1 00:00:00,760 --> 00:00:03,720 Speaker 1: On the Bechdel Cast, the questions asked if movies have 2 00:00:03,880 --> 00:00:07,760 Speaker 1: women in um, are all their discussions just boyfriends and husbands, 3 00:00:07,840 --> 00:00:12,160 Speaker 1: or do they have individualism the patriarchy zef in best 4 00:00:12,600 --> 00:00:17,480 Speaker 1: start changing it with the Bechdel Cast. Hello, and welcome 5 00:00:17,520 --> 00:00:20,360 Speaker 1: to the Bechtel Cast. My name is Jamie Loftus, my 6 00:00:20,440 --> 00:00:24,000 Speaker 1: name is Caitlin Drunte, and this is a podcast where 7 00:00:24,079 --> 00:00:26,760 Speaker 1: we discussed the role of women in movies you know 8 00:00:26,880 --> 00:00:30,520 Speaker 1: and possibly love. That's right, and we use the Bechtel 9 00:00:30,600 --> 00:00:33,280 Speaker 1: Test as a jumping off point to initiate a larger 10 00:00:33,320 --> 00:00:37,839 Speaker 1: conversation about the representation and portrayal of women in cinema. 11 00:00:38,200 --> 00:00:42,080 Speaker 1: And if you're the Moss, if you're not familiar, the 12 00:00:42,120 --> 00:00:45,639 Speaker 1: Bechdel Test is a media test that was created by 13 00:00:45,760 --> 00:00:50,000 Speaker 1: cartoonist Alison Bechtel, and it requires that the story has 14 00:00:50,159 --> 00:00:54,360 Speaker 1: two female identifying characters who have names. They must speak 15 00:00:54,360 --> 00:00:58,000 Speaker 1: to each other, and their conversation cannot be about a man. 16 00:00:58,280 --> 00:01:01,480 Speaker 1: You think it would be easy, and yeah, almost every 17 00:01:01,600 --> 00:01:05,520 Speaker 1: movie can't do it. A lot of movies fail the test, 18 00:01:05,840 --> 00:01:09,040 Speaker 1: or some of our faiths, there's or like a barely 19 00:01:09,120 --> 00:01:12,520 Speaker 1: pass where it's like you should kill yourself Hey, that's mean, 20 00:01:12,800 --> 00:01:16,360 Speaker 1: and then it passes upsetting that was that she's all 21 00:01:16,400 --> 00:01:21,000 Speaker 1: that pass So whoop see for that movie. Today is 22 00:01:21,000 --> 00:01:23,040 Speaker 1: a very special day. It's a very special day in 23 00:01:23,120 --> 00:01:25,800 Speaker 1: backtel cast history. I don't know if our guest is 24 00:01:25,840 --> 00:01:29,959 Speaker 1: aware what a big deal this is for us. I 25 00:01:29,959 --> 00:01:32,480 Speaker 1: don't know. We we'll have to find out. I I mean, 26 00:01:32,800 --> 00:01:35,560 Speaker 1: there's a lot of lore, there's a lot of back story. 27 00:01:35,840 --> 00:01:38,520 Speaker 1: It's it's all been coming down to this at this 28 00:01:38,640 --> 00:01:41,600 Speaker 1: very moment. Yes, So, in the interest of not burying 29 00:01:41,640 --> 00:01:44,600 Speaker 1: the lead any further, let us introduce our guests. Yes, 30 00:01:44,920 --> 00:01:49,680 Speaker 1: he really needs no introduction on this all the time. 31 00:01:50,760 --> 00:01:57,280 Speaker 1: He is, of course, Actor Alfred Molina, Hello, Hello, getting 32 00:01:57,320 --> 00:02:01,680 Speaker 1: slightly worried. Okay, so we were afraid this might happen. 33 00:02:01,760 --> 00:02:06,880 Speaker 1: I don't know how adequately briefed you were on our podcast. 34 00:02:07,720 --> 00:02:10,880 Speaker 1: Everyone's getting very Also, right before we came in, you 35 00:02:10,919 --> 00:02:13,079 Speaker 1: were like, Oh, that's crazy, We're going into a soundproof 36 00:02:13,200 --> 00:02:15,680 Speaker 1: room nervously, and then we're like, oh, we're about to 37 00:02:15,680 --> 00:02:18,680 Speaker 1: really spring something on him, and then the soundproof will 38 00:02:18,680 --> 00:02:24,200 Speaker 1: seem even worse. We're just huge fans. Do we mention 39 00:02:24,280 --> 00:02:31,040 Speaker 1: you on every episode? Yes? Literally every episode? What why 40 00:02:31,080 --> 00:02:33,520 Speaker 1: on earth would you want to do that? It's on 41 00:02:33,600 --> 00:02:37,000 Speaker 1: our feminist podcast. We mentioned you in over a hundred 42 00:02:37,080 --> 00:02:42,120 Speaker 1: episodes in a podcast about how women should talk about men. 43 00:02:42,280 --> 00:02:49,560 Speaker 1: Don't flatted, but slightly slightly worried for you. We are 44 00:02:49,600 --> 00:02:55,919 Speaker 1: also worried for ourselves, and yet we're huge fans. We 45 00:02:56,200 --> 00:02:59,360 Speaker 1: regularly at the end of every show say, felt for Molina. 46 00:02:59,520 --> 00:03:01,959 Speaker 1: Wasn't an this movie? What's the part that we think 47 00:03:02,080 --> 00:03:05,760 Speaker 1: he should have taken from someone else? Uh? So we 48 00:03:05,880 --> 00:03:11,080 Speaker 1: have a lot of that conversation with myself. We should 49 00:03:11,160 --> 00:03:14,360 Speaker 1: swap notes. We'll let you know where you belonged in 50 00:03:14,480 --> 00:03:17,680 Speaker 1: movies you weren't in all right, called my agent let 51 00:03:17,680 --> 00:03:22,200 Speaker 1: her know as well. We'll do. We're just so psyched 52 00:03:22,320 --> 00:03:24,520 Speaker 1: to head. Well, thank you, I'm delighted you. Thank you. 53 00:03:24,520 --> 00:03:27,880 Speaker 1: That's very sweet with you. Yeah, so now you've picked 54 00:03:27,919 --> 00:03:31,920 Speaker 1: the movie that we're talking about today. Yes, Aaron Brockovich, Um, 55 00:03:32,120 --> 00:03:34,280 Speaker 1: is there any specific reason you picked this one? And 56 00:03:34,639 --> 00:03:37,960 Speaker 1: what's your sort of relationship in history with this movie? Well, 57 00:03:38,000 --> 00:03:40,560 Speaker 1: apart from just being a bit of a fan of 58 00:03:40,640 --> 00:03:45,760 Speaker 1: Julia Roberts, but also on a personal level, Albert Finney 59 00:03:45,760 --> 00:03:50,840 Speaker 1: and I are chums, and I sort of always, you know, whenever, 60 00:03:51,240 --> 00:03:53,320 Speaker 1: you know, whenever Albert is in a movie, I was 61 00:03:53,400 --> 00:03:55,600 Speaker 1: kind of go and watch it, because, you know, he's 62 00:03:55,640 --> 00:03:58,520 Speaker 1: one of I think, one of the actors that certainly 63 00:03:58,560 --> 00:04:01,440 Speaker 1: my generation of actors. He's a little bit he's like 64 00:04:01,480 --> 00:04:03,760 Speaker 1: about ten years or so ahead of me, maybe a 65 00:04:03,840 --> 00:04:07,360 Speaker 1: bit more. But when I was growing up and studying, 66 00:04:07,600 --> 00:04:09,800 Speaker 1: he was one of those actors that you sort of 67 00:04:10,480 --> 00:04:12,680 Speaker 1: kind of revere. I certainly revered him. I looked up 68 00:04:12,680 --> 00:04:14,000 Speaker 1: to him a little bit, and he was he was 69 00:04:14,040 --> 00:04:15,800 Speaker 1: the sort of actor that I kind of wanted to 70 00:04:15,840 --> 00:04:19,560 Speaker 1: be when I was very young, and he's always been, 71 00:04:19,839 --> 00:04:22,320 Speaker 1: you know, the kind of character actor that you know, 72 00:04:22,360 --> 00:04:25,599 Speaker 1: the whole generation of us sort of aspired to. But 73 00:04:25,680 --> 00:04:29,680 Speaker 1: also it was such a really really interesting story. I mean, 74 00:04:29,720 --> 00:04:33,120 Speaker 1: the the and and I mean films that have a 75 00:04:33,160 --> 00:04:38,480 Speaker 1: female lead character are traditionally and the general kind of 76 00:04:38,520 --> 00:04:41,719 Speaker 1: the general sort of intelligence seems to be that those 77 00:04:41,800 --> 00:04:46,120 Speaker 1: movies are harder to market, they're harder to sell, they're 78 00:04:46,120 --> 00:04:48,520 Speaker 1: harder to find, it's harder to find an audience for them. 79 00:04:50,520 --> 00:04:54,000 Speaker 1: Totally crazy. So you need star power, you need you know, 80 00:04:54,400 --> 00:04:56,360 Speaker 1: or you need a story that's kind of really compelling 81 00:04:56,400 --> 00:05:00,360 Speaker 1: and all the and it's true of that movie, there's 82 00:05:00,360 --> 00:05:03,600 Speaker 1: a kind of I think it's because it's not overtly political. 83 00:05:03,960 --> 00:05:05,560 Speaker 1: It's not a movie, it's not a movie with a 84 00:05:05,640 --> 00:05:09,200 Speaker 1: cause in a sense, it's it's it's it doesn't it's 85 00:05:09,240 --> 00:05:12,000 Speaker 1: not kind of proselytizing about anything in particular. It's really 86 00:05:12,440 --> 00:05:16,880 Speaker 1: I find it very very much character based, and what 87 00:05:17,120 --> 00:05:22,240 Speaker 1: Julia Roberts did with the role was so audacious and 88 00:05:22,320 --> 00:05:26,919 Speaker 1: wonderfully free of of really caring about what anyone thinks. 89 00:05:26,960 --> 00:05:29,400 Speaker 1: I mean, it starts off. I mean the first time 90 00:05:29,440 --> 00:05:31,599 Speaker 1: you see her in the movie, she's kind of in 91 00:05:31,640 --> 00:05:33,760 Speaker 1: a mood. She's like, you know, she's breaking out of something. 92 00:05:33,800 --> 00:05:36,280 Speaker 1: She she's she's got an opinion, she has a point 93 00:05:36,279 --> 00:05:39,920 Speaker 1: of view. And that I always think is the best 94 00:05:39,920 --> 00:05:42,520 Speaker 1: thing about any kind of story on film is that 95 00:05:42,560 --> 00:05:45,680 Speaker 1: you're not you know, she's not trying to please everybody. 96 00:05:45,920 --> 00:05:49,200 Speaker 1: The writing isn't trying to say, you know, this is 97 00:05:49,240 --> 00:05:52,719 Speaker 1: the kind of woman all women should aspire to. You know, 98 00:05:53,440 --> 00:05:56,360 Speaker 1: this is just a very specific woman who is going 99 00:05:56,400 --> 00:06:00,560 Speaker 1: through a very specific thing. And that that always I 100 00:06:00,560 --> 00:06:05,240 Speaker 1: always found that attractive and very entertaining, and you know, 101 00:06:05,360 --> 00:06:08,960 Speaker 1: but it's a story that has such heart and passion 102 00:06:09,080 --> 00:06:13,520 Speaker 1: and and her journey. You know, she starts off unemployed, 103 00:06:14,400 --> 00:06:19,080 Speaker 1: almost homeless, with children, a ne'er do weel partner who's 104 00:06:19,120 --> 00:06:21,200 Speaker 1: not kind of you know, pulling his weight, and and 105 00:06:21,200 --> 00:06:25,320 Speaker 1: and so straight away the movie starts with her absolutely 106 00:06:25,320 --> 00:06:28,400 Speaker 1: with the odds against her in every possible way. And 107 00:06:28,480 --> 00:06:31,200 Speaker 1: still there's this sort of you know, the guts of 108 00:06:31,200 --> 00:06:34,880 Speaker 1: it and the the rage, I think is what fuels 109 00:06:34,920 --> 00:06:38,239 Speaker 1: her as well, not just being honorable or being decent 110 00:06:38,360 --> 00:06:40,400 Speaker 1: or being noble. There's nothing in a way, there's nothing 111 00:06:40,440 --> 00:06:44,840 Speaker 1: really noble about Aaron Brockovich. She's she knows exactly what 112 00:06:44,880 --> 00:06:46,760 Speaker 1: she needs to do. She knows exactly what has to 113 00:06:47,080 --> 00:06:49,160 Speaker 1: has to happen in order for her to create some 114 00:06:49,240 --> 00:06:52,960 Speaker 1: kind of decent life for herself. She's very single minded. 115 00:06:53,520 --> 00:06:56,800 Speaker 1: She's not carrying, you know, the message of a movement 116 00:06:57,000 --> 00:07:00,640 Speaker 1: or the aspirations of other people. And that makes a 117 00:07:01,360 --> 00:07:03,440 Speaker 1: to me kind of one of the great sort of 118 00:07:03,520 --> 00:07:09,280 Speaker 1: heroines of modern cinema. That was beautiful. She's a yeah, 119 00:07:10,160 --> 00:07:16,840 Speaker 1: I'll give it to monologue. That's my audition monologue. They're 120 00:07:17,280 --> 00:07:21,440 Speaker 1: just explaining why you like Karen Braca. It breaks the ice. 121 00:07:23,280 --> 00:07:25,680 Speaker 1: Then it's the great equalizer. I like, this is one 122 00:07:25,720 --> 00:07:28,640 Speaker 1: of those movies that it's very hard to find someone 123 00:07:28,680 --> 00:07:32,560 Speaker 1: who has seen this movie and doesn't at least appreciate it, 124 00:07:32,640 --> 00:07:36,120 Speaker 1: if not is like a fan of it. Definitely. I've 125 00:07:36,120 --> 00:07:39,720 Speaker 1: seen this movie, as with many in bits and pieces 126 00:07:39,800 --> 00:07:43,840 Speaker 1: on TNT over a course of years, and I'd seen 127 00:07:43,880 --> 00:07:45,920 Speaker 1: it all the way through once in high school. Um, 128 00:07:45,960 --> 00:07:48,240 Speaker 1: but I hadn't revisited it in a long time and 129 00:07:48,480 --> 00:07:51,400 Speaker 1: rewatching it for this, I mean, any movie released in 130 00:07:51,440 --> 00:07:54,600 Speaker 1: the year two thousand. We just released What Women Want episode. 131 00:07:54,600 --> 00:07:57,200 Speaker 1: You're just like, this could go a lot of ways. Uh, 132 00:07:57,680 --> 00:07:59,840 Speaker 1: just like a span of years where things were going 133 00:07:59,840 --> 00:08:02,080 Speaker 1: on over the place. But I mean I thought held up, 134 00:08:02,640 --> 00:08:06,880 Speaker 1: I mean pretty spectacularly well. And probably part of the 135 00:08:06,920 --> 00:08:09,880 Speaker 1: reason is because it's rooted in a true story, so 136 00:08:10,000 --> 00:08:13,840 Speaker 1: it's harder to let a lot of the insidious tropes 137 00:08:13,880 --> 00:08:16,040 Speaker 1: that we talked about all the time into a true story, 138 00:08:16,160 --> 00:08:18,600 Speaker 1: although some of them sneak in there anyways. But I 139 00:08:19,200 --> 00:08:22,680 Speaker 1: really I thought it was great. I enjoyed watching it. Yeah, 140 00:08:22,800 --> 00:08:26,520 Speaker 1: Julie Roberts kills it, Albert Finney kills it. All the 141 00:08:26,520 --> 00:08:29,600 Speaker 1: good performances. Aaron I Card has a braid. You're just 142 00:08:29,640 --> 00:08:35,640 Speaker 1: like I forgot about that. I had flo like, Okay, 143 00:08:36,080 --> 00:08:38,480 Speaker 1: I saw this movie. I don't think I saw it 144 00:08:38,520 --> 00:08:40,400 Speaker 1: in theaters, but it was one of those ones where 145 00:08:40,400 --> 00:08:42,160 Speaker 1: I saw it within a year of it coming out 146 00:08:42,360 --> 00:08:44,640 Speaker 1: on you know, DVD or whatever, and I think that 147 00:08:44,720 --> 00:08:48,120 Speaker 1: was the only time I had seen it before rewatching 148 00:08:48,120 --> 00:08:52,040 Speaker 1: it to prep for the show, and I was reminded 149 00:08:52,080 --> 00:08:55,040 Speaker 1: that I really enjoy it. I love a good you know, 150 00:08:55,120 --> 00:09:00,000 Speaker 1: like investigatory. That's not a word I like to get 151 00:08:59,880 --> 00:09:04,160 Speaker 1: to keep it. Um. Yeah, I just I really I 152 00:09:04,240 --> 00:09:08,839 Speaker 1: enjoyed the movie. I think it is entertaining and performances 153 00:09:08,840 --> 00:09:11,760 Speaker 1: are great, and I like the story that unfolds. Cute 154 00:09:11,800 --> 00:09:14,520 Speaker 1: baby in the movie, A cute baby. Well, you can 155 00:09:14,559 --> 00:09:16,920 Speaker 1: never lose with a cute It's a cute cute baby 156 00:09:16,920 --> 00:09:20,719 Speaker 1: and cute dogs. Yes, it's a It's an absolute kind 157 00:09:20,720 --> 00:09:23,360 Speaker 1: of winner. I was one over very easily. The baby, 158 00:09:23,440 --> 00:09:26,440 Speaker 1: I don't know is it was an active baby. Julia 159 00:09:26,520 --> 00:09:30,040 Speaker 1: Roberts is having fun with the baby. Great chemistry with 160 00:09:30,200 --> 00:09:33,800 Speaker 1: the baby. Where's that baby? Now, there's a couple of things. 161 00:09:33,840 --> 00:09:36,480 Speaker 1: I think there's a scene, isn't that where she's holding 162 00:09:36,520 --> 00:09:39,720 Speaker 1: the baby and she kind of shouts at someone, and 163 00:09:39,960 --> 00:09:43,480 Speaker 1: clearly the baby is absolutely kind of like shocked by it, 164 00:09:43,480 --> 00:09:46,240 Speaker 1: starts to cry, and then she's carrying on the scene 165 00:09:46,360 --> 00:09:48,880 Speaker 1: and kind of taking care of the bay, taking care 166 00:09:48,880 --> 00:09:51,559 Speaker 1: of the crying baby, and you kind of go. And 167 00:09:51,679 --> 00:09:53,440 Speaker 1: my first thought when I first saw that, my first 168 00:09:53,440 --> 00:09:57,200 Speaker 1: thought was, is that her baby? Because it felt so 169 00:09:57,760 --> 00:10:00,480 Speaker 1: her connection to the way she was just handling the 170 00:10:00,559 --> 00:10:03,520 Speaker 1: child while while she was doing something. And you know, 171 00:10:03,920 --> 00:10:05,920 Speaker 1: you see mothers, you know, you see mom's doing that 172 00:10:05,960 --> 00:10:10,000 Speaker 1: all the time. But it was so seamless. Somehow she 173 00:10:10,800 --> 00:10:15,040 Speaker 1: she ceased to feel like an actor coping in a scene, 174 00:10:15,080 --> 00:10:18,360 Speaker 1: but you know, and she was still committed to the scene, 175 00:10:19,160 --> 00:10:21,360 Speaker 1: taking care of the chose. I thought it was absolutely brilliant. 176 00:10:21,559 --> 00:10:25,120 Speaker 1: I always talk about like on screen chemistry, but it's 177 00:10:25,200 --> 00:10:30,480 Speaker 1: usually like romantic relation. I mean, the chemistry between Julia 178 00:10:30,640 --> 00:10:34,440 Speaker 1: Roberts and baby. It was two babies. It was twins, 179 00:10:34,480 --> 00:10:38,080 Speaker 1: which usually is what happens classic baby when there's a 180 00:10:38,120 --> 00:10:40,600 Speaker 1: baby that has to be in a movie. But I 181 00:10:40,640 --> 00:10:42,160 Speaker 1: had to do that on a movie once. I had 182 00:10:42,160 --> 00:10:45,559 Speaker 1: a baby a little month months old and we had twins, 183 00:10:46,280 --> 00:10:49,240 Speaker 1: but sadly one of them had a sort of. It 184 00:10:49,320 --> 00:10:51,839 Speaker 1: was a temporary thing. Apparently happens a lot when babies 185 00:10:51,840 --> 00:10:53,960 Speaker 1: are born. One of them had a kind of lump 186 00:10:54,120 --> 00:10:57,880 Speaker 1: on miss shapen heads, slightly misshapen head which was going 187 00:10:58,160 --> 00:10:59,800 Speaker 1: it was going down. It was something to do with 188 00:10:59,840 --> 00:11:02,240 Speaker 1: the once and now getting squeezed when during the delivery 189 00:11:02,320 --> 00:11:06,120 Speaker 1: or something. And so it's not it's not a problem. 190 00:11:06,240 --> 00:11:10,360 Speaker 1: But because it was quite prominent, quite pronounced, when they 191 00:11:10,440 --> 00:11:13,920 Speaker 1: swapped the babies over, they realize, oh, we've got an 192 00:11:13,960 --> 00:11:17,320 Speaker 1: issue here because one baby's shaped it. So what they 193 00:11:17,360 --> 00:11:21,720 Speaker 1: do is they put both babies in these terrible hats. 194 00:11:22,600 --> 00:11:24,840 Speaker 1: And I kept and I kept saying to the I said, 195 00:11:24,840 --> 00:11:26,959 Speaker 1: at one point in the drag, said, you know, I 196 00:11:27,000 --> 00:11:29,040 Speaker 1: don't know about you, mate, but you know, when I 197 00:11:29,040 --> 00:11:31,319 Speaker 1: brought my baby home, I never I would take the 198 00:11:31,360 --> 00:11:34,080 Speaker 1: hat off. We can't take the hat off because of 199 00:11:34,520 --> 00:11:36,200 Speaker 1: when we swapped the babies over, the other one's got 200 00:11:36,240 --> 00:11:38,520 Speaker 1: great big lump on its head, you know. But yeah, 201 00:11:38,520 --> 00:11:40,480 Speaker 1: but that twin thing is interesting because you know they 202 00:11:40,480 --> 00:11:47,040 Speaker 1: can they're not necessarily the same, very different temperaments. You know, 203 00:11:47,080 --> 00:11:52,400 Speaker 1: I love a lumpy head based continuity era. I think 204 00:11:52,400 --> 00:11:55,120 Speaker 1: that would be a first How would be to be 205 00:11:55,280 --> 00:11:58,079 Speaker 1: the person who goes into the continuity, be like one 206 00:11:58,080 --> 00:12:01,080 Speaker 1: of the babies seemed lumpy and some se but smooth 207 00:12:01,120 --> 00:12:06,880 Speaker 1: in others. That's just cruel. So yeah, so I saw 208 00:12:06,920 --> 00:12:10,480 Speaker 1: the movie and I liked it, and that is my 209 00:12:10,760 --> 00:12:13,040 Speaker 1: history with it. Um. This is one of my mom's 210 00:12:13,120 --> 00:12:15,560 Speaker 1: favorite because I was too young to see this movie 211 00:12:15,559 --> 00:12:18,120 Speaker 1: when it came out. But my mom and one of 212 00:12:18,160 --> 00:12:22,840 Speaker 1: her many VHS hills she'd die on, Aaron Brockovich was 213 00:12:22,880 --> 00:12:25,439 Speaker 1: one of them. And my my mom's VHS hills to 214 00:12:25,520 --> 00:12:28,200 Speaker 1: die on, as you know, our hit or miss. I 215 00:12:28,200 --> 00:12:30,520 Speaker 1: would say she loves Aaron Brockovich just as much as 216 00:12:30,520 --> 00:12:34,360 Speaker 1: she loves what weapon want. But you know she's we're all, 217 00:12:34,520 --> 00:12:39,440 Speaker 1: we're all works in progress out But yes, so she 218 00:12:39,440 --> 00:12:41,200 Speaker 1: she loves this movie as well. Shall I do the 219 00:12:41,200 --> 00:12:44,439 Speaker 1: recap of the story. Let's recap all right, and feel 220 00:12:44,520 --> 00:12:50,640 Speaker 1: free to comment to any time. Yes, we grant your profission. Yes, okay. 221 00:12:50,640 --> 00:12:54,400 Speaker 1: So Aaron Brockovich is a single mother, UM, and she 222 00:12:54,679 --> 00:12:58,720 Speaker 1: is unemployed. She is financially broke. We see her get 223 00:12:58,720 --> 00:13:01,640 Speaker 1: into a car accident that is clearly not her fault 224 00:13:01,880 --> 00:13:04,800 Speaker 1: within the first few minutes of the film, and she 225 00:13:04,920 --> 00:13:08,880 Speaker 1: does not get a settlement from this accident, and she's 226 00:13:08,920 --> 00:13:12,920 Speaker 1: calling her lawyer and masbrid that, of course is Albert 227 00:13:12,960 --> 00:13:15,319 Speaker 1: Finney's character, right, And then part of the reason that 228 00:13:15,360 --> 00:13:18,160 Speaker 1: she doesn't get the settlement, in the way the movie 229 00:13:18,200 --> 00:13:21,520 Speaker 1: makes clear, is because the jury is biased against her 230 00:13:22,000 --> 00:13:24,880 Speaker 1: because she's a single mom, because she doesn't have a 231 00:13:24,960 --> 00:13:27,440 Speaker 1: job right now, And so they frame it like, while, 232 00:13:27,440 --> 00:13:31,680 Speaker 1: you've got into an accent twice and right, he's like 233 00:13:31,760 --> 00:13:34,920 Speaker 1: everything about her to explain why she did it on 234 00:13:35,000 --> 00:13:37,839 Speaker 1: purpose and why it wasn't an accident even though it was. Right. 235 00:13:38,800 --> 00:13:43,199 Speaker 1: So a little bit later, she goes into her attorney's 236 00:13:43,240 --> 00:13:46,960 Speaker 1: office and demands a job, and he hadn't know what 237 00:13:47,000 --> 00:13:51,480 Speaker 1: to do. He's just like, okay, he's reluctant, but Steve 238 00:13:51,640 --> 00:13:54,320 Speaker 1: rolls him. It's fun to watch. You can't resist that 239 00:13:54,320 --> 00:14:01,520 Speaker 1: Crimson tide. This is irresistible. Um. Meanwhile, she's her neighbor George. 240 00:14:01,840 --> 00:14:05,079 Speaker 1: He's a biker dude played by Aaron Eckhart. Aaron Eckhart 241 00:14:05,240 --> 00:14:09,160 Speaker 1: with a rat tail. It's wild. You don't see it coming, 242 00:14:09,280 --> 00:14:11,400 Speaker 1: and then all of a sudden it's there and you're like, 243 00:14:11,440 --> 00:14:13,959 Speaker 1: all right, I'm in this. Aaron Eckart with a rat tail. 244 00:14:14,440 --> 00:14:17,560 Speaker 1: I've already seen him as I Frankenstein. I'm down for 245 00:14:17,600 --> 00:14:21,600 Speaker 1: this too. I love I Frankenstein in You're the Only 246 00:14:21,600 --> 00:14:24,520 Speaker 1: Person in the World too. That's true A million times. 247 00:14:25,160 --> 00:14:29,040 Speaker 1: Loved it. So she's at work and she is doing 248 00:14:29,040 --> 00:14:32,640 Speaker 1: a lot of filing at this law office, and she's 249 00:14:32,640 --> 00:14:35,720 Speaker 1: going over a real estate file and there's a case 250 00:14:35,760 --> 00:14:37,600 Speaker 1: that has a bunch of medical records in it, um, 251 00:14:37,600 --> 00:14:40,640 Speaker 1: which doesn't make sense to be in a real estate case. 252 00:14:40,840 --> 00:14:43,680 Speaker 1: So she starts to investigate it. She goes to the 253 00:14:43,720 --> 00:14:48,320 Speaker 1: town of Hinckley, California, to a woman's home Donna Jensen, 254 00:14:48,440 --> 00:14:52,120 Speaker 1: she's the person who like filed the case, and she's 255 00:14:52,200 --> 00:15:00,440 Speaker 1: like don yes, yes, and um. She says that the 256 00:15:00,480 --> 00:15:03,760 Speaker 1: Pacific Gas and Electric Company are trying to buy her home, 257 00:15:04,040 --> 00:15:05,960 Speaker 1: but she and her husband don't want to sell it, 258 00:15:06,600 --> 00:15:10,480 Speaker 1: and they are also both sick and p Jennie covered 259 00:15:10,520 --> 00:15:13,320 Speaker 1: their medical bills, and Aaron's like, wait a minute, that's 260 00:15:13,720 --> 00:15:17,840 Speaker 1: perhaps these two things are related. Yeah, and then Donna 261 00:15:17,920 --> 00:15:20,240 Speaker 1: is like, well, it's because of the chromium and we're 262 00:15:20,280 --> 00:15:23,800 Speaker 1: like what what what what does chromium? It sounds like 263 00:15:24,840 --> 00:15:27,600 Speaker 1: it sounds bad. Yeah, it sounds like it's like it's 264 00:15:27,600 --> 00:15:31,240 Speaker 1: like movie science. Movie science is not really science. You 265 00:15:31,360 --> 00:15:34,280 Speaker 1: just got to find a word that sounds either bad 266 00:15:34,480 --> 00:15:38,600 Speaker 1: or dangerous or mysterious. You know. It's like when we 267 00:15:38,600 --> 00:15:44,160 Speaker 1: did Spider Man too, Trium, what is that? You know? 268 00:15:44,240 --> 00:15:45,720 Speaker 1: I mean it could it could, you know, you could 269 00:15:45,720 --> 00:15:47,640 Speaker 1: you could take a word off the you know, the 270 00:15:47,640 --> 00:15:50,240 Speaker 1: the ingredients in washing powder, and you can make it 271 00:15:50,280 --> 00:15:53,480 Speaker 1: sound like some mysterious science. It doesn't sound good. You 272 00:15:53,560 --> 00:15:55,520 Speaker 1: don't know. But in the movie. I think the reason 273 00:15:55,560 --> 00:15:58,520 Speaker 1: why we but we buy chromium in the movie is 274 00:15:58,560 --> 00:16:01,480 Speaker 1: because of that. There's that little thing that the director 275 00:16:01,520 --> 00:16:04,240 Speaker 1: decided to do that when when she mentions the word 276 00:16:04,280 --> 00:16:05,960 Speaker 1: for the first time, there's a little bit of air 277 00:16:06,480 --> 00:16:10,080 Speaker 1: around it. Yeah, and it's like she goes it was 278 00:16:10,120 --> 00:16:13,720 Speaker 1: the chromeum and then it's like there's just like then 279 00:16:13,720 --> 00:16:16,720 Speaker 1: it cuts away to Aaron kind of going She's thinking, 280 00:16:17,240 --> 00:16:19,640 Speaker 1: what the hell is that giving us to? You know, 281 00:16:19,680 --> 00:16:23,360 Speaker 1: the audiences think it doesn't sound good, you know, it's 282 00:16:23,440 --> 00:16:26,200 Speaker 1: kind of clever. It's good good stories hunting. It could be. 283 00:16:26,360 --> 00:16:30,720 Speaker 1: It could also be in a superhero movie. I mean 284 00:16:30,280 --> 00:16:33,960 Speaker 1: I could say so I could say something to you like, yeah, 285 00:16:33,960 --> 00:16:38,760 Speaker 1: my my kids are really sick. It's some it's the flooride. 286 00:16:39,200 --> 00:16:44,880 Speaker 1: And then someone goes floride yeah, and suddenly everyone's kind 287 00:16:44,880 --> 00:16:47,120 Speaker 1: of panicking about floride. They're like, they told us it 288 00:16:47,240 --> 00:16:52,600 Speaker 1: was healthy, but yeah, we're all sick. They said it 289 00:16:52,640 --> 00:17:00,520 Speaker 1: was in our toothpaste on it's in your toothpaste or 290 00:17:00,560 --> 00:17:04,399 Speaker 1: all decaying from the inside up. There's no hope, and 291 00:17:04,440 --> 00:17:07,400 Speaker 1: it seems like the chromium can very easily becomes sort 292 00:17:07,440 --> 00:17:11,320 Speaker 1: of like this. I don't know. I liked how the 293 00:17:11,400 --> 00:17:13,800 Speaker 1: chromium was handed. At least it made sense in story 294 00:17:13,800 --> 00:17:17,840 Speaker 1: because I feel like often when a mysterious substance is 295 00:17:18,040 --> 00:17:20,480 Speaker 1: introduced into a movie and all of a sudden is 296 00:17:20,520 --> 00:17:23,240 Speaker 1: just like, well, we've got to get rid of this substance. 297 00:17:23,320 --> 00:17:25,240 Speaker 1: What do we do? Or is either we have to 298 00:17:25,280 --> 00:17:28,600 Speaker 1: get it or we have to destroy it, right, But 299 00:17:28,760 --> 00:17:31,159 Speaker 1: the chromium is just sort of consistent. It's more like 300 00:17:31,200 --> 00:17:33,480 Speaker 1: we just have to avoid it. They're still bathing in 301 00:17:33,520 --> 00:17:36,639 Speaker 1: the chromium for most of the movie. There's kids in 302 00:17:36,680 --> 00:17:41,199 Speaker 1: pools full of chromium. So she, so Aaron Brockovich, starts 303 00:17:41,240 --> 00:17:44,639 Speaker 1: to research what this is, and she finds out that 304 00:17:45,200 --> 00:17:50,600 Speaker 1: chromium six is the bad kind. It's toxic, what's It's 305 00:17:50,640 --> 00:17:55,840 Speaker 1: a chromium hex hexas tape something I don't know. It 306 00:17:55,960 --> 00:17:58,359 Speaker 1: sounded dangerous. It sounds like, what is the red die 307 00:17:58,440 --> 00:18:02,359 Speaker 1: that sucks you up? What does that redde number? I 308 00:18:02,359 --> 00:18:04,680 Speaker 1: don't remember which there's a red dye that is not 309 00:18:04,800 --> 00:18:07,280 Speaker 1: good And any time I hear about a red die, 310 00:18:07,480 --> 00:18:10,760 Speaker 1: it's bad. Love potion number nine that's pretty bad too, 311 00:18:10,800 --> 00:18:18,640 Speaker 1: And that's the worst. Red Die forty, what's what's where's 312 00:18:18,680 --> 00:18:21,639 Speaker 1: that from? It just does it's bad for you. They 313 00:18:21,680 --> 00:18:24,320 Speaker 1: put it in a lot of color food artificial. You 314 00:18:24,359 --> 00:18:26,520 Speaker 1: were talking about like a movie where they where they said, 315 00:18:27,840 --> 00:18:31,680 Speaker 1: this is my life. Isn't a movie that I'm currently 316 00:18:31,680 --> 00:18:36,600 Speaker 1: writing where red Die forty is the main antagonist. It 317 00:18:37,000 --> 00:18:40,160 Speaker 1: kills everyone. It's in like gummy worms and kool aid 318 00:18:40,200 --> 00:18:44,600 Speaker 1: and stuff. Yeah, our children are anyways. Now I'm gonna 319 00:18:44,720 --> 00:18:47,600 Speaker 1: just put on a good tin foil hat and go 320 00:18:47,720 --> 00:18:52,520 Speaker 1: full chromium six everyone. So she learns how toxic it 321 00:18:52,600 --> 00:18:55,280 Speaker 1: is and how it probably caused all of the medical 322 00:18:55,320 --> 00:18:59,280 Speaker 1: problems that Donna Jensen and her husband have, and she 323 00:18:59,320 --> 00:19:03,359 Speaker 1: also finds out that the utility plants that p G 324 00:19:03,560 --> 00:19:08,600 Speaker 1: and E are operating put this chromium six in their 325 00:19:08,600 --> 00:19:12,240 Speaker 1: water because it prevents rust and corrosion of their engines 326 00:19:12,359 --> 00:19:17,399 Speaker 1: and then that seeps into the groundwater. Um, so she 327 00:19:17,400 --> 00:19:19,359 Speaker 1: starts to poke around. She goes to the local water 328 00:19:19,400 --> 00:19:21,760 Speaker 1: board for records that might tell her something, and she 329 00:19:21,840 --> 00:19:24,760 Speaker 1: discovers that there was like this order for a clean 330 00:19:24,840 --> 00:19:29,520 Speaker 1: up that happened, and that all of this area around Hinckley, 331 00:19:29,560 --> 00:19:35,040 Speaker 1: California was contaminated with chromium six. Right, and then we 332 00:19:35,160 --> 00:19:38,000 Speaker 1: find out this was one of the story points that 333 00:19:38,040 --> 00:19:41,359 Speaker 1: I'm like, I wonder how based in the actual story 334 00:19:41,359 --> 00:19:43,879 Speaker 1: of aer Brockovich this was because this threw me a 335 00:19:43,920 --> 00:19:47,040 Speaker 1: little bit where apparently this whole time that she's been 336 00:19:47,080 --> 00:19:49,720 Speaker 1: she's been investigating the story for about a week, but 337 00:19:49,800 --> 00:19:53,399 Speaker 1: she didn't tell her boss or something like Albert Finney 338 00:19:53,440 --> 00:19:56,240 Speaker 1: didn't understand why she wasn't at work. Well, he seems 339 00:19:56,240 --> 00:20:00,240 Speaker 1: to never check his messages. That's true. She would off 340 00:20:00,240 --> 00:20:03,280 Speaker 1: researching and she was away. Because she comes back, he said, 341 00:20:03,320 --> 00:20:05,520 Speaker 1: he says to in the scene, you've you've been away. 342 00:20:05,680 --> 00:20:07,840 Speaker 1: You know we fight. You got fired because you've been 343 00:20:07,840 --> 00:20:11,880 Speaker 1: away a week and she am I remembering right that 344 00:20:12,200 --> 00:20:15,800 Speaker 1: she told someone in the office that she was going, 345 00:20:15,840 --> 00:20:18,439 Speaker 1: but the message wasn't relayed to him, so he just 346 00:20:18,480 --> 00:20:21,440 Speaker 1: assumed that she wasn't turning. But that's another thing about 347 00:20:21,480 --> 00:20:23,159 Speaker 1: the movie that I thought was really interesting is that 348 00:20:23,200 --> 00:20:25,560 Speaker 1: in the beginnings, in the early scenes when she's working, 349 00:20:26,200 --> 00:20:29,440 Speaker 1: because she dresses in a kind of slightly more provocative way, 350 00:20:29,440 --> 00:20:31,440 Speaker 1: in a more kind of you know, she's not all 351 00:20:31,440 --> 00:20:33,320 Speaker 1: buttoned up like all the other women in the office, 352 00:20:33,920 --> 00:20:37,120 Speaker 1: there's not a lot of support for her, particularly from 353 00:20:37,320 --> 00:20:40,360 Speaker 1: the women in the office. She she's liking. She she's 354 00:20:40,400 --> 00:20:44,760 Speaker 1: at loggerheads with them almost immediately, and which I thought 355 00:20:44,800 --> 00:20:46,760 Speaker 1: was which I always thought was like a really interesting 356 00:20:47,280 --> 00:20:49,840 Speaker 1: dimension in the story that you know, she doesn't get 357 00:20:49,880 --> 00:20:52,679 Speaker 1: a lot of support in terms of, you know, what 358 00:20:52,840 --> 00:20:55,040 Speaker 1: she's fighting for or what she's dealing with in her 359 00:20:55,080 --> 00:20:58,280 Speaker 1: own life. Yeah, that's that's like one of the elements 360 00:20:58,320 --> 00:21:01,040 Speaker 1: of this character that that was sing and at times 361 00:21:01,080 --> 00:21:04,280 Speaker 1: a little bit confusing, where women seemed to in the 362 00:21:04,359 --> 00:21:07,679 Speaker 1: world of this movie relate to each other based on 363 00:21:08,080 --> 00:21:12,040 Speaker 1: class versus anything else. And a lot of movies take 364 00:21:12,080 --> 00:21:14,320 Speaker 1: a lot of different stances on like how are the 365 00:21:14,320 --> 00:21:16,719 Speaker 1: people interacting, but there seems to be a lot of 366 00:21:17,080 --> 00:21:19,479 Speaker 1: especially once they start to get into the weeds of 367 00:21:19,520 --> 00:21:22,000 Speaker 1: this case, like when I wrote down in my nose 368 00:21:22,119 --> 00:21:25,199 Speaker 1: is like Aaron Brockovich is the poor people whisperer, because 369 00:21:25,320 --> 00:21:27,520 Speaker 1: no one else knows how to talk to normal people 370 00:21:27,560 --> 00:21:30,480 Speaker 1: in this movie except for her, and so like when 371 00:21:30,520 --> 00:21:35,040 Speaker 1: she encounters not wealthy people, like middle class people who 372 00:21:35,080 --> 00:21:40,680 Speaker 1: work office jobs versus service jobs, they just don't know 373 00:21:40,880 --> 00:21:42,879 Speaker 1: what to do with her at all. And then she 374 00:21:43,000 --> 00:21:46,239 Speaker 1: goes full Aaron Brockovich and it's like fuck you, you know, 375 00:21:46,720 --> 00:21:49,679 Speaker 1: fuck you. My kits are out, and you're like, all right, cool, 376 00:21:51,000 --> 00:21:54,720 Speaker 1: that's fine too. But she she's able to communicate. I was, 377 00:21:54,840 --> 00:21:57,800 Speaker 1: I was worried when it's so early all the women 378 00:21:58,119 --> 00:22:00,240 Speaker 1: in the office don't like her. I was like, oh, hope, 379 00:22:00,240 --> 00:22:02,600 Speaker 1: it's not that kind of movie where just the women 380 00:22:02,640 --> 00:22:05,439 Speaker 1: are constantly at odds and there's not a lot of 381 00:22:05,640 --> 00:22:08,920 Speaker 1: explanation as to why, and there's no nuance. But then 382 00:22:08,920 --> 00:22:11,840 Speaker 1: when you see her interact with all the women who 383 00:22:11,880 --> 00:22:16,720 Speaker 1: are chromium affected, she is very empathetic towards them and 384 00:22:16,880 --> 00:22:19,000 Speaker 1: gets along with them and generally gets along with the 385 00:22:19,040 --> 00:22:21,560 Speaker 1: women in her neighborhood and she's a good mom. But 386 00:22:21,960 --> 00:22:25,600 Speaker 1: it's it seems like the friction between I mean, not 387 00:22:25,720 --> 00:22:29,919 Speaker 1: just women like characters in general are mostly class based. Yeah, 388 00:22:29,960 --> 00:22:32,359 Speaker 1: and we can talk more about that, um a little 389 00:22:32,359 --> 00:22:34,920 Speaker 1: bit later, but yeah, that's definitely something that like went 390 00:22:34,920 --> 00:22:40,200 Speaker 1: off in my had a little backtel alert if you will. Um. So, 391 00:22:40,240 --> 00:22:43,840 Speaker 1: she she gets fired, and meanwhile she she kisses her 392 00:22:43,840 --> 00:22:48,680 Speaker 1: neighbor George, and they're starting to you know, winds her 393 00:22:48,800 --> 00:22:54,000 Speaker 1: over and the babysitting pretty sick. He turns into he 394 00:22:54,119 --> 00:22:58,200 Speaker 1: turns into almost like the perfect partner for a while there. 395 00:22:58,280 --> 00:23:00,679 Speaker 1: I mean, you know, he does all the babysitting, he 396 00:23:00,680 --> 00:23:03,560 Speaker 1: does all the cooking, he's kind of look at he's dacare. 397 00:23:04,400 --> 00:23:08,520 Speaker 1: He's like daycare's daycare guy. And but then, but then 398 00:23:09,119 --> 00:23:11,359 Speaker 1: the thing that really disappointed me is the way I 399 00:23:11,359 --> 00:23:14,359 Speaker 1: don't know why the writers felt this was necessary. Why. 400 00:23:14,520 --> 00:23:17,040 Speaker 1: I mean, I can understand that a relationship not working out, 401 00:23:17,560 --> 00:23:20,679 Speaker 1: but why that's the first thing he throws back in 402 00:23:20,720 --> 00:23:25,240 Speaker 1: her face, especially because he offered when they have that's 403 00:23:25,240 --> 00:23:27,479 Speaker 1: the first thing, well, you know, oh yeah, well I've 404 00:23:27,480 --> 00:23:29,800 Speaker 1: been I've been doing this. I can't remember the exact words, 405 00:23:29,800 --> 00:23:31,880 Speaker 1: but he's basically kind of saying, well, I've been doing 406 00:23:31,920 --> 00:23:35,160 Speaker 1: all this and you haven't appreciated it. And every time 407 00:23:35,200 --> 00:23:38,680 Speaker 1: that bit comes up. I'm always disappointed in in that 408 00:23:38,720 --> 00:23:41,600 Speaker 1: because it could have been so much more interesting just 409 00:23:41,640 --> 00:23:44,359 Speaker 1: to see the fact that this relationship just doesn't work 410 00:23:44,400 --> 00:23:46,960 Speaker 1: for all kinds of reasons, right, But but he has 411 00:23:47,000 --> 00:23:49,359 Speaker 1: to throw that in her face, which I always I 412 00:23:49,359 --> 00:23:52,160 Speaker 1: always feel it's kind of unfair. Yeah, like he's punished 413 00:23:52,200 --> 00:23:54,080 Speaker 1: because he did. I mean, like you're thinking, and he 414 00:23:54,160 --> 00:23:57,280 Speaker 1: does offer. He offered it, like insists, He's like, I 415 00:23:57,320 --> 00:23:59,480 Speaker 1: like your kids, and then he has this weird I 416 00:23:59,480 --> 00:24:01,520 Speaker 1: don't know was his job again, because he's like, I 417 00:24:01,560 --> 00:24:04,600 Speaker 1: work when I need to construction. Okay, So he's like, 418 00:24:04,800 --> 00:24:06,560 Speaker 1: I don't need to work right now, and I like 419 00:24:06,840 --> 00:24:09,239 Speaker 1: your kids and they like me, so I can do this. 420 00:24:09,520 --> 00:24:12,440 Speaker 1: So it's never like she doesn't. She goes to other 421 00:24:12,480 --> 00:24:14,399 Speaker 1: babysitters kind of at the end of her rope, but 422 00:24:14,480 --> 00:24:17,240 Speaker 1: never him. He's always fine to do it. But then, yeah, 423 00:24:17,280 --> 00:24:19,320 Speaker 1: he just throws it in her face, holds her career 424 00:24:19,359 --> 00:24:24,639 Speaker 1: against her. And that's another thing we can definitely George 425 00:24:25,040 --> 00:24:31,120 Speaker 1: George so fabulous now even with the rat tile. God 426 00:24:31,240 --> 00:24:34,120 Speaker 1: damn it, turn it. Did I burst a bubble there? 427 00:24:34,160 --> 00:24:39,040 Speaker 1: I'm sorry? Okay, So she she's she's kissed and George, 428 00:24:39,600 --> 00:24:43,760 Speaker 1: and then the lawyer at Masuri comes back and he's like, Hey, 429 00:24:44,160 --> 00:24:46,240 Speaker 1: any chance you might have been onto something with this 430 00:24:46,359 --> 00:24:49,280 Speaker 1: PG nithing And she's like, well, funny that you should ask, 431 00:24:49,320 --> 00:24:53,639 Speaker 1: because yes, I was onto something. Negotiate. She negotiates and 432 00:24:53,720 --> 00:24:57,120 Speaker 1: she's like, give me a raise while hanging out with 433 00:24:57,160 --> 00:24:59,960 Speaker 1: the baby. Baby. Yeah, the baby gives her a stray 434 00:25:00,760 --> 00:25:04,000 Speaker 1: with which to so nonchalant in that series, and she 435 00:25:04,040 --> 00:25:06,440 Speaker 1: does that more than once, doesn't she She uses that 436 00:25:06,720 --> 00:25:10,080 Speaker 1: negotiating employ more than once. And I think it's I 437 00:25:10,119 --> 00:25:12,760 Speaker 1: think it's a great piece of storytelling because what it 438 00:25:12,800 --> 00:25:15,840 Speaker 1: does it it keeps us as the audience, connected to 439 00:25:15,880 --> 00:25:19,639 Speaker 1: the fact that she's she's a working woman, she's a 440 00:25:19,680 --> 00:25:22,240 Speaker 1: single mother, you know, she's she's not all kind of 441 00:25:22,280 --> 00:25:24,879 Speaker 1: it's not all about, you know, the nobility of the cause. 442 00:25:25,400 --> 00:25:28,880 Speaker 1: There's a very practical there's a very real reason why 443 00:25:28,920 --> 00:25:31,639 Speaker 1: she's doing this, you know. And I that's what I 444 00:25:31,640 --> 00:25:34,560 Speaker 1: love about it. I love I love that she's she 445 00:25:34,760 --> 00:25:37,720 Speaker 1: never stops being, you know, a woman who's like really 446 00:25:37,760 --> 00:25:40,480 Speaker 1: working hard for herself and for her family. I love 447 00:25:40,520 --> 00:25:42,880 Speaker 1: that that was something that I thought was interesting and 448 00:25:42,880 --> 00:25:45,040 Speaker 1: it made the character a little more nuance, because it 449 00:25:45,040 --> 00:25:46,639 Speaker 1: would be very easy to write this character of like 450 00:25:46,880 --> 00:25:49,400 Speaker 1: she's a crusader for what is right, and she's and 451 00:25:49,920 --> 00:25:53,000 Speaker 1: she does do what's right, which also happens to be 452 00:25:53,040 --> 00:25:56,720 Speaker 1: advantageous to her in the know to the two point 453 00:25:56,720 --> 00:26:00,400 Speaker 1: five million dollars. But I thought it was interesting. She 454 00:26:00,720 --> 00:26:04,600 Speaker 1: is really onto something with this chromium six thing, but 455 00:26:04,600 --> 00:26:07,560 Speaker 1: then when she gets fired, she drops it and she's like, 456 00:26:07,880 --> 00:26:11,720 Speaker 1: if it were sort of a more like truth crusade 457 00:26:11,800 --> 00:26:13,280 Speaker 1: or kind of role, I feel like she would have 458 00:26:13,320 --> 00:26:15,720 Speaker 1: been like, well, I don't care, I'm gonna but she's like, no, 459 00:26:15,760 --> 00:26:17,320 Speaker 1: I have three kids to raise. If you're not gonna 460 00:26:17,320 --> 00:26:19,679 Speaker 1: pay me, I'm not going to do it. And then 461 00:26:19,800 --> 00:26:22,920 Speaker 1: once he compensates her fairly, she resumes. So I don't know, 462 00:26:22,960 --> 00:26:24,960 Speaker 1: I thought that was cool. Yeah. I was like, yeah, 463 00:26:25,000 --> 00:26:27,800 Speaker 1: you shouldn't do things when you're not paid. I forgot that. Yeah, 464 00:26:29,080 --> 00:26:32,920 Speaker 1: we as artists are often told to the contrary. So 465 00:26:32,920 --> 00:26:35,840 Speaker 1: so she negotiates for her to get her job back, 466 00:26:36,240 --> 00:26:40,200 Speaker 1: and meanwhile Pgnie is like, all right, fine, we'll pay 467 00:26:40,720 --> 00:26:46,800 Speaker 1: two dollars for the Jensen home and yeah, no thanks. 468 00:26:47,040 --> 00:26:50,200 Speaker 1: So then Aaron is approached by another couple who used 469 00:26:50,200 --> 00:26:54,040 Speaker 1: to live by the Gensens and their chickens were born 470 00:26:54,119 --> 00:26:59,920 Speaker 1: all deform, some snarly chicken imagery, some brutal, some brutal 471 00:27:00,080 --> 00:27:03,920 Speaker 1: chicken and uh. And the woman has had several miscarriages 472 00:27:04,040 --> 00:27:07,960 Speaker 1: and they're wondering if the chromium might have affected them 473 00:27:08,000 --> 00:27:13,040 Speaker 1: as well. Chromium you rascal, damnit chromium, God damnit chromium. 474 00:27:13,280 --> 00:27:16,359 Speaker 1: So then Aaron and Mazori start to build a case. 475 00:27:16,640 --> 00:27:18,960 Speaker 1: First they have like a handful of clients. Then they've 476 00:27:19,000 --> 00:27:23,040 Speaker 1: got like a dozen, and then it's hundreds. Basically like 477 00:27:23,080 --> 00:27:26,040 Speaker 1: what started out as a small real estate dispute ends 478 00:27:26,119 --> 00:27:29,040 Speaker 1: up in this huge lawsuit against PG and over six 479 00:27:29,480 --> 00:27:32,320 Speaker 1: people by the end. Yeah. And so meanwhile, her job 480 00:27:32,400 --> 00:27:34,520 Speaker 1: is making her so busy that she's not dedicating enough 481 00:27:34,560 --> 00:27:38,520 Speaker 1: time to her children and her neighbor slash boyfriend George. 482 00:27:40,359 --> 00:27:43,760 Speaker 1: I think eventually when they once they flash forward nine months, 483 00:27:43,800 --> 00:27:46,720 Speaker 1: I'm like, I guess they're official. It seems like they're 484 00:27:47,920 --> 00:27:49,040 Speaker 1: But that's one of the things I want to talk 485 00:27:49,040 --> 00:27:51,679 Speaker 1: about is their romantic relationship. But we'll get there in 486 00:27:51,720 --> 00:27:55,040 Speaker 1: a moment um. So she's kind of, you know, she's 487 00:27:55,080 --> 00:27:57,600 Speaker 1: missing out on some core moments and like she misses 488 00:27:57,640 --> 00:28:01,960 Speaker 1: her baby daughter's first word. Her maybe's first word savagely 489 00:28:02,359 --> 00:28:06,640 Speaker 1: is ball, but says ball, and I thought was ball? 490 00:28:07,000 --> 00:28:10,639 Speaker 1: I can't remember. I think I was watching it with a 491 00:28:10,600 --> 00:28:14,440 Speaker 1: a subtitle? Was the subtitle? Says ball? Dan? I thought 492 00:28:14,480 --> 00:28:17,240 Speaker 1: I was like, you watched it with subtitles. I watched 493 00:28:17,240 --> 00:28:20,040 Speaker 1: everything I watched you do. Yeah, I can, I ask 494 00:28:20,119 --> 00:28:23,680 Speaker 1: my ask why. I just find that I understand what's 495 00:28:23,720 --> 00:28:27,520 Speaker 1: being said. What do you find? Do you find though, 496 00:28:27,520 --> 00:28:30,400 Speaker 1: that you're spending all your time reading rather than watching 497 00:28:30,480 --> 00:28:33,960 Speaker 1: the image? I've gotten pretty good switching back and forth 498 00:28:34,040 --> 00:28:38,760 Speaker 1: between the two, between my eating and I'm curious because 499 00:28:38,760 --> 00:28:42,120 Speaker 1: my partner does the same thing. And I thought at 500 00:28:42,160 --> 00:28:44,719 Speaker 1: first it was because we were watching a couple of 501 00:28:45,080 --> 00:28:47,240 Speaker 1: movies where there was like a very strong there was 502 00:28:47,360 --> 00:28:50,640 Speaker 1: very strong Scottish accents, and I thought me, maybe she's 503 00:28:50,720 --> 00:28:53,240 Speaker 1: just having trouble with the accent, but actually she does 504 00:28:53,240 --> 00:28:57,320 Speaker 1: it with everything I do and everything. Yeah, it's and 505 00:28:56,560 --> 00:29:00,120 Speaker 1: I'm always when we're watching something together, I'm in if 506 00:29:00,120 --> 00:29:05,760 Speaker 1: you like this distracting, But I don't find it distracting. 507 00:29:05,760 --> 00:29:07,600 Speaker 1: If I'm watching a foreign film in a language I 508 00:29:07,640 --> 00:29:11,239 Speaker 1: don't understand. If I'm watching a Japanese movie or you know, 509 00:29:11,360 --> 00:29:14,240 Speaker 1: a Polish film that the subtitles don't bother me then, 510 00:29:14,320 --> 00:29:16,880 Speaker 1: but when it's in English or language I speak, I 511 00:29:18,000 --> 00:29:20,760 Speaker 1: find it distracting. It's weird. I think the first movie 512 00:29:20,800 --> 00:29:24,440 Speaker 1: I did it for was The Full Monty and then 513 00:29:24,960 --> 00:29:30,160 Speaker 1: because those actually and then I was like, wait a minute, 514 00:29:30,200 --> 00:29:33,200 Speaker 1: I understand what people are saying so much better when 515 00:29:33,200 --> 00:29:35,040 Speaker 1: the subtitles run. So I just started doing it for 516 00:29:35,080 --> 00:29:37,960 Speaker 1: every movie I watched. I think I pay closer attention 517 00:29:38,360 --> 00:29:40,680 Speaker 1: if the subtitles are on, Like, if I'm watching something 518 00:29:40,680 --> 00:29:43,720 Speaker 1: that I know I need to really pay attention to 519 00:29:43,760 --> 00:29:46,320 Speaker 1: what's being said, I'll do it. But if I'm just 520 00:29:46,320 --> 00:29:49,120 Speaker 1: watching something for fun, sure, but I'm so easily. Does 521 00:29:49,120 --> 00:29:50,560 Speaker 1: they have something to do with the fact that you're 522 00:29:50,560 --> 00:29:54,280 Speaker 1: a writer? I think so, yeah, because I seeing the words, 523 00:29:55,200 --> 00:29:59,400 Speaker 1: wanting to write the Christmas most polished dialogue. But I'm like, 524 00:29:59,480 --> 00:30:03,160 Speaker 1: what are they what are they saying? These people doing? Yeah, 525 00:30:03,240 --> 00:30:05,760 Speaker 1: I just want to see chromium spelled out as many 526 00:30:05,840 --> 00:30:09,360 Speaker 1: times as possible. Um, we need to take a quick break, 527 00:30:09,360 --> 00:30:17,680 Speaker 1: but then we'll come right back and talk more so, 528 00:30:17,840 --> 00:30:21,400 Speaker 1: UM to finish up the story. Aaron, you know her 529 00:30:21,440 --> 00:30:25,160 Speaker 1: career is taking off. Her personal relationships are not going 530 00:30:25,440 --> 00:30:27,880 Speaker 1: so well. George is fed up with her and he's like, 531 00:30:28,520 --> 00:30:32,440 Speaker 1: either leave your job or I'm leaving, and she refuses 532 00:30:32,480 --> 00:30:35,040 Speaker 1: to leave her job, so he's got addles. And then 533 00:30:35,440 --> 00:30:39,760 Speaker 1: ed Maysuri brings in a partner um without checking with her, 534 00:30:40,200 --> 00:30:43,760 Speaker 1: and Manny has to get her a car. Right, this 535 00:30:43,840 --> 00:30:45,760 Speaker 1: case has just become so big that they need more 536 00:30:45,800 --> 00:30:48,560 Speaker 1: help and more finances to cover the expenses and things 537 00:30:48,600 --> 00:30:52,960 Speaker 1: like that. And then Aaron gets off on the wrong 538 00:30:53,080 --> 00:30:57,560 Speaker 1: foot with the new lawyer. His name is Kurt Potter Um, 539 00:30:57,600 --> 00:31:00,760 Speaker 1: his colleague Teresa. There's a whole thing the air um. 540 00:31:01,200 --> 00:31:06,080 Speaker 1: There's class issues radiating from every interaction they have UM. 541 00:31:06,080 --> 00:31:09,360 Speaker 1: And then they also need proof that shows that PGNI 542 00:31:09,520 --> 00:31:13,640 Speaker 1: headquarters in San Francisco knew about the polluted water in Hinckley. 543 00:31:13,720 --> 00:31:16,480 Speaker 1: So they're like looking for that piece of evidence. Here's 544 00:31:16,680 --> 00:31:19,160 Speaker 1: the that part. Okay, are we getting up to the 545 00:31:19,200 --> 00:31:21,280 Speaker 1: part where the guy has that the bar has the 546 00:31:21,360 --> 00:31:24,480 Speaker 1: documents pretty close so a little bit before that part 547 00:31:24,560 --> 00:31:26,800 Speaker 1: is very well. Aaron's going around. She has to get 548 00:31:26,840 --> 00:31:31,040 Speaker 1: all the clients to agree to a binding arbitration, which 549 00:31:31,080 --> 00:31:33,160 Speaker 1: basically means that the case will only be tried in 550 00:31:33,160 --> 00:31:35,600 Speaker 1: front of a judge, there's a jury, but if they win, 551 00:31:36,200 --> 00:31:38,880 Speaker 1: they'll get the money a lot quicker. So everyone thinks 552 00:31:38,880 --> 00:31:40,680 Speaker 1: that that's the best idea, except for most of the 553 00:31:40,720 --> 00:31:42,600 Speaker 1: clients because they're just like, what did I don't even know, 554 00:31:42,640 --> 00:31:44,080 Speaker 1: Like I thought we were going to trial with a 555 00:31:44,160 --> 00:31:46,040 Speaker 1: jury and everything. So she has to go and convince 556 00:31:46,080 --> 00:31:48,840 Speaker 1: everyone that this is the best course of action because 557 00:31:48,840 --> 00:31:52,040 Speaker 1: otherwise I'll get sicker faster, right exactly, A trial could 558 00:31:52,120 --> 00:31:56,200 Speaker 1: last like decades basically. But then this this guy who 559 00:31:56,640 --> 00:31:59,800 Speaker 1: it's creepy as hell. This is okay, this is nuts 560 00:31:59,800 --> 00:32:02,320 Speaker 1: to me because I had to watch this seed twice 561 00:32:02,360 --> 00:32:04,720 Speaker 1: just to make sure I was getting it, because we've 562 00:32:04,720 --> 00:32:08,840 Speaker 1: seen this guy, I think twice by the time he 563 00:32:08,840 --> 00:32:12,000 Speaker 1: shows up in the bar, and both times he's like 564 00:32:12,840 --> 00:32:15,840 Speaker 1: staring at her in a way I definitely interpreted as 565 00:32:15,880 --> 00:32:19,520 Speaker 1: like leering it. Yeah, yeah, Like it was like, this 566 00:32:19,600 --> 00:32:22,600 Speaker 1: is a creepy guy with the hat. I don't know 567 00:32:22,640 --> 00:32:24,600 Speaker 1: who plays this part. He plays it very well, because 568 00:32:24,600 --> 00:32:26,840 Speaker 1: I was like, this guy is freaky. And then he 569 00:32:26,880 --> 00:32:29,960 Speaker 1: shows up in the bar and it literally for for me, 570 00:32:30,160 --> 00:32:31,880 Speaker 1: he was like he's going all the way up to 571 00:32:31,960 --> 00:32:33,800 Speaker 1: him like he's about to put something in her drink, 572 00:32:33,880 --> 00:32:37,880 Speaker 1: He's going to do something creepy. And then he all 573 00:32:37,880 --> 00:32:41,040 Speaker 1: of a sudden becomes this like god in the machine 574 00:32:41,080 --> 00:32:43,960 Speaker 1: of like, no, I'm not a pervert. I have the 575 00:32:44,080 --> 00:32:46,920 Speaker 1: documents that are going to make you a millionaire. You're 576 00:32:46,960 --> 00:32:50,240 Speaker 1: like what? It was just such a weird choice. My 577 00:32:50,560 --> 00:32:53,440 Speaker 1: first instinct was that he was he was like a 578 00:32:53,640 --> 00:32:58,560 Speaker 1: plumpt from from the company that he was going to. 579 00:32:58,760 --> 00:33:01,560 Speaker 1: He was like, you know, but but it's the way 580 00:33:01,600 --> 00:33:05,280 Speaker 1: he behaves that that this what's so weird. But I 581 00:33:05,320 --> 00:33:08,800 Speaker 1: wondered if I kept thinking, maybe that's the actor's choice, 582 00:33:09,840 --> 00:33:13,080 Speaker 1: you know, and maybe on the day, you know, sort 583 00:33:13,120 --> 00:33:16,320 Speaker 1: of he kind of he was convincing, but it seems 584 00:33:16,920 --> 00:33:19,320 Speaker 1: it does seem like it's an odd beat in a 585 00:33:19,360 --> 00:33:22,680 Speaker 1: film that doesn't have any other element like that. But 586 00:33:22,720 --> 00:33:25,920 Speaker 1: the whole film is rooted in a kind of realism 587 00:33:25,960 --> 00:33:29,160 Speaker 1: and a sort of you know, a logic that that 588 00:33:29,360 --> 00:33:31,400 Speaker 1: kind of you know, you can follow, and then suddenly 589 00:33:31,440 --> 00:33:33,800 Speaker 1: there's this weird thing. Yeah, I mean, you thinks is 590 00:33:33,800 --> 00:33:36,240 Speaker 1: he creepy? Is he? Is he a perv? Is he? 591 00:33:36,760 --> 00:33:38,880 Speaker 1: And then also when he when he finally reveals the 592 00:33:38,920 --> 00:33:42,120 Speaker 1: fact that he's got this information, even that's done in 593 00:33:42,120 --> 00:33:43,680 Speaker 1: a kind of way. I thought, any minute now he's 594 00:33:43,720 --> 00:33:45,520 Speaker 1: going to say, so what do I get out of it? 595 00:33:45,560 --> 00:33:48,160 Speaker 1: I thought it's going to be one of those scenes, 596 00:33:48,240 --> 00:33:51,600 Speaker 1: you know, sort of but luckily it wasn't. But it was. 597 00:33:52,200 --> 00:33:55,160 Speaker 1: It's it's an odd beat. You're strange because because every 598 00:33:55,200 --> 00:33:59,320 Speaker 1: other situation where a man gives or really anyone gives 599 00:33:59,360 --> 00:34:02,600 Speaker 1: arian brack of which you know, guff about anything, she 600 00:34:02,960 --> 00:34:06,000 Speaker 1: hands it right back to them and it's resolved pretty 601 00:34:06,040 --> 00:34:10,799 Speaker 1: quickly most of the time. But this guy, she she's like, yeah, sure, 602 00:34:10,920 --> 00:34:13,600 Speaker 1: can I get you a beer? And then I don't know, 603 00:34:13,680 --> 00:34:17,240 Speaker 1: he went from like creepy as hell to my cousin 604 00:34:17,360 --> 00:34:20,000 Speaker 1: is dead and I have the documents you need in 605 00:34:20,120 --> 00:34:22,800 Speaker 1: less than a minute. You're just like sure. That was 606 00:34:22,840 --> 00:34:24,600 Speaker 1: like the one beat of this movie that I could 607 00:34:24,680 --> 00:34:28,359 Speaker 1: not make heads or tails is And I skipped over 608 00:34:28,440 --> 00:34:31,360 Speaker 1: this part in the recap. But she receives an ominous 609 00:34:31,480 --> 00:34:34,800 Speaker 1: phone call at some point whenever someone is basically making 610 00:34:34,840 --> 00:34:38,560 Speaker 1: threats towards her, like don't snoop around the water records, 611 00:34:38,719 --> 00:34:41,000 Speaker 1: or because you've got three young children, we wouldn't want 612 00:34:41,000 --> 00:34:43,920 Speaker 1: anything to happen to them, now, would we Um, And 613 00:34:43,960 --> 00:34:53,720 Speaker 1: it does not deter her in any way. Um, But 614 00:34:54,680 --> 00:34:58,320 Speaker 1: I thought maybe the movie was making us the audience 615 00:34:58,400 --> 00:35:01,200 Speaker 1: think that, oh, this is that guy who called her 616 00:35:01,239 --> 00:35:03,759 Speaker 1: and threatened her, but turned out it's not. It's not, 617 00:35:03,800 --> 00:35:07,360 Speaker 1: they're not the same guy. It's it's weird that character. 618 00:35:07,440 --> 00:35:10,479 Speaker 1: It just threw me entirely. I mean, and he once 619 00:35:10,520 --> 00:35:13,000 Speaker 1: she gets the documents, you know, the movie resolves sort 620 00:35:13,040 --> 00:35:16,480 Speaker 1: of in the way that is consistent with the rest 621 00:35:16,480 --> 00:35:20,640 Speaker 1: of the movie. It just weird, weird beat. Yeah, because 622 00:35:20,640 --> 00:35:23,080 Speaker 1: that that's pretty much towards the end. They've they've gotten 623 00:35:23,120 --> 00:35:25,680 Speaker 1: all the signatures they need so that they can go 624 00:35:25,760 --> 00:35:30,160 Speaker 1: to the arbitration. They get the proof, they win, the 625 00:35:30,400 --> 00:35:35,160 Speaker 1: clients are awarded a total of three three million dollars 626 00:35:35,320 --> 00:35:40,040 Speaker 1: to be split among them. That before or after, I 627 00:35:40,040 --> 00:35:45,200 Speaker 1: would guess that's before so little old ed Masriy made 628 00:35:45,200 --> 00:35:49,200 Speaker 1: out like abandoned and Aaron gets a bonus of like 629 00:35:49,239 --> 00:35:51,480 Speaker 1: two or two and a half million dollars or something 630 00:35:51,560 --> 00:35:56,239 Speaker 1: like that, And that is essentially the end of the movie. 631 00:35:56,320 --> 00:36:05,400 Speaker 1: So I wish I'd seen it. Sounds goods in turns, 632 00:36:05,920 --> 00:36:08,799 Speaker 1: So where do we want to start with? Our discussion. 633 00:36:09,040 --> 00:36:11,799 Speaker 1: I don't know, there's a lot of stuff to to 634 00:36:11,880 --> 00:36:14,799 Speaker 1: pick apart here, would you. Well, the first thing I 635 00:36:14,840 --> 00:36:17,239 Speaker 1: kind of wanted to bring up is, so this is 636 00:36:17,560 --> 00:36:20,360 Speaker 1: I don't know if you could call it a biopic really, 637 00:36:20,400 --> 00:36:22,440 Speaker 1: but it's a it's a movie based on a true 638 00:36:22,440 --> 00:36:27,880 Speaker 1: story about a real woman everyone who is still championing 639 00:36:28,800 --> 00:36:34,040 Speaker 1: environmental issues to this day, so environmental icon Aaron Brockovich. 640 00:36:34,680 --> 00:36:36,839 Speaker 1: But and I think we've talked about this a little 641 00:36:36,880 --> 00:36:40,879 Speaker 1: bit on one of our Matreon Bonus episodes, that there 642 00:36:40,960 --> 00:36:45,880 Speaker 1: are countless biopics or movies based on true stories that 643 00:36:45,960 --> 00:36:50,400 Speaker 1: are about men, and so much fewer ones that are 644 00:36:50,480 --> 00:36:55,120 Speaker 1: about women. You can kind of count on two hands 645 00:36:55,400 --> 00:36:58,239 Speaker 1: the famous ones that are kind of in everyone's wheelhouse 646 00:36:58,320 --> 00:37:00,640 Speaker 1: that are about women, and then there's You're inne of 647 00:37:00,760 --> 00:37:07,759 Speaker 1: the Best, But there's Yeah, I mean, statistically it's way way, way, 648 00:37:07,800 --> 00:37:10,960 Speaker 1: way low. Yeah, And so I think it's impressively especially 649 00:37:11,040 --> 00:37:14,040 Speaker 1: for the time it came out. I mean, I have 650 00:37:14,200 --> 00:37:16,719 Speaker 1: to imagine and when I was reading up on the 651 00:37:16,840 --> 00:37:21,720 Speaker 1: history of this movie, even with Julia Roberts star power, 652 00:37:22,320 --> 00:37:25,040 Speaker 1: this movie was still sort of viewed as a risk 653 00:37:25,960 --> 00:37:28,880 Speaker 1: um and I guess during While it was being tested, 654 00:37:29,360 --> 00:37:32,719 Speaker 1: there was some audience feedback that was like, we love 655 00:37:32,800 --> 00:37:35,439 Speaker 1: Aaron Brockovich, she's the best, And there were other people 656 00:37:35,480 --> 00:37:37,719 Speaker 1: They're like, why is she swearing so much? I wish 657 00:37:37,719 --> 00:37:40,200 Speaker 1: she wasn't saying these bad words that girls don't say 658 00:37:40,200 --> 00:37:44,200 Speaker 1: those words, man and so. But but I mean it 659 00:37:44,320 --> 00:37:47,800 Speaker 1: seems like I'll at least a lot of it stayed. 660 00:37:48,040 --> 00:37:51,680 Speaker 1: And so I mean that alone seems like a pretty 661 00:37:52,040 --> 00:37:55,759 Speaker 1: big accomplishment, especially for two thousand, because who knows what's 662 00:37:55,800 --> 00:37:59,200 Speaker 1: going on in two thout the great don't know. I 663 00:37:59,280 --> 00:38:02,480 Speaker 1: was fourteen and what Women Want was coming out and 664 00:38:02,600 --> 00:38:07,839 Speaker 1: disappointing us all the head of the century. But um, yeah, 665 00:38:08,000 --> 00:38:11,320 Speaker 1: I am going to be inclined to just appreciate any 666 00:38:11,360 --> 00:38:14,840 Speaker 1: sort of like true story based on a woman because 667 00:38:14,880 --> 00:38:18,560 Speaker 1: there are so few of them even today still. I mean, 668 00:38:19,080 --> 00:38:23,040 Speaker 1: we've got our you know, Ruth Bader Ginsburg pick coming out, 669 00:38:23,280 --> 00:38:26,560 Speaker 1: but there's just so few. Can you ever forgives me? 670 00:38:26,600 --> 00:38:30,240 Speaker 1: And there is love that one, And but there's always 671 00:38:30,280 --> 00:38:32,800 Speaker 1: going to be the argument, well, you know, women haven't 672 00:38:32,840 --> 00:38:35,719 Speaker 1: contributed as much to society, so that's why we don't 673 00:38:35,760 --> 00:38:39,040 Speaker 1: make movies about them. And it's like, do people still 674 00:38:39,080 --> 00:38:42,480 Speaker 1: say that, Yeah, men's rights activists and you know, men's 675 00:38:42,560 --> 00:38:47,200 Speaker 1: rights activists. Is that such a thing men's rights? Yeah, 676 00:38:47,239 --> 00:38:52,360 Speaker 1: there are people who hate women and crap is totally agree. 677 00:38:52,760 --> 00:38:56,920 Speaker 1: Yeah that thing. Seriously, I'm not being I'm not being disingenious. 678 00:38:56,920 --> 00:39:01,320 Speaker 1: Is that men's rights there's like an organization movement. Yeah, 679 00:39:02,120 --> 00:39:04,960 Speaker 1: it's still I mean, it's like most prevalent on the 680 00:39:05,000 --> 00:39:07,839 Speaker 1: cowardly as corners of the Internet, but it leaks into 681 00:39:07,920 --> 00:39:09,719 Speaker 1: the real world as well. M R is I mean 682 00:39:09,719 --> 00:39:13,239 Speaker 1: we we sometimes get spammed like online by m R 683 00:39:13,560 --> 00:39:16,920 Speaker 1: is just absolutely dumping on. I mean the thing with 684 00:39:17,040 --> 00:39:18,560 Speaker 1: m R is they have a lot of free time. 685 00:39:18,800 --> 00:39:20,760 Speaker 1: So if I say something like most men are stupid, 686 00:39:21,239 --> 00:39:24,000 Speaker 1: they would not be happy with you. Okay, most man 687 00:39:24,040 --> 00:39:30,399 Speaker 1: of stupid. You're not wrong. No, but here's something I'm 688 00:39:30,440 --> 00:39:34,080 Speaker 1: I'm interested in, see your your perspective on it. Very 689 00:39:34,080 --> 00:39:37,560 Speaker 1: often with films where you have a female protagonist who 690 00:39:37,640 --> 00:39:41,120 Speaker 1: is pushing the story, you know, it's it's often as 691 00:39:41,120 --> 00:39:44,080 Speaker 1: in Aaron Brockoviet woman with with a cause, with a 692 00:39:44,120 --> 00:39:47,840 Speaker 1: with a reason to pursue this something an injustice of 693 00:39:47,880 --> 00:39:50,800 Speaker 1: some kind, or it could be like in the Sally 694 00:39:50,840 --> 00:39:53,120 Speaker 1: Field film, you know, when when she becomes a trade 695 00:39:53,160 --> 00:40:00,200 Speaker 1: unionist norma, and those are very the stakes in the 696 00:40:00,239 --> 00:40:03,399 Speaker 1: story are always very very clear. But I've noticed very 697 00:40:03,400 --> 00:40:07,640 Speaker 1: often that the woman in question has to be peculiar 698 00:40:08,000 --> 00:40:11,520 Speaker 1: in some way or different, or has to stand out 699 00:40:11,560 --> 00:40:14,239 Speaker 1: in some way from other women in order to make 700 00:40:14,280 --> 00:40:18,920 Speaker 1: it valid. So with with normal Ray, she's aggressive, she's 701 00:40:18,960 --> 00:40:22,200 Speaker 1: she's kind of feisty, she doesn't she upsets people and 702 00:40:22,560 --> 00:40:24,920 Speaker 1: doesn't care. And the same thing with Aaron Brockovich, to 703 00:40:24,920 --> 00:40:27,960 Speaker 1: a certain extent, she dresses in a more revealing way. 704 00:40:28,040 --> 00:40:30,920 Speaker 1: She's she's she's kind of much more kind of you know. 705 00:40:31,120 --> 00:40:33,760 Speaker 1: And I think that scene the sort of that that 706 00:40:33,560 --> 00:40:36,480 Speaker 1: the zenith of that in Aaron Brockovich is that scene 707 00:40:36,800 --> 00:40:40,040 Speaker 1: when they meet the partners from the from the fancy 708 00:40:40,120 --> 00:40:43,160 Speaker 1: white shoe Layers. And I think it's Vianne Cox who 709 00:40:43,200 --> 00:40:47,480 Speaker 1: plays the the the young female attorney who's all done 710 00:40:47,560 --> 00:40:50,040 Speaker 1: up in this the business suit. She's all kind of 711 00:40:50,120 --> 00:40:55,200 Speaker 1: very sort of stiff and and and they had that 712 00:40:55,239 --> 00:40:57,920 Speaker 1: in that scene when you know, when she just like 713 00:40:58,080 --> 00:41:00,600 Speaker 1: lets her have it. I mean, but they there always 714 00:41:00,600 --> 00:41:03,480 Speaker 1: has to be something that's very rare that they're just 715 00:41:03,960 --> 00:41:06,799 Speaker 1: they're just women, you know, right, yeah, you know they 716 00:41:06,800 --> 00:41:10,120 Speaker 1: have that there has to be something extraordinary about them. 717 00:41:10,160 --> 00:41:14,160 Speaker 1: It can get a little cartoony at times. I was 718 00:41:14,719 --> 00:41:16,759 Speaker 1: taking some notes to this, and I don't even know 719 00:41:16,840 --> 00:41:20,000 Speaker 1: exactly how to articulate it, because I don't think it's 720 00:41:20,040 --> 00:41:25,560 Speaker 1: necessarily a bad thing that there is an outspoken female 721 00:41:25,680 --> 00:41:30,640 Speaker 1: protagonist that is like really getting into the workplace aggressively. 722 00:41:30,680 --> 00:41:34,400 Speaker 1: She's unapologetic, and she's really going for it and balls 723 00:41:34,440 --> 00:41:37,239 Speaker 1: to the wall. Pent of the time. I think it's 724 00:41:37,280 --> 00:41:40,000 Speaker 1: weird that there isn't more diversity and storytelling of like 725 00:41:40,200 --> 00:41:44,160 Speaker 1: how a realistic workplace would work. I don't know how 726 00:41:44,280 --> 00:41:48,080 Speaker 1: much of Aaron Rockovich is directly how the real Aaron 727 00:41:48,120 --> 00:41:50,880 Speaker 1: Brockovich acted and behaved. I have to imagine it's a 728 00:41:50,960 --> 00:41:55,800 Speaker 1: little heightened because so often to even remain employed, women 729 00:41:56,040 --> 00:42:00,439 Speaker 1: have to work, you know, normally work subtly and play 730 00:42:00,480 --> 00:42:02,720 Speaker 1: the game to an extent and get work done behind 731 00:42:02,760 --> 00:42:06,240 Speaker 1: the scenes. But you don't really see that in movies 732 00:42:06,480 --> 00:42:08,440 Speaker 1: very often. I mean, the first thing that jumps to 733 00:42:08,600 --> 00:42:10,680 Speaker 1: my mind of something that even begins to reflect that 734 00:42:10,680 --> 00:42:13,920 Speaker 1: would be hidden figures of like women who are doing 735 00:42:14,719 --> 00:42:18,600 Speaker 1: doing the real work but are not appreciated, which seems 736 00:42:18,640 --> 00:42:21,839 Speaker 1: like more of a reflection of real life. But I guess, 737 00:42:21,840 --> 00:42:24,440 Speaker 1: I mean, even with Aaron she doesn't get I mean, 738 00:42:24,480 --> 00:42:27,520 Speaker 1: you have to imagine that like Masar made way more 739 00:42:27,560 --> 00:42:30,160 Speaker 1: money than than she did. It seems like they were 740 00:42:30,200 --> 00:42:33,400 Speaker 1: pretty much doing the same job. She was probably actually 741 00:42:33,440 --> 00:42:37,040 Speaker 1: doing more work than she was in a bog a frog. 742 00:42:39,840 --> 00:42:48,280 Speaker 1: My new podcasts coming out on what happens. But also 743 00:42:48,680 --> 00:42:52,640 Speaker 1: she's also throughout the movie, whenever she's trying to get something, 744 00:42:52,719 --> 00:42:56,400 Speaker 1: either information or you know, trying to get something to 745 00:42:56,400 --> 00:43:01,279 Speaker 1: to enhance her case, she's dealing with different kinds of men, 746 00:43:02,280 --> 00:43:05,719 Speaker 1: and she has to find a way to ingratiate herself 747 00:43:06,120 --> 00:43:08,799 Speaker 1: with all those men in a way that they will 748 00:43:08,840 --> 00:43:11,480 Speaker 1: respond to. So when she goes when she goes to 749 00:43:11,520 --> 00:43:13,640 Speaker 1: meet the clerk, who's a bit kind of you know, 750 00:43:14,080 --> 00:43:15,719 Speaker 1: a bit slow and a bit kind of you know, 751 00:43:16,000 --> 00:43:17,759 Speaker 1: deer in the headlights, and she kind of like you know, 752 00:43:17,840 --> 00:43:20,560 Speaker 1: just leans over and gives him, you know, gives him 753 00:43:20,600 --> 00:43:23,759 Speaker 1: a perfect view of her cleavage all that going on. 754 00:43:24,880 --> 00:43:28,439 Speaker 1: And it's whereas when the role is a male role, 755 00:43:29,560 --> 00:43:32,080 Speaker 1: that's never a concern, right, You're just you're just a 756 00:43:32,120 --> 00:43:34,160 Speaker 1: guy coming in saying I need this, I need that. 757 00:43:34,200 --> 00:43:36,000 Speaker 1: You know, there's never a question that you'll get what 758 00:43:36,080 --> 00:43:40,080 Speaker 1: you need. Society respects men more than they do women. 759 00:43:42,080 --> 00:43:45,960 Speaker 1: That's I mean. The way Aaron's sexuality is handled is 760 00:43:46,000 --> 00:43:48,160 Speaker 1: interesting to me. I mean, we were talking about this 761 00:43:48,200 --> 00:43:51,640 Speaker 1: a little bit earlier today, where this movie like sort 762 00:43:51,640 --> 00:43:54,839 Speaker 1: of straddles second and third wave feminism. For me, we're 763 00:43:54,840 --> 00:43:57,480 Speaker 1: a second wave is focused on women in the workplace, 764 00:43:57,480 --> 00:44:01,000 Speaker 1: and then third wave is more about racing sexuality and 765 00:44:01,040 --> 00:44:02,920 Speaker 1: being opened about it. So this is like somewhere in 766 00:44:03,000 --> 00:44:05,960 Speaker 1: the middle of that, and which makes sense for the 767 00:44:06,000 --> 00:44:10,439 Speaker 1: time it takes place in, but there are moments with 768 00:44:10,960 --> 00:44:14,160 Speaker 1: I don't know, there were ways to interpret Aaron using 769 00:44:14,160 --> 00:44:18,160 Speaker 1: her sexuality to get something accomplished that I understand could 770 00:44:18,200 --> 00:44:21,799 Speaker 1: be viewed as almost like a regressive fem fatale kind 771 00:44:21,800 --> 00:44:25,520 Speaker 1: of thing, like lean forward and get the information. I 772 00:44:25,560 --> 00:44:27,600 Speaker 1: don't know. It's tricky in the context that I would 773 00:44:27,680 --> 00:44:31,879 Speaker 1: understand if someone had that criticism as a negative. For me, 774 00:44:32,480 --> 00:44:36,920 Speaker 1: the reason it works is because you see, she's capable 775 00:44:36,960 --> 00:44:40,920 Speaker 1: in so many other ways where she's with any given person, 776 00:44:41,040 --> 00:44:44,359 Speaker 1: she seems very smart at reading a person and then 777 00:44:44,440 --> 00:44:47,520 Speaker 1: doing whatever she has to to get what she needs 778 00:44:47,520 --> 00:44:50,759 Speaker 1: from them in a few and like one one or 779 00:44:50,800 --> 00:44:54,520 Speaker 1: two cases, that's the lean forward. And it does get 780 00:44:54,560 --> 00:44:56,759 Speaker 1: like a little cheesy where I think at one point 781 00:44:56,760 --> 00:45:01,440 Speaker 1: she tells Albert Fineling it's called booms and you're like, okay, fine, 782 00:45:01,840 --> 00:45:04,560 Speaker 1: But but there's other times where she's, you know, frog 783 00:45:04,560 --> 00:45:07,000 Speaker 1: in the bog. There's other times where she's like busting 784 00:45:07,000 --> 00:45:08,879 Speaker 1: her ass going door to door, and you see her 785 00:45:09,239 --> 00:45:12,399 Speaker 1: be capable in all these different ways that it does 786 00:45:12,480 --> 00:45:14,320 Speaker 1: seem like, I don't know, like what you're saying earlier, 787 00:45:14,320 --> 00:45:17,440 Speaker 1: like she's going to get the job done and get paid. 788 00:45:17,719 --> 00:45:21,120 Speaker 1: One of my favorites is when she's talking to I 789 00:45:21,200 --> 00:45:24,520 Speaker 1: forget exactly what who exactly it is, but it's someone 790 00:45:24,560 --> 00:45:29,439 Speaker 1: who represents the Gas Electric company and she's saying something like, oh, well, 791 00:45:29,640 --> 00:45:32,280 Speaker 1: how much is your spine worth to you? And whatever 792 00:45:32,360 --> 00:45:34,719 Speaker 1: number you're thinking multiplied by a hundred and then come 793 00:45:34,760 --> 00:45:37,799 Speaker 1: back to it like she's she's using like I mean, 794 00:45:37,840 --> 00:45:41,000 Speaker 1: it's kind of aggressive and wild, but it's also like 795 00:45:41,040 --> 00:45:49,000 Speaker 1: she's she's really kicking ass with like getting her point across. 796 00:45:48,760 --> 00:45:50,960 Speaker 1: That's such a brilliant moment that when I remember when 797 00:45:50,960 --> 00:45:54,879 Speaker 1: I saw the movie that got a huge chair. That's 798 00:45:54,920 --> 00:45:59,080 Speaker 1: definitely like a big applause break moment and theater um 799 00:45:59,480 --> 00:46:01,880 Speaker 1: what you were touching on earlier, Alfred, when you were 800 00:46:01,880 --> 00:46:04,319 Speaker 1: saying about how, you know, movies with a female protagonist, 801 00:46:04,400 --> 00:46:07,640 Speaker 1: you know, she's got to be something outstanding or just 802 00:46:07,680 --> 00:46:11,120 Speaker 1: like something kind of extraordinary or unusual about her. And 803 00:46:11,160 --> 00:46:14,640 Speaker 1: I feel like that's kind of exemplary of the attitude, 804 00:46:14,880 --> 00:46:17,640 Speaker 1: at least of this time that this movie came out, 805 00:46:17,680 --> 00:46:21,680 Speaker 1: and still to probably a pretty big extent today, people 806 00:46:21,920 --> 00:46:25,799 Speaker 1: in society at large, because of the patriarchy, think that 807 00:46:25,840 --> 00:46:28,960 Speaker 1: women aren't capable, and you know, every women are just 808 00:46:29,040 --> 00:46:32,160 Speaker 1: kind of there and we're not doing much. But you know, 809 00:46:32,200 --> 00:46:34,400 Speaker 1: we've got an exception to the rule with someone like 810 00:46:34,440 --> 00:46:36,920 Speaker 1: Aaron Brockovich. So it's almost I feel like that might 811 00:46:36,960 --> 00:46:39,080 Speaker 1: be part of the reason that those characters are portrayed 812 00:46:39,120 --> 00:46:41,600 Speaker 1: that way, where it's like, you know, yeah, women are 813 00:46:41,600 --> 00:46:46,080 Speaker 1: generally pretty average or you know whatever, but every s 814 00:46:46,120 --> 00:46:49,640 Speaker 1: while one comes along, and I feel like that might 815 00:46:49,680 --> 00:46:53,560 Speaker 1: be an example of that attitude as at that point. Yeah, 816 00:46:53,600 --> 00:46:56,960 Speaker 1: And I think it's it's a it's an interesting contrast 817 00:46:57,200 --> 00:47:00,839 Speaker 1: to see what's happened in the last twenty five years 818 00:47:00,840 --> 00:47:04,000 Speaker 1: since that movie was released. How in the realm of 819 00:47:04,480 --> 00:47:09,440 Speaker 1: cultural politics, sexual politics, feminism, whichever wave we're on now, 820 00:47:09,440 --> 00:47:12,120 Speaker 1: I think we're maybe like the fourth, fourth, or fifth wave. 821 00:47:12,600 --> 00:47:15,480 Speaker 1: You know. It's it's a you know, things have changed 822 00:47:15,480 --> 00:47:19,440 Speaker 1: so quickly and so exponentially that I think if a 823 00:47:19,520 --> 00:47:22,799 Speaker 1: movie like Erin Brockovitch was now being pitched, I think 824 00:47:22,800 --> 00:47:25,880 Speaker 1: that it would be a very different film. And I 825 00:47:25,920 --> 00:47:29,080 Speaker 1: think there'd be I think some of the dynamics that 826 00:47:29,160 --> 00:47:32,520 Speaker 1: make the film so extraordinary to us now might not 827 00:47:32,600 --> 00:47:34,960 Speaker 1: even exist, like, for instance, the relationship between her and 828 00:47:35,000 --> 00:47:37,399 Speaker 1: her boss, you know, in the in the twenty five 829 00:47:37,440 --> 00:47:40,480 Speaker 1: years since the film was made, actually laws have actually changed, 830 00:47:41,520 --> 00:47:44,000 Speaker 1: but you know, to protect women in the workplace and 831 00:47:44,040 --> 00:47:45,839 Speaker 1: so on. So I think there's a in a way, 832 00:47:45,880 --> 00:47:48,920 Speaker 1: it's a it's a period piece in a way, but 833 00:47:49,120 --> 00:47:50,920 Speaker 1: but it's a period piece that kind of shines a 834 00:47:51,000 --> 00:47:53,560 Speaker 1: light on you know, what was to come, you know, 835 00:47:53,840 --> 00:47:55,960 Speaker 1: and that I think that's what made that also for me, 836 00:47:56,080 --> 00:47:58,520 Speaker 1: makes it a kind of really quite a quite a 837 00:47:58,560 --> 00:48:01,400 Speaker 1: valuable film in that regard. Yeah, yeah, and and fully 838 00:48:01,440 --> 00:48:04,080 Speaker 1: a product of its time as well. I think this 839 00:48:04,120 --> 00:48:07,359 Speaker 1: movie would also be much less yellowy orange if it were, 840 00:48:09,160 --> 00:48:15,120 Speaker 1: but hard to say a dusty look. I think something 841 00:48:15,160 --> 00:48:17,000 Speaker 1: that would definitely be different if he were made now 842 00:48:17,600 --> 00:48:19,720 Speaker 1: was and we were sort of touching on this earlier, 843 00:48:20,400 --> 00:48:24,239 Speaker 1: was how she interacts with the women in her workplace, 844 00:48:24,920 --> 00:48:27,439 Speaker 1: because that was like one of the only moments where 845 00:48:27,440 --> 00:48:30,719 Speaker 1: I was like, she's being pretty mean, Like she she 846 00:48:30,880 --> 00:48:34,600 Speaker 1: like fashions one of her coworkers. She's I mean, and 847 00:48:34,880 --> 00:48:37,520 Speaker 1: I but doesn't she do that as a kind of 848 00:48:37,520 --> 00:48:41,160 Speaker 1: retaliation for something else? Yeah, yeah, the way the women 849 00:48:41,239 --> 00:48:44,160 Speaker 1: that doesn't justify it, but you know, but it isn't 850 00:48:44,239 --> 00:48:49,279 Speaker 1: I mean, and Aaron's character is so she retaliates immediately 851 00:48:49,320 --> 00:48:51,600 Speaker 1: to protect herself, and that's like whatever part of who 852 00:48:51,680 --> 00:48:55,319 Speaker 1: she is, but it's it's I think hopefully if it 853 00:48:55,400 --> 00:48:58,040 Speaker 1: was made now, we would at least understand where those women, 854 00:48:58,080 --> 00:48:59,439 Speaker 1: or even if they don't like each other, we would 855 00:48:59,520 --> 00:49:02,560 Speaker 1: understand those women are coming from more because it's sort 856 00:49:02,600 --> 00:49:05,239 Speaker 1: of flattened in the movie where we get to know 857 00:49:05,880 --> 00:49:08,440 Speaker 1: Masury so well and and grow to love him, and 858 00:49:08,480 --> 00:49:12,480 Speaker 1: that's great, and I mean, you there's a professional respect 859 00:49:12,520 --> 00:49:15,919 Speaker 1: between the two of them, but you don't other than 860 00:49:16,040 --> 00:49:19,960 Speaker 1: kind of a pretty reductive like she dresses provocatively and 861 00:49:20,000 --> 00:49:23,759 Speaker 1: we think that's gross, like that is sort of the 862 00:49:23,800 --> 00:49:26,440 Speaker 1: only reason we're given, and that she's not good at 863 00:49:26,440 --> 00:49:29,200 Speaker 1: her job at first, which kind of makes sense. It's 864 00:49:29,280 --> 00:49:31,000 Speaker 1: like there's that scene where she goes up to her 865 00:49:31,040 --> 00:49:33,880 Speaker 1: co worker I think her name is Anna, and Aaron's like, 866 00:49:33,880 --> 00:49:36,440 Speaker 1: how do I do my job again? And AND's like Cia, 867 00:49:36,719 --> 00:49:39,880 Speaker 1: and so see, I don't I read that differently where 868 00:49:39,920 --> 00:49:43,319 Speaker 1: Aaron is asking a legitimate question where she's like, hey, 869 00:49:43,400 --> 00:49:45,120 Speaker 1: you know, she probably I feel like she probably knows 870 00:49:45,120 --> 00:49:46,840 Speaker 1: how to do her job well at this point, but 871 00:49:46,960 --> 00:49:49,799 Speaker 1: she wouldn't understand why there would be medical files in 872 00:49:49,800 --> 00:49:51,839 Speaker 1: with this real estate case. So she's like, hey, can 873 00:49:51,880 --> 00:49:55,160 Speaker 1: I get clarification on this? And I feel like this 874 00:49:55,200 --> 00:49:57,720 Speaker 1: movie does something that a lot of movies do, where 875 00:49:58,360 --> 00:50:01,960 Speaker 1: if there are women working together or interacting in some way, 876 00:50:02,160 --> 00:50:04,480 Speaker 1: they've got to be pitted against each other because of 877 00:50:05,000 --> 00:50:09,560 Speaker 1: society or whatever reasons we've decided that. But like, so yeah, 878 00:50:09,640 --> 00:50:11,680 Speaker 1: she's like, well, I'm not if she would just like 879 00:50:11,880 --> 00:50:14,279 Speaker 1: if Anna had just listened to Aaron and be like, 880 00:50:14,360 --> 00:50:16,719 Speaker 1: oh wait, that is weird that file would be in 881 00:50:16,800 --> 00:50:19,200 Speaker 1: with the real estate case. But instead she's just like 882 00:50:19,320 --> 00:50:22,479 Speaker 1: very dismissive of her she's incompetent. So yeah, I feel 883 00:50:22,480 --> 00:50:26,680 Speaker 1: like between that and between the various cases where there's 884 00:50:26,719 --> 00:50:30,160 Speaker 1: another person in the office. Her name is Brenda, That's 885 00:50:30,239 --> 00:50:34,319 Speaker 1: who Aaron fat shames on a few different occasions, it just, yeah, 886 00:50:34,320 --> 00:50:38,680 Speaker 1: I couldn't help but notice that she has what it 887 00:50:38,800 --> 00:50:42,040 Speaker 1: feels like, largely antagonistic relationships with all the women in 888 00:50:42,080 --> 00:50:45,280 Speaker 1: her office. And then later with the character's name is Teresa, 889 00:50:45,360 --> 00:50:49,200 Speaker 1: she's like the you know, upscale attorney lady who gets 890 00:50:49,200 --> 00:50:52,040 Speaker 1: brought onto the case later on that that's it was 891 00:50:52,120 --> 00:50:56,400 Speaker 1: like a combo of class and gender issues because there 892 00:50:56,440 --> 00:50:59,720 Speaker 1: are two lawyers in the room and she goes after 893 00:51:00,520 --> 00:51:02,839 Speaker 1: the woman in the room she's supposed to be working with, 894 00:51:02,880 --> 00:51:06,400 Speaker 1: which kind of is one of the more problematic elements 895 00:51:06,440 --> 00:51:09,120 Speaker 1: of Aaron's character. She doesn't work well with women. She 896 00:51:09,239 --> 00:51:13,279 Speaker 1: just doesn't seem to. That scene was really interesting to 897 00:51:13,400 --> 00:51:16,640 Speaker 1: be because in one way, like we know Aaron at 898 00:51:16,640 --> 00:51:19,880 Speaker 1: this point, we understand where she's coming from. She's very 899 00:51:19,920 --> 00:51:23,919 Speaker 1: like defensive about people assume she's incompetent all the time, 900 00:51:23,960 --> 00:51:26,959 Speaker 1: and she's like, no, I know this case inside out. 901 00:51:27,760 --> 00:51:31,120 Speaker 1: But you also see where Teresa is coming from where 902 00:51:31,200 --> 00:51:34,040 Speaker 1: you know, and and and and Masary kind of breaks 903 00:51:34,080 --> 00:51:35,840 Speaker 1: this down. I wish that it was more of a 904 00:51:35,840 --> 00:51:39,399 Speaker 1: conversation between the female characters and that they were able 905 00:51:39,440 --> 00:51:41,839 Speaker 1: to talk to each other. But Masary is the character 906 00:51:41,840 --> 00:51:45,040 Speaker 1: who explains, like, well, she went to like she you know, 907 00:51:45,160 --> 00:51:48,280 Speaker 1: grinded through law school and and has been taking ship 908 00:51:48,320 --> 00:51:51,839 Speaker 1: and lesser jobs and she deserves for years. So this 909 00:51:51,920 --> 00:51:54,279 Speaker 1: is why she's frustrated. And you you can sort of 910 00:51:54,320 --> 00:51:57,279 Speaker 1: see it from from both perspectives, but it's not really 911 00:51:57,320 --> 00:51:59,680 Speaker 1: resolved ever between the characters. And I thought that would 912 00:51:59,680 --> 00:52:02,440 Speaker 1: have been an interesting if they Yeah, because for if 913 00:52:02,480 --> 00:52:05,360 Speaker 1: it was men involved, there'd be a scene where the 914 00:52:05,400 --> 00:52:08,279 Speaker 1: two the two men who have butted heads end up 915 00:52:08,280 --> 00:52:12,120 Speaker 1: in a bar and over a couple of drinks or 916 00:52:12,120 --> 00:52:14,080 Speaker 1: a couple of beers, they kind of work things out 917 00:52:14,600 --> 00:52:18,880 Speaker 1: and you know what, I really respect and they end 918 00:52:18,960 --> 00:52:22,040 Speaker 1: up becoming allies in some way. But yeah, it doesn't happen, 919 00:52:22,080 --> 00:52:25,080 Speaker 1: and you know, it's a but that's why I mean, now, 920 00:52:25,160 --> 00:52:27,960 Speaker 1: if we were making the movie now that seem might happen. 921 00:52:28,200 --> 00:52:30,359 Speaker 1: I hope. So, I hope so because that was an 922 00:52:30,400 --> 00:52:34,839 Speaker 1: interesting dynamic that kind of was left because the only 923 00:52:34,880 --> 00:52:38,040 Speaker 1: other time you see Teresa is they sort of start 924 00:52:38,080 --> 00:52:41,319 Speaker 1: to imply that she's incompetent, which also doesn't quite match 925 00:52:41,400 --> 00:52:44,760 Speaker 1: up there, like, well, she can't walk around a farm, 926 00:52:45,040 --> 00:52:48,399 Speaker 1: so she think the idea is she doesn't connect well 927 00:52:48,480 --> 00:52:52,120 Speaker 1: with people. She's not a people person, poor people whisper. 928 00:52:53,760 --> 00:52:56,960 Speaker 1: That's like yeah, And but also doesn't Teresa get a 929 00:52:56,960 --> 00:53:02,080 Speaker 1: little bit sort of patronized by her boss Peter Coyote's character. 930 00:53:02,360 --> 00:53:04,880 Speaker 1: There's a little dynamic in there which happens in front 931 00:53:04,920 --> 00:53:08,759 Speaker 1: of Aaron, and and and I think it creates a 932 00:53:08,840 --> 00:53:12,759 Speaker 1: little moment of she's like embarrassed, you know, which kind 933 00:53:12,760 --> 00:53:15,840 Speaker 1: of creates a sort of tension. There's there's lots of beautiful, 934 00:53:15,880 --> 00:53:20,000 Speaker 1: little interactive moments like that. For sure. Yeah, we've got 935 00:53:20,000 --> 00:53:22,239 Speaker 1: to take another quick break, but then we will come 936 00:53:22,239 --> 00:53:30,600 Speaker 1: her back, kind of going back to just sort of 937 00:53:30,640 --> 00:53:36,239 Speaker 1: her general behavior and background and different things like that. Um, 938 00:53:36,239 --> 00:53:38,640 Speaker 1: we touched on this a little bit already, but um, 939 00:53:38,680 --> 00:53:43,480 Speaker 1: Aaron does dress in ways that could be considered provocative 940 00:53:43,600 --> 00:53:49,560 Speaker 1: or perhaps you know, inappropriate for a law office. There's leather, 941 00:53:50,120 --> 00:53:55,640 Speaker 1: sleeveless leather. When you see her, we see her cleavelange 942 00:53:55,680 --> 00:53:58,040 Speaker 1: a lot. And I don't want to sound like I'm 943 00:53:58,120 --> 00:54:00,640 Speaker 1: shaming her for dressing this way by any means, because 944 00:54:00,640 --> 00:54:03,799 Speaker 1: I'm certainly not. Um, they're good fits, but yeah, she's 945 00:54:03,880 --> 00:54:07,040 Speaker 1: rocking the look, but it's often used as an excuse 946 00:54:07,160 --> 00:54:10,880 Speaker 1: by various other characters to not take her seriously to 947 00:54:10,920 --> 00:54:14,000 Speaker 1: the extent where well, first of all, the ad major 948 00:54:14,120 --> 00:54:17,160 Speaker 1: character says something like, UM, you know, now that you 949 00:54:17,200 --> 00:54:19,760 Speaker 1: work here, you might want to reconsider what you're wearing. 950 00:54:20,360 --> 00:54:23,040 Speaker 1: It makes the other women uncomfortable, and I feel like 951 00:54:23,280 --> 00:54:26,040 Speaker 1: that might have been true. But I also think that 952 00:54:26,080 --> 00:54:32,160 Speaker 1: he's he's projecting and he makes him uncomfortable, and he 953 00:54:32,360 --> 00:54:36,279 Speaker 1: keeps stop making me horny at work. I'm confused. Then 954 00:54:36,320 --> 00:54:39,320 Speaker 1: she she's got that wonderful rejoinder about his ties. Yeah, 955 00:54:41,680 --> 00:54:44,640 Speaker 1: I love. And then later on the reason he admits 956 00:54:44,680 --> 00:54:47,440 Speaker 1: that the reason that he fires her is because she 957 00:54:48,480 --> 00:54:51,839 Speaker 1: left and didn't check in enough according to the people 958 00:54:51,880 --> 00:54:55,040 Speaker 1: who work at the law office. Uh. And then he's like, well, 959 00:54:55,080 --> 00:54:57,520 Speaker 1: you know, I thought you were just off having fun. 960 00:54:57,640 --> 00:55:01,439 Speaker 1: You look like someone who just has fun. But then, 961 00:55:01,680 --> 00:55:04,560 Speaker 1: as Aaron Brockovich often does, she comes right back with 962 00:55:04,680 --> 00:55:07,560 Speaker 1: some the retort of like Oh, well, if we're making 963 00:55:07,880 --> 00:55:10,600 Speaker 1: assumptions based on how you look, then you must never 964 00:55:10,680 --> 00:55:14,480 Speaker 1: get laid so swish. I like that she's always challenging 965 00:55:15,000 --> 00:55:18,719 Speaker 1: these comments about her appearance and the way she dresses. Yeah, 966 00:55:18,800 --> 00:55:20,799 Speaker 1: I really love that. And then if we're if we're 967 00:55:20,800 --> 00:55:26,840 Speaker 1: getting into the way that that translates to her relationship 968 00:55:27,080 --> 00:55:30,440 Speaker 1: with Aaron and cartwo a braid is. I believe that 969 00:55:30,480 --> 00:55:33,680 Speaker 1: the character's name and referred to in the movie. This 970 00:55:33,760 --> 00:55:35,480 Speaker 1: was one of those movies. It was tricky if like, 971 00:55:35,600 --> 00:55:39,960 Speaker 1: did this movie need a romantic subplot? I think technically 972 00:55:40,000 --> 00:55:43,560 Speaker 1: it didn't, but it did in some ways help flesh 973 00:55:43,560 --> 00:55:47,840 Speaker 1: out Aaron's character more. I don't I don't know what 974 00:55:47,880 --> 00:55:51,239 Speaker 1: did you what did? What did everyone make of that relationship? Well, 975 00:55:51,280 --> 00:55:54,839 Speaker 1: if I might, I think if it wasn't the relationship 976 00:55:54,880 --> 00:55:57,120 Speaker 1: with George, then it would have been it would have 977 00:55:57,239 --> 00:55:59,840 Speaker 1: to have been a relationship with someone or something else 978 00:56:00,520 --> 00:56:03,880 Speaker 1: in order to balance her life at work, her life 979 00:56:04,000 --> 00:56:06,320 Speaker 1: you know, on the case, as it were, because otherwise 980 00:56:06,360 --> 00:56:08,560 Speaker 1: then she really would have been just very one dimensional. 981 00:56:09,200 --> 00:56:11,960 Speaker 1: And I think the choice that she has this kind 982 00:56:12,000 --> 00:56:15,600 Speaker 1: of biker kind of you know, semi employed guy living 983 00:56:15,640 --> 00:56:19,920 Speaker 1: next door that she gets involved with was I'm assuming 984 00:56:20,080 --> 00:56:23,640 Speaker 1: must have felt like a as a suitable contrast to 985 00:56:23,719 --> 00:56:26,840 Speaker 1: what she was dealing with professionally, you know. And it 986 00:56:26,960 --> 00:56:29,919 Speaker 1: and it also it gives her a kind of there's 987 00:56:29,960 --> 00:56:31,440 Speaker 1: a I don't know, I know it sounds weird, but 988 00:56:31,480 --> 00:56:33,920 Speaker 1: there's a kind of there's a slight whiff of adventure 989 00:56:34,600 --> 00:56:37,920 Speaker 1: about that relationship because it's all about being able to 990 00:56:37,960 --> 00:56:42,920 Speaker 1: just take off. You know. The houses are restored trailers, 991 00:56:43,760 --> 00:56:46,359 Speaker 1: he's got a bike and a truck. You know, there's 992 00:56:46,400 --> 00:56:50,239 Speaker 1: a there's a sense, there's a sense that he embodies 993 00:56:50,280 --> 00:56:55,160 Speaker 1: the possibility of just taking off, and that's very deeply 994 00:56:55,360 --> 00:56:59,279 Speaker 1: ingrained in the kind of American psyche. So that kind 995 00:56:59,280 --> 00:57:03,000 Speaker 1: of gives her a sort of unit, a specialness in 996 00:57:03,040 --> 00:57:06,480 Speaker 1: comparison to the people who she works with, all the 997 00:57:06,480 --> 00:57:10,399 Speaker 1: women at work with himself, who all seems so kind 998 00:57:10,400 --> 00:57:13,239 Speaker 1: of anchored to their lives. And you know, because I mean, 999 00:57:13,400 --> 00:57:16,080 Speaker 1: I think more than once it says justifies the fact 1000 00:57:16,120 --> 00:57:18,640 Speaker 1: that he's married, because I'm married, I got a fan, 1001 00:57:18,680 --> 00:57:22,200 Speaker 1: I got you know, he like as if somehow almost 1002 00:57:22,200 --> 00:57:25,080 Speaker 1: with an air of like resentment, almost you know, I 1003 00:57:25,120 --> 00:57:30,000 Speaker 1: can't have fun like you do. I'm married, and I 1004 00:57:30,040 --> 00:57:32,640 Speaker 1: think that's so. I think it was a convenient way 1005 00:57:32,640 --> 00:57:35,400 Speaker 1: of balancing her as a character in the world. Yeah, 1006 00:57:35,480 --> 00:57:39,000 Speaker 1: I agree with that. My main takeaway from it was that, 1007 00:57:39,400 --> 00:57:41,520 Speaker 1: and I think I might have touched on this briefly 1008 00:57:41,560 --> 00:57:44,560 Speaker 1: in the recap. But as we see her excelling in 1009 00:57:44,600 --> 00:57:48,920 Speaker 1: her professional life, her like romantic and personal life are 1010 00:57:49,000 --> 00:57:53,880 Speaker 1: deteriorating at the same exact time. So it's almost common 1011 00:57:53,960 --> 00:57:58,600 Speaker 1: theme for female protection, right. And it's great that she 1012 00:57:58,640 --> 00:58:00,920 Speaker 1: stands up for herself because she's bit He's basically like, 1013 00:58:01,000 --> 00:58:03,560 Speaker 1: leave this job or I'm gonna leave you, and she 1014 00:58:03,720 --> 00:58:06,320 Speaker 1: stands around and she says, nope, I'm not leaving this job. 1015 00:58:06,800 --> 00:58:10,160 Speaker 1: So it's great that she's standing up for herself. And 1016 00:58:10,320 --> 00:58:13,800 Speaker 1: it is I would say, fairly realistic that a man 1017 00:58:14,120 --> 00:58:18,040 Speaker 1: isn't okay when a when a woman is working hard 1018 00:58:18,280 --> 00:58:21,800 Speaker 1: and maybe resenting the fact that she has a job 1019 00:58:21,840 --> 00:58:23,560 Speaker 1: and is putting a lot of effort into it. But 1020 00:58:23,600 --> 00:58:26,880 Speaker 1: it just it does suck that we have to see 1021 00:58:26,920 --> 00:58:30,200 Speaker 1: her personal life fall apart just as her professional life 1022 00:58:30,320 --> 00:58:34,040 Speaker 1: is taking off. Yeah. That that breakup scene with them, 1023 00:58:34,120 --> 00:58:37,760 Speaker 1: I thought was really My two favorite scenes between them 1024 00:58:38,040 --> 00:58:41,400 Speaker 1: were when they met and when they broke up kind 1025 00:58:41,400 --> 00:58:43,480 Speaker 1: of take or leave the rest, because there was an 1026 00:58:43,480 --> 00:58:45,440 Speaker 1: element of his character somewhere in the middle room, like 1027 00:58:45,480 --> 00:58:48,120 Speaker 1: he's a little bit too perfect, Like he's like, I'll 1028 00:58:48,160 --> 00:58:51,320 Speaker 1: do whatever, I love you, go to work whatever. Like 1029 00:58:51,360 --> 00:58:54,320 Speaker 1: there's not a lot of friction until they're very much is. 1030 00:58:55,120 --> 00:58:58,880 Speaker 1: But in their breakup scene, I thought that that, as 1031 00:58:58,880 --> 00:59:02,840 Speaker 1: frustrating as it is, it felt probably realistic of that 1032 00:59:03,000 --> 00:59:05,560 Speaker 1: time to happen, and it did seem like the movie 1033 00:59:05,600 --> 00:59:09,880 Speaker 1: commented on it enough where Aaron is pushing back and 1034 00:59:10,840 --> 00:59:14,160 Speaker 1: you know, he has the benefit unlike her of like 1035 00:59:14,200 --> 00:59:17,240 Speaker 1: if he's not happy taking care of children all the time, 1036 00:59:17,360 --> 00:59:20,240 Speaker 1: he can leave, which is what's already happened to her 1037 00:59:20,400 --> 00:59:23,720 Speaker 1: twice and sort of what she's conditioned to expect from 1038 00:59:23,880 --> 00:59:27,040 Speaker 1: men who express interest in being with her, as they 1039 00:59:27,160 --> 00:59:29,560 Speaker 1: can eventually leave because they feel like they're able to 1040 00:59:29,640 --> 00:59:32,880 Speaker 1: and it's societally okay to do so. And the fact 1041 00:59:32,920 --> 00:59:37,160 Speaker 1: that he does that was interesting and like, you, I 1042 00:59:37,200 --> 00:59:39,440 Speaker 1: don't know, I didn't see it coming, but when it happened, 1043 00:59:39,440 --> 00:59:43,200 Speaker 1: it made sense where he's just not you know, he's 1044 00:59:43,360 --> 00:59:47,040 Speaker 1: kind of presented as like this gentle but like macho 1045 00:59:47,520 --> 00:59:50,600 Speaker 1: biker guy who starts to feel like he's being too 1046 00:59:50,640 --> 00:59:53,280 Speaker 1: domestic and he doesn't feel appreciated for the work he 1047 00:59:53,320 --> 00:59:57,040 Speaker 1: does at home, which is not usually a complaint coming 1048 00:59:57,080 --> 00:59:59,880 Speaker 1: from the male partner, And it's interesting to hear that, 1049 01:00:00,320 --> 01:00:02,960 Speaker 1: but you never hear a female partner say I don't 1050 01:00:03,000 --> 01:00:05,640 Speaker 1: feel appreciated at home. I'm doing all this work and 1051 01:00:05,920 --> 01:00:07,680 Speaker 1: I feel like you're, you know, taking a dump on 1052 01:00:07,760 --> 01:00:11,600 Speaker 1: me all the time. That is like, uh, could be anyone. 1053 01:00:11,920 --> 01:00:15,160 Speaker 1: But his benefit is like, so I'm leaving because I can. 1054 01:00:15,800 --> 01:00:18,720 Speaker 1: And when when she says like like, he's like, what 1055 01:00:18,760 --> 01:00:21,160 Speaker 1: can I do to prove to you that I'm not 1056 01:00:21,240 --> 01:00:24,640 Speaker 1: like those other men? And she's like, don't leave you stay. 1057 01:00:25,000 --> 01:00:27,720 Speaker 1: That was great and he leaves anyway because men are cowards. 1058 01:00:29,360 --> 01:00:31,120 Speaker 1: That was great and I really enjoyed. I wanted to 1059 01:00:31,160 --> 01:00:34,720 Speaker 1: talk about the scene where they meet, too, because that's 1060 01:00:34,720 --> 01:00:40,280 Speaker 1: that's first of all, he was so pushy, like he 1061 01:00:40,400 --> 01:00:42,760 Speaker 1: I mean talking about not taking no for an answer. Yeah, 1062 01:00:42,920 --> 01:00:45,439 Speaker 1: I mean, she she kept kinding on busy, I've got kids, 1063 01:00:45,480 --> 01:00:47,760 Speaker 1: something this, I've got that, and he just keeps walking 1064 01:00:47,840 --> 01:00:50,919 Speaker 1: up towards uh. You know. I think that is one 1065 01:00:51,040 --> 01:00:54,320 Speaker 1: perfect example of how in the intervening years since that 1066 01:00:54,360 --> 01:00:57,560 Speaker 1: movie was made that that would not fly. Now, yeah, 1067 01:00:57,600 --> 01:01:00,960 Speaker 1: I mean it barely flies with Aaron, right, He's very 1068 01:01:01,080 --> 01:01:04,160 Speaker 1: very pushy and does sort of achieve the like wearing 1069 01:01:04,200 --> 01:01:08,400 Speaker 1: her down vibe. That is how those movie interactions tend 1070 01:01:08,440 --> 01:01:11,360 Speaker 1: to end. It is like, yeah, he was a little pushy, 1071 01:01:11,440 --> 01:01:15,600 Speaker 1: but it's just enthusiastic. It's not, you know, disrespectful, because 1072 01:01:15,640 --> 01:01:18,120 Speaker 1: he even says, well, why don't you give me your number? 1073 01:01:18,160 --> 01:01:23,360 Speaker 1: You though I've already got your address. You can't get away. 1074 01:01:23,400 --> 01:01:27,320 Speaker 1: It's a joke, but it's real there. I don't know, 1075 01:01:27,360 --> 01:01:29,680 Speaker 1: but at the moment I liked in that scene that 1076 01:01:29,800 --> 01:01:32,920 Speaker 1: I thought was like really telling about Aaron's character is 1077 01:01:33,160 --> 01:01:37,360 Speaker 1: she's still very direct and aggressive, but she basically lists 1078 01:01:37,400 --> 01:01:40,360 Speaker 1: all the reasons of why she thinks no one would 1079 01:01:40,360 --> 01:01:43,120 Speaker 1: want to be a partner with her when like she 1080 01:01:43,240 --> 01:01:46,480 Speaker 1: just lists off you know, she's got kids, she's been 1081 01:01:46,480 --> 01:01:50,080 Speaker 1: divorced twice, she's broke, she's unemployed. She lists off all 1082 01:01:50,120 --> 01:01:53,320 Speaker 1: the reasons that are you know, eating her up inside 1083 01:01:53,600 --> 01:01:56,080 Speaker 1: and then flings it into someone else's face of like, 1084 01:01:56,480 --> 01:02:01,400 Speaker 1: well I'm unlovable, so get off my stoop. Uh. And 1085 01:02:01,480 --> 01:02:04,160 Speaker 1: I thought that was like a great moment for that character, 1086 01:02:04,280 --> 01:02:06,880 Speaker 1: and then he goes from being creepy to being perfect 1087 01:02:07,000 --> 01:02:09,480 Speaker 1: to being a burnout and then he kind of comes 1088 01:02:09,520 --> 01:02:12,320 Speaker 1: back at the young stack, which I actually appreciated how 1089 01:02:12,360 --> 01:02:16,080 Speaker 1: the movie handles this, because the narrative hardly makes any 1090 01:02:16,160 --> 01:02:18,640 Speaker 1: sort of deal of him showing up again, Like I 1091 01:02:18,680 --> 01:02:20,480 Speaker 1: feel like in a lot of movies, especially when with 1092 01:02:20,520 --> 01:02:25,440 Speaker 1: a female lead, where romantic storylines are such a huge 1093 01:02:25,560 --> 01:02:28,320 Speaker 1: part of so many movies with a female protagonist, that 1094 01:02:28,360 --> 01:02:33,880 Speaker 1: there's often some sort of huge reconciliation scene where they're like, oh, yes, 1095 01:02:33,920 --> 01:02:36,040 Speaker 1: we've had our problems, but now this is it and 1096 01:02:36,080 --> 01:02:38,720 Speaker 1: we're making it work and we're back together. There's no 1097 01:02:38,800 --> 01:02:40,680 Speaker 1: such scene like that, and it just comes back. I 1098 01:02:40,680 --> 01:02:42,720 Speaker 1: don't even think they get back together. I think she 1099 01:02:42,920 --> 01:02:45,440 Speaker 1: just like called in a favor from him and he's like, yeah, 1100 01:02:45,440 --> 01:02:47,000 Speaker 1: i'll watch your kids for a few days. Like I 1101 01:02:47,000 --> 01:02:50,280 Speaker 1: don't even know if they it's ambiguous how it happens, 1102 01:02:50,320 --> 01:02:52,240 Speaker 1: but I would he's probably gonna try and chill now 1103 01:02:52,280 --> 01:02:56,960 Speaker 1: that she's a millionaire. I don't know, but um yeah, 1104 01:02:57,040 --> 01:02:59,640 Speaker 1: I liked how the movie doesn't make some sort of 1105 01:03:03,040 --> 01:03:05,520 Speaker 1: it's like, I know, I seemed unwilling to commit before 1106 01:03:05,560 --> 01:03:10,560 Speaker 1: you were a millionaire but not transparent at all. UM. 1107 01:03:10,600 --> 01:03:13,400 Speaker 1: A couple other just like quick scenes that you know, 1108 01:03:13,720 --> 01:03:21,480 Speaker 1: made my Bechtel alert go off, is um. This one 1109 01:03:21,520 --> 01:03:25,200 Speaker 1: of them is the scene where Aaron Brockovich is talking 1110 01:03:25,280 --> 01:03:29,160 Speaker 1: to the young girl who has cancer UM and she's 1111 01:03:29,200 --> 01:03:31,760 Speaker 1: gone through radiation and she's lost all of her hair, 1112 01:03:32,040 --> 01:03:36,439 Speaker 1: and Aaron spends like a minute saying like, oh you're 1113 01:03:36,800 --> 01:03:39,520 Speaker 1: you're so beautiful and you must drive all the boys 1114 01:03:39,560 --> 01:03:42,480 Speaker 1: wild and like. And I understand what her intention is. 1115 01:03:42,520 --> 01:03:46,520 Speaker 1: She's trying to comfort this girl who you know is sick. Um. 1116 01:03:46,560 --> 01:03:49,920 Speaker 1: But of course the thing that she uses to comfort 1117 01:03:49,960 --> 01:03:53,960 Speaker 1: her is you're still physically attractive. It's a comment on 1118 01:03:54,000 --> 01:03:56,560 Speaker 1: her appearance. It's a comment on how she would be 1119 01:03:56,640 --> 01:04:01,920 Speaker 1: valued by her male peers. And is an example of 1120 01:04:02,400 --> 01:04:05,080 Speaker 1: you know what has been historically done a lot where 1121 01:04:05,120 --> 01:04:08,560 Speaker 1: we place so much emphasis on girls appearance and how 1122 01:04:08,600 --> 01:04:13,320 Speaker 1: they how much they appeal to men. And I mean 1123 01:04:13,360 --> 01:04:16,240 Speaker 1: there's not that. There is an element of Aaron's character 1124 01:04:16,440 --> 01:04:20,200 Speaker 1: that sort of subscribes to that as well, because we 1125 01:04:20,320 --> 01:04:22,920 Speaker 1: learned that she was like a former beauty queen, and 1126 01:04:23,480 --> 01:04:27,920 Speaker 1: which I did think was an interesting characterization choice where 1127 01:04:28,560 --> 01:04:31,240 Speaker 1: you know, it's like, oh, she earlier in her life, 1128 01:04:31,280 --> 01:04:34,200 Speaker 1: she it seemed like she was on a conventional track 1129 01:04:34,280 --> 01:04:36,000 Speaker 1: to somewhere and it didn't work out, and now that 1130 01:04:36,040 --> 01:04:38,880 Speaker 1: she's found a different track, she's going to really apply 1131 01:04:39,000 --> 01:04:42,880 Speaker 1: herself to make it happen. But yeah, that that exchange 1132 01:04:43,000 --> 01:04:48,320 Speaker 1: that that you're talking about did seem well intentioned but dated. Yes, yes, 1133 01:04:48,600 --> 01:04:51,720 Speaker 1: I don't think that. I think it's far less common now, 1134 01:04:52,280 --> 01:04:55,960 Speaker 1: or at least a lot of especially a woman to 1135 01:04:56,080 --> 01:04:59,120 Speaker 1: a young girl, thinks twice before they say, well you're 1136 01:04:59,200 --> 01:05:03,080 Speaker 1: pretty a lead. Yeah, definitely. And then the other quick 1137 01:05:03,320 --> 01:05:08,640 Speaker 1: thing that set off my alert was whenever Ed Masury 1138 01:05:08,680 --> 01:05:10,840 Speaker 1: towards the end of the movie, he's brought in like 1139 01:05:11,000 --> 01:05:14,440 Speaker 1: the fancy lawyers, and Aaron feels like she's being kind 1140 01:05:14,480 --> 01:05:19,400 Speaker 1: of pushed out of participating in the whole case, and 1141 01:05:19,480 --> 01:05:22,360 Speaker 1: you know, she reacts appropriately and she says like, you're like, 1142 01:05:22,720 --> 01:05:25,320 Speaker 1: you're pushing me out. You didn't tell me anything about this, 1143 01:05:25,840 --> 01:05:29,640 Speaker 1: And then Ed responds by saying, you're emotional, you're erratic, 1144 01:05:30,000 --> 01:05:32,000 Speaker 1: you're seeing everything that comes your mind. You're making this 1145 01:05:32,120 --> 01:05:34,240 Speaker 1: personal and it isn't. And it's just like such a 1146 01:05:34,320 --> 01:05:39,720 Speaker 1: common reaction to a woman expressing anger that is completely justified, 1147 01:05:40,240 --> 01:05:42,880 Speaker 1: and of course it's It's often the first thing I 1148 01:05:42,920 --> 01:05:45,800 Speaker 1: get said is, oh, you're a woman who's reacting, You're 1149 01:05:45,840 --> 01:05:49,320 Speaker 1: being emotional, you're erratic, you're crazy, and that doesn't I mean, 1150 01:05:49,320 --> 01:05:52,040 Speaker 1: she challenges it, but you know, it's just it's you know, 1151 01:05:52,120 --> 01:05:55,600 Speaker 1: you can't help but notice these things. I don't know 1152 01:05:55,600 --> 01:05:57,600 Speaker 1: how much there is to say about it besides that, 1153 01:05:57,720 --> 01:06:00,520 Speaker 1: but I was just like, Oh, I'm a man, a woman, 1154 01:06:00,560 --> 01:06:05,240 Speaker 1: crazy and erratic and emotional. That's example number eight bazillion. 1155 01:06:06,320 --> 01:06:08,800 Speaker 1: So anyway, I just wanted to touch on that very 1156 01:06:08,840 --> 01:06:12,560 Speaker 1: quickly as well. Yeah, I agree. Yeah, was that? Is 1157 01:06:12,600 --> 01:06:16,240 Speaker 1: there anything any other topics that you wanted to touch on? No? 1158 01:06:16,600 --> 01:06:19,920 Speaker 1: I think I've enjoyed this. It's it's I want to 1159 01:06:19,920 --> 01:06:21,919 Speaker 1: go see it again. Now we're gonna watch it again. 1160 01:06:21,960 --> 01:06:24,680 Speaker 1: I mean, there's so I love the way that films, 1161 01:06:25,280 --> 01:06:29,320 Speaker 1: particularly films that somehow seemed to capture a particular moment 1162 01:06:29,480 --> 01:06:32,480 Speaker 1: in time of particular you know that they're infused with 1163 01:06:32,760 --> 01:06:35,960 Speaker 1: whatever the discussion appens to be at that given moment. 1164 01:06:36,640 --> 01:06:40,200 Speaker 1: I think Aaron Brockovich is a kind of it's a 1165 01:06:40,240 --> 01:06:42,200 Speaker 1: throwback to a movie that might have been made ten 1166 01:06:42,280 --> 01:06:45,920 Speaker 1: years earlier, but it's doubtful whether it would be treated 1167 01:06:45,920 --> 01:06:49,360 Speaker 1: in quite the same way now, you know. I did 1168 01:06:49,360 --> 01:06:52,920 Speaker 1: a movie recently called Saint Judy, which is a similar 1169 01:06:52,960 --> 01:06:56,720 Speaker 1: story about a single mother who is a lawyer and 1170 01:06:56,760 --> 01:06:59,560 Speaker 1: who you know, fights for a very specific cause and 1171 01:07:00,440 --> 01:07:02,800 Speaker 1: kind of makes a lot of sacrifices along the way. 1172 01:07:03,640 --> 01:07:07,680 Speaker 1: But there's no there's no romantic element. There's there's no 1173 01:07:07,760 --> 01:07:11,440 Speaker 1: George in the story. There's an ex husband, that's it, 1174 01:07:11,480 --> 01:07:14,920 Speaker 1: but there's no there's no kind of romantic thing going on, 1175 01:07:15,760 --> 01:07:18,640 Speaker 1: and and and that's an interesting it's interesting how things 1176 01:07:18,680 --> 01:07:21,040 Speaker 1: evolved that way, you know. But you know, which is 1177 01:07:21,040 --> 01:07:22,360 Speaker 1: why I think is why I said earlier. I mean, 1178 01:07:22,400 --> 01:07:25,040 Speaker 1: I think Aaron Brockovich is really is a period movie, 1179 01:07:25,880 --> 01:07:27,840 Speaker 1: you know, because it's it's kind of capturing something that 1180 01:07:28,120 --> 01:07:30,840 Speaker 1: you know, a moment's twenty five years and that's quite 1181 01:07:30,880 --> 01:07:33,160 Speaker 1: a long time in movies in movie terms. I mean, 1182 01:07:33,360 --> 01:07:37,360 Speaker 1: it takes place in the year which is the year 1183 01:07:37,440 --> 01:07:40,000 Speaker 1: that Jurassic Park comes out. You see the poster in 1184 01:07:40,080 --> 01:07:43,840 Speaker 1: the bedroom. I'm always on the lookout for Jurassic Park reference, 1185 01:07:43,840 --> 01:07:46,400 Speaker 1: and we get it in this movie. So that makes 1186 01:07:46,440 --> 01:07:50,680 Speaker 1: it a terrific masterpiece in my mind, does if you 1187 01:07:50,840 --> 01:07:54,320 Speaker 1: pass the BACKDL test. I believe it does. Yeah, it 1188 01:07:54,360 --> 01:07:58,880 Speaker 1: does quite a bit. Yeah. Aaron talks to various combinations 1189 01:07:59,080 --> 01:08:02,920 Speaker 1: of women who names we know and um, sometimes about 1190 01:08:03,000 --> 01:08:05,960 Speaker 1: men but not always, a lot of times about chromium, 1191 01:08:06,000 --> 01:08:10,520 Speaker 1: which is generally but also the scene where she's the 1192 01:08:10,640 --> 01:08:15,360 Speaker 1: very first scene with Margemark Helgenberger's character when they talk 1193 01:08:15,440 --> 01:08:18,879 Speaker 1: about the effects of this stuff, she mentions her husband, 1194 01:08:18,880 --> 01:08:23,559 Speaker 1: but only as an example of something that happened to someone, 1195 01:08:23,720 --> 01:08:26,200 Speaker 1: because the scene is not really about him. They're not 1196 01:08:26,240 --> 01:08:32,360 Speaker 1: really discussing him. The context is chum. So it does. Yeah. 1197 01:08:32,520 --> 01:08:35,400 Speaker 1: And she talks to Brenda in the law office, she 1198 01:08:35,439 --> 01:08:38,679 Speaker 1: talks to Anna, she talks to her dad, she talks 1199 01:08:38,720 --> 01:08:42,320 Speaker 1: to the other lawyer, Teresa. Yeah, there's there's a number 1200 01:08:42,360 --> 01:08:46,320 Speaker 1: of scenes that passed by our standards, and Cheryl Crowe 1201 01:08:46,520 --> 01:08:48,439 Speaker 1: is at the end every day as a whining road. 1202 01:08:49,640 --> 01:08:53,280 Speaker 1: I'd forgotten that. When that came up, I was like 1203 01:08:53,400 --> 01:08:58,439 Speaker 1: jumping up. Yeah, yeah, I forgotten that song Bob's It's 1204 01:08:58,479 --> 01:09:02,639 Speaker 1: so good it um so Yes, that's a definite. Yes, 1205 01:09:02,720 --> 01:09:05,840 Speaker 1: I'm passing the back total test. Let's write the movie. 1206 01:09:05,960 --> 01:09:09,840 Speaker 1: We have a zero to five nipple scale, so we 1207 01:09:09,960 --> 01:09:14,000 Speaker 1: rate it based on its portrayal and representation of women. 1208 01:09:14,200 --> 01:09:19,160 Speaker 1: Five nipples being the best. I love that so sacred scale. Yes, 1209 01:09:20,680 --> 01:09:25,519 Speaker 1: I would say I would say three. M okay, three nipples. 1210 01:09:25,960 --> 01:09:28,759 Speaker 1: You can also give the nipples to characters in the movie, 1211 01:09:28,880 --> 01:09:33,840 Speaker 1: or really anyone you want. Oh, I definitely give four 1212 01:09:33,920 --> 01:09:38,400 Speaker 1: nipples to Erin Okay, great? Yeah, what what say you? 1213 01:09:38,880 --> 01:09:42,519 Speaker 1: I'm gonna go I think I'm gonna go four. Yeah, 1214 01:09:42,560 --> 01:09:46,240 Speaker 1: I think I'm gonna go for it. There's little things 1215 01:09:46,280 --> 01:09:50,000 Speaker 1: that we have already discussed that are sort of I 1216 01:09:50,040 --> 01:09:55,000 Speaker 1: think largely product of its time issues, but largely, I mean, 1217 01:09:55,040 --> 01:09:58,599 Speaker 1: this movie is held up really really well. You rarely 1218 01:09:58,640 --> 01:10:03,120 Speaker 1: have a leading female character at all, much less a biopic, 1219 01:10:03,280 --> 01:10:07,240 Speaker 1: much less someone who is constantly calling out everyone on 1220 01:10:07,320 --> 01:10:11,919 Speaker 1: the ways that they're marginalizing her in very colorful language. 1221 01:10:12,320 --> 01:10:18,559 Speaker 1: I think the baby's cute. Albert Finney is great. Aaron 1222 01:10:18,640 --> 01:10:20,840 Speaker 1: at Cart, it must be said, does have a braid 1223 01:10:21,080 --> 01:10:24,639 Speaker 1: and a lettherst. So there's a lot going on. I'm 1224 01:10:25,320 --> 01:10:27,280 Speaker 1: I'm here for it. I think it's great. I'll give 1225 01:10:28,040 --> 01:10:33,400 Speaker 1: two nips to Aaron. I'll give one nip to Donna Jensen, 1226 01:10:34,320 --> 01:10:38,720 Speaker 1: and I'll toss one to Teresa. There was some unexplored 1227 01:10:38,920 --> 01:10:43,800 Speaker 1: Teresa stuff. Yeah, I'm gonna go three and a half nipples. Um, 1228 01:10:43,880 --> 01:10:50,519 Speaker 1: because oh yes you can, you can revise your answer. No, No, 1229 01:10:50,560 --> 01:10:53,600 Speaker 1: I'm not. I'm just thinking. I'm just thinking. Unfortunately you 1230 01:10:53,680 --> 01:10:59,320 Speaker 1: have to picture it. We bisect nipples quite often. Um, yeah, 1231 01:10:59,360 --> 01:11:01,519 Speaker 1: three and a half. No bulls because while it is 1232 01:11:01,760 --> 01:11:05,800 Speaker 1: a woman who's driving the narrative, and she is, you know, 1233 01:11:05,960 --> 01:11:09,680 Speaker 1: a strongheaded, brassy woman who does not apologize for her 1234 01:11:09,720 --> 01:11:14,559 Speaker 1: behavior or her her status in life and any she's 1235 01:11:14,560 --> 01:11:17,800 Speaker 1: got done. She's a single mom who you know, says 1236 01:11:17,840 --> 01:11:21,760 Speaker 1: funk around her kids often and doesn't give a funk 1237 01:11:21,800 --> 01:11:25,960 Speaker 1: about it. And um, she's even though she doesn't have 1238 01:11:26,080 --> 01:11:29,599 Speaker 1: a formal education, which is something that gets brought up 1239 01:11:29,640 --> 01:11:32,280 Speaker 1: as an excuse, another excuse not to take her seriously, 1240 01:11:32,400 --> 01:11:35,639 Speaker 1: you know, she doesn't. She's incredibly smart and hard working 1241 01:11:35,880 --> 01:11:40,160 Speaker 1: and she doesn't apologize for anything. And and it's it's 1242 01:11:40,200 --> 01:11:42,559 Speaker 1: also tricky to talk about a movie about a real 1243 01:11:42,600 --> 01:11:45,320 Speaker 1: person because it's it is hard to tell if certain 1244 01:11:45,360 --> 01:11:49,759 Speaker 1: events or aspects of their character are true depictions or 1245 01:11:49,800 --> 01:11:52,320 Speaker 1: if they're sort of embellishments. To heighten the tension or 1246 01:11:52,360 --> 01:11:54,960 Speaker 1: the conflict, or you know, make for like a tighter 1247 01:11:55,080 --> 01:12:02,080 Speaker 1: cinematic narrative. But but Aaron Brockovit as depicted by Julie 1248 01:12:02,160 --> 01:12:06,040 Speaker 1: Roberts in this movie, is a character that I really 1249 01:12:06,160 --> 01:12:10,400 Speaker 1: enjoy watching. And um, the real Aaron Brockovich love that 1250 01:12:10,439 --> 01:12:14,080 Speaker 1: she's still doing a bunch of environment don't work. Um yeah, 1251 01:12:14,120 --> 01:12:15,840 Speaker 1: there's a there's a lot to like about this movie. 1252 01:12:15,840 --> 01:12:18,559 Speaker 1: There's a few things that I think it could be handled, definitely, 1253 01:12:18,560 --> 01:12:20,040 Speaker 1: and like you said, it's a kind of a product 1254 01:12:20,040 --> 01:12:23,559 Speaker 1: of its time. But um yeah, I'm going to go 1255 01:12:23,600 --> 01:12:25,519 Speaker 1: three and a half nipples and they're all going to 1256 01:12:25,640 --> 01:12:34,840 Speaker 1: the dead frog. Good for the Froghian anything. I'm real dumb. 1257 01:12:35,880 --> 01:12:38,240 Speaker 1: I would like to take the nipple away from Teresa 1258 01:12:38,320 --> 01:12:41,120 Speaker 1: and give it to Cheryl Crowe. Sorry, for sure, I understandry. 1259 01:12:41,240 --> 01:12:44,800 Speaker 1: I just forgot that she was involved in the project. Well, 1260 01:12:44,880 --> 01:12:49,200 Speaker 1: Alfred Molina, thank you. This has been my pleasure, absolute pleasure. 1261 01:12:49,920 --> 01:12:53,680 Speaker 1: Did freak you out at the beginning, No, it's very 1262 01:12:53,680 --> 01:12:55,840 Speaker 1: flat to that, but I must admit I had no 1263 01:12:55,920 --> 01:12:59,200 Speaker 1: idea what you were talking about. But I'm very flat 1264 01:12:59,280 --> 01:13:03,040 Speaker 1: to thank merge with your face on it. It's a 1265 01:13:03,080 --> 01:13:07,040 Speaker 1: cartoon version of you, and it says feminist icon Alfred Mallina. Well, 1266 01:13:07,040 --> 01:13:10,559 Speaker 1: I'm very pleased to be a feminist iconog someone out 1267 01:13:10,600 --> 01:13:13,400 Speaker 1: in the wild with a feminist icon Alfred Mollina. It 1268 01:13:13,479 --> 01:13:18,160 Speaker 1: is our fault. We can we can order you a shirt. Yeah, 1269 01:13:18,880 --> 01:13:21,280 Speaker 1: Jamie designed it. Do the full, we'll do the we'll 1270 01:13:21,280 --> 01:13:25,559 Speaker 1: do the work. There's pillows. That's weird. You see, I 1271 01:13:25,600 --> 01:13:27,760 Speaker 1: can't wear what i'd love to wear. I'd love to. 1272 01:13:27,760 --> 01:13:29,719 Speaker 1: I wish I was someone else now because I wouldn't. 1273 01:13:29,880 --> 01:13:32,519 Speaker 1: I wouldn't be able to wear that. Can you imagine 1274 01:13:32,520 --> 01:13:34,200 Speaker 1: walking around like that? It's like it's like walking around 1275 01:13:34,240 --> 01:13:36,360 Speaker 1: with you. I start walking around with your agents phone 1276 01:13:36,400 --> 01:13:39,040 Speaker 1: number on the back of your jacket. It's sort of 1277 01:13:39,360 --> 01:13:42,400 Speaker 1: and trust me, I've tried that. It just doesn't doesn't 1278 01:13:42,400 --> 01:13:45,280 Speaker 1: go down. Well, but I'm very that's very flattering. Thank 1279 01:13:45,280 --> 01:13:48,920 Speaker 1: you very much, Thank you. This has been such an 1280 01:13:48,920 --> 01:13:52,920 Speaker 1: honor and treat for us. Well then invite me again. 1281 01:13:53,080 --> 01:13:58,400 Speaker 1: Oh well the second time, spoil it. Let's go back tomorrow. 1282 01:13:58,439 --> 01:14:02,000 Speaker 1: It doesn't matter where year. So do you guys, do 1283 01:14:02,000 --> 01:14:06,479 Speaker 1: you guys do this every week with a different movie. Yes, Yeah, 1284 01:14:06,560 --> 01:14:08,760 Speaker 1: that's cool. Yeah, and how long have you been doing 1285 01:14:08,760 --> 01:14:11,519 Speaker 1: How long have you been doing the podcast? Over two years? Yeah, 1286 01:14:11,920 --> 01:14:14,280 Speaker 1: quite sometime. We've covered a lot. We did do an 1287 01:14:14,280 --> 01:14:18,679 Speaker 1: episode on spider Man two, We did Cool by Knights, 1288 01:14:18,800 --> 01:14:22,559 Speaker 1: we did's Raiders of the Last Time. Yeah. Yeah, we've 1289 01:14:22,560 --> 01:14:24,719 Speaker 1: covered a few of your Yeah, I've stopped been talking 1290 01:14:24,720 --> 01:14:27,479 Speaker 1: a lot about that lately. That movie I think I'm 1291 01:14:27,479 --> 01:14:29,599 Speaker 1: getting I'm getting so old now, it's like it's sort 1292 01:14:29,600 --> 01:14:33,360 Speaker 1: of it's like nearly forty years old. So it's that 1293 01:14:33,439 --> 01:14:36,559 Speaker 1: kind of you know, people saying things like, so, what 1294 01:14:36,680 --> 01:14:41,720 Speaker 1: was it like making movies in those days? It wasn't 1295 01:14:41,720 --> 01:14:46,760 Speaker 1: exactly the silent here. But once again, we've been so 1296 01:14:46,880 --> 01:14:49,599 Speaker 1: honored and thrilled to have you here. Is there anything 1297 01:14:49,600 --> 01:14:53,240 Speaker 1: that you would like to plug? Angela Vine, which is 1298 01:14:53,280 --> 01:14:56,240 Speaker 1: the podcast that we've been Oliver and I have been 1299 01:14:56,280 --> 01:15:00,640 Speaker 1: working on. Oliver is the writer and I I'm just 1300 01:15:00,760 --> 01:15:03,639 Speaker 1: I just playing my part in it. Um and it's 1301 01:15:04,040 --> 01:15:05,680 Speaker 1: it's it's a great one for film buffs as well, 1302 01:15:05,680 --> 01:15:08,639 Speaker 1: because it's it's a it's a sort of noir story. 1303 01:15:08,760 --> 01:15:11,240 Speaker 1: It's kind of loosely, loosely based on the whole kind 1304 01:15:11,280 --> 01:15:13,000 Speaker 1: of you know, um, is it the Blue or the 1305 01:15:13,000 --> 01:15:17,599 Speaker 1: Black Black Dahlia story. And it's one of those great things. 1306 01:15:17,439 --> 01:15:20,040 Speaker 1: It's basically like a movie inside your head, you know, 1307 01:15:20,600 --> 01:15:24,000 Speaker 1: and every every listener will have their own their own 1308 01:15:24,040 --> 01:15:27,559 Speaker 1: movie going on. And it's so that's that's what we've been, 1309 01:15:28,360 --> 01:15:32,679 Speaker 1: you know, slipping our talk uses around town talking about 1310 01:15:33,280 --> 01:15:36,759 Speaker 1: and that once again is the Angel of Vine Angel. 1311 01:15:37,200 --> 01:15:40,400 Speaker 1: Check out that podcast. Thank you again so much for 1312 01:15:40,479 --> 01:15:43,760 Speaker 1: being absolutely my pleasure. Thank you so much for inviting me. 1313 01:15:44,320 --> 01:15:48,760 Speaker 1: We can do our plugs. But yeah, thank you so much, 1314 01:15:48,920 --> 01:15:52,880 Speaker 1: and we'll be here next week. Yeah, see you next week. 1315 01:15:52,920 --> 01:16:00,960 Speaker 1: Bye bye. All right, it's just me and Jamie. Now 1316 01:16:01,200 --> 01:16:03,760 Speaker 1: Alfred has left. We just wanted to sort of regroup 1317 01:16:03,960 --> 01:16:09,160 Speaker 1: and decompress from what just happened. Yeah, fred Freddie, he's 1318 01:16:09,160 --> 01:16:12,160 Speaker 1: our friend. I think we held it together very well. 1319 01:16:12,280 --> 01:16:15,439 Speaker 1: The dogs are then the second the second Alfred left, 1320 01:16:15,479 --> 01:16:18,200 Speaker 1: my dog picked up on my vibes and piste and 1321 01:16:18,200 --> 01:16:22,280 Speaker 1: ship on the floor. Um. But I think we all, 1322 01:16:22,320 --> 01:16:25,280 Speaker 1: you know, while Freddie was in our kingdom, we held 1323 01:16:25,320 --> 01:16:28,080 Speaker 1: we held it together very well. I think we did, 1324 01:16:28,320 --> 01:16:31,400 Speaker 1: especially you, Jamie, I mean, thank you you did an 1325 01:16:31,479 --> 01:16:35,559 Speaker 1: incredible job. Thank you. I was saying, your composure that 1326 01:16:35,640 --> 01:16:40,519 Speaker 1: was a matrix episode level of fronting in terms of 1327 01:16:41,880 --> 01:16:45,760 Speaker 1: oh I felt like dying. I'm so glad that you 1328 01:16:45,920 --> 01:16:48,559 Speaker 1: brought up the merch because I was terrified too. Oh. Yes, 1329 01:16:48,800 --> 01:16:52,840 Speaker 1: I also do think that our friend Freddie yes as 1330 01:16:52,880 --> 01:16:55,439 Speaker 1: we like to call him as our friend, has just 1331 01:16:55,479 --> 01:16:58,960 Speaker 1: a calming presence and it truly possible to be stressed 1332 01:16:59,000 --> 01:17:02,519 Speaker 1: around him. I just wanted to shout out Brett Boham 1333 01:17:02,840 --> 01:17:07,200 Speaker 1: from Forever Dog Podcast Network, um for helping us to 1334 01:17:07,240 --> 01:17:10,639 Speaker 1: set this up. I mean, I hope it was worth 1335 01:17:10,680 --> 01:17:14,200 Speaker 1: it for everyone. It certainly was for me. I want 1336 01:17:14,200 --> 01:17:19,559 Speaker 1: to I can't cry or I would sure I Um, 1337 01:17:19,600 --> 01:17:22,360 Speaker 1: I am very proud of all of us. I that 1338 01:17:22,520 --> 01:17:27,519 Speaker 1: was so much fun and really a monumental episode. I 1339 01:17:27,520 --> 01:17:30,559 Speaker 1: think we have to end this show just kidding we 1340 01:17:30,600 --> 01:17:35,200 Speaker 1: have Yeah, there's still Haley Jewels, so um, I'm sure 1341 01:17:35,200 --> 01:17:38,599 Speaker 1: there's a celebrity that I like that we would. Oh yeah, 1342 01:17:39,240 --> 01:17:42,120 Speaker 1: we've all got to This is why people start podcasts 1343 01:17:42,120 --> 01:17:44,360 Speaker 1: to me people they like, and then to gradually stop 1344 01:17:44,400 --> 01:17:48,639 Speaker 1: doing the podcast too real But anyway, so no, there's 1345 01:17:48,640 --> 01:17:51,400 Speaker 1: many more episodes of ours to come, um, but this 1346 01:17:51,600 --> 01:17:57,040 Speaker 1: unfortunately was our best one there. This is the peak, 1347 01:17:57,360 --> 01:18:02,840 Speaker 1: so after this we understand. But anyway, that was great. 1348 01:18:03,000 --> 01:18:08,000 Speaker 1: Alfred is such a class act. I'm like freaking out 1349 01:18:08,520 --> 01:18:12,280 Speaker 1: and and listen to the Angel of vine Yes indeed, 1350 01:18:12,560 --> 01:18:15,800 Speaker 1: um and speaking of plugging things, you can follow us 1351 01:18:15,800 --> 01:18:21,040 Speaker 1: on social media on the platforms at Bechtel Cast. Please 1352 01:18:21,160 --> 01:18:25,679 Speaker 1: rate and review us. On iTunes, please subscribe to our 1353 01:18:26,000 --> 01:18:30,919 Speaker 1: Patreon aka Matreon. It's five dollars for two bonus episodes 1354 01:18:30,960 --> 01:18:36,040 Speaker 1: a month, which is a great deal. This month we 1355 01:18:36,120 --> 01:18:42,080 Speaker 1: are doing Pagentiuary pageant movies, so we're doing Dumplin with 1356 01:18:42,120 --> 01:18:44,840 Speaker 1: a special guest to be announced, and we're also doing 1357 01:18:44,880 --> 01:18:47,719 Speaker 1: Drop Dead Gorgeous. A special guest is alphad Molina. Again, 1358 01:18:48,040 --> 01:18:50,920 Speaker 1: one of these we actually would like to announce we 1359 01:18:51,000 --> 01:18:55,240 Speaker 1: have a third chair. You heard it. He did offer 1360 01:18:55,360 --> 01:18:58,280 Speaker 1: to come back and I will, you know, just send 1361 01:18:58,280 --> 01:19:01,360 Speaker 1: that audio clip to him every once in a while. Well, um, 1362 01:19:01,400 --> 01:19:04,120 Speaker 1: do you think it's like news breaking that Alfred Billina 1363 01:19:04,200 --> 01:19:05,680 Speaker 1: learned when an m R A is. I'm just I'm 1364 01:19:05,680 --> 01:19:09,400 Speaker 1: glad we taught him something, so why Yeah, I feel 1365 01:19:09,400 --> 01:19:12,320 Speaker 1: like this was a very educational I think he got 1366 01:19:12,360 --> 01:19:15,599 Speaker 1: more out of this than we did, which is crazy 1367 01:19:15,680 --> 01:19:19,680 Speaker 1: because I'm not the same person I was when I enter. 1368 01:19:19,720 --> 01:19:22,599 Speaker 1: I'm also very much kidding, but my dog is picking 1369 01:19:22,680 --> 01:19:24,599 Speaker 1: up on my vibes and that he is piste and 1370 01:19:24,640 --> 01:19:29,680 Speaker 1: shipped and humped since he arrived. He's just I take 1371 01:19:29,760 --> 01:19:32,880 Speaker 1: full responsibility for the dog today because I'm sending out 1372 01:19:33,000 --> 01:19:40,160 Speaker 1: vibes that are just sending him into into horny terror. Anyway, 1373 01:19:40,520 --> 01:19:43,880 Speaker 1: we've got merch I mean, now more than ever, you 1374 01:19:44,160 --> 01:19:47,840 Speaker 1: have to buy our feminist icon Alfred Molina merchandise. He 1375 01:19:47,920 --> 01:19:50,639 Speaker 1: won't wear it, but you you have to just so 1376 01:19:50,760 --> 01:19:52,720 Speaker 1: in case you know, you ever, if you're in l 1377 01:19:52,760 --> 01:19:54,559 Speaker 1: A or you come to visit, you got to wear 1378 01:19:54,600 --> 01:19:58,240 Speaker 1: it in the off chance that you'll encounter him, and 1379 01:19:58,240 --> 01:20:00,880 Speaker 1: then he can be like, hey, I know that I 1380 01:20:00,920 --> 01:20:05,000 Speaker 1: was on that podcast, So make sure you get that 1381 01:20:05,080 --> 01:20:08,920 Speaker 1: merch at t public dot com slash the Bechtel Cast. God, 1382 01:20:09,400 --> 01:20:11,560 Speaker 1: what a day. What a day? We can't where do 1383 01:20:11,600 --> 01:20:14,120 Speaker 1: we go? Find exhausted? I don't know. I think I 1384 01:20:14,160 --> 01:20:17,559 Speaker 1: need to sleep for like twenty two hours. Uh No, 1385 01:20:17,720 --> 01:20:19,840 Speaker 1: I genuinely think I'm gonna listen to the Angel of 1386 01:20:19,960 --> 01:20:24,680 Speaker 1: Mine this uh this afternoon. You gotta yeah, so yes. Unfortunately, 1387 01:20:24,720 --> 01:20:28,080 Speaker 1: every episode after this will be disappointing because Alfred Million 1388 01:20:28,120 --> 01:20:31,400 Speaker 1: now will probably not be our guest the Tribe. But 1389 01:20:31,920 --> 01:20:34,320 Speaker 1: he did say he'd come back, so maybe he could. 1390 01:20:34,560 --> 01:20:37,799 Speaker 1: What is a movie he could do that I wanted 1391 01:20:37,840 --> 01:20:41,320 Speaker 1: to do? Something funked up? If we talk about a 1392 01:20:41,439 --> 01:20:44,519 Speaker 1: movie that no women are in, we would just be 1393 01:20:44,560 --> 01:20:47,360 Speaker 1: forced to have to talk about something else, like if 1394 01:20:47,400 --> 01:20:50,519 Speaker 1: we did like The Shockshank Redemption, or like what just 1395 01:20:50,560 --> 01:20:52,640 Speaker 1: tell us your life story? Yeah, just how do you 1396 01:20:52,680 --> 01:20:55,720 Speaker 1: get started? And you know, to tell us everything. It's 1397 01:20:55,760 --> 01:21:01,040 Speaker 1: a good trick. It's a good heck you. I mean, 1398 01:21:01,600 --> 01:21:03,720 Speaker 1: hopefully if you're a long time listener, you know what 1399 01:21:03,800 --> 01:21:05,400 Speaker 1: this meant to us. And if this is your first 1400 01:21:05,400 --> 01:21:09,400 Speaker 1: time listening, hopefully it wasn't too confusing, right, and we 1401 01:21:09,600 --> 01:21:13,080 Speaker 1: cherish you. Thanks for listening, thanks for your support. Well, 1402 01:21:13,080 --> 01:21:16,040 Speaker 1: we'll be here next week. Bye,