1 00:00:00,520 --> 00:00:03,360 Speaker 1: On the be Dol Cast, the questions asked if movies 2 00:00:03,400 --> 00:00:07,039 Speaker 1: have women and um are all their discussions just boyfriends 3 00:00:07,040 --> 00:00:11,240 Speaker 1: and husbands, or do they have individualism the patriarchy? Zef 4 00:00:11,400 --> 00:00:16,520 Speaker 1: and best start changing it with the Bedel Cast. Hello, 5 00:00:16,920 --> 00:00:20,160 Speaker 1: and welcome to the Bechdel Cast. Oh wait, I meant 6 00:00:20,200 --> 00:00:22,160 Speaker 1: to do it a different way. Let me start over. Okay, 7 00:00:22,600 --> 00:00:25,400 Speaker 1: well hey, well hey there, and welcome to the beck 8 00:00:25,440 --> 00:00:33,080 Speaker 1: Doel Cast. Hey, I'm your host, Caitlin Durante. I'm Jamie Loftus. Well, hey, 9 00:00:33,200 --> 00:00:35,200 Speaker 1: hey there. That was a little bit in New York. Yeah, 10 00:00:35,200 --> 00:00:37,199 Speaker 1: it's really hard. I thought I would do better at 11 00:00:37,240 --> 00:00:42,520 Speaker 1: this accent. Figure it out. It's foreshadowing of the movie 12 00:00:42,560 --> 00:00:45,440 Speaker 1: we're gonna be talking about. This is so clever of us, 13 00:00:45,520 --> 00:00:50,519 Speaker 1: I know, I know, yeah, oh yeah. But before we 14 00:00:50,680 --> 00:00:52,920 Speaker 1: get into that, we're gonna just tell you a little 15 00:00:52,920 --> 00:00:55,800 Speaker 1: bit about what the Bechdel Cast is. What is it. 16 00:00:55,800 --> 00:00:58,880 Speaker 1: It's a podcast where we talk about movies, but specifically 17 00:00:59,320 --> 00:01:03,240 Speaker 1: they're female characters. Each we pick a different movie every 18 00:01:03,240 --> 00:01:06,520 Speaker 1: week and we just talk and chat and then we 19 00:01:06,600 --> 00:01:09,440 Speaker 1: also at the at the end when we remember, we 20 00:01:09,640 --> 00:01:12,319 Speaker 1: decide if it passed the Backdal test. That's which is 21 00:01:12,800 --> 00:01:16,319 Speaker 1: which has everything to do with whether there are two 22 00:01:16,400 --> 00:01:19,280 Speaker 1: female characters who speak to each other about something other 23 00:01:19,600 --> 00:01:22,640 Speaker 1: than a man. There's a variation of it where the 24 00:01:22,720 --> 00:01:26,440 Speaker 1: female characters have to have names depending on the movie. 25 00:01:26,640 --> 00:01:29,760 Speaker 1: We we take it easy on some and uh really 26 00:01:29,800 --> 00:01:33,360 Speaker 1: going on the others. Yeah, we're we can be ruthless. Yeah. 27 00:01:33,480 --> 00:01:38,040 Speaker 1: And if you're wondering, hey, who are these two people? Yeah, 28 00:01:38,080 --> 00:01:41,760 Speaker 1: why do why do they get to talk about? Well? Yeah, 29 00:01:41,840 --> 00:01:44,760 Speaker 1: I wonder if anyone ever is like, which one's talking? Oh, 30 00:01:44,920 --> 00:01:47,880 Speaker 1: these there's two ladies and they're both their voices are 31 00:01:47,920 --> 00:01:52,000 Speaker 1: too shrill, like Kippernette White ladies were the same lady. 32 00:01:52,400 --> 00:01:55,160 Speaker 1: But yeah, I'm the one. It's me, Caitlin. It's me. Uh. 33 00:01:55,200 --> 00:01:58,440 Speaker 1: And I have a lot of credentials. One. I have 34 00:01:58,560 --> 00:02:03,560 Speaker 1: made several students elms, at least three of them. Also, 35 00:02:03,840 --> 00:02:08,080 Speaker 1: I do. I do have two degrees in film. I 36 00:02:08,120 --> 00:02:14,040 Speaker 1: don't like to bring it up. I don't like the time. Well, 37 00:02:14,360 --> 00:02:16,799 Speaker 1: you know, the people want to know the people are as. 38 00:02:17,880 --> 00:02:20,560 Speaker 1: I used my degree this week, which is pretty amazing. 39 00:02:21,160 --> 00:02:24,000 Speaker 1: My radio degree. I know I never get to use 40 00:02:24,080 --> 00:02:28,200 Speaker 1: it because it's in irrelevant medium, but I used it 41 00:02:28,240 --> 00:02:31,519 Speaker 1: this week. I wrote some promos for a radio station. Hey, 42 00:02:31,560 --> 00:02:33,519 Speaker 1: there you go. It took three years, but I did it. 43 00:02:33,639 --> 00:02:37,240 Speaker 1: Did they pay you for it? Uh, we'll see. We'll 44 00:02:37,280 --> 00:02:41,000 Speaker 1: see if they come there. In theory, they should. Yeah, 45 00:02:41,080 --> 00:02:43,280 Speaker 1: if you do work, you should get paid for it. Yeah. 46 00:02:43,320 --> 00:02:45,320 Speaker 1: I have one degree. I bet I use it this week, 47 00:02:45,440 --> 00:02:48,840 Speaker 1: So it counts thet much for their head than I am. Switch. 48 00:02:49,080 --> 00:02:55,600 Speaker 1: But without further ado, let's introduce our guests. Yeah, she's 49 00:02:55,600 --> 00:02:58,520 Speaker 1: a very funny person. She's a writer, she's a comedian, 50 00:02:58,960 --> 00:03:03,320 Speaker 1: and her name is True Prescott. Thanks for having me on, 51 00:03:03,600 --> 00:03:06,840 Speaker 1: Thanks for joining us, for coming. Yeah, so you've brought 52 00:03:06,919 --> 00:03:08,520 Speaker 1: us a movie that we're going to be talking about, 53 00:03:08,560 --> 00:03:11,200 Speaker 1: and tell us. Tell us what it is. Well, first 54 00:03:11,240 --> 00:03:14,520 Speaker 1: and foremost, I must say my degree um, I degree 55 00:03:14,560 --> 00:03:19,680 Speaker 1: in in Film Studies UM from Chapman University. Interesting bit 56 00:03:19,680 --> 00:03:22,520 Speaker 1: of trivia about my degree. I got into film school 57 00:03:22,639 --> 00:03:25,040 Speaker 1: with an essay on the Cohen Brothers, got out with 58 00:03:25,080 --> 00:03:30,880 Speaker 1: a thesis on them. Baby, yeah sandwiched my education. Oh 59 00:03:30,919 --> 00:03:33,960 Speaker 1: this is perfect. Yeah, I I'm so excited to talk 60 00:03:34,000 --> 00:03:37,040 Speaker 1: about this movie. I did rewatch it, but I did 61 00:03:37,080 --> 00:03:39,600 Speaker 1: feel before I rewatched, I was like, do I need 62 00:03:39,640 --> 00:03:41,440 Speaker 1: to because I feel like I know it so well. 63 00:03:42,040 --> 00:03:43,680 Speaker 1: It's just one of those movies. And then I also 64 00:03:43,720 --> 00:03:47,600 Speaker 1: watched the TV series that it was based on. I 65 00:03:47,600 --> 00:03:50,440 Speaker 1: haven't seen that yet. I've heard it's very good. I've 66 00:03:50,480 --> 00:03:52,880 Speaker 1: heard some good things, such a treat. The movie is 67 00:03:52,920 --> 00:03:59,120 Speaker 1: Fargo FO which they probably knew because it's I'm guessing 68 00:03:59,240 --> 00:04:02,800 Speaker 1: on the episode listing. Yeah, well, no, we should keep 69 00:04:02,800 --> 00:04:05,240 Speaker 1: everyone in suspense. They have to listen to know what 70 00:04:05,400 --> 00:04:08,640 Speaker 1: movie we're talking about. Can I just say something while 71 00:04:08,680 --> 00:04:11,880 Speaker 1: I'm thinking about it. I didn't say my name yet. 72 00:04:12,040 --> 00:04:14,480 Speaker 1: Oh yeah, you should see your name. Oh boy, now 73 00:04:14,520 --> 00:04:18,640 Speaker 1: I feel very I feel full of hubrious. But my 74 00:04:18,720 --> 00:04:22,920 Speaker 1: name is Jamie. Okay, let's keep talking. That accent is 75 00:04:22,960 --> 00:04:26,160 Speaker 1: super fun. Oh yeah, I feel like I'm a real 76 00:04:26,200 --> 00:04:29,840 Speaker 1: sponge for accents. Like I'll be in Canada for like 77 00:04:29,920 --> 00:04:32,880 Speaker 1: half a day and everything will be like, oh yeah, 78 00:04:33,000 --> 00:04:35,479 Speaker 1: Like I stop doing it this afternoon, Like I watched 79 00:04:35,520 --> 00:04:38,280 Speaker 1: it this afternoon and then I came right here. I 80 00:04:38,360 --> 00:04:44,160 Speaker 1: was feeling real, Marge. It's just it's a kind musicality, 81 00:04:44,279 --> 00:04:46,920 Speaker 1: like there's there's like a real fun cadence to it 82 00:04:46,960 --> 00:04:49,640 Speaker 1: that just it opens the world up to you. That's 83 00:04:49,640 --> 00:04:53,360 Speaker 1: how I feel. But yeah, yeah, Yeah. To answer your 84 00:04:53,440 --> 00:04:56,240 Speaker 1: question from before, well, the reason why I brought this 85 00:04:56,279 --> 00:04:59,960 Speaker 1: movie is because this movie had always stuck out to me. 86 00:05:00,800 --> 00:05:05,520 Speaker 1: I think that for Cohen Brothers fans, they love Raising Arizona, 87 00:05:05,880 --> 00:05:09,880 Speaker 1: they love The Big Labowski, you know, they love other ones. 88 00:05:09,960 --> 00:05:12,440 Speaker 1: But I feel like this is a lot of Cohen 89 00:05:12,520 --> 00:05:16,559 Speaker 1: Brothers fans like, first, this is the big drama movie 90 00:05:16,640 --> 00:05:19,719 Speaker 1: that they really latch onto. And at least that was 91 00:05:19,760 --> 00:05:22,120 Speaker 1: the way it was for me. And I was always 92 00:05:22,120 --> 00:05:25,360 Speaker 1: a really big fan of film noir. I actually originally 93 00:05:25,600 --> 00:05:28,960 Speaker 1: wanted to major as a cinematographer because I was like, 94 00:05:29,040 --> 00:05:31,960 Speaker 1: really in a black and white cinematography. I was really 95 00:05:32,040 --> 00:05:36,039 Speaker 1: obnoxious eighteen to nineteen year old. But I got really 96 00:05:36,080 --> 00:05:39,320 Speaker 1: into film noirs and then um, you know, got into 97 00:05:39,360 --> 00:05:43,159 Speaker 1: Cohen Brothers movies, which is neon noir. And the way 98 00:05:43,160 --> 00:05:44,919 Speaker 1: that they do it in this film, I think is 99 00:05:45,920 --> 00:05:48,880 Speaker 1: just what. It's a spicy meat a ball. It's perfect. 100 00:05:49,320 --> 00:05:53,440 Speaker 1: We were talking earlier about how it's virtually flawless everything 101 00:05:53,480 --> 00:05:57,640 Speaker 1: about it. There's not a dull moment. Yeah, it's so good, 102 00:05:57,960 --> 00:06:01,600 Speaker 1: and it's full of olymptic to men, yeah and like 103 00:06:02,000 --> 00:06:05,960 Speaker 1: women who are doing their best. Yeah, yeah, yeah, a 104 00:06:05,960 --> 00:06:09,279 Speaker 1: bunch of incompetent dudes and a bunch of very competent well, 105 00:06:09,320 --> 00:06:14,880 Speaker 1: not a bunch one, especially very competent woman. I feel 106 00:06:14,880 --> 00:06:16,520 Speaker 1: like that's a trend in a lot of Cohen Brothers 107 00:06:16,520 --> 00:06:18,440 Speaker 1: films in general, though, I mean, you see that with 108 00:06:18,520 --> 00:06:21,120 Speaker 1: Raising Arizona and the Character of High, you see that 109 00:06:21,240 --> 00:06:23,200 Speaker 1: with you know, a lot of their other films that 110 00:06:23,279 --> 00:06:25,960 Speaker 1: it it's sort of like the action of the story 111 00:06:26,120 --> 00:06:29,320 Speaker 1: begins with an incompetent man spinning a lie that just 112 00:06:29,360 --> 00:06:31,480 Speaker 1: gets them deeper and deeper and deeper. And of course 113 00:06:31,520 --> 00:06:33,720 Speaker 1: we see that in this movie with Jerry Lindagard played 114 00:06:33,760 --> 00:06:37,760 Speaker 1: by William H. Macy just being a total bumbling idiot. 115 00:06:37,800 --> 00:06:40,159 Speaker 1: Like I feel like you could, I mean, with the 116 00:06:40,200 --> 00:06:42,120 Speaker 1: exception of No Country for Old Men and some of 117 00:06:42,120 --> 00:06:44,360 Speaker 1: their later works aside, Like you can count on any 118 00:06:44,360 --> 00:06:46,880 Speaker 1: Cohen Brothers movie where in like the first five or 119 00:06:46,920 --> 00:06:50,760 Speaker 1: ten minutes, if a plot is enacted of deceit or 120 00:06:50,800 --> 00:06:52,800 Speaker 1: you know, some sort of like get rich quick scheme, 121 00:06:53,160 --> 00:06:55,040 Speaker 1: you know that it's not going to work out at 122 00:06:55,080 --> 00:06:59,880 Speaker 1: all because of this character's own misgivings, like they're inept 123 00:06:59,920 --> 00:07:01,839 Speaker 1: to two is going to get in the way and 124 00:07:02,040 --> 00:07:04,240 Speaker 1: you know, and it's going to be very entertaining because 125 00:07:04,560 --> 00:07:07,039 Speaker 1: they're gonna have like sort of a folksy approach to 126 00:07:07,120 --> 00:07:09,720 Speaker 1: it that is like very every man, which I find 127 00:07:09,760 --> 00:07:12,440 Speaker 1: really interesting. Yea. And with Jerry from moment one, like 128 00:07:12,520 --> 00:07:15,880 Speaker 1: he's late to the first scene and then he was like, Oh, 129 00:07:15,920 --> 00:07:20,360 Speaker 1: this guy does not have it. He doesn't have it together. Yeah, 130 00:07:20,480 --> 00:07:22,920 Speaker 1: And the way that he's interacting with these two mom 131 00:07:23,040 --> 00:07:26,520 Speaker 1: guys is so I mean, it's it's indicative of where 132 00:07:26,520 --> 00:07:29,240 Speaker 1: he comes from culturally, with like you know, far going 133 00:07:29,280 --> 00:07:31,920 Speaker 1: north North Dakota and just being very like, you know, 134 00:07:32,000 --> 00:07:34,240 Speaker 1: oh hey, how are you going? Oh hey, you know, 135 00:07:34,400 --> 00:07:37,080 Speaker 1: like just being overly accommodating. But it also speaks to 136 00:07:37,640 --> 00:07:40,520 Speaker 1: like his own ineptness of being a man, which is 137 00:07:40,560 --> 00:07:43,160 Speaker 1: really what drives his plot and is like a central 138 00:07:43,200 --> 00:07:45,360 Speaker 1: theme in this film. And they do it in the 139 00:07:45,440 --> 00:07:51,760 Speaker 1: first five fucking minute. So good. Yeah, it's so well written, 140 00:07:51,760 --> 00:07:54,960 Speaker 1: it's so well directed and act just like and the 141 00:07:55,000 --> 00:07:56,840 Speaker 1: way that they cast it too. I mean, they do 142 00:07:56,920 --> 00:07:58,800 Speaker 1: this for every one of their movies. They're so great 143 00:07:58,840 --> 00:08:02,360 Speaker 1: at finding these aasing character actors. But I was just 144 00:08:02,560 --> 00:08:05,400 Speaker 1: thinking about this, like even in the scene with Um, 145 00:08:05,400 --> 00:08:09,200 Speaker 1: like the two escorts that Marge interviews to find out 146 00:08:09,280 --> 00:08:12,600 Speaker 1: more about, you know, Steve Amy's character and Peter Stormyer's character. 147 00:08:12,920 --> 00:08:16,320 Speaker 1: Like they are such a specific kind of like North 148 00:08:16,400 --> 00:08:20,560 Speaker 1: Dakota trashy girl, and like, these aren't actresses that I've 149 00:08:20,600 --> 00:08:22,880 Speaker 1: seen in any other movie. And I don't think, you know, 150 00:08:22,920 --> 00:08:24,800 Speaker 1: I didn't check their IMDb, but I'm willing to bet 151 00:08:24,960 --> 00:08:26,840 Speaker 1: they weren't in a lot of things. But they just 152 00:08:27,160 --> 00:08:30,600 Speaker 1: they acted so well and they were so real and 153 00:08:30,720 --> 00:08:33,679 Speaker 1: it just like enhanced everything. Well, we just found out 154 00:08:33,800 --> 00:08:36,360 Speaker 1: before you got here that Jean the first thing she 155 00:08:36,440 --> 00:08:39,280 Speaker 1: was ever in was Fargo because she's from there. Wow, 156 00:08:39,320 --> 00:08:41,720 Speaker 1: really yeah, because I was like, I don't recognize her 157 00:08:41,760 --> 00:08:45,120 Speaker 1: from anything else, and from what I can tell, she's 158 00:08:45,160 --> 00:08:48,479 Speaker 1: the only like main cast member who is like absolutely 159 00:08:48,559 --> 00:08:51,520 Speaker 1: from there, which makes you know, her accent checks out. 160 00:08:51,600 --> 00:08:53,959 Speaker 1: It's what she what has she done? After this? She 161 00:08:54,160 --> 00:08:59,040 Speaker 1: was in Drop Dead Gorgeous and yes, those are two 162 00:08:59,040 --> 00:09:01,880 Speaker 1: of my favorite one of my favorite movies. Yeah, it's 163 00:09:01,920 --> 00:09:04,440 Speaker 1: but her first thing ever was Fargo, so they must 164 00:09:04,440 --> 00:09:07,000 Speaker 1: have plus set out of there. I remember she was 165 00:09:07,040 --> 00:09:10,520 Speaker 1: the Pork Products girl and Drop Dead Gorgeous. Yeah, yeah, yeah, 166 00:09:10,600 --> 00:09:13,080 Speaker 1: I just love it I work here now. God, that 167 00:09:13,240 --> 00:09:16,640 Speaker 1: fucking movie is one of the best movies of all times. 168 00:09:17,679 --> 00:09:20,240 Speaker 1: It Oh my god, it's so good. Yeah. It was 169 00:09:20,280 --> 00:09:21,960 Speaker 1: directed by one of the members of the State and 170 00:09:22,000 --> 00:09:24,679 Speaker 1: it was written by this woman who I don't know 171 00:09:24,880 --> 00:09:26,840 Speaker 1: if she did a ton of movies after that. It 172 00:09:26,880 --> 00:09:29,920 Speaker 1: was her first feature film. And there's actually a whole 173 00:09:30,000 --> 00:09:33,880 Speaker 1: like BuzzFeed article written by Lewis Pisman that goes into 174 00:09:34,080 --> 00:09:36,520 Speaker 1: like the behind the scenes, you know, rise of the 175 00:09:36,559 --> 00:09:40,120 Speaker 1: cult of Drop Dead Gorgeous and talks about like drama 176 00:09:40,200 --> 00:09:43,520 Speaker 1: on set and like how it just kept changing due 177 00:09:43,559 --> 00:09:46,680 Speaker 1: to studio notes, etcetera, etcetera. But it's actually out of 178 00:09:46,720 --> 00:09:49,240 Speaker 1: print on DVD, so if you can find it on 179 00:09:49,320 --> 00:09:52,480 Speaker 1: e Bay, I highly recommend snatching that up and shout 180 00:09:52,480 --> 00:09:58,760 Speaker 1: out to Pietsman, I know what he kills it. Well, okay, 181 00:09:58,880 --> 00:10:01,840 Speaker 1: well that's the podcast. I think that's all we have 182 00:10:01,920 --> 00:10:05,840 Speaker 1: to say. I usually um to everyone's dismay, spend a 183 00:10:05,840 --> 00:10:09,040 Speaker 1: few minutes describing the story of the movie that we're 184 00:10:09,040 --> 00:10:12,280 Speaker 1: talking about, just for anyone at home who doesn't need 185 00:10:12,360 --> 00:10:15,920 Speaker 1: a refresher, who hasn't seen it before, or just likes 186 00:10:16,080 --> 00:10:20,840 Speaker 1: my hilarious take on what the movie is about, So 187 00:10:21,200 --> 00:10:24,760 Speaker 1: this is a story where we first initially, the central 188 00:10:24,840 --> 00:10:28,079 Speaker 1: character is Jerry Lindegard played by William H. Macy, and 189 00:10:28,160 --> 00:10:32,520 Speaker 1: he goes to these two criminal professional criminals and he's like, YO, 190 00:10:32,600 --> 00:10:35,640 Speaker 1: kidnap my wife because I'm in financial trouble and we're 191 00:10:35,640 --> 00:10:38,120 Speaker 1: going to do this whole fake ransom thing. But we 192 00:10:38,320 --> 00:10:42,160 Speaker 1: both get paid out because my wife's husband or I'm 193 00:10:42,160 --> 00:10:45,080 Speaker 1: my wife's husband, that's what he said. My wife's father 194 00:10:45,360 --> 00:10:48,640 Speaker 1: is wealthy, so like, yeah, cool, good idea. And then 195 00:10:49,120 --> 00:10:51,839 Speaker 1: we meet his family and his wife and his father 196 00:10:51,880 --> 00:10:54,120 Speaker 1: in law. And the second you meet his wife, you're 197 00:10:54,160 --> 00:10:59,160 Speaker 1: just like precious. Yeah, like at first it sounds fun 198 00:10:59,160 --> 00:11:02,440 Speaker 1: to kidnap a and you're just like, oh, maybe you know, 199 00:11:02,600 --> 00:11:04,760 Speaker 1: because I feel like we're conditioned took like, oh maybe 200 00:11:04,800 --> 00:11:07,719 Speaker 1: she's mean, maybe she's like, maybe we're not going to 201 00:11:07,840 --> 00:11:10,160 Speaker 1: love her. The first time she opens her mouth, she's 202 00:11:10,360 --> 00:11:13,560 Speaker 1: the most precious, She's wonderful. You're like, don't wonderful? Who 203 00:11:13,600 --> 00:11:15,920 Speaker 1: could want to lay a hand on this woman? And 204 00:11:16,920 --> 00:11:19,400 Speaker 1: it felt so sad for her in just seeing her 205 00:11:19,400 --> 00:11:21,760 Speaker 1: in like her homemaker life of like sitting on the 206 00:11:21,800 --> 00:11:24,599 Speaker 1: couch and watching like daytime TV. And knitting. I was 207 00:11:24,679 --> 00:11:28,200 Speaker 1: just like, and she's so clearly settled for what I'm like, 208 00:11:28,240 --> 00:11:31,319 Speaker 1: how did they meet? Like, I I just maybe that's 209 00:11:31,360 --> 00:11:35,480 Speaker 1: another season a far, because I I just I don't know. 210 00:11:35,559 --> 00:11:37,560 Speaker 1: Whenever I see her, I'm like, I know for sure 211 00:11:37,640 --> 00:11:40,840 Speaker 1: you could have done better yeah than Jerry. Yeah. Yeah. 212 00:11:40,840 --> 00:11:44,400 Speaker 1: So then we we learned that Jerry's a very dishonest 213 00:11:44,679 --> 00:11:49,560 Speaker 1: car salesman, and it's yeah, that's a great way to 214 00:11:49,559 --> 00:11:55,040 Speaker 1: describe them. Yeah, wanness um. His wife gets kidnapped. They 215 00:11:55,080 --> 00:11:58,240 Speaker 1: go off to take her to the lake, but before that, 216 00:11:58,720 --> 00:12:02,000 Speaker 1: a cop pulls them over and some murders happen, and 217 00:12:02,040 --> 00:12:04,240 Speaker 1: they're like, oh crap, this didn't go Things are not 218 00:12:04,280 --> 00:12:07,640 Speaker 1: going as planned. Jerry, we need more money, and he's like, 219 00:12:07,679 --> 00:12:11,000 Speaker 1: oh no, I don't know anymore. He couldn't even handle 220 00:12:11,040 --> 00:12:15,240 Speaker 1: the first of it, so things start to go awry. 221 00:12:15,840 --> 00:12:19,800 Speaker 1: Then after these murders happened, we meet Marge Gunderson. She's 222 00:12:19,840 --> 00:12:23,800 Speaker 1: a detective and she starts investigating these murders and she 223 00:12:23,920 --> 00:12:27,559 Speaker 1: connects a few things back to the dealership where Jerry works, 224 00:12:27,600 --> 00:12:31,280 Speaker 1: and she starts to question him, and he is very 225 00:12:31,320 --> 00:12:36,040 Speaker 1: bad at being questioned by police officers and things keep 226 00:12:36,320 --> 00:12:41,520 Speaker 1: heightening and some violence happens. More people get murdered, including 227 00:12:41,840 --> 00:12:44,480 Speaker 1: Jerry's father in law. They take her to the lake 228 00:12:45,240 --> 00:12:48,000 Speaker 1: and then it ends with Marge finding the foot in 229 00:12:48,040 --> 00:12:53,040 Speaker 1: the wood shipper and she finds the Tan Sierra. Well 230 00:12:53,080 --> 00:12:57,079 Speaker 1: that's the car. That be careful, Marge, B care I 231 00:12:57,160 --> 00:12:59,520 Speaker 1: was gonna send some car. And then she shoots the 232 00:12:59,520 --> 00:13:02,800 Speaker 1: bad guy leg and she's like, yo, all this for 233 00:13:02,840 --> 00:13:05,960 Speaker 1: a little bit of money, you stupid idiot. She's so great, 234 00:13:06,440 --> 00:13:10,120 Speaker 1: she really is. And then she goes home to her husband, Norm, Norm, 235 00:13:10,360 --> 00:13:15,120 Speaker 1: who is flacid in all the right ways. Well, before 236 00:13:15,160 --> 00:13:16,720 Speaker 1: you said that, I was going to say that it 237 00:13:16,920 --> 00:13:19,680 Speaker 1: reminds me so much of me and my fiance. Oh no, 238 00:13:20,280 --> 00:13:23,800 Speaker 1: not like that though, No though, I think he's an artist, 239 00:13:23,840 --> 00:13:26,280 Speaker 1: and so I was teasing him like you're just you're 240 00:13:26,320 --> 00:13:29,680 Speaker 1: painting your duck paintings, you know, run you know, we're 241 00:13:29,720 --> 00:13:32,199 Speaker 1: just sweet to each other in a similar way. Conversation 242 00:13:32,240 --> 00:13:35,360 Speaker 1: at the end with the with the sweet three cent 243 00:13:35,640 --> 00:13:38,880 Speaker 1: stamp and she's like, well that's good though, because people 244 00:13:38,920 --> 00:13:42,160 Speaker 1: need those sometimes, and he's like, okay, yeah, I do. 245 00:13:42,280 --> 00:13:44,960 Speaker 1: I do find myself like in situations where you know, 246 00:13:45,000 --> 00:13:46,960 Speaker 1: he's sort of down in the dumps about something creatively. 247 00:13:47,000 --> 00:13:49,400 Speaker 1: I do find myself like finding the cadence of Marge 248 00:13:49,440 --> 00:13:52,920 Speaker 1: going yeah, but you're better than them, Han, Yeah, but 249 00:13:52,960 --> 00:13:57,400 Speaker 1: you're better than them and yeah yeah, so only the 250 00:13:57,400 --> 00:13:59,880 Speaker 1: good parts to shout out to Mike if you're listening, 251 00:14:00,400 --> 00:14:04,400 Speaker 1: you know, Yeah, I love that moment at the end 252 00:14:04,440 --> 00:14:06,840 Speaker 1: with Marge. I mean, she's just so wise and she's 253 00:14:06,880 --> 00:14:13,079 Speaker 1: so like confident in her like sort of matriarchal ways. 254 00:14:13,280 --> 00:14:17,240 Speaker 1: And and it's not like she's just kind but also smart. 255 00:14:17,520 --> 00:14:20,240 Speaker 1: It's it's weird. It's like she can sort of succinctly 256 00:14:20,760 --> 00:14:24,520 Speaker 1: boil everything down and get the answers, like earlier when 257 00:14:24,560 --> 00:14:28,520 Speaker 1: she's questioning Sheep at his shop and being like, you know, 258 00:14:28,920 --> 00:14:31,400 Speaker 1: like I I look into your background and you've got 259 00:14:31,440 --> 00:14:34,200 Speaker 1: some infractions and you're on parole, and I'm just thinking, like, 260 00:14:34,280 --> 00:14:36,640 Speaker 1: you probably wouldn't want to be involved with like this 261 00:14:36,840 --> 00:14:40,000 Speaker 1: being accessory to crime, now, would you? Like, you know, 262 00:14:40,120 --> 00:14:42,960 Speaker 1: she she's obviously playing a detective game, but there is 263 00:14:43,040 --> 00:14:46,560 Speaker 1: still this like genuine like warmth to her and she 264 00:14:46,640 --> 00:14:49,600 Speaker 1: actually cares about like she doesn't want people to go 265 00:14:49,640 --> 00:14:51,880 Speaker 1: back on Pearl. She doesn't want people to go you know, 266 00:14:51,960 --> 00:14:54,000 Speaker 1: commit crimes and go back into jail. She wants the 267 00:14:54,040 --> 00:14:57,840 Speaker 1: world to be good. She's a very nurturing yeah. Yeah, 268 00:14:58,040 --> 00:15:00,920 Speaker 1: And one of the reasons this movie is so great 269 00:15:01,080 --> 00:15:05,000 Speaker 1: is that she is such like a strong, multidimensional character. 270 00:15:05,960 --> 00:15:08,480 Speaker 1: She's like you said, smart, she's good at her job. 271 00:15:08,560 --> 00:15:11,520 Speaker 1: She's really good at her job. She's very competent. She's 272 00:15:11,560 --> 00:15:14,720 Speaker 1: like nice to a fault, but also like firm and 273 00:15:14,800 --> 00:15:16,920 Speaker 1: assertive when she needs to be. Like we see the 274 00:15:16,960 --> 00:15:21,200 Speaker 1: scene with mike Yanagita and he's like very clearly trying 275 00:15:21,200 --> 00:15:23,440 Speaker 1: to come onto her, and she's like, no, I preferred 276 00:15:23,440 --> 00:15:25,680 Speaker 1: if you sit over there. I want to talk about 277 00:15:25,720 --> 00:15:27,400 Speaker 1: that scene because that scene. I don't know if you 278 00:15:27,440 --> 00:15:31,320 Speaker 1: guys have found the controversy surrounding that whole subplot, because 279 00:15:31,320 --> 00:15:33,800 Speaker 1: I was about to say I think that with any 280 00:15:33,840 --> 00:15:36,120 Speaker 1: other character that wasn't as well developed as her, that 281 00:15:36,160 --> 00:15:38,960 Speaker 1: would be very distracting from the main action. But I 282 00:15:39,040 --> 00:15:41,040 Speaker 1: loved that scene because you just want to be like, 283 00:15:41,120 --> 00:15:44,600 Speaker 1: how would someone deal with this? I don't know? Right well, uh, 284 00:15:44,920 --> 00:15:48,400 Speaker 1: the internet said a lot of people were saying, like, 285 00:15:48,600 --> 00:15:51,640 Speaker 1: why you know, this film is so tidy in every 286 00:15:51,640 --> 00:15:54,280 Speaker 1: other way, but this one subplot of mike Yanagita like 287 00:15:54,400 --> 00:15:57,240 Speaker 1: feels like it comes out of left field a little bit, 288 00:15:57,240 --> 00:16:00,520 Speaker 1: and it doesn't really give as much to to the 289 00:16:00,560 --> 00:16:02,680 Speaker 1: motor of the plot as like some of the other 290 00:16:02,880 --> 00:16:05,680 Speaker 1: aspects of it, and you know, like why is it 291 00:16:05,720 --> 00:16:08,440 Speaker 1: even in there? You know, what does it do? And 292 00:16:08,800 --> 00:16:12,320 Speaker 1: I disagree. I think that, I mean, I trust Papa 293 00:16:12,320 --> 00:16:15,360 Speaker 1: and Papaco and um trust that they're going to carry 294 00:16:15,440 --> 00:16:18,800 Speaker 1: us on that that sweet good night. They're just such 295 00:16:18,840 --> 00:16:21,280 Speaker 1: competent directors, so I know that they know what they're doing. 296 00:16:21,360 --> 00:16:25,440 Speaker 1: But I also, you know, feel like the mike Yanagita character, 297 00:16:25,800 --> 00:16:29,040 Speaker 1: everything has a domino effect of her investigations. So she 298 00:16:29,120 --> 00:16:32,640 Speaker 1: gets the phone call from him and then knows that 299 00:16:32,680 --> 00:16:36,000 Speaker 1: he's in the Twin Cities. Then here's that you know, 300 00:16:36,160 --> 00:16:39,360 Speaker 1: the people that she's after went to the Twin Cities. Okay, great, 301 00:16:39,440 --> 00:16:41,920 Speaker 1: so that gives me a little bit more incentive to go. 302 00:16:42,400 --> 00:16:45,160 Speaker 1: Even though on paper you could say that like, oh, 303 00:16:45,280 --> 00:16:49,840 Speaker 1: is she you know, thinking about like philandering on norm 304 00:16:49,880 --> 00:16:52,480 Speaker 1: you know, But I don't think it's as complex as that. 305 00:16:52,520 --> 00:16:55,280 Speaker 1: I think that she's curious to find out, like, you know, 306 00:16:55,280 --> 00:16:57,440 Speaker 1: what this guy's life has been like. Um, But I 307 00:16:57,480 --> 00:17:00,520 Speaker 1: think that also that scene of them at the dinner 308 00:17:00,560 --> 00:17:02,680 Speaker 1: of the Raticon or whatever it is. You know, she 309 00:17:03,280 --> 00:17:08,960 Speaker 1: believes his story of his wife right, and then immediately 310 00:17:09,359 --> 00:17:12,360 Speaker 1: he confesses and says that that was a lie. So 311 00:17:12,440 --> 00:17:17,640 Speaker 1: that simple oh oh sorry, confess. She finds out later 312 00:17:17,680 --> 00:17:22,720 Speaker 1: you're right, friend, but it's not long after. Yeah. But 313 00:17:22,920 --> 00:17:26,280 Speaker 1: that whole process of her believing him and then realizing 314 00:17:26,359 --> 00:17:28,640 Speaker 1: that she was wrong forces her to start to question 315 00:17:28,680 --> 00:17:31,359 Speaker 1: some of her instincts previously, and it actually leads her 316 00:17:31,359 --> 00:17:34,480 Speaker 1: back to William H. Macy's character to question him for 317 00:17:34,480 --> 00:17:39,960 Speaker 1: the second it does connect and what do you have 318 00:17:40,000 --> 00:17:44,119 Speaker 1: as the brothers? I was a major in film study. 319 00:17:45,119 --> 00:17:47,679 Speaker 1: I thought that was interesting because it was interesting to 320 00:17:47,680 --> 00:17:50,560 Speaker 1: watch this movie in the context of this podcast and 321 00:17:50,560 --> 00:17:53,080 Speaker 1: really pay attention to the motivations of the female characters, 322 00:17:53,119 --> 00:17:56,080 Speaker 1: because there is sort of like a through line of 323 00:17:56,119 --> 00:17:59,960 Speaker 1: like the idea of women settling for men that don't 324 00:18:00,040 --> 00:18:03,400 Speaker 1: deserve them, Because I feel like Mike implies that when 325 00:18:03,440 --> 00:18:06,440 Speaker 1: they're chilling at the Ratison, He's like, oh, you ended 326 00:18:06,480 --> 00:18:11,240 Speaker 1: up marrying Normson, yeah, And and that makes it sound 327 00:18:11,320 --> 00:18:15,360 Speaker 1: like he thought she could do better. And I mean, 328 00:18:15,400 --> 00:18:17,560 Speaker 1: for anyone that's enough to plant to you know, it's 329 00:18:17,640 --> 00:18:20,520 Speaker 1: it's a downer to hear the person married and or 330 00:18:20,560 --> 00:18:24,800 Speaker 1: brainant with someone your respect thinks is like a loser 331 00:18:24,880 --> 00:18:28,000 Speaker 1: or whatever. But she and Norm have such a great 332 00:18:28,040 --> 00:18:31,320 Speaker 1: relationship and it's nice to see her go through that 333 00:18:31,400 --> 00:18:34,080 Speaker 1: whole process of like, no, this is the right thing 334 00:18:34,080 --> 00:18:35,639 Speaker 1: for me and this is what I want. Well, I 335 00:18:35,680 --> 00:18:38,359 Speaker 1: think you're tapping into something actually that I kind of 336 00:18:38,359 --> 00:18:40,760 Speaker 1: picked up in this rewatch of you know, there is 337 00:18:40,800 --> 00:18:43,560 Speaker 1: a moment when you know, she is at the buffet 338 00:18:43,560 --> 00:18:45,640 Speaker 1: with Norm and like one of her colleagues comes over 339 00:18:45,720 --> 00:18:47,240 Speaker 1: and it's like, oh, you're going to the Twin Cities 340 00:18:47,280 --> 00:18:49,320 Speaker 1: A and she's like, yeah, I'm going, and the Norm 341 00:18:49,440 --> 00:18:53,120 Speaker 1: is kind of surprised. Really oh yeah, yeah. So there 342 00:18:53,240 --> 00:18:55,440 Speaker 1: is just a flash of a moment of her sort 343 00:18:55,440 --> 00:18:58,680 Speaker 1: of exploring has she settled? Just a flash of it. 344 00:18:58,960 --> 00:19:00,920 Speaker 1: And I think that that's all so a symptom of 345 00:19:01,080 --> 00:19:03,240 Speaker 1: small towns in general, Like if you work in a 346 00:19:03,240 --> 00:19:04,639 Speaker 1: small town, if you live in a small town, have 347 00:19:04,720 --> 00:19:07,399 Speaker 1: I settled? Have I really seen my full potential? I 348 00:19:07,440 --> 00:19:09,920 Speaker 1: think that there is a flicker of that that leads 349 00:19:10,000 --> 00:19:15,080 Speaker 1: us to that frank meet up. Yeah, yeah, yeah, yeah, 350 00:19:15,080 --> 00:19:17,639 Speaker 1: I wish it's so hard not to do it. I 351 00:19:17,680 --> 00:19:21,360 Speaker 1: wish that we had that moment with Jean, because I mean, 352 00:19:21,400 --> 00:19:25,000 Speaker 1: I don't know Jeans the other female character of any 353 00:19:25,040 --> 00:19:28,120 Speaker 1: substance in this movie, and we I mean, we don't 354 00:19:28,119 --> 00:19:31,840 Speaker 1: really get to see much of her thoughts other than 355 00:19:31,880 --> 00:19:36,480 Speaker 1: the fact that she's very clearly duped. Uh. Yeah, I wish, 356 00:19:36,680 --> 00:19:39,280 Speaker 1: like the one thing that I would have liked to 357 00:19:39,320 --> 00:19:42,000 Speaker 1: have from this movie is at some point after her 358 00:19:42,080 --> 00:19:46,239 Speaker 1: kidnapping that she would get to say something. And I was, 359 00:19:46,320 --> 00:19:48,120 Speaker 1: I was bummed. I mean, it was fun to watch 360 00:19:48,119 --> 00:19:51,480 Speaker 1: her like run around like a chicken with her head cup. 361 00:19:51,760 --> 00:19:59,440 Speaker 1: That's an amazing scene and like tragic, but also likes character. 362 00:19:59,480 --> 00:20:04,120 Speaker 1: Good lord, he's so I love how people keep calling 363 00:20:04,160 --> 00:20:09,040 Speaker 1: him ugly funny, you know, just but I can't describe 364 00:20:09,040 --> 00:20:13,600 Speaker 1: how yeah exactly has it that in The Big Lebowski, 365 00:20:13,680 --> 00:20:16,680 Speaker 1: the reason that everyone's always telling Steve Bushmi's character in 366 00:20:16,720 --> 00:20:19,160 Speaker 1: that film, Donnie to shut the funk up is that 367 00:20:19,240 --> 00:20:22,240 Speaker 1: he doesn't ever shut the funk up in Fargo. So 368 00:20:22,920 --> 00:20:25,680 Speaker 1: that's funny. I think I heard that a while ago. Yeah, 369 00:20:25,760 --> 00:20:27,760 Speaker 1: that's hilarious. I thought you were going to be like, 370 00:20:27,840 --> 00:20:31,320 Speaker 1: because he's dead and shouldn't be talking. I'm like, oh god. 371 00:20:33,160 --> 00:20:36,240 Speaker 1: Another thing about The Big Lebowski is a similar thing 372 00:20:36,320 --> 00:20:39,440 Speaker 1: happens in The Big Lebowski, doesn't with like the Mike 373 00:20:39,560 --> 00:20:42,720 Speaker 1: Yanagitas subplot and Fargo with the there's just like a 374 00:20:42,880 --> 00:20:46,240 Speaker 1: character that feels tacked on, but you're like, I'm okay 375 00:20:46,280 --> 00:20:49,560 Speaker 1: with this, but like the Jesus character that oh my god, 376 00:20:49,600 --> 00:20:54,880 Speaker 1: look oh yeah yeah yeah, John, Yeah, yeah, yeah. That's 377 00:20:54,960 --> 00:20:58,399 Speaker 1: actually been I've heard theories about, like what's that all about. 378 00:20:59,040 --> 00:21:01,760 Speaker 1: There's a bar and I think I want to say 379 00:21:01,840 --> 00:21:05,800 Speaker 1: Germany that is like themed. It's called Labowski Bar and 380 00:21:05,800 --> 00:21:08,119 Speaker 1: the I believe drink they served there as white Russian. 381 00:21:08,200 --> 00:21:12,480 Speaker 1: I believe it. Yeah. In Los Angeles, have you guys 382 00:21:12,480 --> 00:21:17,360 Speaker 1: heard of Cafe Jack the Titanic one? Yes, And they 383 00:21:17,400 --> 00:21:20,480 Speaker 1: serve like what do they serve? It's like you fried 384 00:21:20,640 --> 00:21:25,359 Speaker 1: chicken and weird, like deeply weird American food that is 385 00:21:25,400 --> 00:21:28,600 Speaker 1: not that good but worth it, worth it for the experience, 386 00:21:28,600 --> 00:21:30,720 Speaker 1: and then you go to karaoke afterward. It's a good time. 387 00:21:31,160 --> 00:21:35,360 Speaker 1: I very, very unapologetically love the movie Titanic. I hope, 388 00:21:35,359 --> 00:21:38,359 Speaker 1: well you do it on this podcast sometime because I 389 00:21:38,400 --> 00:21:41,720 Speaker 1: love it so much. There was my mom the first 390 00:21:41,760 --> 00:21:44,000 Speaker 1: time I saw that movie because I was I wasn't 391 00:21:44,000 --> 00:21:45,399 Speaker 1: all enough to see it when I came out, But 392 00:21:45,560 --> 00:21:48,679 Speaker 1: eventually my mom had the two VHS for Titanic, and 393 00:21:48,720 --> 00:21:50,800 Speaker 1: she tried to convince me the movie it was over 394 00:21:51,160 --> 00:21:53,600 Speaker 1: at the end of the first VHS because the first 395 00:21:53,640 --> 00:21:58,440 Speaker 1: half is so fun. At the end, it's saying like, 396 00:21:58,720 --> 00:22:01,359 Speaker 1: we hit an iceberg, and she's like, and that's the movie. 397 00:22:01,800 --> 00:22:04,359 Speaker 1: Sounds like you're lying to like, yeah, and then that's 398 00:22:04,400 --> 00:22:08,000 Speaker 1: the inciting incident pretty much, but it just happens to 399 00:22:08,000 --> 00:22:12,479 Speaker 1: happen two hours. Um. I love the second half of 400 00:22:12,520 --> 00:22:15,760 Speaker 1: the movie. I love the whole movie, but I really, 401 00:22:16,400 --> 00:22:18,399 Speaker 1: to me, the second half of the film is just 402 00:22:18,840 --> 00:22:21,280 Speaker 1: like as soon as the iceberg they hits the iceberg, 403 00:22:21,320 --> 00:22:24,000 Speaker 1: I'm like, now it's getting good. I'm gonna I'm gonna 404 00:22:24,320 --> 00:22:28,040 Speaker 1: blow both your minds for a little bit. Last year, 405 00:22:28,040 --> 00:22:32,080 Speaker 1: I think on tour, I went to the Titanic Museum 406 00:22:32,080 --> 00:22:35,720 Speaker 1: where in Florida, in Pigeonforge, Tennessee. There are so many 407 00:22:35,840 --> 00:22:39,440 Speaker 1: I know this one shares a location. Their sister location 408 00:22:39,480 --> 00:22:43,439 Speaker 1: is in Branson, Missouri, And I lied and said that 409 00:22:43,480 --> 00:22:45,920 Speaker 1: I was covering it for a Vice article and they 410 00:22:46,080 --> 00:22:49,119 Speaker 1: were like that seems weird, but come on board. And 411 00:22:49,160 --> 00:22:52,000 Speaker 1: it was so bizarre and so fantastic, the kind of 412 00:22:52,000 --> 00:22:55,480 Speaker 1: like roadside weird attraction that I just like salivate over. 413 00:22:55,800 --> 00:22:58,280 Speaker 1: And when you go there, it's like if you've ever 414 00:22:58,320 --> 00:23:01,880 Speaker 1: been to Pigeonforge. People in this room and also people listening. Um, 415 00:23:01,880 --> 00:23:06,080 Speaker 1: it is like hill billy Vegas. So Dollywood is there obviously, yeah, 416 00:23:06,240 --> 00:23:08,879 Speaker 1: but then everything like leading up to Dollywood is like 417 00:23:08,880 --> 00:23:11,520 Speaker 1: wax museums and like go carts and like, you know, 418 00:23:11,720 --> 00:23:13,960 Speaker 1: here's a weird boat ride. I don't know. And then 419 00:23:14,000 --> 00:23:17,600 Speaker 1: here's like the Titanic Museum and then a Walmart and uh, 420 00:23:17,960 --> 00:23:20,000 Speaker 1: you show up and they give you a card and 421 00:23:20,040 --> 00:23:22,560 Speaker 1: they assign you to somebody that was actually on the 422 00:23:22,560 --> 00:23:24,680 Speaker 1: Titanic and then you like walk through and have to 423 00:23:24,680 --> 00:23:26,800 Speaker 1: figure out if you which is like they do with 424 00:23:26,880 --> 00:23:29,920 Speaker 1: the Museum of Tolerance to Yeah, that that's how the one, 425 00:23:29,960 --> 00:23:33,879 Speaker 1: and I've been to the one in Orlando several times. 426 00:23:33,040 --> 00:23:36,200 Speaker 1: There did you get to touch ice? I did get 427 00:23:36,240 --> 00:23:38,760 Speaker 1: to touch ice. Okay, this must be the same, must 428 00:23:38,800 --> 00:23:41,520 Speaker 1: be the same. It's awesome. I never have a kid 429 00:23:41,560 --> 00:23:44,200 Speaker 1: area that feels weird. It feels inappropriate. Yeah, like, oh, 430 00:23:44,240 --> 00:23:47,159 Speaker 1: this is like a playground. Yeah, And they were so 431 00:23:47,200 --> 00:23:50,399 Speaker 1: strict about taking photos and I respected that. Yeah. I 432 00:23:50,440 --> 00:23:52,720 Speaker 1: had like a digital camera when I was fifteen, and 433 00:23:52,760 --> 00:23:54,560 Speaker 1: I went and I tried to like sneak it, but 434 00:23:54,560 --> 00:23:56,200 Speaker 1: they were all blurry because it was a bad camera. 435 00:23:56,359 --> 00:23:58,919 Speaker 1: But when you get into the room with a grand staircase, 436 00:23:58,920 --> 00:24:01,760 Speaker 1: you're just like this, it's a big moment. And I 437 00:24:01,800 --> 00:24:04,600 Speaker 1: got my photo taken and I feel great. Me too. 438 00:24:04,840 --> 00:24:08,199 Speaker 1: I wish that I was a weird looking that I 439 00:24:08,240 --> 00:24:11,560 Speaker 1: am probably similar to jealousy that you guys have done 440 00:24:11,560 --> 00:24:14,480 Speaker 1: all this. There's one in Massachusetts too. It's so crazy. 441 00:24:14,680 --> 00:24:17,040 Speaker 1: And also the gift shop is rude. Can we agree 442 00:24:17,040 --> 00:24:19,760 Speaker 1: with the gift shops super rude? But that said, I purchased. 443 00:24:20,359 --> 00:24:22,760 Speaker 1: I know I was contemplating getting a really rude T 444 00:24:22,880 --> 00:24:27,600 Speaker 1: shirt that said Titanic. I was the term property of, 445 00:24:27,800 --> 00:24:32,160 Speaker 1: like it's a gym shirt, Titanic property. I was determined 446 00:24:32,160 --> 00:24:34,280 Speaker 1: when I was a teenager to be on I think 447 00:24:34,320 --> 00:24:36,520 Speaker 1: that they I'm pretty sure they did have like a 448 00:24:36,520 --> 00:24:40,159 Speaker 1: centennial voyage because I used to I used to be 449 00:24:40,240 --> 00:24:44,520 Speaker 1: really into Titanic from like a like a historical perspective. 450 00:24:44,920 --> 00:24:46,600 Speaker 1: It's not because I liked the movie, but it was. 451 00:24:47,040 --> 00:24:50,840 Speaker 1: And I would go out onto my roof every April 452 00:24:51,680 --> 00:24:54,200 Speaker 1: to fifteen in that morning, and I would sit there 453 00:24:54,200 --> 00:24:57,280 Speaker 1: and just like think real hard about the losses that 454 00:24:57,359 --> 00:24:59,560 Speaker 1: it transport. I thought, you're gonna say, like you spread 455 00:24:59,560 --> 00:25:01,320 Speaker 1: out your arms and said, I'm the king of the word. 456 00:25:02,480 --> 00:25:05,359 Speaker 1: But back to Fargo. Oh yeah, we've We've gone on 457 00:25:05,359 --> 00:25:10,719 Speaker 1: a tangent. We should do Titanics and soon. One of 458 00:25:10,800 --> 00:25:15,120 Speaker 1: my thoughts is that it very interesting happens in this 459 00:25:15,160 --> 00:25:19,480 Speaker 1: movie that usually does not happen in any movie where 460 00:25:19,960 --> 00:25:25,080 Speaker 1: the protagonists shifts from one character to another. Ye take 461 00:25:25,119 --> 00:25:27,440 Speaker 1: any screenwriting one on one class. I'll tell you not 462 00:25:27,920 --> 00:25:30,439 Speaker 1: supposed to happen at the beginning of the second The 463 00:25:30,440 --> 00:25:34,120 Speaker 1: Coen brothers are very good at what they do. They 464 00:25:34,119 --> 00:25:37,000 Speaker 1: pull it off very well because we start identifying and 465 00:25:37,280 --> 00:25:40,199 Speaker 1: relating to and like even feeling a bit empathetic towards 466 00:25:40,480 --> 00:25:43,640 Speaker 1: Jerry Lendergard because he says me, the second I see 467 00:25:43,680 --> 00:25:45,919 Speaker 1: his wife, that's the thing. It was like, I like 468 00:25:46,080 --> 00:25:48,320 Speaker 1: him in the first scene, and then the second you 469 00:25:48,359 --> 00:25:52,360 Speaker 1: see Jean, You're just like that sucks. Yeah, absolutely, yeah, 470 00:25:52,400 --> 00:25:54,720 Speaker 1: because like again, like what you were saying earlier, if 471 00:25:54,760 --> 00:25:57,199 Speaker 1: his wife not to say that this excuses any kind 472 00:25:57,200 --> 00:25:59,399 Speaker 1: of abuse, but you know, as far as like what 473 00:25:59,400 --> 00:26:02,000 Speaker 1: we understand and in in movies, if the wife is 474 00:26:02,040 --> 00:26:06,720 Speaker 1: like very shrewish and like, you know, quote unquote deserving, 475 00:26:06,800 --> 00:26:08,399 Speaker 1: No one's deserving, Well you know what I mean, Like 476 00:26:08,440 --> 00:26:10,920 Speaker 1: it adds a little bit more validation to what she's 477 00:26:10,920 --> 00:26:14,200 Speaker 1: struggling with. Yeah, like we're conditioned to think, or it 478 00:26:14,320 --> 00:26:17,000 Speaker 1: just helps us understand why he would put the steps 479 00:26:17,080 --> 00:26:19,240 Speaker 1: to do what he's about to do, right, and it's 480 00:26:19,240 --> 00:26:22,600 Speaker 1: just like, well he must have a reason for but 481 00:26:22,680 --> 00:26:26,520 Speaker 1: he but she's just minderful and he's wonderful. Yeah, the 482 00:26:27,119 --> 00:26:29,520 Speaker 1: like little monologue, the speech that Marge gives it the 483 00:26:29,720 --> 00:26:33,359 Speaker 1: end to Peter Stormare's character should really be directed to 484 00:26:35,320 --> 00:26:39,160 Speaker 1: But yeah, you do lose empathy for him pretty early on, 485 00:26:39,240 --> 00:26:41,920 Speaker 1: but he's still the central character for a good half 486 00:26:41,960 --> 00:26:46,000 Speaker 1: hour until the murders happen, the three murders in Brainerd, 487 00:26:46,440 --> 00:26:50,760 Speaker 1: and then we meet Marge. Then she you're like, oh, okay, 488 00:26:50,840 --> 00:26:53,320 Speaker 1: she's the main character now, and then oh what a 489 00:26:53,359 --> 00:26:56,480 Speaker 1: delight she is. I know, she's so fantastic, which we've 490 00:26:56,520 --> 00:26:59,920 Speaker 1: already talked about. But it's like the slimier Jerry get 491 00:27:00,240 --> 00:27:02,240 Speaker 1: Like he just keeps every scene you see him and 492 00:27:02,280 --> 00:27:06,000 Speaker 1: he's lying to someone, he's manipulating someone, he's trying to 493 00:27:06,040 --> 00:27:10,520 Speaker 1: get his way, and he's intent. He does multiple and 494 00:27:10,600 --> 00:27:14,240 Speaker 1: every single time you're just like, this is your fault. Yeah, 495 00:27:14,280 --> 00:27:17,040 Speaker 1: And also like I was frustrated from him from a 496 00:27:17,440 --> 00:27:22,200 Speaker 1: from a criminal perspective of like, you look so fucking 497 00:27:22,280 --> 00:27:27,359 Speaker 1: guilty right now during a tantrum in your translucent office. 498 00:27:27,640 --> 00:27:30,480 Speaker 1: What are you doing? Yeah, well, I mean like we understand, 499 00:27:30,840 --> 00:27:33,040 Speaker 1: you know, the steps that he took to get to 500 00:27:33,400 --> 00:27:37,919 Speaker 1: like this low place because he's such a terrible car salesman. 501 00:27:38,040 --> 00:27:42,360 Speaker 1: He can't like sell you know, one feature on whole car, 502 00:27:43,200 --> 00:27:46,680 Speaker 1: just like you're gonna want. It's like, but you you 503 00:27:46,760 --> 00:27:49,119 Speaker 1: didn't say it. You know. It's like and I understand 504 00:27:49,280 --> 00:27:52,480 Speaker 1: who that outraged customer is. I've seen them in life, 505 00:27:52,520 --> 00:27:56,000 Speaker 1: I've been them, you know, I understand Jerry. And yeah, 506 00:27:56,040 --> 00:27:59,400 Speaker 1: and just like showing that oh he's lying, like oh, 507 00:27:59,440 --> 00:28:01,000 Speaker 1: I'm gonna go talk to my boss and he just 508 00:28:01,040 --> 00:28:03,399 Speaker 1: asked him about the game and then comes back it 509 00:28:03,560 --> 00:28:06,080 Speaker 1: just yeah, everything makes sense. You're like, man, you shouldn't 510 00:28:06,080 --> 00:28:08,399 Speaker 1: be doing this. And that's also I'm not going to 511 00:28:08,440 --> 00:28:10,800 Speaker 1: spoil anything with the TV series. You should definitely check 512 00:28:10,840 --> 00:28:12,600 Speaker 1: it out. Both of them are works of art, they 513 00:28:12,600 --> 00:28:16,040 Speaker 1: really are. Um. The first one has Billy Bob Thornton 514 00:28:16,080 --> 00:28:19,159 Speaker 1: in it as like the bad dude, terrifying, one of 515 00:28:19,160 --> 00:28:21,560 Speaker 1: the more terror I mean just imagine he's the best. 516 00:28:21,680 --> 00:28:26,080 Speaker 1: I'd wear a vial of his blood. Yeah, um, can 517 00:28:26,119 --> 00:28:27,840 Speaker 1: we get that on et scene now? Um, I feel 518 00:28:27,880 --> 00:28:30,760 Speaker 1: like we can with the divorce, maybe she's taking up hobbies, 519 00:28:30,760 --> 00:28:34,560 Speaker 1: but um so the main character in the Fargo series, 520 00:28:34,760 --> 00:28:37,560 Speaker 1: it's sort of a similar situation of William H. Macy's character, 521 00:28:37,600 --> 00:28:39,680 Speaker 1: where instead of being a used car salesman who's innapt, 522 00:28:39,800 --> 00:28:42,640 Speaker 1: he's like an insurance salesman. So you kind of see 523 00:28:42,680 --> 00:28:45,200 Speaker 1: like a similar pattern of like these kind of like 524 00:28:45,720 --> 00:28:48,600 Speaker 1: you know, emasculated men, like trying to live up a 525 00:28:48,640 --> 00:28:51,920 Speaker 1: life that you know they feel entitled to but you know, 526 00:28:52,120 --> 00:28:54,960 Speaker 1: have no talent to achieve. I like one of the 527 00:28:55,080 --> 00:28:59,120 Speaker 1: interesting male characters that I didn't think about a lot 528 00:28:59,160 --> 00:29:02,160 Speaker 1: before this, like you watching, was Wade Wade is the 529 00:29:02,240 --> 00:29:05,720 Speaker 1: Dead Wade Because I don't know, like I remember the 530 00:29:05,720 --> 00:29:07,840 Speaker 1: first time I saw this movie. I was surprised at 531 00:29:07,880 --> 00:29:11,840 Speaker 1: how sad I was when he's killed um, and that 532 00:29:11,960 --> 00:29:13,680 Speaker 1: sort of took me off guard because the whole time 533 00:29:13,680 --> 00:29:15,239 Speaker 1: I was like, well, kind of every guy in this 534 00:29:15,280 --> 00:29:18,840 Speaker 1: movie is an asshole, but he was a well intentioned 535 00:29:18,960 --> 00:29:22,000 Speaker 1: enough really cared about his daughter and getting his daughter 536 00:29:22,040 --> 00:29:25,200 Speaker 1: back right. But that said he also what did not 537 00:29:25,360 --> 00:29:27,320 Speaker 1: sell me on him was that scene in the diner 538 00:29:27,640 --> 00:29:29,760 Speaker 1: where he's talking Jerry and he's like, well, I don't 539 00:29:29,800 --> 00:29:31,719 Speaker 1: want to give a million dollars, Like maybe I can 540 00:29:31,760 --> 00:29:35,200 Speaker 1: give a half a million dollars, and then like Jerry 541 00:29:35,360 --> 00:29:37,760 Speaker 1: is the real ship. He'll of that scene because he's 542 00:29:37,760 --> 00:29:39,160 Speaker 1: like no, no, no, you gotta give all the money 543 00:29:39,200 --> 00:29:42,480 Speaker 1: and he's lying. But even like Wade saying I don't know, 544 00:29:42,560 --> 00:29:44,080 Speaker 1: I just like tried to think. I was like, if 545 00:29:44,120 --> 00:29:47,960 Speaker 1: my dad had a million dollars, amazing first of all, 546 00:29:48,200 --> 00:29:50,760 Speaker 1: but like I would not want him to be haggling 547 00:29:50,880 --> 00:29:54,560 Speaker 1: for my life like that. That bugged me. Yeah, I 548 00:29:54,560 --> 00:29:56,640 Speaker 1: mean that's what you want, but also I guess I 549 00:29:56,680 --> 00:29:58,760 Speaker 1: don't know, you don't know the things. I kind of 550 00:29:58,760 --> 00:30:00,560 Speaker 1: samathized with him in that moment of little bit too, 551 00:30:00,600 --> 00:30:03,400 Speaker 1: because you don't know, like the back and forth of 552 00:30:03,840 --> 00:30:06,840 Speaker 1: that kind of mental gymnastics of like are we even 553 00:30:06,840 --> 00:30:10,880 Speaker 1: going to get what we pay for technically getting her back? 554 00:30:10,960 --> 00:30:12,600 Speaker 1: Is she going to be Okay, we don't have any 555 00:30:12,640 --> 00:30:15,840 Speaker 1: evidence that she's still alive. We're definitely being duped in 556 00:30:15,880 --> 00:30:19,920 Speaker 1: some way. It's fucking tough. It's yeah. I mean he's 557 00:30:19,960 --> 00:30:23,800 Speaker 1: in an impossible situation, and you hate Jerry even more 558 00:30:23,840 --> 00:30:27,400 Speaker 1: when you see Scotty crying and that's like, what's going 559 00:30:27,440 --> 00:30:30,120 Speaker 1: to happen if he didn't can't even think about his son? 560 00:30:31,600 --> 00:30:34,280 Speaker 1: And in the parking lot, it's like, oh, a son, 561 00:30:34,360 --> 00:30:38,320 Speaker 1: and you literally see it occurred to him that he 562 00:30:38,520 --> 00:30:41,280 Speaker 1: that his son would of course be terrified, which is 563 00:30:41,320 --> 00:30:44,280 Speaker 1: like the most believable like face that he gives to 564 00:30:44,520 --> 00:30:47,840 Speaker 1: being grieved in the entire you know movie. So I 565 00:30:47,880 --> 00:30:49,360 Speaker 1: was like, oh, well, good on you. You at least 566 00:30:49,360 --> 00:30:53,400 Speaker 1: got that scene, Jerry, Right, That's the one. Yeah. The 567 00:30:53,440 --> 00:30:56,520 Speaker 1: scene that always like raises my blood pressure is the 568 00:30:56,560 --> 00:30:59,720 Speaker 1: scene right after he sees that Jean has been kidnapped 569 00:30:59,760 --> 00:31:04,880 Speaker 1: and he practicing how to tell away, just like yeah, 570 00:31:04,920 --> 00:31:07,160 Speaker 1: the button on that scene is amazing because he's like 571 00:31:07,200 --> 00:31:10,440 Speaker 1: working out this fake emotion to be like wait it's 572 00:31:11,560 --> 00:31:15,200 Speaker 1: what happened, makes the phone call, and then he's like 573 00:31:15,320 --> 00:31:17,320 Speaker 1: you can see him like gearing up to be emotional, 574 00:31:17,360 --> 00:31:20,680 Speaker 1: and then he has to be like, oh, Wade or 575 00:31:20,680 --> 00:31:25,520 Speaker 1: whatever because he got the receptionist or whatever. Yeah, which 576 00:31:25,560 --> 00:31:28,000 Speaker 1: I mean can incriminate him too, because they can go 577 00:31:28,080 --> 00:31:30,800 Speaker 1: back and get the recordings from the phone calls that 578 00:31:30,800 --> 00:31:32,760 Speaker 1: he made to sort of see I don't know whatever. 579 00:31:33,120 --> 00:31:37,080 Speaker 1: I'm super that it's like if I wanted to commit 580 00:31:37,080 --> 00:31:39,200 Speaker 1: a murder, I've seen enough dateline that I think I 581 00:31:39,240 --> 00:31:43,200 Speaker 1: could get away. Well, you're just like he's making a 582 00:31:43,240 --> 00:31:48,320 Speaker 1: lot of rookie as mistakes. Yeah. Well, with Wade's character 583 00:31:48,560 --> 00:31:52,040 Speaker 1: negotiating or haggling with the ransom, I think that actually 584 00:31:52,080 --> 00:31:55,320 Speaker 1: kind of speaks to the duplicitus of his character, of 585 00:31:55,400 --> 00:31:59,440 Speaker 1: like him being this sort of like very shrewd, very 586 00:31:59,480 --> 00:32:04,120 Speaker 1: tough kind of character who we see this tender side 587 00:32:04,120 --> 00:32:06,640 Speaker 1: when it comes to his daughter being in danger, but 588 00:32:06,720 --> 00:32:10,480 Speaker 1: then that toughness and that kind of like unfair shrewdness 589 00:32:10,880 --> 00:32:13,520 Speaker 1: comes back with him trying to haggle. I think that 590 00:32:13,520 --> 00:32:16,200 Speaker 1: that kind of shows the back and forth of his 591 00:32:16,320 --> 00:32:18,360 Speaker 1: character maybe a little bit, and we do see both 592 00:32:18,400 --> 00:32:20,680 Speaker 1: sides of him of like there are scenes where he's 593 00:32:20,760 --> 00:32:25,040 Speaker 1: structly a businessman and strictly a father and grandfather, like 594 00:32:25,080 --> 00:32:27,600 Speaker 1: that scene where he is like Geane and Scotty, you'll 595 00:32:27,640 --> 00:32:30,640 Speaker 1: never have to worry. That was when I really liked him, 596 00:32:30,680 --> 00:32:33,800 Speaker 1: because I was like, yeah, fuck Jerry. Yeah yeah. And 597 00:32:33,840 --> 00:32:37,640 Speaker 1: for how inept and slimy and terrible Jerry is, Marge 598 00:32:37,880 --> 00:32:42,560 Speaker 1: is the up like she's just like the first clue 599 00:32:42,600 --> 00:32:45,600 Speaker 1: you get that she's good at her job is she 600 00:32:45,760 --> 00:32:48,720 Speaker 1: and her colleague I think his name is lu Detective 601 00:32:48,800 --> 00:32:52,320 Speaker 1: Cyber or whatever. They're at the crime scene where the 602 00:32:52,400 --> 00:32:55,160 Speaker 1: trooper and the two other people who witnessed the murder 603 00:32:55,280 --> 00:32:58,160 Speaker 1: are all killed, and they're all they're dead in the snow, 604 00:32:59,000 --> 00:33:03,080 Speaker 1: and he's like, yeah, he must have started writing it 605 00:33:03,120 --> 00:33:05,120 Speaker 1: down and then didn't get the whole license plate. And 606 00:33:05,160 --> 00:33:07,480 Speaker 1: she's like no, She's like, I'm not so sure about 607 00:33:07,520 --> 00:33:11,120 Speaker 1: your detective work there. Yeah. She's like he's it was 608 00:33:11,160 --> 00:33:14,719 Speaker 1: clearly a dealer plate and he's like oh yeah. And 609 00:33:14,800 --> 00:33:17,760 Speaker 1: even when she's correcting him, it's not condescending, right, Yeah, 610 00:33:17,920 --> 00:33:22,440 Speaker 1: She's so kind, and I like in a lot of movies, 611 00:33:22,480 --> 00:33:27,200 Speaker 1: I've like powerful females is often like conflated with and 612 00:33:27,280 --> 00:33:31,880 Speaker 1: she's also really me like she doesn't have friends, and 613 00:33:32,040 --> 00:33:37,120 Speaker 1: she's like very yeah yeah. And it's like even in 614 00:33:37,160 --> 00:33:42,160 Speaker 1: her relationship with norm it seems like a very equal partnership, 615 00:33:42,400 --> 00:33:44,520 Speaker 1: even when in my head I was like, oh, March, 616 00:33:44,600 --> 00:33:48,000 Speaker 1: you're like you're in charge, right, But but she doesn't 617 00:33:48,000 --> 00:33:50,520 Speaker 1: treat it that way. And she's like genuinely very kind. 618 00:33:50,560 --> 00:33:53,840 Speaker 1: She cares about people, and she's great at stuff, and 619 00:33:54,040 --> 00:33:55,760 Speaker 1: I feel like you don't see that very often. It's 620 00:33:55,840 --> 00:33:58,000 Speaker 1: very easy to just say like, oh, if you're good 621 00:33:58,000 --> 00:34:01,760 Speaker 1: at your job, you're also bad at your personal life. 622 00:34:01,800 --> 00:34:04,040 Speaker 1: I think also with that particular kind of job, there 623 00:34:04,120 --> 00:34:06,400 Speaker 1: tends to be I think, like a misconception that you 624 00:34:06,440 --> 00:34:09,600 Speaker 1: have to be detached from human emotions in that way 625 00:34:09,640 --> 00:34:11,680 Speaker 1: because you're seeing a lot of blood and guts and 626 00:34:11,719 --> 00:34:13,719 Speaker 1: you have to sort of come to terms with that 627 00:34:13,760 --> 00:34:16,800 Speaker 1: and reconcile that in yourself, that you're not constantly throwing 628 00:34:16,880 --> 00:34:19,640 Speaker 1: up over where you're not bringing your work home in 629 00:34:19,680 --> 00:34:21,640 Speaker 1: your brain, you know, to kind of have a live 630 00:34:21,719 --> 00:34:25,640 Speaker 1: with you and and haunt you. But she seems very adaptive, yeah, 631 00:34:26,840 --> 00:34:29,080 Speaker 1: where she throws up like she's about to throw up, 632 00:34:29,080 --> 00:34:30,359 Speaker 1: And I was like, oh, is it because she's looking 633 00:34:30,400 --> 00:34:32,400 Speaker 1: at a dead child and she's like, no, it's just 634 00:34:32,440 --> 00:34:35,840 Speaker 1: more than Yeah. I think a lot of cops and 635 00:34:35,920 --> 00:34:38,719 Speaker 1: movies are portrayed as like I'm a tough guy and 636 00:34:39,120 --> 00:34:43,040 Speaker 1: everyone's guilty and and she just she just like helps 637 00:34:43,080 --> 00:34:47,399 Speaker 1: for the best in people. Yeah, exactly when they're bad. 638 00:34:47,480 --> 00:34:51,399 Speaker 1: She's so disappointed. That increases the impact of how disappointed 639 00:34:51,440 --> 00:34:53,480 Speaker 1: she is. At the end of the movie, you're just like, 640 00:34:53,560 --> 00:34:57,560 Speaker 1: I what can we tell you March. Yeah. I also 641 00:34:57,560 --> 00:35:00,840 Speaker 1: want to talk about how like her relationship with norm 642 00:35:01,000 --> 00:35:04,080 Speaker 1: and how like the gender roles of their marriage are 643 00:35:04,239 --> 00:35:08,040 Speaker 1: very reversed, and that like he is an artist slash 644 00:35:08,080 --> 00:35:11,239 Speaker 1: house husband. I'm guessing like from what little we know 645 00:35:11,239 --> 00:35:14,239 Speaker 1: about him because she needs nightcrawlers. Yeah, but he loves 646 00:35:14,520 --> 00:35:18,480 Speaker 1: her breakfast. He brings her lunch, like he's taking care 647 00:35:18,520 --> 00:35:21,440 Speaker 1: for in away that in like meal providing, which is 648 00:35:21,440 --> 00:35:26,319 Speaker 1: like very stereotypically it's hard, but you're like she's like 649 00:35:26,360 --> 00:35:29,719 Speaker 1: out there working and you're like making her breakfast and 650 00:35:29,760 --> 00:35:39,399 Speaker 1: it's just one of those Yeah, Mike has never brought 651 00:35:39,440 --> 00:35:43,040 Speaker 1: me lunch and RBS in the middle of the day, 652 00:35:43,040 --> 00:35:47,880 Speaker 1: never cook me breakfast. I wanted to eat Rby so 653 00:35:47,960 --> 00:35:52,480 Speaker 1: bad when when he says I'll cook you eggs and 654 00:35:52,520 --> 00:35:56,680 Speaker 1: then hawks up a lugy just like and she's I know, 655 00:35:56,880 --> 00:36:03,440 Speaker 1: she's smile, she loves so much. But it's great. Yeah, um, 656 00:36:03,600 --> 00:36:05,880 Speaker 1: something I wanted to I was thinking about the whole 657 00:36:05,960 --> 00:36:09,799 Speaker 1: movie in regards to William H. Macy's character is I 658 00:36:09,880 --> 00:36:12,800 Speaker 1: kept like drawing comparison in my head. I don't know 659 00:36:12,800 --> 00:36:16,879 Speaker 1: why to American Beauty and how many things Fargo does 660 00:36:16,920 --> 00:36:21,200 Speaker 1: write that American Beauty I think I don't like that 661 00:36:21,239 --> 00:36:23,040 Speaker 1: movie at all, but it came out a couple of 662 00:36:23,120 --> 00:36:26,880 Speaker 1: years after Fargo. I think, like, and uh, it's all 663 00:36:26,920 --> 00:36:28,920 Speaker 1: I mean, they have a similar character of like the 664 00:36:28,960 --> 00:36:34,080 Speaker 1: frustrated husband trying to blow off steam. But the I 665 00:36:34,080 --> 00:36:36,520 Speaker 1: don't know, like I hate how American Beauty you know, 666 00:36:36,600 --> 00:36:40,000 Speaker 1: paints Kevin Spacey is this very tragic figure and you're 667 00:36:40,040 --> 00:36:43,680 Speaker 1: just like, no, this guy's a fucking jerk hervert, like 668 00:36:43,719 --> 00:36:47,040 Speaker 1: there's no excuse for this person, and the whole idea 669 00:36:47,080 --> 00:36:49,680 Speaker 1: of like, well, life in the suburb is a suffocating 670 00:36:49,719 --> 00:36:51,719 Speaker 1: and I don't know, I'm just like, shut the funk up, 671 00:36:51,760 --> 00:36:56,799 Speaker 1: you're fine, Whereas like William H. Macy's character as portrayed 672 00:36:56,840 --> 00:37:00,759 Speaker 1: as what I view those types of people to be, 673 00:37:00,880 --> 00:37:04,400 Speaker 1: which is like pathetic and kind of sad. Like I 674 00:37:04,400 --> 00:37:07,080 Speaker 1: feel like William H. Macy's character is like the the 675 00:37:07,280 --> 00:37:09,920 Speaker 1: frustrated husband who's trying to get his life together and 676 00:37:10,080 --> 00:37:13,920 Speaker 1: is like punished fairly and portrayed fairly as like this 677 00:37:13,960 --> 00:37:16,719 Speaker 1: guy does not know what he's doing. He's certainly not 678 00:37:16,800 --> 00:37:19,680 Speaker 1: the hero of the story. I don't know, Like I 679 00:37:19,880 --> 00:37:24,440 Speaker 1: couldn't stop thinking about American beauty and no, uh and 680 00:37:24,640 --> 00:37:27,160 Speaker 1: how I don't know like it, but it's always bothered. 681 00:37:27,320 --> 00:37:31,560 Speaker 1: Just Kevin Species portrayed as sort of like a tragic martyr, right, 682 00:37:31,600 --> 00:37:33,759 Speaker 1: and then when he's just a piece of I have 683 00:37:33,800 --> 00:37:37,799 Speaker 1: a theory about that. I think that. So there's also 684 00:37:37,960 --> 00:37:39,920 Speaker 1: an article that came out a while ago. I think 685 00:37:39,920 --> 00:37:41,960 Speaker 1: it's from a V club that talked about like the 686 00:37:42,000 --> 00:37:44,719 Speaker 1: craziest year for movies in the twenty one century was 687 00:37:45,880 --> 00:37:48,640 Speaker 1: or something, because it just was a huge year of 688 00:37:48,840 --> 00:37:51,120 Speaker 1: Titanic and like the Phantom Menace, and it was just 689 00:37:51,160 --> 00:37:53,680 Speaker 1: like there was a lot of spotlight happening on on 690 00:37:53,760 --> 00:37:56,800 Speaker 1: feature films at the time. But American beauty, I feel, 691 00:37:57,160 --> 00:38:00,160 Speaker 1: is like at the epicenter of this trend of this 692 00:38:00,239 --> 00:38:03,239 Speaker 1: sort of like I wouldn't say faux art sinis, but 693 00:38:03,320 --> 00:38:05,440 Speaker 1: definitely art senis in the forefront. And I think that 694 00:38:05,480 --> 00:38:08,160 Speaker 1: it's attributed to the rise of the mid budget movie 695 00:38:08,200 --> 00:38:11,760 Speaker 1: through Mirrimax and through Quentin Tarantino, and like that becoming 696 00:38:11,800 --> 00:38:14,600 Speaker 1: more a part of like what the mainstream could be, 697 00:38:14,760 --> 00:38:16,839 Speaker 1: and that people were kind of opening their doors at 698 00:38:16,880 --> 00:38:20,000 Speaker 1: least the Academy was to like films that maybe they 699 00:38:20,080 --> 00:38:24,399 Speaker 1: quote unquote didn't quite understand, but like acknowledged as art. 700 00:38:24,480 --> 00:38:27,799 Speaker 1: And I feel like American Beauty like perfectly epitomizes that. 701 00:38:28,000 --> 00:38:32,359 Speaker 1: I mean with just that drifting plastic bag plot of 702 00:38:32,880 --> 00:38:35,160 Speaker 1: the most beautiful thing in the whole world, I mean, 703 00:38:35,160 --> 00:38:38,399 Speaker 1: which we now roll our eyes because it's like first 704 00:38:38,480 --> 00:38:41,600 Speaker 1: year art school bullshit. Um. But at the time I 705 00:38:41,640 --> 00:38:44,520 Speaker 1: think was captivating a lot of people, um because they 706 00:38:44,520 --> 00:38:46,759 Speaker 1: didn't understand it. And so I think that a lot 707 00:38:46,760 --> 00:38:49,160 Speaker 1: of people attribute like good art to something that they 708 00:38:49,200 --> 00:38:51,520 Speaker 1: just don't understand, right, And that's something that I feel 709 00:38:51,560 --> 00:38:54,359 Speaker 1: like it is almost universally agreed does not hold up 710 00:38:54,760 --> 00:38:59,160 Speaker 1: very Yeah, And also with I don't remember the characters 711 00:38:59,120 --> 00:39:03,040 Speaker 1: in but Kevin Spacey's wife in that being yeah, yeah, yeah, 712 00:39:03,080 --> 00:39:07,080 Speaker 1: like she's portrayed. I mean, she's portrayed. She's a developed character, 713 00:39:07,200 --> 00:39:11,360 Speaker 1: but she's still ultimately portrayed as like a shrewish person. 714 00:39:11,640 --> 00:39:13,920 Speaker 1: And I'm just I don't know, I'm like grateful that 715 00:39:14,040 --> 00:39:18,120 Speaker 1: Gene is not portrayed that way. Jane is doing her best, 716 00:39:18,200 --> 00:39:20,319 Speaker 1: so isn't that bending's character? But I feel like the 717 00:39:20,400 --> 00:39:25,719 Speaker 1: story just paints her as you're getting C grades, like 718 00:39:25,840 --> 00:39:29,560 Speaker 1: she's just she also just wants the best. It caused 719 00:39:29,560 --> 00:39:31,359 Speaker 1: her pain to tell her son he couldn't go out 720 00:39:31,400 --> 00:39:36,400 Speaker 1: for hockey. I know you mentioned like whenever Marge is 721 00:39:36,480 --> 00:39:40,239 Speaker 1: correcting her colleague and his like his police work, she 722 00:39:40,280 --> 00:39:42,080 Speaker 1: doesn't do it in a condescending way. There is a 723 00:39:42,120 --> 00:39:44,960 Speaker 1: scene though, where she is very condescending, but it's to 724 00:39:45,040 --> 00:39:47,560 Speaker 1: someone who very much deserves it. And I don't know 725 00:39:47,600 --> 00:39:50,319 Speaker 1: if you like perceive this this way or not, but um, 726 00:39:50,640 --> 00:39:55,200 Speaker 1: whenever she first meets Jerry in his office, she's like, oh, 727 00:39:55,239 --> 00:39:57,040 Speaker 1: you're the owner here, and he's like, no, I'm just 728 00:39:57,360 --> 00:40:01,120 Speaker 1: the executive sales whatever. She's like okay, and then he's 729 00:40:01,160 --> 00:40:04,520 Speaker 1: like my father in law. He's like clearly trying to 730 00:40:04,520 --> 00:40:08,600 Speaker 1: like push blame off onto someone else and she's like, oh, yeah, okay, 731 00:40:08,640 --> 00:40:14,160 Speaker 1: well I'm a police officer. And it's the second meeting, 732 00:40:14,239 --> 00:40:17,120 Speaker 1: right or noticed the first meeting. Yeah, no, I remember that. 733 00:40:18,160 --> 00:40:20,320 Speaker 1: She's just like, you're an idiot, so I'm going to 734 00:40:20,440 --> 00:40:23,000 Speaker 1: talk to you like you are one. I think it's 735 00:40:23,040 --> 00:40:27,040 Speaker 1: the second meeting where she says something like, oh, this 736 00:40:27,200 --> 00:40:30,200 Speaker 1: this crime I'm investigating. The purps were driving a car 737 00:40:30,640 --> 00:40:33,520 Speaker 1: with dealer plates and they called someone who works here 738 00:40:33,560 --> 00:40:36,200 Speaker 1: at this dealership, so it would be quite a coincidence 739 00:40:36,239 --> 00:40:39,920 Speaker 1: if they weren't, you know, connected, And it's she's just like, 740 00:40:40,239 --> 00:40:44,560 Speaker 1: it's so great how much she condescends to such a 741 00:40:44,600 --> 00:40:47,919 Speaker 1: piece of ship that Jerry Lindergart is. And I love 742 00:40:47,960 --> 00:40:51,239 Speaker 1: watching that scene because he is trying so hard to 743 00:40:51,320 --> 00:40:54,680 Speaker 1: like be like I'm cooperating and like to be like 744 00:40:54,760 --> 00:40:57,799 Speaker 1: cool and chill, and he's just barely holding it. Yeah, 745 00:40:58,000 --> 00:41:01,560 Speaker 1: that entire scene, for those periods of silence, I'm like, well, 746 00:41:01,600 --> 00:41:05,200 Speaker 1: you're done, Je, you are so guilty, like you have 747 00:41:05,280 --> 00:41:07,759 Speaker 1: no I want to watch this guy play poker because 748 00:41:07,760 --> 00:41:11,520 Speaker 1: you feel like, can I say what My favorite part 749 00:41:11,560 --> 00:41:14,000 Speaker 1: about that scene is speaks directly to what I was 750 00:41:14,000 --> 00:41:17,360 Speaker 1: saying earlier about being a cinematography nerd Uh. Similar to 751 00:41:17,920 --> 00:41:21,480 Speaker 1: in Psycho, we see Janet. What's her face is? Um 752 00:41:21,719 --> 00:41:25,799 Speaker 1: character's name, the main lady in Psycho. Um, we see 753 00:41:25,840 --> 00:41:29,640 Speaker 1: her in her like Neglija at first, and it's white 754 00:41:29,760 --> 00:41:32,120 Speaker 1: and pure when she's like cooking up with her dude. 755 00:41:32,400 --> 00:41:35,320 Speaker 1: And then later when she decides that she's going to 756 00:41:35,400 --> 00:41:37,359 Speaker 1: you know, steal the money from her boss and like 757 00:41:37,680 --> 00:41:41,440 Speaker 1: run out her Neglija is black to you know, represent 758 00:41:41,640 --> 00:41:47,360 Speaker 1: that she's now evil and she's corropted, she's turned. So 759 00:41:47,440 --> 00:41:50,000 Speaker 1: in a similar way, Um, these two scenes, if you 760 00:41:50,360 --> 00:41:54,360 Speaker 1: face them together, um, the scene of Marge first visiting 761 00:41:54,440 --> 00:41:57,360 Speaker 1: Jerry and the scene of the second one. So I 762 00:41:57,360 --> 00:42:00,759 Speaker 1: feel like this was calculated and strategic from the makers 763 00:42:00,800 --> 00:42:04,719 Speaker 1: that there are vertical blinds in his office because in 764 00:42:04,760 --> 00:42:08,480 Speaker 1: the first scene they're open, it's bright. He's you know, 765 00:42:08,760 --> 00:42:12,160 Speaker 1: seemingly passing off this slide to her. It's totally fine. 766 00:42:12,520 --> 00:42:16,520 Speaker 1: Second scene, the light is casting over the vertical blinds 767 00:42:16,560 --> 00:42:21,760 Speaker 1: representing prison bars on Jerry Lendergard's face and he's done 768 00:42:21,840 --> 00:42:24,880 Speaker 1: for And shortly after that he sprints off, takes one 769 00:42:24,880 --> 00:42:27,479 Speaker 1: of the cars and she realizes, oh he's Oh, he's 770 00:42:27,480 --> 00:42:31,319 Speaker 1: gone he's playing the interview in the Yeah, so that 771 00:42:31,400 --> 00:42:33,000 Speaker 1: was a little bit of things that was like a 772 00:42:33,040 --> 00:42:36,839 Speaker 1: little bit of Trump. Yeah baby, I was like, m yeah, 773 00:42:37,200 --> 00:42:40,000 Speaker 1: that's good, Like it just was so fun. I love 774 00:42:40,080 --> 00:42:41,719 Speaker 1: stuff like that, and that's part of the reason why 775 00:42:41,719 --> 00:42:43,359 Speaker 1: I wanted to go into that line of work and 776 00:42:43,400 --> 00:42:45,719 Speaker 1: why I never will. I don't know. Maybe there's time. 777 00:42:45,960 --> 00:42:49,279 Speaker 1: There's time. Yeah, you can do anything. We're women and 778 00:42:49,320 --> 00:42:52,080 Speaker 1: we can do whatever we want to. Guess what I 779 00:42:52,160 --> 00:42:56,520 Speaker 1: want to keep writing if they'll let me still allow. 780 00:42:57,800 --> 00:42:59,920 Speaker 1: The final thing that I want to talk about unless 781 00:42:59,920 --> 00:43:03,520 Speaker 1: I think of something else is Marge does everything that 782 00:43:03,560 --> 00:43:07,960 Speaker 1: she does while she's like seven months So that's highly 783 00:43:08,000 --> 00:43:12,080 Speaker 1: symbolic as well. Tell me of what I shall Um, 784 00:43:12,239 --> 00:43:15,399 Speaker 1: so you know here they are there basically. I mean, 785 00:43:15,400 --> 00:43:18,759 Speaker 1: we'll get into if this passes Sebactel test eventually. I'm 786 00:43:18,800 --> 00:43:23,439 Speaker 1: assuming you know, I've never heard Okay, are you talking about? So? 787 00:43:23,760 --> 00:43:27,600 Speaker 1: This world is littered with dudes, It's lousy with dudes, 788 00:43:27,680 --> 00:43:31,200 Speaker 1: and so um, Marge is really like this big female 789 00:43:31,200 --> 00:43:33,920 Speaker 1: figure in that Um, not just because there's not too 790 00:43:33,960 --> 00:43:36,600 Speaker 1: many other people besides Gene that she can kind of 791 00:43:36,800 --> 00:43:39,960 Speaker 1: wrap with in like the other escorts, but they wanted 792 00:43:40,000 --> 00:43:43,240 Speaker 1: to make her this like matriarch that sort of carried 793 00:43:43,360 --> 00:43:47,160 Speaker 1: and saved this plot. And having her also be pregnant 794 00:43:47,480 --> 00:43:50,960 Speaker 1: really enhanced that kind of maternal instinct that was a 795 00:43:51,000 --> 00:43:55,120 Speaker 1: requirement for her instinct as a detective to get down 796 00:43:55,160 --> 00:43:58,480 Speaker 1: to the case. Like it not only signified that she 797 00:43:58,640 --> 00:44:02,000 Speaker 1: was like a protector of the town, a protector of justice, 798 00:44:02,080 --> 00:44:06,560 Speaker 1: but she's you know, literally protecting life and preserving life, 799 00:44:06,560 --> 00:44:10,160 Speaker 1: and those are like her motivations. You know, she wants 800 00:44:10,160 --> 00:44:12,640 Speaker 1: people to be good, so she's protecting life for like 801 00:44:12,719 --> 00:44:16,800 Speaker 1: their livelihood. She wants people to not die, so literally 802 00:44:16,880 --> 00:44:19,799 Speaker 1: protecting life in that way. And as she's seven months 803 00:44:19,880 --> 00:44:22,440 Speaker 1: pregnant and like fucking doing it like a badass, it 804 00:44:22,560 --> 00:44:24,600 Speaker 1: just further proves that she's going to be the one 805 00:44:24,640 --> 00:44:28,520 Speaker 1: that carries this. Yeah, and and like the scene, it's 806 00:44:28,520 --> 00:44:31,759 Speaker 1: so like interesting the scene where she looks at the 807 00:44:31,920 --> 00:44:35,640 Speaker 1: dead child, I know, and she's seven months pregnant and 808 00:44:35,640 --> 00:44:38,000 Speaker 1: then she's about to throw up and you're like when 809 00:44:38,120 --> 00:44:41,319 Speaker 1: does that happen? But Okay, I remember, and it's like 810 00:44:41,400 --> 00:44:43,600 Speaker 1: but that to be is like a testament of like, no, 811 00:44:43,760 --> 00:44:46,200 Speaker 1: she is really good at her job and she's able 812 00:44:46,239 --> 00:44:54,440 Speaker 1: to compartmentalize accordingly, which is a superpower. It's a superpower there. Yeah. 813 00:44:54,600 --> 00:44:57,479 Speaker 1: But and and the fact that she's also like, even 814 00:44:57,520 --> 00:45:00,120 Speaker 1: though she is very pregnant and that's important to her, 815 00:45:00,440 --> 00:45:03,920 Speaker 1: she's not compromising the job. She's doing this kind of 816 00:45:04,000 --> 00:45:08,319 Speaker 1: dangerous well, it is dangerous, and she's not compromised, Like, 817 00:45:08,560 --> 00:45:13,520 Speaker 1: she doesn't compromise in any regard, which is amazing. And 818 00:45:13,600 --> 00:45:18,520 Speaker 1: she's incredible. When we when pregnant women are portrayed in 819 00:45:18,719 --> 00:45:22,520 Speaker 1: like movies and TV, it's almost always like they are 820 00:45:23,160 --> 00:45:27,240 Speaker 1: cranky and hormonal and they're like, oh, what a delicate flower. 821 00:45:27,280 --> 00:45:29,240 Speaker 1: I am. Oh, I have to pee all the time 822 00:45:29,280 --> 00:45:33,759 Speaker 1: and I pant and I not have been yet, so 823 00:45:33,800 --> 00:45:35,520 Speaker 1: I have no idea what it's like. And I'm sure 824 00:45:35,520 --> 00:45:38,920 Speaker 1: it is very uncomfortable, but like you can still carry 825 00:45:38,920 --> 00:45:42,319 Speaker 1: on with your life in your job pregnant. But like 826 00:45:42,520 --> 00:45:44,640 Speaker 1: it's almost always when you see a very pregnant woman 827 00:45:45,080 --> 00:45:47,680 Speaker 1: on screen, it's like, oh, look, how pregnant I am? 828 00:45:48,200 --> 00:45:51,240 Speaker 1: I think talking about they're they're like sort of damselfied 829 00:45:51,400 --> 00:45:55,719 Speaker 1: and it's yeah, and I mean it's like, barring medical conditions, 830 00:45:55,760 --> 00:45:59,520 Speaker 1: most pregnant women work up until till they give birth 831 00:45:59,560 --> 00:46:02,520 Speaker 1: in their off this often I've heard, oh, there's a 832 00:46:02,560 --> 00:46:08,480 Speaker 1: Harmon Town show happening. Chills, yeah, chills, Like why is 833 00:46:08,520 --> 00:46:14,000 Speaker 1: the man yelling during our podcast? So I just love 834 00:46:14,080 --> 00:46:16,680 Speaker 1: that she mentions it, but she's like, could you mind 835 00:46:16,680 --> 00:46:18,880 Speaker 1: if I sit down? I'm paying quite a load. And 836 00:46:18,920 --> 00:46:22,640 Speaker 1: that's pretty much the only the most like she gets 837 00:46:22,680 --> 00:46:25,040 Speaker 1: in a way, Yeah, and the only time really that 838 00:46:25,120 --> 00:46:29,040 Speaker 1: her pregnancy affects her performance. Yeah, apart from the time 839 00:46:29,080 --> 00:46:31,360 Speaker 1: that she kiels over it almost barf. But then I 840 00:46:31,400 --> 00:46:33,560 Speaker 1: love how she's like, oh, it passed, and now I'm 841 00:46:33,640 --> 00:46:36,719 Speaker 1: hungry again, all right, right, and then she goes back 842 00:46:36,760 --> 00:46:38,560 Speaker 1: to work. Yeah, she goes back to work. And then 843 00:46:38,760 --> 00:46:40,480 Speaker 1: I love how many times you see her eating and 844 00:46:40,520 --> 00:46:45,759 Speaker 1: the movie she's eating Arby, she had eat. She's going 845 00:46:45,800 --> 00:46:48,439 Speaker 1: to town on that buffet, buffet, and then it's so 846 00:46:48,520 --> 00:46:51,960 Speaker 1: like representative of that region of like these comfort foods, 847 00:46:52,040 --> 00:46:55,399 Speaker 1: these heavy, heavy sausages. And can we talk about like 848 00:46:55,560 --> 00:46:58,919 Speaker 1: the choice to make this like murder plot in this 849 00:46:59,000 --> 00:47:02,560 Speaker 1: folksy setting a little bit because I love I love 850 00:47:02,600 --> 00:47:04,520 Speaker 1: that the Cohen Brothers did this, and I do think 851 00:47:04,560 --> 00:47:07,400 Speaker 1: that it allows for that comedy to just sort of 852 00:47:07,480 --> 00:47:11,759 Speaker 1: naturally happen. I mean, obviously it's like mismatched to what 853 00:47:11,800 --> 00:47:13,960 Speaker 1: the actions are you wouldn't suspect. And I think that 854 00:47:14,040 --> 00:47:16,440 Speaker 1: even in like the tagline on the poster, it was 855 00:47:16,520 --> 00:47:19,239 Speaker 1: like a murder mystery, like a homespun murder mystery or 856 00:47:19,280 --> 00:47:21,920 Speaker 1: something that's sort of like, you know, let you know 857 00:47:22,040 --> 00:47:24,480 Speaker 1: that this is going to be this offbeat, cookie kind 858 00:47:24,520 --> 00:47:26,839 Speaker 1: of like we don't know what we're in for. We're 859 00:47:26,880 --> 00:47:29,200 Speaker 1: in way over a heads kind of town, and one 860 00:47:29,200 --> 00:47:31,759 Speaker 1: would suspect that, like a small town wouldn't have the 861 00:47:31,840 --> 00:47:34,160 Speaker 1: resources to deal with solving a murder, but they don't 862 00:47:34,200 --> 00:47:38,000 Speaker 1: have March. But I also I found so there's this 863 00:47:38,040 --> 00:47:40,440 Speaker 1: book that I really like called The Philosophy of the 864 00:47:40,480 --> 00:47:43,480 Speaker 1: Cohne Brothers, and it is edited by Mark T. Kennard, 865 00:47:43,560 --> 00:47:47,440 Speaker 1: who is this like really superboss film critic. But each 866 00:47:47,520 --> 00:47:51,280 Speaker 1: chapter it's like an assemblage of essays from different film critics. 867 00:47:51,320 --> 00:47:54,560 Speaker 1: And so I forget the name of of the gentleman 868 00:47:54,600 --> 00:47:58,960 Speaker 1: who wrote a chapter about mondanity and noir in Fargo, 869 00:47:59,000 --> 00:48:01,280 Speaker 1: but I found it really interest ding because of course, 870 00:48:01,400 --> 00:48:05,239 Speaker 1: you know, any film genre is representative of social anxiety. 871 00:48:05,360 --> 00:48:07,000 Speaker 1: You know, we see that a lot with science fiction, 872 00:48:07,400 --> 00:48:10,719 Speaker 1: you know, science fiction represents social anxiety about like progress, 873 00:48:11,000 --> 00:48:13,400 Speaker 1: and then you can kind of actually divide the genre 874 00:48:13,440 --> 00:48:15,760 Speaker 1: into like two different chapters, pre Cold War and post 875 00:48:15,760 --> 00:48:18,319 Speaker 1: Cold War, and that post Cold War deals a lot 876 00:48:18,360 --> 00:48:21,000 Speaker 1: with like nuclear attacks and like the fear of that, 877 00:48:21,080 --> 00:48:23,560 Speaker 1: and that's like sort of what the menaces with it. 878 00:48:23,840 --> 00:48:26,520 Speaker 1: And I feel like with noir they kind of tap 879 00:48:26,520 --> 00:48:30,719 Speaker 1: into that kind of social anxiety through modernity because with 880 00:48:30,840 --> 00:48:35,040 Speaker 1: that comes like you're making progress, but with progress, you 881 00:48:35,080 --> 00:48:37,800 Speaker 1: are breaking off from the past. So with that becomes 882 00:48:37,840 --> 00:48:41,640 Speaker 1: this loneliness in isolation and alienation, and that a lot 883 00:48:41,680 --> 00:48:44,920 Speaker 1: of noirs, especially ones that define the genre in the forties, 884 00:48:45,080 --> 00:48:48,280 Speaker 1: took place in like these urban city scapes, which could 885 00:48:48,280 --> 00:48:51,520 Speaker 1: be comforting but also isolating as well, because if you're 886 00:48:51,560 --> 00:48:54,600 Speaker 1: like this one person walking around the city scape, you've 887 00:48:54,600 --> 00:48:57,040 Speaker 1: got these skyscrapers looming over you, making you feel like 888 00:48:57,120 --> 00:49:00,319 Speaker 1: you can either be protected by them or trampled by them. 889 00:49:00,800 --> 00:49:02,960 Speaker 1: And so what the Cohen Brothers do and what you know, 890 00:49:03,000 --> 00:49:05,799 Speaker 1: they actually what this author suggests, they kind of took 891 00:49:05,800 --> 00:49:08,520 Speaker 1: a page from um Orson Wells in Touch of Evil, 892 00:49:08,560 --> 00:49:11,920 Speaker 1: bringing the noir to the desert into Mexico. Um is 893 00:49:11,960 --> 00:49:14,880 Speaker 1: that they are jarring the audience from what is known 894 00:49:14,960 --> 00:49:17,920 Speaker 1: to be noir in the city and by taking it 895 00:49:17,960 --> 00:49:21,680 Speaker 1: to this like desolate landscape that's snow covered. You know, 896 00:49:21,840 --> 00:49:24,279 Speaker 1: it's it's different than what we expect. But I also 897 00:49:24,400 --> 00:49:26,959 Speaker 1: really love it because you know, we know that there's 898 00:49:26,960 --> 00:49:31,160 Speaker 1: a danger. The danger is lurking. However, everywhere we look, 899 00:49:31,280 --> 00:49:33,800 Speaker 1: we think we see everything that there is to see. 900 00:49:33,960 --> 00:49:38,080 Speaker 1: It's this blank canvas, you know, It's these large expanses 901 00:49:38,120 --> 00:49:40,719 Speaker 1: of land. Where could the danger be hiding? And I 902 00:49:40,719 --> 00:49:42,680 Speaker 1: think that that was a very smart choice that they 903 00:49:42,719 --> 00:49:46,040 Speaker 1: made to raise the tension of where is it going 904 00:49:46,080 --> 00:49:49,040 Speaker 1: to pop out? What are we doing? And also the 905 00:49:49,080 --> 00:49:51,760 Speaker 1: fact that it is snow covered, I feel like speaks 906 00:49:51,800 --> 00:49:55,719 Speaker 1: to like how flimsy the foundation of what all the 907 00:49:55,719 --> 00:49:58,279 Speaker 1: things that we are to believe are resting on, um, 908 00:49:58,320 --> 00:50:00,960 Speaker 1: the flimsy foundation of all the character and their intentions, 909 00:50:00,960 --> 00:50:03,360 Speaker 1: and how it can change it any minute. That to 910 00:50:03,440 --> 00:50:08,359 Speaker 1: me was interesting. It's like a real maybe this is 911 00:50:08,360 --> 00:50:11,080 Speaker 1: like a political climate thing that's influencing this, but it 912 00:50:11,120 --> 00:50:15,279 Speaker 1: seems like a real American yeavy and it's like a 913 00:50:15,440 --> 00:50:19,120 Speaker 1: side of the country you don't see in movies a 914 00:50:19,160 --> 00:50:21,680 Speaker 1: lot at all, and it it almost feels like a 915 00:50:21,760 --> 00:50:26,600 Speaker 1: non judgmental depiction of like a very American place where 916 00:50:27,000 --> 00:50:29,040 Speaker 1: it's like, yeah, they're good people and they're bad people, 917 00:50:29,760 --> 00:50:32,920 Speaker 1: but it is what it is. It's not necessarily making 918 00:50:33,280 --> 00:50:36,120 Speaker 1: a very overt commentary on it. It's just like presenting 919 00:50:36,160 --> 00:50:38,640 Speaker 1: it and what feels like a pretty like cool and 920 00:50:38,719 --> 00:50:42,120 Speaker 1: honest way that you don't see a lot. And I 921 00:50:42,160 --> 00:50:44,799 Speaker 1: think that it being like this sort of more realistic 922 00:50:45,239 --> 00:50:50,000 Speaker 1: environment like raises fears and people watching it, that it 923 00:50:50,040 --> 00:50:53,560 Speaker 1: feels closer to home than watching like two people buzz 924 00:50:53,600 --> 00:50:56,920 Speaker 1: around a city. It's not sexy. Crime Feders in this 925 00:50:56,960 --> 00:51:00,960 Speaker 1: movie was particularly no one gets me for in this 926 00:51:01,560 --> 00:51:05,520 Speaker 1: entire movie exactly exactly. And the sex is also like 927 00:51:06,239 --> 00:51:09,200 Speaker 1: the sex scenes that we see are not fetishized in 928 00:51:09,239 --> 00:51:13,319 Speaker 1: any way. They're not romantic anyways, they're almost tishemmy, but 929 00:51:13,360 --> 00:51:15,839 Speaker 1: also like the people that are having the sex don't 930 00:51:15,880 --> 00:51:19,000 Speaker 1: seem to particularly enjoy it. Oh my god, I love 931 00:51:19,200 --> 00:51:24,080 Speaker 1: the prostitutes. Dig and this where at some point she's 932 00:51:24,120 --> 00:51:29,240 Speaker 1: like basically mocking bushemy while she's like all right, loving 933 00:51:29,400 --> 00:51:33,440 Speaker 1: this or no, she's like, I'm he and dinner earlier, 934 00:51:33,520 --> 00:51:36,040 Speaker 1: and he's nice he's taken her to dinner, like he's 935 00:51:36,200 --> 00:51:38,880 Speaker 1: he's paid her for the evening and they don't technically 936 00:51:38,880 --> 00:51:40,759 Speaker 1: have to go out. They can just do what he 937 00:51:40,840 --> 00:51:44,920 Speaker 1: paid her for. Being very delicate in my choices, but 938 00:51:45,040 --> 00:51:48,160 Speaker 1: you know, he tries to relate to her and tries 939 00:51:48,160 --> 00:51:52,160 Speaker 1: to have a conversation, and she like judges him and like, 940 00:51:52,400 --> 00:51:55,719 Speaker 1: what are you talking like this kind of work, like 941 00:51:55,840 --> 00:52:00,319 Speaker 1: being a prostitute. She's like, what dumb question? Yeah? Um, 942 00:52:00,360 --> 00:52:02,640 Speaker 1: But that kind of leads us to the question of 943 00:52:02,640 --> 00:52:06,839 Speaker 1: whether or not this movie passes the Bechdel test. There 944 00:52:06,960 --> 00:52:10,799 Speaker 1: is allegedly some some controversy apparently which I do not 945 00:52:11,360 --> 00:52:15,080 Speaker 1: know about. I, using my my own my doub old brain, 946 00:52:15,600 --> 00:52:19,400 Speaker 1: have decided that thanks so much of the fear that 947 00:52:20,520 --> 00:52:23,520 Speaker 1: as far as I'm concerned, it does pass the Bechdel test, 948 00:52:24,000 --> 00:52:26,920 Speaker 1: because there is a scene or mare just questioning the 949 00:52:27,000 --> 00:52:30,719 Speaker 1: two young women who are women and ladies of the 950 00:52:30,840 --> 00:52:33,880 Speaker 1: night about the two guys that they spent the night with. 951 00:52:34,360 --> 00:52:36,800 Speaker 1: Before they move on to that subject, though, they're talking 952 00:52:36,840 --> 00:52:40,200 Speaker 1: about where the two women went to college, where they 953 00:52:40,239 --> 00:52:43,279 Speaker 1: went to high school, and she's like, cool bears, and like, 954 00:52:43,840 --> 00:52:47,040 Speaker 1: so it's a sliver of a conversation. But to me, 955 00:52:47,800 --> 00:52:51,160 Speaker 1: I would say that, like most of the movies we have, 956 00:52:51,680 --> 00:52:55,560 Speaker 1: let pass, it passes on a techniccount. Yeah, even though 957 00:52:55,600 --> 00:52:57,680 Speaker 1: the whole reason why they're talking is because of these 958 00:52:57,680 --> 00:53:02,760 Speaker 1: two guys, right, I can see it both ways. I 959 00:53:02,800 --> 00:53:06,279 Speaker 1: feel like, and I'm purely speculating here, but I feel 960 00:53:06,280 --> 00:53:10,200 Speaker 1: like the Vechteal test was designed to question whether or 961 00:53:10,239 --> 00:53:12,440 Speaker 1: not the women. The assumption is that if they are 962 00:53:12,480 --> 00:53:15,600 Speaker 1: talking about a man, it's because he's the romantic interest 963 00:53:15,680 --> 00:53:20,160 Speaker 1: of something. So this is their purpose derives from that man. 964 00:53:20,320 --> 00:53:22,960 Speaker 1: It is a work conversation, right, yeah, it's yeah, so 965 00:53:23,239 --> 00:53:25,719 Speaker 1: they happen to be talking about men, but it's in 966 00:53:25,760 --> 00:53:28,879 Speaker 1: the context of like a criminal investigation rather than like, yes, 967 00:53:28,960 --> 00:53:33,480 Speaker 1: we love these men, oh right, oh yeah, yeah, yeah, 968 00:53:33,600 --> 00:53:36,360 Speaker 1: I agree. I'm inclined to give it past just because 969 00:53:36,960 --> 00:53:40,640 Speaker 1: I mean, like the Vectel test is certainly flawed and 970 00:53:40,680 --> 00:53:44,279 Speaker 1: that I feel like this movie is pretty unepistically like 971 00:53:44,320 --> 00:53:48,280 Speaker 1: it has amazing female characters. Right, Maybe there aren't enough 972 00:53:48,320 --> 00:53:49,920 Speaker 1: of them per se, but I almost feel like that's 973 00:53:49,960 --> 00:53:53,000 Speaker 1: intentionally done in the case of this because March just 974 00:53:53,239 --> 00:53:57,600 Speaker 1: is this force of good and badassus in a sea 975 00:53:57,800 --> 00:54:02,480 Speaker 1: of she's strong that I think she alone makes up 976 00:54:02,520 --> 00:54:06,320 Speaker 1: for it, like exactly she's not her purpose is derived 977 00:54:06,600 --> 00:54:09,759 Speaker 1: from a man, and her self worth isn't defined by 978 00:54:09,880 --> 00:54:12,759 Speaker 1: how men perceiver at all. In fact, she doesn't seem 979 00:54:12,800 --> 00:54:16,080 Speaker 1: to register it. She doesn't care. I mean, we see 980 00:54:16,080 --> 00:54:17,960 Speaker 1: it for a flash when she gets all you know, 981 00:54:18,360 --> 00:54:21,759 Speaker 1: done up to see her old pal. But I think 982 00:54:21,760 --> 00:54:24,480 Speaker 1: that that's just her wanting to have a break for 983 00:54:24,520 --> 00:54:27,880 Speaker 1: a moment to like, you know, that's like human. I 984 00:54:27,880 --> 00:54:30,279 Speaker 1: feel like that, Yeah, it's such a human moment of 985 00:54:30,320 --> 00:54:33,920 Speaker 1: Like I mean, any marriage, there comes a moment where 986 00:54:33,960 --> 00:54:36,480 Speaker 1: there's like that thought of like oh what if, and 987 00:54:36,520 --> 00:54:39,319 Speaker 1: then she seems to pretty immediately snap back into like, 988 00:54:39,360 --> 00:54:44,439 Speaker 1: oh no, I made the decision. Yeah, that's awesome to see. Yeah. 989 00:54:44,440 --> 00:54:46,879 Speaker 1: And I just think in general of just like having 990 00:54:46,920 --> 00:54:50,560 Speaker 1: an excuse to, like I don't know, not play act necessarily, 991 00:54:50,600 --> 00:54:53,680 Speaker 1: but just like to get gussied up into to just 992 00:54:53,760 --> 00:54:56,279 Speaker 1: explore a path for a night, even if it's just 993 00:54:56,320 --> 00:54:59,040 Speaker 1: a thought for a second, especially like with the she's 994 00:54:59,040 --> 00:55:00,880 Speaker 1: about to become a mon there and they're supposed to 995 00:55:00,880 --> 00:55:03,920 Speaker 1: be this big change. It's almost like a last last 996 00:55:04,120 --> 00:55:08,640 Speaker 1: kind Yeah, yeah, I agree, But then he was like, Oh, 997 00:55:08,680 --> 00:55:10,520 Speaker 1: I'm gonna sit over here and put my arm around you, 998 00:55:10,800 --> 00:55:14,120 Speaker 1: and then she's like away from me. Yeah, what's a 999 00:55:14,200 --> 00:55:17,120 Speaker 1: creepy Yeah. I don't know if you've been in similar 1000 00:55:17,120 --> 00:55:23,000 Speaker 1: situations where it's like super awkward on the same sif like, oh, 1001 00:55:23,040 --> 00:55:24,480 Speaker 1: I just don't want to have to turn my neck. 1002 00:55:24,520 --> 00:55:27,920 Speaker 1: But it's like clearly the front for how she like 1003 00:55:28,080 --> 00:55:33,960 Speaker 1: registered that is, Oh, that was weird. Go back tu. Yeah, 1004 00:55:34,040 --> 00:55:36,040 Speaker 1: he sounded so manic on the phone when we first 1005 00:55:36,040 --> 00:55:38,960 Speaker 1: hear him, and yeah, it's just it's just bad. Well, 1006 00:55:39,000 --> 00:55:41,319 Speaker 1: I think now is the time where we on a 1007 00:55:41,400 --> 00:55:48,200 Speaker 1: scale of zero to five nipples the movie based on 1008 00:55:48,560 --> 00:55:53,160 Speaker 1: its treatment and portrayal of its female characters. This is 1009 00:55:53,200 --> 00:55:58,200 Speaker 1: our alternative to the Metal Test five nip rating. Yeah, 1010 00:55:58,440 --> 00:56:02,080 Speaker 1: who would like to go first? I first, sure, I 1011 00:56:02,080 --> 00:56:05,040 Speaker 1: would give it without knowing any precedent of how you've 1012 00:56:05,120 --> 00:56:09,200 Speaker 1: rated previous films and where you personally reside and like 1013 00:56:09,600 --> 00:56:12,480 Speaker 1: the parameters of that. I would give it a four 1014 00:56:12,600 --> 00:56:16,279 Speaker 1: point five because I would give it a five just 1015 00:56:16,440 --> 00:56:19,359 Speaker 1: on Marge alone, because she's so iconic as a strong 1016 00:56:19,440 --> 00:56:21,960 Speaker 1: female character, and I think that a lot of people 1017 00:56:22,600 --> 00:56:26,160 Speaker 1: have referenced her through other characters written after this um 1018 00:56:26,200 --> 00:56:28,279 Speaker 1: as like sort of the goal of what you can 1019 00:56:28,320 --> 00:56:31,360 Speaker 1: achieve with like a woman who is in control and 1020 00:56:31,880 --> 00:56:35,120 Speaker 1: is dynamic and interesting and all and all of that stuff. However, 1021 00:56:35,480 --> 00:56:38,759 Speaker 1: you know, take away a point five because a lot 1022 00:56:38,800 --> 00:56:42,399 Speaker 1: of the other female characters are escorts that we don't 1023 00:56:42,400 --> 00:56:47,160 Speaker 1: know too much about, and Gene isn't really given a perspective. Unfortunately, 1024 00:56:48,320 --> 00:56:51,920 Speaker 1: one more I wanted. We know that she knits, you know, 1025 00:56:52,080 --> 00:56:55,400 Speaker 1: but there's more to her. There's more to her. So yeah, unfortunately, 1026 00:56:55,400 --> 00:56:58,640 Speaker 1: four boys because you because you describe those nipples. Sorry, 1027 00:56:58,680 --> 00:57:02,080 Speaker 1: we should have We should you five nipples they're like, 1028 00:57:02,520 --> 00:57:07,200 Speaker 1: you know, not like a deep flesh color, but like 1029 00:57:07,200 --> 00:57:11,680 Speaker 1: like a mom about to give birth. They're like so 1030 00:57:11,800 --> 00:57:14,280 Speaker 1: like so actually no, they are deep in color, bursting 1031 00:57:14,320 --> 00:57:18,240 Speaker 1: with milk and probably bursting with milk. Leaky nips, nips 1032 00:57:18,280 --> 00:57:20,640 Speaker 1: that you don't want to see, and you actually see 1033 00:57:20,640 --> 00:57:23,040 Speaker 1: it when you stimone into your mom's room a little 1034 00:57:23,040 --> 00:57:26,800 Speaker 1: too soon and you're asking what's for dinner. That's that's 1035 00:57:26,840 --> 00:57:28,960 Speaker 1: the nip. I would have also given it a four 1036 00:57:29,040 --> 00:57:31,680 Speaker 1: point five nip rating for the I'm just gonna pick 1037 00:57:31,760 --> 00:57:35,600 Speaker 1: you back and steal your um and this just might 1038 00:57:35,640 --> 00:57:39,479 Speaker 1: be true of that area of the country. I doubt 1039 00:57:39,480 --> 00:57:43,080 Speaker 1: there's much diversity. I don't see any women of color. Um, 1040 00:57:43,200 --> 00:57:45,880 Speaker 1: it's nice that we see like all the women aren't 1041 00:57:45,880 --> 00:57:48,680 Speaker 1: these like hot Hollywood look how hot I am? And 1042 00:57:48,760 --> 00:57:52,040 Speaker 1: everyone's just like nice and normal looking. And it seems 1043 00:57:52,080 --> 00:57:55,600 Speaker 1: like a lot of tertiary characters were from Farga probably 1044 00:57:55,720 --> 00:57:58,560 Speaker 1: guess including Gene. So yeah, it's just probably that there's 1045 00:57:58,600 --> 00:58:01,080 Speaker 1: no diversity in this town, that we don't see any 1046 00:58:01,120 --> 00:58:03,600 Speaker 1: women of color. Um. I like that Marge is like 1047 00:58:03,840 --> 00:58:08,840 Speaker 1: probably forty late thirties, because women of color, women over 1048 00:58:08,880 --> 00:58:11,479 Speaker 1: the age of like forty and fifty are even more 1049 00:58:11,480 --> 00:58:17,160 Speaker 1: poorly represented than white women. Yeah, so four point five 1050 00:58:17,960 --> 00:58:22,240 Speaker 1: beautiful nipples. I can't. I'm gonna give it four print 1051 00:58:22,320 --> 00:58:25,640 Speaker 1: five as well because I love a good bandwagon and 1052 00:58:25,680 --> 00:58:28,560 Speaker 1: also I agree mine are going to be Marche nipples 1053 00:58:28,600 --> 00:58:31,320 Speaker 1: as well. But these ones are radiating beams of light. 1054 00:58:32,400 --> 00:58:36,560 Speaker 1: I like, that's blind. That's a future pop culture themed 1055 00:58:36,720 --> 00:58:44,560 Speaker 1: art show. Yes, there March just marges. Yeah, just a 1056 00:58:44,680 --> 00:58:49,200 Speaker 1: statue of Marge, but there are very strong lights where 1057 00:58:49,200 --> 00:58:52,720 Speaker 1: her nips should be. That is something I would really 1058 00:58:53,120 --> 00:58:58,720 Speaker 1: make into a Facebook profile picture. I think highest compliments. Well, 1059 00:58:58,760 --> 00:59:02,840 Speaker 1: there you have it, Argo across the board four point five. 1060 00:59:03,280 --> 00:59:07,680 Speaker 1: I think that's the best one. So fun. So thanks 1061 00:59:07,720 --> 00:59:12,480 Speaker 1: for bringing us this great So is there anything that 1062 00:59:12,600 --> 00:59:14,880 Speaker 1: you'd like to plug or like? Where can people find 1063 00:59:14,880 --> 00:59:17,760 Speaker 1: you online? How do people follow you? Oh my gosh. 1064 00:59:18,040 --> 00:59:21,440 Speaker 1: You can find me at Twitter dot com finn slash 1065 00:59:21,680 --> 00:59:25,840 Speaker 1: Julia Prescott. There I post my musings in my show dates, 1066 00:59:25,920 --> 00:59:28,120 Speaker 1: and then I have a podcast about the Simpsons called 1067 00:59:28,120 --> 00:59:31,440 Speaker 1: Everything's Coming Up Podcast. You can find us at Simpson's 1068 00:59:31,480 --> 00:59:37,440 Speaker 1: Pod and on iTunes. Wonderful. Thank you so much. If 1069 00:59:37,480 --> 00:59:41,160 Speaker 1: you want to follow us, the Bechtel Cast, you can 1070 00:59:41,160 --> 00:59:46,400 Speaker 1: do so are cheering. You can follow us at Bechtel 1071 00:59:46,480 --> 00:59:49,280 Speaker 1: Cast on Twitter. You can email us if you want, 1072 00:59:49,600 --> 00:59:54,160 Speaker 1: The Bechtel Cast at gmail dot com. And we love you. 1073 00:59:54,440 --> 00:59:57,760 Speaker 1: We love you. Bye bye