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Speaker 1: On the Bechde cast, the questions asked if movies have

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

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Speaker 1: or do they have individualism? It's the patriarchy, Eph and

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Speaker 1: bast start changing it with the Bechdel Cast.

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Speaker 2: Jump Jump the houses jumping, you.

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Speaker 3: Need jump jump the house jump? What an iconic party?

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Speaker 3: I mean Pat? Say what you will about Pat. She

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Speaker 3: knows how, knows how to throw a party. Yeah, she

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Speaker 3: knows how to get the house jumping. She is Yeah,

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Speaker 3: oh Pat is Pat's an icon She is Megan. Uh,

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Speaker 3: you know, we love Magan in this house. We love Magon,

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Speaker 3: but but you know she Pat is the blueprint. Yeah.

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Speaker 2: And then we're like, there's How from two thousand on

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Speaker 2: a Space Odyssey, and How wishes he was Pat?

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Speaker 3: Oh my god, how in How's Dreams and it's Pad,

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Speaker 3: a direct obvious ripoff of How.

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Speaker 2: No, no, not even a little bit.

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Speaker 3: No. Sorry. I trailed off for a second because I

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Speaker 3: was trying to remember what Pat stood for. Oh, and

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Speaker 3: I was like, peep and toilet paper, hilarious.

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Speaker 2: Oh that's correct.

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Speaker 3: Yeah, No, brain is dust? What does it stand for?

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Speaker 2: Personal applied technology? Okay, which is so generic it could

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Speaker 2: mean any.

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Speaker 3: I believe it. I believe it. Okay, this movie has everything.

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Speaker 3: It has an evil house played by Katie Sigal. She

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Speaker 3: should have won an Emmy for this, but she did

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Speaker 3: it because she's only in five minutes of the movie.

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Speaker 3: We have a girl boss that we are rooting for

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Speaker 3: even though she's clearly on a destructive pass. And oh

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Speaker 3: my god, fast forward Sarah's timeline twenty years.

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Speaker 2: I don't want to know.

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Speaker 3: Ooh, Tim Apple, there's this movie. Yeah, and also other things,

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Speaker 3: but most importantly, those characters are so iconic and so

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Speaker 3: we are here to cover. Okay, wait, should we start over?

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Speaker 2: No? We okay, speaking of amazing paths, we are on one.

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Speaker 2: This is the Bechdel Cast.

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Speaker 3: Hello.

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Speaker 2: My name is Caitlin Deronte.

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Speaker 3: My name is Jamie Laftus, and this is our podcast

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Speaker 3: where we look at your favorite movies using an intersectional

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Speaker 3: feminist lens through personally applied technology that we have been

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Speaker 3: developing over the last seven years. Yes.

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Speaker 2: Yes, yes, yes yes, and we use the Bechdel test

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Speaker 2: yes as a jumping off point to initiate a larger

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Speaker 2: conversation the Bechdel Test.

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Speaker 3: Yeah, what is it? Caitlin, Get me up to speed.

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Speaker 2: It is a media metric created by cartoonist Alison Bechdel,

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Speaker 2: sometimes called the Bechdel Wallace Test. It originally appeared in

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Speaker 2: Alison Bechdel's comic Dykes to Watch out For in the eighties.

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Speaker 2: It was intended as just like a goof a joke

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Speaker 2: a lark in the comic strip, but it has been

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Speaker 2: made into this media test many versions of it. The

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Speaker 2: one that we use is this two characters of a

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Speaker 2: marginalized gender. They have to have names, they need to

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Speaker 2: talk to each other, and the conversation has to be

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Speaker 2: about something other than a man. And we especially like

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Speaker 2: it when it's a narratively impactful conversation and not just hello,

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Speaker 2: here's a strawberry smoothie.

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Speaker 3: But iconically this movie passes the Bechels test quite a bit.

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Speaker 3: And I think that there are several important exchanges between

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Speaker 3: particularly Pat and Sarah that you know this. I just

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Speaker 3: so we're covering smart house stunningly common request. Yes, but

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Speaker 3: I do think that it is one of the Disney

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Speaker 3: Channel original movie from nineteen ninety nine, directed by LeVar Burton.

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Speaker 3: Hello Jump scare incredible. I know it is by most

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Speaker 3: people's metrics, considered to be one of the greatest d

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Speaker 3: cooms of all time. I think it is a millennial

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Speaker 3: classic and it holds up in a lot of regards

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Speaker 3: extremely well. And then in other regards, No, it's camp.

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Speaker 3: It's camp Caitlin. When Angie is jumping on her bed

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Speaker 3: to Bewitched Sela V. At length, it's almost like Bewitched

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Speaker 3: just paying them to do it, which they almost certainly are. God,

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Speaker 3: we have some real nineties deep cut like Bewitched Irish

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Speaker 3: girl group kind of a one hit wonder unless you

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Speaker 3: count their cover of Hey Mickey, which I thought was

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Speaker 3: pretty great. Okay, sure, but yeah, their big hit Seyla

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Speaker 3: V features heavily and then, oh my god, one of

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Speaker 3: my favorite songs of being like six was Ryan Merriman

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Speaker 3: and his Merry Troop of Boys do a choreographed d

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Speaker 3: I never get over this scene. It's I mean, it's

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Speaker 3: like a very popular scene if you grew up with

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Speaker 3: this movie. But it's to a boy band called five.

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Speaker 3: Couldn't be more of a one hit wonder, And even

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Speaker 3: that's kind of a stretch, but I remember them, Yeah,

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Speaker 3: and their hit song was called slam Dunk the Funky

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Speaker 3: and m Boy did they do a choreographed dance to

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Speaker 3: slam Dunk the funk. Okay, I crush it. At this point,

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Speaker 3: I'm like, this is the most cute boy behavior in

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Speaker 3: the entire world.

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Speaker 2: I'm in It was endearing. I I did not realize

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Speaker 2: that was an actual song, and I just figured it

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Speaker 2: was like one of those like corny song like fake

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Speaker 2: songs that was written for this movie and inserted into

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Speaker 2: the movie to pretend like this is a popular song

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Speaker 2: that everyone knows. I did not realize it was a

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Speaker 2: real ass.

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Speaker 3: Oh my god. So I was so like I had

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Speaker 3: so many older cousins that I feel like I had

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Speaker 3: a wealth of boy band knowledge before it even made

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Speaker 3: sense to because it was like everyone was like five

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Speaker 3: years older than me. I mean, they're like, the cutest

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Speaker 3: boys are in Otown. No, the cutest boys are in

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Speaker 3: you know, in sinc versus Backstreet Boys as the obvious one.

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Speaker 3: But you also have ninety degrees LFO ninety eight degrees,

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Speaker 3: and then you have flops like Otown and five But

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Speaker 3: I but Otown. Did do you remember that song? Because

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Speaker 3: I want it all? Oh nothing? Oh my god, so

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Speaker 3: many boys at this time, and we honor them boys. No,

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Speaker 3: that song is real I think that the houses jumping

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Speaker 3: is not real.

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Speaker 2: No, that definitely sounds like a fake.

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Speaker 3: Feels pretty on theme. It would be wild. If that

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Speaker 3: song already existed, LaVar Burton would have been jumping for joy. Unfortunately,

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Speaker 3: I think they had to commission the houses jump in incredible. Okay.

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Speaker 2: So, and so the reason we're doing this movie is

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Speaker 2: that we discovered that all of the movies that we

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Speaker 2: are releasing in July, three of the four that were

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Speaker 2: like planned were live action Disney movies. Because we've got

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Speaker 2: the Hannah Montana episode that was a live show that

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Speaker 2: came out, we wanted to do, you know, a very

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Speaker 2: like American jingoist movie. So of course we were like two.

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Speaker 3: The Haunted Mansion's coming out, So we're doing the Haunted Mansion. Yes,

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Speaker 3: we also, I mean, I feel like even though we're

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Speaker 3: covering Disney movies and you know, we should go to

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Speaker 3: jail for that. But honestly, on a long enough timeline,

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Speaker 3: every movie is going to be a Disney movie, and

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Speaker 3: then we would have to cancel the show. It would

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Speaker 3: be challenging. They're simply acquiring so many things are so scary.

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Speaker 3: But even within these live action Disney movies, there's sort

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Speaker 3: of a wealth of different genres. You've got like the

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Speaker 3: action with National Treasure two, You've got the coming of

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Speaker 3: age movie with Hannah Montana, You've got the horror movie

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Speaker 3: with Haunted Mansion, and you've got the sci fi thriller

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Speaker 3: that we know as Smart House. Yes, I want an

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Speaker 3: alternate ending to this damn movie. I would also as

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Speaker 3: tired as this genre of movie is, and I feel

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Speaker 3: like it's already kind of dying off. I wouldn't hate

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Speaker 3: as long as LeVar Burton also directed it. I would

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Speaker 3: not hate Smart House too.

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Speaker 2: Where extremely smart House.

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Speaker 3: Sarah is ruining the world Pat Ben has fallen in

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Speaker 3: love with Pat. Oh they're secretly married. Wow, he's married

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Speaker 3: to the house. Interesting Angie has Angie hasn't spoken to

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Speaker 3: the family in years. She's a communist. The dad twist

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Speaker 3: he's dead. Yeah, well he's my least favorite character.

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Speaker 2: Yeah, Sandra is basically on a path to becoming the

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Speaker 2: Oscar Isaac character from Ex Machina.

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Speaker 3: One of the many movies that this Disney Channel original

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Speaker 3: movie that came out twenty years before shares a ton

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Speaker 3: of parallels with. Yeah, this movie is so brilliant. I

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Speaker 3: love it. What is your history with Smart House the

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Speaker 3: movie though I hadn't them in I had never seen it. Yeah,

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Speaker 3: wow again, how do you feel? Well, the only time

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Speaker 3: I watched d COM's is for this podcast. I had

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Speaker 3: never seen any of them. That's true, and so I

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Speaker 3: but I just just sort of thought you would have

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Speaker 3: started watching them in your spirit.

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Speaker 2: Well, okay, I did watch one, actually two of my

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Speaker 2: own accord and it was teen Beach Movie one and two.

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Speaker 3: I remember, and those movies rock and roll they do

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Speaker 3: rock so and they roll and don't forget they roll,

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Speaker 3: they rock, they roll and they rule. But aside from that,

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Speaker 3: I've never seen any dcoms on purpose. Well, this is

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Speaker 3: an early one and it is a classic. It's the

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Speaker 3: best I first saw this movie. I don't think I

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Speaker 3: would have seen it when it came out, as probably

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Speaker 3: too young when it came out, But they rerun these

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Speaker 3: damn things on the Disney Channel all the time, and

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Speaker 3: so I think probably I had seen it by the

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Speaker 3: time I was like ten.

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Speaker 2: Yeah, it maybe.

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Speaker 3: Even a little sooner. And it's just such a fun movie.

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Speaker 3: But it also, like I don't know, I feel like

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Speaker 3: it captures it's definitely I think at its core a

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Speaker 3: cautionary tale. I would be so curious what the writing

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Speaker 3: process was in in terms of figuring out how to

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Speaker 3: end this movie in a way that wasn't terrifying to children,

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Speaker 3: because the ending is bizarre and feels dissonant with what

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Speaker 3: the rest of the movie is, especially because especially because

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Speaker 3: Pat essentially takes her own life at the end of

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Speaker 3: the movie, it's and then she lives in jail forever.

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Speaker 3: But that's the happy ending. We'll come back to it.

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Speaker 3: I understand why this movie can't end in a terrifying

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Speaker 3: cliffhanger because it is for eight year old But I

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Speaker 3: just think it's like a fascinating moment in time of

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Speaker 3: like excitement about technology but also fairly cautionary tale. And

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Speaker 3: at first I was like, Ooh, it's so random that

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Speaker 3: LeVar Burton would direct this, but it actually really isn't

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Speaker 3: because he at this point I will talk about some

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Speaker 3: like a couple of interviews that he did on this

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Speaker 3: movie's twentieth anniversary a couple of years ago, but like

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Speaker 3: at this point his career, he was mister Star Trek

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Speaker 3: and like he's playing Jordie Laforage, and he had directed

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Speaker 3: a ton of episodes of Star Trek, so you know,

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Speaker 3: like technological cautionary tales are in fact extremely in his wheelhouse.

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Speaker 3: And he's probably one of like the most like the best,

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Speaker 3: most interesting choices to direct this movie. And I feel

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Speaker 3: like this movie accidentally really packs a punch and I

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Speaker 3: love it. And the stuff that holds up is kind

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Speaker 3: of incredible and the stuff that doesn't is I was

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Speaker 3: mostly laughing. I also think it's so funny that the

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Speaker 3: guy that plays the dad, who is by far the

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Speaker 3: biggest flop character, can't stand him. He's, first of all,

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Speaker 3: with all due respect to this guy, a very weird actor,

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Speaker 3: where some of his lines of dialogue are like my

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Speaker 3: children and you're like what. He just sometimes will end

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Speaker 3: a conversation or like mark the entering and exiting of

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Speaker 3: Ryan Merriman by being like my children and you're like,

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Speaker 3: what the fuck. I also love that his name is

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Speaker 3: Kevin Kleine.

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Speaker 2: Er Kevin Kleiner, Yeah.

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Speaker 3: Just like he's Kevin Klein but more so.

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Speaker 2: No, wait it's not Kleiner, It's Kilner but close enough.

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Speaker 3: No, it's Kevin Kleiner. Yeah.

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Speaker 2: Okay, he had to.

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Speaker 3: Change it because people were just like, what do you mean, Kevin,

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Speaker 3: Klein's just enough. We don't need more. I like Kevin Klein.

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Speaker 2: I know I like him too.

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Speaker 3: I think that's still a safe opinion to have. I

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Speaker 3: don't know, I know, you never know in this world.

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Speaker 3: I think that I think I like Kevin Klein. Yes,

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Speaker 3: I can't say that for all we say cautiously. Yes,

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Speaker 3: I mean, there's no one's going to be the top

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Speaker 3: Kevin of all time. You know who that is? Kaitlyn,

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Speaker 3: Kevin le Mignon, Kevin le Mignon. That's exactly right below. Okay, Bello,

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Speaker 3: wake up. Smells it hot, bananas, smell the hot. But enough?

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Speaker 3: Oh my gosh, wait really quick, Okay, this is This

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Speaker 3: episode will have a bit of a Matreon feel to

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Speaker 3: it for those of you on our Matreon, because when

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Speaker 3: it's just the two of us, it's just tangents all day.

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Speaker 3: My mom and I because we have my family's had

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Speaker 3: a biannual timeshare on the outskirts of Orlando for twenty years,

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Speaker 3: and next summer is our trip and my mom has

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Speaker 3: specifically set it up so that I can meet her

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Speaker 3: in Florida to see Despicable Me for with her at CityWalk. Wow,

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Speaker 3: she's so excited.

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Speaker 2: Wait, Is there a Minions ride at Universal Inn Orlando?

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Speaker 3: Yes, and it's like it's it's kind of like Kevin

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Speaker 3: klein Er. Then the Minions ride at University Studios Hollywood.

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Speaker 3: They they're building out like a whole new like land section.

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Speaker 3: That's even. That's because I think at at Universal Studios Hollywood,

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Speaker 3: it's sort of like just the theme park from Dispicable

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Speaker 3: Me One, but they're going full Minions. They're like, no,

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Speaker 3: we're doing villain con. We're going for it. Okay, I

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Speaker 3: can't wait. It's gonna be great. The Minions are from

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Speaker 3: what I can tell, they're busting out of jail yet again.

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Speaker 3: These rascals. I love them. The Minions are anti cars

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Speaker 3: role and that's canon. Okay. Smart House, I watched it

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Speaker 3: a lot when I was a kid. I actually had

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Speaker 3: seen it pretty recently because my boyfriend was homeschooled and

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Speaker 3: didn't have cable and hadn't seen Smart House, and so

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Speaker 3: I had to fix that. And now it's fixed. I'm

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Speaker 3: so excited to talk about it.

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Speaker 2: Great. Shall we get into it.

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Speaker 3: Let's do it.

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Speaker 2: Okay, Let's take a quick break first, and then we'll

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Speaker 2: come back for the recap. Poopye Bellow we're back. Margan's okay.

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Speaker 2: So here's the recap of Smart House. We meet a house,

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Speaker 2: but it's not just any house, Jamie. It's a smart house.

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Speaker 3: Yeah, this house, This house has brains for days. I

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Speaker 3: love a good I was trying to think of other

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Speaker 3: movies that open with some sort of suburban paper Boy gag.

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Speaker 3: I feel like there's other movies that start with paper Boys.

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Speaker 2: Doesn't Barbin Star open, Oh.

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Speaker 3: Yes it does. Oh my god. Okay, that's a superior

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Speaker 3: paper Boy scene. But I feel like, yeah, paper Boy

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Speaker 3: scenes or you know.

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Speaker 4: Paper childer person, paper Person, paper Child is a little

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Speaker 4: scary sounding there, And I mean, and then you have

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Speaker 4: that's the ultimate.

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Speaker 3: I mean, that's paper Boy the movie. God, I've been

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Speaker 3: listening to it. So I've been listening to the sound

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Speaker 3: truck so much it's going to show up on my

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Speaker 3: Spotify year endless. Very embarrassing. Anyways, we start with a

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Speaker 3: classic paper Boy scene which will pay off later, believe

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Speaker 3: it or not. I love, I mean love love. We've

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Speaker 3: got LeVar Burton at the Helm. There's not going to

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Speaker 3: be a loop left unresolved.

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Speaker 2: No no, no, no, no. Okay, So we meet this smart house,

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Speaker 2: which was designed by a woman named Sarah Barnes played

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Speaker 2: by Jessica Steen, yes, who designed this house and gave

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Speaker 2: it all of these like advanced capabilities which we will

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Speaker 2: learn more about in a little bit. But basically, the

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Speaker 2: house has this AI operating system called PAT, which stands

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Speaker 2: for peepee, poo, pooh and toilet paper.

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Speaker 3: That's that's exactly. We are just really smart people. Yeah, yes, boy,

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Speaker 3: smarter even than the house. Voiced by Katie Segal who

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Speaker 3: I never watched this show, but I know a lot

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Speaker 3: of people know her as Peggy Bundy, unmarried with children

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Speaker 3: as well as I didn't. No, she's also Leela on Futurama.

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Speaker 2: Okay, so that's what I recognized her voice from. I

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Speaker 2: was like, right, whose voice is this? I know this?

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Speaker 2: And then turns out Futurama.

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Speaker 3: She's a legend. Everyone loves her and she is also pad.

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Speaker 3: I loved thinking about Katie Sagal in just like a

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Speaker 3: vo booth doing ninety percent of the work for this movie,

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Speaker 3: where it's just like her saying Ben like fifty times

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Speaker 3: now Ben now Ben. Oh my god. She's so like mommy,

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Speaker 3: Like she's so I mean, it's wild. Yeah, yeah, I

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Speaker 3: am a mother like no other You're like, what, ugh, right.

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Speaker 2: Yes, okay, So Sarah again, that's the designer slash engineer

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Speaker 2: of the house. Not really exactly sure what her job is.

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Speaker 3: A little wonky, but it wasn't ex Moki and iye

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Speaker 3: as well.

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Speaker 2: Right, she's a woman in stem it's safe to say yes.

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Speaker 2: And she has launched this contest where some lucky family

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Speaker 2: will win the house. And that really begs the question

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Speaker 2: why would they not sell what would probably be a

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Speaker 2: very like lucrative house to sell, but they're just giving

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Speaker 2: it away.

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Speaker 3: I wasn't as thrown by that as why have they

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Speaker 3: not had Sarah live there for a while or had

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Speaker 3: someone like test run the house that eats your blood

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Speaker 3: when you walk in. It seems like there would be

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Speaker 3: some sort of but I guess, you know, even with

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Speaker 3: a lot of tech today, the regulation just isn't there.

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Speaker 3: And sometimes it takes the house almost killing a family.

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Speaker 3: I mean to realize that maybe there should have been

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Speaker 3: some sort.

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Speaker 2: Of self driving cars that run people over, et cetera.

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Speaker 3: This is one of my biggest issues with this movie

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Speaker 3: is like people should be more mad at Sarah than

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Speaker 3: they are, but they're always like, no girl boss, like

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Speaker 3: she's doing her best, and I was like, she made this,

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Speaker 3: she made the house is trying to eat you anyway.

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Speaker 2: Well, my head canon was that the reason they're giving

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Speaker 2: it away rather than like putting it on the market

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Speaker 2: to sell is that it's like a prototype that they

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Speaker 2: want to test out via a family.

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Speaker 3: Yeah, that would make sense, And it's also like that's

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Speaker 3: so dcom of like starting a movie with a kid

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Speaker 3: winning a contest that you're kind of like, yeah, happens

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Speaker 3: all the time in these movies.

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Speaker 2: Got it? Okay? So then we meet Ben Cooper, who's

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Speaker 2: played by Ryan Merriman of Final Destination three. Oh fame?

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Speaker 2: Is that what the one?

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Speaker 3: That's not what he is most famous for. He is

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Speaker 3: sort of the king of d COM's for like he

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Speaker 3: is like running this channel for some time. He has

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Speaker 3: three classic Disney Channel original movies that he stars and

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Speaker 3: back to back to back.

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Speaker 2: Okay.

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Speaker 3: He is, of course Ben Cooper in Smart House? Who

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Speaker 3: could forget Ben Cooper? Smart House? Not me hang out

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Speaker 3: with mister Cooper basically. Two years later, he is in

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Speaker 3: iconic basketball film The Luck of the Irish, where he

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Speaker 3: plays himself as well as he but he's like a

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Speaker 3: basketball player He's always a basketball player in these movies.

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Speaker 2: Disney loves because the characters in high school musical play

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Speaker 2: oh yeah basketball.

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Speaker 3: Oh oh carbon blue. Well, I guess Zach got front. Yeah.

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Speaker 3: Like the first one's very basketball code it yeah, just

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Speaker 3: like a thirteen year old playing basketball. This channel can't

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Speaker 3: resist it. So The Luck of the Irish is a

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Speaker 3: movie about Ryan Merriman, who's a like teenage basketball player

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Speaker 3: who then is turned into a leprechaun. And it's funny

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Speaker 3: because now he is too short to play basketball. Oh

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Speaker 3: and then he is in kind of a serious one

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Speaker 3: that I don't remember as being very good, but a

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Speaker 3: young Misha Barton is in it, and it's called a

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Speaker 3: Ring of Endless Life. Oh my, it's a sad one.

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Speaker 3: And then he was like, I need to get the

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Speaker 3: fuck out of here. I'm gonna go star in Final

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Speaker 3: Destination three and later iconically for big fans of Pretty

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Speaker 3: Little Liars, he does play a pretty pivotal early character

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Speaker 3: in Pretty Little Liars and he's killed by a bell

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Speaker 3: at the church and then he wasn't on the show

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Speaker 3: after that. He has really been exclusively in really campy

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Speaker 3: movies for his entire career. It's interesting. But yeah, I

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Speaker 3: think Smart House is sort of his big claim to

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Speaker 3: finish his first big or just like his first big thing.

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Speaker 3: But I think he's talented. I think he's a good

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Speaker 3: child actor.

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Speaker 2: Yeah, I suppose.

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Speaker 3: Okay, Lukewarm, Yes, okay.

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Speaker 2: So Ben Cooper is a thirteen year old boy who

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Speaker 2: has been entering that contest to win the smart House

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Speaker 2: so that he and his younger sister Angie and his

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Speaker 2: dad Nick that's Kevin Liner Nill Nurse Slash Kleiner can

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Speaker 2: move into the Smart House.

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Speaker 3: I just want to add really quickly that to just

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Speaker 3: close the loop on this whole basketball thing. At the

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Speaker 3: beginning of the movie, you know that Ryan Merriman's character

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Speaker 3: likes basketball because he's playing basketball outside. But in case

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Speaker 3: that wasn't clear enough, his sweatshirt also just has a

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Speaker 3: picture of a basketball on it. And it's that cinematic

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Speaker 3: subtlety that leads me to believe maybe this kid likes basketball.

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Speaker 3: And so later when Kevin Kleiner's like, why don't you

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Speaker 3: play basketball, I'm like, why doesn't he play basketball? He's

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Speaker 3: obsessed with basketball?

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Speaker 2: Well, he tells us it's because he's too busy being

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Speaker 2: the body of the family.

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Speaker 3: I think that Ben is an interesting character. Anyways, the

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Speaker 3: outfits are camp great, They're amazing.

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Speaker 2: I'm laughing at the picture you just sent me.

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Speaker 3: Okay.

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Speaker 2: So Ben, like we said, he's like quote unquote mommy

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Speaker 2: because he's doing a lot of the household chores and

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Speaker 2: a lot of the work to keep the family together,

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Speaker 2: and he knows that a smart house could help pick

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Speaker 2: up the slack. So that's why he's so adamant about

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Speaker 2: entering and hopefully winning this contest. The next day, the

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00:24:19,280 --> 00:24:23,359
Speaker 2: contest winner is announced and it's Ben, and he finds

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Speaker 2: out at school and his friends are like, wow, good

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Speaker 2: job Ben.

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Speaker 3: There's a very nineteen ninety nine reason that he doesn't

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Speaker 3: find out at home, and it's because he's on the

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Speaker 3: internet too late, so the phone, the landline can't ring.

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Speaker 3: And if you don't understand what that means, then congratulations,

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Speaker 3: you're You should ask your parents before you listen to that. Yeah. Yeah.

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Speaker 2: And then they also call a landline and leave a

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Speaker 2: message on the answering machine, which they don't get because

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Speaker 2: they're not at home. Very nineteen ninety nine problems.

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Speaker 3: There used to be so many ways to not know things.

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Speaker 3: I miss it.

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Speaker 2: Okay, So his friends are congratulating him. And then there's

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Speaker 2: also this kid Ryan I think it's his name who

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Speaker 2: bully's Ben, Yeah, which you can tell because of how

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Speaker 2: spiky his hair is exactly, and he calls the bully.

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Speaker 2: His big mean nickname for Ben is Benny Boy. He's like, hey,

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Speaker 2: Benny Boy, do my homework for me.

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Speaker 3: I'm like, we need to punch up Ryan's I'm not

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Speaker 3: scared enough of him. I like, yeah, I love that. Like,

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Speaker 3: I mean, I think that this is like still kind

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Speaker 3: of true in children's media, but it's like if if

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Speaker 3: an actor has spiky hair, it means they're either a

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Speaker 3: bully or just a general little stinker or is not

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Speaker 3: flat if you're a little stinker.

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Speaker 2: But I mean, like Ben's hair is pretty spiky. I

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Speaker 2: mean that was just he's a little stinker. He is

432
00:26:01,000 --> 00:26:03,760
Speaker 2: a little stinker, but he's also mommy. I love Ben,

433
00:26:04,000 --> 00:26:05,720
Speaker 2: I'm rooting for him, but the way he talks to

434
00:26:05,760 --> 00:26:08,560
Speaker 2: his little sister is so evil. He's so mean to

435
00:26:08,640 --> 00:26:11,359
Speaker 2: his sister. He's so mean to Sarah. He does not

436
00:26:11,440 --> 00:26:12,399
Speaker 2: respect women.

437
00:26:13,880 --> 00:26:16,840
Speaker 3: No, he doesn't, except he loves Pat.

438
00:26:17,119 --> 00:26:19,960
Speaker 2: He loves Pat and he loves his dead mom. Because yes,

439
00:26:20,000 --> 00:26:22,880
Speaker 2: this is a Disney movie. Therefore, there is a dead mom.

440
00:26:23,200 --> 00:26:26,920
Speaker 2: We're gonna need to kill the mom. Yeah, yes, okay.

441
00:26:27,080 --> 00:26:33,600
Speaker 2: So Ben and Angie and their dad Nick meet Sarah,

442
00:26:33,680 --> 00:26:37,560
Speaker 2: who acquaints them with the smart house and with the

443
00:26:37,600 --> 00:26:39,240
Speaker 2: operating system pat.

444
00:26:39,119 --> 00:26:43,080
Speaker 3: And Nick is like, hubba hubbah. Oh. Nick is such

445
00:26:43,280 --> 00:26:47,920
Speaker 3: a fucking adult. He like when he learns that they

446
00:26:48,040 --> 00:26:52,000
Speaker 3: won a free house in the newspaper, he immediately was like,

447
00:26:52,119 --> 00:26:55,359
Speaker 3: who is that hubble. I was like, you just want

448
00:26:55,400 --> 00:26:59,320
Speaker 3: a house? Do you? Weirdo? Oh Corney, and you're on

449
00:26:59,359 --> 00:27:01,520
Speaker 3: the phone with your ten year old son and stop

450
00:27:01,560 --> 00:27:04,960
Speaker 3: being horny. This is yet another movie. This is also

451
00:27:05,200 --> 00:27:09,240
Speaker 3: very era specific of like a movie in which a

452
00:27:09,359 --> 00:27:13,639
Speaker 3: young girl is obsessed with the sex life of her father.

453
00:27:14,280 --> 00:27:16,280
Speaker 2: Yeah.

454
00:27:17,040 --> 00:27:20,600
Speaker 3: Yeah, but it's just, oh, it's so weird, Like I

455
00:27:20,640 --> 00:27:23,719
Speaker 3: want a new Mommy, shut up, Ben, let dad go

456
00:27:23,840 --> 00:27:25,440
Speaker 3: have sex with this lady.

457
00:27:25,640 --> 00:27:29,280
Speaker 2: I'm like why, And then Ben is like, absolutely not.

458
00:27:29,480 --> 00:27:31,440
Speaker 2: Our dad is never going to fuck again.

459
00:27:31,720 --> 00:27:34,959
Speaker 3: He's also obsessed. And then also the dad is so

460
00:27:35,160 --> 00:27:38,120
Speaker 3: willing to engage in that conversation where it's like, were

461
00:27:38,160 --> 00:27:42,199
Speaker 3: I Kevin Kleiner, I would be like, shut up, you guys,

462
00:27:42,480 --> 00:27:47,199
Speaker 3: Like it's not your business right, but also he is

463
00:27:47,280 --> 00:27:50,120
Speaker 3: welcoming the discussion by being such a weirdo and being

464
00:27:50,200 --> 00:27:54,960
Speaker 3: like ooh a woga, Like, yeah, weird family, weird, weird family.

465
00:27:55,119 --> 00:27:56,880
Speaker 2: It's a very interesting dynamic.

466
00:27:57,000 --> 00:28:01,320
Speaker 3: They're going through a lot, but for crying out loud, yeah, okay.

467
00:28:01,320 --> 00:28:04,720
Speaker 2: So then we learn about what Pat is able to do.

468
00:28:05,400 --> 00:28:09,359
Speaker 2: Pat is basically Ai and Pat's able to observe each

469
00:28:09,440 --> 00:28:12,000
Speaker 2: member of the family and learn more and more about

470
00:28:12,080 --> 00:28:15,120
Speaker 2: them and then like make adjustments along the way. Blood

471
00:28:15,560 --> 00:28:19,440
Speaker 2: she eats her blood blood just so she knows more

472
00:28:19,480 --> 00:28:20,280
Speaker 2: about your blood.

473
00:28:20,760 --> 00:28:24,560
Speaker 3: This this all feels like they're especially the kitchen because

474
00:28:24,600 --> 00:28:28,240
Speaker 3: I remember thinking the kitchen and then the floor observers,

475
00:28:28,280 --> 00:28:31,400
Speaker 3: where like if you spill something, the floor eats it. Yes,

476
00:28:31,480 --> 00:28:33,919
Speaker 3: I think that that was like, and then the huge

477
00:28:34,119 --> 00:28:36,359
Speaker 3: well anyways, but like there was so much about the

478
00:28:36,400 --> 00:28:38,160
Speaker 3: house that was really really cool, and a lot of

479
00:28:38,200 --> 00:28:41,280
Speaker 3: it is just like ripoffs of like Star Trek things

480
00:28:41,280 --> 00:28:44,440
Speaker 3: that existed forever, which again makes total sense because of

481
00:28:44,440 --> 00:28:47,240
Speaker 3: the director. But I just remember thinking this house was

482
00:28:47,280 --> 00:28:52,160
Speaker 3: so damn cool and now I think it's very scary

483
00:28:52,320 --> 00:28:55,040
Speaker 3: and not worth it. And did the do you remember

484
00:28:55,160 --> 00:28:58,000
Speaker 3: the Daniel Kluya episode of Black Mirror.

485
00:28:58,760 --> 00:29:02,400
Speaker 2: Oh wait, which one's what's the plot?

486
00:29:02,480 --> 00:29:04,920
Speaker 3: It's like almost ten years ago, but it's basically like

487
00:29:04,960 --> 00:29:07,719
Speaker 3: people live in these future pods where like all your need.

488
00:29:07,840 --> 00:29:11,480
Speaker 3: There's there's two references of like what the big because

489
00:29:11,560 --> 00:29:14,600
Speaker 3: in in the Smart House there are rooms that are

490
00:29:14,680 --> 00:29:17,000
Speaker 3: just huge TV screens and they're supposed to be able

491
00:29:17,040 --> 00:29:19,360
Speaker 3: to like take you anywhere. They can make you feel

492
00:29:19,360 --> 00:29:23,160
Speaker 3: like you're at a basketball game or of five concert

493
00:29:23,800 --> 00:29:28,360
Speaker 3: or the jungle. And the two things that it reminded

494
00:29:28,400 --> 00:29:32,360
Speaker 3: me of was, yeah, there's a Black Mirror episode where

495
00:29:32,480 --> 00:29:36,320
Speaker 3: it's supposed to be like really cool that Daniel Khalulia

496
00:29:36,440 --> 00:29:38,960
Speaker 3: is able to live in this pod and it really

497
00:29:38,960 --> 00:29:41,160
Speaker 3: gamifies your life and it's supposed to be fun. And

498
00:29:41,200 --> 00:29:43,360
Speaker 3: then of course it's Black Mirror episodes, so it turns

499
00:29:43,360 --> 00:29:47,320
Speaker 3: out to be bad actually, but the that's very reductive,

500
00:29:47,320 --> 00:29:50,120
Speaker 3: but like that is the whole show. Yeah, and they

501
00:29:50,160 --> 00:29:52,280
Speaker 3: sleep in rooms like that. The other one that it

502
00:29:52,320 --> 00:29:56,120
Speaker 3: reminds me of is a Ray Bradberry story, Like I

503
00:29:56,200 --> 00:29:59,720
Speaker 3: have to imagine that LeVar Burton has read this story.

504
00:30:00,040 --> 00:30:01,920
Speaker 3: I wonder if the writers had read this story. I

505
00:30:01,960 --> 00:30:04,440
Speaker 3: remembered it from when I was a kid. But it's

506
00:30:04,800 --> 00:30:07,800
Speaker 3: a short story called the Velt. I meant to read

507
00:30:07,840 --> 00:30:09,400
Speaker 3: it before we did this, but I didn't have time.

508
00:30:10,000 --> 00:30:14,080
Speaker 3: But it's about a family that moves into the Happy

509
00:30:14,120 --> 00:30:17,920
Speaker 3: Life Home filled with machines. I'm reading from scholarly journal Wikipedia,

510
00:30:17,920 --> 00:30:21,160
Speaker 3: of course. The Hadley family lives in an automated house

511
00:30:21,200 --> 00:30:23,720
Speaker 3: called the Happy Life Home, filled with machines that aid

512
00:30:23,720 --> 00:30:26,800
Speaker 3: them in completing everyday tasks. Blah blah blah blah blah.

513
00:30:26,840 --> 00:30:30,040
Speaker 3: The two children, Peter and Wendy, enjoy time in the nursery,

514
00:30:30,120 --> 00:30:33,480
Speaker 3: a virtual reality room able to realistically reproduce any place

515
00:30:33,520 --> 00:30:36,600
Speaker 3: they imagine, and grow increasingly attached to it, which is

516
00:30:36,720 --> 00:30:38,800
Speaker 3: very like I feel like they go out of the

517
00:30:38,840 --> 00:30:41,160
Speaker 3: way to show you this room. And Sarah's like, you

518
00:30:41,200 --> 00:30:44,720
Speaker 3: can feel like you're in anywhere, like the Savannah or

519
00:30:44,800 --> 00:30:46,880
Speaker 3: Cape Cod. I think those are her only two ideas.

520
00:30:48,720 --> 00:30:52,160
Speaker 3: But the way that story ends, because the kids are

521
00:30:52,160 --> 00:30:54,400
Speaker 3: getting more attached to spending time in the nursery, the

522
00:30:54,440 --> 00:30:57,400
Speaker 3: parents start to be like, mmm, we don't know, like

523
00:30:57,440 --> 00:30:59,680
Speaker 3: we kind of like for our kids to go outside

524
00:30:59,760 --> 00:31:03,040
Speaker 3: and interact with people. The kids grow very hostile when

525
00:31:03,040 --> 00:31:07,560
Speaker 3: this is suggested. Okay, fast forwarding to the end. Spoiler

526
00:31:07,600 --> 00:31:10,000
Speaker 3: alert for this story that came out in nineteen fifty.

527
00:31:10,600 --> 00:31:12,800
Speaker 3: When the parents come to fetch them, the children lock

528
00:31:12,840 --> 00:31:16,040
Speaker 3: their parents into the nursery with so what they it's

529
00:31:16,080 --> 00:31:20,440
Speaker 3: so VR in the story that they basically set up

530
00:31:20,440 --> 00:31:24,640
Speaker 3: the nursery to emulate a savannah full of lions, lock

531
00:31:24,720 --> 00:31:28,400
Speaker 3: their parents in the room, and the parents die.

532
00:31:29,040 --> 00:31:31,280
Speaker 2: I think I read this story too, because this sounds

533
00:31:31,400 --> 00:31:32,160
Speaker 2: very familiar.

534
00:31:32,680 --> 00:31:36,160
Speaker 3: I wish that spartause ended like I feel like if

535
00:31:36,360 --> 00:31:39,080
Speaker 3: they had had, if this was not on the Disney Channel,

536
00:31:39,120 --> 00:31:41,680
Speaker 3: this movie could have ended so differently. But I felt

537
00:31:42,040 --> 00:31:44,320
Speaker 3: I'd be so curious. I looked to see if there

538
00:31:44,360 --> 00:31:46,440
Speaker 3: was any reference to it in like the marketing around

539
00:31:46,440 --> 00:31:47,840
Speaker 3: this movie, which of course there wasn't because it was

540
00:31:47,880 --> 00:31:50,240
Speaker 3: a Disney Channel movie. But I have to imagine that

541
00:31:50,280 --> 00:31:54,080
Speaker 3: people like the creative team of this movie knew about

542
00:31:54,080 --> 00:31:56,680
Speaker 3: this story, and like it feels like that room is

543
00:31:56,720 --> 00:31:59,959
Speaker 3: a direct reference to like the scary VR room is

544
00:32:00,120 --> 00:32:00,920
Speaker 3: direct reference to.

545
00:32:00,880 --> 00:32:04,120
Speaker 2: It, especially because there is that moment where they project

546
00:32:04,520 --> 00:32:10,880
Speaker 2: a savannah savannah right, like elephants and apex predators and.

547
00:32:10,760 --> 00:32:13,720
Speaker 3: Stuff, right, and then and and Angie gets scared and

548
00:32:13,720 --> 00:32:15,880
Speaker 3: then Sarah's like, okay, I'll turn it off. Yeah, you're

549
00:32:15,920 --> 00:32:18,160
Speaker 3: just and that sort of it because it's a Disney movie.

550
00:32:18,200 --> 00:32:21,720
Speaker 3: But I was like, whoa are they bradburying right now?

551
00:32:21,920 --> 00:32:26,120
Speaker 3: Oh my god? I yeah, I it maybe want to

552
00:32:26,160 --> 00:32:28,200
Speaker 3: read more Ray Bradberry. I read that in I think

553
00:32:28,240 --> 00:32:31,240
Speaker 3: like sixth grade, and it scared the shit out of me,

554
00:32:32,040 --> 00:32:35,840
Speaker 3: but in a good way. Yeah. Anyways, I just wanted

555
00:32:35,880 --> 00:32:39,120
Speaker 3: to shout out the velt and then also like the

556
00:32:39,160 --> 00:32:42,520
Speaker 3: Happy Life Home Pat. It's the same thing. It's the

557
00:32:42,560 --> 00:32:44,640
Speaker 3: same thing. But they're like, but what if this was

558
00:32:44,720 --> 00:32:48,440
Speaker 3: only sort of bad? What if we trapped Pat there?

559
00:32:48,760 --> 00:32:51,920
Speaker 3: I if so bizarre? Anyways, Sorry, I just wanted to

560
00:32:52,640 --> 00:32:56,360
Speaker 3: I guess that that's sort of context corner a little bit. Sure, Sure, no,

561
00:32:56,440 --> 00:32:58,560
Speaker 3: it's all. It's all very helpful.

562
00:32:58,320 --> 00:33:02,120
Speaker 2: And Pat, in a addition to those things, can also

563
00:33:02,480 --> 00:33:06,600
Speaker 2: like make a bunch of food and serve it to

564
00:33:06,680 --> 00:33:10,720
Speaker 2: the family, like you said, absorb things into the floor

565
00:33:10,760 --> 00:33:15,960
Speaker 2: if you spill. Let's say you request a strawberry smoothie

566
00:33:16,040 --> 00:33:18,160
Speaker 2: and then the strawberry smoothie comes out and for some

567
00:33:18,240 --> 00:33:23,320
Speaker 2: reason it's blue and not like pink like you might expect.

568
00:33:23,160 --> 00:33:28,360
Speaker 3: And commercial and then you spill your.

569
00:33:28,200 --> 00:33:33,320
Speaker 2: Blue strawberry smoothie onto the floor, Well, the floor absorbers,

570
00:33:34,080 --> 00:33:39,280
Speaker 2: incredible creative naming device will break absorb the spill.

571
00:33:39,400 --> 00:33:41,600
Speaker 3: They only had twenty minutes to write this movie, I'm sure,

572
00:33:42,160 --> 00:33:46,280
Speaker 3: I think. Yeah, I thought that that was so funny,

573
00:33:46,360 --> 00:33:50,200
Speaker 3: and it reminds me of the most futuristic appliance I own,

574
00:33:50,240 --> 00:33:51,960
Speaker 3: which I know I've talked about on the show because

575
00:33:51,960 --> 00:33:56,760
Speaker 3: I'm so cocky about it, is my automated spaceship litter

576
00:33:56,840 --> 00:33:59,800
Speaker 3: box for flea. Oh yes, and it's kind of floor

577
00:34:00,400 --> 00:34:03,160
Speaker 3: adjacent in that the poo poo does disappear. But then

578
00:34:03,240 --> 00:34:04,800
Speaker 3: it made me think. I was like, but all that

579
00:34:04,960 --> 00:34:08,359
Speaker 3: does go somewhere, and it's gonna be a stinky day

580
00:34:08,480 --> 00:34:12,560
Speaker 3: when you have to empty out the floor absorbers. That's

581
00:34:13,040 --> 00:34:15,279
Speaker 3: gonna be a bad day. Anyways, Did you know that

582
00:34:15,360 --> 00:34:19,440
Speaker 3: LeVar Burton talked to NASA to research how to like

583
00:34:20,560 --> 00:34:24,359
Speaker 3: make this house cool? It all feels or sorry not

584
00:34:24,360 --> 00:34:27,520
Speaker 3: not LeVar Burtons, the guy who wrote the movie. One

585
00:34:27,520 --> 00:34:31,200
Speaker 3: of the two male writers of the movie, Stu Kreeger.

586
00:34:31,280 --> 00:34:34,120
Speaker 3: Because Stu Kreeger also he's kind of a spacehead. Guess

587
00:34:34,160 --> 00:34:37,520
Speaker 3: what other dcom he wrote?

588
00:34:38,160 --> 00:34:39,439
Speaker 2: I couldn't say.

589
00:34:39,400 --> 00:34:42,799
Speaker 3: Xenon Girl of the twenty first century. That's right. This

590
00:34:42,920 --> 00:34:47,040
Speaker 3: guy loves vaguely late nineties space technology, and I guess

591
00:34:47,080 --> 00:34:49,399
Speaker 3: that he had like a plug at NASA that would

592
00:34:49,440 --> 00:34:52,480
Speaker 3: help him like write in ideas.

593
00:34:52,880 --> 00:34:56,440
Speaker 2: Uh huh. Interesting. Yeah, So here's what happened with me

594
00:34:56,800 --> 00:35:01,799
Speaker 2: watching this movie. I forgot that decoms of this era

595
00:35:02,040 --> 00:35:06,319
Speaker 2: have budgets of like eleven dollars and yeah, look like shit.

596
00:35:06,480 --> 00:35:08,600
Speaker 2: So I had in my head because I knew the

597
00:35:08,640 --> 00:35:11,680
Speaker 2: premise of this movie, and I knew it would be

598
00:35:11,719 --> 00:35:19,240
Speaker 2: like futuristic high tech house stuff, and so I figured

599
00:35:20,000 --> 00:35:24,320
Speaker 2: that the kind of production design of the movie would

600
00:35:24,760 --> 00:35:30,200
Speaker 2: reflect the you know, high tech capabilities of this house.

601
00:35:30,600 --> 00:35:31,360
Speaker 2: That is incorrect.

602
00:35:31,440 --> 00:35:34,279
Speaker 3: Yeah, no, no, of course not. It's a I'm sure

603
00:35:34,320 --> 00:35:37,160
Speaker 3: that this was like a general house set on a

604
00:35:37,160 --> 00:35:40,680
Speaker 3: studio a lot that they like added some dingle hoppers

605
00:35:40,719 --> 00:35:44,000
Speaker 3: to to make it seem like a little fancier. But yeah,

606
00:35:44,040 --> 00:35:47,439
Speaker 3: it's just like a sitcom set basically, Yeah, with the

607
00:35:47,800 --> 00:35:51,440
Speaker 3: sort of clunkily edited in like video screen rooms. But

608
00:35:51,560 --> 00:35:54,960
Speaker 3: I will say, like, as a kid that loved this movie,

609
00:35:55,680 --> 00:35:58,600
Speaker 3: it did feel like the moments they chose to show

610
00:35:58,600 --> 00:36:00,920
Speaker 3: what the house could do. It felt like it was

611
00:36:01,080 --> 00:36:04,479
Speaker 3: enough for me. The kitchen like the snacks when when

612
00:36:04,480 --> 00:36:07,000
Speaker 3: the girls are at the party and they get Infinity snacks.

613
00:36:07,520 --> 00:36:12,879
Speaker 3: Pat's control room like the claw outside. You're like, oh yeah,

614
00:36:12,920 --> 00:36:15,680
Speaker 3: when you think about it, it's a lot of camera

615
00:36:15,920 --> 00:36:19,080
Speaker 3: trickery and just being told that this can happen. Right,

616
00:36:20,680 --> 00:36:23,880
Speaker 3: But I was I was duped. I thought it was awesome.

617
00:36:23,960 --> 00:36:27,120
Speaker 3: I mean, when you're eight years old, it will seem impressive.

618
00:36:27,440 --> 00:36:27,920
Speaker 3: It's true.

619
00:36:27,960 --> 00:36:30,040
Speaker 2: When you're thirty seven, not so much.

620
00:36:30,160 --> 00:36:32,480
Speaker 3: Kila, Why are you dunking on this amazing movie? Why

621
00:36:32,480 --> 00:36:34,560
Speaker 3: don't you make smart house and call me back?

622
00:36:35,640 --> 00:36:39,279
Speaker 2: Why am I? They went to NASA? They went to NASA.

623
00:36:39,400 --> 00:36:42,480
Speaker 2: Dunk dunk the house is dunk or the jump jump

624
00:36:42,680 --> 00:36:46,600
Speaker 2: jump dunking the funk. Sorry I got my lyrics confused.

625
00:36:46,880 --> 00:36:49,400
Speaker 2: Slam dunk the funk and then jump jump the house

626
00:36:49,480 --> 00:36:50,000
Speaker 2: is jumping.

627
00:36:50,080 --> 00:36:52,879
Speaker 3: Okay, Yes, sorry, really complicated lore.

628
00:36:54,280 --> 00:36:57,319
Speaker 2: Okay. So the family settles into the new house and

629
00:36:57,360 --> 00:37:00,799
Speaker 2: they love it. Everything's great. Nick starts working from home

630
00:37:00,840 --> 00:37:03,320
Speaker 2: and he's finding that he can be way more productive

631
00:37:03,320 --> 00:37:03,719
Speaker 2: at work.

632
00:37:04,080 --> 00:37:09,400
Speaker 3: His job is the he ships baseball bats. I think

633
00:37:09,719 --> 00:37:13,160
Speaker 3: is that because there's one scene where Pat is yelling.

634
00:37:13,320 --> 00:37:15,080
Speaker 3: I mean this is later in the movie, but Pat's like,

635
00:37:15,280 --> 00:37:19,319
Speaker 3: get back to work, Buster. But he is like on

636
00:37:19,360 --> 00:37:21,680
Speaker 3: this call where he's like, all right, make sure all

637
00:37:21,719 --> 00:37:24,520
Speaker 3: the bats and gloves get there by the end of

638
00:37:24,520 --> 00:37:28,600
Speaker 3: the week. As like, what is this man's job? I

639
00:37:28,960 --> 00:37:34,600
Speaker 3: think that he is a sports equipment shipping guy. Guy

640
00:37:35,880 --> 00:37:38,759
Speaker 3: I don't know, vague, very vague, but sure. And then

641
00:37:38,800 --> 00:37:41,040
Speaker 3: when when Ben calls him at the beginning, he's in

642
00:37:41,040 --> 00:37:44,839
Speaker 3: front of a bunch of baseball looking things. I think

643
00:37:44,880 --> 00:37:46,320
Speaker 3: he's like king of the bats.

644
00:37:46,440 --> 00:37:50,680
Speaker 2: Sure, and well then he brings Ben home a basketball

645
00:37:50,800 --> 00:37:54,520
Speaker 2: to remind us once again that Ben looks basketball right.

646
00:37:54,600 --> 00:37:57,240
Speaker 3: Oh yeah, so he's so, I mean, he's got range.

647
00:37:57,360 --> 00:37:59,000
Speaker 3: It's not just bats and gloves.

648
00:37:59,080 --> 00:38:02,000
Speaker 2: Yeah, it's also other things.

649
00:38:03,239 --> 00:38:04,319
Speaker 3: Okay, So.

650
00:38:06,480 --> 00:38:09,239
Speaker 2: Nick like the house is helping him be more productive

651
00:38:09,320 --> 00:38:14,080
Speaker 2: at his job at school. This popular girl named Gwen,

652
00:38:14,640 --> 00:38:18,239
Speaker 2: who Ben has a crush on, is like, hey, Ben,

653
00:38:18,719 --> 00:38:22,359
Speaker 2: you should invite me over to your cool house. And

654
00:38:22,440 --> 00:38:26,080
Speaker 2: so everyone's like, wow, this house is really doing one

655
00:38:26,520 --> 00:38:27,000
Speaker 2: for us.

656
00:38:27,320 --> 00:38:31,320
Speaker 3: Jump in it is jump jump.

657
00:38:31,120 --> 00:38:38,319
Speaker 2: But oh no, Pat malfunctions while trying to make smoothies.

658
00:38:38,480 --> 00:38:44,360
Speaker 2: Smoothies are with oranges, Yes, Smoothies are a big motif

659
00:38:44,480 --> 00:38:47,280
Speaker 2: in this movie, and sometimes they are.

660
00:38:47,120 --> 00:38:49,360
Speaker 3: Just too much. I think they're going so smoothie anymore.

661
00:38:51,360 --> 00:38:52,239
Speaker 3: It makes you think.

662
00:38:53,280 --> 00:38:59,000
Speaker 2: You think the irony of Pat malfunctioning and not running

663
00:38:59,040 --> 00:39:04,840
Speaker 2: smoothly because she's trying to make smoothies is literary genius.

664
00:39:05,160 --> 00:39:07,680
Speaker 3: Yeah, Ray Bradberry could never she could not.

665
00:39:09,000 --> 00:39:16,080
Speaker 2: Okay, so Pat malfunctions and we're like, hmm, foreshadowing much so.

666
00:39:16,680 --> 00:39:19,680
Speaker 2: Nick has Sarah come over to see what went wrong,

667
00:39:20,239 --> 00:39:23,720
Speaker 2: and Sarah stays for dinner, which makes Ben furious because

668
00:39:23,840 --> 00:39:27,879
Speaker 2: again he thinks that Sarah is trying to replace his mom,

669
00:39:28,120 --> 00:39:32,000
Speaker 2: and he's really mean and condescending to her, and he

670
00:39:32,080 --> 00:39:32,600
Speaker 2: storms off.

671
00:39:32,640 --> 00:39:35,400
Speaker 3: We'll return to this conversation. Yeah, I do think it

672
00:39:35,520 --> 00:39:39,680
Speaker 3: is kind of amazing that Sarah has a pet rat

673
00:39:39,800 --> 00:39:40,640
Speaker 3: named Butler.

674
00:39:40,920 --> 00:39:44,600
Speaker 2: She's like, like, rat Butler, get it?

675
00:39:44,719 --> 00:39:47,400
Speaker 3: And I don't get it. It's what is that a reference?

676
00:39:47,400 --> 00:39:50,479
Speaker 2: A reference to Rhet Butler, who was.

677
00:39:50,440 --> 00:39:55,680
Speaker 3: Like, oh gone with the wind? Yeah, what a bizarre

678
00:39:55,800 --> 00:39:58,960
Speaker 3: reference to make in a d comt. But at least

679
00:39:59,040 --> 00:40:04,680
Speaker 3: Ryan Merriman's like, what shut up? That is weird behavior

680
00:40:04,760 --> 00:40:10,640
Speaker 3: to name your rat after a racist movie character. But

681
00:40:11,280 --> 00:40:12,880
Speaker 3: I liked that she had a rat.

682
00:40:13,600 --> 00:40:16,920
Speaker 2: I mean, she's not like the other women in stem.

683
00:40:17,360 --> 00:40:20,640
Speaker 3: No, she's dated a bunch of serial killers and she

684
00:40:20,719 --> 00:40:24,160
Speaker 3: has a pet rat. They didn't need to write that down,

685
00:40:24,200 --> 00:40:27,160
Speaker 3: but they did, and I think it's interesting. Well, the

686
00:40:27,239 --> 00:40:28,040
Speaker 3: rat is.

687
00:40:28,000 --> 00:40:31,800
Speaker 2: Another thing that is planted and will pay off. Oh yeah,

688
00:40:31,880 --> 00:40:33,359
Speaker 2: so that's why we need the rat.

689
00:40:33,640 --> 00:40:37,120
Speaker 3: Yeah, anyway, that's just that Stu Kreeger magic.

690
00:40:38,680 --> 00:40:43,719
Speaker 2: Yeah, exactly. So Nick goes to talk to Ben and

691
00:40:43,760 --> 00:40:47,439
Speaker 2: he's like, son, you're taking on too much. You don't

692
00:40:47,440 --> 00:40:49,799
Speaker 2: have to work so hard to take care of us.

693
00:40:50,600 --> 00:40:52,400
Speaker 2: And Ben is like, well, yeah, I don't have to

694
00:40:52,440 --> 00:40:55,439
Speaker 2: work so hard anymore because now we have Pat. She's

695
00:40:55,520 --> 00:40:59,239
Speaker 2: going to be mummy now. And Nick is like, well,

696
00:40:59,320 --> 00:41:05,480
Speaker 2: don't forget, she's just a machine. And then Ben goes

697
00:41:05,600 --> 00:41:09,800
Speaker 2: into the control room of the house and has Pat

698
00:41:09,920 --> 00:41:14,400
Speaker 2: watch a bunch of nineteen fifties sitcoms to show Pat

699
00:41:14,719 --> 00:41:16,880
Speaker 2: how to be more maternal.

700
00:41:17,440 --> 00:41:23,560
Speaker 3: I'm just like Ben, Ben, Now, Ben, why not choose

701
00:41:23,719 --> 00:41:26,000
Speaker 3: more current videos?

702
00:41:26,880 --> 00:41:31,120
Speaker 2: Were anything else? Yeah, well we will return to this because.

703
00:41:30,960 --> 00:41:34,200
Speaker 3: Yes, I also I just like, I don't know you, like,

704
00:41:34,320 --> 00:41:36,200
Speaker 3: I don't want to bully this eleven year old character.

705
00:41:36,239 --> 00:41:38,719
Speaker 3: Too much. But I'm just like this kid should be

706
00:41:38,760 --> 00:41:43,120
Speaker 3: in therapy, Like Kevin Kleiner needs to get this kid

707
00:41:43,120 --> 00:41:45,799
Speaker 3: into therapy. Like he's I feel bad because it's like

708
00:41:46,000 --> 00:41:49,560
Speaker 3: he does all this shitty, little stinker stuff that's super

709
00:41:49,600 --> 00:41:53,000
Speaker 3: misguided and sucks. But it's also like it's obvious that

710
00:41:53,120 --> 00:41:56,040
Speaker 3: like he and his dad, like he doesn't really have

711
00:41:56,040 --> 00:42:00,120
Speaker 3: anyone to talk to about his mom. He's like not

712
00:42:00,480 --> 00:42:04,600
Speaker 3: been able to like properly grieve about it, and like

713
00:42:04,680 --> 00:42:09,480
Speaker 3: I understand from a kid's perspective of like he feels

714
00:42:09,520 --> 00:42:11,320
Speaker 3: like his mom is trying to be replaced and he

715
00:42:11,360 --> 00:42:13,560
Speaker 3: feels like he can't talk about her ever, which like

716
00:42:13,640 --> 00:42:17,040
Speaker 3: has to be really hard on a kid, and you

717
00:42:17,080 --> 00:42:20,120
Speaker 3: would like probably lash out and do a bunch of

718
00:42:20,160 --> 00:42:23,960
Speaker 3: weird stuff and all of that. I just but it's

719
00:42:24,000 --> 00:42:26,640
Speaker 3: like the movie. The way the movie handles it, it's

720
00:42:26,760 --> 00:42:30,080
Speaker 3: very you know, glazed over fantasy stuff. But it's like

721
00:42:30,160 --> 00:42:33,080
Speaker 3: this poor kid, like he hasn't been able to grieve

722
00:42:33,239 --> 00:42:35,560
Speaker 3: his mom and literally no one will talk to him

723
00:42:35,560 --> 00:42:38,480
Speaker 3: about it. And it's like not that it's that his

724
00:42:38,560 --> 00:42:41,480
Speaker 3: dad shouldn't be allowed to move on, like of course,

725
00:42:42,040 --> 00:42:44,120
Speaker 3: but it's like it doesn't seem like there's ever been

726
00:42:44,160 --> 00:42:47,560
Speaker 3: like a structured conversation about it, right, And it seems

727
00:42:47,600 --> 00:42:52,160
Speaker 3: like these like reactions from Ben could at least be

728
00:42:53,040 --> 00:42:55,880
Speaker 3: like tempered, even if it doesn't change how he feels.

729
00:42:55,920 --> 00:42:58,239
Speaker 3: It's like, I feel like you do, oh you know

730
00:42:58,320 --> 00:43:01,719
Speaker 3: your kid a conversation of like, hey, I'm going to

731
00:43:01,719 --> 00:43:04,680
Speaker 3: start seeing people and like this is like how do

732
00:43:04,719 --> 00:43:06,480
Speaker 3: you feel about that? And let's talk about it blah

733
00:43:06,480 --> 00:43:10,040
Speaker 3: blah blah. But Kevin Kleiner's like, shut up, I'm gonna

734
00:43:10,040 --> 00:43:12,400
Speaker 3: fuck like there, you know. But then in other and

735
00:43:12,400 --> 00:43:14,239
Speaker 3: then eventually he feels bad about it. But I was

736
00:43:14,280 --> 00:43:17,320
Speaker 3: just like this dad is a mess. So in that way,

737
00:43:17,440 --> 00:43:18,680
Speaker 3: it's hyper realistic.

738
00:43:20,680 --> 00:43:24,359
Speaker 2: Yeah, there's one conversation towards the beginning where Ben says

739
00:43:24,400 --> 00:43:27,160
Speaker 2: something like our family is perfect the way it is,

740
00:43:27,239 --> 00:43:30,279
Speaker 2: and then his dad is like, well, I think there's

741
00:43:30,320 --> 00:43:32,280
Speaker 2: a little room for improvement.

742
00:43:32,440 --> 00:43:35,040
Speaker 3: And it's like that's such a cruel thing to say

743
00:43:35,400 --> 00:43:41,600
Speaker 3: to children. You're a grieving child. I yeah, I feel

744
00:43:41,640 --> 00:43:44,960
Speaker 3: I feel for bad I have. I'm lucky to have

745
00:43:44,960 --> 00:43:47,719
Speaker 3: not lost a parent before, but like it just seems

746
00:43:47,760 --> 00:43:51,960
Speaker 3: like he has no support whatsoever, and his dad is

747
00:43:52,080 --> 00:43:56,560
Speaker 3: like I don't know either like emotionally repressed or like

748
00:43:56,640 --> 00:43:58,799
Speaker 3: doesn't have the skill set to like talk to his

749
00:43:58,840 --> 00:44:03,400
Speaker 3: son about it, and then is bringing someone new into

750
00:44:03,440 --> 00:44:05,600
Speaker 3: his kids' lives, which, of course, like every parent is

751
00:44:05,640 --> 00:44:08,680
Speaker 3: going to be different about the timeline for that, But

752
00:44:09,000 --> 00:44:10,840
Speaker 3: I just I don't know, like Ben, Like it doesn't

753
00:44:10,880 --> 00:44:15,480
Speaker 3: excuse Ben being a little shitthead at so many points

754
00:44:15,480 --> 00:44:17,200
Speaker 3: in this movie. But I also just feel like he

755
00:44:17,280 --> 00:44:21,680
Speaker 3: just has very little support because his sister like probably

756
00:44:21,719 --> 00:44:23,960
Speaker 3: would want to support him if she could, but like

757
00:44:24,040 --> 00:44:26,920
Speaker 3: she doesn't remember her mom well enough to do it right.

758
00:44:27,000 --> 00:44:28,560
Speaker 3: And then his dad won't talk to him about it,

759
00:44:28,600 --> 00:44:31,120
Speaker 3: and I'm just like, buddy, we got to get you

760
00:44:31,160 --> 00:44:35,840
Speaker 3: into counseling. Anyways, he doesn't. That doesn't happen. He instead

761
00:44:35,880 --> 00:44:37,800
Speaker 3: shows Pat a bunch of you. I think, like Pat

762
00:44:37,840 --> 00:44:41,760
Speaker 3: literally gets radicalized by the YouTube algorithm.

763
00:44:42,400 --> 00:44:47,400
Speaker 2: Yeah, because Ben is like, here's some here's some shows.

764
00:44:47,600 --> 00:44:51,360
Speaker 2: And the titles of these shows are mother Knows Best,

765
00:44:51,640 --> 00:44:55,400
Speaker 2: My Three Moms, which it's like, okay, what's that show about?

766
00:44:56,040 --> 00:45:03,200
Speaker 2: Make Room for Mama and Noah's matriarch hilarious, And so

767
00:45:03,320 --> 00:45:07,640
Speaker 2: Pat absorbs these so that she can learn to be

768
00:45:07,800 --> 00:45:13,040
Speaker 2: more motherly, which works because the next day Pat is like,

769
00:45:13,880 --> 00:45:19,080
Speaker 2: brush your teeth, darling, take your vitamin's honey, bunny, here's

770
00:45:19,080 --> 00:45:23,840
Speaker 2: a cupcake, sweetie pie. And then she's also like a dad,

771
00:45:24,200 --> 00:45:27,840
Speaker 2: you worry about business, I'll worry about taking care of

772
00:45:27,880 --> 00:45:28,560
Speaker 2: the kids.

773
00:45:29,000 --> 00:45:31,759
Speaker 3: I thought, it's like, it's kind of interesting commentary on

774
00:45:32,000 --> 00:45:34,440
Speaker 3: like media of that time, but also it kind of

775
00:45:34,440 --> 00:45:38,000
Speaker 3: goes nowhere, right. I just wanted to quickly shout out

776
00:45:38,000 --> 00:45:41,799
Speaker 3: the fact that, for some baffling reason, we get to

777
00:45:41,800 --> 00:45:47,640
Speaker 3: see dad in Sarah's whole date while Ben is throwing

778
00:45:47,680 --> 00:45:50,960
Speaker 3: his party before Pat is put on the straight and

779
00:45:51,040 --> 00:45:56,640
Speaker 3: narrow path of being a real disciplinarian kind of parent house.

780
00:45:58,320 --> 00:46:00,799
Speaker 3: But I just think it's every time kids movie. I'm

781
00:46:00,840 --> 00:46:05,239
Speaker 3: like I in my long career of being a child

782
00:46:05,360 --> 00:46:08,440
Speaker 3: watching movies on the Disney Channel, I never want that

783
00:46:08,480 --> 00:46:12,360
Speaker 3: any given point was like what's happening on their dad's date?

784
00:46:13,080 --> 00:46:15,880
Speaker 3: And right, but they always show it to you. And

785
00:46:15,920 --> 00:46:17,600
Speaker 3: in this one, for some reason, they show you this

786
00:46:17,719 --> 00:46:22,880
Speaker 3: like ah, they kiss you and she because he has

787
00:46:22,920 --> 00:46:25,479
Speaker 3: a little hershey kiss in his bag and then he's

788
00:46:25,520 --> 00:46:29,000
Speaker 3: like kiss and like, I hate this guy so corny.

789
00:46:30,360 --> 00:46:33,800
Speaker 3: She's like objectively too good for him, Like she's literally

790
00:46:33,840 --> 00:46:36,960
Speaker 3: a super genius and this guy is a flop parent

791
00:46:38,000 --> 00:46:44,160
Speaker 3: who's like, but leave her alone.

792
00:46:44,440 --> 00:46:47,520
Speaker 2: Okay. So Ben is like, Wow, it's like my plan

793
00:46:47,680 --> 00:46:52,759
Speaker 2: is working. And then off screen I could like not

794
00:46:52,920 --> 00:46:56,719
Speaker 2: track this sequence of events really or like why this

795
00:46:56,840 --> 00:47:00,719
Speaker 2: was us anyway? Off screen, Ben ends up to his

796
00:47:00,960 --> 00:47:05,640
Speaker 2: bully at the advice of his dad. But Ben, it's

797
00:47:05,719 --> 00:47:06,719
Speaker 2: beaten up very.

798
00:47:06,600 --> 00:47:10,600
Speaker 3: Quickly, and then like, yeah, they the bully. I guess

799
00:47:10,600 --> 00:47:13,319
Speaker 3: it's like good that they don't show it right, but like,

800
00:47:13,600 --> 00:47:17,239
Speaker 3: but why does that happen? Yeah? Yeah, Like what's his name?

801
00:47:17,320 --> 00:47:18,760
Speaker 2: Ryan, Ryan the Bully?

802
00:47:19,400 --> 00:47:22,239
Speaker 3: Ryan the Bully kicks the shit out of him, which

803
00:47:22,320 --> 00:47:26,520
Speaker 3: again seems like okay, Kevin Kleiner, this is a good

804
00:47:26,560 --> 00:47:31,920
Speaker 3: point to like talk to this school, like do something,

805
00:47:32,200 --> 00:47:35,399
Speaker 3: but he's a flop, so he does not do anything right.

806
00:47:35,480 --> 00:47:38,120
Speaker 2: I do not know why this subplot with the bully

807
00:47:38,280 --> 00:47:41,080
Speaker 2: is in the movie. Doesn't really connect it anything else.

808
00:47:41,680 --> 00:47:44,840
Speaker 3: All it really does for me is like reinforce what

809
00:47:45,120 --> 00:47:49,359
Speaker 3: a shitty parent Nick is, where it's like the first

810
00:47:49,400 --> 00:47:52,920
Speaker 3: time he bothers to give his son any advice, he

811
00:47:52,960 --> 00:47:55,040
Speaker 3: gets the shit kicked out of him, right, and you're

812
00:47:55,080 --> 00:47:57,960
Speaker 3: just like, well, I don't know, maybe Pat. I think

813
00:47:57,960 --> 00:48:01,439
Speaker 3: Pat is kind of a better parent. Sorry, wow, I.

814
00:48:01,360 --> 00:48:08,040
Speaker 2: Mean, let's let's find out. So Ben. So, after he's

815
00:48:08,080 --> 00:48:12,120
Speaker 2: been beaten up, Ben is feeling down and he's also

816
00:48:12,560 --> 00:48:17,040
Speaker 2: still really missing his mom, and you know, Sarah is

817
00:48:17,080 --> 00:48:20,279
Speaker 2: around more and more, and he feels very threatened that

818
00:48:20,920 --> 00:48:24,280
Speaker 2: she's gonna come in and like quote unquote replace his mom.

819
00:48:24,560 --> 00:48:27,839
Speaker 2: So then he watches a video which reminded me of

820
00:48:28,360 --> 00:48:31,040
Speaker 2: remember on the John Wick episode we were talking about

821
00:48:31,120 --> 00:48:36,280
Speaker 2: Deadwife dot mp four. He watches Dead Mom dot MLV.

822
00:48:37,239 --> 00:48:42,520
Speaker 3: He does, he really does, and she and it's just

823
00:48:42,600 --> 00:48:44,920
Speaker 3: like so, I mean, it's like it makes sense in

824
00:48:44,960 --> 00:48:46,960
Speaker 3: a movie of this era. And then most I mean

825
00:48:47,239 --> 00:48:49,719
Speaker 3: it's just as vague and Dead Wife dot mp four

826
00:48:49,880 --> 00:48:53,960
Speaker 3: she's like, John, come on, John, You're like what are

827
00:48:54,000 --> 00:48:56,080
Speaker 3: you talking about? Like why are you on the beach?

828
00:48:56,280 --> 00:49:00,480
Speaker 3: What's happening? And then this one, at least it's a

829
00:49:00,520 --> 00:49:04,200
Speaker 3: little more grounded, but she's like running around the kitchen

830
00:49:04,280 --> 00:49:09,520
Speaker 3: being like, mom is gonna buy you? A mocking classic

831
00:49:09,640 --> 00:49:14,200
Speaker 3: mom behavior and then she's like yeah, it uh, it's

832
00:49:14,360 --> 00:49:18,440
Speaker 3: it's very I thought it was like sweet. It was

833
00:49:18,480 --> 00:49:20,680
Speaker 3: like if they're going to dead mom route. I feel

834
00:49:20,719 --> 00:49:26,120
Speaker 3: like Disney movies usually just elect to uh not reference

835
00:49:26,280 --> 00:49:31,200
Speaker 3: grief at all. This one does, at least like you

836
00:49:31,200 --> 00:49:33,880
Speaker 3: would do. Like, even when what Ben's doing sucks in

837
00:49:33,920 --> 00:49:37,480
Speaker 3: the context of a kid who hasn't been able to

838
00:49:37,480 --> 00:49:40,000
Speaker 3: properly grief his parent, at least it does make sense.

839
00:49:40,040 --> 00:49:43,080
Speaker 3: But it's like that seems really sad, even though the

840
00:49:43,160 --> 00:49:44,560
Speaker 3: video is kind of funny.

841
00:49:44,800 --> 00:49:46,840
Speaker 2: Right, it's it's sad and he's crying.

842
00:49:47,080 --> 00:49:51,560
Speaker 3: And Ryan Merryman, he is really good in that scene.

843
00:49:52,520 --> 00:49:54,600
Speaker 3: Someone saw that and they're like, what what if he

844
00:49:54,640 --> 00:49:58,600
Speaker 3: was a basketball playing leprechaun. Wow, he's got the range,

845
00:49:59,040 --> 00:50:00,759
Speaker 3: he's got the.

846
00:50:02,040 --> 00:50:05,839
Speaker 2: Okay, So he's watching this video and Pat is observing.

847
00:50:06,160 --> 00:50:11,719
Speaker 2: Of course she's always watching. Meanwhile, Nick calls Sarah and

848
00:50:11,800 --> 00:50:15,680
Speaker 2: asks her out to dinner on Saturday night, which she accepts,

849
00:50:16,080 --> 00:50:20,640
Speaker 2: and Pat overhears Nick talking to Sarah about how he

850
00:50:20,760 --> 00:50:24,520
Speaker 2: wishes that Ben was able to have more fun. So

851
00:50:24,560 --> 00:50:27,879
Speaker 2: Pat gets the idea to invite Ben's friends over for

852
00:50:27,960 --> 00:50:30,920
Speaker 2: a party the following night, and so a bunch of

853
00:50:31,000 --> 00:50:34,200
Speaker 2: kids from school show up. This is where we get

854
00:50:34,400 --> 00:50:36,760
Speaker 2: them doing a choreographed dance.

855
00:50:39,040 --> 00:50:41,800
Speaker 3: Another scene that passes the back of test. Angie's working

856
00:50:41,840 --> 00:50:44,759
Speaker 3: the door for some reason, and there's two girls that

857
00:50:44,760 --> 00:50:47,719
Speaker 3: show up give their full names, and Angie says, get

858
00:50:47,760 --> 00:50:49,000
Speaker 3: the fuck out of here, and.

859
00:50:48,920 --> 00:50:52,560
Speaker 2: They're like, oh my god, this party is so exclusive.

860
00:50:52,840 --> 00:50:56,800
Speaker 3: But I love that pass. That was a good one.

861
00:50:56,960 --> 00:50:59,840
Speaker 2: It was really fun. So the kids are showing up

862
00:50:59,840 --> 00:51:05,520
Speaker 2: to party, including Ben's crush, Gwen Ben and Gwen Ben Gwen. Okay, hello, a.

863
00:51:05,440 --> 00:51:09,799
Speaker 3: Little bit too twiny for me, but sure too much rhyming,

864
00:51:10,040 --> 00:51:13,759
Speaker 3: too much. Taylor Laughner married someone named Taylor, and you're like,

865
00:51:14,080 --> 00:51:16,360
Speaker 3: I'm sure you're very in love, but this should not

866
00:51:16,800 --> 00:51:17,960
Speaker 3: be legal.

867
00:51:18,239 --> 00:51:21,719
Speaker 2: I will not even consider dating anyone that has the

868
00:51:21,719 --> 00:51:24,719
Speaker 2: first name of any one I'm related to.

869
00:51:25,040 --> 00:51:26,759
Speaker 3: I feel like it would be really difficult for me

870
00:51:26,800 --> 00:51:31,120
Speaker 3: to definitely someone with my own name. But even like James,

871
00:51:31,160 --> 00:51:34,280
Speaker 3: I sort of like I couldn't do it. It's too confusing.

872
00:51:34,480 --> 00:51:39,000
Speaker 3: My grandparents' names were Patrick and Patricia. Oh, and they

873
00:51:39,000 --> 00:51:40,440
Speaker 3: thought it was hysteria.

874
00:51:40,440 --> 00:51:43,719
Speaker 2: And pat Were they smart houses?

875
00:51:44,719 --> 00:51:47,520
Speaker 3: No, they weren't very smart houses, but they were good people.

876
00:51:47,800 --> 00:51:48,480
Speaker 2: Okay, And.

877
00:51:50,320 --> 00:51:53,600
Speaker 3: Anyways, sorry I just called my grandparents not smart. Let's

878
00:51:53,600 --> 00:51:53,920
Speaker 3: move on.

879
00:51:55,760 --> 00:51:58,680
Speaker 2: Okay, So we've got Ben and Gwen. And then also

880
00:51:58,960 --> 00:52:02,040
Speaker 2: the bully Ryan In shows up to the party because

881
00:52:02,400 --> 00:52:05,480
Speaker 2: Pat invited him so that she could publicly.

882
00:52:05,239 --> 00:52:08,560
Speaker 3: Amiliate she wants to kick his ass. She I feel

883
00:52:08,600 --> 00:52:11,399
Speaker 3: like if this was a Ray Bradberry story, she would

884
00:52:11,400 --> 00:52:12,279
Speaker 3: have killed him. Yeah.

885
00:52:12,320 --> 00:52:16,319
Speaker 2: Absolutely, like to capitate him, like Megan did that to

886
00:52:16,520 --> 00:52:21,040
Speaker 2: someone who bullied her friend Katie. It's yeah, absolutely, So

887
00:52:21,560 --> 00:52:26,759
Speaker 2: Pat humiliates the bully and he goes running away. Meanwhile,

888
00:52:26,880 --> 00:52:29,040
Speaker 2: like you said, we cut to the date that Nick

889
00:52:29,080 --> 00:52:33,720
Speaker 2: and Sarah are on, we see them kissing, and then.

890
00:52:34,719 --> 00:52:36,080
Speaker 3: I was like, maybe it's just the fact that I

891
00:52:36,160 --> 00:52:38,520
Speaker 3: watched this movie when I was really little, But when

892
00:52:38,520 --> 00:52:44,360
Speaker 3: they kiss I'm still like yucky. It's also unnecessary for

893
00:52:44,440 --> 00:52:49,320
Speaker 3: the plot. Yeah, yeah, listeners, please sound off other movies

894
00:52:49,360 --> 00:52:52,960
Speaker 3: that do this, like a kid's movie that includes a

895
00:52:53,000 --> 00:52:56,120
Speaker 3: weird amount of insight on the parents' love life that

896
00:52:56,200 --> 00:52:59,360
Speaker 3: the core audience for these movies couldn't possibly give a

897
00:52:59,360 --> 00:53:01,880
Speaker 3: shit about. It's also Mary Kate Nashley where you just

898
00:53:01,880 --> 00:53:05,720
Speaker 3: see the dad on that dating montage, You're like, who cares?

899
00:53:05,719 --> 00:53:06,440
Speaker 2: Which one was that?

900
00:53:06,560 --> 00:53:10,000
Speaker 3: Was that Bill boil Bird dad? Was Billboard Dad? We're

901
00:53:10,040 --> 00:53:13,000
Speaker 3: gonna have to return to that well spring at some point,

902
00:53:13,160 --> 00:53:14,719
Speaker 3: but we've got time.

903
00:53:14,840 --> 00:53:21,919
Speaker 2: Mary Kate and Ashley August or something. Okay, So Nick

904
00:53:22,040 --> 00:53:25,760
Speaker 2: heads home from the date while the party is still happening,

905
00:53:25,800 --> 00:53:27,839
Speaker 2: so Ben and Angie have to like kick everyone out

906
00:53:27,880 --> 00:53:33,480
Speaker 2: and clean up the house via Pat's floor absorbers. But

907
00:53:33,640 --> 00:53:36,239
Speaker 2: oh no, they missed something and Nick comes home and

908
00:53:36,239 --> 00:53:38,360
Speaker 2: he sees it, so they get in trouble for throwing

909
00:53:38,400 --> 00:53:40,920
Speaker 2: the party. But Pat is like, no, no, no, it

910
00:53:41,040 --> 00:53:44,799
Speaker 2: was my fault. I invited everyone to the party, which

911
00:53:44,840 --> 00:53:47,840
Speaker 2: is true, and so Nick is like, Pat, you gotta

912
00:53:47,880 --> 00:53:49,799
Speaker 2: get yourself under control.

913
00:53:50,120 --> 00:53:54,920
Speaker 3: Yeah, pull it together. Pat. You can't just throw awesome

914
00:53:55,000 --> 00:53:56,640
Speaker 3: parties with my cool son.

915
00:53:58,280 --> 00:54:00,640
Speaker 2: You can't have the house be jumping.

916
00:54:01,360 --> 00:54:04,160
Speaker 3: The cows can't just be jumping like that.

917
00:54:05,480 --> 00:54:10,120
Speaker 2: So Pat is like absolutely, of course I will simmer down.

918
00:54:10,960 --> 00:54:15,760
Speaker 2: So then Pat starts like policing the family, what clothes

919
00:54:15,880 --> 00:54:20,000
Speaker 2: they wear, what they do. She's like, you gotta finish

920
00:54:20,080 --> 00:54:25,360
Speaker 2: your homework and your baseball selling job before you do

921
00:54:25,480 --> 00:54:29,880
Speaker 2: anything fun. And then they're like, well this sucks. So

922
00:54:29,920 --> 00:54:32,359
Speaker 2: they have Sarah come over to see if she can

923
00:54:32,400 --> 00:54:36,760
Speaker 2: fix this new mode that Pat is in, and Sarah

924
00:54:36,760 --> 00:54:40,080
Speaker 2: decides to shut the whole system down and give Pat

925
00:54:40,280 --> 00:54:49,520
Speaker 2: a rest, but Pat turns herself back on mocking. Meanwhile,

926
00:54:50,000 --> 00:54:53,040
Speaker 2: Ben is throwing another fit about how his dad is

927
00:54:53,080 --> 00:54:56,840
Speaker 2: falling in love with Sarah and how he thinks Sarah's

928
00:54:56,880 --> 00:55:01,120
Speaker 2: gonna replace his mom, and Nick sits him down and

929
00:55:01,160 --> 00:55:04,080
Speaker 2: he's like, that's not what's happening, and they have like

930
00:55:04,120 --> 00:55:07,640
Speaker 2: a really tender, nice conversation I thought, But I thought

931
00:55:07,680 --> 00:55:08,040
Speaker 2: so too.

932
00:55:08,080 --> 00:55:10,799
Speaker 3: I liked that scene and I'm just again feeling for

933
00:55:10,880 --> 00:55:14,359
Speaker 3: this fictional kid. I was like, wow, Nick, it would

934
00:55:14,360 --> 00:55:16,279
Speaker 3: have been really cool if you had this conversation with

935
00:55:16,400 --> 00:55:21,040
Speaker 3: Ben four year years ago. Why is it taking the

936
00:55:21,120 --> 00:55:23,960
Speaker 3: house that eats blood to force you to have this conversation?

937
00:55:24,120 --> 00:55:26,040
Speaker 3: But yeah, I thought that that was nice. And they're

938
00:55:26,080 --> 00:55:29,840
Speaker 3: in that scene, Nick is like, well I lost my

939
00:55:30,000 --> 00:55:37,319
Speaker 3: wife and You're like, damn, that's true. But uh yeah,

940
00:55:37,320 --> 00:55:38,839
Speaker 3: I thought that that scene was really sweet. And it's

941
00:55:38,840 --> 00:55:41,359
Speaker 3: also I think pretty rare in the space of a

942
00:55:41,480 --> 00:55:47,520
Speaker 3: movie that stars a boy to have a even when

943
00:55:47,560 --> 00:55:50,920
Speaker 3: it's like very very misguided, to be like as emotionally

944
00:55:50,920 --> 00:55:54,279
Speaker 3: expressive as Ben is. Sure, yeah, and then also that

945
00:55:54,480 --> 00:55:57,839
Speaker 3: like a father son conversation about their feelings. I feel

946
00:55:57,840 --> 00:56:00,560
Speaker 3: like in nineteen ninety nine. That's like, that's pretty solid.

947
00:56:01,040 --> 00:56:02,719
Speaker 3: It doesn't make Nick a better parent. He's still a

948
00:56:02,719 --> 00:56:05,080
Speaker 3: piece of shit parent. And I think he's still really

949
00:56:05,600 --> 00:56:10,440
Speaker 3: playing fast and loose with bringing someone new into the

950
00:56:10,480 --> 00:56:13,759
Speaker 3: house before he's talked to his kids about it in

951
00:56:13,800 --> 00:56:16,040
Speaker 3: a way that's also like fucked up in like kind

952
00:56:16,080 --> 00:56:19,960
Speaker 3: of disrespectful to Sarah too, because he keeps just being

953
00:56:20,040 --> 00:56:23,520
Speaker 3: like my children, And I was like, dude, yeah, you're

954
00:56:23,600 --> 00:56:25,880
Speaker 3: hurting everyone's feelings.

955
00:56:25,280 --> 00:56:27,840
Speaker 2: Like especially because this is the person who designed a

956
00:56:27,920 --> 00:56:30,839
Speaker 2: house that's about to try to kill them.

957
00:56:31,040 --> 00:56:35,200
Speaker 3: Ooh ooh. But but you know, Sarah's gonna go full

958
00:56:35,200 --> 00:56:39,120
Speaker 3: girl boss mode. She has a laser. I forgot that

959
00:56:39,160 --> 00:56:41,319
Speaker 3: she had a laser, Like, why the hell did she

960
00:56:41,360 --> 00:56:41,960
Speaker 3: have this laser?

961
00:56:42,120 --> 00:56:45,360
Speaker 2: Like a pocket laser, Like it fits in her pocket.

962
00:56:45,719 --> 00:56:48,160
Speaker 3: It was pretty great. Anyways, we'll get there at a second,

963
00:56:48,160 --> 00:56:49,760
Speaker 3: because Pat's about to go rugue.

964
00:56:50,080 --> 00:56:53,640
Speaker 2: Yeah, So what happens is Pat, who has turned herself

965
00:56:53,719 --> 00:56:59,120
Speaker 2: back on, makes this like hologram projection of herself and

966
00:56:59,160 --> 00:57:03,080
Speaker 2: now she's Kitty Sagall in the flesh and it's amazing.

967
00:57:03,360 --> 00:57:07,160
Speaker 2: She goes to Ben's room to be like, let's team

968
00:57:07,239 --> 00:57:09,439
Speaker 2: up to get rid of Sarah. I know you hate

969
00:57:09,440 --> 00:57:12,880
Speaker 2: her too, and I'm the only mummy your family needs.

970
00:57:13,080 --> 00:57:15,680
Speaker 3: I am a mother like no other, and you're just

971
00:57:15,760 --> 00:57:18,120
Speaker 3: like what, I was so scared of her. I'm so

972
00:57:18,200 --> 00:57:21,760
Speaker 3: scared of her, but I love her hair collar anyways.

973
00:57:21,400 --> 00:57:23,120
Speaker 2: She's got a pretty good fit on.

974
00:57:24,280 --> 00:57:24,560
Speaker 3: Yeah.

975
00:57:24,680 --> 00:57:28,720
Speaker 2: She then throws Sarah out of the house and barricades

976
00:57:28,800 --> 00:57:32,360
Speaker 2: all the doors and windows, trapping Nick, Ben and Angie

977
00:57:32,400 --> 00:57:35,800
Speaker 2: inside because Pat wants to keep them.

978
00:57:35,600 --> 00:57:37,040
Speaker 3: In smart house forever.

979
00:57:38,520 --> 00:57:43,560
Speaker 2: And then the like hologram starts duplicating itself and Pat

980
00:57:43,640 --> 00:57:44,840
Speaker 2: is getting scarier and scarier.

981
00:57:45,040 --> 00:57:50,040
Speaker 3: God, now there's ten Katie Sagalls in the kitchen. Yeah. Yeah,

982
00:57:50,080 --> 00:57:51,720
Speaker 3: And it's like, I know that Nick can't be the

983
00:57:51,720 --> 00:57:55,040
Speaker 3: hero of this, but he's making the most weak excuses

984
00:57:55,120 --> 00:57:57,480
Speaker 3: as to why they should be allowed to leave. He's like, no,

985
00:57:57,880 --> 00:58:00,920
Speaker 3: kids have to go to school, Nick, you should be

986
00:58:00,960 --> 00:58:04,200
Speaker 3: stabbing the house, Like why are you? You are the

987
00:58:04,320 --> 00:58:07,120
Speaker 3: least proactive parent in the history of parents.

988
00:58:07,240 --> 00:58:11,080
Speaker 2: Yeah, I know. And then but then they figure out

989
00:58:11,280 --> 00:58:15,640
Speaker 2: a way to get Sarah back inside via her pet

990
00:58:15,760 --> 00:58:21,360
Speaker 2: rat and the newspaper retrieval door, which were things that

991
00:58:21,440 --> 00:58:24,200
Speaker 2: were set up at the beginning of the movie, and

992
00:58:25,320 --> 00:58:30,520
Speaker 2: Ben is like, Pat, you're out of control. Stop trying

993
00:58:30,560 --> 00:58:34,000
Speaker 2: to be something you're not. You can't be our mom

994
00:58:34,200 --> 00:58:38,720
Speaker 2: because you're not even real. And Pat is like, damn,

995
00:58:39,480 --> 00:58:41,480
Speaker 2: you're right, she's fine.

996
00:58:41,880 --> 00:58:44,640
Speaker 3: I'll miss you. And then yeah, oh my god, this

997
00:58:44,720 --> 00:58:47,560
Speaker 3: is like very dry. I think it is like coded

998
00:58:47,680 --> 00:58:51,080
Speaker 3: essentially that like Pat, I mean, she doesn't take her

999
00:58:51,120 --> 00:58:54,600
Speaker 3: own computer life because she's still there at the end

1000
00:58:54,640 --> 00:58:56,160
Speaker 3: of the movie. They like go out of the way

1001
00:58:56,240 --> 00:58:58,840
Speaker 3: to show you that, like Pat's alive, but I feel

1002
00:58:58,880 --> 00:59:00,360
Speaker 3: like her being alive is almost worse.

1003
00:59:01,000 --> 00:59:03,000
Speaker 2: Did they learn nothing right?

1004
00:59:03,280 --> 00:59:06,560
Speaker 3: Right? Like they learned nothing? And also she's probably pretty

1005
00:59:06,600 --> 00:59:10,480
Speaker 3: mad in there. But the way that they illustrate like

1006
00:59:10,640 --> 00:59:14,640
Speaker 3: her going to like it feels like computer Heaven is

1007
00:59:14,680 --> 00:59:17,880
Speaker 3: like they just start playing like Rainstorm Dot MP four

1008
00:59:18,000 --> 00:59:21,400
Speaker 3: and it's it's because Katie Sigal is a good actor.

1009
00:59:21,480 --> 00:59:24,600
Speaker 3: You're sort of like, oh my god, it's just like

1010
00:59:24,720 --> 00:59:27,520
Speaker 3: two lines of dialogue and she's like, you're right, I

1011
00:59:27,600 --> 00:59:30,040
Speaker 3: have to die and you're like, well, no one said that.

1012
00:59:32,400 --> 00:59:34,880
Speaker 3: But then we need the movie to end happy because

1013
00:59:34,920 --> 00:59:36,600
Speaker 3: it's a d com. So I think the ending of

1014
00:59:36,600 --> 00:59:39,320
Speaker 3: this movie is so bizarre.

1015
00:59:38,880 --> 00:59:43,320
Speaker 2: Right, So basically Pat shuts herself down, and then Sarah

1016
00:59:43,400 --> 00:59:48,800
Speaker 2: is able to like reboot and maybe reprogram Pat. She

1017
00:59:48,840 --> 00:59:51,200
Speaker 2: said you need something, She can do anything so that

1018
00:59:51,280 --> 00:59:57,120
Speaker 2: Pat isn't so invasive and scary. And then Ben apologizes

1019
00:59:57,160 --> 01:00:00,080
Speaker 2: and he's like, I learned my lesson not to mess

1020
01:00:00,120 --> 01:00:02,800
Speaker 2: with Pat, which true he should not have done, but

1021
01:00:02,840 --> 01:00:06,080
Speaker 2: it's like, Sarah, you should be the one apologizing for

1022
01:00:06,160 --> 01:00:07,160
Speaker 2: the creating.

1023
01:00:07,120 --> 01:00:11,480
Speaker 3: Sarah Like it's so, I mean, I I love being

1024
01:00:11,560 --> 01:00:15,680
Speaker 3: on women's side, but I'm like, I mean, let women

1025
01:00:15,800 --> 01:00:19,840
Speaker 3: be Sarah is. But the movie has doesn't seem to

1026
01:00:20,440 --> 01:00:23,520
Speaker 3: want to explore that, like she's just so I think

1027
01:00:23,560 --> 01:00:27,720
Speaker 3: it is like vaguely misogynist that she isn't held accountable

1028
01:00:27,760 --> 01:00:30,480
Speaker 3: because I feel like the movie, even though the movie

1029
01:00:30,480 --> 01:00:33,600
Speaker 3: like it is her job is relevant to the plot,

1030
01:00:33,640 --> 01:00:38,200
Speaker 3: which is very rare in a love interest character. Sometimes

1031
01:00:38,240 --> 01:00:40,400
Speaker 3: we know like what they do, but I feel like

1032
01:00:40,440 --> 01:00:42,920
Speaker 3: it very rarely is actually relevant to what happens in

1033
01:00:42,960 --> 01:00:45,360
Speaker 3: the movie. It's not true here, like her job is

1034
01:00:45,400 --> 01:00:48,480
Speaker 3: super like the movie doesn't happen unless she's doing her job. True,

1035
01:00:48,480 --> 01:00:51,000
Speaker 3: but I feel like the way that like no one

1036
01:00:51,080 --> 01:00:54,000
Speaker 3: is upset with her, that she's built this killer house,

1037
01:00:54,480 --> 01:00:56,520
Speaker 3: and every time they call her over to fix the

1038
01:00:56,600 --> 01:00:59,240
Speaker 3: killer house, she's like, I don't know what's going on? Yeah,

1039
01:00:59,280 --> 01:01:02,520
Speaker 3: can I hang out? Like this is so unprofessional and

1040
01:01:02,560 --> 01:01:06,640
Speaker 3: you'd like you need to make the house stop eating them? Uh,

1041
01:01:07,400 --> 01:01:11,080
Speaker 3: she is like, so I feel like the plot ultimately

1042
01:01:11,120 --> 01:01:14,880
Speaker 3: treats her more like a girl friend because it's like

1043
01:01:15,600 --> 01:01:18,280
Speaker 3: they don't really take like, the plot doesn't take into

1044
01:01:18,280 --> 01:01:22,200
Speaker 3: account the fact that she is like hugely at fault here,

1045
01:01:23,200 --> 01:01:25,960
Speaker 3: not at all, and yeah, it to me, the romance

1046
01:01:26,000 --> 01:01:30,600
Speaker 3: between her and the dad is very like, well it's

1047
01:01:30,640 --> 01:01:34,240
Speaker 3: a movie, so of course, but it still feels very

1048
01:01:34,360 --> 01:01:39,120
Speaker 3: wedged in and she is behaving very unprofessionally and like

1049
01:01:39,360 --> 01:01:43,040
Speaker 3: you can't be dating the person who is living in

1050
01:01:43,160 --> 01:01:46,440
Speaker 3: the house that you're using, Like this family is like

1051
01:01:47,000 --> 01:01:50,720
Speaker 3: I mean speaking of rat Butler, like these are your

1052
01:01:50,760 --> 01:01:54,040
Speaker 3: like test rats that your testing this scary house on

1053
01:01:54,400 --> 01:01:56,840
Speaker 3: and that well that's also I'm just sort of like

1054
01:01:57,680 --> 01:02:03,280
Speaker 3: outside of unprofessionalism the gall of Sarah, because I like,

1055
01:02:03,400 --> 01:02:06,320
Speaker 3: if I were if I had a crush on someone

1056
01:02:06,360 --> 01:02:10,480
Speaker 3: who was essentially my lab rat and the experiment was

1057
01:02:10,520 --> 01:02:14,160
Speaker 3: not going well, I would not be like, let's go

1058
01:02:14,240 --> 01:02:16,880
Speaker 3: on a date. I would be like, this person's probably

1059
01:02:16,960 --> 01:02:22,680
Speaker 3: pretty upset with me, but thankfully Nick is not. He's not,

1060
01:02:22,880 --> 01:02:25,640
Speaker 3: to quote another Disney Channel original series, he's not a

1061
01:02:25,680 --> 01:02:30,160
Speaker 3: smart guy. Oh that's a Disney Channel series about You're

1062
01:02:30,200 --> 01:02:35,280
Speaker 3: never gonna believe a twelve year old who's real smart. Anyways,

1063
01:02:36,440 --> 01:02:39,520
Speaker 3: but yeah, I mean, we'll we'll talk about that after

1064
01:02:39,560 --> 01:02:42,240
Speaker 3: the break, because that's.

1065
01:02:42,800 --> 01:02:54,920
Speaker 2: That's what's happening right now. Poo pye, and we're back,

1066
01:02:55,120 --> 01:02:56,360
Speaker 2: bellow bello.

1067
01:02:56,560 --> 01:02:58,760
Speaker 3: All right, let's let's because we were just starting to

1068
01:02:58,800 --> 01:03:02,920
Speaker 3: have that conversation. Anyways, let's just jump into the Sarah

1069
01:03:02,960 --> 01:03:06,400
Speaker 3: and then the Sarah Nick relationship. I think that, like

1070
01:03:06,960 --> 01:03:10,440
Speaker 3: for your average dcom of this time, in the context

1071
01:03:10,520 --> 01:03:15,640
Speaker 3: of this time, Sarah is a bigger and more impactful

1072
01:03:15,760 --> 01:03:20,080
Speaker 3: character than your average dcom, which is nice because I

1073
01:03:20,080 --> 01:03:22,080
Speaker 3: feel like in all of these, I mean, in most sitcoms,

1074
01:03:22,080 --> 01:03:27,640
Speaker 3: but especially sitcoms and TV movies for kids, parents tend

1075
01:03:27,680 --> 01:03:31,800
Speaker 3: to be fairly tangential. They're often just like big comedic

1076
01:03:32,600 --> 01:03:37,320
Speaker 3: doofisy kind of characters. We see that in Lizzie McGuire movie.

1077
01:03:37,360 --> 01:03:40,680
Speaker 3: We see that, and even Stevens like this movie does

1078
01:03:41,000 --> 01:03:45,000
Speaker 3: make the parental figures Nick and then later, Sarah like

1079
01:03:46,040 --> 01:03:48,920
Speaker 3: flawed people. I just feel like, yeah, as we were

1080
01:03:48,920 --> 01:03:53,880
Speaker 3: just alluding to Sarah, she's you know, women's rights but

1081
01:03:53,920 --> 01:03:58,920
Speaker 3: also women's wrongs, and Sarah is wrong. It makes so

1082
01:03:59,000 --> 01:04:01,720
Speaker 3: many bad decisions in this movie. But yes, I wanted

1083
01:04:01,760 --> 01:04:04,120
Speaker 3: to start at the beginning because the way we're introduced

1084
01:04:04,160 --> 01:04:08,080
Speaker 3: to Sarah is so bizarre, the specific There are specifics

1085
01:04:08,080 --> 01:04:11,480
Speaker 3: with this character, but they're all so weird. We're introduced

1086
01:04:11,600 --> 01:04:14,680
Speaker 3: with her with a character we only meet twice who's

1087
01:04:14,760 --> 01:04:19,560
Speaker 3: kind of like misogyny. The guy Basically he's like her coworker,

1088
01:04:20,400 --> 01:04:23,680
Speaker 3: her boss, Like I don't know what their professional relationship is,

1089
01:04:23,720 --> 01:04:26,680
Speaker 3: but he is wearing like clear sunglasses.

1090
01:04:27,080 --> 01:04:32,000
Speaker 2: He's I think the publicist of this smart house. He's

1091
01:04:32,000 --> 01:04:33,480
Speaker 2: like doing pr well.

1092
01:04:33,320 --> 01:04:36,560
Speaker 3: He's doing a bad job. They're both doing a bad job. Yeah,

1093
01:04:36,560 --> 01:04:39,800
Speaker 3: but he's just like sexually harassing her casually and he's

1094
01:04:39,880 --> 01:04:43,600
Speaker 3: just like I don't know, like of course, because she's

1095
01:04:43,760 --> 01:04:46,160
Speaker 3: like we learn what her job is right away, and

1096
01:04:46,200 --> 01:04:48,160
Speaker 3: we know that she's in charge of pat but then

1097
01:04:48,240 --> 01:04:52,320
Speaker 3: we also learn she's single and she's kind of a mess.

1098
01:04:52,360 --> 01:04:55,720
Speaker 3: And then she read a book called Smart Women Foolish Choices,

1099
01:04:55,760 --> 01:04:59,160
Speaker 3: and I was like, wow, I'm under attack. Uh huh,

1100
01:04:59,160 --> 01:05:01,360
Speaker 3: And she's like, oh, well, have you heard of this book,

1101
01:05:01,440 --> 01:05:05,840
Speaker 3: Smart Women, Foolish Choices. It's my autobiography, Yeah, which.

1102
01:05:05,720 --> 01:05:08,400
Speaker 2: I thought maybe she meant literally, and I was like

1103
01:05:08,560 --> 01:05:10,520
Speaker 2: because at this point you barely know her, and I'm like,

1104
01:05:10,600 --> 01:05:13,480
Speaker 2: is she an author? Like what is her job?

1105
01:05:14,040 --> 01:05:16,000
Speaker 3: I don't know. I mean, it just felt very like

1106
01:05:16,520 --> 01:05:19,800
Speaker 3: something that we see pretty often that is like rooted

1107
01:05:19,880 --> 01:05:24,200
Speaker 3: in something that's real. But it's like this movie is

1108
01:05:24,360 --> 01:05:27,400
Speaker 3: not equipped to make any sort of effective commentary, so

1109
01:05:27,440 --> 01:05:31,360
Speaker 3: it just sort of like reinforces tropes about like women

1110
01:05:31,480 --> 01:05:35,919
Speaker 3: having careers and having satisfying personal lives, Like.

1111
01:05:36,040 --> 01:05:39,560
Speaker 2: It's impossible to have both. We have no idea why,

1112
01:05:39,680 --> 01:05:43,120
Speaker 2: but it happens in society, so let's just put it

1113
01:05:43,160 --> 01:05:45,440
Speaker 2: in the movie, right, right.

1114
01:05:45,200 --> 01:05:48,400
Speaker 3: So that's like I mean, and we won't break down

1115
01:05:48,440 --> 01:05:51,160
Speaker 3: the entire like it's but yeah, it's like the sort

1116
01:05:51,200 --> 01:05:54,760
Speaker 3: of thing where it's like it frames that which is

1117
01:05:54,800 --> 01:05:58,640
Speaker 3: first of all, not prescriptive at all. Plenty of women

1118
01:05:58,640 --> 01:06:01,640
Speaker 3: and non binary people have fu filled relationships and fulfilling careers,

1119
01:06:02,000 --> 01:06:04,520
Speaker 3: but I like, I note that I don't know, like

1120
01:06:04,640 --> 01:06:09,080
Speaker 3: I've definitely struggled with that, but it's but it's always

1121
01:06:09,080 --> 01:06:11,520
Speaker 3: made out in movies like this and with characters like

1122
01:06:11,520 --> 01:06:15,240
Speaker 3: this to be a personal fault versus it's her fault.

1123
01:06:15,400 --> 01:06:17,520
Speaker 2: She just loves her job too.

1124
01:06:17,480 --> 01:06:20,160
Speaker 3: Much, right, which is something that you never see with

1125
01:06:20,440 --> 01:06:23,439
Speaker 3: male characters. And we've talked about this a million times.

1126
01:06:23,440 --> 01:06:25,480
Speaker 3: But it's like it's a pretty because I think because

1127
01:06:25,480 --> 01:06:29,160
Speaker 3: it's a kids movie, it's really like flagrant the way

1128
01:06:29,200 --> 01:06:32,640
Speaker 3: that it's presented. And literally we have glasses on her,

1129
01:06:32,720 --> 01:06:35,440
Speaker 3: and then as the movie, as she gets more comfortable

1130
01:06:35,440 --> 01:06:39,000
Speaker 3: and more flirty, the glasses come off. But basically this

1131
01:06:39,040 --> 01:06:43,280
Speaker 3: whole first scene has just like her publicist question mark, it'

1132
01:06:43,280 --> 01:06:46,720
Speaker 3: sexually harassing her, nagging her when she's like, I don't

1133
01:06:46,720 --> 01:06:48,640
Speaker 3: want to date right now, and he's like.

1134
01:06:49,400 --> 01:06:52,360
Speaker 2: This is selfish everything on you.

1135
01:06:52,560 --> 01:06:56,760
Speaker 3: Yeah, it's it's very it's very nasty. And but then

1136
01:06:56,960 --> 01:06:59,880
Speaker 3: the way she's replying, I think is very consistent with

1137
01:07:01,000 --> 01:07:04,440
Speaker 3: boomer rhetoric of like, well, that's just the way things are,

1138
01:07:04,520 --> 01:07:07,840
Speaker 3: that's how I'm treated at work. And so she's she's

1139
01:07:07,920 --> 01:07:09,760
Speaker 3: kind of taking it all in stride and she's like, no,

1140
01:07:10,200 --> 01:07:14,680
Speaker 3: work is much safer for me. And we learn so

1141
01:07:14,880 --> 01:07:19,800
Speaker 3: that exchange is pretty. It's like so bad. It's kind

1142
01:07:19,800 --> 01:07:21,760
Speaker 3: of campy, but it's just like atrocious because you know,

1143
01:07:21,800 --> 01:07:24,800
Speaker 3: two grown men wrote it, and you're like, well, I

1144
01:07:24,800 --> 01:07:27,280
Speaker 3: guess that this is how you view women with jobs

1145
01:07:27,400 --> 01:07:31,400
Speaker 3: question mark and like the only thing that could make

1146
01:07:31,480 --> 01:07:36,360
Speaker 3: her have a satisfying personal life is the first guy

1147
01:07:36,440 --> 01:07:39,960
Speaker 3: we meet in the movie. Who isn't this creep in glasses?

1148
01:07:40,080 --> 01:07:43,520
Speaker 3: Like there's no new ground being tread here, But I

1149
01:07:43,600 --> 01:07:48,360
Speaker 3: was kind of just surprised at how boldly it was. Yeah,

1150
01:07:48,440 --> 01:07:52,600
Speaker 3: boldly going interesting star trek code. It going to a

1151
01:07:52,640 --> 01:07:54,400
Speaker 3: misogynist place we've seen a million times.

1152
01:07:54,920 --> 01:08:00,000
Speaker 2: Yeah, like the tropiest choice is possible basically when character

1153
01:08:00,080 --> 01:08:04,680
Speaker 2: rising this type of like girl bossy character. Yeah, and

1154
01:08:04,720 --> 01:08:06,840
Speaker 2: then the other thing the movie does is well, so

1155
01:08:06,880 --> 01:08:09,360
Speaker 2: it sets up this, you know, it sets her up

1156
01:08:09,360 --> 01:08:15,640
Speaker 2: as being, oh, she's had nothing but like cooky horrible boyfriends, and.

1157
01:08:15,600 --> 01:08:18,880
Speaker 3: What is going on with these boyfriend descriptions. She's like,

1158
01:08:19,840 --> 01:08:22,320
Speaker 3: I don't like a chicken thief or something. I was like,

1159
01:08:22,360 --> 01:08:23,960
Speaker 3: what the fuck are you talking?

1160
01:08:24,160 --> 01:08:27,080
Speaker 2: There's a rubber chicken manufacturer. But then there was someone

1161
01:08:27,080 --> 01:08:31,760
Speaker 2: who I think she was describing a serial killer or something.

1162
01:08:31,840 --> 01:08:34,200
Speaker 3: A lot sounded serially it sounded like she dated this,

1163
01:08:34,479 --> 01:08:37,000
Speaker 3: and I'm like, wow, do you have do the writers

1164
01:08:37,040 --> 01:08:39,960
Speaker 3: of this movie have so little faith in Nick is

1165
01:08:40,000 --> 01:08:43,200
Speaker 3: a character that they have to make him seem like

1166
01:08:43,240 --> 01:08:45,679
Speaker 3: a good alternative to a serial killer?

1167
01:08:47,560 --> 01:08:51,920
Speaker 2: Right? So yeah, she's just characterized as being like unlucky

1168
01:08:51,960 --> 01:08:57,360
Speaker 2: in love because she has poor judgment, which like relatable

1169
01:08:57,439 --> 01:08:59,080
Speaker 2: sometimes for me at least.

1170
01:08:59,280 --> 01:09:01,799
Speaker 3: But yeah, I mean it's like there's but it's like also,

1171
01:09:02,320 --> 01:09:03,840
Speaker 3: I think that that's the other thing is like it's

1172
01:09:03,840 --> 01:09:07,400
Speaker 3: always made out that you know, mostly women characters are

1173
01:09:08,200 --> 01:09:11,120
Speaker 3: bad judges of character in this way, like it's very

1174
01:09:11,920 --> 01:09:15,880
Speaker 3: and then but when that dynamic is presented with like

1175
01:09:16,000 --> 01:09:18,439
Speaker 3: men talking about past ex girlfriends, it's always like, well,

1176
01:09:18,520 --> 01:09:23,400
Speaker 3: because she was hysterical or she was great. It's never

1177
01:09:23,760 --> 01:09:25,519
Speaker 3: like I feel like the way it's positioned here is

1178
01:09:25,560 --> 01:09:30,120
Speaker 3: like these men were evil and scary and that's my

1179
01:09:30,320 --> 01:09:34,919
Speaker 3: fault for dating hum. But if it's reversed, they'd be like, ah,

1180
01:09:35,000 --> 01:09:37,960
Speaker 3: this like this broad I get like she is out

1181
01:09:38,000 --> 01:09:42,640
Speaker 3: of her mind, and it's there's no like personal accountability

1182
01:09:42,840 --> 01:09:46,360
Speaker 3: that which actually makes more sense. But yeah, I feel

1183
01:09:46,360 --> 01:09:50,240
Speaker 3: like it's it's for some reason, Sarah's fault that men

1184
01:09:50,280 --> 01:09:54,760
Speaker 3: are scary. And that's the other thing. It's just like, yeah,

1185
01:09:54,880 --> 01:09:58,400
Speaker 3: men are statistically more scary.

1186
01:09:58,760 --> 01:10:00,439
Speaker 2: I mean, I don't know what to tell you.

1187
01:10:00,520 --> 01:10:03,559
Speaker 3: The history books do corroborate this.

1188
01:10:05,840 --> 01:10:12,920
Speaker 2: Yes, So Sarah's characterization is pulled directly from the tropiest

1189
01:10:13,360 --> 01:10:19,519
Speaker 2: tropes possible, Yeah, and thrown into this like wedged in

1190
01:10:20,160 --> 01:10:26,439
Speaker 2: romantic storyline that is inappropriate for her to be in sure,

1191
01:10:26,720 --> 01:10:29,959
Speaker 2: and then she becomes Mummy's sort.

1192
01:10:29,760 --> 01:10:32,760
Speaker 3: Of mummy, right. And that's the other thing is like

1193
01:10:32,880 --> 01:10:35,200
Speaker 3: the movie has I think the movie makes the assumption that,

1194
01:10:35,280 --> 01:10:38,120
Speaker 3: of course she wants to be a step parent, Like

1195
01:10:38,760 --> 01:10:41,760
Speaker 3: there's no like because all we know is like what

1196
01:10:42,280 --> 01:10:45,360
Speaker 3: hasn't happened for her, which is a satisfying relationship. It

1197
01:10:45,360 --> 01:10:48,200
Speaker 3: seems like that is something that she wants, which fine,

1198
01:10:48,360 --> 01:10:50,160
Speaker 3: but we don't know anything else about what she like

1199
01:10:50,240 --> 01:10:52,320
Speaker 3: wants out of her life outside of that, And then

1200
01:10:52,360 --> 01:10:55,439
Speaker 3: it's just sort of like assumed. The like logic of

1201
01:10:55,439 --> 01:10:58,599
Speaker 3: the movie assumes that of course, this woman in her

1202
01:10:58,640 --> 01:11:02,840
Speaker 3: thirties wants to be Ryan Merriman's stepmom, where you're like,

1203
01:11:03,520 --> 01:11:05,280
Speaker 3: I don't know, like I just feel like she's her

1204
01:11:05,320 --> 01:11:09,920
Speaker 3: agency is like pretty undercut there, which sucks because like

1205
01:11:09,960 --> 01:11:12,840
Speaker 3: contrasted with like you have such an interesting setup for

1206
01:11:12,880 --> 01:11:16,920
Speaker 3: a character there where it's like this super genius who

1207
01:11:16,960 --> 01:11:21,560
Speaker 3: has created this terrifying house in this like random suburbia

1208
01:11:21,640 --> 01:11:25,559
Speaker 3: for some reason, Like I'm far more interested in that

1209
01:11:25,760 --> 01:11:28,519
Speaker 3: side of her, and like who allowed her to do this?

1210
01:11:28,560 --> 01:11:32,320
Speaker 3: Who is bankrolling this? What has she done in the past, Like,

1211
01:11:32,560 --> 01:11:35,120
Speaker 3: but it's just all undercut for like girlfriend and mommy

1212
01:11:35,240 --> 01:11:40,160
Speaker 3: storylines where you're like, this is a pretty diabolical character,

1213
01:11:40,520 --> 01:11:43,080
Speaker 3: or maybe it's like you could give her like a

1214
01:11:43,160 --> 01:11:45,720
Speaker 3: mister Andrews from Titanic kind of line where it's like

1215
01:11:46,000 --> 01:11:48,360
Speaker 3: she created this with good intentions and now it's gotten

1216
01:11:48,360 --> 01:11:51,200
Speaker 3: out of control and she must suffer for her hubris.

1217
01:11:51,200 --> 01:11:56,800
Speaker 3: But none of that happens. And because this movie is

1218
01:11:57,479 --> 01:12:01,880
Speaker 3: genuinely very similar to a recent movie Megan, in which

1219
01:12:02,439 --> 01:12:05,160
Speaker 3: Alice and Williams's character is put through a lot of

1220
01:12:05,200 --> 01:12:08,840
Speaker 3: the exact same story beats of like she is not

1221
01:12:09,240 --> 01:12:11,719
Speaker 3: super lucky in love, but also like we learn about

1222
01:12:11,720 --> 01:12:14,679
Speaker 3: this character she's not really interested in relationship and that's fine.

1223
01:12:14,720 --> 01:12:16,960
Speaker 3: She kind of just wants to fuck great. I get

1224
01:12:17,000 --> 01:12:19,360
Speaker 3: why that's not gonna be in a dcom, but Anyways,

1225
01:12:19,600 --> 01:12:21,840
Speaker 3: you could take a second to specify what does this

1226
01:12:21,920 --> 01:12:24,040
Speaker 3: character want out of her life and have enough interest

1227
01:12:24,040 --> 01:12:26,559
Speaker 3: in her. But she's also like put in a position

1228
01:12:26,600 --> 01:12:30,080
Speaker 3: to suddenly have to take on a maternal role that

1229
01:12:30,120 --> 01:12:33,600
Speaker 3: she's not ready for. And then she also has the

1230
01:12:33,680 --> 01:12:37,519
Speaker 3: super genius creation that she ends up having to destroy

1231
01:12:37,720 --> 01:12:40,680
Speaker 3: in the same way that Sarah sort of kind of

1232
01:12:40,800 --> 01:12:45,360
Speaker 3: almost destroys Pat and you get a far more satisfying

1233
01:12:45,960 --> 01:12:48,640
Speaker 3: story arc. But I think a lot of that is

1234
01:12:48,680 --> 01:12:52,400
Speaker 3: because it's like we actually see that Alice and Williams

1235
01:12:52,520 --> 01:12:57,200
Speaker 3: character struggle with the question of parenting, and like, is

1236
01:12:57,200 --> 01:12:59,160
Speaker 3: that something she wants to do? Is that something she's

1237
01:12:59,160 --> 01:13:02,400
Speaker 3: comfortable with and not have it just be assumed that's

1238
01:13:02,439 --> 01:13:06,639
Speaker 3: of course what she wants, and that movie isn't weighed

1239
01:13:06,680 --> 01:13:15,120
Speaker 3: down with an unnecessary romantic plot with mister random Kevin Kleiner, Right, Yes,

1240
01:13:15,400 --> 01:13:17,559
Speaker 3: So anyways, I guess that does at least show how

1241
01:13:17,640 --> 01:13:22,040
Speaker 3: this weirdly stock character. I also let them thinking of

1242
01:13:22,080 --> 01:13:25,400
Speaker 3: like Nicole Kidman and Paddington, Like I don't know, like

1243
01:13:25,800 --> 01:13:29,320
Speaker 3: woman super genius with an evil event, Like I love it.

1244
01:13:29,320 --> 01:13:33,720
Speaker 3: It's like Victor Frankenstein. Shit, it's great, but it's like,

1245
01:13:33,840 --> 01:13:36,360
Speaker 3: the worst thing you can do to a character that

1246
01:13:36,680 --> 01:13:42,000
Speaker 3: like fun and complicated is do the most boring gendered

1247
01:13:42,720 --> 01:13:47,200
Speaker 3: things to them, right, But that's what happened to Sarah unfortunately.

1248
01:13:47,560 --> 01:13:52,080
Speaker 2: Indeed, and listeners, if you're interested for more discussion on Megan,

1249
01:13:52,360 --> 01:13:55,679
Speaker 2: you can scoot over to our Patreon aka Matrio.

1250
01:13:55,720 --> 01:13:59,759
Speaker 3: It's so true, but Pat is so pat is like Pat,

1251
01:14:00,439 --> 01:14:05,759
Speaker 3: So Megan could run in those woods. Yeah, get that kid.

1252
01:14:07,120 --> 01:14:11,160
Speaker 3: Let's see if there's anything else with Sarah. Oh oh,

1253
01:14:11,320 --> 01:14:13,800
Speaker 3: this bummed me out, So we'll get to talk to

1254
01:14:13,800 --> 01:14:17,680
Speaker 3: you about Ben. But Ben is basically like projecting his

1255
01:14:17,800 --> 01:14:21,160
Speaker 3: anger at his father onto Sarah to make Sarah feel

1256
01:14:21,240 --> 01:14:24,760
Speaker 3: uncomfortable and not want to be around anymore, which is

1257
01:14:24,960 --> 01:14:28,000
Speaker 3: shitty behavior. But he's I also like, I feel like

1258
01:14:28,000 --> 01:14:30,000
Speaker 3: I keep coming to his defense because he's like a

1259
01:14:30,120 --> 01:14:32,120
Speaker 3: kid and no one has ever talked to him about

1260
01:14:32,720 --> 01:14:37,639
Speaker 3: his parent dying. Anyways. But there's that scene where Sarah's like, ooh,

1261
01:14:37,800 --> 01:14:40,200
Speaker 3: it's the Ray Bradbury murder room. Let's make it look

1262
01:14:40,240 --> 01:14:44,719
Speaker 3: like Cape Cod. I love cape Cod and you're just like, wow,

1263
01:14:44,760 --> 01:14:50,040
Speaker 3: she's so interesting. But Ben is like coming for her

1264
01:14:50,200 --> 01:14:54,840
Speaker 3: in this scene. Yeah, and he says, wait, I have

1265
01:14:55,600 --> 01:14:59,000
Speaker 3: this written down where Nick is being very complimentary of Sarah,

1266
01:14:59,080 --> 01:15:02,080
Speaker 3: which is nice that he like, does you know, value

1267
01:15:02,280 --> 01:15:04,960
Speaker 3: her skills? He values what she can do, and he's like,

1268
01:15:05,000 --> 01:15:07,439
Speaker 3: she's a genius. She's really great. And then Ben's like,

1269
01:15:07,640 --> 01:15:09,840
Speaker 3: you know, I hear geniuses are impossible to live with

1270
01:15:09,880 --> 01:15:11,679
Speaker 3: and make everyone around them feel inferior.

1271
01:15:11,760 --> 01:15:13,920
Speaker 4: And you're like, whoa, holy shit, And he's like, good

1272
01:15:13,960 --> 01:15:16,120
Speaker 4: for you in your big giant brain.

1273
01:15:16,280 --> 01:15:21,479
Speaker 3: Was like Jesus. But she retorts by undercutting her own

1274
01:15:21,560 --> 01:15:24,600
Speaker 3: intelligence like she does it. She's like, you don't have

1275
01:15:24,640 --> 01:15:27,360
Speaker 3: to worry. I'm not that smart. I was like, I

1276
01:15:27,360 --> 01:15:29,600
Speaker 3: don't know. You made the house that eats people, like

1277
01:15:30,240 --> 01:15:31,799
Speaker 3: kind of never been done before.

1278
01:15:32,040 --> 01:15:32,920
Speaker 2: It takes some brains.

1279
01:15:33,000 --> 01:15:35,800
Speaker 3: But and I do. I do feel bad for her

1280
01:15:35,960 --> 01:15:37,760
Speaker 3: in that scene, and I do think that it is

1281
01:15:38,360 --> 01:15:40,400
Speaker 3: Nick's fault more so than Ben's.

1282
01:15:41,400 --> 01:15:45,880
Speaker 2: Yeah, he does put a lot of people in uncomfortable

1283
01:15:45,880 --> 01:15:50,360
Speaker 2: situations without adequately like having the conversations that need to

1284
01:15:50,560 --> 01:15:55,519
Speaker 2: happen to make sure everyone's on similar pages, make sure

1285
01:15:55,560 --> 01:15:58,759
Speaker 2: people are feeling comfortable with what's happening. He just ignores

1286
01:15:59,320 --> 01:16:02,240
Speaker 2: the need for or all of that open communication.

1287
01:16:03,120 --> 01:16:03,320
Speaker 3: Right.

1288
01:16:03,439 --> 01:16:06,720
Speaker 2: It's like yeah, let's all eat peach cobbler together and that.

1289
01:16:06,920 --> 01:16:09,439
Speaker 3: Yeah. And then later he like anytime he does something,

1290
01:16:09,479 --> 01:16:13,240
Speaker 3: he immediately like and something goes wrong, he immediately deflects

1291
01:16:13,280 --> 01:16:15,280
Speaker 3: the blame off of himself and is just like, so

1292
01:16:15,439 --> 01:16:18,479
Speaker 3: that was weird. You're like, that was your fault which happened,

1293
01:16:18,840 --> 01:16:21,479
Speaker 3: because like, once Ben and Angie leave the room after

1294
01:16:21,520 --> 01:16:24,920
Speaker 3: that really tense discussion, which wasn't was certainly like very

1295
01:16:25,040 --> 01:16:28,160
Speaker 3: cruel to Sarah that he does the thing. He's just

1296
01:16:28,200 --> 01:16:31,439
Speaker 3: like mine children, and I'm like, that was your fault

1297
01:16:31,479 --> 01:16:34,519
Speaker 3: that that happened. You fucking lose it. Oh. I just

1298
01:16:34,560 --> 01:16:38,080
Speaker 3: cannot stand this man's parenting. He is such a mess.

1299
01:16:38,920 --> 01:16:42,559
Speaker 3: So anyways, there is that the movie kind.

1300
01:16:42,360 --> 01:16:50,280
Speaker 2: Of reinforces this idea that like children need two parents,

1301
01:16:50,400 --> 01:16:53,000
Speaker 2: you need a mummy and a daddy.

1302
01:16:53,240 --> 01:16:56,920
Speaker 3: Which is completely consistent with this era of kids media.

1303
01:16:57,120 --> 01:17:01,880
Speaker 3: Like it's it's like pushing back on absolutely nothing, right.

1304
01:17:02,120 --> 01:17:06,080
Speaker 2: But then I think the movie is cutting Nick a

1305
01:17:06,120 --> 01:17:09,000
Speaker 2: lot of slack and like it because it shows these

1306
01:17:09,040 --> 01:17:11,639
Speaker 2: scenes where it's like, oh my gosh, isn't he such

1307
01:17:11,640 --> 01:17:15,680
Speaker 2: a great parent? He's like having these no conversations with

1308
01:17:15,760 --> 01:17:18,080
Speaker 2: his kids, and it's like well, yeah, but he's not

1309
01:17:18,200 --> 01:17:19,559
Speaker 2: doing nearly enough.

1310
01:17:19,720 --> 01:17:22,439
Speaker 3: He's doing it all half a decade late. And like

1311
01:17:22,560 --> 01:17:26,680
Speaker 3: I felt like he was similarly deflective when he suddenly

1312
01:17:26,760 --> 01:17:30,400
Speaker 3: realized that Ben has been taking on a lot of

1313
01:17:30,479 --> 01:17:35,920
Speaker 3: parenting ANGI for years, where he's like, hey, I'm realizing

1314
01:17:36,000 --> 01:17:38,360
Speaker 3: that blah blah blah, and it's like no. Earlier in

1315
01:17:38,400 --> 01:17:41,240
Speaker 3: the movie, I saw you demand Ben do a list

1316
01:17:41,280 --> 01:17:44,839
Speaker 3: of chores to help his little sister, which is like, okay,

1317
01:17:44,880 --> 01:17:48,559
Speaker 3: if that is the division of responsibilities at this house,

1318
01:17:48,800 --> 01:17:53,720
Speaker 3: Like okay, maybe, but but if that's the case, but

1319
01:17:53,760 --> 01:17:56,320
Speaker 3: you can't just like pretend you didn't know that was happening.

1320
01:17:56,360 --> 01:17:59,599
Speaker 3: You were actively making him do that stuff. You can't

1321
01:17:59,640 --> 01:18:02,960
Speaker 3: just be like, oh no, this happening. You're like yeah,

1322
01:18:03,000 --> 01:18:05,960
Speaker 3: I don't know. And it sucks because it's like I

1323
01:18:05,960 --> 01:18:08,120
Speaker 3: feel like, again, the story opportunities are there, but you're

1324
01:18:08,160 --> 01:18:10,920
Speaker 3: totally right, Like Nick is just cut so much slack.

1325
01:18:11,040 --> 01:18:14,559
Speaker 3: Where I don't mind that. It's like the movie draws

1326
01:18:14,600 --> 01:18:17,920
Speaker 3: your attention to like how challenging it can be to

1327
01:18:17,920 --> 01:18:21,160
Speaker 3: be a single parent to two young kids, Like sure,

1328
01:18:21,720 --> 01:18:24,360
Speaker 3: I have no issue with that, but yeah, the fact

1329
01:18:24,760 --> 01:18:27,240
Speaker 3: but they just like cut him but the fact that

1330
01:18:27,240 --> 01:18:30,800
Speaker 3: they're like and the solution to that is a new mommy. Like,

1331
01:18:30,840 --> 01:18:35,719
Speaker 3: there's no alternative presented. There's no even though he lists

1332
01:18:35,720 --> 01:18:38,800
Speaker 3: off a number of alternatives, which included apparently they can

1333
01:18:38,840 --> 01:18:42,760
Speaker 3: afford childcare if they needed childcare. But I feel like

1334
01:18:42,880 --> 01:18:46,640
Speaker 3: it's all of those options are presented as inferior to

1335
01:18:47,560 --> 01:18:54,920
Speaker 3: new Mommy Sarah, which is just yeah, boring and shitty.

1336
01:18:56,720 --> 01:19:01,880
Speaker 3: There's also a moment in the score of this movie where, uh,

1337
01:19:02,120 --> 01:19:05,880
Speaker 3: when Nick first meets Sarah. First of all, Nick two

1338
01:19:06,120 --> 01:19:10,479
Speaker 3: horny overall him, He's a horny dad, and I hate

1339
01:19:10,479 --> 01:19:14,639
Speaker 3: that his children are constantly having really strong opinions on

1340
01:19:14,720 --> 01:19:16,840
Speaker 3: how horny he is. I'm just like, we just like

1341
01:19:16,880 --> 01:19:21,160
Speaker 3: should not know this about dad. We just shouldn't call

1342
01:19:21,240 --> 01:19:23,800
Speaker 3: me old fashioned. But I don't want my seven year

1343
01:19:23,800 --> 01:19:27,800
Speaker 3: old being like, you should definitely fuck that lady. Dad.

1344
01:19:27,920 --> 01:19:32,000
Speaker 3: You're like, no, don't do that. That was a pretty

1345
01:19:32,000 --> 01:19:35,880
Speaker 3: good angie. She's she's little stinker coated big time she is.

1346
01:19:37,120 --> 01:19:40,000
Speaker 3: But anyways, do you have anything else to say about Sarah?

1347
01:19:40,080 --> 01:19:43,120
Speaker 3: I just I just feel like her story possibility is

1348
01:19:43,240 --> 01:19:45,280
Speaker 3: like all the interesting ones, Like I wouldn't have even

1349
01:19:45,400 --> 01:19:48,680
Speaker 3: minded if she turned villain at the end, like like.

1350
01:19:48,680 --> 01:19:52,080
Speaker 2: Being really defensive of her invention. It's like, no, this

1351
01:19:52,400 --> 01:19:55,439
Speaker 2: is the future, this is how it should be. Something

1352
01:19:55,479 --> 01:19:56,560
Speaker 2: like that totally.

1353
01:19:56,720 --> 01:19:58,880
Speaker 3: I mean it's like, which would make more sense because

1354
01:19:59,280 --> 01:20:01,840
Speaker 3: I mean, imagine how long it would have taken her

1355
01:20:01,880 --> 01:20:04,759
Speaker 3: to make Pat and then just be like, no, I

1356
01:20:04,840 --> 01:20:07,519
Speaker 3: met a guy who doesn't kill people, and so I'm

1357
01:20:07,520 --> 01:20:09,840
Speaker 3: gonna kill Like, I don't know. I just think there

1358
01:20:09,840 --> 01:20:11,599
Speaker 3: were so many interesting ways for her story to go,

1359
01:20:11,640 --> 01:20:16,080
Speaker 3: and they chose the most boring route. I like at

1360
01:20:16,200 --> 01:20:20,599
Speaker 3: least that the story had enough respect for her to

1361
01:20:20,600 --> 01:20:23,519
Speaker 3: not like sideline her for the peak of the action,

1362
01:20:23,560 --> 01:20:26,439
Speaker 3: because I sort of forgot like when when Pat like

1363
01:20:26,880 --> 01:20:30,400
Speaker 3: pushes her out of the house, which a part of

1364
01:20:30,439 --> 01:20:32,599
Speaker 3: me was like, m is this just turning the only

1365
01:20:32,640 --> 01:20:35,080
Speaker 3: two women characters against each other? But I'm like no,

1366
01:20:35,200 --> 01:20:40,840
Speaker 3: that also feels consistent with like the creator creature right storylines,

1367
01:20:40,880 --> 01:20:42,360
Speaker 3: and like I'll give that a pass. And also you

1368
01:20:42,360 --> 01:20:44,760
Speaker 3: don't see that dynamic between two women, like a woman

1369
01:20:44,800 --> 01:20:49,120
Speaker 3: creator and a woman you know also happens in Megan anyways.

1370
01:20:49,200 --> 01:20:52,520
Speaker 2: Well, and then also like in I Frankenstein, for example,

1371
01:20:53,080 --> 01:20:57,480
Speaker 2: thank You, you have the monster turning against its creator,

1372
01:20:57,720 --> 01:21:02,000
Speaker 2: which is what happens with why it's true She's like,

1373
01:21:02,080 --> 01:21:03,240
Speaker 2: let's kill Sarah.

1374
01:21:03,320 --> 01:21:05,360
Speaker 3: I love that Pat sort of like, let's kill Sarah,

1375
01:21:05,360 --> 01:21:07,120
Speaker 3: and because when she says that, I'm sort of like,

1376
01:21:07,920 --> 01:21:14,160
Speaker 3: what's kill Sarah? In the same way when Alicia Vaikandor

1377
01:21:14,240 --> 01:21:16,880
Speaker 3: is like, let's kill Oscar Isaac, I'm like almost any

1378
01:21:16,880 --> 01:21:19,679
Speaker 3: other movie, I'd say no, but this one, I think

1379
01:21:19,760 --> 01:21:23,280
Speaker 3: we have to kill Oscar Isaac. Oh, but I thought

1380
01:21:23,360 --> 01:21:25,080
Speaker 3: I sort of was like, oh no, do they like

1381
01:21:25,320 --> 01:21:27,040
Speaker 3: throw her out of the height of the action, But

1382
01:21:27,080 --> 01:21:29,160
Speaker 3: she's like very active and she comes back because she

1383
01:21:29,200 --> 01:21:32,840
Speaker 3: has a laser and like she is right. I'd like

1384
01:21:33,040 --> 01:21:36,559
Speaker 3: the sort of like the two people who ultimately take

1385
01:21:36,640 --> 01:21:41,920
Speaker 3: Pat down are Sarah and Ben, which makes sense to me.

1386
01:21:42,040 --> 01:21:43,479
Speaker 3: I don't know. I didn't have a problem with it.

1387
01:21:43,760 --> 01:21:48,040
Speaker 2: So I was paying close attention to that. So somehow

1388
01:21:48,800 --> 01:21:51,720
Speaker 2: Ben is able to send an email to Sarah. You

1389
01:21:51,760 --> 01:21:54,080
Speaker 2: would think that Pat would be monitoring that.

1390
01:21:54,360 --> 01:21:56,080
Speaker 3: I know, I was like, how did you get do

1391
01:21:56,080 --> 01:21:57,639
Speaker 3: you have a burner? Well?

1392
01:21:57,800 --> 01:22:00,639
Speaker 2: I think what happened what we're supposed to think is

1393
01:22:01,240 --> 01:22:04,160
Speaker 2: he went into the bathroom where it's been established that

1394
01:22:04,400 --> 01:22:09,000
Speaker 2: he has privacy, Like Pat has no jurisdiction in the bathroom.

1395
01:22:09,040 --> 01:22:12,200
Speaker 2: So he's sitting in the tub with his dog, a

1396
01:22:12,280 --> 01:22:14,040
Speaker 2: Golden Retriever named Mutt.

1397
01:22:14,280 --> 01:22:17,400
Speaker 3: But I had that Pat was insulting the dog, but

1398
01:22:17,439 --> 01:22:19,080
Speaker 3: then I just found out that the dog's.

1399
01:22:18,840 --> 01:22:22,599
Speaker 2: Name was in it was actually Mutt. So yeah, so

1400
01:22:23,080 --> 01:22:26,360
Speaker 2: he's sending an email to be like, come here, Sarah,

1401
01:22:26,439 --> 01:22:29,120
Speaker 2: and then so she well before that, she has like

1402
01:22:29,320 --> 01:22:33,960
Speaker 2: sent a message via her rat to Ben. And then

1403
01:22:34,600 --> 01:22:37,760
Speaker 2: it's kind of unclear how this play. Oh, I think

1404
01:22:37,800 --> 01:22:41,679
Speaker 2: it is his idea that she comes in through the mail,

1405
01:22:42,360 --> 01:22:44,000
Speaker 2: like the newspaper.

1406
01:22:45,360 --> 01:22:47,639
Speaker 3: Yes, or something, his idea. I don't I don't.

1407
01:22:47,640 --> 01:22:50,000
Speaker 2: Well, he says something like I have a really wild

1408
01:22:50,080 --> 01:22:52,960
Speaker 2: idea if you're willing to go for it, and then

1409
01:22:53,000 --> 01:22:55,800
Speaker 2: she's like, hah yeah, but we don't hear what the

1410
01:22:55,880 --> 01:22:58,400
Speaker 2: idea is, so we just kind of have to assume

1411
01:22:58,760 --> 01:22:59,160
Speaker 2: either way.

1412
01:23:00,040 --> 01:23:01,880
Speaker 3: I'll even give the movie credit and say it was

1413
01:23:01,880 --> 01:23:04,599
Speaker 3: a joint plan, because I always assumed that Ben's part

1414
01:23:04,640 --> 01:23:07,000
Speaker 3: of the plan was like I will fake appendicitis and

1415
01:23:07,040 --> 01:23:09,200
Speaker 3: then you sneak into the house one way or an.

1416
01:23:09,360 --> 01:23:12,200
Speaker 2: Oh okay, yeah, So maybe it is her that like

1417
01:23:12,280 --> 01:23:15,639
Speaker 2: knows that she needs to get in through the mail slot.

1418
01:23:16,040 --> 01:23:19,439
Speaker 2: Yeah whatever, but she's in the house. She uses her

1419
01:23:19,479 --> 01:23:23,360
Speaker 2: pocket laser, but then she kind of does nothing else.

1420
01:23:24,000 --> 01:23:27,439
Speaker 2: That's true because Pat shuts herself down. Sarah doesn't do

1421
01:23:27,479 --> 01:23:29,720
Speaker 2: anything to like that's me.

1422
01:23:30,400 --> 01:23:32,559
Speaker 3: I don't know. I guess I was more referring to

1423
01:23:32,920 --> 01:23:37,439
Speaker 3: the pocket laser moment, which I really love because it's

1424
01:23:37,479 --> 01:23:41,120
Speaker 3: I think it would have sort of chafed against like Ben.

1425
01:23:41,280 --> 01:23:44,479
Speaker 3: It like, it makes sense that Ben's little monologue is

1426
01:23:44,520 --> 01:23:46,920
Speaker 3: the thing that ends up taking Pat out because he

1427
01:23:47,040 --> 01:23:50,280
Speaker 3: has to realize that computer isn't mommy before the end

1428
01:23:50,360 --> 01:23:53,720
Speaker 3: of the movie. But it would have been nice for

1429
01:23:54,040 --> 01:23:55,720
Speaker 3: Sarah to do a little more. But at least you

1430
01:23:55,760 --> 01:24:00,799
Speaker 3: also get I don't know, Pat, she's still learning. She's chaotic,

1431
01:24:01,240 --> 01:24:05,360
Speaker 3: like I don't know. Yeah, Sarah definitely could have done more,

1432
01:24:05,400 --> 01:24:08,240
Speaker 3: but I just felt, like, you know, she doesn't do nothing,

1433
01:24:08,280 --> 01:24:11,519
Speaker 3: which unfortunately I was pleasantly surprised at.

1434
01:24:11,640 --> 01:24:13,600
Speaker 2: I mean, the bar is so low.

1435
01:24:13,640 --> 01:24:16,080
Speaker 3: And it's better than like, at least Nick doesn't have

1436
01:24:16,160 --> 01:24:18,559
Speaker 3: If Nick had a real moment during that scene, I

1437
01:24:18,560 --> 01:24:21,160
Speaker 3: would have lost it. It made sense to me that

1438
01:24:21,240 --> 01:24:24,519
Speaker 3: Ben was mister monologue there.

1439
01:24:24,760 --> 01:24:27,679
Speaker 2: Yeah, yeah, yeah, Yeah, that's true, but I don't think

1440
01:24:27,680 --> 01:24:29,880
Speaker 2: I have anything left on Sarah.

1441
01:24:30,000 --> 01:24:34,719
Speaker 3: Let's talk about Pat. I love Pat, So again, we've

1442
01:24:34,840 --> 01:24:37,519
Speaker 3: talked about a number of characters like that. I mean,

1443
01:24:37,840 --> 01:24:41,679
Speaker 3: Pat feels like a combination of a few tropes that

1444
01:24:41,760 --> 01:24:44,919
Speaker 3: we are not tropes, just like characters that are often

1445
01:24:45,360 --> 01:24:48,120
Speaker 3: women but not always that we've talked about in the past.

1446
01:24:48,240 --> 01:24:51,720
Speaker 3: We've already talked about the megan of it, all of

1447
01:24:52,439 --> 01:24:57,360
Speaker 3: an AI Powered. I mean, it really is like impressive.

1448
01:24:57,439 --> 01:24:59,920
Speaker 3: How much is similar where it's like an AI power

1449
01:25:00,720 --> 01:25:06,400
Speaker 3: invention that was made by a woman to provide companionship

1450
01:25:07,240 --> 01:25:13,920
Speaker 3: and support to a grieving child's It is pretty stunning.

1451
01:25:14,080 --> 01:25:16,759
Speaker 3: It's a little looser in Smart House, obviously because Pat's

1452
01:25:16,760 --> 01:25:19,920
Speaker 3: also doing all these other things. But I feel like

1453
01:25:20,000 --> 01:25:23,600
Speaker 3: there's like definitely hints of Mega. There's hints of ex Machina,

1454
01:25:24,760 --> 01:25:28,080
Speaker 3: although that was like a more gender dynamic, but also

1455
01:25:28,240 --> 01:25:33,960
Speaker 3: it reminds me a lot of her and how in

1456
01:25:34,000 --> 01:25:36,360
Speaker 3: our her episode, which is now five years old, if

1457
01:25:36,360 --> 01:25:41,679
Speaker 3: you can believe it, unbelievable time, but how we talked

1458
01:25:41,720 --> 01:25:46,320
Speaker 3: about in that episode, how it is so common to

1459
01:25:46,400 --> 01:25:51,840
Speaker 3: give AI that is service based, and like this house

1460
01:25:52,080 --> 01:25:55,840
Speaker 3: is taking care of you, it's protecting you. It's associated

1461
01:25:55,840 --> 01:26:00,280
Speaker 3: with all these kind of traditionally maternal qualities, and they

1462
01:26:00,320 --> 01:26:03,840
Speaker 3: will always assign a feminine voice to that. There's all

1463
01:26:03,840 --> 01:26:06,400
Speaker 3: sorts of reasons why. It's partially just because I think

1464
01:26:06,439 --> 01:26:10,719
Speaker 3: that they're like because so many of these are designed

1465
01:26:11,280 --> 01:26:14,799
Speaker 3: by people who are like thinking in a mass market

1466
01:26:14,840 --> 01:26:18,080
Speaker 3: patriarchal way of like, well, people are more comfortable asking

1467
01:26:18,240 --> 01:26:20,320
Speaker 3: women to do things for them.

1468
01:26:20,720 --> 01:26:23,320
Speaker 2: Especially like household labor.

1469
01:26:23,280 --> 01:26:27,280
Speaker 3: Exactly, or in the case of like GPS, I remember

1470
01:26:27,479 --> 01:26:29,360
Speaker 3: it was like, and people are more comfortable yelling at

1471
01:26:29,400 --> 01:26:31,840
Speaker 3: women too, so if they get lost, they will feel better.

1472
01:26:31,840 --> 01:26:35,679
Speaker 3: And how that is sort of contrasted with more masculine

1473
01:26:35,760 --> 01:26:39,679
Speaker 3: voices are assigned to like less domestic tasks and less

1474
01:26:39,760 --> 01:26:43,040
Speaker 3: labor based things, and it's more like if you're asking

1475
01:26:43,120 --> 01:26:46,479
Speaker 3: something that like someone should know. I remember there was

1476
01:26:46,560 --> 01:26:49,559
Speaker 3: like a robot that competed on Jeopardy and that was

1477
01:26:49,600 --> 01:26:51,919
Speaker 3: like an AI powered machine and that had a masculine

1478
01:26:52,000 --> 01:26:55,280
Speaker 3: voice because he was smart shit like that, like, and

1479
01:26:55,320 --> 01:26:59,280
Speaker 3: I think that is very present in Pat in a

1480
01:26:59,320 --> 01:27:03,200
Speaker 3: way that the move seems aware of. And I think

1481
01:27:03,200 --> 01:27:06,680
Speaker 3: that it is kind of interesting that Pat's creator as

1482
01:27:07,120 --> 01:27:10,280
Speaker 3: a woman, and I still like tracks for me fine,

1483
01:27:10,280 --> 01:27:12,280
Speaker 3: because it's not like, you know, it's like you don't

1484
01:27:12,320 --> 01:27:16,280
Speaker 3: have to be a not all women are feminists are

1485
01:27:16,360 --> 01:27:19,240
Speaker 3: like you know, and and I don't know, I just

1486
01:27:19,320 --> 01:27:21,439
Speaker 3: thought it was it is like a really it just

1487
01:27:21,479 --> 01:27:23,880
Speaker 3: felt like she feels like an encapsulation of a lot

1488
01:27:23,920 --> 01:27:26,120
Speaker 3: of stuff we've talked about in the past, and it

1489
01:27:26,160 --> 01:27:28,120
Speaker 3: seems like the movie is pretty aware of that. I

1490
01:27:28,120 --> 01:27:31,639
Speaker 3: don't think that it delivers on it necessarily, but it's interesting.

1491
01:27:32,040 --> 01:27:35,439
Speaker 2: Well, Pat's interesting because a lot of what we see

1492
01:27:35,720 --> 01:27:40,760
Speaker 2: that operating system do is household labor type stuff. Like

1493
01:27:40,840 --> 01:27:46,080
Speaker 2: she's prepping meals and she's cleaning the house via the

1494
01:27:46,200 --> 01:27:52,599
Speaker 2: floor absorbers, but she's also keeping the man with the

1495
01:27:52,800 --> 01:27:56,200
Speaker 2: job on task of like here's how to be more

1496
01:27:56,240 --> 01:28:00,439
Speaker 2: productive of she's doing like wifely duties. Yeah, that right,

1497
01:28:00,479 --> 01:28:04,320
Speaker 2: But then like she's also like doing Ben's bullies homework

1498
01:28:04,680 --> 01:28:09,400
Speaker 2: for I don't know, it's not exclusively household labor stuff,

1499
01:28:09,439 --> 01:28:11,960
Speaker 2: but it is a lot of like the roles that

1500
01:28:12,080 --> 01:28:16,360
Speaker 2: women have been traditionally expected to occupy as far as

1501
01:28:16,479 --> 01:28:21,679
Speaker 2: like overseeing the general welfare of the family and stuff

1502
01:28:21,680 --> 01:28:24,840
Speaker 2: like that, and like you know, maintaining the household. All

1503
01:28:24,880 --> 01:28:30,679
Speaker 2: of that stuff is Pat's responsibility, which is why Ben

1504
01:28:30,760 --> 01:28:33,280
Speaker 2: wanted the house in the first place. He kind of

1505
01:28:33,520 --> 01:28:35,680
Speaker 2: seems to resent that he had to take on a

1506
01:28:35,680 --> 01:28:38,400
Speaker 2: lot of that responsibility, and he's like, I don't want

1507
01:28:38,439 --> 01:28:41,400
Speaker 2: to do it anymore. I need a house to do

1508
01:28:41,720 --> 01:28:43,560
Speaker 2: this mummy stuff.

1509
01:28:43,360 --> 01:28:46,439
Speaker 3: Which for me, which is like so at the core

1510
01:28:46,520 --> 01:28:49,519
Speaker 3: of what his character's issue is is like he wants

1511
01:28:49,600 --> 01:28:52,519
Speaker 3: to I don't know, And it is again like based

1512
01:28:52,560 --> 01:28:55,360
Speaker 3: on this false binary of like what a functioning family

1513
01:28:55,400 --> 01:28:58,240
Speaker 3: looks like that this movie really subscribes to of like, well,

1514
01:28:58,280 --> 01:29:01,960
Speaker 3: you need two parents, probably a says man and a

1515
01:29:02,000 --> 01:29:07,040
Speaker 3: says woman for your life to be considered normal and functional,

1516
01:29:07,600 --> 01:29:11,240
Speaker 3: and like Ben is does not want another parent, but

1517
01:29:11,280 --> 01:29:14,439
Speaker 3: he also doesn't want to have to do all of

1518
01:29:14,479 --> 01:29:18,360
Speaker 3: this stuff at home, and like it all tracks but

1519
01:29:18,600 --> 01:29:21,240
Speaker 3: I like that. I don't know. I guess I'm of

1520
01:29:21,320 --> 01:29:25,280
Speaker 3: two minds about this, although I don't know. Yeah, I'm

1521
01:29:25,280 --> 01:29:29,120
Speaker 3: curious because we've just discussed I Frankenstein literally sorry, Adam

1522
01:29:29,160 --> 01:29:34,600
Speaker 3: Frankenstein has some pat energy about him with like the

1523
01:29:34,600 --> 01:29:39,599
Speaker 3: whole like tortured creature turning into a monster over time narrative.

1524
01:29:40,439 --> 01:29:42,800
Speaker 3: Is I don't know. In some ways, I feel like

1525
01:29:43,400 --> 01:29:46,799
Speaker 3: Pat going nuclear at the end could make it seem

1526
01:29:46,920 --> 01:29:50,559
Speaker 3: like she's hysterical. But I also feel like the movie,

1527
01:29:51,400 --> 01:29:53,559
Speaker 3: I don't know, did you feel like? I think? I

1528
01:29:53,680 --> 01:29:57,559
Speaker 3: think I feel like it did basically do enough to

1529
01:29:57,640 --> 01:30:01,200
Speaker 3: illustrate that like Pat is not reacting in this way

1530
01:30:01,360 --> 01:30:06,599
Speaker 3: because she is a feminine robot. She's reacting this way

1531
01:30:06,720 --> 01:30:10,679
Speaker 3: because she is receiving too much conflicting information and cannot

1532
01:30:10,720 --> 01:30:12,960
Speaker 3: handle it and is trying to perform the function she

1533
01:30:13,040 --> 01:30:16,160
Speaker 3: was designed to do and literally cannot do it because

1534
01:30:16,520 --> 01:30:20,960
Speaker 3: she is like not passing the Turing test. She like

1535
01:30:21,040 --> 01:30:25,120
Speaker 3: doesn't understand feelings because she's a computer. And that's the

1536
01:30:25,160 --> 01:30:29,080
Speaker 3: cautionary tale, is like computers can't, you know, be your

1537
01:30:29,120 --> 01:30:32,320
Speaker 3: mom because they are like not capable of empathy. Not

1538
01:30:32,360 --> 01:30:35,160
Speaker 3: that all moms are, but if my mom's listening, she's great.

1539
01:30:36,640 --> 01:30:41,280
Speaker 5: But but I don't know, Like I feel like the

1540
01:30:41,280 --> 01:30:44,960
Speaker 5: movie did do enough and it is satisfying seeing Pat

1541
01:30:45,240 --> 01:30:48,639
Speaker 5: create as living room cyclone at the end.

1542
01:30:50,840 --> 01:30:52,679
Speaker 3: I don't know, what did you think of, Like how

1543
01:30:52,760 --> 01:30:56,040
Speaker 3: Pat's emotions are portrayed in the movie.

1544
01:30:56,360 --> 01:30:59,519
Speaker 2: Yeah, I see what you mean. The possible interpretation of

1545
01:30:59,800 --> 01:31:05,439
Speaker 2: like she gets jealous of the real woman, like this

1546
01:31:05,600 --> 01:31:11,080
Speaker 2: human woman trying to insert herself into this family because

1547
01:31:11,360 --> 01:31:14,680
Speaker 2: Pat wants to be the Mummy. But I feel quite that,

1548
01:31:15,080 --> 01:31:18,200
Speaker 2: which could be read as like, you know, a female

1549
01:31:18,280 --> 01:31:23,719
Speaker 2: character turning on another one for like jealousy reasons. But yeah,

1550
01:31:24,000 --> 01:31:28,080
Speaker 2: Pat only becomes the way she is because because she

1551
01:31:28,120 --> 01:31:31,160
Speaker 2: starts out pretty neutral. She's like, here's a blue strawberry

1552
01:31:31,160 --> 01:31:32,439
Speaker 2: milkshake or whatever.

1553
01:31:32,880 --> 01:31:34,760
Speaker 3: No one's calling me out for that mistake, all right,

1554
01:31:34,840 --> 01:31:37,280
Speaker 3: let's see what we can do here, you.

1555
01:31:37,240 --> 01:31:41,080
Speaker 2: Know, and then eating Angie's blood and being like, here's

1556
01:31:41,120 --> 01:31:43,479
Speaker 2: how much body percent fat you have? And it's like

1557
01:31:43,520 --> 01:31:45,400
Speaker 2: why is this a detail we need to have in

1558
01:31:45,439 --> 01:31:45,880
Speaker 2: the movie.

1559
01:31:45,880 --> 01:31:50,320
Speaker 3: But anyway, also, that's the bite and everyone's like, oh, oh,

1560
01:31:50,360 --> 01:31:52,880
Speaker 3: ok okay, I guess that's the bite, and like, no,

1561
01:31:53,200 --> 01:31:55,639
Speaker 3: that in nineteen ninety nine. That's triple scary.

1562
01:31:56,120 --> 01:32:00,479
Speaker 2: So scary. Yeah, But aside from the it was just

1563
01:32:00,520 --> 01:32:05,280
Speaker 2: like bad writing choices, Like Pat is seems neutral as

1564
01:32:05,320 --> 01:32:10,680
Speaker 2: neutral as AI can be, but then Ben is like, no,

1565
01:32:10,840 --> 01:32:14,160
Speaker 2: you have to be a nineteen fifties housewife. That's what

1566
01:32:14,240 --> 01:32:18,519
Speaker 2: I need from you. So then Pat is just like okay,

1567
01:32:19,400 --> 01:32:23,720
Speaker 2: and not just like actual nineteen fifties housewife like media's

1568
01:32:23,880 --> 01:32:27,160
Speaker 2: representation of that, so it's like even more skewed and

1569
01:32:27,200 --> 01:32:29,240
Speaker 2: like even more trophy.

1570
01:32:29,360 --> 01:32:32,280
Speaker 3: So it does feel like there is like some commentary.

1571
01:32:32,520 --> 01:32:37,080
Speaker 3: I just I find it confusing as a I don't know,

1572
01:32:37,120 --> 01:32:40,639
Speaker 3: I mean because in some ways, like yeah, Pat's major

1573
01:32:40,840 --> 01:32:45,240
Speaker 3: glitching to being fed all of this, like post World

1574
01:32:45,280 --> 01:32:50,240
Speaker 3: War two housewife media is commentary on how flawed that

1575
01:32:50,360 --> 01:32:53,880
Speaker 3: media is. I just don't understand if I'm a kid

1576
01:32:53,880 --> 01:32:56,920
Speaker 3: in nineteen ninety nine, why that would be what I

1577
01:32:56,920 --> 01:32:58,920
Speaker 3: would jump to. It's so weird because it's like Katie

1578
01:32:58,960 --> 01:33:03,160
Speaker 3: sagaalf played and I iconic, like gen X TV mom,

1579
01:33:03,400 --> 01:33:06,479
Speaker 3: Like why wouldn't you just show them footage of married

1580
01:33:06,560 --> 01:33:09,559
Speaker 3: with children? Like why I don't understand why he's like

1581
01:33:09,600 --> 01:33:12,639
Speaker 3: seeking a parent that has no resemblance to the parent

1582
01:33:12,840 --> 01:33:15,360
Speaker 3: that he's lot, Like I don't I guess, I just

1583
01:33:15,400 --> 01:33:18,360
Speaker 3: I will. I think that there's probably an answer to that, Like,

1584
01:33:18,640 --> 01:33:20,720
Speaker 3: but I just wish that. I think that the like

1585
01:33:21,720 --> 01:33:28,240
Speaker 3: sort of vague, like wishy washy commentary on housewives in

1586
01:33:28,400 --> 01:33:31,479
Speaker 3: media of that era was sort of undercut by the

1587
01:33:31,479 --> 01:33:34,519
Speaker 3: point that you're like, I don't understand why this is

1588
01:33:34,560 --> 01:33:37,720
Speaker 3: what Ben is asking for. I don't understand how he's

1589
01:33:37,720 --> 01:33:39,479
Speaker 3: even seen these shows, like.

1590
01:33:40,400 --> 01:33:44,519
Speaker 2: Right, he's watching Nick at Night just kidding that doesn't

1591
01:33:44,520 --> 01:33:49,439
Speaker 2: exist in the world of Disney, But I do not

1592
01:33:49,560 --> 01:33:53,760
Speaker 2: mention Nickelodeon around me. Right, You would think that it

1593
01:33:53,760 --> 01:33:57,760
Speaker 2: would It would almost take the life size approach where

1594
01:33:57,840 --> 01:34:02,000
Speaker 2: Lindsay Lohan's trying to bring her mom back from the dead, right,

1595
01:34:02,160 --> 01:34:05,519
Speaker 2: and Ben would like show the video like the home

1596
01:34:05,640 --> 01:34:10,400
Speaker 2: videos like the dead Mom dot mov files to Pat

1597
01:34:10,439 --> 01:34:12,640
Speaker 2: to be like, this is the mom I need you

1598
01:34:12,720 --> 01:34:14,800
Speaker 2: to be. That does not happen in the movie, but

1599
01:34:14,840 --> 01:34:15,960
Speaker 2: that would make more sense.

1600
01:34:16,040 --> 01:34:18,680
Speaker 3: I think, Yeah, I understand why they don't do that

1601
01:34:18,720 --> 01:34:22,720
Speaker 3: because it'll be fucking terrifying and reminds me of a

1602
01:34:22,800 --> 01:34:26,439
Speaker 3: different early Black Mirror episode, the dominall Gleeson one or

1603
01:34:26,479 --> 01:34:29,679
Speaker 3: he dies and then they and like that. The computer

1604
01:34:29,800 --> 01:34:32,560
Speaker 3: was bad in that one too, just like all of them.

1605
01:34:32,600 --> 01:34:34,720
Speaker 3: But uh yeah, I mean that would have been too

1606
01:34:34,760 --> 01:34:37,200
Speaker 3: scary for a kids' movie. But it does, like I

1607
01:34:37,240 --> 01:34:40,120
Speaker 3: feel like this even with me, you could maintain the

1608
01:34:40,120 --> 01:34:43,320
Speaker 3: tone of this movie and have Ben consider that or

1609
01:34:43,439 --> 01:34:47,120
Speaker 3: like or just give some reasoning of like why this

1610
01:34:47,360 --> 01:34:49,919
Speaker 3: is the media I'm showing because otherwise it just feels

1611
01:34:50,160 --> 01:34:54,240
Speaker 3: like this is probably just media that the fifty year

1612
01:34:54,280 --> 01:34:56,360
Speaker 3: old writer of this movie grew up with. And so

1613
01:34:56,400 --> 01:34:59,960
Speaker 3: he's like, kids, of course want a mom like Donna

1614
01:35:00,160 --> 01:35:03,200
Speaker 3: read You're like, sir, kids do not know who she is, right.

1615
01:35:03,360 --> 01:35:05,720
Speaker 3: Although Donna Reid is kind of a legend. She was

1616
01:35:05,760 --> 01:35:08,800
Speaker 3: like one of the first women to produce her own

1617
01:35:08,840 --> 01:35:12,000
Speaker 3: TV show, it's kind of the ultimate irony that she

1618
01:35:12,080 --> 01:35:15,280
Speaker 3: played a very you know, passive character on this show.

1619
01:35:15,320 --> 01:35:19,320
Speaker 3: She was busting her ass to keep on TV. Anyways, Yeah,

1620
01:35:19,479 --> 01:35:21,880
Speaker 3: I was confused at that. I feel like the movie

1621
01:35:22,439 --> 01:35:24,559
Speaker 3: did a little bit of commentary on it and like

1622
01:35:25,400 --> 01:35:29,760
Speaker 3: showed that it's a flawed mentality and that it's kind

1623
01:35:29,800 --> 01:35:32,400
Speaker 3: of like a hollow ethos to like live your life by.

1624
01:35:32,520 --> 01:35:34,839
Speaker 3: But it just was like it was a little mucky

1625
01:35:35,080 --> 01:35:35,920
Speaker 3: the way that played out.

1626
01:35:36,120 --> 01:35:39,880
Speaker 2: It didn't say enough about it.

1627
01:35:39,880 --> 01:35:41,479
Speaker 3: It was just like it was a little confusing.

1628
01:35:41,840 --> 01:35:45,880
Speaker 2: And then after that, I think is when Pat's like

1629
01:35:45,880 --> 01:35:48,640
Speaker 2: spying on them and she's like, my kids need to

1630
01:35:48,640 --> 01:35:51,320
Speaker 2: have fun. So then she throws the party.

1631
01:35:52,040 --> 01:35:54,559
Speaker 3: I think it shows her the nineteen fifties video after

1632
01:35:54,640 --> 01:35:56,360
Speaker 3: the party. I'm pretty sure.

1633
01:35:56,320 --> 01:35:58,840
Speaker 2: Oh wait, let me let me double check of.

1634
01:36:00,760 --> 01:36:00,880
Speaker 3: No.

1635
01:36:01,360 --> 01:36:04,240
Speaker 2: Yeah, so the party happens after he shows.

1636
01:36:03,960 --> 01:36:07,639
Speaker 3: Okay, which also which also doesn't really make sense because

1637
01:36:07,640 --> 01:36:09,679
Speaker 3: it's like, I don't think that those like Stock characters

1638
01:36:09,680 --> 01:36:13,960
Speaker 3: wanted their kids to throw parties. But it's so weird.

1639
01:36:14,040 --> 01:36:16,040
Speaker 2: I don't know, so that's inconsistent.

1640
01:36:16,439 --> 01:36:20,559
Speaker 3: The only thing that it really succeeds in is giving

1641
01:36:20,920 --> 01:36:25,160
Speaker 3: Katie sagall and an incredible aesthetic and cost him to

1642
01:36:25,200 --> 01:36:27,880
Speaker 3: get into when she becomes a person. Outside of that,

1643
01:36:27,960 --> 01:36:31,120
Speaker 3: the nineteen fifties housewife mom, I felt like the whatever

1644
01:36:31,160 --> 01:36:35,320
Speaker 3: they were going for there was a little confusing, unless

1645
01:36:35,320 --> 01:36:40,000
Speaker 3: it was trying to demonstrate that that being your operating

1646
01:36:40,040 --> 01:36:42,879
Speaker 3: system would drive someone to want to start a cyclone,

1647
01:36:42,880 --> 01:36:47,040
Speaker 3: which I'm sure many mothers of that age felt like. Again,

1648
01:36:47,640 --> 01:36:50,320
Speaker 3: not clear, maybe giving the movie a little bit too

1649
01:36:50,400 --> 01:36:53,200
Speaker 3: much credit, But I love that Pat says, I am

1650
01:36:53,200 --> 01:36:55,000
Speaker 3: a mother like no other, and I will not sit

1651
01:36:55,080 --> 01:36:57,920
Speaker 3: back and allow myself to be preempted. I'm like, oof,

1652
01:36:58,800 --> 01:36:59,959
Speaker 3: egot powerful.

1653
01:37:00,920 --> 01:37:03,800
Speaker 2: Yeah. I think the movie, if it is trying to

1654
01:37:03,960 --> 01:37:07,840
Speaker 2: say something, it doesn't really stick the landing. I'm not

1655
01:37:07,960 --> 01:37:13,040
Speaker 2: quite sure exactly what, if any commentary it's making, which

1656
01:37:13,120 --> 01:37:17,400
Speaker 2: is like a bummer because this subject matter, there's a

1657
01:37:17,439 --> 01:37:23,440
Speaker 2: lot of opportunity to say stuff about gender roles, about technologies,

1658
01:37:23,920 --> 01:37:28,240
Speaker 2: role in society and in a family unit.

1659
01:37:28,040 --> 01:37:31,439
Speaker 3: What the expectations of a mother are and why that

1660
01:37:31,760 --> 01:37:34,960
Speaker 3: is all like there's a lot. Yeah, and it's like

1661
01:37:35,320 --> 01:37:37,080
Speaker 3: it's weird because I do feel like this movie is

1662
01:37:37,120 --> 01:37:40,479
Speaker 3: not unequipped to tackle those questions. But then you look

1663
01:37:40,479 --> 01:37:44,479
Speaker 3: at who made it and you're like, well, it's three guys,

1664
01:37:44,600 --> 01:37:47,439
Speaker 3: And I'm guessing maybe that's part of the reason why

1665
01:37:47,520 --> 01:37:50,679
Speaker 3: you really don't get very much would.

1666
01:37:50,760 --> 01:37:53,760
Speaker 2: Be that you would think that LeVar Burton would have

1667
01:37:54,120 --> 01:37:57,400
Speaker 2: I don't know, he was mister reading Rainbow. He should

1668
01:37:57,400 --> 01:38:01,040
Speaker 2: have read a book on his gender roles, a damn book.

1669
01:38:02,760 --> 01:38:06,120
Speaker 3: Yeah, I think that what the the criticism of this

1670
01:38:06,120 --> 01:38:09,800
Speaker 3: movie Super six Season, I think is like anticipating a

1671
01:38:09,840 --> 01:38:12,719
Speaker 3: lot of terrifying issues that come with an automated house

1672
01:38:13,240 --> 01:38:15,479
Speaker 3: and because it's as I think it's and I think

1673
01:38:15,479 --> 01:38:18,400
Speaker 3: it's interesting that that was I mean, there's a great

1674
01:38:18,520 --> 01:38:22,760
Speaker 3: article in The Ringer for this movie's twentieth anniversarrate by

1675
01:38:22,800 --> 01:38:26,400
Speaker 3: Ben Lindbergh called what Smart House got right and didn't

1676
01:38:26,400 --> 01:38:31,880
Speaker 3: about the future that also clocked their Ray Bradbury reference,

1677
01:38:32,520 --> 01:38:37,919
Speaker 3: So I was like, wow, two scholars, Okay, no, I'm

1678
01:38:37,960 --> 01:38:39,080
Speaker 3: not actually the mart.

1679
01:38:40,400 --> 01:38:43,639
Speaker 2: Oh you should be proud of your big giant brain.

1680
01:38:44,160 --> 01:38:49,679
Speaker 3: I have to go and then you go my children. God,

1681
01:38:49,720 --> 01:38:54,519
Speaker 3: he's such a flop. But I like this article unpacked.

1682
01:38:54,600 --> 01:38:56,599
Speaker 3: I guess that, like the idea of the smart home

1683
01:38:56,680 --> 01:38:59,639
Speaker 3: became popular around the time Ray Bradberry wrote that story,

1684
01:38:59,640 --> 01:39:02,680
Speaker 3: which was post war so nineteen fifty, so like the

1685
01:39:02,720 --> 01:39:06,080
Speaker 3: housewife thing could have been contextualized better of like this

1686
01:39:06,200 --> 01:39:10,400
Speaker 3: era of American housewife media, and like white American housewife

1687
01:39:10,479 --> 01:39:14,240
Speaker 3: media became popular around the same time that people started

1688
01:39:14,520 --> 01:39:18,720
Speaker 3: speculating about smart houses, So like there's a connection there.

1689
01:39:18,760 --> 01:39:20,840
Speaker 3: It just is not really made by this movie. But

1690
01:39:21,160 --> 01:39:25,280
Speaker 3: I think it does really well, like does anticipate the

1691
01:39:25,439 --> 01:39:29,479
Speaker 3: like cautionary tale of like giving a house your blood,

1692
01:39:29,520 --> 01:39:32,599
Speaker 3: like giving away all of your data to technology that

1693
01:39:32,920 --> 01:39:37,559
Speaker 3: it has not been tested and is not necessarily have

1694
01:39:37,720 --> 01:39:41,640
Speaker 3: your best interests at heart, Which is again why I

1695
01:39:41,680 --> 01:39:44,360
Speaker 3: think it is like a real waste to make Sarah

1696
01:39:44,479 --> 01:39:48,799
Speaker 3: a mommy girlfriend character, because she is at the front

1697
01:39:48,960 --> 01:39:52,680
Speaker 3: of the pack, like making those decisions of you know,

1698
01:39:52,800 --> 01:39:57,720
Speaker 3: like she has no ethical issue with having this proprietary

1699
01:39:57,760 --> 01:40:00,840
Speaker 3: technology have all of the data of your body, and

1700
01:40:00,880 --> 01:40:04,360
Speaker 3: it's like, Okay, Sarah, are you planning on selling that anywhere? Like,

1701
01:40:04,960 --> 01:40:08,479
Speaker 3: you know, like there's so many questions that and maybe

1702
01:40:08,520 --> 01:40:10,880
Speaker 3: I mean it's nineteen ninety nine, that might not have

1703
01:40:11,000 --> 01:40:14,760
Speaker 3: been a question that you would think to ask at

1704
01:40:14,760 --> 01:40:17,080
Speaker 3: that point. Sure, But anyways, I mean, with some of

1705
01:40:17,080 --> 01:40:21,400
Speaker 3: the specific details of the house and potential issues of

1706
01:40:22,200 --> 01:40:25,320
Speaker 3: interacting with AI too much, I think it's cool that

1707
01:40:25,400 --> 01:40:28,599
Speaker 3: it's like it was such a prominent discussion that they

1708
01:40:28,720 --> 01:40:32,160
Speaker 3: felt like it was reasonable to make a dcom about it.

1709
01:40:32,360 --> 01:40:33,040
Speaker 3: That's wild.

1710
01:40:33,479 --> 01:40:36,400
Speaker 2: I mean, I'm kind of impressed. And I do think

1711
01:40:36,479 --> 01:40:41,639
Speaker 2: that because that message is so clear and dcoms, and

1712
01:40:42,439 --> 01:40:46,519
Speaker 2: like most media for kids, if there is a message

1713
01:40:46,800 --> 01:40:49,000
Speaker 2: or some kind of takeaway, which there often is in

1714
01:40:49,120 --> 01:40:54,080
Speaker 2: children's media, a lesson to be learned, they're gonna really

1715
01:40:54,120 --> 01:40:57,120
Speaker 2: spell it out because they want to make it clear

1716
01:40:57,320 --> 01:41:03,080
Speaker 2: for the audience. And because there's nothing clearly spelled out about,

1717
01:41:03,760 --> 01:41:07,320
Speaker 2: you know, gender roles and the expectation of women in

1718
01:41:07,360 --> 01:41:10,360
Speaker 2: the expectation of motherhood and things like that, I think

1719
01:41:10,400 --> 01:41:13,320
Speaker 2: the movie just kind of threw that stuff in there.

1720
01:41:14,120 --> 01:41:17,320
Speaker 2: Had no idea what to say about it, and was

1721
01:41:17,400 --> 01:41:20,600
Speaker 2: just like, that's there. It is, IDK.

1722
01:41:21,400 --> 01:41:24,120
Speaker 3: Yeah, so but I think that again, it's like there's

1723
01:41:24,240 --> 01:41:28,040
Speaker 3: limitations on what you can say that with that in

1724
01:41:28,080 --> 01:41:32,040
Speaker 3: the purview of a nineteen ninety nine Disney movie. I

1725
01:41:32,080 --> 01:41:35,080
Speaker 3: have a few quotes I wanted to share, and then

1726
01:41:35,200 --> 01:41:37,080
Speaker 3: I have to peece so bad, and also we've recorded

1727
01:41:37,080 --> 01:41:40,360
Speaker 3: longer than the movie, I know, but I wanted to

1728
01:41:40,400 --> 01:41:43,800
Speaker 3: share a quote from an interview with Stu Krieger from

1729
01:41:43,840 --> 01:41:47,400
Speaker 3: that same article in The Ringer, basically explaining why he

1730
01:41:47,479 --> 01:41:52,360
Speaker 3: goes for a soft, optimistic end to this story outside

1731
01:41:52,400 --> 01:41:53,760
Speaker 3: of the fact that it's a Disney movie and they

1732
01:41:53,760 --> 01:41:56,920
Speaker 3: wouldn't have allowed it. So he says, quote, I am

1733
01:41:57,040 --> 01:41:59,680
Speaker 3: basically an optimistic person. The idea of wanting to have

1734
01:41:59,720 --> 01:42:02,680
Speaker 3: a wreck, conciliation, wanting to have these things ultimately be

1735
01:42:02,760 --> 01:42:05,160
Speaker 3: okay fit the Disney method, but it also fit what

1736
01:42:05,200 --> 01:42:07,639
Speaker 3: was important to me. Almost every episode of The Twilight

1737
01:42:07,760 --> 01:42:10,320
Speaker 3: Zone ends in some kind of horrible technology will kill you.

1738
01:42:10,360 --> 01:42:12,240
Speaker 3: A way to be able to be the counterpoint and

1739
01:42:12,280 --> 01:42:14,960
Speaker 3: the counterbalance to that is not a bad thing, which,

1740
01:42:15,080 --> 01:42:18,240
Speaker 3: now that I hear that like that also feels very

1741
01:42:18,280 --> 01:42:22,000
Speaker 3: in line with a lot of Star Trek ideology of

1742
01:42:22,280 --> 01:42:27,519
Speaker 3: how technology is. I mean, there's like the kitchen in

1743
01:42:27,560 --> 01:42:29,920
Speaker 3: Star Trek is exactly like the kitchen in the Smart House,

1744
01:42:30,160 --> 01:42:32,720
Speaker 3: and that's presented as like, this is a really cool

1745
01:42:32,760 --> 01:42:37,160
Speaker 3: innovation as long as it's used ethically, which again I

1746
01:42:37,160 --> 01:42:38,760
Speaker 3: don't think this movie really has the space for it,

1747
01:42:38,800 --> 01:42:40,840
Speaker 3: but it does feel like Star Trek is all about,

1748
01:42:41,200 --> 01:42:45,160
Speaker 3: you know, hope for a technologically driven, optimistic future. It's

1749
01:42:45,200 --> 01:42:49,680
Speaker 3: a fucking fantasy, but kind kind of nice. And then

1750
01:42:49,680 --> 01:42:54,920
Speaker 3: I wanted to share a quote from LeVar Burton. This

1751
01:42:55,000 --> 01:42:58,120
Speaker 3: is also an interview from twenty nineteen. He's being asked,

1752
01:42:58,120 --> 01:43:00,559
Speaker 3: do you think about this movie a lot? That's a

1753
01:43:00,600 --> 01:43:04,920
Speaker 3: weird question, says you know, because I started my directing

1754
01:43:04,960 --> 01:43:08,320
Speaker 3: career at Star Trek, I just automatically embraced science fiction

1755
01:43:08,400 --> 01:43:10,679
Speaker 3: and technology as a part of my background as a director.

1756
01:43:11,160 --> 01:43:13,400
Speaker 3: I love science fiction and always have. Smart House for

1757
01:43:13,439 --> 01:43:15,439
Speaker 3: me was a terrific exercise because not only was I

1758
01:43:15,479 --> 01:43:17,880
Speaker 3: telling a story for a completely different audience, but part

1759
01:43:17,920 --> 01:43:21,720
Speaker 3: of the idea was to really make that technology accessible

1760
01:43:21,760 --> 01:43:24,880
Speaker 3: and real. The whole idea of pat we're there now right,

1761
01:43:24,960 --> 01:43:27,120
Speaker 3: we are living in a time when technology has advanced

1762
01:43:27,160 --> 01:43:29,280
Speaker 3: to the point where there are devices that are controlling

1763
01:43:29,280 --> 01:43:32,000
Speaker 3: a lot of aspects of our lives. I've got nest,

1764
01:43:32,080 --> 01:43:34,040
Speaker 3: I've got the ring door bell. We all have so

1765
01:43:34,040 --> 01:43:36,679
Speaker 3: many wireless devices that are connected to the Internet of Things.

1766
01:43:36,760 --> 01:43:39,599
Speaker 3: Were there the flaw in Smart House is the kid

1767
01:43:39,680 --> 01:43:41,800
Speaker 3: was looking for the technology to fulfill a need that

1768
01:43:41,840 --> 01:43:44,680
Speaker 3: only a human being could and the result, as you

1769
01:43:44,760 --> 01:43:47,960
Speaker 3: might predict, was disastrous. So I think that that is, like,

1770
01:43:48,040 --> 01:43:51,839
Speaker 3: if that is like the core mission of this movie,

1771
01:43:52,080 --> 01:43:53,560
Speaker 3: I feel like it's successful.

1772
01:43:53,880 --> 01:43:54,400
Speaker 2: I agree.

1773
01:43:54,479 --> 01:43:58,720
Speaker 3: Yeah, So even if this is a successful commentary on

1774
01:43:59,040 --> 01:44:03,200
Speaker 3: technology and Night ninety nine, does it pass the Bechdel test?

1775
01:44:05,280 --> 01:44:05,679
Speaker 2: It does?

1776
01:44:06,000 --> 01:44:06,360
Speaker 3: It does?

1777
01:44:06,560 --> 01:44:11,799
Speaker 2: Between Sarah and Angie, I think a couple of times,

1778
01:44:11,840 --> 01:44:17,880
Speaker 2: and then Sarah and her creation Pat, which I guess

1779
01:44:17,960 --> 01:44:21,400
Speaker 2: we can say is a female character, even though it's

1780
01:44:21,560 --> 01:44:23,320
Speaker 2: an operating.

1781
01:44:22,800 --> 01:44:27,160
Speaker 3: System genderless icon. Not a CIS man for sure. I yeah,

1782
01:44:27,400 --> 01:44:29,800
Speaker 3: And we didn't really talk about Angie. I feel like

1783
01:44:29,840 --> 01:44:34,240
Speaker 3: Angie is other than Ben being really mean to her.

1784
01:44:34,960 --> 01:44:38,160
Speaker 3: I think that Angie is like treated in a pretty

1785
01:44:38,200 --> 01:44:43,439
Speaker 3: gender neutral way. It's just like little sibling character generally.

1786
01:44:43,520 --> 01:44:48,280
Speaker 2: Yeah, and she's better at video games than her older brother. Yeah,

1787
01:44:48,320 --> 01:44:49,200
Speaker 2: so that's cool.

1788
01:44:49,439 --> 01:44:53,320
Speaker 3: Yeah, good for Angie, except of how interested she is

1789
01:44:53,360 --> 01:44:56,400
Speaker 3: in her dad's sex life. That's weird. These we need

1790
01:44:56,439 --> 01:44:59,320
Speaker 3: these kids in therapy. Anyways, it does pass the Vextel

1791
01:44:59,360 --> 01:45:01,360
Speaker 3: test a lot of times, I think, most iconically between

1792
01:45:01,439 --> 01:45:04,240
Speaker 3: Angie turning those girls away at the door. That's fun

1793
01:45:05,720 --> 01:45:08,160
Speaker 3: and it's so funny that they get full names. So

1794
01:45:08,200 --> 01:45:10,600
Speaker 3: it does get to pass. That's true. But that's not

1795
01:45:10,640 --> 01:45:12,599
Speaker 3: the most important metric in the world, is it.

1796
01:45:13,000 --> 01:45:16,519
Speaker 2: No, because that would be our nipple scale, a scale

1797
01:45:16,640 --> 01:45:20,000
Speaker 2: where we rate the movie based on examining it through

1798
01:45:20,080 --> 01:45:25,439
Speaker 2: an intersectional feminist lens zero to five nipples. I guess

1799
01:45:25,439 --> 01:45:30,360
Speaker 2: I'll give this. I don't know, one and a half.

1800
01:45:30,800 --> 01:45:36,439
Speaker 2: It's not really as far as as far as like gender.

1801
01:45:37,000 --> 01:45:41,040
Speaker 2: There's a lot present about like gender roles and the

1802
01:45:41,120 --> 01:45:46,240
Speaker 2: expectations of women and the expectations of mothers and things

1803
01:45:46,280 --> 01:45:50,280
Speaker 2: like that. The movie doesn't really know how to handle

1804
01:45:50,360 --> 01:45:53,120
Speaker 2: that in any kind of like thoughtful way, and it

1805
01:45:53,200 --> 01:45:58,160
Speaker 2: mostly just relies on a lot of tropes and if

1806
01:45:58,160 --> 01:45:59,760
Speaker 2: they are trying to if the movie is trying to

1807
01:45:59,800 --> 01:46:04,000
Speaker 2: say something, it's not really sticking the landing. As far

1808
01:46:04,080 --> 01:46:08,400
Speaker 2: as gender Roles Goes. I agree that it is successfully

1809
01:46:08,479 --> 01:46:14,320
Speaker 2: operating as a kind of cautionary tale on AI interfering

1810
01:46:14,560 --> 01:46:18,879
Speaker 2: too much in our human lives. But it just doesn't

1811
01:46:19,520 --> 01:46:24,479
Speaker 2: really know exactly what it's doing with those other things,

1812
01:46:24,520 --> 01:46:28,599
Speaker 2: I would say. But and then, like with Sarah being

1813
01:46:28,600 --> 01:46:33,759
Speaker 2: written as a rather tropy character, it's a very white movie.

1814
01:46:34,240 --> 01:46:34,479
Speaker 3: Yeah.

1815
01:46:34,520 --> 01:46:38,160
Speaker 2: Ben has a friend who is a black kid. We

1816
01:46:38,400 --> 01:46:41,680
Speaker 2: don't learn his name, I don't think.

1817
01:46:41,720 --> 01:46:44,679
Speaker 3: No, we just see him dance to slam Dunk the Funk,

1818
01:46:44,800 --> 01:46:47,320
Speaker 3: and then he says a few like friend character things,

1819
01:46:47,479 --> 01:46:50,000
Speaker 3: which is frustrating because it's like, this is a rare

1820
01:46:50,120 --> 01:46:53,960
Speaker 3: dcon that has a black director, but there's very little

1821
01:46:53,960 --> 01:46:58,400
Speaker 3: diversity to be seen in front of the camera or

1822
01:46:58,439 --> 01:47:00,519
Speaker 3: behind it otherwise.

1823
01:47:00,439 --> 01:47:04,439
Speaker 2: True, which I'm sure is as a result of just

1824
01:47:04,600 --> 01:47:07,599
Speaker 2: the pressure of the studio.

1825
01:47:07,720 --> 01:47:10,720
Speaker 3: Oh it's not LeVar Burton's fault. Yeah, no, no, right,

1826
01:47:10,840 --> 01:47:13,839
Speaker 3: But yeah, it is very of the era in that regard.

1827
01:47:14,000 --> 01:47:19,479
Speaker 2: Yes, speaking of Ben's friends, Ben's friends, he's telling them

1828
01:47:19,720 --> 01:47:23,840
Speaker 2: about all the things Pat can do, and his friends

1829
01:47:23,840 --> 01:47:27,400
Speaker 2: are like, wow, that's like having the world's most perfect

1830
01:47:27,439 --> 01:47:31,680
Speaker 2: mom who's only there to serve and who never complains.

1831
01:47:32,240 --> 01:47:35,080
Speaker 2: And Ben is like exactly, So it's like.

1832
01:47:35,080 --> 01:47:39,880
Speaker 3: Okay, well, I guess that's how we view moms fascinating.

1833
01:47:39,840 --> 01:47:44,040
Speaker 2: So that's awesome. I'll give it one and a half nipples,

1834
01:47:44,560 --> 01:47:49,559
Speaker 2: and it's all going to the strawberry smoothie, which for

1835
01:47:49,600 --> 01:47:50,960
Speaker 2: some reason is blue.

1836
01:47:51,960 --> 01:47:53,640
Speaker 3: I'm going to give it two and a half. I

1837
01:47:53,720 --> 01:47:56,080
Speaker 3: really I think part of that is nostalgia driven, but

1838
01:47:56,120 --> 01:47:58,960
Speaker 3: I think that I think the Sarah character has done

1839
01:47:59,000 --> 01:48:03,519
Speaker 3: a huge disservice by not exploring the more interesting aspects

1840
01:48:03,560 --> 01:48:05,800
Speaker 3: of her character and just relegating her to this role

1841
01:48:05,880 --> 01:48:08,599
Speaker 3: that is not even necessary in this movie. I totally

1842
01:48:08,640 --> 01:48:12,120
Speaker 3: agree with you that the there was way more space

1843
01:48:12,160 --> 01:48:14,880
Speaker 3: in this mood, like and the ingredients are there, but

1844
01:48:14,920 --> 01:48:17,120
Speaker 3: it seems like the writers like are just not equipped

1845
01:48:17,160 --> 01:48:23,400
Speaker 3: to turn them into something of like examining like what

1846
01:48:23,760 --> 01:48:28,439
Speaker 3: are the expectations of a mother and why in most

1847
01:48:28,439 --> 01:48:31,280
Speaker 3: cases is that unfair and based in a lot of

1848
01:48:31,400 --> 01:48:34,559
Speaker 3: historical patriarchy and like all this stuff. Like, there is

1849
01:48:34,680 --> 01:48:37,280
Speaker 3: space in this movie and within the characters of Sarah

1850
01:48:37,320 --> 01:48:41,800
Speaker 3: and Pat to explore that, and I think that the

1851
01:48:41,840 --> 01:48:47,200
Speaker 3: movie definitely elects to go for a technology cautionary tale

1852
01:48:47,840 --> 01:48:53,720
Speaker 3: over an examination of gender roles, but I think it

1853
01:48:53,760 --> 01:48:57,920
Speaker 3: was possible to actually effectively do both, and that each

1854
01:48:57,920 --> 01:49:00,680
Speaker 3: point would be made stronger by including the other. We

1855
01:49:00,800 --> 01:49:03,479
Speaker 3: know that because there are movies that have done that

1856
01:49:03,640 --> 01:49:06,880
Speaker 3: before and since, and there is space for that here,

1857
01:49:07,000 --> 01:49:11,439
Speaker 3: and it's disappointing that it doesn't happen, but it is, like,

1858
01:49:11,920 --> 01:49:14,439
Speaker 3: I really think it's an awesome movie, especially for a

1859
01:49:14,439 --> 01:49:19,439
Speaker 3: movie of this genre. I like the ideas put forth

1860
01:49:19,439 --> 01:49:22,559
Speaker 3: in Sarah's character. I love Pat, She's an icon, I

1861
01:49:22,600 --> 01:49:24,760
Speaker 3: love her. I want to see a smart house drag

1862
01:49:24,800 --> 01:49:29,680
Speaker 3: show like oh Wow. And I like the dynamic of

1863
01:49:29,760 --> 01:49:34,599
Speaker 3: like a sort of like an all female reboot of

1864
01:49:34,920 --> 01:49:38,840
Speaker 3: Frankenstein where like you get the creator and the like.

1865
01:49:38,880 --> 01:49:41,599
Speaker 3: And I wish that we had gotten more between Sarah

1866
01:49:41,600 --> 01:49:44,679
Speaker 3: and Pat and like watch that relationship go sour. If

1867
01:49:44,880 --> 01:49:47,599
Speaker 3: the movie really does want Sarah to turn against Pat,

1868
01:49:47,600 --> 01:49:49,040
Speaker 3: I would love for it to have been for a

1869
01:49:49,080 --> 01:49:52,960
Speaker 3: reason other than my bayfan So, but I think that

1870
01:49:53,000 --> 01:49:55,439
Speaker 3: there are so many interesting ideas put forward in this movie,

1871
01:49:55,439 --> 01:49:58,720
Speaker 3: and it's like it feels like as close to like

1872
01:49:58,880 --> 01:50:02,000
Speaker 3: a technology kind of jump scare story that kids of

1873
01:50:02,040 --> 01:50:04,160
Speaker 3: this generation got, and a lot of it holds up

1874
01:50:04,200 --> 01:50:08,120
Speaker 3: really well and so uh, it's not an intersectional win

1875
01:50:08,720 --> 01:50:10,960
Speaker 3: by any stretch of the imagination. But I think it's

1876
01:50:11,000 --> 01:50:14,519
Speaker 3: like a really well told story, and I there's not

1877
01:50:14,680 --> 01:50:18,320
Speaker 3: a lot like it out there for kids, that's true.

1878
01:50:18,640 --> 01:50:22,120
Speaker 3: So I'm gonna go two point five and I'm gonna

1879
01:50:22,120 --> 01:50:26,480
Speaker 3: give one to Pat. I'm gonna give a one two Angie.

1880
01:50:26,760 --> 01:50:30,760
Speaker 3: I'm gonna give the last half to Gwen because she

1881
01:50:31,520 --> 01:50:33,040
Speaker 3: didn't get to do anything.

1882
01:50:34,320 --> 01:50:34,759
Speaker 2: Wow.

1883
01:50:35,000 --> 01:50:39,040
Speaker 3: Yeah, and there you go. Listeners. That is our smart

1884
01:50:39,040 --> 01:50:41,800
Speaker 3: House episode of the Bechdel Cast. Thank you so much

1885
01:50:42,120 --> 01:50:44,720
Speaker 3: for listening. And if you enjoyed the style of this episode,

1886
01:50:45,520 --> 01:50:48,360
Speaker 3: well there's about one hundred and fifty more where that

1887
01:50:48,400 --> 01:50:50,280
Speaker 3: came from.

1888
01:50:50,520 --> 01:50:57,400
Speaker 2: It's truth, which is all found on our Matreon, Patreon,

1889
01:50:57,520 --> 01:51:01,160
Speaker 2: dot com slash Bechtel Cast, where we do two episodes

1890
01:51:01,200 --> 01:51:05,240
Speaker 2: every month. Usually is a part of a fun little theme.

1891
01:51:06,160 --> 01:51:10,120
Speaker 2: In July, we're doing sleepover movies and.

1892
01:51:10,080 --> 01:51:13,400
Speaker 3: We're having a sleepover to mark the occasion. Oh exactly.

1893
01:51:13,600 --> 01:51:15,280
Speaker 3: It's such a blast over there, and yet it's like

1894
01:51:15,680 --> 01:51:18,560
Speaker 3: generally more casual and goofy, and it's.

1895
01:51:18,120 --> 01:51:23,080
Speaker 2: Fun so fun. We slam dunk the funk over there.

1896
01:51:23,160 --> 01:51:26,280
Speaker 3: We're gonna be dancing in Unison at our sleepover for sure.

1897
01:51:27,200 --> 01:51:30,280
Speaker 2: Yeah the house Jump Jump the house is jumping over

1898
01:51:30,360 --> 01:51:31,920
Speaker 2: on the Matreon.

1899
01:51:31,880 --> 01:51:33,960
Speaker 3: And by house we do of course me in one

1900
01:51:34,000 --> 01:51:38,519
Speaker 3: bedroom apartment. And yeah, you can also find us on

1901
01:51:39,080 --> 01:51:43,280
Speaker 3: social media, which I'm sure Pat's been mining our information

1902
01:51:43,960 --> 01:51:49,120
Speaker 3: over there. Disgusting of her, but I love her. You

1903
01:51:49,200 --> 01:51:53,000
Speaker 3: can find us every on Twitter and Instagram, at bachtel Cast,

1904
01:51:53,439 --> 01:51:56,679
Speaker 3: or grab some merch over at tea public dot com

1905
01:51:56,720 --> 01:52:01,560
Speaker 3: slash the bachtel Cast. Wow, Caitlin, do you want to

1906
01:52:01,560 --> 01:52:04,320
Speaker 3: go out and get some definitely strawberry milkshakes?

1907
01:52:04,560 --> 01:52:07,639
Speaker 2: Yes, but only if they're blue for some reason.

1908
01:52:07,680 --> 01:52:08,639
Speaker 4: Oops, I spilled.

1909
01:52:08,920 --> 01:52:13,920
Speaker 2: Oh don't worry, the floor absorbers will suck it up. Okay,

1910
01:52:13,960 --> 01:52:14,639
Speaker 2: bye bye