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Speaker 1: On the Beck Doll Cast, the questions asked if movies

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Speaker 1: have women in them, are all their discussions just boyfriends

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Speaker 1: and husbands? What do they have? Individualism, the patriarchy, zef

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Speaker 1: invest start changing it with the Beck del Cast. Hi,

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Speaker 1: and welcome to the Beck Doel Cast. My name is

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Speaker 1: Caitlin Darante, name Shamie Loftez, and we talk about the

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Speaker 1: representation and portrayal of women in mainstream movies and in

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Speaker 1: this the podcast that we host every week, every freaking week, diligently.

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Speaker 1: We're coming up on a hundred. We are coming up

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Speaker 1: on a hunting up on a hondy, So be ready

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Speaker 1: for a special hundred episode. You celebrate, well, you crack

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Speaker 1: on Mike's hard lemonade. You. That's the only way I

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Speaker 1: could think about to celebrate our hondredth episodes. Pretty much.

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Speaker 1: It will you ice producer Aristotle, because we did this morning. However,

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Speaker 1: it is morning. It's so he's going to hold up

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Speaker 1: for a while. But also, you know, we would have

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Speaker 1: respected his choice to be est at the all of

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Speaker 1: an am if that was you know, the worst things

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Speaker 1: have happened. Sure, So we based our discussion from the

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Speaker 1: jumping off point of the Bechtel test. The Becktel test,

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Speaker 1: of course, being the test invented jokingly and then later

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Speaker 1: seriously by cartoonist Alison Bechdel that requires that any piece

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Speaker 1: of media have two female characters with names talk about

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Speaker 1: something other than a man for two lines of dialogue.

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Speaker 1: Super low bar, but hardly anything passes. Shall we try it?

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Speaker 1: Let's try it? Okay, Hey Caitlin, Hey Jamie, getting iced rules?

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Speaker 1: I love being iced. Awesome. The scene doesn't have to

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Speaker 1: be compelling, it just has to occur. So cool. Well,

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Speaker 1: I'm so excited for our guest today and the movie

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Speaker 1: Recovering Today. I've never seen before, and I didn't ruined

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Speaker 1: my life. I'm changed. I've fully changed. It took me

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Speaker 1: three sittings to watch this whole movie because it's just

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Speaker 1: so there's so much happened. I loved it. Yeah, it

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Speaker 1: starts wild. Yes, let's introduce our guest. Yes, let's do it.

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Speaker 1: Our guest today. She is a media critic and the

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Speaker 1: co host of the feminist Frequency radio podcast Anita Sarcasian. Hella, Welcome.

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Speaker 1: I was not informed that you've never seen this movie before.

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Speaker 1: I'm so excited now. I've never seen a thing in

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Speaker 1: my entire life. This was like just a thrill ride

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Speaker 1: from start to finish. Every every line is screamed, every

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Speaker 1: line because unbelievable. It's crazy how Catherine Bigelow directed a

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Speaker 1: Michael Bay movie. There's so there's so many twists and turns,

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Speaker 1: like I had to keep reminding myself, like, no, this

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Speaker 1: movie was directed by a woman. But then how is

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Speaker 1: all of this happening? Like there, there's just there's so much.

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Speaker 1: It might be the film with the most best single

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Speaker 1: one liners. Yeah, terribly cheesy, wonderful one liners in this

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Speaker 1: is just mind bottling. This also, and not only does

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Speaker 1: it have like kind of the tone and feel of

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Speaker 1: like an early Michael Bay movie, it also has the

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Speaker 1: veneers of any Michael Bay movie. There's a lot of teeth,

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Speaker 1: capped teeth, a lot of caps. I know that I

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Speaker 1: maybe this is a new little I'm feeling a little

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Speaker 1: assaulted that this is being compared to any Michael Bay movie,

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Speaker 1: even though I understand it. It's just it's making me

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Speaker 1: a little sad. Well back covered We've covered what to

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Speaker 1: Michael Bay movies on the We've covered Transformers, and we've

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Speaker 1: covered The Rock, The Rock his wife, Uh two very

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Speaker 1: different Michael bay movies. I'm always on this new proposed

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Speaker 1: segment Vineer watch Jamie's Vneer Corner, where I keep track

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Speaker 1: of all the Hollywood teeth. Refer back to our Transformers

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Speaker 1: episode for more discussion on Michael Baye and teeth addict. No,

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Speaker 1: it's Bruckheimer. Bruckheimer's addicted to Veneers. He can't sleep without,

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Speaker 1: he can't come without thinking about Veneers. So, Anita, what

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Speaker 1: is your history and relationship with Point Break? First, you

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Speaker 1: have seen it a lot, I don't remember. This is

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Speaker 1: one of those movies that's just been like around and

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Speaker 1: you just like, I know I had seen it, and

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Speaker 1: then I've seen it a bunch of times. And I'm

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Speaker 1: also slightly obsessed with Patrick Swayze, not really, I just

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Speaker 1: I like him in a couple of movies and now

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Speaker 1: think that I'm obsessed with him because of that, but

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Speaker 1: don't know that much about him. So you're burying the lead.

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Speaker 1: You love Patrick Swayze. I would like to pick a

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Speaker 1: fight with whoever has already done dirty Dancing on your podcast,

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Speaker 1: because that's really what I want to talk about, because

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Speaker 1: The Very Dancing Legit is my favorite movie, and you know,

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Speaker 1: Patrick Swayze is also in that. So these two are

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Speaker 1: my like late eighties, early nineties like favorite go to films,

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Speaker 1: and they both happened to start this amazing, wonderful buff man. Yeah,

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Speaker 1: I love him as far as I know, Patrick Swayze.

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Speaker 1: We are. It's it's okay to love Patrick Swayze. Yeah,

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Speaker 1: well he's no longer with us. He can't funk up

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Speaker 1: now exactly, and so far he was married for like

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Speaker 1: thirty four years. I don't know if that means anything,

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Speaker 1: because it doesn't always. But you know, there have been

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Speaker 1: no accusations that have come up against Patrick Swayze, which

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Speaker 1: I don't know if that would be useful to anyone

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Speaker 1: at this point anyways, But Swayze can't I'm your dead baby.

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Speaker 1: He's gonna always be body or Johnny Castle to me,

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Speaker 1: You just Johnny Castle. Hard to take that away. These names,

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Speaker 1: the names Johnny Castle, Utah, Danny Ocean, Larry Jealie, what

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Speaker 1: are these names? I would also like to point out

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Speaker 1: that if you've never seen Point Break the film, does

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Speaker 1: that mean you've also never experienced Point Break Live? That's yeah,

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Speaker 1: what is that? Do you know about Point Break Live?

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Speaker 1: I don't know about Point Break Live. So Point Break

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Speaker 1: Live was this live theater show that was around for many,

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Speaker 1: many years and it was a recreation of the movie

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Speaker 1: live in a theater. And the way that it worked

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Speaker 1: was the role of Canoe was cast every performance and

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Speaker 1: the way it would be cast is that people in

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Speaker 1: the audience would come up to the stage and do

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Speaker 1: their best canoe impression. The audience would vote for their

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Speaker 1: favorite canoe and then that person would be in the

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Speaker 1: show for the night. And the way that they would

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Speaker 1: be in the show is that someone walks out with

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Speaker 1: que cards and they read off of the que cards.

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Speaker 1: The other amazing thing is that the live show turns

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Speaker 1: the homo erotic subtext of Point Break into text, which

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Speaker 1: is so good. The other thing is that they will

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Speaker 1: sell you one dollar poncho before you enter the theater

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Speaker 1: because they actually like splash the Oh my god, I

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Speaker 1: feel like homoerotic theater with a splash zone is the

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Speaker 1: show I want to see every single time, every single time.

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Speaker 1: That's unbelievable. I'm so bummed for all of the people

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Speaker 1: who didn't experience this show live. Yeah, so you're a

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Speaker 1: huge fan of the movie Point Break, I am. I

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Speaker 1: am a solid fan, Okay, like I've got facts about

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Speaker 1: the movie, behind the scenes info, and Jamie, you had

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Speaker 1: never seen it. I didn't grow up with this movie either.

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Speaker 1: I didn't see it until I think last year on Thanksgiving.

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Speaker 1: I had always heard of it, of course, but didn't

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Speaker 1: know really what I thought the reputation that it had

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Speaker 1: is that it was like a solid, like really cool

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Speaker 1: action movie. And did not realize how cheesy it is

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Speaker 1: and like how corny all the dialogue is and all

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Speaker 1: the performances are. So I posted on Facebook and I

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Speaker 1: was like, why did no one tell me how lame

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Speaker 1: Point Break is? And I've never gotten so much vitriol

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Speaker 1: hatred about anything I've ever said. I think it's one

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Speaker 1: of those things where like when you watch movies that

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Speaker 1: you watched as a kid and like experienced them when

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Speaker 1: they came out or when you're you know of that

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Speaker 1: time period, if you've never watched them but heard the hype, right,

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Speaker 1: because Point Break is a cult classic at this point,

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Speaker 1: it's really hard to watch it as an adult, Like

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Speaker 1: they just don't hold the same nostalgic appeal and I could.

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Speaker 1: That's why I'm super fascinated by the fact that you

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Speaker 1: hadn't seen it, and like, your interpretation of it is

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Speaker 1: going to be wildly different than mine because I have

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Speaker 1: all these like emotional attachments to it. I write no emotions,

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Speaker 1: but I ever but no, I I don't have an

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Speaker 1: emotional attachment, but this is this is one of those movies.

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Speaker 1: And I guess I'm trying to think of a movie

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Speaker 1: that we've done. This is similar to it where it's

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Speaker 1: like the problems are so clear, they're handed to you

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Speaker 1: on a platter of like, yeah, here's something awful, stare

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Speaker 1: at it, cheer for it, even and but it's but

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Speaker 1: it's such a fun movie where I couldn't. I was

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Speaker 1: smiling for so much of this movie because it's just

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Speaker 1: there are so many things. Whe'm like, this is so

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Speaker 1: poorly acted that I thought it was like a plot point,

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Speaker 1: but it wasn't. Of like when Gary Busey's in the

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Speaker 1: car laughing at Calvin and jobs like that, so he's

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Speaker 1: like cackling, It was like, is he I thought he

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Speaker 1: was hiding something? Oh? I thought I was like, oh,

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Speaker 1: he's he's laughing too hard at the comic because he

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Speaker 1: doesn't want to be emotionally vulnerable with Kianu, right, now,

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Speaker 1: but no, he really just thought the comic was so

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Speaker 1: funny too, and he wanted to meatball sandwiches and we

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Speaker 1: had to watch Kanu order the meatball sandwiches for a

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Speaker 1: whole scene of like why it was so just this

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Speaker 1: movie is so weird. It's a weird movie. The question

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Speaker 1: is, is is the movie self aware of being so cheesy?

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Speaker 1: Like did they know they were making a cheesy movie? No,

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Speaker 1: I think that's it. I think they were, like they

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Speaker 1: probably knew that, Like some of the lines were like

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Speaker 1: a little corny, young full of come right. But I

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Speaker 1: think that they thought that that was kind of cool

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Speaker 1: at the time. They're like, We're just, yeah, we're making

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Speaker 1: this cool action movie. It's about surfers, it's about bank robbers.

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Speaker 1: We're gonna have Gary Busey and Keanu ree Kind and

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Speaker 1: each other. Like I really think the people behind this

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Speaker 1: movie thought they were making I mean, because it was

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Speaker 1: the early nineties, Like I don't know that aesthetic was

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Speaker 1: like considered cool back then. And now we rewatch it

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Speaker 1: and we're like, oh, this is the cheesiest content I've

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Speaker 1: ever seen. Maybe, I mean, I a wild stretch of opinion.

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Speaker 1: I don't think this movie is trying to comment on

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Speaker 1: literally anything except perhaps surfers are cool. Uh, And maybe

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Speaker 1: that's kind of why I'm I don't feel that bad

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Speaker 1: that I enjoyed it so much in spite of all

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Speaker 1: the very clear issues. Is like, this movie thinks it's

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Speaker 1: fucking awesome and it's not, and that's funny. I mean,

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Speaker 1: don't get me wrong, I think the movie is very cheesy,

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Speaker 1: but I also think it's very fun to watch, like

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Speaker 1: it is a fun romp. So a little bit about

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Speaker 1: before we get into the recap, the like context of

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Speaker 1: this movie is fast. I mean, it's it's directed by

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Speaker 1: Katherine Bigelow, which I mean, if we could make a

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Speaker 1: list of movies I least suspected to have a female

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Speaker 1: director because it's not a shitty, conservative, fucking pro war movie.

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Speaker 1: That's I mean, Katherine Bigelow is like a polarizing figure,

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Speaker 1: but I mean this movie is so silly for her too,

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Speaker 1: Like it's silly and dumb as fuck. And this movie

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Speaker 1: I didn't realize that this movie came out the same

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Speaker 1: weekend as Terminator, to which was directed by her then

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Speaker 1: husband James Cameron. So there's isn't that. I just thought

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Speaker 1: that was interesting. So they were competing at the box

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Speaker 1: office together. Ye, term or two. I don't know the figures,

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Speaker 1: but I'm guessing at crushed Terminator two. Well, well, point

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Speaker 1: Break was second, but significant second. However, you know that

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Speaker 1: probably that makes sense cinematically, that makes sense. But yeah, so,

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Speaker 1: and I guess James Cameron also did some of the

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Speaker 1: work on this script, which you know, James Cameron knows

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Speaker 1: how to write a cheesy fucking movie, So that tracks

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Speaker 1: for me. God, his I'll never I know, I bring

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Speaker 1: it up every other episode, but his like first draft

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Speaker 1: of the two thousand two Spider Man movies, still just

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Speaker 1: like makes me craninge so hard every time I think

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Speaker 1: about it. Whereas I was like, oh god, James Cameron

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Speaker 1: wrote forty pages about a teenagers. Come, why did he

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Speaker 1: do that? That's so gross? Anyways, Well, should I do

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Speaker 1: the recap of Point Break? Okay? So Point Break is

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Speaker 1: about our hero Johnny Utah. He is a rookie FBI

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Speaker 1: agent assigned to his first case in the bank robbery

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Speaker 1: Department UM and he gets partnered up with Papa's who's

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Speaker 1: played by Gary Busey, and they're trying to catch a

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Speaker 1: group of bank robbers called the ex presidents because they

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Speaker 1: like all wear masks of like Reagan Nixon, lb J

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Speaker 1: and I think Jimmy Carter. And they go around and

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Speaker 1: they rob all these banks, and Bucy has this theory

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Speaker 1: that they are surfers in addition into being bank rubbers.

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Speaker 1: Um so the most logical conclusion, Well, there's some clues.

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Speaker 1: You know, they have a tan line. There's some like

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Speaker 1: sex wax that they used to like wax up their boards. Literally.

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Speaker 1: So Johnny Utah goes undercover and starts to learn how

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Speaker 1: to serve, to try to like infiltrate or like figure

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Speaker 1: out who the suspects might be. As you do, and

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Speaker 1: you don't make up an alias or anything, you use

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Speaker 1: your real name. We'll get we'll get there. Because he's

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Speaker 1: constantly getting into fights, He's constantly screaming, being very disrupt

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Speaker 1: of like I mean Kanu really, I mean, he blows

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Speaker 1: it a lot, but he really blows it in this one,

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Speaker 1: which is too bad because Kanu I feel like everyone

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Speaker 1: loves Kia, like he is a beloved person who blows

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Speaker 1: it regularly. Yeah, but I like Kiana reefs. Refer back

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Speaker 1: to the Matrix episode. We all I used to sell

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Speaker 1: that Kiana is Sudoku puzzles. Now that you are a hacker,

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Speaker 1: you really need to watch that movie, Jamie. I know,

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Speaker 1: I know, I so much has changed for for newer

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Speaker 1: Bectel cast listeners. That's the one episode where I didn't

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Speaker 1: watch the movie, and I'm lying for the entire episode

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Speaker 1: about knowing what you haven't seen the matrix. I still

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Speaker 1: have not seen the whole podcast. No, wow, I have

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Speaker 1: so much respect for you. You want to go back

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Speaker 1: and really grasping at straws. I mean I didn't, I

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Speaker 1: didn't notice you. You did something to make me not know.

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Speaker 1: I can still feel the sweat on my body from

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Speaker 1: that day. That was a stressful day. Okay, So anyway,

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Speaker 1: so Johnny Utah, he's going undercover as a surfer and

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Speaker 1: he's really bad at it. So he gets this woman

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Speaker 1: Tyler to start teaching him, and then LORI, Petty, what's up?

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Speaker 1: Petty rules Tyler. She's not like the other girl, right,

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Speaker 1: She's a cool chick. She's cool, she's she's a guy

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Speaker 1: scal she can be like, oh masculinity, but like still

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Speaker 1: be down but like, I'm cool, but I'm still best

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Speaker 1: friends with all these bank rubbers because okay, so she's

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Speaker 1: friends with this group of people. Body is there. They're

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Speaker 1: like elsa male played by Patrick Swayzy. Body, what did

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Speaker 1: they call him? Boda Riffith Bosa? Where did he get

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Speaker 1: that name? He's This actually reminds me of one of

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Speaker 1: my dear friend's father is in a southern California surfer

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Speaker 1: cult called the Barbecue Surfers, and I was like getting

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Speaker 1: major BBQ surfer vibes from And I would say honestly

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Speaker 1: that the BBQ Surfers were a more efficient cult than

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Speaker 1: the one in Point Break, because they also are not

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Speaker 1: very efficient at all. So Johnny Uta starts hanging out

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Speaker 1: with like Body and his pals. He tells everyone his

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Speaker 1: real name and they recognize him as a college football player,

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Speaker 1: so like, yeah, bro, come and hang out with us,

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Speaker 1: Like you're so cool, bro. Meanwhile, they're like still trying

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Speaker 1: to figure out who the ex presidents are and Johnny's like, Oh,

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Speaker 1: it's these like bad dudes. There's like this group of

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Speaker 1: four guys war Child and Bunker and like some other

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Speaker 1: dudes and they raid their house. But what's up the

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Speaker 1: Red Hot Peppers. Yeah, he's a singing in the Red

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Speaker 1: Hot Chili Peppers. My favorite part of the whole movie

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Speaker 1: is when he shoots himself in the foot. He's the

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Speaker 1: guy with the crazy hair with its like braids down

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Speaker 1: the side and then like a long pony on top

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Speaker 1: of setting information. Wow. Okay, okay, okay, So that doesn't

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Speaker 1: work out. And then Johnny he's hanging out with Bodie

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Speaker 1: and pals some more, and he's like one of Bodie's boys,

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Speaker 1: one of Bodi's boys, and he's like, oh my god,

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Speaker 1: Bodie and the boys are the ex presidents. And then

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Speaker 1: also meanwhile, Johnny and Tyler are getting a little closer.

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Speaker 1: They have some sex on the beach, and oh my god,

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Speaker 1: that scene where their first kissing is so funny because

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Speaker 1: they're both like you can tell just the actors like

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Speaker 1: Lori Petty and Kanu Reeves as individuals are struggling to

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Speaker 1: stay on their boards, like they're bobbing up and down

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Speaker 1: and like trying to deliver lines to each other. And

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Speaker 1: then he like he touches her leg, but I feel

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Speaker 1: like he's also trying to steady himself. And then she

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Speaker 1: kisses him, but they're both still bobbing. I was like,

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Speaker 1: this is not a hot kiss even remotely. Everyone is

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Speaker 1: so cold and nervous, and you see her lip chattering,

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Speaker 1: like I know that they acknowledge that it's cold. But y'all,

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Speaker 1: if you don't live in southern California, I don't know

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Speaker 1: if you understand how fucking cold the ocean is all

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Speaker 1: the time, especially at night. Maybe one of my least

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Speaker 1: favorite movie kisses of all time. It was I mean, like,

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Speaker 1: you know, it was a consenting kiss, right, not a

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Speaker 1: surprise kiss. But it was bad. It was bad because

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Speaker 1: he touches her leg and he's like goose bumps. Is

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Speaker 1: if like that's his like sweet pickup line and then

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Speaker 1: they kiss. It's very romantic. I don't know what you're

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Speaker 1: talking about. So also, who the funk? As an adult?

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Speaker 1: Doesn't know that you don't funk on the beach, Like

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Speaker 1: just you don't. You've done it once as a teenager,

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Speaker 1: and then you never do it again because it's the

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Speaker 1: most awful thing I've never sucked on the beach. That

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Speaker 1: sounds cool, You go do it, and then you'll learn

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Speaker 1: why you never funk on the beach. Okay, it's the messiest,

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Speaker 1: it's the worst. You stand everywhere forever. Good of the

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Speaker 1: barbecue surfers, so Johnny's like, oh my god, my Bodie

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Speaker 1: boys are the bank robbers. They catch them mid robbery,

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Speaker 1: so he blows his cover and then he's like, oh no,

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Speaker 1: what do I do? And they capture Tyler because they're like,

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Speaker 1: we got to use her as like leverage to like

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Speaker 1: get him to stop chasing them. And then they're like, Johnny,

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Speaker 1: come with us to go skydiving, and then also come

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Speaker 1: with us to go on a bank robber and it's

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Speaker 1: like this is where I was like the whole plane sequence.

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Speaker 1: I was like, why is this what is happening? He

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Speaker 1: accompanies them on. They're like, you have to come with

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Speaker 1: us on this bank robbery or we're gonna kill Tyler.

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Speaker 1: So he's like okay, and they do it, but a

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Speaker 1: lot of things go wrong and some people die and

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Speaker 1: then Bros dies and it's so fucking sad, dude, right,

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Speaker 1: So they like escape and Johnny is like, I gotta

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Speaker 1: go after them, so he like tries to catch him

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Speaker 1: at the airport. They escape, He goes after them. Still,

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Speaker 1: there's more skydiving, and then finally like they released Tyler,

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Speaker 1: but body and the remaining boys get away and then

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Speaker 1: we cut to the next line pick up the body,

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Speaker 1: and then the end of the movie is Annie confronting

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Speaker 1: Bodie on the beach in Australia and he's like, I

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Speaker 1: got you now, and he's like, no, man, I can't

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Speaker 1: be in a cage. Just let me kid one least

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Speaker 1: wave dog please. It's like, okay, broke sounds fair broke,

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Speaker 1: and then Body effectively kills himself by surfing spectacular surfing

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Speaker 1: before Keiana Reeves says via contillos its an it's a

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Speaker 1: It's an epic line in the movie. So good on

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Speaker 1: on that spectacular surfing suicide. Note, Let's take a quick

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Speaker 1: break and we will be back in a second, and

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Speaker 1: we're back from the dead. We did it. We're Body's ghost. Yeah,

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Speaker 1: we did it. So now you know what happens in

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Speaker 1: the movie, right, But I feel that we still have

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Speaker 1: not scratched this, not even close. The first thing I

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Speaker 1: do want to say is that, so, Jamie, you know

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Speaker 1: how your form Twitter handle was Hamburger phone inspired by

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Speaker 1: the movie Juno Rest in Paradise. Yes, this movie point

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Speaker 1: Break has inspired me to create a new Twitter handle

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Speaker 1: for myself, football helmet, alarm, clock there and iconic crop.

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Speaker 1: So yeah, that's my new Twitter handle, so follow me

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Speaker 1: at football helmet alarm clock. I have okay it genuinely

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Speaker 1: and Caitlyn we talked about this a couple of days ago.

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Speaker 1: It took me three days to watch this movie, like

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Speaker 1: when did you stop? Like what parts did you stop at?

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Speaker 1: What inspired the brakes? It was never because I was angry.

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Speaker 1: It was never because I was upset. I would just

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Speaker 1: be like, I'm just I'm full. I feel like I

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Speaker 1: just ate a whole meal and I need to rest.

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Speaker 1: Like the first night, I got twenty five minutes in

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Speaker 1: and there was just like a line that Gary Busey screamed,

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Speaker 1: which does not narrow it down at all. It's Oh,

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Speaker 1: it's when Gary Busey says twenty two and puts up

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Speaker 1: two fingers. That's when I shut it up. The first

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Speaker 1: time he says twenty two, and yet his hand says yeah,

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Speaker 1: I didn't get very far. And then I watched the

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Speaker 1: most of it, and then oh, I stopped again when

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Speaker 1: Patrick Swayzey's bro died and he was so freaking sad

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Speaker 1: and he was like my bro, my fallen bro. And

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Speaker 1: then I watched like the last ten minutes like this morning.

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Speaker 1: The third day, Yeah, one of the first things I

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Speaker 1: want to say is that, so this is directed by

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Speaker 1: Katherine Bigelow. As we mentioned, I find it interesting that

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Speaker 1: a movie directed by a woman is not immune to

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Speaker 1: a lot of the misogyny and problems that most movies

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Speaker 1: that are directed by men have, because, like like you said, Jamie,

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Speaker 1: this movie kind of hits all the marks of like

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Speaker 1: there's you know, a woman captured to advance the story.

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Speaker 1: There's like some male gaze shots. There's like all this

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Speaker 1: kind of weird like an underdeveloped romance. There's all this stuff,

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Speaker 1: so much male kidnapping. Remember the scene where Kanu is

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Speaker 1: uh staring at Tyler changing and it's just like panning

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00:23:08,960 --> 00:23:11,399
Speaker 1: her body, and then they pan her body again in

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Speaker 1: the video where she's like all of a sudden in

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Speaker 1: a nighty because we've ever seen her in a fucking

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Speaker 1: like lingerie little nighty and the cat down her leg

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Speaker 1: right like cool. And then there's so much more male

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Speaker 1: gaze with the The only other women in the movie

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Speaker 1: are the women in the house that gets rated um,

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Speaker 1: and they're like, you know, naked in the shower, that

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Speaker 1: naked chick fucking whales onto those dudes. Though, if feminist

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Speaker 1: icon woman who tries to kill Kana rees with the

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Speaker 1: golf club or whatever. But also the only people of

401
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Speaker 1: color are in that villain like in that house of

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Speaker 1: like the bad bad I don't understand the spiritual side.

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Speaker 1: They're not searchers like body, you know, right right, yeah,

404
00:23:53,320 --> 00:23:55,919
Speaker 1: there's and any people of color in this really almost

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Speaker 1: universally are demonized um as like these aren't I'm sorry,

406
00:24:00,960 --> 00:24:03,640
Speaker 1: keep saying the barbecue servers, these aren't like these are

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Speaker 1: the cool surfers. I hope that like the barbecue surfers

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00:24:06,760 --> 00:24:10,040
Speaker 1: are okay with me. Given anyways, everyone everyone go to

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Speaker 1: this just be about barbecue. Everyone find out what surf

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Speaker 1: cult I'm most closely affiliated with. Um But then they're like, oh,

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Speaker 1: but then there's the meth surfers and they're bad, And

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Speaker 1: that's the only time you really see people of color

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Speaker 1: in the Intern. There's also a character named Alvarez who's

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Speaker 1: one of the other FBI agents, but he's like antagonistic

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00:24:28,680 --> 00:24:32,080
Speaker 1: toward Papas and Johnny Utah, so he's also kind of villainized,

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Speaker 1: right yeah. Where it's like, you know, every time a

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Speaker 1: person of color appears in this movie, it's to get

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Speaker 1: in the way of Kia news development as a character.

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Speaker 1: Although Kiano is mixed, he is part Chinese and part

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Speaker 1: Native Hawaiian. Yeah yeah, and then as well as being

421
00:24:51,080 --> 00:24:54,760
Speaker 1: I think English, Irish and Portuguese. So I just wanted

422
00:24:54,760 --> 00:24:58,600
Speaker 1: to acknowledge that. But I'll say that I think because

423
00:24:58,600 --> 00:25:03,080
Speaker 1: he can pass is white, he is still able to

424
00:25:03,200 --> 00:25:06,920
Speaker 1: like get cast in all the big roles in Hollywood,

425
00:25:06,920 --> 00:25:09,919
Speaker 1: because usually Hollywood does not know what to do with

426
00:25:09,920 --> 00:25:14,680
Speaker 1: people who look ethnically ambiguous. Ever heard of it? Ever

427
00:25:14,720 --> 00:25:18,400
Speaker 1: heard of the podcast on how Stuff? What's Up? Network?

428
00:25:19,400 --> 00:25:22,119
Speaker 1: Check it out? Well, that's I I didn't know that

429
00:25:22,200 --> 00:25:24,600
Speaker 1: about cut. Yeah. I feel like the rock is like

430
00:25:24,640 --> 00:25:27,119
Speaker 1: a like an exception to the rule, but it's an

431
00:25:27,119 --> 00:25:30,720
Speaker 1: exception to most rules of course. But yeah, so I

432
00:25:30,760 --> 00:25:34,200
Speaker 1: just wanted to acknowledge that Kiano is mixed. You are heard,

433
00:25:34,640 --> 00:25:38,359
Speaker 1: Thank you. Getting back to the Katherine Bigelow thing, it's

434
00:25:38,359 --> 00:25:41,240
Speaker 1: it's tricky because Katherine Bigelow, I feel, and if you

435
00:25:41,320 --> 00:25:44,520
Speaker 1: have different examples to share, but like she's the most

436
00:25:44,600 --> 00:25:48,920
Speaker 1: frequently cited female director. When people are like, well women

437
00:25:48,920 --> 00:25:54,080
Speaker 1: don't direct movies enough, they're like, like, that's the exact

438
00:25:54,160 --> 00:25:56,800
Speaker 1: because it's always the margin of error, right, every time.

439
00:25:56,960 --> 00:25:59,760
Speaker 1: Every time we talk about like marginalized folks, they're like

440
00:26:00,160 --> 00:26:04,600
Speaker 1: the margin of error, right, like the one the name, Yeah,

441
00:26:04,680 --> 00:26:07,919
Speaker 1: so everything's fine now exactly. She's yeah, she's one of

442
00:26:08,160 --> 00:26:10,679
Speaker 1: maybe a handful of like women directors who are like

443
00:26:10,760 --> 00:26:14,560
Speaker 1: kind of household names. It's like her Sofia Coppola, Ava

444
00:26:14,600 --> 00:26:18,320
Speaker 1: duvern name Patty Jenkins, and you can Patty Jenkins like that,

445
00:26:19,880 --> 00:26:22,400
Speaker 1: and then like Nora Ephron and like Nancy Myers. But

446
00:26:22,880 --> 00:26:25,400
Speaker 1: that's kind And that's the thing is like women can

447
00:26:25,480 --> 00:26:30,040
Speaker 1: make sexist media too, just because like it's really important

448
00:26:30,080 --> 00:26:33,160
Speaker 1: that like there's a lot of internalized depression and that

449
00:26:33,680 --> 00:26:35,400
Speaker 1: like just because you're a woman doesn't mean that you're

450
00:26:35,400 --> 00:26:38,280
Speaker 1: automatically a feminist or making feminist media. And it's also

451
00:26:38,359 --> 00:26:40,720
Speaker 1: like part of the problem with the Bechdel Test. Like

452
00:26:40,760 --> 00:26:44,080
Speaker 1: so before before I was known for video games, like

453
00:26:44,200 --> 00:26:46,439
Speaker 1: the Bechdel Test, videos that I made were the like

454
00:26:46,480 --> 00:26:48,280
Speaker 1: the things that people knew me for. So I got

455
00:26:48,280 --> 00:26:50,960
Speaker 1: asked about it all the fucking time, which I was like,

456
00:26:51,400 --> 00:26:53,639
Speaker 1: oh my god, it's not it does not mean anything

457
00:26:53,640 --> 00:26:55,960
Speaker 1: as feminist, Like it doesn't mean it's good. It's just

458
00:26:56,160 --> 00:26:58,800
Speaker 1: literally giving you a tool to recognize that, like, we

459
00:26:58,880 --> 00:27:01,920
Speaker 1: got a problem exactly right. The Sex and the City

460
00:27:01,960 --> 00:27:04,840
Speaker 1: movies pass the backdel test, and that's not really what

461
00:27:04,960 --> 00:27:10,560
Speaker 1: we're going the pantheon of womanhood like I got. I

462
00:27:10,600 --> 00:27:13,240
Speaker 1: actually got so annoyed that people would pull it out

463
00:27:13,280 --> 00:27:16,800
Speaker 1: all the time that I, um, I added my own rule,

464
00:27:17,000 --> 00:27:19,080
Speaker 1: which didn't pick up. But whatever, It's fine. I will

465
00:27:19,119 --> 00:27:21,639
Speaker 1: want to um where the women have to talk for

466
00:27:21,720 --> 00:27:25,040
Speaker 1: over a minute, because most of the movies that pass

467
00:27:25,520 --> 00:27:27,919
Speaker 1: just passed because there was literally one sentence, right, just

468
00:27:28,000 --> 00:27:31,440
Speaker 1: one conversation. Absolutely, and sometimes by characters we never see

469
00:27:31,480 --> 00:27:34,159
Speaker 1: again who have nothing like that. That conversation won't have

470
00:27:34,160 --> 00:27:37,520
Speaker 1: anything to do with advancing the story in any way. Yeah, well,

471
00:27:37,560 --> 00:27:39,159
Speaker 1: and and yet this is a bit of a sidebar.

472
00:27:39,240 --> 00:27:42,000
Speaker 1: But what is your history with like, I mean, I'm

473
00:27:42,080 --> 00:27:44,960
Speaker 1: curious about your history of people getting in your mentions

474
00:27:45,000 --> 00:27:48,600
Speaker 1: about the Bechtel test specifically, like because there, Yeah, how

475
00:27:48,680 --> 00:27:52,040
Speaker 1: is your like your attitude shifted towards it through the years,

476
00:27:52,040 --> 00:27:55,440
Speaker 1: because I know you've been putting up with people forever.

477
00:27:56,160 --> 00:28:00,720
Speaker 1: I don't know what you're talking about. Twitter's beautiful haven

478
00:28:00,800 --> 00:28:05,840
Speaker 1: of just wonderful, tolerant, constructive criticism. Yeah, I just so I,

479
00:28:06,440 --> 00:28:07,920
Speaker 1: so I made a video. It was like a really

480
00:28:07,920 --> 00:28:10,359
Speaker 1: short one to two minute long video that explained what

481
00:28:10,400 --> 00:28:13,320
Speaker 1: the Becktealth test was and showed examples that did really well.

482
00:28:13,400 --> 00:28:17,399
Speaker 1: Because you know, giving people these like very simple media

483
00:28:17,480 --> 00:28:20,639
Speaker 1: literacy tools to start recognizing how to look at media

484
00:28:20,680 --> 00:28:23,760
Speaker 1: differently is really mind opening and expanding for a lot

485
00:28:23,800 --> 00:28:26,399
Speaker 1: of folks. And that's great, Like the this test is

486
00:28:26,520 --> 00:28:30,040
Speaker 1: very useful and a very very one on one level, right,

487
00:28:30,200 --> 00:28:32,679
Speaker 1: which we've always said, yeah, which I think you do

488
00:28:32,800 --> 00:28:36,680
Speaker 1: hilariously at the intro of your podcast. Um, but the

489
00:28:36,680 --> 00:28:39,000
Speaker 1: thing is that everyone was like every time you talk

490
00:28:39,080 --> 00:28:41,000
Speaker 1: about anything, they're like, well, does a test pass the

491
00:28:41,000 --> 00:28:42,360
Speaker 1: test as a pass the test as a pass the

492
00:28:42,400 --> 00:28:45,640
Speaker 1: test as if that is a marker of like actual

493
00:28:45,720 --> 00:28:48,560
Speaker 1: criticism of a film, right, And So I think there's

494
00:28:48,640 --> 00:28:51,880
Speaker 1: there's value in it, but it's not like the end

495
00:28:51,880 --> 00:28:54,080
Speaker 1: all be all, Like it doesn't give us that much

496
00:28:54,080 --> 00:28:57,680
Speaker 1: information other than showing us a wide scale pattern within

497
00:28:57,800 --> 00:29:00,960
Speaker 1: Hollywood totally, right. So I you know, I think that

498
00:29:01,040 --> 00:29:03,120
Speaker 1: we can use it, and I think that like, you know,

499
00:29:03,600 --> 00:29:05,640
Speaker 1: being able to integrate it in ways that you're using

500
00:29:05,640 --> 00:29:08,440
Speaker 1: it it like it's really helpful, but it's not like

501
00:29:08,800 --> 00:29:10,840
Speaker 1: the end of the end. It's not like, you know,

502
00:29:10,920 --> 00:29:13,120
Speaker 1: you've you figured out the Becktel test in every movie

503
00:29:13,120 --> 00:29:15,800
Speaker 1: and therefore we're done here kind of thing, or like

504
00:29:15,920 --> 00:29:18,760
Speaker 1: if every movie passes it, it automatically means that it's

505
00:29:18,800 --> 00:29:22,240
Speaker 1: like not oppressive, which is also not true exactly. And

506
00:29:22,280 --> 00:29:27,320
Speaker 1: we've we've seen some wild passes. Yeah, but wasn't She's

507
00:29:27,360 --> 00:29:29,600
Speaker 1: all that where the only time it passes in the

508
00:29:29,600 --> 00:29:32,360
Speaker 1: whole movie is one when one female character is telling

509
00:29:32,360 --> 00:29:35,560
Speaker 1: another female character that they should fucking kill themselves. Like,

510
00:29:35,600 --> 00:29:39,720
Speaker 1: there's there's some there's some wild passes. We'll link that

511
00:29:40,120 --> 00:29:42,960
Speaker 1: out as well, because we want our listeners to be

512
00:29:43,040 --> 00:29:45,719
Speaker 1: as familiar with your work as possible. Yes, thank you,

513
00:29:47,400 --> 00:29:49,800
Speaker 1: but yeah, and that's why we talk about, of course,

514
00:29:49,840 --> 00:29:53,000
Speaker 1: not only whether or not a movie passes the Bectel tests,

515
00:29:53,040 --> 00:29:58,280
Speaker 1: but a whole slew of other things. For example, should

516
00:29:58,280 --> 00:30:00,680
Speaker 1: we just get into Tyler. Yeah, let's get into Tyler.

517
00:30:00,880 --> 00:30:05,080
Speaker 1: So she is the only main female character in the

518
00:30:05,080 --> 00:30:07,960
Speaker 1: whole story. There's a few other women who pop up

519
00:30:08,000 --> 00:30:10,040
Speaker 1: here and there, usually in the background, or if they

520
00:30:10,080 --> 00:30:12,239
Speaker 1: do have any sort of significant screen time, they are

521
00:30:12,280 --> 00:30:17,960
Speaker 1: either naked or selling a sandwich. Oh is that a woman.

522
00:30:18,080 --> 00:30:23,600
Speaker 1: I don't even notice. It's because yes there is. Her

523
00:30:23,680 --> 00:30:26,640
Speaker 1: name is miss deerin the is she named? But is

524
00:30:26,680 --> 00:30:28,680
Speaker 1: she named in the movie? I think they call her

525
00:30:28,680 --> 00:30:31,520
Speaker 1: miss Deer? But all right, I don't know for sure.

526
00:30:31,840 --> 00:30:34,240
Speaker 1: She's she's a hacker and she wants to fun Keanu,

527
00:30:34,360 --> 00:30:37,600
Speaker 1: and that's what we know about her. That's pretty much it.

528
00:30:39,320 --> 00:30:43,360
Speaker 1: So this movie is one of the Brazilian examples of

529
00:30:43,760 --> 00:30:47,280
Speaker 1: a man trying to get closer to a woman by

530
00:30:47,440 --> 00:30:51,880
Speaker 1: lying to her or manipulating her. So for the betterment

531
00:30:52,000 --> 00:30:57,360
Speaker 1: of the world, right to stop, justified exactly, and don't worry.

532
00:30:57,400 --> 00:31:01,320
Speaker 1: He never like it's never in the way their relationship

533
00:31:01,360 --> 00:31:05,320
Speaker 1: plays out, that's never really resolved at all, because she's

534
00:31:05,440 --> 00:31:08,080
Speaker 1: kidnapped before it can be a discussion, and she does

535
00:31:08,120 --> 00:31:14,080
Speaker 1: confront him, but his pillow. Yeah, she knows how to

536
00:31:14,080 --> 00:31:16,480
Speaker 1: aim a gun. What was she trying to kill She

537
00:31:16,520 --> 00:31:18,959
Speaker 1: wasn't trying to kill him, just trying to I'm not

538
00:31:19,000 --> 00:31:21,880
Speaker 1: sure she could have. If he moved an inch, she

539
00:31:21,920 --> 00:31:24,560
Speaker 1: would have killed him. Yeah, So basically, so here's how

540
00:31:24,600 --> 00:31:27,480
Speaker 1: their relationship plays out. He's trying to surf. He's extremely

541
00:31:27,520 --> 00:31:30,840
Speaker 1: bad at it. He nearly drowns she swoops in and

542
00:31:31,080 --> 00:31:32,960
Speaker 1: saves his life. So we see an example of a

543
00:31:32,960 --> 00:31:35,640
Speaker 1: woman saving a man. It's not that common because usually

544
00:31:35,640 --> 00:31:40,960
Speaker 1: men are saving women in movies. Um, save very little mermaid, right. Um.

545
00:31:41,040 --> 00:31:43,360
Speaker 1: Then she screams at him. She's like, you have no

546
00:31:43,400 --> 00:31:45,640
Speaker 1: business being out here, basically telling him that he's not

547
00:31:45,720 --> 00:31:49,520
Speaker 1: good enough. But then he basically stocks her and it's like,

548
00:31:49,560 --> 00:31:51,920
Speaker 1: you need to teach me how to surf. Yeah, he

549
00:31:51,920 --> 00:31:54,560
Speaker 1: goes to her job. I liked that. We saw that

550
00:31:54,600 --> 00:31:57,320
Speaker 1: she has a job, we know what she does. Like that,

551
00:31:57,360 --> 00:32:00,320
Speaker 1: I was like, okay, movie, most movies don't get that

552
00:32:00,400 --> 00:32:03,920
Speaker 1: far before that, though, he is so that We talked

553
00:32:03,920 --> 00:32:06,840
Speaker 1: about this a little bit already. But the shot of her,

554
00:32:06,880 --> 00:32:10,960
Speaker 1: she's changing out of her swimsuit, as the audience were like, hmm,

555
00:32:11,040 --> 00:32:15,800
Speaker 1: this is extremely male gaze oriented. And then we cut

556
00:32:15,840 --> 00:32:19,320
Speaker 1: to a shot of Keanu literally gazing at her through

557
00:32:19,360 --> 00:32:22,120
Speaker 1: binoculars and we're like, oh, whoa, Okay, so this is

558
00:32:22,120 --> 00:32:25,280
Speaker 1: like doubling down on the male gaze. That's wild. But

559
00:32:25,320 --> 00:32:29,200
Speaker 1: don't worry, no commentary is made, no none whatsoever. So

560
00:32:29,240 --> 00:32:31,479
Speaker 1: then so he's like following her, stalking her, and then

561
00:32:31,520 --> 00:32:33,080
Speaker 1: he approaches her at work, it's like, you have to

562
00:32:33,120 --> 00:32:35,400
Speaker 1: teach me how to surf. She is reluctant at first,

563
00:32:35,400 --> 00:32:38,240
Speaker 1: but then he uses the information that he learned about

564
00:32:38,320 --> 00:32:42,480
Speaker 1: her from which hacker. That scene is also great because

565
00:32:42,480 --> 00:32:46,400
Speaker 1: Gary Busey's like, oh, this is your surfing contact, female

566
00:32:47,440 --> 00:32:50,840
Speaker 1: D nineteen pounds, hares blue eyes. Do you have to

567
00:32:50,880 --> 00:32:53,400
Speaker 1: say a hundred nineteen pounds? Do we all need to

568
00:32:53,480 --> 00:32:56,240
Speaker 1: be triggered? Like what? Why? And he's so offended that

569
00:32:56,240 --> 00:32:58,360
Speaker 1: she's a woman. Gary Busey was like, oh, he found

570
00:32:58,360 --> 00:33:01,200
Speaker 1: a woman to help me, which is crazy because in

571
00:33:01,240 --> 00:33:08,560
Speaker 1: real life, Gareb you see, loves and respects Mester. Right.

572
00:33:08,640 --> 00:33:10,800
Speaker 1: So then so he uses this information that he finds

573
00:33:10,800 --> 00:33:12,720
Speaker 1: out about her, which is that her parents died in

574
00:33:12,760 --> 00:33:16,160
Speaker 1: a plane crash, to sort of like leverage against her,

575
00:33:16,200 --> 00:33:19,800
Speaker 1: to be like, well, like, my parents died in a

576
00:33:19,880 --> 00:33:21,959
Speaker 1: car crash, so you just don't know what. It's like,

577
00:33:22,000 --> 00:33:25,000
Speaker 1: I'm finally doing something for myself. And then she falls

578
00:33:25,040 --> 00:33:28,480
Speaker 1: for it and agrees to start helping him. She's teaching

579
00:33:28,560 --> 00:33:31,520
Speaker 1: him how to surf, and then they get romantically involved,

580
00:33:31,520 --> 00:33:35,440
Speaker 1: because you can't have a movie where there's just a

581
00:33:35,520 --> 00:33:39,320
Speaker 1: man and a woman on a professional basis or a

582
00:33:39,360 --> 00:33:43,440
Speaker 1: friendship basis, they have to start having sex. There's a weird,

583
00:33:43,560 --> 00:33:47,960
Speaker 1: awkward kiss. They're sex on the beach. He keeps lying.

584
00:33:48,240 --> 00:33:54,400
Speaker 1: There's a long shot of Kianu just thinking while she sleeps.

585
00:33:54,600 --> 00:33:58,600
Speaker 1: Remember when he tries to tell her and she's like literally,

586
00:33:58,680 --> 00:34:01,080
Speaker 1: she says, you look like you are are about to

587
00:34:01,080 --> 00:34:02,920
Speaker 1: tell me something, and then you don't. And then he's like,

588
00:34:03,160 --> 00:34:04,760
Speaker 1: I'm going to tell you the thing, and she's like

589
00:34:04,840 --> 00:34:06,720
Speaker 1: puts her finger on his lips and he's like, no, no,

590
00:34:07,400 --> 00:34:11,520
Speaker 1: it's okay, don't tell me. She tries to shoot him morning,

591
00:34:11,520 --> 00:34:16,520
Speaker 1: and you're like, wait, what a lot of inconsistencies. So yeah,

592
00:34:16,560 --> 00:34:19,360
Speaker 1: what happens there is that he's, I guess, trying to

593
00:34:19,360 --> 00:34:22,600
Speaker 1: tell her that he's working undercover as an FBI agent

594
00:34:22,680 --> 00:34:26,879
Speaker 1: to try to find these bank robbers. She's like, some

595
00:34:26,960 --> 00:34:30,640
Speaker 1: other time, don't tell me now. Then we cut to

596
00:34:30,800 --> 00:34:33,040
Speaker 1: a scene which I would argue as a weird like

597
00:34:33,120 --> 00:34:36,120
Speaker 1: that just as bad writing and weird for the character

598
00:34:36,160 --> 00:34:39,320
Speaker 1: because a second ago she wants to know so badly,

599
00:34:40,040 --> 00:34:43,040
Speaker 1: but then her loins overcome her because he's like this

600
00:34:43,640 --> 00:34:46,080
Speaker 1: is so hard for me, and she's like men are

601
00:34:46,120 --> 00:34:49,200
Speaker 1: so bad at this. Further perpetuating the stereotype that men

602
00:34:49,239 --> 00:34:52,400
Speaker 1: are bad at talking about whatever. But I mean, if

603
00:34:52,440 --> 00:34:56,480
Speaker 1: you had representation of men in movies talking about their

604
00:34:56,480 --> 00:34:59,080
Speaker 1: feelings and their you know, vulnerabilities and stuff like that,

605
00:34:59,120 --> 00:35:01,080
Speaker 1: maybe it wouldn't be so hard for men to do that.

606
00:35:01,280 --> 00:35:04,160
Speaker 1: There's more ways, you know, you could. There's also surfing.

607
00:35:06,800 --> 00:35:10,960
Speaker 1: I really expressed myself best through my surfing, surfing, his art, surfing,

608
00:35:10,960 --> 00:35:14,400
Speaker 1: his life. So he doesn't tell her what his deal is,

609
00:35:14,440 --> 00:35:17,000
Speaker 1: but she finds out because he leaves his badge lying

610
00:35:17,040 --> 00:35:18,879
Speaker 1: around and I do want to get into the list

611
00:35:18,880 --> 00:35:22,040
Speaker 1: of all the reasons why he is a terrible undercover agent.

612
00:35:22,520 --> 00:35:25,400
Speaker 1: But did she say he's a lawyer, because he's like

613
00:35:25,440 --> 00:35:27,560
Speaker 1: I went to law school. My parents wanted me to

614
00:35:27,600 --> 00:35:29,680
Speaker 1: go to law school. Oh. I thought she was saying

615
00:35:29,719 --> 00:35:32,640
Speaker 1: I found out you're a lawyer. And I was like, no,

616
00:35:32,840 --> 00:35:35,200
Speaker 1: that's the lie that he fed her. Got it Okay?

617
00:35:35,520 --> 00:35:39,040
Speaker 1: So she finds his badge and then she tries to

618
00:35:39,400 --> 00:35:43,200
Speaker 1: she shoots at him, but the movie frames it because

619
00:35:43,200 --> 00:35:45,480
Speaker 1: she's like, you lied to me, or your parents even dead?

620
00:35:45,520 --> 00:35:48,200
Speaker 1: Tell me if your parents are dead, and then she leaves,

621
00:35:48,600 --> 00:35:50,720
Speaker 1: but the movie frames it as though we are supposed

622
00:35:50,760 --> 00:35:54,239
Speaker 1: to feel sorry for Johnny Utah for like having been

623
00:35:54,239 --> 00:35:57,800
Speaker 1: found out, rather than us feeling sorry for Tyler for

624
00:35:58,120 --> 00:36:01,399
Speaker 1: being lied to. Having her traumatic past leverages against her

625
00:36:01,480 --> 00:36:06,600
Speaker 1: because surf crime. Yeah, but it's because like the narrative

626
00:36:06,600 --> 00:36:10,799
Speaker 1: has her go absolutely berserk and nearly shoot him, so

627
00:36:10,880 --> 00:36:13,560
Speaker 1: we're like, oh, she's crazy. We're supposed to feel sorry

628
00:36:13,560 --> 00:36:17,800
Speaker 1: for john Utah, which is not great. Yeah, that the

629
00:36:18,120 --> 00:36:20,200
Speaker 1: way that scene it's so weird because it's like, I

630
00:36:20,200 --> 00:36:23,120
Speaker 1: feel like we probably all watched that scene kind of

631
00:36:23,160 --> 00:36:26,640
Speaker 1: the same way of like, again, it was an irrational

632
00:36:27,000 --> 00:36:29,920
Speaker 1: story choice to have her shoot a gun like that

633
00:36:30,000 --> 00:36:32,239
Speaker 1: doesn't line up with who we know that character to be,

634
00:36:33,239 --> 00:36:35,919
Speaker 1: you know, and every other example we've seen her try

635
00:36:36,000 --> 00:36:38,400
Speaker 1: to talk to him, and it's so it's weird that

636
00:36:38,440 --> 00:36:40,919
Speaker 1: all of a sudden they're like, no, she's she's mad

637
00:36:40,960 --> 00:36:43,200
Speaker 1: and she's crazy and we're about to kidnap her anyway,

638
00:36:43,280 --> 00:36:46,080
Speaker 1: so might as well give her a gun. Yeah, it's like,

639
00:36:46,120 --> 00:36:49,080
Speaker 1: how do we make her seem the most betrayed right

640
00:36:49,080 --> 00:36:52,799
Speaker 1: that she's like totally whack a doodle, Like this is

641
00:36:52,800 --> 00:36:55,560
Speaker 1: the way chicks react, and you know, bullshit, and they're

642
00:36:55,600 --> 00:36:58,439
Speaker 1: like the big climactic like scenes at the end. So

643
00:36:58,640 --> 00:37:02,239
Speaker 1: it's super inconsistent, right, But also like, I don't know,

644
00:37:02,400 --> 00:37:04,200
Speaker 1: I feel like I'm so much worth forgiving of a

645
00:37:04,200 --> 00:37:06,440
Speaker 1: lot of this stuff in this film only because like

646
00:37:06,560 --> 00:37:10,200
Speaker 1: it's so off the rails in every conceivable way from

647
00:37:10,239 --> 00:37:12,399
Speaker 1: the get go that you're like, oh, sure of course

648
00:37:12,400 --> 00:37:15,280
Speaker 1: she shoots the gut whatever. I do agree that everyone

649
00:37:15,520 --> 00:37:18,480
Speaker 1: is operating at and eleven for the duration of this

650
00:37:19,239 --> 00:37:22,480
Speaker 1: that it's not it's by far not the craziest thing

651
00:37:22,560 --> 00:37:27,719
Speaker 1: that happens. No, But then what's like super sexist? Then

652
00:37:27,800 --> 00:37:30,960
Speaker 1: of course we get the third act cop out of Oh,

653
00:37:31,040 --> 00:37:34,160
Speaker 1: let's kidnap the only female character in the movie as

654
00:37:34,320 --> 00:37:38,120
Speaker 1: leverage so that there's something for the boys to fight for.

655
00:37:38,760 --> 00:37:41,279
Speaker 1: And and then the next time we see her where

656
00:37:41,320 --> 00:37:45,240
Speaker 1: she's not you know, like bound and gagged on Patrick

657
00:37:45,320 --> 00:37:50,080
Speaker 1: Swayzy's creepy van computer or was like what was that

658
00:37:50,120 --> 00:37:54,400
Speaker 1: plugged into? What is It's not a wireless computer you have?

659
00:37:54,600 --> 00:37:58,359
Speaker 1: But and the whole thing where he's like Rosie, he's

660
00:37:58,400 --> 00:38:00,520
Speaker 1: just has this gift where he can just go blank.

661
00:38:00,560 --> 00:38:02,680
Speaker 1: I couldn't do it, man, she was my woman, but

662
00:38:02,760 --> 00:38:04,839
Speaker 1: like he can do it, and it's okay, and you're like,

663
00:38:05,200 --> 00:38:09,879
Speaker 1: what is happening right now? Right? Yeah, that's the other thing.

664
00:38:09,960 --> 00:38:13,680
Speaker 1: So the movie establishes that Tyler and Bodie used to

665
00:38:13,719 --> 00:38:17,560
Speaker 1: go out and have a romantic relationship, which means that

666
00:38:17,680 --> 00:38:20,640
Speaker 1: like the writers when they're trying to like characterize her

667
00:38:20,840 --> 00:38:22,799
Speaker 1: and like trying to figure out, okay, like who is

668
00:38:22,840 --> 00:38:25,120
Speaker 1: she in the story? Like what purpose does she serve? Like,

669
00:38:25,239 --> 00:38:30,680
Speaker 1: they had to write in that she is Bodie's ex girlfriend,

670
00:38:31,280 --> 00:38:33,399
Speaker 1: which is like not necessary for the story at all.

671
00:38:33,440 --> 00:38:36,359
Speaker 1: It's just weird. Yeah, for whatever reason they're I mean,

672
00:38:36,360 --> 00:38:38,759
Speaker 1: this happens a lot where they're like, well, why would

673
00:38:38,800 --> 00:38:40,840
Speaker 1: this woman exist in this story? Better make her the

674
00:38:40,880 --> 00:38:44,399
Speaker 1: ex girl, like, better established her relationship to a man

675
00:38:44,520 --> 00:38:46,680
Speaker 1: in this story. But it doesn't serve the story at all.

676
00:38:46,680 --> 00:38:48,400
Speaker 1: It could easily just been that they were friends or

677
00:38:48,440 --> 00:38:51,560
Speaker 1: they hang out in the same surfing circle, pushing the

678
00:38:51,640 --> 00:38:54,359
Speaker 1: point to write, Like in the party scene where he's

679
00:38:54,400 --> 00:38:56,959
Speaker 1: like doing the tequila shots of that woman, he says

680
00:38:56,960 --> 00:38:59,920
Speaker 1: to Johnny, Utah, what's mine is yours? And you're like,

681
00:39:02,080 --> 00:39:06,759
Speaker 1: because women be property, the property of the men. In

682
00:39:06,800 --> 00:39:09,680
Speaker 1: the game of patriarchy, women are not the opposing team.

683
00:39:09,840 --> 00:39:14,040
Speaker 1: They are the ball and the scene very much illustrates that. Yes,

684
00:39:14,280 --> 00:39:16,359
Speaker 1: I feel like that from a story perspective, that wasn't

685
00:39:16,400 --> 00:39:20,439
Speaker 1: even really necessary because you know, in one of the

686
00:39:20,480 --> 00:39:24,520
Speaker 1: things this movie I thought did right, we do know

687
00:39:24,560 --> 00:39:26,600
Speaker 1: a little bit about Tyler, Like I think we know

688
00:39:26,760 --> 00:39:29,360
Speaker 1: enough about her that we don't really need that element

689
00:39:29,360 --> 00:39:31,440
Speaker 1: where we know, you know a little bit about her

690
00:39:31,480 --> 00:39:34,320
Speaker 1: past where she has like you know, she is an orphan.

691
00:39:34,880 --> 00:39:37,560
Speaker 1: That's more than we know about a lot of female protagonists.

692
00:39:37,600 --> 00:39:40,520
Speaker 1: We know that she has a job and a hobby,

693
00:39:41,080 --> 00:39:43,680
Speaker 1: and we know that of course she is not like

694
00:39:43,760 --> 00:39:47,200
Speaker 1: the other girls. I suspect it's also I mean, like, okay,

695
00:39:47,200 --> 00:39:50,560
Speaker 1: we're talking about, you know, a very cliched story with

696
00:39:50,680 --> 00:39:54,239
Speaker 1: the three act arc or whatever is how you talk

697
00:39:54,280 --> 00:39:58,960
Speaker 1: about stories. I totally up. It's fine, keep moving, But

698
00:39:59,120 --> 00:40:01,640
Speaker 1: I suspect there's a thing where instead of just being like, oh,

699
00:40:01,680 --> 00:40:03,799
Speaker 1: she's a really good surfer and she just is down,

700
00:40:03,920 --> 00:40:06,319
Speaker 1: she like hangs out with a surfing group, like they

701
00:40:06,360 --> 00:40:09,200
Speaker 1: have to justify her involvement as an ex or else.

702
00:40:09,239 --> 00:40:11,319
Speaker 1: Why would there be some woman here, Why would a

703
00:40:11,320 --> 00:40:13,640
Speaker 1: woman be a good surfer? Why is a woman hanging

704
00:40:13,680 --> 00:40:16,480
Speaker 1: out in this house? That's not just background decoration. I

705
00:40:16,520 --> 00:40:19,320
Speaker 1: think that that's like too much forethought for the writers.

706
00:40:19,760 --> 00:40:22,160
Speaker 1: But I suspect that would be the you know, they

707
00:40:22,160 --> 00:40:23,719
Speaker 1: just did it because that's what you do. You just

708
00:40:23,760 --> 00:40:26,800
Speaker 1: write women as the love interest. But I suspect, like,

709
00:40:26,840 --> 00:40:29,680
Speaker 1: if you really force someone to explain it, that would

710
00:40:29,680 --> 00:40:32,719
Speaker 1: be the excuse, because otherwise, why would she even be there.

711
00:40:32,800 --> 00:40:36,400
Speaker 1: God's depressing, Like she could not have come to surfing

712
00:40:36,440 --> 00:40:39,239
Speaker 1: on her own. Yeah. And I think the other thing too,

713
00:40:39,280 --> 00:40:42,120
Speaker 1: is that her character is very indicative of like the

714
00:40:42,920 --> 00:40:46,000
Speaker 1: sort of rise that we start seeing in the nineties

715
00:40:46,080 --> 00:40:49,920
Speaker 1: of perceived quote unquote strong female characters, where you know,

716
00:40:49,960 --> 00:40:54,240
Speaker 1: you have these women who are very conventionally attractive and

717
00:40:54,560 --> 00:40:57,160
Speaker 1: they they're sort of mouthy, right, Like she can kind

718
00:40:57,160 --> 00:40:59,200
Speaker 1: of she's kind of like tough and cool like we're

719
00:40:59,200 --> 00:41:02,360
Speaker 1: talking about earlier, um, but is still put in her place.

720
00:41:02,560 --> 00:41:04,640
Speaker 1: She's still a love interest. She's still like kind of

721
00:41:04,640 --> 00:41:08,319
Speaker 1: this side character in this this story about two men. Yeah,

722
00:41:08,440 --> 00:41:11,160
Speaker 1: she basically only exists in the narrative in the context

723
00:41:11,160 --> 00:41:15,000
Speaker 1: of her relationship to the men who are the main characters. Yeah,

724
00:41:15,000 --> 00:41:17,640
Speaker 1: but she's like, you know, cool, right, because she gets

725
00:41:17,680 --> 00:41:20,200
Speaker 1: to comment on like you know, they're they're talking about

726
00:41:20,320 --> 00:41:22,560
Speaker 1: if you die doing what you love, it's worth it,

727
00:41:22,600 --> 00:41:25,640
Speaker 1: and she's like too much testosterone for me. Yeah, Like

728
00:41:25,719 --> 00:41:30,520
Speaker 1: she'll make these these like comments about masculinity and she's like,

729
00:41:30,600 --> 00:41:33,160
Speaker 1: you know, she'll she'll talk back, um, and she'll be

730
00:41:33,239 --> 00:41:36,560
Speaker 1: quote unquote tough. But like that doesn't really matter because

731
00:41:36,880 --> 00:41:38,960
Speaker 1: she's not important enough and she doesn't get to do

732
00:41:39,000 --> 00:41:41,719
Speaker 1: anything with that. It's not actualized. Right, that never really

733
00:41:41,719 --> 00:41:44,480
Speaker 1: pays because she's like big wave riding is for mucho

734
00:41:44,600 --> 00:41:48,000
Speaker 1: assholes with a death wish, which is what happens at

735
00:41:48,000 --> 00:41:53,560
Speaker 1: the end of the movie where does kill himself on

736
00:41:53,600 --> 00:41:57,120
Speaker 1: a big wave. But I mean, yeah, like her like

737
00:41:57,560 --> 00:42:02,280
Speaker 1: headstrongness so to speak, doesn't necessarily play into the narrative.

738
00:42:02,320 --> 00:42:06,040
Speaker 1: It just gives her a little bit more characterization, but right,

739
00:42:06,120 --> 00:42:10,600
Speaker 1: it's not necessarily important to the events of this story. Yeah, yeah, totally.

740
00:42:10,640 --> 00:42:12,560
Speaker 1: And I feel like, you know, at the time, it

741
00:42:12,680 --> 00:42:15,200
Speaker 1: was probably like man like, she's a really cool female

742
00:42:15,280 --> 00:42:18,200
Speaker 1: character in comparison to all of the lack of options

743
00:42:18,239 --> 00:42:21,160
Speaker 1: that we have in media during that time period, you know,

744
00:42:21,480 --> 00:42:24,960
Speaker 1: especially because she's sad, short hair, she's got short hair, baldist,

745
00:42:25,000 --> 00:42:27,560
Speaker 1: woman in charge there's not even enough. But there's not

746
00:42:27,560 --> 00:42:32,360
Speaker 1: even another woman. There's not another woman. I have a

747
00:42:32,440 --> 00:42:40,439
Speaker 1: very important question. What does speak into the microphone squid brain? Mean? Wait,

748
00:42:40,480 --> 00:42:43,319
Speaker 1: at what point does that happen? Bucy says it when

749
00:42:43,400 --> 00:42:45,440
Speaker 1: he like sticks a gun into someone's face, and I

750
00:42:45,560 --> 00:42:49,160
Speaker 1: was like, speak into the microphone, squid brain, Like, really,

751
00:42:49,719 --> 00:42:53,560
Speaker 1: how do you say that and not just have like

752
00:42:53,600 --> 00:42:56,799
Speaker 1: a word cloud of insane things that you can say

753
00:42:56,840 --> 00:42:59,319
Speaker 1: at any given moment. I mean, it probably means the

754
00:42:59,400 --> 00:43:01,680
Speaker 1: same thing is I'm so hungry I could eat the

755
00:43:01,680 --> 00:43:06,040
Speaker 1: as end out of a rhino. Or it means the

756
00:43:06,120 --> 00:43:10,200
Speaker 1: same thing as vanish like a virgin on prom night,

757
00:43:10,560 --> 00:43:13,279
Speaker 1: Or it means the same thing as are you through?

758
00:43:13,400 --> 00:43:15,720
Speaker 1: Mr Wizard? Let me know if you find Jimmy Hoffa

759
00:43:15,840 --> 00:43:18,320
Speaker 1: under the seat while you're at it, like his line

760
00:43:18,960 --> 00:43:25,040
Speaker 1: to Sea World Kid. I did particularly like when Keanu

761
00:43:25,120 --> 00:43:27,960
Speaker 1: said are we going to jump or jerk off? When

762
00:43:28,000 --> 00:43:30,520
Speaker 1: they're all like dying on the plane. That was definitely

763
00:43:30,560 --> 00:43:33,839
Speaker 1: a good They also said, uh, when they're skydiving and

764
00:43:34,200 --> 00:43:37,120
Speaker 1: they're like debating like whether or not they should pull

765
00:43:37,440 --> 00:43:44,040
Speaker 1: the rip chord, someone says we're gonna be meat waffles.

766
00:43:42,680 --> 00:43:46,800
Speaker 1: Just what end on that note, We're gonna take another

767
00:43:46,880 --> 00:43:54,879
Speaker 1: quick break and we'll be back in a second, and

768
00:43:55,280 --> 00:43:59,239
Speaker 1: we are back. Um, I want to talk about So

769
00:43:59,400 --> 00:44:02,440
Speaker 1: they're is a trend in this movie and across a

770
00:44:02,440 --> 00:44:06,400
Speaker 1: bunch of movies where like during the bank robbing scenes

771
00:44:06,640 --> 00:44:08,440
Speaker 1: or in like other movies, if you see like a

772
00:44:08,480 --> 00:44:13,880
Speaker 1: hostage situation, I feel like women are more commonly threatened

773
00:44:13,920 --> 00:44:17,279
Speaker 1: with violence or they're like thrown all around a lot more.

774
00:44:17,280 --> 00:44:20,040
Speaker 1: They're screamed at more, they're like guns are pointed at

775
00:44:20,080 --> 00:44:22,680
Speaker 1: them more, they're like thrown to the floor more. And

776
00:44:23,000 --> 00:44:26,160
Speaker 1: I think the reason this happens, the reason this choice

777
00:44:26,280 --> 00:44:30,719
Speaker 1: is made, is that women are perceived by society as

778
00:44:30,760 --> 00:44:34,120
Speaker 1: being weaker and more delicate, So when they're threatened, it

779
00:44:34,200 --> 00:44:36,360
Speaker 1: like heightens the tension more than it would if it

780
00:44:36,400 --> 00:44:39,160
Speaker 1: was like a big, macho guy being thrown to the ground,

781
00:44:39,160 --> 00:44:42,680
Speaker 1: because the implications always like she can't fight back, right exactly.

782
00:44:43,040 --> 00:44:45,520
Speaker 1: So it's like the filmmaker's idea of like how can

783
00:44:45,560 --> 00:44:47,440
Speaker 1: we like heighten the tension of this scene or how

784
00:44:47,480 --> 00:44:52,640
Speaker 1: can we like really amplify the stakes. It's so ridiculous

785
00:44:52,640 --> 00:44:55,760
Speaker 1: about that is in that scene that you're talking about,

786
00:44:56,200 --> 00:44:59,480
Speaker 1: he's like, lady open up the vault, and she's like,

787
00:44:59,719 --> 00:45:03,200
Speaker 1: Mr Manager has the keys, and so he's like, we

788
00:45:03,440 --> 00:45:06,480
Speaker 1: just missed your manager. So then he's like, here, do

789
00:45:06,560 --> 00:45:08,880
Speaker 1: whatever they want and gives her the keys to go

790
00:45:09,000 --> 00:45:11,200
Speaker 1: and do the things so that it perpetuates exactly what

791
00:45:11,239 --> 00:45:13,279
Speaker 1: you're talking about, as opposed to the dude with the

792
00:45:13,360 --> 00:45:16,200
Speaker 1: keys just opening up the fucking vault right, like he

793
00:45:16,280 --> 00:45:18,640
Speaker 1: just passes it off to her like that, what's come on?

794
00:45:18,880 --> 00:45:21,279
Speaker 1: It's so yeah, it's bizarre. And then if you just

795
00:45:21,360 --> 00:45:24,520
Speaker 1: see just like different moments of like extras, just like

796
00:45:24,560 --> 00:45:28,120
Speaker 1: women being thrown violently to the floor, pushed around a

797
00:45:28,160 --> 00:45:30,719
Speaker 1: gun how to her head? Like we see this all

798
00:45:30,719 --> 00:45:32,359
Speaker 1: the time in movies like this, if there's like a

799
00:45:32,360 --> 00:45:36,480
Speaker 1: bank robbery or something, and we perceive women as a

800
00:45:36,560 --> 00:45:39,239
Speaker 1: society to be weaker because maybe we just see so

801
00:45:39,320 --> 00:45:43,400
Speaker 1: much representation on screen of like quote unquote weak women

802
00:45:43,600 --> 00:45:48,400
Speaker 1: who can't fight back or who you know, are super

803
00:45:48,680 --> 00:45:51,560
Speaker 1: scared or whatever. But like, I don't know, like if

804
00:45:51,600 --> 00:45:55,480
Speaker 1: we see stronger and more fearless women on screen, this

805
00:45:55,719 --> 00:45:59,399
Speaker 1: wouldn't keep happening. Yeah, Well, and also challenging the notion

806
00:45:59,440 --> 00:46:01,960
Speaker 1: of what string means, right, and I think we're seeing

807
00:46:02,000 --> 00:46:04,600
Speaker 1: we are seeing more media that's doing that that like

808
00:46:04,680 --> 00:46:09,279
Speaker 1: this historical notion of strength and toughness that comes from

809
00:46:09,280 --> 00:46:14,400
Speaker 1: like male masculinity and like the hero hero archetype um women,

810
00:46:14,719 --> 00:46:17,040
Speaker 1: they just threw onto female roles and was like, now

811
00:46:17,120 --> 00:46:20,160
Speaker 1: you're strong. But like we I think we're slowly starting

812
00:46:20,200 --> 00:46:22,719
Speaker 1: to see more female characters who are more nuanced, who

813
00:46:22,760 --> 00:46:25,160
Speaker 1: are more flawed, who are more complex, and where strength

814
00:46:25,239 --> 00:46:28,680
Speaker 1: comes from things that aren't just like physical violence or

815
00:46:28,760 --> 00:46:32,879
Speaker 1: like stoicness. Yeah. And I would extend that same line

816
00:46:32,880 --> 00:46:36,000
Speaker 1: of thought to the chase scene as well, because you

817
00:46:36,239 --> 00:46:39,160
Speaker 1: see women sort of threatened with the possibility of violence,

818
00:46:39,160 --> 00:46:41,360
Speaker 1: but also it's like, oh, we're running through their house

819
00:46:41,480 --> 00:46:43,879
Speaker 1: without you know, asking to come in, so of course

820
00:46:43,960 --> 00:46:46,040
Speaker 1: they're going to be naked because we need an excuse

821
00:46:46,400 --> 00:46:49,680
Speaker 1: for nudity to appear. That always reminds me of die Hard,

822
00:46:50,320 --> 00:46:52,399
Speaker 1: uh in the first scene of die Hard, where there's

823
00:46:52,600 --> 00:46:55,120
Speaker 1: no reason for a woman to be topless, but they

824
00:46:55,160 --> 00:46:57,920
Speaker 1: find a reason, Like we'll just have her be having

825
00:46:57,960 --> 00:47:01,080
Speaker 1: sex with a random man. We will not see his

826
00:47:01,400 --> 00:47:05,480
Speaker 1: he's he's wearing a shirt. She's totally topless, So yeah,

827
00:47:05,560 --> 00:47:08,680
Speaker 1: I mean it's just it's like every movie tries to

828
00:47:08,719 --> 00:47:10,640
Speaker 1: throw in and this happens in video games all the

829
00:47:10,640 --> 00:47:12,279
Speaker 1: fucking time, where it's like, oh, there has to be

830
00:47:12,320 --> 00:47:15,400
Speaker 1: a strip club scene. Of course, yeah, there'll be like

831
00:47:15,400 --> 00:47:17,520
Speaker 1: a business meeting at a strip club in movies where

832
00:47:17,520 --> 00:47:20,279
Speaker 1: it's like, why are you meeting here? It's just it's

833
00:47:20,320 --> 00:47:23,279
Speaker 1: like an excuse for titties. And it's also like a

834
00:47:23,400 --> 00:47:28,120
Speaker 1: shorthand for like, these guys are cool, like or or

835
00:47:28,640 --> 00:47:30,960
Speaker 1: or villain is I want to go back really cool?

836
00:47:31,000 --> 00:47:34,400
Speaker 1: We didn't. We didn't talk about where the Tyler's storyline

837
00:47:34,480 --> 00:47:38,000
Speaker 1: leaves off, which is also baffed and frustrating because I

838
00:47:38,040 --> 00:47:39,920
Speaker 1: just want to make sure we hit on it. So

839
00:47:40,040 --> 00:47:46,040
Speaker 1: Tyler is kidnapped by Swaysy's meanest boy and uh, the

840
00:47:46,080 --> 00:47:51,120
Speaker 1: one who would actually kill her Rosie so yes, and

841
00:47:51,120 --> 00:47:54,480
Speaker 1: and Swaysie's character, in order to keep the audience on

842
00:47:54,680 --> 00:47:58,400
Speaker 1: board enough with him as a character, does this weird

843
00:47:58,480 --> 00:48:00,960
Speaker 1: thing where he's like, yeah, I can never kill her.

844
00:48:01,160 --> 00:48:05,279
Speaker 1: Fortunately I know someone who could though, and you're just like, okay,

845
00:48:05,400 --> 00:48:07,600
Speaker 1: I guess he's like, but I don't actually wanted to die,

846
00:48:07,719 --> 00:48:13,960
Speaker 1: like please Bedrock, sweetie. But we see Tyler at the end,

847
00:48:14,040 --> 00:48:17,000
Speaker 1: she's released or she you know, and she's wearing this

848
00:48:17,320 --> 00:48:21,759
Speaker 1: virginal slip, and she's wearing the white slip runs into

849
00:48:21,840 --> 00:48:24,279
Speaker 1: Keyanu's arm. Keep in mind the last time they saw

850
00:48:24,320 --> 00:48:27,160
Speaker 1: each other, she was shooting him exactly. And then you

851
00:48:27,200 --> 00:48:31,239
Speaker 1: see what one of my favorite shitty dumb sequences in

852
00:48:31,320 --> 00:48:33,600
Speaker 1: the scene was, which was him calling her on the

853
00:48:33,680 --> 00:48:38,200
Speaker 1: phone over and over trying to apologize and just grappling

854
00:48:38,239 --> 00:48:40,320
Speaker 1: with this. And he was just like, he's a tyler.

855
00:48:40,320 --> 00:48:42,920
Speaker 1: I'm so sorry, these are so messed up. I was

856
00:48:42,960 --> 00:48:45,800
Speaker 1: afraid you'd leave. And then he says and I quote, fuck,

857
00:48:46,200 --> 00:48:50,800
Speaker 1: why can't I ever say what I really mean? And

858
00:48:51,239 --> 00:48:54,120
Speaker 1: he puts the phone down, and I continues to do

859
00:48:54,160 --> 00:48:58,759
Speaker 1: the message. I was just like, you did nothing up.

860
00:49:00,600 --> 00:49:04,840
Speaker 1: That's on the message. Funk, my kid? Is he what

861
00:49:05,000 --> 00:49:08,680
Speaker 1: they really mean? So good? I prepped you for that.

862
00:49:08,719 --> 00:49:12,000
Speaker 1: Remember I would remember that I like pay attention. Yeah

863
00:49:12,080 --> 00:49:15,120
Speaker 1: that was the line. Oh that I like how old?

864
00:49:15,200 --> 00:49:19,360
Speaker 1: It is so funny. But but she doesn't talk to

865
00:49:19,440 --> 00:49:22,400
Speaker 1: him because we were to assume she gets kidnapped immediately

866
00:49:22,400 --> 00:49:24,080
Speaker 1: after running out of her own house naked with a

867
00:49:24,120 --> 00:49:26,719
Speaker 1: gun whatever, But we we don't see her again. She

868
00:49:26,840 --> 00:49:30,160
Speaker 1: runs into Kanu's arms, and as a call back to

869
00:49:30,360 --> 00:49:34,400
Speaker 1: a problematic scene Plissa earlier in the movie, she's about

870
00:49:34,440 --> 00:49:37,560
Speaker 1: to tell him that she loves him, and then he

871
00:49:37,600 --> 00:49:41,800
Speaker 1: goes some other time, So she runs into his arms

872
00:49:41,880 --> 00:49:43,840
Speaker 1: to say that she loves him, even though that doesn't

873
00:49:43,840 --> 00:49:46,799
Speaker 1: make any logical sense, and then he goes shut up,

874
00:49:48,000 --> 00:49:50,600
Speaker 1: and then she starts to make out with his neck

875
00:49:50,719 --> 00:49:55,600
Speaker 1: while he has a conversation with another character. It's that's

876
00:49:55,600 --> 00:49:58,600
Speaker 1: the last time was here. Yeah, that's it, Bye bye.

877
00:49:58,680 --> 00:50:03,319
Speaker 1: We have to watch the pat Patrick Swayze commits surfing suicide.

878
00:50:04,600 --> 00:50:08,560
Speaker 1: So the thing about the last scene, which again you

879
00:50:08,719 --> 00:50:12,080
Speaker 1: just gotta not ask questions about this movie, which is

880
00:50:12,120 --> 00:50:13,960
Speaker 1: the complete opposite of what we've been doing for an hour.

881
00:50:14,560 --> 00:50:21,239
Speaker 1: But so the FBI has no jurisdiction internationally. Oh yeah,

882
00:50:22,000 --> 00:50:26,440
Speaker 1: somehow Keanu reeves the rookie cop that he's already hated

883
00:50:26,480 --> 00:50:29,440
Speaker 1: by his boss, gets to travel around the world trying

884
00:50:29,440 --> 00:50:32,080
Speaker 1: to track down this one dude that robbed some banks.

885
00:50:32,080 --> 00:50:35,560
Speaker 1: A couple of times he finds him, then he lets

886
00:50:35,640 --> 00:50:40,480
Speaker 1: him go, and then he's like, I'm done, and he

887
00:50:40,560 --> 00:50:43,120
Speaker 1: throws his badge into the ocean, as if he wasn't

888
00:50:43,160 --> 00:50:46,160
Speaker 1: already fired, right did he quit? Like, I don't know

889
00:50:46,200 --> 00:50:49,239
Speaker 1: what that like. That's insinuation is that he's like, I

890
00:50:49,320 --> 00:50:51,160
Speaker 1: did the one thing I needed to do and now

891
00:50:51,200 --> 00:50:55,880
Speaker 1: I can quit. And you're like, like, you didn't do it,

892
00:50:53,480 --> 00:51:00,160
Speaker 1: but you didn't do it? Is his death satisfaction to you?

893
00:51:00,480 --> 00:51:02,480
Speaker 1: Is that? What? Like what you've been seeking for a year?

894
00:51:03,000 --> 00:51:06,160
Speaker 1: I I interpreted it as well. No, Actually that wouldn't

895
00:51:06,160 --> 00:51:08,839
Speaker 1: make sense either, where he's like he wanted to watch

896
00:51:08,920 --> 00:51:11,040
Speaker 1: Patrick Swayzey die, but he didn't want to be the

897
00:51:11,080 --> 00:51:13,719
Speaker 1: one to do it himself. Maybe I think he just

898
00:51:13,760 --> 00:51:17,720
Speaker 1: wanted justice quote unquote right, like you're a bad guy,

899
00:51:17,920 --> 00:51:20,760
Speaker 1: so you have to be taken down and like people

900
00:51:20,880 --> 00:51:24,920
Speaker 1: died and ship, right and so but he's still Kanu

901
00:51:25,000 --> 00:51:27,960
Speaker 1: has a soft heart and was like it's okay that

902
00:51:28,040 --> 00:51:32,759
Speaker 1: you die doing brain Yeah. And also in the year

903
00:51:32,800 --> 00:51:35,840
Speaker 1: he's traveling around the world. What's Tyler doing? Right? Is

904
00:51:35,880 --> 00:51:39,000
Speaker 1: she there? Where they break up? Like immediately after if

905
00:51:39,000 --> 00:51:41,480
Speaker 1: she had any sense, she would be like, I'm sorry,

906
00:51:41,520 --> 00:51:44,000
Speaker 1: I was just overcome with emotion because I was kidnapped.

907
00:51:44,040 --> 00:51:46,839
Speaker 1: But like, yeah, this doesn't make a lot of sense. Well,

908
00:51:46,880 --> 00:51:50,520
Speaker 1: they're they're romantic relationship is very similar to ones that

909
00:51:50,560 --> 00:51:53,759
Speaker 1: we see in movies all the time, where it's so underdeveloped.

910
00:51:53,760 --> 00:51:57,480
Speaker 1: We're not really sure why they like each other, aside

911
00:51:57,480 --> 00:51:59,360
Speaker 1: from the fact that they're both attractive people and that

912
00:51:59,440 --> 00:52:01,759
Speaker 1: they're near each other. So like, I guess you could

913
00:52:01,840 --> 00:52:04,440
Speaker 1: argue that she feels a connection to him because he

914
00:52:04,560 --> 00:52:06,560
Speaker 1: had a similar experience with the death of his parents,

915
00:52:06,600 --> 00:52:08,520
Speaker 1: which he didn't actually have, and he was just lying

916
00:52:08,560 --> 00:52:11,200
Speaker 1: to her about that. But like, other than that, she

917
00:52:11,320 --> 00:52:13,399
Speaker 1: like very quickly falls in love with him. They've only

918
00:52:13,400 --> 00:52:16,279
Speaker 1: been dating for like two weeks, Like the timeline on

919
00:52:16,320 --> 00:52:18,600
Speaker 1: this movie is pretty short, so when you're on the

920
00:52:18,640 --> 00:52:25,400
Speaker 1: beach though, but like body says something to Johnny Utah

921
00:52:25,440 --> 00:52:27,399
Speaker 1: where he's just like, you know, she does love your man,

922
00:52:27,520 --> 00:52:29,680
Speaker 1: Like she never felt that way about me, like I

923
00:52:29,760 --> 00:52:33,120
Speaker 1: can tell. So it's just like, well, why do you

924
00:52:33,200 --> 00:52:36,279
Speaker 1: love him again? Like it's just the I know, I

925
00:52:36,360 --> 00:52:38,680
Speaker 1: know why she like opens up to him, and that's

926
00:52:38,680 --> 00:52:42,239
Speaker 1: because he lies to her about dead parents. Because when

927
00:52:42,280 --> 00:52:44,920
Speaker 1: you have a trauma and someone else has the same trauma,

928
00:52:45,000 --> 00:52:47,239
Speaker 1: you immediately fall in love with You have to be

929
00:52:47,360 --> 00:52:49,920
Speaker 1: in love. That's that's what the movies of timing and

930
00:52:50,080 --> 00:52:53,040
Speaker 1: if they're lying about it too late. You're already in love.

931
00:52:54,320 --> 00:52:57,279
Speaker 1: You can't get out of that. I would like to

932
00:52:57,320 --> 00:53:00,680
Speaker 1: see how many scenes Keanu Reeves is in and where

933
00:53:01,120 --> 00:53:03,160
Speaker 1: he it's that last scene, you know, like where she

934
00:53:03,239 --> 00:53:05,239
Speaker 1: runs up and they're like kissing and they're like, we

935
00:53:05,280 --> 00:53:07,560
Speaker 1: love each other after this horrible thing just happened, because

936
00:53:07,560 --> 00:53:11,680
Speaker 1: it's the exact same scene in Speed Ye yeah, and

937
00:53:11,719 --> 00:53:14,600
Speaker 1: they make the joke and Speed about how like relationships

938
00:53:14,600 --> 00:53:18,560
Speaker 1: that are built on whatever, fucking like a trauma bond,

939
00:53:18,719 --> 00:53:22,359
Speaker 1: like yeah, it never lasts, and they're like's to love you?

940
00:53:22,520 --> 00:53:24,360
Speaker 1: I just like, how many movies does that happen in

941
00:53:24,360 --> 00:53:26,359
Speaker 1: with Kenna Reeves? I would like that super cut. So

942
00:53:26,400 --> 00:53:28,040
Speaker 1: if somebody could make that in sentence to me, I

943
00:53:28,080 --> 00:53:30,640
Speaker 1: would really appreciate. It's the implication there that someone can

944
00:53:30,680 --> 00:53:33,400
Speaker 1: only fall in love with Kanary as if they've recently

945
00:53:33,440 --> 00:53:37,319
Speaker 1: been through a tragedy, like you can't fall in love

946
00:53:37,320 --> 00:53:39,880
Speaker 1: with them in regular life. Well, in the Matron she

947
00:53:39,960 --> 00:53:42,320
Speaker 1: falls in them because that was a prophecy. Well, I

948
00:53:42,360 --> 00:53:48,000
Speaker 1: haven't seen that movies just as important as talking about

949
00:53:48,080 --> 00:53:50,479
Speaker 1: the only female character in the movie. I do think

950
00:53:50,480 --> 00:53:54,000
Speaker 1: that it's interesting to explore a little bit just how

951
00:53:54,160 --> 00:53:58,760
Speaker 1: masculinity is in hyper masculinity is portrayed in this particular

952
00:53:58,800 --> 00:54:01,960
Speaker 1: movie because the two cents real friendships between men that

953
00:54:02,040 --> 00:54:05,600
Speaker 1: we see in this movie are Swayzy Abusey, I don't know,

954
00:54:07,280 --> 00:54:11,760
Speaker 1: but give me that Kianu Abusi and Kianu and Swayze

955
00:54:12,200 --> 00:54:16,080
Speaker 1: two very different friendships, but both are rooted in hyper

956
00:54:16,120 --> 00:54:20,759
Speaker 1: masculine like adrenaline rushes, where like Abusey and Keanu get

957
00:54:20,760 --> 00:54:25,640
Speaker 1: off on the adrenaline rush of like police where the police,

958
00:54:26,080 --> 00:54:29,760
Speaker 1: and then Swayzie and Keanu get off on like surfing

959
00:54:30,080 --> 00:54:33,799
Speaker 1: and planes, and like it's two different types of the

960
00:54:33,960 --> 00:54:39,400
Speaker 1: same relation planes surfing and planes. They're like we're recreational

961
00:54:39,480 --> 00:54:44,080
Speaker 1: testosterone and we're professional testosterone. And you know, it's like

962
00:54:44,120 --> 00:54:48,279
Speaker 1: the Swayze is the weekend guy or whatever. But I don't,

963
00:54:48,280 --> 00:54:50,920
Speaker 1: I don't know. It's just weird to see both friendships

964
00:54:50,960 --> 00:54:55,040
Speaker 1: are based in the same like they're always doing stuff

965
00:54:55,440 --> 00:54:58,439
Speaker 1: instead of talking about stuff. And that's also the root

966
00:54:58,520 --> 00:55:01,040
Speaker 1: of most of their problem. This is because they're always

967
00:55:01,160 --> 00:55:03,839
Speaker 1: doing stuff and not talking about stuff. I don't know.

968
00:55:04,120 --> 00:55:07,280
Speaker 1: It's definitely a very specific type of masculinity. The whole

969
00:55:07,280 --> 00:55:09,800
Speaker 1: film is that is the same kind of like bullshit,

970
00:55:09,920 --> 00:55:14,000
Speaker 1: which hilariously Tyler tries to call out, but also doesn't

971
00:55:14,120 --> 00:55:17,359
Speaker 1: matter at all, right, Like it it's just so yeah,

972
00:55:17,520 --> 00:55:19,960
Speaker 1: it's such a throwaway line. The only way she calls

973
00:55:19,960 --> 00:55:22,120
Speaker 1: it out too, is by like stating it and then

974
00:55:22,200 --> 00:55:26,200
Speaker 1: leaving this scene, right and so continue but this time

975
00:55:26,200 --> 00:55:28,440
Speaker 1: without me, and she's still friends with them, so like,

976
00:55:28,480 --> 00:55:30,360
Speaker 1: if she was that bothered by it, she wouldn't be

977
00:55:30,400 --> 00:55:33,359
Speaker 1: hanging out with these guys, but she remains friends with them,

978
00:55:33,360 --> 00:55:36,279
Speaker 1: so it's like, Okay, well, you're not that disgusted by

979
00:55:36,280 --> 00:55:40,000
Speaker 1: their toxic masculinity, So it's just like, what's the point

980
00:55:40,040 --> 00:55:42,320
Speaker 1: then if you're gonna have a character make a comment

981
00:55:42,400 --> 00:55:44,840
Speaker 1: on it, but then like there's no follow through or

982
00:55:44,880 --> 00:55:47,960
Speaker 1: there's no repercussions. It's a it's like a have your

983
00:55:48,000 --> 00:55:49,920
Speaker 1: cake and eat it. To kind of where we were

984
00:55:49,920 --> 00:55:53,160
Speaker 1: talking about this recently in the Aladdin episode, where it's

985
00:55:53,200 --> 00:55:56,000
Speaker 1: like there's a bunch of like Disney Renaissance princesses that

986
00:55:56,640 --> 00:55:59,239
Speaker 1: are like kind of what you're saying earlier, inn to

987
00:55:59,440 --> 00:56:03,960
Speaker 1: of like here's a character who will technically say some

988
00:56:04,040 --> 00:56:06,719
Speaker 1: of the right things, but they're saying that has no

989
00:56:06,880 --> 00:56:09,760
Speaker 1: impact on what happens. So it's you know, it's almost

990
00:56:09,800 --> 00:56:13,280
Speaker 1: for like male creatives to be like, well we said so,

991
00:56:13,760 --> 00:56:15,400
Speaker 1: and it's like, yeah, but it had no impact and

992
00:56:15,520 --> 00:56:17,960
Speaker 1: nothing happened as a result of it. So why say

993
00:56:18,000 --> 00:56:19,959
Speaker 1: it other than to be able to say you said

994
00:56:19,960 --> 00:56:23,040
Speaker 1: it later? You mean when Princess Jasmine says I am

995
00:56:23,080 --> 00:56:26,959
Speaker 1: not surprised to be one and then Aladdin wins her, yeah,

996
00:56:27,000 --> 00:56:30,440
Speaker 1: twenty minutes later. Yeah. Yeah. It's like, just like, I

997
00:56:30,840 --> 00:56:33,319
Speaker 1: don't know if there's like a name for for when

998
00:56:33,360 --> 00:56:36,480
Speaker 1: that happens, but it happens so frequently, and especially in

999
00:56:36,880 --> 00:56:40,200
Speaker 1: movies of this era. And then also, okay, so are

1000
00:56:40,239 --> 00:56:44,040
Speaker 1: we It sounds like Point Break Live references this the

1001
00:56:44,800 --> 00:56:49,919
Speaker 1: like homoerotic undertones direct me to them, Like where where

1002
00:56:50,040 --> 00:56:52,440
Speaker 1: the specific moments people pick out in this movie as

1003
00:56:52,960 --> 00:56:55,480
Speaker 1: that is it the holding hands jumping out of the

1004
00:56:55,480 --> 00:56:57,480
Speaker 1: plane scene. I thought they were going to try to

1005
00:56:57,560 --> 00:56:59,719
Speaker 1: kill Kianu in that scene. That's where I went into

1006
00:56:59,760 --> 00:57:01,480
Speaker 1: that scene, being like, they're going to kill him and

1007
00:57:01,480 --> 00:57:03,799
Speaker 1: then it turns out that they're just they're friends. That

1008
00:57:04,200 --> 00:57:06,920
Speaker 1: scene makes no sense in the movie. It doesn't need

1009
00:57:07,000 --> 00:57:11,239
Speaker 1: to be there. It's so serves no purpose. Except to

1010
00:57:11,360 --> 00:57:13,440
Speaker 1: maybe that it pays off a little later when they

1011
00:57:13,440 --> 00:57:16,560
Speaker 1: go sky diving again, but that also doesn't need to happen.

1012
00:57:16,640 --> 00:57:20,200
Speaker 1: Like I think someone was just like, we gotta sky

1013
00:57:20,320 --> 00:57:26,880
Speaker 1: diving in this surfing movie. I'm trying to remember now

1014
00:57:26,920 --> 00:57:29,720
Speaker 1: because when I just watched it again yesterday, and I

1015
00:57:29,720 --> 00:57:31,280
Speaker 1: feel like I've watched it so many times that I

1016
00:57:31,320 --> 00:57:33,560
Speaker 1: don't even notice it anymore. But I know for sure

1017
00:57:33,640 --> 00:57:35,400
Speaker 1: them like being on top of each other in the

1018
00:57:35,440 --> 00:57:38,280
Speaker 1: sky and being like pull the cord. No, you pull

1019
00:57:38,320 --> 00:57:39,920
Speaker 1: the cord. You pull the cord. Now you pull the

1020
00:57:39,960 --> 00:57:43,000
Speaker 1: cord um, and and because Swayze is like he's so,

1021
00:57:43,120 --> 00:57:45,840
Speaker 1: here's the thing is I think Patrick Swayze is just

1022
00:57:45,920 --> 00:57:49,360
Speaker 1: like the cats me out. Speaking of cats, cats do

1023
00:57:49,520 --> 00:57:53,560
Speaker 1: have eight nipples, as this cat facts with Caitlin Go.

1024
00:57:55,440 --> 00:57:57,880
Speaker 1: He's just he's so like kind of hippy dippy that

1025
00:57:57,960 --> 00:57:59,720
Speaker 1: he's just like he's got a lot of charm and

1026
00:57:59,760 --> 00:58:01,960
Speaker 1: ship it. And so I think he's just like hey

1027
00:58:02,120 --> 00:58:05,320
Speaker 1: kind of all the time. And Kanu is trying to

1028
00:58:05,360 --> 00:58:07,400
Speaker 1: like get close to that, and so there's just moments

1029
00:58:07,440 --> 00:58:11,040
Speaker 1: where you're like I can see this fan fiction very clearly, right,

1030
00:58:11,080 --> 00:58:14,560
Speaker 1: Like it's just kind of around, So I feel very

1031
00:58:14,640 --> 00:58:16,680
Speaker 1: underprepared because I feel like I should know the answer

1032
00:58:16,720 --> 00:58:18,479
Speaker 1: to this. Oh no, no, I mean that was where

1033
00:58:18,480 --> 00:58:20,240
Speaker 1: I was guessing it was, but I just didn't know

1034
00:58:20,240 --> 00:58:22,680
Speaker 1: if there was anything I was missing. Yeah, And also

1035
00:58:22,800 --> 00:58:25,960
Speaker 1: the other thing is like I always feel like Tina

1036
00:58:26,000 --> 00:58:28,720
Speaker 1: Belcher watching this movie because I'm like butts so many

1037
00:58:29,160 --> 00:58:32,400
Speaker 1: look at all of the butts, the butt that says

1038
00:58:32,440 --> 00:58:34,840
Speaker 1: I'm not a crook. It's like, this is a wild

1039
00:58:34,840 --> 00:58:38,520
Speaker 1: but Yeah. And I mean, and their friendship it's weird

1040
00:58:38,560 --> 00:58:41,160
Speaker 1: because it's made to be the kind of the purer

1041
00:58:41,520 --> 00:58:44,200
Speaker 1: of the two friendships, but it's also kind of sold

1042
00:58:44,240 --> 00:58:46,120
Speaker 1: up by the fact that Patrick Swayzy is also an

1043
00:58:46,200 --> 00:58:50,120
Speaker 1: unrepentant criminal and kind of an anarchist. And he says

1044
00:58:50,200 --> 00:58:53,880
Speaker 1: the line you project strength to avoid conflict, which really

1045
00:58:54,000 --> 00:58:58,600
Speaker 1: just like boils down a lot of male character motivation

1046
00:58:59,160 --> 00:59:03,280
Speaker 1: down in a pretty crystallized way. I don't know, it's

1047
00:59:03,400 --> 00:59:06,920
Speaker 1: it's a weird friendship. And then Kanu also needs the

1048
00:59:06,960 --> 00:59:12,280
Speaker 1: satisfaction of watching Patrick swayzey die via surfing, and you know,

1049
00:59:12,360 --> 00:59:15,240
Speaker 1: he's just got to get that justice because you know,

1050
00:59:15,280 --> 00:59:18,240
Speaker 1: the victims here are the banks. We all feel so

1051
00:59:18,240 --> 00:59:21,360
Speaker 1: sorry for the banks that got robbed. He's got to

1052
00:59:21,440 --> 00:59:23,920
Speaker 1: make sure that there's justice. I would like to know

1053
00:59:23,960 --> 00:59:27,840
Speaker 1: the psychological profiles of how they determined which president they

1054
00:59:27,880 --> 00:59:32,680
Speaker 1: all wanted to be. Also addendum or additional statement is

1055
00:59:32,720 --> 00:59:38,080
Speaker 1: that they very specifically created that flaming gas station scenes

1056
00:59:38,120 --> 00:59:40,920
Speaker 1: so that they could have Ronald Reagan with a giant

1057
00:59:40,920 --> 00:59:45,840
Speaker 1: fucking blowtorch, like blowing forge or yeah, which I mean.

1058
00:59:45,880 --> 00:59:48,560
Speaker 1: And I enjoyed watching that, sure, I thought it was fun.

1059
00:59:49,240 --> 00:59:51,400
Speaker 1: I think that some of the like the homoerotic stuff

1060
00:59:51,400 --> 00:59:54,680
Speaker 1: people talk about in terms of like masculine relationships and

1061
00:59:54,720 --> 00:59:57,680
Speaker 1: like masculine love and like the close like trying to

1062
00:59:57,720 --> 00:59:59,600
Speaker 1: get close or trying to figure out how to be

1063
00:59:59,640 --> 01:00:04,400
Speaker 1: close one another. And clearly Johnny Utah has some like

1064
01:00:04,800 --> 01:00:09,160
Speaker 1: admiration and interest in being more like body right, like

1065
01:00:09,360 --> 01:00:11,760
Speaker 1: even though he's trying to like take him down, he's

1066
01:00:11,800 --> 01:00:14,920
Speaker 1: like like he's like I'm fucking surfing and like hanging

1067
01:00:14,960 --> 01:00:16,640
Speaker 1: out and having a really good time with them and

1068
01:00:16,680 --> 01:00:18,680
Speaker 1: like trying to get in on this inner circle in

1069
01:00:18,720 --> 01:00:21,960
Speaker 1: a way that's like you could almost see the extension

1070
01:00:22,160 --> 01:00:24,360
Speaker 1: of like I want to be this guy and like

1071
01:00:24,400 --> 01:00:26,200
Speaker 1: I want to be with him or I want to

1072
01:00:26,240 --> 01:00:28,640
Speaker 1: be him or I don't know the difference between these things.

1073
01:00:28,680 --> 01:00:30,760
Speaker 1: You know, well, we all want to be BODI, so

1074
01:00:30,920 --> 01:00:36,480
Speaker 1: I get it clearly, especially with the banks. Yeah, those banks,

1075
01:00:36,760 --> 01:00:39,400
Speaker 1: the banks. I want to go through my list of

1076
01:00:39,440 --> 01:00:44,040
Speaker 1: all the reasons why Johnny Utah and Papas are terrible

1077
01:00:44,200 --> 01:00:48,000
Speaker 1: at being undercover FBI agents, So real quick, Okay. So

1078
01:00:48,520 --> 01:00:52,680
Speaker 1: they both show up in suits looking exactly like cops

1079
01:00:52,960 --> 01:00:57,120
Speaker 1: to a surf shop to buy a surfboard. Then they're

1080
01:00:57,120 --> 01:00:59,640
Speaker 1: both of the beach. There's people all around who can

1081
01:00:59,720 --> 01:01:03,440
Speaker 1: hear Johnny say, you're telling me that the FBI is

1082
01:01:03,480 --> 01:01:05,919
Speaker 1: going to pay me to learn how to surf, so,

1083
01:01:06,080 --> 01:01:08,280
Speaker 1: you know, everyone like they're just in plain sight, everyone

1084
01:01:08,360 --> 01:01:10,760
Speaker 1: can hear, and he's, you know, screaming about being in

1085
01:01:10,760 --> 01:01:14,640
Speaker 1: the FBI. Then after Tyler saves him, he screams out

1086
01:01:14,720 --> 01:01:19,200
Speaker 1: his real name and she's like, I don't care, which

1087
01:01:19,240 --> 01:01:23,200
Speaker 1: I loved. Yeah, And then a bunch of people who

1088
01:01:23,400 --> 01:01:25,160
Speaker 1: turn out to be the people that he is trying

1089
01:01:25,200 --> 01:01:28,360
Speaker 1: to take down as the ex presidents all recognize him

1090
01:01:28,440 --> 01:01:31,520
Speaker 1: as a college football star and they know his real name.

1091
01:01:32,440 --> 01:01:34,280
Speaker 1: If they just did a little bit of research, they

1092
01:01:34,280 --> 01:01:36,760
Speaker 1: could like figure out that he's in the FBI. We

1093
01:01:36,800 --> 01:01:40,240
Speaker 1: know computers exist because there's a hacker and there's uh,

1094
01:01:40,320 --> 01:01:45,400
Speaker 1: Patrick Swayzey's trunk computer. I was actually thinking about this though,

1095
01:01:45,400 --> 01:01:47,680
Speaker 1: because I was like, oh, this was like pre wide

1096
01:01:47,680 --> 01:01:50,280
Speaker 1: scale adoption of the Internet, so you couldn't just google him,

1097
01:01:50,360 --> 01:01:52,720
Speaker 1: and he was in the FBI, so I was a

1098
01:01:52,720 --> 01:01:55,840
Speaker 1: little I was slightly more forgiving about that, even though

1099
01:01:55,880 --> 01:01:58,880
Speaker 1: it's clearly stupid. But then there's some other stuff that happens,

1100
01:01:58,880 --> 01:02:03,880
Speaker 1: which like Papa's is near the beach, parked in what's

1101
01:02:03,920 --> 01:02:07,200
Speaker 1: clearly like an undercover cop car, scoping things out with

1102
01:02:07,320 --> 01:02:11,880
Speaker 1: binoculars in plain sight, and then Johnny is talking to

1103
01:02:11,960 --> 01:02:14,440
Speaker 1: him on a walkie talkie in the middle of the beach,

1104
01:02:14,640 --> 01:02:17,400
Speaker 1: again in plain sight. So they're just like, yeah, let's

1105
01:02:17,480 --> 01:02:20,400
Speaker 1: use our like binoculars and walkie talking us just where

1106
01:02:20,440 --> 01:02:24,120
Speaker 1: everyone can see us. They both miss the bank robbery

1107
01:02:24,160 --> 01:02:27,200
Speaker 1: that's taking place like a hundred yards away because they're

1108
01:02:27,240 --> 01:02:31,520
Speaker 1: so focused on sandwiches. I was like, surely the sandwiches

1109
01:02:31,520 --> 01:02:35,280
Speaker 1: will become relevant at some point. They never do. He's like,

1110
01:02:35,320 --> 01:02:38,680
Speaker 1: I need to meatball sandwiches. He we see him order

1111
01:02:38,800 --> 01:02:40,920
Speaker 1: them meat ball sandwiches. He comes back with the meat

1112
01:02:40,960 --> 01:02:43,520
Speaker 1: po sandwiches because he's like, man, maybe I should have

1113
01:02:43,520 --> 01:02:48,000
Speaker 1: gotten three meat bos sandwiches. Um those okay? So Kiano

1114
01:02:48,280 --> 01:02:52,240
Speaker 1: orders to meat ball sandwiches, one tune a sandwich for himself,

1115
01:02:52,320 --> 01:02:56,880
Speaker 1: and two lemonades and it only cost four in today's money.

1116
01:02:57,000 --> 01:03:00,600
Speaker 1: I did the inflation calculator. That's it have went to

1117
01:03:01,240 --> 01:03:04,160
Speaker 1: fourteen dollars and thirty two cents, which is still very

1118
01:03:04,240 --> 01:03:07,680
Speaker 1: cheap for three sandwiches and two lemonades. Like, what's that

1119
01:03:07,760 --> 01:03:10,040
Speaker 1: all about? What area of l A are they? And

1120
01:03:10,320 --> 01:03:14,600
Speaker 1: truly the point is is that they are extremely bad.

1121
01:03:14,640 --> 01:03:17,720
Speaker 1: And then like Johnny Utah leaves his badge out where

1122
01:03:17,880 --> 01:03:21,560
Speaker 1: Tyler can find it. He's so bad, it's not everyone

1123
01:03:21,720 --> 01:03:24,640
Speaker 1: knows his identity and he basically tells every single person

1124
01:03:24,640 --> 01:03:26,920
Speaker 1: in the movie that he is an undercover FBI agent.

1125
01:03:27,440 --> 01:03:31,080
Speaker 1: This movie is so well, I mean, this is this

1126
01:03:31,160 --> 01:03:35,920
Speaker 1: is a movie that is not progressive in literally any way.

1127
01:03:36,080 --> 01:03:38,520
Speaker 1: The world did not move forward really in any way

1128
01:03:38,640 --> 01:03:42,000
Speaker 1: because it was made. However, I really enjoyed it and

1129
01:03:42,040 --> 01:03:46,720
Speaker 1: I would recommend people watch it and watch it with friends. Yeah,

1130
01:03:46,760 --> 01:03:48,640
Speaker 1: I agree, we should find the people who do Point

1131
01:03:48,640 --> 01:03:51,360
Speaker 1: Break Live to come back for like one reunion for

1132
01:03:51,480 --> 01:03:53,960
Speaker 1: us that would be amazing. Yeah, and the fact that

1133
01:03:54,000 --> 01:03:56,760
Speaker 1: it did inspire media spinoffs like that also make me

1134
01:03:56,840 --> 01:04:00,280
Speaker 1: happy it exists. Yeah. Yeah, And um, what's this base

1135
01:04:00,320 --> 01:04:03,600
Speaker 1: hot Fuzz which I actually haven't seen. Oh yes, there's

1136
01:04:03,600 --> 01:04:07,560
Speaker 1: so much of Point Breaking that one of the characters

1137
01:04:07,680 --> 01:04:09,440
Speaker 1: is like talking to Simon Peg and he's just like,

1138
01:04:09,840 --> 01:04:11,600
Speaker 1: if you ever pulled out your gun and then shot

1139
01:04:11,640 --> 01:04:14,760
Speaker 1: it into the air and went ah, And then he doesn't,

1140
01:04:14,760 --> 01:04:16,680
Speaker 1: But then that character gets to do it later in

1141
01:04:16,680 --> 01:04:19,760
Speaker 1: the movie. It's great. Um. One last thing I wanted

1142
01:04:19,800 --> 01:04:23,440
Speaker 1: to say is that I do think it's cool that

1143
01:04:24,120 --> 01:04:28,360
Speaker 1: a woman got to direct like a popular action movie

1144
01:04:28,800 --> 01:04:31,520
Speaker 1: in the early nineties. Um, because that's a genre that

1145
01:04:31,560 --> 01:04:34,400
Speaker 1: women usually do not get to direct, because in the

1146
01:04:34,440 --> 01:04:37,320
Speaker 1: off chance that a woman is hired to direct a movie,

1147
01:04:37,600 --> 01:04:41,160
Speaker 1: it's usually either a rom com or like a romantic drama.

1148
01:04:41,360 --> 01:04:42,720
Speaker 1: I was like, oh man, this is so cool that

1149
01:04:42,800 --> 01:04:46,240
Speaker 1: like a woman directed Point Break. You know of a

1150
01:04:46,400 --> 01:04:50,360
Speaker 1: famous popular action flick that resonates with a lot of

1151
01:04:50,560 --> 01:04:53,720
Speaker 1: especially men. So I was like, Okay, that's cool. But

1152
01:04:53,920 --> 01:04:56,520
Speaker 1: as we've said, like, I was counter that with being

1153
01:04:56,560 --> 01:04:59,880
Speaker 1: like I would wager that the reason she got to

1154
01:05:00,040 --> 01:05:02,600
Speaker 1: do that is because she played the game and directed

1155
01:05:02,640 --> 01:05:06,160
Speaker 1: it like most men would exactly at that time. I

1156
01:05:06,160 --> 01:05:08,640
Speaker 1: don't know, because again this is a Michael Bay movie

1157
01:05:08,720 --> 01:05:12,440
Speaker 1: in that the actors are almost always screaming their lines.

1158
01:05:12,800 --> 01:05:16,840
Speaker 1: The lines are extremely corny and terrible. The line reads

1159
01:05:16,880 --> 01:05:20,640
Speaker 1: are bad, and there's like over the top action sequences.

1160
01:05:20,680 --> 01:05:23,920
Speaker 1: Like everything screams Michael Bay. I mean you didn't love

1161
01:05:23,960 --> 01:05:26,280
Speaker 1: the line? I guess we must have an asshole shortage.

1162
01:05:26,560 --> 01:05:32,560
Speaker 1: Not so far, I love every single line. I still thinking,

1163
01:05:32,760 --> 01:05:35,640
Speaker 1: ha ha ha ha ha ha. This Calvin and Hobbs

1164
01:05:35,720 --> 01:05:39,680
Speaker 1: is funny. Hey, get me a meat boss switch. Still

1165
01:05:39,960 --> 01:05:43,160
Speaker 1: one of the wilder trains of thoughts I've ever encountered.

1166
01:05:44,440 --> 01:05:48,960
Speaker 1: Does anyone have any other thoughts about the movie? I

1167
01:05:49,640 --> 01:05:53,880
Speaker 1: mean so many? Like do vaults just have small piles

1168
01:05:53,880 --> 01:05:55,880
Speaker 1: of money in them? That would have vaults actually looks like?

1169
01:05:56,840 --> 01:06:00,960
Speaker 1: I think that's an important question. Yeah, just unsealed lose money.

1170
01:06:01,280 --> 01:06:04,000
Speaker 1: It's just like the floor is covered in pennies in

1171
01:06:04,240 --> 01:06:09,760
Speaker 1: this version of the basically The Cave of Wonders. Yes,

1172
01:06:09,920 --> 01:06:12,200
Speaker 1: if you haven't seen point breaks added to the list

1173
01:06:12,280 --> 01:06:15,600
Speaker 1: when you go to revisit cult classics, this is definitely

1174
01:06:15,640 --> 01:06:18,760
Speaker 1: one to make sure you catch and don't add me

1175
01:06:18,800 --> 01:06:20,520
Speaker 1: when you don't like it. I don't want to hear.

1176
01:06:20,520 --> 01:06:23,720
Speaker 1: I don't want to hear about it. Shall we determine

1177
01:06:23,720 --> 01:06:31,080
Speaker 1: whether or not this movie passes the Bechtel test? Yeah, no, no,

1178
01:06:31,240 --> 01:06:35,440
Speaker 1: obviously not even close to Women do not even interact.

1179
01:06:35,480 --> 01:06:37,720
Speaker 1: I think the only scene where there are two women

1180
01:06:37,840 --> 01:06:40,400
Speaker 1: in the same scene together is when they do the raid.

1181
01:06:40,520 --> 01:06:43,640
Speaker 1: For like all those aggro surfer dudes, one of them

1182
01:06:43,760 --> 01:06:46,640
Speaker 1: is the party scene. Oh, that is right, but I

1183
01:06:46,680 --> 01:06:50,400
Speaker 1: don't think any women interact there. I'd like to propose

1184
01:06:50,720 --> 01:06:53,720
Speaker 1: a new addendum to the Bechtel tests, which is that

1185
01:06:54,560 --> 01:07:02,200
Speaker 1: if a woman talks to a meatball sandwich, it passes. Yeah,

1186
01:07:02,280 --> 01:07:05,840
Speaker 1: it passed. Even if the meat sandwich does not verbally respond.

1187
01:07:06,000 --> 01:07:10,240
Speaker 1: Even if the meat ball sandwich identifies male, it passes.

1188
01:07:12,200 --> 01:07:14,520
Speaker 1: I will bat I will send that motion, thank you

1189
01:07:14,560 --> 01:07:17,880
Speaker 1: so much. But yeah, so women do not interact at all.

1190
01:07:17,960 --> 01:07:21,560
Speaker 1: There's the scene in like the Raid, where there's one

1191
01:07:21,600 --> 01:07:24,200
Speaker 1: woman who's wearing a bikini and woman one woman who

1192
01:07:24,320 --> 01:07:27,960
Speaker 1: is wearing nothing, and uh, they're both I guess they're

1193
01:07:28,000 --> 01:07:31,960
Speaker 1: fighting off the FBI. That I mean, we didn't that

1194
01:07:32,120 --> 01:07:35,040
Speaker 1: scene is just wild. All the men are dressed like

1195
01:07:35,160 --> 01:07:37,880
Speaker 1: fully dressed, not even like partially dressed, and all the

1196
01:07:37,880 --> 01:07:41,040
Speaker 1: women are not, which is amusing in the opposite of

1197
01:07:41,240 --> 01:07:44,120
Speaker 1: the definition of that word. Yeah. Yeah, it doesn't make

1198
01:07:44,160 --> 01:07:47,320
Speaker 1: any sense why they're both barely wearing anything or wearing

1199
01:07:47,360 --> 01:07:50,320
Speaker 1: nothing at all. But so yeah, does not pass the

1200
01:07:50,360 --> 01:07:53,760
Speaker 1: Bechdel test. Let's rate the movie on our nipple scale

1201
01:07:53,880 --> 01:07:57,480
Speaker 1: serie to five nipples based on its portrayal and representation

1202
01:07:57,560 --> 01:07:59,520
Speaker 1: of women. Um, I'm going to have to give this

1203
01:07:59,600 --> 01:08:04,560
Speaker 1: like a half nipple. Yeah. I suppose that Tyler, if

1204
01:08:04,600 --> 01:08:07,960
Speaker 1: you just sort of isolate her and take the things

1205
01:08:08,000 --> 01:08:09,920
Speaker 1: that she says in terms of like not being impressed

1206
01:08:09,920 --> 01:08:13,200
Speaker 1: with toxic masculinity and like not wanting to be around

1207
01:08:13,240 --> 01:08:17,160
Speaker 1: too much test tossterone and you know, being an athlete

1208
01:08:17,360 --> 01:08:20,320
Speaker 1: women athletes, that's pretty cool. We don't get to see

1209
01:08:20,360 --> 01:08:22,519
Speaker 1: that much in film. You know, she's good at what

1210
01:08:22,600 --> 01:08:26,200
Speaker 1: she does, like a man needs her to help him

1211
01:08:26,280 --> 01:08:28,960
Speaker 1: learn how to surf, but those just feel like you

1212
01:08:29,439 --> 01:08:32,120
Speaker 1: see her doing it, and it's like usually when you yeah,

1213
01:08:32,160 --> 01:08:33,800
Speaker 1: like when you hear that women are good at a

1214
01:08:33,840 --> 01:08:35,559
Speaker 1: thing that you don't, you just hear it. You don't

1215
01:08:35,560 --> 01:08:37,400
Speaker 1: actually see it, so that you know, that's one thing,

1216
01:08:37,439 --> 01:08:39,880
Speaker 1: and there is the absence unless I miss something, There

1217
01:08:39,960 --> 01:08:41,800
Speaker 1: is the absence of that moment that I was kind

1218
01:08:41,840 --> 01:08:44,559
Speaker 1: of waiting for, which is like the moment where we

1219
01:08:44,680 --> 01:08:47,599
Speaker 1: see her because surfing and all the dudes are like, whoa,

1220
01:08:48,000 --> 01:08:51,000
Speaker 1: she can do? Well we do because that that that

1221
01:08:51,080 --> 01:08:53,160
Speaker 1: was a moment I was waiting for that fortunately did

1222
01:08:53,160 --> 01:08:56,280
Speaker 1: not come. That's true, it's nice, but those things all

1223
01:08:56,320 --> 01:09:03,599
Speaker 1: feel like shallow victories, especially with Whoa not even in turns,

1224
01:09:05,800 --> 01:09:08,920
Speaker 1: but considering all the other things that happened in the movie,

1225
01:09:09,040 --> 01:09:11,960
Speaker 1: where like basically her existence in the story is only

1226
01:09:11,960 --> 01:09:14,160
Speaker 1: to be the romantic interest and then to later be

1227
01:09:14,360 --> 01:09:19,360
Speaker 1: kidnapped and used as leverage for the male hero, the

1228
01:09:19,439 --> 01:09:22,479
Speaker 1: male gaze shots of pretty much all the women you

1229
01:09:22,520 --> 01:09:25,840
Speaker 1: see in the movie, which is again hardly any of them,

1230
01:09:25,880 --> 01:09:31,759
Speaker 1: the total lack of women of color, just everything about

1231
01:09:32,080 --> 01:09:36,559
Speaker 1: it is not handled well. So um, her treatment in

1232
01:09:36,600 --> 01:09:42,160
Speaker 1: the movie is like very very stereotypical like action movies,

1233
01:09:42,600 --> 01:09:46,120
Speaker 1: and it does feel weird that coming from a movie

1234
01:09:46,160 --> 01:09:51,439
Speaker 1: directed by a woman. It's a bizarre paradox. Yeah, she's

1235
01:09:51,479 --> 01:09:55,519
Speaker 1: basically mistreated or her character is mishandled in every regard

1236
01:09:55,840 --> 01:09:58,840
Speaker 1: throughout the whole movie, and it gets one half nipple

1237
01:09:58,960 --> 01:10:02,439
Speaker 1: from me, And I will give that half nipple too.

1238
01:10:02,720 --> 01:10:04,920
Speaker 1: I'll give it just right back to Lori Petty. Good

1239
01:10:04,960 --> 01:10:09,240
Speaker 1: for her. Yeah, I'm gonna give the movie one nipple,

1240
01:10:09,320 --> 01:10:11,920
Speaker 1: even for the reasons you stated. I also think that

1241
01:10:11,960 --> 01:10:15,000
Speaker 1: this is an example of, you know, the fact that

1242
01:10:15,120 --> 01:10:18,000
Speaker 1: just because a woman is in a key creative role

1243
01:10:18,040 --> 01:10:21,040
Speaker 1: in the movie does not mean that it's a feminist text, uh,

1244
01:10:21,040 --> 01:10:24,720
Speaker 1: and that that is just a thing that exists in

1245
01:10:24,720 --> 01:10:28,880
Speaker 1: the world. Not all women are feminists, and not all

1246
01:10:29,240 --> 01:10:32,320
Speaker 1: media created by women are pro woman, just on the

1247
01:10:32,360 --> 01:10:34,280
Speaker 1: merit that it was created by a woman, which is

1248
01:10:34,680 --> 01:10:39,479
Speaker 1: unfortunate but true. I also could understand I'd be interested

1249
01:10:39,479 --> 01:10:43,519
Speaker 1: in hearing Katherine Bigela speak on this now. But you know,

1250
01:10:43,640 --> 01:10:45,519
Speaker 1: I mean, there's a number of reasons I could I

1251
01:10:45,520 --> 01:10:50,120
Speaker 1: could guess why her movies were not treating women especially

1252
01:10:50,120 --> 01:10:54,040
Speaker 1: well at this particular point in history. Um, would the

1253
01:10:54,120 --> 01:10:56,040
Speaker 1: job have been taken from her if she had brought

1254
01:10:56,080 --> 01:10:58,320
Speaker 1: stuff up with it? You know, I'd be interested in

1255
01:10:58,320 --> 01:11:00,519
Speaker 1: hearing more about what she thought. But yeah, I mean,

1256
01:11:00,560 --> 01:11:04,479
Speaker 1: I think you covered it pretty succinctly, Caitlin. Uh, And

1257
01:11:04,720 --> 01:11:06,720
Speaker 1: I would just like to bring up the fact that

1258
01:11:06,760 --> 01:11:10,800
Speaker 1: there was a female hacker, and uh, that is I

1259
01:11:10,800 --> 01:11:12,640
Speaker 1: don't even think she was hacking. I think she was

1260
01:11:12,680 --> 01:11:15,519
Speaker 1: just looking up information on their database that they had

1261
01:11:15,640 --> 01:11:19,120
Speaker 1: easy access to. Well, as a hacker, I can say

1262
01:11:19,280 --> 01:11:23,439
Speaker 1: that googling is actually hacking. So giving your data to

1263
01:11:23,520 --> 01:11:27,160
Speaker 1: Google is hacking, and giving your data to Zuckerberg and

1264
01:11:27,200 --> 01:11:30,920
Speaker 1: Bezos is hacking. So I'm a hacker just by having

1265
01:11:30,960 --> 01:11:34,040
Speaker 1: a Facebook profile. Do you have a computer, Yes, then

1266
01:11:34,080 --> 01:11:38,400
Speaker 1: you're a hacker there. Uh so, and then of course

1267
01:11:38,439 --> 01:11:43,320
Speaker 1: feminist icon woman who sells me ball sandwiches. So so

1268
01:11:43,360 --> 01:11:45,320
Speaker 1: I'll give it one nipple, and I'm going to give

1269
01:11:45,320 --> 01:11:51,599
Speaker 1: the nipple to the bill sandwich. Great, yeah, Anita, Uh,

1270
01:11:52,120 --> 01:11:54,360
Speaker 1: can we give minus nipples? I guess that would be

1271
01:11:54,400 --> 01:11:57,519
Speaker 1: the absence of women. You can do whatever. You know,

1272
01:11:57,720 --> 01:12:03,479
Speaker 1: there were there were women. There bodies were in this movie.

1273
01:12:04,560 --> 01:12:07,639
Speaker 1: I will do one, maybe three quarters of it. I

1274
01:12:07,680 --> 01:12:10,160
Speaker 1: literally when you said half nipple, grabbed my chest because

1275
01:12:10,240 --> 01:12:14,880
Speaker 1: I felt the pain of just putting that out there. Okay,

1276
01:12:14,920 --> 01:12:17,240
Speaker 1: I'll round up to one nipple, just because I really

1277
01:12:17,280 --> 01:12:19,760
Speaker 1: like Lori Petty, you know, like I remember, you know,

1278
01:12:19,800 --> 01:12:21,320
Speaker 1: like tank Girl and stuff like so I just have

1279
01:12:21,360 --> 01:12:24,080
Speaker 1: fond memories of her, and I think she tries to

1280
01:12:24,120 --> 01:12:26,800
Speaker 1: push back, even though she can't really because she's a

1281
01:12:26,800 --> 01:12:29,519
Speaker 1: fictional character and they wrote a shitty role for her.

1282
01:12:29,560 --> 01:12:32,920
Speaker 1: But I appreciate the attempts, and I appreciate her being

1283
01:12:33,160 --> 01:12:36,160
Speaker 1: good at surfing, because when you see women who are

1284
01:12:36,160 --> 01:12:39,519
Speaker 1: good at surfing. But I also grew clearly everything else.

1285
01:12:39,560 --> 01:12:42,400
Speaker 1: You all said that this is super objectifying and male

1286
01:12:42,439 --> 01:12:47,360
Speaker 1: gazey and the absence women in general in any important role.

1287
01:12:47,439 --> 01:12:52,639
Speaker 1: So you know you don't watch Point Break for the women. Yeah,

1288
01:12:52,720 --> 01:12:58,639
Speaker 1: you watch it for hacking, and specially for the scenes

1289
01:12:58,680 --> 01:13:02,000
Speaker 1: where there's hacking. Well, adya, thank you so much for

1290
01:13:02,000 --> 01:13:06,120
Speaker 1: for coming on. This was one of my favorite movies

1291
01:13:06,160 --> 01:13:10,200
Speaker 1: I've ever seen in my life. I'm so glad I

1292
01:13:10,200 --> 01:13:12,320
Speaker 1: could have hide that for you. I didn't realize that

1293
01:13:12,360 --> 01:13:15,679
Speaker 1: was true until it's coming out of my mouth. Wait,

1294
01:13:15,720 --> 01:13:18,559
Speaker 1: except you watched it in three parts, it would take

1295
01:13:18,560 --> 01:13:22,760
Speaker 1: me three days to watch it literally. Anytime. That said,

1296
01:13:22,800 --> 01:13:24,559
Speaker 1: it is one of my favorite movies of all time.

1297
01:13:24,800 --> 01:13:28,840
Speaker 1: Oh Alpha Billina, No, Alpha Billina could have been any

1298
01:13:28,920 --> 01:13:33,200
Speaker 1: of the surfers body Yeah, give me a topless Molina

1299
01:13:33,560 --> 01:13:36,840
Speaker 1: in films? Also, where's the chest hair in the movie?

1300
01:13:36,880 --> 01:13:40,479
Speaker 1: And everyone is a very smooth movie. Can I just

1301
01:13:40,479 --> 01:13:43,280
Speaker 1: say a very smooth movie? Yes, not a criticism, just

1302
01:13:43,439 --> 01:13:46,679
Speaker 1: some observation. I think Alpha Blina could have really brought

1303
01:13:46,760 --> 01:13:53,120
Speaker 1: some representation of Harry cha hair. Thank you so much

1304
01:13:53,200 --> 01:13:56,160
Speaker 1: for being here. Where can people follow you online? Is

1305
01:13:56,160 --> 01:13:59,400
Speaker 1: there anything you would like to plug? Yeah, I am

1306
01:13:59,479 --> 01:14:04,320
Speaker 1: at Twitter. I'm I'm at Twitter. Please tweet at Twitter

1307
01:14:04,560 --> 01:14:05,840
Speaker 1: if you'd like to get a hold of me. Um,

1308
01:14:05,960 --> 01:14:08,960
Speaker 1: I'm on Twitter at any to Sarkasian. You can find

1309
01:14:08,960 --> 01:14:12,599
Speaker 1: out more about Feminist Frequency and our podcast about pop

1310
01:14:12,640 --> 01:14:16,559
Speaker 1: culture and feminism at Feminist Frequency dot com. And I

1311
01:14:16,600 --> 01:14:19,280
Speaker 1: have a book coming out. It's called History Versus Women,

1312
01:14:19,560 --> 01:14:21,439
Speaker 1: The Defiant Lives that They Don't Want You to Know,

1313
01:14:21,800 --> 01:14:24,640
Speaker 1: comes out October two, and it's about women who have

1314
01:14:24,640 --> 01:14:27,240
Speaker 1: been written out of history and we wrote them back in.

1315
01:14:27,520 --> 01:14:31,600
Speaker 1: That's amazing. Congratulations, Thank you great. You can follow the

1316
01:14:31,640 --> 01:14:35,519
Speaker 1: Bechtel Cast on all the social media platforms Instagram, Twitter,

1317
01:14:35,640 --> 01:14:38,640
Speaker 1: of Facebook, which means we are also hackers because we

1318
01:14:38,720 --> 01:14:40,760
Speaker 1: have those accounts. So I mean, I don't think you

1319
01:14:40,800 --> 01:14:42,439
Speaker 1: need to say that I'm one of the world's most

1320
01:14:42,439 --> 01:14:45,160
Speaker 1: famous hackers. Well, I'm saying like the Bechtel Cast the end,

1321
01:14:46,240 --> 01:14:53,400
Speaker 1: because I'm using a conglomerate. We also our hackers culture.

1322
01:14:53,520 --> 01:14:56,639
Speaker 1: Hack us by following us on Twitter at Bechtel Cast.

1323
01:14:56,800 --> 01:15:02,320
Speaker 1: Could luck hacking us? Okay? You can? So you can

1324
01:15:02,320 --> 01:15:05,880
Speaker 1: also hack us by subscribing to our Matreon. It's five

1325
01:15:05,880 --> 01:15:08,120
Speaker 1: dollars a month and you get to bonus episodes every

1326
01:15:08,160 --> 01:15:11,880
Speaker 1: single month on Patreon dot com slash pectel Cast, and

1327
01:15:12,080 --> 01:15:14,880
Speaker 1: you can rate and review us on iTunes. That helps

1328
01:15:14,960 --> 01:15:16,840
Speaker 1: us out a lot, especially if you give us five

1329
01:15:17,160 --> 01:15:20,640
Speaker 1: stars or five nipples. Yeah, and you can go to

1330
01:15:20,640 --> 01:15:24,040
Speaker 1: our website pectel cast dot com. We have episodes there,

1331
01:15:24,080 --> 01:15:27,800
Speaker 1: we have merched there, we have all kinds of goodies. Guys.

1332
01:15:27,840 --> 01:15:31,200
Speaker 1: Do you guys want to go hit the board? Yeah?

1333
01:15:31,640 --> 01:15:33,479
Speaker 1: I'm actually only if we can hang out with the

1334
01:15:33,479 --> 01:15:36,360
Speaker 1: barbecue servers. Oh my god, I gotta call my boys.

1335
01:15:38,360 --> 01:15:41,320
Speaker 1: I'm actually gonna stay indoors and uh surf the web

1336
01:15:43,720 --> 01:15:47,200
Speaker 1: surfs up dogs. Okay, bye bye bye