1 00:00:00,280 --> 00:00:03,880 Speaker 1: Oh, Hi, Hi, everybody, it's us. It's us. We're just 2 00:00:03,960 --> 00:00:06,160 Speaker 1: here to let you know that you will be listening 3 00:00:06,200 --> 00:00:09,200 Speaker 1: to our Breakfast Club episode. Which you do know but 4 00:00:09,320 --> 00:00:11,800 Speaker 1: you may not know, is that this episode was recorded 5 00:00:12,280 --> 00:00:16,480 Speaker 1: live last month in San Francisco. Ever heard of San Francisco? 6 00:00:16,880 --> 00:00:20,560 Speaker 1: I have. We were there for like a whole twelve hours. 7 00:00:20,960 --> 00:00:23,560 Speaker 1: We were Yeah, we just wanted to say hello. We 8 00:00:23,600 --> 00:00:25,439 Speaker 1: wanted to let you know if you live in the 9 00:00:25,480 --> 00:00:29,040 Speaker 1: Los Angeles area, we have a live crossover show coming 10 00:00:29,120 --> 00:00:32,960 Speaker 1: up in March with The Daily Zeitgeist. That's right, It 11 00:00:33,159 --> 00:00:39,360 Speaker 1: is on March nine. It is at Dynasty Typewriter and 12 00:00:39,400 --> 00:00:41,640 Speaker 1: we will be there with Jack and Miles of The 13 00:00:41,720 --> 00:00:45,000 Speaker 1: Daily Zeitgeist and we're going to be talking about the news, 14 00:00:45,280 --> 00:00:53,440 Speaker 1: the trends, the movies, the moments of nine nine. Uh So, 15 00:00:53,479 --> 00:00:56,840 Speaker 1: if you live in the area, definitely roll the fun through. 16 00:00:57,120 --> 00:01:00,600 Speaker 1: We would love to meet you and hang. And you know, 17 00:01:00,680 --> 00:01:02,320 Speaker 1: we don't like to make it a habit to be 18 00:01:02,400 --> 00:01:06,480 Speaker 1: on stage with men. But what do you think I 19 00:01:06,560 --> 00:01:09,360 Speaker 1: was going to say, we just got friends. I thought 20 00:01:09,400 --> 00:01:12,400 Speaker 1: you're just gonna say on stage in general, And I 21 00:01:12,480 --> 00:01:15,520 Speaker 1: was like, we we do live show that No, no, no, 22 00:01:15,920 --> 00:01:19,280 Speaker 1: we don't like to be seen with men very often, 23 00:01:19,560 --> 00:01:21,800 Speaker 1: but you know we're making an exception one night only 24 00:01:21,840 --> 00:01:23,680 Speaker 1: and we'd love to see you there. Yes, so get 25 00:01:23,680 --> 00:01:26,520 Speaker 1: tickets at becdelcast dot com and then click on live 26 00:01:26,560 --> 00:01:30,800 Speaker 1: appearances and we'll see you there. Enjoy the live show 27 00:01:30,840 --> 00:01:35,440 Speaker 1: on the Breakfast Club. On the dol cast, the questions asked, 28 00:01:35,600 --> 00:01:39,080 Speaker 1: movies have women in them? Are all their discussions just 29 00:01:39,160 --> 00:01:43,480 Speaker 1: boyfriends and husbands? And do they have individualism? The patriarchy? 30 00:01:43,640 --> 00:01:47,960 Speaker 1: Zef invest start changing it with the bel Cast? Hi, 31 00:01:49,320 --> 00:01:54,440 Speaker 1: answer Scott, what's up? Are you in? All out? You 32 00:01:54,480 --> 00:01:59,160 Speaker 1: said the name of the city and everything. Hi, I'm Caitlin, 33 00:01:59,440 --> 00:02:05,440 Speaker 1: I'm Jane me and we're the Bechtel Cast. We are 34 00:02:05,480 --> 00:02:09,360 Speaker 1: indeed in San Francisco. Uh, it is rainy, it is 35 00:02:09,480 --> 00:02:13,200 Speaker 1: five pm. We are shocked and thrilled you're here. Thank 36 00:02:13,240 --> 00:02:16,960 Speaker 1: you for being here. Clap if you've heard the Bechtel 37 00:02:17,040 --> 00:02:25,200 Speaker 1: Cast before. Okay, and um not to put anyone on blast. 38 00:02:25,280 --> 00:02:28,280 Speaker 1: There's no wrong answer, but obviously there is based on 39 00:02:28,360 --> 00:02:30,239 Speaker 1: what you just heard. But clap if you if you 40 00:02:30,280 --> 00:02:34,399 Speaker 1: haven't heard our show before, Okay, sick are you here 41 00:02:34,440 --> 00:02:39,799 Speaker 1: with friends? Did friends drag you along? Yes? We'll put 42 00:02:39,840 --> 00:02:43,840 Speaker 1: on the best possible. We'll do our people to our 43 00:02:43,919 --> 00:02:47,600 Speaker 1: best as usual. That is all we can guarantee. So, 44 00:02:47,639 --> 00:02:50,880 Speaker 1: if you haven't listened before, The Bechtel Cast is a 45 00:02:50,960 --> 00:02:55,240 Speaker 1: podcast where Caitlin and I for five hundred years now 46 00:02:55,639 --> 00:03:00,160 Speaker 1: have been analyzing the role and treatment of when men 47 00:03:00,160 --> 00:03:04,560 Speaker 1: and female characters in famous movies. That's right. We use 48 00:03:04,680 --> 00:03:07,600 Speaker 1: the Bechdel Test as a jumping off point. It's a 49 00:03:07,639 --> 00:03:11,960 Speaker 1: media test that requires that two female identifying characters with 50 00:03:12,120 --> 00:03:15,000 Speaker 1: names speak to each other in the movie that they're 51 00:03:15,000 --> 00:03:18,120 Speaker 1: in for at least a two line exchange, and they 52 00:03:18,120 --> 00:03:24,880 Speaker 1: cannot talk about men. No, hard, hard. Yeah, let's see 53 00:03:24,880 --> 00:03:30,600 Speaker 1: if we can do it. I know right now, Jamie Caitlin, 54 00:03:32,200 --> 00:03:37,720 Speaker 1: that's it. We did it. Pretty fucking incredible what you 55 00:03:37,800 --> 00:03:45,120 Speaker 1: can do. So we're covering The Breakfast Club today. Uh, 56 00:03:45,240 --> 00:03:50,040 Speaker 1: is there anyone who has not seen this movie? Round? Okay? 57 00:03:50,120 --> 00:03:57,480 Speaker 1: Someone is that writing front? Eager for knowledge? Um, we're 58 00:03:57,480 --> 00:04:00,880 Speaker 1: talking about how The Breakfast Club kind of sounds like 59 00:04:00,960 --> 00:04:06,920 Speaker 1: the Bechtel Cast, right, except we wouldn't let John Hughes 60 00:04:07,000 --> 00:04:13,440 Speaker 1: anywhere near us. What is your history with the movie, Jamie, 61 00:04:13,840 --> 00:04:20,360 Speaker 1: Um Judd Nelson made my mom really horny and that's 62 00:04:20,400 --> 00:04:23,520 Speaker 1: the most And now I saw this movie in high 63 00:04:23,520 --> 00:04:26,719 Speaker 1: school and I thought it was fine. I saw on college. 64 00:04:26,720 --> 00:04:28,720 Speaker 1: I thought that was fine, and then I saw it 65 00:04:28,720 --> 00:04:31,719 Speaker 1: a few days ago, I thought it was fine. I 66 00:04:31,760 --> 00:04:34,400 Speaker 1: don't like I just I you know, I just John 67 00:04:34,480 --> 00:04:37,799 Speaker 1: Hughes movies just don't do much for me, even if 68 00:04:37,839 --> 00:04:42,919 Speaker 1: they're like not promoting rape, Like, it's just not He's 69 00:04:43,000 --> 00:04:46,640 Speaker 1: just not my not except for uh, some parts of 70 00:04:46,720 --> 00:04:51,400 Speaker 1: Uncle Buck. Oh sure, I like transplants and automobiles. I 71 00:04:51,400 --> 00:04:58,320 Speaker 1: think that's my favorite. What is that about. It's well, 72 00:04:58,360 --> 00:05:01,720 Speaker 1: it's uh Steve Martin and John Candy, So already I'm 73 00:05:01,720 --> 00:05:06,599 Speaker 1: not passing the Beckel test. They hate each other, they 74 00:05:06,760 --> 00:05:10,240 Speaker 1: use a lot of modes of transportation. That's pretty much it. 75 00:05:10,600 --> 00:05:15,200 Speaker 1: That sounds pretty good. I would watch that. So it's 76 00:05:15,240 --> 00:05:16,640 Speaker 1: just the two of us today. We don't have a 77 00:05:16,960 --> 00:05:20,000 Speaker 1: it is. Oh, I forgot about my history with the movie. Yeah, 78 00:05:20,040 --> 00:05:24,200 Speaker 1: we've never done this before our first first episode. My 79 00:05:24,279 --> 00:05:26,760 Speaker 1: history with the movie is I saw it for the 80 00:05:26,760 --> 00:05:28,479 Speaker 1: first time in high school. I think one of my 81 00:05:28,560 --> 00:05:36,000 Speaker 1: like English teachers was like hate kids you. He encouraged 82 00:05:36,080 --> 00:05:39,160 Speaker 1: us to watch the movie as like an assignment or 83 00:05:39,160 --> 00:05:41,400 Speaker 1: I don't know. There's something about like we watched it 84 00:05:41,440 --> 00:05:45,040 Speaker 1: in school or something like that. Uh, and that teacher 85 00:05:45,279 --> 00:05:50,200 Speaker 1: was later fired. Um, not not for that. He was 86 00:05:50,240 --> 00:05:58,080 Speaker 1: fired because it was discovered that he was an erotic dancer. Oh, which, look, 87 00:05:58,080 --> 00:05:59,720 Speaker 1: he should have been fired as a teacher for that. 88 00:06:00,000 --> 00:06:03,000 Speaker 1: Hold on, this story has taken a turn. I thought 89 00:06:03,040 --> 00:06:07,880 Speaker 1: you were about to say how he's a molester. It's like, sure, 90 00:06:07,960 --> 00:06:13,960 Speaker 1: everyone not molester. Okay, see that was that was my track, coach. Uh, 91 00:06:14,960 --> 00:06:18,560 Speaker 1: but that's that's not fair. That's tough there. This is 92 00:06:18,680 --> 00:06:21,280 Speaker 1: kind of like a cool old person movie to show 93 00:06:21,360 --> 00:06:24,840 Speaker 1: young people. They're like, I get it. You want to 94 00:06:24,839 --> 00:06:30,040 Speaker 1: see Amelia Estevis cry. I get it. Just like, yeah, sure, 95 00:06:30,400 --> 00:06:35,159 Speaker 1: I guess. I guess he really leveled with me. Should 96 00:06:35,160 --> 00:06:38,600 Speaker 1: I do the recap? Yeah, let's do the recap. You know, 97 00:06:38,760 --> 00:06:42,080 Speaker 1: people love a recap. And we don't have a guest, 98 00:06:42,120 --> 00:06:44,039 Speaker 1: so that means I get to interrupt twice as much. 99 00:06:45,240 --> 00:06:50,760 Speaker 1: Pretty cool, Pretty cool. The movie opens with glass shattering. No, 100 00:06:51,440 --> 00:06:55,640 Speaker 1: it opens with a David Bowie quote, and then I'm sorry, 101 00:06:56,000 --> 00:06:58,640 Speaker 1: you're like, okay, what decade are we in here? Is 102 00:06:58,640 --> 00:07:04,120 Speaker 1: that like John Hughes or Charlie Brooker. Am I right? Um, 103 00:07:04,120 --> 00:07:07,880 Speaker 1: it's a black miryor joke. Uh, stop making fun of 104 00:07:08,120 --> 00:07:13,520 Speaker 1: Charlie Brooker. Computers are actually bad, so yeah, technology actually 105 00:07:13,520 --> 00:07:18,720 Speaker 1: a little scary. Are you a hacker? Though? Yeah? That 106 00:07:18,800 --> 00:07:24,400 Speaker 1: show is Charlie Brooker or warning everyone about me? Speaking 107 00:07:24,440 --> 00:07:27,400 Speaker 1: of hackers though, there is like in the beginning with 108 00:07:27,440 --> 00:07:29,840 Speaker 1: the montage of all the quick cuts of Like the School, 109 00:07:30,160 --> 00:07:33,440 Speaker 1: it shows a classroom and one of the signs, there's 110 00:07:33,440 --> 00:07:35,520 Speaker 1: like a sign hanging up in the classroom that says 111 00:07:35,800 --> 00:07:40,480 Speaker 1: hackers will be expelled. Has anyone noticed that? Yeah? It's 112 00:07:40,560 --> 00:07:48,520 Speaker 1: go back okay, opens we meet five students. They have 113 00:07:48,840 --> 00:07:52,840 Speaker 1: detention for nine hours? Is that normal? Did anyone have 114 00:07:52,960 --> 00:07:56,600 Speaker 1: anything like this at their school? There? You just have 115 00:07:56,720 --> 00:08:00,120 Speaker 1: to spend a feature length amount of time with people. No, 116 00:08:00,320 --> 00:08:02,480 Speaker 1: it's like Lord of the like all the Lord of 117 00:08:02,480 --> 00:08:05,360 Speaker 1: the Rings movies worth of time. Yeah. I feel like 118 00:08:05,360 --> 00:08:08,200 Speaker 1: that's asking for someone to get beat up. Like, if 119 00:08:08,200 --> 00:08:12,280 Speaker 1: you leave five teenagers in a room together for nine hours, 120 00:08:12,280 --> 00:08:16,400 Speaker 1: someone's going to get hurt. That's just how teens work. 121 00:08:16,840 --> 00:08:20,760 Speaker 1: So the Fox students with me are Claire, the Princess, 122 00:08:21,320 --> 00:08:24,720 Speaker 1: Molly Ringwald. She's like the rich popular girl type. We've 123 00:08:24,720 --> 00:08:28,880 Speaker 1: got Andy Clark, the athlete, that's Amelia Estevez's character. Yeah, 124 00:08:29,040 --> 00:08:33,199 Speaker 1: he does cry, they all cry. I think Brian A. 125 00:08:33,320 --> 00:08:38,200 Speaker 1: K the brain name anagram am I right? Andy Michael 126 00:08:38,200 --> 00:08:41,280 Speaker 1: Hall does not rape anyone in this John Hughes movie. 127 00:08:41,320 --> 00:08:47,120 Speaker 1: So that's good. You get very different anthem. Actually you 128 00:08:47,200 --> 00:08:50,920 Speaker 1: kind of get the same character, but a rapist true wild. 129 00:08:51,600 --> 00:08:55,640 Speaker 1: Alison Reynolds is the basket case. That's Ali. She'd use character. 130 00:08:56,000 --> 00:09:03,319 Speaker 1: She's not like the other girls. True. And finally Benders 131 00:09:03,440 --> 00:09:07,160 Speaker 1: the criminal um that's Jen Nelson's character. He's twenty six 132 00:09:07,280 --> 00:09:11,520 Speaker 1: years old. He's in this movie kissing a sixteen year 133 00:09:11,559 --> 00:09:15,520 Speaker 1: old Molly Ringwald and just behind the scenes fact that 134 00:09:15,600 --> 00:09:19,520 Speaker 1: I found freaky, like a lot of male actors choose 135 00:09:19,920 --> 00:09:22,319 Speaker 1: because they won't get in trouble if they do. Jed 136 00:09:22,440 --> 00:09:24,400 Speaker 1: Nelson was like, I think I'm gonna go method with 137 00:09:24,440 --> 00:09:27,720 Speaker 1: this and just bullied Molly Ringwald for the entirety of 138 00:09:27,720 --> 00:09:30,360 Speaker 1: the movie. He's ten years older than her offset right 139 00:09:30,520 --> 00:09:33,439 Speaker 1: offset and and John Hughes at one point tried to 140 00:09:33,520 --> 00:09:36,920 Speaker 1: fire him, and then all the teens were like no. 141 00:09:38,200 --> 00:09:40,520 Speaker 1: It was if I don't I can't make heads their 142 00:09:40,559 --> 00:09:43,440 Speaker 1: tails of that, but it's true anytime a man things 143 00:09:43,520 --> 00:09:45,840 Speaker 1: going method, he just wants to yell at someone like. 144 00:09:45,880 --> 00:09:49,960 Speaker 1: That's just literally what it is. Also, we talked in 145 00:09:50,000 --> 00:09:52,280 Speaker 1: the car on the way up here that the members 146 00:09:52,280 --> 00:09:54,960 Speaker 1: of the Breakfast Club are all also sort of the 147 00:09:55,000 --> 00:10:02,800 Speaker 1: Spice Girls. Break this down. Okay, Sporty Spice obviously Amelio Estevez, 148 00:10:04,720 --> 00:10:09,640 Speaker 1: Scary Spice is Jed Nelson. See this is see this 149 00:10:09,720 --> 00:10:12,079 Speaker 1: is where we don't. Okay, all right, let me make 150 00:10:12,080 --> 00:10:20,240 Speaker 1: a case for this. Jesus Francisco. We thought that Posh 151 00:10:20,559 --> 00:10:24,880 Speaker 1: is Molly Ringwald. Can we agree with that baby we 152 00:10:24,920 --> 00:10:31,080 Speaker 1: said was Anthony Michael because he's innocent and blonde, a 153 00:10:31,200 --> 00:10:37,200 Speaker 1: flesh colored headed hair person. I'm aware that would make 154 00:10:37,559 --> 00:10:41,480 Speaker 1: Ginger Alie Sheet's character. And it's not a one to 155 00:10:41,559 --> 00:10:44,520 Speaker 1: one match, but we've got a solid three out of five. 156 00:10:45,280 --> 00:10:49,240 Speaker 1: But then also Ginger is Molly like Molly Ringwald is 157 00:10:49,640 --> 00:10:53,280 Speaker 1: Ginger e based on hair color alone. Sorry to reduce 158 00:10:54,120 --> 00:11:00,760 Speaker 1: hair a hole here. Anyway, let's move on. We've got 159 00:11:01,000 --> 00:11:05,800 Speaker 1: Richard Vernon. He's the teacher, is the assistant character. He's 160 00:11:05,840 --> 00:11:09,040 Speaker 1: the assistant principal who are in there often. I feel 161 00:11:09,080 --> 00:11:11,480 Speaker 1: like that's like a stock character of like the put 162 00:11:11,600 --> 00:11:17,000 Speaker 1: Upon assistant principle. Isn't Captain Underpants and assistant principle or 163 00:11:17,160 --> 00:11:19,280 Speaker 1: was he the principle. I think he was the assistant principal, 164 00:11:20,520 --> 00:11:26,040 Speaker 1: just the scholarly observation. And he's like this disciplinarian. He's like, 165 00:11:26,080 --> 00:11:28,000 Speaker 1: you guys can't talk, you can't move, blah blah blah, 166 00:11:28,240 --> 00:11:30,400 Speaker 1: and I have to write an essay about who they 167 00:11:30,440 --> 00:11:33,160 Speaker 1: think they are. Then Bender, he's like the tough guy. 168 00:11:33,520 --> 00:11:36,440 Speaker 1: He's trying to get a rise out of everybody. He's like, 169 00:11:36,559 --> 00:11:39,240 Speaker 1: you're a nerd and everyone's like, well, you're a jock. 170 00:11:39,480 --> 00:11:42,240 Speaker 1: And then they're all just hating each other each other 171 00:11:42,800 --> 00:11:48,959 Speaker 1: labels because teens, but they mostly ignore the quote unquote 172 00:11:48,960 --> 00:11:52,880 Speaker 1: basket case girl. And then she doesn't talk for most 173 00:11:52,880 --> 00:11:57,560 Speaker 1: of the movie. Then we see a montage they're doing 174 00:11:57,559 --> 00:12:00,480 Speaker 1: their stuff, take out the dancing montage. Is this movies 175 00:12:00,520 --> 00:12:05,880 Speaker 1: thirty five minutes long, a lot of dancing. A shot 176 00:12:05,920 --> 00:12:10,160 Speaker 1: where Anthony Michael Hall's character is like adjusting his crotch 177 00:12:10,240 --> 00:12:12,679 Speaker 1: and then like puts his hat on his lap. Are 178 00:12:12,720 --> 00:12:18,800 Speaker 1: we to believe that her I don't know. I don't 179 00:12:18,840 --> 00:12:22,880 Speaker 1: I hope not. It's hard to say, hard to say, 180 00:12:23,040 --> 00:12:29,439 Speaker 1: I don't know. I'm so sorry. We can't know. Okay, So, um, 181 00:12:29,520 --> 00:12:31,319 Speaker 1: it's hard because there's like kind of not a plot, 182 00:12:31,440 --> 00:12:35,520 Speaker 1: so I don't know how to recap this. They could 183 00:12:35,559 --> 00:12:39,679 Speaker 1: only afford three rooms to shoot the movie in, so 184 00:12:39,760 --> 00:12:43,439 Speaker 1: they gotta emote in a lot of different good, fine spaces. 185 00:12:44,720 --> 00:12:48,960 Speaker 1: I don't know, they're just harassed like that for most 186 00:12:49,000 --> 00:12:54,640 Speaker 1: of the movie. Affordable names. He launch it some point 187 00:12:55,080 --> 00:12:59,640 Speaker 1: and then um, there's this conversation where Brian is like, 188 00:13:00,240 --> 00:13:02,439 Speaker 1: I'm a virgin, but I'm embarrassed to admit it, and 189 00:13:02,480 --> 00:13:05,040 Speaker 1: then Molly ring well it's like I think virgins are cool. 190 00:13:05,559 --> 00:13:09,080 Speaker 1: And then everyone's like oh, and everyone's like whoa, and 191 00:13:09,120 --> 00:13:13,600 Speaker 1: then Jed Nelson's like, what are you guys talking about? Um? 192 00:13:13,679 --> 00:13:15,640 Speaker 1: You know, A lot of points are brought up. Yea, 193 00:13:17,000 --> 00:13:20,839 Speaker 1: the Bender character reveals that he's being physically abused at 194 00:13:20,880 --> 00:13:24,239 Speaker 1: home by his father. We learned different sort of backstories 195 00:13:24,240 --> 00:13:27,680 Speaker 1: of each of the characters, like Ali Sheitt's character is 196 00:13:27,720 --> 00:13:31,800 Speaker 1: ignored by her parents, which is why she's eating dog 197 00:13:31,880 --> 00:13:35,280 Speaker 1: food or something like I saw too much of my 198 00:13:35,320 --> 00:13:37,959 Speaker 1: solf and I sat too much of myself in her. 199 00:13:38,000 --> 00:13:41,240 Speaker 1: I was like Okay, so she's like a teenager, but 200 00:13:41,320 --> 00:13:43,520 Speaker 1: she's She's like, but what do I do? She just 201 00:13:43,600 --> 00:13:46,440 Speaker 1: if she had access to Mike's Hard lemonade, she would 202 00:13:46,480 --> 00:13:49,320 Speaker 1: be drinking Mike's Hard. She went, she yeah, I mean 203 00:13:49,360 --> 00:13:51,520 Speaker 1: she was saying she was drinking vodka. But she she 204 00:13:51,559 --> 00:13:57,880 Speaker 1: can't even get her hands on an MHL embarrassing, so 205 00:13:57,920 --> 00:14:01,800 Speaker 1: she eats pixie sticks on sandwiches instead. She's not like 206 00:14:01,840 --> 00:14:05,920 Speaker 1: the other girls. Everyone. She needs you to know. And 207 00:14:05,960 --> 00:14:09,960 Speaker 1: then there's a point where they go to Bender's locker 208 00:14:10,080 --> 00:14:14,160 Speaker 1: to get weed, and then they think and there is 209 00:14:14,760 --> 00:14:20,160 Speaker 1: homophobic slurs written all over his locker, and then they 210 00:14:20,200 --> 00:14:23,320 Speaker 1: think they're gonna get caught because they are running around 211 00:14:23,320 --> 00:14:26,040 Speaker 1: the halls trying to dodge Vernon in a scene that 212 00:14:26,160 --> 00:14:31,040 Speaker 1: is not unlike Titanic where Jack and Rose are running 213 00:14:31,040 --> 00:14:35,240 Speaker 1: around the ship. And then they come Billy Zane. What 214 00:14:35,400 --> 00:14:38,960 Speaker 1: Billy's Zane was in this movie too much? He was 215 00:14:39,000 --> 00:14:41,840 Speaker 1: busy being in Back to the Future as one of 216 00:14:41,880 --> 00:14:46,280 Speaker 1: Biff's crony, playing a similar character to the Jen Nelson character. 217 00:14:46,360 --> 00:14:50,000 Speaker 1: As long as Zane's getting work, Yeah, anyway, I can 218 00:14:50,040 --> 00:14:54,200 Speaker 1: sleep at night. So there's a gate and they can't 219 00:14:54,200 --> 00:14:56,960 Speaker 1: go any farther, just like Jack and Rose. So they 220 00:14:57,000 --> 00:14:58,720 Speaker 1: have to turn around, they have to find another way. 221 00:14:58,760 --> 00:15:05,000 Speaker 1: And then and then one of the drowns. No spoilers, 222 00:15:05,040 --> 00:15:08,560 Speaker 1: we won't tell you which character it is, but in 223 00:15:08,600 --> 00:15:13,000 Speaker 1: the breakfast club, Bender is like, all sacrifice myself, so 224 00:15:13,040 --> 00:15:15,880 Speaker 1: he goes running around all crazy in the halls and 225 00:15:15,920 --> 00:15:18,600 Speaker 1: gets caught so that the others don't. Yeah, and then 226 00:15:18,640 --> 00:15:22,200 Speaker 1: there's also the scene prior to that where the assistant 227 00:15:22,240 --> 00:15:28,040 Speaker 1: principal verbally abuses Bender and like just it. That's like 228 00:15:28,080 --> 00:15:32,480 Speaker 1: a tough scene to to unpack. But um, at the beginning, 229 00:15:32,520 --> 00:15:35,160 Speaker 1: you're not sure why Benders being such a dick to everyone, 230 00:15:35,240 --> 00:15:37,240 Speaker 1: But as as the movie goes on, you see you 231 00:15:37,520 --> 00:15:40,920 Speaker 1: start to understand why. So by the time he's flailing 232 00:15:40,960 --> 00:15:43,560 Speaker 1: around and got the weed, you're like, okay, this is 233 00:15:44,000 --> 00:15:48,880 Speaker 1: this is like time with me, right yeah. Uh. And 234 00:15:48,880 --> 00:15:51,840 Speaker 1: then shortly after that, whenever he gets caught by Vernon, 235 00:15:52,400 --> 00:15:54,800 Speaker 1: he like locks Bender in a closet and then like 236 00:15:55,120 --> 00:15:57,520 Speaker 1: tries to initiate a physical fight with him, and then 237 00:15:57,560 --> 00:16:00,880 Speaker 1: we see like him kind of bender back down and 238 00:16:00,960 --> 00:16:04,080 Speaker 1: not engage. Um, so maybe he's more sensitive than we 239 00:16:04,120 --> 00:16:07,280 Speaker 1: all think, or maybe his teachers trying to fight him 240 00:16:07,360 --> 00:16:12,480 Speaker 1: like like an unhinged person, like, hey, everyone at this 241 00:16:12,640 --> 00:16:15,040 Speaker 1: school likes me. No one will believe me if I 242 00:16:15,240 --> 00:16:19,440 Speaker 1: fight you. It's like, what are you talking about? Sicko? 243 00:16:20,560 --> 00:16:23,600 Speaker 1: And then Bender escapes through like the air ducks and 244 00:16:23,640 --> 00:16:28,480 Speaker 1: gets back into the library very mission impossible, true, and 245 00:16:28,520 --> 00:16:32,320 Speaker 1: then he hides under a desk because Vernon comes in, 246 00:16:32,400 --> 00:16:36,000 Speaker 1: and that's when we get the famous and upsetting underwear 247 00:16:36,800 --> 00:16:41,480 Speaker 1: crotch shot of character. We'll get there, don't you worry. 248 00:16:41,840 --> 00:16:45,480 Speaker 1: There's and then they're all there. They smoke the weed. 249 00:16:45,760 --> 00:16:51,720 Speaker 1: There's a million dance. You cannot have an eighties teen 250 00:16:51,840 --> 00:16:58,560 Speaker 1: movie without Kevin Bacon or Amelia Estevez or someone just 251 00:16:58,800 --> 00:17:02,520 Speaker 1: dancing for like five minutes straight. Guys, remember when we 252 00:17:02,760 --> 00:17:06,000 Speaker 1: was cool? Still? This movie brings you back to when 253 00:17:06,000 --> 00:17:09,880 Speaker 1: we was cool, right, and not for Dad's trying to 254 00:17:09,920 --> 00:17:12,680 Speaker 1: tell you they get it. And then we get to 255 00:17:12,720 --> 00:17:16,480 Speaker 1: the scene where they're all sitting around and they're talking 256 00:17:17,160 --> 00:17:23,280 Speaker 1: about sex. Ever heard of it? Who's horny? Who's not? 257 00:17:23,520 --> 00:17:26,720 Speaker 1: That's not how it goes. Um, they're like all virgins 258 00:17:26,760 --> 00:17:30,840 Speaker 1: basically pretty much. Bender's trying to like, he's like he 259 00:17:30,880 --> 00:17:33,600 Speaker 1: goes back to a berating Claire for a bit. They 260 00:17:33,640 --> 00:17:35,800 Speaker 1: all talk about, Hey, are we going to be friends 261 00:17:35,840 --> 00:17:39,840 Speaker 1: after this? And then Claire's like, I'm too popular, just 262 00:17:39,960 --> 00:17:44,639 Speaker 1: a straight shooter. Yeah, And then um, Brian reveals that 263 00:17:44,680 --> 00:17:49,520 Speaker 1: he is failing shop class. And then the reason he 264 00:17:49,560 --> 00:17:52,199 Speaker 1: got detention is that he brought a gun to school 265 00:17:52,200 --> 00:17:57,359 Speaker 1: with the intention of committing suicide, but with a flair gun, 266 00:17:57,960 --> 00:18:00,480 Speaker 1: which is played as a joke and it's I don't know, 267 00:18:00,560 --> 00:18:04,400 Speaker 1: we can talk about that later, but also, yeah, remember 268 00:18:04,440 --> 00:18:06,600 Speaker 1: the days when you could bring a weapon to school 269 00:18:06,680 --> 00:18:13,399 Speaker 1: and only get Saturday detention? Like what? Oh goodness? And 270 00:18:13,440 --> 00:18:17,840 Speaker 1: then Allison's like, I didn't do anything to get detention. 271 00:18:17,920 --> 00:18:21,840 Speaker 1: I just showed up. But first she says a lot 272 00:18:21,840 --> 00:18:26,199 Speaker 1: of funked up stuff yes, um, and then yeah, and 273 00:18:26,200 --> 00:18:30,720 Speaker 1: then her her secret, as it were, whatever is is 274 00:18:30,760 --> 00:18:34,959 Speaker 1: that she is a compulsive liar. Right, and then they 275 00:18:35,080 --> 00:18:42,000 Speaker 1: dance again, right, somehow they dance again because recycling shots 276 00:18:42,800 --> 00:18:46,879 Speaker 1: earlier Justmelio Estevez dancing, and then they danced as a group. 277 00:18:47,240 --> 00:18:52,800 Speaker 1: That's the video that Alexandria Cacio Cortez was recreating when 278 00:18:52,840 --> 00:18:55,639 Speaker 1: she was a student at Boston University. Now is a 279 00:18:55,680 --> 00:18:57,520 Speaker 1: great time to bring up that I do have a 280 00:18:57,560 --> 00:19:01,879 Speaker 1: master's degree in screen running from Boston University. Thank you. 281 00:19:02,160 --> 00:19:08,400 Speaker 1: Why would you cheer for that? Unfortunately AOC and I 282 00:19:08,480 --> 00:19:15,639 Speaker 1: did not overlap at our time at BU, but you know, 283 00:19:15,720 --> 00:19:23,200 Speaker 1: be you represent. Okay, wow, I'm sorry, Jamie, I also 284 00:19:23,240 --> 00:19:29,119 Speaker 1: went to college, Thank you so much. Yeah up, guys, 285 00:19:29,240 --> 00:19:33,560 Speaker 1: it's a fucking scam. Yeah, no one learned. It's a 286 00:19:33,680 --> 00:19:35,600 Speaker 1: fucking scam. And we're all going to be in debt 287 00:19:35,720 --> 00:19:39,960 Speaker 1: until we're dead. Please thank you our merch over there, 288 00:19:40,200 --> 00:19:44,120 Speaker 1: because we are drowning in student learned debt. I took 289 00:19:44,119 --> 00:19:47,200 Speaker 1: a class on lost in college. I'm just like there 290 00:19:48,560 --> 00:19:50,160 Speaker 1: and I'm never yeah, and I'm never going to own 291 00:19:50,160 --> 00:19:56,560 Speaker 1: a home. You know, it's just like sure worth it. Okay. 292 00:19:56,560 --> 00:19:59,760 Speaker 1: So after the dance where they all dance, Claire gives 293 00:19:59,760 --> 00:20:04,520 Speaker 1: out us in a makeover because women, right, right, we'll 294 00:20:04,520 --> 00:20:09,760 Speaker 1: talk about that. And then Claire, for no reason, it seems, 295 00:20:10,000 --> 00:20:14,520 Speaker 1: goes and kisses Bender on the collar bone. Yeah, I 296 00:20:14,520 --> 00:20:18,520 Speaker 1: mean because after harassing her for nine consecutive hours, she's 297 00:20:18,600 --> 00:20:24,600 Speaker 1: decided he's worn her down. You know, really uh, really 298 00:20:24,960 --> 00:20:29,480 Speaker 1: really male writing going on there. And then Andy, who 299 00:20:29,600 --> 00:20:35,280 Speaker 1: sees Allison, is like wow, you're pretty, you took your 300 00:20:35,280 --> 00:20:41,880 Speaker 1: hoodie off. I love you. And then meanwhile, Brian, who 301 00:20:41,880 --> 00:20:45,240 Speaker 1: has no one to kiss it's forced to do everyone's 302 00:20:45,240 --> 00:20:50,439 Speaker 1: home work, which honestly is a wild power move that 303 00:20:50,480 --> 00:20:53,560 Speaker 1: I thought was a little funny because he because they 304 00:20:53,600 --> 00:20:56,240 Speaker 1: were all like in that moment, I was like, bright, 305 00:20:56,280 --> 00:20:59,199 Speaker 1: you're seriously falling for this right now, Like he's just 306 00:20:59,280 --> 00:21:01,640 Speaker 1: They're just like, Iran, you're the smartest side of all 307 00:21:01,640 --> 00:21:03,320 Speaker 1: of us. What do they know is what he wants 308 00:21:03,359 --> 00:21:07,199 Speaker 1: to hear? And he's like yeah, so, and they're like, 309 00:21:07,280 --> 00:21:09,560 Speaker 1: so we were thinking you would do. I'm like, this 310 00:21:09,640 --> 00:21:12,640 Speaker 1: happens to like dorkey kids in school all the time. 311 00:21:12,640 --> 00:21:15,680 Speaker 1: They don't fall for that ship. After a while, Brian's 312 00:21:15,720 --> 00:21:19,200 Speaker 1: too old to be fallen for that trick. Grow up, Brian, 313 00:21:19,240 --> 00:21:23,120 Speaker 1: don't write everyone's essay, but he does. And he's like, 314 00:21:23,359 --> 00:21:26,560 Speaker 1: you see us, how you want to see us? Mr Vernon. 315 00:21:26,880 --> 00:21:31,600 Speaker 1: He kind of goes edge lord on it. He's like, 316 00:21:31,640 --> 00:21:39,399 Speaker 1: but we're all the criminal and princess and so teach gees. 317 00:21:41,000 --> 00:21:44,080 Speaker 1: Can you imagine like if you were a person doing 318 00:21:44,119 --> 00:21:45,960 Speaker 1: their job as someone left you that letter, I would 319 00:21:46,040 --> 00:21:49,720 Speaker 1: literally be like yeah, fine, and I would throw it 320 00:21:49,760 --> 00:22:01,480 Speaker 1: away at me, I feel like, yeah, awesome. Uh and 321 00:22:01,520 --> 00:22:04,720 Speaker 1: then and then they'll leave, and then there are two 322 00:22:05,200 --> 00:22:09,240 Speaker 1: hetero kisses, and then all fingerless gloves pumps his fist 323 00:22:10,440 --> 00:22:15,040 Speaker 1: and then we all get to go home. And that's 324 00:22:15,080 --> 00:22:26,919 Speaker 1: the movie. Is the movie. I had fun with this 325 00:22:27,080 --> 00:22:31,920 Speaker 1: because I'm not particularly attached to the movie. Um and 326 00:22:32,160 --> 00:22:34,440 Speaker 1: a lot of it I don't know. I mean, things 327 00:22:34,480 --> 00:22:38,280 Speaker 1: I appreciate about this movie are that it is a 328 00:22:38,320 --> 00:22:41,040 Speaker 1: movie that, even though it misfires in a lot of 329 00:22:41,040 --> 00:22:44,840 Speaker 1: directions and and and when ways we'll talk about it, 330 00:22:45,080 --> 00:22:49,679 Speaker 1: at least takes teenage characters seriously. And and for the 331 00:22:49,760 --> 00:22:54,119 Speaker 1: most part we're seeing teenagers like acting out and and 332 00:22:54,680 --> 00:22:58,400 Speaker 1: you know, often harassing each other and teasing each other. 333 00:22:58,480 --> 00:23:01,879 Speaker 1: But at very least you get background for everyone in 334 00:23:01,920 --> 00:23:05,199 Speaker 1: some context. And unlike a lot of other teen movies, 335 00:23:05,280 --> 00:23:07,560 Speaker 1: it doesn't go the direction of playing the adults in 336 00:23:07,600 --> 00:23:11,720 Speaker 1: a totally comical way to were like often if it's 337 00:23:11,720 --> 00:23:15,640 Speaker 1: like a movie directed or marketed at young people, it's 338 00:23:15,680 --> 00:23:17,800 Speaker 1: like all the teens get it, and the adults are 339 00:23:17,920 --> 00:23:21,440 Speaker 1: fucking idiots, and they are, but like you at least 340 00:23:21,480 --> 00:23:24,399 Speaker 1: get background on them as well. And I don't know, 341 00:23:24,480 --> 00:23:27,879 Speaker 1: everyone felt at least there was a tension given to 342 00:23:28,000 --> 00:23:32,280 Speaker 1: every character, even if a lot of it was like no, 343 00:23:34,600 --> 00:23:37,920 Speaker 1: So I appreciated that. Yeah, and I agree. I I 344 00:23:38,720 --> 00:23:41,680 Speaker 1: don't have any special attachment to this movie either. Again, 345 00:23:41,720 --> 00:23:45,439 Speaker 1: I'm not like a huge John Hughes fan, but I 346 00:23:45,480 --> 00:23:49,640 Speaker 1: mean he was doing what no one was really doing 347 00:23:49,640 --> 00:23:51,520 Speaker 1: at that time. And this is something that um Molly 348 00:23:51,680 --> 00:23:54,600 Speaker 1: Ringwald brings up in the piece that she wrote for 349 00:23:54,600 --> 00:23:58,919 Speaker 1: The New Yorker where he kind of revolutionized stories for 350 00:23:59,240 --> 00:24:03,040 Speaker 1: and about teenagers. So I understand why this is a 351 00:24:03,040 --> 00:24:07,080 Speaker 1: beloved movie then and still now. And I think that 352 00:24:07,720 --> 00:24:10,280 Speaker 1: one of the things that I think it does pretty well, 353 00:24:10,520 --> 00:24:12,560 Speaker 1: and this is kind of mirroring what you were saying, Jamie, 354 00:24:12,560 --> 00:24:16,879 Speaker 1: but it spends time and attention on each of the character. 355 00:24:17,000 --> 00:24:19,760 Speaker 1: So you know, we talked about the female characters, and 356 00:24:19,840 --> 00:24:25,840 Speaker 1: they are although I don't know about the character well, 357 00:24:25,880 --> 00:24:28,879 Speaker 1: they're underrepresented in this movie in general, because you see 358 00:24:29,560 --> 00:24:33,200 Speaker 1: the Breakfast Club is male character heavy, and then the 359 00:24:33,280 --> 00:24:36,359 Speaker 1: other three adults, all three adult characters you see her men, 360 00:24:36,720 --> 00:24:40,840 Speaker 1: the assistant principal, Carl Cool Janitor, Carl shout out to 361 00:24:40,920 --> 00:24:47,160 Speaker 1: my freaking boy, and then uh Amelio Estevez is wild 362 00:24:47,200 --> 00:24:51,600 Speaker 1: and Dad who isn't? Who's Amelia Seves? Is real? Debt 363 00:24:51,640 --> 00:24:56,840 Speaker 1: isn't some of fam Martin Martin Sheen missed opportunity? What 364 00:24:57,040 --> 00:25:03,800 Speaker 1: someone is heckling Martin? What's up? President? Dude? Aaron Sorkin 365 00:25:03,920 --> 00:25:09,720 Speaker 1: was canceled today, Pay attention there, come on there? Uh 366 00:25:09,760 --> 00:25:13,600 Speaker 1: but Martin she Grayson and Frankie season five, Oh yeah, 367 00:25:13,720 --> 00:25:18,520 Speaker 1: you might know him from Grayson Frankie. I love that show. Anyways, 368 00:25:18,680 --> 00:25:21,640 Speaker 1: what were we talking about? Oh? Too many men? That's 369 00:25:21,640 --> 00:25:26,200 Speaker 1: a note only, but yeah, I mean all three. I 370 00:25:26,480 --> 00:25:29,879 Speaker 1: think it was like a misstep and to be generous 371 00:25:29,920 --> 00:25:33,359 Speaker 1: with John Hughes, who does not have a good track record. Uh, 372 00:25:33,400 --> 00:25:38,600 Speaker 1: and in a lot of respects, making every adult character presented, uh, 373 00:25:38,760 --> 00:25:43,440 Speaker 1: male character is both weird and also not reflective of 374 00:25:43,520 --> 00:25:46,840 Speaker 1: the education system. Like it just was like, I don't know, 375 00:25:46,880 --> 00:25:49,240 Speaker 1: it just seems like a dumb missed opportunity. Yeah. We 376 00:25:49,320 --> 00:25:52,400 Speaker 1: see Brian's mom very briefly, and I think I don't 377 00:25:52,440 --> 00:25:54,880 Speaker 1: think we see any other parents, but she's like, study 378 00:25:55,080 --> 00:25:57,639 Speaker 1: what we see. I mean, we see dad, Amelia's daddy. 379 00:25:57,800 --> 00:26:00,480 Speaker 1: But in addition to that, on sports dad was yeah 380 00:26:00,680 --> 00:26:04,280 Speaker 1: that's poor dad. Yeah, And I think with the Molly 381 00:26:04,359 --> 00:26:09,359 Speaker 1: Ringwald character, like so much attention is focused on her um, 382 00:26:09,400 --> 00:26:13,119 Speaker 1: which is good for our discussion. But with the basket 383 00:26:13,119 --> 00:26:17,840 Speaker 1: Case Ali, sheitdy character. She doesn't even say words until 384 00:26:18,000 --> 00:26:20,800 Speaker 1: like thirty three minutes into the movie or something like that, 385 00:26:21,119 --> 00:26:24,040 Speaker 1: and then it's like acting vaguely Ferrell like it's it's 386 00:26:25,560 --> 00:26:29,960 Speaker 1: her character is is confusing, and it's weird because it's 387 00:26:29,960 --> 00:26:32,480 Speaker 1: like it comes out that she's a compulsive liar, which 388 00:26:32,920 --> 00:26:36,080 Speaker 1: is played as a joke basically because they're like, oh, 389 00:26:36,119 --> 00:26:38,320 Speaker 1: everything this, but like if you only have two female 390 00:26:38,400 --> 00:26:40,760 Speaker 1: characters and at the end you're like, oh, this female 391 00:26:40,840 --> 00:26:43,640 Speaker 1: character one of the two. Don't listen to a word 392 00:26:43,720 --> 00:26:46,840 Speaker 1: she fucking says. Not a true word comes out of 393 00:26:46,840 --> 00:26:49,600 Speaker 1: this lady's mouth like that that's not that she said 394 00:26:49,680 --> 00:26:51,960 Speaker 1: much to begin with, because then she doesn't speak again 395 00:26:52,040 --> 00:26:55,320 Speaker 1: until like I think it's fifty nine minutes into the movie. 396 00:26:55,640 --> 00:26:57,359 Speaker 1: But the things she does say at the end are 397 00:26:57,560 --> 00:27:01,080 Speaker 1: very dark, Like she says that she has sex with 398 00:27:01,119 --> 00:27:03,960 Speaker 1: her therapists as an underage girl. Like she says some 399 00:27:04,119 --> 00:27:07,840 Speaker 1: really dark stuff and and then to like say all 400 00:27:07,840 --> 00:27:09,919 Speaker 1: that stuff and then just like, oh, I'm a compulsive 401 00:27:09,960 --> 00:27:13,400 Speaker 1: liar t he and then kiss Semilio Estevez is like, 402 00:27:15,680 --> 00:27:20,040 Speaker 1: first of all, what and that's like a very nineteen 403 00:27:20,080 --> 00:27:24,359 Speaker 1: eighties like glazing over of what, like of a discussion 404 00:27:24,440 --> 00:27:28,199 Speaker 1: of mental illness? Uh, And like a compulsive lying is 405 00:27:28,240 --> 00:27:31,040 Speaker 1: like a very blanket term that it's clear the writer 406 00:27:31,200 --> 00:27:34,560 Speaker 1: doesn't understand or has done any research on, and he 407 00:27:34,680 --> 00:27:36,639 Speaker 1: just kind of uses it ultimately as a way to 408 00:27:36,680 --> 00:27:39,800 Speaker 1: be like, well, uh, I hope you weren't listening to 409 00:27:39,800 --> 00:27:43,200 Speaker 1: her because she's nuts, and but we made her pretty, 410 00:27:43,560 --> 00:27:48,520 Speaker 1: so now she's gonna kiss Martin Sheen's son yep, like, 411 00:27:49,040 --> 00:27:51,359 Speaker 1: which is a bummer because I love Ali Sheity and 412 00:27:51,560 --> 00:27:54,840 Speaker 1: that I mean, it's it's weird because I feel like 413 00:27:54,880 --> 00:27:57,800 Speaker 1: a lot of young women and and you know, older 414 00:27:57,840 --> 00:28:02,080 Speaker 1: women who see that movie more closely aligned with her 415 00:28:02,480 --> 00:28:06,119 Speaker 1: than with Claire. But the chasm between those two people 416 00:28:06,359 --> 00:28:10,760 Speaker 1: is like no one is really either of them. But 417 00:28:10,920 --> 00:28:13,000 Speaker 1: when I was a teenager, I was like, well, I 418 00:28:13,040 --> 00:28:17,920 Speaker 1: guess I'm the one eating dog food because no one 419 00:28:18,040 --> 00:28:26,200 Speaker 1: invites me places, so I guess I'm just so that's 420 00:28:26,240 --> 00:28:31,639 Speaker 1: not good. Well, because one of the main things about 421 00:28:31,680 --> 00:28:36,200 Speaker 1: this movie is that we see all these trope characters 422 00:28:36,280 --> 00:28:39,400 Speaker 1: so we see like the princess character, I like, I 423 00:28:39,480 --> 00:28:43,000 Speaker 1: guess a basket case was as a trope or like 424 00:28:43,400 --> 00:28:46,680 Speaker 1: a click or something in the day. But that means 425 00:28:46,720 --> 00:28:48,920 Speaker 1: you see a representation on screen of women in these 426 00:28:49,040 --> 00:28:51,640 Speaker 1: very tropy roles. But the whole point of the movie 427 00:28:51,920 --> 00:28:55,680 Speaker 1: also is to say, hey, you might have this identity 428 00:28:55,760 --> 00:28:58,200 Speaker 1: to some degree based on like the click you're in 429 00:28:58,440 --> 00:29:03,120 Speaker 1: or whatever, but you're a multidimensional person that has stuff 430 00:29:03,160 --> 00:29:06,240 Speaker 1: to offer outside of that, you know, high school identity. 431 00:29:06,760 --> 00:29:09,200 Speaker 1: And that's like, you know, the theme at the movie. 432 00:29:09,600 --> 00:29:12,840 Speaker 1: But you still get these characters who I would argue, 433 00:29:12,840 --> 00:29:16,080 Speaker 1: we don't really get to know well enough or don't 434 00:29:16,120 --> 00:29:19,280 Speaker 1: have that much nuance as much nuance as the movie 435 00:29:19,280 --> 00:29:22,280 Speaker 1: wants you to think they have, right, I mean, they're 436 00:29:22,320 --> 00:29:25,560 Speaker 1: all it's weird because in some ways they're like, oh, 437 00:29:25,600 --> 00:29:28,440 Speaker 1: all these like high school trope characters are deeper than 438 00:29:28,480 --> 00:29:31,920 Speaker 1: you think, which the movie does do. But there's still 439 00:29:31,960 --> 00:29:36,360 Speaker 1: that character like there's still the football guy is is 440 00:29:36,400 --> 00:29:41,760 Speaker 1: being is footballing too hard? Like you're like okay, or 441 00:29:41,880 --> 00:29:47,560 Speaker 1: like she's too popular there. It's not really even like 442 00:29:47,920 --> 00:29:50,360 Speaker 1: subverting that much if you think about it that much, 443 00:29:50,400 --> 00:29:53,880 Speaker 1: because it's like Molly Ringwald. You know, everyone has issues 444 00:29:53,880 --> 00:29:56,160 Speaker 1: with their parents, which is brought through in the movie 445 00:29:56,160 --> 00:30:01,240 Speaker 1: pretty effectively. But it's not like another brilliant feminist text 446 00:30:01,320 --> 00:30:06,520 Speaker 1: high school musical, where in the show Stoppers stick to 447 00:30:06,560 --> 00:30:10,360 Speaker 1: the status quo. You find out, Hey, here's someone who's 448 00:30:10,400 --> 00:30:15,040 Speaker 1: really academic but she loves to dance. And here's a 449 00:30:15,080 --> 00:30:18,760 Speaker 1: basketball stark Corbin Blue or no, no, it's no, it's 450 00:30:18,840 --> 00:30:23,080 Speaker 1: Zeke Zeke. He's in basketball but he loves to bake. Like, 451 00:30:24,080 --> 00:30:27,160 Speaker 1: is that a front character. No, he's not in this number. 452 00:30:27,480 --> 00:30:34,800 Speaker 1: He's playing basketball. He's busy. But it's all that to 453 00:30:34,920 --> 00:30:39,600 Speaker 1: say I just got really excited. Um No, But like 454 00:30:40,000 --> 00:30:42,240 Speaker 1: it's not even that the characters in the Breakfast Club 455 00:30:42,280 --> 00:30:46,680 Speaker 1: necessarily like contain multitudes and are like They're just like, no, 456 00:30:46,760 --> 00:30:52,120 Speaker 1: I really am popular and it's not as easy as 457 00:30:52,160 --> 00:30:57,600 Speaker 1: it looks, and and I have parents. You're just like, Okay, Like, 458 00:30:58,080 --> 00:31:01,480 Speaker 1: I don't know, it's I is some like posturing. It 459 00:31:01,520 --> 00:31:04,760 Speaker 1: does that. I don't know. I think sometimes this movie 460 00:31:04,800 --> 00:31:08,360 Speaker 1: gets credit for work it's not necessarily doing. Yeah. And 461 00:31:08,400 --> 00:31:12,360 Speaker 1: also if there are five main characters and there's opportunities 462 00:31:12,400 --> 00:31:16,720 Speaker 1: to see them like interacting on screen in different combinations, 463 00:31:16,960 --> 00:31:18,920 Speaker 1: you know, like either one on one or there maybe 464 00:31:18,920 --> 00:31:21,160 Speaker 1: there's three of them. I feel like one of the 465 00:31:21,200 --> 00:31:24,880 Speaker 1: combinations that gets the least amount of attention in the 466 00:31:24,920 --> 00:31:30,200 Speaker 1: movie is the Claire Allison relationship. I mean pretty much 467 00:31:30,240 --> 00:31:33,760 Speaker 1: all of it at the very end of the movie. 468 00:31:33,880 --> 00:31:37,760 Speaker 1: And I that feels like a like John Hughes doesn't 469 00:31:37,920 --> 00:31:44,200 Speaker 1: understand how to write teenage girls interacting and transition. I 470 00:31:44,360 --> 00:31:47,760 Speaker 1: have a little okay, so John, this is like phase 471 00:31:47,800 --> 00:31:50,640 Speaker 1: two of John Hughes's career at this point where he 472 00:31:50,680 --> 00:31:56,440 Speaker 1: starts out at a feminist bible called the National Lampoon. 473 00:31:59,480 --> 00:32:03,680 Speaker 1: While there he writes some of the most offensive stuff 474 00:32:03,960 --> 00:32:08,240 Speaker 1: I've ever heard, uh For here are two examples I'm 475 00:32:08,280 --> 00:32:12,000 Speaker 1: able to say out loud, but they're very This and 476 00:32:12,080 --> 00:32:14,880 Speaker 1: this and this pre dates Breakfast Club and it's not 477 00:32:15,000 --> 00:32:19,120 Speaker 1: but worth it for context. Some short stories John Hughes 478 00:32:19,360 --> 00:32:22,200 Speaker 1: thought right off the top of his head. A Dog's 479 00:32:22,240 --> 00:32:25,440 Speaker 1: Tail has a boy watching his mother turn into a 480 00:32:25,600 --> 00:32:32,840 Speaker 1: dog yep, against his will. Features and quote ugly fat 481 00:32:33,040 --> 00:32:36,880 Speaker 1: unquote woman who tries to rape a man at gunpoint 482 00:32:37,000 --> 00:32:39,800 Speaker 1: in front of the man's wife and parents because she 483 00:32:39,920 --> 00:32:45,719 Speaker 1: can't have sex otherwise. Ye. Yeah, okay, and then here's 484 00:32:46,000 --> 00:32:50,280 Speaker 1: the Hues Engagement Guide is an illustrated manual on how 485 00:32:50,320 --> 00:32:55,080 Speaker 1: to protect yourself against women. It gives examples of women 486 00:32:55,160 --> 00:32:59,880 Speaker 1: quote bullshitting to not put out unquote, and teaches re 487 00:33:00,000 --> 00:33:04,080 Speaker 1: eaders how to do a quote quickie pelvic exam unquote, 488 00:33:04,480 --> 00:33:09,040 Speaker 1: how to detect quote signs of future fat unquote, and 489 00:33:09,080 --> 00:33:12,920 Speaker 1: how to determine if a woman has ancestors of different 490 00:33:13,080 --> 00:33:22,600 Speaker 1: races based on what her relatives look like. So, yes, Queen, 491 00:33:22,960 --> 00:33:29,360 Speaker 1: indeed there and and this, I mean that makes it 492 00:33:29,440 --> 00:33:33,240 Speaker 1: hard to want to watch anything he does. And and 493 00:33:33,320 --> 00:33:36,160 Speaker 1: it is weird that you know, like these were written 494 00:33:36,200 --> 00:33:39,080 Speaker 1: as as recently as within like five to seven years 495 00:33:39,080 --> 00:33:43,160 Speaker 1: before he started making these serious teen movies, so it's 496 00:33:43,200 --> 00:33:46,080 Speaker 1: not as surprising at all that he cannot write a 497 00:33:46,120 --> 00:33:50,120 Speaker 1: competent female character. There's a persona, a John Hies persona 498 00:33:50,160 --> 00:33:55,320 Speaker 1: that existed product to this that was quite contemptuous of women. Uh. 499 00:33:55,320 --> 00:33:59,640 Speaker 1: And and it's it is interesting in bizarre that he, 500 00:33:59,760 --> 00:34:03,200 Speaker 1: you know, a few years on, decides that he is 501 00:34:03,240 --> 00:34:08,760 Speaker 1: going to be like a voice for teenage girls. Going 502 00:34:08,840 --> 00:34:12,240 Speaker 1: back to that specific relationship in the movie between Claire 503 00:34:12,280 --> 00:34:15,560 Speaker 1: and Allison. The only like one on one interaction they 504 00:34:15,600 --> 00:34:20,640 Speaker 1: have is toward the end, whenever Claire gives Allison a makeover, 505 00:34:20,840 --> 00:34:24,959 Speaker 1: because according to John Hughes, girls can't talk unless they're 506 00:34:25,000 --> 00:34:28,160 Speaker 1: putting makeup in each other. Um well, and then prior 507 00:34:28,280 --> 00:34:31,359 Speaker 1: to that, it's very antagonistic between the two of them, 508 00:34:31,520 --> 00:34:34,640 Speaker 1: where these two characters have barely spoken the whole movie. 509 00:34:34,680 --> 00:34:36,919 Speaker 1: They may not have actually spoken to each other at all. 510 00:34:37,560 --> 00:34:40,560 Speaker 1: Besides in passing before this scene where everyone's talking about 511 00:34:40,600 --> 00:34:44,240 Speaker 1: sex and Judd Nelson's character, for whatever reason, decides he's gonna, 512 00:34:44,560 --> 00:34:47,960 Speaker 1: you know, double down on Molly Ringwald's character again, and 513 00:34:47,960 --> 00:34:50,200 Speaker 1: it's like, why would't you tell me if you're a virgin? What? 514 00:34:50,280 --> 00:34:53,000 Speaker 1: Because you know, if you ask, it's like being a cop, 515 00:34:53,040 --> 00:34:56,160 Speaker 1: you have to tell people if you're a virgin. Uh Like. 516 00:34:56,600 --> 00:35:00,280 Speaker 1: But it's just so he decides to start her asking 517 00:35:00,320 --> 00:35:03,680 Speaker 1: her again, and for some kind of weird, inexplicable reason, 518 00:35:04,239 --> 00:35:07,560 Speaker 1: Alison joins in and it's kind of like, no, why 519 00:35:07,560 --> 00:35:10,920 Speaker 1: w don't you tell him? And and it's it's hard 520 00:35:11,239 --> 00:35:14,120 Speaker 1: to parse exactly what the intent of that scene is, 521 00:35:14,160 --> 00:35:16,719 Speaker 1: like over thirty years later, but I think that you're 522 00:35:16,760 --> 00:35:19,960 Speaker 1: supposed to want to be like you're like, oh, no, 523 00:35:20,239 --> 00:35:23,120 Speaker 1: she should tell us. It's like, no, no one ever 524 00:35:23,239 --> 00:35:30,399 Speaker 1: owes any random detention kids, any of your personal information ever, 525 00:35:30,680 --> 00:35:34,200 Speaker 1: you know, And but it struck me as just like 526 00:35:34,400 --> 00:35:37,799 Speaker 1: frustrating and annoying that this is the first time we're 527 00:35:37,840 --> 00:35:40,640 Speaker 1: actually getting an interaction out of these characters, and immediately 528 00:35:40,760 --> 00:35:44,680 Speaker 1: and kind of in the story, I think, irrationally, Alison 529 00:35:44,719 --> 00:35:48,120 Speaker 1: just turns on Claire and start harassing her. There's also 530 00:35:48,160 --> 00:35:51,560 Speaker 1: another small example within the same scene where Allison comes 531 00:35:51,560 --> 00:35:55,200 Speaker 1: to Claire's defense and she's like, actually, don't bother her. 532 00:35:55,360 --> 00:35:57,799 Speaker 1: But it's just so all over the place that you're 533 00:35:57,840 --> 00:36:00,279 Speaker 1: just like, why, like because one of the first she 534 00:36:00,320 --> 00:36:04,080 Speaker 1: says is it's a double edged sword. If you haven't 535 00:36:04,200 --> 00:36:07,440 Speaker 1: had sex, you're approved. If you have, you're a slut, 536 00:36:07,520 --> 00:36:11,120 Speaker 1: which she's commenting on a very real double standard for 537 00:36:11,560 --> 00:36:15,200 Speaker 1: women and when they've had sex. But then she says, 538 00:36:16,080 --> 00:36:18,000 Speaker 1: you know you want to, but you can't, and then 539 00:36:18,040 --> 00:36:22,319 Speaker 1: you're a tease, right, You're like several times, well, I 540 00:36:22,320 --> 00:36:24,960 Speaker 1: think she's still like making some sort of commentary there, 541 00:36:25,200 --> 00:36:27,279 Speaker 1: but it's weird that she does that right after she 542 00:36:27,480 --> 00:36:32,799 Speaker 1: like dunks on Molly Ringwald for bullying her into you know, 543 00:36:32,880 --> 00:36:34,680 Speaker 1: saying it when way or the other, and it's just 544 00:36:35,440 --> 00:36:38,120 Speaker 1: I don't know that. I think this movie thinks that 545 00:36:38,200 --> 00:36:41,520 Speaker 1: if anyone asks you if you're a virgin, you're legally 546 00:36:41,560 --> 00:36:45,640 Speaker 1: required to tell them, because people are treating Molly Ringwald 547 00:36:45,680 --> 00:36:52,000 Speaker 1: like she is breaking the law by by not disclosing. Um. 548 00:36:52,080 --> 00:36:56,640 Speaker 1: That transitions pretty well into a short scene earlier in 549 00:36:56,680 --> 00:37:02,520 Speaker 1: the movie where UM Anthony Michael Hall's character Brian uh 550 00:37:02,600 --> 00:37:05,319 Speaker 1: is being harassed by Jed Nelson, which is se the 551 00:37:05,320 --> 00:37:10,480 Speaker 1: movie UM, but he's being harassed and John Nelson like 552 00:37:10,760 --> 00:37:13,239 Speaker 1: his movie is like Your Virgin, which is pretty true 553 00:37:13,280 --> 00:37:16,680 Speaker 1: to high school. But he's you know, teasing Brian, calling 554 00:37:16,719 --> 00:37:18,960 Speaker 1: him a virgin. Brian was like, I'm not a virgin. 555 00:37:19,160 --> 00:37:24,959 Speaker 1: I've laid lots of times, and you're like, yikes, dead 556 00:37:25,000 --> 00:37:29,040 Speaker 1: giveaway dude there. But then he starts to lie, which 557 00:37:29,040 --> 00:37:31,360 Speaker 1: also feels like I don't know, at least based on 558 00:37:31,480 --> 00:37:33,480 Speaker 1: like people I knew in high school. That's a pretty 559 00:37:33,480 --> 00:37:36,080 Speaker 1: authentic experience of guy's being like, no I have it 560 00:37:36,120 --> 00:37:39,280 Speaker 1: says all that time, and then Jed Nelson's like who, 561 00:37:39,360 --> 00:37:43,360 Speaker 1: and then he like gestures at Molly Ringwald's like her, 562 00:37:45,480 --> 00:37:48,520 Speaker 1: and then Judd. Nelson's like, Molly Ringwald, you fucked this guy, 563 00:37:48,680 --> 00:37:54,680 Speaker 1: and and so this could be a very troubling scene. 564 00:37:55,520 --> 00:37:59,040 Speaker 1: The reason it works pretty well for me is that 565 00:38:00,000 --> 00:38:03,400 Speaker 1: I don't know. I mean, Molly Ringwald finds out immediately, 566 00:38:03,440 --> 00:38:07,640 Speaker 1: she's right there, and she's like no, and then you know, 567 00:38:07,680 --> 00:38:09,680 Speaker 1: like calls him out on it, like don't do that, 568 00:38:09,760 --> 00:38:13,239 Speaker 1: and he apologizes. He's like being a virginal loser. And 569 00:38:13,239 --> 00:38:15,400 Speaker 1: then she says what you said earlier, like being a 570 00:38:15,480 --> 00:38:21,640 Speaker 1: virgin is actually awesome, and then see yes, yes, and 571 00:38:21,680 --> 00:38:26,720 Speaker 1: then you know there are two virgins and a Judd. Yeah, 572 00:38:26,760 --> 00:38:29,440 Speaker 1: I don't know. That scene worked for me way better 573 00:38:29,560 --> 00:38:33,120 Speaker 1: than all the times they're just piling on my Molly 574 00:38:33,200 --> 00:38:35,160 Speaker 1: Ringwald to make her say something one one way or 575 00:38:35,200 --> 00:38:38,200 Speaker 1: the other. And it's not just that, I mean, it's 576 00:38:38,600 --> 00:38:44,320 Speaker 1: the Jen Nelson character, Fingerless Gloves. Uh. He's a counterculture 577 00:38:44,400 --> 00:38:48,400 Speaker 1: everyone he's uh. He spends almost the entire movie either 578 00:38:49,000 --> 00:38:53,120 Speaker 1: sexually harassing her by saying things like, hey, let's lock 579 00:38:53,200 --> 00:38:58,720 Speaker 1: the doors so we can impregnate the prom queen, which yeah, 580 00:38:58,760 --> 00:39:02,359 Speaker 1: that is a threat. He asks Andy, He's like, hey, 581 00:39:02,400 --> 00:39:05,520 Speaker 1: did you give her the hot beef injection? I think 582 00:39:05,719 --> 00:39:08,000 Speaker 1: is the line and then you're like, oh, yeah, a 583 00:39:08,200 --> 00:39:14,680 Speaker 1: forty year old man thought of that from or like 584 00:39:14,719 --> 00:39:18,439 Speaker 1: the skirt scene where he sees her it was under 585 00:39:18,480 --> 00:39:21,360 Speaker 1: the desk. Let's give some context for that. Yes, so 586 00:39:21,440 --> 00:39:25,640 Speaker 1: he's hiding under the desk. The Bender character is because 587 00:39:25,719 --> 00:39:28,879 Speaker 1: he can't be seen by Vernon. As he's under there, 588 00:39:29,120 --> 00:39:34,960 Speaker 1: he sees Claire's underwear. So this was a scene that 589 00:39:34,960 --> 00:39:38,279 Speaker 1: that's not Molly Ringwald in that scene. Legally it could 590 00:39:38,320 --> 00:39:42,160 Speaker 1: not be Molly Ringwald in that scene. But in the 591 00:39:42,280 --> 00:39:44,680 Speaker 1: in the New Yorker essay from last year, they were 592 00:39:44,719 --> 00:39:48,200 Speaker 1: referencing earlier because Molly Ringwald is like sixteen seventeen when 593 00:39:48,200 --> 00:39:51,160 Speaker 1: this is film, So her mom is talking with John 594 00:39:51,239 --> 00:39:54,920 Speaker 1: Hughes almost as much as she is. And there was 595 00:39:55,040 --> 00:39:58,880 Speaker 1: one plot point involving a naked female gym teacher that 596 00:39:58,960 --> 00:40:00,719 Speaker 1: they talked him out of in Eluding because it was 597 00:40:00,760 --> 00:40:04,000 Speaker 1: just perverted and weird. But they could not talk him 598 00:40:04,040 --> 00:40:06,759 Speaker 1: out of the underwear scene, and that was something that 599 00:40:06,840 --> 00:40:10,359 Speaker 1: Molly Ringwald's mom was like really frustrated and upset about, 600 00:40:10,880 --> 00:40:13,719 Speaker 1: and like John Hughes would not back down on it, 601 00:40:13,760 --> 00:40:15,719 Speaker 1: and so they had to hire a body double to 602 00:40:15,760 --> 00:40:21,880 Speaker 1: come in and be you know, the skirt. Yeah, and um, 603 00:40:22,040 --> 00:40:24,880 Speaker 1: so that is why that scene is there. It's just 604 00:40:24,920 --> 00:40:27,480 Speaker 1: like that. That is such like a classic example of 605 00:40:27,520 --> 00:40:30,800 Speaker 1: like here are two women telling you this is not okay, 606 00:40:30,840 --> 00:40:33,560 Speaker 1: and he's like, I'll hire someone else, and you know, 607 00:40:34,000 --> 00:40:38,320 Speaker 1: just like flexes on them in this very gross way, 608 00:40:38,560 --> 00:40:42,280 Speaker 1: like if if it's also like safe to say, if 609 00:40:42,320 --> 00:40:46,920 Speaker 1: the actor you hired cannot legally do it, probably don't 610 00:40:47,000 --> 00:40:50,759 Speaker 1: do it. And is a great indication, especially if the 611 00:40:50,800 --> 00:40:54,000 Speaker 1: actor opposite them is twenty six years old. It's like, 612 00:40:54,080 --> 00:40:57,440 Speaker 1: what are you gross? Yeah, and then we're meant to 613 00:40:57,760 --> 00:41:01,759 Speaker 1: I think. So he sees her underwear and then we 614 00:41:01,800 --> 00:41:06,240 Speaker 1: see him move his face closer into her crutch area, 615 00:41:07,000 --> 00:41:10,920 Speaker 1: and then she yelps, so we see her and frame 616 00:41:11,000 --> 00:41:13,279 Speaker 1: rather than him then and she like yelps and then 617 00:41:14,080 --> 00:41:16,600 Speaker 1: hard to say what exactly happens, but I think we 618 00:41:16,640 --> 00:41:19,960 Speaker 1: can easily see virgin he doesn't know what happens. He 619 00:41:20,040 --> 00:41:24,800 Speaker 1: doesn't know, but basically the Bender character assaults her. Yeah, 620 00:41:25,000 --> 00:41:29,400 Speaker 1: and then the reaction is immediately afterwards her like smacking 621 00:41:29,480 --> 00:41:33,120 Speaker 1: him several times on the back, and then that doesn't 622 00:41:33,400 --> 00:41:36,520 Speaker 1: get brought up. I mean that just still make out 623 00:41:36,560 --> 00:41:40,800 Speaker 1: at the end and she gives him a diamond. God, 624 00:41:41,440 --> 00:41:43,839 Speaker 1: if every man that assaulted you you had to give 625 00:41:43,840 --> 00:41:49,360 Speaker 1: a diamond, it's for fucking God. John Hughes is disgusting. 626 00:41:49,400 --> 00:42:03,279 Speaker 1: Opposite of what happens in Titanic with the Billies, it's Um, 627 00:42:03,320 --> 00:42:06,400 Speaker 1: I mean the rundown of of what Bender's character says 628 00:42:06,480 --> 00:42:10,400 Speaker 1: to Claire is like, I mean it really there's a 629 00:42:10,440 --> 00:42:16,080 Speaker 1: lot of anti queeristlurs thrown up throughout this movie from 630 00:42:16,120 --> 00:42:18,839 Speaker 1: all characters. So you know that John Hughes just thinks 631 00:42:19,040 --> 00:42:25,000 Speaker 1: it's Jill. There's uh one speech like monologue that Bender 632 00:42:25,120 --> 00:42:29,440 Speaker 1: delivers to Claire's that is like fat shaming her in 633 00:42:29,520 --> 00:42:35,319 Speaker 1: the future, Yeah, which is just you're insane. Uh. He's 634 00:42:35,360 --> 00:42:37,799 Speaker 1: arousing her, asking if she's a virgin all the time, 635 00:42:37,960 --> 00:42:40,439 Speaker 1: He's making comments about how she couldn't you know, get 636 00:42:40,440 --> 00:42:43,440 Speaker 1: away from him if she wanted to, she can't resist him, 637 00:42:43,440 --> 00:42:47,640 Speaker 1: all this stuff. He screams you are a bitch at 638 00:42:47,719 --> 00:42:52,479 Speaker 1: her loudly. Um. At one point he kinda he makes 639 00:42:52,520 --> 00:42:55,480 Speaker 1: fun of Andy, who is a wrestler. He's like, oh, 640 00:42:55,520 --> 00:42:58,520 Speaker 1: I just admire any guy who rolls around on the 641 00:42:58,560 --> 00:43:01,640 Speaker 1: floor with another guy, and like the implication that is, 642 00:43:01,760 --> 00:43:06,160 Speaker 1: it's he's saying something homophobias. Yeah, so Bender maybe not 643 00:43:06,560 --> 00:43:11,040 Speaker 1: a good guy, and yet for reasons that are very 644 00:43:11,200 --> 00:43:15,280 Speaker 1: uncleared to at least me, she goes into the broom 645 00:43:15,320 --> 00:43:18,879 Speaker 1: closet that he is locked into because he was misbehaving 646 00:43:18,960 --> 00:43:24,640 Speaker 1: so badly, get a hickey and a diet. So, I mean, 647 00:43:24,680 --> 00:43:26,880 Speaker 1: but this is something we see again and again where 648 00:43:27,880 --> 00:43:29,920 Speaker 1: I mean, and he's not even wearing her down in 649 00:43:29,920 --> 00:43:32,400 Speaker 1: a way that movies usually do it where it's like, 650 00:43:32,560 --> 00:43:34,920 Speaker 1: please go out with me, please, please please. He's just 651 00:43:34,960 --> 00:43:38,800 Speaker 1: like you're a fucking big ramping it up the whole movie. 652 00:43:39,440 --> 00:43:42,160 Speaker 1: And then it's like after he assaults her that she's like, 653 00:43:42,280 --> 00:43:44,520 Speaker 1: I'm going to give him a chance. Like it's just 654 00:43:44,600 --> 00:43:49,759 Speaker 1: not it's totally nonsensical the way that happens, and it's like, 655 00:43:49,800 --> 00:43:52,600 Speaker 1: at least that's very clear to people now, but it's 656 00:43:52,640 --> 00:43:55,000 Speaker 1: just like it's crazy. I mean. And that's not to 657 00:43:55,040 --> 00:43:57,920 Speaker 1: say that there isn't more context in layers to the 658 00:43:57,960 --> 00:44:00,719 Speaker 1: Bender character, because there is, and there's like a lot 659 00:44:00,760 --> 00:44:05,000 Speaker 1: of time devoted to his background and coming from an 660 00:44:05,040 --> 00:44:07,840 Speaker 1: abusive household. That scene we were referencing with him and 661 00:44:07,920 --> 00:44:12,680 Speaker 1: the assistant Principle, who is basically the whole time saying 662 00:44:12,840 --> 00:44:15,680 Speaker 1: that he can be abusive. You know, he's another like 663 00:44:16,000 --> 00:44:18,759 Speaker 1: abusive paternal figure in Bender's life, and he's allowed to 664 00:44:18,800 --> 00:44:22,520 Speaker 1: do that because Bender is poor invendors from an abusive household, 665 00:44:22,560 --> 00:44:24,560 Speaker 1: and no one will believe him if he says anything 666 00:44:24,960 --> 00:44:29,040 Speaker 1: which is I mean like powerful stuff and and like 667 00:44:29,239 --> 00:44:32,240 Speaker 1: I was affected by it, especially in that scene where 668 00:44:32,520 --> 00:44:36,320 Speaker 1: the assistant principles like fight me and was just classic. 669 00:44:36,520 --> 00:44:42,400 Speaker 1: But but before that that bizarre initiation, he's saying a 670 00:44:42,400 --> 00:44:47,600 Speaker 1: lot of horrible stuff that like is recognizable of like, uh, 671 00:44:47,800 --> 00:44:51,160 Speaker 1: an abusive paternal figure. So it's like even more of 672 00:44:51,200 --> 00:44:54,399 Speaker 1: a bummer if you get that side of effective storytelling. 673 00:44:54,760 --> 00:44:57,640 Speaker 1: But then you know you're also setting the standard of 674 00:44:57,680 --> 00:45:00,680 Speaker 1: you have incredible empathy for the scare or who is 675 00:45:01,200 --> 00:45:04,080 Speaker 1: verbally abusing one of the only females you get to 676 00:45:04,080 --> 00:45:06,719 Speaker 1: see on screen for the entire time, and that's not 677 00:45:07,120 --> 00:45:10,040 Speaker 1: really reflected as something that's not okay to do. So 678 00:45:10,080 --> 00:45:13,400 Speaker 1: it's even like more of a bummer of like, by 679 00:45:13,440 --> 00:45:15,359 Speaker 1: the end of the movie, it's hard not to like 680 00:45:15,760 --> 00:45:18,000 Speaker 1: love him in some way or have a lot of 681 00:45:18,000 --> 00:45:22,080 Speaker 1: empathy for him while he's doing these horrible things that 682 00:45:22,120 --> 00:45:29,280 Speaker 1: are not really treated as horrible, so its once again, God, 683 00:45:29,440 --> 00:45:31,680 Speaker 1: damn it, damn it. And then the while the other 684 00:45:32,000 --> 00:45:35,680 Speaker 1: hetero romance that ends up playing out is a direct 685 00:45:36,040 --> 00:45:41,799 Speaker 1: result of a makeover scene, which is when Claire is 686 00:45:42,040 --> 00:45:45,160 Speaker 1: putting the makeup on Allison and the only again, the 687 00:45:45,160 --> 00:45:47,200 Speaker 1: only thing that they have together one on one, and 688 00:45:47,200 --> 00:45:49,880 Speaker 1: then she says something like, you look a lot better 689 00:45:49,920 --> 00:45:52,600 Speaker 1: with all that black shit under your eyes, and then 690 00:45:52,640 --> 00:45:59,319 Speaker 1: the hot topic managers of the world shot themselves, and 691 00:45:59,360 --> 00:46:05,240 Speaker 1: then she completely changes the way Alison looks, and I guess, 692 00:46:05,600 --> 00:46:08,600 Speaker 1: did Claire just bring a whole other outfit to score 693 00:46:08,680 --> 00:46:12,240 Speaker 1: it to give to her, not even a cute outfit 694 00:46:12,480 --> 00:46:16,680 Speaker 1: by the way, it well, yeah, because she's got like 695 00:46:16,760 --> 00:46:20,160 Speaker 1: a flower in her hair, her makeup is more traditional, 696 00:46:21,120 --> 00:46:26,319 Speaker 1: she's wearing pastel pink, and then Andy sees her and 697 00:46:26,360 --> 00:46:41,880 Speaker 1: he's like so basically, so she's only attractive to Andy 698 00:46:42,040 --> 00:46:46,680 Speaker 1: once she changes everything about her appearance, and it doesn't 699 00:46:46,719 --> 00:46:50,440 Speaker 1: occur to him that she is attractive until she's adhering 700 00:46:50,560 --> 00:46:54,200 Speaker 1: to like this more conventional feminine standard of beauty, right, 701 00:46:54,320 --> 00:46:57,040 Speaker 1: which was the you know, part of the projected point 702 00:46:57,040 --> 00:46:59,920 Speaker 1: of her character. Was to subvert that, but clearly John 703 00:47:00,000 --> 00:47:04,720 Speaker 1: and he uses a lawless motherfucker, and it actually doesn't 704 00:47:04,760 --> 00:47:08,280 Speaker 1: have much of a vested interest of subverting much of anything. 705 00:47:12,640 --> 00:47:15,040 Speaker 1: So one other point I wanted to hit on for 706 00:47:15,160 --> 00:47:18,800 Speaker 1: the Brian character, who we don't really get to know before. 707 00:47:18,440 --> 00:47:22,239 Speaker 1: They're like, hey, door, homework Dorc and he's like, okay, 708 00:47:23,480 --> 00:47:27,759 Speaker 1: he writes like chitty lyrics or whatever, but he's characterized 709 00:47:28,040 --> 00:47:31,120 Speaker 1: very late in the story and he says that, yeah, 710 00:47:31,160 --> 00:47:33,120 Speaker 1: he was going to kill himself with a with a 711 00:47:33,120 --> 00:47:36,399 Speaker 1: flare gun. It's just worth saying. Um. It's like a 712 00:47:36,520 --> 00:47:41,920 Speaker 1: very bizarre, reductive way to treat any suicidality or or 713 00:47:41,960 --> 00:47:45,279 Speaker 1: anything like that. And it almost feels like an afterthought 714 00:47:45,400 --> 00:47:49,600 Speaker 1: in the story of like, oh shit, Anthony Michael Hall's here, 715 00:47:49,800 --> 00:47:52,560 Speaker 1: what what would he have done? He already raped someone 716 00:47:52,600 --> 00:47:54,400 Speaker 1: in the last movie, I don't know what to do 717 00:47:54,480 --> 00:47:57,359 Speaker 1: with him in this one. Um, And then they sort 718 00:47:57,400 --> 00:47:59,880 Speaker 1: of just I mean, and it's it's weird because it 719 00:48:00,520 --> 00:48:03,880 Speaker 1: could be an effective plot point that was thoughtfully told, 720 00:48:04,200 --> 00:48:07,239 Speaker 1: but he says it in like three sentences sort of, 721 00:48:07,640 --> 00:48:12,600 Speaker 1: and then everyone is sort of like that's stupid, and 722 00:48:12,640 --> 00:48:16,560 Speaker 1: he's like, you're right, and so you're just like, oh, 723 00:48:16,600 --> 00:48:21,440 Speaker 1: so he's cured of suicidal thoughts and tendencies. Pretty sure, 724 00:48:21,480 --> 00:48:23,839 Speaker 1: that's not how that works. But and then and then 725 00:48:23,920 --> 00:48:26,960 Speaker 1: and then right after he's like, you know, I recently 726 00:48:27,000 --> 00:48:32,920 Speaker 1: almost killed myself through like t he he do our homework. Yeah, 727 00:48:32,960 --> 00:48:36,400 Speaker 1: so it's I mean, it's one of many things that 728 00:48:36,440 --> 00:48:41,200 Speaker 1: it is not handled well in the movie nic it's not. Um, 729 00:48:41,760 --> 00:48:44,080 Speaker 1: I guess uh. The last thing I have is just 730 00:48:44,920 --> 00:48:48,640 Speaker 1: going checking out some of the smaller ring waltz. Yeah, 731 00:48:48,960 --> 00:48:52,040 Speaker 1: she wrote the piece last year that we thought was 732 00:48:52,080 --> 00:48:56,520 Speaker 1: like a really thoughtful look at the body of work 733 00:48:56,560 --> 00:49:00,640 Speaker 1: that made her famous. Highly recommend checking it out. I 734 00:49:00,680 --> 00:49:03,799 Speaker 1: like to think she wrote it between scenes of Riverdale 735 00:49:03,880 --> 00:49:08,759 Speaker 1: being shot, but we don't know the circumstances. But let's 736 00:49:08,760 --> 00:49:12,879 Speaker 1: say canonically it was between of Riverdale. Are there any 737 00:49:12,880 --> 00:49:16,600 Speaker 1: particular passages you wanted to to point out or um, 738 00:49:16,680 --> 00:49:20,239 Speaker 1: let's see, I already kind of paraphrased a few of them, 739 00:49:20,280 --> 00:49:23,760 Speaker 1: so if you wanna take a crack at any of yours. Well, basically, 740 00:49:23,760 --> 00:49:25,239 Speaker 1: she runs through a lot of stuff we were talking 741 00:49:25,280 --> 00:49:27,719 Speaker 1: about today, and just like at the time when she 742 00:49:27,800 --> 00:49:31,120 Speaker 1: was sixteen seventeen, shooting these movies she didn't recognize and 743 00:49:31,160 --> 00:49:34,600 Speaker 1: hadn't been conditioned to recognize the elements of rape culture 744 00:49:34,600 --> 00:49:37,239 Speaker 1: and other things that appear in these movies, aside from 745 00:49:37,239 --> 00:49:39,920 Speaker 1: the things that she did notice and pointed out. And 746 00:49:39,960 --> 00:49:42,680 Speaker 1: sometimes we're ignored and sometimes weren't ignored, and she gives 747 00:49:42,680 --> 00:49:45,920 Speaker 1: a few examples of those. Um. She also gives a 748 00:49:46,160 --> 00:49:50,040 Speaker 1: great anecdote talking with the women from sixteen Candles, who 749 00:49:50,080 --> 00:49:54,800 Speaker 1: it's implied that Anthony Michael Hall's character rapes, and how 750 00:49:55,080 --> 00:49:57,880 Speaker 1: they like got lunched together and Molly Greenwell was like, 751 00:49:58,320 --> 00:50:00,520 Speaker 1: do you think this was fucked up? And the lady 752 00:50:00,600 --> 00:50:03,560 Speaker 1: was like, honestly, you never thought about it. And then 753 00:50:04,120 --> 00:50:07,160 Speaker 1: like three hours later, the actress who played that part, 754 00:50:07,480 --> 00:50:10,120 Speaker 1: uh emails her back and it's like, oh my god, 755 00:50:11,440 --> 00:50:14,520 Speaker 1: that was incredibly fucked up. And so it was just 756 00:50:14,600 --> 00:50:18,120 Speaker 1: like a really interesting piece on um, you know, just 757 00:50:18,760 --> 00:50:21,040 Speaker 1: sort of what we're trying to do is just uh, 758 00:50:21,400 --> 00:50:24,560 Speaker 1: you know, reflect on stuff without you know, totally disowning 759 00:50:24,560 --> 00:50:26,200 Speaker 1: it as a body of work, but just you know, 760 00:50:26,280 --> 00:50:28,880 Speaker 1: viewing it more thoughtfully and critically. I just wanted to 761 00:50:28,920 --> 00:50:31,279 Speaker 1: read the thing. She says that the how she sort 762 00:50:31,320 --> 00:50:36,399 Speaker 1: of closes the piece out she says, quote, how are 763 00:50:36,440 --> 00:50:38,560 Speaker 1: we meant to feel about art that we both love 764 00:50:38,600 --> 00:50:41,239 Speaker 1: and oppose? What if we're in the unusual position of 765 00:50:41,520 --> 00:50:44,920 Speaker 1: having helped create it? Erasing history is a dangerous road 766 00:50:44,960 --> 00:50:47,399 Speaker 1: when it comes to art. Changes essential, but so too 767 00:50:47,440 --> 00:50:51,640 Speaker 1: is remembering the past in all of its transgression and barbarism, 768 00:50:51,719 --> 00:50:54,279 Speaker 1: so that we may properly gauge how far we have 769 00:50:54,360 --> 00:50:56,239 Speaker 1: come and also how far we still need to go, 770 00:50:56,360 --> 00:50:58,600 Speaker 1: which I thought was just nice. That is, Yeah, that's 771 00:50:58,640 --> 00:51:01,640 Speaker 1: like kind of like the fasis of the Becktel cast. 772 00:51:01,840 --> 00:51:05,879 Speaker 1: And then and then Cole Sprouts leans into the room. 773 00:51:05,880 --> 00:51:11,040 Speaker 1: He's like, we're shooting river Dale Hover and then she 774 00:51:11,160 --> 00:51:14,120 Speaker 1: had to go. But up till that it was a 775 00:51:14,200 --> 00:51:20,120 Speaker 1: great essay. Um, I will say this is one of 776 00:51:20,239 --> 00:51:24,800 Speaker 1: a few teen movies that doesn't end in a prom 777 00:51:25,000 --> 00:51:28,080 Speaker 1: or doesn't have some sort of prom affiliated with it. 778 00:51:28,160 --> 00:51:30,520 Speaker 1: I honestly think that if he had had the budget 779 00:51:30,520 --> 00:51:34,799 Speaker 1: he would have he probably would have prom is that 780 00:51:35,000 --> 00:51:38,600 Speaker 1: night and they've spent nine hours and detentions and they're like, 781 00:51:38,640 --> 00:51:43,520 Speaker 1: we're tired, but I guess we'll go to prom alright, Yeah, 782 00:51:43,640 --> 00:51:48,160 Speaker 1: I mean, and we're almost a time or two Caitlin, Yeah, 783 00:51:48,440 --> 00:51:51,600 Speaker 1: does this movie pass the Bechdel test. I am gonna 784 00:51:51,680 --> 00:52:00,800 Speaker 1: say yes, I know, because speak your cake. Well, okay, 785 00:52:00,840 --> 00:52:04,040 Speaker 1: this one is worth kind of debating because Allison says 786 00:52:04,480 --> 00:52:06,880 Speaker 1: I'll do anything sexual and I don't need a million 787 00:52:06,920 --> 00:52:10,719 Speaker 1: dollars to do it. I mean, we can all relate. Um. 788 00:52:10,719 --> 00:52:16,719 Speaker 1: Sorry that that was erasing a sexual people, so I'm 789 00:52:16,719 --> 00:52:20,680 Speaker 1: sorry to do that. Claire says, you're lying, and then 790 00:52:20,719 --> 00:52:23,960 Speaker 1: Allison says, I already have. I've done just about everything 791 00:52:23,960 --> 00:52:26,360 Speaker 1: there is except a few things that are illegal. Again, 792 00:52:26,920 --> 00:52:29,920 Speaker 1: we can all relate, um. And then she says I'm 793 00:52:29,920 --> 00:52:34,000 Speaker 1: an infomaniac. But isn't she implying hetero sexual? Yeah, exactly, 794 00:52:34,080 --> 00:52:36,680 Speaker 1: So I don't think that counts. That one is probably 795 00:52:36,680 --> 00:52:40,880 Speaker 1: a note. But then Claire Allison talk about makeup and 796 00:52:40,960 --> 00:52:44,800 Speaker 1: they say, don't stick me, don't stick that in my eye, 797 00:52:45,480 --> 00:52:47,799 Speaker 1: and Claire says, you know, you look a lot better 798 00:52:47,840 --> 00:52:50,319 Speaker 1: with all that without all that black shit around your eye, 799 00:52:50,920 --> 00:52:53,839 Speaker 1: and then Allison says, hey, I like that black shit, 800 00:52:54,360 --> 00:52:57,080 Speaker 1: and then Claire says this looks a lot better. And 801 00:52:57,120 --> 00:52:58,799 Speaker 1: then she's like, why you being so nice to me? 802 00:52:59,000 --> 00:53:04,279 Speaker 1: Because you're letting the end of that conversation tragically that 803 00:53:04,320 --> 00:53:08,120 Speaker 1: does that is the past is the past. But again 804 00:53:08,239 --> 00:53:14,200 Speaker 1: it's two women talking about confined Yes, it's very hyper 805 00:53:14,239 --> 00:53:20,520 Speaker 1: feminine things, so that is a yes. Um, well, John 806 00:53:20,600 --> 00:53:25,000 Speaker 1: uses a feminist icon. I take that. H I feel 807 00:53:25,040 --> 00:53:28,640 Speaker 1: a little fucking stupid he was saying all those things 808 00:53:28,680 --> 00:53:32,799 Speaker 1: about him. All right, shall shall we read it on 809 00:53:32,800 --> 00:53:37,200 Speaker 1: our nipple scale? Yes we should. Let's do it there. 810 00:53:41,320 --> 00:53:44,080 Speaker 1: If you're not familiar our nipple scale, we use a 811 00:53:44,120 --> 00:53:47,040 Speaker 1: scale zero to five nipples, and we read it based 812 00:53:47,040 --> 00:53:50,799 Speaker 1: on its portrayal and representation of women. This one's kind 813 00:53:50,800 --> 00:53:55,320 Speaker 1: of tricky for me because it is an earlier example 814 00:53:55,520 --> 00:54:00,239 Speaker 1: of seeing teen women on screen who are not the 815 00:54:00,280 --> 00:54:03,520 Speaker 1: way that they were portrayed in movies like Porkis and 816 00:54:03,680 --> 00:54:11,439 Speaker 1: Revenge of the Nerds and like, really awful, how dare 817 00:54:11,480 --> 00:54:16,239 Speaker 1: they make a movie called Porky? So we're seeing more 818 00:54:16,719 --> 00:54:22,240 Speaker 1: nuanced depictions of teen girls, but again I would argue, 819 00:54:22,320 --> 00:54:24,920 Speaker 1: not as nuanced as the movie wants you to think. 820 00:54:24,960 --> 00:54:27,960 Speaker 1: They're still fairly trophy and we do get to know them, 821 00:54:28,000 --> 00:54:32,040 Speaker 1: and these characters, especially the Molly Ringwald character, is more 822 00:54:32,200 --> 00:54:35,400 Speaker 1: developed of a character than we had seen in a 823 00:54:35,440 --> 00:54:38,920 Speaker 1: teen girl kind of up until that point. But the 824 00:54:38,960 --> 00:54:43,200 Speaker 1: way that she is treated, especially by the Jed Nelson character, 825 00:54:43,400 --> 00:54:49,000 Speaker 1: and then forced into a heatero kiss with him. The 826 00:54:49,040 --> 00:54:51,399 Speaker 1: movie forcing her because she is the one who goes 827 00:54:51,440 --> 00:54:54,960 Speaker 1: and kisses him. Why did you do that? He threatened 828 00:54:55,000 --> 00:55:00,560 Speaker 1: to rape you nine hours ago and then he did so, right, 829 00:55:00,640 --> 00:55:04,359 Speaker 1: It's just so there's a lot of missteps like that. 830 00:55:04,960 --> 00:55:07,760 Speaker 1: Worth noting that this is an extremely white movie. In fact, 831 00:55:07,880 --> 00:55:12,359 Speaker 1: I mean it's all yeah and all of John Hughes 832 00:55:12,719 --> 00:55:16,920 Speaker 1: movies except for the long ducktong character and sixteen Candles, 833 00:55:17,000 --> 00:55:23,800 Speaker 1: which so sorry, you're right, he's a representation. Um yeah, 834 00:55:23,920 --> 00:55:26,319 Speaker 1: So I think I know this is a beloved movie. 835 00:55:26,400 --> 00:55:31,560 Speaker 1: I know it explores themes that still resonate with us today, 836 00:55:31,600 --> 00:55:35,719 Speaker 1: but I think it is very obviously a nine five 837 00:55:37,280 --> 00:55:47,720 Speaker 1: eight four Oh right, okay for some reason, yes, movies 838 00:55:47,760 --> 00:55:51,360 Speaker 1: in eighty five. Who knows why. I'm gonna give it 839 00:55:52,480 --> 00:55:59,640 Speaker 1: one and a half? Okay, is that wrong? I hate 840 00:55:59,719 --> 00:56:06,400 Speaker 1: during this at live shows because I'm like, I'm she said, what, 841 00:56:09,640 --> 00:56:15,279 Speaker 1: thank you? Thank you so much? Are you giving the 842 00:56:15,360 --> 00:56:20,160 Speaker 1: nips to? I'm gonna give one to Molly Ringwald. I'm 843 00:56:20,200 --> 00:56:25,480 Speaker 1: gonna throw my half nipple to Anthony Michael Hall as 844 00:56:25,680 --> 00:56:33,000 Speaker 1: unexpected of a twist that I'm upset with that I know, 845 00:56:33,360 --> 00:56:36,719 Speaker 1: I don't know why I've been dating. I'm gonna give 846 00:56:36,760 --> 00:56:45,319 Speaker 1: it a half nipple because women are there, which not 847 00:56:45,480 --> 00:56:49,120 Speaker 1: all movies get to. Um, I don't know. I don't 848 00:56:49,160 --> 00:56:52,840 Speaker 1: think that this movie, or John Hughes' entire body of 849 00:56:52,880 --> 00:56:57,200 Speaker 1: work is like as subversive as people make it out 850 00:56:57,280 --> 00:57:00,319 Speaker 1: to be. And it might be partially because I'm not 851 00:57:00,400 --> 00:57:02,520 Speaker 1: attached to it and was never really a fan of it. 852 00:57:02,560 --> 00:57:05,480 Speaker 1: But I just, you know, you learn about I like 853 00:57:05,600 --> 00:57:08,279 Speaker 1: you learn about Molly Ringwald's character, but that doesn't mean 854 00:57:08,320 --> 00:57:11,080 Speaker 1: that her character isn't totally sold out by the writer 855 00:57:11,200 --> 00:57:13,399 Speaker 1: by the end of the movie. And you don't really 856 00:57:13,480 --> 00:57:17,280 Speaker 1: learn anything about Ali Sheedy's character, and she's also sold 857 00:57:17,280 --> 00:57:19,480 Speaker 1: out by the end of the movie. And so it's 858 00:57:19,760 --> 00:57:22,200 Speaker 1: really I mean, I guess, you know, it's like the 859 00:57:22,720 --> 00:57:25,920 Speaker 1: two female characters I thought were made by the writer 860 00:57:26,040 --> 00:57:28,640 Speaker 1: to act very irrationally at the end of the movie 861 00:57:28,680 --> 00:57:30,800 Speaker 1: in a way that in the first hour plus of 862 00:57:30,800 --> 00:57:33,320 Speaker 1: the movie you would not expect them to act based 863 00:57:33,360 --> 00:57:36,120 Speaker 1: on like a strong foundation, and then at the end 864 00:57:36,160 --> 00:57:39,320 Speaker 1: they're just like, no, you gotta you gotta have a kiss, like, 865 00:57:39,960 --> 00:57:42,280 Speaker 1: so I feel for for both of those characters that 866 00:57:42,360 --> 00:57:44,680 Speaker 1: like had some promise in them. We're kind of sold out. 867 00:57:44,880 --> 00:57:47,200 Speaker 1: And I also feel for Anthony Michael Hall because he 868 00:57:47,240 --> 00:57:51,520 Speaker 1: had to do everyone's homework and that's not cool. Have 869 00:57:51,680 --> 00:57:55,920 Speaker 1: a nipple and I'm giving it to the janitor. Hell yeah, 870 00:57:56,360 --> 00:58:03,440 Speaker 1: who it's hot and it was and who? And not 871 00:58:03,560 --> 00:58:07,840 Speaker 1: in confident? Well, the because the quick montage at the 872 00:58:07,920 --> 00:58:11,200 Speaker 1: very beginning in which you do see the hacker hackers 873 00:58:11,200 --> 00:58:15,600 Speaker 1: will be expelled the frame. There's another shot where it's 874 00:58:16,240 --> 00:58:21,480 Speaker 1: like men gross, but one of them is like man 875 00:58:21,600 --> 00:58:23,280 Speaker 1: of the Year. There's like a photo and it's a 876 00:58:23,320 --> 00:58:25,640 Speaker 1: photo of Carl. He was Man of the Year when 877 00:58:25,680 --> 00:58:28,439 Speaker 1: he was in high school. I love Carl. We didn't 878 00:58:28,480 --> 00:58:31,480 Speaker 1: get to talk about Carl, but Carl is one of 879 00:58:31,520 --> 00:58:35,600 Speaker 1: the most fully realized characters in the movie. When everyone's 880 00:58:35,600 --> 00:58:37,960 Speaker 1: trying to be like, you're a janitor, He's like, fuck you, 881 00:58:38,200 --> 00:58:41,200 Speaker 1: I'm a janitor And I was like, yeah, Carl, you 882 00:58:41,280 --> 00:58:44,800 Speaker 1: fuck He fucking rules. He dunks on everyone. He just 883 00:58:45,000 --> 00:58:48,160 Speaker 1: like anyone who talks back to Carl, He's like, you 884 00:58:48,240 --> 00:58:52,080 Speaker 1: can't touch me. I'm I'm the most confident man alive. 885 00:58:52,440 --> 00:58:56,680 Speaker 1: Like he goes home and has sex every day like 886 00:58:57,960 --> 00:59:07,080 Speaker 1: he's man of there and my book beautiful. Thank you, Well, 887 00:59:07,120 --> 00:59:11,960 Speaker 1: that's our show. Thanks for coming, Thank you for coming. 888 00:59:16,760 --> 00:59:19,120 Speaker 1: All right? That was that. That was the episode. It 889 00:59:19,160 --> 00:59:21,240 Speaker 1: was so much fun. We wanted to thank everyone who 890 00:59:21,280 --> 00:59:24,680 Speaker 1: came to the San Francisco show. The turnout was way 891 00:59:24,720 --> 00:59:28,280 Speaker 1: more than we were expecting for fifty people and a 892 00:59:28,360 --> 00:59:31,200 Speaker 1: venue that was not necessarily supposed to hold that many people, 893 00:59:32,040 --> 00:59:34,840 Speaker 1: which was so great. And speaking of the venue, thanks 894 00:59:34,920 --> 00:59:37,720 Speaker 1: for having us. We were at Piano Fight so it's 895 00:59:37,760 --> 00:59:40,760 Speaker 1: part of the San Francisco Sketch Festival, So shouts out 896 00:59:40,800 --> 00:59:43,600 Speaker 1: to Sketch Fest for having us. Shouts out to Piano 897 00:59:43,760 --> 00:59:46,960 Speaker 1: Fight for for having us there. Um, thank you so 898 00:59:47,040 --> 00:59:50,800 Speaker 1: much to our friend friend of the cast, Sammy Junio 899 00:59:51,040 --> 00:59:53,320 Speaker 1: for recording the show for us, for being our road 900 00:59:53,360 --> 00:59:55,040 Speaker 1: dog for that whole tory. You'll be hearing a lot 901 00:59:55,080 --> 00:59:56,960 Speaker 1: about them in the next couple of weeks as we 902 00:59:56,960 --> 01:00:00,240 Speaker 1: released these episodes. Indeed, and also big thanks to our 903 01:00:00,280 --> 01:00:03,360 Speaker 1: friend Catherine Leon who was at the show and was 904 01:00:03,400 --> 01:00:07,120 Speaker 1: helping us sell merch and just like stay organized and stuff. 905 01:00:07,200 --> 01:00:12,000 Speaker 1: So big thanks to Catherine. Thanks friends. Also big thanks 906 01:00:12,000 --> 01:00:14,760 Speaker 1: to anyone who bought merch at that show. Yeah, that 907 01:00:14,840 --> 01:00:17,280 Speaker 1: helped us out a lot. Yeah. We'll be back in 908 01:00:17,320 --> 01:00:22,240 Speaker 1: San Francisco sometime soon soon. Yeah. And as for you 909 01:00:22,760 --> 01:00:25,480 Speaker 1: listening person, wherever you are, we'll see you next week, 910 01:00:25,600 --> 01:00:26,920 Speaker 1: See you next week. Bye,