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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did. My name is Millie to Jericho. I'm Daniel Henderson,

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Speaker 1: and we're back with you once again to talk about

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Speaker 1: movies and you. Danielle oh me, I'm here to talk

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Speaker 1: about you. Oh yeah, how sweet? What's happening.

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Speaker 2: I'm good, I'm fresh off of a double flusher, ready

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Speaker 2: to go on. I think I think that's what's etched

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Speaker 2: on Aubrey Hepburn's gravestone. Yeah, a demure, elegant lady. Listen.

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Speaker 1: I'm just saying, if you on the set of Funny Face,

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Speaker 1: Audrey Hepburton.

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Speaker 2: That's a cut scene left a upper decker. Marilyn Monroe,

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Speaker 2: that's one of her cut scenes from.

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Speaker 1: Some Like It Hot.

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Speaker 2: I had my morning double flusher after all those oysters

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Speaker 2: you gave me on that boat. I'm just saying, if

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Speaker 2: you live with someone who has a period and you

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Speaker 2: don't know about their double flusher day, they are doing

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Speaker 2: you a fucking favor. They have done you a solid

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Speaker 2: and you need to do something extremely nice for them today.

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Speaker 2: If you have been shielded from this information.

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Speaker 1: I'm choking on my own spit as you're talking.

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Speaker 2: Our bodies are fucking disgusting. You know how it is

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Speaker 2: that that one day first. It varies, of course, person

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Speaker 2: to person, but there's one day during the span of

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Speaker 2: your cycle where you just have a double flusher and

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Speaker 2: it feels like you've lost like ten pounds, Like all

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Speaker 2: the bloat goes away, like all the luteal phase stuff

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Speaker 2: that's been building just goes away in one flush, two flushes.

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Speaker 1: Yeah, it really clears out the system.

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Speaker 2: It's a real clear out.

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Speaker 1: But they're like, you're not having a baby, Okay, let's

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Speaker 1: push out everything.

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Speaker 2: Let's make it seem like you are, because a lot

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Speaker 2: of people shit when they give birth. So let's just

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Speaker 2: give you a double flusher once a month to clear

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Speaker 2: out the system. I am sleazy and demure.

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Speaker 1: It was part of what we love about you. I

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Speaker 1: love that, Like the first twenty five seconds of the podcast,

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Speaker 1: the term double flusher was involved. So this this is

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Speaker 1: gonna be a wild one. I don't know what you

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Speaker 1: what you've got on tap right now? I've got die

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Speaker 1: coke diet coke on tap. Okay, me too.

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Speaker 2: So and I had a nice cup of coffee this

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Speaker 2: morning and then just crack this dit coke like ten

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Speaker 2: minutes later.

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Speaker 1: Yeah, to start this record, dude, I've had to like

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Speaker 1: bust out. I don't normally do giant coffee and soda,

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Speaker 1: but I swear to God like I'm still recovering from

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Speaker 1: this fucking COVID bullshit, and I don't know if I

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Speaker 1: just have like long term sleepiness now or what, or

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Speaker 1: maybe I'm just like I don't know what's happening, but

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Speaker 1: I'm like, you know, I gotta like double up on

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Speaker 1: the caffeine. It's also cold too here, so I don't know,

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Speaker 1: maybe that's part of it, but I'm like, man, I

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Speaker 1: needed to do I don't know what that's called. It's

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Speaker 1: not a double flusher, but it's like a double double gulper,

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Speaker 1: a double gulper, like a giant, huge coffee and a soda.

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Speaker 2: I just love the notion of you having COVID turning

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Speaker 2: you into Rip van Winkle. Yes, God, You're like, now,

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Speaker 2: I just want to sleep forever, dude.

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Speaker 1: I swear the last couple episodes that we recorded, like

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Speaker 1: nobody knew this because we edited it out, but I

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Speaker 1: was like, uh, halfway through a sentence being like, you

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Speaker 1: know what, I don't know what the fuck I'm talking about,

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Speaker 1: Like just delete it, just take it out of the episode.

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Speaker 1: And I'm like, the Hell's wrong with me?

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Speaker 2: I hope you don't have long COVID, But I think

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Speaker 2: that's just a normal COVID reaction, like a little foggy

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Speaker 2: for a bit.

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Speaker 1: Yeah, Or maybe it's just my age too, because that's

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Speaker 1: the thing. I mean, like getting older, you just get

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Speaker 1: like you just stop remembering shit, Like I barely remember

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Speaker 1: elementary school, Like do you know that? Like I barely

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Speaker 1: remember anything that happened in elementary school. Now I have moments.

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Speaker 2: I have moments that were crystallized around my trauma, so

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Speaker 2: I always have like moments, but I remember like some things,

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Speaker 2: but I don't remember high school weirdly, like I was

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Speaker 2: so checked out in high school that I could not

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Speaker 2: I can tell you some teachers' names and maybe a

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Speaker 2: couple classes I took, but it was like everything I

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Speaker 2: remember from high school is like social and everything that

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Speaker 2: happened after.

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Speaker 1: So occasionally I'll have a friend say.

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Speaker 2: Something like, oh, I remember that day in high school

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Speaker 2: and blah blah blah, and I'm like, I don't. I

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Speaker 2: don't remember the day that somebody was walking down the

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Speaker 2: hallway with a live fish, Like I don't remember that.

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Speaker 1: I don't remember pretty much any teacher that I had

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Speaker 1: in high school. I barely remember the people I went

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Speaker 1: to high school with, except if I still talk to them.

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Speaker 1: If I still talk to them now, my brain's like, oh,

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Speaker 1: well we did go to high school together. Yeah, But

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Speaker 1: if it was somebody that I was friends with and

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Speaker 1: then I haven't talked to, or people that even I

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Speaker 1: didn't like or they hated me, I don't remember anybody

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Speaker 1: at all. I'm just like, I know I.

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Speaker 2: Can occasion now that I'm back in my hometown, I

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Speaker 2: can occasionally recognize a face, but I don't remember what

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Speaker 2: point in my life I knew them. Yeah, man, so

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Speaker 2: I don't know. Man, it's coming. It's coming for us all.

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Speaker 2: Oh and I think maybe it's just a protective measure.

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Speaker 1: Our brains do, like, yeah, you don't need to remember

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Speaker 1: that shit anymore. Yeah, it's like you got to push

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Speaker 1: out something to like remember that you took your pills

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Speaker 1: this morning. So basically, you know, in order to remember

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Speaker 1: you took medicine today, suddenly your prom doesn't exist in

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Speaker 1: your brain. You have to double flush your brain. Okay,

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Speaker 1: a double gulper for a double flusher.

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Speaker 2: Double gulp, then double flush your brain, take it in,

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Speaker 2: push it out.

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Speaker 1: Oh my god, do you want to do a little

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Speaker 1: game today? Oh my god, are you about to say what?

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Speaker 1: I think you're about to say?

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Speaker 2: It's time for serial killer or self care?

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Speaker 1: Skosk Skost skost skost.

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Speaker 2: It's been a minute, so I figured why not.

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Speaker 1: It's been a hot minute. I think the last time

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Speaker 1: we played it was when.

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Speaker 2: I failed miserably.

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Speaker 1: Yeah, I know.

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Speaker 2: We've had to take a break because it hurt my feelings.

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Speaker 1: We had to.

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Speaker 2: I think we just just like subconsciously both back burnered

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Speaker 2: it for a couple months because my feelings were hurt.

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Speaker 1: I was so concerned that we would never play Skosk

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Speaker 1: again because I was like, I don't know, something happened.

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Speaker 1: It was like some weird It's like a pitcher who

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Speaker 1: can't remember how to pitch and has to go to

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Speaker 1: therapy because he had like a bad game or something like.

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Speaker 1: I just was like, oh, no, we're never going to

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Speaker 1: do it again because it was such a fucking disaster

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Speaker 1: and I didn't even intend it for like, for it

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Speaker 1: to be a disaster.

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Speaker 2: I don't know, of course, but that again, this is

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Speaker 2: we have to take our lumps. This is the beauty

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Speaker 2: of Skosk. Yeah, and of course we're gonna play it again.

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Speaker 2: I need redemption.

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Speaker 1: But I also just love playing Skosk. I do too,

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Speaker 1: and I think a lot of people who listen love it.

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Speaker 1: And now it's back and I'm thrilled because it's my

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Speaker 1: turn to guess.

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Speaker 2: Yeah, it's your turn to guess.

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Speaker 1: Oh god.

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Speaker 2: So if you haven't listened to a skhost episode before,

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Speaker 2: a serial Killer or self Care is a game that

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Speaker 2: we created, and it's basically you have to jump into

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Speaker 2: the other person's mind and figure out if they think

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Speaker 2: this thing is a self care move or if it

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Speaker 2: makes somebody a serial killer.

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Speaker 1: Yes, you always have to inhabit the other person's brain.

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Speaker 1: We don't do easy games here, No, you set these up. Listen,

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Speaker 1: this podcast is a testament to like the labyrinth that

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Speaker 1: is your brain. Okay, it's like between making people guess

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Speaker 1: the exact words and syntax of the theme every week

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Speaker 1: from your fucking brain, by the way your brain. This

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Speaker 1: man to this game. We're always like it's it gets complicated,

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Speaker 1: but you know what, that's what makes it fun for me.

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Speaker 1: I love it. I love jumping into your body.

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Speaker 2: Aw when we talk about our movies this week and

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Speaker 2: our theme this week. We will talk about why I

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Speaker 2: usually make the theme so specific.

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Speaker 1: But we'll get there.

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Speaker 2: But first got around of serial killer or self care?

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Speaker 2: First question? Okay, first entry, serial killer or self care?

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Speaker 2: Backing into a parking space?

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Speaker 1: Ha haha ah. Okay, I feel like we are aligned

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Speaker 1: on this, so I will answer in the way that

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Speaker 1: I would answer Okay, serial killer.

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Speaker 2: Absolutely, yes, yeh fuck are you doing backing into a

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Speaker 2: parking space? You selfish prick? No one's good at it.

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Speaker 1: I feel like when we were on that road trip,

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Speaker 1: we briefly discussed this, and so that's why I was

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Speaker 1: like confident in what I thought, which is serial killer,

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Speaker 1: because I could not agree more.

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Speaker 2: It is the craziest move you could pull in a

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Speaker 2: car if you're just driving in a normal fashion.

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Speaker 1: Okay, So here's my issue with it. Okay, it basically is,

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Speaker 1: like I think, the problem for me is that people

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Speaker 1: think that it's saving them time. Yes, And when it

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Speaker 1: comes down to it, it's basically putting the effort up

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Speaker 1: front versus after, right, So instead of like waiting to

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Speaker 1: back out of a space, you're just backing into it

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Speaker 1: at the beginning, Yes, it's the same amount of effort,

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Speaker 1: and I would argue it's more effort, way more effort,

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Speaker 1: because nobody is good at it.

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Speaker 2: I don't care if you're the best driver in the

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Speaker 2: fucking world. You are not evil Knievel backing into a

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Speaker 2: parking space with one swoop. You're always going back and forth.

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Speaker 2: You're always making people wait for you to pull back

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Speaker 2: into a space. That's the other thing that I can't stand.

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Speaker 2: I see that around here all the time. I have

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Speaker 2: to wait for you to try to back your big

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Speaker 2: ass truck into a tiny, little fucking parking space at

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Speaker 2: the grocery store.

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Speaker 1: Yes, why, Yes.

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Speaker 2: You're blocking eighteen cars from getting in.

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Speaker 1: Also, I will say, as a fellow driver, it is

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Speaker 1: more jarring to see somebody just randomly pulling out of

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Speaker 1: a space. Yes, front wise, because that's what a backup

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Speaker 1: light is about. The backup light is telling you that

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Speaker 1: I'm leaving the space. Yeah, so it tells me to

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Speaker 1: stop when you back in park. You're pulling out of

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Speaker 1: a space with no backup lights because you're forward. Absolutely, so,

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Speaker 1: how am I supposed to know you're just popping out? Yeah?

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Speaker 2: Accident accidents ready to happen at any fucking moment. I'm

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Speaker 2: gonna also add the pull through, which I occasionally will do.

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Speaker 2: I understand the pull through in certain spaces, but you

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Speaker 2: can't be doing the pull through in every fucking parking

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Speaker 2: lot for that exact reason. It's a place I don't

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Speaker 2: like a pull through. And plus again, you're not good

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Speaker 2: at it. You're always leaving your back ass the end

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Speaker 2: of your car hanging over the space, so you're blocking

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Speaker 2: the space behind you. You're not good at it. No

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Speaker 2: one's good at it. Let's just cut this shit in

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Speaker 2: the bud park like a normal person.

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Speaker 1: Do you know? Fucking pissed I get when I'm like

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Speaker 1: trying to find a parking space busy parking lot. I'm

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Speaker 1: like racing down an aisle and then I see an

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Speaker 1: open space, I'm like, fuck it. And then the minute

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Speaker 1: I try to pull in, someone's doing a pull through.

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Speaker 1: Fuck that person, Like, how dare you? How dare you?

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Speaker 1: I went all the way down the aisle.

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Speaker 2: Nope, you're thwarting the social convention for your own selfish needs.

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Speaker 1: Cut it out. Oh my god, it makes me so mad.

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Speaker 1: I'm thinking about it now and I'm losing it. Okay,

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Speaker 1: so we're totally aligned on this, not even in a car. Okay,

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Speaker 1: you are a serial killer.

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Speaker 2: You are a serial killer. Absolutely, Okay, thank god you

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Speaker 2: got that right.

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Speaker 1: Thank cool. I'm so happy. I'm so happy. That was

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Speaker 1: the first question.

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Speaker 2: Can I see it constantly, especially in the winter. Are

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Speaker 2: you fucking serious? Stop backing into spaces in the winter.

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Speaker 1: They need to put those big ass you know, those

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Speaker 1: cement tire stopper things. That's they should be in every

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Speaker 1: space because of that. No pool, fucking thrus, no messing

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Speaker 1: around in the insane world that I would create.

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Speaker 2: I would put those uh tire spikes down where it's

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Speaker 2: like you can't if you back up. Your tires are punctured.

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Speaker 2: Like if you pull in like a regular fucking person,

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Speaker 2: you're fine, and then the things lay down. If you

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Speaker 2: back in, you're fucking popping all those tires. That's how

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Speaker 2: That's how. Yeah, I would go some I can't stand it.

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Speaker 1: Yeah, you'd be like the budget rent a car thing

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Speaker 1: at the airport, just shred, shred and fucking tires, love.

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Speaker 2: It, rideing rims the rest of your goddamn life until

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Speaker 2: you cut the shit, all right.

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Speaker 1: Number two?

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Speaker 2: Okay, for this round of serial killer or self care okay,

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Speaker 2: arranging the clothing in your closet by size and color.

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Speaker 1: Okay? For you, I will say self care serial killer.

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Speaker 1: Oh my god, that's a Patrick Bateman move man.

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Speaker 2: Although I can see the confusion because I do aspire

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Speaker 2: to be that. I'm a very organized person in my home,

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Speaker 2: but when it comes to close, it's all bets are off.

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Speaker 1: Okay, See that's what I was thinking. I was like, Oh,

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Speaker 1: I can see her being a little like, you know,

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Speaker 1: anal retent of about the close organization in the closet. Yeah,

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Speaker 1: because the rest of my house looks like that. Yeah,

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00:14:07,080 --> 00:14:09,840
Speaker 1: so that's why I was thrown. So you're telling me

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Speaker 1: that's a serial killer move.

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Speaker 2: I think it's a serial killer move because I think

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00:14:13,280 --> 00:14:15,200
Speaker 2: it's a lot of time and effort spent to something

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00:14:15,240 --> 00:14:17,840
Speaker 2: that normally you will not think about for more than

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Speaker 2: three seconds. But I think that's why people do it.

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Speaker 2: I think again, I think much like you just said

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Speaker 2: with the backing up, I think they think it's saving

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Speaker 2: them time.

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Speaker 1: Yeah, to like hyper organize their clothing.

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Speaker 2: And I've tried it once years ago and it did

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Speaker 2: the exact opposite, because I'm like, well, I can't find

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Speaker 2: anything now, Like I know that normally when I washed shit,

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Speaker 2: like I hang this thing up right here in this space,

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Speaker 2: and now it's not in this space, and I couldn't

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Speaker 2: relearn my own system.

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Speaker 1: Yeah, so I had to stop doing it by size

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Speaker 1: would be so depressing. Yeah wow, I'd be like, Oh,

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Speaker 1: here are all the cute clothes that I had ten

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Speaker 1: years ago that don't fit me anymore. That's so crazy

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Speaker 1: to do it by size.

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Speaker 2: Yeah, But I think on the flip side, having a

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Speaker 2: uniform is absolutely self care.

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Speaker 1: Yeah.

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Speaker 2: If you're like I fully am rocketing towards the part

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Speaker 2: of my life where I'm just gonna wear the same

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Speaker 2: exact jeans, just buy five pairs of the same exact jeans,

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Speaker 2: same exact shoes, same exact jacket, hoodie, whatever like that

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Speaker 2: is self care. That is a time saver if you're

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00:15:18,400 --> 00:15:20,080
Speaker 2: just putting the same thing on every fucking day.

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Speaker 1: So wait, now that we're here, what is your organizational style?

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Speaker 1: If you don't mind me asking.

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Speaker 2: It's really all over the place. So my clothing is

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Speaker 2: neat in the places that it lives. So if my dresser,

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Speaker 2: my t shirts are nicely folded, easily identifiable, but I

295
00:15:38,880 --> 00:15:40,360
Speaker 2: just jam them in there, have or I can after

296
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Speaker 2: I wash them and fold them. Oh, I see, And

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00:15:42,920 --> 00:15:46,040
Speaker 2: then my closet. My closets are a mess because I

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Speaker 2: have one closet that I can hang long things in,

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Speaker 2: so like my long coats, the occasional dress, whatever it is.

300
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Speaker 2: But so I put all that stuff in one closet,

301
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Speaker 2: which means I can't really organize it with the rest

302
00:15:57,520 --> 00:15:59,440
Speaker 2: of my clothes because then the rest of my clothes

303
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Speaker 2: that I use on a regular basis from my bedroom.

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Speaker 1: Yeah, and that's just however I can fit it.

305
00:16:04,200 --> 00:16:06,680
Speaker 2: In, okay, like it's all neat, like it's all folded

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Speaker 2: and hung up and put away.

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Speaker 1: Yeah, but I can't do a system like that. So

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Speaker 1: my my method is buy garment type from shitty to fancy. Ooh.

309
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Speaker 1: So I'll do all of my long sleeve shirts in

310
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Speaker 1: a section, okay, but then the everyday ones first, and

311
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Speaker 1: then it goes to work ones. Gotcha. Same thing with dresses.

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Speaker 1: I'll go dresses, you know, fucking around dresses to fancy

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Speaker 1: or occasion dresses. When it comes to like sweatshirts and

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Speaker 1: stuff home sweatshirts, I don't want to say a fancy sweatshirt,

315
00:16:47,600 --> 00:16:52,320
Speaker 1: but like it goes from like shitty sick day sweatshirts

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00:16:52,360 --> 00:16:55,800
Speaker 1: to fancy cardigans. Yeah, for work, So that's kind of

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Speaker 1: how I do.

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Speaker 2: These are for public assumption.

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Speaker 1: These are not right. This is for comfort. This is

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Speaker 1: not a bed cardigan. And then a funeral cardigan.

321
00:17:04,080 --> 00:17:06,119
Speaker 2: Oh, you can't be having your house cardigan out at

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Speaker 2: a funeral, even if it's appropriately colored or comfortable or whatever.

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Speaker 1: You can't. You can't risk it. Yeah.

324
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Speaker 2: My house cardigan has like floss in the pockets, like

325
00:17:17,880 --> 00:17:19,720
Speaker 2: used flaws. I just throw it in the pocket until

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Speaker 2: I can get to a garbage can.

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Speaker 1: Oh my god, do you realize how many fucking balled

328
00:17:23,800 --> 00:17:26,719
Speaker 1: up tissues that run through the washing machade and then

329
00:17:26,720 --> 00:17:28,640
Speaker 1: they go through the dryer they get shredded. And I'm

330
00:17:28,680 --> 00:17:32,600
Speaker 1: just pulling like shredded tissues out of house cardigans that

331
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Speaker 1: have been laundered. Yeah, it's a mess.

332
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Speaker 2: A friend of mine came over to watch a movie

333
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Speaker 2: and I was like, oh, I offered, like you know,

334
00:17:40,520 --> 00:17:41,800
Speaker 2: cause they were like, oh, I need to do laundry.

335
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Speaker 1: I'm like, you can do laundry at my house, and

336
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Speaker 1: you watch when we watched this movie.

337
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Speaker 2: And they were doing laundry when they left, I was like,

338
00:17:49,240 --> 00:17:51,800
Speaker 2: the fuck like it sound. I could hear the dryer

339
00:17:51,840 --> 00:17:54,679
Speaker 2: in the distance sounded different, like it didn't sound like

340
00:17:54,680 --> 00:17:56,000
Speaker 2: it did when I put my clothes in there.

341
00:17:55,920 --> 00:17:57,879
Speaker 1: And I was like, fuck, is my dryer like broken out?

342
00:17:57,960 --> 00:17:58,600
Speaker 1: Like what's going on?

343
00:17:59,200 --> 00:18:01,359
Speaker 2: And after they left, I went and checked the lint

344
00:18:01,359 --> 00:18:04,920
Speaker 2: trap and it was filled to the fucking brim with

345
00:18:05,000 --> 00:18:08,480
Speaker 2: not just lint, but it was like bald up string tissue.

346
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Speaker 1: Shit.

347
00:18:09,119 --> 00:18:12,120
Speaker 2: There were quarters, like I swear a roll of quarters

348
00:18:12,200 --> 00:18:15,320
Speaker 2: was in the fucking tumbler, Like did not check a

349
00:18:15,480 --> 00:18:19,280
Speaker 2: single pocket and just let it ride inside the tryers.

350
00:18:19,320 --> 00:18:20,800
Speaker 2: So like, yeah, you don't know what's coming out of

351
00:18:20,840 --> 00:18:24,080
Speaker 2: these house cardigan home sweater pockets. You can't just be

352
00:18:24,119 --> 00:18:25,960
Speaker 2: throwing them out there, williamil, I'm.

353
00:18:25,800 --> 00:18:27,640
Speaker 1: Just telling you it sounds like a man was doing

354
00:18:27,680 --> 00:18:30,960
Speaker 1: laundry at your house. How could you get correct me

355
00:18:31,119 --> 00:18:31,720
Speaker 1: if I'm wrong?

356
00:18:31,840 --> 00:18:33,639
Speaker 2: But how could you fucking guess?

357
00:18:33,960 --> 00:18:34,320
Speaker 1: Yeah?

358
00:18:35,000 --> 00:18:37,679
Speaker 2: I know that single fuck given And I was like, oh,

359
00:18:37,680 --> 00:18:41,359
Speaker 2: you can't do laundry here anymore. The shit, I'm not

360
00:18:41,440 --> 00:18:43,600
Speaker 2: replacing a dryers because you can't pull something out of

361
00:18:43,600 --> 00:18:44,200
Speaker 2: your pockets.

362
00:18:44,520 --> 00:18:48,760
Speaker 1: Listen, if you're a fucking straight guy that actually looks

363
00:18:48,800 --> 00:18:51,679
Speaker 1: at the lint trap when you do laundry, please email

364
00:18:51,760 --> 00:18:53,480
Speaker 1: us at I saw at a gmail dot com.

365
00:18:54,280 --> 00:18:56,840
Speaker 2: Also, everyone, look at your lint traps. Just clean it

366
00:18:56,880 --> 00:18:59,520
Speaker 2: every time, and please, for the love of fucking God,

367
00:18:59,560 --> 00:19:01,880
Speaker 2: get one of the long It looks like a very

368
00:19:02,080 --> 00:19:06,119
Speaker 2: extra large, oversized pipe cleaner, but it's on a stick,

369
00:19:06,960 --> 00:19:09,840
Speaker 2: like it has a handle. Get it and clean out

370
00:19:09,960 --> 00:19:13,960
Speaker 2: your fucking dryer lint traps. And if you're gonna go

371
00:19:14,000 --> 00:19:16,320
Speaker 2: a step further, once a year, or maybe even every

372
00:19:16,359 --> 00:19:20,200
Speaker 2: six months if you're me, pull your dryer out, detach

373
00:19:20,280 --> 00:19:21,920
Speaker 2: the hose from the back and just give it a

374
00:19:22,000 --> 00:19:23,840
Speaker 2: vacuum because you do not want to light your house

375
00:19:23,880 --> 00:19:25,359
Speaker 2: on fire because of lint.

376
00:19:25,760 --> 00:19:29,120
Speaker 1: Yeah, okay, Plus you could start a campfire with that shit.

377
00:19:29,240 --> 00:19:31,520
Speaker 1: You could like put it out for the birds. Absolutely,

378
00:19:31,600 --> 00:19:34,080
Speaker 1: make a nest, clean it out, send it to Millie.

379
00:19:34,119 --> 00:19:35,119
Speaker 1: You have our address.

380
00:19:35,720 --> 00:19:37,520
Speaker 2: Millie. You will pop it into like a toilet roll

381
00:19:37,560 --> 00:19:38,720
Speaker 2: tube and throw it in a fire.

382
00:19:39,240 --> 00:19:42,080
Speaker 1: Yeah, and be good to go, fire starter. There you go.

383
00:19:42,200 --> 00:19:44,800
Speaker 1: There we go. Okay, So, porting to my calculations, I've

384
00:19:44,800 --> 00:19:47,680
Speaker 1: got one right and one wrong. There's one in one

385
00:19:47,800 --> 00:19:50,600
Speaker 1: and there's three more. There's three more though. Here good,

386
00:19:50,640 --> 00:19:52,120
Speaker 1: Here we go number three.

387
00:19:52,880 --> 00:19:57,200
Speaker 2: I'm serial killer or self care? Okay, finishing a bottle

388
00:19:57,240 --> 00:19:59,560
Speaker 2: of Tabasco sauce before it turns brown?

389
00:20:00,080 --> 00:20:08,280
Speaker 1: Of what turns brown? Okay, this feels like a fucking trap.

390
00:20:10,840 --> 00:20:13,400
Speaker 1: I'm gonna say serial killer, self care.

391
00:20:14,000 --> 00:20:18,439
Speaker 2: Oh god, I just finished a bottle of Tabasco for

392
00:20:18,480 --> 00:20:20,120
Speaker 2: the first time of my life, and I felt like

393
00:20:20,320 --> 00:20:22,120
Speaker 2: an exalted warrior.

394
00:20:23,800 --> 00:20:26,760
Speaker 1: Because usually it turns like a brown color.

395
00:20:26,800 --> 00:20:28,880
Speaker 2: I'm like this. I know it still smells the same,

396
00:20:28,920 --> 00:20:31,280
Speaker 2: but it probably doesn't taste the same, like it loses

397
00:20:31,320 --> 00:20:33,280
Speaker 2: some of its Oh yeah, shit, just because it's a

398
00:20:33,280 --> 00:20:35,159
Speaker 2: glass bottle that I keep on my counters of the

399
00:20:35,160 --> 00:20:36,080
Speaker 2: sunlight's hitting it.

400
00:20:36,440 --> 00:20:37,760
Speaker 1: Yeah, it just gets all fucked up.

401
00:20:37,800 --> 00:20:40,679
Speaker 2: So if you can finish a whole bottle before it

402
00:20:40,760 --> 00:20:42,720
Speaker 2: turns brown, you're on some self care.

403
00:20:42,720 --> 00:20:45,480
Speaker 1: Shit. You're using that Tabasco on the rigs. Yeah no,

404
00:20:45,720 --> 00:20:49,000
Speaker 1: I admire that actually, now that I've just said it,

405
00:20:50,000 --> 00:20:52,280
Speaker 1: because now you don't understand. Like I've got like a

406
00:20:52,320 --> 00:20:55,760
Speaker 1: million little bottles of like my little hot sauces in

407
00:20:55,800 --> 00:20:59,040
Speaker 1: this like lazy Susan thing and my tension, and they're

408
00:20:59,080 --> 00:21:02,560
Speaker 1: all crusted over. They all have been crusted over. I

409
00:21:02,680 --> 00:21:05,639
Speaker 1: use them but I am just one woman, and I

410
00:21:05,840 --> 00:21:08,960
Speaker 1: like to mix it up, you know, because it's not

411
00:21:09,040 --> 00:21:13,800
Speaker 1: always Tabasco. Sometimes it's Crystal, sometimes it's Tula. Like it's like,

412
00:21:14,680 --> 00:21:15,000
Speaker 1: you know.

413
00:21:15,880 --> 00:21:18,800
Speaker 2: Oh my god, I'm just one woman. I am just

414
00:21:18,840 --> 00:21:22,480
Speaker 2: a fucking slogan for every Tabasco hot sauce.

415
00:21:24,560 --> 00:21:26,800
Speaker 1: I was just I think that in my mind, I

416
00:21:26,880 --> 00:21:30,800
Speaker 1: was like, Danielle was gonna say that you're a goblin

417
00:21:31,320 --> 00:21:35,719
Speaker 1: for finishing it without it turning brown, because what kind

418
00:21:35,760 --> 00:21:37,800
Speaker 1: of life do you live where you get that time?

419
00:21:38,119 --> 00:21:40,919
Speaker 2: But I guess I was wrong. No, that was me

420
00:21:41,160 --> 00:21:43,879
Speaker 2: as of last month. But then I finished one and

421
00:21:43,920 --> 00:21:46,720
Speaker 2: I was like, yeah, I am the best, Like I

422
00:21:46,800 --> 00:21:47,760
Speaker 2: was very proud.

423
00:21:48,119 --> 00:21:52,600
Speaker 1: This is this is goals. Now the I can't. I

424
00:21:52,600 --> 00:21:53,200
Speaker 1: got that wrong.

425
00:21:53,800 --> 00:21:56,560
Speaker 2: It's all right, though, we still have two more. Okay, okay,

426
00:21:57,119 --> 00:21:59,080
Speaker 2: two more so now you're one right, too wrong, but

427
00:21:59,119 --> 00:22:02,360
Speaker 2: we have two more. You can pull it back, all right.

428
00:22:02,480 --> 00:22:07,919
Speaker 2: Number four serial killer or self care high heeled sandals.

429
00:22:08,160 --> 00:22:12,960
Speaker 1: High healed sandals, high heel sands. I'm gonna say for you,

430
00:22:13,160 --> 00:22:14,400
Speaker 1: that's some serial killer shit.

431
00:22:14,760 --> 00:22:17,720
Speaker 2: Abs fucking lutely, why are you taking a comfortable shoe

432
00:22:17,720 --> 00:22:20,680
Speaker 2: and throwing on a heel. What kind of monster thought

433
00:22:20,680 --> 00:22:21,280
Speaker 2: of that? Shit?

434
00:22:22,880 --> 00:22:25,080
Speaker 1: These fucking Barbie ass shoes walking around.

435
00:22:25,119 --> 00:22:27,560
Speaker 2: It's a sandal, leave it alone. It's supposed to be

436
00:22:27,640 --> 00:22:30,200
Speaker 2: flat on the ground and flack against your heel.

437
00:22:30,440 --> 00:22:34,639
Speaker 1: But okay, thoughts on platform sandals, which is like means

438
00:22:34,920 --> 00:22:37,720
Speaker 1: they're elevated, but it's like a uniform elevation. There's no

439
00:22:37,880 --> 00:22:38,800
Speaker 1: heel technically.

440
00:22:39,440 --> 00:22:42,000
Speaker 2: Same only because when you say that, I'm thinking of

441
00:22:42,040 --> 00:22:45,800
Speaker 2: those Steve Madden jobbies from the nineties that had that

442
00:22:45,920 --> 00:22:48,320
Speaker 2: like flap of fabric that just went over the top,

443
00:22:49,680 --> 00:22:54,480
Speaker 2: and those are ankle breaking scenarios. A platform sandal might

444
00:22:54,520 --> 00:22:56,159
Speaker 2: even be worse than a high heel sandal.

445
00:22:56,680 --> 00:23:00,760
Speaker 1: Look, I I'm kind of afraid to tell you this,

446
00:23:01,240 --> 00:23:04,160
Speaker 1: but at at some point during the pandemic, I when

447
00:23:04,160 --> 00:23:08,320
Speaker 1: I was in Florida at my parents' house, I bought

448
00:23:08,760 --> 00:23:10,280
Speaker 1: platform tvas.

449
00:23:12,119 --> 00:23:18,560
Speaker 2: This is devastating news.

450
00:23:16,720 --> 00:23:22,240
Speaker 1: Bone chilling news. What are you talking about, dude, I

451
00:23:22,240 --> 00:23:30,840
Speaker 1: don't know they make those, yes, And here's here's the thing.

452
00:23:32,480 --> 00:23:35,240
Speaker 1: I was like, these are kind of like I kind

453
00:23:35,240 --> 00:23:38,639
Speaker 1: of felt like I kind of felt like like some

454
00:23:38,720 --> 00:23:41,800
Speaker 1: kind of goth industrial kid. Like I was like, yo,

455
00:23:41,840 --> 00:23:44,679
Speaker 1: because they were all black and I was like, Yo,

456
00:23:44,760 --> 00:23:46,879
Speaker 1: these are kind of like, these are kind of goth,

457
00:23:47,160 --> 00:23:49,840
Speaker 1: but they're also divas, so that it fucked with me.

458
00:23:50,000 --> 00:23:53,919
Speaker 1: I was like, the look looks kind of goth, but

459
00:23:54,040 --> 00:23:57,959
Speaker 1: then you're also in like white boy college shoes at

460
00:23:58,000 --> 00:24:01,239
Speaker 1: the same time. It was so weird. It was so

461
00:24:01,320 --> 00:24:05,240
Speaker 1: weird that I wore them like once or twice, and

462
00:24:05,280 --> 00:24:07,200
Speaker 1: then I just donated them because I was like, man,

463
00:24:07,240 --> 00:24:08,480
Speaker 1: I don't know if I could pull this off.

464
00:24:08,520 --> 00:24:10,720
Speaker 2: You made it somebody else's problem, because now I just

465
00:24:10,800 --> 00:24:14,040
Speaker 2: look these up. These are the farthest from goth I've

466
00:24:14,040 --> 00:24:18,879
Speaker 2: ever seen in my life. You are too young to

467
00:24:18,960 --> 00:24:23,280
Speaker 2: be strapping on these geriatric ass platform tevas and calling

468
00:24:23,359 --> 00:24:29,239
Speaker 2: it style. I will not let this stand. You are

469
00:24:29,280 --> 00:24:34,399
Speaker 2: too young for this platform tevas. No, this is ruining

470
00:24:34,400 --> 00:24:35,359
Speaker 2: my eyeballs right now.

471
00:24:35,640 --> 00:24:37,639
Speaker 1: You know you think you're pulling a look. That's the

472
00:24:37,640 --> 00:24:39,800
Speaker 1: thing is if my mom doesn't yah, I got this,

473
00:24:40,240 --> 00:24:42,159
Speaker 1: look at this, I could pull this off. This is

474
00:24:42,200 --> 00:24:45,719
Speaker 1: kind of goth. No, it was a fucking disaster. So

475
00:24:46,359 --> 00:24:48,440
Speaker 1: I don't want to tell you that, but that's it's

476
00:24:48,480 --> 00:24:49,000
Speaker 1: what it is.

477
00:24:49,200 --> 00:24:52,400
Speaker 2: So listen. I do not follow any rules of fashion

478
00:24:52,680 --> 00:24:56,680
Speaker 2: except one. If you were young enough to wear something

479
00:24:56,760 --> 00:24:59,400
Speaker 2: the first time it was trendy. You can never wear

480
00:24:59,440 --> 00:25:03,000
Speaker 2: that shit again. Yeah, do not come back to that shit.

481
00:25:03,320 --> 00:25:04,080
Speaker 1: In twenty years.

482
00:25:04,160 --> 00:25:07,040
Speaker 2: Think you're pulling off a Look, these are some romper

483
00:25:07,119 --> 00:25:10,439
Speaker 2: stomper s crazy sandals.

484
00:25:10,960 --> 00:25:12,800
Speaker 1: I know, I don't know what I was thinking. The

485
00:25:12,840 --> 00:25:14,560
Speaker 1: heel is killing me. Like I know.

486
00:25:14,600 --> 00:25:17,960
Speaker 2: They're like high heel shoes designed to look more comfortable

487
00:25:17,960 --> 00:25:20,320
Speaker 2: in the summer. Yeah, and they have a wedge or

488
00:25:20,480 --> 00:25:21,760
Speaker 2: I have a couple of those, or like you know,

489
00:25:21,800 --> 00:25:23,880
Speaker 2: like a doctor shoal sandal or something like that.

490
00:25:23,920 --> 00:25:26,400
Speaker 1: Like I can get behind that. Yeah, But when you take.

491
00:25:26,240 --> 00:25:29,159
Speaker 2: A regular sandal that is built for comfort and you

492
00:25:29,200 --> 00:25:32,000
Speaker 2: slap a heel on it, that is an insult to humanity.

493
00:25:33,920 --> 00:25:37,760
Speaker 1: We're trying to be comfortable. Stop it. It's like taking

494
00:25:37,800 --> 00:25:42,320
Speaker 1: a keen water sandal and trying to make it fancy

495
00:25:42,960 --> 00:25:46,520
Speaker 1: when it's like no, no, no, no. The inherent nature of

496
00:25:46,600 --> 00:25:51,639
Speaker 1: the sandal is for comfort and water things like you

497
00:25:51,680 --> 00:25:54,240
Speaker 1: can't put a heel on that. But they try. These

498
00:25:54,320 --> 00:25:56,719
Speaker 1: brands try. Come on, they're trying.

499
00:25:56,760 --> 00:25:59,439
Speaker 2: They're fucking with us. I'm telling you, these teava sandals

500
00:25:59,480 --> 00:26:01,719
Speaker 2: we have to post picture on our social media. Some

501
00:26:01,800 --> 00:26:03,119
Speaker 2: of you might know what it looks like, but this

502
00:26:03,160 --> 00:26:06,119
Speaker 2: is blowing my goddamn mind. There are different colors, the

503
00:26:06,240 --> 00:26:07,640
Speaker 2: backstrap is padded.

504
00:26:09,240 --> 00:26:10,680
Speaker 1: The shit is going on here.

505
00:26:10,800 --> 00:26:14,360
Speaker 2: The next stop is platform toe shoes.

506
00:26:18,600 --> 00:26:22,919
Speaker 1: And I will argue that they were actually like the

507
00:26:22,960 --> 00:26:25,720
Speaker 1: structure of a Tiva wasn't secure enough to be that

508
00:26:25,880 --> 00:26:28,520
Speaker 1: high in the air, you know what I mean. Yeah,

509
00:26:28,640 --> 00:26:31,720
Speaker 1: there's a reason why Steve Madden made those chunky ass

510
00:26:32,720 --> 00:26:35,920
Speaker 1: because there was a giant, you know, piece of leather

511
00:26:36,040 --> 00:26:38,600
Speaker 1: or whatever, fake leather that went across the top. It

512
00:26:38,720 --> 00:26:42,000
Speaker 1: kept you in. Tiva is a little loosey goosey, So.

513
00:26:42,240 --> 00:26:48,160
Speaker 2: I'm seeing bunions, I'm seeing fucking blisters cause your feet

514
00:26:48,200 --> 00:26:51,920
Speaker 2: are just sliding around in these goddamn shoes. Yeah, this

515
00:26:51,960 --> 00:26:54,720
Speaker 2: is I'm writing a letter. I'm writing a letter to Tiva.

516
00:26:54,840 --> 00:26:57,280
Speaker 2: I never thought i'd be that person. And the letter

517
00:26:57,320 --> 00:26:58,840
Speaker 2: is simply going to be, what the fuck do you

518
00:26:58,880 --> 00:26:59,880
Speaker 2: think you're doing out here?

519
00:27:00,359 --> 00:27:03,760
Speaker 1: Stay in your goddamn lane. Yeah, I flew too close

520
00:27:03,800 --> 00:27:07,040
Speaker 1: to the fucking sun with that, and I paid the

521
00:27:07,119 --> 00:27:10,640
Speaker 1: ultimate price. But at least I got that one right.

522
00:27:10,760 --> 00:27:12,160
Speaker 1: Holy shit, got it right.

523
00:27:12,680 --> 00:27:14,639
Speaker 2: You're two for two. This is very exciting.

524
00:27:14,760 --> 00:27:16,760
Speaker 1: This is the make or break. This is the fucking

525
00:27:16,920 --> 00:27:18,879
Speaker 1: make or break question.

526
00:27:19,320 --> 00:27:22,680
Speaker 2: I have full confidence in you, okay, serial killer or

527
00:27:22,720 --> 00:27:25,160
Speaker 2: self care Greta Gerwig.

528
00:27:26,520 --> 00:27:35,480
Speaker 1: Oh no, oh no, what is wrong with you? What

529
00:27:35,520 --> 00:27:36,760
Speaker 1: the hell is wrong with you?

530
00:27:37,000 --> 00:27:37,119
Speaker 3: Now?

531
00:27:37,160 --> 00:27:42,480
Speaker 2: I know how it feels, motherfucker. Okay, I did not

532
00:27:42,560 --> 00:27:44,160
Speaker 2: intend for this to be a revenge round.

533
00:27:45,240 --> 00:27:48,480
Speaker 1: All right. Let me really think about this. I know

534
00:27:48,560 --> 00:27:51,240
Speaker 1: you can get it. I have so much faith in you. Okay,

535
00:27:51,840 --> 00:27:59,520
Speaker 1: poor Twah, I will say serial killer absolutely pull it

536
00:27:59,520 --> 00:28:00,280
Speaker 1: out in the end.

537
00:28:02,200 --> 00:28:05,480
Speaker 2: I think it would be her best and wildest next

538
00:28:05,520 --> 00:28:09,920
Speaker 2: move to just start straight up killing people. I see

539
00:28:09,960 --> 00:28:13,119
Speaker 2: it in the cards or in like twenty years to

540
00:28:13,200 --> 00:28:16,479
Speaker 2: reveal been a serial killer this whole time. What you're

541
00:28:16,480 --> 00:28:19,080
Speaker 2: gonna do about it? You already gave me an honorary

542
00:28:19,119 --> 00:28:23,280
Speaker 2: Golden Globe. I already got an oscar. Fuck are you

543
00:28:23,359 --> 00:28:24,200
Speaker 2: gonna do about it?

544
00:28:25,160 --> 00:28:28,080
Speaker 1: Okay? I'm fully like the mom from Poison IVY right now,

545
00:28:28,080 --> 00:28:30,200
Speaker 1: I cannot believe I'm laughing so hard.

546
00:28:31,720 --> 00:28:35,640
Speaker 2: Grena Gerbick, serial killer, Let's make this happen twenty twenty four.

547
00:28:36,840 --> 00:28:43,800
Speaker 1: This is such a beguiling end. Two, Because you're telling

548
00:28:43,840 --> 00:28:50,240
Speaker 1: me that the concept of Greta Gerwig is serial killer

549
00:28:50,360 --> 00:28:53,880
Speaker 1: or self Care or she is an actual serial killer

550
00:28:53,920 --> 00:28:56,760
Speaker 1: what a boat, which is apparently what you want for

551
00:28:56,880 --> 00:28:58,240
Speaker 1: her for next move.

552
00:28:58,480 --> 00:29:01,440
Speaker 2: It's kind of a projection of a dream, but it's

553
00:29:01,480 --> 00:29:05,680
Speaker 2: also fully believable to me for some reason. So yeah,

554
00:29:05,840 --> 00:29:07,640
Speaker 2: I'm a little bit guiling, a little confusing, but you

555
00:29:07,760 --> 00:29:08,200
Speaker 2: got it.

556
00:29:08,280 --> 00:29:09,760
Speaker 1: I know. That's all you know.

557
00:29:09,800 --> 00:29:10,280
Speaker 2: My brain.

558
00:29:10,840 --> 00:29:15,040
Speaker 1: I am thrilled that I got over five hundred. This

559
00:29:15,080 --> 00:29:16,960
Speaker 1: is fantastic, and the two that you did not get

560
00:29:16,960 --> 00:29:18,120
Speaker 1: were truly difficult.

561
00:29:18,400 --> 00:29:19,960
Speaker 2: Again, I did not intend for this if you were

562
00:29:20,000 --> 00:29:22,000
Speaker 2: revenge round, but I'm so proud of you.

563
00:29:23,880 --> 00:29:28,960
Speaker 1: I listen. I am so thrilled that we play this game.

564
00:29:29,280 --> 00:29:32,040
Speaker 1: It makes me laugh so hard. It really is the

565
00:29:32,040 --> 00:29:34,680
Speaker 1: funniest way to get to know somebody.

566
00:29:34,960 --> 00:29:36,920
Speaker 2: I encourage people to play it. Play it with your

567
00:29:36,920 --> 00:29:39,120
Speaker 2: nearest and dearest, play it with your friends. It's really

568
00:29:39,240 --> 00:29:39,800
Speaker 2: really fun.

569
00:29:40,000 --> 00:29:42,200
Speaker 1: I agree. Maybe weish that should be our next merch

570
00:29:42,640 --> 00:29:44,800
Speaker 1: in our exactly right store.

571
00:29:45,040 --> 00:29:48,640
Speaker 2: Shop, where we put serial Killer or Self Care colon

572
00:29:48,680 --> 00:29:51,560
Speaker 2: Grete Gerwig on a T shirt and just let people

573
00:29:51,640 --> 00:29:54,120
Speaker 2: roll around the world freaking people out.

574
00:29:54,240 --> 00:29:57,120
Speaker 1: Or maybe we can make like like these like fucking

575
00:29:57,760 --> 00:30:02,280
Speaker 1: cards against humanity type of thing. Let's get into like

576
00:30:02,320 --> 00:30:05,000
Speaker 1: the game world. We can make a little box, get

577
00:30:05,040 --> 00:30:07,120
Speaker 1: people to buy it for each other, and it'll be like,

578
00:30:07,200 --> 00:30:09,960
Speaker 1: you know, couple's version, kids version.

579
00:30:11,480 --> 00:30:14,440
Speaker 2: That would be hilarious. You could play it on your own.

580
00:30:14,680 --> 00:30:16,480
Speaker 2: You don't know what you think about serial killer or

581
00:30:16,520 --> 00:30:20,240
Speaker 2: self Care Tobasco sauce that turns brown ransom shit about yourself.

582
00:30:21,800 --> 00:30:23,720
Speaker 2: It'll be like remember those cards that they used to

583
00:30:23,760 --> 00:30:26,920
Speaker 2: sell it like borders, where it's like a little box,

584
00:30:26,920 --> 00:30:28,880
Speaker 2: like well, you could do one yoga posa day, or

585
00:30:28,920 --> 00:30:30,520
Speaker 2: like you could just pull a card and do one

586
00:30:30,560 --> 00:30:31,080
Speaker 2: thing a day.

587
00:30:31,440 --> 00:30:33,440
Speaker 1: Of course they probably you're still out in the world.

588
00:30:33,480 --> 00:30:34,440
Speaker 1: I just haven't seen him in a while.

589
00:30:34,480 --> 00:30:35,160
Speaker 2: But yeah, let's do that.

590
00:30:35,240 --> 00:30:38,200
Speaker 1: Let's make a card game serial Killer or Self Care. Listen,

591
00:30:38,720 --> 00:30:41,560
Speaker 1: you would be a trillionaire if you did this, so

592
00:30:42,760 --> 00:30:44,560
Speaker 1: we let's fucking go. We would.

593
00:30:48,120 --> 00:30:50,000
Speaker 2: I don't care if I thought of the game, we

594
00:30:50,000 --> 00:30:50,880
Speaker 2: would be trilli.

595
00:30:51,160 --> 00:30:51,760
Speaker 1: Thank you so much.

596
00:30:51,800 --> 00:30:54,160
Speaker 2: This is something that that comes through our podcast that

597
00:30:54,200 --> 00:30:55,840
Speaker 2: we do together, so we will both benefit.

598
00:30:56,480 --> 00:30:59,160
Speaker 1: Yeah, I appreciate it. I'm like the other guy in

599
00:30:59,240 --> 00:31:02,640
Speaker 1: the social network that helped Mark Zuckerberg.

600
00:31:04,240 --> 00:31:06,440
Speaker 2: But at always that's the best role to be in.

601
00:31:06,920 --> 00:31:09,160
Speaker 2: Like I said a few weeks ago in that episode

602
00:31:09,160 --> 00:31:10,440
Speaker 2: where I'm like, you know, the best person to be

603
00:31:10,520 --> 00:31:12,640
Speaker 2: is not the front person of the band. You want

604
00:31:12,640 --> 00:31:15,600
Speaker 2: to be like Taylor Swift's bass player, right, so you

605
00:31:15,760 --> 00:31:18,240
Speaker 2: get the benefit of the dough without having to sacrifice

606
00:31:18,240 --> 00:31:21,440
Speaker 2: your privacy or your personal life. Nobody knows who Taylor

607
00:31:21,440 --> 00:31:23,200
Speaker 2: Swift bass player could live next door to me, and

608
00:31:23,200 --> 00:31:23,760
Speaker 2: I wouldn't know.

609
00:31:24,040 --> 00:31:26,880
Speaker 1: So let me be the Taylor Swift bass player of

610
00:31:27,080 --> 00:31:32,160
Speaker 1: your new card game called Serial Killer Self Care, perhaps

611
00:31:32,320 --> 00:31:35,920
Speaker 1: available in the exactly right shop one day, one day.

612
00:31:36,040 --> 00:31:37,640
Speaker 1: Let's let's fucking go.

613
00:31:38,000 --> 00:31:40,400
Speaker 2: People are going to learn some horrifying things about themselves

614
00:31:40,400 --> 00:31:43,280
Speaker 2: and others. As we have just demonstrated, we love it,

615
00:31:43,480 --> 00:31:50,800
Speaker 2: we love it. Ugh, let's get into these movies. Now

616
00:31:50,960 --> 00:31:52,920
Speaker 2: you have to tell people the theme because.

617
00:31:56,040 --> 00:31:59,720
Speaker 1: Okay, let's back the fuck up and actually talk about

618
00:31:59,760 --> 00:32:02,800
Speaker 1: what had happened. Okay, so we come up with it.

619
00:32:02,920 --> 00:32:06,080
Speaker 1: We came up with an idea for the theme. Okay,

620
00:32:06,920 --> 00:32:12,760
Speaker 1: we pitched movies for it. I thought everything was fine,

621
00:32:13,400 --> 00:32:22,720
Speaker 1: and then you texted me being like, huh, that is

622
00:32:22,760 --> 00:32:30,800
Speaker 1: the origin story of this theme. Technically, the name of this. Wait,

623
00:32:30,880 --> 00:32:35,280
Speaker 1: where is it? Oh? Girl groups? Did I put it

624
00:32:35,280 --> 00:32:36,959
Speaker 1: on there? I don't even Oh no, I put old

625
00:32:37,000 --> 00:32:38,440
Speaker 1: Brig in the ear. Yeah. I was like, wait a minute,

626
00:32:38,440 --> 00:32:39,080
Speaker 1: I don't even know it.

627
00:32:39,240 --> 00:32:42,160
Speaker 2: Hold on, it's girl groups.

628
00:32:42,880 --> 00:32:45,400
Speaker 1: I think it's actually called Who Run This Mother?

629
00:32:45,640 --> 00:32:45,760
Speaker 2: Oh?

630
00:32:45,880 --> 00:32:57,200
Speaker 1: Yeah, girls Who Run This Mother? Girls? Oh?

631
00:32:57,200 --> 00:33:00,440
Speaker 2: Because you had pitched the notion of girl groups as

632
00:33:00,480 --> 00:33:02,600
Speaker 2: a theme, and I was like, yeah, let's do it,

633
00:33:02,880 --> 00:33:08,280
Speaker 2: and then I wildly misinterpreted it to an astonishing degree,

634
00:33:08,640 --> 00:33:13,440
Speaker 2: like this beyond any fucking theme we've ever presented. I

635
00:33:13,440 --> 00:33:20,880
Speaker 2: have never seen a week that more exemplifies our individual personalities, choices.

636
00:33:20,480 --> 00:33:23,480
Speaker 1: You take something. So the theme was super broad. It

637
00:33:23,520 --> 00:33:27,440
Speaker 1: was essentially like movies involving groups of women. I mean,

638
00:33:27,440 --> 00:33:31,080
Speaker 1: that's like a broad theme. Okay, And as Danielle has

639
00:33:31,200 --> 00:33:36,120
Speaker 1: just said, look at the two wildly different interpretations of that.

640
00:33:39,760 --> 00:33:45,400
Speaker 1: So but that's like Danielle's texting me was like, yeah,

641
00:33:45,480 --> 00:33:47,400
Speaker 1: the theme, and.

642
00:33:47,560 --> 00:33:54,680
Speaker 2: I was like, okay, hill, see misinterpreted girl groups so much?

643
00:33:55,680 --> 00:33:57,800
Speaker 2: And I put who Run This Mother as an ault

644
00:33:57,840 --> 00:34:02,240
Speaker 2: theme because I was like, all right, well, yeah, girl groups, Beyonce,

645
00:34:02,400 --> 00:34:06,600
Speaker 2: Destiny's Child, let's do it. Yes, But then I ran

646
00:34:07,320 --> 00:34:10,360
Speaker 2: to the most suppressing place I could possibly fuck it.

647
00:34:12,480 --> 00:34:17,360
Speaker 3: Like, listen, you understood the theme, like, there are groups

648
00:34:17,400 --> 00:34:20,919
Speaker 3: of women in your film, Oh my god, a core

649
00:34:21,000 --> 00:34:22,800
Speaker 3: group of women in her film.

650
00:34:23,400 --> 00:34:27,160
Speaker 1: Oh my god, it's not the saddest movie I've ever seen.

651
00:34:29,640 --> 00:34:33,200
Speaker 1: I will be dead basically.

652
00:34:33,400 --> 00:34:35,200
Speaker 2: The other thing that happened is I watched them as

653
00:34:35,239 --> 00:34:40,000
Speaker 2: a proper double feature and had the most emotionally volatile

654
00:34:40,080 --> 00:34:41,640
Speaker 2: day of my fucking life.

655
00:34:42,280 --> 00:34:46,160
Speaker 1: Holy shit, dude, I can't even imagine watching him in

656
00:34:46,200 --> 00:34:50,120
Speaker 1: the same day. Oh, do not recommend Do not recommend

657
00:34:50,160 --> 00:34:53,600
Speaker 1: it for this one? Holy shit? Damn. Well, look, I'm

658
00:34:53,640 --> 00:34:56,960
Speaker 1: excited to talk. I love these weird episodes where the

659
00:34:57,000 --> 00:35:01,920
Speaker 1: movies are so fucking different, uh, because it is like

660
00:35:01,960 --> 00:35:04,880
Speaker 1: a totally like Conceptually, they're kind of the same. It's

661
00:35:04,920 --> 00:35:07,440
Speaker 1: about like groups of women, obviously, but mine is a

662
00:35:07,440 --> 00:35:11,000
Speaker 1: little bit more of like an eighties comedy and yours

663
00:35:11,080 --> 00:35:18,319
Speaker 1: is a deeply personal drama. But I'm ready to talk

664
00:35:18,360 --> 00:35:20,719
Speaker 1: about your film because I i'd actually never seen your

665
00:35:20,719 --> 00:35:23,480
Speaker 1: film before, and I was I mean, I was a

666
00:35:23,760 --> 00:35:27,080
Speaker 1: fucking wreck. Dude, what the fuck? I was a wreck?

667
00:35:27,160 --> 00:35:28,799
Speaker 2: If you're not a puddle of tears at the end

668
00:35:28,840 --> 00:35:31,400
Speaker 2: of my movie, then you are a serial killer.

669
00:35:31,640 --> 00:35:34,279
Speaker 1: Oh yeah. I mean I was in my own shit

670
00:35:34,440 --> 00:35:37,319
Speaker 1: about it. I was like, my mom's Asian, my mom

671
00:35:37,480 --> 00:35:40,040
Speaker 1: has drama. Like I was like this is insane. Like

672
00:35:40,120 --> 00:35:47,680
Speaker 1: I was so sad after, but I loved it. Like

673
00:35:47,760 --> 00:35:49,359
Speaker 1: that's the thing is that I loved it. But I

674
00:35:49,400 --> 00:35:52,239
Speaker 1: was like, damn, I'm in a bad place right now.

675
00:35:55,760 --> 00:35:57,720
Speaker 1: That's the Daniel Henderson touch.

676
00:35:59,360 --> 00:36:01,880
Speaker 2: Every time look at the fucking theme about our agenda.

677
00:36:02,000 --> 00:36:03,480
Speaker 1: I cannot stop laughing that.

678
00:36:03,520 --> 00:36:06,919
Speaker 2: This is where my brain goes for who Run This? Mother?

679
00:36:07,120 --> 00:36:11,799
Speaker 1: Girl Groups? Yeah, I can't wait. I can't wait to

680
00:36:11,880 --> 00:36:18,040
Speaker 1: think about diplo. Oh my, whatever we're gonna process your film,

681
00:36:18,480 --> 00:36:29,840
Speaker 1: Just think about diplop recording. I can't breathe.

682
00:36:30,440 --> 00:36:33,200
Speaker 2: Oh good, Thank god I had a double flush girls.

683
00:36:33,200 --> 00:36:34,440
Speaker 2: I'd be peeing in my pants right now.

684
00:36:34,440 --> 00:36:36,640
Speaker 1: Oh I know. I'm so glad you had a double

685
00:36:36,640 --> 00:36:39,520
Speaker 1: flusher of it. Okay, well you're going first, Thank god,

686
00:36:40,680 --> 00:36:47,960
Speaker 1: Thank god? All right? Oh shit. My film for the

687
00:36:47,960 --> 00:36:55,360
Speaker 1: theme girl Groups aka who Run This Mother Girls is

688
00:36:55,600 --> 00:36:58,880
Speaker 1: from nineteen eighty. It was written by Kimmy Peck and

689
00:36:59,000 --> 00:37:02,560
Speaker 1: Daily and Young, directed by Roland of Maxwell and it's

690
00:37:02,600 --> 00:37:04,600
Speaker 1: called Little Darlings.

691
00:37:05,080 --> 00:37:06,480
Speaker 2: Isn't she a little Darling?

692
00:37:07,520 --> 00:37:11,080
Speaker 1: Tatum and Christie come together for the first time in

693
00:37:11,160 --> 00:37:14,120
Speaker 1: the true spirit of hot leaded American competition.

694
00:37:14,560 --> 00:37:19,680
Speaker 2: Highly appropriate for the theme. Highly appropriate, Thank you very much.

695
00:37:20,400 --> 00:37:25,000
Speaker 1: Look, this is straight up my agenda to put this

696
00:37:25,080 --> 00:37:29,280
Speaker 1: movie on the podcast I'm my own NEPO baby or whatever.

697
00:37:30,000 --> 00:37:35,080
Speaker 1: I love this movie. It goes without saying this movie

698
00:37:35,239 --> 00:37:39,799
Speaker 1: was filmed in my hometown of Atlanta, Georgia, ting ting Ting.

699
00:37:40,320 --> 00:37:43,000
Speaker 1: And also, I have to say, I'm like I did

700
00:37:43,040 --> 00:37:45,560
Speaker 1: the commentary for the new Blu ray that just came out.

701
00:37:45,880 --> 00:37:47,880
Speaker 1: I was extremely happy to be asked to do it

702
00:37:47,880 --> 00:37:50,000
Speaker 1: because I just have a lot of passion for this film.

703
00:37:50,000 --> 00:37:52,520
Speaker 1: I mean, it was out of print for a very

704
00:37:52,560 --> 00:37:55,320
Speaker 1: long time, kind of just generally out of circulation for

705
00:37:55,360 --> 00:37:58,440
Speaker 1: a long time, and it really bothered me because it's

706
00:37:58,440 --> 00:38:01,960
Speaker 1: such a great film, just like kind of a gem,

707
00:38:02,000 --> 00:38:05,040
Speaker 1: to be honest, And I did what I could to

708
00:38:05,160 --> 00:38:07,879
Speaker 1: get it back out there. So in twenty twelve, when

709
00:38:07,920 --> 00:38:11,359
Speaker 1: I was still programming at TCM, I put it on

710
00:38:11,400 --> 00:38:14,160
Speaker 1: the network because I knew I was like, Okay, well,

711
00:38:14,719 --> 00:38:17,360
Speaker 1: nobody's going to be able to see this unless I

712
00:38:17,440 --> 00:38:21,560
Speaker 1: try to make a move here. And I mean that

713
00:38:21,680 --> 00:38:24,520
Speaker 1: was like over ten years ago, and so think about

714
00:38:24,520 --> 00:38:27,040
Speaker 1: it now it's finally just out on home video or

715
00:38:27,040 --> 00:38:30,320
Speaker 1: at least on a Blu Ray. Now kind of goes

716
00:38:30,440 --> 00:38:32,920
Speaker 1: to show you, like this kind of topic that we

717
00:38:33,239 --> 00:38:36,440
Speaker 1: that comes up sometimes on the podcast about movies that

718
00:38:37,080 --> 00:38:41,920
Speaker 1: are missing and aren't accessible to people. It has an effect,

719
00:38:41,960 --> 00:38:46,040
Speaker 1: I think, and if enough time passes, that's like entire

720
00:38:46,120 --> 00:38:50,240
Speaker 1: generations of new fans that aren't discovering a movie because

721
00:38:50,239 --> 00:38:51,319
Speaker 1: they're not able to watch it.

722
00:38:51,360 --> 00:38:54,080
Speaker 2: Absolutely, I have heard you talk about this movie for

723
00:38:54,200 --> 00:38:56,760
Speaker 2: so many years. This is my first time being able

724
00:38:56,800 --> 00:38:57,279
Speaker 2: to see it.

725
00:38:57,800 --> 00:39:01,319
Speaker 1: Yeah, wild And I think that there's obviously like big

726
00:39:01,360 --> 00:39:03,279
Speaker 1: reasons for that. I mean, I think the music in

727
00:39:03,360 --> 00:39:06,480
Speaker 1: the film was probably a big reason. Yeah, because there's

728
00:39:06,680 --> 00:39:08,880
Speaker 1: like a lot of like popular songs in it, like

729
00:39:09,040 --> 00:39:12,960
Speaker 1: Blondie the Beatles song. Yeah, like that alone is millions

730
00:39:13,000 --> 00:39:17,439
Speaker 1: of dollars down the dream. Yeah. There's this great sub

731
00:39:17,520 --> 00:39:22,359
Speaker 1: label that got started recently. It's called Cinematograph and it

732
00:39:22,440 --> 00:39:26,520
Speaker 1: was started by Justin Little Liberty, who has been a

733
00:39:26,520 --> 00:39:30,080
Speaker 1: long time employee of Vinegar Syndrome, which is a Blu

734
00:39:30,239 --> 00:39:31,920
Speaker 1: Ray label that I'm sure a lot of people know

735
00:39:32,239 --> 00:39:36,720
Speaker 1: out there, but I think he was finally like, let's

736
00:39:36,760 --> 00:39:39,640
Speaker 1: try to hack away at this and got the rights

737
00:39:39,680 --> 00:39:42,640
Speaker 1: and did all he could and then asked me and

738
00:39:42,880 --> 00:39:46,520
Speaker 1: Toya Toya Murray, who I co wrote the TCM Underground

739
00:39:46,560 --> 00:39:50,719
Speaker 1: book with to do liner notes, Kate Hagen, who is

740
00:39:50,760 --> 00:39:54,400
Speaker 1: a great film writer and you know, just a champion

741
00:39:54,600 --> 00:39:58,920
Speaker 1: of missing films. She's involved. So he got together this

742
00:39:59,080 --> 00:40:02,799
Speaker 1: like cool crew of women to be on the extras

743
00:40:02,840 --> 00:40:05,520
Speaker 1: and you know, now this might be out there for

744
00:40:05,560 --> 00:40:08,560
Speaker 1: a whole new generation of kids and girls who will

745
00:40:08,560 --> 00:40:11,120
Speaker 1: see it and maybe become fans. And I just I'm obsessed.

746
00:40:11,160 --> 00:40:12,560
Speaker 1: I love it. It's great.

747
00:40:12,760 --> 00:40:16,200
Speaker 2: I also love it. Would you ever consider starting your

748
00:40:16,239 --> 00:40:21,160
Speaker 2: own like business where you brought back films like missing

749
00:40:21,200 --> 00:40:23,640
Speaker 2: films or things, especially with a feminist bent?

750
00:40:24,040 --> 00:40:24,239
Speaker 1: Yeah?

751
00:40:24,320 --> 00:40:26,040
Speaker 2: Right, because I can't believe I still haven't been able

752
00:40:26,200 --> 00:40:27,480
Speaker 2: to see Looking for Mister Goodbar.

753
00:40:27,640 --> 00:40:30,399
Speaker 1: Yeah, that's a music thing too, I believe. Here's the thing.

754
00:40:30,520 --> 00:40:33,239
Speaker 1: I think I would normally, but I feel like there

755
00:40:33,280 --> 00:40:35,600
Speaker 1: are so many people in that business right now, Like

756
00:40:35,640 --> 00:40:38,080
Speaker 1: there's just so many. We're living in a golden age,

757
00:40:38,080 --> 00:40:41,160
Speaker 1: by the way, people of like re releases, that's true,

758
00:40:41,200 --> 00:40:43,919
Speaker 1: and there's a lot of great labels out there doing

759
00:40:43,960 --> 00:40:47,000
Speaker 1: all that. I mean, it's an interesting idea, honestly, Danielle.

760
00:40:47,040 --> 00:40:47,680
Speaker 1: It's interesting.

761
00:40:48,000 --> 00:40:51,160
Speaker 2: We'll see or pitch yourself as someone who can join

762
00:40:51,239 --> 00:40:55,560
Speaker 2: one of these existing spaces and say here are the

763
00:40:55,680 --> 00:40:58,759
Speaker 2: things we need to be focused on bringing back. Yeah,

764
00:40:58,760 --> 00:41:01,640
Speaker 2: because again like this is a to me, a highly

765
00:41:01,640 --> 00:41:06,040
Speaker 2: feminist film, Yes, I agree, or at least something that

766
00:41:06,200 --> 00:41:09,160
Speaker 2: kind of engenders that that spirit. Yes, And there are

767
00:41:09,200 --> 00:41:10,520
Speaker 2: a lot of movies like that that I wish I

768
00:41:10,520 --> 00:41:12,200
Speaker 2: could see that, you know, because they were made by

769
00:41:12,239 --> 00:41:15,840
Speaker 2: women or made cheaper or whatever, like, they haven't received

770
00:41:15,840 --> 00:41:18,120
Speaker 2: the benefit of the reissue. So maybe you know, job

771
00:41:18,160 --> 00:41:21,080
Speaker 2: creation for yourself there'd be like I'm the one.

772
00:41:21,200 --> 00:41:24,960
Speaker 1: I'm your motherfucker. Yeah. If there's anybody that has a

773
00:41:24,960 --> 00:41:27,120
Speaker 1: lot of money and they don't know what to do

774
00:41:27,160 --> 00:41:28,840
Speaker 1: with it, please email us and I saw what you

775
00:41:28,880 --> 00:41:30,280
Speaker 1: did pot at gmail dot com.

776
00:41:30,920 --> 00:41:35,839
Speaker 2: We'll give you card games and ZD reissues.

777
00:41:37,920 --> 00:41:41,720
Speaker 1: Yeah, all I need is a financier, a rich one.

778
00:41:42,040 --> 00:41:43,920
Speaker 2: I'm not saying you'll get any of that money back

779
00:41:44,400 --> 00:41:46,560
Speaker 2: if you're a financier, but you will be doing a

780
00:41:46,640 --> 00:41:49,000
Speaker 2: solid yeah, for some great, great women.

781
00:41:49,640 --> 00:41:52,799
Speaker 1: Listen, you may not have a hospital named after you

782
00:41:52,840 --> 00:41:56,560
Speaker 1: one day. But you'll at least know that you made

783
00:41:56,560 --> 00:41:59,640
Speaker 1: a couple people happy, including me. And if it fails,

784
00:42:00,000 --> 00:42:02,120
Speaker 1: that's right off, You'll be fine. There we go. That's

785
00:42:02,120 --> 00:42:04,800
Speaker 1: how the rich day rich. They just don't pay taxes,

786
00:42:04,840 --> 00:42:08,040
Speaker 1: So pay tax on this. I'll do a one sentence

787
00:42:08,040 --> 00:42:12,120
Speaker 1: synopsis of Little Darlings. At an all female summer camp

788
00:42:12,200 --> 00:42:16,360
Speaker 1: in the early nineteen eighties, two girls on opposite sides

789
00:42:16,440 --> 00:42:21,000
Speaker 1: of the class divide are challenged by their fellow campers

790
00:42:21,200 --> 00:42:25,239
Speaker 1: to see who can lose their virginity first. Such a

791
00:42:25,280 --> 00:42:31,839
Speaker 1: fun fucking subject, Such a fun subject, honestly, Like I'm

792
00:42:31,840 --> 00:42:34,520
Speaker 1: going to talk about, you know, the tradition of camp films,

793
00:42:34,560 --> 00:42:37,120
Speaker 1: and I mean camp as in summer camp in just

794
00:42:37,160 --> 00:42:39,640
Speaker 1: a second. But I want to talk about where. I

795
00:42:39,760 --> 00:42:42,840
Speaker 1: have to talk about actually where it was shot in Atlanta,

796
00:42:42,960 --> 00:42:46,839
Speaker 1: because it is like, to me, it kind of takes place.

797
00:42:46,880 --> 00:42:50,080
Speaker 1: There's a couple of different locations that were really meaningful

798
00:42:50,120 --> 00:42:51,960
Speaker 1: to me. Like one of the opening scenes of the

799
00:42:52,000 --> 00:42:54,360
Speaker 1: film were actually the opening scene of the film where

800
00:42:54,400 --> 00:42:56,760
Speaker 1: all the campers are gathering to get on the buses

801
00:42:56,800 --> 00:42:59,839
Speaker 1: to go to camp. Yeah, all the parents are shown

802
00:42:59,880 --> 00:43:02,320
Speaker 1: up on top of this like parking deck in downtown Atlanta,

803
00:43:02,360 --> 00:43:05,239
Speaker 1: and that was the employee that is actually the employee

804
00:43:05,239 --> 00:43:08,960
Speaker 1: parking deck at CNN. Oh oh damn. And I've been

805
00:43:08,960 --> 00:43:12,040
Speaker 1: on that that parking deck so many damn times because

806
00:43:12,080 --> 00:43:15,240
Speaker 1: also it's the parking deck that's across from State Farm Arena,

807
00:43:15,280 --> 00:43:18,040
Speaker 1: which is where the Hawks played. The Atlanta Hawks played basketball,

808
00:43:18,600 --> 00:43:21,640
Speaker 1: and there were so many times that I went to

809
00:43:21,680 --> 00:43:24,520
Speaker 1: Hawks games and was like, yo, I'm a CNN employee.

810
00:43:24,560 --> 00:43:28,399
Speaker 1: Technically I can get free parking. So I would use

811
00:43:28,480 --> 00:43:31,080
Speaker 1: my employee parking to park in that deck to go

812
00:43:31,120 --> 00:43:32,439
Speaker 1: to the Hawks games. And I didn't have to pay

813
00:43:32,440 --> 00:43:34,759
Speaker 1: like fifty bucks or whatever. Beautiful. So the deck is

814
00:43:34,920 --> 00:43:36,960
Speaker 1: very meaningful to me. But they shot it. That's the

815
00:43:36,960 --> 00:43:39,680
Speaker 1: top of it and you can actually see I don't

816
00:43:39,719 --> 00:43:43,279
Speaker 1: I think the AJAC with the Atlanta Journal Constitution is

817
00:43:43,360 --> 00:43:46,600
Speaker 1: still in those offices maybe, but the old AJAC building

818
00:43:46,640 --> 00:43:49,120
Speaker 1: that's down there, and you can actually see an old

819
00:43:49,120 --> 00:43:53,840
Speaker 1: billboard from like the old TBS station before it was

820
00:43:53,960 --> 00:43:57,880
Speaker 1: called TBS. Yes, it was like I forgot the call letters,

821
00:43:57,880 --> 00:44:03,360
Speaker 1: but it was like late seventies TBS billboards. It was awesome.

822
00:44:03,719 --> 00:44:07,239
Speaker 1: That's really cool. I love that and then the majority

823
00:44:07,320 --> 00:44:11,600
Speaker 1: of the camp stuff was filmed essentially between these like

824
00:44:11,680 --> 00:44:14,840
Speaker 1: two camps in Georgia. One was at hard Labor Creek

825
00:44:14,960 --> 00:44:18,200
Speaker 1: State Park, which is about an hour east of downtown.

826
00:44:18,360 --> 00:44:24,480
Speaker 2: I'm sorry, it's called hard Labor Creek. Yes, and people

827
00:44:24,560 --> 00:44:26,040
Speaker 2: go there and it's not haunted.

828
00:44:26,280 --> 00:44:28,920
Speaker 1: I want to say. It was like the Army Corps

829
00:44:28,960 --> 00:44:31,759
Speaker 1: of Engineers or something like that. It was basically like

830
00:44:32,000 --> 00:44:39,360
Speaker 1: something relating to Ron. I have this written down somewhere. Yeah,

831
00:44:39,800 --> 00:44:42,440
Speaker 1: because I actually talked to when I did the commentary,

832
00:44:42,520 --> 00:44:47,080
Speaker 1: I talked to one of the park rangers and I got,

833
00:44:47,280 --> 00:44:52,360
Speaker 1: you know, basically some information about the park. And yeah,

834
00:44:52,440 --> 00:44:57,560
Speaker 1: it was some kind of like government tie in place.

835
00:44:57,640 --> 00:44:59,600
Speaker 1: I mean it's a state park, it obviously is. That's

836
00:44:59,680 --> 00:45:02,960
Speaker 1: why it looks gorgeous. Yeah. Some of the scenes were

837
00:45:02,960 --> 00:45:06,080
Speaker 1: filmed at this place called Rock Eagle, which was this

838
00:45:06,360 --> 00:45:09,880
Speaker 1: place in Eatonton, Georgia that if you were a kid

839
00:45:09,920 --> 00:45:12,680
Speaker 1: growing up in Georgia you went there in middle school

840
00:45:12,760 --> 00:45:14,800
Speaker 1: or something like. It was like this place that everybody

841
00:45:14,880 --> 00:45:17,640
Speaker 1: went in middle school that we would do like trust

842
00:45:17,719 --> 00:45:22,799
Speaker 1: falls and little shit like that. But I remember it

843
00:45:22,840 --> 00:45:24,440
Speaker 1: was like you going to Rock Eagle this year you're

844
00:45:24,440 --> 00:45:27,920
Speaker 1: going to Rock Eagle, Yo. That guy finger banged that

845
00:45:28,000 --> 00:45:30,600
Speaker 1: girl at Rock Eagle like it was like this big

846
00:45:31,000 --> 00:45:33,440
Speaker 1: thing to talk about in middle school.

847
00:45:33,680 --> 00:45:37,720
Speaker 2: So that's incredible. You know. I have a similar experience

848
00:45:37,760 --> 00:45:39,719
Speaker 2: with a choken, which is where they put us in

849
00:45:39,760 --> 00:45:40,520
Speaker 2: the woods.

850
00:45:40,200 --> 00:45:42,799
Speaker 1: To do hard labor for a bunch of hippies. That's

851
00:45:42,840 --> 00:45:44,759
Speaker 1: how he has about that. Is that where you made

852
00:45:44,920 --> 00:45:49,320
Speaker 1: like the cinnamon brooms? Yeah, adjacent thing. I made a broom.

853
00:45:49,440 --> 00:45:52,000
Speaker 2: That's all you need to know about my childhood. Yeah,

854
00:45:52,080 --> 00:45:55,600
Speaker 2: I made a broom from scratch in the woods.

855
00:45:57,040 --> 00:46:00,560
Speaker 1: The child labor, I wish we were doing falls.

856
00:46:00,640 --> 00:46:02,760
Speaker 2: I would have preferred them just walking by and knocking

857
00:46:02,800 --> 00:46:03,400
Speaker 2: me the fuck.

858
00:46:03,239 --> 00:46:05,520
Speaker 1: Over all day. Actually, to be honest with you, I'd

859
00:46:05,640 --> 00:46:09,080
Speaker 1: rather make brooms because I was in a chunky middle

860
00:46:09,080 --> 00:46:11,360
Speaker 1: school kid and having to like throw yourself over a

861
00:46:11,360 --> 00:46:16,680
Speaker 1: fucking wall was not the move. Okay, While the Army

862
00:46:16,680 --> 00:46:21,600
Speaker 1: Corps of Engineers looks on, I was like, I'm fucking

863
00:46:21,719 --> 00:46:25,839
Speaker 1: like Vincent Dinofrio in full metal jacket out here. Can

864
00:46:25,920 --> 00:46:28,439
Speaker 1: I get out of this fucking Rock Eagle thing next year?

865
00:46:28,640 --> 00:46:33,040
Speaker 1: Thank you? Ah? So there's that, and that's why I

866
00:46:33,080 --> 00:46:34,719
Speaker 1: love this movie too, is because I see a lot

867
00:46:34,760 --> 00:46:36,680
Speaker 1: of old Atlanta in it. But I want to talk

868
00:46:36,680 --> 00:46:40,280
Speaker 1: about that. There were two female writers on this film, Okay,

869
00:46:40,760 --> 00:46:44,440
Speaker 1: Kimmy Pack and Daily and Young. So Kimmy Pack basically

870
00:46:44,760 --> 00:46:48,719
Speaker 1: sold the screenplay for this movie when she was like

871
00:46:49,200 --> 00:46:52,800
Speaker 1: not even thirty years old. Damn, you'll find this very interesting.

872
00:46:53,960 --> 00:46:57,080
Speaker 1: She came from like a Hollywood family originally, but then

873
00:46:57,160 --> 00:47:03,080
Speaker 1: she ended up marrying Gregory Peck's son. Oh, Damn, is

874
00:47:03,320 --> 00:47:07,920
Speaker 1: also a high ass gentleman. I've meant to, you know, Google,

875
00:47:07,880 --> 00:47:10,760
Speaker 1: Imma search him. I'm sure he is if he comes

876
00:47:10,760 --> 00:47:13,239
Speaker 1: from that family. I think all the men in the

877
00:47:13,239 --> 00:47:16,239
Speaker 1: family have high asses. I would I would assume.

878
00:47:17,640 --> 00:47:24,680
Speaker 2: If you know, if the Gregory Peck's lineage an offspring

879
00:47:24,800 --> 00:47:27,960
Speaker 2: includes high asked gentlemen, please write to us, and I

880
00:47:28,000 --> 00:47:29,120
Speaker 2: saw you did not email.

881
00:47:30,520 --> 00:47:33,560
Speaker 1: If you can fact check that, If you can provide

882
00:47:33,600 --> 00:47:37,239
Speaker 1: us proof, factual proof, good for you.

883
00:47:37,360 --> 00:47:38,920
Speaker 2: Kimmy Yeah.

884
00:47:38,960 --> 00:47:42,880
Speaker 1: And then Dayleen Young. She was a screenwriter too. She

885
00:47:43,000 --> 00:47:46,600
Speaker 1: worked a lot in television movies. Nice. I feel like

886
00:47:46,640 --> 00:47:49,520
Speaker 1: I was kind of attached too young for these, but

887
00:47:49,760 --> 00:47:54,040
Speaker 1: I definitely remember them. She wrote one of the famous,

888
00:47:54,280 --> 00:47:58,160
Speaker 1: most famous TV movies ever, which was called Dawn Portrait

889
00:47:58,239 --> 00:48:02,680
Speaker 1: of a Teenage Runaway. Oh hell yeah, and it starred

890
00:48:03,400 --> 00:48:06,799
Speaker 1: Eve Plum from The Brady Bunch aka Jan Brady. And

891
00:48:06,840 --> 00:48:10,440
Speaker 1: there was like a second a sequel because basically like

892
00:48:10,520 --> 00:48:14,480
Speaker 1: it was like Jan Brady plays a sex worker or something.

893
00:48:14,520 --> 00:48:17,880
Speaker 1: And then there was a sequel about the guy that

894
00:48:18,000 --> 00:48:21,200
Speaker 1: she was hanging out with in the first film that

895
00:48:21,360 --> 00:48:24,040
Speaker 1: also Daily and Young wrote. But like Dawn Portion of

896
00:48:24,080 --> 00:48:30,360
Speaker 1: a Teenage Runaway was like, it's like an epic, scandalous famous, yes, scandalous.

897
00:48:30,760 --> 00:48:33,080
Speaker 1: And then you know, so Daily Young did all these

898
00:48:33,120 --> 00:48:35,640
Speaker 1: like TV movies, and then she actually wrote the film

899
00:48:35,680 --> 00:48:38,200
Speaker 1: adaptation of The Babysitters Club, which I think is kind

900
00:48:38,200 --> 00:48:43,399
Speaker 1: of cool because also a film featuring groups of women. Oh.

901
00:48:43,480 --> 00:48:45,799
Speaker 1: I have to actually say this too, because this is

902
00:48:45,840 --> 00:48:49,000
Speaker 1: a wild movie. But like Dalien Young was married to

903
00:48:49,040 --> 00:48:51,719
Speaker 1: this director, Robert Martin Carroll. Maybe still is. I don't

904
00:48:51,760 --> 00:48:54,360
Speaker 1: know if they're still alive. But they made this movie

905
00:48:54,760 --> 00:48:59,560
Speaker 1: called Sonny Boy from nineteen eighty nine, which stars Brad

906
00:48:59,760 --> 00:49:03,360
Speaker 1: dor and David Carrodine, and it is one of the

907
00:49:03,400 --> 00:49:06,000
Speaker 1: strangest movies I've ever seen in my entire life. I'm

908
00:49:06,000 --> 00:49:08,759
Speaker 1: just throwing that out there. If anybody's seen Sonny.

909
00:49:08,440 --> 00:49:09,759
Speaker 2: Boy, I'm gonna look it up now.

910
00:49:09,840 --> 00:49:11,520
Speaker 1: Email us at Assaulgated Pod.

911
00:49:11,840 --> 00:49:15,040
Speaker 2: Because after every sentence were like, email us and I

912
00:49:15,080 --> 00:49:18,040
Speaker 2: saw you did not emails that we need information this week, y'all.

913
00:49:18,400 --> 00:49:21,279
Speaker 1: Just we're trying to get information. Just email us. So

914
00:49:21,800 --> 00:49:25,960
Speaker 1: the stars of this film are the most undeniable double

915
00:49:26,040 --> 00:49:31,600
Speaker 1: teen queen power duo of all time. Okay, Christy McNichol

916
00:49:31,680 --> 00:49:36,800
Speaker 1: and Tatum O'Neill. Hmm, okay. They were both very famous

917
00:49:36,840 --> 00:49:40,040
Speaker 1: when this movie came out. I mean, Christy McNichol was

918
00:49:40,080 --> 00:49:42,359
Speaker 1: on television and she was she played like a young

919
00:49:42,400 --> 00:49:45,799
Speaker 1: girl in this like very famous television show. And you know,

920
00:49:45,840 --> 00:49:49,320
Speaker 1: Tatum O'Neil had already won an oscar before this movie

921
00:49:49,360 --> 00:49:52,680
Speaker 1: came out, so they were both like kind of you know,

922
00:49:53,239 --> 00:49:57,080
Speaker 1: teen stars, if you will, And they were both kind

923
00:49:57,080 --> 00:50:00,560
Speaker 1: of known at this time for playing like kind of

924
00:50:00,680 --> 00:50:03,560
Speaker 1: tough little girls. And I think it's really interesting too

925
00:50:03,680 --> 00:50:06,680
Speaker 1: that Christy McNichol actually did try out for The Bad

926
00:50:06,760 --> 00:50:09,480
Speaker 1: News Bears, which, of course, as you know, that role

927
00:50:09,520 --> 00:50:11,440
Speaker 1: went to Tatum O'Neal. So they were kind of in

928
00:50:11,480 --> 00:50:13,279
Speaker 1: competition for a lot of the same roles, but they

929
00:50:13,280 --> 00:50:15,920
Speaker 1: were kind of the same type of girl, Like they

930
00:50:15,920 --> 00:50:21,360
Speaker 1: were like, you know, like tough acting, brash, foulmouth girls,

931
00:50:21,360 --> 00:50:24,359
Speaker 1: which we love here on I saw what you did,

932
00:50:24,400 --> 00:50:28,600
Speaker 1: absolutely always always yeah. So in this film, it's kind

933
00:50:28,640 --> 00:50:31,080
Speaker 1: of interesting because, like I said, like in the one

934
00:50:31,120 --> 00:50:33,720
Speaker 1: sentenced synopsis, I mean, they're kind of like two women

935
00:50:33,760 --> 00:50:37,000
Speaker 1: on these different sides of the tracks, if you will. Right,

936
00:50:37,400 --> 00:50:40,640
Speaker 1: You've got Christy playing this kind of tough acting girl

937
00:50:41,120 --> 00:50:44,600
Speaker 1: named Angel Bright, which is such a name, holy shit,

938
00:50:46,000 --> 00:50:50,960
Speaker 1: the nineteen eighties name Angel Bright. And then Tatum is

939
00:50:51,000 --> 00:50:52,959
Speaker 1: on the other side of it. She's playing this very

940
00:50:53,000 --> 00:50:57,520
Speaker 1: like upper crusty rich girl named Ferris Whitney. So these

941
00:50:57,560 --> 00:51:00,799
Speaker 1: are the two girls starring in this film, right, But

942
00:51:00,880 --> 00:51:03,080
Speaker 1: I have to say the other girls in this movie

943
00:51:03,440 --> 00:51:09,719
Speaker 1: are so fucking good, and I'll just pinpoint some of

944
00:51:09,719 --> 00:51:14,120
Speaker 1: my favorites. First of all, you've got Cinder, who is

945
00:51:14,160 --> 00:51:19,360
Speaker 1: played by Christa Erickson. Cinder is the evil pretty girl

946
00:51:20,360 --> 00:51:23,239
Speaker 1: who is basically the instigator of this entire bit to

947
00:51:23,280 --> 00:51:26,160
Speaker 1: see who can lose their virginity. First, okay, she's a

948
00:51:26,239 --> 00:51:27,400
Speaker 1: fucking puppet master.

949
00:51:28,280 --> 00:51:33,200
Speaker 2: H I mean, never ever take advice or enter into

950
00:51:33,360 --> 00:51:37,120
Speaker 2: gameplay with a teenager who gets residual checks for something.

951
00:51:37,800 --> 00:51:42,880
Speaker 1: Zach, I mean she is very triggering. I have to

952
00:51:42,920 --> 00:51:48,120
Speaker 1: say absolutely. She is that mean hot girl that you

953
00:51:48,200 --> 00:51:50,840
Speaker 1: knew when you were in school, who had a boyfriend

954
00:51:50,840 --> 00:51:54,440
Speaker 1: in college and she modeled on the side, like Danielle

955
00:51:54,560 --> 00:51:58,600
Speaker 1: just mentioned, and she was the one that's like basically

956
00:51:58,719 --> 00:52:02,080
Speaker 1: very quick to humiliate eight other girls for being versions.

957
00:52:02,960 --> 00:52:07,960
Speaker 1: And I was like, wow, she is so cunty. But

958
00:52:08,080 --> 00:52:11,080
Speaker 1: like Christy Erickson is such a great actor to be

959
00:52:11,160 --> 00:52:14,040
Speaker 1: able to make that as real as possible for us,

960
00:52:14,080 --> 00:52:18,799
Speaker 1: you know what I mean, completely completely, But Cinder is,

961
00:52:19,120 --> 00:52:21,280
Speaker 1: like I said, the puppet master of this whole game.

962
00:52:22,120 --> 00:52:26,040
Speaker 1: Then you have Dana, who is played by Alexi Kennan.

963
00:52:26,680 --> 00:52:30,000
Speaker 1: She is like the thirteen going on forty girl. I

964
00:52:30,040 --> 00:52:33,840
Speaker 1: love her so much. She reads romance novels. She's the

965
00:52:34,000 --> 00:52:36,919
Speaker 1: friend that you had that like somehow snuck into Last

966
00:52:36,960 --> 00:52:43,680
Speaker 1: Tango in Paris times sad times that like I could

967
00:52:43,719 --> 00:52:46,440
Speaker 1: totally see her hosting like a talk show for women

968
00:52:46,480 --> 00:52:48,880
Speaker 1: on Lifetime in a few years, like she is Linda

969
00:52:48,960 --> 00:52:56,719
Speaker 1: Danno in Attitudes in like a decade. I love her

970
00:52:56,960 --> 00:53:03,719
Speaker 1: so much. Alexa Kennan, By the way, she died very

971
00:53:03,760 --> 00:53:06,920
Speaker 1: young at twenty three years old. She's fantastic if you

972
00:53:06,920 --> 00:53:10,600
Speaker 1: don't know her by name. She played Mollie Ringwold's best

973
00:53:10,600 --> 00:53:13,280
Speaker 1: friend in Pretty and Pink. She was the one that said,

974
00:53:13,560 --> 00:53:16,240
Speaker 1: I hope they shrivel up and fall off. Just epic

975
00:53:16,880 --> 00:53:20,520
Speaker 1: smoking cigarettes in gym class, and she's just like a legend.

976
00:53:20,400 --> 00:53:23,759
Speaker 2: Died young but lived a legendary life in the time

977
00:53:23,800 --> 00:53:25,800
Speaker 2: that she was with us one hundred percent.

978
00:53:26,600 --> 00:53:32,280
Speaker 1: Then you have Sunshine, who is played by Cynthia Nixon.

979
00:53:33,960 --> 00:53:36,160
Speaker 1: I think we know who Cynthia Nixon is by this point,

980
00:53:37,320 --> 00:53:41,319
Speaker 1: and like you will not be able to comprehend how

981
00:53:41,320 --> 00:53:43,080
Speaker 1: young Cynthia Nixon is in this film.

982
00:53:43,160 --> 00:53:48,440
Speaker 2: She is adorable, so fucking cute, This little hippie with

983
00:53:48,480 --> 00:53:50,080
Speaker 2: the flower crowns.

984
00:53:49,880 --> 00:53:52,800
Speaker 1: Always try to get people to take ginger and fucking

985
00:53:52,880 --> 00:53:58,000
Speaker 1: oshwaganda or whatever. Like she's like pushing supplements on everybody, Like.

986
00:53:58,680 --> 00:54:02,520
Speaker 2: There's one point where here takes some nice and it'll

987
00:54:02,600 --> 00:54:03,839
Speaker 2: keep you from freaking out.

988
00:54:07,080 --> 00:54:11,400
Speaker 1: Yeah, she's so cute. Oh good. And then you got

989
00:54:11,880 --> 00:54:17,319
Speaker 1: maybe my favorite of the group, Penelope. Thank god, by

990
00:54:17,719 --> 00:54:22,000
Speaker 1: Queen we stand a legend.

991
00:54:22,480 --> 00:54:26,480
Speaker 2: A fucking kicking a condom box off the wall legend,

992
00:54:27,080 --> 00:54:28,280
Speaker 2: A tiny terror.

993
00:54:29,640 --> 00:54:32,839
Speaker 1: She Okay, I can't stop talking about this girl. I've

994
00:54:32,880 --> 00:54:35,279
Speaker 1: seen this movie like twenty times, and I like love

995
00:54:35,320 --> 00:54:39,640
Speaker 1: this girl. She's she's like younger than all the other girls,

996
00:54:39,960 --> 00:54:42,279
Speaker 1: and the camp councers are always trying to get her

997
00:54:42,360 --> 00:54:43,800
Speaker 1: to go with her age group, but she's like, I

998
00:54:43,840 --> 00:54:45,920
Speaker 1: don't fuck with those babies. I want to hang out

999
00:54:45,920 --> 00:54:49,000
Speaker 1: with the older girls, which I love. I was also

1000
00:54:49,080 --> 00:54:51,000
Speaker 1: that type of little girl. I always wanted to hang

1001
00:54:51,040 --> 00:54:53,640
Speaker 1: out with older people. But also she's got this like

1002
00:54:54,160 --> 00:54:58,360
Speaker 1: total like old Hollywood comedian vibe, Like she's kind of

1003
00:54:58,360 --> 00:55:01,799
Speaker 1: like a Patsy Kelly or something such a ham. And

1004
00:55:01,880 --> 00:55:05,200
Speaker 1: if you watch the film and you watch her, she's

1005
00:55:05,280 --> 00:55:08,120
Speaker 1: always doing like incredible bits.

1006
00:55:07,840 --> 00:55:13,000
Speaker 2: In the background all the time, always just a natural. Yeah.

1007
00:55:13,640 --> 00:55:16,080
Speaker 1: I am obsessed with her, and I wish that she

1008
00:55:16,120 --> 00:55:18,720
Speaker 1: had her own spinoff, to be honest, But she's played

1009
00:55:18,719 --> 00:55:22,719
Speaker 1: by Jen Thompson, who I believe is out there. I

1010
00:55:22,719 --> 00:55:25,759
Speaker 1: think she works in theater now or something. But I

1011
00:55:25,880 --> 00:55:29,080
Speaker 1: was like, I might have like Instagram stalktor. I'm sorry,

1012
00:55:29,080 --> 00:55:31,839
Speaker 1: missus Thompson. I just was like such a fan. But

1013
00:55:31,920 --> 00:55:34,439
Speaker 1: I was like, yeah, she like she just rounds out

1014
00:55:34,440 --> 00:55:38,319
Speaker 1: this whole little group so perfectly. She's so cute. Okay. So,

1015
00:55:39,000 --> 00:55:42,080
Speaker 1: like I said, the movie is about a bit about

1016
00:55:42,400 --> 00:55:46,920
Speaker 1: who out of Ferris and Angel will become a woman first.

1017
00:55:47,239 --> 00:55:50,840
Speaker 1: And I think you have to understand right off the bat,

1018
00:55:51,560 --> 00:55:55,000
Speaker 1: this was not the vibe in basically any camp movie

1019
00:55:55,040 --> 00:55:58,440
Speaker 1: of this era. Nope. First of all, most of these

1020
00:55:58,480 --> 00:56:02,480
Speaker 1: camp movies, as you know, were boys, okay, like the

1021
00:56:02,520 --> 00:56:06,120
Speaker 1: meat Balls and everything like that. On top of this,

1022
00:56:06,840 --> 00:56:10,760
Speaker 1: in nineteen eighty, nobody was making movies about teenage girls

1023
00:56:10,880 --> 00:56:17,400
Speaker 1: having sexual agency period, right, never. Yeah, And so I

1024
00:56:17,440 --> 00:56:19,600
Speaker 1: feel like that is a revolution in and of itself,

1025
00:56:19,640 --> 00:56:22,839
Speaker 1: the fact that that exists. Okay. And here's the thing.

1026
00:56:22,920 --> 00:56:25,400
Speaker 1: So Angel and Farris are on their separate paths. So

1027
00:56:25,440 --> 00:56:28,480
Speaker 1: at the beginning, there's this bet cinder is just basically

1028
00:56:28,520 --> 00:56:32,400
Speaker 1: like really fuel in this fire. You know, Angel and

1029
00:56:32,440 --> 00:56:35,319
Speaker 1: Ferris have their kind of separate paths to winning the bet. Right.

1030
00:56:35,400 --> 00:56:38,279
Speaker 1: So Angel meets this kid from the nearby boys camp

1031
00:56:38,600 --> 00:56:43,279
Speaker 1: named Randy, who is of course played by a very

1032
00:56:43,320 --> 00:56:44,640
Speaker 1: young Matt Dylan.

1033
00:56:45,680 --> 00:56:50,960
Speaker 2: Matt Dylan at this age is very reminiscent of a

1034
00:56:51,000 --> 00:56:53,919
Speaker 2: puppet whose strings have been cut. Yeah, Like the way

1035
00:56:53,920 --> 00:56:56,839
Speaker 2: that he walks and like jangles around and it's just

1036
00:56:57,040 --> 00:57:00,880
Speaker 2: Lucy Goosey all over the place. He's so wild.

1037
00:57:01,160 --> 00:57:02,759
Speaker 1: Yeah, it is so wild to see him so young

1038
00:57:02,760 --> 00:57:05,440
Speaker 1: in this movie. Yeah, and this was his like third movie.

1039
00:57:05,520 --> 00:57:08,200
Speaker 1: He had already done Over the Edge and My Bodyguard.

1040
00:57:08,320 --> 00:57:10,359
Speaker 1: And that's the thing is that this is Matt Dylan

1041
00:57:10,440 --> 00:57:14,160
Speaker 1: in this era. He's he is Randy in every movie

1042
00:57:14,360 --> 00:57:17,120
Speaker 1: when he was a kid. Because let me, let me

1043
00:57:17,160 --> 00:57:20,720
Speaker 1: tell you right now, this pairing between Randy and Angel

1044
00:57:20,920 --> 00:57:25,800
Speaker 1: of Christy McNichol and and Matt Dylon is out of control.

1045
00:57:26,640 --> 00:57:31,080
Speaker 1: Like you know, in my perfect world, these two kids

1046
00:57:31,120 --> 00:57:33,960
Speaker 1: would have gotten married and they'd be like Tail Gaton

1047
00:57:34,040 --> 00:57:36,560
Speaker 1: in the parking lot at the Journey concert in their

1048
00:57:36,680 --> 00:57:39,880
Speaker 1: irock Z because you know they drive an irock Z.

1049
00:57:43,360 --> 00:57:45,200
Speaker 2: They'd still be doing it today. They'd be at the

1050
00:57:45,200 --> 00:57:49,080
Speaker 2: Bruce Springsteen concert in the same car with the same outfit.

1051
00:57:49,520 --> 00:57:51,680
Speaker 1: I'm telling you right now, if there are any if

1052
00:57:51,680 --> 00:57:54,320
Speaker 1: there's anybody out there who is around our age who

1053
00:57:54,360 --> 00:57:57,760
Speaker 1: have parents that are named Angel and Randy, please email

1054
00:57:57,840 --> 00:58:02,600
Speaker 1: us at Esaugnypology. Hid. I know somebody's got parents that

1055
00:58:02,640 --> 00:58:06,040
Speaker 1: are named Angel and Randy out there, and they're like,

1056
00:58:06,400 --> 00:58:09,880
Speaker 1: you know, riding the fucking motorcycles to Sturgis and shit

1057
00:58:10,040 --> 00:58:13,600
Speaker 1: like they're somebody I know has got parents like this. Okay,

1058
00:58:14,040 --> 00:58:17,640
Speaker 1: but that is Angel's kind of setup is that she's

1059
00:58:17,680 --> 00:58:24,160
Speaker 1: trying to seduce Randy. Meanwhile, Ferris is trying to seduce

1060
00:58:24,320 --> 00:58:29,040
Speaker 1: this camp counselor named mister Callahan, and he's played by

1061
00:58:29,240 --> 00:58:33,880
Speaker 1: arm Assante, I mean, with just the craziest hair you've

1062
00:58:33,920 --> 00:58:37,880
Speaker 1: ever seen, the craziest early eighties man hair. And you know,

1063
00:58:38,840 --> 00:58:42,040
Speaker 1: Ferris is like a big romantic, right, and she loves

1064
00:58:42,120 --> 00:58:45,120
Speaker 1: mister Callahan because she thinks that he's very sensitive and

1065
00:58:45,160 --> 00:58:47,320
Speaker 1: he plays guitar and he reads poetry, and you know,

1066
00:58:47,320 --> 00:58:50,640
Speaker 1: he's an older man. And the thing that I do

1067
00:58:50,880 --> 00:58:56,760
Speaker 1: appreciate about this film is that mister Callahan is basically like,

1068
00:58:57,080 --> 00:58:59,080
Speaker 1: I know, this girl has a crush on me. I

1069
00:58:59,120 --> 00:59:01,480
Speaker 1: will definitely not get with her, but I'm also not

1070
00:59:01,520 --> 00:59:03,400
Speaker 1: going to make her feel like an asshole.

1071
00:59:03,400 --> 00:59:06,000
Speaker 2: Right, which is I think very an interesting move because

1072
00:59:06,040 --> 00:59:08,480
Speaker 2: it's there's something when I was watching it and I thought,

1073
00:59:08,600 --> 00:59:10,280
Speaker 2: oh no, this is going to get uncomfortable. But I'm

1074
00:59:10,280 --> 00:59:12,360
Speaker 2: looking at it from the modern perspective of how we

1075
00:59:12,400 --> 00:59:15,120
Speaker 2: treat teen girls now in movies, yeah, which is these

1076
00:59:15,160 --> 00:59:19,720
Speaker 2: like over sexualized, out of control assholes or complete prouds.

1077
00:59:20,080 --> 00:59:21,760
Speaker 2: Like there are a few movies that slide in there

1078
00:59:21,760 --> 00:59:24,640
Speaker 2: that don't do that. But I'm so used to seeing

1079
00:59:24,960 --> 00:59:28,560
Speaker 2: teen girls treated like shit for expressing any of their

1080
00:59:28,600 --> 00:59:31,320
Speaker 2: sexuality that it was kind of jarring for me to see, like, oh, wait,

1081
00:59:31,920 --> 00:59:34,360
Speaker 2: this isn't going to be disgusting. This is all from

1082
00:59:34,440 --> 00:59:39,920
Speaker 2: her perspective. She's steering the ship and he's respectfully being like,

1083
00:59:40,320 --> 00:59:42,800
Speaker 2: I ain't going there, But like you said, I appreciate

1084
00:59:42,800 --> 00:59:43,560
Speaker 2: that you're trying it.

1085
00:59:43,920 --> 00:59:46,960
Speaker 1: Yeah, And then I appreciate that you are curious about

1086
00:59:47,040 --> 00:59:50,720
Speaker 1: romance and that's what girls are doing at your age,

1087
00:59:50,920 --> 00:59:53,960
Speaker 1: and you know, I'm not. I mean, it's obviously a

1088
00:59:54,000 --> 00:59:56,320
Speaker 1: fine line, but it's like that thing where I felt

1089
00:59:56,320 --> 01:00:01,040
Speaker 1: like she wasn't humiliated in her qu in a way,

1090
01:00:01,080 --> 01:00:04,200
Speaker 1: and I appreciated that on some level because I remember

1091
01:00:04,280 --> 01:00:06,800
Speaker 1: being her age and having crushes on guys too, and

1092
01:00:07,600 --> 01:00:10,320
Speaker 1: you know, I was always afraid of the big like ew, no,

1093
01:00:10,920 --> 01:00:13,120
Speaker 1: fucking gross.

1094
01:00:12,800 --> 01:00:15,520
Speaker 2: Right, Well, because we always see it from the male perspective,

1095
01:00:15,560 --> 01:00:19,040
Speaker 2: which is disgusting because it's young like old men going

1096
01:00:19,040 --> 01:00:21,400
Speaker 2: after young women, and we never see it from the

1097
01:00:21,440 --> 01:00:25,080
Speaker 2: other perspective, right, and don't even consider that that's a possibility.

1098
01:00:25,320 --> 01:00:28,360
Speaker 1: And I think the matching.

1099
01:00:28,920 --> 01:00:31,400
Speaker 2: I like the pairings in this movie too, because I think,

1100
01:00:31,480 --> 01:00:34,600
Speaker 2: like you said, that the Fairest character is interested in

1101
01:00:34,680 --> 01:00:37,240
Speaker 2: romance and kind of something a little more sophisticated and

1102
01:00:37,280 --> 01:00:39,640
Speaker 2: a little more you know, kind of in line with

1103
01:00:39,680 --> 01:00:41,560
Speaker 2: the life that she's lived so far, where she's been

1104
01:00:41,560 --> 01:00:43,960
Speaker 2: to private schools in Paris and all kinds of stuff,

1105
01:00:44,320 --> 01:00:47,640
Speaker 2: and then you've got this. I mean, I truly think that,

1106
01:00:47,960 --> 01:00:50,560
Speaker 2: even though I know, I know Christy McNichol is a

1107
01:00:50,640 --> 01:00:55,520
Speaker 2: queer icon for sure, but I do love this pairing

1108
01:00:55,760 --> 01:01:00,600
Speaker 2: with Matt Dillon because I think that there's this tomboy energy,

1109
01:01:01,320 --> 01:01:04,880
Speaker 2: there's this real like again, she's grabbing it by the

1110
01:01:04,880 --> 01:01:07,560
Speaker 2: reins and doing her own thing and picking her own dude,

1111
01:01:07,600 --> 01:01:10,400
Speaker 2: and like, could not have picked a better dude for herself.

1112
01:01:10,320 --> 01:01:12,880
Speaker 1: Oh, I know, And like to your exact point, the

1113
01:01:12,960 --> 01:01:15,520
Speaker 1: thing that is so unbelievable about this movie to me

1114
01:01:15,600 --> 01:01:20,640
Speaker 1: is that there are very tender emotional moments happening between

1115
01:01:20,800 --> 01:01:24,560
Speaker 1: these actors right right, Like these kids are having real

1116
01:01:24,560 --> 01:01:29,400
Speaker 1: conversations about sex. Christy McNichol blows me the fuck away

1117
01:01:29,640 --> 01:01:32,880
Speaker 1: every single time I see this movie. She has like

1118
01:01:33,880 --> 01:01:37,800
Speaker 1: maybe I mean, her eyes just speak so much about

1119
01:01:37,960 --> 01:01:41,680
Speaker 1: like her feelings in these scenes. The thing that's interesting

1120
01:01:41,720 --> 01:01:44,360
Speaker 1: about the pairing between her and Matt Dillon is that

1121
01:01:44,440 --> 01:01:46,560
Speaker 1: you think, Okay, here are these like two kind of

1122
01:01:46,640 --> 01:01:49,600
Speaker 1: like tough kids smoking cigarettes. You know, they just want

1123
01:01:49,600 --> 01:01:52,880
Speaker 1: to like get you know, get laid and go crack

1124
01:01:52,920 --> 01:01:56,720
Speaker 1: a beer. But then it ends up becoming way more complicated,

1125
01:01:56,800 --> 01:02:00,200
Speaker 1: and it becomes more complicated for Matt Dillon too, for

1126
01:02:00,360 --> 01:02:04,960
Speaker 1: Randy in that moment where Randy's like processing this information

1127
01:02:05,040 --> 01:02:07,960
Speaker 1: about him being this like hot teenage dude with like

1128
01:02:08,240 --> 01:02:12,400
Speaker 1: you know, hormones, but he actually is thinking about it

1129
01:02:12,880 --> 01:02:15,960
Speaker 1: and about him not maybe wanting something warm or something

1130
01:02:15,960 --> 01:02:18,840
Speaker 1: more complex than about how to treat women too. In

1131
01:02:18,880 --> 01:02:22,560
Speaker 1: that moment, it's amazing, Like I really think that they

1132
01:02:22,920 --> 01:02:25,600
Speaker 1: really capture gold in this movie when it comes to

1133
01:02:25,600 --> 01:02:29,280
Speaker 1: that and she has I mean huge moments Christy McNichol

1134
01:02:29,280 --> 01:02:32,960
Speaker 1: does by the way of huge moments of processing and

1135
01:02:33,040 --> 01:02:36,919
Speaker 1: kind of you know, self realization. It's so good. It's

1136
01:02:36,960 --> 01:02:38,440
Speaker 1: so fucking good, so good.

1137
01:02:38,640 --> 01:02:42,280
Speaker 2: It's also this movie starts, this is the best opening

1138
01:02:42,320 --> 01:02:45,560
Speaker 2: to any movie I've ever seen. Yeah, it opens with

1139
01:02:46,560 --> 01:02:50,600
Speaker 2: the Angel kicking someone her own age as dude in

1140
01:02:50,640 --> 01:02:52,760
Speaker 2: the dick for like calling her.

1141
01:02:53,640 --> 01:02:55,960
Speaker 1: I tried to find that guy too. I was like,

1142
01:02:56,000 --> 01:02:58,720
Speaker 1: who is this guy? That guy kicked in the dick?

1143
01:02:59,520 --> 01:03:02,160
Speaker 2: She kicks in the dick, lights a cigarette, and then

1144
01:03:02,200 --> 01:03:03,560
Speaker 2: gets into the car with her mom.

1145
01:03:04,280 --> 01:03:07,480
Speaker 1: Yeah, I was like, who is this actor? I couldn't

1146
01:03:07,480 --> 01:03:09,280
Speaker 1: figure it out. So, if you're that actor, if you've

1147
01:03:09,280 --> 01:03:11,560
Speaker 1: got kicked in the dick by Christy McNichol and Little

1148
01:03:11,600 --> 01:03:15,440
Speaker 1: Darling's email us, I think you know the email address.

1149
01:03:16,120 --> 01:03:18,120
Speaker 1: But that's the thing too. It's like, Okay, so this

1150
01:03:18,240 --> 01:03:21,360
Speaker 1: movie is emotional, but it's so funny. It is very

1151
01:03:21,400 --> 01:03:24,600
Speaker 1: frank and candid about sex. But then there's just really

1152
01:03:24,720 --> 01:03:29,520
Speaker 1: good funny camp moments like classic yeah summer camp stuff

1153
01:03:29,600 --> 01:03:33,720
Speaker 1: like the requisite food fight, the end of camp pageant.

1154
01:03:33,720 --> 01:03:36,120
Speaker 1: Why does every end of camp have like a fucking

1155
01:03:36,600 --> 01:03:39,320
Speaker 1: pageant where people like dress and costumes and sing. That's

1156
01:03:39,360 --> 01:03:41,680
Speaker 1: just so insane. But then there, you know, there's like

1157
01:03:41,920 --> 01:03:45,400
Speaker 1: all the camp stuff you love, like bunks and canoes

1158
01:03:45,640 --> 01:03:48,600
Speaker 1: and water sports and swimming and like, and I never

1159
01:03:48,640 --> 01:03:50,440
Speaker 1: went to camp. We talked about this. I know we

1160
01:03:50,480 --> 01:03:53,280
Speaker 1: never went to sleep away camp or anything, and this

1161
01:03:53,360 --> 01:03:55,240
Speaker 1: movie makes me wish that I had, because I was like, oh,

1162
01:03:55,400 --> 01:03:59,080
Speaker 1: look at all this fun early eighties. It's very evocative.

1163
01:03:59,200 --> 01:04:01,600
Speaker 1: I love it, and I don't know, I mean, I

1164
01:04:01,600 --> 01:04:03,280
Speaker 1: think that when it comes down to it, the reason

1165
01:04:03,280 --> 01:04:04,960
Speaker 1: why I love this movie so much of the reason

1166
01:04:04,960 --> 01:04:06,560
Speaker 1: why I picked it is because I really do think

1167
01:04:06,600 --> 01:04:09,560
Speaker 1: it is like for all, it's like, you know, fun

1168
01:04:09,680 --> 01:04:14,680
Speaker 1: early eighties camp stuff. It is very textured. It really

1169
01:04:15,000 --> 01:04:17,600
Speaker 1: like talks about the different types of girls that exist.

1170
01:04:18,000 --> 01:04:21,000
Speaker 1: You know that you're traversing when you're a young woman.

1171
01:04:21,400 --> 01:04:25,560
Speaker 1: It talks about the complications about sex and romance and

1172
01:04:26,400 --> 01:04:30,480
Speaker 1: guys your age, older guys, like everything. It really is

1173
01:04:31,160 --> 01:04:35,280
Speaker 1: such a gem and I just encourage you guys all

1174
01:04:35,480 --> 01:04:37,920
Speaker 1: to like watch this movie if you've never seen it.

1175
01:04:37,920 --> 01:04:39,960
Speaker 1: It's definitely out there now, it's like on streaming. But

1176
01:04:40,000 --> 01:04:41,880
Speaker 1: then there's also the Blu Ray of course. Yeah, I

1177
01:04:41,920 --> 01:04:43,600
Speaker 1: don't know, just loves great.

1178
01:04:44,160 --> 01:04:47,600
Speaker 2: It's so great, and it's again tiny movement, small moments,

1179
01:04:47,640 --> 01:04:50,880
Speaker 2: but I like how real it felt and how good

1180
01:04:50,880 --> 01:04:53,160
Speaker 2: it felt to see these are girls who are not

1181
01:04:53,400 --> 01:04:55,960
Speaker 2: always at each other's throats. They're not always at odds,

1182
01:04:56,280 --> 01:05:00,960
Speaker 2: but they also can't stand aspects of each other's personality. Yeah,

1183
01:05:01,000 --> 01:05:03,439
Speaker 2: so it's not an all or nothing thing like that. Again,

1184
01:05:03,480 --> 01:05:05,760
Speaker 2: like we're usually presented with where it's I hate this

1185
01:05:05,840 --> 01:05:07,560
Speaker 2: bitch or oh my gosh, she's my best friend forever.

1186
01:05:07,600 --> 01:05:11,000
Speaker 2: It's a very interesting and real look at kind of

1187
01:05:11,000 --> 01:05:13,080
Speaker 2: the complexity of emotions you feel at that age too,

1188
01:05:13,120 --> 01:05:14,760
Speaker 2: which is like, well, I'm stuck with this person for

1189
01:05:14,800 --> 01:05:17,240
Speaker 2: a month or two and I don't completely hate her,

1190
01:05:17,240 --> 01:05:18,520
Speaker 2: but she's kind of a pain in the ass.

1191
01:05:18,640 --> 01:05:19,120
Speaker 1: Yeah.

1192
01:05:19,400 --> 01:05:22,960
Speaker 2: So there's these moments where there's they relieve the tension

1193
01:05:23,400 --> 01:05:26,120
Speaker 2: by just allowing them to be fun and have fun

1194
01:05:26,160 --> 01:05:29,240
Speaker 2: together and having you can see the actors playing it

1195
01:05:29,280 --> 01:05:31,480
Speaker 2: out in the way where you realize, you know, oh yeah,

1196
01:05:31,480 --> 01:05:33,960
Speaker 2: that's that's quite intentional and cool that they're letting these

1197
01:05:34,000 --> 01:05:36,320
Speaker 2: girls kind of live full lives.

1198
01:05:37,280 --> 01:05:39,840
Speaker 1: Yeah. And like we've talked about this on previous episodes

1199
01:05:39,840 --> 01:05:42,280
Speaker 1: when we talked about like eighties comedies and stuff. I mean,

1200
01:05:42,320 --> 01:05:45,080
Speaker 1: class was a huge issue in eighties films. It was

1201
01:05:45,160 --> 01:05:47,919
Speaker 1: just kind of like the big topic back then, and

1202
01:05:48,080 --> 01:05:50,640
Speaker 1: you saw a lot of this kind of stuff when

1203
01:05:50,640 --> 01:05:52,560
Speaker 1: it came to teen movies is. I mean we talk

1204
01:05:52,600 --> 01:05:54,560
Speaker 1: about pretty and Pink as being an example of that,

1205
01:05:54,640 --> 01:05:59,000
Speaker 1: like there's always like class divisions between kids and how

1206
01:05:59,040 --> 01:06:02,440
Speaker 1: they're treated, and you know, and I like that the

1207
01:06:02,520 --> 01:06:05,480
Speaker 1: two actors that are playing these like very different types

1208
01:06:05,520 --> 01:06:10,280
Speaker 1: of people have like a moment between themselves in the

1209
01:06:10,320 --> 01:06:14,360
Speaker 1: movie where they are like processing the summer in that

1210
01:06:14,400 --> 01:06:16,240
Speaker 1: way where they're just like, oh, yeah, we did this

1211
01:06:16,320 --> 01:06:19,479
Speaker 1: like weird bet thing. And I don't know if either

1212
01:06:19,520 --> 01:06:22,040
Speaker 1: of us got what we wanted out of it right,

1213
01:06:22,080 --> 01:06:25,880
Speaker 1: and it didn't have this like huge ending that we

1214
01:06:25,960 --> 01:06:28,280
Speaker 1: thought like not, Like both of us are not sitting

1215
01:06:28,280 --> 01:06:30,680
Speaker 1: here being like, well we did it. We both had

1216
01:06:30,680 --> 01:06:34,040
Speaker 1: sex for both women now and isn't it perfect? No,

1217
01:06:34,160 --> 01:06:36,200
Speaker 1: it's like but it's complicated for both of them. And

1218
01:06:36,240 --> 01:06:38,120
Speaker 1: I think that the idea that they both kind of

1219
01:06:38,120 --> 01:06:41,560
Speaker 1: come together and talk about it in a way is

1220
01:06:41,600 --> 01:06:43,760
Speaker 1: so good. Like I just love that.

1221
01:06:43,880 --> 01:06:47,640
Speaker 2: Absolutely, Yeah, oh absolutely this is I'm so glad I

1222
01:06:47,640 --> 01:06:49,800
Speaker 2: got to finally see it because again, I've yeah, heard

1223
01:06:49,800 --> 01:06:52,080
Speaker 2: you talk about it and read your writing about it

1224
01:06:52,160 --> 01:06:54,680
Speaker 2: for years and it really is as good as you

1225
01:06:55,120 --> 01:06:55,960
Speaker 2: have been saying it is.

1226
01:06:56,120 --> 01:06:58,880
Speaker 1: Yeah, it's it's a good one. Well, We're going to

1227
01:06:58,960 --> 01:07:08,520
Speaker 1: take fucking turn. Ah. I can't I believe how wildly

1228
01:07:08,560 --> 01:07:13,320
Speaker 1: I misinterpreted this. I don't. I think you you were fine.

1229
01:07:13,400 --> 01:07:16,760
Speaker 1: I actually give yourself some credit and you got it.

1230
01:07:16,840 --> 01:07:19,320
Speaker 1: I just think that these two movies just happen to

1231
01:07:19,320 --> 01:07:23,840
Speaker 1: be the most wildly different tones films. Ever.

1232
01:07:26,120 --> 01:07:30,400
Speaker 2: It's like wearing spaceballs with Gone with the Wind, Like

1233
01:07:30,440 --> 01:07:32,280
Speaker 2: it's just so how.

1234
01:07:38,200 --> 01:07:41,720
Speaker 1: But I'm gonna get into it. I'm gonna love my movie. Yeah. So.

1235
01:07:41,960 --> 01:07:44,280
Speaker 2: My movie was released in nineteen ninety three. It was

1236
01:07:44,320 --> 01:07:47,880
Speaker 2: written by Amy Tann and Ron Bass, directed by Wayne Wang.

1237
01:07:48,080 --> 01:07:50,360
Speaker 2: My movie is The joy Lut Club.

1238
01:07:50,600 --> 01:07:54,840
Speaker 1: I want to understand my mother, I really try, but

1239
01:07:54,920 --> 01:07:57,480
Speaker 1: in so many ways she's always been a stranger to me.

1240
01:07:57,760 --> 01:08:01,000
Speaker 2: Holy shit. Let me just tell you the one sentence synopsis,

1241
01:08:01,480 --> 01:08:06,280
Speaker 2: which is, your mothers are genetically destined to fuck you.

1242
01:08:06,320 --> 01:08:12,440
Speaker 1: Up orson w clap.

1243
01:08:15,400 --> 01:08:17,840
Speaker 2: Perfect, Like what else can you say? It's about so

1244
01:08:17,920 --> 01:08:21,040
Speaker 2: much more than that, but like your mom's and the

1245
01:08:21,160 --> 01:08:24,800
Speaker 2: generational trauma that people carry is just you're going to

1246
01:08:24,800 --> 01:08:25,439
Speaker 2: be fucked up.

1247
01:08:25,880 --> 01:08:27,519
Speaker 1: Yeah, yeah, they don't deal.

1248
01:08:27,479 --> 01:08:30,040
Speaker 2: With that shit. But I love this movie. It was

1249
01:08:30,080 --> 01:08:33,840
Speaker 2: a book written by Amy tan and the book was

1250
01:08:33,880 --> 01:08:36,920
Speaker 2: released in nineteen eighty nine, and Amy Tan is very

1251
01:08:36,960 --> 01:08:38,559
Speaker 2: interesting to me, and she put a lot of her

1252
01:08:38,560 --> 01:08:42,280
Speaker 2: own life and her family history into this book and

1253
01:08:42,320 --> 01:08:44,800
Speaker 2: into you know what then became the film. But I

1254
01:08:44,840 --> 01:08:47,200
Speaker 2: just find her to be so interesting. She's seventy one

1255
01:08:47,439 --> 01:08:50,720
Speaker 2: right now. She's such a g like she's so she's

1256
01:08:50,760 --> 01:08:56,240
Speaker 2: in like a band with Stephen King, and she's so cool. Yeah,

1257
01:08:56,280 --> 01:08:59,920
Speaker 2: I love her. So she's originally born in Oakland, California.

1258
01:09:00,280 --> 01:09:02,639
Speaker 2: Her mother and father were Chinese immigrants, and her father

1259
01:09:02,720 --> 01:09:05,840
Speaker 2: was an electrical engineer and a minister, and he had

1260
01:09:05,880 --> 01:09:08,160
Speaker 2: to come to the US to escape the Chinese Civil War,

1261
01:09:08,200 --> 01:09:11,639
Speaker 2: which also features prominently in this film. But they eventually

1262
01:09:11,680 --> 01:09:14,640
Speaker 2: they moved to Switzerland when she was younger, and so

1263
01:09:14,960 --> 01:09:19,080
Speaker 2: weirdly like during this time, that's when amy Tan learned

1264
01:09:19,080 --> 01:09:23,240
Speaker 2: about her mother's previous marriage to another man in China and.

1265
01:09:23,200 --> 01:09:24,800
Speaker 1: She had four kids with this guy.

1266
01:09:26,200 --> 01:09:28,880
Speaker 2: And I think this was kind of like that. This

1267
01:09:29,000 --> 01:09:31,519
Speaker 2: was from what I've read in interviews and saw in

1268
01:09:31,520 --> 01:09:33,800
Speaker 2: interviews with her. This is kind of the basis for

1269
01:09:33,880 --> 01:09:36,000
Speaker 2: her starting to write this novel. And really it's because

1270
01:09:36,040 --> 01:09:39,919
Speaker 2: it's really a movie about again generational stories that connect

1271
01:09:40,040 --> 01:09:43,800
Speaker 2: women and families and how much do you know your

1272
01:09:43,800 --> 01:09:46,639
Speaker 2: mother or how can you ever know your mother?

1273
01:09:46,720 --> 01:09:48,559
Speaker 1: Can you ever know your daughter? Can you ever know women?

1274
01:09:48,600 --> 01:09:51,640
Speaker 2: Like it's just a very interesting look at this complicated

1275
01:09:51,680 --> 01:09:55,000
Speaker 2: soup that we all get from just being born to

1276
01:09:55,040 --> 01:09:57,639
Speaker 2: the people that were born too. She had a really

1277
01:09:57,640 --> 01:10:00,760
Speaker 2: tense relationship with her mother, Like apparently her her mom

1278
01:10:01,240 --> 01:10:03,800
Speaker 2: once held a knife to her throat and threatened to

1279
01:10:03,880 --> 01:10:06,840
Speaker 2: kill her when they were fighting about her boyfriend. Holy shit,

1280
01:10:07,400 --> 01:10:10,920
Speaker 2: And like how independent amy Tan wanted to be And

1281
01:10:10,960 --> 01:10:14,679
Speaker 2: this is again largely from her Wikipedia page and interviews

1282
01:10:14,680 --> 01:10:18,479
Speaker 2: that I watched on YouTube. But her mom, Like, it's

1283
01:10:18,520 --> 01:10:21,839
Speaker 2: just again like a very very tense and sad story.

1284
01:10:21,920 --> 01:10:25,240
Speaker 2: Because amy Tan's father and her older brother both died

1285
01:10:25,280 --> 01:10:27,719
Speaker 2: of brain tumors within six months of each other.

1286
01:10:28,280 --> 01:10:32,040
Speaker 1: Wow, dude, when she was fifteen years old. Wow, So

1287
01:10:32,120 --> 01:10:33,519
Speaker 1: like that'll have an impact on you.

1288
01:10:34,120 --> 01:10:37,760
Speaker 2: And her mother was really depressed, Like her mother was

1289
01:10:37,800 --> 01:10:40,799
Speaker 2: a very depressed person. She often threatened to kill herself

1290
01:10:41,360 --> 01:10:45,680
Speaker 2: and her grandmother. Amy Tan's grandmother also died by suicide.

1291
01:10:46,479 --> 01:10:50,439
Speaker 2: So this kind of suicidal ideation or this specter of

1292
01:10:50,479 --> 01:10:53,719
Speaker 2: suicide hung over her life in such an intense way.

1293
01:10:54,000 --> 01:10:57,000
Speaker 2: And apparently Daisy did attempt suicide, but she you know,

1294
01:10:57,080 --> 01:11:00,760
Speaker 2: did not, That's not how she died. She would, you know,

1295
01:11:00,920 --> 01:11:02,960
Speaker 2: talk about how her mom would sit in rooms and

1296
01:11:03,000 --> 01:11:05,080
Speaker 2: just stare and kind of be silent. And she had

1297
01:11:05,080 --> 01:11:07,760
Speaker 2: these years and years where her mother was just kind

1298
01:11:07,760 --> 01:11:09,320
Speaker 2: of a ghostly presence to her.

1299
01:11:10,320 --> 01:11:11,080
Speaker 1: And she also.

1300
01:11:10,880 --> 01:11:13,519
Speaker 2: Found out later in life that her mother had three

1301
01:11:13,560 --> 01:11:15,920
Speaker 2: abortions while she was in China, So she had four kids,

1302
01:11:15,920 --> 01:11:19,000
Speaker 2: three abortions. Like there's incredible, Like, who knows this shit.

1303
01:11:18,880 --> 01:11:20,880
Speaker 1: About your mom? Like, moms don't.

1304
01:11:20,600 --> 01:11:24,439
Speaker 2: Tell you this shit, but it obviously impacts their emotional life.

1305
01:11:24,800 --> 01:11:28,479
Speaker 2: It just impacts them so heavily. So this book was

1306
01:11:29,120 --> 01:11:32,080
Speaker 2: a revelation when it came out. I had never seen

1307
01:11:32,120 --> 01:11:34,080
Speaker 2: anything like it. I saw the movie first and read

1308
01:11:34,080 --> 01:11:36,400
Speaker 2: the book later. But the fact that it's pulled so

1309
01:11:37,040 --> 01:11:40,160
Speaker 2: deeply from Amy Tan's own life, I think it's a

1310
01:11:40,160 --> 01:11:42,599
Speaker 2: really miraculous thing as a writer that she was able

1311
01:11:42,600 --> 01:11:44,640
Speaker 2: to bring in that kind of pain and sadness and

1312
01:11:44,720 --> 01:11:47,439
Speaker 2: kind of crystallize it into something that made sense to

1313
01:11:47,479 --> 01:11:50,320
Speaker 2: everyone and that could be translated to everyone in an

1314
01:11:50,360 --> 01:11:53,639
Speaker 2: accessible way. And again, Amy Tan herself was really cool.

1315
01:11:53,680 --> 01:11:55,600
Speaker 2: Her mom wanted her to be a doctor or a

1316
01:11:55,640 --> 01:11:58,400
Speaker 2: concert pianist, and she was like, hmm, no, she had

1317
01:11:58,439 --> 01:12:00,719
Speaker 2: a bunch of different, like you know, small jobs before

1318
01:12:00,760 --> 01:12:04,800
Speaker 2: she started working as a writer, freelance business writer, which

1319
01:12:04,840 --> 01:12:06,639
Speaker 2: is the character June in this movie.

1320
01:12:06,640 --> 01:12:07,240
Speaker 1: It's her job.

1321
01:12:07,800 --> 01:12:10,759
Speaker 2: And then she kind of started writing The Joyluck Club

1322
01:12:11,200 --> 01:12:14,200
Speaker 2: in kind of a fiction work class, like a writer's workshop,

1323
01:12:14,960 --> 01:12:18,479
Speaker 2: and developed it over time. Wow, she took her She

1324
01:12:18,520 --> 01:12:20,800
Speaker 2: took her time to write this book and you know,

1325
01:12:20,840 --> 01:12:24,680
Speaker 2: published sections of it and stories from it. But it

1326
01:12:24,760 --> 01:12:28,720
Speaker 2: finally sold and she accepted an offer and it's been

1327
01:12:28,800 --> 01:12:31,639
Speaker 2: like a rock star level best selling book for decades.

1328
01:12:32,400 --> 01:12:35,960
Speaker 1: Wow. Amazing really, but yeah, she plays fuck it.

1329
01:12:36,000 --> 01:12:39,360
Speaker 2: She sings and plays tambourine in The rock Bottom Remainders,

1330
01:12:40,000 --> 01:12:42,040
Speaker 2: which I just love so much.

1331
01:12:42,400 --> 01:12:44,040
Speaker 1: Yeah, how did I not know that they were? She

1332
01:12:44,080 --> 01:12:45,719
Speaker 1: was in a band with Stephen King.

1333
01:12:45,920 --> 01:12:48,439
Speaker 2: That's amazing, and like and a couple of other authors, Like,

1334
01:12:48,479 --> 01:12:50,720
Speaker 2: it's amazing they don't all play together all at the

1335
01:12:50,760 --> 01:12:55,719
Speaker 2: same time, but it's Dave Barry, Stephen King, Ridley Pearson,

1336
01:12:56,080 --> 01:13:01,720
Speaker 2: James McBride, Mitch Album, Barbara Kingsolve, Maya Angelou is an

1337
01:13:01,760 --> 01:13:08,160
Speaker 2: honorary member, and Matt Groening and Amy Tan also appeared

1338
01:13:08,160 --> 01:13:12,840
Speaker 2: in an episode of The Simpson Wow and her episode

1339
01:13:13,000 --> 01:13:15,519
Speaker 2: was called The Insane Clown Poppy I don't know, I

1340
01:13:15,560 --> 01:13:19,599
Speaker 2: don't remember episode. But she's just fucking amazing.

1341
01:13:19,640 --> 01:13:23,040
Speaker 1: She's so cool, amazing. I love that she is so

1342
01:13:23,160 --> 01:13:23,560
Speaker 1: cool to me.

1343
01:13:23,640 --> 01:13:25,640
Speaker 2: But yeah, her and her writing, her other books, you

1344
01:13:25,720 --> 01:13:27,920
Speaker 2: like Bone Setter's Daughter and The Kitchen God's Wife, and

1345
01:13:27,960 --> 01:13:29,880
Speaker 2: I just I'm really a fan of her as a writer.

1346
01:13:30,560 --> 01:13:34,280
Speaker 2: I think she's incredibly evocative, super emotional and again just really,

1347
01:13:34,439 --> 01:13:37,840
Speaker 2: I don't know, she's just she's there's something really effective

1348
01:13:37,840 --> 01:13:40,200
Speaker 2: about the way that she writes the emotion into her characters.

1349
01:13:41,200 --> 01:13:45,479
Speaker 2: So there's definitely a lot to be learned about her.

1350
01:13:45,920 --> 01:13:49,000
Speaker 2: There's even I think an American Master's PBS episode about her,

1351
01:13:49,760 --> 01:13:51,760
Speaker 2: which I haven't didn't watch yet, but I'm gonna watch

1352
01:13:51,800 --> 01:13:52,599
Speaker 2: after we record.

1353
01:13:53,120 --> 01:13:54,040
Speaker 1: And yeah, I just.

1354
01:13:54,040 --> 01:13:56,680
Speaker 2: Find her fascinating. Seventy one. If you want to hit

1355
01:13:56,760 --> 01:13:57,760
Speaker 2: us up, I saw d.

1356
01:14:00,200 --> 01:14:01,040
Speaker 1: Get her on the pod.

1357
01:14:01,600 --> 01:14:03,200
Speaker 2: Hit us up, get on the pod. We Love You

1358
01:14:04,640 --> 01:14:07,000
Speaker 2: And this movie is fucking why. This movie is also

1359
01:14:07,120 --> 01:14:11,160
Speaker 2: very expansive. So the core of the film and book

1360
01:14:11,320 --> 01:14:15,080
Speaker 2: is about these four women in San Francisco who have

1361
01:14:15,240 --> 01:14:20,479
Speaker 2: formed a ma Jong group that plays every week. These

1362
01:14:20,479 --> 01:14:23,360
Speaker 2: are four women who met in church. They've all immigrated

1363
01:14:23,360 --> 01:14:27,280
Speaker 2: to America, and their daughters are all friends and have

1364
01:14:27,400 --> 01:14:30,320
Speaker 2: known each other for ages. So when we meet everyone

1365
01:14:30,360 --> 01:14:33,160
Speaker 2: in the film at the top, it's a party being

1366
01:14:33,200 --> 01:14:37,120
Speaker 2: thrown for June, who's going to China, and we don't

1367
01:14:37,160 --> 01:14:40,360
Speaker 2: know why. It's slowly revealed, but we do know that

1368
01:14:40,439 --> 01:14:44,200
Speaker 2: her mother, Sue Yun, has just died. She died four

1369
01:14:44,240 --> 01:14:46,759
Speaker 2: months ago, so she's kind of standing at this party

1370
01:14:46,760 --> 01:14:50,800
Speaker 2: looking around at you know, her mom's friends and her

1371
01:14:50,800 --> 01:14:54,080
Speaker 2: own friends, their daughters, and right from the start of

1372
01:14:54,080 --> 01:14:56,559
Speaker 2: the film, she's missing a crucial part of her own life.

1373
01:14:56,720 --> 01:14:58,880
Speaker 2: So I kind of again, I love the setup of

1374
01:14:58,920 --> 01:15:00,639
Speaker 2: the film. I think that the way that it works

1375
01:15:00,640 --> 01:15:05,280
Speaker 2: as you kind of meet each mother, learn their backstory,

1376
01:15:05,360 --> 01:15:09,000
Speaker 2: and then meet the daughters and how their stories relate

1377
01:15:09,200 --> 01:15:12,320
Speaker 2: or how their relationship came to be in the present day.

1378
01:15:13,880 --> 01:15:17,080
Speaker 2: So June, much like Amy Tan, played piano as a

1379
01:15:17,160 --> 01:15:19,240
Speaker 2: child and her mom wanted her to be a prodigy.

1380
01:15:19,240 --> 01:15:21,639
Speaker 2: There's actually a very funny scene because her piano teacher

1381
01:15:22,080 --> 01:15:24,760
Speaker 2: has lost his hearing, so she makes up notes he's like,

1382
01:15:24,760 --> 01:15:27,400
Speaker 2: where are you playing? And she's like z major and

1383
01:15:27,439 --> 01:15:29,160
Speaker 2: she's just kind of having fun. Whether it's all like

1384
01:15:29,200 --> 01:15:31,960
Speaker 2: a totally adorable little kid. But it also sets up

1385
01:15:32,040 --> 01:15:36,960
Speaker 2: right from the beginning that Anti Lindo was Sue Yune's

1386
01:15:37,360 --> 01:15:40,879
Speaker 2: best friend and also worse enemy, and her daughter Waverley,

1387
01:15:41,000 --> 01:15:44,600
Speaker 2: who's this chess champion, is just straight up enemies.

1388
01:15:44,280 --> 01:15:45,080
Speaker 1: With Jude.

1389
01:15:46,360 --> 01:15:49,919
Speaker 2: At each other, and Waverley has a real attitude problem.

1390
01:15:50,280 --> 01:15:52,519
Speaker 2: But I love the way that it's presented as kind

1391
01:15:52,520 --> 01:15:56,920
Speaker 2: of this friendly competition between the mothers turns sour and

1392
01:15:57,000 --> 01:16:02,800
Speaker 2: becomes actual competition in their children. So June is flipping out.

1393
01:16:02,800 --> 01:16:04,840
Speaker 2: She makes a mistake it at a piano recital and

1394
01:16:04,920 --> 01:16:07,120
Speaker 2: was like, I'm never playing piano again. You're like, I'm

1395
01:16:07,160 --> 01:16:08,479
Speaker 2: never gonna be the kind of daughter you want me

1396
01:16:08,520 --> 01:16:10,680
Speaker 2: to be. Essentially is the theme of her relationship with

1397
01:16:10,720 --> 01:16:14,360
Speaker 2: her mother Yea, and she says at one point, I

1398
01:16:14,439 --> 01:16:16,920
Speaker 2: wish I was dead like the babies you killed in China.

1399
01:16:17,560 --> 01:16:20,000
Speaker 2: This is a little girl saying this to her own mom.

1400
01:16:20,560 --> 01:16:23,040
Speaker 2: So Sue Yun we go back into her story and

1401
01:16:23,080 --> 01:16:27,000
Speaker 2: realize that yes, she was married before she married June's father,

1402
01:16:27,439 --> 01:16:30,360
Speaker 2: and she had twin girls, and June never got the

1403
01:16:30,360 --> 01:16:32,559
Speaker 2: full story from her mother, but we see her mother

1404
01:16:32,680 --> 01:16:34,559
Speaker 2: leaving them on the stump of a tree by the

1405
01:16:34,600 --> 01:16:36,840
Speaker 2: side of the road. We do eventually learn what that

1406
01:16:36,880 --> 01:16:39,719
Speaker 2: story is in a very emotional moment. But Auntie Lindo

1407
01:16:39,960 --> 01:16:43,639
Speaker 2: and all the Aunties. So we've got Auntie Lindo who

1408
01:16:43,760 --> 01:16:48,639
Speaker 2: is fucking fierce and amazing, and Auntie Lindo is played

1409
01:16:48,680 --> 01:16:53,160
Speaker 2: by Si Chin. You have Sue Yun played by Key

1410
01:16:53,280 --> 01:16:58,280
Speaker 2: Cheen Ying Ying who's played by France Nuinn, and on

1411
01:16:58,560 --> 01:17:01,519
Speaker 2: May played by Lisa lu So. The three remaining women

1412
01:17:01,600 --> 01:17:04,720
Speaker 2: Anti Lindo, Anti Ying, Yinying, and on May, which I

1413
01:17:04,760 --> 01:17:06,880
Speaker 2: also I wasn't able to fact check this, but I

1414
01:17:06,960 --> 01:17:10,000
Speaker 2: read in one article that on May is Amy Tan's

1415
01:17:10,080 --> 01:17:13,599
Speaker 2: Chinese name and it means blessed in America. Oh wow,

1416
01:17:13,640 --> 01:17:15,120
Speaker 2: I'll have to look that up, but I thought that

1417
01:17:15,160 --> 01:17:15,679
Speaker 2: was interesting.

1418
01:17:15,760 --> 01:17:16,160
Speaker 1: Yeah.

1419
01:17:16,200 --> 01:17:19,200
Speaker 2: So these three women are still playing Majong and there's

1420
01:17:19,320 --> 01:17:21,680
Speaker 2: again an emotional scene right in the beginning where they

1421
01:17:21,720 --> 01:17:23,800
Speaker 2: kind of invite June to take her mother's place in

1422
01:17:23,840 --> 01:17:26,320
Speaker 2: this epic game that they've been playing for thirty years,

1423
01:17:26,880 --> 01:17:30,640
Speaker 2: and they also tell her by the way we have

1424
01:17:31,800 --> 01:17:34,880
Speaker 2: located those twins. They didn't actually die. We found them

1425
01:17:35,160 --> 01:17:38,559
Speaker 2: and you should go meet them. And there's this kind

1426
01:17:38,640 --> 01:17:43,040
Speaker 2: of information that's been left out, which is that Anti

1427
01:17:43,160 --> 01:17:46,960
Speaker 2: Lindo absolutely did not tell them that their mother had died.

1428
01:17:47,400 --> 01:17:49,960
Speaker 2: So that kind of falls on June. By the end

1429
01:17:49,960 --> 01:17:52,320
Speaker 2: of the film, she realizes, you want me to tell

1430
01:17:52,360 --> 01:17:55,240
Speaker 2: them that their mother died, but she's going to meet

1431
01:17:55,280 --> 01:17:57,160
Speaker 2: the twins. That's kind of the setup of the film.

1432
01:17:57,560 --> 01:18:00,599
Speaker 2: So as we get through this party, we start by

1433
01:18:00,600 --> 01:18:05,919
Speaker 2: seeing June and Sue Yun kind of having their eternal struggle,

1434
01:18:05,960 --> 01:18:08,640
Speaker 2: like they're locking horns throughout her whole life.

1435
01:18:08,760 --> 01:18:09,880
Speaker 1: And at a.

1436
01:18:09,840 --> 01:18:12,760
Speaker 2: Certain point when June is supposed to go to China

1437
01:18:12,800 --> 01:18:15,080
Speaker 2: and she's hearing this information for the first time, she's like,

1438
01:18:15,120 --> 01:18:17,400
Speaker 2: I'm not the one that can do this. I don't

1439
01:18:17,439 --> 01:18:20,920
Speaker 2: know who my mother was, And the women ask her,

1440
01:18:20,920 --> 01:18:23,559
Speaker 2: how can a daughter not know her own mother? But

1441
01:18:23,600 --> 01:18:26,240
Speaker 2: we're about to find out because these women keep some

1442
01:18:26,520 --> 01:18:32,519
Speaker 2: sea crets from people in their lives, saying The next

1443
01:18:32,640 --> 01:18:35,120
Speaker 2: kind of relationship we dig into is the one between

1444
01:18:35,160 --> 01:18:40,720
Speaker 2: Auntie Lindo and her daughter Waverley, and Auntie Lindo's background

1445
01:18:41,040 --> 01:18:43,360
Speaker 2: is that she was given up by her mother. When

1446
01:18:43,360 --> 01:18:46,760
Speaker 2: she was four years old, she was matched, like she

1447
01:18:46,840 --> 01:18:48,960
Speaker 2: a matchmaker came to her home and matched her with

1448
01:18:49,000 --> 01:18:51,240
Speaker 2: this guy who is going to be her husband when

1449
01:18:51,240 --> 01:18:55,920
Speaker 2: she turned fifteen. So the kind of central pain of

1450
01:18:55,960 --> 01:18:58,000
Speaker 2: this story is that for the next ten years, her

1451
01:18:58,040 --> 01:19:01,839
Speaker 2: mother treated her as if she already belonged to Wongti

1452
01:19:01,920 --> 01:19:04,599
Speaker 2: Tie at the match you know, her future mother in law.

1453
01:19:05,560 --> 01:19:07,639
Speaker 2: And I can't imagine the pain of that, the pain

1454
01:19:07,680 --> 01:19:10,439
Speaker 2: of knowing that your daughter would leave and knowing also

1455
01:19:10,479 --> 01:19:12,839
Speaker 2: the pain of knowing that you had to go, especially

1456
01:19:12,840 --> 01:19:16,160
Speaker 2: when her whole family moves without her. So she's left

1457
01:19:16,200 --> 01:19:19,240
Speaker 2: behind with this guy she's supposed to marry, and her

1458
01:19:19,280 --> 01:19:23,360
Speaker 2: family genuinely like they physically leave her there, which is

1459
01:19:23,520 --> 01:19:26,800
Speaker 2: just such a powerful and painful moment because she's just

1460
01:19:26,840 --> 01:19:29,720
Speaker 2: a child. She's a child, and her mom gives her

1461
01:19:29,720 --> 01:19:31,519
Speaker 2: this necklace and we still see her wearing it in

1462
01:19:31,560 --> 01:19:33,000
Speaker 2: the future, which is so cute.

1463
01:19:33,360 --> 01:19:35,760
Speaker 1: But Auntie Lindo's marriage was fucked the fuck up.

1464
01:19:36,240 --> 01:19:38,680
Speaker 2: So she meets her husband, like she goes to the

1465
01:19:38,720 --> 01:19:42,760
Speaker 2: marriage ceremony and then meets her husband and decided in

1466
01:19:42,760 --> 01:19:45,720
Speaker 2: that moment, all right, right now, I'm going to decide

1467
01:19:45,760 --> 01:19:48,040
Speaker 2: if my whole life is going to be lived in fear,

1468
01:19:48,600 --> 01:19:51,160
Speaker 2: or if I would just move through it and become

1469
01:19:51,200 --> 01:19:53,719
Speaker 2: who I am. And when she meets her husband, he's

1470
01:19:53,720 --> 01:19:57,120
Speaker 2: this fucking, chunky little piece of shit holding a lizard.

1471
01:19:57,120 --> 01:19:59,920
Speaker 2: He's a boy essentially, he is a boy, oh my gosh.

1472
01:20:00,080 --> 01:20:01,960
Speaker 2: And he makes her sleep on the floor just because

1473
01:20:01,960 --> 01:20:05,000
Speaker 2: he can. So he's to internalize all of these masculine

1474
01:20:05,640 --> 01:20:07,960
Speaker 2: the masculine role and everything that's been taught to him

1475
01:20:07,960 --> 01:20:09,760
Speaker 2: since probably the day he was born, about what a

1476
01:20:09,800 --> 01:20:13,240
Speaker 2: prince he was. But he's really cruel to Lindo, and

1477
01:20:14,080 --> 01:20:16,880
Speaker 2: she's trying hard to please her mother in law, but

1478
01:20:16,960 --> 01:20:19,840
Speaker 2: she's not having babies because the truth of the matter

1479
01:20:19,960 --> 01:20:22,960
Speaker 2: is her husband is too afraid to sleep with her

1480
01:20:22,960 --> 01:20:25,000
Speaker 2: and he kind of giggles whenever she gets undressed. But

1481
01:20:25,040 --> 01:20:28,639
Speaker 2: he's lying to his mother and saying it's Lindo's fault.

1482
01:20:28,840 --> 01:20:31,439
Speaker 2: So she pays the price, and her mother in law

1483
01:20:31,439 --> 01:20:32,960
Speaker 2: makes her stay in bed all day until she has

1484
01:20:32,960 --> 01:20:36,080
Speaker 2: a grandson. But she gets out of the situation. I mean,

1485
01:20:36,120 --> 01:20:37,320
Speaker 2: I don't even know if I want to spoil it,

1486
01:20:37,360 --> 01:20:39,120
Speaker 2: but the way that she gets out of this marriage,

1487
01:20:39,120 --> 01:20:45,599
Speaker 2: which she does, is masterful and absolutely showcases that Lindo

1488
01:20:45,680 --> 01:20:47,559
Speaker 2: has been exactly who she is from the day she

1489
01:20:47,640 --> 01:20:48,280
Speaker 2: was fucking born.

1490
01:20:48,400 --> 01:20:51,760
Speaker 1: She is a schemer, she is smart, she is not

1491
01:20:51,840 --> 01:20:55,639
Speaker 1: going to suffer your shit. I think an alternate theme

1492
01:20:55,760 --> 01:21:00,559
Speaker 1: of this film is men are trash. Absolutely for one dude,

1493
01:21:00,600 --> 01:21:03,960
Speaker 1: there's one dude who's not. Yeah, one dude. But for

1494
01:21:04,000 --> 01:21:06,559
Speaker 1: the most part, it's that kind of constant runner in

1495
01:21:06,600 --> 01:21:08,960
Speaker 1: the film, which is that you know, here are these

1496
01:21:09,000 --> 01:21:11,840
Speaker 1: women that are basically like at the mercy of these

1497
01:21:11,920 --> 01:21:15,120
Speaker 1: men in this culture, but in you know, the society

1498
01:21:15,200 --> 01:21:19,000
Speaker 1: of kind of being wives and you know, girlfriends and

1499
01:21:19,040 --> 01:21:21,559
Speaker 1: stuff like that, and it's like never more like that

1500
01:21:21,640 --> 01:21:26,000
Speaker 1: first story. Man. It really like there are so many

1501
01:21:26,040 --> 01:21:29,400
Speaker 1: times that I was just like, oh my god, I

1502
01:21:29,479 --> 01:21:33,240
Speaker 1: can't even imagine, Like that is just like having like

1503
01:21:33,280 --> 01:21:37,479
Speaker 1: an arranged marriage with this like young little shit with

1504
01:21:37,560 --> 01:21:41,840
Speaker 1: this fucking lizard. Yeah, that lizard that kind of comes around.

1505
01:21:41,880 --> 01:21:44,639
Speaker 1: She's like basically like banging the floor, like get away

1506
01:21:44,680 --> 01:21:48,040
Speaker 1: from me. But then like the cruelty of her her

1507
01:21:49,160 --> 01:21:52,439
Speaker 1: mother in law and just yeah, feeling the need to

1508
01:21:52,479 --> 01:21:54,880
Speaker 1: get out was very real to me when I was

1509
01:21:54,920 --> 01:21:55,759
Speaker 1: watching that movie.

1510
01:21:56,160 --> 01:21:59,200
Speaker 2: Yeah, having to plan your escape, but also the thing

1511
01:21:59,200 --> 01:22:01,760
Speaker 2: That really hit me the hardest this time because I've

1512
01:22:01,800 --> 01:22:04,800
Speaker 2: seen this movie so many times. But what really hit

1513
01:22:04,840 --> 01:22:09,080
Speaker 2: me the hardest this time is how connected the mothers are,

1514
01:22:09,120 --> 01:22:11,320
Speaker 2: because they're presented as kind of the mothers and the daughters,

1515
01:22:11,360 --> 01:22:15,760
Speaker 2: and the mothers are almost a little bit horrified as

1516
01:22:15,760 --> 01:22:19,320
Speaker 2: the movie goes on to discover how much their daughters

1517
01:22:19,360 --> 01:22:23,960
Speaker 2: picked up on yes, about their relationships with men. Yes,

1518
01:22:24,160 --> 01:22:27,080
Speaker 2: whether it was intentional or not, in all of these relationships,

1519
01:22:27,960 --> 01:22:31,600
Speaker 2: so many of the mothers end up being just absolutely

1520
01:22:32,800 --> 01:22:37,440
Speaker 2: horrified at watching their daughters replicate some of the mistakes

1521
01:22:37,439 --> 01:22:40,000
Speaker 2: that they moved to America to make sure that they

1522
01:22:40,000 --> 01:22:46,040
Speaker 2: wouldn't make. Yeah, so emotional, so yeah, yeah. Auntie Lindo's daughter,

1523
01:22:46,080 --> 01:22:48,759
Speaker 2: Waverley on the outside, kind of has her shit together,

1524
01:22:48,880 --> 01:22:51,679
Speaker 2: like seems to have her shit together. She's again chess

1525
01:22:51,720 --> 01:22:55,200
Speaker 2: prodigy when she was a child, but she's also really

1526
01:22:55,280 --> 01:22:57,160
Speaker 2: sad and she said, you know, playing chess as a

1527
01:22:57,240 --> 01:22:58,680
Speaker 2: kid was kind of the last time that she.

1528
01:22:58,600 --> 01:22:59,959
Speaker 1: Ever trusted herself completely.

1529
01:23:00,080 --> 01:23:03,200
Speaker 2: And she's constantly fighting with her mom, and her mom

1530
01:23:03,240 --> 01:23:06,479
Speaker 2: always has the perfect countermove. Something that I found so

1531
01:23:06,760 --> 01:23:10,160
Speaker 2: fucking funny was when Waverley appears as a child on

1532
01:23:10,200 --> 01:23:13,639
Speaker 2: the cover of Life magazine for playing chess, and Linda

1533
01:23:13,760 --> 01:23:16,000
Speaker 2: is walking with it down the street, like pressed against

1534
01:23:16,040 --> 01:23:18,519
Speaker 2: her chest like a sandwich board, and Waverley's like, yo,

1535
01:23:18,760 --> 01:23:20,840
Speaker 2: if you want to show off, why don't you learn

1536
01:23:20,880 --> 01:23:24,680
Speaker 2: how to play chess? Like she gives it. She is

1537
01:23:24,760 --> 01:23:27,960
Speaker 2: her mother's daughter, like Linda was that brat and she

1538
01:23:28,160 --> 01:23:31,040
Speaker 2: was that fucking forward yea. So they kind of have

1539
01:23:31,160 --> 01:23:34,879
Speaker 2: this constant fight where whenever Linda's super upset with Waverley,

1540
01:23:34,920 --> 01:23:37,439
Speaker 2: she ices her out like she's just you know, silent

1541
01:23:37,479 --> 01:23:41,400
Speaker 2: treatment and super dismissive. And you know, Waverley feels like

1542
01:23:41,479 --> 01:23:44,240
Speaker 2: she watches the best part of herself disappeared, just because

1543
01:23:44,240 --> 01:23:47,719
Speaker 2: she's constantly fighting with her mother to kind of prove

1544
01:23:47,960 --> 01:23:50,800
Speaker 2: that she's worthy of her love, whether she plays chess

1545
01:23:50,880 --> 01:23:52,439
Speaker 2: or not, or whether she becomes a certain kind of

1546
01:23:52,439 --> 01:23:55,760
Speaker 2: person or not. So she's and she does a lot

1547
01:23:55,800 --> 01:23:57,880
Speaker 2: of her life is built towards making her mother happy.

1548
01:23:58,439 --> 01:24:01,000
Speaker 2: So she married a Chinese man and had a daughter,

1549
01:24:01,040 --> 01:24:04,040
Speaker 2: eventually got divorced. But now she's with this guy Rich,

1550
01:24:04,240 --> 01:24:08,439
Speaker 2: and Rich is a fucking mess. He's like on paper great,

1551
01:24:08,520 --> 01:24:12,519
Speaker 2: but he is a cultural mess. I will say and

1552
01:24:12,600 --> 01:24:14,840
Speaker 2: he's like this white guy who does not know how

1553
01:24:14,880 --> 01:24:19,760
Speaker 2: to act, and it's really disturbing to watch Lindo ice

1554
01:24:19,840 --> 01:24:24,439
Speaker 2: this dude out. But they end up having this real

1555
01:24:24,800 --> 01:24:27,920
Speaker 2: connective point in the salon because Waverley is marrying rich

1556
01:24:27,960 --> 01:24:29,599
Speaker 2: and they kind of have this moment. Again.

1557
01:24:29,600 --> 01:24:31,640
Speaker 1: I don't want to ruin too much of the film.

1558
01:24:31,360 --> 01:24:35,360
Speaker 2: But it's really interesting to watch Lindo kind of flash

1559
01:24:35,439 --> 01:24:38,400
Speaker 2: back to her own mother trying to give her advice

1560
01:24:38,560 --> 01:24:42,000
Speaker 2: and how special a moment that is for her, while

1561
01:24:42,000 --> 01:24:44,960
Speaker 2: also realizing that her daughter is so resistant to her advice.

1562
01:24:45,040 --> 01:24:48,240
Speaker 2: So she's trying her hardest in the wrong way, I think,

1563
01:24:48,280 --> 01:24:50,960
Speaker 2: but in her way to connect with her daughter. And

1564
01:24:51,000 --> 01:24:54,240
Speaker 2: I think her her major suffering is that she can't connect.

1565
01:24:54,320 --> 01:24:57,040
Speaker 2: And she's always wanted to have the kind of mother

1566
01:24:57,160 --> 01:24:59,320
Speaker 2: daughter relationship with Waverley that she never had with her

1567
01:24:59,360 --> 01:25:01,840
Speaker 2: own mom I never got to have and her own mom.

1568
01:25:02,040 --> 01:25:04,080
Speaker 2: But it's a great scene and it's just like, you know,

1569
01:25:04,160 --> 01:25:06,360
Speaker 2: nothing better than two women just having a full breakdown

1570
01:25:06,360 --> 01:25:07,200
Speaker 2: in a beauty parlor.

1571
01:25:08,120 --> 01:25:08,880
Speaker 1: I fucking love it.

1572
01:25:09,200 --> 01:25:12,120
Speaker 2: Yeah, but yeah, they're both very strong, and again, it's

1573
01:25:12,200 --> 01:25:14,920
Speaker 2: just it's expertly set up. The writing is expertly set

1574
01:25:15,000 --> 01:25:17,240
Speaker 2: up for you to realize the kind of wishes that

1575
01:25:17,280 --> 01:25:19,360
Speaker 2: the mothers have for the daughter fall on them in

1576
01:25:19,400 --> 01:25:21,639
Speaker 2: the wrong way, even if they come from the right place.

1577
01:25:21,760 --> 01:25:24,000
Speaker 1: So yeah, I do kind of love that.

1578
01:25:24,280 --> 01:25:28,320
Speaker 2: And then we get the story of Anti Yingying and Lina,

1579
01:25:29,120 --> 01:25:32,799
Speaker 2: her daughter Lina, and when Antie Yingying is sixteen years old,

1580
01:25:33,000 --> 01:25:35,439
Speaker 2: she's hanging out with her friends and watching a man

1581
01:25:35,600 --> 01:25:39,520
Speaker 2: just absolutely defile a watermelon. It ends up being her husband.

1582
01:25:39,840 --> 01:25:42,880
Speaker 2: Her husband is played by Russell Wong and his name

1583
01:25:42,920 --> 01:25:47,559
Speaker 2: is Lynn Lyn Jiao and he's a real piece of shit.

1584
01:25:47,760 --> 01:25:50,200
Speaker 2: So they're completely in love, but they're also in lust,

1585
01:25:50,640 --> 01:25:53,240
Speaker 2: and they get married. They have a son, but he

1586
01:25:53,320 --> 01:25:56,360
Speaker 2: is a philandering prick, like even at his own son's

1587
01:25:56,600 --> 01:25:59,719
Speaker 2: birthday party, like he's cheating right in front of her face,

1588
01:26:00,600 --> 01:26:03,320
Speaker 2: and she's distraw like she we see her kind of

1589
01:26:03,320 --> 01:26:05,920
Speaker 2: eating alone at a table and the baby's crying, and

1590
01:26:05,960 --> 01:26:08,120
Speaker 2: she sits at this table at one point for two

1591
01:26:08,160 --> 01:26:10,519
Speaker 2: days waiting for him to come home. And when he

1592
01:26:10,600 --> 01:26:13,160
Speaker 2: does come home, he brings his mistress with him, like

1593
01:26:13,200 --> 01:26:14,880
Speaker 2: he's just flawn. He can do whatever he wants.

1594
01:26:14,880 --> 01:26:17,519
Speaker 1: He's just he's like, oh, pick up my baby, you know,

1595
01:26:17,680 --> 01:26:19,360
Speaker 1: And I'm just like ooh.

1596
01:26:20,840 --> 01:26:23,080
Speaker 2: And she she does have that ooh, I would because

1597
01:26:23,160 --> 01:26:25,120
Speaker 2: she he calls her a whore and she like breaks

1598
01:26:25,120 --> 01:26:27,840
Speaker 2: a plate and that kind of threatens him and he's like, yeah,

1599
01:26:27,840 --> 01:26:30,919
Speaker 2: I wish you fucking would, and let's like his mistress

1600
01:26:30,920 --> 01:26:32,000
Speaker 2: hold their baby.

1601
01:26:32,640 --> 01:26:35,200
Speaker 1: So she's completely abused.

1602
01:26:34,600 --> 01:26:39,080
Speaker 2: And battered, and there's this moment that I again do

1603
01:26:39,080 --> 01:26:42,639
Speaker 2: not want to spoil, but she basically takes from him

1604
01:26:42,760 --> 01:26:46,920
Speaker 2: and loses the only thing that matters to her because

1605
01:26:46,960 --> 01:26:50,240
Speaker 2: she realizes that he took her innocence and her youth

1606
01:26:50,720 --> 01:26:53,439
Speaker 2: and her heart, and so she retaliated in a way

1607
01:26:54,080 --> 01:26:57,519
Speaker 2: that I could never get over. I watched this the

1608
01:26:57,560 --> 01:26:59,200
Speaker 2: first time I watched the scene. It was like burn

1609
01:26:59,280 --> 01:27:02,479
Speaker 2: in my brain as so powerfully sad.

1610
01:27:03,040 --> 01:27:03,519
Speaker 1: Gosh.

1611
01:27:03,560 --> 01:27:07,680
Speaker 2: But she eventually gets to America and what she like

1612
01:27:07,720 --> 01:27:10,800
Speaker 2: her experience in China is always with her. And again

1613
01:27:10,840 --> 01:27:14,599
Speaker 2: this is reminiscent of amy Tan's mother, not in the

1614
01:27:14,640 --> 01:27:18,200
Speaker 2: action itself, but in losing your children and having this

1615
01:27:18,280 --> 01:27:20,360
Speaker 2: life in a country that you no longer live in

1616
01:27:20,439 --> 01:27:21,080
Speaker 2: and not knowing what.

1617
01:27:21,080 --> 01:27:21,599
Speaker 1: Happened to them.

1618
01:27:21,640 --> 01:27:24,439
Speaker 2: This is all part of amy Tan's own background. So

1619
01:27:24,479 --> 01:27:28,000
Speaker 2: she remarried and had Lena, but she felt like when

1620
01:27:28,080 --> 01:27:32,080
Speaker 2: Lena was born that Lena didn't have a spirit, like

1621
01:27:32,120 --> 01:27:34,920
Speaker 2: a strong spirit or any spirit, because Yinging had none

1622
01:27:34,960 --> 01:27:37,600
Speaker 2: to give to her. It's kind of beautiful way that

1623
01:27:37,640 --> 01:27:40,479
Speaker 2: she put it. So she's really depressed, and Lena for

1624
01:27:40,600 --> 01:27:43,320
Speaker 2: most of her childhood was kind of her mom's caretaker.

1625
01:27:43,880 --> 01:27:46,240
Speaker 2: So when we see where Lena is as an adult,

1626
01:27:46,640 --> 01:27:48,519
Speaker 2: it kind of makes sense that she ended up the

1627
01:27:48,560 --> 01:27:51,000
Speaker 2: way that she did, where yes she's married, Yes she

1628
01:27:51,040 --> 01:27:53,519
Speaker 2: has a new house. Yes, her life on the outside

1629
01:27:53,560 --> 01:27:56,720
Speaker 2: looks great, but the man she's married to is such

1630
01:27:56,720 --> 01:28:02,280
Speaker 2: a fucking prick. They split everything fifty f fifty, including groceries,

1631
01:28:02,720 --> 01:28:06,160
Speaker 2: medicine for the cat magazines. Like she's in a transaction.

1632
01:28:06,320 --> 01:28:08,920
Speaker 2: She's not in a relationship. She's living out a transaction.

1633
01:28:09,680 --> 01:28:12,559
Speaker 2: And she also mentions at what point, at one point

1634
01:28:12,640 --> 01:28:15,280
Speaker 2: that for a man who wants everything to be equal,

1635
01:28:15,640 --> 01:28:19,120
Speaker 2: she works at his firm, his architecture firm, and he

1636
01:28:19,160 --> 01:28:22,160
Speaker 2: pays himself seven times more than he pays her. Yeah,

1637
01:28:22,240 --> 01:28:25,160
Speaker 2: so there's always gonna be a fucking inequality that benefits

1638
01:28:25,160 --> 01:28:28,439
Speaker 2: the dude if he's in charge of that shit. And

1639
01:28:28,760 --> 01:28:31,280
Speaker 2: you can see how miserable she is to the point

1640
01:28:31,280 --> 01:28:33,559
Speaker 2: where he only wants the cat to eat genarrow cat food,

1641
01:28:33,600 --> 01:28:36,479
Speaker 2: and I'm like, girl, dump him, get rid of this bench.

1642
01:28:36,600 --> 01:28:38,240
Speaker 2: Why are you paying for her? This is the thing

1643
01:28:38,240 --> 01:28:41,000
Speaker 2: that throws Yinging over the edge is she's like, you're

1644
01:28:41,040 --> 01:28:43,120
Speaker 2: paying for half of this man's ice cream. And you

1645
01:28:43,160 --> 01:28:44,000
Speaker 2: don't eat ice cream.

1646
01:28:44,040 --> 01:28:45,639
Speaker 1: You haven't eaten ice creams if you were a child.

1647
01:28:45,640 --> 01:28:46,439
Speaker 1: You fucking hate it.

1648
01:28:46,880 --> 01:28:48,920
Speaker 2: So the ice cream is it. And then she's like,

1649
01:28:49,160 --> 01:28:52,360
Speaker 2: you're living in this house that's cold as shit, it's gray,

1650
01:28:52,840 --> 01:28:56,800
Speaker 2: it's sad, You're literally fucking cold. You're wearing a coat

1651
01:28:56,880 --> 01:28:58,839
Speaker 2: in the living room because he won't close the window,

1652
01:28:59,160 --> 01:29:01,439
Speaker 2: and you're married to this fucking misery.

1653
01:29:01,880 --> 01:29:03,240
Speaker 1: So Yinging has had it.

1654
01:29:03,360 --> 01:29:06,599
Speaker 2: She's had it, but it invigorates something in her where

1655
01:29:06,640 --> 01:29:10,040
Speaker 2: she's like, oh, it's just the most beautiful scene. It

1656
01:29:10,080 --> 01:29:12,840
Speaker 2: breaks me down into tears every fucking time where she

1657
01:29:12,920 --> 01:29:16,040
Speaker 2: talks about how she knows this is a moment because

1658
01:29:16,040 --> 01:29:18,640
Speaker 2: she's visiting Lena and she's seeing this play out, and

1659
01:29:18,640 --> 01:29:20,160
Speaker 2: she's like, this is a moment where I have to

1660
01:29:20,200 --> 01:29:23,400
Speaker 2: gather my pain and my regret, and my daughter will

1661
01:29:23,439 --> 01:29:26,080
Speaker 2: hear me calling her and I will be waiting like

1662
01:29:26,120 --> 01:29:29,479
Speaker 2: a tiger in the trees, ready to cut her spirit loose.

1663
01:29:29,800 --> 01:29:31,920
Speaker 2: So she's like, I got to get my shit together

1664
01:29:32,400 --> 01:29:35,080
Speaker 2: so that my daughter can realize her own value.

1665
01:29:35,400 --> 01:29:38,759
Speaker 1: Yeah, oh my god, oh god, it's so beautiful.

1666
01:29:38,800 --> 01:29:40,599
Speaker 2: And when Lena tells her, she's like, what do you want?

1667
01:29:40,640 --> 01:29:43,080
Speaker 2: And her mom's like or Lena's like, I want respect

1668
01:29:43,080 --> 01:29:46,519
Speaker 2: and tenderness, and Yinging tells her, well, then leave and

1669
01:29:46,640 --> 01:29:49,040
Speaker 2: don't come back until he gives that to you. And again,

1670
01:29:49,120 --> 01:29:51,920
Speaker 2: she's had her own experience with an abusive man, so

1671
01:29:51,960 --> 01:29:55,559
Speaker 2: to see her daughter replicate this, maybe not in the exact,

1672
01:29:56,560 --> 01:29:59,200
Speaker 2: you know, explicitly in the same way where it's physical abuse,

1673
01:29:59,240 --> 01:30:01,280
Speaker 2: but she's seeing this use play out on her own daughter,

1674
01:30:01,320 --> 01:30:04,479
Speaker 2: and it finally clicks something in her head where she's like, no,

1675
01:30:04,600 --> 01:30:06,960
Speaker 2: you you're supposed to be cherished and I was supposed

1676
01:30:07,000 --> 01:30:11,040
Speaker 2: to be cherished essentially, and I cannot abide you living

1677
01:30:11,080 --> 01:30:14,639
Speaker 2: out my nightmare that I left China to make sure

1678
01:30:14,680 --> 01:30:16,880
Speaker 2: that you would never, like any children I had, would

1679
01:30:16,880 --> 01:30:17,880
Speaker 2: never have to experience.

1680
01:30:18,240 --> 01:30:20,400
Speaker 1: Yeah, what's the line that she says that's just so

1681
01:30:20,720 --> 01:30:24,400
Speaker 1: amazing about how the mothers and daughters are walking up

1682
01:30:24,439 --> 01:30:28,160
Speaker 1: and down the stairs behind each other. It's basically just

1683
01:30:28,160 --> 01:30:32,679
Speaker 1: sort of like we're both reenacting the same behaviors that

1684
01:30:32,880 --> 01:30:37,920
Speaker 1: are destroying us, Like we're on an empty esher staircase essentially. Yeah, yeah,

1685
01:30:38,040 --> 01:30:43,920
Speaker 1: I mean it's so intense and amazing. I just have to.

1686
01:30:43,960 --> 01:30:48,160
Speaker 2: Say, truly, Oh, it's such a good, so fucking good,

1687
01:30:48,200 --> 01:30:50,280
Speaker 2: like again movie just has me in tiar or some

1688
01:30:50,360 --> 01:30:51,000
Speaker 2: tops of bottom.

1689
01:30:51,080 --> 01:30:51,679
Speaker 1: Oh my god.

1690
01:30:51,840 --> 01:30:54,400
Speaker 2: And then when we get to a May and Rose's story,

1691
01:30:54,520 --> 01:30:59,320
Speaker 2: it's again just so interesting to see how this generational

1692
01:30:59,360 --> 01:31:03,080
Speaker 2: trauma come out. So a May has no memory of

1693
01:31:03,120 --> 01:31:05,439
Speaker 2: her own mother, or just one memory of her mother,

1694
01:31:05,479 --> 01:31:07,320
Speaker 2: I should say, because her mother was kicked out of

1695
01:31:07,320 --> 01:31:09,760
Speaker 2: the house when she was four years old for being

1696
01:31:09,800 --> 01:31:12,880
Speaker 2: with another man. And during this kind of fight scene

1697
01:31:12,880 --> 01:31:14,880
Speaker 2: that her mother is having with her parents on May

1698
01:31:14,960 --> 01:31:17,760
Speaker 2: gets a little scar from some hot soup that fell

1699
01:31:17,760 --> 01:31:20,559
Speaker 2: off of a table. But we know in that moment

1700
01:31:20,880 --> 01:31:23,360
Speaker 2: because she says so that her family taught her to

1701
01:31:23,400 --> 01:31:26,840
Speaker 2: hate her mother, and her mother essentially married a man

1702
01:31:26,840 --> 01:31:30,360
Speaker 2: that already had wives and concubines and other children, which

1703
01:31:30,400 --> 01:31:32,840
Speaker 2: is like a big disgrace for her own family. So

1704
01:31:32,880 --> 01:31:35,360
Speaker 2: her mother comes back when her own mother is dying

1705
01:31:35,360 --> 01:31:38,760
Speaker 2: when on May's grandmother is dying, her mother comes back

1706
01:31:39,600 --> 01:31:42,720
Speaker 2: and the family is like scandalized, like I can't believe

1707
01:31:42,760 --> 01:31:44,800
Speaker 2: you fucking came back here. But her mother comes back

1708
01:31:44,840 --> 01:31:51,840
Speaker 2: and is fierce as shit. She looks gorgeous, like unbelievably

1709
01:31:52,520 --> 01:31:55,320
Speaker 2: like put together, and she comes back for her daughter.

1710
01:31:55,560 --> 01:31:57,479
Speaker 2: She comes back and does the ceremony where she cuts

1711
01:31:57,520 --> 01:32:00,320
Speaker 2: her arm and drips some blood into this bowl of soup,

1712
01:32:00,320 --> 01:32:01,920
Speaker 2: and it's supposed to be like the best way for

1713
01:32:01,960 --> 01:32:03,800
Speaker 2: a daughter to honor her mother. So she kind of

1714
01:32:03,840 --> 01:32:08,439
Speaker 2: has her own reconciliation with on May's grandmother, and then

1715
01:32:08,439 --> 01:32:11,000
Speaker 2: she takes a May with her, like Ame wants to go,

1716
01:32:11,120 --> 01:32:13,680
Speaker 2: because her aunts and uncles are like, do not take

1717
01:32:13,720 --> 01:32:15,719
Speaker 2: this child. She's gonna end up being a fucking hussy

1718
01:32:15,800 --> 01:32:18,439
Speaker 2: just like you, and her mom relents for a minute,

1719
01:32:18,439 --> 01:32:21,200
Speaker 2: but then on May's like, nope, we are out of here,

1720
01:32:21,560 --> 01:32:24,519
Speaker 2: and she goes and she actually this is something that

1721
01:32:24,560 --> 01:32:27,519
Speaker 2: I think is also interesting because she tells her daughter

1722
01:32:28,000 --> 01:32:32,480
Speaker 2: Rose this story, and usually we get the mother's background

1723
01:32:32,720 --> 01:32:35,479
Speaker 2: without them telling the direct story to their daughters, but

1724
01:32:35,560 --> 01:32:38,479
Speaker 2: this seems to be a different mother daughter relationship where

1725
01:32:38,520 --> 01:32:40,400
Speaker 2: they do really love and respect and honor each other,

1726
01:32:40,439 --> 01:32:42,439
Speaker 2: but they also tell each other things like the very

1727
01:32:42,520 --> 01:32:46,040
Speaker 2: they seem closer to me than the other three pairings.

1728
01:32:46,560 --> 01:32:49,400
Speaker 2: So she's telling Rose this because Rose is going through

1729
01:32:49,400 --> 01:32:52,200
Speaker 2: a divorce, and she's asking her, do you know what

1730
01:32:52,240 --> 01:32:54,280
Speaker 2: your worth is? And we end up finding out that

1731
01:32:54,560 --> 01:32:56,679
Speaker 2: the reason she asks this question is because she feels

1732
01:32:56,760 --> 01:33:00,599
Speaker 2: like her own mother never knew her worth. And Rose

1733
01:33:00,720 --> 01:33:02,839
Speaker 2: is married to a man that she met in college,

1734
01:33:03,040 --> 01:33:08,160
Speaker 2: and he's also Andrew McCarthy and his family. His family

1735
01:33:08,200 --> 01:33:12,240
Speaker 2: is rich, they own publishing empires and wineries, and when

1736
01:33:12,240 --> 01:33:15,200
Speaker 2: they meet, Rose is very expressive, but she's just like,

1737
01:33:15,240 --> 01:33:17,040
Speaker 2: you know, I don't know who you are. I don't know.

1738
01:33:17,120 --> 01:33:18,400
Speaker 1: I don't like how I feel right now.

1739
01:33:18,400 --> 01:33:21,880
Speaker 2: She's very open with him, and their love is really

1740
01:33:21,920 --> 01:33:24,920
Speaker 2: built of his respect for her strength. It seems like

1741
01:33:26,280 --> 01:33:28,840
Speaker 2: his mom, on the other hand, is like whose mom

1742
01:33:28,840 --> 01:33:30,599
Speaker 2: by the way, who was also the mom in Silence

1743
01:33:30,640 --> 01:33:34,640
Speaker 2: of the Lambs. His daughter was kidnapped and they're at

1744
01:33:34,640 --> 01:33:36,479
Speaker 2: a party at his house and his mom is such

1745
01:33:36,520 --> 01:33:39,000
Speaker 2: a straight up bitch and such a fucking racist. But

1746
01:33:39,120 --> 01:33:40,760
Speaker 2: she's like, oh, yeah, we're a very liberal family, but

1747
01:33:41,040 --> 01:33:43,400
Speaker 2: we just don't think this relationship is gonna work out,

1748
01:33:43,760 --> 01:33:46,639
Speaker 2: and Ted thankfully comes over and is like, you're a jerk,

1749
01:33:46,680 --> 01:33:48,679
Speaker 2: and I'm fucking ashamed of you. You made a fucking

1750
01:33:48,720 --> 01:33:50,800
Speaker 2: asshole out of yourself in front of the woman I love.

1751
01:33:51,120 --> 01:33:56,200
Speaker 1: I know, thank god he said something. I know he's

1752
01:33:56,200 --> 01:33:58,200
Speaker 1: just gonna let this shit slide and they get married.

1753
01:33:58,200 --> 01:34:01,400
Speaker 2: I'll be pissed off forever. But the thing that's so

1754
01:34:01,479 --> 01:34:04,120
Speaker 2: weird about that scene is that now she thinks of

1755
01:34:04,240 --> 01:34:08,080
Speaker 2: him as somebody who has rescued her. So they get

1756
01:34:08,080 --> 01:34:11,959
Speaker 2: married within six months, and Rose is like, you know, smitten,

1757
01:34:12,120 --> 01:34:13,760
Speaker 2: But in my head, I'm like, don't marry a man

1758
01:34:13,800 --> 01:34:16,639
Speaker 2: who's using you as some weird revenge tactic against his family.

1759
01:34:17,160 --> 01:34:19,799
Speaker 2: But now she's loaded, and she kind of weirdly turns

1760
01:34:19,840 --> 01:34:23,520
Speaker 2: into his mom, where she's like running the house and

1761
01:34:23,560 --> 01:34:25,439
Speaker 2: trying to be selfless.

1762
01:34:24,880 --> 01:34:27,639
Speaker 1: But turning down everything in her own life that matters.

1763
01:34:28,080 --> 01:34:30,600
Speaker 2: And it absolutely affects their marriage because he's like, this

1764
01:34:30,720 --> 01:34:33,760
Speaker 2: is not the woman I married, Like, who is this woman?

1765
01:34:33,800 --> 01:34:36,400
Speaker 2: I didn't want to marry my mom? Like what the fuck?

1766
01:34:37,280 --> 01:34:39,200
Speaker 2: So they get pregnant, she has a daughter. He's a

1767
01:34:39,240 --> 01:34:42,240
Speaker 2: good dad, but he also is cheating on her. I

1768
01:34:42,280 --> 01:34:45,439
Speaker 2: mean when that hair gets slipped back. You know your

1769
01:34:45,479 --> 01:34:46,840
Speaker 2: man is stepping out.

1770
01:34:47,000 --> 01:34:51,120
Speaker 1: That is absolutely fucking troue. I was like, that is

1771
01:34:51,200 --> 01:34:53,600
Speaker 1: a sign something is a foot.

1772
01:34:54,360 --> 01:34:57,559
Speaker 2: He has the nerve to wear some like baggy ass

1773
01:34:57,680 --> 01:35:01,480
Speaker 2: belted khakis and tell her he's cheating on with somebody,

1774
01:35:01,840 --> 01:35:02,960
Speaker 2: this gorgeous woman.

1775
01:35:03,479 --> 01:35:08,520
Speaker 1: Men are Trash the alternated title for this film.

1776
01:35:10,800 --> 01:35:13,519
Speaker 2: If this was ever remade for like the modern sensibility,

1777
01:35:13,520 --> 01:35:14,360
Speaker 2: it would just be called.

1778
01:35:14,160 --> 01:35:17,719
Speaker 1: Men are Absolutely. Absolutely But he's a mess.

1779
01:35:17,960 --> 01:35:21,519
Speaker 2: But there's also something so tender about their connection still,

1780
01:35:21,560 --> 01:35:24,479
Speaker 2: because she's like Rose has become so scared and meek

1781
01:35:24,560 --> 01:35:29,080
Speaker 2: and unopinionated, and he's basically telling her like, I want

1782
01:35:29,120 --> 01:35:31,040
Speaker 2: to know what you think. It is important to me

1783
01:35:31,080 --> 01:35:33,040
Speaker 2: that you have an opinion. So I kind of feel

1784
01:35:33,080 --> 01:35:35,400
Speaker 2: like they can work this out in therapy. Yeah, it

1785
01:35:35,439 --> 01:35:37,559
Speaker 2: seems like she has a really Yeah, she has an

1786
01:35:37,600 --> 01:35:40,760
Speaker 2: interesting moment at the end that's very powerful with her

1787
01:35:40,760 --> 01:35:43,639
Speaker 2: mother because her mother's telling her this story of her

1788
01:35:43,640 --> 01:35:47,599
Speaker 2: grandmother essentially, and her grandmother was with this man Wu Singh,

1789
01:35:47,800 --> 01:35:51,160
Speaker 2: And the true story of what happened is that there's

1790
01:35:51,200 --> 01:35:53,719
Speaker 2: a hierarchy among the wives. Of course, his first wife

1791
01:35:53,720 --> 01:35:55,960
Speaker 2: is older, but never gave him a son. The second

1792
01:35:55,960 --> 01:35:59,120
Speaker 2: wife did give him a son. There's a third wife

1793
01:35:59,520 --> 01:36:02,040
Speaker 2: who also never gave him a son, and then there's

1794
01:36:02,160 --> 01:36:04,960
Speaker 2: on May's mother, and the second wife wants to be

1795
01:36:05,000 --> 01:36:08,439
Speaker 2: called big mother, big Mama and kind of tries to

1796
01:36:08,520 --> 01:36:10,559
Speaker 2: take on May away from her mother as soon as

1797
01:36:10,600 --> 01:36:13,400
Speaker 2: they meet by giving her this necklace, but Mama's not

1798
01:36:13,439 --> 01:36:14,880
Speaker 2: having it. She's like, I will not have you be

1799
01:36:14,920 --> 01:36:17,960
Speaker 2: brought with trinks essentially, and smashes this pearl necklace where

1800
01:36:17,960 --> 01:36:21,599
Speaker 2: she realizes it's only glass glass, but she explains, how,

1801
01:36:21,640 --> 01:36:24,479
Speaker 2: you know, like I'm right now, I'm a fourth wife,

1802
01:36:24,840 --> 01:36:27,799
Speaker 2: but I want you to remember that at one point

1803
01:36:27,960 --> 01:36:30,479
Speaker 2: I was a first wife. I was an only wife,

1804
01:36:30,520 --> 01:36:32,280
Speaker 2: like you are the daughter of a first wife. So

1805
01:36:32,320 --> 01:36:36,400
Speaker 2: she's trying to instill the strengthen her And at one

1806
01:36:36,400 --> 01:36:39,519
Speaker 2: point on May is sent away because Lusin comes in

1807
01:36:39,560 --> 01:36:42,760
Speaker 2: to have sex with her mother, and she goes to

1808
01:36:42,760 --> 01:36:45,200
Speaker 2: the nanny's room, and then nanny tells her the whole story,

1809
01:36:45,240 --> 01:36:48,120
Speaker 2: and the true story that her own mother doesn't even

1810
01:36:48,160 --> 01:36:52,120
Speaker 2: want to admit to her is that she was kind

1811
01:36:52,120 --> 01:36:54,599
Speaker 2: of like at a temple because her husband had died,

1812
01:36:54,680 --> 01:36:58,080
Speaker 2: so she was at a temple praying for him. The

1813
01:36:58,160 --> 01:37:02,040
Speaker 2: second wife saw her, brought her over to play majong,

1814
01:37:03,160 --> 01:37:08,280
Speaker 2: and Wu Sing raped her. So she comes home having

1815
01:37:08,320 --> 01:37:11,280
Speaker 2: been raped, and her mother throws her out because she

1816
01:37:11,320 --> 01:37:14,880
Speaker 2: didn't believe that she had been sexually assaulted. So that

1817
01:37:15,040 --> 01:37:18,000
Speaker 2: was the fight that Amy was seeing when she got

1818
01:37:18,000 --> 01:37:21,280
Speaker 2: her scar. But she's also now carrying Wusing's child and

1819
01:37:21,320 --> 01:37:23,640
Speaker 2: has nowhere to go, and she's this scorned woman, so

1820
01:37:23,680 --> 01:37:26,759
Speaker 2: she had to go back. She had to go back,

1821
01:37:27,000 --> 01:37:29,960
Speaker 2: have the baby, give it to the second wife as

1822
01:37:30,000 --> 01:37:33,519
Speaker 2: her reward. So her mom not only had this man's

1823
01:37:33,560 --> 01:37:37,280
Speaker 2: only son, but she had to bear the child of

1824
01:37:37,400 --> 01:37:40,880
Speaker 2: rape and then live with the man who raped her.

1825
01:37:42,360 --> 01:37:47,280
Speaker 2: And it's so emotional, like just to the knowledge of

1826
01:37:47,320 --> 01:37:49,519
Speaker 2: what's happening, like watching it fall on a May as

1827
01:37:49,520 --> 01:37:52,120
Speaker 2: a child, watching her kind of decide what to do

1828
01:37:52,200 --> 01:37:55,080
Speaker 2: with this information, her anger, her pain, and then watching

1829
01:37:55,160 --> 01:37:57,600
Speaker 2: her mother kind of crumble in that moment because she

1830
01:37:57,760 --> 01:38:00,000
Speaker 2: has never wanted on me to know her full store.

1831
01:38:00,200 --> 01:38:02,280
Speaker 1: She wanted her to be. She wanted her to think

1832
01:38:02,280 --> 01:38:02,599
Speaker 1: of her.

1833
01:38:02,479 --> 01:38:04,240
Speaker 2: Mother as the first wife, like you're the daughter of

1834
01:38:04,240 --> 01:38:06,599
Speaker 2: a first wife. But now she knows the real story.

1835
01:38:07,280 --> 01:38:11,640
Speaker 2: So her mother eventually dies by suicide. She overdoses on opium,

1836
01:38:12,920 --> 01:38:18,200
Speaker 2: and she chose death on May, believes to give on

1837
01:38:18,360 --> 01:38:21,320
Speaker 2: May power over her enemies. So at her mother's funeral,

1838
01:38:21,439 --> 01:38:24,120
Speaker 2: it is one of the best scenes I've ever fucking seen,

1839
01:38:25,400 --> 01:38:29,519
Speaker 2: because this little kid curses the shit out of these people,

1840
01:38:29,760 --> 01:38:34,080
Speaker 2: like from the ancestors, curses them from the gods, and

1841
01:38:34,160 --> 01:38:36,679
Speaker 2: kind of takes her power in that moment and says,

1842
01:38:36,760 --> 01:38:38,880
Speaker 2: you know, on that day, I learned to shout, so

1843
01:38:39,040 --> 01:38:42,240
Speaker 2: on May is telling Rose this story to be like, Look,

1844
01:38:42,280 --> 01:38:45,160
Speaker 2: I was raised to desire nothing. I try to teach

1845
01:38:45,200 --> 01:38:47,479
Speaker 2: you the opposite, but you came out the same way,

1846
01:38:47,520 --> 01:38:48,800
Speaker 2: and I cannot fucking have it.

1847
01:38:48,840 --> 01:38:50,760
Speaker 1: You have to know what your worth is. So the

1848
01:38:50,760 --> 01:38:53,080
Speaker 1: way Rose kind of gets her shit together and finds

1849
01:38:53,080 --> 01:38:53,759
Speaker 1: her worth.

1850
01:38:53,640 --> 01:38:56,280
Speaker 2: Is so fucking good. And I absolutely love the way

1851
01:38:56,320 --> 01:38:57,360
Speaker 2: this story turns out.

1852
01:38:58,240 --> 01:38:59,040
Speaker 1: I just I love it.

1853
01:38:59,080 --> 01:39:02,559
Speaker 2: I love it. So this again complicated story of mothers

1854
01:39:02,600 --> 01:39:04,599
Speaker 2: and daughters, what we hide from each other, how can

1855
01:39:04,640 --> 01:39:07,280
Speaker 2: you ever know each other? Is all kind of brought

1856
01:39:07,320 --> 01:39:12,000
Speaker 2: together in June and Sue Yun. So there's this really

1857
01:39:12,040 --> 01:39:15,599
Speaker 2: tender moment at the end of the movie where June's

1858
01:39:15,600 --> 01:39:17,800
Speaker 2: father comes through with the real story of her mother,

1859
01:39:18,600 --> 01:39:21,200
Speaker 2: and her mother didn't just leave her babies. She was

1860
01:39:21,360 --> 01:39:25,200
Speaker 2: escaping the Chinese Civil War. She had dysentery, she almost died,

1861
01:39:25,800 --> 01:39:28,400
Speaker 2: and she didn't want to die next to her children

1862
01:39:28,560 --> 01:39:31,280
Speaker 2: because she thought that that would give them bad luck

1863
01:39:31,479 --> 01:39:33,800
Speaker 2: and that nobody would take them if they saw her

1864
01:39:33,840 --> 01:39:37,080
Speaker 2: dead next to them like that, their spirits would be affected.

1865
01:39:37,360 --> 01:39:40,240
Speaker 2: So she left everything she had with her babies, and

1866
01:39:40,479 --> 01:39:42,559
Speaker 2: she was trying to get to their father and basically

1867
01:39:42,640 --> 01:39:44,519
Speaker 2: left a note that said, please bring these babies to

1868
01:39:44,560 --> 01:39:47,439
Speaker 2: their father. And she was planning on dying, but then

1869
01:39:47,479 --> 01:39:51,040
Speaker 2: she woke up in a hospital, and her whole life

1870
01:39:51,720 --> 01:39:55,280
Speaker 2: she carred around this pain of I left my two

1871
01:39:55,439 --> 01:39:58,439
Speaker 2: kids to die, left my twins to die. I thought

1872
01:39:58,439 --> 01:40:00,200
Speaker 2: I was going to die and be with them, but

1873
01:40:00,240 --> 01:40:03,120
Speaker 2: then I woke up and had to carry on. So

1874
01:40:03,160 --> 01:40:06,880
Speaker 2: her toughness and her friction with June is built on

1875
01:40:07,400 --> 01:40:12,439
Speaker 2: this desire that she has for her daughter to just

1876
01:40:12,520 --> 01:40:14,880
Speaker 2: kind of thrive and always have hope. And June is

1877
01:40:15,240 --> 01:40:17,040
Speaker 2: kind of mixed this up in her head as my

1878
01:40:17,080 --> 01:40:18,760
Speaker 2: mom hates me and I'm not enough for her. But

1879
01:40:18,840 --> 01:40:21,760
Speaker 2: her mother, Oh, there's this beautiful scene where her mother

1880
01:40:21,800 --> 01:40:23,840
Speaker 2: basically says like, you know, I see you, I know

1881
01:40:23,880 --> 01:40:24,320
Speaker 2: who you are.

1882
01:40:24,360 --> 01:40:29,280
Speaker 1: To see you, I cannot I cannot handle it. I

1883
01:40:29,439 --> 01:40:32,599
Speaker 1: was like losing my shit when I saw that part.

1884
01:40:32,920 --> 01:40:36,519
Speaker 2: Every time, every fucking time, I lose my goddamn mind.

1885
01:40:36,680 --> 01:40:40,320
Speaker 2: I just start crying so fucking hard, because this is

1886
01:40:40,360 --> 01:40:42,599
Speaker 2: the release that June needs, is to know that her

1887
01:40:42,640 --> 01:40:45,880
Speaker 2: mother loves her for who she is and is not

1888
01:40:46,200 --> 01:40:48,759
Speaker 2: her enemy, and is not trying to pit her against Waverley,

1889
01:40:48,800 --> 01:40:50,719
Speaker 2: and is not trying to always see the bad side

1890
01:40:50,720 --> 01:40:53,200
Speaker 2: of her. So she gets this release for her mother dies.

1891
01:40:53,240 --> 01:40:54,400
Speaker 2: It's so fucking tender.

1892
01:40:54,640 --> 01:40:55,560
Speaker 1: But there's something.

1893
01:40:55,280 --> 01:40:58,120
Speaker 2: Else that happens for me also, and I think kind

1894
01:40:58,120 --> 01:40:59,679
Speaker 2: of makes me cry at the end of this movie,

1895
01:41:00,240 --> 01:41:03,960
Speaker 2: which is you're going through this party watching all these

1896
01:41:04,000 --> 01:41:07,719
Speaker 2: people kind of happy for June to go to China,

1897
01:41:07,760 --> 01:41:11,519
Speaker 2: and you're realizing that, yeah, the mothers came together in

1898
01:41:11,560 --> 01:41:15,240
Speaker 2: a very random way through church and connected through Majang

1899
01:41:15,920 --> 01:41:19,320
Speaker 2: and their own stories that they have surely told to

1900
01:41:19,400 --> 01:41:22,439
Speaker 2: each other parts of their own story. But the best

1901
01:41:22,479 --> 01:41:25,880
Speaker 2: gift that these women gave to their daughters was they

1902
01:41:25,960 --> 01:41:31,040
Speaker 2: gave their daughters each other. They gave them people to

1903
01:41:31,120 --> 01:41:35,360
Speaker 2: grow up with who would understand them in a way

1904
01:41:35,360 --> 01:41:39,360
Speaker 2: that the mothers were never understood. Yeah, can make me

1905
01:41:39,400 --> 01:41:43,160
Speaker 2: cry right now just thinking about it. Oh but uh,

1906
01:41:43,320 --> 01:41:47,680
Speaker 2: it's beautiful. And then there's another final heartbreaking scene when

1907
01:41:47,760 --> 01:41:50,920
Speaker 2: June gets to fucking China and it makes me cry

1908
01:41:50,960 --> 01:41:53,840
Speaker 2: for twenty minutes, like the movies over, the credits are over,

1909
01:41:54,600 --> 01:41:55,559
Speaker 2: I'm still crying.

1910
01:41:55,880 --> 01:41:59,680
Speaker 1: Yeah, you're back on the fucking Amazon Prime menu for

1911
01:41:59,800 --> 01:42:04,639
Speaker 1: like ten minutes, and I'm just like in inconsolable. Dude.

1912
01:42:05,400 --> 01:42:06,880
Speaker 1: It's a mess. It's a mess.

1913
01:42:06,960 --> 01:42:11,160
Speaker 2: It is such a beautiful fucking movie. It is gorgeous.

1914
01:42:11,200 --> 01:42:12,960
Speaker 2: It is a girl group extravaganza.

1915
01:42:13,120 --> 01:42:17,559
Speaker 1: Oh my god. Yeah, I look, you did the theme right,

1916
01:42:18,360 --> 01:42:21,120
Speaker 1: you did. It's my favorite story about with It just

1917
01:42:21,240 --> 01:42:25,439
Speaker 1: happens to be the saddest movie of all time, and

1918
01:42:25,600 --> 01:42:28,960
Speaker 1: we are probably the two worst people to be watching

1919
01:42:29,000 --> 01:42:32,880
Speaker 1: it in a way because there's so much like this

1920
01:42:32,920 --> 01:42:36,960
Speaker 1: will totally make you think about your own relationship to

1921
01:42:37,040 --> 01:42:41,080
Speaker 1: your mother. Yes, it can't help, but do that. And

1922
01:42:41,240 --> 01:42:44,719
Speaker 1: in this like very you know, like I've talked about

1923
01:42:44,720 --> 01:42:47,320
Speaker 1: this on previous episodes. I mean it's like I'm only

1924
01:42:47,400 --> 01:42:50,240
Speaker 1: really starting to know my mother now in a lot

1925
01:42:50,280 --> 01:42:54,040
Speaker 1: of ways, now that I'm older. You know, my mom

1926
01:42:54,120 --> 01:42:56,639
Speaker 1: is also from Asia. There's a lot of like connection

1927
01:42:56,760 --> 01:42:59,160
Speaker 1: points for me when I watch this movie. And then

1928
01:42:59,240 --> 01:43:03,640
Speaker 1: also just like being alive enough now and being in

1929
01:43:03,760 --> 01:43:09,600
Speaker 1: enough therapy right to know how your mother's life and

1930
01:43:09,640 --> 01:43:13,200
Speaker 1: your mother's choices affects who you are now absolutely and

1931
01:43:13,240 --> 01:43:15,920
Speaker 1: your behaviors and the way that you've lived your life.

1932
01:43:16,040 --> 01:43:19,160
Speaker 1: It is so fucking intense. And I was just watching

1933
01:43:19,240 --> 01:43:24,000
Speaker 1: this entire movie being like, damn, like this is probably

1934
01:43:24,680 --> 01:43:28,280
Speaker 1: the saddest movie I've ever seen in my life, Like

1935
01:43:28,680 --> 01:43:33,479
Speaker 1: sadder than Untamed Heart for sure. How dare you compare

1936
01:43:33,560 --> 01:43:37,200
Speaker 1: to even fucking Monkey Heart? I mean, I know that

1937
01:43:37,200 --> 01:43:40,639
Speaker 1: that's all. That's a large bar, No, I'm I'm serious.

1938
01:43:40,680 --> 01:43:43,599
Speaker 1: Like I was like, I remember when the movie came out.

1939
01:43:43,800 --> 01:43:46,240
Speaker 1: I didn't see it back then. I mean I remember

1940
01:43:46,280 --> 01:43:47,840
Speaker 1: when the book came out too, So I you know,

1941
01:43:48,040 --> 01:43:50,040
Speaker 1: this was a first watch for me, even though I

1942
01:43:50,040 --> 01:43:52,599
Speaker 1: had been wanting to see this for a long time. Man,

1943
01:43:52,840 --> 01:43:56,080
Speaker 1: I mean rocked me. That doesn't even cover it. Like

1944
01:43:56,160 --> 01:44:00,080
Speaker 1: I was thinking about all kinds of shit when I

1945
01:44:00,080 --> 01:44:00,919
Speaker 1: saw this movie.

1946
01:44:02,479 --> 01:44:05,559
Speaker 2: And I think you would really love Amy Tan's novels

1947
01:44:05,600 --> 01:44:08,160
Speaker 2: in general, in her because she's also an avid birder.

1948
01:44:08,640 --> 01:44:11,599
Speaker 1: Oh well, then there we go. Get her on the pod.

1949
01:44:11,640 --> 01:44:12,600
Speaker 1: Immediately we had to.

1950
01:44:12,760 --> 01:44:16,439
Speaker 2: I saw she did pot dot com and Amy, Look

1951
01:44:16,479 --> 01:44:17,560
Speaker 2: she's on Instagram.

1952
01:44:18,000 --> 01:44:20,840
Speaker 1: What hit her up? Yeah, okay, I'm gonna have to

1953
01:44:20,840 --> 01:44:23,840
Speaker 1: instagram stock another person, which I don't even do. I

1954
01:44:23,840 --> 01:44:25,920
Speaker 1: don't even do that, but sometimes, like I don't even

1955
01:44:25,960 --> 01:44:29,040
Speaker 1: do that, the movies just affect us so much.

1956
01:44:29,200 --> 01:44:31,559
Speaker 2: Well, it makes me think of my own mother, Yes,

1957
01:44:31,600 --> 01:44:34,240
Speaker 2: and the way that I feel, like, Yes, you can

1958
01:44:34,280 --> 01:44:37,280
Speaker 2: never know your mother, no matter how close your relationship is.

1959
01:44:37,880 --> 01:44:40,439
Speaker 2: You can work towards that in your adulthood and in

1960
01:44:40,479 --> 01:44:43,479
Speaker 2: your adult life, even if you've already begun feeling the

1961
01:44:43,479 --> 01:44:46,360
Speaker 2: effects of the generational trauma she bestowed upon you. Yes,

1962
01:44:47,240 --> 01:44:50,720
Speaker 2: But what's a sadness point for me is that I

1963
01:44:50,840 --> 01:44:52,800
Speaker 2: my mother's alive and well, and I will never know

1964
01:44:52,880 --> 01:44:56,320
Speaker 2: her because I don't speak to her. Yeah, So I

1965
01:44:56,400 --> 01:44:59,519
Speaker 2: tried years ago. I kind of interviewed her like I

1966
01:44:59,560 --> 01:45:01,840
Speaker 2: asked her. I basically sat down and asked her every

1967
01:45:01,920 --> 01:45:04,439
Speaker 2: question I ever wanted to ask her when I was

1968
01:45:04,520 --> 01:45:07,120
Speaker 2: like thirty, because I was trying to see if we

1969
01:45:07,120 --> 01:45:11,240
Speaker 2: could build something again. And the answers to the questions

1970
01:45:11,400 --> 01:45:17,400
Speaker 2: were revelatory to me but also really made me more

1971
01:45:17,439 --> 01:45:21,400
Speaker 2: resolute than ever that I cannot have a relationship with her.

1972
01:45:21,720 --> 01:45:23,439
Speaker 2: Like the way she conceived of her own life, it

1973
01:45:23,520 --> 01:45:25,400
Speaker 2: still felt like she was hiding stuff from me, which

1974
01:45:25,400 --> 01:45:28,040
Speaker 2: is her right, like women are allowed to have their

1975
01:45:28,080 --> 01:45:36,160
Speaker 2: own internal life. But there's just something about my constant

1976
01:45:36,240 --> 01:45:39,719
Speaker 2: trying to connect with my mother, even in a basic

1977
01:45:39,800 --> 01:45:43,040
Speaker 2: way and having that not work that just made me

1978
01:45:43,680 --> 01:45:47,439
Speaker 2: has fucked me up in remarkable way of ways throughout

1979
01:45:47,439 --> 01:45:51,080
Speaker 2: my life. So watching this film and I'm like, Okay,

1980
01:45:51,280 --> 01:45:53,639
Speaker 2: you have a lot of friction, but there's also enough

1981
01:45:53,720 --> 01:45:55,800
Speaker 2: love there for you to want to keep coming back,

1982
01:45:55,880 --> 01:45:58,679
Speaker 2: and that's important. Like you might not ever know your mother,

1983
01:45:58,800 --> 01:46:01,559
Speaker 2: but the fact that you want to keep trying to

1984
01:46:01,600 --> 01:46:06,120
Speaker 2: know her is important for you and for her. So

1985
01:46:06,200 --> 01:46:07,880
Speaker 2: I think it's kind of a cool And also in

1986
01:46:07,880 --> 01:46:11,760
Speaker 2: my case, I feel like, you know, I've completely the

1987
01:46:11,800 --> 01:46:13,679
Speaker 2: way that I've kind of healed that part of myself

1988
01:46:13,760 --> 01:46:15,519
Speaker 2: is not like oh, you know, boo who I'll never

1989
01:46:15,520 --> 01:46:18,680
Speaker 2: get to know my mom. It's more like I'm grateful

1990
01:46:19,200 --> 01:46:22,200
Speaker 2: for the life that she's given me, and it can

1991
01:46:22,240 --> 01:46:24,760
Speaker 2: begin an end there that I don't have to know her,

1992
01:46:24,920 --> 01:46:28,960
Speaker 2: to respect her even if I don't speak to her.

1993
01:46:29,320 --> 01:46:31,599
Speaker 2: So I'm not carrying around hatred and trump like, I'm

1994
01:46:31,640 --> 01:46:32,920
Speaker 2: not carrying it around anymore.

1995
01:46:32,920 --> 01:46:33,880
Speaker 1: It's just kind of.

1996
01:46:34,680 --> 01:46:37,760
Speaker 2: Become a very resolute way for me to process it.

1997
01:46:37,840 --> 01:46:40,240
Speaker 2: And again, I say this, not knowing what can happen

1998
01:46:40,240 --> 01:46:42,040
Speaker 2: in the future. We might talk again one day, I

1999
01:46:42,080 --> 01:46:46,320
Speaker 2: don't think so. From my perspective, it's not a closed door.

2000
01:46:46,520 --> 01:46:52,280
Speaker 2: It's just like a reality check. We don't get along,

2001
01:46:52,800 --> 01:46:54,360
Speaker 2: we don't and I don't want to have somebody like

2002
01:46:54,360 --> 01:46:56,720
Speaker 2: that in my life. So but who knows. Who knows

2003
01:46:56,760 --> 01:46:58,160
Speaker 2: what can happen in the future. But I think that

2004
01:46:58,960 --> 01:47:01,360
Speaker 2: this movie will bring up every fucking emotion you've ever

2005
01:47:01,400 --> 01:47:04,080
Speaker 2: had about your own mom, Yeah, whether you knew where

2006
01:47:04,120 --> 01:47:05,360
Speaker 2: or not, or want to know where or not.

2007
01:47:06,520 --> 01:47:08,200
Speaker 1: When I was watching this movie, I was thinking about

2008
01:47:08,240 --> 01:47:10,599
Speaker 1: my mom, I was thinking about you and your mom.

2009
01:47:10,680 --> 01:47:12,639
Speaker 1: I was thinking about my sister. I was like, it's

2010
01:47:12,720 --> 01:47:15,160
Speaker 1: just like this thing. And like, that's the good thing

2011
01:47:15,200 --> 01:47:17,559
Speaker 1: about the way that the movie and probably the book

2012
01:47:17,560 --> 01:47:21,880
Speaker 1: I'm assuming sets it up, is that each relationship and

2013
01:47:22,000 --> 01:47:25,519
Speaker 1: situation is so different and has different components to it.

2014
01:47:25,560 --> 01:47:25,960
Speaker 2: Totally.

2015
01:47:26,040 --> 01:47:30,120
Speaker 1: Not everything is this perfect linear story exactly. Some people

2016
01:47:30,120 --> 01:47:33,040
Speaker 1: are closer to their moms, other people aren't. You know,

2017
01:47:33,479 --> 01:47:34,839
Speaker 1: the traumas are different.

2018
01:47:35,000 --> 01:47:35,200
Speaker 2: You know.

2019
01:47:35,240 --> 01:47:40,479
Speaker 1: It's just such a textured, fascinating, triggering film for me

2020
01:47:40,560 --> 01:47:43,200
Speaker 1: and I but I love it. I love I love

2021
01:47:43,240 --> 01:47:44,920
Speaker 1: how complex it is, and it just I mean, I

2022
01:47:45,040 --> 01:47:48,439
Speaker 1: was I can't stress this enough totally in my feelings

2023
01:47:49,240 --> 01:47:51,200
Speaker 1: after watching it, and so in so many ways. I mean,

2024
01:47:51,240 --> 01:47:54,080
Speaker 1: I've had, like, you know, a lot of time and

2025
01:47:54,680 --> 01:47:57,920
Speaker 1: spent a lot of money processing things in my life.

2026
01:47:57,960 --> 01:48:00,800
Speaker 1: But sometimes it's just like a movie. He just is, like,

2027
01:48:02,200 --> 01:48:05,160
Speaker 1: now you've done points it fodder for therapy for the

2028
01:48:05,200 --> 01:48:13,000
Speaker 1: next six months at least. Ah bear Men's, bear Min's.

2029
01:48:13,040 --> 01:48:15,120
Speaker 2: If you're not talking about this shit for two years,

2030
01:48:15,160 --> 01:48:16,000
Speaker 2: then you're lucky.

2031
01:48:16,680 --> 01:48:17,760
Speaker 1: It rocks me to my core.

2032
01:48:18,040 --> 01:48:21,040
Speaker 2: And thank god that Andrew McCarthy shows up to call

2033
01:48:21,040 --> 01:48:23,120
Speaker 2: his own mother an asshole for some comic relief.

2034
01:48:23,640 --> 01:48:25,920
Speaker 1: I sent you that screen grab when I was watching it.

2035
01:48:26,000 --> 01:48:27,400
Speaker 1: I was, like, I said, it was screen grab of

2036
01:48:27,840 --> 01:48:32,000
Speaker 1: Andrew McCarthy cussing his mother out at like a garden

2037
01:48:32,040 --> 01:48:33,679
Speaker 1: party or whatever the fuck they were at.

2038
01:48:34,280 --> 01:48:36,400
Speaker 2: So at that point we needed the laugh, like we

2039
01:48:36,560 --> 01:48:39,080
Speaker 2: had to have the lab there been someone fucking trauma.

2040
01:48:39,560 --> 01:48:43,360
Speaker 1: Absolutely, yeah, there needed that bit of levity because otherwise.

2041
01:48:45,080 --> 01:48:47,120
Speaker 2: Otherwise we'd be in the fetal position. We wouldn't have

2042
01:48:47,120 --> 01:48:49,040
Speaker 2: been able to record today. We started crying.

2043
01:48:49,479 --> 01:48:51,720
Speaker 1: Well, I'm so glad that you brought this. I know

2044
01:48:51,760 --> 01:48:54,200
Speaker 1: that you're joking about how it was like you got

2045
01:48:54,240 --> 01:48:56,920
Speaker 1: the assignment wrong, but I think you actually did not

2046
01:48:57,640 --> 01:48:58,080
Speaker 1: at all.

2047
01:48:58,479 --> 01:49:02,160
Speaker 2: Thank you, Thank you for the grace that and I

2048
01:49:02,200 --> 01:49:03,920
Speaker 2: loved your film so much. I'm so glad I got

2049
01:49:03,920 --> 01:49:04,599
Speaker 2: to finally see it.

2050
01:49:04,680 --> 01:49:07,519
Speaker 1: Yeah, this is a good one, dude. We always freak

2051
01:49:07,560 --> 01:49:10,280
Speaker 1: out wondering if they're too totally different, but they're not,

2052
01:49:11,439 --> 01:49:13,080
Speaker 1: and they end up being really fun to do.

2053
01:49:14,280 --> 01:49:14,479
Speaker 2: Well.

2054
01:49:15,400 --> 01:49:17,920
Speaker 1: Listen, I think we've said this enough, but I'll say

2055
01:49:17,960 --> 01:49:20,800
Speaker 1: it one more time. If you want to email us,

2056
01:49:20,840 --> 01:49:23,240
Speaker 1: we are at a slage and did pot at gmail

2057
01:49:23,360 --> 01:49:28,400
Speaker 1: dot com and like you can, like any person can

2058
01:49:28,439 --> 01:49:31,800
Speaker 1: email for any reason apparently. But but if you want

2059
01:49:31,800 --> 01:49:34,640
Speaker 1: to send us questions for bonus episodes, that's where you

2060
01:49:34,640 --> 01:49:37,240
Speaker 1: would do that. And we also have a peeo box

2061
01:49:37,600 --> 01:49:41,360
Speaker 1: if you want to send us handwritten letters or whatever.

2062
01:49:41,439 --> 01:49:44,120
Speaker 1: It's whatever you instructed people to send us through the mail.

2063
01:49:44,240 --> 01:49:48,040
Speaker 1: Now it has lint, Yes, fire starters. If you're a

2064
01:49:48,120 --> 01:49:51,160
Speaker 1: strade man who never removes the lint from your dryer,

2065
01:49:51,840 --> 01:49:54,240
Speaker 1: you can just send it to us at our peo box.

2066
01:49:55,320 --> 01:49:59,200
Speaker 1: You're gonna get the most fucked up backage. God, we're

2067
01:49:59,200 --> 01:50:01,559
Speaker 1: gonna be put on a watch for sure.

2068
01:50:01,760 --> 01:50:03,559
Speaker 2: And look, you can find the address of where to

2069
01:50:03,600 --> 01:50:05,760
Speaker 2: send us your lint on our link tree, which is

2070
01:50:05,760 --> 01:50:08,160
Speaker 2: linked on our Instagram account. You can find us on

2071
01:50:08,240 --> 01:50:12,280
Speaker 2: all our social media at I Sawpod, Instagram, Twitter, Blue Sky,

2072
01:50:12,360 --> 01:50:14,920
Speaker 2: all of it. And you can also now leave us

2073
01:50:14,920 --> 01:50:17,760
Speaker 2: a voicemail to play on the show. Just record a

2074
01:50:17,880 --> 01:50:20,600
Speaker 2: voice memo directly to your phone and email it to

2075
01:50:20,680 --> 01:50:24,320
Speaker 2: where I Saw what you did pot at gmail dot com.

2076
01:50:24,560 --> 01:50:27,679
Speaker 2: Please make it sixty seconds or less and please record

2077
01:50:27,680 --> 01:50:29,479
Speaker 2: it in a quiet space. Yeah.

2078
01:50:29,520 --> 01:50:32,200
Speaker 1: And then also we have merch. If you go to

2079
01:50:32,400 --> 01:50:35,120
Speaker 1: exactly right store dot com you will find it there.

2080
01:50:35,840 --> 01:50:38,080
Speaker 1: And we've got a couple different things in stock. And

2081
01:50:38,120 --> 01:50:39,840
Speaker 1: I think we've still got give me the B of

2082
01:50:39,880 --> 01:50:42,160
Speaker 1: the D merch which is really fun. I'm wearing it

2083
01:50:42,240 --> 01:50:46,120
Speaker 1: right now as we speak, looking good, feeling comfortable. It is.

2084
01:50:47,040 --> 01:50:49,080
Speaker 1: And don't forget our bonus episodes. We have a new

2085
01:50:49,120 --> 01:50:51,559
Speaker 1: bonus episode that drops on the main feed every third

2086
01:50:51,640 --> 01:50:53,320
Speaker 1: Thursday of the month, which is just in a little

2087
01:50:53,360 --> 01:50:57,200
Speaker 1: extra delight for you. That's right, Danielle. What about the

2088
01:50:57,240 --> 01:51:00,719
Speaker 1: movies For the next episode.

2089
01:51:00,120 --> 01:51:03,679
Speaker 2: Next week's movies, your homework is to watch Mildred Peers

2090
01:51:03,680 --> 01:51:08,080
Speaker 2: from nineteen forty five and Autumn Leaves from nineteen fifty six,

2091
01:51:08,200 --> 01:51:18,240
Speaker 2: and the theme is double flushers. Women from old Hollywood

2092
01:51:18,439 --> 01:51:19,679
Speaker 2: who take double flushers.

2093
01:51:20,080 --> 01:51:25,360
Speaker 1: An old classic double flusher, What a dame? What abroad?

2094
01:51:26,360 --> 01:51:28,680
Speaker 1: I watched me an old double flush down at the

2095
01:51:28,760 --> 01:51:36,800
Speaker 1: Picture show today, A double flusher. Fuck dude. On that note, Damielle,

2096
01:51:37,240 --> 01:51:40,280
Speaker 1: as always a absolutely fucking pleasure to do this podcast

2097
01:51:40,280 --> 01:51:44,000
Speaker 1: with you the best. You're the greatest you are too,

2098
01:51:45,000 --> 01:51:47,120
Speaker 1: but by a double flusher.

2099
01:51:53,640 --> 01:51:56,719
Speaker 2: This has been an exactly right production. Produced by Casey O'Brien,

2100
01:51:57,000 --> 01:52:00,559
Speaker 2: Episode mixing and theme music by Tom Bryfogel, artwork by

2101
01:52:00,560 --> 01:52:04,559
Speaker 2: Garrett Ross. Our executive producers are Georgia Hartstart, karenkle Gareff,

2102
01:52:04,600 --> 01:52:07,320
Speaker 2: and Daniel Kramer. You can follow us on Instagram and

2103
01:52:07,400 --> 01:52:10,240
Speaker 2: Twitter at I Saw Pod, and you can email us

2104
01:52:10,280 --> 01:52:12,400
Speaker 2: at I Saw What You Did Pod at Gmail.