speaker 1: fucked up to say you're from the woods.

760
00:38:55,880 --> 00:38:56,600
Speaker 5: What do your people do?

761
00:38:56,680 --> 00:39:01,680
Speaker 3: Yeah, Well, as a matter of fact, in addition to

762
00:39:02,440 --> 00:39:06,239
Speaker 3: my you know, feminized household chores that I would have

763
00:39:06,280 --> 00:39:09,520
Speaker 3: to do inside, my dad would make me go out

764
00:39:09,640 --> 00:39:12,960
Speaker 3: into the woods with him. He would find trees that

765
00:39:13,000 --> 00:39:15,239
Speaker 3: had fallen over. He would bring his chains off, he

766
00:39:15,239 --> 00:39:16,880
Speaker 3: would cut them up, and then I had to help

767
00:39:17,120 --> 00:39:21,200
Speaker 3: load the logs onto his little okay, tractor wagon thing.

768
00:39:21,440 --> 00:39:22,160
Speaker 5: That's beautiful.

769
00:39:22,320 --> 00:39:26,040
Speaker 3: Yeah. Wow, So I'm kind of a lumber jack.

770
00:39:26,360 --> 00:39:27,200
Speaker 1: You are the woods.

771
00:39:27,719 --> 00:39:35,719
Speaker 3: I am woods and a growed. Anyway, So to get

772
00:39:35,719 --> 00:39:38,279
Speaker 3: to this moment in the story, she's trying to get

773
00:39:38,280 --> 00:39:41,400
Speaker 3: acclimated to living in this house, Dean puts her in

774
00:39:41,760 --> 00:39:44,359
Speaker 3: ill fitting clothes. We'll talk about all of the fat

775
00:39:44,360 --> 00:39:49,799
Speaker 3: phobia surrounding that. He makes her cook dinner and his

776
00:39:49,920 --> 00:39:53,560
Speaker 3: plan is to have her do housework for a month

777
00:39:54,560 --> 00:39:58,200
Speaker 3: to pay off her debt to him while he goes

778
00:39:58,239 --> 00:40:02,040
Speaker 3: out and neglects his children and his household and drinks

779
00:40:02,080 --> 00:40:03,440
Speaker 3: with his buddy Billy, which.

780
00:40:03,239 --> 00:40:06,839
Speaker 1: It seems like he planned to kind of do anyways, right.

781
00:40:06,880 --> 00:40:10,000
Speaker 4: What exit strategy though, if it's a month, what's your

782
00:40:10,000 --> 00:40:10,920
Speaker 4: exit strategy?

783
00:40:11,440 --> 00:40:14,560
Speaker 3: What? He has not thought that far ahead?

784
00:40:14,920 --> 00:40:17,439
Speaker 1: No, and then it's and then it's hard for him.

785
00:40:17,600 --> 00:40:19,600
Speaker 1: It is so wild what this movie asks you to

786
00:40:19,640 --> 00:40:23,080
Speaker 1: empathize with. Just on Kurt Russell's charisma alone, You're like,

787
00:40:23,120 --> 00:40:26,719
Speaker 1: even that cannot sell you on it. Where the scene

788
00:40:26,719 --> 00:40:29,320
Speaker 1: where he's like, I have to tell you the truth.

789
00:40:29,680 --> 00:40:32,120
Speaker 1: Oh no, but I can't because I love you. I'm like, yeah,

790
00:40:32,160 --> 00:40:34,640
Speaker 1: that's why you're keeping her prisoner.

791
00:40:34,840 --> 00:40:41,359
Speaker 3: Because you yeah, yikes, yeah whatever. And then that night

792
00:40:41,480 --> 00:40:44,720
Speaker 3: this is the scene where he comes home. He pretends

793
00:40:44,760 --> 00:40:47,880
Speaker 3: to be drunker than he is and tries to manipulate

794
00:40:47,920 --> 00:40:52,200
Speaker 3: her into having sex with him. She is like hard pass.

795
00:40:52,040 --> 00:40:54,560
Speaker 5: Which he says, boom boom, and she always gives it

796
00:40:54,600 --> 00:40:56,240
Speaker 5: to him. If you want a guy.

797
00:40:56,800 --> 00:40:57,960
Speaker 3: Nasty, nasty yeah.

798
00:40:57,960 --> 00:41:00,600
Speaker 1: And he also is like bragging to his he and

799
00:41:00,680 --> 00:41:03,960
Speaker 1: his gross friend, like they're they're like, so are you

800
00:41:04,000 --> 00:41:08,719
Speaker 1: gonna are you gonna rape the woman you kidnapped? And

801
00:41:08,760 --> 00:41:11,319
Speaker 1: then he's like, haha, maybe I will. And then he

802
00:41:11,360 --> 00:41:14,120
Speaker 1: gets home and then she rejects him, and then and

803
00:41:14,160 --> 00:41:15,839
Speaker 1: then we're supposed to think, oh, he's not that bad

804
00:41:15,840 --> 00:41:18,399
Speaker 1: a guy. He's he's not. Instead of assaulting the woman

805
00:41:18,400 --> 00:41:20,160
Speaker 1: he kidnapped, he's making her sleep on the.

806
00:41:20,120 --> 00:41:22,919
Speaker 4: Couch and making her believe that it's her fault because

807
00:41:22,960 --> 00:41:23,760
Speaker 4: she has a bad.

808
00:41:23,640 --> 00:41:27,560
Speaker 3: Back, right, lots of gaslighting. She has to sleep on

809
00:41:27,600 --> 00:41:31,239
Speaker 3: the couch under a leak in the roof, and then

810
00:41:31,680 --> 00:41:35,200
Speaker 3: the dogs are mauling her the whole night, like.

811
00:41:35,200 --> 00:41:37,600
Speaker 4: I do every New Year's though every single New Year's

812
00:41:37,640 --> 00:41:40,160
Speaker 4: I play the fantasy when it's dripping the leaking and

813
00:41:40,160 --> 00:41:43,160
Speaker 4: then it turns into the New Year's song.

814
00:41:43,000 --> 00:41:43,680
Speaker 1: Oh my God.

815
00:41:44,440 --> 00:41:46,000
Speaker 5: I play that every New Year's because.

816
00:41:45,800 --> 00:41:49,000
Speaker 3: It's like, because they're singing old LNG sign.

817
00:41:49,040 --> 00:41:53,439
Speaker 4: Yes and then like the confetti comes, like she wakes

818
00:41:53,480 --> 00:41:55,080
Speaker 4: up and it's like, you know, I think toilet paper

819
00:41:55,080 --> 00:41:55,800
Speaker 4: are one of the kids.

820
00:41:56,360 --> 00:41:58,799
Speaker 5: And she's back there and I say I love that.

821
00:42:00,640 --> 00:42:03,879
Speaker 3: It's a good secrets anyway. So the next day, this

822
00:42:03,960 --> 00:42:06,759
Speaker 3: is the montage where Dean gives her a list of

823
00:42:06,840 --> 00:42:10,560
Speaker 3: daily chores. So we see her cleaning up the house,

824
00:42:10,840 --> 00:42:16,000
Speaker 3: fixing meals, washing clothes, doing yard work, using the chainsaw

825
00:42:16,040 --> 00:42:18,759
Speaker 3: for some reason, and she's bad at everything. And this

826
00:42:18,840 --> 00:42:23,440
Speaker 3: is the like mister Mom parallel montage, and Annie hates

827
00:42:23,560 --> 00:42:27,640
Speaker 3: this life and she's still very skeptical that this is

828
00:42:27,680 --> 00:42:28,920
Speaker 3: her home and her family.

829
00:42:29,080 --> 00:42:32,760
Speaker 1: I was impressed at how many attempts that she makes

830
00:42:32,880 --> 00:42:36,160
Speaker 1: to get the truth. Yeah, where she's like, well, we're pictures,

831
00:42:36,200 --> 00:42:39,400
Speaker 1: and then he has to have his friend do like

832
00:42:39,600 --> 00:42:43,160
Speaker 1: proto photoshop where it's like just her own, not her

833
00:42:43,239 --> 00:42:46,520
Speaker 1: mug shot, but her like just like they're just manipulating

834
00:42:46,520 --> 00:42:51,080
Speaker 1: the same picture. It's so ridiculous, but I did appreciate that,

835
00:42:51,239 --> 00:42:54,600
Speaker 1: like she was at least asking questions, which I feel like,

836
00:42:55,440 --> 00:42:57,760
Speaker 1: I don't know, the bar is like absolutely on the floor,

837
00:42:57,880 --> 00:42:59,480
Speaker 1: But I feel like a lot of movies like this

838
00:43:00,320 --> 00:43:02,879
Speaker 1: you don't see the character who's bompd on the head

839
00:43:02,920 --> 00:43:05,680
Speaker 1: really ask questions in a meaningful way.

840
00:43:06,120 --> 00:43:09,320
Speaker 4: Well, it's also so interesting because we immediately buy into

841
00:43:09,320 --> 00:43:11,279
Speaker 4: the fact that she wouldn't be mourning the fact she

842
00:43:11,280 --> 00:43:15,759
Speaker 4: doesn't remember anything. She's like or like accepting amnesia being

843
00:43:15,760 --> 00:43:17,240
Speaker 4: in a hospital, which we all would.

844
00:43:17,480 --> 00:43:18,920
Speaker 5: She literally is like, no, I know who I am.

845
00:43:19,000 --> 00:43:20,640
Speaker 5: This ain't it. This ain't it right.

846
00:43:21,040 --> 00:43:25,560
Speaker 1: It's like the vibes are this is not I like, wait,

847
00:43:25,600 --> 00:43:27,600
Speaker 1: what was the line that she said that. I was like,

848
00:43:27,640 --> 00:43:29,120
Speaker 1: I want to start saying that when I wake up

849
00:43:29,160 --> 00:43:31,319
Speaker 1: every day, you're living a nightmare that begins at the

850
00:43:31,320 --> 00:43:34,919
Speaker 1: crack of dawn. You're like, yeah, exactly, exactly.

851
00:43:36,960 --> 00:43:41,040
Speaker 3: Yeah. So she's looking for memorabilia, you know, photographs. She

852
00:43:41,120 --> 00:43:43,960
Speaker 3: can't find anything. Then she has a flash of memory

853
00:43:44,080 --> 00:43:47,319
Speaker 3: of Dean when he was working on her closet on

854
00:43:47,360 --> 00:43:49,960
Speaker 3: the yacht, but she doesn't know exactly what it means,

855
00:43:50,600 --> 00:43:54,200
Speaker 3: and he, of course gaslights this memory out of her brain.

856
00:43:54,880 --> 00:43:57,240
Speaker 3: And then this is also when he has his friend

857
00:43:57,280 --> 00:44:00,759
Speaker 3: photoshop the photos to quote unquote prove that they have

858
00:44:00,840 --> 00:44:04,799
Speaker 3: a life together. And because of this, Annie seems to

859
00:44:05,600 --> 00:44:09,040
Speaker 3: accept that this must be her life. Either that or

860
00:44:09,080 --> 00:44:11,839
Speaker 3: she's dissociating, but she tries to pick the best of it,

861
00:44:12,520 --> 00:44:16,080
Speaker 3: doing the chores and being more playful with the kids.

862
00:44:16,480 --> 00:44:19,640
Speaker 3: There's a water hose scene that I don't really understand

863
00:44:19,719 --> 00:44:20,799
Speaker 3: what that was supposed to be.

864
00:44:21,360 --> 00:44:23,720
Speaker 1: But by jinks, now she's a mama.

865
00:44:24,160 --> 00:44:24,839
Speaker 3: She's fun.

866
00:44:24,920 --> 00:44:26,520
Speaker 5: Yeah, but it was in the kitchen it was like

867
00:44:26,719 --> 00:44:28,200
Speaker 5: this isn't like she plays back.

868
00:44:30,120 --> 00:44:31,399
Speaker 3: I get right, so.

869
00:44:31,880 --> 00:44:37,040
Speaker 1: Even yeah, confusing. The kids are absolutely feral. They're eating

870
00:44:37,080 --> 00:44:41,120
Speaker 1: with their hands. You're like Kurt Russell's all time worst father.

871
00:44:42,160 --> 00:44:45,400
Speaker 4: But how many It felt like a thousand days in

872
00:44:45,440 --> 00:44:48,200
Speaker 4: one day because then we have the count the poison

873
00:44:48,200 --> 00:44:51,000
Speaker 4: ivy situation. But it's like the way they were trying

874
00:44:51,000 --> 00:44:53,600
Speaker 4: to show us the development of a relationship, but time

875
00:44:53,760 --> 00:44:55,560
Speaker 4: is also not really working there.

876
00:44:55,680 --> 00:44:57,719
Speaker 1: Yes, it is pretty unclear how long she's there for.

877
00:44:57,840 --> 00:45:01,680
Speaker 3: I guess yeah totally, but some amount of time passes.

878
00:45:02,200 --> 00:45:05,240
Speaker 3: She goes to the school and defends her quote unquote

879
00:45:05,239 --> 00:45:09,120
Speaker 3: family when the school principle says that the children are

880
00:45:09,160 --> 00:45:12,440
Speaker 3: a nuisance and that there isn't adequate parental guidance at home.

881
00:45:13,120 --> 00:45:16,640
Speaker 1: Unfortunately she is correct, but like, wait, her argument is

882
00:45:16,640 --> 00:45:18,840
Speaker 1: so round about that she still ends up kind of

883
00:45:18,880 --> 00:45:21,720
Speaker 1: being a villain because she's like upset about it because

884
00:45:21,719 --> 00:45:24,920
Speaker 1: she wants the children to perform better on standardized tests.

885
00:45:25,400 --> 00:45:27,760
Speaker 1: And then Goldie Han is like steris tests are bullshit.

886
00:45:27,800 --> 00:45:31,120
Speaker 1: I'm like, Okay, she's right. Yeah, but like everyone's right

887
00:45:31,160 --> 00:45:33,759
Speaker 1: and everyone's wrong. This is really bizarre because you're like,

888
00:45:33,760 --> 00:45:34,919
Speaker 1: at the end of the day, one of the kids

889
00:45:34,960 --> 00:45:37,799
Speaker 1: can't read, so like, yeah, the principle is right, the

890
00:45:37,880 --> 00:45:38,480
Speaker 1: pristal is right.

891
00:45:38,520 --> 00:45:42,320
Speaker 3: That like there's not adequate parental guidance at home, which

892
00:45:42,560 --> 00:45:46,200
Speaker 3: Annie realizes is true. So she goes to Dean and

893
00:45:46,239 --> 00:45:48,560
Speaker 3: she's like, you're not a good father and you need

894
00:45:48,600 --> 00:45:51,600
Speaker 3: to be more active in your son's lives. And he

895
00:45:51,680 --> 00:45:54,600
Speaker 3: dismisses her at first as he's obsessed with doing but

896
00:45:54,840 --> 00:45:59,239
Speaker 3: later he apologizes and they have a tender moment and

897
00:45:59,280 --> 00:46:01,799
Speaker 3: he even lets her sleep in the bed and this

898
00:46:01,920 --> 00:46:05,920
Speaker 3: time he takes the couch. So they're starting to vibe

899
00:46:05,960 --> 00:46:06,959
Speaker 3: the question.

900
00:46:10,920 --> 00:46:15,440
Speaker 1: The things, the things presented as like, wow, he's really

901
00:46:15,480 --> 00:46:19,080
Speaker 1: becoming a better man in full things like letting this

902
00:46:19,239 --> 00:46:22,279
Speaker 1: woman he's kidnapped sleep in a bed for the first time.

903
00:46:22,440 --> 00:46:24,520
Speaker 4: Can I say, like, from my child like perspective, it

904
00:46:24,560 --> 00:46:26,400
Speaker 4: didn't feel like he's coming a good man. It feels

905
00:46:26,400 --> 00:46:31,399
Speaker 4: like it felt like she's finally being normal and not ridiculous.

906
00:46:30,880 --> 00:46:35,880
Speaker 1: Like right, that's probably probably what we're supposed to think, right.

907
00:46:35,920 --> 00:46:40,240
Speaker 4: Yeah, yeah, totally like she's finally not being a difficult bitch.

908
00:46:41,000 --> 00:46:44,360
Speaker 1: She's finally accepting his love. I mean exact thing. Yeah,

909
00:46:44,480 --> 00:46:48,319
Speaker 1: I was trying to think of other Stockholm syndrome because

910
00:46:48,320 --> 00:46:50,120
Speaker 1: it's like, I feel like Beauty and the Beast is

911
00:46:50,160 --> 00:46:54,880
Speaker 1: the one that, like people attributed Stockholm syndrome too, but

912
00:46:55,160 --> 00:46:58,120
Speaker 1: like that discourse came all the way around, because that's

913
00:46:58,160 --> 00:47:01,719
Speaker 1: not really quite Stockholm syndrome. This feels kind of more

914
00:47:01,760 --> 00:47:06,240
Speaker 1: cut and dry Stockholm syndrome because it's like she has

915
00:47:06,280 --> 00:47:10,400
Speaker 1: like no tools really with which to fight this situation,

916
00:47:10,920 --> 00:47:14,320
Speaker 1: because it's like it is a war of like mental

917
00:47:14,360 --> 00:47:16,600
Speaker 1: attrition and actual imprisonment.

918
00:47:17,360 --> 00:47:21,359
Speaker 3: She has amnesia and on top of that he's gaslighting her,

919
00:47:21,400 --> 00:47:23,880
Speaker 3: and on top of that he has imprisoned her. So

920
00:47:24,080 --> 00:47:25,440
Speaker 3: it's so many layers.

921
00:47:25,840 --> 00:47:28,279
Speaker 4: Yeah, it's one of the Reddit reviews I was reading

922
00:47:28,280 --> 00:47:30,120
Speaker 4: this morning. Was like, no, it was really funny. It's

923
00:47:30,160 --> 00:47:32,360
Speaker 4: good comedy. However, you know, you couldn't really make it

924
00:47:32,400 --> 00:47:34,880
Speaker 4: today about a guy taking a disabled woman home with it,

925
00:47:34,920 --> 00:47:37,239
Speaker 4: And I was like, oh my god, because it's like.

926
00:47:37,600 --> 00:47:40,160
Speaker 1: Yeah, you really couldn't. I mean, but actually they kind

927
00:47:40,160 --> 00:47:42,439
Speaker 1: of did. They were like, no, now a woman can

928
00:47:42,719 --> 00:47:43,359
Speaker 1: do it to a man.

929
00:47:43,640 --> 00:47:46,319
Speaker 4: That's that's such like an exact thing of being like, well,

930
00:47:46,360 --> 00:47:48,920
Speaker 4: we want Ona to have, you know, Goldie's career, so

931
00:47:49,000 --> 00:47:49,640
Speaker 4: let's pick one.

932
00:47:49,840 --> 00:47:51,399
Speaker 5: And it's like, don't pick that one.

933
00:47:52,120 --> 00:47:54,360
Speaker 1: I'm sure that this was the cheapest one to remake,

934
00:47:54,520 --> 00:47:58,919
Speaker 1: but it was for a reason. Yeah, there's ill. I'm

935
00:47:59,000 --> 00:48:00,880
Speaker 1: kind of excited to hear what you thought and like,

936
00:48:00,960 --> 00:48:04,520
Speaker 1: what what that was like, Caitlin, because I like, I mean,

937
00:48:04,560 --> 00:48:08,640
Speaker 1: this podcast existed through the gender swapped era and like

938
00:48:08,719 --> 00:48:12,160
Speaker 1: we we only barely made it, We only barely survived

939
00:48:12,360 --> 00:48:14,600
Speaker 1: this era. That just completely missed the point.

940
00:48:14,800 --> 00:48:18,200
Speaker 3: It's so true. Yeah, I'll share my my thoughts on

941
00:48:18,400 --> 00:48:23,080
Speaker 3: the remake in a bit, but yeah, in the meantime,

942
00:48:24,160 --> 00:48:29,160
Speaker 3: it seems as though Dean and Annie might be developing

943
00:48:29,400 --> 00:48:33,520
Speaker 3: some feelings for each other. And then the next day,

944
00:48:34,480 --> 00:48:38,359
Speaker 3: Dean and his friend Billy are like working on their

945
00:48:38,400 --> 00:48:42,239
Speaker 3: mini golf course idea. Of course, Annie is like, oh,

946
00:48:42,880 --> 00:48:46,480
Speaker 3: build the Eiffel Tower, and then she speaks French, and

947
00:48:46,520 --> 00:48:49,680
Speaker 3: she's like, wait, why do I know French? That's suspicious, and.

948
00:48:49,640 --> 00:48:52,799
Speaker 1: Then she goes she goes on to completely make his

949
00:48:52,920 --> 00:48:57,200
Speaker 1: business for him she's like an architect more thankless labor.

950
00:48:57,719 --> 00:49:01,040
Speaker 3: Yeah, he does credit her the very least.

951
00:49:01,680 --> 00:49:04,239
Speaker 1: Yeah, after he's decided, you know what, I am going

952
00:49:04,320 --> 00:49:07,520
Speaker 1: to keep her prisoner forever. That's the only time he

953
00:49:07,680 --> 00:49:10,120
Speaker 1: credits her. He's like, I'm going to tell her the truth,

954
00:49:10,120 --> 00:49:11,919
Speaker 1: and then it doesn't work, and he's like, all right, well,

955
00:49:11,920 --> 00:49:14,080
Speaker 1: I gotta toss her a bone somehow. I guess I'll

956
00:49:14,120 --> 00:49:15,960
Speaker 1: admit that she did all the work on this.

957
00:49:18,200 --> 00:49:20,000
Speaker 4: I think we're past the point in the plot though.

958
00:49:20,040 --> 00:49:22,759
Speaker 4: But the calamine lotion when she's covering all the kids

959
00:49:22,760 --> 00:49:26,920
Speaker 4: from poison was so intensive for it because it was like, what.

960
00:49:26,880 --> 00:49:28,520
Speaker 5: Is that they all look so sickly?

961
00:49:28,920 --> 00:49:30,880
Speaker 4: Yeah, And it was like, so she's medically caring for

962
00:49:30,920 --> 00:49:33,120
Speaker 4: these children, but somehow is her fault for them playing

963
00:49:33,160 --> 00:49:34,200
Speaker 4: and running outside?

964
00:49:34,360 --> 00:49:36,320
Speaker 5: Like hit after it, we don't.

965
00:49:36,080 --> 00:49:39,560
Speaker 1: Need to repeat it. Hit. It keeps going. Yes, And

966
00:49:39,600 --> 00:49:41,880
Speaker 1: then when he almost tells her but then instead he

967
00:49:42,000 --> 00:49:44,680
Speaker 1: lies to her about her own birthday, Oh my god.

968
00:49:45,440 --> 00:49:48,120
Speaker 1: And then they do sleep together, which you're like, that's evil.

969
00:49:48,160 --> 00:49:50,239
Speaker 1: That was the one that was the one thing he

970
00:49:50,480 --> 00:49:54,520
Speaker 1: wasn't doing, and then he starts doing it. I talked

971
00:49:54,600 --> 00:49:58,600
Speaker 1: about just a lot why are there, Like yeah, like

972
00:49:58,640 --> 00:50:02,600
Speaker 1: you're saying, why are there so many beats of like, uh,

973
00:50:03,040 --> 00:50:04,680
Speaker 1: it's just it's it's freaky.

974
00:50:06,800 --> 00:50:11,400
Speaker 3: So she has this moment of suspicion about her French speaking,

975
00:50:11,640 --> 00:50:14,560
Speaker 3: and then she's suspicious for a different reason a little later,

976
00:50:15,320 --> 00:50:18,360
Speaker 3: when Dean goes out one night and he seems to

977
00:50:18,400 --> 00:50:21,239
Speaker 3: be lying about where he is, but she discovers that

978
00:50:21,320 --> 00:50:24,600
Speaker 3: he's moonlighting at a second job, and this is meant to,

979
00:50:24,719 --> 00:50:27,879
Speaker 3: I think, imply that he is being a more responsible

980
00:50:27,920 --> 00:50:31,440
Speaker 3: adult than he was before. And then they get financing

981
00:50:31,640 --> 00:50:36,319
Speaker 3: to build the mini golf course and she's helping and

982
00:50:36,360 --> 00:50:38,959
Speaker 3: it really is starting to feel like Annie is part

983
00:50:38,960 --> 00:50:44,239
Speaker 3: of the family, and Dean feels bad about lying to her,

984
00:50:44,680 --> 00:50:46,560
Speaker 3: and it seems like he's about to tell her the

985
00:50:46,680 --> 00:50:50,080
Speaker 3: truth about how he abducted her and forced her into

986
00:50:50,120 --> 00:50:53,319
Speaker 3: a life of domestic labor, but then he bails and

987
00:50:53,520 --> 00:50:56,839
Speaker 3: brushes it off as, oh, I forgot your birthday. And

988
00:50:56,920 --> 00:51:01,040
Speaker 3: so this is the scene where they have sex, because

989
00:51:01,080 --> 00:51:02,840
Speaker 3: you know, he takes her out for her quote unquote

990
00:51:02,880 --> 00:51:05,319
Speaker 3: birthday and they have fun and they're vibing and they

991
00:51:05,400 --> 00:51:06,680
Speaker 3: kiss and they have sex.

992
00:51:07,239 --> 00:51:11,480
Speaker 1: And then he buys her a washing machine what every

993
00:51:11,840 --> 00:51:14,680
Speaker 1: kidnapped woman wants.

994
00:51:13,840 --> 00:51:15,520
Speaker 4: Which is like as if that was her biggest issue

995
00:51:15,520 --> 00:51:17,120
Speaker 4: because it hopped at her and it was messing up

996
00:51:17,160 --> 00:51:19,759
Speaker 4: before and it was like, hey, I noticed something and

997
00:51:19,880 --> 00:51:21,600
Speaker 4: I thought about it on my own and I got

998
00:51:21,600 --> 00:51:21,920
Speaker 4: it for you.

999
00:51:22,440 --> 00:51:25,560
Speaker 1: This makes crazier for you to do the labor that

1000
00:51:25,680 --> 00:51:30,239
Speaker 1: I'm to do. I'm a good guy. You're welcome, babe.

1001
00:51:30,680 --> 00:51:34,399
Speaker 1: And at this point she's all in, She's like, yes, oh,

1002
00:51:34,520 --> 00:51:37,080
Speaker 1: thank you, let's have sex again.

1003
00:51:37,680 --> 00:51:40,040
Speaker 4: This is very propaganda based then too, because she was

1004
00:51:40,080 --> 00:51:42,000
Speaker 4: like rich, childless having the time of her life.

1005
00:51:42,400 --> 00:51:44,080
Speaker 5: And then it's like, no, she's really happy when she

1006
00:51:44,080 --> 00:51:45,520
Speaker 5: has a family and purpose and.

1007
00:51:45,520 --> 00:51:48,240
Speaker 1: That right, well that's part of it. And it gets

1008
00:51:48,239 --> 00:51:50,840
Speaker 1: so muddled because like there is some funny class stuff

1009
00:51:50,880 --> 00:51:53,279
Speaker 1: going on there, but it does imply that like the

1010
00:51:53,320 --> 00:51:59,120
Speaker 1: life of a childless woman is buying its nature hollow. Yeah, right,

1011
00:51:59,280 --> 00:52:03,040
Speaker 1: And you're like, oh god, I mean I'm glad that

1012
00:52:03,080 --> 00:52:05,799
Speaker 1: these these these kids are to be so fucked up.

1013
00:52:06,760 --> 00:52:08,560
Speaker 1: It's consert truly cooked.

1014
00:52:09,760 --> 00:52:12,279
Speaker 4: Yeah, I mean, pee wee kid is clearly neurotive, virgin.

1015
00:52:12,360 --> 00:52:14,320
Speaker 4: He needs a lot of support. He's not gonna get.

1016
00:52:14,520 --> 00:52:17,600
Speaker 1: He's not gonna get it. He's not gonna get help,

1017
00:52:18,120 --> 00:52:20,640
Speaker 1: Like it's it's lucky that they can all read by

1018
00:52:20,640 --> 00:52:23,239
Speaker 1: the end of the movie, thanks to the woman their

1019
00:52:23,280 --> 00:52:26,240
Speaker 1: father kidnapped instead of helping his kids with their homework.

1020
00:52:28,239 --> 00:52:31,920
Speaker 5: Yes, so awhile, and we're not even off the boat yet.

1021
00:52:32,040 --> 00:52:34,680
Speaker 1: Yeah for a minute. Seven.

1022
00:52:37,400 --> 00:52:44,200
Speaker 3: Oh okay. So Annie's aka Joanna's mother has been calling

1023
00:52:44,560 --> 00:52:48,480
Speaker 3: Joanna's real husband Grant to speak to her, but he

1024
00:52:48,600 --> 00:52:50,719
Speaker 3: keeps making excuses week after week.

1025
00:52:50,920 --> 00:52:52,359
Speaker 1: Husband's name Grant are like.

1026
00:52:52,360 --> 00:52:55,240
Speaker 3: This, Oh, well you would know, Janie.

1027
00:52:55,280 --> 00:52:58,279
Speaker 1: I would know. I kept I kept calling Grant over

1028
00:52:58,520 --> 00:53:01,800
Speaker 1: to be like, this is what you're like, and people

1029
00:53:01,800 --> 00:53:02,480
Speaker 1: are noticing.

1030
00:53:02,600 --> 00:53:03,320
Speaker 5: You can scaveage.

1031
00:53:03,320 --> 00:53:05,359
Speaker 4: You could screenshot a bunch of things where like Grant

1032
00:53:05,400 --> 00:53:08,040
Speaker 4: blah blah blah. I've ben send it to him, Grant, Gret.

1033
00:53:08,160 --> 00:53:10,319
Speaker 1: Yeah. Meanwhile, I'm falling off a boat like this is

1034
00:53:10,320 --> 00:53:11,080
Speaker 1: what it feels like.

1035
00:53:13,600 --> 00:53:16,200
Speaker 3: But anyway, Joanna's mother is like, let me talk to

1036
00:53:16,239 --> 00:53:18,719
Speaker 3: my daughter or else I'm gonna chop your dick off.

1037
00:53:19,920 --> 00:53:22,439
Speaker 3: And so he turns his yacht around and heads back

1038
00:53:22,520 --> 00:53:28,640
Speaker 3: to where Joanna slash Annie is in Oregon. Meanwhile, Annie

1039
00:53:28,640 --> 00:53:31,480
Speaker 3: finds a pair of sexy underwear in Dean's truck that

1040
00:53:31,560 --> 00:53:35,439
Speaker 3: belonged to her from before she lost her memory because

1041
00:53:35,440 --> 00:53:38,480
Speaker 3: they have her real initials JS on them, but she

1042
00:53:38,600 --> 00:53:43,200
Speaker 3: doesn't know who that is, so she confronts Dean, thinking

1043
00:53:43,239 --> 00:53:46,600
Speaker 3: they belong to another woman, and he finally takes this

1044
00:53:46,719 --> 00:53:51,759
Speaker 3: opportunity to say, those underwear are yours because your name

1045
00:53:51,800 --> 00:53:55,600
Speaker 3: is Joanna, we were never married, those kids are not yours,

1046
00:53:55,640 --> 00:53:57,560
Speaker 3: and I've been tricking you this whole time.

1047
00:53:57,800 --> 00:54:01,160
Speaker 5: And why is her underwear in his because the hospital

1048
00:54:01,239 --> 00:54:01,520
Speaker 5: had it.

1049
00:54:02,000 --> 00:54:08,560
Speaker 3: Oh, those were like her personal effects us X under underwear, Yes,

1050
00:54:08,680 --> 00:54:10,400
Speaker 3: Chekhov's underwear.

1051
00:54:10,080 --> 00:54:14,759
Speaker 1: Checkoffs, yeah, Checkovs panties, chechos satin Fanny.

1052
00:54:15,239 --> 00:54:18,760
Speaker 3: But okay. So he lays out the truth, but for

1053
00:54:18,800 --> 00:54:23,319
Speaker 3: some reason she does not believe him, and then his

1054
00:54:23,440 --> 00:54:26,280
Speaker 3: friend Billy covers for him to be like, oh, yeah,

1055
00:54:26,320 --> 00:54:29,680
Speaker 3: those underwear belonged to some other lady that I'm stupping,

1056
00:54:30,400 --> 00:54:34,200
Speaker 3: and Joanna is like, sounds right to me. Let's carry

1057
00:54:34,200 --> 00:54:35,280
Speaker 3: on as we have.

1058
00:54:35,160 --> 00:54:38,480
Speaker 1: Been, which is so disappointing because like this. One of

1059
00:54:38,520 --> 00:54:41,279
Speaker 1: the things I liked about Joanna's character in this like

1060
00:54:41,719 --> 00:54:46,080
Speaker 1: terrifying scenario is that she always asks questions and then

1061
00:54:46,560 --> 00:54:49,000
Speaker 1: at this point. Maybe it's like she's just so thoroughly

1062
00:54:49,040 --> 00:54:52,120
Speaker 1: gaslight that she passively accepts what she's like the most

1063
00:54:52,120 --> 00:54:55,799
Speaker 1: comfortable thing that she's told, which is like that is

1064
00:54:55,840 --> 00:55:01,000
Speaker 1: what's happening. That's really scary that like her, it's just like, okay,

1065
00:55:01,080 --> 00:55:03,600
Speaker 1: so we have effectively killed this woman's spirit.

1066
00:55:04,239 --> 00:55:06,680
Speaker 4: We have but also like imagine right, Like it's so

1067
00:55:06,719 --> 00:55:08,400
Speaker 4: funny because we're like, believe it, you dressed it. But

1068
00:55:08,400 --> 00:55:10,319
Speaker 4: it's like even if she was like, that's not true,

1069
00:55:10,320 --> 00:55:12,640
Speaker 4: that's not true. In what world would.

1070
00:55:12,440 --> 00:55:15,640
Speaker 5: She fathom that that is what happened? Right? And so

1071
00:55:15,760 --> 00:55:17,480
Speaker 5: if he said that, it'd be like, oh, he's ill.

1072
00:55:17,560 --> 00:55:19,600
Speaker 5: That's not good. We're both sick now, Like.

1073
00:55:20,360 --> 00:55:23,120
Speaker 1: It's so too good. They did too good a job

1074
00:55:23,880 --> 00:55:24,799
Speaker 1: of kidnapping her.

1075
00:55:25,000 --> 00:55:27,720
Speaker 3: Yeah, you're right, like that that plan is so evil

1076
00:55:27,760 --> 00:55:29,960
Speaker 3: and unfathomable that who would believe that?

1077
00:55:30,360 --> 00:55:30,520
Speaker 5: Yes?

1078
00:55:30,640 --> 00:55:33,319
Speaker 3: But yeah, Like to your point, Jamie, one of the

1079
00:55:33,360 --> 00:55:36,400
Speaker 3: things we know about her is that she's very discerning

1080
00:55:36,560 --> 00:55:40,640
Speaker 3: and incredulous and where did those qualities go? But true, like,

1081
00:55:40,680 --> 00:55:45,200
Speaker 3: when you're worn down by emotional abuse and manipulation and gaslighting,

1082
00:55:45,960 --> 00:55:47,960
Speaker 3: you might lose a sense of yourself.

1083
00:55:48,239 --> 00:55:51,319
Speaker 5: So God as metaphor and warning for DV.

1084
00:55:51,520 --> 00:55:54,919
Speaker 4: This is incredible movie.

1085
00:55:55,360 --> 00:55:57,200
Speaker 1: It's true if you just forget how it ends.

1086
00:55:57,719 --> 00:55:59,120
Speaker 5: That's what I mean. It's like a dark if you

1087
00:55:59,120 --> 00:56:00,640
Speaker 5: look at it as a horror like and.

1088
00:56:01,040 --> 00:56:03,960
Speaker 1: Go don't go back like it is it is a

1089
00:56:03,960 --> 00:56:06,799
Speaker 1: horror movie. Like there I again. It's like, someday we'll

1090
00:56:06,800 --> 00:56:08,719
Speaker 1: think of something better than the Buchemi test. But like

1091
00:56:08,960 --> 00:56:14,960
Speaker 1: this whole movie, if you Bouchemi test, this entire movie, like, nope, nope, nope, nope, nope, nope, nope, nope, nope,

1092
00:56:15,840 --> 00:56:17,960
Speaker 1: it just doesn't. Especially at the end, We're like, oh,

1093
00:56:18,040 --> 00:56:20,959
Speaker 1: her captor is coming back for her and she wants

1094
00:56:21,000 --> 00:56:23,759
Speaker 1: to be with him and she's excited, and he's also

1095
00:56:23,760 --> 00:56:27,560
Speaker 1: brought his children. You're like, oh, honestly he this character

1096
00:56:27,560 --> 00:56:29,200
Speaker 1: should be in jail.

1097
00:56:29,800 --> 00:56:34,880
Speaker 3: Yeah yeah, yeah, yeah, Okay. So the lie keeps going

1098
00:56:35,320 --> 00:56:39,520
Speaker 3: and Dean professes his love for Annie, and it seems

1099
00:56:39,560 --> 00:56:44,200
Speaker 3: like she loves him too. But then Annie Slash, Joanna's

1100
00:56:44,239 --> 00:56:49,240
Speaker 3: real husband shows up, and seeing him jogs Joanna's memory.

1101
00:56:49,719 --> 00:56:54,040
Speaker 3: She remembers Grant, she remembers her old life and her riches,

1102
00:56:54,200 --> 00:56:57,359
Speaker 3: and she's like, wait a minute, Dean, why did you

1103
00:56:57,480 --> 00:57:00,680
Speaker 3: kidnap me and turn me into your wife and mother

1104
00:57:00,719 --> 00:57:03,200
Speaker 3: of your children? And she's upset about this, but I

1105
00:57:03,200 --> 00:57:06,200
Speaker 3: would say she is not nearly upset enough.

1106
00:57:06,840 --> 00:57:10,200
Speaker 1: Yeah, but this this is a bunch of clunky writing

1107
00:57:10,280 --> 00:57:13,640
Speaker 1: that Goldie Han is like trying to deliver convincingly, but

1108
00:57:13,680 --> 00:57:17,120
Speaker 1: it's so abrupt where she's like, oh, this is so

1109
00:57:17,360 --> 00:57:19,240
Speaker 1: thank you so much for letting me be a mother.

1110
00:57:19,520 --> 00:57:22,640
Speaker 1: Wait why did you do that? Wait? Wait, I'm upset.

1111
00:57:22,680 --> 00:57:24,840
Speaker 1: I'm like, we need to be asking more questions. We

1112
00:57:24,880 --> 00:57:27,720
Speaker 1: need to like call a third party.

1113
00:57:27,920 --> 00:57:30,080
Speaker 4: It feels like they It's what's interesting, it feels like

1114
00:57:30,120 --> 00:57:32,560
Speaker 4: they ran out of time, but not in an edit way.

1115
00:57:32,600 --> 00:57:34,920
Speaker 4: It's like it's like during the filming, it's like with

1116
00:57:34,920 --> 00:57:36,680
Speaker 4: the script, like shoot, can you just say it all

1117
00:57:36,760 --> 00:57:38,520
Speaker 4: right now? Like we don't have any more days to shoot,

1118
00:57:38,560 --> 00:57:41,520
Speaker 4: like of like there was no work as far as

1119
00:57:41,520 --> 00:57:43,280
Speaker 4: what they've done before first setup. It was just like

1120
00:57:43,360 --> 00:57:45,000
Speaker 4: she's struggling with that. Now say it like.

1121
00:57:46,000 --> 00:57:48,880
Speaker 3: Right, yeah, They're like, oh god, we're already an hour

1122
00:57:48,920 --> 00:57:51,240
Speaker 3: and forty minutes into the movie. We got to wrap

1123
00:57:51,320 --> 00:57:55,160
Speaker 3: this up. But anyway, so she gets in Grant's limo

1124
00:57:55,560 --> 00:57:59,040
Speaker 3: and leaves and returns to her life of luxury with

1125
00:57:59,280 --> 00:58:02,920
Speaker 3: Grant and her mother, but now she feels out of place.

1126
00:58:03,320 --> 00:58:07,160
Speaker 3: She wants beer instead of champagne. She's serving herself and

1127
00:58:07,200 --> 00:58:10,640
Speaker 3: others rather than letting the servants serve her.

1128
00:58:11,200 --> 00:58:14,120
Speaker 1: Class commentary, rich woman drinking beer.

1129
00:58:14,000 --> 00:58:15,560
Speaker 5: But she also looks iconic in that look.

1130
00:58:15,640 --> 00:58:17,960
Speaker 4: She like easily, gracefully goes back to her beat it

1131
00:58:18,200 --> 00:58:19,160
Speaker 4: in ensembles.

1132
00:58:19,640 --> 00:58:21,480
Speaker 1: Yeah, I think that is the one thing. It seems

1133
00:58:21,480 --> 00:58:23,960
Speaker 1: like she missed the most, that was the fits and

1134
00:58:24,000 --> 00:58:24,760
Speaker 1: who can blame her?

1135
00:58:25,600 --> 00:58:30,400
Speaker 3: Yes, And so she's also hanging out with the working

1136
00:58:30,440 --> 00:58:34,640
Speaker 3: class crew on the yacht rather than being around the

1137
00:58:34,680 --> 00:58:40,320
Speaker 3: wealthy people. And she realizes that she enjoyed her life

1138
00:58:40,480 --> 00:58:43,160
Speaker 3: with Dean and the kids, and she decides she wants

1139
00:58:43,200 --> 00:58:46,520
Speaker 3: to go back, and so she has the captain turn

1140
00:58:46,600 --> 00:58:50,920
Speaker 3: the yacht around, but Grant is like, not on my watch,

1141
00:58:51,320 --> 00:58:54,640
Speaker 3: so he takes control of the boat. Meanwhile, Dean and

1142
00:58:54,720 --> 00:58:59,400
Speaker 3: his kids are on their way to get Joanna slash

1143
00:58:59,520 --> 00:59:04,200
Speaker 3: Annie back via a coastguard boat that's trying to catch

1144
00:59:04,240 --> 00:59:07,479
Speaker 3: up to the yacht, and Dean and Annie both jump

1145
00:59:08,000 --> 00:59:11,600
Speaker 3: overboard that's again the name of the movie, and they

1146
00:59:11,760 --> 00:59:15,320
Speaker 3: swim to each other and they kiss, kiss, kiss, and

1147
00:59:15,360 --> 00:59:19,200
Speaker 3: she's like, by the way, all of that money, it's mine,

1148
00:59:19,520 --> 00:59:24,000
Speaker 3: So don't worry. We're still rich. Now get me gregnant

1149
00:59:24,000 --> 00:59:28,800
Speaker 3: with a little girl, you virile man, And that's the

1150
00:59:28,880 --> 00:59:29,439
Speaker 3: end of the movie.

1151
00:59:29,800 --> 00:59:32,160
Speaker 4: That's the end of the well we also they also

1152
00:59:32,720 --> 00:59:35,880
Speaker 4: identify themselves as a great love epic because in their

1153
00:59:35,960 --> 00:59:38,560
Speaker 4: like connective he had told her the story of the

1154
00:59:38,560 --> 00:59:41,160
Speaker 4: sailor lost at sea with our tour and Katerina, and

1155
00:59:41,200 --> 00:59:43,919
Speaker 4: sometimes the sailors can hear them, the lovers calling each

1156
00:59:43,920 --> 00:59:46,880
Speaker 4: other's names. Oh yeah, And so then they're screaming to

1157
00:59:46,920 --> 00:59:48,480
Speaker 4: each other from their boats Arturo.

1158
00:59:49,680 --> 00:59:53,080
Speaker 1: And they're like, come on, I like, we don't. It's

1159
00:59:53,120 --> 00:59:55,560
Speaker 1: introduced way too late in the movie for this day,

1160
00:59:55,840 --> 00:59:59,000
Speaker 1: I do late. And also he tells her about it

1161
00:59:59,280 --> 01:00:01,080
Speaker 1: at the birth he made up for her.

1162
01:00:01,320 --> 01:00:04,880
Speaker 3: Oh yeah, So let's take another quick break and we

1163
01:00:04,920 --> 01:00:18,400
Speaker 3: will come back to discuss. Okay, we're back, We're back

1164
01:00:18,440 --> 01:00:19,920
Speaker 3: on board. Okay, we're ready.

1165
01:00:21,080 --> 01:00:23,040
Speaker 1: Is there a place that you would like to start? Where? Where?

1166
01:00:23,040 --> 01:00:24,919
Speaker 1: Where do we begin? Where do we begin? Here?

1167
01:00:25,240 --> 01:00:27,520
Speaker 4: I love I love the way we've been dancing throughout

1168
01:00:27,800 --> 01:00:33,120
Speaker 4: and in my thing is I would love from your perspective,

1169
01:00:33,120 --> 01:00:36,680
Speaker 4: because objectively, I think it's important to acknowledge that in

1170
01:00:36,720 --> 01:00:39,160
Speaker 4: any argument or convincing or theme or.

1171
01:00:39,120 --> 01:00:43,120
Speaker 5: Theory, it is a horrible, horrible, horrible premise.

1172
01:00:43,520 --> 01:00:47,320
Speaker 4: It is objectively, even for scooball just a actual man

1173
01:00:47,400 --> 01:00:53,000
Speaker 4: taking a woman and like assaulting. Like like, I think

1174
01:00:53,040 --> 01:00:55,440
Speaker 4: that's such an important start point where you go, like,

1175
01:00:55,440 --> 01:00:57,480
Speaker 4: because I can absolutely get this to a place where

1176
01:00:57,520 --> 01:01:01,160
Speaker 4: it is an important, important feminist that is teaching us

1177
01:01:01,160 --> 01:01:01,840
Speaker 4: and helping us.

1178
01:01:01,760 --> 01:01:03,040
Speaker 5: In many ways.

1179
01:01:03,280 --> 01:01:05,480
Speaker 4: But I would say, okay, I would like to start

1180
01:01:06,040 --> 01:01:08,120
Speaker 4: in a space where I think of this a lot

1181
01:01:08,120 --> 01:01:10,760
Speaker 4: as I think of you know, we say oparate art

1182
01:01:10,800 --> 01:01:13,200
Speaker 4: from artists. If you watch this creeps thing, can you

1183
01:01:13,240 --> 01:01:17,480
Speaker 4: do this? And I think certain actors in the reverse

1184
01:01:18,240 --> 01:01:20,960
Speaker 4: make it okay? So, like I think of James Marsters

1185
01:01:21,080 --> 01:01:24,600
Speaker 4: as Spike in Buffy. Spike is pretty vile character in

1186
01:01:24,640 --> 01:01:29,480
Speaker 4: many ways, including like assaulting Buffy, But because James Marsters

1187
01:01:29,880 --> 01:01:33,960
Speaker 4: brings himself to it's charming, it's so forgivable, you so

1188
01:01:34,040 --> 01:01:36,760
Speaker 4: want him to win. I think Goldie Han and Kurt Russell,

1189
01:01:37,080 --> 01:01:40,000
Speaker 4: their relationship is maybe the only reason we're talking about

1190
01:01:40,000 --> 01:01:40,640
Speaker 4: it still.

1191
01:01:41,040 --> 01:01:44,120
Speaker 3: Yeah, which is kind of the premise of the Bouchemi

1192
01:01:44,240 --> 01:01:47,160
Speaker 3: test or whatever other name we'll decide to have for it,

1193
01:01:47,200 --> 01:01:52,080
Speaker 3: where if it's not an incredibly charming person or people

1194
01:01:52,280 --> 01:01:53,560
Speaker 3: in the cast.

1195
01:01:53,600 --> 01:01:57,800
Speaker 1: Or just like a a when it's like the failure

1196
01:01:57,800 --> 01:01:59,760
Speaker 1: of calling it the buchemy host is Steve BUSHEMI is

1197
01:01:59,800 --> 01:02:03,120
Speaker 1: hot and we love him, but a Steve Buschevy, if

1198
01:02:03,120 --> 01:02:05,800
Speaker 1: a Steve Buschevy type character is doing everything Kurt Russell

1199
01:02:05,920 --> 01:02:09,520
Speaker 1: is doing, the movie doesn't work and it's a horror movie. Yeah, yeah,

1200
01:02:09,640 --> 01:02:13,200
Speaker 1: I definitely agree with what you're both saying, where it's

1201
01:02:13,200 --> 01:02:17,240
Speaker 1: just like this movie in spite of itself, Like there

1202
01:02:17,320 --> 01:02:20,120
Speaker 1: were parts that I enjoyed, but it was strictly because

1203
01:02:20,240 --> 01:02:25,320
Speaker 1: the cast is so charming and really not anything else.

1204
01:02:25,440 --> 01:02:28,000
Speaker 1: There was some and then there's like some funny screwball

1205
01:02:28,040 --> 01:02:31,320
Speaker 1: style one off lines. I was shocked to learn that

1206
01:02:31,360 --> 01:02:35,040
Speaker 1: a woman had written this movie. This movie was written

1207
01:02:35,040 --> 01:02:38,440
Speaker 1: by Leslie Dixon, who I like, I really love a

1208
01:02:38,480 --> 01:02:41,840
Speaker 1: lot of her work. She wrote Lindsay Lohan Freaky Friday.

1209
01:02:42,760 --> 01:02:44,320
Speaker 1: She wrote Missus Doubtfire.

1210
01:02:45,040 --> 01:02:48,200
Speaker 4: I'm sorry the whole disembodiment and identity tropes and her

1211
01:02:48,240 --> 01:02:49,040
Speaker 4: shit is crazy.

1212
01:02:49,080 --> 01:02:53,040
Speaker 1: Then, like her catalog is totally full of like, I'm like,

1213
01:02:53,200 --> 01:02:55,600
Speaker 1: what she and her therapist must have a wild time,

1214
01:02:55,600 --> 01:02:56,640
Speaker 1: because I noticed that too.

1215
01:02:57,200 --> 01:02:59,600
Speaker 3: She as wrote Hairspray two thousand and seven.

1216
01:03:00,200 --> 01:03:01,320
Speaker 5: Yeah, I saw that.

1217
01:03:01,320 --> 01:03:02,800
Speaker 4: That was one of the only things I saw in

1218
01:03:02,840 --> 01:03:06,240
Speaker 4: theaters multiple times. Oh wow, I'm not a musical theater kid.

1219
01:03:06,240 --> 01:03:07,480
Speaker 5: I just fucking loved it.

1220
01:03:07,480 --> 01:03:11,400
Speaker 1: It was really I really love that movie. Yeah, I mean,

1221
01:03:11,440 --> 01:03:13,680
Speaker 1: like she she does like this is a premise she

1222
01:03:13,880 --> 01:03:16,680
Speaker 1: excels in. But this was one of her first credits,

1223
01:03:17,800 --> 01:03:20,960
Speaker 1: and I just I mean, she has talked about it since,

1224
01:03:21,680 --> 01:03:24,439
Speaker 1: and I think that there's a lot of people who

1225
01:03:24,520 --> 01:03:26,280
Speaker 1: were fans of this movie when it came out that

1226
01:03:26,800 --> 01:03:31,200
Speaker 1: sort of defend it now, and Leslie Dixon understandably is

1227
01:03:31,280 --> 01:03:33,360
Speaker 1: one of those people. But she sort of says the

1228
01:03:33,400 --> 01:03:36,160
Speaker 1: same thing that everyone says. Where like Reese Witherspoon loved

1229
01:03:36,160 --> 01:03:39,439
Speaker 1: this movie as a kid, and like Kate Hudson loves

1230
01:03:39,480 --> 01:03:41,240
Speaker 1: this movie, I wonder why.

1231
01:03:41,680 --> 01:03:44,640
Speaker 5: I love my mom's movie like I love my Mommy.

1232
01:03:45,040 --> 01:03:47,880
Speaker 1: That cannot be the argument for this movie. Is I

1233
01:03:47,920 --> 01:03:50,120
Speaker 1: love my mommy like I do too, And if she

1234
01:03:50,240 --> 01:03:51,720
Speaker 1: was an overboard I guess I would like it.

1235
01:03:51,800 --> 01:03:52,640
Speaker 5: Yeah, I love my Mommy.

1236
01:03:52,640 --> 01:03:57,240
Speaker 1: Test well, can I criticize this movie if their daughter

1237
01:03:57,280 --> 01:04:01,280
Speaker 1: loves their mommy, I don't know. But but Leslie Dixon

1238
01:04:01,360 --> 01:04:06,280
Speaker 1: kind of says something similar where she's like, oh, well,

1239
01:04:06,360 --> 01:04:09,800
Speaker 1: you know, like when she was interviewed during the second

1240
01:04:10,360 --> 01:04:12,760
Speaker 1: wave of this movie when the reboot came out, which

1241
01:04:12,800 --> 01:04:15,720
Speaker 1: she also co wrote that, she was just like, well,

1242
01:04:15,760 --> 01:04:17,720
Speaker 1: you know, Kurt Russell and Goldie Honk are the most

1243
01:04:17,760 --> 01:04:21,680
Speaker 1: charming people in the entire world. She said, quote, this

1244
01:04:21,760 --> 01:04:24,880
Speaker 1: is twenty seventeen. She's a quote. I was daunted from

1245
01:04:24,880 --> 01:04:26,880
Speaker 1: the get go by the idea that the amnesia was

1246
01:04:26,880 --> 01:04:28,960
Speaker 1: a central plot device. I thought that was hokey, but

1247
01:04:29,000 --> 01:04:31,200
Speaker 1: I was in no position to complain. Someone was paying

1248
01:04:31,200 --> 01:04:32,959
Speaker 1: me to write a screenplay, so this also was something

1249
01:04:32,960 --> 01:04:34,880
Speaker 1: she was being paid to write. It was more of

1250
01:04:34,920 --> 01:04:37,960
Speaker 1: a contract writer O thing that's real, which I think

1251
01:04:38,040 --> 01:04:41,520
Speaker 1: does sort of put it into context a little more.

1252
01:04:41,560 --> 01:04:44,680
Speaker 1: But I'm also like, no offense to Leslie Dixon, but

1253
01:04:44,760 --> 01:04:46,720
Speaker 1: surely we could have come up with a less scary

1254
01:04:46,840 --> 01:04:50,240
Speaker 1: version of this premise, like I've seen less scary versions

1255
01:04:50,280 --> 01:04:51,440
Speaker 1: of this premis.

1256
01:04:51,320 --> 01:04:53,640
Speaker 4: Or we could have justified it so many different ways,

1257
01:04:53,720 --> 01:04:55,440
Speaker 4: or like not had them have sex.

1258
01:04:56,440 --> 01:04:59,240
Speaker 1: Right, right, Yeah, I mean, I guess should we just

1259
01:04:59,280 --> 01:05:02,760
Speaker 1: sort of like run down the scary thing because it's

1260
01:05:02,800 --> 01:05:07,000
Speaker 1: like we've been whatever, we've been working around it. But like, yeah,

1261
01:05:07,040 --> 01:05:11,080
Speaker 1: all of the ways that Kurt Russell's character is villain is,

1262
01:05:11,120 --> 01:05:13,800
Speaker 1: you know, he is like he's kidnapped this woman. He

1263
01:05:15,440 --> 01:05:19,600
Speaker 1: you know, is functionally like making.

1264
01:05:19,280 --> 01:05:22,520
Speaker 3: Her his like domestic servant.

1265
01:05:22,840 --> 01:05:25,680
Speaker 1: It's fucked up and to the point where it's referenced

1266
01:05:25,760 --> 01:05:28,680
Speaker 1: in dialogue as a joke in one of the most

1267
01:05:28,680 --> 01:05:31,840
Speaker 1: diabolical jokes I think in the in the script where

1268
01:05:31,880 --> 01:05:36,000
Speaker 1: he's singing zippity dooda, zippity a, my, oh my, I

1269
01:05:36,040 --> 01:05:39,200
Speaker 1: got a wonderful slave, which is first of all, what

1270
01:05:39,920 --> 01:05:44,760
Speaker 1: and also just the context of how Americans use the

1271
01:05:44,880 --> 01:05:50,280
Speaker 1: term slave and slavery, using zippity dooda, which is canonically

1272
01:05:50,320 --> 01:05:52,360
Speaker 1: by a character who is enslaved.

1273
01:05:52,480 --> 01:05:56,240
Speaker 4: Like as he's also going to pretend to work, he's

1274
01:05:56,240 --> 01:05:58,120
Speaker 4: like singing to himself getting into his truck to then

1275
01:05:58,200 --> 01:05:58,560
Speaker 4: go not.

1276
01:05:58,640 --> 01:06:01,120
Speaker 1: Work, and you're like this he's the guy that we

1277
01:06:01,200 --> 01:06:04,600
Speaker 1: have to root for by the end, Like why is

1278
01:06:04,840 --> 01:06:09,680
Speaker 1: he's so overtly villainous in a way that I don't understand,

1279
01:06:09,800 --> 01:06:12,480
Speaker 1: Like he's just not sympathetic at all, to the point

1280
01:06:12,520 --> 01:06:14,080
Speaker 1: where I don't know, and I guess like at the

1281
01:06:14,120 --> 01:06:16,760
Speaker 1: time that wasn't as true, but like watching it with

1282
01:06:16,920 --> 01:06:20,600
Speaker 1: today goggles, it's just like, yeah, he's a piece of shit,

1283
01:06:20,800 --> 01:06:23,160
Speaker 1: which also seems to be like reinforcing a lot of

1284
01:06:23,200 --> 01:06:26,760
Speaker 1: the tropes that were presented with him. But then there's

1285
01:06:26,800 --> 01:06:30,120
Speaker 1: a lot of like you're saying though, like Gary Marshall

1286
01:06:30,200 --> 01:06:33,800
Speaker 1: is master of tropes, but like it's I feel like

1287
01:06:33,840 --> 01:06:35,640
Speaker 1: he's using his powers for evil in this one a

1288
01:06:35,680 --> 01:06:40,240
Speaker 1: little bit. Because we are presented with these familiar stock characters,

1289
01:06:40,280 --> 01:06:42,560
Speaker 1: I think we get like kind of a stock working

1290
01:06:42,640 --> 01:06:46,120
Speaker 1: class character. With Kurt Russell, we also get a stock

1291
01:06:46,720 --> 01:06:50,400
Speaker 1: but in this movie all of the stereotypes based around

1292
01:06:50,440 --> 01:06:55,520
Speaker 1: working class people are just true of like he drinks

1293
01:06:55,600 --> 01:06:58,040
Speaker 1: too much. I mean, it's like come And at some

1294
01:06:58,160 --> 01:07:03,040
Speaker 1: points Kurt Russell is stating these himself to manipulate Goldie Han,

1295
01:07:03,120 --> 01:07:06,800
Speaker 1: where he's saying like he's lying about her parents. He's like, oh,

1296
01:07:06,840 --> 01:07:09,400
Speaker 1: your mother died of alcoholism and your father's in prison.

1297
01:07:09,840 --> 01:07:15,120
Speaker 1: Two like broad stereotypes about poor people. But in the meantime,

1298
01:07:15,360 --> 01:07:18,200
Speaker 1: he's committing a crime the whole movie, and he's out

1299
01:07:18,240 --> 01:07:20,560
Speaker 1: drinking all the time. So it's not even like they're

1300
01:07:20,920 --> 01:07:23,360
Speaker 1: like the movie isn't pushing back on these tropes at all.

1301
01:07:23,360 --> 01:07:25,800
Speaker 1: They're like, yeah, these and in this world these tropes

1302
01:07:25,800 --> 01:07:26,200
Speaker 1: are true.

1303
01:07:26,520 --> 01:07:29,640
Speaker 3: He's doing them. Also, just the tropes of like poor

1304
01:07:29,720 --> 01:07:34,480
Speaker 3: people are slobbish and dirty and their house is unkempt,

1305
01:07:34,640 --> 01:07:38,400
Speaker 3: and they're grifters. They're going to trick people any opportunity

1306
01:07:38,440 --> 01:07:41,800
Speaker 3: they get, that they can't take care of their children,

1307
01:07:41,920 --> 01:07:44,000
Speaker 3: that they're not very smart, Like all of these tropes

1308
01:07:44,040 --> 01:07:49,280
Speaker 3: are present. But then the movie also doesn't like rich people, right.

1309
01:07:49,440 --> 01:07:55,560
Speaker 3: It shows the rich characters for being elitist, entitled, cruel assholes.

1310
01:07:56,000 --> 01:07:59,000
Speaker 3: So the movie is all over the place with class.

1311
01:07:59,200 --> 01:08:01,080
Speaker 1: It just kind of hates everybody.

1312
01:08:01,000 --> 01:08:06,400
Speaker 3: Right, But like, I think the movie the best I

1313
01:08:06,440 --> 01:08:11,120
Speaker 3: can figure as far as I think we're meant to

1314
01:08:11,360 --> 01:08:15,480
Speaker 3: understand that what he is doing to Joanna slash Annie

1315
01:08:16,560 --> 01:08:20,040
Speaker 3: is wrong, but I think the movie wants us to

1316
01:08:20,080 --> 01:08:24,120
Speaker 3: be like, well, it's okay because she's getting her come

1317
01:08:24,200 --> 01:08:27,840
Speaker 3: up and for being so horrible and entitled and rich

1318
01:08:27,880 --> 01:08:32,880
Speaker 3: and classist to him, so she's kind of getting what

1319
01:08:32,920 --> 01:08:37,960
Speaker 3: she deserves. Yeah, which, as we've pointed out, like yeah,

1320
01:08:38,360 --> 01:08:41,799
Speaker 3: It's one thing to like want to collect the money

1321
01:08:41,840 --> 01:08:44,200
Speaker 3: that's owed to you for the labor you did for someone.

1322
01:08:44,280 --> 01:08:49,240
Speaker 3: It's another thing to abduct someone and force them into

1323
01:08:49,360 --> 01:08:53,639
Speaker 3: a life of domestic labor and mistreat them the whole

1324
01:08:53,640 --> 01:08:57,559
Speaker 3: time and have sex with them when the consent is very,

1325
01:08:57,640 --> 01:08:59,360
Speaker 3: very very murky, like.

1326
01:09:00,080 --> 01:09:02,599
Speaker 1: I think she cannot give, she can't give, you can't give,

1327
01:09:02,920 --> 01:09:04,320
Speaker 1: like it's it's no great.

1328
01:09:04,800 --> 01:09:08,160
Speaker 5: But I also think they have such a disdain. So

1329
01:09:08,280 --> 01:09:09,439
Speaker 5: I think you're right in the.

1330
01:09:09,400 --> 01:09:13,519
Speaker 4: Attempt to make equal evils this sort of double negative.

1331
01:09:14,120 --> 01:09:16,000
Speaker 4: But I think also at the time, if we think

1332
01:09:16,000 --> 01:09:19,000
Speaker 4: about the tropes of rich people in media at the eighties,

1333
01:09:19,040 --> 01:09:21,880
Speaker 4: like they were just inherently evil. So I do think

1334
01:09:21,880 --> 01:09:25,040
Speaker 4: that added more value to those scales of bad, of

1335
01:09:25,400 --> 01:09:29,800
Speaker 4: being equally bad, But it completely missed the fact that

1336
01:09:29,840 --> 01:09:34,000
Speaker 4: on an individual basis, this man is evil and it

1337
01:09:34,080 --> 01:09:37,559
Speaker 4: almost didn't like it is at the threshold of camp.

1338
01:09:37,600 --> 01:09:38,240
Speaker 5: It is so close.

1339
01:09:38,320 --> 01:09:40,160
Speaker 4: If they had amped everything up, we would have been

1340
01:09:40,160 --> 01:09:43,160
Speaker 4: in a magical world where it is farce and ridiculous.

1341
01:09:43,160 --> 01:09:45,519
Speaker 4: But we didn't get there. It just kept trying to

1342
01:09:45,560 --> 01:09:50,320
Speaker 4: ground itself. So you can't necessarily authentically justify some of

1343
01:09:50,360 --> 01:09:52,200
Speaker 4: the caricatures.

1344
01:09:51,960 --> 01:09:54,000
Speaker 5: Because it didn't stay that way. It wasn't consistent.

1345
01:09:54,400 --> 01:09:56,639
Speaker 1: Yeah, I feel like Edward Herban is in that world,

1346
01:09:56,680 --> 01:09:59,679
Speaker 1: but he's kind of alone there. I agree, he's playing

1347
01:09:59,720 --> 01:10:03,439
Speaker 1: like camp rich guy. He nailed Yeah, oh he killed it.

1348
01:10:04,240 --> 01:10:07,240
Speaker 1: But like Kurt Russell is like giving just a grounded

1349
01:10:07,400 --> 01:10:10,640
Speaker 1: enough performance that like not everyone is doing that, like

1350
01:10:10,680 --> 01:10:14,240
Speaker 1: you're saying, and like the kids are acting like more

1351
01:10:14,400 --> 01:10:16,519
Speaker 1: normal than I've seen kids act in a movie in

1352
01:10:16,560 --> 01:10:20,040
Speaker 1: a while, Like they're just acting like kids. But then

1353
01:10:20,160 --> 01:10:23,880
Speaker 1: like Goldiehan, I think starts as a camp performance, like

1354
01:10:23,920 --> 01:10:27,719
Speaker 1: when she's doing Rich, she's doing camp. But like when

1355
01:10:27,760 --> 01:10:32,040
Speaker 1: she becomes Annie or she's forced to become Annie, it

1356
01:10:32,120 --> 01:10:35,840
Speaker 1: feels like things change. I yeah.

1357
01:10:35,880 --> 01:10:39,519
Speaker 3: Well, Also, again, the way this movie handles class is

1358
01:10:39,600 --> 01:10:42,080
Speaker 3: all over the place, but it seems to want to.

1359
01:10:42,920 --> 01:10:45,360
Speaker 3: It seems to have the agenda of trying to make

1360
01:10:45,400 --> 01:10:48,800
Speaker 3: some kind of class commentary as far as because we

1361
01:10:48,880 --> 01:10:53,840
Speaker 3: see Joanna realize how classist and abusive she has been

1362
01:10:53,960 --> 01:10:55,400
Speaker 3: to the people who work for her.

1363
01:10:55,920 --> 01:10:56,680
Speaker 1: And she apologized.

1364
01:10:57,640 --> 01:11:00,720
Speaker 3: She does I would say, she does not adequately apologize,

1365
01:11:00,760 --> 01:11:05,639
Speaker 3: but she cries. But now that she has lived life

1366
01:11:05,680 --> 01:11:08,320
Speaker 3: on the other side of the class divide. She has

1367
01:11:08,400 --> 01:11:13,960
Speaker 3: a better understanding now of labor and what it is

1368
01:11:14,000 --> 01:11:16,720
Speaker 3: to live in poverty, and I think the movie is

1369
01:11:16,800 --> 01:11:20,120
Speaker 3: trying to be like, well, this rich woman who we

1370
01:11:20,160 --> 01:11:23,839
Speaker 3: hated at the beginning and who got what she deserved

1371
01:11:23,880 --> 01:11:28,200
Speaker 3: by being human trafficked, she learned her lesson, but ultimately

1372
01:11:28,960 --> 01:11:31,960
Speaker 3: what lesson will she actually end up learning, because she

1373
01:11:32,040 --> 01:11:34,400
Speaker 3: reveals at the end of the movie that her wealth

1374
01:11:34,960 --> 01:11:37,760
Speaker 3: is hers, not her husband's, so she will still live

1375
01:11:37,800 --> 01:11:41,960
Speaker 3: a fabulously wealthy life with Dean and these children that

1376
01:11:42,320 --> 01:11:43,360
Speaker 3: I guess she's going to adopt.

1377
01:11:43,400 --> 01:11:46,400
Speaker 1: Well, I think that like kind of neither of these people. Well,

1378
01:11:46,439 --> 01:11:51,000
Speaker 1: I do think that she grows. I think she does growths,

1379
01:11:51,520 --> 01:11:54,760
Speaker 1: but like, I agree that like the fantasy ending kind

1380
01:11:54,760 --> 01:12:00,120
Speaker 1: of undercuts like her newfound appreciation for labor and what

1381
01:12:00,680 --> 01:12:03,200
Speaker 1: poor people experience. But it's also like this movie's version

1382
01:12:03,240 --> 01:12:08,160
Speaker 1: of poor people that also like it's like her, it's

1383
01:12:08,200 --> 01:12:11,639
Speaker 1: just also muddled where it's like part of her learning

1384
01:12:11,680 --> 01:12:14,760
Speaker 1: about the value of labor is her accepting the misogyny

1385
01:12:14,800 --> 01:12:17,160
Speaker 1: she receives at home, and you're like, well, that doesn't

1386
01:12:17,200 --> 01:12:20,559
Speaker 1: feel good exactly right, where it's not like she's like

1387
01:12:20,720 --> 01:12:23,320
Speaker 1: and now like there's never an it would be a

1388
01:12:23,320 --> 01:12:26,920
Speaker 1: totally different thing, less campy, but like a totally different thing.

1389
01:12:27,000 --> 01:12:31,120
Speaker 1: If like Kurt Russell's character whatever I mean, regardless, he

1390
01:12:31,120 --> 01:12:33,680
Speaker 1: would have kidnapped her. But if he had been like, oh, like,

1391
01:12:33,840 --> 01:12:36,880
Speaker 1: you have to contribute to the house, like there's a

1392
01:12:36,920 --> 01:12:40,519
Speaker 1: division of labor, but he's he's not doing that. He is,

1393
01:12:40,560 --> 01:12:44,320
Speaker 1: so she is appreciating that most people have to clean

1394
01:12:44,400 --> 01:12:47,519
Speaker 1: up their own house and cook their own food and

1395
01:12:47,600 --> 01:12:51,360
Speaker 1: do all this basic stuff, but he's not contributing to that.

1396
01:12:51,439 --> 01:12:56,120
Speaker 1: So there's also this underlying misogyny to the quote unquote

1397
01:12:56,160 --> 01:12:57,639
Speaker 1: lesson she learns, well.

1398
01:12:57,520 --> 01:13:00,040
Speaker 4: Also, I feel, I genuinely feel like this thing he

1399
01:13:00,080 --> 01:13:03,880
Speaker 4: keeps showing its cards in its attempt to congratulate itself,

1400
01:13:03,920 --> 01:13:06,519
Speaker 4: because ending with her being rich and being able to

1401
01:13:06,560 --> 01:13:09,439
Speaker 4: support is an attempt at a feminist switched instead of

1402
01:13:09,439 --> 01:13:12,599
Speaker 4: going back to this po dunk kids like where mom,

1403
01:13:12,680 --> 01:13:15,320
Speaker 4: she still gets to be glamorous and gorgeous and is

1404
01:13:15,400 --> 01:13:17,559
Speaker 4: empowered because it's her money.

1405
01:13:17,800 --> 01:13:18,760
Speaker 5: It's a girl.

1406
01:13:18,600 --> 01:13:21,479
Speaker 4: Boss, and so to me, that is an attempt But

1407
01:13:21,880 --> 01:13:24,200
Speaker 4: recognizing that they're like, hey, you thought we were grossed,

1408
01:13:24,200 --> 01:13:27,479
Speaker 4: don't worry, we're not, and they were.

1409
01:13:28,640 --> 01:13:31,280
Speaker 1: Right, You're like, it doesn't quite Yeah, I think with

1410
01:13:31,320 --> 01:13:34,360
Speaker 1: that in my like, it does get there. I was surprised,

1411
01:13:34,400 --> 01:13:37,280
Speaker 1: just because the eighties were so full of like, this

1412
01:13:37,400 --> 01:13:42,240
Speaker 1: movie does feel extra creepy even given the time, which which,

1413
01:13:42,320 --> 01:13:44,040
Speaker 1: to be fair, I was looking at original reviews of

1414
01:13:44,080 --> 01:13:46,000
Speaker 1: the movie. A lot of people felt at the time,

1415
01:13:46,080 --> 01:13:48,400
Speaker 1: They're like, this is a really creepy setup for a movie.

1416
01:13:48,400 --> 01:13:51,240
Speaker 1: I think it probably contributed to its lack of, you know,

1417
01:13:51,360 --> 01:13:54,280
Speaker 1: financial success, in spite of starring a very famous couple.

1418
01:13:54,920 --> 01:13:58,200
Speaker 1: At the time, it was not reviewed particularly well, except

1419
01:13:58,240 --> 01:14:01,000
Speaker 1: by Roger Ebert, who I could never down to save

1420
01:14:01,040 --> 01:14:02,040
Speaker 1: my life.

1421
01:14:02,360 --> 01:14:05,280
Speaker 5: That guy is so weird but just truly.

1422
01:14:05,040 --> 01:14:09,160
Speaker 1: You cannot predict what he's gonna say. But you know,

1423
01:14:09,240 --> 01:14:13,719
Speaker 1: when it came out, it was like reviewed very mixed,

1424
01:14:13,880 --> 01:14:16,160
Speaker 1: where they were like, not only is this a clunky

1425
01:14:16,160 --> 01:14:19,360
Speaker 1: attempt to revive the scruball comedy, it's also creepier than

1426
01:14:19,479 --> 01:14:22,320
Speaker 1: most screwball comedies made fifty years ago, which I would

1427
01:14:22,360 --> 01:14:25,719
Speaker 1: agree with. Yeah, I mean, but it just it feels

1428
01:14:25,720 --> 01:14:29,240
Speaker 1: weirdly conservative even for the time. Because when I think

1429
01:14:29,280 --> 01:14:35,439
Speaker 1: of like eighties movies with white girl protagonists, I'm thinking

1430
01:14:35,479 --> 01:14:38,160
Speaker 1: of movies like Working Girl. I'm thinking about movies where

1431
01:14:38,479 --> 01:14:41,559
Speaker 1: women having jobs are central to the plot, even if

1432
01:14:41,840 --> 01:14:45,240
Speaker 1: women having jobs is supposed to be this regressive, like oh,

1433
01:14:45,240 --> 01:14:48,320
Speaker 1: she's too ambitious, she's like you think about the shoulder pads.

1434
01:14:48,320 --> 01:14:51,679
Speaker 1: You're thinking about Like a lot of chopes around eighties women,

1435
01:14:52,040 --> 01:14:55,040
Speaker 1: I feel like was especially like eighties White Women, was

1436
01:14:55,479 --> 01:14:58,120
Speaker 1: built into the idea that now women are working outside

1437
01:14:58,160 --> 01:15:01,360
Speaker 1: of the home, and I you have like a scary

1438
01:15:01,479 --> 01:15:04,599
Speaker 1: version of that, like fatal attraction and like women are

1439
01:15:04,640 --> 01:15:08,439
Speaker 1: waiting later to have children, or.

1440
01:15:08,600 --> 01:15:11,680
Speaker 5: Or a normal version like in Decent Proposal exactly.

1441
01:15:12,160 --> 01:15:14,880
Speaker 1: But it's like this movie is like just going this

1442
01:15:15,000 --> 01:15:19,320
Speaker 1: very conservative route by like suggesting that it's okay to

1443
01:15:19,560 --> 01:15:21,479
Speaker 1: be like I don't know. Yeah, the ending is so

1444
01:15:21,560 --> 01:15:24,080
Speaker 1: messy because you're like, Okay, she's she has her girl

1445
01:15:24,120 --> 01:15:27,160
Speaker 1: boss riches, but like she's still not going to work,

1446
01:15:27,400 --> 01:15:31,840
Speaker 1: Like she doesn't have an ambition. It's heavily implied by

1447
01:15:31,840 --> 01:15:35,920
Speaker 1: the movie that her life is inherently empty because she

1448
01:15:35,960 --> 01:15:38,439
Speaker 1: doesn't have a child. Like there's just all of these

1449
01:15:38,520 --> 01:15:42,480
Speaker 1: very conservative implications that feel even conservative for the eighties.

1450
01:15:43,240 --> 01:15:48,439
Speaker 3: For sure, and then the boggling question of why does

1451
01:15:48,479 --> 01:15:52,040
Speaker 3: She want to go back to a man who she

1452
01:15:52,280 --> 01:15:56,679
Speaker 3: knows that for weeks manipulated her, lied to her, treated

1453
01:15:56,720 --> 01:15:59,120
Speaker 3: her badly, forced her to do all this labor like

1454
01:15:59,240 --> 01:16:01,880
Speaker 3: what compel and then she's to relate.

1455
01:16:01,600 --> 01:16:03,640
Speaker 1: To him, not just and then she's like, I like

1456
01:16:03,720 --> 01:16:06,200
Speaker 1: the name Annie, Actually let's keep it. You're like, well,

1457
01:16:08,040 --> 01:16:10,120
Speaker 1: I I don't know, I don't know.

1458
01:16:10,439 --> 01:16:11,840
Speaker 5: I'm realizing as we're talking.

1459
01:16:11,880 --> 01:16:14,080
Speaker 4: I feel like this a little bit suffers from what

1460
01:16:14,160 --> 01:16:16,440
Speaker 4: I call the House of Gucci effect.

1461
01:16:16,479 --> 01:16:19,120
Speaker 5: Where every character was in a different movie.

1462
01:16:20,280 --> 01:16:24,720
Speaker 4: So like Jared Leito was like Mario, and then you know,

1463
01:16:24,800 --> 01:16:27,840
Speaker 4: you had Adam Driver doing like a grand thing and

1464
01:16:27,880 --> 01:16:30,439
Speaker 4: Lady Gaga in a totally different film, and so it

1465
01:16:30,479 --> 01:16:32,559
Speaker 4: feels like some of them were like, I get it,

1466
01:16:32,560 --> 01:16:34,960
Speaker 4: it's totally camp, let's go crazy. Some of them were like,

1467
01:16:35,040 --> 01:16:37,719
Speaker 4: this is my oscar. Some of them were like all right,

1468
01:16:38,280 --> 01:16:40,320
Speaker 4: and it's just nobody was on the same page.

1469
01:16:40,960 --> 01:16:44,040
Speaker 1: Yeah. It is very all over the place, like even

1470
01:16:44,080 --> 01:16:46,760
Speaker 1: down to like a certain creating, like and I'm a

1471
01:16:46,760 --> 01:16:48,920
Speaker 1: Gary Marshall fan that like, I don't really think he

1472
01:16:49,040 --> 01:16:50,920
Speaker 1: killed it on this one, because it's like even the

1473
01:16:51,000 --> 01:16:54,800
Speaker 1: directorial choices feel a little bit uncertain where it's like

1474
01:16:55,280 --> 01:16:57,720
Speaker 1: the music, even though I was just like roasting it

1475
01:16:57,800 --> 01:17:00,720
Speaker 1: for just being annoying, but it also like you're like,

1476
01:17:01,000 --> 01:17:02,360
Speaker 1: what version of this?

1477
01:17:02,479 --> 01:17:05,040
Speaker 3: It's like lisant. It's very feels.

1478
01:17:04,720 --> 01:17:08,000
Speaker 1: Dissonant with like what the movie is, where you're like,

1479
01:17:08,040 --> 01:17:11,120
Speaker 1: why are we getting this like silly, this silly soundtrack

1480
01:17:11,560 --> 01:17:13,560
Speaker 1: when a woman has been kidnapped.

1481
01:17:14,479 --> 01:17:15,599
Speaker 5: Because it's kind of funny.

1482
01:17:16,000 --> 01:17:20,560
Speaker 1: It's kind of funny. It's so it's it's really confusing.

1483
01:17:20,640 --> 01:17:23,479
Speaker 1: I don't Yeah, I guess it's like, ultimately, I don't

1484
01:17:23,520 --> 01:17:26,160
Speaker 1: really know what the movie is trying to tell us.

1485
01:17:26,200 --> 01:17:28,120
Speaker 1: Not that it's like the job of a movie to

1486
01:17:28,160 --> 01:17:29,920
Speaker 1: teach us something, but this movie wants us to be

1487
01:17:29,960 --> 01:17:30,960
Speaker 1: taking something away.

1488
01:17:31,040 --> 01:17:34,839
Speaker 3: I just am not sure what it is, something about class,

1489
01:17:35,080 --> 01:17:39,320
Speaker 3: but it doesn't stick. The landing. Yeah, to touch on

1490
01:17:39,720 --> 01:17:45,400
Speaker 3: the reductive way that bodies and fatness is discussed in

1491
01:17:45,400 --> 01:17:49,640
Speaker 3: this movie. The thing here is that Dean has his

1492
01:17:49,880 --> 01:17:54,240
Speaker 3: children buy some dresses for Annie, but they buy ones

1493
01:17:54,280 --> 01:17:57,080
Speaker 3: that are too big because they're children and they don't

1494
01:17:57,080 --> 01:17:59,400
Speaker 3: know how adult clothing sizes.

1495
01:17:59,080 --> 01:18:02,920
Speaker 1: Work, and it's become a hilarious bit. Yeah, so won't

1496
01:18:02,920 --> 01:18:03,920
Speaker 1: stop coming up.

1497
01:18:04,000 --> 01:18:07,320
Speaker 3: Which is that Dean makes up a story about how

1498
01:18:07,360 --> 01:18:11,120
Speaker 3: Annie used to be fat and that's why these dresses

1499
01:18:11,160 --> 01:18:15,200
Speaker 3: of hers are too big for her, and Annie seems

1500
01:18:15,600 --> 01:18:18,519
Speaker 3: disgusted at the thought that she used to be fat.

1501
01:18:18,640 --> 01:18:22,320
Speaker 3: There are jokes made about it by multiple characters. Also,

1502
01:18:22,360 --> 01:18:25,719
Speaker 3: this seems to happen a lot in Goldiehn movies. Because

1503
01:18:25,760 --> 01:18:30,920
Speaker 3: I'm thinking of death becomes her, her weight fluctuates, and

1504
01:18:31,080 --> 01:18:34,479
Speaker 3: a lot of reductive jokes are made about, like her

1505
01:18:34,560 --> 01:18:35,599
Speaker 3: losing and gaining weight.

1506
01:18:35,760 --> 01:18:38,599
Speaker 1: Also, I think it's just like this is very of

1507
01:18:38,680 --> 01:18:43,160
Speaker 1: the times. I mean not to dismiss it because it

1508
01:18:43,320 --> 01:18:47,879
Speaker 1: is egregious, but like I almost put the fat shaming

1509
01:18:47,960 --> 01:18:50,640
Speaker 1: elements of this movie in the same category as the

1510
01:18:50,840 --> 01:18:54,080
Speaker 1: like how old am I You're twenty nine? Like these

1511
01:18:54,320 --> 01:19:00,920
Speaker 1: sort of like lazy susan of heavily recycled Joe about

1512
01:19:01,080 --> 01:19:03,640
Speaker 1: things that you're being told by the movie. If you

1513
01:19:03,720 --> 01:19:06,519
Speaker 1: are a woman, you need to feel insecure about this.

1514
01:19:06,760 --> 01:19:09,240
Speaker 1: It like ties into OPRAH culture, like you're like you

1515
01:19:09,280 --> 01:19:14,599
Speaker 1: should feel insecure and constantly unsurveillance and possibly disgusted by

1516
01:19:14,880 --> 01:19:17,679
Speaker 1: your own size and age.

1517
01:19:18,240 --> 01:19:20,960
Speaker 4: Like well, there's also always this threat like a woman

1518
01:19:21,280 --> 01:19:23,640
Speaker 4: isn't able to change for good or change or let

1519
01:19:23,680 --> 01:19:26,880
Speaker 4: a perversion die because you can't change, for you can't

1520
01:19:26,880 --> 01:19:27,240
Speaker 4: get old.

1521
01:19:27,280 --> 01:19:29,479
Speaker 5: But also it was that trope of.

1522
01:19:29,439 --> 01:19:32,240
Speaker 4: Like the looming wall, you might get fat again, so

1523
01:19:32,280 --> 01:19:34,320
Speaker 4: you can't trust that the people like you for being hot.

1524
01:19:34,360 --> 01:19:36,080
Speaker 4: Blah blah blah, you might get fat. It was like

1525
01:19:36,120 --> 01:19:39,120
Speaker 4: that always might come back. So then women were disgusted

1526
01:19:39,160 --> 01:19:42,720
Speaker 4: by having been a different weight, and like it was

1527
01:19:42,840 --> 01:19:45,839
Speaker 4: just constantly a trap of your identity has to maintain

1528
01:19:45,920 --> 01:19:47,360
Speaker 4: this way or no one will love you.

1529
01:19:47,720 --> 01:19:50,040
Speaker 1: And it's still something that like very much happens in

1530
01:19:50,120 --> 01:19:52,000
Speaker 1: movies now. I just feel like that the tropes have

1531
01:19:52,120 --> 01:19:56,719
Speaker 1: like mutated, not really improved over the years, where now

1532
01:19:56,800 --> 01:20:01,040
Speaker 1: it's like a romantic hero will say I don't care,

1533
01:20:01,439 --> 01:20:03,679
Speaker 1: like I don't care what you look like, while clearly

1534
01:20:03,720 --> 01:20:07,599
Speaker 1: pointing out a woman's size, as opposed to what this

1535
01:20:07,640 --> 01:20:10,200
Speaker 1: movie is doing, which is just straight up like again

1536
01:20:10,320 --> 01:20:12,920
Speaker 1: just one of Kurt Russell's very villainous qualities where he

1537
01:20:13,040 --> 01:20:16,000
Speaker 1: was like, oh, yeah, you used to be disgusting to

1538
01:20:16,080 --> 01:20:19,200
Speaker 1: me because you were fat, and then you you go

1539
01:20:19,600 --> 01:20:22,320
Speaker 1: through all you go back through like the layers of

1540
01:20:22,360 --> 01:20:24,880
Speaker 1: the like that this is all just a part of

1541
01:20:25,400 --> 01:20:28,360
Speaker 1: him gaslighting her. So she remains under his control.

1542
01:20:28,920 --> 01:20:31,800
Speaker 4: It's just it wasn't the photoshop photo too, like she

1543
01:20:31,840 --> 01:20:33,000
Speaker 4: was a PreCure, was fat in it?

1544
01:20:33,439 --> 01:20:36,479
Speaker 3: Like no, it's so I was trying to make sense

1545
01:20:36,520 --> 01:20:37,920
Speaker 3: to this. Here's what I've concluded.

1546
01:20:38,000 --> 01:20:40,000
Speaker 1: I thought she was supposed to be pregnant in this photos.

1547
01:20:40,080 --> 01:20:44,320
Speaker 3: Yes, so it's not. It's clearly a photo of his

1548
01:20:44,560 --> 01:20:48,799
Speaker 3: first wife, who is the actual mother to children.

1549
01:20:48,920 --> 01:20:51,200
Speaker 1: You're like, did he hate this lady?

1550
01:20:51,640 --> 01:20:54,960
Speaker 3: Like like it really did, but it's it's a photo

1551
01:20:55,000 --> 01:20:58,000
Speaker 3: of him and her, but instead of because you know

1552
01:20:58,120 --> 01:21:03,599
Speaker 3: now deceased wife's head, his friend Billy photoshopped Goldie Han's

1553
01:21:03,680 --> 01:21:07,080
Speaker 3: head onto it. And it's like, yeah, this is a

1554
01:21:07,080 --> 01:21:09,640
Speaker 3: photo from back when you were fat, but it's that

1555
01:21:09,800 --> 01:21:12,960
Speaker 3: she's pregnant. It's still a thin person when that person

1556
01:21:13,120 --> 01:21:16,439
Speaker 3: was pregnant. And she's just like, yep, looks yeah, that

1557
01:21:16,560 --> 01:21:19,439
Speaker 3: tracks for me. That makes sense, And that's supposed to

1558
01:21:19,479 --> 01:21:24,240
Speaker 3: be a joke. Yeah, but obviously it's horrible.

1559
01:21:24,280 --> 01:21:27,920
Speaker 1: Does not work. It's just like it's it doesn't work

1560
01:21:27,960 --> 01:21:29,960
Speaker 1: on so many levels that it's like where do you

1561
01:21:30,080 --> 01:21:33,120
Speaker 1: even begin because it is like this fat phobic runner

1562
01:21:33,160 --> 01:21:36,439
Speaker 1: that takes place throughout the movie and also just the

1563
01:21:36,520 --> 01:21:40,200
Speaker 1: implications around again, I'm just like, why didn't they make

1564
01:21:40,280 --> 01:21:43,680
Speaker 1: the writing choice to have her be someone who ran

1565
01:21:43,720 --> 01:21:47,280
Speaker 1: out on them, someone who kurt Russell being hostile towards

1566
01:21:47,280 --> 01:21:51,919
Speaker 1: would make sense? Yeah, because his hostility, his ostensible hostility

1567
01:21:51,920 --> 01:21:56,439
Speaker 1: towards his deceased wife, only goes to make his character

1568
01:21:57,200 --> 01:22:02,799
Speaker 1: even more despicable, Like it's awful. It's awful how he acts.

1569
01:22:03,400 --> 01:22:05,559
Speaker 4: I always like, that's like such a because it's not

1570
01:22:05,600 --> 01:22:07,640
Speaker 4: a storyline. It's such a forgotten part of it that

1571
01:22:07,720 --> 01:22:10,000
Speaker 4: I'm like, oh, yeah, completely erased.

1572
01:22:10,479 --> 01:22:11,759
Speaker 1: She's simply gone.

1573
01:22:12,200 --> 01:22:18,519
Speaker 3: No one seems affected by the absence of this.

1574
01:22:17,280 --> 01:22:20,160
Speaker 1: This Steva woman, Like are I pitched this woman who

1575
01:22:20,200 --> 01:22:21,840
Speaker 1: ostensibly died in her thirties?

1576
01:22:22,400 --> 01:22:23,719
Speaker 5: Like yeah, that's dark.

1577
01:22:23,920 --> 01:22:27,080
Speaker 1: No one cares. No one in this movie cares except

1578
01:22:27,240 --> 01:22:28,520
Speaker 1: her children.

1579
01:22:28,760 --> 01:22:32,760
Speaker 6: Who don't necessarily who they kind of like they're doing

1580
01:22:32,840 --> 01:22:35,760
Speaker 6: there like kid wise where they're like sometimes moms leave,

1581
01:22:35,920 --> 01:22:38,040
Speaker 6: And I was like, do they not know she died

1582
01:22:38,520 --> 01:22:40,639
Speaker 6: or is this like I don't know, it's just all

1583
01:22:40,760 --> 01:22:45,000
Speaker 6: very it's all It just made me really sad for everyone.

1584
01:22:45,080 --> 01:22:48,280
Speaker 1: And Anna hate kur Russell's character because it seems like

1585
01:22:48,320 --> 01:22:52,880
Speaker 1: he's recycling yeah, recycling photos of her, recycling anecdotes from

1586
01:22:52,880 --> 01:22:56,000
Speaker 1: her life, but in a way that just like never

1587
01:22:56,080 --> 01:22:58,439
Speaker 1: comes full circle, so it just ends up coming off

1588
01:22:58,479 --> 01:23:02,120
Speaker 1: as like pretty mean totally. There's a version of this

1589
01:23:02,160 --> 01:23:04,719
Speaker 1: movie where I feel like the script tries to convince

1590
01:23:04,800 --> 01:23:08,160
Speaker 1: you he's doing all of this because he hasn't processed

1591
01:23:08,160 --> 01:23:12,160
Speaker 1: his wife's death, which would be like stupid, but at

1592
01:23:12,240 --> 01:23:14,240
Speaker 1: least would be an attempt at.

1593
01:23:14,920 --> 01:23:17,400
Speaker 5: It's all fanfic. Anything we do here is fanfic.

1594
01:23:18,800 --> 01:23:23,479
Speaker 3: Well, speaking of other versions of this movie, yeah, well

1595
01:23:23,560 --> 01:23:28,360
Speaker 3: quick note, this movie has been remade in various other countries.

1596
01:23:29,120 --> 01:23:32,280
Speaker 3: I have not seen any of those remakes, but there's

1597
01:23:33,800 --> 01:23:38,320
Speaker 3: one from South Korea, there's one from India. There I

1598
01:23:38,360 --> 01:23:41,040
Speaker 3: think is a Russian TV series with this premise, So

1599
01:23:41,120 --> 01:23:44,280
Speaker 3: this makes sense. It's a very like it's high concept.

1600
01:23:44,800 --> 01:23:47,960
Speaker 1: It's high concept, but it works in any culture.

1601
01:23:47,600 --> 01:23:52,640
Speaker 3: Really exactly universal. Yeah, but I'm talking, of course about

1602
01:23:52,840 --> 01:23:55,760
Speaker 3: the gender Swapped remake from twenty eighteen, which I did

1603
01:23:55,880 --> 01:23:58,559
Speaker 3: watch last night, and I will.

1604
01:23:58,400 --> 01:24:00,160
Speaker 1: Say sorry about that.

1605
01:24:01,560 --> 01:24:05,560
Speaker 3: Here's the thing. I liked it better than the original.

1606
01:24:06,120 --> 01:24:08,880
Speaker 3: That might be controversial to say. I think it addresses

1607
01:24:09,720 --> 01:24:12,600
Speaker 3: a lot of the issues that we're having not perfectly.

1608
01:24:12,760 --> 01:24:16,080
Speaker 3: It doesn't necessarily correct them, but it handles them a

1609
01:24:16,120 --> 01:24:16,920
Speaker 3: little better.

1610
01:24:17,400 --> 01:24:18,880
Speaker 1: Okay, say more, say more.

1611
01:24:19,200 --> 01:24:23,720
Speaker 3: Well, especially the class issue, I would say, it's not

1612
01:24:23,920 --> 01:24:26,960
Speaker 3: quite so all over the place regarding class, and it

1613
01:24:27,000 --> 01:24:32,840
Speaker 3: doesn't lean into as many tropes about poor people. So

1614
01:24:33,880 --> 01:24:36,880
Speaker 3: the premise of this one, it's basically the same, except

1615
01:24:36,960 --> 01:24:40,559
Speaker 3: it's a working class woman tricks a rich man with

1616
01:24:40,640 --> 01:24:44,360
Speaker 3: amnesia into thinking that he is her husband and father

1617
01:24:44,560 --> 01:24:50,679
Speaker 3: to her three children. It stars Anna Faris and Euchenio d'rbez,

1618
01:24:51,240 --> 01:24:56,280
Speaker 3: who play characters named Kate and Leonardo. Oh do you

1619
01:24:56,320 --> 01:24:59,080
Speaker 3: mean Kate Wenda and Leonardo DiCaprio.

1620
01:25:00,000 --> 01:25:02,080
Speaker 4: It feels like also like such an ai bought of

1621
01:25:02,120 --> 01:25:05,320
Speaker 4: a time when it was like girls are and minorities,

1622
01:25:05,560 --> 01:25:07,240
Speaker 4: but then it's at the same time, you're like making

1623
01:25:07,280 --> 01:25:09,840
Speaker 4: the minority of like a victim of this white woman.

1624
01:25:10,040 --> 01:25:10,840
Speaker 5: Like it's like it's like.

1625
01:25:10,920 --> 01:25:13,720
Speaker 3: Right, right, the optics are trash.

1626
01:25:13,920 --> 01:25:17,800
Speaker 1: That's why none of these gender swap reboots work where

1627
01:25:17,840 --> 01:25:20,960
Speaker 1: you're just like, okay, so you're like the problem was

1628
01:25:21,080 --> 01:25:24,120
Speaker 1: the premise. The premise was the issue. It's not that

1629
01:25:24,479 --> 01:25:28,559
Speaker 1: like we needed a more inclusive version of this horrible premise.

1630
01:25:29,040 --> 01:25:33,080
Speaker 3: No, we do need the gender swapped, all black cast

1631
01:25:33,320 --> 01:25:35,000
Speaker 3: of what women want.

1632
01:25:35,520 --> 01:25:38,680
Speaker 4: Yeah, that's my favorite conceit as if we don't know

1633
01:25:38,720 --> 01:25:40,599
Speaker 4: what men think, right.

1634
01:25:42,040 --> 01:25:46,559
Speaker 1: Anyway, they're so inscrutable to us, and yeah.

1635
01:25:46,320 --> 01:25:50,000
Speaker 3: So mysterious. But the remake follows a lot of the

1636
01:25:50,040 --> 01:25:53,960
Speaker 3: same beats, but the class thing is handled I think better,

1637
01:25:54,560 --> 01:25:59,080
Speaker 3: where the Leonardo character he is not only made to

1638
01:25:59,120 --> 01:26:04,240
Speaker 3: do like domestic labor, but also starts working as a

1639
01:26:05,160 --> 01:26:08,240
Speaker 3: you know, working class blue collar construction worker, doing the

1640
01:26:08,280 --> 01:26:10,640
Speaker 3: type of labor that he used to exploit as a

1641
01:26:10,760 --> 01:26:14,439
Speaker 3: rich person, and doing labor for a rich man who

1642
01:26:14,479 --> 01:26:17,479
Speaker 3: doesn't treat him or his coworkers well. So he gets

1643
01:26:17,520 --> 01:26:22,120
Speaker 3: an even clearer and better understanding of labor exploitation and

1644
01:26:22,479 --> 01:26:25,040
Speaker 3: like sees things from the other side in a way

1645
01:26:25,080 --> 01:26:28,040
Speaker 3: that I think the original movie attempts to do but

1646
01:26:28,200 --> 01:26:32,320
Speaker 3: again doesn't really work out. The ending of this one's

1647
01:26:32,400 --> 01:26:35,720
Speaker 3: also like and he is rich also the whole time

1648
01:26:35,720 --> 01:26:39,120
Speaker 3: because he inherits his yacht and it's worth sixty million

1649
01:26:39,160 --> 01:26:40,400
Speaker 3: dollars whatever, blah blah blah.

1650
01:26:40,439 --> 01:26:42,479
Speaker 4: Was that the only way they mentioned in the overboard part,

1651
01:26:42,600 --> 01:26:44,720
Speaker 4: like how do they keep the yacht tro No.

1652
01:26:44,760 --> 01:26:48,400
Speaker 3: The yacht is still so Anna faris. They meet because

1653
01:26:48,439 --> 01:26:52,400
Speaker 3: she goes onto his yacht to clean the carpets because

1654
01:26:52,439 --> 01:26:56,120
Speaker 3: she's a carpet cleaner as well as a pizza delivery person. Right,

1655
01:26:56,400 --> 01:26:58,400
Speaker 3: But they still meet on a yacht. There's still a

1656
01:26:58,439 --> 01:27:02,160
Speaker 3: lot of people falling over board, jumping overboard, you know.

1657
01:27:02,320 --> 01:27:05,160
Speaker 1: I mean, that's that's what gets people in the scene,

1658
01:27:05,439 --> 01:27:08,519
Speaker 1: because we want to see famous people off the boat.

1659
01:27:09,280 --> 01:27:11,880
Speaker 3: So the movies are basically the same, aside from the

1660
01:27:11,960 --> 01:27:16,040
Speaker 3: gender swappedness of it all. I do think I like

1661
01:27:16,200 --> 01:27:19,200
Speaker 3: the remake better, but not because it's good.

1662
01:27:19,280 --> 01:27:20,480
Speaker 5: Do you like it in contrast?

1663
01:27:20,600 --> 01:27:20,800
Speaker 1: Yeah?

1664
01:27:20,800 --> 01:27:22,519
Speaker 4: Okay, Do you like it in contrast to the first?

1665
01:27:22,760 --> 01:27:24,000
Speaker 4: Or is its own thing?

1666
01:27:24,240 --> 01:27:27,640
Speaker 3: I would say probably in contrast to the first, But

1667
01:27:28,640 --> 01:27:32,519
Speaker 3: I've already kind of memory hold both films, so I

1668
01:27:32,560 --> 01:27:36,240
Speaker 3: don't really know. But that's kind of all I had

1669
01:27:36,280 --> 01:27:41,320
Speaker 3: to say about these movies. Does anyone have anything else

1670
01:27:41,360 --> 01:27:42,479
Speaker 3: they'd like to talk about?

1671
01:27:43,439 --> 01:27:46,040
Speaker 1: No? I think the last thing that I this sort

1672
01:27:46,040 --> 01:27:50,679
Speaker 1: of dove taels into the Bechtel test of the Really

1673
01:27:50,760 --> 01:27:56,360
Speaker 1: only two women that speak are Joanna as Annie talking

1674
01:27:56,400 --> 01:27:59,160
Speaker 1: to Adele Burbridge. Can we get a full name for it?

1675
01:27:59,200 --> 01:28:02,880
Speaker 1: The principle of the school of another fun performance and

1676
01:28:02,920 --> 01:28:05,880
Speaker 1: another character that is just all over the place where

1677
01:28:05,920 --> 01:28:08,880
Speaker 1: like she's ultimately wrong. She has good but but you know,

1678
01:28:08,920 --> 01:28:11,840
Speaker 1: the only communication that we really get between women in

1679
01:28:11,880 --> 01:28:16,280
Speaker 1: this story that is very dominated by men and white

1680
01:28:16,320 --> 01:28:18,360
Speaker 1: men at that and like, I know we're in Oregon,

1681
01:28:18,439 --> 01:28:23,280
Speaker 1: but this is ridiculous, but is like it is a

1682
01:28:23,360 --> 01:28:26,519
Speaker 1: contentious it's an argument. They're like the only two women

1683
01:28:26,520 --> 01:28:28,960
Speaker 1: who speak in this movie are in an argument.

1684
01:28:29,240 --> 01:28:31,120
Speaker 3: She also talks to her mom on the phone.

1685
01:28:31,280 --> 01:28:33,080
Speaker 1: She does, that's true, that's.

1686
01:28:32,760 --> 01:28:35,519
Speaker 3: About but I think it's mostly about her husband and

1687
01:28:35,560 --> 01:28:37,960
Speaker 3: her husband wanting to ngregnate her.

1688
01:28:38,400 --> 01:28:41,360
Speaker 1: So yeah, no, that their conversation unfortunately does not pass

1689
01:28:41,400 --> 01:28:43,040
Speaker 1: the Bechel's test. I mean, there might be like a

1690
01:28:43,080 --> 01:28:45,639
Speaker 1: one off between them that does, when she is drinking

1691
01:28:45,720 --> 01:28:48,160
Speaker 1: beer in front of her mom, but like, oh sure,

1692
01:28:48,600 --> 01:28:52,599
Speaker 1: the main conversations are yeah, between heard her mom about

1693
01:28:52,760 --> 01:28:55,920
Speaker 1: her husband or the one that passes the Bugel test

1694
01:28:56,040 --> 01:29:00,400
Speaker 1: is about how standardized testing is fucking children it up,

1695
01:29:00,479 --> 01:29:02,639
Speaker 1: which is true, and then it goes back to the kids.

1696
01:29:02,840 --> 01:29:05,200
Speaker 4: Does it pass though, because she's talking about the kids

1697
01:29:05,280 --> 01:29:07,600
Speaker 4: that she has been stockholmed to care for as a

1698
01:29:07,640 --> 01:29:08,960
Speaker 4: mother for a man.

1699
01:29:08,960 --> 01:29:09,679
Speaker 3: I see your point.

1700
01:29:09,960 --> 01:29:14,880
Speaker 1: I usually give kids a pass. Yeah, but also there

1701
01:29:14,920 --> 01:29:17,760
Speaker 1: are aggressively sons.

1702
01:29:18,040 --> 01:29:19,840
Speaker 4: But no, but I mean like not that, I mean

1703
01:29:19,880 --> 01:29:22,799
Speaker 4: like it truly like translated, probably not about the children,

1704
01:29:22,840 --> 01:29:24,960
Speaker 4: Like she's talking about the children that this man has

1705
01:29:25,000 --> 01:29:27,799
Speaker 4: forced her to It is like the trauma still connected

1706
01:29:27,840 --> 01:29:30,639
Speaker 4: to the husband, like do you know what I mean?

1707
01:29:30,920 --> 01:29:33,400
Speaker 3: Yeah, and she does say like you and your husband

1708
01:29:33,439 --> 01:29:36,440
Speaker 3: are not good at rearing children.

1709
01:29:36,640 --> 01:29:38,880
Speaker 4: Right, because she'd never be having this conversation if this

1710
01:29:39,000 --> 01:29:41,760
Speaker 4: man had not put her in a situation to take

1711
01:29:41,800 --> 01:29:42,960
Speaker 4: care of his fit kids.

1712
01:29:43,040 --> 01:29:45,920
Speaker 3: I'm fine with saying this movie does at least spiritual

1713
01:29:46,040 --> 01:29:47,639
Speaker 3: does not.

1714
01:29:47,760 --> 01:29:50,400
Speaker 1: It's not a feminist movie. Yeah, so let's get.

1715
01:29:50,280 --> 01:29:51,600
Speaker 4: To this just feels like I don't know if you

1716
01:29:51,600 --> 01:29:53,400
Speaker 4: guys have this. It feels like an Oreo pass, you

1717
01:29:53,439 --> 01:29:54,559
Speaker 4: know how, like oreos are vegan.

1718
01:29:56,800 --> 01:29:57,439
Speaker 1: I love that.

1719
01:29:57,920 --> 01:29:59,720
Speaker 4: Yeah, take that because it feels like an Oreo fan.

1720
01:29:59,800 --> 01:30:02,080
Speaker 4: We're technically I think it might, but it doesn't.

1721
01:30:02,160 --> 01:30:05,520
Speaker 1: But like, no, it doesn't. Yeah, I love that.

1722
01:30:05,520 --> 01:30:09,639
Speaker 3: That's hilarious. Yeah, let's go with that. The one true

1723
01:30:09,720 --> 01:30:13,439
Speaker 3: metric is the Bechdel cast nipple scale, of course, where

1724
01:30:13,479 --> 01:30:15,280
Speaker 3: we rate the movie on a scale of zero to

1725
01:30:15,320 --> 01:30:19,200
Speaker 3: five nipples, examining it through an intersectional feminist lens. I'm

1726
01:30:19,200 --> 01:30:21,800
Speaker 3: gonna go ahead and give this zero nipples, as I

1727
01:30:21,880 --> 01:30:26,320
Speaker 3: foreshadowed earlier, based on everything we talked about, just the

1728
01:30:26,880 --> 01:30:30,639
Speaker 3: evil aura of this film. I appreciate that it's trying

1729
01:30:30,680 --> 01:30:35,479
Speaker 3: to talk about class, but again doesn't really do it well.

1730
01:30:36,320 --> 01:30:39,880
Speaker 3: Zero nipples, So I have no nipples to award or

1731
01:30:39,920 --> 01:30:40,320
Speaker 3: give out.

1732
01:30:40,840 --> 01:30:45,080
Speaker 1: Yeah, I'm meeting you there. Zero nipples. Really cannot do more.

1733
01:30:45,160 --> 01:30:49,080
Speaker 1: I think the Goldiehan performance is really fun. I love Goldiehan,

1734
01:30:50,240 --> 01:30:52,559
Speaker 1: but there's so many other Goldiehan movies to watch in

1735
01:30:52,600 --> 01:30:56,479
Speaker 1: the world, and I'm grateful for that. Yeah, zero nipples

1736
01:30:56,479 --> 01:30:58,880
Speaker 1: for all the reasons we discussed and probably some we

1737
01:30:58,960 --> 01:31:03,960
Speaker 1: forgot about. Oh many. Yeah, what do you think?

1738
01:31:04,560 --> 01:31:07,759
Speaker 4: I and I know, I think this might subvert the metric,

1739
01:31:07,840 --> 01:31:10,360
Speaker 4: But I think one nipple only because what it has

1740
01:31:10,400 --> 01:31:15,000
Speaker 4: been used for, its collective reception and this sort of

1741
01:31:15,800 --> 01:31:17,720
Speaker 4: affirming in society.

1742
01:31:17,520 --> 01:31:18,479
Speaker 5: That that is bad.

1743
01:31:19,080 --> 01:31:21,800
Speaker 4: So it does feel like as a feminist sort of

1744
01:31:22,920 --> 01:31:26,479
Speaker 4: exercise outside of itself. I'll give it one because of

1745
01:31:27,400 --> 01:31:28,719
Speaker 4: its relationship to the world.

1746
01:31:29,200 --> 01:31:32,800
Speaker 3: Fair. Hell, yeah, nice, Thank you so much for joining

1747
01:31:32,840 --> 01:31:33,760
Speaker 3: us for this discussion.

1748
01:31:33,880 --> 01:31:35,920
Speaker 4: But I say I'm so upset that I have to

1749
01:31:36,080 --> 01:31:38,960
Speaker 4: skid atle because I feel like I genuinely think we

1750
01:31:39,000 --> 01:31:41,200
Speaker 4: could dive in and we can teach a course.

1751
01:31:41,560 --> 01:31:43,040
Speaker 5: There's so much in this one movie.

1752
01:31:43,240 --> 01:31:47,639
Speaker 3: I know, really well, come back for the remake, Oh

1753
01:31:47,720 --> 01:31:49,240
Speaker 3: my god, saw another Time, or.

1754
01:31:49,240 --> 01:31:51,639
Speaker 1: Another movie or another movie. I don't have to cover

1755
01:31:51,680 --> 01:31:52,080
Speaker 1: the remak.

1756
01:31:52,320 --> 01:31:54,080
Speaker 4: I'll let you know if I watch it and I

1757
01:31:54,680 --> 01:31:57,240
Speaker 4: might be stressed. I'm grateful you did.

1758
01:31:57,600 --> 01:32:01,240
Speaker 3: We'll tell us where people can follow your work, follow

1759
01:32:01,240 --> 01:32:02,200
Speaker 3: you online, et cetera.

1760
01:32:02,640 --> 01:32:04,960
Speaker 4: Yes, I would love for people to listen to my podcast,

1761
01:32:05,000 --> 01:32:06,160
Speaker 4: and I would love for both of you to be

1762
01:32:06,240 --> 01:32:09,960
Speaker 4: on called Worse Than You with Mofry Passk, where I

1763
01:32:10,040 --> 01:32:12,120
Speaker 4: talk about people's creative process.

1764
01:32:12,200 --> 01:32:14,320
Speaker 5: And how they make things, but in a way that

1765
01:32:14,439 --> 01:32:16,800
Speaker 5: is not like I get up I write this.

1766
01:32:16,920 --> 01:32:20,240
Speaker 4: It's the more abstract efforts that holistically create us. And

1767
01:32:20,280 --> 01:32:23,559
Speaker 4: what makes us proud is artists and our themes, et cetera.

1768
01:32:24,080 --> 01:32:25,080
Speaker 5: And I think I.

1769
01:32:25,000 --> 01:32:27,160
Speaker 4: Would love if you, guys, we'd love to talk about

1770
01:32:27,200 --> 01:32:30,880
Speaker 4: the themes of Leslie, because this woman's themes we could

1771
01:32:30,880 --> 01:32:35,639
Speaker 4: go down psychologically crazy.

1772
01:32:34,880 --> 01:32:41,960
Speaker 1: Hell yeah, yeah, specifically body swap and like dissociative all disembodiment. Incredible.

1773
01:32:42,280 --> 01:32:45,240
Speaker 3: I don't forget she wrote limitless so shut up.

1774
01:32:46,000 --> 01:32:47,720
Speaker 1: Yeah, oh it's do.

1775
01:32:47,680 --> 01:32:50,360
Speaker 3: You not know about the Limitless Pillar movie with Bradley

1776
01:32:50,360 --> 01:32:53,200
Speaker 3: Cooper and he takes cocaine or something and it.

1777
01:32:53,120 --> 01:32:55,360
Speaker 5: Makes it's every ADHD's dream this movie.

1778
01:32:56,160 --> 01:32:57,080
Speaker 1: Yeah, incredible.

1779
01:32:57,160 --> 01:32:59,760
Speaker 3: It's not a very good movie, but it has a

1780
01:33:00,280 --> 01:33:01,439
Speaker 3: concept premise.

1781
01:33:01,640 --> 01:33:01,920
Speaker 5: It does.

1782
01:33:01,960 --> 01:33:04,320
Speaker 4: It's like Lucy where it's like I've unlocked the extra

1783
01:33:04,439 --> 01:33:08,120
Speaker 4: hundred percent of my brain and now I see the world.

1784
01:33:08,439 --> 01:33:14,000
Speaker 1: Yeah. Yeah, god, Okay, Well, I look forward to more

1785
01:33:14,000 --> 01:33:16,360
Speaker 1: of Laslie Sport. I mean genuinely consider myself a fan.

1786
01:33:16,560 --> 01:33:18,280
Speaker 1: Just this is this one did not hit. That's what

1787
01:33:18,400 --> 01:33:18,960
Speaker 1: did not hit.

1788
01:33:19,560 --> 01:33:22,479
Speaker 4: But yeah, listening to my pod folks, I listened watch

1789
01:33:22,680 --> 01:33:27,040
Speaker 4: Watch Overboard. But I'm so happy to've been on this.

1790
01:33:27,080 --> 01:33:28,479
Speaker 4: I thank you, guys. This is so fun.

1791
01:33:28,720 --> 01:33:29,240
Speaker 1: No, thank you.

1792
01:33:29,320 --> 01:33:34,720
Speaker 3: Come back anytime and you can follow us on Instagram

1793
01:33:34,760 --> 01:33:40,240
Speaker 3: as well as our Patreon aka Matreon, where we release

1794
01:33:40,360 --> 01:33:45,200
Speaker 3: two bonus episodes every single month, always on an incredible, genius,

1795
01:33:45,240 --> 01:33:50,040
Speaker 3: amazing theme, as well as access to the back catalog

1796
01:33:50,400 --> 01:33:54,639
Speaker 3: of well over one hundred bonus episodes all for five

1797
01:33:54,760 --> 01:33:59,160
Speaker 3: dollars a month at patreon dot com. Slash Bechdel Cast.

1798
01:33:59,240 --> 01:34:09,000
Speaker 1: Absolutely and until then, let's jump overboard, but not to

1799
01:34:09,120 --> 01:34:11,519
Speaker 1: Kurt Russell to swim the other way. We're swimming the

1800
01:34:11,520 --> 01:34:18,320
Speaker 1: other way. Goodbye bye. The Bechdel Cast is a production

1801
01:34:18,400 --> 01:34:22,599
Speaker 1: of iHeartMedia, hosted and produced by Me, Jamie Loftus and.

1802
01:34:22,600 --> 01:34:26,439
Speaker 3: Me Caitlyn Dorante. The podcast is also produced by Sophie

1803
01:34:26,439 --> 01:34:27,559
Speaker 3: Lichtermann and.

1804
01:34:27,600 --> 01:34:30,760
Speaker 1: Edited by Caitlyn Dorante. Ever heard of them? That's me?

1805
01:34:31,320 --> 01:34:34,519
Speaker 3: And our logo and merch and all of our artwork,

1806
01:34:34,560 --> 01:34:38,120
Speaker 3: in fact are designed by Jamie Loftus, Ever heard of her?

1807
01:34:38,320 --> 01:34:41,280
Speaker 1: Oh my God? And our theme song, by the way,

1808
01:34:41,439 --> 01:34:43,200
Speaker 1: was composed by Mike Kaplan.

1809
01:34:43,080 --> 01:34:46,200
Speaker 3: With vocals by Katherine Voskrasinski.

1810
01:34:45,720 --> 01:34:48,559
Speaker 1: Iconic and a special thanks to the one and only

1811
01:34:48,920 --> 01:34:50,240
Speaker 1: Aristotle Acevedo.

1812
01:34:50,720 --> 01:34:54,559
Speaker 3: For more information about the podcast, please visit linktree Slash

1813
01:34:54,600 --> 01:34:55,360
Speaker 3: Bechdel Cast