1
00:00:00,960 --> 00:00:03,920
Speaker 1: On the Doll cast, the questions asked if movies have

2
00:00:04,080 --> 00:00:07,560
Speaker 1: women and um are all their discussions just boyfriends and

3
00:00:07,640 --> 00:00:11,879
Speaker 1: husbands or do they have individualism the patriarchy? Zef in

4
00:00:12,039 --> 00:00:16,919
Speaker 1: best start changing it with the Bell cast La jamie

5
00:00:17,360 --> 00:00:22,760
Speaker 1: voi blood and Espanol and Spanglish. What sorry, I'm playing

6
00:00:22,800 --> 00:00:28,280
Speaker 1: the part. I'm playing the part of Adam Sandler. Okay,

7
00:00:28,680 --> 00:00:39,720
Speaker 1: necessito esta visto mm vida? So what? This movie is

8
00:00:39,920 --> 00:00:45,240
Speaker 1: the worst movie I've seen in my life? Wow? Coming

9
00:00:45,280 --> 00:00:51,160
Speaker 1: in hot. Well, I'm Adam Sandler and you're a hypocrite.

10
00:00:51,240 --> 00:00:55,480
Speaker 1: You're the worst movie ever, even though that makes no sense. Yeah, yeah,

11
00:00:55,640 --> 00:00:58,160
Speaker 1: I said it. Look at my hair. It looks I've

12
00:00:58,200 --> 00:01:03,680
Speaker 1: never seen Adam Sandler's hair looking so bad. Ah, well,

13
00:01:03,920 --> 00:01:07,800
Speaker 1: that didn't pass the Becktel test at all. I think

14
00:01:07,840 --> 00:01:11,600
Speaker 1: if we're dumping on Adam Sandler, that actually does pass

15
00:01:11,640 --> 00:01:15,280
Speaker 1: the Bechtel tests. The hair like, yeah, this was what?

16
00:01:16,000 --> 00:01:21,080
Speaker 1: Welcome to the Bechdel cast. Um, Caitlin, you were you?

17
00:01:21,200 --> 00:01:26,160
Speaker 1: How long have you been learning Spanish? Now? Nearly two years,

18
00:01:26,200 --> 00:01:29,080
Speaker 1: although I also studied it in high school in college,

19
00:01:29,240 --> 00:01:31,440
Speaker 1: but I forgot everything I learned back then, and now

20
00:01:31,480 --> 00:01:37,400
Speaker 1: I've been re learning. It's been starting fresh amazing. Shouts

21
00:01:37,400 --> 00:01:42,039
Speaker 1: out to Due Lingo, and shout out to my Spanish

22
00:01:42,040 --> 00:01:48,040
Speaker 1: tutors Adriana and Mercedes. They're the best anyway. Well, that's uh.

23
00:01:48,360 --> 00:01:56,040
Speaker 1: That that was Caitlin Toronte you heard well, and and

24
00:01:56,040 --> 00:02:00,240
Speaker 1: and that was Jamie Loftus. Yeah. Uh. And this is

25
00:02:00,240 --> 00:02:05,040
Speaker 1: our show where we take your favorite movies and take

26
00:02:05,080 --> 00:02:08,160
Speaker 1: another look at it through an intersectional feminist lens and

27
00:02:08,200 --> 00:02:12,560
Speaker 1: make fun of it or not, using the Bechdel test,

28
00:02:13,080 --> 00:02:18,560
Speaker 1: which is what well. It is a media metric created

29
00:02:18,600 --> 00:02:22,520
Speaker 1: by queer cartoonists Alison Becktel, sometimes called the Bechtel Wallace Test.

30
00:02:23,240 --> 00:02:26,560
Speaker 1: There are many versions of the test. The one that

31
00:02:26,760 --> 00:02:31,000
Speaker 1: we use these days requires that two people of a

32
00:02:31,120 --> 00:02:35,200
Speaker 1: marginalized gender have names, They must speak to each other

33
00:02:35,960 --> 00:02:41,080
Speaker 1: in any language, and that conversation has to be clarification.

34
00:02:41,200 --> 00:02:44,720
Speaker 1: Of course, it doesn't just have to be English, it

35
00:02:44,800 --> 00:02:48,639
Speaker 1: can be English, and that conversation has to be about

36
00:02:48,680 --> 00:02:55,200
Speaker 1: something other than ombre a man. I got that, yeah,

37
00:02:55,240 --> 00:02:57,960
Speaker 1: but um, yes, So we use that as a jumping

38
00:02:57,960 --> 00:03:02,079
Speaker 1: off point to initiate a larger conversation in and uh

39
00:03:02,400 --> 00:03:06,160
Speaker 1: with us to join in in that conversation is a

40
00:03:06,240 --> 00:03:10,680
Speaker 1: returning guest. She's a writer, poet host of the podcast.

41
00:03:10,760 --> 00:03:13,600
Speaker 1: To say more, Her new book Dreaming of You just

42
00:03:13,720 --> 00:03:16,000
Speaker 1: came out at the end of October and you remember

43
00:03:16,040 --> 00:03:19,400
Speaker 1: her from our episode on thirt Team Going on thirty.

44
00:03:19,560 --> 00:03:24,639
Speaker 1: It's Melissa Lozatta Aliva. Hi, thanks for having me back back.

45
00:03:24,800 --> 00:03:27,400
Speaker 1: I shouldn't have had a sip of water while you

46
00:03:27,440 --> 00:03:31,560
Speaker 1: guys were talking, almost like electrocuted myself with a spittake

47
00:03:32,120 --> 00:03:37,120
Speaker 1: in my reporting that My god. Um, I'm so excited

48
00:03:37,160 --> 00:03:41,800
Speaker 1: to talk about this movie. Yes, I am so thrilled

49
00:03:42,120 --> 00:03:44,640
Speaker 1: that you brought us this movie. Well, first, before we

50
00:03:44,720 --> 00:03:49,600
Speaker 1: get started, please tell our listeners a little bit about

51
00:03:49,640 --> 00:03:51,200
Speaker 1: your book, because I just want to make sure we're

52
00:03:51,200 --> 00:03:54,040
Speaker 1: talking about it at the beginning and everyone's gonna order

53
00:03:54,080 --> 00:03:57,800
Speaker 1: this damn book. Yeah. My book is UM. It's a

54
00:03:57,920 --> 00:04:02,040
Speaker 1: novel in verse. I guess um. That's how it's being marketed.

55
00:04:02,120 --> 00:04:05,360
Speaker 1: I think it's a rock I think it's a rock opera, UM,

56
00:04:05,400 --> 00:04:09,800
Speaker 1: and it's about its palms. It's a story of a

57
00:04:09,880 --> 00:04:13,600
Speaker 1: young poet whose name is also Melissa Um, who brings

58
00:04:13,880 --> 00:04:16,320
Speaker 1: to Hannah pop star Selena back to life through a

59
00:04:16,400 --> 00:04:21,400
Speaker 1: seance and the disastrous consequences that follow and it's about

60
00:04:21,440 --> 00:04:27,200
Speaker 1: like loneliness and obsession and celebrity and death and the

61
00:04:27,240 --> 00:04:34,080
Speaker 1: occult maybe and WiFi. Yeah, it's so good. Yeah, everyone

62
00:04:34,600 --> 00:04:37,560
Speaker 1: get into it if you don't already have a copy,

63
00:04:37,640 --> 00:04:43,080
Speaker 1: because it's amazing. Hell yeah thanks. And in terms of Spanglish,

64
00:04:44,279 --> 00:04:48,520
Speaker 1: why did you choose this movie to discuss and what

65
00:04:48,760 --> 00:04:52,480
Speaker 1: is your connection to it? That sounded very accusatory. Excuse me,

66
00:04:52,560 --> 00:05:00,480
Speaker 1: could you fucking explain yourself board of game? Like, what

67
00:05:00,720 --> 00:05:03,240
Speaker 1: what is your connection to history with this movie? It's

68
00:05:03,240 --> 00:05:06,320
Speaker 1: almost Yeah, I came out in two thousand four. Yeah,

69
00:05:07,080 --> 00:05:09,680
Speaker 1: I have a very This movie is so weird. I'm

70
00:05:09,680 --> 00:05:13,920
Speaker 1: still like very sentimental about it. I saw it on

71
00:05:14,000 --> 00:05:18,960
Speaker 1: Christmas Day with my family because Latinos we celebrate it

72
00:05:19,000 --> 00:05:22,119
Speaker 1: on Christmas Eve Christmas, but we all like went together

73
00:05:22,160 --> 00:05:23,919
Speaker 1: as a family, and it was like right before my

74
00:05:23,960 --> 00:05:27,080
Speaker 1: parents got divorced, and like all of my like my

75
00:05:27,120 --> 00:05:29,600
Speaker 1: grandmother was there and my mom and my sister and

76
00:05:29,640 --> 00:05:32,600
Speaker 1: my whole family was like crying because my mom was like,

77
00:05:32,720 --> 00:05:36,080
Speaker 1: this is the story of my life. Um, and it

78
00:05:36,200 --> 00:05:38,960
Speaker 1: was very like oh, like my sister would like translate

79
00:05:39,000 --> 00:05:41,480
Speaker 1: from my mom. My mom never had like a weird

80
00:05:41,520 --> 00:05:47,919
Speaker 1: affair with Adam Sandler. But and then I think yeah,

81
00:05:48,120 --> 00:05:52,400
Speaker 1: and then I like re examined it in college and saw,

82
00:05:52,600 --> 00:05:56,039
Speaker 1: you know, all of the weirdness about it. And I

83
00:05:56,120 --> 00:06:00,960
Speaker 1: have this like fascination with Christina, who's like main character

84
00:06:01,279 --> 00:06:04,320
Speaker 1: and how I don't know this, I'm like really interested

85
00:06:04,360 --> 00:06:06,680
Speaker 1: in this idea of the like young Latin child being

86
00:06:06,720 --> 00:06:09,920
Speaker 1: like a genius and like the Latin young Latin child

87
00:06:09,960 --> 00:06:16,800
Speaker 1: to Hamilton's pipeline um of like yeah, so anyway, I

88
00:06:16,839 --> 00:06:21,360
Speaker 1: love this movie. So but it's also anyway, we we'll

89
00:06:21,400 --> 00:06:26,880
Speaker 1: talk about it, Jamie, what's your relationship with it? I

90
00:06:26,920 --> 00:06:30,800
Speaker 1: also really liked this movie. I saw it when it

91
00:06:30,960 --> 00:06:33,560
Speaker 1: came out. Yeah, because I was like twelve in this

92
00:06:33,600 --> 00:06:35,880
Speaker 1: movie came out. I don't know, but I remember seeing

93
00:06:35,880 --> 00:06:37,440
Speaker 1: it in theaters with my mom. I feel like it

94
00:06:37,480 --> 00:06:40,040
Speaker 1: was marketed as kind of like a mother daughter movie,

95
00:06:40,160 --> 00:06:43,560
Speaker 1: and so we went and I really liked it. I

96
00:06:43,600 --> 00:06:46,200
Speaker 1: also was not allowed to watch Adam Sandler movies, so

97
00:06:46,240 --> 00:06:49,400
Speaker 1: I was like, wow, Adam Sandler is so boring. What

98
00:06:49,440 --> 00:06:52,320
Speaker 1: does everyone like so upset about based on this movie?

99
00:06:52,360 --> 00:06:54,040
Speaker 1: But then this movie was also on T and T

100
00:06:54,240 --> 00:06:56,359
Speaker 1: all the time, so I'd watch it whenever it was,

101
00:06:56,440 --> 00:07:01,120
Speaker 1: I was, yeah, and I really, um, it's interesting. I

102
00:07:01,120 --> 00:07:04,240
Speaker 1: haven't watched this movie in at least five years. It's

103
00:07:04,279 --> 00:07:08,960
Speaker 1: definitely longer than I remembered two hours, two hours in

104
00:07:09,040 --> 00:07:13,840
Speaker 1: eleven minutes. Yeah, and I also wasn't I didn't remember

105
00:07:13,880 --> 00:07:16,000
Speaker 1: that it was a James Brooks movie, which is like

106
00:07:16,200 --> 00:07:18,920
Speaker 1: so bizarre on so many levels that we'll, I mean,

107
00:07:18,920 --> 00:07:21,280
Speaker 1: we'll talk about it. But yeah, this is the first

108
00:07:21,320 --> 00:07:23,640
Speaker 1: time i'd watched it since I had a better understanding

109
00:07:23,680 --> 00:07:26,480
Speaker 1: of like who James Brooks was other than a name

110
00:07:26,680 --> 00:07:29,440
Speaker 1: at the beginning of The Simpsons. So I'm excited to

111
00:07:29,480 --> 00:07:32,640
Speaker 1: talk about it. Yeah, I still like this movie is

112
00:07:32,640 --> 00:07:36,400
Speaker 1: still hit for me a lot watching it, Like there's

113
00:07:36,680 --> 00:07:39,920
Speaker 1: there's there's ship, There's plenty of ship. But there were

114
00:07:39,920 --> 00:07:41,840
Speaker 1: still moments where I was like, oh, that's a really

115
00:07:41,840 --> 00:07:45,240
Speaker 1: beautiful scene. Yeah, there's a lot of poetry in it.

116
00:07:46,280 --> 00:07:51,440
Speaker 1: There is. Yeah, it's nice. Also, I asked, the sailer's

117
00:07:51,480 --> 00:07:55,920
Speaker 1: hair is so distracted against is it a wig? Like?

118
00:07:56,560 --> 00:07:59,040
Speaker 1: Is it a wig? Like? I don't. I feel like

119
00:07:59,040 --> 00:08:02,200
Speaker 1: I've never seen his hair that like thick. It felt

120
00:08:02,240 --> 00:08:04,920
Speaker 1: like a wit. Maybe he just has a buzz. Usually

121
00:08:05,440 --> 00:08:08,160
Speaker 1: it's not as though they were like lacking for a budget.

122
00:08:08,320 --> 00:08:10,600
Speaker 1: It's like there was a hair and makeup budget. The

123
00:08:10,600 --> 00:08:15,360
Speaker 1: budget for this movie was eighty million dollars and was

124
00:08:15,400 --> 00:08:18,840
Speaker 1: also a box office flop because it only grows like

125
00:08:18,960 --> 00:08:21,640
Speaker 1: fifty five million or something. But which is like so

126
00:08:21,680 --> 00:08:26,240
Speaker 1: silly because that's million. Is I think, like pretty respectable

127
00:08:26,280 --> 00:08:28,520
Speaker 1: for a rom com. This movie just shouldn't have cost

128
00:08:28,560 --> 00:08:33,720
Speaker 1: eighty million dollars. It was like there was like three locations, right,

129
00:08:35,280 --> 00:08:39,679
Speaker 1: Is that just like the cost of Adam Sandy. Yeahdam

130
00:08:39,720 --> 00:08:43,400
Speaker 1: sand there was probably like seventy million, and like no

131
00:08:43,480 --> 00:08:45,800
Speaker 1: offense to Adam Sandler, but that could have been so

132
00:08:45,880 --> 00:08:50,000
Speaker 1: many white guys like that could have been any other guy.

133
00:08:50,160 --> 00:08:54,440
Speaker 1: He was really badly miscast in that role. Yeah, this

134
00:08:54,520 --> 00:08:58,240
Speaker 1: is by far the most random Adam Sandler movie. And

135
00:08:58,280 --> 00:09:00,800
Speaker 1: it is like an Adam Sandler movie movie. He's like

136
00:09:00,920 --> 00:09:03,880
Speaker 1: on the front of the he's like on the poster

137
00:09:04,320 --> 00:09:09,040
Speaker 1: which is in the forefront. It's almost like distracting that

138
00:09:09,080 --> 00:09:12,160
Speaker 1: he's in it at times because it's like the I

139
00:09:12,200 --> 00:09:14,000
Speaker 1: don't know, like I thought it was interesting that like

140
00:09:14,040 --> 00:09:16,720
Speaker 1: a man doesn't I don't think speak. For the first

141
00:09:16,800 --> 00:09:21,360
Speaker 1: like fifteen minutes of this movie, like it's all Christina

142
00:09:21,520 --> 00:09:26,240
Speaker 1: and floored, or it's like Deborah, deborahng out to her

143
00:09:26,360 --> 00:09:28,880
Speaker 1: daughter and like it's all women talking, and then all

144
00:09:28,920 --> 00:09:33,280
Speaker 1: of a sudden, it's like and here's Adam Sandler, and

145
00:09:33,360 --> 00:09:37,680
Speaker 1: you're just like, I do we need it? I don't know. Uh, Caitly,

146
00:09:37,800 --> 00:09:41,520
Speaker 1: what's your history of this movie? Oh my gosh, Well,

147
00:09:42,000 --> 00:09:44,320
Speaker 1: I had not seen this movie before, so I had

148
00:09:44,559 --> 00:09:49,480
Speaker 1: no emotional attachment to it. I was going in very fresh,

149
00:09:49,520 --> 00:09:54,480
Speaker 1: and I am so sorry, but I hate shit. It's

150
00:09:54,800 --> 00:09:59,319
Speaker 1: so much. I hate it. I think it's very bad.

151
00:10:00,000 --> 00:10:05,640
Speaker 1: I have reasons here. They are. The storytelling is choppy.

152
00:10:05,679 --> 00:10:10,600
Speaker 1: Every scene is overwritten, so so so overwritten. The editing

153
00:10:10,640 --> 00:10:14,600
Speaker 1: and the pacing is very weird. The tone is very

154
00:10:14,600 --> 00:10:17,800
Speaker 1: weird and inconsistent. The tone is confusing. I feel like

155
00:10:17,920 --> 00:10:20,000
Speaker 1: the Hans Zimmer music was trying to like do some

156
00:10:20,080 --> 00:10:22,640
Speaker 1: heavy lifting and like making it clearer how you're supposed

157
00:10:22,679 --> 00:10:27,800
Speaker 1: to feel sometimes but right, it's a college essay. It's

158
00:10:27,920 --> 00:10:32,079
Speaker 1: a weird like random voice of the framing devices is strange.

159
00:10:32,360 --> 00:10:35,920
Speaker 1: I have never felt less compelled or convinced by a

160
00:10:36,040 --> 00:10:41,280
Speaker 1: romance between two people on screen. There are different conflicts

161
00:10:41,280 --> 00:10:44,079
Speaker 1: that are like set up and then just like dropped,

162
00:10:44,200 --> 00:10:47,000
Speaker 1: like loose threads that get even looser and looser as

163
00:10:47,040 --> 00:10:49,640
Speaker 1: the movie goes. And then all the reasons that we'll

164
00:10:49,640 --> 00:10:52,560
Speaker 1: talk about in the context of like our podcast, that

165
00:10:52,640 --> 00:10:57,560
Speaker 1: I think are missteps. But I've never been so deeply

166
00:10:57,600 --> 00:11:02,920
Speaker 1: bored by a movie in my entire life. God, Holy Ship,

167
00:11:04,200 --> 00:11:13,640
Speaker 1: Coming in Hot, Coming in So sorry, but that is

168
00:11:13,679 --> 00:11:16,200
Speaker 1: how I feel, and I have to speak my truth

169
00:11:17,559 --> 00:11:21,640
Speaker 1: fair enough there. Honestly, some of the overwriting, I don't know,

170
00:11:21,760 --> 00:11:24,840
Speaker 1: I just like the tone gets bizarre at some point

171
00:11:24,880 --> 00:11:29,319
Speaker 1: where it's like, also, I feel like removing Adam Sandler

172
00:11:29,400 --> 00:11:32,160
Speaker 1: and like telling Taloni to take it down a couple

173
00:11:32,160 --> 00:11:35,400
Speaker 1: of notches could have resolved the tone issues too, because

174
00:11:35,400 --> 00:11:38,480
Speaker 1: there was some things that was like, I like Taloni

175
00:11:38,600 --> 00:11:41,679
Speaker 1: was like was maybe not communicated with very effectively of

176
00:11:41,720 --> 00:11:44,960
Speaker 1: like this isn't like you're not doing like a when

177
00:11:44,960 --> 00:11:49,160
Speaker 1: Harry mets Tally Orcass in this that whole scene, Oh

178
00:11:49,200 --> 00:11:51,960
Speaker 1: my gosh, blocked that out because I was like, you

179
00:11:52,000 --> 00:11:56,280
Speaker 1: don't even need me the mother of two children right here,

180
00:11:57,800 --> 00:12:04,040
Speaker 1: and then as she orgasm, she goes what which is

181
00:12:04,080 --> 00:12:07,560
Speaker 1: like in another movie could have been pretty funny but

182
00:12:07,679 --> 00:12:10,760
Speaker 1: in this movie was like, what is going on? Because

183
00:12:10,760 --> 00:12:14,360
Speaker 1: then it cuts to like a pretty serious because I

184
00:12:14,400 --> 00:12:16,320
Speaker 1: think that the takeaway from that seems supposed to be

185
00:12:16,360 --> 00:12:24,600
Speaker 1: like they're not connecting. That's never before I thought the

186
00:12:24,640 --> 00:12:27,839
Speaker 1: tone issues are kind of funny too. Um, well, let's

187
00:12:28,000 --> 00:12:32,360
Speaker 1: let's talk about it. Yeah, I'll do the recap and

188
00:12:32,400 --> 00:12:36,560
Speaker 1: then we'll go from there. Okay. So there is this

189
00:12:36,600 --> 00:12:41,560
Speaker 1: framing device where a young woman, Christina Moreno, has submitted

190
00:12:41,559 --> 00:12:45,000
Speaker 1: a college Emissions essay about the story that we are

191
00:12:45,040 --> 00:12:48,080
Speaker 1: about to see unfold, and then we get her voice

192
00:12:48,080 --> 00:12:50,840
Speaker 1: over throughout the movie, which is like her reading this

193
00:12:51,080 --> 00:12:54,840
Speaker 1: essay telling this story. So it begins with us meeting

194
00:12:55,320 --> 00:12:59,200
Speaker 1: six year old Christina and her mother, Floored, played by

195
00:12:59,440 --> 00:13:03,880
Speaker 1: pass Vega. They live in Mexico. Flora's husband has just

196
00:13:04,160 --> 00:13:08,880
Speaker 1: left the family, so Florida decides to take Christina and

197
00:13:09,080 --> 00:13:13,280
Speaker 1: immigrate to the US. They go to l A, Florida

198
00:13:13,320 --> 00:13:17,080
Speaker 1: works a couple of jobs, then, after six years of

199
00:13:17,080 --> 00:13:20,880
Speaker 1: living there, her cousin Monica sets her up with an

200
00:13:20,880 --> 00:13:25,079
Speaker 1: interview for a higher paying job working as a housekeeper

201
00:13:25,200 --> 00:13:31,160
Speaker 1: for the Klatsky family. Trouble is, Florida doesn't speak English,

202
00:13:31,320 --> 00:13:35,680
Speaker 1: so Monica accompanies her to the interview to translate. During

203
00:13:35,720 --> 00:13:40,920
Speaker 1: this interview, we meet Deborah that's Taloni, her daughter Bernie,

204
00:13:41,440 --> 00:13:45,760
Speaker 1: Deborah's mother Evelyn played by Cloris Leachman. They're a well

205
00:13:45,800 --> 00:13:49,800
Speaker 1: to do family in l A. Deborah's husband is her

206
00:13:49,920 --> 00:13:55,559
Speaker 1: husband is a top chef, the top chef, and then

207
00:13:55,559 --> 00:13:58,920
Speaker 1: they say like she She's like they do like, I

208
00:13:58,920 --> 00:14:01,319
Speaker 1: don't know. James Brooks is like, I feel like he

209
00:14:02,240 --> 00:14:05,040
Speaker 1: always gives me just enough that I'm like, God, I

210
00:14:05,040 --> 00:14:06,960
Speaker 1: guess I can't be mad at him about that. I'll

211
00:14:06,960 --> 00:14:09,560
Speaker 1: have to find something else, right, Like you find out

212
00:14:09,600 --> 00:14:13,040
Speaker 1: that Deborah used to do something, but then something something

213
00:14:13,520 --> 00:14:16,160
Speaker 1: Now she doesn't. Now she's a full time mom. She's

214
00:14:16,160 --> 00:14:19,560
Speaker 1: like an interior decorator or something. Some design persons like

215
00:14:19,600 --> 00:14:25,320
Speaker 1: a movie job. So Debora offers Floored the job. So

216
00:14:25,400 --> 00:14:30,160
Speaker 1: she and Christina celebrate. Then Florida starts the job, which

217
00:14:30,200 --> 00:14:35,240
Speaker 1: is when we meet John that's Adam Sandler. She starts working.

218
00:14:35,360 --> 00:14:39,440
Speaker 1: There's definitely a language barrier between her and the family.

219
00:14:39,960 --> 00:14:44,360
Speaker 1: Deborah is very high strung. She we see her get

220
00:14:44,440 --> 00:14:48,040
Speaker 1: on her daughter's case about her weight, including when she

221
00:14:48,280 --> 00:14:51,800
Speaker 1: buys clothes for Bernie that she knows are too small

222
00:14:51,840 --> 00:14:54,400
Speaker 1: for her, and it hopes that they will motivate her

223
00:14:54,440 --> 00:14:59,920
Speaker 1: to lose weight. Evil, horrible. Deborah is never like redeemed

224
00:15:00,040 --> 00:15:04,120
Speaker 1: the whole time. She really a bad person. Yeah, she's

225
00:15:04,160 --> 00:15:08,000
Speaker 1: just like cartoon evil. Yeah, right, like and it kind

226
00:15:08,000 --> 00:15:10,200
Speaker 1: of like it gets worse as the movie goes on.

227
00:15:11,320 --> 00:15:13,840
Speaker 1: She gets worse and worse. I don't know. That thing

228
00:15:13,920 --> 00:15:16,840
Speaker 1: to Bernie was like, I was like, that's worse than

229
00:15:16,880 --> 00:15:19,760
Speaker 1: when she cheated on Adam Sandler as far as I'm concerned.

230
00:15:19,840 --> 00:15:23,000
Speaker 1: That was pure evil. Yeah, that was that was the

231
00:15:23,000 --> 00:15:26,360
Speaker 1: worst thing. Who's that actress who plays Bernie. I haven't

232
00:15:26,360 --> 00:15:30,160
Speaker 1: seen her in any she was I unfortunately, but it

233
00:15:30,160 --> 00:15:33,720
Speaker 1: out myself as someone who has watched every episode of

234
00:15:34,040 --> 00:15:37,680
Speaker 1: The Good Wife. She was on the she was she

235
00:15:37,800 --> 00:15:41,520
Speaker 1: was the daughter on The Good Wife. Sarah Steele is

236
00:15:41,560 --> 00:15:45,800
Speaker 1: her name. Yeah, So this obviously very much upsets both

237
00:15:45,880 --> 00:15:50,120
Speaker 1: Bernie and John, but Deborah is all like John, we

238
00:15:50,240 --> 00:15:53,760
Speaker 1: have to be on the same page as parents. So

239
00:15:53,800 --> 00:15:58,560
Speaker 1: then John confides in Florida about this, even though she

240
00:15:58,680 --> 00:16:02,880
Speaker 1: doesn't understand what he's saying, but she does understand why

241
00:16:02,920 --> 00:16:07,160
Speaker 1: Bernie was upset, so she takes some of the clothes

242
00:16:07,240 --> 00:16:11,280
Speaker 1: and alters them so that they will fit Bernie, and

243
00:16:11,320 --> 00:16:14,960
Speaker 1: then has Christina teach her how to say just try

244
00:16:15,000 --> 00:16:18,360
Speaker 1: it on in English so that she can tell Bernie

245
00:16:18,400 --> 00:16:21,920
Speaker 1: to try on the jacket and she does and it fits.

246
00:16:22,680 --> 00:16:27,000
Speaker 1: Then we get this whole sequence where this restaurant critic

247
00:16:27,000 --> 00:16:29,920
Speaker 1: had come to John's restaurant and then he reads what

248
00:16:30,040 --> 00:16:31,960
Speaker 1: turns out to be a very good review of his

249
00:16:32,040 --> 00:16:35,960
Speaker 1: restaurant in the Times, and everyone in the family is

250
00:16:36,080 --> 00:16:38,320
Speaker 1: super excited. And this is when we get that very

251
00:16:38,320 --> 00:16:43,000
Speaker 1: weird sex scene between Adam Sandler and Talione where she's

252
00:16:43,040 --> 00:16:45,440
Speaker 1: like screaming at the top of her lungs. I don't

253
00:16:45,440 --> 00:16:48,000
Speaker 1: think he's even inside of her right because he's like

254
00:16:48,120 --> 00:16:54,480
Speaker 1: he keeps saying, you can do this without me. That's

255
00:16:54,840 --> 00:17:00,520
Speaker 1: false propaganda about how easy it is to makes one coom.

256
00:17:01,360 --> 00:17:05,480
Speaker 1: That's also it's like, aren't their kids home? She's like

257
00:17:05,680 --> 00:17:10,840
Speaker 1: screaming doors open during that the door is open. The

258
00:17:11,000 --> 00:17:14,800
Speaker 1: kids were just right there reading the review like it's

259
00:17:14,840 --> 00:17:19,760
Speaker 1: so confusing. Should have cut it? Should have cut it?

260
00:17:19,960 --> 00:17:22,280
Speaker 1: Kind of glad they didn't, because it's just like, should

261
00:17:22,280 --> 00:17:25,200
Speaker 1: have been cut, Like we already knew that the relationship

262
00:17:25,320 --> 00:17:29,879
Speaker 1: wasn't working, Like, why did they do that? It's funny,

263
00:17:30,119 --> 00:17:32,880
Speaker 1: I don't I think every scene should have been cut. Okay,

264
00:17:33,359 --> 00:17:39,600
Speaker 1: the then Deborah rents a house in Malibu for the

265
00:17:39,640 --> 00:17:42,240
Speaker 1: family to stay in for the summer, and she wants

266
00:17:42,440 --> 00:17:46,160
Speaker 1: Floor to stay with them as well, which at first

267
00:17:46,200 --> 00:17:48,520
Speaker 1: she refuses because she doesn't want to leave her daughter,

268
00:17:48,560 --> 00:17:51,679
Speaker 1: Christina behind, But then Deborah is like, no, your daughter

269
00:17:51,720 --> 00:17:56,080
Speaker 1: can live here too, So Florida and Christina move into

270
00:17:56,119 --> 00:18:02,040
Speaker 1: this rental home for the summer, which some drama ensues

271
00:18:02,400 --> 00:18:07,400
Speaker 1: from there, where Florida is mad that Deborah took Christina

272
00:18:07,480 --> 00:18:11,720
Speaker 1: shopping and to get her hair done without telling floored. Um.

273
00:18:11,840 --> 00:18:15,960
Speaker 1: Then there's this whole thing with John offering to pay

274
00:18:16,040 --> 00:18:20,560
Speaker 1: the kids to find sea glass, which Christina finds a

275
00:18:20,600 --> 00:18:23,560
Speaker 1: bunch of and then he pays her like over six

276
00:18:23,680 --> 00:18:26,640
Speaker 1: hundred dollars for it, and then Florida calls him out

277
00:18:26,680 --> 00:18:29,359
Speaker 1: for meddling in her daughter's life. I mean, he should

278
00:18:29,359 --> 00:18:32,240
Speaker 1: have told Florida that that was like that he was

279
00:18:32,280 --> 00:18:35,360
Speaker 1: giving her like rent money. I was like, you can't

280
00:18:35,440 --> 00:18:37,760
Speaker 1: just give a thirteen year old six hundred dollars. What

281
00:18:37,800 --> 00:18:43,119
Speaker 1: will they do? Yeah? Right, Yeah, that was kind of perverted. Yah,

282
00:18:45,040 --> 00:18:47,760
Speaker 1: So she calls him out, and then he calls her

283
00:18:47,960 --> 00:18:51,640
Speaker 1: out for meddling in his daughter's life when she altered

284
00:18:51,640 --> 00:18:55,359
Speaker 1: Bernie's clothes. Also, Christina is translating for both of them

285
00:18:55,440 --> 00:18:58,560
Speaker 1: during this scene because Florida still does not speak English.

286
00:18:59,080 --> 00:19:02,360
Speaker 1: And then Florida is you're right, I am a hypocrite

287
00:19:03,040 --> 00:19:06,960
Speaker 1: and John is like, wow, it's so cool that you

288
00:19:07,440 --> 00:19:10,000
Speaker 1: admit that you agree with me, and that you admit

289
00:19:10,359 --> 00:19:13,040
Speaker 1: it's so cool when you tell me I'm right. And

290
00:19:13,080 --> 00:19:15,119
Speaker 1: then this is the beginning of what seems like it

291
00:19:15,240 --> 00:19:18,840
Speaker 1: might be a romance between them. And then this is

292
00:19:18,880 --> 00:19:23,440
Speaker 1: also when Flora starts to learn English, which she appears

293
00:19:23,480 --> 00:19:29,080
Speaker 1: to do in a week. It's like the summers. Yeah,

294
00:19:29,560 --> 00:19:32,359
Speaker 1: like yeah, but she's already been there for a while

295
00:19:32,760 --> 00:19:35,600
Speaker 1: and it just seems like she learns she becomes fluent

296
00:19:35,640 --> 00:19:39,400
Speaker 1: in English very fast. I do like the scene where

297
00:19:39,440 --> 00:19:43,960
Speaker 1: her and what's Evelyn Evelyn's chorus? Leachman is that her name? Yeah?

298
00:19:44,119 --> 00:19:45,760
Speaker 1: I do like when I like on the couch and

299
00:19:45,840 --> 00:19:49,200
Speaker 1: she's like holding a glass of wine and repeating English

300
00:19:49,200 --> 00:19:55,159
Speaker 1: words with her because she's just like wasted. Yeah. I

301
00:19:55,240 --> 00:19:59,359
Speaker 1: had a totally false memory of this movie. That was

302
00:19:59,520 --> 00:20:01,800
Speaker 1: like ended up being way too kind to the movie

303
00:20:01,880 --> 00:20:05,080
Speaker 1: that in my memory of this movie, I was like, Oh, yeah,

304
00:20:05,200 --> 00:20:10,119
Speaker 1: Adam Sandler also learns some Spanish, but that doesn't happen.

305
00:20:10,320 --> 00:20:14,160
Speaker 1: Oh no, don't. No one in the Klatskey family learns

306
00:20:14,200 --> 00:20:18,879
Speaker 1: a single word of Spanish. It doesn't come up. Okay,

307
00:20:18,880 --> 00:20:21,960
Speaker 1: So she is learning English and then one night John

308
00:20:22,040 --> 00:20:24,680
Speaker 1: comes home really drunk and it seems like he's trying

309
00:20:24,720 --> 00:20:28,840
Speaker 1: to flirt with Flora. Deborra is out somewhere. It seems

310
00:20:28,880 --> 00:20:31,160
Speaker 1: like she's kind of sneaking around. We're not really sure

311
00:20:31,200 --> 00:20:34,919
Speaker 1: what's going on there. And then Debora gets Christina a

312
00:20:35,000 --> 00:20:39,920
Speaker 1: scholarship at a private school where Bernie goes, and Flora

313
00:20:40,119 --> 00:20:43,240
Speaker 1: feels weird about it, as if you know, Deborrah is

314
00:20:43,240 --> 00:20:47,600
Speaker 1: still meddling in her daughter's life, which she is, And

315
00:20:47,640 --> 00:20:50,880
Speaker 1: then Flora talks to John about it and they bond

316
00:20:51,200 --> 00:20:55,600
Speaker 1: a bit over that. Then one night, Debora confesses to

317
00:20:55,680 --> 00:20:59,679
Speaker 1: John that she's been having an affair and John leaves

318
00:20:59,720 --> 00:21:04,520
Speaker 1: the else and as he's leaving, he takes Florida with him, who,

319
00:21:04,560 --> 00:21:07,160
Speaker 1: by the way, she was there to quit her job

320
00:21:07,320 --> 00:21:10,720
Speaker 1: working for them. They keep gas lighting this poor woman

321
00:21:10,880 --> 00:21:13,600
Speaker 1: into not quitting her job that she wants to quit

322
00:21:13,720 --> 00:21:22,840
Speaker 1: sop A Headley, Yeah, yes, so much manipulation from everybody.

323
00:21:23,000 --> 00:21:25,800
Speaker 1: And then so John is like, hey, Florida, do you

324
00:21:25,800 --> 00:21:28,879
Speaker 1: want to hang out? And she's like, I guess. So

325
00:21:28,880 --> 00:21:32,479
Speaker 1: then he takes her to his restaurant and he's like,

326
00:21:32,560 --> 00:21:35,840
Speaker 1: you're beautiful, and then they kiss and then they talk

327
00:21:35,920 --> 00:21:38,960
Speaker 1: all night. He says they should name a gender after you,

328
00:21:44,400 --> 00:21:48,800
Speaker 1: but also he has that hair what he's saying, they

329
00:21:48,840 --> 00:21:53,719
Speaker 1: should name agenda after you. Like, he's also like periodically

330
00:21:53,800 --> 00:21:57,320
Speaker 1: screaming throughout the movie. He's like, if I can't even

331
00:21:57,359 --> 00:22:01,359
Speaker 1: look at you right now, I quit this job. I

332
00:22:01,480 --> 00:22:05,639
Speaker 1: feel this is like this is like an early dramatic

333
00:22:05,720 --> 00:22:08,000
Speaker 1: turn for Adam Stanley, right because he did that Paul

334
00:22:08,040 --> 00:22:11,760
Speaker 1: Thomas Anderson movie that everyone loves the name that I

335
00:22:11,800 --> 00:22:15,359
Speaker 1: don't remember, Punch Drunk Glove, Punch Drunk Glove. Everyone loved

336
00:22:15,600 --> 00:22:18,000
Speaker 1: his dramatic turn and Punch Runk Clove. And then I

337
00:22:18,000 --> 00:22:19,920
Speaker 1: think people were maybe like because that movie was from

338
00:22:20,040 --> 00:22:22,280
Speaker 1: two thousand two, and I think everyone's like, oh, like,

339
00:22:22,359 --> 00:22:25,720
Speaker 1: he could probably do any part, but the answer was no,

340
00:22:26,000 --> 00:22:28,639
Speaker 1: he can just scream. He can do punch Drunk glove

341
00:22:29,160 --> 00:22:32,720
Speaker 1: and he can do Hube Halloween. He can be Hube Halloween,

342
00:22:32,760 --> 00:22:34,560
Speaker 1: and he can do I keep wanting to say, the

343
00:22:34,720 --> 00:22:38,800
Speaker 1: righteous gems, uncut gems. He can do um slunt gems

344
00:22:38,920 --> 00:22:46,360
Speaker 1: and all the other ones. Stinky, stinky, stinky. Oh gosh,

345
00:22:46,480 --> 00:22:50,720
Speaker 1: they should name it gender after you. So he's all like,

346
00:22:50,760 --> 00:22:54,760
Speaker 1: you're beautiful, and they kiss and they're talking and then

347
00:22:54,800 --> 00:22:59,199
Speaker 1: Florida is like I love you, and we're like what,

348
00:22:59,640 --> 00:23:03,040
Speaker 1: And then Florida runs away, and then the next day

349
00:23:03,080 --> 00:23:06,359
Speaker 1: she tells Christina and the rest of the Classkey family

350
00:23:06,480 --> 00:23:10,760
Speaker 1: that she quits, and there's this big, tearful goodbye. Flora

351
00:23:10,840 --> 00:23:14,879
Speaker 1: says goodbye to John and they leave, and Christina is

352
00:23:14,920 --> 00:23:17,840
Speaker 1: really mad at Floora for quitting and pulling her out

353
00:23:17,840 --> 00:23:21,760
Speaker 1: of this private school. But then Christina soon forgives her

354
00:23:21,800 --> 00:23:28,360
Speaker 1: mother and understands that everything she does is for Christina.

355
00:23:28,560 --> 00:23:32,919
Speaker 1: And that's the end of this movie. That doesn't have

356
00:23:32,960 --> 00:23:38,560
Speaker 1: a plot, not but that's the story. Let's take a

357
00:23:38,640 --> 00:23:41,639
Speaker 1: quick break and then we'll come right back to discuss

358
00:23:48,040 --> 00:23:52,600
Speaker 1: and we're back. Does anyone want to start any particular

359
00:23:53,080 --> 00:23:57,320
Speaker 1: place with this movie? We know Caitlin does not like

360
00:23:59,200 --> 00:24:01,879
Speaker 1: I'm curious us to know. I want to hear more

361
00:24:01,920 --> 00:24:06,040
Speaker 1: about like your experience, Melissa watching this as a younger

362
00:24:06,080 --> 00:24:08,760
Speaker 1: person with your family, and like the connection you had

363
00:24:08,800 --> 00:24:12,159
Speaker 1: to it culturally and things like that. I mean, I

364
00:24:12,200 --> 00:24:14,520
Speaker 1: think when I first saw it, it was like okay,

365
00:24:14,760 --> 00:24:17,439
Speaker 1: two thousand four, so I was like, oh my God,

366
00:24:17,560 --> 00:24:22,600
Speaker 1: like represent Tacion. Like I think my mom was really

367
00:24:22,600 --> 00:24:25,359
Speaker 1: emotional about it, as I said before, like my older

368
00:24:25,400 --> 00:24:29,119
Speaker 1: sister would like translate around for her, and like my

369
00:24:29,200 --> 00:24:32,760
Speaker 1: mom would like clean houses. I mean, watching it now,

370
00:24:33,440 --> 00:24:35,760
Speaker 1: there are a bit of things that are like slightly

371
00:24:36,600 --> 00:24:40,639
Speaker 1: two dimensional about the Moreno family, I guess, but I

372
00:24:40,680 --> 00:24:46,760
Speaker 1: think it's still pretty good about like class and like xenophobia.

373
00:24:47,200 --> 00:24:50,080
Speaker 1: I was like surprised at how good of it it

374
00:24:50,160 --> 00:24:53,560
Speaker 1: was in two thousand four. And I don't know. I

375
00:24:53,600 --> 00:24:57,119
Speaker 1: think like Christina in particular, really like I feel like

376
00:24:57,160 --> 00:25:00,520
Speaker 1: I've been that like young Latin child where these like

377
00:25:00,600 --> 00:25:02,920
Speaker 1: scary white ladies like see a lot of things in me.

378
00:25:03,440 --> 00:25:07,439
Speaker 1: And I really think that the movie takes this like

379
00:25:07,600 --> 00:25:10,480
Speaker 1: almost radical turn where she's like, oh no, like I'm

380
00:25:10,520 --> 00:25:12,760
Speaker 1: taking my daughter away from this, like she can do

381
00:25:13,119 --> 00:25:17,040
Speaker 1: she can be successful in this country without assimilating or

382
00:25:17,119 --> 00:25:21,160
Speaker 1: being like like being part of whiteness. And I think

383
00:25:21,400 --> 00:25:24,360
Speaker 1: that's I also like always fucking lose my ship when

384
00:25:24,400 --> 00:25:29,000
Speaker 1: she says I stand firmly in my identity, like relies

385
00:25:29,040 --> 00:25:32,000
Speaker 1: on one thing, and that is I am my mother's daughter.

386
00:25:33,200 --> 00:25:37,640
Speaker 1: Kills me. It kills me. Um. Yeah, that makes sense

387
00:25:37,680 --> 00:25:39,480
Speaker 1: and that that all attracts to me, and I think

388
00:25:39,520 --> 00:25:46,440
Speaker 1: that is the movies one striketh um. But yeah, for me,

389
00:25:46,640 --> 00:25:49,359
Speaker 1: Like one of the things that pinned me was just

390
00:25:49,480 --> 00:25:54,000
Speaker 1: that for the first half of the movie, Florida is

391
00:25:54,040 --> 00:25:59,080
Speaker 1: like not really the focus. She isn't given Like so

392
00:25:59,119 --> 00:26:01,119
Speaker 1: many of the scenes revolve and so much of the

393
00:26:01,119 --> 00:26:05,240
Speaker 1: tension and conflict revolve around this white family. Even though

394
00:26:05,760 --> 00:26:09,119
Speaker 1: Florida is the protagonist, she's framed as the protagonist of

395
00:26:09,160 --> 00:26:10,960
Speaker 1: this movie. And I just feel like, if you're going

396
00:26:11,000 --> 00:26:14,080
Speaker 1: to tell a story about an immigrant woman from Mexico

397
00:26:14,560 --> 00:26:18,720
Speaker 1: coming to the US with her young daughter and kind

398
00:26:18,720 --> 00:26:22,600
Speaker 1: of grappling with this, like do I make an effort

399
00:26:22,640 --> 00:26:27,639
Speaker 1: to learn this new culture and language and assimilate or

400
00:26:27,800 --> 00:26:33,840
Speaker 1: do I maintain my my cultural identity from Mexico and

401
00:26:34,200 --> 00:26:38,040
Speaker 1: all these things that an immigrant has to deal with

402
00:26:38,080 --> 00:26:41,200
Speaker 1: and think about. I cannot think of a more boring

403
00:26:41,440 --> 00:26:45,560
Speaker 1: version of this story than this movie, where like she

404
00:26:45,680 --> 00:26:47,840
Speaker 1: isn't even the focus for the first half of the movie,

405
00:26:47,880 --> 00:26:50,639
Speaker 1: and then when she does start to become the focus,

406
00:26:50,720 --> 00:26:54,440
Speaker 1: it's it's because she's learning English and is now better

407
00:26:54,520 --> 00:26:58,560
Speaker 1: able to communicate with this rich white family and then

408
00:26:58,960 --> 00:27:04,240
Speaker 1: is falling in love with Adam Sandler, and then yeah,

409
00:27:04,240 --> 00:27:08,520
Speaker 1: I I definitely felt like this movie, like kept rewrote, like,

410
00:27:08,960 --> 00:27:12,280
Speaker 1: I think that there's an argument that the actually, like

411
00:27:12,680 --> 00:27:16,080
Speaker 1: this movie was marketed as Adam Sandler being the protagonist.

412
00:27:16,640 --> 00:27:19,240
Speaker 1: The introduction to the movie wants you to believe that

413
00:27:19,280 --> 00:27:22,160
Speaker 1: Flora is the protagonist, but then the way the movie

414
00:27:22,160 --> 00:27:25,720
Speaker 1: plays out, you're like, it could be Deborah. Also like

415
00:27:26,280 --> 00:27:30,640
Speaker 1: there's like it is kind of confusing this is Deborah

416
00:27:30,800 --> 00:27:35,040
Speaker 1: story and the story beginning middle an end is Deborah

417
00:27:35,359 --> 00:27:39,560
Speaker 1: sucks like she's terrible. But I yeah, I felt like

418
00:27:39,760 --> 00:27:42,200
Speaker 1: there were some creative traces that I wanted to, like,

419
00:27:42,800 --> 00:27:46,240
Speaker 1: I don't know, just get everyone's opinions on, because I

420
00:27:46,359 --> 00:27:49,000
Speaker 1: also felt like not even I mean, it feels like

421
00:27:49,040 --> 00:27:53,240
Speaker 1: we're not spending enough time with Florida from much of

422
00:27:53,240 --> 00:27:57,200
Speaker 1: the second act, but also like I felt like James L.

423
00:27:57,280 --> 00:27:59,520
Speaker 1: Brooks and I like read some interviews with him, and

424
00:27:59,600 --> 00:28:02,920
Speaker 1: his choice is to not include subtitles in this movie

425
00:28:03,080 --> 00:28:06,080
Speaker 1: was like very very deliberate. He didn't want there to

426
00:28:06,119 --> 00:28:10,320
Speaker 1: be subtitles. Yeah, and I I mean, I do not

427
00:28:10,560 --> 00:28:15,480
Speaker 1: speak Spanish, and I felt like not letting us know

428
00:28:15,800 --> 00:28:19,159
Speaker 1: what Florida was saying was like putting the audience in

429
00:28:19,400 --> 00:28:20,879
Speaker 1: Oh yeah, I don't know. It just like it was

430
00:28:20,920 --> 00:28:25,159
Speaker 1: creating distance between me and like the protagonist, who I

431
00:28:25,200 --> 00:28:26,800
Speaker 1: want to know what she's saying. I want to know

432
00:28:26,840 --> 00:28:29,720
Speaker 1: what she's feeling, but I don't know. I just found

433
00:28:29,720 --> 00:28:35,200
Speaker 1: that to be kind of like a frustrating experience because

434
00:28:35,400 --> 00:28:38,760
Speaker 1: the performance is so good and there's like a lot

435
00:28:39,000 --> 00:28:41,880
Speaker 1: in the story that I wish was like focused on more,

436
00:28:42,120 --> 00:28:44,360
Speaker 1: But it just felt like there was like this this

437
00:28:44,440 --> 00:28:48,600
Speaker 1: distance created between I guess me and the movie that

438
00:28:48,680 --> 00:28:51,320
Speaker 1: I wish wasn't there. That is so weird because it

439
00:28:51,360 --> 00:28:53,720
Speaker 1: does seem to be like a movie made for like

440
00:28:53,760 --> 00:28:57,600
Speaker 1: white American audiences, so like the decision should not put

441
00:28:58,040 --> 00:29:00,720
Speaker 1: subtitles in, it's like, let's like for there, make this

442
00:29:00,800 --> 00:29:04,840
Speaker 1: woman like it's like put her on this like weird

443
00:29:05,040 --> 00:29:09,440
Speaker 1: ethnic pedestal where she's kind of like mute, almost like

444
00:29:09,760 --> 00:29:13,800
Speaker 1: and just like miming all the time. Yeah, it was

445
00:29:14,160 --> 00:29:17,040
Speaker 1: like it's like yeah it was again and not that

446
00:29:17,120 --> 00:29:20,440
Speaker 1: every movie should cater to my exact like the languages

447
00:29:20,440 --> 00:29:23,320
Speaker 1: that I speak, but but particularly because it's like a

448
00:29:23,360 --> 00:29:25,920
Speaker 1: movie by like a legacy white guy. I was like

449
00:29:26,040 --> 00:29:28,640
Speaker 1: why did you do this? Like yeah, I don't know,

450
00:29:28,720 --> 00:29:31,400
Speaker 1: why is he the one to tell this story? Like

451
00:29:31,640 --> 00:29:35,200
Speaker 1: who who is James L. Brooks to be like, you know,

452
00:29:35,400 --> 00:29:38,440
Speaker 1: who knows exactly what it is to be a woman

453
00:29:38,600 --> 00:29:43,600
Speaker 1: from Mexico immigrating to the US? Me James L. Brooks,

454
00:29:43,720 --> 00:29:47,880
Speaker 1: Like like yeah, well, I'm thinking like this movie is

455
00:29:47,880 --> 00:29:51,360
Speaker 1: like a really good like case study on whiteness in

456
00:29:51,400 --> 00:29:54,920
Speaker 1: the same way maybe the White Lotus is because like

457
00:29:55,040 --> 00:29:57,640
Speaker 1: the person who made it, like who knows whiteness better

458
00:29:57,680 --> 00:30:01,400
Speaker 1: than James L. Brooks maybe you know, or or the

459
00:30:01,400 --> 00:30:03,960
Speaker 1: same thing with like I mean, Roma is a movie

460
00:30:04,600 --> 00:30:08,520
Speaker 1: in Mexico, but it's about like white Mexicans. And then

461
00:30:08,520 --> 00:30:11,120
Speaker 1: you're like realizing that like Mexicans can be white because

462
00:30:11,120 --> 00:30:13,480
Speaker 1: you're seeing it's like in black and white and you're

463
00:30:13,480 --> 00:30:17,800
Speaker 1: seeing like how much darker skinned the indigenous like Housekeeper is.

464
00:30:18,480 --> 00:30:22,160
Speaker 1: But like that movie was made by someone who like

465
00:30:22,160 --> 00:30:24,320
Speaker 1: grew up rich and white in Mexico and was like,

466
00:30:24,480 --> 00:30:27,920
Speaker 1: I want to examine and like interrogate this. So I

467
00:30:27,920 --> 00:30:30,840
Speaker 1: feel like the class keys are really like three dimensional

468
00:30:30,880 --> 00:30:32,880
Speaker 1: and I'm like, I feel like I know people like this.

469
00:30:33,160 --> 00:30:36,600
Speaker 1: And then Flood like her family, you just see them

470
00:30:36,640 --> 00:30:39,880
Speaker 1: like in like two minute births, like eating to Molly's right, right,

471
00:30:40,040 --> 00:30:43,280
Speaker 1: it's like you don't spend any time with her family, yeah,

472
00:30:43,280 --> 00:30:47,240
Speaker 1: and you spend so much time with the yeah, right

473
00:30:47,960 --> 00:30:52,960
Speaker 1: in the few scenes early on where you would get

474
00:30:53,000 --> 00:30:56,680
Speaker 1: some insight into Flora's life, like when she's communicating with

475
00:30:57,000 --> 00:31:00,160
Speaker 1: her daughter or her cousin Monica or something like that.

476
00:31:00,800 --> 00:31:04,640
Speaker 1: Because the movie isn't subtitled, it makes it kind of

477
00:31:04,720 --> 00:31:10,920
Speaker 1: unaccessible to your average American movie going audience member, which again,

478
00:31:11,040 --> 00:31:13,280
Speaker 1: it's not as though every movie needs to cater to

479
00:31:13,720 --> 00:31:17,840
Speaker 1: that person, but James L. Brooks movies do, so it's

480
00:31:17,880 --> 00:31:20,600
Speaker 1: just like confusing. Yeah, when you're releasing a James L.

481
00:31:20,640 --> 00:31:26,200
Speaker 1: Brooks movie into the US, like chances are you're again

482
00:31:26,280 --> 00:31:30,680
Speaker 1: average member of the audience speaks one language and it's English.

483
00:31:30,880 --> 00:31:36,120
Speaker 1: So yeah, that it was an interesting choice that I

484
00:31:36,160 --> 00:31:40,600
Speaker 1: don't think was super effective and only served to yeah,

485
00:31:40,680 --> 00:31:44,800
Speaker 1: just sort of like other floor more and not let

486
00:31:44,920 --> 00:31:48,760
Speaker 1: the audience get to know her and like understand what

487
00:31:48,960 --> 00:31:51,960
Speaker 1: she's dealing with and when she's going through. Yeah. Yeah,

488
00:31:51,960 --> 00:31:54,400
Speaker 1: I've always been like, um, like this is like the

489
00:31:54,400 --> 00:31:58,280
Speaker 1: fifth time I've watched this movie, and I'm always like

490
00:31:58,600 --> 00:32:02,840
Speaker 1: struck by how Florida is just such like a I

491
00:32:02,840 --> 00:32:07,320
Speaker 1: don't know this like Mexican sage who has she like

492
00:32:07,440 --> 00:32:10,560
Speaker 1: embodies like the best qualities of like a woman, which

493
00:32:10,600 --> 00:32:13,120
Speaker 1: is like like she's like the best mother and she's

494
00:32:13,160 --> 00:32:16,480
Speaker 1: like hervacious and she's sensitive and kind and like like

495
00:32:16,520 --> 00:32:21,640
Speaker 1: her personality is being like a womb like yeah, yeah, yeah,

496
00:32:21,680 --> 00:32:28,200
Speaker 1: she's very mommy. She's very mommy. She's so huge mommy. Yeah.

497
00:32:28,280 --> 00:32:33,280
Speaker 1: But I did I mean going back to where you started, Melissa,

498
00:32:33,360 --> 00:32:36,360
Speaker 1: I mean I think that like the relationship with Florida

499
00:32:36,400 --> 00:32:39,160
Speaker 1: and Christina is like so like that's one of the

500
00:32:39,200 --> 00:32:43,239
Speaker 1: most effective parts of the movie and anytime there's and

501
00:32:43,280 --> 00:32:46,120
Speaker 1: also just like the chemistry between those two actors was

502
00:32:46,240 --> 00:32:49,840
Speaker 1: so good and I wish, like there are so many

503
00:32:49,920 --> 00:32:52,480
Speaker 1: threads in this movie that were more interesting to me

504
00:32:52,640 --> 00:32:55,120
Speaker 1: than And it's not like I didn't want her to

505
00:32:55,200 --> 00:33:00,000
Speaker 1: have love, like I I also like whatever, like it's

506
00:33:00,160 --> 00:33:03,160
Speaker 1: MS and I, and to an extent, I do understand

507
00:33:03,320 --> 00:33:06,400
Speaker 1: what she and Adam Sandler saw in each other if

508
00:33:06,440 --> 00:33:09,320
Speaker 1: I really thought about it. I'm glad that the movie

509
00:33:09,400 --> 00:33:12,040
Speaker 1: is kind of like, well, obviously this is going to

510
00:33:12,160 --> 00:33:17,280
Speaker 1: work out because um, yeah, she's too good for and

511
00:33:17,400 --> 00:33:20,240
Speaker 1: he's a mess. But I mean I did see what

512
00:33:20,280 --> 00:33:21,880
Speaker 1: they saw in each other, but it just it felt

513
00:33:21,920 --> 00:33:27,600
Speaker 1: like the I really enjoyed scenes with Florida and Christina

514
00:33:27,680 --> 00:33:30,560
Speaker 1: and Florida and Bernie. I wish that you got more

515
00:33:30,600 --> 00:33:32,720
Speaker 1: with like Christina and Bernie. I thought that there was

516
00:33:32,760 --> 00:33:35,120
Speaker 1: like probably a cool dynamic there that you never really

517
00:33:35,120 --> 00:33:38,600
Speaker 1: got to see. There were some elements of Deborah that

518
00:33:38,760 --> 00:33:41,520
Speaker 1: was like, oh, this is like a good opportunity to

519
00:33:42,680 --> 00:33:47,960
Speaker 1: you know, interrogate whiteness and interrogate white women. And she

520
00:33:48,600 --> 00:33:51,960
Speaker 1: very very clearly, and the movie seems to know like

521
00:33:52,560 --> 00:33:55,400
Speaker 1: that she thinks that she is like the queen of

522
00:33:55,400 --> 00:33:57,800
Speaker 1: wokeness and is doing the right thing at all points,

523
00:33:57,840 --> 00:34:01,880
Speaker 1: when in fact, she can be extreme condescending. She'll shut

524
00:34:01,880 --> 00:34:05,840
Speaker 1: down conflict, she'll tell people how they feel. She's very entitled,

525
00:34:05,840 --> 00:34:08,640
Speaker 1: like all this stuff that is like, you know, very

526
00:34:08,640 --> 00:34:11,279
Speaker 1: worth exploring and then but then in other moments she

527
00:34:11,320 --> 00:34:13,520
Speaker 1: would be a cartoon character, and then it's like, well,

528
00:34:14,719 --> 00:34:16,879
Speaker 1: so what does she did, Like what are you trying

529
00:34:16,880 --> 00:34:19,239
Speaker 1: to say with her? Because no one like in some

530
00:34:19,320 --> 00:34:22,080
Speaker 1: scenes it was like, oh, she's like, I mean, like

531
00:34:22,320 --> 00:34:26,759
Speaker 1: whatever carening out before that was a popular term, and

532
00:34:26,800 --> 00:34:30,719
Speaker 1: then in other scenes, you're like, nobody has acted like

533
00:34:30,760 --> 00:34:34,280
Speaker 1: this in the history of the world, So like, what

534
00:34:35,840 --> 00:34:40,879
Speaker 1: do you not say every time you have an orgasm?

535
00:34:40,920 --> 00:34:44,239
Speaker 1: And then she like passed out like it was so

536
00:34:44,400 --> 00:34:49,399
Speaker 1: when she starts to cry, that scene was bananas. I mean,

537
00:34:49,480 --> 00:34:54,200
Speaker 1: it's like whatever, I'm absolutely flabbergasted by that sex scene.

538
00:34:54,640 --> 00:34:58,640
Speaker 1: All of the Adam Sandler reactions too, were like horrible,

539
00:34:58,719 --> 00:35:01,520
Speaker 1: Like the whole movie, He's made those noises. It's like

540
00:35:03,760 --> 00:35:08,920
Speaker 1: he just can't believe it. That's but you know, Jamie're right,

541
00:35:08,960 --> 00:35:11,160
Speaker 1: like this could have This movie could have been an

542
00:35:11,160 --> 00:35:17,480
Speaker 1: interesting opportunity to examine and criticize what a lot of

543
00:35:17,520 --> 00:35:23,800
Speaker 1: like rich white people do to marginalized communities, and especially

544
00:35:23,840 --> 00:35:27,279
Speaker 1: someone that they kind of like Deborah clearly see like

545
00:35:27,760 --> 00:35:30,960
Speaker 1: to her floor is like the help, you know, like

546
00:35:31,080 --> 00:35:34,000
Speaker 1: she's like she's so condescending to her she never makes

547
00:35:34,040 --> 00:35:38,840
Speaker 1: any effort to learn Spanish, like just it's this weird

548
00:35:38,880 --> 00:35:44,759
Speaker 1: power dynamic that could and should be examined and interrogated,

549
00:35:44,800 --> 00:35:46,879
Speaker 1: and the movie, I think does try to do that

550
00:35:46,920 --> 00:35:51,080
Speaker 1: to some extent, but where it lands, I'm just like, Okay,

551
00:35:51,120 --> 00:35:55,759
Speaker 1: what's the takeaway here? Exactly? Like Also, like one of

552
00:35:55,800 --> 00:35:59,680
Speaker 1: the many dropped threads of this movie was also between

553
00:35:59,760 --> 00:36:03,719
Speaker 1: like trying to contextualize who Debora is and why she

554
00:36:04,239 --> 00:36:07,560
Speaker 1: is the way she is, which honestly I didn't think

555
00:36:07,560 --> 00:36:10,960
Speaker 1: it was like completely necessary, but they try to be like, well,

556
00:36:11,000 --> 00:36:14,080
Speaker 1: her mother, like she's the child of an alcoholic, and

557
00:36:14,360 --> 00:36:19,759
Speaker 1: the movie tries to like contextualize her like hyper insecurity

558
00:36:19,960 --> 00:36:23,120
Speaker 1: through that lens, which is like, okay, I see, like

559
00:36:23,200 --> 00:36:24,960
Speaker 1: I thought it was super under explored, and then it

560
00:36:25,040 --> 00:36:27,600
Speaker 1: kind of ended in a joke or Cloris Leachman is

561
00:36:27,640 --> 00:36:30,399
Speaker 1: like I see what you're saying, but like shut up,

562
00:36:30,640 --> 00:36:33,959
Speaker 1: and that was the end of like that. But also

563
00:36:34,040 --> 00:36:38,760
Speaker 1: it seems to like conflate all this stuff, like she's like, yes,

564
00:36:39,120 --> 00:36:42,520
Speaker 1: Deborah's character is very insecure, and it is she is

565
00:36:42,600 --> 00:36:46,200
Speaker 1: like weaponizing that insecurity against everyone in her life, but

566
00:36:46,320 --> 00:36:49,239
Speaker 1: like her being the child of an alcoholic is not

567
00:36:49,320 --> 00:36:54,000
Speaker 1: making her racist like that, you know, like like deeply classist,

568
00:36:54,000 --> 00:36:55,839
Speaker 1: and I feel like it's like conflating all of those

569
00:36:55,840 --> 00:36:58,200
Speaker 1: issues with like, well she's very insecure. You're like, well,

570
00:36:58,440 --> 00:37:01,440
Speaker 1: there's a lot going on that's not right with Debra,

571
00:37:01,800 --> 00:37:05,920
Speaker 1: Like I don't know, Yeah, I feel like if the

572
00:37:05,960 --> 00:37:09,320
Speaker 1: movie could have been so much more about mothers and daughters.

573
00:37:09,400 --> 00:37:11,759
Speaker 1: It's like that's like my favorite part of it, I think,

574
00:37:12,040 --> 00:37:15,520
Speaker 1: you know, between Flood and Christina and like and then

575
00:37:15,560 --> 00:37:19,320
Speaker 1: also seeing like how the last generation is like dealing

576
00:37:19,320 --> 00:37:23,000
Speaker 1: with all of their mothers shit, you know, right, that

577
00:37:23,120 --> 00:37:25,120
Speaker 1: is a really good point that could have been the

578
00:37:25,160 --> 00:37:27,360
Speaker 1: focus of the movie, where it's like you have these

579
00:37:27,440 --> 00:37:32,319
Speaker 1: two sets of like mother daughter dynamics with Florida and

580
00:37:32,400 --> 00:37:37,760
Speaker 1: Christina and what they are dealing with as they navigate

581
00:37:37,840 --> 00:37:42,600
Speaker 1: the world, and then what are Debra and Bernie dealing

582
00:37:42,600 --> 00:37:46,080
Speaker 1: with as they navigate the world in there like much

583
00:37:46,160 --> 00:37:50,960
Speaker 1: more privileged position, and like an exploration of those dynamics

584
00:37:51,000 --> 00:37:55,240
Speaker 1: and how there are like similarities and differences between these

585
00:37:55,280 --> 00:37:57,960
Speaker 1: two pairs of people and like what might that look

586
00:37:58,000 --> 00:38:00,400
Speaker 1: like and what could that mean? And there's a lot

587
00:38:00,440 --> 00:38:03,120
Speaker 1: to explore there that could have been interesting and again

588
00:38:03,120 --> 00:38:06,640
Speaker 1: I think that the movie tries to start exploring something,

589
00:38:06,760 --> 00:38:12,400
Speaker 1: especially when it comes to this thing where Deborah is

590
00:38:12,640 --> 00:38:18,480
Speaker 1: hounding her daughter to lose weight, which is terrible, a

591
00:38:18,520 --> 00:38:22,080
Speaker 1: horrible thing for her to be doing. It's affecting Bernie

592
00:38:22,239 --> 00:38:25,800
Speaker 1: very significantly. It's affecting her husband because her husband hates

593
00:38:25,840 --> 00:38:29,920
Speaker 1: to see her treat her daughter that way. But then

594
00:38:29,960 --> 00:38:32,560
Speaker 1: that thread just kind of gets dropped and then there's

595
00:38:32,600 --> 00:38:35,239
Speaker 1: not that just like isn't part of the movie after

596
00:38:35,320 --> 00:38:39,160
Speaker 1: a while, so her daughter never gets to like heal

597
00:38:39,280 --> 00:38:42,799
Speaker 1: from that or like instead, I mean Florida like makes

598
00:38:42,800 --> 00:38:45,680
Speaker 1: her clothes bigger, and then that's I think supposed to be.

599
00:38:46,480 --> 00:38:49,239
Speaker 1: It is like the lesson. They're like, okay, if you're

600
00:38:49,520 --> 00:38:53,920
Speaker 1: if someone should be nice to you, Yeah, that takeaway

601
00:38:54,000 --> 00:38:56,120
Speaker 1: is confusing. And then a little I guess a little

602
00:38:56,120 --> 00:38:59,360
Speaker 1: bit later, Deborah really takes an interest in Christina, and

603
00:38:59,400 --> 00:39:02,839
Speaker 1: it almost and like sort of treating her as if like, oh,

604
00:39:02,920 --> 00:39:06,080
Speaker 1: this is the daughter I wish I had, because she's like,

605
00:39:06,120 --> 00:39:08,319
Speaker 1: you know, taking her shopping and taking her to get

606
00:39:08,320 --> 00:39:12,839
Speaker 1: her hair done and like all this stuff that I

607
00:39:12,880 --> 00:39:16,120
Speaker 1: think it's clear that Bernie would like to do with

608
00:39:16,160 --> 00:39:19,800
Speaker 1: her mom. But because she doesn't like fit the image

609
00:39:19,840 --> 00:39:22,400
Speaker 1: that Deborah has for what she wants her daughter to be.

610
00:39:23,080 --> 00:39:26,520
Speaker 1: She instead takes this interest in Christina, and it's just

611
00:39:26,600 --> 00:39:29,920
Speaker 1: like that's like such a devastating thing for Bernie to

612
00:39:29,960 --> 00:39:32,080
Speaker 1: have to deal with. And then that also just doesn't

613
00:39:32,120 --> 00:39:36,680
Speaker 1: really get explored. She's like fucking everyone over in that scene.

614
00:39:36,719 --> 00:39:39,200
Speaker 1: That was like, I was like, wow, this character is

615
00:39:39,200 --> 00:39:41,440
Speaker 1: playing like a game of for d chest of making

616
00:39:41,480 --> 00:39:46,560
Speaker 1: everyone unhappy, because I mean, it's exciting for Christina in

617
00:39:46,600 --> 00:39:50,120
Speaker 1: the moment, but also it's like Debor is just so

618
00:39:50,239 --> 00:39:52,680
Speaker 1: deeply selfish and everything she's doing there, I feel like

619
00:39:52,760 --> 00:39:56,560
Speaker 1: she she seems to like take this like real pleasure

620
00:39:56,560 --> 00:40:03,480
Speaker 1: and exerting control, over flow and like over feeling entitled

621
00:40:03,600 --> 00:40:06,640
Speaker 1: to her life in a way that the movie seems

622
00:40:06,640 --> 00:40:08,719
Speaker 1: aware of. But it just yeah, like it doesn't really

623
00:40:08,840 --> 00:40:11,520
Speaker 1: land anywhere. They're just sort of like, yeah, this lady's

624
00:40:11,640 --> 00:40:16,239
Speaker 1: fucked up, but like she like rejects her daughter, and

625
00:40:16,280 --> 00:40:20,440
Speaker 1: so it's like painful for Bernie to see that. Christina

626
00:40:20,640 --> 00:40:22,279
Speaker 1: isn't at a point at this point in the movie

627
00:40:22,320 --> 00:40:26,760
Speaker 1: where she understands that this like rich lady is exerting

628
00:40:26,760 --> 00:40:31,200
Speaker 1: her power over her for maybe not a completely altruistic

629
00:40:31,239 --> 00:40:35,600
Speaker 1: reason obviously, and she's like just showing how she can

630
00:40:35,960 --> 00:40:40,319
Speaker 1: control Flor's life again, Like that was so uh it

631
00:40:41,520 --> 00:40:45,719
Speaker 1: bothered me so much, like Devra sucks so bad. She

632
00:40:45,840 --> 00:40:49,520
Speaker 1: sucks so bad. I wonder if like her redemption is

633
00:40:49,520 --> 00:40:51,719
Speaker 1: supposed to be wrapped up and how at the end

634
00:40:51,800 --> 00:40:53,919
Speaker 1: she just says, I'm so glad that you came back,

635
00:40:54,160 --> 00:40:56,840
Speaker 1: like that's supposed to and it's like she's like giving

636
00:40:56,920 --> 00:41:00,000
Speaker 1: giving something I don't know, like she's like doing something

637
00:41:00,120 --> 00:41:04,200
Speaker 1: like not selfish for once, but like that's like the

638
00:41:04,280 --> 00:41:09,080
Speaker 1: other thing too, is like the where I don't know,

639
00:41:09,680 --> 00:41:11,880
Speaker 1: I guess I don't really want to talk about the

640
00:41:11,880 --> 00:41:13,880
Speaker 1: white lotus, but but like I think that that's like

641
00:41:13,880 --> 00:41:18,080
Speaker 1: an interesting parallel to draw here of like I get

642
00:41:18,120 --> 00:41:22,160
Speaker 1: like and it's kind of like a wash, but especially

643
00:41:22,200 --> 00:41:25,880
Speaker 1: because James L. Brooks is a white guy trying to

644
00:41:25,920 --> 00:41:29,799
Speaker 1: write a story about a marginalized character and about mother

645
00:41:29,880 --> 00:41:34,480
Speaker 1: daughter relationships. You know, it's not against the law. It

646
00:41:34,600 --> 00:41:38,399
Speaker 1: is certainly like we should like keep talking about it

647
00:41:38,480 --> 00:41:41,160
Speaker 1: because he misses some stuff. And I thought one of

648
00:41:41,200 --> 00:41:46,120
Speaker 1: the bigger misses, outside of clearly having more interest in

649
00:41:46,280 --> 00:41:51,440
Speaker 1: the white characters in his movie than the Mexican characters

650
00:41:51,520 --> 00:41:54,240
Speaker 1: that he claims that the movie is about. He also

651
00:41:54,320 --> 00:41:58,680
Speaker 1: seems to like let John off for it's like, oh,

652
00:41:58,840 --> 00:42:02,560
Speaker 1: Debra is the dev all, She's the most evil person

653
00:42:03,000 --> 00:42:06,759
Speaker 1: and like all the sins of richness and whiteness are

654
00:42:07,200 --> 00:42:10,799
Speaker 1: characteristics that she exhibits. And then John's just kind of

655
00:42:10,840 --> 00:42:15,920
Speaker 1: like this amazing guy. It's like it's like, well that's

656
00:42:15,960 --> 00:42:21,160
Speaker 1: not real, Like what, yeah, it's never examined to how

657
00:42:21,200 --> 00:42:25,799
Speaker 1: like maybe his career like made Deborah feel insignificant, like

658
00:42:26,000 --> 00:42:28,279
Speaker 1: because she keeps being like who am I? I don't

659
00:42:28,280 --> 00:42:31,759
Speaker 1: know who I am? And he's like, I got too

660
00:42:31,800 --> 00:42:36,600
Speaker 1: many stars on my my kitchen review, I'm too good

661
00:42:36,640 --> 00:42:40,719
Speaker 1: of a cook. God would be the same. And he

662
00:42:40,840 --> 00:42:44,080
Speaker 1: keeps like acting like he I don't know, Like as

663
00:42:44,200 --> 00:42:49,000
Speaker 1: he and floors, connection is like deepening. He keeps kind

664
00:42:49,040 --> 00:42:52,680
Speaker 1: of being like, I'm sorry about Deborah. There's really I

665
00:42:53,080 --> 00:42:55,200
Speaker 1: wish I could do something, And it's like, well, you

666
00:42:55,520 --> 00:42:58,799
Speaker 1: probably could do something, like why don't you try to

667
00:42:58,920 --> 00:43:01,000
Speaker 1: do I? Like it's like the Remolt. There are a

668
00:43:01,000 --> 00:43:02,880
Speaker 1: few different scenes where it's like the movie is just

669
00:43:02,960 --> 00:43:06,239
Speaker 1: like really trying to make him out to be this

670
00:43:06,360 --> 00:43:11,719
Speaker 1: like sweetheart, romantic hero who like I don't I don't know,

671
00:43:11,920 --> 00:43:15,400
Speaker 1: like yeah, and the John character is like I don't know.

672
00:43:15,440 --> 00:43:17,040
Speaker 1: There were some scenes where I was like, I see

673
00:43:17,080 --> 00:43:20,000
Speaker 1: what they see in each other, but then another scenes

674
00:43:20,080 --> 00:43:22,279
Speaker 1: I was like, he's creepy and he keeps trying to

675
00:43:22,320 --> 00:43:26,440
Speaker 1: talk to her while he's really drunk, Like yuh yeah,

676
00:43:26,719 --> 00:43:28,640
Speaker 1: I want to get into this, but let's take a

677
00:43:28,719 --> 00:43:37,719
Speaker 1: quick break first and then we'll come right back and

678
00:43:37,920 --> 00:43:42,720
Speaker 1: we're back. So yeah, the romance between Florida and John

679
00:43:43,680 --> 00:43:48,239
Speaker 1: this movie, like Bushevy, tests itself interestingly enough because he

680
00:43:48,400 --> 00:43:53,440
Speaker 1: looks like creepy? Uh do I want to rename it?

681
00:43:53,600 --> 00:43:59,120
Speaker 1: But it basically just like if you swap out the

682
00:43:59,440 --> 00:44:03,879
Speaker 1: like a supposedly romantic behavior that like a traditionally hot

683
00:44:03,920 --> 00:44:06,000
Speaker 1: guy is exhibiting in a movie, and you switch it

684
00:44:06,040 --> 00:44:08,799
Speaker 1: out with Steve bush Emy, would it be creepy? And

685
00:44:08,840 --> 00:44:11,520
Speaker 1: if it would be really creepy, then it fails the

686
00:44:11,560 --> 00:44:16,200
Speaker 1: test and it's a creepy interaction. So yeah, Like, so

687
00:44:16,239 --> 00:44:19,800
Speaker 1: a picture like The Notebook and instead of Ryan Gosling

688
00:44:20,080 --> 00:44:25,320
Speaker 1: like stalking Rachel McAdams, if it's Steve bush Emmy, is

689
00:44:25,360 --> 00:44:28,160
Speaker 1: it now much more clear that this behavior is extremely

690
00:44:28,200 --> 00:44:32,160
Speaker 1: creepy and stalkery. And if you clear, Steve Bishmmy is hot.

691
00:44:32,200 --> 00:44:35,200
Speaker 1: But just in terms of like that's how we've characterized

692
00:44:35,200 --> 00:44:38,440
Speaker 1: the test over the years. A listener had pitched, I

693
00:44:38,480 --> 00:44:43,960
Speaker 1: think instead of Steve wish Emmy Gritty the mascot for

694
00:44:44,320 --> 00:44:47,840
Speaker 1: that the Philadelphia is that the Philadelphia? Yeah, yeah, the

695
00:44:47,840 --> 00:44:50,240
Speaker 1: gritty test. Like, yeah, if you just like switch out,

696
00:44:50,360 --> 00:44:53,200
Speaker 1: that is maybe better because it's like, you know, Steve

697
00:44:53,200 --> 00:44:56,920
Speaker 1: Bishemy is hot. But yeah, this like until we come

698
00:44:56,960 --> 00:44:58,880
Speaker 1: up for a with a better name for that test,

699
00:44:59,000 --> 00:45:01,600
Speaker 1: this movie fails that and also like Out of Sailor

700
00:45:01,800 --> 00:45:04,280
Speaker 1: like looks and behaves kind of creepy for the whole movie,

701
00:45:04,360 --> 00:45:08,560
Speaker 1: so you don't even really need to like stretch your imagination. Yeah,

702
00:45:08,640 --> 00:45:11,000
Speaker 1: I feel like John supposed to be bashful, but instead

703
00:45:11,040 --> 00:45:14,400
Speaker 1: he's just like about to explode all the time, or

704
00:45:14,440 --> 00:45:17,200
Speaker 1: he's just like is or is the same behavior as

705
00:45:17,200 --> 00:45:20,600
Speaker 1: when you're like hiding a Boner's like I don't know,

706
00:45:20,719 --> 00:45:25,279
Speaker 1: he's just like he's not giving me stability. He's not

707
00:45:26,840 --> 00:45:30,160
Speaker 1: He has so many weird outbursts that I think are

708
00:45:30,160 --> 00:45:33,080
Speaker 1: supposed to be comedic, but I'm just like, again, the

709
00:45:33,120 --> 00:45:36,400
Speaker 1: tone is so weird that I'm like, I was I

710
00:45:36,440 --> 00:45:39,040
Speaker 1: supposed to laugh at that? I don't know, but she's

711
00:45:39,080 --> 00:45:43,919
Speaker 1: like charmed. She's ching right, It's so confusing. Okay, So here,

712
00:45:43,960 --> 00:45:46,920
Speaker 1: as far as what I could tell, here is kind

713
00:45:46,920 --> 00:45:51,280
Speaker 1: of the trajectory of this romance between Floda and John.

714
00:45:51,760 --> 00:45:55,399
Speaker 1: So it starts where John is giving her a ride

715
00:45:55,440 --> 00:45:57,920
Speaker 1: to the bus stop. He is crying because you saw

716
00:45:58,080 --> 00:46:01,399
Speaker 1: how his wife had just treated their daughter about like

717
00:46:01,480 --> 00:46:04,239
Speaker 1: you know, buying her those closer too small and be

718
00:46:04,320 --> 00:46:08,160
Speaker 1: waiting for her for her weight, and it really affects John,

719
00:46:08,280 --> 00:46:12,000
Speaker 1: and Florida is like impressed that he seems to be

720
00:46:12,320 --> 00:46:17,240
Speaker 1: emotionally open and vulnerable. There's voiceover from Christina saying it's

721
00:46:17,280 --> 00:46:20,640
Speaker 1: it's like the opposite of the like quote Latin macho

722
00:46:21,200 --> 00:46:24,720
Speaker 1: that Florida is used to and that he seems to

723
00:46:24,920 --> 00:46:29,799
Speaker 1: quote have the emotions of a Mexican woman. Where obviously

724
00:46:29,920 --> 00:46:35,240
Speaker 1: that framing is not great, but James L. Brooks wrote

725
00:46:35,239 --> 00:46:41,720
Speaker 1: that down like yeah, he was like yes, cut and print.

726
00:46:41,840 --> 00:46:43,600
Speaker 1: I like when he's wiping his tears away with the

727
00:46:43,640 --> 00:46:48,160
Speaker 1: seat belt, that's funny. That was kind of funny. It's

728
00:46:48,200 --> 00:46:50,640
Speaker 1: like their above is in this movie that are like

729
00:46:51,040 --> 00:46:53,279
Speaker 1: and definitely the right kind of funny for the kind

730
00:46:53,280 --> 00:46:59,359
Speaker 1: of movie. It was, yeah, at least yeah, closer than

731
00:46:59,640 --> 00:47:08,600
Speaker 1: the than the orgasm scene. True, So this didn't bother

732
00:47:08,719 --> 00:47:11,560
Speaker 1: me because, well, aside from the way that some of

733
00:47:11,560 --> 00:47:16,040
Speaker 1: this voiceover is written, but the fact that Florida is

734
00:47:16,520 --> 00:47:23,440
Speaker 1: impressed and intrigued by John's emotional openness and vulnerability is

735
00:47:23,480 --> 00:47:27,719
Speaker 1: like something that we should as a society value more

736
00:47:28,040 --> 00:47:30,640
Speaker 1: in men, especially because men are so conditioned to be

737
00:47:30,960 --> 00:47:34,480
Speaker 1: emotionally repressed and withdrawn and all this stuff. So that

738
00:47:34,560 --> 00:47:36,800
Speaker 1: I was like, Okay, I understand that is a reason

739
00:47:36,840 --> 00:47:40,480
Speaker 1: why Florida would be interested. And also I thought that

740
00:47:40,480 --> 00:47:43,040
Speaker 1: that even though it was like another threat that I

741
00:47:43,040 --> 00:47:44,720
Speaker 1: felt like it was dropped, that felt like a really

742
00:47:44,800 --> 00:47:49,520
Speaker 1: like setting something up for for Florida and Christina that

743
00:47:49,680 --> 00:47:52,359
Speaker 1: just kind of went away. But that opening scene where

744
00:47:53,160 --> 00:47:56,840
Speaker 1: you find out that Florida is not very emotionally open

745
00:47:56,920 --> 00:48:00,480
Speaker 1: and she's like pushing tears back at the Christina's a being,

746
00:48:04,480 --> 00:48:06,640
Speaker 1: and like I thought, I was like, oh, okay, yeah,

747
00:48:06,680 --> 00:48:10,040
Speaker 1: and like not even able to like show her emotional

748
00:48:10,120 --> 00:48:12,759
Speaker 1: vulnerability in front of her daughter, She like runs out

749
00:48:12,760 --> 00:48:14,880
Speaker 1: of the room if she starts to cry so that

750
00:48:14,920 --> 00:48:18,040
Speaker 1: her daughter can't see her be emotional, and then at

751
00:48:18,080 --> 00:48:21,719
Speaker 1: the end she cries finally she doesn't want to be

752
00:48:21,800 --> 00:48:24,400
Speaker 1: like her. I wish that there was like I just

753
00:48:24,440 --> 00:48:30,040
Speaker 1: wish that we got to know more about Florida. I

754
00:48:30,080 --> 00:48:32,000
Speaker 1: feel like that moment should have like I mean, it's

755
00:48:32,000 --> 00:48:36,239
Speaker 1: still hit from me because I just have a lot

756
00:48:36,239 --> 00:48:42,320
Speaker 1: of it, just like mommy, Like yeah, it's like that's

757
00:48:42,400 --> 00:48:45,680
Speaker 1: the way that the love story worked for me. Was like, Oh,

758
00:48:45,719 --> 00:48:48,960
Speaker 1: they see things. I mean like she sees an emotional

759
00:48:49,000 --> 00:48:54,400
Speaker 1: vulnerability in him that she can't do herself, and I

760
00:48:54,440 --> 00:48:57,319
Speaker 1: feel like that is very attractive sometimes where you're like,

761
00:48:57,400 --> 00:48:59,919
Speaker 1: oh my god, look at you expressing yourself. I can't

762
00:49:00,000 --> 00:49:03,320
Speaker 1: do that. Imagine if I, yeah, give me a little kiss.

763
00:49:04,760 --> 00:49:08,400
Speaker 1: Their main thing is like how they they like bond

764
00:49:08,440 --> 00:49:11,880
Speaker 1: over how they want to be parents, I guess, And

765
00:49:11,920 --> 00:49:14,799
Speaker 1: also I guess that's how sometimes people get together. I

766
00:49:14,800 --> 00:49:18,280
Speaker 1: don't know, they like love their kids and they hate

767
00:49:18,320 --> 00:49:24,600
Speaker 1: Deborah and that's enough to build a relationship on right,

768
00:49:24,600 --> 00:49:26,920
Speaker 1: Because there's that scene where they're on the beach and

769
00:49:27,680 --> 00:49:30,960
Speaker 1: Florida confides in John because she's like, hey, it seems

770
00:49:30,960 --> 00:49:33,200
Speaker 1: like your wife is kind of like meddling in my

771
00:49:33,280 --> 00:49:36,600
Speaker 1: daughter's life. And he's like, yeah, I feel really weird

772
00:49:36,600 --> 00:49:39,600
Speaker 1: about it too, And then she says something like I've

773
00:49:39,640 --> 00:49:42,680
Speaker 1: never met a man who can put himself in my

774
00:49:42,840 --> 00:49:45,720
Speaker 1: place like you do. And I was a little unclear.

775
00:49:45,840 --> 00:49:48,440
Speaker 1: I was like, does she mean like put But I

776
00:49:48,440 --> 00:49:51,160
Speaker 1: think what she means is like put himself in her

777
00:49:51,440 --> 00:49:55,600
Speaker 1: shoes and like empathize and understand where she's coming from, right, Okay?

778
00:49:55,600 --> 00:49:58,200
Speaker 1: So I was like, Okay, that's also like a compelling

779
00:49:58,640 --> 00:50:03,160
Speaker 1: reason to have an emotional connection that tracks for me.

780
00:50:03,280 --> 00:50:06,240
Speaker 1: But then he also immediately after that, she's like standing

781
00:50:06,320 --> 00:50:08,200
Speaker 1: in the on like the windy beach, and then he

782
00:50:08,280 --> 00:50:10,200
Speaker 1: screams at her. He's like get out of the wind.

783
00:50:11,200 --> 00:50:18,920
Speaker 1: And it's like what is like? So there's weird stuff

784
00:50:18,960 --> 00:50:22,440
Speaker 1: like that, And then to me, the kind of the

785
00:50:22,480 --> 00:50:26,439
Speaker 1: final beat that makes us know like oh wow, like yep,

786
00:50:26,640 --> 00:50:30,080
Speaker 1: they're falling in love is a scene that does not

787
00:50:30,239 --> 00:50:35,000
Speaker 1: work for me. Where they're arguing. She's calling him out

788
00:50:35,239 --> 00:50:39,440
Speaker 1: for giving her daughter that money without consulting her first,

789
00:50:39,680 --> 00:50:41,840
Speaker 1: and he's like, well, you're a hypocrite because you meddled

790
00:50:41,840 --> 00:50:46,480
Speaker 1: in my daughter's life by altering the jacket and she's like, Yep,

791
00:50:46,640 --> 00:50:50,760
Speaker 1: you're right. I'm a hypocrite. I also interfered there's no difference, Um,

792
00:50:50,920 --> 00:50:54,520
Speaker 1: you're right, and he's like, I'm horny. What you're not

793
00:50:54,880 --> 00:51:00,719
Speaker 1: arguing with me, you're telling me that I'm right. I

794
00:51:00,800 --> 00:51:03,799
Speaker 1: like disagree with that. I do think it's different. Like

795
00:51:03,840 --> 00:51:06,399
Speaker 1: I feel like there's there's like multiple points where they're

796
00:51:06,520 --> 00:51:11,160
Speaker 1: like that completely ignores like the power dynamic that exists

797
00:51:11,200 --> 00:51:13,959
Speaker 1: between the two of them, that like ignores the tent

798
00:51:14,120 --> 00:51:16,960
Speaker 1: behind what they were trying to do. It ignores like

799
00:51:17,040 --> 00:51:19,960
Speaker 1: the like gravity of the task where it's like and

800
00:51:20,040 --> 00:51:24,440
Speaker 1: like the gendered nature of the task, like yeah, sewing

801
00:51:24,760 --> 00:51:26,920
Speaker 1: versus like he's like the man of the house who

802
00:51:27,000 --> 00:51:31,040
Speaker 1: provides for everyone. Yeah. Yeah. It's like I was like,

803
00:51:31,440 --> 00:51:36,920
Speaker 1: I I appreciate about how Flora's character is written that

804
00:51:37,000 --> 00:51:41,200
Speaker 1: she is very clear about what her values are, like

805
00:51:41,360 --> 00:51:45,320
Speaker 1: she will not accept a violation of about well she

806
00:51:46,360 --> 00:51:48,960
Speaker 1: does because she's repeatedly pressured to not quit the job,

807
00:51:49,000 --> 00:51:53,880
Speaker 1: but she's willing to communicate like, hey, that wasn't okay

808
00:51:53,920 --> 00:51:57,960
Speaker 1: with me, do not do that again, which is great,

809
00:51:58,200 --> 00:52:00,160
Speaker 1: But then also yeah, and that scene knows like, oh,

810
00:52:00,840 --> 00:52:04,800
Speaker 1: don't give up that point it is different. It is different, yes,

811
00:52:05,280 --> 00:52:09,040
Speaker 1: And then something very weird to me happens where when

812
00:52:09,040 --> 00:52:14,360
Speaker 1: he takes her to his restaurant and he's saying, I

813
00:52:14,400 --> 00:52:19,279
Speaker 1: love you, You're beautiful, let's kiss each other. They we

814
00:52:19,320 --> 00:52:23,680
Speaker 1: should name Agender after you. She at that point does

815
00:52:23,760 --> 00:52:28,480
Speaker 1: not know that Deborah was cheating on John, so as

816
00:52:28,520 --> 00:52:31,759
Speaker 1: far as she knows, their marriage is fine. And she's

817
00:52:31,800 --> 00:52:33,840
Speaker 1: written to be the type of person who would not

818
00:52:34,239 --> 00:52:37,960
Speaker 1: interfere in a marriage and like not be willing to

819
00:52:38,040 --> 00:52:41,440
Speaker 1: kiss him or engage with him in any romantic way,

820
00:52:41,480 --> 00:52:44,880
Speaker 1: because I mean, maybe I'm misreading her character. Again, we

821
00:52:44,960 --> 00:52:47,160
Speaker 1: don't know that much about her, but I feel like,

822
00:52:47,160 --> 00:52:50,480
Speaker 1: but we do know, she would be like, no, you're married,

823
00:52:50,800 --> 00:52:54,239
Speaker 1: I'm not gonna engage with this. But instead she she

824
00:52:54,360 --> 00:52:57,400
Speaker 1: kisses him, and then she's like they, you know, canoodle

825
00:52:57,480 --> 00:53:00,279
Speaker 1: all night, and then she says I love you. And

826
00:53:00,320 --> 00:53:04,239
Speaker 1: it's like, first of all, I understand you like admiring

827
00:53:04,320 --> 00:53:06,239
Speaker 1: him for a few different things he said and done

828
00:53:06,239 --> 00:53:12,920
Speaker 1: over the movie, but like, you love this guy. Okay.

829
00:53:13,160 --> 00:53:16,879
Speaker 1: It makes me so sad for her. I'm like, all

830
00:53:16,920 --> 00:53:20,160
Speaker 1: these men in your life must suck, right, if this

831
00:53:20,239 --> 00:53:22,040
Speaker 1: is the wather you're like, this is the most scene

832
00:53:22,080 --> 00:53:27,400
Speaker 1: I've ever felt. You're like, no, we gotta. But it

833
00:53:27,440 --> 00:53:30,279
Speaker 1: didn't make any sense that she was engaging with this

834
00:53:30,360 --> 00:53:34,480
Speaker 1: like romantic moment because again, she seems to me like

835
00:53:34,520 --> 00:53:36,880
Speaker 1: the person type of person who would be like, no,

836
00:53:37,160 --> 00:53:40,480
Speaker 1: you're married and I work for you. Also like this

837
00:53:40,560 --> 00:53:45,799
Speaker 1: is inappropriate, like you're my employer, your wife is my employer,

838
00:53:46,000 --> 00:53:49,720
Speaker 1: Like this is not appropriate, and instead she's like kiss, kiss,

839
00:53:49,760 --> 00:53:52,960
Speaker 1: I love you. And then she's like I have to quit, right,

840
00:53:53,000 --> 00:53:57,239
Speaker 1: and then like she has to give up her livelihood.

841
00:53:57,280 --> 00:54:00,520
Speaker 1: It's not fair, like yeah, like bay start, I feel

842
00:54:00,520 --> 00:54:03,680
Speaker 1: like based on what we know about this character, like

843
00:54:03,760 --> 00:54:06,480
Speaker 1: it's just I don't know. And then the way that

844
00:54:06,560 --> 00:54:12,600
Speaker 1: it felt like every reference to Latin manhood and masculinity

845
00:54:12,840 --> 00:54:16,440
Speaker 1: was so written by James L. Brooks. It really hated

846
00:54:16,520 --> 00:54:19,719
Speaker 1: Latin men. Yeah, except for that goofy guy who was

847
00:54:19,800 --> 00:54:25,600
Speaker 1: like all translate forever when he looks at her bullies. Yeah,

848
00:54:25,880 --> 00:54:27,160
Speaker 1: I was like, was this a call back to the

849
00:54:27,160 --> 00:54:30,239
Speaker 1: Selena movie where someone was like anything for Selena's It's

850
00:54:30,239 --> 00:54:33,120
Speaker 1: that It's really felt like that. Oh yeah it does

851
00:54:33,200 --> 00:54:36,200
Speaker 1: kind of, yeah it does, right, But yeah, I felt

852
00:54:36,239 --> 00:54:40,040
Speaker 1: like the James L. Brooks writing kept in moments where

853
00:54:40,280 --> 00:54:44,920
Speaker 1: he couldn't think of a way to make John seemed

854
00:54:44,960 --> 00:54:48,520
Speaker 1: like a viable romantic interest. There would just be a

855
00:54:48,560 --> 00:54:51,720
Speaker 1: voice over line that was like punching down at Latin

856
00:54:51,760 --> 00:54:54,560
Speaker 1: men and Latin masculinity to be like, so, of course

857
00:54:54,600 --> 00:54:56,919
Speaker 1: it makes sense that you would want to date this guy.

858
00:54:56,960 --> 00:55:02,080
Speaker 1: It's like it just wasn't right necessary additors, like it

859
00:55:02,200 --> 00:55:05,720
Speaker 1: just wasn't necessary. I'm nervous about how formative this movie

860
00:55:05,920 --> 00:55:13,040
Speaker 1: was for the people I date. I'm like, I was like, yeah, damn,

861
00:55:13,080 --> 00:55:16,160
Speaker 1: I just like listened to it. I only date like explosive,

862
00:55:16,200 --> 00:55:23,080
Speaker 1: sensitive white men. It's a bad vibe, bad horrible vibes.

863
00:55:23,640 --> 00:55:26,480
Speaker 1: James L. Brooks, What the hell James Brooks has to

864
00:55:26,760 --> 00:55:33,720
Speaker 1: sent you a personalized college application of apology? That framing

865
00:55:33,800 --> 00:55:35,680
Speaker 1: device of this movie, I mean, it does it does?

866
00:55:35,800 --> 00:55:38,680
Speaker 1: It did make me cry. So there did cry. I

867
00:55:38,719 --> 00:55:43,680
Speaker 1: did cry. I'm I'm laughing. And here's why I'm laughing

868
00:55:44,120 --> 00:55:51,000
Speaker 1: because Christina laughing like Teleoni happy an Orgasa. Yeah, we

869
00:55:53,040 --> 00:55:59,280
Speaker 1: I'm laughing because like Christina's college admission essay as about

870
00:55:59,320 --> 00:56:02,640
Speaker 1: this or which is her mother's affair, Mother's like the

871
00:56:02,719 --> 00:56:05,960
Speaker 1: weird like this weird moment in her mother's life that

872
00:56:06,080 --> 00:56:09,719
Speaker 1: like kind of doesn't really have anything to do with anything,

873
00:56:09,920 --> 00:56:12,520
Speaker 1: Like it's just like I think it's a very like

874
00:56:12,600 --> 00:56:15,000
Speaker 1: how I Met your mother kind of framing device. We

875
00:56:14,880 --> 00:56:17,400
Speaker 1: were like, no child would have this deep and interest

876
00:56:17,480 --> 00:56:22,279
Speaker 1: in their parents sex lives. Gross. But who is she

877
00:56:22,480 --> 00:56:25,719
Speaker 1: the Olsen twins trying to get her their dad to

878
00:56:25,880 --> 00:56:32,120
Speaker 1: hook up with somebody fieldboard dad reference. I love it. Uh,

879
00:56:32,280 --> 00:56:35,000
Speaker 1: this is a quick thing, but one that it was

880
00:56:35,040 --> 00:56:37,359
Speaker 1: like I paused the movie and did some math, and

881
00:56:37,400 --> 00:56:43,320
Speaker 1: it wasn't encouraging math. This scene where Deborah and Flora

882
00:56:43,480 --> 00:56:48,719
Speaker 1: and um what is her cousin's name, Monica all meet

883
00:56:48,960 --> 00:56:51,279
Speaker 1: for the job interview. First of all, I think that

884
00:56:51,719 --> 00:56:53,840
Speaker 1: I think that someone already said this, but like Monica

885
00:56:53,880 --> 00:56:56,680
Speaker 1: should have just been a character in the movie like

886
00:56:56,840 --> 00:57:02,960
Speaker 1: that we saw with regularity, like to give their lives

887
00:57:03,000 --> 00:57:05,719
Speaker 1: like more shape and death ended. She was just I mean,

888
00:57:05,960 --> 00:57:08,960
Speaker 1: like I really enjoyed the actress who played her, But

889
00:57:09,760 --> 00:57:15,680
Speaker 1: that scene where Florida is negotiating a salary, I was

890
00:57:15,719 --> 00:57:17,640
Speaker 1: trying to put myself in two thousand four brains and

891
00:57:17,680 --> 00:57:20,680
Speaker 1: it's still like not very helpful. Where you know, we

892
00:57:20,680 --> 00:57:24,120
Speaker 1: were told that she and Christina need four fifty dollars

893
00:57:24,160 --> 00:57:28,960
Speaker 1: a week to survive, which is what they're doing. And

894
00:57:29,000 --> 00:57:32,880
Speaker 1: then when Deborah asks what do you want? And then

895
00:57:33,080 --> 00:57:36,120
Speaker 1: kind of like Cheryl Sandberg's for a second, and it's

896
00:57:36,160 --> 00:57:39,080
Speaker 1: like you gotta ask her what is worth but you

897
00:57:39,120 --> 00:57:41,360
Speaker 1: can't ask for more than you're worth it then you're

898
00:57:41,360 --> 00:57:44,520
Speaker 1: a bitch or like whatever. She said, like, yeah, you're

899
00:57:44,560 --> 00:57:48,880
Speaker 1: taking advantage, right, So so she's like being Cheryl Sandberg.

900
00:57:49,400 --> 00:57:53,720
Speaker 1: And then I think it's Floorda who says a thousand

901
00:57:53,760 --> 00:57:56,120
Speaker 1: dollars a week, which is like and then she's like

902
00:57:56,520 --> 00:57:59,479
Speaker 1: that's a joke, just kidding, joke, Like it's the joke,

903
00:57:59,760 --> 00:58:02,120
Speaker 1: but she's being asked to work a seventy two hour

904
00:58:02,200 --> 00:58:06,200
Speaker 1: a week. That's like not unreasonable, Like it just if

905
00:58:06,240 --> 00:58:08,640
Speaker 1: you break that down, because I I like went back

906
00:58:08,680 --> 00:58:12,520
Speaker 1: and rewatched the scene and crunch some numbers where Tleoni

907
00:58:12,680 --> 00:58:14,640
Speaker 1: was like, I need you to work six days a week,

908
00:58:14,760 --> 00:58:17,720
Speaker 1: twelve hours a day. How much do you want per week?

909
00:58:17,920 --> 00:58:20,880
Speaker 1: One thousand dollars a week. What she ends up getting

910
00:58:20,880 --> 00:58:23,480
Speaker 1: a six fifty a week, which that math boils down

911
00:58:23,520 --> 00:58:28,120
Speaker 1: to about nine dollars an hour. So okay, wait, one

912
00:58:28,200 --> 00:58:32,960
Speaker 1: thousand to find it by seventy two. That would be

913
00:58:33,200 --> 00:58:36,360
Speaker 1: less than fourteen dollars an hour for one thousand dollars

914
00:58:36,360 --> 00:58:40,040
Speaker 1: a week. So it's like this bizarro like joke that

915
00:58:40,120 --> 00:58:43,960
Speaker 1: James Albrooks is making it Like how dare like Flora

916
00:58:44,040 --> 00:58:47,440
Speaker 1: asked for one thousand dollars a week? Is like still

917
00:58:48,360 --> 00:58:51,800
Speaker 1: underneath it's and I know, like two thousand four many

918
00:58:51,880 --> 00:58:54,760
Speaker 1: is is a little different for money, but like not

919
00:58:54,840 --> 00:58:59,440
Speaker 1: by much. And for a movie that's so invested in

920
00:58:59,520 --> 00:59:03,000
Speaker 1: talking about class, it seems it's it seems really like

921
00:59:03,720 --> 00:59:09,240
Speaker 1: I don't know, off, Yeah, why isn't that Also if

922
00:59:09,240 --> 00:59:13,760
Speaker 1: she is working somewhere between like eight and twelve hours

923
00:59:13,800 --> 00:59:16,640
Speaker 1: a day and it seems like Florida is there a

924
00:59:16,680 --> 00:59:19,920
Speaker 1: lot because we only ever see her there really and

925
00:59:20,000 --> 00:59:24,400
Speaker 1: never in her home with Christina, that also could be

926
00:59:24,480 --> 00:59:27,880
Speaker 1: something you mind for tension and conflict, Like what is

927
00:59:28,360 --> 00:59:32,400
Speaker 1: Florida working twelve hour days, six days a week? What

928
00:59:32,600 --> 00:59:35,600
Speaker 1: is that doing to her relationship with her daughter? Like

929
00:59:35,720 --> 00:59:38,000
Speaker 1: she's hardly going to be home then for her? And

930
00:59:38,000 --> 00:59:40,840
Speaker 1: like what does like can we explore that and like

931
00:59:40,960 --> 00:59:44,360
Speaker 1: examine that? But the movie again doesn't really have any

932
00:59:44,400 --> 00:59:50,040
Speaker 1: interest in in her interior life and the motivation for

933
00:59:50,080 --> 00:59:53,320
Speaker 1: her to work one job is just because her she

934
00:59:53,440 --> 00:59:57,320
Speaker 1: saw a boy like touch her daughter's ass, right, and

935
00:59:57,360 --> 00:59:59,120
Speaker 1: then it was like, but you're not at home that

936
00:59:59,200 --> 01:00:03,560
Speaker 1: much still, right, and you're community Like the commutes seemed

937
01:00:03,600 --> 01:00:07,040
Speaker 1: pretty severe back and forth. The commute seems awful. A

938
01:00:07,120 --> 01:00:11,640
Speaker 1: mile to the bus stop. Why? And then I'm guessing, yeah,

939
01:00:11,760 --> 01:00:14,640
Speaker 1: we don't ever learn what neighborhood Florida and Christina live

940
01:00:14,720 --> 01:00:18,240
Speaker 1: in in l A. But it's probably pretty far from

941
01:00:18,560 --> 01:00:22,720
Speaker 1: the very upscale neighborhood that the class keys live in.

942
01:00:22,880 --> 01:00:25,480
Speaker 1: I thought it was like there, I mean, whatever, now

943
01:00:25,520 --> 01:00:27,360
Speaker 1: we're just getting into l A talk. But it's it

944
01:00:27,480 --> 01:00:30,960
Speaker 1: seemed like they were either downtown or on the east Side,

945
01:00:31,000 --> 01:00:34,640
Speaker 1: which yeah, and then like Adam Sandler and Taileani or

946
01:00:34,720 --> 01:00:38,920
Speaker 1: like living out this fucking like Westwood Beverly Hills, like

947
01:00:39,080 --> 01:00:42,680
Speaker 1: Beverly Hills something. As a metro user, that is an

948
01:00:42,680 --> 01:00:45,760
Speaker 1: hour and a half commute if you're going clear across

949
01:00:45,800 --> 01:00:48,840
Speaker 1: town like that. Anyways, Yeah, I didn't that didn't even

950
01:00:48,840 --> 01:00:51,080
Speaker 1: really connect for me. I like, she's probably not getting

951
01:00:51,200 --> 01:00:55,040
Speaker 1: like that much more time with her daughter. I mean,

952
01:00:55,080 --> 01:00:58,680
Speaker 1: I understand why she makes the decision she makes, but

953
01:00:58,720 --> 01:01:01,160
Speaker 1: I just thought it was like, especially for like a

954
01:01:01,160 --> 01:01:04,120
Speaker 1: male writer to make that decision. It just I didn't

955
01:01:04,200 --> 01:01:07,640
Speaker 1: like quite get it. Yeah, that was bizarre, but whatever,

956
01:01:07,800 --> 01:01:09,600
Speaker 1: that was just kind of like a weird writing choice

957
01:01:09,600 --> 01:01:14,440
Speaker 1: that I'm like, this guy is definitely a guy. Yeah,

958
01:01:14,640 --> 01:01:17,760
Speaker 1: I could have gone it could have really done something

959
01:01:17,800 --> 01:01:21,800
Speaker 1: special talking about like women's labor, you know, and like

960
01:01:22,120 --> 01:01:26,200
Speaker 1: emotional labor between like what Clarence Leachman is doing at

961
01:01:26,240 --> 01:01:28,640
Speaker 1: the end with Haley Oni and being like like, let

962
01:01:28,720 --> 01:01:30,880
Speaker 1: me give this to you as as a mother, you know,

963
01:01:31,520 --> 01:01:36,880
Speaker 1: and and didn't. Yeah, again, every thread just kind of

964
01:01:37,360 --> 01:01:40,920
Speaker 1: is loose to begin with and then never ties up

965
01:01:40,960 --> 01:01:45,080
Speaker 1: in any way or gets fully explored. Still cried my

966
01:01:45,200 --> 01:01:51,040
Speaker 1: eyes out, like yeah, that's it's like this James Alberg's

967
01:01:51,280 --> 01:01:54,160
Speaker 1: was weird for this one. But I also do think

968
01:01:54,240 --> 01:01:57,520
Speaker 1: that it's like he knows how to make people cry

969
01:01:58,200 --> 01:02:02,919
Speaker 1: a lot, very good at that. And it's also I mean,

970
01:02:03,040 --> 01:02:06,360
Speaker 1: I don't know, like this is very clearly not his

971
01:02:06,480 --> 01:02:10,080
Speaker 1: story to tell, and there was I guess I wasn't

972
01:02:10,080 --> 01:02:12,160
Speaker 1: super surprised to see in two thousand four that there

973
01:02:12,240 --> 01:02:16,520
Speaker 1: was absolutely no real pushback about the fact that he

974
01:02:16,600 --> 01:02:20,080
Speaker 1: was doing this because I feel like it's a very

975
01:02:20,280 --> 01:02:22,400
Speaker 1: like a very two thousand four but still like a

976
01:02:22,480 --> 01:02:27,640
Speaker 1: contemporary problem as well. Of but he could make a

977
01:02:27,760 --> 01:02:32,440
Speaker 1: movie of this budget and scale that featured like an

978
01:02:32,480 --> 01:02:36,320
Speaker 1: immigrant woman as a protagonist, but that it's like this

979
01:02:36,440 --> 01:02:39,960
Speaker 1: monkey's post situation where it's like, but he can't do that,

980
01:02:40,000 --> 01:02:42,720
Speaker 1: he can't execute that well based on who he is,

981
01:02:42,760 --> 01:02:47,200
Speaker 1: and so it's like, I don't know, it's frustrating. Yeah,

982
01:02:47,440 --> 01:02:53,000
Speaker 1: I want to talk about the casting of Passa Vega

983
01:02:53,400 --> 01:02:58,480
Speaker 1: who plays Flooreda. She's from Spain. Interesting, so she's not

984
01:02:58,800 --> 01:03:01,880
Speaker 1: from Mexico and she looks so much like Penelope Cruz.

985
01:03:02,280 --> 01:03:05,160
Speaker 1: She does look remarkably like Penelope Cruise yes, who is

986
01:03:05,200 --> 01:03:10,800
Speaker 1: also from Spain. Um, so obviously there are a lot

987
01:03:10,840 --> 01:03:17,000
Speaker 1: of Mexican people who are of white European descent. However,

988
01:03:17,200 --> 01:03:22,920
Speaker 1: this movie seems to me to code floor as a

989
01:03:23,040 --> 01:03:26,960
Speaker 1: brown person, a person of color, even though she is

990
01:03:27,720 --> 01:03:33,440
Speaker 1: a white Spaniard European. So it's not a great casting

991
01:03:33,520 --> 01:03:38,959
Speaker 1: choice to cast this white European actor code her as

992
01:03:39,520 --> 01:03:44,640
Speaker 1: a person of color. There are plenty of Mexican actors

993
01:03:44,720 --> 01:03:47,360
Speaker 1: who could have been cast in this role and then

994
01:03:47,400 --> 01:03:50,960
Speaker 1: would have been able to like bring like the experience

995
01:03:51,160 --> 01:03:55,400
Speaker 1: of a Mexican person or a Mexican American immigrant to

996
01:03:55,840 --> 01:03:58,240
Speaker 1: their role and like have that be a part of

997
01:03:58,280 --> 01:04:02,360
Speaker 1: the the role in character. But that is not what

998
01:04:02,840 --> 01:04:06,760
Speaker 1: happened in the casting. Yeah, I had no idea she

999
01:04:06,840 --> 01:04:09,280
Speaker 1: was from Spain. Oh my god, I was duped. I

1000
01:04:09,280 --> 01:04:13,080
Speaker 1: feel like they she's like damn, I know, I didn't

1001
01:04:13,160 --> 01:04:18,520
Speaker 1: learn that until this morning. Like yeah, I also think

1002
01:04:18,560 --> 01:04:22,120
Speaker 1: there's this like there's a really weird thing with like

1003
01:04:22,120 --> 01:04:24,960
Speaker 1: like her beauty in the movie, where like I mean,

1004
01:04:25,000 --> 01:04:27,960
Speaker 1: she's like so beautiful, but that's like her whole Like

1005
01:04:28,040 --> 01:04:31,040
Speaker 1: she's like beautiful in doing housework and she's like beautiful

1006
01:04:31,080 --> 01:04:34,280
Speaker 1: and being a mother, and like Adam Sandler seems to

1007
01:04:34,320 --> 01:04:38,480
Speaker 1: only like say that she is beautiful, and so does

1008
01:04:38,520 --> 01:04:42,120
Speaker 1: Deborah too, Like Depa is constantly commenting on her appearance

1009
01:04:42,280 --> 01:04:47,040
Speaker 1: and Christina's in a way that almost feels fetishy to me,

1010
01:04:47,200 --> 01:04:52,120
Speaker 1: where they're like, look at this like exotic beauty that

1011
01:04:52,160 --> 01:04:57,120
Speaker 1: you are this family, Like yeah, very much exotifies if

1012
01:04:57,160 --> 01:05:01,000
Speaker 1: that's a word Florida and Christie, you know, especially there's

1013
01:05:01,040 --> 01:05:05,600
Speaker 1: that scene where Deborah is introducing Christina to the like

1014
01:05:05,680 --> 01:05:08,640
Speaker 1: the director of this private school. And then she has

1015
01:05:08,680 --> 01:05:11,959
Speaker 1: a little aside with this director who is a white woman,

1016
01:05:12,240 --> 01:05:14,959
Speaker 1: and says like oh yeah, like she's great, she's so smart,

1017
01:05:15,000 --> 01:05:18,280
Speaker 1: she's so bright, and she's Hispanic. She like whispers in

1018
01:05:18,280 --> 01:05:22,120
Speaker 1: her ear as if like isn't she gorgeous? Hispanic? Right,

1019
01:05:22,200 --> 01:05:24,360
Speaker 1: and like look at the It's almost like, look at

1020
01:05:24,360 --> 01:05:26,560
Speaker 1: the diversity you would bring into the school, look at

1021
01:05:26,680 --> 01:05:30,080
Speaker 1: my little project. Like she's like very much, which at

1022
01:05:30,160 --> 01:05:33,160
Speaker 1: least the writing seems self aware of of, like Debora

1023
01:05:33,240 --> 01:05:35,680
Speaker 1: is not supposed to seem right for that, like she's

1024
01:05:36,040 --> 01:05:39,200
Speaker 1: clearly wrong. And yeah, I mean especially I don't know,

1025
01:05:39,240 --> 01:05:44,120
Speaker 1: Devora is just so where like with Debra, it's again

1026
01:05:44,200 --> 01:05:48,920
Speaker 1: like a one two punch of racism and like exoticizing

1027
01:05:49,640 --> 01:05:54,560
Speaker 1: Christina and then also her like own internalized misogyny comes

1028
01:05:54,560 --> 01:05:59,200
Speaker 1: out in those moments too, because she can only understand

1029
01:05:59,560 --> 01:06:03,880
Speaker 1: women via commenting on and criticizing their appearance, which is

1030
01:06:03,920 --> 01:06:07,080
Speaker 1: like present in her how she relates to Florida and Christina,

1031
01:06:07,160 --> 01:06:11,080
Speaker 1: and also how she relates to her daughter like and herself,

1032
01:06:11,200 --> 01:06:15,000
Speaker 1: like with the running and all like the obsessive like

1033
01:06:15,000 --> 01:06:17,240
Speaker 1: like maintenance of her body, which is like such a

1034
01:06:17,320 --> 01:06:20,200
Speaker 1: I don't know. I guess like I feel like I'll

1035
01:06:20,240 --> 01:06:23,160
Speaker 1: recommend it for the five million time on the on

1036
01:06:23,200 --> 01:06:26,280
Speaker 1: this show, but fearing the black body and like how

1037
01:06:26,600 --> 01:06:30,440
Speaker 1: American women, especially white American women, are like trained to

1038
01:06:30,480 --> 01:06:33,840
Speaker 1: be hyper vigilant towards their own bodies and punish other

1039
01:06:33,920 --> 01:06:36,200
Speaker 1: bodies that don't look like there isn't just all this

1040
01:06:37,480 --> 01:06:41,280
Speaker 1: just shit that is so present in her character. It's

1041
01:06:41,360 --> 01:06:47,360
Speaker 1: just so I feel like voiceover Christina goes into that

1042
01:06:47,440 --> 01:06:51,080
Speaker 1: too and seems to like be aware of like this

1043
01:06:51,160 --> 01:06:54,680
Speaker 1: like sickness that American women have with like being thin.

1044
01:06:55,320 --> 01:06:58,440
Speaker 1: But I feel I feel like initially like I'm maybe

1045
01:06:58,440 --> 01:07:00,760
Speaker 1: giving the movie too much credit being look how where

1046
01:07:00,800 --> 01:07:04,440
Speaker 1: they are of like you know, what the what's wrong

1047
01:07:04,480 --> 01:07:07,680
Speaker 1: with like white American woman? But I feel like making

1048
01:07:07,720 --> 01:07:11,320
Speaker 1: Tayley only like such a cartoon of like a Karen

1049
01:07:11,640 --> 01:07:16,000
Speaker 1: before that was a term like it is almost like racist,

1050
01:07:16,080 --> 01:07:19,280
Speaker 1: but not towards her, like towards flowed, because if it

1051
01:07:19,400 --> 01:07:23,000
Speaker 1: just makes flow to seem more amazing and like what

1052
01:07:23,200 --> 01:07:24,880
Speaker 1: is the word there's like a word for this where

1053
01:07:24,920 --> 01:07:28,000
Speaker 1: she's just like I don't know, she's just like infinitely

1054
01:07:28,120 --> 01:07:31,600
Speaker 1: better because of her quote unquote brownness and her like

1055
01:07:32,120 --> 01:07:34,800
Speaker 1: natural like this like natural nous that seems to be

1056
01:07:34,840 --> 01:07:39,080
Speaker 1: like linked to her ethnicity. You know, yeah, that's yeah.

1057
01:07:39,080 --> 01:07:41,120
Speaker 1: I mean it's because I'm trying to remember the way

1058
01:07:41,160 --> 01:07:44,640
Speaker 1: that that line of voiceover plays out. But oh I

1059
01:07:44,760 --> 01:07:49,720
Speaker 1: wrote it all down, I trans correct ready, But I

1060
01:07:49,760 --> 01:07:52,040
Speaker 1: feel like, you know, what you're describing is like she

1061
01:07:52,240 --> 01:07:55,440
Speaker 1: just like like the movie starts to go somewhere with

1062
01:07:55,560 --> 01:07:59,160
Speaker 1: commenting on that hyper vigilance. Yeah, and then yeah it

1063
01:07:59,200 --> 01:08:03,600
Speaker 1: turns to it what's the line here? It is there

1064
01:08:03,640 --> 01:08:06,640
Speaker 1: was one particular cultural difference which I wish to explore

1065
01:08:06,680 --> 01:08:11,240
Speaker 1: academically at Princeton because this is a support of her admissions. Essay.

1066
01:08:11,640 --> 01:08:16,160
Speaker 1: They had to remind you every once in a while, Um,

1067
01:08:16,200 --> 01:08:19,400
Speaker 1: American women, I believe, actually feel the same as Hispanic

1068
01:08:19,439 --> 01:08:22,880
Speaker 1: women about weight, a desire for the comfort of fullness.

1069
01:08:22,920 --> 01:08:26,920
Speaker 1: And when that desire is suppressed for style and deprivation

1070
01:08:27,080 --> 01:08:31,320
Speaker 1: allowed to rule dieting, exercising, American women become afraid of

1071
01:08:31,360 --> 01:08:38,080
Speaker 1: everything associated with being curvacious, such as wantonness, lustfulness, sex, food, motherhood,

1072
01:08:38,520 --> 01:08:43,040
Speaker 1: all that is best in life. So which is just

1073
01:08:43,160 --> 01:08:49,920
Speaker 1: like James L. Brooks is and so it it does.

1074
01:08:50,280 --> 01:08:54,360
Speaker 1: I mean most I'm curious as to your thoughts too

1075
01:08:54,360 --> 01:08:56,439
Speaker 1: of it. Yeah, it to me came off as like

1076
01:08:56,920 --> 01:09:01,360
Speaker 1: just very over generalizing and very like, I don't know,

1077
01:09:01,439 --> 01:09:05,280
Speaker 1: like mothering. Yeah, I mean I think like the thing

1078
01:09:05,320 --> 01:09:07,000
Speaker 1: that this movie is like, I feel like James L.

1079
01:09:07,080 --> 01:09:11,320
Speaker 1: Brooks can like really like right his way out of anything.

1080
01:09:11,439 --> 01:09:14,280
Speaker 1: Like he's like seems like a very like beautiful like writer.

1081
01:09:14,560 --> 01:09:17,840
Speaker 1: But that sentence, like that sentence is really beautiful and

1082
01:09:17,880 --> 01:09:21,200
Speaker 1: it doesn't make any sense, like is he saying like

1083
01:09:22,240 --> 01:09:26,200
Speaker 1: is he saying like like Mexican women also are like

1084
01:09:26,280 --> 01:09:29,120
Speaker 1: this or that they're not like this. I'm not right.

1085
01:09:29,360 --> 01:09:33,599
Speaker 1: It seems very reductive where he's just like womanhood equals

1086
01:09:33,640 --> 01:09:40,640
Speaker 1: curvaceous equals motherhood equals awesome. It's like those womb equals

1087
01:09:41,000 --> 01:09:44,639
Speaker 1: eating Like yeah, life doesn't make a lot of sense,

1088
01:09:45,080 --> 01:09:49,360
Speaker 1: so I know, and you get like tricked listening to

1089
01:09:49,360 --> 01:09:53,200
Speaker 1: it because you're like, damn, like that's some bars there

1090
01:09:53,280 --> 01:09:56,479
Speaker 1: what he's saying, and you're like, wait, what what she's saying?

1091
01:09:56,600 --> 01:10:00,439
Speaker 1: I'm already like yeah, like could he tell us what

1092
01:10:00,600 --> 01:10:03,559
Speaker 1: he's saying? Here? There was this is I guess just

1093
01:10:03,640 --> 01:10:06,400
Speaker 1: kind of because we have for some reason covered to

1094
01:10:06,680 --> 01:10:09,959
Speaker 1: James Brooks written directed movies on the show pretty recently,

1095
01:10:10,760 --> 01:10:13,559
Speaker 1: so to our listeners, we'll stop doing that. What else

1096
01:10:13,600 --> 01:10:17,920
Speaker 1: has he done? He did Broadcast News, which we covered

1097
01:10:18,000 --> 01:10:20,360
Speaker 1: with Dave Schilling, a movie I like a lot, but

1098
01:10:20,640 --> 01:10:23,200
Speaker 1: I felt like there was like I guess, just like

1099
01:10:23,439 --> 01:10:26,599
Speaker 1: knowing his writing style. This has nothing to do with anything,

1100
01:10:26,640 --> 01:10:31,040
Speaker 1: but I was getting kind of like Holly Hunter neurotic woman,

1101
01:10:31,120 --> 01:10:34,080
Speaker 1: quote unquote, and which is how James Brooks rights women.

1102
01:10:34,280 --> 01:10:37,439
Speaker 1: I was getting Holly Hunter neurotic woman vibes from Deborah,

1103
01:10:37,600 --> 01:10:41,840
Speaker 1: but like written way more scattered and all over the place,

1104
01:10:41,880 --> 01:10:45,040
Speaker 1: because I feel like the Holly Hunter character and Broadcast

1105
01:10:45,040 --> 01:10:48,600
Speaker 1: News is like very nervous and just like kind of

1106
01:10:48,640 --> 01:10:52,080
Speaker 1: this vibrating nerve. But at least in that movie we

1107
01:10:52,160 --> 01:10:53,960
Speaker 1: talked whatever. You can listen to the episode if you want,

1108
01:10:53,960 --> 01:10:58,160
Speaker 1: but like it at least mostly made sense and was contextualized.

1109
01:10:58,200 --> 01:11:01,519
Speaker 1: But for Deborah, it's like she's just all over the place,

1110
01:11:01,600 --> 01:11:04,559
Speaker 1: like you just don't know. James Brooks thinks women are

1111
01:11:04,640 --> 01:11:08,519
Speaker 1: very neurotic. He does, and he's obsessed with the idea

1112
01:11:08,640 --> 01:11:12,439
Speaker 1: of a woman like going somewhere in private and bursting

1113
01:11:12,439 --> 01:11:15,120
Speaker 1: out into tears for a few moments and then coming

1114
01:11:15,120 --> 01:11:17,360
Speaker 1: back in the room because that is also what Holly

1115
01:11:17,439 --> 01:11:21,559
Speaker 1: Hunter does throughout the movie and what we see Florida

1116
01:11:21,640 --> 01:11:27,519
Speaker 1: do at the very beginning. Yeah. Wow, wow. The more

1117
01:11:27,560 --> 01:11:29,360
Speaker 1: we talked about, I mean, and again I guess this

1118
01:11:29,439 --> 01:11:33,839
Speaker 1: is this is just like women as James Brooks perceives them.

1119
01:11:33,880 --> 01:11:37,559
Speaker 1: But I wish that that trait, that FLOORI has of

1120
01:11:38,000 --> 01:11:41,439
Speaker 1: compartmentalizing her feelings for the benefit of her daughter, Like

1121
01:11:42,240 --> 01:11:45,479
Speaker 1: I feel like that could have been a whole movie,

1122
01:11:45,600 --> 01:11:48,000
Speaker 1: Like getting back to what we're talking about, this movie

1123
01:11:48,040 --> 01:11:52,719
Speaker 1: could be about two very very different families of women

1124
01:11:52,760 --> 01:11:55,120
Speaker 1: and why they deal with their ship the way they

1125
01:11:55,160 --> 01:11:57,320
Speaker 1: deal with it, and like how and that would have

1126
01:11:57,360 --> 01:12:00,360
Speaker 1: been cool. Yeah. Yeah, It feel like you don't get

1127
01:12:00,360 --> 01:12:04,080
Speaker 1: a lot of like protagonists who are women, which you

1128
01:12:04,120 --> 01:12:08,320
Speaker 1: could say Flora is or isn't, depending on you know,

1129
01:12:08,360 --> 01:12:10,559
Speaker 1: your read of the movie. I think she's supposed to be.

1130
01:12:10,720 --> 01:12:13,840
Speaker 1: But you don't like get a lot of protagonists who

1131
01:12:14,000 --> 01:12:19,000
Speaker 1: are like women who do not express every emotion they're having.

1132
01:12:19,240 --> 01:12:23,400
Speaker 1: Like it just feels like a more rare thing, which

1133
01:12:23,840 --> 01:12:26,320
Speaker 1: I don't know. I am a woman that does express

1134
01:12:26,360 --> 01:12:30,400
Speaker 1: every emotion. I'm having so bad writing, but Florida is

1135
01:12:30,520 --> 01:12:35,120
Speaker 1: you know, I don't know what what I have a question.

1136
01:12:35,120 --> 01:12:39,160
Speaker 1: I have two questions. One where does the sun go?

1137
01:12:40,120 --> 01:12:43,240
Speaker 1: He's in the movie for like to see so random

1138
01:12:43,439 --> 01:12:47,439
Speaker 1: you get disappeared random. He just like keeps not being

1139
01:12:47,479 --> 01:12:50,080
Speaker 1: there when you would expect a young nine year old

1140
01:12:50,160 --> 01:12:53,360
Speaker 1: kid to be at home. That story actually that storyline

1141
01:12:53,400 --> 01:12:56,679
Speaker 1: got cut. He was abducted in the middle of a movie.

1142
01:12:58,600 --> 01:13:02,439
Speaker 1: But they're just like, like, we've too much, too many characters. Yeah,

1143
01:13:02,800 --> 01:13:04,880
Speaker 1: it doesn't like James Brooks realized in the middle of

1144
01:13:04,880 --> 01:13:07,240
Speaker 1: the movie that there were way too many characters. He's like,

1145
01:13:07,920 --> 01:13:12,080
Speaker 1: they're not going to notice. Well, I noticed. Second question,

1146
01:13:13,080 --> 01:13:16,080
Speaker 1: what is going on with the whole like Chum the

1147
01:13:16,240 --> 01:13:18,800
Speaker 1: dog and the fetch thing. I thought that was going

1148
01:13:18,840 --> 01:13:21,519
Speaker 1: to like pay off in some way or that was

1149
01:13:21,520 --> 01:13:23,640
Speaker 1: going to be a thing. But that's just like a

1150
01:13:23,680 --> 01:13:26,680
Speaker 1: weird detail that gets introduced and then like they do

1151
01:13:26,800 --> 01:13:29,880
Speaker 1: nothing with. I thought that that was just a really

1152
01:13:30,920 --> 01:13:33,800
Speaker 1: heavy handed way of saying that Florida is not like

1153
01:13:33,880 --> 01:13:37,760
Speaker 1: other girls. She throws the ball, yeah, or she's like

1154
01:13:37,800 --> 01:13:43,400
Speaker 1: more in touch with like nature and like nurturing, you know, yeah,

1155
01:13:43,760 --> 01:13:47,840
Speaker 1: like could be like Disney princes can like speak to animals.

1156
01:13:50,160 --> 01:13:52,639
Speaker 1: I guess I do see it being like that, which

1157
01:13:52,720 --> 01:13:54,840
Speaker 1: is like, what the hell? First of all, why do

1158
01:13:54,880 --> 01:13:57,240
Speaker 1: you feel the need to say that? It's like, what

1159
01:13:57,320 --> 01:13:59,960
Speaker 1: a weird way to say it. Also, there's a scene

1160
01:14:00,720 --> 01:14:05,400
Speaker 1: where Florida is at the classkey house in theory, working,

1161
01:14:05,920 --> 01:14:09,840
Speaker 1: but she's putting together a puzzle. Did anyone notice this?

1162
01:14:10,840 --> 01:14:13,439
Speaker 1: She's putting a jigsaw puzzle together? And it's like they're

1163
01:14:13,479 --> 01:14:16,800
Speaker 1: just like, look busy, right, yeah, can't you? Can't you

1164
01:14:16,880 --> 01:14:18,960
Speaker 1: send her home so if she can spend time with

1165
01:14:18,960 --> 01:14:21,320
Speaker 1: her daughter, Like what the what are you making her

1166
01:14:21,360 --> 01:14:26,320
Speaker 1: put a puzzle together for her? Like? What the fuck? Anyway,

1167
01:14:26,479 --> 01:14:30,080
Speaker 1: I hate this movie. That's Debora. That's Devora being a

1168
01:14:30,200 --> 01:14:33,200
Speaker 1: control free. Another thing that I thought was like at

1169
01:14:33,280 --> 01:14:35,320
Speaker 1: least like it knew what it was doing a little

1170
01:14:35,360 --> 01:14:38,960
Speaker 1: more than other scenes was that scene that it's just

1171
01:14:39,000 --> 01:14:42,840
Speaker 1: like excruciating to watch. It's when Deborah is trying to

1172
01:14:42,920 --> 01:14:46,000
Speaker 1: convince Floor that she needs to come on the summer

1173
01:14:46,040 --> 01:14:52,160
Speaker 1: trip and she can't communicate with Floor. She says like,

1174
01:14:52,640 --> 01:14:54,479
Speaker 1: you still haven't learned English, and then she's like I

1175
01:14:54,479 --> 01:14:56,439
Speaker 1: have to learn how to say that in Spanish, being

1176
01:14:56,439 --> 01:15:00,120
Speaker 1: like ha ha, I refuse to learn Spanish and that's funny,

1177
01:15:00,320 --> 01:15:05,160
Speaker 1: and then you know, like grabs the nearest Spanish speaker

1178
01:15:05,439 --> 01:15:07,960
Speaker 1: and it was like translate for me right now, so

1179
01:15:08,040 --> 01:15:10,840
Speaker 1: I can tell Florida what to do, and like just

1180
01:15:10,880 --> 01:15:13,600
Speaker 1: the way that she I mean had a lot of

1181
01:15:13,640 --> 01:15:16,800
Speaker 1: talk about how shitty, but like this scene I just

1182
01:15:16,920 --> 01:15:20,000
Speaker 1: hated her so much, where Florida is setting a boundary.

1183
01:15:20,040 --> 01:15:23,200
Speaker 1: She's like, no, I can't do that, like I have

1184
01:15:23,320 --> 01:15:27,639
Speaker 1: a daughter, and Deborah is like hurt that she didn't

1185
01:15:27,760 --> 01:15:30,519
Speaker 1: know that Florida had a daughter, even though it's like

1186
01:15:30,600 --> 01:15:33,479
Speaker 1: you never made any effort to like try to actually

1187
01:15:33,520 --> 01:15:36,599
Speaker 1: communicate with her about anything. Did you ever ask her

1188
01:15:36,640 --> 01:15:40,920
Speaker 1: about her family? And also and then Cloris Leachman kind

1189
01:15:40,920 --> 01:15:44,120
Speaker 1: of like low key comes to the rescue and it's like, well,

1190
01:15:44,160 --> 01:15:46,519
Speaker 1: if she didn't tell you that, she's probably really private

1191
01:15:46,560 --> 01:15:49,040
Speaker 1: and like I'll drive her home and like kind of

1192
01:15:49,200 --> 01:15:53,240
Speaker 1: was like, which, I mean, she probably shouldn't. She drinks,

1193
01:15:52,520 --> 01:15:57,080
Speaker 1: she probably can't drive. But then it's like, I hope

1194
01:15:57,120 --> 01:15:59,280
Speaker 1: this was intentional. I think it was where Deborah like

1195
01:16:00,200 --> 01:16:04,800
Speaker 1: is so insulted that Florida is like talking to her

1196
01:16:04,840 --> 01:16:08,400
Speaker 1: like she's an employer and not a friend, because that

1197
01:16:08,600 --> 01:16:10,960
Speaker 1: is their relationship that Deborah is like, well, now I

1198
01:16:11,000 --> 01:16:12,760
Speaker 1: need to punish you, and you have to come live

1199
01:16:12,800 --> 01:16:14,720
Speaker 1: with me, and you have to like be close to me,

1200
01:16:14,760 --> 01:16:16,800
Speaker 1: and I have to have access to all areas of

1201
01:16:16,840 --> 01:16:22,600
Speaker 1: your life. Creepy her, just creepy, Debora tentacles. I know,

1202
01:16:23,360 --> 01:16:26,880
Speaker 1: a true villain, the true villain of the movie. But

1203
01:16:27,000 --> 01:16:31,600
Speaker 1: John's an amazing guy. Why does he like her? And

1204
01:16:31,640 --> 01:16:33,240
Speaker 1: then she's like, I don't want to think that you're

1205
01:16:33,280 --> 01:16:35,280
Speaker 1: out of your mind for being in love with me,

1206
01:16:35,320 --> 01:16:40,759
Speaker 1: But it's like he is. Yeah, there's another quick moment

1207
01:16:40,800 --> 01:16:43,439
Speaker 1: that I feel like again, the movie starts to set

1208
01:16:43,560 --> 01:16:46,439
Speaker 1: up a thing that could have been explored and interesting

1209
01:16:46,520 --> 01:16:50,679
Speaker 1: commentary could have been made about it, where Deborah and

1210
01:16:50,760 --> 01:16:53,920
Speaker 1: John are like not on the same page ever with

1211
01:16:54,000 --> 01:16:57,679
Speaker 1: their parenting tactics, and this is something that Debora keeps

1212
01:16:57,800 --> 01:17:00,600
Speaker 1: like hounding John about, like need to be on the

1213
01:17:00,640 --> 01:17:04,439
Speaker 1: same page. And we as the audience, are meant to

1214
01:17:04,479 --> 01:17:08,920
Speaker 1: identify with John and his approach because again, Deborah, because

1215
01:17:08,920 --> 01:17:13,320
Speaker 1: she's a woman written by James L. Brooks, is written

1216
01:17:13,360 --> 01:17:18,280
Speaker 1: to be quote unquote hysterical. So but she says, you

1217
01:17:18,479 --> 01:17:21,280
Speaker 1: told our son that you're not mad at him, and

1218
01:17:21,360 --> 01:17:23,920
Speaker 1: I am mad at him for something that we don't

1219
01:17:23,920 --> 01:17:26,439
Speaker 1: know what the son did that never even becomes clear.

1220
01:17:26,520 --> 01:17:30,880
Speaker 1: We have no idea. But then he got kidnapped and

1221
01:17:30,920 --> 01:17:34,519
Speaker 1: that he's abducted, and then we never hear from him again.

1222
01:17:35,000 --> 01:17:38,920
Speaker 1: But she's calling out her husband for making her seem

1223
01:17:39,000 --> 01:17:42,280
Speaker 1: like the bad guy because she's taking one approach, and

1224
01:17:42,360 --> 01:17:44,479
Speaker 1: he seems like the good guy because he's not mad

1225
01:17:44,520 --> 01:17:47,519
Speaker 1: at their son. And like, that's often a dynamic that

1226
01:17:47,560 --> 01:17:52,920
Speaker 1: plays out in hetero marriages with children, where like, you know,

1227
01:17:52,920 --> 01:17:55,000
Speaker 1: we've talked about this a lot on the podcast, where

1228
01:17:55,360 --> 01:17:58,599
Speaker 1: you know, women, because they're conditioned to be the kind

1229
01:17:58,600 --> 01:18:03,000
Speaker 1: of more disciplinary just like more active and present parent,

1230
01:18:03,840 --> 01:18:07,280
Speaker 1: they often have to do the more kind of disciplinary stuff,

1231
01:18:07,280 --> 01:18:10,639
Speaker 1: whereas dads are sort of expected to be more Oh,

1232
01:18:10,720 --> 01:18:13,320
Speaker 1: I'm the I'm the goof, I'm the like we throw

1233
01:18:13,360 --> 01:18:16,040
Speaker 1: balls around and we play catch and do fun stuff.

1234
01:18:16,080 --> 01:18:20,920
Speaker 1: And but again that's just referenced in one scene, and

1235
01:18:20,920 --> 01:18:22,960
Speaker 1: it just feel like the movie falls on the side

1236
01:18:22,960 --> 01:18:26,880
Speaker 1: of like Debrah is being hysterical for bringing it up,

1237
01:18:27,280 --> 01:18:30,960
Speaker 1: where like Debra is wrong for bringing most things up.

1238
01:18:31,160 --> 01:18:35,479
Speaker 1: But that thing wasn't a thing that felt like it

1239
01:18:35,600 --> 01:18:39,920
Speaker 1: was almost like the way that the performance was we

1240
01:18:40,000 --> 01:18:44,280
Speaker 1: have no context, right, Yeah, yeah, that's the this movie

1241
01:18:44,600 --> 01:18:48,160
Speaker 1: in a nutshell to me, like threads or like little

1242
01:18:48,160 --> 01:18:51,639
Speaker 1: seeds get planted that could have been interesting things to explore,

1243
01:18:51,800 --> 01:18:58,200
Speaker 1: but the execution on nearly everything is completely ineffective. Yeah,

1244
01:18:59,560 --> 01:19:02,559
Speaker 1: and maybe just says more about like us and our family.

1245
01:19:02,600 --> 01:19:04,519
Speaker 1: I'm just like, I think I love the movie because

1246
01:19:04,520 --> 01:19:10,439
Speaker 1: I love my family, and I'm like, whoa, um, sure,

1247
01:19:10,680 --> 01:19:16,040
Speaker 1: and that's fair, Yeah that makes sense. But I also like,

1248
01:19:16,439 --> 01:19:19,439
Speaker 1: I don't know, there's like I wish that we got

1249
01:19:19,479 --> 01:19:22,280
Speaker 1: to spend more time with Christina as well. That was

1250
01:19:22,439 --> 01:19:25,599
Speaker 1: one of my big things where Christina doesn't become an

1251
01:19:25,640 --> 01:19:29,240
Speaker 1: important part of the movie until like maybe almost halfway through,

1252
01:19:29,439 --> 01:19:32,040
Speaker 1: like not until the Summer Trip do we really see her.

1253
01:19:32,200 --> 01:19:35,240
Speaker 1: We don't know what she's up to, because this movie

1254
01:19:35,320 --> 01:19:39,040
Speaker 1: is so like preoccupied with spending time with this rich

1255
01:19:39,080 --> 01:19:43,599
Speaker 1: white family and how Florida is interacting with them that

1256
01:19:43,640 --> 01:19:46,600
Speaker 1: we don't see. We hear Christina all the time, but

1257
01:19:46,680 --> 01:19:49,880
Speaker 1: we don't see her for like twenty minutes at one point.

1258
01:19:50,600 --> 01:19:54,519
Speaker 1: And again it's like I don't know, Like it's she's

1259
01:19:54,560 --> 01:19:59,120
Speaker 1: such a rich character who's so relatable to so many people.

1260
01:19:59,160 --> 01:20:02,160
Speaker 1: I mean, like Melissa, you were saying, like she reminded

1261
01:20:02,200 --> 01:20:05,000
Speaker 1: you of your sister in some ways, And it just

1262
01:20:05,040 --> 01:20:08,200
Speaker 1: seems like a lost opportunity to show and also a

1263
01:20:08,280 --> 01:20:12,120
Speaker 1: lost opportunity to give Flora's character more depth because we

1264
01:20:12,160 --> 01:20:15,839
Speaker 1: could see, you know, who is Christina with when Florida

1265
01:20:15,840 --> 01:20:17,599
Speaker 1: has to be at work all the time, Like, how

1266
01:20:17,600 --> 01:20:19,680
Speaker 1: does she relate to Monica, how does she relate to

1267
01:20:19,720 --> 01:20:23,120
Speaker 1: the family, Like what what's going on with Christina? And

1268
01:20:23,160 --> 01:20:26,479
Speaker 1: we don't We only like the movie only becomes interested

1269
01:20:26,640 --> 01:20:29,519
Speaker 1: in what is going on in her life once she

1270
01:20:29,680 --> 01:20:34,800
Speaker 1: like enters the assimilation zone, and the movie does seem

1271
01:20:34,880 --> 01:20:38,720
Speaker 1: to be like ultimately like this assimilation is like not

1272
01:20:38,920 --> 01:20:43,360
Speaker 1: a positive thing for her, but it doesn't show you

1273
01:20:44,360 --> 01:20:48,280
Speaker 1: I don't know. Yeah, the takeaway again, I'm just like,

1274
01:20:49,479 --> 01:20:53,559
Speaker 1: you tried, movie, but you didn't really cross the finish line.

1275
01:20:54,040 --> 01:20:58,160
Speaker 1: Shout out though to Shelby Bruce, who plays Christina, who

1276
01:20:58,400 --> 01:21:01,479
Speaker 1: gave I think an incredib bold performance, especially during that

1277
01:21:01,520 --> 01:21:06,320
Speaker 1: scene where she is translating for her mom with the

1278
01:21:06,320 --> 01:21:10,960
Speaker 1: whole seed glass thing and she's like really like communicating

1279
01:21:11,040 --> 01:21:15,479
Speaker 1: her mom's like intent and but like she's having to

1280
01:21:16,200 --> 01:21:19,920
Speaker 1: talk about herself, but because the conversation is about her,

1281
01:21:20,600 --> 01:21:22,720
Speaker 1: but she's like having to refer to herself and like

1282
01:21:22,800 --> 01:21:25,200
Speaker 1: the third person because of the translation. It's really like

1283
01:21:25,280 --> 01:21:27,920
Speaker 1: it's I just like the rhythm of that scene. That

1284
01:21:27,960 --> 01:21:30,360
Speaker 1: was probably my favorite, the only scene I enjoyed in

1285
01:21:30,400 --> 01:21:34,720
Speaker 1: the movie, to be Frank, because of her like incredible performance.

1286
01:21:34,840 --> 01:21:37,960
Speaker 1: She's so good and when she's like publicly scorning her mom,

1287
01:21:38,479 --> 01:21:41,400
Speaker 1: I have like a visceral reaction to that, like I'm

1288
01:21:41,400 --> 01:21:46,360
Speaker 1: so embarrassed. Yeah, like I'll never forgive you for the Yeah,

1289
01:21:46,479 --> 01:21:53,400
Speaker 1: she's having a Debora tantrum, She's going Deborah, She's turning Deborah.

1290
01:21:53,439 --> 01:21:57,120
Speaker 1: That scene, I thought, Yeah, that scene was really really

1291
01:21:57,200 --> 01:22:00,559
Speaker 1: like well executed and and She'll be Bruce is the

1292
01:22:00,560 --> 01:22:02,960
Speaker 1: best part of it where I don't know, I mean,

1293
01:22:03,720 --> 01:22:07,240
Speaker 1: I have never been in a position where I had

1294
01:22:07,280 --> 01:22:11,040
Speaker 1: to translate between people, much less my own family, So

1295
01:22:11,120 --> 01:22:14,040
Speaker 1: it's not something that I personally understand, but it just

1296
01:22:14,200 --> 01:22:18,960
Speaker 1: it's I felt like the scene did get across what

1297
01:22:19,360 --> 01:22:22,640
Speaker 1: a stressful and kind of unfair experience that is for

1298
01:22:22,760 --> 01:22:28,360
Speaker 1: Christina to have to mediate a discussion about herself that

1299
01:22:28,439 --> 01:22:32,640
Speaker 1: she doesn't have any saying like there was no opportunity

1300
01:22:32,720 --> 01:22:37,040
Speaker 1: in that argument for Christina to say how she was feeling,

1301
01:22:37,160 --> 01:22:39,760
Speaker 1: because the task at hand was to communicate how her

1302
01:22:39,800 --> 01:22:43,439
Speaker 1: mother was feeling and then communicate back how Adam Sandler

1303
01:22:43,520 --> 01:22:46,519
Speaker 1: was receiving it. And it's just like, ah, well, someone

1304
01:22:46,560 --> 01:22:50,960
Speaker 1: asked Christina what is on her mind? Like she's doing

1305
01:22:51,000 --> 01:22:55,240
Speaker 1: a lot of heavy lifting here for this weird romance, right,

1306
01:22:55,880 --> 01:22:58,680
Speaker 1: but that scene, Yeah, that seems very well acted. I

1307
01:22:58,760 --> 01:23:02,080
Speaker 1: was going that I hope that she just like didn't

1308
01:23:02,080 --> 01:23:07,400
Speaker 1: feel like acting anymore. But she's she's not acting anymore. Really. Yeah,

1309
01:23:07,520 --> 01:23:09,920
Speaker 1: but she did sign a deal with Claire's Boutique to

1310
01:23:09,960 --> 01:23:13,160
Speaker 1: have her own jewelry line, which launched in September two

1311
01:23:13,200 --> 01:23:20,960
Speaker 1: thousand six. Oh, she's still living off of that. Something

1312
01:23:21,000 --> 01:23:24,880
Speaker 1: I realized is that, for again, a movie that is

1313
01:23:24,920 --> 01:23:29,760
Speaker 1: supposed to be focusing on this protagonist who is an

1314
01:23:29,760 --> 01:23:35,920
Speaker 1: immigrant from Mexico, we learn nothing about Mexican culture, even

1315
01:23:35,920 --> 01:23:40,760
Speaker 1: though it's clear that the character like her heritage is

1316
01:23:40,880 --> 01:23:43,240
Speaker 1: very important to her, and that there's like voice over

1317
01:23:43,240 --> 01:23:45,519
Speaker 1: in the beginning that says, like, my mother kept me

1318
01:23:46,160 --> 01:23:49,200
Speaker 1: in Mexico for as long as possible to like connect

1319
01:23:49,280 --> 01:23:52,080
Speaker 1: me with my Latin roots. And then when they moved

1320
01:23:52,120 --> 01:23:55,080
Speaker 1: to the US, they moved to a neighborhood of Los

1321
01:23:55,120 --> 01:24:00,360
Speaker 1: Angeles that seems to be predominantly other Mexican immigrants living

1322
01:24:00,400 --> 01:24:04,320
Speaker 1: in that neighborhood. And again she keeps speaking the language.

1323
01:24:04,640 --> 01:24:07,479
Speaker 1: She it takes her years to start to even be

1324
01:24:07,600 --> 01:24:11,840
Speaker 1: motivated to learn English. So there's like all these these

1325
01:24:11,880 --> 01:24:15,679
Speaker 1: indicators that her Mexican heritage is very important to floor,

1326
01:24:16,320 --> 01:24:20,160
Speaker 1: and yet the movie doesn't tell the audience anything about

1327
01:24:20,200 --> 01:24:23,560
Speaker 1: the culture. And I think it's just because like it

1328
01:24:23,840 --> 01:24:30,240
Speaker 1: doesn't doesn't care. Yeah, I mean it did. Seems like Melissa,

1329
01:24:30,320 --> 01:24:32,160
Speaker 1: you said this earlier, where it's like the most you

1330
01:24:32,240 --> 01:24:36,240
Speaker 1: see of the culture that we're told repeatedly is so

1331
01:24:36,280 --> 01:24:40,559
Speaker 1: important to Florida is a cutaway to a party with

1332
01:24:40,720 --> 01:24:43,600
Speaker 1: characters we don't know eating tamales, and like that is

1333
01:24:44,360 --> 01:24:46,840
Speaker 1: all he was able to do. It seems like there

1334
01:24:46,880 --> 01:24:50,760
Speaker 1: wasn't even like Google involved. I don't know, Like, yeah,

1335
01:24:50,760 --> 01:24:53,559
Speaker 1: it's just like seconds. It's like there's not enough time

1336
01:24:53,600 --> 01:24:57,080
Speaker 1: in this two hour movie. We have to have a

1337
01:24:57,080 --> 01:25:03,839
Speaker 1: whole subplot with this review of his restaurant, which is Geez,

1338
01:25:04,640 --> 01:25:11,360
Speaker 1: the restaurant you could cut out the restaurant. It's so bizarre,

1339
01:25:12,840 --> 01:25:15,400
Speaker 1: but I don't hate it, but it's like whatever, like

1340
01:25:15,439 --> 01:25:17,679
Speaker 1: that that time could be better used for so many things,

1341
01:25:17,960 --> 01:25:20,160
Speaker 1: And it's like that in particular, it is like James L.

1342
01:25:20,240 --> 01:25:24,400
Speaker 1: Brooks could have gotten this movie made and done the

1343
01:25:24,439 --> 01:25:30,000
Speaker 1: bare minimum of like hiring a co writer who was Mexican,

1344
01:25:30,160 --> 01:25:33,320
Speaker 1: like collaborating instead of being like a James L. Brooks

1345
01:25:33,360 --> 01:25:36,160
Speaker 1: film about something that I'm saying it's about but actually

1346
01:25:36,240 --> 01:25:39,639
Speaker 1: it isn't. Like that's not too much to ask because

1347
01:25:39,680 --> 01:25:44,760
Speaker 1: I was really curious about like because it seems like

1348
01:25:44,920 --> 01:25:46,519
Speaker 1: and I don't want to give him too much credit.

1349
01:25:46,520 --> 01:25:48,640
Speaker 1: I'm trying to be careful, Like it does seem like

1350
01:25:48,840 --> 01:25:52,040
Speaker 1: James L. Brooks, even when like when he misses the

1351
01:25:52,080 --> 01:25:53,880
Speaker 1: mark a lot, but it doesn't seem like it's ever

1352
01:25:53,920 --> 01:25:56,599
Speaker 1: coming from a place of cruelty. It seems like it's

1353
01:25:56,640 --> 01:25:59,400
Speaker 1: usually from a place of ignorance and kind of like

1354
01:26:00,000 --> 01:26:03,240
Speaker 1: thinking he knows more than he actually does. Yeah, and

1355
01:26:03,320 --> 01:26:06,000
Speaker 1: like kind of like Hubris of like, well, it's a

1356
01:26:06,080 --> 01:26:09,879
Speaker 1: James L. Brooks movie. I can't collaborate with a second person,

1357
01:26:10,120 --> 01:26:12,479
Speaker 1: you know, who knows what they're talking about and can

1358
01:26:12,520 --> 01:26:17,679
Speaker 1: write like so James L. Brooks did not do much

1359
01:26:17,760 --> 01:26:19,640
Speaker 1: press for this movie, but I was looking for an

1360
01:26:19,680 --> 01:26:22,439
Speaker 1: interview just to be like, what was his research process?

1361
01:26:22,640 --> 01:26:25,639
Speaker 1: Was there a research process? What work went into writing

1362
01:26:25,640 --> 01:26:28,599
Speaker 1: this script? Because it's so all over the place. And

1363
01:26:29,200 --> 01:26:31,400
Speaker 1: he says that he did which and this kind of

1364
01:26:31,439 --> 01:26:33,280
Speaker 1: made me laugh. He said that he did research for

1365
01:26:33,320 --> 01:26:36,599
Speaker 1: this movie for a year a year, Like what does

1366
01:26:36,640 --> 01:26:40,120
Speaker 1: that mean? He Okay, so he like live in l A.

1367
01:26:40,439 --> 01:26:44,200
Speaker 1: It's like that exactly. So did he just like exploit

1368
01:26:44,240 --> 01:26:47,760
Speaker 1: the labor of a Mexican immigrant as his housekeeper for

1369
01:26:47,800 --> 01:26:51,519
Speaker 1: a year like that? So what he did? I'll read

1370
01:26:51,560 --> 01:26:54,120
Speaker 1: it to you. It's a very it's a roller coaster

1371
01:26:54,439 --> 01:26:57,720
Speaker 1: of a quote, so I'll just read it to you.

1372
01:26:57,840 --> 01:26:59,599
Speaker 1: This is an interview he did when the movie came

1373
01:26:59,600 --> 01:27:03,439
Speaker 1: out into as it for person asks how much research

1374
01:27:03,479 --> 01:27:08,080
Speaker 1: do you do for a character? James Brooks says, enormous, enormous, enormous,

1375
01:27:08,120 --> 01:27:11,639
Speaker 1: sitting around table, sitting at my home, gathering women, hearing

1376
01:27:11,680 --> 01:27:15,320
Speaker 1: great lines, seeing women with their children, having the kids translate,

1377
01:27:15,560 --> 01:27:18,120
Speaker 1: talking to them about that experience that was just an

1378
01:27:18,120 --> 01:27:20,160
Speaker 1: accident when the kids were there with their mother one

1379
01:27:20,200 --> 01:27:22,120
Speaker 1: day and that led to being the most important part

1380
01:27:22,120 --> 01:27:26,040
Speaker 1: of the story. Maybe hundreds of women, notebooks filled with transcripts,

1381
01:27:26,040 --> 01:27:28,880
Speaker 1: almost of them in Spanish, which I don't speak, with

1382
01:27:28,960 --> 01:27:32,400
Speaker 1: somebody translating for me. And the nights when you get loose,

1383
01:27:32,520 --> 01:27:34,360
Speaker 1: the nights, when you do it at night and you're

1384
01:27:34,360 --> 01:27:36,800
Speaker 1: just sitting around and it goes on and just when

1385
01:27:36,800 --> 01:27:38,880
Speaker 1: it stops being formal, and some of the best of

1386
01:27:38,880 --> 01:27:41,360
Speaker 1: it is you're sitting back, like at this certain point

1387
01:27:41,439 --> 01:27:44,240
Speaker 1: instead of asking questions, and they're just talking to each

1388
01:27:44,240 --> 01:27:46,680
Speaker 1: other and somebody's just telling you what they're saying, and

1389
01:27:46,760 --> 01:27:49,400
Speaker 1: it's great. There was a nineteen year old mother of

1390
01:27:49,400 --> 01:27:51,280
Speaker 1: a two year old I met, and she said this

1391
01:27:51,360 --> 01:27:53,640
Speaker 1: extraordinary thing. I had the line in the movie, and

1392
01:27:53,680 --> 01:27:55,559
Speaker 1: I had to cut it out because I didn't shoot

1393
01:27:55,600 --> 01:27:58,640
Speaker 1: the scene. But she said that she well, she was

1394
01:27:58,680 --> 01:28:00,920
Speaker 1: a very attractive woman, and she said the next time

1395
01:28:01,000 --> 01:28:02,800
Speaker 1: she had a man who was viable at all, that

1396
01:28:03,040 --> 01:28:05,360
Speaker 1: she'd instead of dating him and finding out these facts

1397
01:28:05,400 --> 01:28:07,559
Speaker 1: about him, she'd want to take him to the park

1398
01:28:07,600 --> 01:28:09,519
Speaker 1: with her kids, see him interact with her kid, and

1399
01:28:09,560 --> 01:28:11,679
Speaker 1: make her decision on the guy based only on that.

1400
01:28:12,080 --> 01:28:14,360
Speaker 1: And that became the heartbeat that I kept on talking

1401
01:28:14,400 --> 01:28:21,040
Speaker 1: to within the movie. The quote goes on, I find

1402
01:28:21,120 --> 01:28:24,680
Speaker 1: this so weird and confusing, where he just makes it

1403
01:28:24,720 --> 01:28:29,320
Speaker 1: sound like he was inviting women to his house and

1404
01:28:29,720 --> 01:28:34,320
Speaker 1: write like it just sounds at night. I have so

1405
01:28:34,360 --> 01:28:41,280
Speaker 1: many questions, like he should have just gotten like a

1406
01:28:41,320 --> 01:28:44,840
Speaker 1: co writer, or like just funded this movie and not

1407
01:28:45,040 --> 01:28:48,400
Speaker 1: made it himself. Like, oh my god. That yeah, So

1408
01:28:48,479 --> 01:28:52,320
Speaker 1: that was that was his research process, was women coming

1409
01:28:52,360 --> 01:28:55,360
Speaker 1: over his house and then him hiring a translator to

1410
01:28:55,360 --> 01:28:57,559
Speaker 1: write down what they said and then putting that in

1411
01:28:57,920 --> 01:29:01,000
Speaker 1: the movie, which is also like exploitative in itself, like

1412
01:29:01,720 --> 01:29:05,240
Speaker 1: deeply exploitative, and like were the people he was talking

1413
01:29:05,280 --> 01:29:09,680
Speaker 1: to compensated where they credited? I'm assuming not. Who is

1414
01:29:09,720 --> 01:29:13,760
Speaker 1: the nineteen year old mom who said something that inspired

1415
01:29:13,800 --> 01:29:18,559
Speaker 1: the whole movie? Yeah? What the FuG? Yeah? So I

1416
01:29:18,680 --> 01:29:25,280
Speaker 1: got my answer, but it was very upsetting. So that's unfortunate.

1417
01:29:25,320 --> 01:29:30,640
Speaker 1: Look into what he meant by the term research. What

1418
01:29:30,760 --> 01:29:34,880
Speaker 1: he thinks is research, which is just exploiting women that

1419
01:29:35,000 --> 01:29:38,720
Speaker 1: he encourages to come to his house. Just hire a

1420
01:29:38,720 --> 01:29:43,920
Speaker 1: co writer. What the fuck are you doing? Man? Horrible? Yeah,

1421
01:29:44,320 --> 01:29:47,000
Speaker 1: so sorry sorry for bringing the vibe down with that,

1422
01:29:47,080 --> 01:29:50,320
Speaker 1: but I just was like, damn, no, my my world

1423
01:29:50,360 --> 01:29:53,320
Speaker 1: has been rock. No one's read that interview in seventeen years,

1424
01:29:53,600 --> 01:29:59,080
Speaker 1: and I feel like me to unearth it. Does anyone

1425
01:29:59,120 --> 01:30:02,800
Speaker 1: have anything they'd like to talk about? I think I

1426
01:30:02,840 --> 01:30:09,639
Speaker 1: don't think so. Yeah. Well, Um, does the movie pass

1427
01:30:09,760 --> 01:30:13,639
Speaker 1: the Bechel test? Yeah? It does? Right, Yeah, I think

1428
01:30:14,040 --> 01:30:16,519
Speaker 1: a lot of like like less so as the movie

1429
01:30:16,560 --> 01:30:18,840
Speaker 1: goes on. But at the beginning it passes a lot,

1430
01:30:19,760 --> 01:30:23,280
Speaker 1: right because the focus. I mean there are and there

1431
01:30:23,280 --> 01:30:28,920
Speaker 1: are different combinations where of course Florida and Christina, Christina

1432
01:30:29,200 --> 01:30:33,600
Speaker 1: and Debora, Debora and Bernice. You know, there's different combinations

1433
01:30:33,680 --> 01:30:37,960
Speaker 1: Laman and various characters, right right, right right, But yeah,

1434
01:30:38,040 --> 01:30:42,040
Speaker 1: you're right. As the movie goes on and the focus

1435
01:30:42,080 --> 01:30:47,479
Speaker 1: becomes about again a romance that I could not be

1436
01:30:47,920 --> 01:30:53,120
Speaker 1: less compelled by. Yeah, that these other kind of interactions

1437
01:30:53,200 --> 01:30:56,639
Speaker 1: drop off a bit, but yeah, it does. It does pass. Um.

1438
01:30:56,720 --> 01:31:02,640
Speaker 1: Women are interacting quite a bit, and often about the

1439
01:31:02,800 --> 01:31:06,559
Speaker 1: very mundane things that this movie is about. I've never

1440
01:31:07,240 --> 01:31:10,880
Speaker 1: sea glass. Why is there a twenty minute segment about

1441
01:31:10,920 --> 01:31:15,200
Speaker 1: finding sea glass in the sand? It's a medical It's

1442
01:31:15,439 --> 01:31:18,200
Speaker 1: it's like so mundane that it sounds like James el

1443
01:31:18,280 --> 01:31:21,559
Speaker 1: Brooks had done it himself. Like it's too specific, right,

1444
01:31:24,120 --> 01:31:29,439
Speaker 1: very very weird, confusing, and yet I feel like it's like,

1445
01:31:29,920 --> 01:31:33,120
Speaker 1: I don't know, I would I would definitely categorize this

1446
01:31:33,160 --> 01:31:38,080
Speaker 1: movie under the very overused term problematic fave, problematic fave.

1447
01:31:38,520 --> 01:31:44,680
Speaker 1: For me, it's a problematic least fase. Yeah, he's edgy,

1448
01:31:44,720 --> 01:31:47,400
Speaker 1: that's Kitla. That's the kind of edgy content you can

1449
01:31:47,520 --> 01:31:50,760
Speaker 1: expect on this show. Yeah, we're like, I did not

1450
01:31:50,880 --> 01:31:55,360
Speaker 1: like it, um the Yeah, this movie. It's just like

1451
01:31:55,680 --> 01:32:00,599
Speaker 1: I want James L. Brooks to answer for his research process. Yeah,

1452
01:32:01,200 --> 01:32:04,720
Speaker 1: as far as our nipple scale goes zero to five nipples.

1453
01:32:04,760 --> 01:32:09,400
Speaker 1: Based on examining the movie through an intersectional feminist lens,

1454
01:32:09,920 --> 01:32:14,559
Speaker 1: I feel like I and I I hated the movie

1455
01:32:14,600 --> 01:32:19,400
Speaker 1: so much that this might cloud my judgment, But I

1456
01:32:19,439 --> 01:32:22,599
Speaker 1: feel like I would still only give it like maybe

1457
01:32:22,640 --> 01:32:25,679
Speaker 1: a one and a half nipples, because again, it does

1458
01:32:26,000 --> 01:32:31,000
Speaker 1: attempt to make some commentary. And then, like you said,

1459
01:32:31,400 --> 01:32:37,600
Speaker 1: the intentions never seemed to be malicious or like a

1460
01:32:37,680 --> 01:32:41,599
Speaker 1: deliberate punching down the way a lot of comedies, although

1461
01:32:41,600 --> 01:32:44,040
Speaker 1: I would not classify this movie as a comedy except

1462
01:32:44,080 --> 01:32:47,400
Speaker 1: for that one scene. Except for the week I had

1463
01:32:47,400 --> 01:32:50,680
Speaker 1: an orgasa there he goes, this lady had two babies

1464
01:32:50,760 --> 01:32:53,599
Speaker 1: and she's still keeping it tight. I'm like, what the

1465
01:32:53,640 --> 01:32:59,760
Speaker 1: fun is going? Oh my god, and I'm something's just

1466
01:32:59,800 --> 01:33:05,679
Speaker 1: like sleep the whole He's asleep and away, which honestly,

1467
01:33:05,880 --> 01:33:10,840
Speaker 1: there's worst ways to be. Yeah, so I think there's

1468
01:33:10,880 --> 01:33:14,840
Speaker 1: an effort made, but it's just that that effort was

1469
01:33:15,479 --> 01:33:20,439
Speaker 1: not not good. It was not executed well, and just

1470
01:33:20,560 --> 01:33:24,839
Speaker 1: between a lot of like threads that get dropped and

1471
01:33:25,320 --> 01:33:30,640
Speaker 1: some weird coding and casting stuff. The class commentary is

1472
01:33:30,680 --> 01:33:34,280
Speaker 1: a bit more effective for me, but again, the movie

1473
01:33:34,320 --> 01:33:40,599
Speaker 1: is so scattered and choppy narratively that I don't know

1474
01:33:40,640 --> 01:33:45,960
Speaker 1: what the takeaway is and it's just a big old

1475
01:33:46,280 --> 01:33:51,080
Speaker 1: mess for me. UM. I do appreciate and completely see

1476
01:33:51,120 --> 01:33:58,160
Speaker 1: how families and an individuals UM could see themselves represented

1477
01:33:58,800 --> 01:34:03,360
Speaker 1: in a movie like especially because so few movies, especially

1478
01:34:03,360 --> 01:34:08,760
Speaker 1: ones that are like mainstream theatrical releases, and not many

1479
01:34:08,800 --> 01:34:13,160
Speaker 1: of them, deal with the experience of an immigrant family.

1480
01:34:13,280 --> 01:34:17,519
Speaker 1: I would argue that this one barely explores that because

1481
01:34:17,560 --> 01:34:21,240
Speaker 1: so much of the focus is still on the classkey

1482
01:34:21,360 --> 01:34:25,479
Speaker 1: drama that's going on. But I still understand that there

1483
01:34:25,680 --> 01:34:30,160
Speaker 1: is some degree of representation that people can see themselves in.

1484
01:34:30,680 --> 01:34:32,320
Speaker 1: So I don't want to like diminish that or take

1485
01:34:32,320 --> 01:34:36,000
Speaker 1: that away from anyone. But luckily it's not two thousand

1486
01:34:36,080 --> 01:34:42,200
Speaker 1: four anymore, and representation in that regard has been getting

1487
01:34:42,280 --> 01:34:46,960
Speaker 1: slightly better in the years scenes. So I'm only going

1488
01:34:47,000 --> 01:34:49,760
Speaker 1: to give it one and a half nipples, and I

1489
01:34:49,800 --> 01:34:54,920
Speaker 1: will give one to Christina and I will give my

1490
01:34:55,000 --> 01:35:01,440
Speaker 1: half nipple to floor. I feel like being overly nostalgic

1491
01:35:01,520 --> 01:35:04,920
Speaker 1: by but like to like I want to go to

1492
01:35:05,920 --> 01:35:08,680
Speaker 1: you know, I think that this like movie is very

1493
01:35:08,760 --> 01:35:12,719
Speaker 1: much what is wrong with It is very glaringly wrong.

1494
01:35:12,800 --> 01:35:15,280
Speaker 1: And the more you learn about the production, the it

1495
01:35:15,439 --> 01:35:19,760
Speaker 1: becomes why it's coming off the way it's coming off,

1496
01:35:19,800 --> 01:35:22,800
Speaker 1: and like what like I do agree that it's like

1497
01:35:22,920 --> 01:35:26,880
Speaker 1: James Brooks wasn't approaching this material with malicious intent, but

1498
01:35:26,960 --> 01:35:30,360
Speaker 1: it was like it's clear that he's most interested in

1499
01:35:30,479 --> 01:35:35,120
Speaker 1: the Adam Sandler character, in which case, like right, it

1500
01:35:35,520 --> 01:35:39,360
Speaker 1: like that's a different movie, make a different movie, or again,

1501
01:35:39,560 --> 01:35:43,400
Speaker 1: like hire a co writer who is interested in who

1502
01:35:43,439 --> 01:35:47,120
Speaker 1: you're claiming is your protagonist, because he just like seems

1503
01:35:47,160 --> 01:35:50,080
Speaker 1: interested in you know again, I mean I can't really

1504
01:35:50,120 --> 01:35:52,400
Speaker 1: speak to his intent because he didn't do any interviews

1505
01:35:52,439 --> 01:35:54,679
Speaker 1: about this movie except the one weird one, but like

1506
01:35:55,600 --> 01:35:58,320
Speaker 1: weird that it does seem like he takes steps to

1507
01:35:58,479 --> 01:36:02,040
Speaker 1: other floor in any ways and ways that I think

1508
01:36:02,120 --> 01:36:05,360
Speaker 1: he views this very complimentary and like, no, I'm not

1509
01:36:05,479 --> 01:36:08,280
Speaker 1: uthering her. I'm saying that she's absolutely perfect and the

1510
01:36:08,360 --> 01:36:12,160
Speaker 1: ultimate mommy. And it's like, well, that's other here, you know,

1511
01:36:12,280 --> 01:36:15,880
Speaker 1: Like he's just like you were saying, Caitlin, like and

1512
01:36:16,040 --> 01:36:18,599
Speaker 1: and like you were speaking about your own experience, Wilissa.

1513
01:36:18,680 --> 01:36:22,200
Speaker 1: It's like this this movie connected for reasons that are

1514
01:36:22,200 --> 01:36:25,360
Speaker 1: related to writing and for reasons that are related to

1515
01:36:25,479 --> 01:36:29,440
Speaker 1: lack of options of like in two thousand four. Yeah,

1516
01:36:29,920 --> 01:36:33,400
Speaker 1: like it just know, the only way to make a

1517
01:36:33,439 --> 01:36:38,480
Speaker 1: widely distributed movie about the story of two Mexican immigrant

1518
01:36:38,479 --> 01:36:41,920
Speaker 1: women was to have a white guy who knew nothing

1519
01:36:42,000 --> 01:36:45,920
Speaker 1: of that experience and didn't take many steps to include

1520
01:36:46,320 --> 01:36:49,880
Speaker 1: or involve. You know, it doesn't even speak Spanish. Like

1521
01:36:50,000 --> 01:36:52,639
Speaker 1: he didn't admit like I don't know what they were saying,

1522
01:36:52,680 --> 01:36:55,360
Speaker 1: I don't speak Spanish. It's like, why would you make

1523
01:36:55,400 --> 01:36:58,639
Speaker 1: a movie about that? Then? Right, well he makes it.

1524
01:36:58,720 --> 01:37:02,479
Speaker 1: He makes a creepy comment about how pass Vega didn't

1525
01:37:02,479 --> 01:37:05,160
Speaker 1: speak much English, and he didn't speak much Spanish, and

1526
01:37:05,200 --> 01:37:08,880
Speaker 1: I think he's trying to like draw this parallel that's like, honey, no,

1527
01:37:09,479 --> 01:37:12,519
Speaker 1: that's not what was going on. He Adam Sandler. I

1528
01:37:12,520 --> 01:37:16,120
Speaker 1: think he's Adam Sandler and she's the character she was

1529
01:37:16,200 --> 01:37:21,280
Speaker 1: playing well. But but yeah, I mean it's just like

1530
01:37:21,479 --> 01:37:25,080
Speaker 1: it's so two thousand and four and its flaws, but

1531
01:37:25,200 --> 01:37:28,400
Speaker 1: I think that there are, like there are strong threads

1532
01:37:28,439 --> 01:37:31,920
Speaker 1: and relationships that, like you see parts of that seemed

1533
01:37:32,000 --> 01:37:35,840
Speaker 1: very promising, and that just he just can't follow through on.

1534
01:37:36,120 --> 01:37:40,000
Speaker 1: Like Jimmy, Jimmy, Jimmy is just not the guy to

1535
01:37:40,040 --> 01:37:43,479
Speaker 1: make this story. But he did his he did his best,

1536
01:37:43,600 --> 01:37:46,559
Speaker 1: and it was it was okay for two thousand and four.

1537
01:37:46,840 --> 01:37:52,640
Speaker 1: So I'll give it to nipples and give one to Christina,

1538
01:37:53,160 --> 01:37:57,120
Speaker 1: and I will give one to Monica because I wanted

1539
01:37:57,120 --> 01:38:00,280
Speaker 1: her in the movie. More cousin Monica. Maybe it was

1540
01:38:00,320 --> 01:38:03,760
Speaker 1: funny justice for Monica. She had she like got her

1541
01:38:03,800 --> 01:38:09,280
Speaker 1: nose broken, she had good side eyes at at Deborah.

1542
01:38:09,560 --> 01:38:12,200
Speaker 1: I'm gonna give this movie two and a half nipples.

1543
01:38:12,680 --> 01:38:14,559
Speaker 1: It was going to be three nipples. And then the

1544
01:38:14,640 --> 01:38:18,679
Speaker 1: James L. Brooks um research that you've told me, about

1545
01:38:18,920 --> 01:38:24,479
Speaker 1: really took half a nipple away, UM so horrible. I

1546
01:38:24,520 --> 01:38:27,800
Speaker 1: really hate I really hate that. I think I still, yeah,

1547
01:38:27,840 --> 01:38:31,320
Speaker 1: I'm still still like sentimentally attached to this movie, but

1548
01:38:31,360 --> 01:38:35,519
Speaker 1: it's just because of like who I am. And yeah,

1549
01:38:35,800 --> 01:38:38,280
Speaker 1: it's so it's so fun to talk about too, because

1550
01:38:38,280 --> 01:38:41,960
Speaker 1: there's so much going on there that is a rye

1551
01:38:42,720 --> 01:38:46,160
Speaker 1: and I yeah, I could. I feel like I could

1552
01:38:46,160 --> 01:38:50,920
Speaker 1: talk about it for like maybe another half hour, but

1553
01:38:50,960 --> 01:38:53,120
Speaker 1: I know there's like stuff I feel like we missed,

1554
01:38:53,160 --> 01:38:56,920
Speaker 1: but I'm just like I'm tired. I'm tired. I have

1555
01:38:57,000 --> 01:39:00,040
Speaker 1: to go to bed. I know I'm gonna give of

1556
01:39:00,400 --> 01:39:05,320
Speaker 1: one nipple to Klarrences Leachman through the whole movie because

1557
01:39:05,360 --> 01:39:08,320
Speaker 1: she's so funny and weird and I love I just

1558
01:39:08,320 --> 01:39:11,280
Speaker 1: love a drunk old woman and I love that her

1559
01:39:11,320 --> 01:39:14,360
Speaker 1: purpose is just like being this like dried out like

1560
01:39:14,560 --> 01:39:18,599
Speaker 1: jazz singer who is just like drinking by noon and

1561
01:39:18,680 --> 01:39:21,559
Speaker 1: just like being funny. I love her. And I'll give

1562
01:39:21,640 --> 01:39:26,160
Speaker 1: another nipple to the Christina translating for her mother scene

1563
01:39:26,400 --> 01:39:29,600
Speaker 1: because it is it's pretty classic. And I like that

1564
01:39:29,640 --> 01:39:31,600
Speaker 1: he's trying to eat the sandwich the whole time and

1565
01:39:31,640 --> 01:39:36,320
Speaker 1: he can't and then have a nipple to the final

1566
01:39:36,400 --> 01:39:40,120
Speaker 1: scene of the movie that just always gets to me,

1567
01:39:40,280 --> 01:39:43,320
Speaker 1: even I I screencapped it while I was watching it,

1568
01:39:43,560 --> 01:39:46,000
Speaker 1: where she says, um, the only thing that will define

1569
01:39:46,040 --> 01:39:49,160
Speaker 1: me is being my mother's daughter. That really got to me.

1570
01:39:49,360 --> 01:39:52,280
Speaker 1: James L. Brooks, I don't know you. I think that

1571
01:39:52,360 --> 01:39:55,240
Speaker 1: was really formative to me too. I've like, that's like

1572
01:39:55,280 --> 01:40:02,200
Speaker 1: in my my poetry somewhere probably plagiarized. Um, but I

1573
01:40:02,240 --> 01:40:05,720
Speaker 1: mean he probably plagiarized it from the women that he

1574
01:40:05,800 --> 01:40:10,479
Speaker 1: invited over to his house. Dang. Yeah, I wouldn't lose

1575
01:40:10,479 --> 01:40:18,280
Speaker 1: sleep over it. Yeah, but that's just happening. Also. Yeah, well, Melissa,

1576
01:40:18,360 --> 01:40:21,679
Speaker 1: thank you so much for joining us. Thanks for having me.

1577
01:40:21,760 --> 01:40:24,000
Speaker 1: This is so fun. It was fun to hang out.

1578
01:40:25,200 --> 01:40:29,599
Speaker 1: Thanks for bringing us this movie. Uh, that is such

1579
01:40:29,640 --> 01:40:32,360
Speaker 1: a I mean truly, it's just like, let people make

1580
01:40:32,400 --> 01:40:35,040
Speaker 1: their own movies, James. Don't let James L. Brooks do it. Look,

1581
01:40:35,080 --> 01:40:42,719
Speaker 1: what would happen? Tell us more about your book and

1582
01:40:42,760 --> 01:40:46,559
Speaker 1: where people can buy it and check out your other

1583
01:40:46,640 --> 01:40:48,960
Speaker 1: stuff and follow you on social media and all that

1584
01:40:49,040 --> 01:40:52,479
Speaker 1: kind of stuff. Um, you can follow me on social

1585
01:40:52,479 --> 01:40:56,799
Speaker 1: media at e L l oh Melissa, that's my handle

1586
01:40:56,880 --> 01:41:02,000
Speaker 1: everywhere I'm on the internet way too much. And my book,

1587
01:41:02,560 --> 01:41:05,559
Speaker 1: like I said, it's a novel in verse about bringing

1588
01:41:05,560 --> 01:41:08,080
Speaker 1: Sleana back to life through sance, and it's all about

1589
01:41:08,200 --> 01:41:12,280
Speaker 1: identity and love and loneliness in a way that maybe

1590
01:41:12,760 --> 01:41:16,720
Speaker 1: um was you know a tiny bits of spanglisher in there.

1591
01:41:17,760 --> 01:41:23,000
Speaker 1: Um identicate a book to Jameson Brooks. Um and anyway, No, no,

1592
01:41:23,280 --> 01:41:26,160
Speaker 1: he's an icon. I get it right. It's like I

1593
01:41:26,240 --> 01:41:31,960
Speaker 1: only wrote my everything I do is because of Jimmy Brooks. Um.

1594
01:41:32,040 --> 01:41:34,880
Speaker 1: So yeah, my book is out. You can get it

1595
01:41:34,920 --> 01:41:38,720
Speaker 1: wherever books are being sold. Um. It would be great

1596
01:41:38,720 --> 01:41:40,559
Speaker 1: if you didn't get it on Amazon and got it

1597
01:41:40,600 --> 01:41:44,760
Speaker 1: on bookshop dot org. They support indie bookstores. Um. Or

1598
01:41:44,800 --> 01:41:48,439
Speaker 1: you could call up your local indie bookstore and buy

1599
01:41:48,439 --> 01:41:51,280
Speaker 1: it there. I would love if you read my book. Yeah,

1600
01:41:51,560 --> 01:41:56,280
Speaker 1: that's it. Thank you, Yeah, I love you. Thank you

1601
01:41:56,360 --> 01:42:00,200
Speaker 1: for doing this show again so much. I love Thanks

1602
01:42:00,240 --> 01:42:09,880
Speaker 1: for having me on. I love it. You can follow

1603
01:42:10,000 --> 01:42:15,000
Speaker 1: us on social media on Twitter and Instagram at Bechtel Cast.

1604
01:42:15,560 --> 01:42:19,839
Speaker 1: You can go to patreon dot com slash Bechtel Cast

1605
01:42:20,240 --> 01:42:25,240
Speaker 1: and subscribe to our Matreon, which is five dollars a month.

1606
01:42:25,400 --> 01:42:29,200
Speaker 1: You get to bonus episodes every month, plus access to

1607
01:42:29,880 --> 01:42:34,360
Speaker 1: the very large back catalog. You can get our merch

1608
01:42:34,640 --> 01:42:37,719
Speaker 1: at public dot com slash the Bechtel Cast. If that's

1609
01:42:37,920 --> 01:42:39,800
Speaker 1: you know what you feel like day, and if you don't,

1610
01:42:40,000 --> 01:42:42,759
Speaker 1: it's none of our business. Live your life, that's true.

1611
01:42:44,000 --> 01:42:45,240
Speaker 1: Audios