WEBVTT - The Breakfast Club 

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<v Speaker 1>Oh, Hi, Hi, everybody, it's us. It's us. We're just

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<v Speaker 1>here to let you know that you will be listening

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<v Speaker 1>to our Breakfast Club episode. Which you do know but

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<v Speaker 1>you may not know, is that this episode was recorded

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<v Speaker 1>live last month in San Francisco. Ever heard of San Francisco?

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<v Speaker 1>I have. We were there for like a whole twelve hours.

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<v Speaker 1>We were Yeah, we just wanted to say hello. We

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<v Speaker 1>wanted to let you know if you live in the

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<v Speaker 1>Los Angeles area, we have a live crossover show coming

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<v Speaker 1>up in March with The Daily Zeitgeist. That's right, It

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<v Speaker 1>is on March nine. It is at Dynasty Typewriter and

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<v Speaker 1>we will be there with Jack and Miles of The

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<v Speaker 1>Daily Zeitgeist and we're going to be talking about the news,

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<v Speaker 1>the trends, the movies, the moments of nine nine. Uh So,

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<v Speaker 1>if you live in the area, definitely roll the fun through.

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<v Speaker 1>We would love to meet you and hang. And you know,

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<v Speaker 1>we don't like to make it a habit to be

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<v Speaker 1>on stage with men. But what do you think I

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<v Speaker 1>was going to say, we just got friends. I thought

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<v Speaker 1>you're just gonna say on stage in general, And I

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<v Speaker 1>was like, we we do live show that No, no, no,

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<v Speaker 1>we don't like to be seen with men very often,

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<v Speaker 1>but you know we're making an exception one night only

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<v Speaker 1>and we'd love to see you there. Yes, so get

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<v Speaker 1>tickets at becdelcast dot com and then click on live

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<v Speaker 1>appearances and we'll see you there. Enjoy the live show

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<v Speaker 1>on the Breakfast Club. On the dol cast, the questions asked,

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<v Speaker 1>movies have women in them? Are all their discussions just

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<v Speaker 1>boyfriends and husbands? And do they have individualism? The patriarchy?

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<v Speaker 1>Zef invest start changing it with the bel Cast? Hi,

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<v Speaker 1>answer Scott, what's up? Are you in? All out? You

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<v Speaker 1>said the name of the city and everything. Hi, I'm Caitlin,

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<v Speaker 1>I'm Jane me and we're the Bechtel Cast. We are

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<v Speaker 1>indeed in San Francisco. Uh, it is rainy, it is

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<v Speaker 1>five pm. We are shocked and thrilled you're here. Thank

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<v Speaker 1>you for being here. Clap if you've heard the Bechtel

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<v Speaker 1>Cast before. Okay, and um not to put anyone on blast.

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<v Speaker 1>There's no wrong answer, but obviously there is based on

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<v Speaker 1>what you just heard. But clap if you if you

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<v Speaker 1>haven't heard our show before, Okay, sick are you here

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<v Speaker 1>with friends? Did friends drag you along? Yes? We'll put

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<v Speaker 1>on the best possible. We'll do our people to our

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<v Speaker 1>best as usual. That is all we can guarantee. So,

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<v Speaker 1>if you haven't listened before, The Bechtel Cast is a

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<v Speaker 1>podcast where Caitlin and I for five hundred years now

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<v Speaker 1>have been analyzing the role and treatment of when men

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<v Speaker 1>and female characters in famous movies. That's right. We use

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<v Speaker 1>the Bechdel Test as a jumping off point. It's a

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<v Speaker 1>media test that requires that two female identifying characters with

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<v Speaker 1>names speak to each other in the movie that they're

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<v Speaker 1>in for at least a two line exchange, and they

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<v Speaker 1>cannot talk about men. No, hard, hard. Yeah, let's see

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<v Speaker 1>if we can do it. I know right now, Jamie Caitlin,

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<v Speaker 1>that's it. We did it. Pretty fucking incredible what you

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<v Speaker 1>can do. So we're covering The Breakfast Club today. Uh,

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<v Speaker 1>is there anyone who has not seen this movie? Round? Okay?

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<v Speaker 1>Someone is that writing front? Eager for knowledge? Um, we're

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<v Speaker 1>talking about how The Breakfast Club kind of sounds like

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<v Speaker 1>the Bechtel Cast, right, except we wouldn't let John Hughes

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<v Speaker 1>anywhere near us. What is your history with the movie, Jamie,

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<v Speaker 1>Um Judd Nelson made my mom really horny and that's

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<v Speaker 1>the most And now I saw this movie in high

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<v Speaker 1>school and I thought it was fine. I saw on college.

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<v Speaker 1>I thought that was fine, and then I saw it

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<v Speaker 1>a few days ago, I thought it was fine. I

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<v Speaker 1>don't like I just I you know, I just John

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<v Speaker 1>Hughes movies just don't do much for me, even if

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<v Speaker 1>they're like not promoting rape, Like, it's just not He's

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<v Speaker 1>just not my not except for uh, some parts of

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<v Speaker 1>Uncle Buck. Oh sure, I like transplants and automobiles. I

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<v Speaker 1>think that's my favorite. What is that about. It's well,

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<v Speaker 1>it's uh Steve Martin and John Candy, So already I'm

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<v Speaker 1>not passing the Beckel test. They hate each other, they

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<v Speaker 1>use a lot of modes of transportation. That's pretty much it.

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<v Speaker 1>That sounds pretty good. I would watch that. So it's

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<v Speaker 1>just the two of us today. We don't have a

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<v Speaker 1>it is. Oh, I forgot about my history with the movie. Yeah,

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<v Speaker 1>we've never done this before our first first episode. My

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<v Speaker 1>history with the movie is I saw it for the

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<v Speaker 1>first time in high school. I think one of my

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<v Speaker 1>like English teachers was like hate kids you. He encouraged

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<v Speaker 1>us to watch the movie as like an assignment or

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<v Speaker 1>I don't know. There's something about like we watched it

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<v Speaker 1>in school or something like that. Uh, and that teacher

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<v Speaker 1>was later fired. Um, not not for that. He was

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<v Speaker 1>fired because it was discovered that he was an erotic dancer. Oh, which, look,

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<v Speaker 1>he should have been fired as a teacher for that.

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<v Speaker 1>Hold on, this story has taken a turn. I thought

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<v Speaker 1>you were about to say how he's a molester. It's like, sure,

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<v Speaker 1>everyone not molester. Okay, see that was that was my track, coach. Uh,

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<v Speaker 1>but that's that's not fair. That's tough there. This is

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<v Speaker 1>kind of like a cool old person movie to show

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<v Speaker 1>young people. They're like, I get it. You want to

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<v Speaker 1>see Amelia Estevis cry. I get it. Just like, yeah, sure,

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<v Speaker 1>I guess. I guess he really leveled with me. Should

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<v Speaker 1>I do the recap? Yeah, let's do the recap. You know,

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<v Speaker 1>people love a recap. And we don't have a guest,

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<v Speaker 1>so that means I get to interrupt twice as much.

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<v Speaker 1>Pretty cool, Pretty cool. The movie opens with glass shattering. No,

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<v Speaker 1>it opens with a David Bowie quote, and then I'm sorry,

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<v Speaker 1>you're like, okay, what decade are we in here? Is

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<v Speaker 1>that like John Hughes or Charlie Brooker. Am I right? Um,

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<v Speaker 1>it's a black miryor joke. Uh, stop making fun of

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<v Speaker 1>Charlie Brooker. Computers are actually bad, so yeah, technology actually

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<v Speaker 1>a little scary. Are you a hacker? Though? Yeah? That

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<v Speaker 1>show is Charlie Brooker or warning everyone about me? Speaking

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<v Speaker 1>of hackers though, there is like in the beginning with

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<v Speaker 1>the montage of all the quick cuts of Like the School,

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<v Speaker 1>it shows a classroom and one of the signs, there's

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<v Speaker 1>like a sign hanging up in the classroom that says

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<v Speaker 1>hackers will be expelled. Has anyone noticed that? Yeah? It's

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<v Speaker 1>go back okay, opens we meet five students. They have

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<v Speaker 1>detention for nine hours? Is that normal? Did anyone have

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<v Speaker 1>anything like this at their school? There? You just have

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<v Speaker 1>to spend a feature length amount of time with people. No,

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<v Speaker 1>it's like Lord of the like all the Lord of

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<v Speaker 1>the Rings movies worth of time. Yeah. I feel like

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<v Speaker 1>that's asking for someone to get beat up. Like, if

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<v Speaker 1>you leave five teenagers in a room together for nine hours,

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<v Speaker 1>someone's going to get hurt. That's just how teens work.

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<v Speaker 1>So the Fox students with me are Claire, the Princess,

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<v Speaker 1>Molly Ringwald. She's like the rich popular girl type. We've

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<v Speaker 1>got Andy Clark, the athlete, that's Amelia Estevez's character. Yeah,

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<v Speaker 1>he does cry, they all cry. I think Brian A.

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<v Speaker 1>K the brain name anagram am I right? Andy Michael

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<v Speaker 1>Hall does not rape anyone in this John Hughes movie.

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<v Speaker 1>So that's good. You get very different anthem. Actually you

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<v Speaker 1>kind of get the same character, but a rapist true wild.

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<v Speaker 1>Alison Reynolds is the basket case. That's Ali. She'd use character.

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<v Speaker 1>She's not like the other girls. True. And finally Benders

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<v Speaker 1>the criminal um that's Jen Nelson's character. He's twenty six

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<v Speaker 1>years old. He's in this movie kissing a sixteen year

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<v Speaker 1>old Molly Ringwald and just behind the scenes fact that

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<v Speaker 1>I found freaky, like a lot of male actors choose

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<v Speaker 1>because they won't get in trouble if they do. Jed

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<v Speaker 1>Nelson was like, I think I'm gonna go method with

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<v Speaker 1>this and just bullied Molly Ringwald for the entirety of

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<v Speaker 1>the movie. He's ten years older than her offset right

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<v Speaker 1>offset and and John Hughes at one point tried to

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<v Speaker 1>fire him, and then all the teens were like no.

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<v Speaker 1>It was if I don't I can't make heads their

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<v Speaker 1>tails of that, but it's true anytime a man things

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<v Speaker 1>going method, he just wants to yell at someone like.

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<v Speaker 1>That's just literally what it is. Also, we talked in

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<v Speaker 1>the car on the way up here that the members

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<v Speaker 1>of the Breakfast Club are all also sort of the

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<v Speaker 1>Spice Girls. Break this down. Okay, Sporty Spice obviously Amelio Estevez,

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<v Speaker 1>Scary Spice is Jed Nelson. See this is see this

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<v Speaker 1>is where we don't. Okay, all right, let me make

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<v Speaker 1>a case for this. Jesus Francisco. We thought that Posh

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<v Speaker 1>is Molly Ringwald. Can we agree with that baby we

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<v Speaker 1>said was Anthony Michael because he's innocent and blonde, a

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<v Speaker 1>flesh colored headed hair person. I'm aware that would make

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<v Speaker 1>Ginger Alie Sheet's character. And it's not a one to

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<v Speaker 1>one match, but we've got a solid three out of five.

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<v Speaker 1>But then also Ginger is Molly like Molly Ringwald is

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<v Speaker 1>Ginger e based on hair color alone. Sorry to reduce

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<v Speaker 1>hair a hole here. Anyway, let's move on. We've got

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<v Speaker 1>Richard Vernon. He's the teacher, is the assistant character. He's

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<v Speaker 1>the assistant principal who are in there often. I feel

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<v Speaker 1>like that's like a stock character of like the put

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<v Speaker 1>Upon assistant principle. Isn't Captain Underpants and assistant principle or

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<v Speaker 1>was he the principle. I think he was the assistant principal,

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<v Speaker 1>just the scholarly observation. And he's like this disciplinarian. He's like,

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<v Speaker 1>you guys can't talk, you can't move, blah blah blah,

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<v Speaker 1>and I have to write an essay about who they

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<v Speaker 1>think they are. Then Bender, he's like the tough guy.

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<v Speaker 1>He's trying to get a rise out of everybody. He's like,

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<v Speaker 1>you're a nerd and everyone's like, well, you're a jock.

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<v Speaker 1>And then they're all just hating each other each other

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<v Speaker 1>labels because teens, but they mostly ignore the quote unquote

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<v Speaker 1>basket case girl. And then she doesn't talk for most

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<v Speaker 1>of the movie. Then we see a montage they're doing

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<v Speaker 1>their stuff, take out the dancing montage. Is this movies

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<v Speaker 1>thirty five minutes long, a lot of dancing. A shot

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<v Speaker 1>where Anthony Michael Hall's character is like adjusting his crotch

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<v Speaker 1>and then like puts his hat on his lap. Are

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<v Speaker 1>we to believe that her I don't know. I don't

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<v Speaker 1>I hope not. It's hard to say, hard to say,

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<v Speaker 1>I don't know. I'm so sorry. We can't know. Okay, So, um,

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<v Speaker 1>it's hard because there's like kind of not a plot,

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<v Speaker 1>so I don't know how to recap this. They could

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<v Speaker 1>only afford three rooms to shoot the movie in, so

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<v Speaker 1>they gotta emote in a lot of different good, fine spaces.

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<v Speaker 1>I don't know, they're just harassed like that for most

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<v Speaker 1>of the movie. Affordable names. He launch it some point

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<v Speaker 1>and then um, there's this conversation where Brian is like,

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<v Speaker 1>I'm a virgin, but I'm embarrassed to admit it, and

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<v Speaker 1>then Molly ring well it's like I think virgins are cool.

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<v Speaker 1>And then everyone's like oh, and everyone's like whoa, and

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<v Speaker 1>then Jed Nelson's like, what are you guys talking about? Um?

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<v Speaker 1>You know, A lot of points are brought up. Yea,

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<v Speaker 1>the Bender character reveals that he's being physically abused at

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<v Speaker 1>home by his father. We learned different sort of backstories

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<v Speaker 1>of each of the characters, like Ali Sheitt's character is

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<v Speaker 1>ignored by her parents, which is why she's eating dog

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<v Speaker 1>food or something like I saw too much of my

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<v Speaker 1>solf and I sat too much of myself in her.

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<v Speaker 1>I was like Okay, so she's like a teenager, but

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<v Speaker 1>she's She's like, but what do I do? She just

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<v Speaker 1>if she had access to Mike's Hard lemonade, she would

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<v Speaker 1>be drinking Mike's Hard. She went, she yeah, I mean

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<v Speaker 1>she was saying she was drinking vodka. But she she

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<v Speaker 1>can't even get her hands on an MHL embarrassing, so

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<v Speaker 1>she eats pixie sticks on sandwiches instead. She's not like

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<v Speaker 1>the other girls. Everyone. She needs you to know. And

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<v Speaker 1>then there's a point where they go to Bender's locker

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<v Speaker 1>to get weed, and then they think and there is

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<v Speaker 1>homophobic slurs written all over his locker, and then they

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<v Speaker 1>think they're gonna get caught because they are running around

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<v Speaker 1>the halls trying to dodge Vernon in a scene that

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<v Speaker 1>is not unlike Titanic where Jack and Rose are running

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<v Speaker 1>around the ship. And then they come Billy Zane. What

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<v Speaker 1>Billy's Zane was in this movie too much? He was

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<v Speaker 1>busy being in Back to the Future as one of

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<v Speaker 1>Biff's crony, playing a similar character to the Jen Nelson character.

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<v Speaker 1>As long as Zane's getting work, Yeah, anyway, I can

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<v Speaker 1>sleep at night. So there's a gate and they can't

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<v Speaker 1>go any farther, just like Jack and Rose. So they

0:14:57.000 --> 0:14:58.720
<v Speaker 1>have to turn around, they have to find another way.

0:14:58.760 --> 0:15:05.000
<v Speaker 1>And then and then one of the drowns. No spoilers,

0:15:05.040 --> 0:15:08.560
<v Speaker 1>we won't tell you which character it is, but in

0:15:08.600 --> 0:15:13.000
<v Speaker 1>the breakfast club, Bender is like, all sacrifice myself, so

0:15:13.040 --> 0:15:15.880
<v Speaker 1>he goes running around all crazy in the halls and

0:15:15.920 --> 0:15:18.600
<v Speaker 1>gets caught so that the others don't. Yeah, and then

0:15:18.640 --> 0:15:22.200
<v Speaker 1>there's also the scene prior to that where the assistant

0:15:22.240 --> 0:15:28.040
<v Speaker 1>principal verbally abuses Bender and like just it. That's like

0:15:28.080 --> 0:15:32.480
<v Speaker 1>a tough scene to to unpack. But um, at the beginning,

0:15:32.520 --> 0:15:35.160
<v Speaker 1>you're not sure why Benders being such a dick to everyone,

0:15:35.240 --> 0:15:37.240
<v Speaker 1>But as as the movie goes on, you see you

0:15:37.520 --> 0:15:40.920
<v Speaker 1>start to understand why. So by the time he's flailing

0:15:40.960 --> 0:15:43.560
<v Speaker 1>around and got the weed, you're like, okay, this is

0:15:44.000 --> 0:15:48.880
<v Speaker 1>this is like time with me, right yeah. Uh. And

0:15:48.880 --> 0:15:51.840
<v Speaker 1>then shortly after that, whenever he gets caught by Vernon,

0:15:52.400 --> 0:15:54.800
<v Speaker 1>he like locks Bender in a closet and then like

0:15:55.120 --> 0:15:57.520
<v Speaker 1>tries to initiate a physical fight with him, and then

0:15:57.560 --> 0:16:00.880
<v Speaker 1>we see like him kind of bender back down and

0:16:00.960 --> 0:16:04.080
<v Speaker 1>not engage. Um, so maybe he's more sensitive than we

0:16:04.120 --> 0:16:07.280
<v Speaker 1>all think, or maybe his teachers trying to fight him

0:16:07.360 --> 0:16:12.480
<v Speaker 1>like like an unhinged person, like, hey, everyone at this

0:16:12.640 --> 0:16:15.040
<v Speaker 1>school likes me. No one will believe me if I

0:16:15.240 --> 0:16:19.440
<v Speaker 1>fight you. It's like, what are you talking about? Sicko?

0:16:20.560 --> 0:16:23.600
<v Speaker 1>And then Bender escapes through like the air ducks and

0:16:23.640 --> 0:16:28.480
<v Speaker 1>gets back into the library very mission impossible, true, and

0:16:28.520 --> 0:16:32.320
<v Speaker 1>then he hides under a desk because Vernon comes in,

0:16:32.400 --> 0:16:36.000
<v Speaker 1>and that's when we get the famous and upsetting underwear

0:16:36.800 --> 0:16:41.480
<v Speaker 1>crotch shot of character. We'll get there, don't you worry.

0:16:41.840 --> 0:16:45.480
<v Speaker 1>There's and then they're all there. They smoke the weed.

0:16:45.760 --> 0:16:51.720
<v Speaker 1>There's a million dance. You cannot have an eighties teen

0:16:51.840 --> 0:16:58.560
<v Speaker 1>movie without Kevin Bacon or Amelia Estevez or someone just

0:16:58.800 --> 0:17:02.520
<v Speaker 1>dancing for like five minutes straight. Guys, remember when we

0:17:02.760 --> 0:17:06.000
<v Speaker 1>was cool? Still? This movie brings you back to when

0:17:06.000 --> 0:17:09.880
<v Speaker 1>we was cool, right, and not for Dad's trying to

0:17:09.920 --> 0:17:12.680
<v Speaker 1>tell you they get it. And then we get to

0:17:12.720 --> 0:17:16.480
<v Speaker 1>the scene where they're all sitting around and they're talking

0:17:17.160 --> 0:17:23.280
<v Speaker 1>about sex. Ever heard of it? Who's horny? Who's not?

0:17:23.520 --> 0:17:26.720
<v Speaker 1>That's not how it goes. Um, they're like all virgins

0:17:26.760 --> 0:17:30.840
<v Speaker 1>basically pretty much. Bender's trying to like, he's like he

0:17:30.880 --> 0:17:33.600
<v Speaker 1>goes back to a berating Claire for a bit. They

0:17:33.640 --> 0:17:35.800
<v Speaker 1>all talk about, Hey, are we going to be friends

0:17:35.840 --> 0:17:39.840
<v Speaker 1>after this? And then Claire's like, I'm too popular, just

0:17:39.960 --> 0:17:44.639
<v Speaker 1>a straight shooter. Yeah, And then um, Brian reveals that

0:17:44.680 --> 0:17:49.520
<v Speaker 1>he is failing shop class. And then the reason he

0:17:49.560 --> 0:17:52.199
<v Speaker 1>got detention is that he brought a gun to school

0:17:52.200 --> 0:17:57.359
<v Speaker 1>with the intention of committing suicide, but with a flair gun,

0:17:57.960 --> 0:18:00.480
<v Speaker 1>which is played as a joke and it's I don't know,

0:18:00.560 --> 0:18:04.400
<v Speaker 1>we can talk about that later, but also, yeah, remember

0:18:04.440 --> 0:18:06.600
<v Speaker 1>the days when you could bring a weapon to school

0:18:06.680 --> 0:18:13.399
<v Speaker 1>and only get Saturday detention? Like what? Oh goodness? And

0:18:13.440 --> 0:18:17.840
<v Speaker 1>then Allison's like, I didn't do anything to get detention.

0:18:17.920 --> 0:18:21.840
<v Speaker 1>I just showed up. But first she says a lot

0:18:21.840 --> 0:18:26.199
<v Speaker 1>of funked up stuff yes, um, and then yeah, and

0:18:26.200 --> 0:18:30.720
<v Speaker 1>then her her secret, as it were, whatever is is

0:18:30.760 --> 0:18:34.959
<v Speaker 1>that she is a compulsive liar. Right, and then they

0:18:35.080 --> 0:18:42.000
<v Speaker 1>dance again, right, somehow they dance again because recycling shots

0:18:42.800 --> 0:18:46.879
<v Speaker 1>earlier Justmelio Estevez dancing, and then they danced as a group.

0:18:47.240 --> 0:18:52.800
<v Speaker 1>That's the video that Alexandria Cacio Cortez was recreating when

0:18:52.840 --> 0:18:55.639
<v Speaker 1>she was a student at Boston University. Now is a

0:18:55.680 --> 0:18:57.520
<v Speaker 1>great time to bring up that I do have a

0:18:57.560 --> 0:19:01.879
<v Speaker 1>master's degree in screen running from Boston University. Thank you.

0:19:02.160 --> 0:19:08.400
<v Speaker 1>Why would you cheer for that? Unfortunately AOC and I

0:19:08.480 --> 0:19:15.639
<v Speaker 1>did not overlap at our time at BU, but you know,

0:19:15.720 --> 0:19:23.200
<v Speaker 1>be you represent. Okay, wow, I'm sorry, Jamie, I also

0:19:23.240 --> 0:19:29.119
<v Speaker 1>went to college, Thank you so much. Yeah up, guys,

0:19:29.240 --> 0:19:33.560
<v Speaker 1>it's a fucking scam. Yeah, no one learned. It's a

0:19:33.680 --> 0:19:35.600
<v Speaker 1>fucking scam. And we're all going to be in debt

0:19:35.720 --> 0:19:39.960
<v Speaker 1>until we're dead. Please thank you our merch over there,

0:19:40.200 --> 0:19:44.120
<v Speaker 1>because we are drowning in student learned debt. I took

0:19:44.119 --> 0:19:47.200
<v Speaker 1>a class on lost in college. I'm just like there

0:19:48.560 --> 0:19:50.160
<v Speaker 1>and I'm never yeah, and I'm never going to own

0:19:50.160 --> 0:19:56.560
<v Speaker 1>a home. You know, it's just like sure worth it. Okay.

0:19:56.560 --> 0:19:59.760
<v Speaker 1>So after the dance where they all dance, Claire gives

0:19:59.760 --> 0:20:04.520
<v Speaker 1>out us in a makeover because women, right, right, we'll

0:20:04.520 --> 0:20:09.760
<v Speaker 1>talk about that. And then Claire, for no reason, it seems,

0:20:10.000 --> 0:20:14.520
<v Speaker 1>goes and kisses Bender on the collar bone. Yeah, I

0:20:14.520 --> 0:20:18.520
<v Speaker 1>mean because after harassing her for nine consecutive hours, she's

0:20:18.600 --> 0:20:24.600
<v Speaker 1>decided he's worn her down. You know, really uh, really

0:20:24.960 --> 0:20:29.480
<v Speaker 1>really male writing going on there. And then Andy, who

0:20:29.600 --> 0:20:35.280
<v Speaker 1>sees Allison, is like wow, you're pretty, you took your

0:20:35.280 --> 0:20:41.880
<v Speaker 1>hoodie off. I love you. And then meanwhile, Brian, who

0:20:41.880 --> 0:20:45.240
<v Speaker 1>has no one to kiss it's forced to do everyone's

0:20:45.240 --> 0:20:50.439
<v Speaker 1>home work, which honestly is a wild power move that

0:20:50.480 --> 0:20:53.560
<v Speaker 1>I thought was a little funny because he because they

0:20:53.600 --> 0:20:56.240
<v Speaker 1>were all like in that moment, I was like, bright,

0:20:56.280 --> 0:20:59.199
<v Speaker 1>you're seriously falling for this right now, Like he's just

0:20:59.280 --> 0:21:01.640
<v Speaker 1>They're just like, Iran, you're the smartest side of all

0:21:01.640 --> 0:21:03.320
<v Speaker 1>of us. What do they know is what he wants

0:21:03.359 --> 0:21:07.199
<v Speaker 1>to hear? And he's like yeah, so, and they're like,

0:21:07.280 --> 0:21:09.560
<v Speaker 1>so we were thinking you would do. I'm like, this

0:21:09.640 --> 0:21:12.640
<v Speaker 1>happens to like dorkey kids in school all the time.

0:21:12.640 --> 0:21:15.680
<v Speaker 1>They don't fall for that ship. After a while, Brian's

0:21:15.720 --> 0:21:19.200
<v Speaker 1>too old to be fallen for that trick. Grow up, Brian,

0:21:19.240 --> 0:21:23.120
<v Speaker 1>don't write everyone's essay, but he does. And he's like,

0:21:23.359 --> 0:21:26.560
<v Speaker 1>you see us, how you want to see us? Mr Vernon.

0:21:26.880 --> 0:21:31.600
<v Speaker 1>He kind of goes edge lord on it. He's like,

0:21:31.640 --> 0:21:39.399
<v Speaker 1>but we're all the criminal and princess and so teach gees.

0:21:41.000 --> 0:21:44.080
<v Speaker 1>Can you imagine like if you were a person doing

0:21:44.119 --> 0:21:45.960
<v Speaker 1>their job as someone left you that letter, I would

0:21:46.040 --> 0:21:49.720
<v Speaker 1>literally be like yeah, fine, and I would throw it

0:21:49.760 --> 0:22:01.480
<v Speaker 1>away at me, I feel like, yeah, awesome. Uh and

0:22:01.520 --> 0:22:04.720
<v Speaker 1>then and then they'll leave, and then there are two

0:22:05.200 --> 0:22:09.240
<v Speaker 1>hetero kisses, and then all fingerless gloves pumps his fist

0:22:10.440 --> 0:22:15.040
<v Speaker 1>and then we all get to go home. And that's

0:22:15.080 --> 0:22:26.919
<v Speaker 1>the movie. Is the movie. I had fun with this

0:22:27.080 --> 0:22:31.920
<v Speaker 1>because I'm not particularly attached to the movie. Um and

0:22:32.160 --> 0:22:34.440
<v Speaker 1>a lot of it I don't know. I mean, things

0:22:34.480 --> 0:22:38.280
<v Speaker 1>I appreciate about this movie are that it is a

0:22:38.320 --> 0:22:41.040
<v Speaker 1>movie that, even though it misfires in a lot of

0:22:41.040 --> 0:22:44.840
<v Speaker 1>directions and and and when ways we'll talk about it,

0:22:45.080 --> 0:22:49.679
<v Speaker 1>at least takes teenage characters seriously. And and for the

0:22:49.760 --> 0:22:54.119
<v Speaker 1>most part we're seeing teenagers like acting out and and

0:22:54.680 --> 0:22:58.400
<v Speaker 1>you know, often harassing each other and teasing each other.

0:22:58.480 --> 0:23:01.879
<v Speaker 1>But at very least you get background for everyone in

0:23:01.920 --> 0:23:05.199
<v Speaker 1>some context. And unlike a lot of other teen movies,

0:23:05.280 --> 0:23:07.560
<v Speaker 1>it doesn't go the direction of playing the adults in

0:23:07.600 --> 0:23:11.720
<v Speaker 1>a totally comical way to were like often if it's

0:23:11.720 --> 0:23:15.640
<v Speaker 1>like a movie directed or marketed at young people, it's

0:23:15.680 --> 0:23:17.800
<v Speaker 1>like all the teens get it, and the adults are

0:23:17.920 --> 0:23:21.440
<v Speaker 1>fucking idiots, and they are, but like you at least

0:23:21.480 --> 0:23:24.399
<v Speaker 1>get background on them as well. And I don't know,

0:23:24.480 --> 0:23:27.879
<v Speaker 1>everyone felt at least there was a tension given to

0:23:28.000 --> 0:23:32.280
<v Speaker 1>every character, even if a lot of it was like no,

0:23:34.600 --> 0:23:37.920
<v Speaker 1>So I appreciated that. Yeah, and I agree. I I

0:23:38.720 --> 0:23:41.680
<v Speaker 1>don't have any special attachment to this movie either. Again,

0:23:41.720 --> 0:23:45.439
<v Speaker 1>I'm not like a huge John Hughes fan, but I

0:23:45.480 --> 0:23:49.640
<v Speaker 1>mean he was doing what no one was really doing

0:23:49.640 --> 0:23:51.520
<v Speaker 1>at that time. And this is something that um Molly

0:23:51.680 --> 0:23:54.600
<v Speaker 1>Ringwald brings up in the piece that she wrote for

0:23:54.600 --> 0:23:58.919
<v Speaker 1>The New Yorker where he kind of revolutionized stories for

0:23:59.240 --> 0:24:03.040
<v Speaker 1>and about teenagers. So I understand why this is a

0:24:03.040 --> 0:24:07.080
<v Speaker 1>beloved movie then and still now. And I think that

0:24:07.720 --> 0:24:10.280
<v Speaker 1>one of the things that I think it does pretty well,

0:24:10.520 --> 0:24:12.560
<v Speaker 1>and this is kind of mirroring what you were saying, Jamie,

0:24:12.560 --> 0:24:16.879
<v Speaker 1>but it spends time and attention on each of the character.

0:24:17.000 --> 0:24:19.760
<v Speaker 1>So you know, we talked about the female characters, and

0:24:19.840 --> 0:24:25.840
<v Speaker 1>they are although I don't know about the character well,

0:24:25.880 --> 0:24:28.879
<v Speaker 1>they're underrepresented in this movie in general, because you see

0:24:29.560 --> 0:24:33.200
<v Speaker 1>the Breakfast Club is male character heavy, and then the

0:24:33.280 --> 0:24:36.359
<v Speaker 1>other three adults, all three adult characters you see her men,

0:24:36.720 --> 0:24:40.840
<v Speaker 1>the assistant principal, Carl Cool Janitor, Carl shout out to

0:24:40.920 --> 0:24:47.160
<v Speaker 1>my freaking boy, and then uh Amelio Estevez is wild

0:24:47.200 --> 0:24:51.600
<v Speaker 1>and Dad who isn't? Who's Amelia Seves? Is real? Debt

0:24:51.640 --> 0:24:56.840
<v Speaker 1>isn't some of fam Martin Martin Sheen missed opportunity? What

0:24:57.040 --> 0:25:03.800
<v Speaker 1>someone is heckling Martin? What's up? President? Dude? Aaron Sorkin

0:25:03.920 --> 0:25:09.720
<v Speaker 1>was canceled today, Pay attention there, come on there? Uh

0:25:09.760 --> 0:25:13.600
<v Speaker 1>but Martin she Grayson and Frankie season five, Oh yeah,

0:25:13.720 --> 0:25:18.520
<v Speaker 1>you might know him from Grayson Frankie. I love that show. Anyways,

0:25:18.680 --> 0:25:21.640
<v Speaker 1>what were we talking about? Oh? Too many men? That's

0:25:21.640 --> 0:25:26.200
<v Speaker 1>a note only, but yeah, I mean all three. I

0:25:26.480 --> 0:25:29.879
<v Speaker 1>think it was like a misstep and to be generous

0:25:29.920 --> 0:25:33.359
<v Speaker 1>with John Hughes, who does not have a good track record. Uh,

0:25:33.400 --> 0:25:38.600
<v Speaker 1>and in a lot of respects, making every adult character presented, uh,

0:25:38.760 --> 0:25:43.440
<v Speaker 1>male character is both weird and also not reflective of

0:25:43.520 --> 0:25:46.840
<v Speaker 1>the education system. Like it just was like, I don't know,

0:25:46.880 --> 0:25:49.240
<v Speaker 1>it just seems like a dumb missed opportunity. Yeah. We

0:25:49.320 --> 0:25:52.400
<v Speaker 1>see Brian's mom very briefly, and I think I don't

0:25:52.440 --> 0:25:54.880
<v Speaker 1>think we see any other parents, but she's like, study

0:25:55.080 --> 0:25:57.639
<v Speaker 1>what we see. I mean, we see dad, Amelia's daddy.

0:25:57.800 --> 0:26:00.480
<v Speaker 1>But in addition to that, on sports dad was yeah

0:26:00.680 --> 0:26:04.280
<v Speaker 1>that's poor dad. Yeah, And I think with the Molly

0:26:04.359 --> 0:26:09.359
<v Speaker 1>Ringwald character, like so much attention is focused on her um,

0:26:09.400 --> 0:26:13.119
<v Speaker 1>which is good for our discussion. But with the basket

0:26:13.119 --> 0:26:17.840
<v Speaker 1>Case Ali, sheitdy character. She doesn't even say words until

0:26:18.000 --> 0:26:20.800
<v Speaker 1>like thirty three minutes into the movie or something like that,

0:26:21.119 --> 0:26:24.040
<v Speaker 1>and then it's like acting vaguely Ferrell like it's it's

0:26:25.560 --> 0:26:29.960
<v Speaker 1>her character is is confusing, and it's weird because it's

0:26:29.960 --> 0:26:32.480
<v Speaker 1>like it comes out that she's a compulsive liar, which

0:26:32.920 --> 0:26:36.080
<v Speaker 1>is played as a joke basically because they're like, oh,

0:26:36.119 --> 0:26:38.320
<v Speaker 1>everything this, but like if you only have two female

0:26:38.400 --> 0:26:40.760
<v Speaker 1>characters and at the end you're like, oh, this female

0:26:40.840 --> 0:26:43.640
<v Speaker 1>character one of the two. Don't listen to a word

0:26:43.720 --> 0:26:46.840
<v Speaker 1>she fucking says. Not a true word comes out of

0:26:46.840 --> 0:26:49.600
<v Speaker 1>this lady's mouth like that that's not that she said

0:26:49.680 --> 0:26:51.960
<v Speaker 1>much to begin with, because then she doesn't speak again

0:26:52.040 --> 0:26:55.320
<v Speaker 1>until like I think it's fifty nine minutes into the movie.

0:26:55.640 --> 0:26:57.359
<v Speaker 1>But the things she does say at the end are

0:26:57.560 --> 0:27:01.080
<v Speaker 1>very dark, Like she says that she has sex with

0:27:01.119 --> 0:27:03.960
<v Speaker 1>her therapists as an underage girl. Like she says some

0:27:04.119 --> 0:27:07.840
<v Speaker 1>really dark stuff and and then to like say all

0:27:07.840 --> 0:27:09.919
<v Speaker 1>that stuff and then just like, oh, I'm a compulsive

0:27:09.960 --> 0:27:13.400
<v Speaker 1>liar t he and then kiss Semilio Estevez is like,

0:27:15.680 --> 0:27:20.040
<v Speaker 1>first of all, what and that's like a very nineteen

0:27:20.080 --> 0:27:24.359
<v Speaker 1>eighties like glazing over of what, like of a discussion

0:27:24.440 --> 0:27:28.199
<v Speaker 1>of mental illness? Uh, And like a compulsive lying is

0:27:28.240 --> 0:27:31.040
<v Speaker 1>like a very blanket term that it's clear the writer

0:27:31.200 --> 0:27:34.560
<v Speaker 1>doesn't understand or has done any research on, and he

0:27:34.680 --> 0:27:36.639
<v Speaker 1>just kind of uses it ultimately as a way to

0:27:36.680 --> 0:27:39.800
<v Speaker 1>be like, well, uh, I hope you weren't listening to

0:27:39.800 --> 0:27:43.200
<v Speaker 1>her because she's nuts, and but we made her pretty,

0:27:43.560 --> 0:27:48.520
<v Speaker 1>so now she's gonna kiss Martin Sheen's son yep, like,

0:27:49.040 --> 0:27:51.359
<v Speaker 1>which is a bummer because I love Ali Sheity and

0:27:51.560 --> 0:27:54.840
<v Speaker 1>that I mean, it's it's weird because I feel like

0:27:54.880 --> 0:27:57.800
<v Speaker 1>a lot of young women and and you know, older

0:27:57.840 --> 0:28:02.080
<v Speaker 1>women who see that movie more closely aligned with her

0:28:02.480 --> 0:28:06.119
<v Speaker 1>than with Claire. But the chasm between those two people

0:28:06.359 --> 0:28:10.760
<v Speaker 1>is like no one is really either of them. But

0:28:10.920 --> 0:28:13.000
<v Speaker 1>when I was a teenager, I was like, well, I

0:28:13.040 --> 0:28:17.920
<v Speaker 1>guess I'm the one eating dog food because no one

0:28:18.040 --> 0:28:26.200
<v Speaker 1>invites me places, so I guess I'm just so that's

0:28:26.240 --> 0:28:31.639
<v Speaker 1>not good. Well, because one of the main things about

0:28:31.680 --> 0:28:36.200
<v Speaker 1>this movie is that we see all these trope characters

0:28:36.280 --> 0:28:39.400
<v Speaker 1>so we see like the princess character, I like, I

0:28:39.480 --> 0:28:43.000
<v Speaker 1>guess a basket case was as a trope or like

0:28:43.400 --> 0:28:46.680
<v Speaker 1>a click or something in the day. But that means

0:28:46.720 --> 0:28:48.920
<v Speaker 1>you see a representation on screen of women in these

0:28:49.040 --> 0:28:51.640
<v Speaker 1>very tropy roles. But the whole point of the movie

0:28:51.920 --> 0:28:55.680
<v Speaker 1>also is to say, hey, you might have this identity

0:28:55.760 --> 0:28:58.200
<v Speaker 1>to some degree based on like the click you're in

0:28:58.440 --> 0:29:03.120
<v Speaker 1>or whatever, but you're a multidimensional person that has stuff

0:29:03.160 --> 0:29:06.240
<v Speaker 1>to offer outside of that, you know, high school identity.

0:29:06.760 --> 0:29:09.200
<v Speaker 1>And that's like, you know, the theme at the movie.

0:29:09.600 --> 0:29:12.840
<v Speaker 1>But you still get these characters who I would argue,

0:29:12.840 --> 0:29:16.080
<v Speaker 1>we don't really get to know well enough or don't

0:29:16.120 --> 0:29:19.280
<v Speaker 1>have that much nuance as much nuance as the movie

0:29:19.280 --> 0:29:22.280
<v Speaker 1>wants you to think they have, right, I mean, they're

0:29:22.320 --> 0:29:25.560
<v Speaker 1>all it's weird because in some ways they're like, oh,

0:29:25.600 --> 0:29:28.440
<v Speaker 1>all these like high school trope characters are deeper than

0:29:28.480 --> 0:29:31.920
<v Speaker 1>you think, which the movie does do. But there's still

0:29:31.960 --> 0:29:36.360
<v Speaker 1>that character like there's still the football guy is is

0:29:36.400 --> 0:29:41.760
<v Speaker 1>being is footballing too hard? Like you're like okay, or

0:29:41.880 --> 0:29:47.560
<v Speaker 1>like she's too popular there. It's not really even like

0:29:47.920 --> 0:29:50.360
<v Speaker 1>subverting that much if you think about it that much,

0:29:50.400 --> 0:29:53.880
<v Speaker 1>because it's like Molly Ringwald. You know, everyone has issues

0:29:53.880 --> 0:29:56.160
<v Speaker 1>with their parents, which is brought through in the movie

0:29:56.160 --> 0:30:01.240
<v Speaker 1>pretty effectively. But it's not like another brilliant feminist text

0:30:01.320 --> 0:30:06.520
<v Speaker 1>high school musical, where in the show Stoppers stick to

0:30:06.560 --> 0:30:10.360
<v Speaker 1>the status quo. You find out, Hey, here's someone who's

0:30:10.400 --> 0:30:15.040
<v Speaker 1>really academic but she loves to dance. And here's a

0:30:15.080 --> 0:30:18.760
<v Speaker 1>basketball stark Corbin Blue or no, no, it's no, it's

0:30:18.840 --> 0:30:23.080
<v Speaker 1>Zeke Zeke. He's in basketball but he loves to bake. Like,

0:30:24.080 --> 0:30:27.160
<v Speaker 1>is that a front character. No, he's not in this number.

0:30:27.480 --> 0:30:34.800
<v Speaker 1>He's playing basketball. He's busy. But it's all that to

0:30:34.920 --> 0:30:39.600
<v Speaker 1>say I just got really excited. Um No, But like

0:30:40.000 --> 0:30:42.240
<v Speaker 1>it's not even that the characters in the Breakfast Club

0:30:42.280 --> 0:30:46.680
<v Speaker 1>necessarily like contain multitudes and are like They're just like, no,

0:30:46.760 --> 0:30:52.120
<v Speaker 1>I really am popular and it's not as easy as

0:30:52.160 --> 0:30:57.600
<v Speaker 1>it looks, and and I have parents. You're just like, Okay, Like,

0:30:58.080 --> 0:31:01.480
<v Speaker 1>I don't know, it's I is some like posturing. It

0:31:01.520 --> 0:31:04.760
<v Speaker 1>does that. I don't know. I think sometimes this movie

0:31:04.800 --> 0:31:08.360
<v Speaker 1>gets credit for work it's not necessarily doing. Yeah. And

0:31:08.400 --> 0:31:12.360
<v Speaker 1>also if there are five main characters and there's opportunities

0:31:12.400 --> 0:31:16.720
<v Speaker 1>to see them like interacting on screen in different combinations,

0:31:16.960 --> 0:31:18.920
<v Speaker 1>you know, like either one on one or there maybe

0:31:18.920 --> 0:31:21.160
<v Speaker 1>there's three of them. I feel like one of the

0:31:21.200 --> 0:31:24.880
<v Speaker 1>combinations that gets the least amount of attention in the

0:31:24.920 --> 0:31:30.200
<v Speaker 1>movie is the Claire Allison relationship. I mean pretty much

0:31:30.240 --> 0:31:33.760
<v Speaker 1>all of it at the very end of the movie.

0:31:33.880 --> 0:31:37.760
<v Speaker 1>And I that feels like a like John Hughes doesn't

0:31:37.920 --> 0:31:44.200
<v Speaker 1>understand how to write teenage girls interacting and transition. I

0:31:44.360 --> 0:31:47.760
<v Speaker 1>have a little okay, so John, this is like phase

0:31:47.800 --> 0:31:50.640
<v Speaker 1>two of John Hughes's career at this point where he

0:31:50.680 --> 0:31:56.440
<v Speaker 1>starts out at a feminist bible called the National Lampoon.

0:31:59.480 --> 0:32:03.680
<v Speaker 1>While there he writes some of the most offensive stuff

0:32:03.960 --> 0:32:08.240
<v Speaker 1>I've ever heard, uh For here are two examples I'm

0:32:08.280 --> 0:32:12.000
<v Speaker 1>able to say out loud, but they're very This and

0:32:12.080 --> 0:32:14.880
<v Speaker 1>this and this pre dates Breakfast Club and it's not

0:32:15.000 --> 0:32:19.120
<v Speaker 1>but worth it for context. Some short stories John Hughes

0:32:19.360 --> 0:32:22.200
<v Speaker 1>thought right off the top of his head. A Dog's

0:32:22.240 --> 0:32:25.440
<v Speaker 1>Tail has a boy watching his mother turn into a

0:32:25.600 --> 0:32:32.840
<v Speaker 1>dog yep, against his will. Features and quote ugly fat

0:32:33.040 --> 0:32:36.880
<v Speaker 1>unquote woman who tries to rape a man at gunpoint

0:32:37.000 --> 0:32:39.800
<v Speaker 1>in front of the man's wife and parents because she

0:32:39.920 --> 0:32:45.719
<v Speaker 1>can't have sex otherwise. Ye. Yeah, okay, and then here's

0:32:46.000 --> 0:32:50.280
<v Speaker 1>the Hues Engagement Guide is an illustrated manual on how

0:32:50.320 --> 0:32:55.080
<v Speaker 1>to protect yourself against women. It gives examples of women

0:32:55.160 --> 0:32:59.880
<v Speaker 1>quote bullshitting to not put out unquote, and teaches re

0:33:00.000 --> 0:33:04.080
<v Speaker 1>eaders how to do a quote quickie pelvic exam unquote,

0:33:04.480 --> 0:33:09.040
<v Speaker 1>how to detect quote signs of future fat unquote, and

0:33:09.080 --> 0:33:12.920
<v Speaker 1>how to determine if a woman has ancestors of different

0:33:13.080 --> 0:33:22.600
<v Speaker 1>races based on what her relatives look like. So, yes, Queen,

0:33:22.960 --> 0:33:29.360
<v Speaker 1>indeed there and and this, I mean that makes it

0:33:29.440 --> 0:33:33.240
<v Speaker 1>hard to want to watch anything he does. And and

0:33:33.320 --> 0:33:36.160
<v Speaker 1>it is weird that you know, like these were written

0:33:36.200 --> 0:33:39.080
<v Speaker 1>as as recently as within like five to seven years

0:33:39.080 --> 0:33:43.160
<v Speaker 1>before he started making these serious teen movies, so it's

0:33:43.200 --> 0:33:46.080
<v Speaker 1>not as surprising at all that he cannot write a

0:33:46.120 --> 0:33:50.120
<v Speaker 1>competent female character. There's a persona, a John Hies persona

0:33:50.160 --> 0:33:55.320
<v Speaker 1>that existed product to this that was quite contemptuous of women. Uh.

0:33:55.320 --> 0:33:59.640
<v Speaker 1>And and it's it is interesting in bizarre that he,

0:33:59.760 --> 0:34:03.200
<v Speaker 1>you know, a few years on, decides that he is

0:34:03.240 --> 0:34:08.760
<v Speaker 1>going to be like a voice for teenage girls. Going

0:34:08.840 --> 0:34:12.240
<v Speaker 1>back to that specific relationship in the movie between Claire

0:34:12.280 --> 0:34:15.560
<v Speaker 1>and Allison. The only like one on one interaction they

0:34:15.600 --> 0:34:20.640
<v Speaker 1>have is toward the end, whenever Claire gives Allison a makeover,

0:34:20.840 --> 0:34:24.959
<v Speaker 1>because according to John Hughes, girls can't talk unless they're

0:34:25.000 --> 0:34:28.160
<v Speaker 1>putting makeup in each other. Um well, and then prior

0:34:28.280 --> 0:34:31.359
<v Speaker 1>to that, it's very antagonistic between the two of them,

0:34:31.520 --> 0:34:34.640
<v Speaker 1>where these two characters have barely spoken the whole movie.

0:34:34.680 --> 0:34:36.919
<v Speaker 1>They may not have actually spoken to each other at all.

0:34:37.560 --> 0:34:40.560
<v Speaker 1>Besides in passing before this scene where everyone's talking about

0:34:40.600 --> 0:34:44.240
<v Speaker 1>sex and Judd Nelson's character, for whatever reason, decides he's gonna,

0:34:44.560 --> 0:34:47.960
<v Speaker 1>you know, double down on Molly Ringwald's character again, and

0:34:47.960 --> 0:34:50.200
<v Speaker 1>it's like, why would't you tell me if you're a virgin? What?

0:34:50.280 --> 0:34:53.000
<v Speaker 1>Because you know, if you ask, it's like being a cop,

0:34:53.040 --> 0:34:56.160
<v Speaker 1>you have to tell people if you're a virgin. Uh Like.

0:34:56.600 --> 0:35:00.280
<v Speaker 1>But it's just so he decides to start her asking

0:35:00.320 --> 0:35:03.680
<v Speaker 1>her again, and for some kind of weird, inexplicable reason,

0:35:04.239 --> 0:35:07.560
<v Speaker 1>Alison joins in and it's kind of like, no, why

0:35:07.560 --> 0:35:10.920
<v Speaker 1>w don't you tell him? And and it's it's hard

0:35:11.239 --> 0:35:14.120
<v Speaker 1>to parse exactly what the intent of that scene is,

0:35:14.160 --> 0:35:16.719
<v Speaker 1>like over thirty years later, but I think that you're

0:35:16.760 --> 0:35:19.960
<v Speaker 1>supposed to want to be like you're like, oh, no,

0:35:20.239 --> 0:35:23.120
<v Speaker 1>she should tell us. It's like, no, no one ever

0:35:23.239 --> 0:35:30.399
<v Speaker 1>owes any random detention kids, any of your personal information ever,

0:35:30.680 --> 0:35:34.200
<v Speaker 1>you know, And but it struck me as just like

0:35:34.400 --> 0:35:37.799
<v Speaker 1>frustrating and annoying that this is the first time we're

0:35:37.840 --> 0:35:40.640
<v Speaker 1>actually getting an interaction out of these characters, and immediately

0:35:40.760 --> 0:35:44.680
<v Speaker 1>and kind of in the story, I think, irrationally, Alison

0:35:44.719 --> 0:35:48.120
<v Speaker 1>just turns on Claire and start harassing her. There's also

0:35:48.160 --> 0:35:51.560
<v Speaker 1>another small example within the same scene where Allison comes

0:35:51.560 --> 0:35:55.200
<v Speaker 1>to Claire's defense and she's like, actually, don't bother her.

0:35:55.360 --> 0:35:57.799
<v Speaker 1>But it's just so all over the place that you're

0:35:57.840 --> 0:36:00.279
<v Speaker 1>just like, why, like because one of the first she

0:36:00.320 --> 0:36:04.080
<v Speaker 1>says is it's a double edged sword. If you haven't

0:36:04.200 --> 0:36:07.440
<v Speaker 1>had sex, you're approved. If you have, you're a slut,

0:36:07.520 --> 0:36:11.120
<v Speaker 1>which she's commenting on a very real double standard for

0:36:11.560 --> 0:36:15.200
<v Speaker 1>women and when they've had sex. But then she says,

0:36:16.080 --> 0:36:18.000
<v Speaker 1>you know you want to, but you can't, and then

0:36:18.040 --> 0:36:22.319
<v Speaker 1>you're a tease, right, You're like several times, well, I

0:36:22.320 --> 0:36:24.960
<v Speaker 1>think she's still like making some sort of commentary there,

0:36:25.200 --> 0:36:27.279
<v Speaker 1>but it's weird that she does that right after she

0:36:27.480 --> 0:36:32.799
<v Speaker 1>like dunks on Molly Ringwald for bullying her into you know,

0:36:32.880 --> 0:36:34.680
<v Speaker 1>saying it when way or the other, and it's just

0:36:35.440 --> 0:36:38.120
<v Speaker 1>I don't know that. I think this movie thinks that

0:36:38.200 --> 0:36:41.520
<v Speaker 1>if anyone asks you if you're a virgin, you're legally

0:36:41.560 --> 0:36:45.640
<v Speaker 1>required to tell them, because people are treating Molly Ringwald

0:36:45.680 --> 0:36:52.000
<v Speaker 1>like she is breaking the law by by not disclosing. Um.

0:36:52.080 --> 0:36:56.640
<v Speaker 1>That transitions pretty well into a short scene earlier in

0:36:56.680 --> 0:37:02.520
<v Speaker 1>the movie where UM Anthony Michael Hall's character Brian uh

0:37:02.600 --> 0:37:05.319
<v Speaker 1>is being harassed by Jed Nelson, which is se the

0:37:05.320 --> 0:37:10.480
<v Speaker 1>movie UM, but he's being harassed and John Nelson like

0:37:10.760 --> 0:37:13.239
<v Speaker 1>his movie is like Your Virgin, which is pretty true

0:37:13.280 --> 0:37:16.680
<v Speaker 1>to high school. But he's you know, teasing Brian, calling

0:37:16.719 --> 0:37:18.960
<v Speaker 1>him a virgin. Brian was like, I'm not a virgin.

0:37:19.160 --> 0:37:24.959
<v Speaker 1>I've laid lots of times, and you're like, yikes, dead

0:37:25.000 --> 0:37:29.040
<v Speaker 1>giveaway dude there. But then he starts to lie, which

0:37:29.040 --> 0:37:31.360
<v Speaker 1>also feels like I don't know, at least based on

0:37:31.480 --> 0:37:33.480
<v Speaker 1>like people I knew in high school. That's a pretty

0:37:33.480 --> 0:37:36.080
<v Speaker 1>authentic experience of guy's being like, no I have it

0:37:36.120 --> 0:37:39.280
<v Speaker 1>says all that time, and then Jed Nelson's like who,

0:37:39.360 --> 0:37:43.360
<v Speaker 1>and then he like gestures at Molly Ringwald's like her,

0:37:45.480 --> 0:37:48.520
<v Speaker 1>and then Judd. Nelson's like, Molly Ringwald, you fucked this guy,

0:37:48.680 --> 0:37:54.680
<v Speaker 1>and and so this could be a very troubling scene.

0:37:55.520 --> 0:37:59.040
<v Speaker 1>The reason it works pretty well for me is that

0:38:00.000 --> 0:38:03.400
<v Speaker 1>I don't know. I mean, Molly Ringwald finds out immediately,

0:38:03.440 --> 0:38:07.640
<v Speaker 1>she's right there, and she's like no, and then you know,

0:38:07.680 --> 0:38:09.680
<v Speaker 1>like calls him out on it, like don't do that,

0:38:09.760 --> 0:38:13.239
<v Speaker 1>and he apologizes. He's like being a virginal loser. And

0:38:13.239 --> 0:38:15.400
<v Speaker 1>then she says what you said earlier, like being a

0:38:15.480 --> 0:38:21.640
<v Speaker 1>virgin is actually awesome, and then see yes, yes, and

0:38:21.680 --> 0:38:26.720
<v Speaker 1>then you know there are two virgins and a Judd. Yeah,

0:38:26.760 --> 0:38:29.440
<v Speaker 1>I don't know. That scene worked for me way better

0:38:29.560 --> 0:38:33.120
<v Speaker 1>than all the times they're just piling on my Molly

0:38:33.200 --> 0:38:35.160
<v Speaker 1>Ringwald to make her say something one one way or

0:38:35.200 --> 0:38:38.200
<v Speaker 1>the other. And it's not just that, I mean, it's

0:38:38.600 --> 0:38:44.320
<v Speaker 1>the Jen Nelson character, Fingerless Gloves. Uh. He's a counterculture

0:38:44.400 --> 0:38:48.400
<v Speaker 1>everyone he's uh. He spends almost the entire movie either

0:38:49.000 --> 0:38:53.120
<v Speaker 1>sexually harassing her by saying things like, hey, let's lock

0:38:53.200 --> 0:38:58.720
<v Speaker 1>the doors so we can impregnate the prom queen, which yeah,

0:38:58.760 --> 0:39:02.359
<v Speaker 1>that is a threat. He asks Andy, He's like, hey,

0:39:02.400 --> 0:39:05.520
<v Speaker 1>did you give her the hot beef injection? I think

0:39:05.719 --> 0:39:08.000
<v Speaker 1>is the line and then you're like, oh, yeah, a

0:39:08.200 --> 0:39:14.680
<v Speaker 1>forty year old man thought of that from or like

0:39:14.719 --> 0:39:18.439
<v Speaker 1>the skirt scene where he sees her it was under

0:39:18.480 --> 0:39:21.360
<v Speaker 1>the desk. Let's give some context for that. Yes, so

0:39:21.440 --> 0:39:25.640
<v Speaker 1>he's hiding under the desk. The Bender character is because

0:39:25.719 --> 0:39:28.879
<v Speaker 1>he can't be seen by Vernon. As he's under there,

0:39:29.120 --> 0:39:34.960
<v Speaker 1>he sees Claire's underwear. So this was a scene that

0:39:34.960 --> 0:39:38.279
<v Speaker 1>that's not Molly Ringwald in that scene. Legally it could

0:39:38.320 --> 0:39:42.160
<v Speaker 1>not be Molly Ringwald in that scene. But in the

0:39:42.280 --> 0:39:44.680
<v Speaker 1>in the New Yorker essay from last year, they were

0:39:44.719 --> 0:39:48.200
<v Speaker 1>referencing earlier because Molly Ringwald is like sixteen seventeen when

0:39:48.200 --> 0:39:51.160
<v Speaker 1>this is film, So her mom is talking with John

0:39:51.239 --> 0:39:54.920
<v Speaker 1>Hughes almost as much as she is. And there was

0:39:55.040 --> 0:39:58.880
<v Speaker 1>one plot point involving a naked female gym teacher that

0:39:58.960 --> 0:40:00.719
<v Speaker 1>they talked him out of in Eluding because it was

0:40:00.760 --> 0:40:04.000
<v Speaker 1>just perverted and weird. But they could not talk him

0:40:04.040 --> 0:40:06.759
<v Speaker 1>out of the underwear scene, and that was something that

0:40:06.840 --> 0:40:10.359
<v Speaker 1>Molly Ringwald's mom was like really frustrated and upset about,

0:40:10.880 --> 0:40:13.719
<v Speaker 1>and like John Hughes would not back down on it,

0:40:13.760 --> 0:40:15.719
<v Speaker 1>and so they had to hire a body double to

0:40:15.760 --> 0:40:21.880
<v Speaker 1>come in and be you know, the skirt. Yeah, and um,

0:40:22.040 --> 0:40:24.880
<v Speaker 1>so that is why that scene is there. It's just

0:40:24.920 --> 0:40:27.480
<v Speaker 1>like that. That is such like a classic example of

0:40:27.520 --> 0:40:30.800
<v Speaker 1>like here are two women telling you this is not okay,

0:40:30.840 --> 0:40:33.560
<v Speaker 1>and he's like, I'll hire someone else, and you know,

0:40:34.000 --> 0:40:38.320
<v Speaker 1>just like flexes on them in this very gross way,

0:40:38.560 --> 0:40:42.280
<v Speaker 1>like if if it's also like safe to say, if

0:40:42.320 --> 0:40:46.920
<v Speaker 1>the actor you hired cannot legally do it, probably don't

0:40:47.000 --> 0:40:50.759
<v Speaker 1>do it. And is a great indication, especially if the

0:40:50.800 --> 0:40:54.000
<v Speaker 1>actor opposite them is twenty six years old. It's like,

0:40:54.080 --> 0:40:57.440
<v Speaker 1>what are you gross? Yeah, and then we're meant to

0:40:57.760 --> 0:41:01.759
<v Speaker 1>I think. So he sees her underwear and then we

0:41:01.800 --> 0:41:06.240
<v Speaker 1>see him move his face closer into her crutch area,

0:41:07.000 --> 0:41:10.920
<v Speaker 1>and then she yelps, so we see her and frame

0:41:11.000 --> 0:41:13.279
<v Speaker 1>rather than him then and she like yelps and then

0:41:14.080 --> 0:41:16.600
<v Speaker 1>hard to say what exactly happens, but I think we

0:41:16.640 --> 0:41:19.960
<v Speaker 1>can easily see virgin he doesn't know what happens. He

0:41:20.040 --> 0:41:24.800
<v Speaker 1>doesn't know, but basically the Bender character assaults her. Yeah,

0:41:25.000 --> 0:41:29.400
<v Speaker 1>and then the reaction is immediately afterwards her like smacking

0:41:29.480 --> 0:41:33.120
<v Speaker 1>him several times on the back, and then that doesn't

0:41:33.400 --> 0:41:36.520
<v Speaker 1>get brought up. I mean that just still make out

0:41:36.560 --> 0:41:40.800
<v Speaker 1>at the end and she gives him a diamond. God,

0:41:41.440 --> 0:41:43.839
<v Speaker 1>if every man that assaulted you you had to give

0:41:43.840 --> 0:41:49.360
<v Speaker 1>a diamond, it's for fucking God. John Hughes is disgusting.

0:41:49.400 --> 0:42:03.279
<v Speaker 1>Opposite of what happens in Titanic with the Billies, it's Um,

0:42:03.320 --> 0:42:06.400
<v Speaker 1>I mean the rundown of of what Bender's character says

0:42:06.480 --> 0:42:10.400
<v Speaker 1>to Claire is like, I mean it really there's a

0:42:10.440 --> 0:42:16.080
<v Speaker 1>lot of anti queeristlurs thrown up throughout this movie from

0:42:16.120 --> 0:42:18.839
<v Speaker 1>all characters. So you know that John Hughes just thinks

0:42:19.040 --> 0:42:25.000
<v Speaker 1>it's Jill. There's uh one speech like monologue that Bender

0:42:25.120 --> 0:42:29.440
<v Speaker 1>delivers to Claire's that is like fat shaming her in

0:42:29.520 --> 0:42:35.319
<v Speaker 1>the future, Yeah, which is just you're insane. Uh. He's

0:42:35.360 --> 0:42:37.799
<v Speaker 1>arousing her, asking if she's a virgin all the time,

0:42:37.960 --> 0:42:40.439
<v Speaker 1>He's making comments about how she couldn't you know, get

0:42:40.440 --> 0:42:43.440
<v Speaker 1>away from him if she wanted to, she can't resist him,

0:42:43.440 --> 0:42:47.640
<v Speaker 1>all this stuff. He screams you are a bitch at

0:42:47.719 --> 0:42:52.479
<v Speaker 1>her loudly. Um. At one point he kinda he makes

0:42:52.520 --> 0:42:55.480
<v Speaker 1>fun of Andy, who is a wrestler. He's like, oh,

0:42:55.520 --> 0:42:58.520
<v Speaker 1>I just admire any guy who rolls around on the

0:42:58.560 --> 0:43:01.640
<v Speaker 1>floor with another guy, and like the implication that is,

0:43:01.760 --> 0:43:06.160
<v Speaker 1>it's he's saying something homophobias. Yeah, so Bender maybe not

0:43:06.560 --> 0:43:11.040
<v Speaker 1>a good guy, and yet for reasons that are very

0:43:11.200 --> 0:43:15.280
<v Speaker 1>uncleared to at least me, she goes into the broom

0:43:15.320 --> 0:43:18.879
<v Speaker 1>closet that he is locked into because he was misbehaving

0:43:18.960 --> 0:43:24.640
<v Speaker 1>so badly, get a hickey and a diet. So, I mean,

0:43:24.680 --> 0:43:26.880
<v Speaker 1>but this is something we see again and again where

0:43:27.880 --> 0:43:29.920
<v Speaker 1>I mean, and he's not even wearing her down in

0:43:29.920 --> 0:43:32.400
<v Speaker 1>a way that movies usually do it where it's like,

0:43:32.560 --> 0:43:34.920
<v Speaker 1>please go out with me, please, please please. He's just

0:43:34.960 --> 0:43:38.800
<v Speaker 1>like you're a fucking big ramping it up the whole movie.

0:43:39.440 --> 0:43:42.160
<v Speaker 1>And then it's like after he assaults her that she's like,

0:43:42.280 --> 0:43:44.520
<v Speaker 1>I'm going to give him a chance. Like it's just

0:43:44.600 --> 0:43:49.759
<v Speaker 1>not it's totally nonsensical the way that happens, and it's like,

0:43:49.800 --> 0:43:52.600
<v Speaker 1>at least that's very clear to people now, but it's

0:43:52.640 --> 0:43:55.000
<v Speaker 1>just like it's crazy. I mean. And that's not to

0:43:55.040 --> 0:43:57.920
<v Speaker 1>say that there isn't more context in layers to the

0:43:57.960 --> 0:44:00.719
<v Speaker 1>Bender character, because there is, and there's like a lot

0:44:00.760 --> 0:44:05.000
<v Speaker 1>of time devoted to his background and coming from an

0:44:05.040 --> 0:44:07.840
<v Speaker 1>abusive household. That scene we were referencing with him and

0:44:07.920 --> 0:44:12.680
<v Speaker 1>the assistant Principle, who is basically the whole time saying

0:44:12.840 --> 0:44:15.680
<v Speaker 1>that he can be abusive. You know, he's another like

0:44:16.000 --> 0:44:18.759
<v Speaker 1>abusive paternal figure in Bender's life, and he's allowed to

0:44:18.800 --> 0:44:22.520
<v Speaker 1>do that because Bender is poor invendors from an abusive household,

0:44:22.560 --> 0:44:24.560
<v Speaker 1>and no one will believe him if he says anything

0:44:24.960 --> 0:44:29.040
<v Speaker 1>which is I mean like powerful stuff and and like

0:44:29.239 --> 0:44:32.240
<v Speaker 1>I was affected by it, especially in that scene where

0:44:32.520 --> 0:44:36.320
<v Speaker 1>the assistant principles like fight me and was just classic.

0:44:36.520 --> 0:44:42.400
<v Speaker 1>But but before that that bizarre initiation, he's saying a

0:44:42.400 --> 0:44:47.600
<v Speaker 1>lot of horrible stuff that like is recognizable of like, uh,

0:44:47.800 --> 0:44:51.160
<v Speaker 1>an abusive paternal figure. So it's like even more of

0:44:51.200 --> 0:44:54.399
<v Speaker 1>a bummer if you get that side of effective storytelling.

0:44:54.760 --> 0:44:57.640
<v Speaker 1>But then you know you're also setting the standard of

0:44:57.680 --> 0:45:00.680
<v Speaker 1>you have incredible empathy for the scare or who is

0:45:01.200 --> 0:45:04.080
<v Speaker 1>verbally abusing one of the only females you get to

0:45:04.080 --> 0:45:06.719
<v Speaker 1>see on screen for the entire time, and that's not

0:45:07.120 --> 0:45:10.040
<v Speaker 1>really reflected as something that's not okay to do. So

0:45:10.080 --> 0:45:13.400
<v Speaker 1>it's even like more of a bummer of like, by

0:45:13.440 --> 0:45:15.359
<v Speaker 1>the end of the movie, it's hard not to like

0:45:15.760 --> 0:45:18.000
<v Speaker 1>love him in some way or have a lot of

0:45:18.000 --> 0:45:22.080
<v Speaker 1>empathy for him while he's doing these horrible things that

0:45:22.120 --> 0:45:29.280
<v Speaker 1>are not really treated as horrible, so its once again, God,

0:45:29.440 --> 0:45:31.680
<v Speaker 1>damn it, damn it. And then the while the other

0:45:32.000 --> 0:45:35.680
<v Speaker 1>hetero romance that ends up playing out is a direct

0:45:36.040 --> 0:45:41.799
<v Speaker 1>result of a makeover scene, which is when Claire is

0:45:42.040 --> 0:45:45.160
<v Speaker 1>putting the makeup on Allison and the only again, the

0:45:45.160 --> 0:45:47.200
<v Speaker 1>only thing that they have together one on one, and

0:45:47.200 --> 0:45:49.880
<v Speaker 1>then she says something like, you look a lot better

0:45:49.920 --> 0:45:52.600
<v Speaker 1>with all that black shit under your eyes, and then

0:45:52.640 --> 0:45:59.319
<v Speaker 1>the hot topic managers of the world shot themselves, and

0:45:59.360 --> 0:46:05.240
<v Speaker 1>then she completely changes the way Alison looks, and I guess,

0:46:05.600 --> 0:46:08.600
<v Speaker 1>did Claire just bring a whole other outfit to score

0:46:08.680 --> 0:46:12.240
<v Speaker 1>it to give to her, not even a cute outfit

0:46:12.480 --> 0:46:16.680
<v Speaker 1>by the way, it well, yeah, because she's got like

0:46:16.760 --> 0:46:20.160
<v Speaker 1>a flower in her hair, her makeup is more traditional,

0:46:21.120 --> 0:46:26.319
<v Speaker 1>she's wearing pastel pink, and then Andy sees her and

0:46:26.360 --> 0:46:41.880
<v Speaker 1>he's like so basically, so she's only attractive to Andy

0:46:42.040 --> 0:46:46.680
<v Speaker 1>once she changes everything about her appearance, and it doesn't

0:46:46.719 --> 0:46:50.440
<v Speaker 1>occur to him that she is attractive until she's adhering

0:46:50.560 --> 0:46:54.200
<v Speaker 1>to like this more conventional feminine standard of beauty, right,

0:46:54.320 --> 0:46:57.040
<v Speaker 1>which was the you know, part of the projected point

0:46:57.040 --> 0:46:59.920
<v Speaker 1>of her character. Was to subvert that, but clearly John

0:47:00.000 --> 0:47:04.720
<v Speaker 1>and he uses a lawless motherfucker, and it actually doesn't

0:47:04.760 --> 0:47:08.280
<v Speaker 1>have much of a vested interest of subverting much of anything.

0:47:12.640 --> 0:47:15.040
<v Speaker 1>So one other point I wanted to hit on for

0:47:15.160 --> 0:47:18.800
<v Speaker 1>the Brian character, who we don't really get to know before.

0:47:18.440 --> 0:47:22.239
<v Speaker 1>They're like, hey, door, homework Dorc and he's like, okay,

0:47:23.480 --> 0:47:27.759
<v Speaker 1>he writes like chitty lyrics or whatever, but he's characterized

0:47:28.040 --> 0:47:31.120
<v Speaker 1>very late in the story and he says that, yeah,

0:47:31.160 --> 0:47:33.120
<v Speaker 1>he was going to kill himself with a with a

0:47:33.120 --> 0:47:36.399
<v Speaker 1>flare gun. It's just worth saying. Um. It's like a

0:47:36.520 --> 0:47:41.920
<v Speaker 1>very bizarre, reductive way to treat any suicidality or or

0:47:41.960 --> 0:47:45.279
<v Speaker 1>anything like that. And it almost feels like an afterthought

0:47:45.400 --> 0:47:49.600
<v Speaker 1>in the story of like, oh shit, Anthony Michael Hall's here,

0:47:49.800 --> 0:47:52.560
<v Speaker 1>what what would he have done? He already raped someone

0:47:52.600 --> 0:47:54.400
<v Speaker 1>in the last movie, I don't know what to do

0:47:54.480 --> 0:47:57.359
<v Speaker 1>with him in this one. Um, And then they sort

0:47:57.400 --> 0:47:59.880
<v Speaker 1>of just I mean, and it's it's weird because it

0:48:00.520 --> 0:48:03.880
<v Speaker 1>could be an effective plot point that was thoughtfully told,

0:48:04.200 --> 0:48:07.239
<v Speaker 1>but he says it in like three sentences sort of,

0:48:07.640 --> 0:48:12.600
<v Speaker 1>and then everyone is sort of like that's stupid, and

0:48:12.640 --> 0:48:16.560
<v Speaker 1>he's like, you're right, and so you're just like, oh,

0:48:16.600 --> 0:48:21.440
<v Speaker 1>so he's cured of suicidal thoughts and tendencies. Pretty sure,

0:48:21.480 --> 0:48:23.839
<v Speaker 1>that's not how that works. But and then and then

0:48:23.920 --> 0:48:26.960
<v Speaker 1>and then right after he's like, you know, I recently

0:48:27.000 --> 0:48:32.920
<v Speaker 1>almost killed myself through like t he he do our homework. Yeah,

0:48:32.960 --> 0:48:36.400
<v Speaker 1>so it's I mean, it's one of many things that

0:48:36.440 --> 0:48:41.200
<v Speaker 1>it is not handled well in the movie nic it's not. Um,

0:48:41.760 --> 0:48:44.080
<v Speaker 1>I guess uh. The last thing I have is just

0:48:44.920 --> 0:48:48.640
<v Speaker 1>going checking out some of the smaller ring waltz. Yeah,

0:48:48.960 --> 0:48:52.040
<v Speaker 1>she wrote the piece last year that we thought was

0:48:52.080 --> 0:48:56.520
<v Speaker 1>like a really thoughtful look at the body of work

0:48:56.560 --> 0:49:00.640
<v Speaker 1>that made her famous. Highly recommend checking it out. I

0:49:00.680 --> 0:49:03.799
<v Speaker 1>like to think she wrote it between scenes of Riverdale

0:49:03.880 --> 0:49:08.759
<v Speaker 1>being shot, but we don't know the circumstances. But let's

0:49:08.760 --> 0:49:12.879
<v Speaker 1>say canonically it was between of Riverdale. Are there any

0:49:12.880 --> 0:49:16.600
<v Speaker 1>particular passages you wanted to to point out or um,

0:49:16.680 --> 0:49:20.239
<v Speaker 1>let's see, I already kind of paraphrased a few of them,

0:49:20.280 --> 0:49:23.760
<v Speaker 1>so if you wanna take a crack at any of yours. Well, basically,

0:49:23.760 --> 0:49:25.239
<v Speaker 1>she runs through a lot of stuff we were talking

0:49:25.280 --> 0:49:27.719
<v Speaker 1>about today, and just like at the time when she

0:49:27.800 --> 0:49:31.120
<v Speaker 1>was sixteen seventeen, shooting these movies she didn't recognize and

0:49:31.160 --> 0:49:34.600
<v Speaker 1>hadn't been conditioned to recognize the elements of rape culture

0:49:34.600 --> 0:49:37.239
<v Speaker 1>and other things that appear in these movies, aside from

0:49:37.239 --> 0:49:39.920
<v Speaker 1>the things that she did notice and pointed out. And

0:49:39.960 --> 0:49:42.680
<v Speaker 1>sometimes we're ignored and sometimes weren't ignored, and she gives

0:49:42.680 --> 0:49:45.920
<v Speaker 1>a few examples of those. Um. She also gives a

0:49:46.160 --> 0:49:50.040
<v Speaker 1>great anecdote talking with the women from sixteen Candles, who

0:49:50.080 --> 0:49:54.800
<v Speaker 1>it's implied that Anthony Michael Hall's character rapes, and how

0:49:55.080 --> 0:49:57.880
<v Speaker 1>they like got lunched together and Molly Greenwell was like,

0:49:58.320 --> 0:50:00.520
<v Speaker 1>do you think this was fucked up? And the lady

0:50:00.600 --> 0:50:03.560
<v Speaker 1>was like, honestly, you never thought about it. And then

0:50:04.120 --> 0:50:07.160
<v Speaker 1>like three hours later, the actress who played that part,

0:50:07.480 --> 0:50:10.120
<v Speaker 1>uh emails her back and it's like, oh my god,

0:50:11.440 --> 0:50:14.520
<v Speaker 1>that was incredibly fucked up. And so it was just

0:50:14.600 --> 0:50:18.120
<v Speaker 1>like a really interesting piece on um, you know, just

0:50:18.760 --> 0:50:21.040
<v Speaker 1>sort of what we're trying to do is just uh,

0:50:21.400 --> 0:50:24.560
<v Speaker 1>you know, reflect on stuff without you know, totally disowning

0:50:24.560 --> 0:50:26.200
<v Speaker 1>it as a body of work, but just you know,

0:50:26.280 --> 0:50:28.880
<v Speaker 1>viewing it more thoughtfully and critically. I just wanted to

0:50:28.920 --> 0:50:31.279
<v Speaker 1>read the thing. She says that the how she sort

0:50:31.320 --> 0:50:36.399
<v Speaker 1>of closes the piece out she says, quote, how are

0:50:36.440 --> 0:50:38.560
<v Speaker 1>we meant to feel about art that we both love

0:50:38.600 --> 0:50:41.239
<v Speaker 1>and oppose? What if we're in the unusual position of

0:50:41.520 --> 0:50:44.920
<v Speaker 1>having helped create it? Erasing history is a dangerous road

0:50:44.960 --> 0:50:47.399
<v Speaker 1>when it comes to art. Changes essential, but so too

0:50:47.440 --> 0:50:51.640
<v Speaker 1>is remembering the past in all of its transgression and barbarism,

0:50:51.719 --> 0:50:54.279
<v Speaker 1>so that we may properly gauge how far we have

0:50:54.360 --> 0:50:56.239
<v Speaker 1>come and also how far we still need to go,

0:50:56.360 --> 0:50:58.600
<v Speaker 1>which I thought was just nice. That is, Yeah, that's

0:50:58.640 --> 0:51:01.640
<v Speaker 1>like kind of like the fasis of the Becktel cast.

0:51:01.840 --> 0:51:05.879
<v Speaker 1>And then and then Cole Sprouts leans into the room.

0:51:05.880 --> 0:51:11.040
<v Speaker 1>He's like, we're shooting river Dale Hover and then she

0:51:11.160 --> 0:51:14.120
<v Speaker 1>had to go. But up till that it was a

0:51:14.200 --> 0:51:20.120
<v Speaker 1>great essay. Um, I will say this is one of

0:51:20.239 --> 0:51:24.800
<v Speaker 1>a few teen movies that doesn't end in a prom

0:51:25.000 --> 0:51:28.080
<v Speaker 1>or doesn't have some sort of prom affiliated with it.

0:51:28.160 --> 0:51:30.520
<v Speaker 1>I honestly think that if he had had the budget

0:51:30.520 --> 0:51:34.799
<v Speaker 1>he would have he probably would have prom is that

0:51:35.000 --> 0:51:38.600
<v Speaker 1>night and they've spent nine hours and detentions and they're like,

0:51:38.640 --> 0:51:43.520
<v Speaker 1>we're tired, but I guess we'll go to prom alright, Yeah,

0:51:43.640 --> 0:51:48.160
<v Speaker 1>I mean, and we're almost a time or two Caitlin, Yeah,

0:51:48.440 --> 0:51:51.600
<v Speaker 1>does this movie pass the Bechdel test. I am gonna

0:51:51.680 --> 0:52:00.800
<v Speaker 1>say yes, I know, because speak your cake. Well, okay,

0:52:00.840 --> 0:52:04.040
<v Speaker 1>this one is worth kind of debating because Allison says

0:52:04.480 --> 0:52:06.880
<v Speaker 1>I'll do anything sexual and I don't need a million

0:52:06.920 --> 0:52:10.719
<v Speaker 1>dollars to do it. I mean, we can all relate. Um.

0:52:10.719 --> 0:52:16.719
<v Speaker 1>Sorry that that was erasing a sexual people, so I'm

0:52:16.719 --> 0:52:20.680
<v Speaker 1>sorry to do that. Claire says, you're lying, and then

0:52:20.719 --> 0:52:23.960
<v Speaker 1>Allison says, I already have. I've done just about everything

0:52:23.960 --> 0:52:26.360
<v Speaker 1>there is except a few things that are illegal. Again,

0:52:26.920 --> 0:52:29.920
<v Speaker 1>we can all relate, um. And then she says I'm

0:52:29.920 --> 0:52:34.000
<v Speaker 1>an infomaniac. But isn't she implying hetero sexual? Yeah, exactly,

0:52:34.080 --> 0:52:36.680
<v Speaker 1>So I don't think that counts. That one is probably

0:52:36.680 --> 0:52:40.880
<v Speaker 1>a note. But then Claire Allison talk about makeup and

0:52:40.960 --> 0:52:44.800
<v Speaker 1>they say, don't stick me, don't stick that in my eye,

0:52:45.480 --> 0:52:47.799
<v Speaker 1>and Claire says, you know, you look a lot better

0:52:47.840 --> 0:52:50.319
<v Speaker 1>with all that without all that black shit around your eye,

0:52:50.920 --> 0:52:53.839
<v Speaker 1>and then Allison says, hey, I like that black shit,

0:52:54.360 --> 0:52:57.080
<v Speaker 1>and then Claire says this looks a lot better. And

0:52:57.120 --> 0:52:58.799
<v Speaker 1>then she's like, why you being so nice to me?

0:52:59.000 --> 0:53:04.279
<v Speaker 1>Because you're letting the end of that conversation tragically that

0:53:04.320 --> 0:53:08.120
<v Speaker 1>does that is the past is the past. But again

0:53:08.239 --> 0:53:14.200
<v Speaker 1>it's two women talking about confined Yes, it's very hyper

0:53:14.239 --> 0:53:20.520
<v Speaker 1>feminine things, so that is a yes. Um, well, John

0:53:20.600 --> 0:53:25.000
<v Speaker 1>uses a feminist icon. I take that. H I feel

0:53:25.040 --> 0:53:28.640
<v Speaker 1>a little fucking stupid he was saying all those things

0:53:28.680 --> 0:53:32.799
<v Speaker 1>about him. All right, shall shall we read it on

0:53:32.800 --> 0:53:37.200
<v Speaker 1>our nipple scale? Yes we should. Let's do it there.

0:53:41.320 --> 0:53:44.080
<v Speaker 1>If you're not familiar our nipple scale, we use a

0:53:44.120 --> 0:53:47.040
<v Speaker 1>scale zero to five nipples, and we read it based

0:53:47.040 --> 0:53:50.799
<v Speaker 1>on its portrayal and representation of women. This one's kind

0:53:50.800 --> 0:53:55.320
<v Speaker 1>of tricky for me because it is an earlier example

0:53:55.520 --> 0:54:00.239
<v Speaker 1>of seeing teen women on screen who are not the

0:54:00.280 --> 0:54:03.520
<v Speaker 1>way that they were portrayed in movies like Porkis and

0:54:03.680 --> 0:54:11.439
<v Speaker 1>Revenge of the Nerds and like, really awful, how dare

0:54:11.480 --> 0:54:16.239
<v Speaker 1>they make a movie called Porky? So we're seeing more

0:54:16.719 --> 0:54:22.240
<v Speaker 1>nuanced depictions of teen girls, but again I would argue,

0:54:22.320 --> 0:54:24.920
<v Speaker 1>not as nuanced as the movie wants you to think.

0:54:24.960 --> 0:54:27.960
<v Speaker 1>They're still fairly trophy and we do get to know them,

0:54:28.000 --> 0:54:32.040
<v Speaker 1>and these characters, especially the Molly Ringwald character, is more

0:54:32.200 --> 0:54:35.400
<v Speaker 1>developed of a character than we had seen in a

0:54:35.440 --> 0:54:38.920
<v Speaker 1>teen girl kind of up until that point. But the

0:54:38.960 --> 0:54:43.200
<v Speaker 1>way that she is treated, especially by the Jed Nelson character,

0:54:43.400 --> 0:54:49.000
<v Speaker 1>and then forced into a heatero kiss with him. The

0:54:49.040 --> 0:54:51.399
<v Speaker 1>movie forcing her because she is the one who goes

0:54:51.440 --> 0:54:54.960
<v Speaker 1>and kisses him. Why did you do that? He threatened

0:54:55.000 --> 0:55:00.560
<v Speaker 1>to rape you nine hours ago and then he did so, right,

0:55:00.640 --> 0:55:04.359
<v Speaker 1>It's just so there's a lot of missteps like that.

0:55:04.960 --> 0:55:07.760
<v Speaker 1>Worth noting that this is an extremely white movie. In fact,

0:55:07.880 --> 0:55:12.359
<v Speaker 1>I mean it's all yeah and all of John Hughes

0:55:12.719 --> 0:55:16.920
<v Speaker 1>movies except for the long ducktong character and sixteen Candles,

0:55:17.000 --> 0:55:23.800
<v Speaker 1>which so sorry, you're right, he's a representation. Um yeah,

0:55:23.920 --> 0:55:26.319
<v Speaker 1>So I think I know this is a beloved movie.

0:55:26.400 --> 0:55:31.560
<v Speaker 1>I know it explores themes that still resonate with us today,

0:55:31.600 --> 0:55:35.719
<v Speaker 1>but I think it is very obviously a nine five

0:55:37.280 --> 0:55:47.720
<v Speaker 1>eight four Oh right, okay for some reason, yes, movies

0:55:47.760 --> 0:55:51.360
<v Speaker 1>in eighty five. Who knows why. I'm gonna give it

0:55:52.480 --> 0:55:59.640
<v Speaker 1>one and a half? Okay, is that wrong? I hate

0:55:59.719 --> 0:56:06.400
<v Speaker 1>during this at live shows because I'm like, I'm she said, what,

0:56:09.640 --> 0:56:15.279
<v Speaker 1>thank you? Thank you so much? Are you giving the

0:56:15.360 --> 0:56:20.160
<v Speaker 1>nips to? I'm gonna give one to Molly Ringwald. I'm

0:56:20.200 --> 0:56:25.480
<v Speaker 1>gonna throw my half nipple to Anthony Michael Hall as

0:56:25.680 --> 0:56:33.000
<v Speaker 1>unexpected of a twist that I'm upset with that I know,

0:56:33.360 --> 0:56:36.719
<v Speaker 1>I don't know why I've been dating. I'm gonna give

0:56:36.760 --> 0:56:45.319
<v Speaker 1>it a half nipple because women are there, which not

0:56:45.480 --> 0:56:49.120
<v Speaker 1>all movies get to. Um, I don't know. I don't

0:56:49.160 --> 0:56:52.840
<v Speaker 1>think that this movie, or John Hughes' entire body of

0:56:52.880 --> 0:56:57.200
<v Speaker 1>work is like as subversive as people make it out

0:56:57.280 --> 0:57:00.319
<v Speaker 1>to be. And it might be partially because I'm not

0:57:00.400 --> 0:57:02.520
<v Speaker 1>attached to it and was never really a fan of it.

0:57:02.560 --> 0:57:05.480
<v Speaker 1>But I just, you know, you learn about I like

0:57:05.600 --> 0:57:08.279
<v Speaker 1>you learn about Molly Ringwald's character, but that doesn't mean

0:57:08.320 --> 0:57:11.080
<v Speaker 1>that her character isn't totally sold out by the writer

0:57:11.200 --> 0:57:13.399
<v Speaker 1>by the end of the movie. And you don't really

0:57:13.480 --> 0:57:17.280
<v Speaker 1>learn anything about Ali Sheedy's character, and she's also sold

0:57:17.280 --> 0:57:19.480
<v Speaker 1>out by the end of the movie. And so it's

0:57:19.760 --> 0:57:22.200
<v Speaker 1>really I mean, I guess, you know, it's like the

0:57:22.720 --> 0:57:25.920
<v Speaker 1>two female characters I thought were made by the writer

0:57:26.040 --> 0:57:28.640
<v Speaker 1>to act very irrationally at the end of the movie

0:57:28.680 --> 0:57:30.800
<v Speaker 1>in a way that in the first hour plus of

0:57:30.800 --> 0:57:33.320
<v Speaker 1>the movie you would not expect them to act based

0:57:33.360 --> 0:57:36.120
<v Speaker 1>on like a strong foundation, and then at the end

0:57:36.160 --> 0:57:39.320
<v Speaker 1>they're just like, no, you gotta you gotta have a kiss, like,

0:57:39.960 --> 0:57:42.280
<v Speaker 1>so I feel for for both of those characters that

0:57:42.360 --> 0:57:44.680
<v Speaker 1>like had some promise in them. We're kind of sold out.

0:57:44.880 --> 0:57:47.200
<v Speaker 1>And I also feel for Anthony Michael Hall because he

0:57:47.240 --> 0:57:51.520
<v Speaker 1>had to do everyone's homework and that's not cool. Have

0:57:51.680 --> 0:57:55.920
<v Speaker 1>a nipple and I'm giving it to the janitor. Hell yeah,

0:57:56.360 --> 0:58:03.440
<v Speaker 1>who it's hot and it was and who? And not

0:58:03.560 --> 0:58:07.840
<v Speaker 1>in confident? Well, the because the quick montage at the

0:58:07.920 --> 0:58:11.200
<v Speaker 1>very beginning in which you do see the hacker hackers

0:58:11.200 --> 0:58:15.600
<v Speaker 1>will be expelled the frame. There's another shot where it's

0:58:16.240 --> 0:58:21.480
<v Speaker 1>like men gross, but one of them is like man

0:58:21.600 --> 0:58:23.280
<v Speaker 1>of the Year. There's like a photo and it's a

0:58:23.320 --> 0:58:25.640
<v Speaker 1>photo of Carl. He was Man of the Year when

0:58:25.680 --> 0:58:28.439
<v Speaker 1>he was in high school. I love Carl. We didn't

0:58:28.480 --> 0:58:31.480
<v Speaker 1>get to talk about Carl, but Carl is one of

0:58:31.520 --> 0:58:35.600
<v Speaker 1>the most fully realized characters in the movie. When everyone's

0:58:35.600 --> 0:58:37.960
<v Speaker 1>trying to be like, you're a janitor, He's like, fuck you,

0:58:38.200 --> 0:58:41.200
<v Speaker 1>I'm a janitor And I was like, yeah, Carl, you

0:58:41.280 --> 0:58:44.800
<v Speaker 1>fuck He fucking rules. He dunks on everyone. He just

0:58:45.000 --> 0:58:48.160
<v Speaker 1>like anyone who talks back to Carl, He's like, you

0:58:48.240 --> 0:58:52.080
<v Speaker 1>can't touch me. I'm I'm the most confident man alive.

0:58:52.440 --> 0:58:56.680
<v Speaker 1>Like he goes home and has sex every day like

0:58:57.960 --> 0:59:07.080
<v Speaker 1>he's man of there and my book beautiful. Thank you, Well,

0:59:07.120 --> 0:59:11.960
<v Speaker 1>that's our show. Thanks for coming, Thank you for coming.

0:59:16.760 --> 0:59:19.120
<v Speaker 1>All right? That was that. That was the episode. It

0:59:19.160 --> 0:59:21.240
<v Speaker 1>was so much fun. We wanted to thank everyone who

0:59:21.280 --> 0:59:24.680
<v Speaker 1>came to the San Francisco show. The turnout was way

0:59:24.720 --> 0:59:28.280
<v Speaker 1>more than we were expecting for fifty people and a

0:59:28.360 --> 0:59:31.200
<v Speaker 1>venue that was not necessarily supposed to hold that many people,

0:59:32.040 --> 0:59:34.840
<v Speaker 1>which was so great. And speaking of the venue, thanks

0:59:34.920 --> 0:59:37.720
<v Speaker 1>for having us. We were at Piano Fight so it's

0:59:37.760 --> 0:59:40.760
<v Speaker 1>part of the San Francisco Sketch Festival, So shouts out

0:59:40.800 --> 0:59:43.600
<v Speaker 1>to Sketch Fest for having us. Shouts out to Piano

0:59:43.760 --> 0:59:46.960
<v Speaker 1>Fight for for having us there. Um, thank you so

0:59:47.040 --> 0:59:50.800
<v Speaker 1>much to our friend friend of the cast, Sammy Junio

0:59:51.040 --> 0:59:53.320
<v Speaker 1>for recording the show for us, for being our road

0:59:53.360 --> 0:59:55.040
<v Speaker 1>dog for that whole tory. You'll be hearing a lot

0:59:55.080 --> 0:59:56.960
<v Speaker 1>about them in the next couple of weeks as we

0:59:56.960 --> 1:00:00.240
<v Speaker 1>released these episodes. Indeed, and also big thanks to our

1:00:00.280 --> 1:00:03.360
<v Speaker 1>friend Catherine Leon who was at the show and was

1:00:03.400 --> 1:00:07.120
<v Speaker 1>helping us sell merch and just like stay organized and stuff.

1:00:07.200 --> 1:00:12.000
<v Speaker 1>So big thanks to Catherine. Thanks friends. Also big thanks

1:00:12.000 --> 1:00:14.760
<v Speaker 1>to anyone who bought merch at that show. Yeah, that

1:00:14.840 --> 1:00:17.280
<v Speaker 1>helped us out a lot. Yeah. We'll be back in

1:00:17.320 --> 1:00:22.240
<v Speaker 1>San Francisco sometime soon soon. Yeah. And as for you

1:00:22.760 --> 1:00:25.480
<v Speaker 1>listening person, wherever you are, we'll see you next week,

1:00:25.600 --> 1:00:26.920
<v Speaker 1>See you next week. Bye,