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Speaker 1: On The Bechdelcast.

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Speaker 2: The questions asked if movies have women in them, are

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Speaker 2: all their discussions just boyfriends and husbands, or do they

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Speaker 2: have individualism?

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Speaker 3: The patriarchy?

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Speaker 4: Zeff and best start changing it with the Bechdel Cast.

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Speaker 2: Hi, Everybody, Jamie popping in at the top of the

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Speaker 2: episode to ask for your humble vote in the Signal Awards.

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Speaker 2: The Signal Awards are a podcast industry award and a

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Speaker 2: show a produce. We The Unhoused has been nominated in

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Speaker 2: the People's Choice category for public service and activism. If

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Speaker 2: you haven't listened to the show before, we've talked about

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Speaker 2: it on the Bechdel Cast many times. But it is

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Speaker 2: a show created and hosted by the wonderful Theo Henderson

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Speaker 2: that is about issues that affect the unhoused, told by

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Speaker 2: unhoused people themselves. It is a wonderful show. I am

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Speaker 2: so proud of it. There are some stiff competition, and

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Speaker 2: we would.

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Speaker 5: Appreciate your vote. It is literally two clicks. There is

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Speaker 5: a link in the description of the episode. You are

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Speaker 5: listening right now, so pause the episode, vote and enjoy

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Speaker 5: the show. The Bechdelcast, Hey, Jamie, Hey Caitlin.

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Speaker 1: If I do ninety percent of the introduction to this episode.

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Speaker 1: Will you come in with the other ten percent.

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Speaker 2: I'll come in with the other ten percent, and then

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Speaker 2: we'll fall in love. Okay, great, and then we'll be

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Speaker 2: I guess that makes you hitch and meet Kevin James.

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Speaker 2: Is that the dynamic?

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Speaker 1: Well, there are two different scenarios here.

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Speaker 2: Am I like Kevin James of the podcast? I guess yeah,

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Speaker 2: it's true. I could also be Kevin James. Uh? What

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Speaker 2: is god? Rom common names are so elusive. You're just

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Speaker 2: started naming the actors Kevin James, Rich Lady Addison.

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Speaker 1: Adelaide Allegra has the name of an isn't that an

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Speaker 1: allergy medicine?

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Speaker 2: It is the name of an allergy medicine. This is

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Speaker 2: an allergy medicine coded movie.

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Speaker 1: Oh my gosh, Benadryl makes as big appearance.

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Speaker 2: Anyways, Yes, I'm down to do ten percent of the work.

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Speaker 2: That sounds like it would be a hugely fluid rock.

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Speaker 6: Good. Great.

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Speaker 2: Welcome to the Bechdel Cast. My name's Jamie Loftis.

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Speaker 1: My name is Caitlin Derante. This is our show where

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Speaker 1: we examine movies through an intersectional feminist lens, using the

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Speaker 1: Bechdel Test simply as a jumping off point. And what

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Speaker 1: is that? Do you think, Jamie?

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Speaker 2: Well, I do feel like it is relevant to today's

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Speaker 2: discussion because there's there's a case for it, but I

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Speaker 2: don't know so. The Bechdel Test is a media metric

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Speaker 2: created by our friend and yours, Alison Bechdel, back in

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Speaker 2: the eighties for her comic Thanks to Watch Out for.

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Speaker 2: Originally made as a one off joke, it has since

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Speaker 2: been adapted as a mainstream media tool that we talk

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Speaker 2: about very little on this show, but it is the

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Speaker 2: title of the show. Many versions of this test. The

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Speaker 2: version we use requires that two characters of a marginalized

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Speaker 2: gender with names talk to each other about something other

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Speaker 2: than a man for more than two lines of meaningful dialogue.

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Speaker 2: Whatever that means to you can't be a nameless waiter character,

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Speaker 2: right unless I guess, unless the waiter's giving Will Smith

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Speaker 2: something he's allergic to. That would have been an interesting

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Speaker 2: way to pass. Oh sure, but yes, that is the metric.

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Speaker 2: But we are mostly here to talk about intersexual feminism

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Speaker 2: as it pertains to hitch Hitche two thousand and five,

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Speaker 2: directed by Andy Tenant, written by Kevin bish.

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Speaker 1: Kevin Bish, That Son of a Bish.

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Speaker 2: That Son of a Bish, and then Andy Tenant a

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Speaker 2: frequent appearance on the show. He also directed It Takes Two,

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Speaker 2: he directed ever after he directed Sweet Home Alabama. So

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Speaker 2: this is the fourth Andy Tenant movie we are covering

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Speaker 2: on the show Wild. So is it a feminist podcast?

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Speaker 2: We don't know, but we have a wonderful guest here today.

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Speaker 1: We certainly do. He is an audio producer and host

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Speaker 1: of the podcasts Wait for It and Leaving the Theater.

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Speaker 1: It's Ronald Young Junior.

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Speaker 2: Hello, Hello, Hello, and welcome.

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Speaker 6: Happy to be here, Happy to have you. A big

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Speaker 6: fan wait to talk about Hitch. Big fans of y'all

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Speaker 6: as well.

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Speaker 2: I saw you at the at the Amb's this year,

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Speaker 2: and I feel like you're at you the outside of

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Speaker 2: the MBS this past year.

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Speaker 6: Yeah. Yeah, it was just it was mostly the jacket

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Speaker 6: was doing most of the work. Well, the glasses, I

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Speaker 6: guess as well.

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Speaker 2: I was like, it was no, it was the whole thing.

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Speaker 1: It's the whole thing.

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Speaker 2: Give yourself credit. Yes, what is your history with the

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Speaker 2: movie Hitch?

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Speaker 6: The movie Hitch came out when I was a junior

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Speaker 6: in college, so I would have probably been barely twenty

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Speaker 6: years old. Well, actually I would have been solidly twenty,

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Speaker 6: maybe about to turn twenty one. And it was when

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Speaker 6: Will Smith was on a tear in terms of the

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Speaker 6: films that he had done. He had already done Ali

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Speaker 6: I am Legend was in his future and this was

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Speaker 6: during the same string that he was gonna end up

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Speaker 6: doing Hancock. So I was excited to see whatever the

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Speaker 6: new Will Smith movie was. When I saw the preview

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Speaker 6: for this, I was like, Oh, that looks cute, and

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Speaker 6: I also love Kevin James. I was watching a lot

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Speaker 6: of King of Queens at the time, which I still

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Speaker 6: think is a very funny show, but it was. It

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Speaker 6: was It was fun to see Kevin James start to

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Speaker 6: begin to make his transition into more of a movie star,

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Speaker 6: because this was kind of the beginning of him starting

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Speaker 6: to show up in movies. I think this is pre

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Speaker 6: Paul Blart.

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Speaker 2: Mallcop I believe, so, yeah, this is this is part

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Speaker 2: of the road to Blart exactly.

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Speaker 6: That's exactly. That's what I call it, too, the Road

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Speaker 6: to Blark TM. So he was headed, he was headed

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Speaker 6: in that direction. So seeing the previews, I remember I

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Speaker 6: was sitting in a room with some friends and they

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Speaker 6: were like, I want to see that new Will Smith

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Speaker 6: date doctor movie. And then we were watching a movie

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Speaker 6: at the time, and you know how when DVDs used

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Speaker 6: to have previews on them, which is yes, wild to

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Speaker 6: think about, but the preview came on and I was like, oh,

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Speaker 6: that does look very good. They had him having the

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Speaker 6: allergic reaction in the preview and all that, so I

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Speaker 6: was very excited to see it.

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Speaker 1: That was a huge part of the marketing of that movie.

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Speaker 6: I remember if drinking and be.

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Speaker 2: Like, come on that, which is that's really the only

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Speaker 2: kind of thing of that nature that hacks in this movie.

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Speaker 2: But I also vividly remember the yeah, the turnover the

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Speaker 2: shoulder and the kidvened store and the like hives prosthetics.

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Speaker 2: It's a choice, it's a choice.

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Speaker 6: It really is very very romantic comedy coded of that era.

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Speaker 6: They like they truly don't make them like this anymore,

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Speaker 6: which is like for for better and worse at the

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Speaker 6: same time. You know, yeah, like as soon as that

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Speaker 6: opening sequence comes on, you immediately start like logging for

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Speaker 6: a better time. Sorry, I'm talking too much. I can

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Speaker 6: talk about this.

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Speaker 1: Well, that's what we're here to do.

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Speaker 2: Yeah, we're here to get to the bottom of Hitch.

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Speaker 1: So you saw it when it came out, and then

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Speaker 1: have you been revisiting it since or did you leave

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Speaker 1: it in the past until now?

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Speaker 6: So I bought it on DVD. It is probably downstairs

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Speaker 6: in my DVD collection, which is just a big binder

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Speaker 6: of DVDs. I got rid of all the cases because

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Speaker 6: what do we even need those? I'm right there with you, yeah,

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Speaker 6: but I still have.

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Speaker 1: My DVD binder of like two hundred DVDs.

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Speaker 6: Okay. But the funny thing about that, okay, And I

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Speaker 6: used to watch Hitch regularly, like, oh, y'all want to

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Speaker 6: watch Hitch? Like just throw it on, like great date movie,

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Speaker 6: that type of thing. But all of those films that

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Speaker 6: existed back then, even though I own them, depending on

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Speaker 6: where they're positioned on streaming media, they completely leave my mind.

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Speaker 6: It's like they don't exist anymore. So when y'all mentioned this,

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Speaker 6: I was like, oh, yeah, I think it's been a

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Speaker 6: solid at least ten, maybe fifteen years since I watched

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Speaker 6: that movie, and I just I yeah, So it's I

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Speaker 6: loved it for a time when it was out, and

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Speaker 6: then it just disappeared into the back corners of my mind.

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Speaker 2: Yeah, you have to return. We must return to Hitch.

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Speaker 6: We gotta go back.

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Speaker 2: We have to come back.

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Speaker 1: We have to go back to Hitch.

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Speaker 2: To go back. I have just started watching Lost last year,

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Speaker 2: and what a treat. What a treat?

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Speaker 6: Yeah you say that. Now what season are you on? Oh?

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Speaker 2: I've watched the whole series twice.

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Speaker 6: Which okay, okay, okay, okay.

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Speaker 1: I don't know.

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Speaker 2: It's like, I am, well, we got a table Lost

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Speaker 2: because I got ept.

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Speaker 1: You growingly come back for Lost. We'll do a spinoff

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Speaker 1: podcast all of Lost.

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Speaker 2: Easy prep. Yeah, I got the flu and I watched Lost.

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Speaker 6: You probably got it from the island.

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Speaker 1: Oh my gosh, what are the others?

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Speaker 2: That's one of the other cough in my mouth and

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Speaker 2: here I am, Jimmie.

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Speaker 1: What's your history with Hitch?

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Speaker 2: My history with Hitch is that I saw it.

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Speaker 7: I I This I feel like goes very firmly into

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Speaker 7: my middle school sleepover cannon and kind of an outlier

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Speaker 7: in the ramkan genre because it's I mean in a

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Speaker 7: number of ways, but it's very rare in a rom

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Speaker 7: com for the man to be the character that.

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Speaker 2: We're leading with. I feel like it's very it's most

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Speaker 2: often that he's kind of behind the woman trying to

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Speaker 2: have it all. But this is like peak, well, I

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Speaker 2: don't even know when peak Willsmith exactly was. It feels close.

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Speaker 2: This feels pretty close.

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Speaker 6: It's close.

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Speaker 2: Yeah, but I hadn't seen it in at least ten years,

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Speaker 2: probably longer. Although I feel like you see, if you

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Speaker 2: spend enough time on the internet, you see Hitch in

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Speaker 2: the wild with some frequency. People remember Hitch. Yeah, I

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Speaker 2: most clearly remember the Hives scene, and then I didn't

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Speaker 2: remember a bunch of stuff that I've excited to talk about.

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Speaker 2: But I mean, mainly, rewatching this movie is like I

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Speaker 2: miss Eva Mendez. Yes, I miss her acting not I mean,

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Speaker 2: she's still thriving, but she doesn't act anymore, and I

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Speaker 2: miss it. She's just like the most charismatic woman on

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Speaker 2: the face the earth, and so as well. I mean,

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Speaker 2: obviously Will Smith is Will Smith, but but yeah, I

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Speaker 2: don't know. There's I feel like this movie has been

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Speaker 2: through so many waves of criticism, reconsideration, reclaiming, getting rid

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Speaker 2: of it again. It was so interesting going through the

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Speaker 2: like because there's tons of essays about Hitch every time

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Speaker 2: it reaches an anniversary, marker, and it always changes a

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Speaker 2: little bit the public perception of Hitch, and I feel

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Speaker 2: like I would have felt differently about it ten years

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Speaker 2: ago than I do now. It's all over the place

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Speaker 2: if this movie does mix all over the place, because

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Speaker 2: sometimes it's like it's so weird, whereas like sometimes it's

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Speaker 2: like ooh, a point is being approached, and then they're like,

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Speaker 2: never mind, never mind. I expected to not like it

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Speaker 2: a lot less than I. I mean, there there is

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Speaker 2: stuff to love about this movie. I get why people

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Speaker 2: return to it, and even then does un Retired challenge Kaylyn,

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Speaker 2: what's your history with Hitch?

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Speaker 1: I also saw it when it came out. I remember

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Speaker 1: the marketing a lot, and I was like, well, I

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Speaker 1: guess rom coms have never really been my genre, and

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Speaker 1: I prefer Will Smith when he's in an alien movie.

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Speaker 1: But I was like, sure, I'll go with what I was.

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Speaker 1: I think a freshman or sophomore in college at the time,

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Speaker 1: so I imagine I went with some friends to see

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Speaker 1: in theaters, and I feel like I watched it a

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Speaker 1: couple more times since then, just because it would kind

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Speaker 1: of be on in the room I was in. But

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Speaker 1: I never had much of an attachment to it and

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Speaker 1: forgot most of the things as well, except for the

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Speaker 1: ninety percent ten percent kissing advice.

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Speaker 2: You remember that.

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Speaker 1: I think about that like once a week. Well, not

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Speaker 1: as like advice that I think people should follow, but

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Speaker 1: it's just it for some reason that stuck with me.

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Speaker 2: I get that that's a sticky that's a sticky bit

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Speaker 2: of information.

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Speaker 1: It's a sticky thing because I'm always like, I think

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Speaker 1: what it is is I'm afraid a man is gonna

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Speaker 1: go ninety percent into trying to kiss me, and like,

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Speaker 1: just how yucky I feel about that.

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Speaker 2: Ninety percent is too many. That's a lot of persons.

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Speaker 1: Maybe it should be fifty to fifty.

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Speaker 2: Yeah, you know, that's a good threshold.

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Speaker 6: I think it also articulates something that I don't believe in,

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Speaker 6: which is the idea that when it comes to kissing,

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Speaker 6: that the onus is on the man to like make

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Speaker 6: the kiss happen, which is something that has bitten me

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Speaker 6: in the behind so many times in life, because there

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Speaker 6: have been women who was like, oh, well, he didn't

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Speaker 6: try to kiss me, he must not like me, and

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Speaker 6: I was like, no, I'm just shy and don't I'm

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Speaker 6: afraid I want to, but I don't know how to

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Speaker 6: do it, and I don't want to do ninety percent.

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Speaker 6: It feels like I've be encroaching on your space.

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Speaker 1: And this is why I think about it all the time.

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Speaker 3: And weirdly, like Hitch doesn't totally step away from the

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Speaker 3: fact that like men obviously experience anxiety and confidence issues

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Speaker 3: like that is such a huge part of it.

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Speaker 2: But then it gets weird to get I don't know.

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Speaker 6: I think the movie vacillates. I wrote this down. I

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Speaker 6: think it vacillates between being a pickup artist's manual and

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Speaker 6: then an actual guide to talking to human women. So

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Speaker 6: at its worst, yes, it's a pickup artist. At its best,

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Speaker 6: it's like, here's how you talk to a woman, and

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Speaker 6: I'm like, actually, that's not that bad. When it's like, hey,

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Speaker 6: just talk to her, be nice, like be kind to her,

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Speaker 6: you know what I mean. Listen, Yes, I'm like, that's

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Speaker 6: not bad. But then because it throws it in a blender,

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Speaker 6: it's like, wait a minute, wait a minute, this isn't right,

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Speaker 6: Will Smith, I don't know if you're doing this right.

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Speaker 2: And then the ending being like I don't know, and

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Speaker 2: then there's Grandma Hedge. I forgot about Grandma.

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Speaker 1: Oh yeah, Grandma Hitch.

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Speaker 2: I would see that movie too.

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Speaker 1: Yeah, at least it's not what's that movie, Crazy Stupid

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Speaker 1: Love where it's just like, here's how to be a

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Speaker 1: pickup artist?

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Speaker 6: Yees.

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Speaker 1: Yeah, it like sort of starts to veer into that

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Speaker 1: territory sometimes, but it never gets all the way. Yeah,

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Speaker 1: and yes, some of the advice that Hitch gives is

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Speaker 1: solid advice. A lot of it isn't, Yeah, but some

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Speaker 1: of it is. And the takeaway from this movie I

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Speaker 1: think is generally positive. But the point is I forgot

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Speaker 1: most of it except for the ninety ten thing, and

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Speaker 1: I am sort of haunted by it. But we'll unpack

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Speaker 1: that and more. Let's take a quick break and then

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Speaker 1: we'll come back for the recap, and we're back.

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Speaker 2: Let's lock it's Hitch time. I also this reminded me

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Speaker 2: of I know that this is probably something that still happens,

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Speaker 2: but I do associate the naming convention. It kind of

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Speaker 2: feels geely coded to me, where you're like, oh, the

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Speaker 2: guy's name is Jeelie. The guy's name is Hitch. You're like, oh,

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Speaker 2: I guess I didn't see that coming.

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Speaker 1: Alex Hitchens aka Hitch, Larry Jeelie, you know, keep going.

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Speaker 6: Also Gilie's Ark two thousand and three, Hitch circa two

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Speaker 6: thousand and five. So you're hitting the nail on the

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Speaker 6: head in terms of what it was happening.

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Speaker 2: The people wanted what they wanted, except one of the

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Speaker 2: main differences being Hitch was wildly successful to this day

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Speaker 2: is still the third most successful rom com at the

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Speaker 2: box office ever.

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Speaker 6: Wow, whoa yeah, of all time? What's two and one?

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Speaker 2: Two and one? Oh my gosh, it just had it

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Speaker 2: up two in one. One of them is so this

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Speaker 2: is at the box office, but yes, it beats Pretty

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Speaker 2: Woman adjusted for inflation. It's my big Greek wedding. What

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Speaker 2: women want or before.

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Speaker 6: Women one should not be number two. That's that's wild.

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Speaker 2: What women want is nasty, that is.

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Speaker 6: Not Yeah, have y'all done that on this show. I'll

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Speaker 6: be back, Yes, Okay, do it again so I can

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Speaker 6: talk trash.

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Speaker 2: It's an interesting. Top ten is my big fact Greek wedding.

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Speaker 2: What women Want? Hitch, Pretty Woman, Wild, there's something about

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Speaker 2: Mary crazy rich Asians, the proposal which I barely remember,

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Speaker 2: Sex and the City Runaway Bride knocked up. That's the

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Speaker 2: top ten.

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Speaker 6: Wow, that's okay, so their box office. This isn't preference,

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Speaker 6: which makes sense, Like you're listing ten movies that I

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Speaker 6: think people would go see. But wow, Hitch being number three, Well,

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Speaker 6: but actually it is like kind of a straight down

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Speaker 6: the middle of romantic comedy in a lot of ways.

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Speaker 6: But like I mean, and we're about to unpack the

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Speaker 6: real examinations of it. But I guess it's not that unsurprising.

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Speaker 6: The other number two, What women Want, that's way more

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Speaker 6: disappointing to me.

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Speaker 2: That's too many, yes, just too many, like at least

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Speaker 2: my big fact Greek wedding. I like, correct, What women

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Speaker 2: want is a movie with a with a dark aura.

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Speaker 1: Yeah, yeah, evil vibes.

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Speaker 2: Yeah about pick up artists, my god, totally Like even

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Speaker 2: without mel Gibson it's scary, but with him inexcusable.

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Speaker 1: Yeah, yes, yeah.

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Speaker 6: Can I say one thing?

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Speaker 1: Oh yeah, please, oh yeah.

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Speaker 6: I just want to point out that when y'all y'all

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Speaker 6: picked Hitch, and I was so excited, I expected to

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Speaker 6: be like anything that comes out in the early two

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Speaker 6: thousands that I'm revisiting now, I'm expecting that I'm going

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Speaker 6: to be like what was I thinking at this time?

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Speaker 6: And I really appreciate y'all because this was one of

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Speaker 6: the rare exceptions where I'm like, great, it has some problems,

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Speaker 6: but I don't. I don't feel dirty like walking away

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Speaker 6: from this as I did from other things that came

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Speaker 6: out around that time when we really thought we were

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Speaker 6: invincible culturally as a country point to be noticed a little.

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Speaker 6: So I really appreciate y'all bringing me in for this one.

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Speaker 1: Oh oh, absolutely, you are so grateful to have you.

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Speaker 1: And let's meet.

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Speaker 2: Hitch shall we Alice hitch Hitchins.

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Speaker 1: Alex Hitchins played by Will Smith. He is a dating

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Speaker 1: coach dubbed the Date Doctor. And something I think is

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Speaker 1: hilarious about this movie is that everyone in New York

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Speaker 1: City knows about the Date Doctor, as if he's like

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Speaker 1: Spider Man, where we don't know his true identity, but

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Speaker 1: it's like I've heard of him though, and he's famous.

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Speaker 2: Unlike Spider Man. He has an amazing apartment.

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Speaker 1: Yeah, yes, he's raking it in.

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Speaker 2: Beautiful rom com. I mean it's like that. It's almost

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Speaker 2: like self aware the way they're doing it because he

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Speaker 2: never says how much he charges. He's just like, that's

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Speaker 2: why they pay me, so much. I love this. This

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Speaker 2: world is just class does not exist, no, really in

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Speaker 2: this world, and sometimes that can be fun. You're like, sure,

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Speaker 2: not good for them and good for Hitch, although you

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Speaker 2: know at what cost.

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Speaker 1: Okay, So we meet Hitch during a montage where he's

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Speaker 1: helping men talk to women, or get women to notice them,

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Speaker 1: or orchestrate a meet. Cute. There's also voiceover monologue from

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Speaker 1: Hitch and we'll talk about this, but it's advice, and again,

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Speaker 1: some of it isn't horrible. A lot of it is

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Speaker 1: quite gender prescriptive as far as this is what women

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Speaker 1: like and so that's what you should do about it.

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Speaker 6: Correct.

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Speaker 2: Yeah, leading with the women who are really into their

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Speaker 2: career right now? Do you believe that? Neither did she?

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Speaker 2: She's lying. You're like, Wow, I love this guy.

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Speaker 5: Can't wait to hear her.

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Speaker 2: I can't wait to follow his journey.

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Speaker 6: Yeah. The good thing is when he's talking of like,

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Speaker 6: I feel good knowing that we know more than him

385
00:19:51,800 --> 00:19:54,800
Speaker 6: at this point. Sound like, yeah, yeah, bless, I'm going

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Speaker 6: to assume that Alex Hitchins grew up with the rest

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Speaker 6: of us, like by twenty twenty five. He's like, I

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Speaker 6: said some things and I don't actually agree with anymore.

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Speaker 6: And I'm like, oh, that's perfectly fine. That's that's the

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Speaker 6: grace that I'm offering him at this point, I hope.

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Speaker 2: So we come to this place to show Hitch grace.

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Speaker 1: You know, I wouldn't be mad about Hitch two you know,

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Speaker 1: contemporary modern day, twenty years later or whatever. And yeah,

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Speaker 1: he's changed his ways.

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Speaker 2: Yes, that's what gets us. Ava Mendez back, Fine, I

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Speaker 2: watch it. I'll go, I'll go watch it.

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Speaker 1: Yeah, let's do it. Okay. So Hitch's thing is that

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Speaker 1: he will help men for the first three dates and

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Speaker 1: after that they're on their own. Then we meet Sarah

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Speaker 1: played by Eva Mendez. Her various male colleagues and bosses

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Speaker 1: are like, you need a boyfriend, and she's like, I

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Speaker 1: don't have time for a boyfriend. I'm too focused on

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Speaker 1: my career.

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Speaker 2: She cooks forty hours a week talking about how she

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Speaker 2: doesn't need a boy thread.

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Speaker 6: Yep, I do like that.

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Speaker 2: They give because she does. I mean, in rom com fashion.

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Speaker 2: She is a New York City journalist, but she's kind

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Speaker 2: of like a dirty journalist. She's a but not the

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Speaker 2: way the movie frames it. The movie doesn't. They're just

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Speaker 2: like I just think it's I mean, it makes sense

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Speaker 2: in the plot. Why they she ends up being a

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Speaker 2: gossip I don't know. Maybe it was just sex and

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Speaker 2: the City era and this was this was a thing true.

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Speaker 1: Right because she's a gossip columnist at a newspaper, remember

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Speaker 1: those And some of her recent coverage has been on

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Speaker 1: a celebrity named Allegra Cole and a breakup that she

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Speaker 1: just went through.

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Speaker 6: Can we just point out her apartment is way too

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Speaker 6: big for a reporter?

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Speaker 2: Yes, and classic Carrie fashion. Yeah, yeah, you're just you're like, wow,

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Speaker 2: her and Hitch cumulatively, I'm just like, yeah, they're loaded.

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Speaker 2: They're loaded, and god knows how, but I'm happy for them.

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Speaker 6: I support it.

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Speaker 1: They're both living in like three million dollar condos padform.

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Speaker 1: We're not sure how.

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Speaker 6: At least her door opens out, that's how. That's how

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Speaker 6: I know you got money if you're not concerned about

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Speaker 6: the direction of your door opens like whatever, I got

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Speaker 6: a doorman. They can't get in here.

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Speaker 2: And they don't you don't know if they own, but

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Speaker 2: they have they carry themselves as if they own the place.

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Speaker 1: Yes. Yeah, Then we cut to Hitch at a bar

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Speaker 1: playing pool with a character played by raging Zionist piece

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Speaker 1: of ship. Michael Rappaport, Caitlyn I almost flipped the table.

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00:22:33,040 --> 00:22:38,760
Speaker 6: I was like, what is this guy doing?

437
00:22:38,880 --> 00:22:41,160
Speaker 1: May he rot in hell? This man?

438
00:22:41,320 --> 00:22:45,359
Speaker 2: Nothing can prepare you to see what a jump scare

439
00:22:45,840 --> 00:22:46,280
Speaker 2: really is.

440
00:22:48,240 --> 00:22:50,280
Speaker 6: And that's such a good use of jump Scared two.

441
00:22:50,520 --> 00:22:51,560
Speaker 6: That's what happened.

442
00:22:51,560 --> 00:22:56,400
Speaker 2: I was like, Michael, why worse than the Hives scene?

443
00:22:56,600 --> 00:22:59,679
Speaker 2: Like they it's also just I mean, we don't need

444
00:22:59,680 --> 00:23:02,280
Speaker 2: to get it a full Michael Rappaport, but like Zionist

445
00:23:02,440 --> 00:23:04,639
Speaker 2: is the tip of the iceberg with this, I mean

446
00:23:05,359 --> 00:23:09,280
Speaker 2: just a vile, vile being overt racist.

447
00:23:09,560 --> 00:23:12,120
Speaker 6: Yeah, as I would say, so evil, evil man.

448
00:23:12,720 --> 00:23:14,400
Speaker 2: Every mask is off with this guy.

449
00:23:14,600 --> 00:23:17,159
Speaker 1: Yeah, at least he's only in this one scene and

450
00:23:17,200 --> 00:23:18,160
Speaker 1: he never comes back.

451
00:23:18,240 --> 00:23:20,840
Speaker 6: But it could have cut it. Honestly, they shouldly.

452
00:23:20,560 --> 00:23:21,240
Speaker 1: Should have cut it.

453
00:23:21,280 --> 00:23:24,600
Speaker 2: They should do a twentieth anniversary release that cuts out

454
00:23:24,640 --> 00:23:26,760
Speaker 2: the Michael Rapaport because also it's cuttable.

455
00:23:26,880 --> 00:23:27,520
Speaker 6: It really is a lot.

456
00:23:27,560 --> 00:23:28,840
Speaker 2: Wise, you don't need it cuttable.

457
00:23:28,960 --> 00:23:31,680
Speaker 1: And the movie is too long. It's two hours long.

458
00:23:32,359 --> 00:23:36,160
Speaker 1: No rom com should be longer than ninety ninety five minutes,

459
00:23:36,240 --> 00:23:37,240
Speaker 1: like what are we doing here?

460
00:23:37,480 --> 00:23:42,040
Speaker 2: Although I do appreciate the long extended wedding dance sequence

461
00:23:42,080 --> 00:23:44,680
Speaker 2: at the end. That's just a return to form. Yeah,

462
00:23:44,680 --> 00:23:45,640
Speaker 2: that's tradition.

463
00:23:46,080 --> 00:23:47,840
Speaker 6: That's that's obviously not what goes on the kind of

464
00:23:47,880 --> 00:23:50,480
Speaker 6: roof floor there's but we could as you go through,

465
00:23:50,520 --> 00:23:52,639
Speaker 6: we could probably say what could have been cut in

466
00:23:52,720 --> 00:23:54,920
Speaker 6: terms of like story, like come on, you didn't need

467
00:23:54,920 --> 00:23:57,680
Speaker 6: this part, Like that's very you. You said two hours

468
00:23:57,680 --> 00:23:59,959
Speaker 6: to it. I remember thinking it feels like a tight nine,

469
00:24:00,240 --> 00:24:01,960
Speaker 6: but then after a while you're like, Okay, it's still

470
00:24:02,040 --> 00:24:04,280
Speaker 6: kind of going, like what's what's happening here? Why are

471
00:24:04,320 --> 00:24:04,840
Speaker 6: we still here?

472
00:24:05,520 --> 00:24:08,080
Speaker 2: When that guy Tom shows up at the end, I

473
00:24:08,280 --> 00:24:09,840
Speaker 2: was like I'm done, I'm done.

474
00:24:10,000 --> 00:24:13,800
Speaker 6: Yes, this should have happened to Sina, though, why is

475
00:24:13,840 --> 00:24:16,760
Speaker 6: this happening now? Like this is this is weird? This

476
00:24:16,800 --> 00:24:18,720
Speaker 6: grand gesture, like you've already done it? Why are we

477
00:24:18,800 --> 00:24:19,600
Speaker 6: what are we doing here?

478
00:24:19,960 --> 00:24:22,720
Speaker 2: The grand gesture? Also, I was just like, this is

479
00:24:22,760 --> 00:24:26,480
Speaker 2: a good weaponization of the Steve Puschemi test. If Steve

480
00:24:26,480 --> 00:24:29,600
Speaker 2: Pushemi does anything that Hitch does in this movie, it's

481
00:24:29,720 --> 00:24:31,600
Speaker 2: it's menacing and scary behavior.

482
00:24:33,040 --> 00:24:37,360
Speaker 1: Steve, Oh, this is we made this cast original.

483
00:24:37,520 --> 00:24:41,120
Speaker 6: This is a this is good, this should be that's

484
00:24:41,200 --> 00:24:44,920
Speaker 6: amazing and also terrible for Steve. I'm so sorry.

485
00:24:45,119 --> 00:24:48,520
Speaker 2: I know it will mean this our friend Steve, who's

486
00:24:48,000 --> 00:24:52,000
Speaker 2: a bonafid but he plays creeps a lot.

487
00:24:52,359 --> 00:24:55,240
Speaker 6: This would also work for Bill Scar's guard. So don't

488
00:24:55,240 --> 00:24:58,040
Speaker 6: feel like it just has to be Steve because if Bill,

489
00:24:58,160 --> 00:24:59,760
Speaker 6: because you know how I know it's true about Bill

490
00:24:59,760 --> 00:25:03,240
Speaker 6: scar Card is that barbarian doesn't work if Bill scars

491
00:25:03,280 --> 00:25:06,040
Speaker 6: guard is not a little bit creepy because you you

492
00:25:06,080 --> 00:25:07,800
Speaker 6: think he's up to something the whole time, but he's

493
00:25:07,800 --> 00:25:10,560
Speaker 6: actually not good looking guy whatever. But like, yeah, I'm

494
00:25:10,560 --> 00:25:12,560
Speaker 6: just saying you can you can slash that. It doesn't

495
00:25:12,600 --> 00:25:13,280
Speaker 6: just have to be Steve.

496
00:25:13,840 --> 00:25:16,280
Speaker 2: Oh that makes me feel great about this test because

497
00:25:16,320 --> 00:25:17,520
Speaker 2: I was like, I don't want to. I don't want

498
00:25:17,520 --> 00:25:19,359
Speaker 2: to come down on our friend Steve. But it's the

499
00:25:19,400 --> 00:25:22,520
Speaker 2: same thing where it's just like that type cast actor

500
00:25:22,840 --> 00:25:25,960
Speaker 2: and so much of this movie. If you apply that test,

501
00:25:26,000 --> 00:25:29,840
Speaker 2: you're like, well, I don't know, I don't know, but

502
00:25:30,000 --> 00:25:31,200
Speaker 2: this this hitch.

503
00:25:31,000 --> 00:25:32,280
Speaker 1: Guy doesn't feel great.

504
00:25:32,400 --> 00:25:33,360
Speaker 6: I love this.

505
00:25:34,800 --> 00:25:36,879
Speaker 2: Throw him soap on the hood of a car. I

506
00:25:36,920 --> 00:25:38,359
Speaker 2: don't know, No, I'm.

507
00:25:38,200 --> 00:25:43,320
Speaker 6: Seeing it all with Steve Shimmy, you took her, you

508
00:25:43,359 --> 00:25:47,119
Speaker 6: took her to see.

509
00:25:46,280 --> 00:25:47,680
Speaker 1: Oh yeah, the Ellis Island thing.

510
00:25:48,040 --> 00:25:50,840
Speaker 2: Steve tell me, trapped you in Ellis Island?

511
00:25:51,640 --> 00:25:55,680
Speaker 6: Like I got here even with Bill Scar's guard. It's

512
00:25:55,680 --> 00:25:57,679
Speaker 6: still like again here, like why did you take me

513
00:25:57,720 --> 00:25:59,359
Speaker 6: to see my murder and grandfather?

514
00:25:59,600 --> 00:25:59,760
Speaker 8: Oh?

515
00:26:00,119 --> 00:26:01,520
Speaker 1: I can't wait to get there.

516
00:26:02,280 --> 00:26:05,760
Speaker 2: I kind of like the ls Island bit. It makes

517
00:26:05,760 --> 00:26:08,840
Speaker 2: no sense, but I was like, yeah, we get but

518
00:26:08,880 --> 00:26:11,879
Speaker 2: I liked it right anyway.

519
00:26:11,920 --> 00:26:14,240
Speaker 1: The whole point of this, like bar scene where they're

520
00:26:14,240 --> 00:26:18,919
Speaker 1: playing pool, is the Hitch is being told that he

521
00:26:18,960 --> 00:26:24,800
Speaker 1: should try to find a meaningful long term relationship, because

522
00:26:24,920 --> 00:26:28,520
Speaker 1: Hitch's whole thing is that he only does very casual,

523
00:26:28,600 --> 00:26:33,520
Speaker 1: short term dating, and according to the movie, that's bad

524
00:26:34,600 --> 00:26:35,760
Speaker 1: and shallow and.

525
00:26:36,119 --> 00:26:39,800
Speaker 2: Also women can't do it, and women are just simply

526
00:26:39,800 --> 00:26:44,720
Speaker 2: not allowed in this world. Women have no desire to

527
00:26:44,760 --> 00:26:47,920
Speaker 2: have casual sex and have no interest in it at all.

528
00:26:48,280 --> 00:26:52,359
Speaker 1: Yes, and we're like, oh, why is Hitch like this?

529
00:26:52,520 --> 00:26:53,640
Speaker 2: Who broke his.

530
00:26:53,720 --> 00:26:57,359
Speaker 1: Heart or whatever? And we get a flashback of Hitch

531
00:26:57,400 --> 00:27:01,640
Speaker 1: in college before he had any game, where he fell

532
00:27:01,680 --> 00:27:04,640
Speaker 1: in love with a woman named Cressida and he came

533
00:27:04,680 --> 00:27:08,399
Speaker 1: on too strong and she broke his heart, but he

534
00:27:09,000 --> 00:27:13,040
Speaker 1: learned quote unquote from this experience, and that's why he

535
00:27:13,119 --> 00:27:15,359
Speaker 1: does the work that he does, and that's why he

536
00:27:15,640 --> 00:27:18,640
Speaker 1: is the way that he is in his own dating life.

537
00:27:18,920 --> 00:27:22,280
Speaker 2: It feels very studio notesy that they give you this

538
00:27:22,359 --> 00:27:27,360
Speaker 2: explanation in full flashback. I kept waiting for, like Cresida,

539
00:27:27,440 --> 00:27:29,639
Speaker 2: for him to like run into Cressida or something. I

540
00:27:29,680 --> 00:27:32,000
Speaker 2: feel like that could have been an interesting plot point

541
00:27:32,040 --> 00:27:34,560
Speaker 2: of like him running into her twenty years later and

542
00:27:34,600 --> 00:27:37,439
Speaker 2: like them having some sort of conversation or her being like,

543
00:27:37,480 --> 00:27:40,080
Speaker 2: I'm sorry, I hurt you, even though he reacts quite

544
00:27:40,160 --> 00:27:43,960
Speaker 2: violently when he tries out she's cheating, But I don't know.

545
00:27:44,000 --> 00:27:46,880
Speaker 2: I kept there was like so much specificity to that

546
00:27:46,920 --> 00:27:49,480
Speaker 2: flashback that is, like, you really think he's gonna see

547
00:27:49,480 --> 00:27:50,399
Speaker 2: her down the line.

548
00:27:50,600 --> 00:27:52,080
Speaker 6: The other thing I want to point out is that

549
00:27:52,119 --> 00:27:54,119
Speaker 6: when they do the flashback and all he does is

550
00:27:54,160 --> 00:27:56,320
Speaker 6: put on glasses, I'm like, I just want to point

551
00:27:56,359 --> 00:27:58,480
Speaker 6: out this man is still very good looking, and he's

552
00:27:58,480 --> 00:28:00,960
Speaker 6: still very very normal of the age of the time

553
00:28:00,960 --> 00:28:02,800
Speaker 6: that he was around, So I don't think he'd be

554
00:28:03,240 --> 00:28:06,760
Speaker 6: not adjusted or unable to talk to women or date

555
00:28:06,880 --> 00:28:09,600
Speaker 6: or whatever. They kind of put him in this category

556
00:28:09,960 --> 00:28:12,000
Speaker 6: that he is not in just because you put a

557
00:28:12,040 --> 00:28:13,480
Speaker 6: pair of glasses on him. As a matter of fact,

558
00:28:13,480 --> 00:28:15,520
Speaker 6: they might have improved what he looked like. I'm like,

559
00:28:15,560 --> 00:28:17,560
Speaker 6: that's one of your five looks. Will. You should definitely

560
00:28:17,600 --> 00:28:19,800
Speaker 6: be wearing glasses of other ports in this movie.

561
00:28:20,040 --> 00:28:21,920
Speaker 2: It just kind of takes me to like a specific

562
00:28:21,960 --> 00:28:24,199
Speaker 2: Fresh Prince era. You're like, yeah, we liked that, we

563
00:28:24,359 --> 00:28:24,760
Speaker 2: liked that.

564
00:28:25,119 --> 00:28:29,200
Speaker 6: Yeah, we're here for hot yeah yeah, yeah.

565
00:28:29,560 --> 00:28:35,440
Speaker 1: Right. Also at this bar is Sarah with her friend Casey.

566
00:28:35,600 --> 00:28:38,920
Speaker 2: She's too much wearing her the Beatles shirt from Target.

567
00:28:39,120 --> 00:28:42,400
Speaker 2: She's too much. She's cracking me up with her her

568
00:28:42,440 --> 00:28:45,120
Speaker 2: little t shirts, her little blazers. You're like, two thousand

569
00:28:45,160 --> 00:28:46,720
Speaker 2: and five, we were just doing whatever.

570
00:28:46,960 --> 00:28:49,440
Speaker 1: To me. That was signaling like she's not like the

571
00:28:49,480 --> 00:28:52,480
Speaker 1: other girls because she likes the Beatles and drinks beer.

572
00:28:53,480 --> 00:28:56,560
Speaker 2: Yes, yes, I think that that is exactly what it's

573
00:28:56,560 --> 00:28:58,840
Speaker 2: supposed to be telegraphing. But I kind of don't have

574
00:28:58,880 --> 00:29:02,520
Speaker 2: a problem with it. I think funny, right, the Beatles, Wow,

575
00:29:02,560 --> 00:29:05,680
Speaker 2: what a subversive choice.

576
00:29:07,200 --> 00:29:10,480
Speaker 6: Yeah, it's so off kilter, quirky.

577
00:29:11,080 --> 00:29:12,120
Speaker 2: I've never heard of them.

578
00:29:12,280 --> 00:29:16,960
Speaker 1: Say more so, Sarah and Casey are talking about dating

579
00:29:17,280 --> 00:29:21,000
Speaker 1: and men and being single, so not passing the Bechdel

580
00:29:21,080 --> 00:29:22,200
Speaker 1: test spoiler alert.

581
00:29:22,440 --> 00:29:25,400
Speaker 2: At one point they're never passing the Bechdel test. But interestingly,

582
00:29:25,480 --> 00:29:27,920
Speaker 2: to me, in one scene there, you're not passing the

583
00:29:27,920 --> 00:29:31,120
Speaker 2: Bechdel test and eating some really like weird looking food.

584
00:29:32,000 --> 00:29:34,400
Speaker 2: When they go to that, they're eating like rice pudding.

585
00:29:34,440 --> 00:29:36,680
Speaker 2: In one of the scenes where they're not passing the

586
00:29:36,720 --> 00:29:39,840
Speaker 2: Bechdel test, You're like, what a weird what a weird

587
00:29:39,880 --> 00:29:42,200
Speaker 2: way to like? I like rice pudding, but it seems

588
00:29:42,200 --> 00:29:44,400
Speaker 2: like a gentrified rice pudding spot. I was like, was

589
00:29:44,440 --> 00:29:45,160
Speaker 2: that ever a thing?

590
00:29:45,440 --> 00:29:48,320
Speaker 6: It was wild, but I'm not I didn't live in

591
00:29:48,360 --> 00:29:50,080
Speaker 6: New York at that time, so I don't know what

592
00:29:50,120 --> 00:29:51,400
Speaker 6: was happening to get New York in two thousand and

593
00:29:51,440 --> 00:29:53,040
Speaker 6: five were girls.

594
00:29:53,160 --> 00:29:56,880
Speaker 2: We're girls talking about Will Smith over rice pudding.

595
00:29:57,000 --> 00:30:01,320
Speaker 1: I don't know, we don't know. But in this case,

596
00:30:01,480 --> 00:30:04,640
Speaker 1: they're talking about a guy who Casey has recently met,

597
00:30:04,760 --> 00:30:07,560
Speaker 1: who she likes, but she's worried that he might be

598
00:30:07,680 --> 00:30:09,960
Speaker 1: kind of a sleeze ball and Sarah is like, he's

599
00:30:10,000 --> 00:30:13,160
Speaker 1: definitely a sleeze but Casey wants to go out with

600
00:30:13,240 --> 00:30:16,800
Speaker 1: him anyway. And this will come back later. Then we

601
00:30:16,880 --> 00:30:22,320
Speaker 1: meet Hitch's newest client, Albert Brenneman played by Kevin James,

602
00:30:23,120 --> 00:30:27,640
Speaker 1: a guy with absolutely no game and he wants help

603
00:30:27,680 --> 00:30:33,760
Speaker 1: with Allegra Cole that like celebrity heiress woman who Sarah

604
00:30:33,760 --> 00:30:38,520
Speaker 1: has been writing about, and Albert's company handles her finances.

605
00:30:38,640 --> 00:30:43,200
Speaker 1: So he has met Allegra briefly, but she barely knows

606
00:30:43,200 --> 00:30:47,600
Speaker 1: he exists, and he knows that she's likely quote unquote

607
00:30:47,600 --> 00:30:51,840
Speaker 1: out of his league, but Hitch is up to the challenge.

608
00:30:52,440 --> 00:30:55,400
Speaker 6: To be clear, feels like Hitch is like, you know what,

609
00:30:55,680 --> 00:30:57,800
Speaker 6: I'm the best. I'll take this on. He doesn't actually

610
00:30:57,840 --> 00:31:01,480
Speaker 6: explicitly state that, but there's a way which he's like, man,

611
00:31:01,560 --> 00:31:03,800
Speaker 6: this is like because he actually uses the words like

612
00:31:04,400 --> 00:31:07,920
Speaker 6: Michaelangelo Siste Chapel and basically say like this is going

613
00:31:08,000 --> 00:31:10,960
Speaker 6: to be his masterpiece making this workout, which feels like

614
00:31:11,000 --> 00:31:13,680
Speaker 6: an opportunity for him with that regard. But if I

615
00:31:13,680 --> 00:31:16,239
Speaker 6: could just say one thing, I mean, obviously I have

616
00:31:16,320 --> 00:31:19,640
Speaker 6: a weight based podcast, w E I g ht weight

617
00:31:19,680 --> 00:31:23,040
Speaker 6: for it to see him cast a fat man in

618
00:31:23,160 --> 00:31:27,920
Speaker 6: this role where it's not totally lampooning himself like he is.

619
00:31:28,200 --> 00:31:31,120
Speaker 6: He is confident and who he is as a person.

620
00:31:31,520 --> 00:31:36,000
Speaker 6: What he lacks confidence in is his ability to connect

621
00:31:36,080 --> 00:31:41,400
Speaker 6: with this woman specifically, which feels more progressive than I

622
00:31:41,440 --> 00:31:43,800
Speaker 6: would expect from a two thousand and five movie. Now,

623
00:31:43,800 --> 00:31:46,240
Speaker 6: there are some fat jokes, and there are some very

624
00:31:46,240 --> 00:31:49,000
Speaker 6: distinct things that he's fat. He eats a bunch of donuts,

625
00:31:49,120 --> 00:31:51,480
Speaker 6: he's fat, He splits his pants. That type of thing

626
00:31:51,560 --> 00:31:54,200
Speaker 6: is in there, But like it's not about his person

627
00:31:54,560 --> 00:31:57,560
Speaker 6: hood and who he is, Like, there's never a part

628
00:31:57,600 --> 00:31:59,040
Speaker 6: of it that's like I need to lose weight so

629
00:31:59,040 --> 00:32:02,440
Speaker 6: I can go talk to this woman, which I appreciated

630
00:32:02,520 --> 00:32:04,640
Speaker 6: in twenty twenty five because we don't often get that,

631
00:32:04,800 --> 00:32:05,880
Speaker 6: especially not for fat men.

632
00:32:06,360 --> 00:32:06,760
Speaker 1: For sure.

633
00:32:06,920 --> 00:32:10,080
Speaker 2: Yeah, that's a good point. I mean, because he trips

634
00:32:10,120 --> 00:32:13,080
Speaker 2: on marbles at some point. You're like this poor man.

635
00:32:13,600 --> 00:32:17,080
Speaker 2: But but it's like that is not unlike so many,

636
00:32:17,200 --> 00:32:20,880
Speaker 2: especially in comedies, so many fact characters like he's that

637
00:32:21,000 --> 00:32:24,240
Speaker 2: is not his defined in quality, and Hitch not to

638
00:32:24,360 --> 00:32:26,440
Speaker 2: his credit. But I was just like Hitch, that is

639
00:32:26,480 --> 00:32:29,400
Speaker 2: not a factor for him, and he's like, no, it's

640
00:32:29,480 --> 00:32:32,280
Speaker 2: just about like I mean, he is a con man,

641
00:32:32,320 --> 00:32:36,480
Speaker 2: he's a confidence man. He's trying to build up Albert's

642
00:32:36,520 --> 00:32:39,479
Speaker 2: confidence and it I don't know.

643
00:32:39,560 --> 00:32:42,920
Speaker 9: Yeah, I was also like, the very broad stuff is

644
00:32:42,960 --> 00:32:45,120
Speaker 9: the very broad stuff you would expect for this time,

645
00:32:45,200 --> 00:32:47,200
Speaker 9: but the if you like look at the story, you're like,

646
00:32:47,760 --> 00:32:50,640
Speaker 9: they actually mutually grow through this friendship.

647
00:32:51,080 --> 00:32:54,840
Speaker 2: Yeah, that never happens with men. That's really nice, like

648
00:32:54,880 --> 00:32:55,320
Speaker 2: in movies.

649
00:32:55,480 --> 00:32:58,000
Speaker 6: I like it. Yeah, yeah, that's I think that's one

650
00:32:58,000 --> 00:32:59,560
Speaker 6: of the things that makes you feel good when you

651
00:32:59,560 --> 00:33:03,280
Speaker 6: get to the end end, especially you know, well, I'll

652
00:33:03,280 --> 00:33:05,120
Speaker 6: say this, I know we're going to get there. There's

653
00:33:05,160 --> 00:33:06,920
Speaker 6: a portion of the film which we're gonna get to

654
00:33:07,080 --> 00:33:10,320
Speaker 6: in which they connect over their boat, their like kind

655
00:33:10,360 --> 00:33:13,520
Speaker 6: of twin, like we'll say obstacle without spoiling it. And

656
00:33:13,560 --> 00:33:16,800
Speaker 6: I feel like that moment we rarely get of men

657
00:33:16,880 --> 00:33:20,600
Speaker 6: saying what should we do? Or I feel bad and

658
00:33:20,680 --> 00:33:22,760
Speaker 6: them having that kind of back and forth, which is

659
00:33:22,800 --> 00:33:24,920
Speaker 6: really it kind of ends up being the ethos of

660
00:33:24,960 --> 00:33:26,400
Speaker 6: the movie. But you're right, we don't. We don't get

661
00:33:26,400 --> 00:33:27,440
Speaker 6: to see that with dudes.

662
00:33:27,800 --> 00:33:28,800
Speaker 2: Yeah, very off.

663
00:33:28,880 --> 00:33:30,440
Speaker 6: Not in two thousand and five. Like, if we're talking

664
00:33:30,440 --> 00:33:31,880
Speaker 6: about the time, it certainly wasn't having a lot in

665
00:33:31,880 --> 00:33:32,640
Speaker 6: two thousand and five.

666
00:33:32,840 --> 00:33:33,360
Speaker 1: Definitely not.

667
00:33:33,480 --> 00:33:36,080
Speaker 2: No, I mean and I don't know, and then it's

668
00:33:36,120 --> 00:33:38,720
Speaker 2: like by the end, I mean, like Kevin James is

669
00:33:38,880 --> 00:33:43,320
Speaker 2: like he gets the well, it's complicated, gets does he

670
00:33:43,360 --> 00:33:45,840
Speaker 2: get the right girlfriend? It's the well we're about to

671
00:33:45,880 --> 00:33:46,280
Speaker 2: get to it.

672
00:33:46,360 --> 00:33:48,120
Speaker 6: Yeah, look at us jumping ahead.

673
00:33:50,040 --> 00:33:51,480
Speaker 1: There's just so much to talk about.

674
00:33:51,560 --> 00:33:54,640
Speaker 6: Okay, sorry, because like I'm not even halfway in. Guys,

675
00:33:55,160 --> 00:33:55,840
Speaker 6: We're three.

676
00:33:55,760 --> 00:33:57,920
Speaker 1: Minutes and it just got to the inciting incident.

677
00:33:58,000 --> 00:33:59,080
Speaker 2: So there's this guiddam hit.

678
00:34:02,680 --> 00:34:06,400
Speaker 1: Okay, So Hitch gets to work on helping Albert with

679
00:34:06,560 --> 00:34:09,279
Speaker 1: Allegra Cole, who we finally meet on screen, played by

680
00:34:09,440 --> 00:34:15,839
Speaker 1: Amber Valletta, who goes to a meeting with her financial advisors.

681
00:34:16,080 --> 00:34:18,320
Speaker 1: She's asking if she can have five hundred thousand dollars

682
00:34:18,360 --> 00:34:22,279
Speaker 1: to invest in her friend's clothing design company, but the

683
00:34:22,360 --> 00:34:26,560
Speaker 1: main advisor guy shuts her down. So Albert takes this

684
00:34:26,680 --> 00:34:32,000
Speaker 1: opportunity to advocate for Allegra so that hopefully she'll notice

685
00:34:32,040 --> 00:34:35,640
Speaker 1: and appreciate him, and it works and she wants to

686
00:34:35,680 --> 00:34:39,320
Speaker 1: meet with him one on one to talk about her investments.

687
00:34:39,560 --> 00:34:45,319
Speaker 2: Now this, hmm, I understand what they're trying to do

688
00:34:45,360 --> 00:34:49,560
Speaker 2: with this, but it's so I don't know. I did

689
00:34:49,560 --> 00:34:52,759
Speaker 2: not care for the way it's presented where he's like,

690
00:34:52,800 --> 00:34:55,640
Speaker 2: what if I neg do you at work in front

691
00:34:55,680 --> 00:34:58,440
Speaker 2: of everybody? Like there it was like a And it's

692
00:34:58,480 --> 00:35:00,600
Speaker 2: even referenced when she gets to the door where he

693
00:35:00,640 --> 00:35:04,200
Speaker 2: thinks she's going to be upset, and then she's like no,

694
00:35:04,600 --> 00:35:07,120
Speaker 2: I She's like, no one's ever talked to me like that,

695
00:35:07,640 --> 00:35:09,640
Speaker 2: And I liked it. I'm like, okay, so that's how

696
00:35:09,680 --> 00:35:12,440
Speaker 2: we're writing women character in this where it's like you

697
00:35:12,520 --> 00:35:15,360
Speaker 2: have to suspend your disbelief of how a person would talk.

698
00:35:15,400 --> 00:35:18,080
Speaker 1: Well because it's a mix of him nagging her, but

699
00:35:18,120 --> 00:35:22,120
Speaker 1: then quickly she gets too advocating for her, so yeah,

700
00:35:22,800 --> 00:35:26,400
Speaker 1: who knows exactly what she means, But the point is

701
00:35:26,560 --> 00:35:29,560
Speaker 1: it works and she does notice him finally did.

702
00:35:29,640 --> 00:35:33,040
Speaker 6: I think it is performed and is written and comes

703
00:35:33,080 --> 00:35:35,880
Speaker 6: off as nagging, but the way I received it and

704
00:35:35,920 --> 00:35:37,960
Speaker 6: I feel like it's poor writing, especially when you get

705
00:35:38,000 --> 00:35:40,000
Speaker 6: to the part where she's angry at him, because I

706
00:35:40,040 --> 00:35:41,960
Speaker 6: feel like if that scene had just been like, you

707
00:35:42,000 --> 00:35:44,520
Speaker 6: don't have to ask us for what you want to do.

708
00:35:44,560 --> 00:35:46,160
Speaker 6: If you wanted us to do something, we're going to

709
00:35:46,239 --> 00:35:48,239
Speaker 6: do it, but we're here to advise you. If that

710
00:35:48,280 --> 00:35:50,799
Speaker 6: had been how it was written, and he still goes

711
00:35:50,840 --> 00:35:52,840
Speaker 6: off on the boss and all that. Then it makes sense.

712
00:35:53,160 --> 00:35:56,719
Speaker 6: But like this idea because I remember sitting there being like,

713
00:35:57,280 --> 00:36:00,120
Speaker 6: the whole point was Hitch said that you're supposed to

714
00:36:00,160 --> 00:36:02,319
Speaker 6: be making a splash at this point, So if he

715
00:36:02,360 --> 00:36:05,799
Speaker 6: advised him to do negging, and what actually happened was

716
00:36:05,840 --> 00:36:09,200
Speaker 6: this this kind of like moment of advocacy. For me,

717
00:36:09,520 --> 00:36:12,040
Speaker 6: it feels like I wish they had written it differently

718
00:36:12,120 --> 00:36:15,560
Speaker 6: because Alex certainly did not tell him to like speak

719
00:36:15,640 --> 00:36:18,440
Speaker 6: up in the meeting, tell her to f their advice,

720
00:36:18,520 --> 00:36:20,799
Speaker 6: do what she's going to do, and then quit his job,

721
00:36:21,000 --> 00:36:22,840
Speaker 6: you know what I mean. So I think that part

722
00:36:23,080 --> 00:36:26,480
Speaker 6: it was murky to me in the writing. The execution

723
00:36:26,560 --> 00:36:28,640
Speaker 6: comes off exactly like you said, It sounds like negging

724
00:36:28,640 --> 00:36:31,040
Speaker 6: and an advocacy. But I'm like, all we really needed

725
00:36:31,080 --> 00:36:33,120
Speaker 6: because later on the movie we see that the whole

726
00:36:33,160 --> 00:36:36,000
Speaker 6: point is that he basically never listens to will Smith's

727
00:36:36,000 --> 00:36:39,640
Speaker 6: advice and just only is just being himself the whole time,

728
00:36:39,680 --> 00:36:39,960
Speaker 6: you know.

729
00:36:40,160 --> 00:36:43,759
Speaker 1: And that's what works, which I like I do too.

730
00:36:43,880 --> 00:36:45,080
Speaker 6: That's a great messaging and.

731
00:36:45,000 --> 00:36:48,080
Speaker 2: I like that. I mean, we don't get that much like,

732
00:36:48,280 --> 00:36:52,040
Speaker 2: we don't know that much about Allegraate, but I do know, no,

733
00:36:52,280 --> 00:36:55,440
Speaker 2: but but really do get the surface stuff is I

734
00:36:55,520 --> 00:36:58,600
Speaker 2: kind of liked it where it's like, you, you know,

735
00:36:58,800 --> 00:37:03,160
Speaker 2: she's whatever we think of how blonde women with severe

736
00:37:03,239 --> 00:37:07,279
Speaker 2: bobs are usually characterized in this genre. It's not as like, ooh,

737
00:37:07,400 --> 00:37:10,279
Speaker 2: I'm a dork. I've like, I feel I'm uncomfortable with

738
00:37:10,320 --> 00:37:12,279
Speaker 2: myself and I appreciated that.

739
00:37:13,040 --> 00:37:15,960
Speaker 1: Yeah, there is some dissonance to me where it's like

740
00:37:16,080 --> 00:37:20,160
Speaker 1: she's the daughter of maybe a billionaire it seems. And

741
00:37:20,200 --> 00:37:24,160
Speaker 1: I'm like, oh, we're supposed to think that she's not

742
00:37:24,360 --> 00:37:25,879
Speaker 1: a sociopath then, but.

743
00:37:26,200 --> 00:37:29,000
Speaker 2: Well, I mean, knowing that this is two thousand and

744
00:37:29,040 --> 00:37:31,480
Speaker 2: five and they even name drap parasols and at some

745
00:37:31,560 --> 00:37:33,239
Speaker 2: point I think that that's like sort of who we're

746
00:37:33,280 --> 00:37:34,840
Speaker 2: supposed to be inserting this into.

747
00:37:35,239 --> 00:37:35,479
Speaker 6: Right.

748
00:37:36,160 --> 00:37:41,960
Speaker 1: Yeah, in any case, Albert has made a splash. Then

749
00:37:42,000 --> 00:37:45,839
Speaker 1: that night, Hitch is at a bar and he spots

750
00:37:46,200 --> 00:37:48,400
Speaker 1: Sarah and takes an interest.

751
00:37:48,160 --> 00:37:50,920
Speaker 2: Having a gray Goose martini, which feels very two thousand

752
00:37:50,960 --> 00:37:52,840
Speaker 2: and five code dropping the gray Goose.

753
00:37:53,120 --> 00:37:54,520
Speaker 1: Yes, indeed.

754
00:37:56,160 --> 00:37:58,680
Speaker 2: Only the best because she makes a billion dollars at

755
00:37:58,760 --> 00:38:00,680
Speaker 2: her job in.

756
00:38:01,239 --> 00:38:03,439
Speaker 6: Newspaper writing where she does not have an office, where

757
00:38:03,480 --> 00:38:05,280
Speaker 6: she's in a cubicle in the newslank floor.

758
00:38:05,560 --> 00:38:07,680
Speaker 2: Come on, true, they're really back.

759
00:38:08,080 --> 00:38:10,799
Speaker 10: The newspaper industry is dying in the office, but for

760
00:38:10,840 --> 00:38:12,160
Speaker 10: some reason, at home, it's.

761
00:38:12,040 --> 00:38:13,239
Speaker 6: Not crushing it.

762
00:38:13,600 --> 00:38:18,400
Speaker 2: Yeah, she has raytheon stalks or some shit like it's Carrie.

763
00:38:18,680 --> 00:38:21,640
Speaker 6: She's the daughter of a billionaire, could be that well.

764
00:38:21,880 --> 00:38:25,000
Speaker 2: Her family life is hilarious to me because the two

765
00:38:25,040 --> 00:38:26,680
Speaker 2: things we learned about her family is that her great

766
00:38:26,680 --> 00:38:29,399
Speaker 2: grandfather was a serial killer and that her sister fell

767
00:38:29,400 --> 00:38:32,919
Speaker 2: through ice once. And that is all we learned about

768
00:38:32,560 --> 00:38:37,200
Speaker 2: her past. Really, you're like, wow, one such a specific thing,

769
00:38:37,239 --> 00:38:39,759
Speaker 2: and then the other thing is so vague. That's right,

770
00:38:39,920 --> 00:38:42,839
Speaker 2: I love it. She's just she's a complicated woman. She

771
00:38:42,880 --> 00:38:44,479
Speaker 2: doesn't need a boyfriend, you guys.

772
00:38:44,880 --> 00:38:44,920
Speaker 9: No.

773
00:38:47,280 --> 00:38:50,920
Speaker 1: In any case, hitch takes an interest in Sarah and

774
00:38:51,120 --> 00:38:54,200
Speaker 1: saves her from a creep who's hitting on her at

775
00:38:54,239 --> 00:38:58,000
Speaker 1: the bar. They chat for a few minutes about how

776
00:38:58,120 --> 00:39:02,560
Speaker 1: he's not gonna like every other annoying guy who tries

777
00:39:02,680 --> 00:39:06,320
Speaker 1: to chat her up, and then he leaves and gives

778
00:39:06,320 --> 00:39:10,000
Speaker 1: her some space to I don't know, play hard to

779
00:39:10,120 --> 00:39:13,239
Speaker 1: get or I don't know. And then the next day,

780
00:39:13,920 --> 00:39:18,760
Speaker 1: Hitch meets with another new client, Vance played by Jeffrey Donovan.

781
00:39:20,239 --> 00:39:23,800
Speaker 2: Yes, that was I was watching with our friend Bryant

782
00:39:23,840 --> 00:39:27,760
Speaker 2: this morning and he was like he came like twenty

783
00:39:27,800 --> 00:39:30,759
Speaker 2: minutes and he's like, is burn Notice there yet? He's like,

784
00:39:32,080 --> 00:39:34,040
Speaker 2: I was like, I don't know what you're talking about.

785
00:39:34,080 --> 00:39:37,040
Speaker 2: And he's like, oh, burn Notice is in this one.

786
00:39:37,320 --> 00:39:37,959
Speaker 1: Yeah, that guy.

787
00:39:38,280 --> 00:39:40,640
Speaker 6: Yeah, the guy shows more popular than his name.

788
00:39:41,960 --> 00:39:46,239
Speaker 2: Hey, yeah, he should just change it. But oh god,

789
00:39:46,640 --> 00:39:49,279
Speaker 2: being an actor seems so awful because what if you

790
00:39:49,320 --> 00:39:52,320
Speaker 2: could just end up being burn Notice.

791
00:39:52,800 --> 00:39:52,960
Speaker 6: Yeah.

792
00:39:53,000 --> 00:39:54,800
Speaker 1: I'm sure you're a person and everything.

793
00:39:54,880 --> 00:39:58,000
Speaker 2: But he went to the same state school as my mom.

794
00:39:58,400 --> 00:40:02,400
Speaker 2: Oh wow, learning all about bird Notice mister Notice.

795
00:40:02,480 --> 00:40:07,200
Speaker 1: Yeah. Okay, So we realized that he's the guy who

796
00:40:07,960 --> 00:40:12,960
Speaker 1: Sarah's friend Casey had been talking about earlier. And this

797
00:40:13,040 --> 00:40:15,800
Speaker 1: guy Vance is like, oh, I just want to see

798
00:40:16,120 --> 00:40:20,040
Speaker 1: her again and bang her, and Hitch is like, that's

799
00:40:20,080 --> 00:40:24,200
Speaker 1: not what I do, so fuck off. Yes, then Hitch

800
00:40:24,360 --> 00:40:27,880
Speaker 1: sends a courier with a walkie talkie to Sarah's work

801
00:40:28,360 --> 00:40:31,239
Speaker 1: so that he can walkie talkie her and ask her

802
00:40:31,280 --> 00:40:32,000
Speaker 1: out on a date.

803
00:40:32,440 --> 00:40:37,280
Speaker 2: No, okay, Buemi test Buschemy tests. Yeah, Bushemy sends a

804
00:40:37,440 --> 00:40:39,960
Speaker 2: mysterious box to your work, you don't open it.

805
00:40:40,600 --> 00:40:42,799
Speaker 1: Also, if it's a walkie talkie, it means that he

806
00:40:42,840 --> 00:40:45,160
Speaker 1: has to be in close enough range to her office

807
00:40:45,239 --> 00:40:47,719
Speaker 1: to talk to her. So he's basically outside.

808
00:40:48,120 --> 00:40:52,240
Speaker 2: Yeah, he's close by. He's sent an eighties punk courier.

809
00:40:54,360 --> 00:40:56,279
Speaker 2: I was thrown by the courier, but I was like,

810
00:40:56,320 --> 00:40:58,040
Speaker 2: I don't know, hitch has ops everywhere.

811
00:40:58,600 --> 00:41:01,120
Speaker 6: This definitely doesn't pass the little Scars guard test, which

812
00:41:01,120 --> 00:41:05,680
Speaker 6: I'm calling it now, but it certainly there was something

813
00:41:05,719 --> 00:41:09,040
Speaker 6: about it where I was like, I suspect and I'm

814
00:41:09,080 --> 00:41:12,960
Speaker 6: just asking y'all if this happened in real life, what

815
00:41:13,120 --> 00:41:16,640
Speaker 6: percentage of charmed would you feel by this? If you

816
00:41:17,080 --> 00:41:17,839
Speaker 6: liked the guy?

817
00:41:18,760 --> 00:41:20,920
Speaker 2: Okay, and that's the real thing that is.

818
00:41:21,400 --> 00:41:24,560
Speaker 6: Yeah, let's say you liked the guy. What percentage of charm?

819
00:41:24,640 --> 00:41:26,919
Speaker 1: If it's two thousand and five when this came out,

820
00:41:27,040 --> 00:41:29,240
Speaker 1: I think I would have been way more charmed.

821
00:41:29,520 --> 00:41:29,800
Speaker 2: Now.

822
00:41:29,920 --> 00:41:31,719
Speaker 1: I would have been like, why didn't you just ask

823
00:41:31,840 --> 00:41:34,600
Speaker 1: me for my number when we were talking at the

824
00:41:34,600 --> 00:41:38,759
Speaker 1: bar the night before? Yes, be direct, you ask.

825
00:41:39,520 --> 00:41:43,560
Speaker 2: I think I would be like I would be I'm

826
00:41:43,560 --> 00:41:45,880
Speaker 2: not made of stone. I would still be a little charmed,

827
00:41:45,920 --> 00:41:50,000
Speaker 2: but my first question would be where are you?

828
00:41:49,760 --> 00:41:50,959
Speaker 6: Are you in the house?

829
00:41:51,239 --> 00:41:53,120
Speaker 2: Are you been twenty yards of me?

830
00:41:53,320 --> 00:41:58,480
Speaker 1: Right next is the call coming from inside the newspaper office.

831
00:41:58,200 --> 00:42:02,160
Speaker 2: Underneath my desk. He's also so like classic brom com

832
00:42:02,200 --> 00:42:06,040
Speaker 2: where all of a sudden, everyone at Sarah's work is like,

833
00:42:06,719 --> 00:42:11,240
Speaker 2: what people we've never seen before, we'll never see again,

834
00:42:11,719 --> 00:42:15,600
Speaker 2: and they're like, are you gonna pick up the walkie talky?

835
00:42:15,880 --> 00:42:19,000
Speaker 6: I really enjoyed that part. This is how I know

836
00:42:19,280 --> 00:42:24,000
Speaker 6: like I'm also part of the problem because you're absolutely right,

837
00:42:24,040 --> 00:42:26,759
Speaker 6: they all gathered and the audience you feel like you're

838
00:42:26,800 --> 00:42:28,920
Speaker 6: gathering with them. You're like, ooh, what are you gonna do?

839
00:42:29,480 --> 00:42:31,879
Speaker 6: Even though like something that and I think you both

840
00:42:31,960 --> 00:42:34,200
Speaker 6: just proved that this would only work in a film

841
00:42:34,440 --> 00:42:37,120
Speaker 6: where it's like there's there's a level of charm versus

842
00:42:37,160 --> 00:42:39,960
Speaker 6: like versus actual work that it takes to do something

843
00:42:40,040 --> 00:42:43,200
Speaker 6: like this, versus like should like was there a more

844
00:42:43,200 --> 00:42:45,160
Speaker 6: practical way for you to just get my number? Like

845
00:42:45,160 --> 00:42:47,040
Speaker 6: could you have just written me an email? Because there

846
00:42:47,080 --> 00:42:47,279
Speaker 6: was an.

847
00:42:47,239 --> 00:42:51,120
Speaker 2: Email at that time, and then little unbeknownst to us,

848
00:42:51,600 --> 00:42:54,919
Speaker 2: the amount of work he's done on this first date.

849
00:42:55,200 --> 00:42:57,919
Speaker 2: You don't even know the half of it. He's gone

850
00:42:57,960 --> 00:43:01,400
Speaker 2: on ancestree dot com, which couldn't have been as easy

851
00:43:01,400 --> 00:43:02,239
Speaker 2: in two thousand and five.

852
00:43:02,600 --> 00:43:05,279
Speaker 1: Well exactly. He probably like had to look through like

853
00:43:05,480 --> 00:43:10,160
Speaker 1: hard copy archives or something like. Because here's what happens.

854
00:43:10,400 --> 00:43:13,920
Speaker 1: He asks her on a date. They settle on Sunday morning.

855
00:43:14,600 --> 00:43:18,320
Speaker 1: They go to Ellis Island by way of jeet skiing

856
00:43:18,520 --> 00:43:19,719
Speaker 1: on the rout Hudson River.

857
00:43:19,960 --> 00:43:22,800
Speaker 2: Yeah, which is a really dirty body of water.

858
00:43:23,239 --> 00:43:24,719
Speaker 6: Yeah, I would not recommend it.

859
00:43:25,239 --> 00:43:25,839
Speaker 1: Don't do that.

860
00:43:25,960 --> 00:43:27,920
Speaker 2: It looked pretty, though, I will say, like New York

861
00:43:28,000 --> 00:43:29,320
Speaker 2: is very pretty in this movie.

862
00:43:29,640 --> 00:43:35,400
Speaker 1: Yeah, yes, But hitch he kind of flubs a few

863
00:43:35,440 --> 00:43:41,320
Speaker 1: things up, including kicking her in the head on the

864
00:43:41,400 --> 00:43:45,080
Speaker 1: jet ski and then tracing her family history back to

865
00:43:45,160 --> 00:43:48,680
Speaker 1: a relative of hers who passed through Ellis Island who

866
00:43:48,719 --> 00:43:52,120
Speaker 1: turned out to be a serial killer. And so the

867
00:43:52,200 --> 00:43:56,920
Speaker 1: date was not this you know, magical perfect date, but

868
00:43:57,000 --> 00:44:00,280
Speaker 1: there is something about this hitch guy, and say Sarah

869
00:44:00,440 --> 00:44:02,320
Speaker 1: agrees to see him again.

870
00:44:02,520 --> 00:44:05,319
Speaker 2: And not before telling her friend Casey over a very

871
00:44:05,440 --> 00:44:10,160
Speaker 2: huge bowl of rice pudding. I was so distracted by

872
00:44:10,200 --> 00:44:12,960
Speaker 2: the rice pudding because it was they show you the

873
00:44:13,040 --> 00:44:14,879
Speaker 2: name of the I don't know why this stuck out

874
00:44:14,880 --> 00:44:17,360
Speaker 2: to me so much. Uh, the name of the business

875
00:44:17,400 --> 00:44:20,200
Speaker 2: is from rice to riches. And then we go inside

876
00:44:20,400 --> 00:44:23,839
Speaker 2: and rose. Like unfortunately of rom coms, it is kind

877
00:44:23,840 --> 00:44:26,880
Speaker 2: of a headline to be like women ate in this movie,

878
00:44:27,000 --> 00:44:30,440
Speaker 2: they let the meat, but it just I don't I

879
00:44:30,600 --> 00:44:32,640
Speaker 2: like rice pudding, but it's just I've never seen it

880
00:44:32,640 --> 00:44:37,120
Speaker 2: eaten in a rom com before. Their bulls were really full.

881
00:44:37,520 --> 00:44:41,640
Speaker 1: Look, visibility matters. I guess the rice pudding.

882
00:44:42,440 --> 00:44:45,000
Speaker 2: And she says he really tanked, but he did it

883
00:44:45,040 --> 00:44:47,200
Speaker 2: with flair, And then she is a huge scoop of

884
00:44:47,280 --> 00:44:49,799
Speaker 2: rice pudding, which you would imagine would make her next

885
00:44:49,800 --> 00:44:53,400
Speaker 2: line of dialogue really hard to hear. But it's fine.

886
00:44:53,560 --> 00:44:56,160
Speaker 6: It's fine. Yeah, the failing with Flair part, like I mean,

887
00:44:56,200 --> 00:44:59,200
Speaker 6: being charmed by all that, It felt like maybe maybe

888
00:44:59,239 --> 00:45:01,399
Speaker 6: being charmed by the the amount of effort it took

889
00:45:01,480 --> 00:45:04,480
Speaker 6: for him to then fail, because like because at that point,

890
00:45:04,480 --> 00:45:06,960
Speaker 6: it doesn't even feel like failure. It could be waxy

891
00:45:07,000 --> 00:45:09,799
Speaker 6: existential about this movie, but like it's it doesn't even

892
00:45:09,840 --> 00:45:12,560
Speaker 6: feel like failure. It just feels like effort, and the

893
00:45:12,640 --> 00:45:16,239
Speaker 6: effort is more I guess valuable than the the what

894
00:45:16,400 --> 00:45:19,360
Speaker 6: is the product of the effort, which I think is

895
00:45:19,400 --> 00:45:22,279
Speaker 6: what they're trying to get at in this part. I agree, yeah,

896
00:45:22,320 --> 00:45:24,000
Speaker 6: because I didn't like the fact they're like he failed

897
00:45:24,000 --> 00:45:26,279
Speaker 6: with flair. I'm like, what does what does that even mean?

898
00:45:26,320 --> 00:45:26,600
Speaker 2: To say?

899
00:45:26,600 --> 00:45:27,080
Speaker 6: You like him?

900
00:45:28,480 --> 00:45:29,520
Speaker 2: Right exactly?

901
00:45:29,560 --> 00:45:36,160
Speaker 1: B direct everyone. So meanwhile, Hitch is prepping Albert for

902
00:45:36,480 --> 00:45:41,080
Speaker 1: an event that he's going to with Allegracole, and Albert's like,

903
00:45:41,560 --> 00:45:45,320
Speaker 1: I hope there's dancing at the event because I freaking

904
00:45:45,560 --> 00:45:48,480
Speaker 1: tear it up on the dance floor. And he shows

905
00:45:48,600 --> 00:45:52,640
Speaker 1: Hitch some moves and Hitch is like, do not, under

906
00:45:52,719 --> 00:45:55,560
Speaker 1: any circumstances ever dance like that in front of her.

907
00:45:56,000 --> 00:45:57,600
Speaker 1: You look like a freak.

908
00:45:58,040 --> 00:46:02,080
Speaker 2: I feel like I remember that from that trailers show

909
00:46:02,360 --> 00:46:04,160
Speaker 2: Kevin James dance sequence.

910
00:46:04,560 --> 00:46:07,279
Speaker 6: For sure, he dances fine, and I that's another thing

911
00:46:07,320 --> 00:46:10,239
Speaker 6: that I want to stand for. There there's a there's

912
00:46:10,239 --> 00:46:13,640
Speaker 6: a portion in there where this skews into big guy

913
00:46:13,719 --> 00:46:16,560
Speaker 6: being a buffoon. But the truth is Kevin James has

914
00:46:16,640 --> 00:46:19,799
Speaker 6: rhythm and he has no shame, which on the dance

915
00:46:19,840 --> 00:46:22,120
Speaker 6: floor are too valuable. Those are the only two things

916
00:46:22,120 --> 00:46:24,040
Speaker 6: you need. Not a wedding, any of that stuff is

917
00:46:24,120 --> 00:46:26,640
Speaker 6: rhythm and no shame if you have those, And here's

918
00:46:26,680 --> 00:46:28,200
Speaker 6: the thing is, if you only have no shame and

919
00:46:28,239 --> 00:46:30,719
Speaker 6: you have no rhythm, you can actually still survive on

920
00:46:30,800 --> 00:46:33,120
Speaker 6: a dance floor. So the idea that you're telling him

921
00:46:33,160 --> 00:46:34,919
Speaker 6: that they do it to only do a two step

922
00:46:34,920 --> 00:46:36,560
Speaker 6: because you're gonna look stupid. I'm like, I don't want

923
00:46:36,560 --> 00:46:38,880
Speaker 6: to be with nobody who doesn't want to who doesn't

924
00:46:38,880 --> 00:46:40,440
Speaker 6: want to be be on the flance floor.

925
00:46:40,239 --> 00:46:44,040
Speaker 2: And that makes you look stupid. Yeah, yeah, Also, yeah,

926
00:46:44,080 --> 00:46:48,759
Speaker 2: Kevin James much later, when he gets the kiss the

927
00:46:48,880 --> 00:46:51,720
Speaker 2: ninety ten thing happens, he does it full like Gene

928
00:46:51,800 --> 00:46:57,200
Speaker 2: Kelly thing. He's got moves, moves he does.

929
00:46:57,719 --> 00:47:01,960
Speaker 1: He's very spry, and he does not listened to Hitch.

930
00:47:02,200 --> 00:47:04,279
Speaker 1: He's like, my instincts are telling me to dance, so

931
00:47:04,280 --> 00:47:06,840
Speaker 1: I'm going to dance. And he does that at the

932
00:47:07,040 --> 00:47:08,880
Speaker 1: event with Allegra.

933
00:47:08,760 --> 00:47:11,600
Speaker 2: And she's also dancing like a door like it's nice,

934
00:47:11,800 --> 00:47:12,560
Speaker 2: it's nice.

935
00:47:13,480 --> 00:47:17,560
Speaker 1: The thing is though, that some photos, some like paparazzi photos,

936
00:47:17,920 --> 00:47:20,560
Speaker 1: are taken of them dancing and they end up in

937
00:47:20,600 --> 00:47:25,920
Speaker 1: the tabloids, and Hitch thinks that Albert has humiliated himself

938
00:47:26,320 --> 00:47:29,120
Speaker 1: and Sarah is upset because she didn't get to this

939
00:47:29,239 --> 00:47:30,000
Speaker 1: story first.

940
00:47:30,239 --> 00:47:32,680
Speaker 2: Yeah, they all find us out from the same newstand.

941
00:47:32,760 --> 00:47:34,720
Speaker 2: The one news stand in all of New York City

942
00:47:34,880 --> 00:47:37,120
Speaker 2: is where every character in this movie goes.

943
00:47:37,360 --> 00:47:40,640
Speaker 6: Yes, yep, oh news stands. What a relic of the past?

944
00:47:40,840 --> 00:47:41,480
Speaker 2: Oh I no.

945
00:47:42,040 --> 00:47:49,880
Speaker 1: Rip. Then Hitch goes on a tirade about Albert possibly

946
00:47:49,960 --> 00:47:52,480
Speaker 1: kissing Allegra, and this is where we get the whole

947
00:47:52,880 --> 00:47:55,520
Speaker 1: men should go ninety percent of the way and wait

948
00:47:55,560 --> 00:47:57,760
Speaker 1: for a woman to go the other ten percent.

949
00:47:58,120 --> 00:48:00,120
Speaker 2: And as a two thousand and five movie, so we

950
00:48:00,200 --> 00:48:05,480
Speaker 2: get the expected no homo moments yes of the movie

951
00:48:06,080 --> 00:48:09,520
Speaker 2: with they kiss, and Will Smith has to be like,

952
00:48:09,520 --> 00:48:11,480
Speaker 2: that's gross, yucky, that's gross.

953
00:48:11,640 --> 00:48:16,480
Speaker 1: Yeah, we'll talk more about that, but that happens. Meanwhile,

954
00:48:16,680 --> 00:48:19,800
Speaker 1: Sarah finds out that the person who got the tickets

955
00:48:19,960 --> 00:48:25,880
Speaker 1: for that event where they were dancing is Hitch, which

956
00:48:26,200 --> 00:48:29,640
Speaker 1: means maybe she can use him as a source for

957
00:48:29,680 --> 00:48:34,279
Speaker 1: this ongoing Allegra Cole story. So she calls Hitch to

958
00:48:34,320 --> 00:48:36,520
Speaker 1: see him again, even though she had already been like,

959
00:48:36,920 --> 00:48:39,799
Speaker 1: I'll see him again romantically, so we're just like, what

960
00:48:40,080 --> 00:48:44,200
Speaker 1: is your deal? But anyway, Sarah takes Hitch to a

961
00:48:44,239 --> 00:48:50,440
Speaker 1: food rave thing with Sarah's editor slash boss guy and

962
00:48:50,640 --> 00:48:55,120
Speaker 1: his wife, and they're trying to get information out of Hitch,

963
00:48:55,360 --> 00:48:58,200
Speaker 1: but he's playing it off like he barely knows Albert.

964
00:48:58,920 --> 00:49:03,080
Speaker 1: And before they can any deeper, Hitch has his allergic

965
00:49:03,320 --> 00:49:06,960
Speaker 1: reaction to shellfish or whatever, and so he takes a

966
00:49:06,960 --> 00:49:09,719
Speaker 1: bunch of benadrill and he gets drunk off of that.

967
00:49:09,840 --> 00:49:11,960
Speaker 1: I don't know if that's a thing, but he's drunk.

968
00:49:12,040 --> 00:49:16,640
Speaker 1: Now you get high, you do, Okay, Well.

969
00:49:16,480 --> 00:49:19,279
Speaker 6: He played it drunk every day. Yeah, he played it drunk,

970
00:49:19,360 --> 00:49:21,719
Speaker 6: but it was like it's more like loopy or like

971
00:49:22,080 --> 00:49:26,560
Speaker 6: and you'd be way more dozy, which comes on later obviously,

972
00:49:26,640 --> 00:49:29,040
Speaker 6: but like at this point, like I think it was

973
00:49:29,239 --> 00:49:31,000
Speaker 6: for them. If you're gonna be in the New York streets,

974
00:49:31,360 --> 00:49:33,000
Speaker 6: that's what you want to be doing, is like being

975
00:49:33,040 --> 00:49:36,080
Speaker 6: like a little bit tipsy with your partner and like

976
00:49:36,200 --> 00:49:39,680
Speaker 6: kind of like singing a hit song from the seventy slash.

977
00:49:39,440 --> 00:49:44,759
Speaker 1: Eighties, right, Okay, So then Sarah takes hitchback to her

978
00:49:45,200 --> 00:49:49,520
Speaker 1: three million dollar condo and tucks him in. They chat

979
00:49:49,560 --> 00:49:52,319
Speaker 1: about their past traumas.

980
00:49:51,960 --> 00:49:53,839
Speaker 2: Because this is the point in the movie where, for

981
00:49:53,880 --> 00:49:57,120
Speaker 2: some reason, you have to learn about Eva Vendez. His

982
00:49:57,200 --> 00:49:59,880
Speaker 2: sister fell through some ice and she's still not over it,

983
00:50:00,000 --> 00:50:01,960
Speaker 2: And they're like, what does that have to do with anything?

984
00:50:02,080 --> 00:50:03,640
Speaker 1: But sure, really bizarre.

985
00:50:03,840 --> 00:50:06,279
Speaker 2: I guess it's we're always asking to find out more

986
00:50:06,320 --> 00:50:10,480
Speaker 2: about women in movies. I guess irrelevant information counts.

987
00:50:10,920 --> 00:50:12,960
Speaker 6: I think they were trying to, like build It was

988
00:50:13,000 --> 00:50:17,120
Speaker 6: a very weak attempt at character development, because you're trying

989
00:50:17,120 --> 00:50:19,880
Speaker 6: to give her some interiority by saying, well, this is

990
00:50:19,960 --> 00:50:23,959
Speaker 6: why she is the way she is. But the characteristic

991
00:50:24,040 --> 00:50:27,720
Speaker 6: that they're strengthening is more of like like like maybe

992
00:50:27,719 --> 00:50:32,200
Speaker 6: a stone walling or a separation or an aloofness, rather than

993
00:50:32,600 --> 00:50:35,960
Speaker 6: the dogged journalism that we would expect to see from her,

994
00:50:36,040 --> 00:50:38,919
Speaker 6: which I would expect to have that part fleshed out

995
00:50:38,960 --> 00:50:44,320
Speaker 6: more and not necessarily why you feel protective of your sister,

996
00:50:44,520 --> 00:50:47,080
Speaker 6: which doesn't actually connect well.

997
00:50:47,160 --> 00:50:50,880
Speaker 2: I guess we do ed the meeting for some reason.

998
00:50:51,560 --> 00:50:54,040
Speaker 6: But I completely forgot she fell through ice when.

999
00:50:53,840 --> 00:50:55,879
Speaker 2: I see her, Yeah, it doesn't come up.

1000
00:50:58,400 --> 00:51:00,440
Speaker 6: I know something about you I forgot.

1001
00:51:00,520 --> 00:51:03,520
Speaker 2: Don't worry you really you've been through it? Does Tom?

1002
00:51:03,640 --> 00:51:05,439
Speaker 2: Know who's Tom? There?

1003
00:51:06,200 --> 00:51:07,760
Speaker 6: I know you didn't meet Tom in DC.

1004
00:51:09,960 --> 00:51:12,480
Speaker 2: I do agree. It's like, this is her like, you know,

1005
00:51:12,760 --> 00:51:16,160
Speaker 2: letting her guards down, letting him know something randomly traumatic

1006
00:51:16,200 --> 00:51:18,960
Speaker 2: about her life, which is kind of a fun phase

1007
00:51:19,000 --> 00:51:19,480
Speaker 2: of dating.

1008
00:51:19,960 --> 00:51:23,160
Speaker 1: Sure, and yeah, they're they're they're talking about why they're

1009
00:51:23,560 --> 00:51:27,719
Speaker 1: jaded when it comes to relationships, and Sarah's reason is

1010
00:51:27,760 --> 00:51:32,000
Speaker 1: because her sister fell through some ice twenty years ago.

1011
00:51:32,640 --> 00:51:35,080
Speaker 6: Sure, not connected, don't see the connection.

1012
00:51:34,880 --> 00:51:37,200
Speaker 2: Really, She's like, and I'm still not over it, and

1013
00:51:37,239 --> 00:51:41,640
Speaker 2: that's why I don't date seriously, Like start again. Your

1014
00:51:41,640 --> 00:51:42,760
Speaker 2: sister fell through ice.

1015
00:51:44,800 --> 00:51:47,880
Speaker 1: A connect It hard to connect the dots. But anyway,

1016
00:51:48,680 --> 00:51:51,439
Speaker 1: they wake up the next day, they have a nice

1017
00:51:51,440 --> 00:51:55,960
Speaker 1: morning together, they kiss on the lips, and then they

1018
00:51:56,000 --> 00:52:01,120
Speaker 1: part ways. Then Sarah sees her friend Casey, who mentions

1019
00:52:01,200 --> 00:52:04,880
Speaker 1: that she went out with and slept with that sleazy

1020
00:52:04,920 --> 00:52:13,960
Speaker 1: guy Burn notice after all thank you aka Vance, and

1021
00:52:14,080 --> 00:52:19,360
Speaker 1: Vance mentions the date doctor to Casey before leaving, because

1022
00:52:19,560 --> 00:52:23,200
Speaker 1: Hitch is known around town as this date doctor guy. Again,

1023
00:52:23,239 --> 00:52:27,440
Speaker 1: he's famous, just like Spider Man is. And Sarah hears

1024
00:52:27,480 --> 00:52:31,200
Speaker 1: this and she's like, hmm, date doctor, what's going on there?

1025
00:52:31,960 --> 00:52:35,640
Speaker 1: So she approaches Vance to be like, hey, who's that

1026
00:52:35,840 --> 00:52:39,160
Speaker 1: dating coach? You hired because I want to write a

1027
00:52:39,200 --> 00:52:43,120
Speaker 1: column about him. However, she does not connect the dots.

1028
00:52:43,120 --> 00:52:45,520
Speaker 1: She doesn't realize it's Hitch because she does not know

1029
00:52:45,560 --> 00:52:48,360
Speaker 1: what Hitch actually does. She only knows that Hitch is

1030
00:52:48,440 --> 00:52:53,040
Speaker 1: a consultant, like a very vague consultant guy, and she

1031
00:52:53,120 --> 00:52:59,880
Speaker 1: knows one of his allergies, right, So she gets the

1032
00:53:00,120 --> 00:53:06,160
Speaker 1: date doctor's card from Vance. That night, Allegra and Albert

1033
00:53:06,239 --> 00:53:10,680
Speaker 1: go to a basketball game together and he's like, is

1034
00:53:10,719 --> 00:53:16,840
Speaker 1: this a date and she's like, tee maybe, And Sarah

1035
00:53:17,000 --> 00:53:21,520
Speaker 1: is there with her colleague taking photos and stuff. And

1036
00:53:21,760 --> 00:53:24,240
Speaker 1: at the end of the night, when Albert is dropping

1037
00:53:24,360 --> 00:53:30,640
Speaker 1: Allegra off, it's time to put Hitch's ninety slash ten

1038
00:53:30,800 --> 00:53:34,040
Speaker 1: percent kissing roll of thumb to the test, and he

1039
00:53:34,080 --> 00:53:36,520
Speaker 1: almost chickens out, but then he goes for it, and

1040
00:53:36,560 --> 00:53:42,280
Speaker 1: then Albert and Allegra kiss on the lips. Everyone's kissing now.

1041
00:53:43,400 --> 00:53:49,200
Speaker 1: And the next day, Hitch meets up with yet another

1042
00:53:49,360 --> 00:53:55,160
Speaker 1: new client. But wait, it's Sarah's colleague. She staged this

1043
00:53:55,320 --> 00:53:57,560
Speaker 1: so she could find out who the date doctor is

1044
00:53:57,680 --> 00:54:00,400
Speaker 1: and what his deal is, and then she discovered that

1045
00:54:00,480 --> 00:54:07,200
Speaker 1: it's Hitch. Oh NOI, and she's like, oh, this is

1046
00:54:07,239 --> 00:54:09,560
Speaker 1: my boyfriend or whatever. But she but she wants to

1047
00:54:09,640 --> 00:54:13,319
Speaker 1: move forward with the story she's writing about him. But

1048
00:54:13,440 --> 00:54:17,880
Speaker 1: now she hates Hitch as a romantic partner.

1049
00:54:17,840 --> 00:54:20,240
Speaker 2: And so she does something that I feel like happens

1050
00:54:20,239 --> 00:54:20,919
Speaker 2: a lot in.

1051
00:54:21,040 --> 00:54:23,880
Speaker 10: Round Comms, and I know what it's trying to accomplish spiritually,

1052
00:54:23,960 --> 00:54:27,319
Speaker 10: but I always find it so bizarre where it's just like, oh,

1053
00:54:27,440 --> 00:54:30,000
Speaker 10: you hurt me, so I'm just gonna show up and

1054
00:54:30,040 --> 00:54:33,759
Speaker 10: get really drunk and be weird and go whoo and

1055
00:54:33,800 --> 00:54:37,920
Speaker 10: then Lee you're like, except this changes the narrative because

1056
00:54:37,960 --> 00:54:39,480
Speaker 10: he throws a bowl of lettuce at her.

1057
00:54:40,120 --> 00:54:42,960
Speaker 6: Well, I also want to point out, uh, and that

1058
00:54:43,120 --> 00:54:45,319
Speaker 6: is true. I also want to point out that I

1059
00:54:45,440 --> 00:54:48,840
Speaker 6: don't like films or and this is my biggest problem

1060
00:54:48,920 --> 00:54:52,040
Speaker 6: with Cobra Kai the show. I don't like anything that

1061
00:54:52,080 --> 00:54:55,120
Speaker 6: could be resolved with a conversation. I don't like that

1062
00:54:55,160 --> 00:54:57,560
Speaker 6: being a major plot point. Yeah, but it's basically if

1063
00:54:57,600 --> 00:55:01,320
Speaker 6: you ask one question, this would be resolved, and instead

1064
00:55:01,640 --> 00:55:05,280
Speaker 6: there's only assumptions made. Because that feels like weak writing

1065
00:55:05,400 --> 00:55:08,319
Speaker 6: to me. It feels like you you're basically not You

1066
00:55:08,400 --> 00:55:10,359
Speaker 6: need to give me a reason why they can't have

1067
00:55:10,400 --> 00:55:14,000
Speaker 6: the conversation that would resolve this. But if you show

1068
00:55:14,120 --> 00:55:17,200
Speaker 6: up at his house on the date, just ask the question.

1069
00:55:17,600 --> 00:55:20,200
Speaker 6: You could ask right there, be direct. And that's another

1070
00:55:20,200 --> 00:55:22,160
Speaker 6: reason why this movie is too long, because that should

1071
00:55:22,200 --> 00:55:24,680
Speaker 6: have probably just been combined into the next scene when

1072
00:55:24,680 --> 00:55:26,480
Speaker 6: you actually ask thee.

1073
00:55:26,120 --> 00:55:29,600
Speaker 2: When they have the confrontation, Yes, why are they doing?

1074
00:55:30,520 --> 00:55:30,759
Speaker 11: Yes?

1075
00:55:31,000 --> 00:55:33,640
Speaker 1: Yes, I totally agree. I don't ever like that as

1076
00:55:33,680 --> 00:55:38,080
Speaker 1: a writing choice. It always feels so contrived to me,

1077
00:55:38,440 --> 00:55:42,279
Speaker 1: And I like, sure people do make assumptions and get

1078
00:55:42,320 --> 00:55:45,239
Speaker 1: mad at people, and that's that's kind of reflective of

1079
00:55:45,280 --> 00:55:48,000
Speaker 1: real life, but never in the way that it's depicted

1080
00:55:48,000 --> 00:55:48,920
Speaker 1: in rom coms.

1081
00:55:49,480 --> 00:55:51,399
Speaker 2: But there's like a ways to do that that are

1082
00:55:51,480 --> 00:55:55,880
Speaker 2: like more I don't know, like whatever, Like every Shakespeare

1083
00:55:55,960 --> 00:55:58,759
Speaker 2: comedy is like the information gets back to Hitch from

1084
00:55:58,800 --> 00:56:00,879
Speaker 2: someone else in a weird way or a new per

1085
00:56:01,040 --> 00:56:05,279
Speaker 2: like maybe maybe Cresida comes back, like you know, add

1086
00:56:05,400 --> 00:56:08,480
Speaker 2: someone or something into it. If that scene, if we

1087
00:56:08,520 --> 00:56:10,440
Speaker 2: need this to be two scenes instead of one for

1088
00:56:10,480 --> 00:56:13,080
Speaker 2: some reason, Yeah, she can't just go to his house

1089
00:56:13,080 --> 00:56:16,080
Speaker 2: and say nothing. I know, it's so frustrating, especially if

1090
00:56:16,120 --> 00:56:19,560
Speaker 2: she's drunk. Of course you would say it, you.

1091
00:56:19,480 --> 00:56:21,799
Speaker 1: Know, when I do buy. It is in Shrek one

1092
00:56:22,320 --> 00:56:26,279
Speaker 1: when Shrek overhears Fiona being like, how could anyone ever

1093
00:56:26,360 --> 00:56:30,040
Speaker 1: love such a hideous beast? And she's talking about herself,

1094
00:56:30,360 --> 00:56:34,040
Speaker 1: but he thinks she's talking about him, so he's sad.

1095
00:56:34,200 --> 00:56:37,480
Speaker 2: But then the confrontation happens in the next scene. Yeah,

1096
00:56:37,640 --> 00:56:40,240
Speaker 2: like the next time they see each other, he's like, well,

1097
00:56:40,360 --> 00:56:43,959
Speaker 2: I guess you don't fuck with Shreks. I guess. And

1098
00:56:44,000 --> 00:56:46,919
Speaker 2: then that's also the point in the Broadway musical where

1099
00:56:46,920 --> 00:56:48,640
Speaker 2: he sings the best song in the musical.

1100
00:56:49,000 --> 00:56:49,440
Speaker 1: Whoa.

1101
00:56:49,600 --> 00:56:52,680
Speaker 2: It's called build a wall, Okay, an emotional wall.

1102
00:56:52,920 --> 00:56:55,000
Speaker 6: I was gonna say, build that wall is not a

1103
00:56:55,040 --> 00:56:55,719
Speaker 6: popular song.

1104
00:56:55,840 --> 00:56:58,680
Speaker 2: Yeah, it was written in two thousand and eight.

1105
00:56:58,719 --> 00:57:06,040
Speaker 6: It was written I'll tell you that, okay.

1106
00:57:06,040 --> 00:57:09,880
Speaker 1: So yeah, So Sarah goes to Hitch's place and refuses

1107
00:57:09,920 --> 00:57:13,520
Speaker 1: to be direct and to actually have a conversation with him.

1108
00:57:14,000 --> 00:57:16,160
Speaker 1: She does just say like, I know all about your

1109
00:57:16,240 --> 00:57:19,960
Speaker 1: skeazy job by bitch, and then she storms out and

1110
00:57:20,000 --> 00:57:23,120
Speaker 1: she publishes a story about him, painting him as a

1111
00:57:23,160 --> 00:57:26,280
Speaker 1: guy who teaches men how to be pick up artists,

1112
00:57:26,960 --> 00:57:30,120
Speaker 1: with a headline that something like Hitch can get you

1113
00:57:30,200 --> 00:57:34,000
Speaker 1: into bed with the likes of Allegra Cole with a

1114
00:57:34,040 --> 00:57:39,000
Speaker 1: picture of Albert and Allegra, which humiliates both of them

1115
00:57:39,120 --> 00:57:44,120
Speaker 1: as well as Hitch. So he goes to a speed

1116
00:57:44,200 --> 00:57:47,040
Speaker 1: dating event that Sarah is at with her friend Casey

1117
00:57:47,440 --> 00:57:50,760
Speaker 1: and tries to explain himself, and Sarah is like, I

1118
00:57:50,800 --> 00:57:52,800
Speaker 1: don't want to talk to you. I want to protect

1119
00:57:52,840 --> 00:57:57,200
Speaker 1: women from guys like you, and they argue, and Casey

1120
00:57:57,320 --> 00:58:00,360
Speaker 1: then finds out that Hitch is the date doctor guy

1121
00:58:00,720 --> 00:58:06,280
Speaker 1: who she thinks told BYRN notice to and pardon my expression,

1122
00:58:06,760 --> 00:58:09,439
Speaker 1: hit it and quit it with her.

1123
00:58:09,880 --> 00:58:11,200
Speaker 6: I do not part in your expression.

1124
00:58:11,480 --> 00:58:17,680
Speaker 2: Will I'm only.

1125
00:58:17,560 --> 00:58:20,720
Speaker 1: Quoting Hitch earlier in the movie or whatever whoever says

1126
00:58:20,760 --> 00:58:26,120
Speaker 1: that line understood. But anyway, Hitch is like wrong, Vance

1127
00:58:26,360 --> 00:58:29,080
Speaker 1: is a pig, and I refuse to work with him.

1128
00:58:29,200 --> 00:58:30,520
Speaker 1: Get your facts right?

1129
00:58:30,840 --> 00:58:32,720
Speaker 6: And then he storms, Can I can I just point

1130
00:58:32,760 --> 00:58:35,320
Speaker 6: out my biggest problem with the movie is right here,

1131
00:58:36,160 --> 00:58:39,080
Speaker 6: because there's a whole scene in there in which she

1132
00:58:39,200 --> 00:58:43,080
Speaker 6: talks to her editor of a newspaper. She talks to

1133
00:58:43,160 --> 00:58:46,320
Speaker 6: her editor of a newspaper who gives her permission to

1134
00:58:46,400 --> 00:58:48,320
Speaker 6: run the story even though he's like, I don't think

1135
00:58:48,360 --> 00:58:50,840
Speaker 6: you should because it'll blow up your life and your relationship.

1136
00:58:51,320 --> 00:58:53,680
Speaker 6: But what he does not do is do what an

1137
00:58:53,800 --> 00:58:56,840
Speaker 6: editor is supposed to do, which is get her to

1138
00:58:57,040 --> 00:59:00,320
Speaker 6: fact check this story and talk to all of yours.

1139
00:59:00,880 --> 00:59:03,520
Speaker 6: And if she would have done that and had the conversation,

1140
00:59:03,880 --> 00:59:06,760
Speaker 6: she would have had the information already, which I know

1141
00:59:06,960 --> 00:59:09,880
Speaker 6: doesn't work in the movie world. But that's another thing

1142
00:59:09,920 --> 00:59:12,320
Speaker 6: that gets me about lazy writing, which is to say,

1143
00:59:12,440 --> 00:59:15,800
Speaker 6: this woman is a good reporter, and you're telling me

1144
00:59:15,880 --> 00:59:19,280
Speaker 6: she didn't just ask him, Hey, this for the story.

1145
00:59:19,360 --> 00:59:21,480
Speaker 6: Even as a reporter, that's all you had to do.

1146
00:59:21,920 --> 00:59:24,240
Speaker 6: And so when he shouts that information at her, I

1147
00:59:24,240 --> 00:59:26,080
Speaker 6: feel like the look on her face is like, is

1148
00:59:26,120 --> 00:59:29,000
Speaker 6: like kind of presented as I feel dumb in this moment,

1149
00:59:29,280 --> 00:59:31,080
Speaker 6: But I also wanted to be like, you should also

1150
00:59:31,160 --> 00:59:33,120
Speaker 6: feel like a bad reporter who's not going to at

1151
00:59:33,120 --> 00:59:35,480
Speaker 6: your job, and your editor should be fired, because that

1152
00:59:35,520 --> 00:59:38,040
Speaker 6: would have been basic reporting at that point to say, oh,

1153
00:59:38,080 --> 00:59:40,520
Speaker 6: you got to go ask so and so about the question.

1154
00:59:40,920 --> 00:59:43,080
Speaker 2: Yeah, I mean, it's like the only excuse I can

1155
00:59:43,160 --> 00:59:44,800
Speaker 2: think of is like, I don't know, I mean, I

1156
00:59:44,800 --> 00:59:47,440
Speaker 2: don't know what the standards are for tabloid reporting, and

1157
00:59:47,480 --> 00:59:49,800
Speaker 2: it's like it seems like, this is what she does.

1158
00:59:49,840 --> 00:59:51,680
Speaker 2: She this is what she would normally do, is she's

1159
00:59:51,760 --> 00:59:54,280
Speaker 2: not doing it now, so it makes her look kind

1160
00:59:54,280 --> 00:59:56,800
Speaker 2: of like weird and incompetent in a way that's confusing.

1161
00:59:57,120 --> 01:00:00,640
Speaker 2: And also, I mean this is addressed later, but it's

1162
01:00:00,720 --> 01:00:04,840
Speaker 2: weird because it's true that was a really nasty piece

1163
01:00:04,880 --> 01:00:08,240
Speaker 2: of reporting she did. It's very disingenuous. When she's like,

1164
01:00:08,320 --> 01:00:10,520
Speaker 2: I'm doing this to protect women. I'm like, weird because

1165
01:00:10,520 --> 01:00:15,200
Speaker 2: you seem to actively be humiliating one. So it's like, well, no,

1166
01:00:15,240 --> 01:00:17,480
Speaker 2: you're like, I know you don't want your friend to

1167
01:00:17,520 --> 01:00:19,440
Speaker 2: get fucked over, but you don't really seem to have

1168
01:00:19,480 --> 01:00:22,280
Speaker 2: a vested interest in protecting other women outside of the

1169
01:00:22,320 --> 01:00:25,440
Speaker 2: scope of you and your friend. But then Hitch presented,

1170
01:00:25,520 --> 01:00:29,920
Speaker 2: He's like, no, I do noble. My job is noble.

1171
01:00:30,120 --> 01:00:34,600
Speaker 2: He's talking like he's like a nurse. I'm like, well,

1172
01:00:35,120 --> 01:00:37,040
Speaker 2: this is a bit of an overstatement of like I

1173
01:00:37,200 --> 01:00:40,400
Speaker 2: work for good and I'm a good guy and I've

1174
01:00:40,480 --> 01:00:44,160
Speaker 2: never given bad advice, and that is not really pushed

1175
01:00:44,480 --> 01:00:47,800
Speaker 2: back again for the rest of the movie, and you're like, well,

1176
01:00:47,920 --> 01:00:50,040
Speaker 2: you're not a bad guy, but you give a lot

1177
01:00:50,040 --> 01:00:52,720
Speaker 2: of bad advice, Like this is a It's weird how

1178
01:00:52,760 --> 01:00:55,360
Speaker 2: I mean, you know, I'm happy when people are proud

1179
01:00:55,400 --> 01:00:58,520
Speaker 2: of what they do, but like he shouldn't be that proud.

1180
01:00:58,840 --> 01:01:01,720
Speaker 2: He's like, I didn't work with one pervert. How could

1181
01:01:01,720 --> 01:01:04,880
Speaker 2: you say that about me? Like you work with a

1182
01:01:04,920 --> 01:01:05,959
Speaker 2: lot of scumbags.

1183
01:01:06,000 --> 01:01:08,480
Speaker 6: I don't know, you're right, I think though the anger,

1184
01:01:08,720 --> 01:01:11,600
Speaker 6: like I feel like the character's anger came from a

1185
01:01:11,640 --> 01:01:17,160
Speaker 6: good place. However, the film thinks that Hitch is a

1186
01:01:17,480 --> 01:01:20,320
Speaker 6: good guy in the way that we've come to understand,

1187
01:01:20,800 --> 01:01:23,760
Speaker 6: like the good guy meaning doesn't necessarily mean that you're

1188
01:01:23,760 --> 01:01:26,920
Speaker 6: not dangerous or you're not contributing to the negative aspects

1189
01:01:26,920 --> 01:01:30,600
Speaker 6: of patriarchy in a very specific way. Without that awareness,

1190
01:01:30,920 --> 01:01:34,680
Speaker 6: everything you say is absolutely right. It's like, hey, yeah,

1191
01:01:34,760 --> 01:01:37,400
Speaker 6: you're you think that what you're doing is noble, but

1192
01:01:37,560 --> 01:01:40,720
Speaker 6: it is a little borderline unless if you're talking to

1193
01:01:40,760 --> 01:01:42,520
Speaker 6: people just trying to boost their confidence, but you're not

1194
01:01:42,560 --> 01:01:45,440
Speaker 6: even having the nuance to understand the difference between like

1195
01:01:45,760 --> 01:01:48,680
Speaker 6: building up a man's confidence to feel good talking to

1196
01:01:48,720 --> 01:01:52,840
Speaker 6: a woman versus teaching men tricks on how to get

1197
01:01:52,840 --> 01:01:55,400
Speaker 6: women to interact with them so that they can trap

1198
01:01:55,480 --> 01:01:57,560
Speaker 6: them in a relationship, which because.

1199
01:01:57,320 --> 01:01:59,000
Speaker 12: It's like, if you go back to the beginning of

1200
01:01:59,000 --> 01:02:02,320
Speaker 12: the movie, he's literally kind of like playing god where

1201
01:02:02,640 --> 01:02:05,000
Speaker 12: he like steals a dog.

1202
01:02:04,800 --> 01:02:06,680
Speaker 1: And we'll talk about it.

1203
01:02:06,960 --> 01:02:10,000
Speaker 2: Like, you can't be that proud of that job. I

1204
01:02:10,040 --> 01:02:13,640
Speaker 2: know it makes you a lot of money, obviously, but

1205
01:02:13,880 --> 01:02:16,920
Speaker 2: like you can't pretend that that is like this is

1206
01:02:17,280 --> 01:02:20,520
Speaker 2: the most noble profession he's Yeah, he's acting like he's

1207
01:02:20,720 --> 01:02:24,880
Speaker 2: a teacher. It's like, Hitch, you're good at what you do,

1208
01:02:25,080 --> 01:02:25,960
Speaker 2: but chill.

1209
01:02:25,880 --> 01:02:28,040
Speaker 6: You're not a central personnel. Sorry, that's my last one.

1210
01:02:28,080 --> 01:02:30,480
Speaker 2: No, no, neither. I mean this we're looking in many

1211
01:02:30,600 --> 01:02:33,000
Speaker 2: such cases my own relationship and like these are non

1212
01:02:33,080 --> 01:02:36,440
Speaker 2: essential jobs and that's okay, but let's acknowledge that.

1213
01:02:37,200 --> 01:02:40,000
Speaker 1: And I'm like, what is his rate if like a

1214
01:02:40,040 --> 01:02:42,880
Speaker 1: guy goes to hire him, He's like one hundred thousand

1215
01:02:42,960 --> 01:02:45,480
Speaker 1: dollars please, Like it has to be so much for

1216
01:02:45,560 --> 01:02:46,840
Speaker 1: him to afford.

1217
01:02:46,680 --> 01:02:50,120
Speaker 2: Especially if he life calls it at three dates.

1218
01:02:50,480 --> 01:02:52,360
Speaker 1: I know, Like it's not like he has these guys

1219
01:02:52,400 --> 01:02:58,560
Speaker 1: on retainer, Like, yeah, it's a very short term thing. Anyway,

1220
01:03:00,640 --> 01:03:06,040
Speaker 1: is mad at Sarah's bad journalism, and so now everyone

1221
01:03:06,400 --> 01:03:12,600
Speaker 1: is sad and alone, Hitch and Sarah and Allegra, and Albert.

1222
01:03:13,280 --> 01:03:17,080
Speaker 1: They're all experiencing the end of act to low point

1223
01:03:17,120 --> 01:03:21,040
Speaker 1: of the movie, and then Sarah goes to Hitch to

1224
01:03:21,360 --> 01:03:26,160
Speaker 1: apologize for having the wrong idea about him and hurting him,

1225
01:03:26,600 --> 01:03:30,440
Speaker 1: but he's like, psh you didn't hurt me because I

1226
01:03:30,440 --> 01:03:32,080
Speaker 1: don't have feelings to even hurt.

1227
01:03:32,200 --> 01:03:37,400
Speaker 2: Actually, bye, and then he jogs away, which just feels

1228
01:03:37,480 --> 01:03:41,880
Speaker 2: kind of weirdly impotent. After that, he someone jogging away

1229
01:03:41,880 --> 01:03:45,360
Speaker 2: from a confrontation is just like, all right, man, yeah,

1230
01:03:45,400 --> 01:03:46,480
Speaker 2: you're doing great.

1231
01:03:47,080 --> 01:03:51,600
Speaker 1: Right, And then Albert shows up to Hitch's place to

1232
01:03:51,680 --> 01:03:54,720
Speaker 1: be like, I'm so sad. Can you please fix this

1233
01:03:54,920 --> 01:03:58,960
Speaker 1: situation with Allegra because he's still hopelessly in love with her.

1234
01:04:00,040 --> 01:04:03,520
Speaker 1: But then he realizes that Hitch doesn't really even believe

1235
01:04:03,600 --> 01:04:05,960
Speaker 1: in the things that he's telling men as far as

1236
01:04:06,000 --> 01:04:09,240
Speaker 1: like putting yourself out there to try to find true love,

1237
01:04:09,760 --> 01:04:12,919
Speaker 1: because Hitch is so guarded and he has so many

1238
01:04:13,160 --> 01:04:17,880
Speaker 1: walls up. He's a modern day Shrek basically true.

1239
01:04:18,160 --> 01:04:19,280
Speaker 2: He's going to build a wall.

1240
01:04:20,040 --> 01:04:21,160
Speaker 1: He has built a wall.

1241
01:04:21,280 --> 01:04:25,000
Speaker 2: It doesn't sound, it doesn't yeah, which it's possible.

1242
01:04:25,040 --> 01:04:27,760
Speaker 6: Expression he does say something that I really like in

1243
01:04:27,800 --> 01:04:31,280
Speaker 6: this scene Kevin James Albert Brinneman says something I really like,

1244
01:04:31,720 --> 01:04:33,960
Speaker 6: which is he says, if this is the only way

1245
01:04:33,960 --> 01:04:36,120
Speaker 6: that I could stay connected with her, well, then this

1246
01:04:36,160 --> 01:04:38,000
Speaker 6: is why I have to be talking about feeling miserable

1247
01:04:38,000 --> 01:04:39,640
Speaker 6: that he's not with her. And I felt like that

1248
01:04:39,800 --> 01:04:43,320
Speaker 6: was for me a very romantic like phrase. I remember

1249
01:04:43,360 --> 01:04:46,600
Speaker 6: I dated a woman once and we broke up. We

1250
01:04:46,600 --> 01:04:49,160
Speaker 6: were together for a while, we broke up, and she left.

1251
01:04:49,280 --> 01:04:51,800
Speaker 6: She went to she left the country, like to go

1252
01:04:51,840 --> 01:04:54,080
Speaker 6: to Canada for a month, and while she was gone,

1253
01:04:54,240 --> 01:04:57,080
Speaker 6: I would write her letters that I didn't send. I

1254
01:04:57,120 --> 01:04:58,840
Speaker 6: gave them to her later, But at the time I

1255
01:04:58,840 --> 01:05:01,120
Speaker 6: wrote her letters and I realized that writing the letters,

1256
01:05:01,560 --> 01:05:03,480
Speaker 6: because I was like we weren't in communication any of

1257
01:05:03,560 --> 01:05:06,280
Speaker 6: that made me feel closer to her. And I feel

1258
01:05:06,280 --> 01:05:10,800
Speaker 6: like that feeling of I felt very like closely connected

1259
01:05:10,800 --> 01:05:12,920
Speaker 6: to that feeling of like, man, this feeling of despair

1260
01:05:13,360 --> 01:05:15,800
Speaker 6: kind of becomes a comfort when it still feels like

1261
01:05:16,040 --> 01:05:18,760
Speaker 6: it attaches you to a person. Now, there's ways in

1262
01:05:18,800 --> 01:05:21,200
Speaker 6: which it's unhealthy and not good, but I don't feel

1263
01:05:21,200 --> 01:05:23,280
Speaker 6: like he was in an unhealthy place when he said that,

1264
01:05:23,640 --> 01:05:25,920
Speaker 6: which I really appreciated. A movie like this having just

1265
01:05:25,920 --> 01:05:27,000
Speaker 6: like a little gem like that.

1266
01:05:27,360 --> 01:05:30,840
Speaker 2: Yeah, and it's like you get in that conversation because

1267
01:05:31,320 --> 01:05:35,400
Speaker 2: obviously Hit just reactive with like denial and anger and

1268
01:05:35,720 --> 01:05:40,160
Speaker 2: all of this stuff. But in the Albert character, he's like,

1269
01:05:40,680 --> 01:05:43,120
Speaker 2: I'm sad and I'm feeling it too, which is again

1270
01:05:43,200 --> 01:05:47,080
Speaker 2: it's like not something you see very often from from

1271
01:05:47,080 --> 01:05:49,479
Speaker 2: a man in a rom com. It's like, I feel

1272
01:05:49,480 --> 01:05:52,240
Speaker 2: like you mostly get the Hitch reaction.

1273
01:05:52,800 --> 01:05:56,560
Speaker 1: Right, which is like again reflective of a lot of

1274
01:05:56,800 --> 01:06:00,240
Speaker 1: men who have been conditioned to close themselves off and

1275
01:06:00,320 --> 01:06:03,200
Speaker 1: not process their emotions. But I do like that contrast

1276
01:06:03,240 --> 01:06:08,800
Speaker 1: between the Albert character, who is very freely feeling his

1277
01:06:08,800 --> 01:06:13,160
Speaker 1: feelings and feeling his sadness and expressing them versus Hitch,

1278
01:06:13,200 --> 01:06:17,040
Speaker 1: who is either unwilling or unable to do that. But

1279
01:06:17,080 --> 01:06:21,120
Speaker 1: then he realizes, I think, through interacting with Albert, like

1280
01:06:21,840 --> 01:06:24,600
Speaker 1: maybe I should try to feel my emotions. And then

1281
01:06:24,640 --> 01:06:30,000
Speaker 1: he learns from Albert, and that's also an encouraging thing

1282
01:06:30,040 --> 01:06:33,560
Speaker 1: to see in a wrong come from two thousand and five.

1283
01:06:34,200 --> 01:06:37,960
Speaker 1: But anyway, so Hitch is sad, but he's pretending not

1284
01:06:38,080 --> 01:06:43,439
Speaker 1: to be. Then Albert goes after Allegra himself to try

1285
01:06:43,480 --> 01:06:45,640
Speaker 1: to win her back because he's like, I don't really

1286
01:06:45,680 --> 01:06:48,919
Speaker 1: trust Hitch to do this, But Hitch beats him to

1287
01:06:48,960 --> 01:06:55,920
Speaker 1: it and shows up on Allegra's yacht and he's daughter of.

1288
01:06:55,920 --> 01:06:56,840
Speaker 6: A billionaire Jamie.

1289
01:06:57,080 --> 01:06:58,640
Speaker 2: Yes, it's true.

1290
01:06:59,520 --> 01:06:59,760
Speaker 6: Mast.

1291
01:07:00,760 --> 01:07:05,880
Speaker 1: Now Allegra is unhappy because she thinks Hitch encouraged Albert

1292
01:07:06,000 --> 01:07:09,280
Speaker 1: to manipulate her and do these specific things to put

1293
01:07:09,320 --> 01:07:13,400
Speaker 1: her at ease, such as dance like a buffoon, knowing

1294
01:07:13,440 --> 01:07:17,280
Speaker 1: that she can't dance, and Hitch is like, no, I

1295
01:07:17,360 --> 01:07:20,800
Speaker 1: had no hand in that. That was all Albert. Wait

1296
01:07:20,840 --> 01:07:22,680
Speaker 1: a minute, did that work on you?

1297
01:07:23,080 --> 01:07:23,160
Speaker 11: Do?

1298
01:07:23,280 --> 01:07:27,120
Speaker 1: I not even understand my own job that I invented.

1299
01:07:27,400 --> 01:07:30,200
Speaker 2: I think this is an effective scene. But aleg does

1300
01:07:30,240 --> 01:07:35,160
Speaker 2: talk to Hitch as if he is a wizard he

1301
01:07:35,240 --> 01:07:36,600
Speaker 2: can read her thoughts.

1302
01:07:36,680 --> 01:07:38,640
Speaker 1: I was like, no, hell could he?

1303
01:07:39,360 --> 01:07:41,560
Speaker 2: I mean, to be fair, he can figure out who

1304
01:07:41,600 --> 01:07:44,680
Speaker 2: your serial killer great grandfather is. But that that appears

1305
01:07:44,680 --> 01:07:45,960
Speaker 2: to be the limits of his powers.

1306
01:07:46,200 --> 01:07:50,120
Speaker 6: Sure right, basic google searches appear to be the limits

1307
01:07:50,200 --> 01:07:50,840
Speaker 6: of his power.

1308
01:07:51,040 --> 01:07:53,240
Speaker 2: She's referencing something that happened to her once when she

1309
01:07:53,360 --> 01:07:56,000
Speaker 2: was twelve, like, how would Hitch have access this information?

1310
01:07:58,400 --> 01:08:03,120
Speaker 1: And then Albert shows up and he and Allegra kiss

1311
01:08:03,160 --> 01:08:07,120
Speaker 1: and makeup. Then Hitch goes to Sarah to try to

1312
01:08:07,120 --> 01:08:10,720
Speaker 1: win her back, and he's pretty terrible at it, and

1313
01:08:10,760 --> 01:08:13,680
Speaker 1: then we get this reveal that she's there with another man,

1314
01:08:14,320 --> 01:08:17,200
Speaker 1: and she walks away and gets in the car in

1315
01:08:17,280 --> 01:08:20,120
Speaker 1: a scene that mirrors the time that he got his

1316
01:08:20,320 --> 01:08:24,800
Speaker 1: heart broken in college by Cressida, only this time Hitch

1317
01:08:24,920 --> 01:08:26,880
Speaker 1: does go after the woman he.

1318
01:08:26,800 --> 01:08:29,160
Speaker 2: Loves still very aggressively.

1319
01:08:29,479 --> 01:08:32,439
Speaker 6: Yeah, for sure, the way that I could not endorse

1320
01:08:32,479 --> 01:08:33,920
Speaker 6: Bill Scarsgard.

1321
01:08:33,360 --> 01:08:38,679
Speaker 2: Doing no nor any man throwing himself on the hood

1322
01:08:38,680 --> 01:08:40,680
Speaker 2: of your car. Heat up.

1323
01:08:41,080 --> 01:08:43,799
Speaker 6: You got to back up to go over him again.

1324
01:08:43,680 --> 01:08:48,800
Speaker 1: Too, make sure, yes, yes, yes, But anyway, Hitch professes

1325
01:08:48,800 --> 01:08:52,960
Speaker 1: his love for Sarah and they also kiss and make up,

1326
01:08:53,600 --> 01:08:57,760
Speaker 1: and it turns out the other man is Sarah's sister's husband.

1327
01:08:58,000 --> 01:09:00,880
Speaker 2: And why does she not just say that.

1328
01:09:00,400 --> 01:09:02,040
Speaker 1: I don't know where?

1329
01:09:03,040 --> 01:09:05,599
Speaker 2: Come on, Tom, I'm always acting that with my brother

1330
01:09:05,640 --> 01:09:10,759
Speaker 2: in law. Come on, Tom, really weird.

1331
01:09:11,720 --> 01:09:16,040
Speaker 1: But this is like when Hitch finally learns that there

1332
01:09:16,080 --> 01:09:24,200
Speaker 1: are no rules or basic principles to dating. And the

1333
01:09:24,240 --> 01:09:29,480
Speaker 1: movie ends at Albert and Allegra's wedding. The cast dances

1334
01:09:29,600 --> 01:09:32,640
Speaker 1: to now that we found love by Heavy d and

1335
01:09:32,680 --> 01:09:35,920
Speaker 1: the Boys, but I think it should be a Will

1336
01:09:36,080 --> 01:09:40,160
Speaker 1: Smith end credits rap. So this they dance too.

1337
01:09:40,479 --> 01:09:43,799
Speaker 2: I thought about this because it's weird that it doesn't happen.

1338
01:09:43,960 --> 01:09:46,080
Speaker 2: You're and this is around the time where it doesn't

1339
01:09:46,120 --> 01:09:49,439
Speaker 2: happen anymore. Yeah, like he's I think the last one

1340
01:09:49,479 --> 01:09:52,679
Speaker 2: I was able to find is Men in Black two.

1341
01:09:52,840 --> 01:09:55,280
Speaker 2: I mean, obviously he does the shitty Aladdin movie, but

1342
01:09:55,280 --> 01:09:58,240
Speaker 2: I'm gonna not count that. But he does he did

1343
01:09:58,280 --> 01:10:00,240
Speaker 2: do a song for Men in Black two Black It's

1344
01:10:00,280 --> 01:10:01,439
Speaker 2: coming nod your head.

1345
01:10:01,640 --> 01:10:06,120
Speaker 6: I remember the worst song it is. They tried to

1346
01:10:06,120 --> 01:10:08,639
Speaker 6: make fetch happen. It did not. The first one was fine.

1347
01:10:08,880 --> 01:10:10,519
Speaker 6: I could still sing the first one right now, but

1348
01:10:10,520 --> 01:10:13,800
Speaker 6: it's probably because it's attached to another song. But this

1349
01:10:13,840 --> 01:10:16,000
Speaker 6: new one, no, no stop it.

1350
01:10:16,439 --> 01:10:19,559
Speaker 2: But what's weird is there was a Will Smith single

1351
01:10:19,600 --> 01:10:22,400
Speaker 2: that came out the same week Hitch came out. Switch

1352
01:10:22,640 --> 01:10:25,280
Speaker 2: the song where he goes you know that one.

1353
01:10:25,600 --> 01:10:27,000
Speaker 1: I don't know this one at all.

1354
01:10:27,840 --> 01:10:30,679
Speaker 2: Well, I just performed it so well, so true.

1355
01:10:32,600 --> 01:10:34,040
Speaker 6: Now that's stuck in my head. Why would you do

1356
01:10:34,120 --> 01:10:34,439
Speaker 6: this to me?

1357
01:10:35,520 --> 01:10:37,240
Speaker 2: That was like, I mean, I was in middle school

1358
01:10:37,280 --> 01:10:39,639
Speaker 2: and this movie came out and they were playing Will

1359
01:10:39,720 --> 01:10:42,960
Speaker 2: Smith's Switch at the middle school in dances. But I

1360
01:10:43,000 --> 01:10:44,960
Speaker 2: looked it up just to be like, why isn't Switching

1361
01:10:45,000 --> 01:10:47,040
Speaker 2: that I feel like it was the same time. Hitch

1362
01:10:47,120 --> 01:10:54,040
Speaker 2: came out on February eleventh. Switch came out February fifteenth,

1363
01:10:54,600 --> 01:10:57,759
Speaker 2: and yet it is not in the movie. It's really bizarre.

1364
01:10:57,800 --> 01:10:58,519
Speaker 2: I wonder why.

1365
01:10:58,680 --> 01:11:02,360
Speaker 1: And it's the rhyme sing this in the movie.

1366
01:11:03,200 --> 01:11:05,439
Speaker 2: They're like, oh, we we have a big budget, we

1367
01:11:05,479 --> 01:11:06,799
Speaker 2: don't have to use Switch.

1368
01:11:07,120 --> 01:11:10,440
Speaker 6: It's okay, we'll license something. Don't even worry about it.

1369
01:11:10,439 --> 01:11:11,400
Speaker 2: It's not his best.

1370
01:11:11,720 --> 01:11:14,040
Speaker 6: Bill board chats.

1371
01:11:14,400 --> 01:11:16,360
Speaker 2: It's not his best, but I do. I mean, whenever

1372
01:11:16,400 --> 01:11:18,559
Speaker 2: I hear Switch, I can't hear it neutrally because it

1373
01:11:18,680 --> 01:11:22,240
Speaker 2: like I'm just consumed with like twelve year old anxiety,

1374
01:11:22,320 --> 01:11:25,120
Speaker 2: being like I'm not going to dance with anyone. That's

1375
01:11:25,160 --> 01:11:28,920
Speaker 2: what the song ignites in me. But anyways, Yeah, it's

1376
01:11:28,960 --> 01:11:31,040
Speaker 2: weird that there's not a Will Smith closer song because

1377
01:11:31,080 --> 01:11:33,240
Speaker 2: he had one ready. But it seems like maybe they

1378
01:11:33,320 --> 01:11:35,400
Speaker 2: just just didn't want it want it.

1379
01:11:35,640 --> 01:11:38,920
Speaker 1: Yeah, Well, let's take another quick break and we'll come

1380
01:11:38,960 --> 01:11:51,640
Speaker 1: back to discuss, and we're back.

1381
01:11:51,960 --> 01:11:54,479
Speaker 2: Or where to begin? Okay, Ronald, is there anything that

1382
01:11:54,560 --> 01:11:57,519
Speaker 2: jumps out to you? Where would you like to start? Well?

1383
01:11:57,560 --> 01:12:02,000
Speaker 6: I think generally there's there's a pushback in this movie.

1384
01:12:02,640 --> 01:12:05,280
Speaker 6: There's a way that this movie is the ways that

1385
01:12:05,320 --> 01:12:08,679
Speaker 6: it feels progressive is that in some ways it feels

1386
01:12:08,680 --> 01:12:12,280
Speaker 6: like it's grappling with that idea that I said before

1387
01:12:12,280 --> 01:12:16,759
Speaker 6: about vacillating between a pickup artist's manual versus a guide

1388
01:12:16,760 --> 01:12:19,640
Speaker 6: to just talking to a human woman. It's at its

1389
01:12:19,760 --> 01:12:23,240
Speaker 6: worst again when it's a pickup movie, when it's just like,

1390
01:12:23,280 --> 01:12:25,479
Speaker 6: this is how you pick up a woman. But then

1391
01:12:25,520 --> 01:12:27,360
Speaker 6: when it gets to the heart of it, and Kevin

1392
01:12:27,439 --> 01:12:30,760
Speaker 6: James and Will Smith, Albert Brenneman and Alex Hichens have

1393
01:12:30,880 --> 01:12:34,840
Speaker 6: that conversation where he's essentially saying to him, you don't

1394
01:12:34,880 --> 01:12:37,759
Speaker 6: even believe in love, you don't believe in these parts

1395
01:12:37,760 --> 01:12:40,360
Speaker 6: of it, And you realize that Albert Brenneman has just

1396
01:12:40,400 --> 01:12:43,920
Speaker 6: been being himself the whole film, despite what he's being

1397
01:12:43,960 --> 01:12:46,800
Speaker 6: told to do. Would you boil it down to those

1398
01:12:46,840 --> 01:12:49,599
Speaker 6: basic elements. I think that's what works for me in

1399
01:12:49,640 --> 01:12:53,280
Speaker 6: the film is to say that you met someone y'all

1400
01:12:53,280 --> 01:12:56,760
Speaker 6: connected and it worked out because you were being yourself

1401
01:12:57,000 --> 01:13:01,000
Speaker 6: and she was being herself and it was good relationship.

1402
01:13:01,320 --> 01:13:03,200
Speaker 6: But I just feel like the movie wants to push

1403
01:13:03,280 --> 01:13:07,080
Speaker 6: and pull at that in this way that the Hollywood

1404
01:13:07,120 --> 01:13:10,800
Speaker 6: effect makes the message worse and it pushes it into

1405
01:13:11,040 --> 01:13:14,160
Speaker 6: a different category. And also a man wrote this and

1406
01:13:14,200 --> 01:13:17,840
Speaker 6: a man directed this, like two different men, so through

1407
01:13:17,880 --> 01:13:21,200
Speaker 6: that lens, I wonder if they were really aware of

1408
01:13:21,240 --> 01:13:26,240
Speaker 6: that grappling, if no women were involved in the production,

1409
01:13:26,360 --> 01:13:28,240
Speaker 6: you know what I mean, right exactly.

1410
01:13:28,560 --> 01:13:32,200
Speaker 2: Yeah, It's it's interesting because it feels like, yeah, this

1411
01:13:32,280 --> 01:13:34,920
Speaker 2: movie is like we've been talking about this whole time,

1412
01:13:35,640 --> 01:13:37,840
Speaker 2: doing more than you would expect it to. I feel

1413
01:13:37,840 --> 01:13:38,680
Speaker 2: like it.

1414
01:13:38,360 --> 01:13:44,000
Speaker 13: Is like I don't know, like it is encouraging men

1415
01:13:44,280 --> 01:13:49,839
Speaker 13: to just be themselves basically, and which is a generally

1416
01:13:49,920 --> 01:13:50,719
Speaker 13: good message.

1417
01:13:50,760 --> 01:13:53,439
Speaker 2: And then like I don't hate the message, it's just

1418
01:13:53,760 --> 01:13:56,960
Speaker 2: all of the like it feels very studio notesy. The

1419
01:13:57,000 --> 01:13:59,240
Speaker 2: things I don't like about this movie, yes, where it

1420
01:13:59,280 --> 01:14:02,080
Speaker 2: feels like very tacked on, like, oh, we have this actor,

1421
01:14:02,200 --> 01:14:04,920
Speaker 2: so we should do this to them, or you know,

1422
01:14:05,040 --> 01:14:08,240
Speaker 2: all of these these rom com stock actors with like

1423
01:14:08,360 --> 01:14:11,160
Speaker 2: the queer coded co worker, some of the fat phobic

1424
01:14:11,240 --> 01:14:14,200
Speaker 2: things that Kevin James is subjected to even.

1425
01:14:13,960 --> 01:14:17,800
Speaker 8: Though if you look at the story, it's flawed, but

1426
01:14:17,920 --> 01:14:20,559
Speaker 8: it feels like it's hardest more in the right place

1427
01:14:20,560 --> 01:14:24,040
Speaker 8: that a lot of rom coms, which is weird, So

1428
01:14:24,240 --> 01:14:26,080
Speaker 8: I didn't expect it same.

1429
01:14:26,240 --> 01:14:31,320
Speaker 1: Even in that first opening montage with voiceover where Hitch

1430
01:14:31,400 --> 01:14:35,160
Speaker 1: is going through the quote unquote basic principles of how

1431
01:14:35,200 --> 01:14:39,479
Speaker 1: to win a woman kind of thing. Within that, it's

1432
01:14:39,520 --> 01:14:44,240
Speaker 1: oscillating back and forth between vague pick up artistry advice,

1433
01:14:44,360 --> 01:14:48,080
Speaker 1: but also like treat a woman like a person and

1434
01:14:48,200 --> 01:14:50,640
Speaker 1: actually talk to her and then listen to her and

1435
01:14:50,680 --> 01:14:53,080
Speaker 1: then respond to her like she's a person, you know.

1436
01:14:53,120 --> 01:14:56,479
Speaker 1: So like the first few clips we see are the

1437
01:14:56,680 --> 01:15:01,599
Speaker 1: like weird, like manipulate a woman into thinking, like stage

1438
01:15:02,240 --> 01:15:05,519
Speaker 1: her dog getting run over by a cab and pretend

1439
01:15:05,560 --> 01:15:08,280
Speaker 1: like you saved her dog so that she'll fall in

1440
01:15:08,320 --> 01:15:11,360
Speaker 1: love with you. Like that's obviously like really manipulative, gross,

1441
01:15:11,479 --> 01:15:16,120
Speaker 1: icky things. And then he's saying things like if a

1442
01:15:16,160 --> 01:15:20,679
Speaker 1: woman rejects you and says that she's focusing on her career,

1443
01:15:21,120 --> 01:15:25,240
Speaker 1: she's lying. And women don't even know what they want

1444
01:15:25,600 --> 01:15:28,360
Speaker 1: until a man comes along and tells her, and so

1445
01:15:28,439 --> 01:15:31,160
Speaker 1: like it's stuff like that, But then a few moments

1446
01:15:31,240 --> 01:15:34,920
Speaker 1: later he says, like, don't use what you don't have.

1447
01:15:35,240 --> 01:15:38,200
Speaker 1: If you're shy, be shy. If you're outgoing, be outgoing.

1448
01:15:38,280 --> 01:15:40,920
Speaker 1: In other words, like don't fake it and try to

1449
01:15:40,920 --> 01:15:42,560
Speaker 1: be someone you're not. Be yourself.

1450
01:15:42,960 --> 01:15:46,400
Speaker 2: I'm so curious, like what the drafts of this looked like,

1451
01:15:46,479 --> 01:15:50,200
Speaker 2: because yes, I'm wondering how because this is the game,

1452
01:15:50,479 --> 01:15:53,600
Speaker 2: the book by Neil Strass, Because unfortunately, I've done a

1453
01:15:53,640 --> 01:15:57,080
Speaker 2: lot of research on mans your shit pooa stuff and

1454
01:15:57,640 --> 01:16:00,840
Speaker 2: listened to for episodes of sixteen, and I did last

1455
01:16:00,880 --> 01:16:04,479
Speaker 2: year listen to a lot of accounts of men who

1456
01:16:04,560 --> 01:16:07,800
Speaker 2: were into like tried to use the game because they

1457
01:16:07,800 --> 01:16:12,280
Speaker 2: were nervous around women, and then grew up basically and

1458
01:16:12,400 --> 01:16:14,240
Speaker 2: realized that it's a joke. Which there are a lot

1459
01:16:14,280 --> 01:16:16,720
Speaker 2: of people like that, thankfully. And then there are the

1460
01:16:16,720 --> 01:16:19,000
Speaker 2: people who've had spent the last twenty years doubling and

1461
01:16:19,000 --> 01:16:22,599
Speaker 2: tripling down and becoming history's greatest monsters. Correct, But there

1462
01:16:22,600 --> 01:16:24,479
Speaker 2: are people It is interesting to listen to people who

1463
01:16:25,160 --> 01:16:28,800
Speaker 2: were drawn to this intentionally because it's made I mean

1464
01:16:29,040 --> 01:16:31,320
Speaker 2: like it's kind of what Hitch is doing, but also

1465
01:16:31,400 --> 01:16:33,520
Speaker 2: kind of not what he's doing, which is why it's confusing,

1466
01:16:33,840 --> 01:16:39,519
Speaker 2: but like basically targeting insecure men and promising that there

1467
01:16:39,600 --> 01:16:42,479
Speaker 2: is a recipe for success. If you just do la

1468
01:16:42,560 --> 01:16:46,160
Speaker 2: la la la la, you will be successful. And what

1469
01:16:46,479 --> 01:16:51,320
Speaker 2: the game does and what Hitch does sometimes not always,

1470
01:16:51,320 --> 01:16:53,320
Speaker 2: which is what makes this movie so hard to talk about,

1471
01:16:53,439 --> 01:16:58,360
Speaker 2: is like, not only is it raising the confidence of men,

1472
01:16:58,760 --> 01:17:02,519
Speaker 2: it's raising the con men at the expense of women.

1473
01:17:03,240 --> 01:17:06,559
Speaker 2: And that's the real issue. It's not that men having

1474
01:17:07,040 --> 01:17:09,559
Speaker 2: you know, being self possessed and having confidence is a

1475
01:17:09,560 --> 01:17:12,599
Speaker 2: bad thing. It's not. It's that a lot of these

1476
01:17:12,800 --> 01:17:17,280
Speaker 2: subcultures were like, oh, it's because you are genetically superior,

1477
01:17:17,640 --> 01:17:20,880
Speaker 2: and women are animals who don't understand themselves, and so

1478
01:17:20,920 --> 01:17:24,879
Speaker 2: you can't trust a word they say, here's forty five steps,

1479
01:17:24,920 --> 01:17:28,080
Speaker 2: including wearing the ugliest fucking hat you've ever seen, that

1480
01:17:28,479 --> 01:17:33,000
Speaker 2: is going to fix this. And I'm wondering how aware

1481
01:17:33,520 --> 01:17:37,120
Speaker 2: the like distribution and marketing was aware of that being

1482
01:17:37,320 --> 01:17:40,400
Speaker 2: a popular thing at this time and not wanting to

1483
01:17:40,479 --> 01:17:43,439
Speaker 2: completely lean away from it. I don't know.

1484
01:17:44,120 --> 01:17:46,960
Speaker 6: I believe that if this movie were a person, that

1485
01:17:47,320 --> 01:17:50,240
Speaker 6: this would be a person that we would be fine with.

1486
01:17:50,320 --> 01:17:52,720
Speaker 6: In twenty twenty five, meaning that they would learn and

1487
01:17:52,760 --> 01:17:55,800
Speaker 6: grow because there's enough. I'm thinking about all the things

1488
01:17:55,880 --> 01:17:59,599
Speaker 6: that I knew in a binary when I was seventeen, eighteen, nineteen, twenty,

1489
01:17:59,600 --> 01:18:03,120
Speaker 6: twenty one, twenty two whatever, in my late teens early twenties,

1490
01:18:03,479 --> 01:18:05,200
Speaker 6: all the things that I knew in a binary, like,

1491
01:18:05,240 --> 01:18:08,120
Speaker 6: well that's not right. Oh that's right, Oh that's not right.

1492
01:18:08,200 --> 01:18:10,280
Speaker 6: That's how I kind of did everything, but the nuance

1493
01:18:10,360 --> 01:18:14,160
Speaker 6: wasn't there yet. And I feel like this film knows

1494
01:18:14,320 --> 01:18:16,200
Speaker 6: like there's parts of this where you say fact and

1495
01:18:16,240 --> 01:18:19,400
Speaker 6: it's like women don't know what they want, and I'm like, ah,

1496
01:18:20,720 --> 01:18:22,920
Speaker 6: I don't know about that. Like that's like if you

1497
01:18:23,000 --> 01:18:25,960
Speaker 6: said some people don't know what they want, and maybe

1498
01:18:26,200 --> 01:18:28,439
Speaker 6: our job as people is to like to continue to

1499
01:18:28,520 --> 01:18:31,439
Speaker 6: let introduce them to new experiences and allow them to

1500
01:18:31,479 --> 01:18:33,559
Speaker 6: become the person that they are going to be. But

1501
01:18:33,600 --> 01:18:35,800
Speaker 6: that's not What I just said is like is very

1502
01:18:35,880 --> 01:18:38,479
Speaker 6: nuanced and not something that you could just throw into

1503
01:18:38,520 --> 01:18:40,960
Speaker 6: a film, you know. So I feel like that's where

1504
01:18:41,000 --> 01:18:42,920
Speaker 6: you're right that like, at worst, when you think about

1505
01:18:42,960 --> 01:18:45,679
Speaker 6: like the pickup artist stuff that's in there, it doesn't

1506
01:18:45,680 --> 01:18:48,680
Speaker 6: feel as nearly married to that as it does when

1507
01:18:48,720 --> 01:18:50,960
Speaker 6: it gets to the full point of the movie at

1508
01:18:50,960 --> 01:18:53,799
Speaker 6: the end, which is that like, hey, there are no rules,

1509
01:18:53,880 --> 01:18:57,320
Speaker 6: you know, love people, be yourself, which is feels good,

1510
01:18:57,400 --> 01:19:00,000
Speaker 6: like a solid message, which is basically the only reason

1511
01:19:00,040 --> 01:19:02,000
Speaker 6: while we could watch this at twenty twenty five and

1512
01:19:02,040 --> 01:19:04,000
Speaker 6: not just throw this movie out with the trash, you know,

1513
01:19:04,360 --> 01:19:06,080
Speaker 6: I mean the three of us, like we could have

1514
01:19:06,160 --> 01:19:08,320
Speaker 6: just thrown this movie away, and we didn't.

1515
01:19:08,040 --> 01:19:13,280
Speaker 11: You know, because it lands somewhere that that is like okay,

1516
01:19:13,680 --> 01:19:18,559
Speaker 11: yea cool, you know, And I do like that both.

1517
01:19:19,240 --> 01:19:21,800
Speaker 2: So again, there's stuff going on here, but I do

1518
01:19:21,920 --> 01:19:26,280
Speaker 2: like that both of the characters Hitch and Sarah are

1519
01:19:26,320 --> 01:19:29,600
Speaker 2: like are both flawed, genuinely flawed, because I feel like

1520
01:19:29,640 --> 01:19:33,519
Speaker 2: there's it's so often in rom coms where like it

1521
01:19:33,640 --> 01:19:38,639
Speaker 2: is a woman who is inexplicably perfect but sometimes trips

1522
01:19:38,680 --> 01:19:42,400
Speaker 2: and falls, who ends up with a man who's more mean,

1523
01:19:42,760 --> 01:19:46,160
Speaker 2: yes than flawed. However, there's a lot of baggage that

1524
01:19:46,200 --> 01:19:49,960
Speaker 2: comes with that, because yes, Sarah is flawed in like

1525
01:19:50,040 --> 01:19:52,759
Speaker 2: she's her job is pretty sky they both have pretty

1526
01:19:52,760 --> 01:19:55,760
Speaker 2: scummy jobs. Yeah, so maybe they really found each other

1527
01:19:55,800 --> 01:19:58,000
Speaker 2: where they're like the ethics are all over the place.

1528
01:19:58,760 --> 01:20:00,920
Speaker 2: Will Smith throwing himself in the hood of a car

1529
01:20:01,000 --> 01:20:04,360
Speaker 2: as a grand romantic gesture. Question, I don't think so.

1530
01:20:04,640 --> 01:20:07,240
Speaker 2: A lot of the early courting is a little stocky.

1531
01:20:07,880 --> 01:20:10,240
Speaker 2: And then you have I think that one of the

1532
01:20:10,240 --> 01:20:13,439
Speaker 2: things that really sticks out, and in a way that's like,

1533
01:20:14,040 --> 01:20:16,040
Speaker 2: I don't know, I'm almost able to like laugh it

1534
01:20:16,120 --> 01:20:21,080
Speaker 2: off now. But the two thousand and five y casual

1535
01:20:21,160 --> 01:20:24,719
Speaker 2: sex is not a thing for women. And if any

1536
01:20:24,800 --> 01:20:27,400
Speaker 2: woman is like I'm not interested in a serious relationship,

1537
01:20:27,400 --> 01:20:31,120
Speaker 2: it's like, well, because you haven't been dicked down with

1538
01:20:31,120 --> 01:20:33,599
Speaker 2: the right dick yet or what like, which is sort

1539
01:20:33,600 --> 01:20:37,479
Speaker 2: of hitches whole business. Is that being true? But also

1540
01:20:37,640 --> 01:20:40,960
Speaker 2: the world of this movie that is true.

1541
01:20:41,200 --> 01:20:48,680
Speaker 1: Yeah, this movie is very like heteronormative monogamy, normative serious

1542
01:20:48,720 --> 01:20:52,679
Speaker 1: relationship is the only way to go anything else. It's

1543
01:20:52,720 --> 01:20:57,080
Speaker 1: shallow and yucky. And so those are very obviously like

1544
01:20:57,120 --> 01:21:00,559
Speaker 1: two thousand and five sentiments. There's another thing that rubs

1545
01:21:00,600 --> 01:21:03,760
Speaker 1: me around, that rubs me the wrong way about the

1546
01:21:03,800 --> 01:21:07,240
Speaker 1: sort of ideology that this movie is operating within, which

1547
01:21:07,280 --> 01:21:10,760
Speaker 1: is a line that Hitch says at the end when

1548
01:21:10,760 --> 01:21:14,439
Speaker 1: they're at the like speed dating thing, and he says

1549
01:21:14,479 --> 01:21:18,200
Speaker 1: something like, no, my job isn't to encourage men to

1550
01:21:18,360 --> 01:21:21,160
Speaker 1: just like fuck a woman and leave.

1551
01:21:21,960 --> 01:21:25,760
Speaker 6: It's to when you perform this movie, I only want

1552
01:21:25,760 --> 01:21:28,240
Speaker 6: to watch your performance on it. I don't even want

1553
01:21:28,240 --> 01:21:29,840
Speaker 6: to watch the movie anywhere. I want to watch you

1554
01:21:29,880 --> 01:21:30,719
Speaker 6: perform the book.

1555
01:21:30,880 --> 01:21:37,760
Speaker 1: I'll do a solo show reenactment thing. But yeah, Hitch

1556
01:21:37,880 --> 01:21:42,080
Speaker 1: is like, my job is to get women to get

1557
01:21:42,080 --> 01:21:44,120
Speaker 1: out of their own head and out of their own

1558
01:21:44,160 --> 01:21:47,479
Speaker 1: way so that they'll give great guys like Albert a

1559
01:21:47,520 --> 01:21:52,080
Speaker 1: fighting chance. And basically what he's implying is women are

1560
01:21:52,680 --> 01:21:55,840
Speaker 1: shallow and again, they don't know what they want, and

1561
01:21:55,880 --> 01:21:59,120
Speaker 1: so it's my job to help these men get women

1562
01:21:59,280 --> 01:22:02,240
Speaker 1: to see that they're being superficial and they just need

1563
01:22:02,280 --> 01:22:06,200
Speaker 1: to give men a chance. Like forget about their compatibility,

1564
01:22:06,520 --> 01:22:09,880
Speaker 1: forget about women's autonomy over who they are and are

1565
01:22:09,920 --> 01:22:14,040
Speaker 1: not sexually interested in. That doesn't matter. What matters is

1566
01:22:14,120 --> 01:22:17,439
Speaker 1: that Hitch is there to help his clients teach these

1567
01:22:17,600 --> 01:22:22,160
Speaker 1: women a lesson in how to not be so shallow.

1568
01:22:22,240 --> 01:22:26,760
Speaker 1: And even though Hitch like unlearns stuff by the end

1569
01:22:26,800 --> 01:22:28,680
Speaker 1: and he realizes, oh, a lot of what I was

1570
01:22:28,720 --> 01:22:32,559
Speaker 1: saying was kind of bullshit, and I was wrong to

1571
01:22:32,600 --> 01:22:34,439
Speaker 1: give a lot of the advice that I gave. But

1572
01:22:34,520 --> 01:22:37,519
Speaker 1: I feel like the movie lands on the side of

1573
01:22:37,560 --> 01:22:43,120
Speaker 1: this particular point because we have Albert Brenneman ending up

1574
01:22:43,240 --> 01:22:47,000
Speaker 1: with this, you know, gorgeous bombshell woman.

1575
01:22:46,960 --> 01:22:49,960
Speaker 2: And like, you're gonna tell me he's not remotely shallow.

1576
01:22:50,160 --> 01:22:54,120
Speaker 2: Everyone is shallow during this movie, Like there's yeah, it

1577
01:22:54,120 --> 01:22:56,920
Speaker 2: doesn't feel like the onus, and Hitch kind of says

1578
01:22:56,960 --> 01:22:59,880
Speaker 2: that directly to Allegra wheor he challenges her on that

1579
01:23:00,040 --> 01:23:03,519
Speaker 2: of like, oh, well, if I didn't have him yell

1580
01:23:03,560 --> 01:23:06,240
Speaker 2: at you at work, would you have ever noticed him?

1581
01:23:06,439 --> 01:23:10,200
Speaker 2: And then she's like yes, eventually, well maybe it's not.

1582
01:23:10,760 --> 01:23:14,000
Speaker 2: And it's just like everyone's show. I don't know, Like

1583
01:23:14,200 --> 01:23:18,880
Speaker 2: it just feels like he's quicker to turn things on

1584
01:23:19,600 --> 01:23:21,479
Speaker 2: the woman in terms of yet like not knowing what

1585
01:23:21,560 --> 01:23:24,200
Speaker 2: she wants, and if she does know what she wants,

1586
01:23:24,200 --> 01:23:28,559
Speaker 2: she's baby shallow and there are shallow women. There's shallow

1587
01:23:28,640 --> 01:23:29,519
Speaker 2: people everywhere.

1588
01:23:29,600 --> 01:23:30,960
Speaker 1: It's of all genders.

1589
01:23:31,600 --> 01:23:33,320
Speaker 2: Yeah, very prescriptive.

1590
01:23:33,880 --> 01:23:36,240
Speaker 6: It's also necessary like when you when you say that,

1591
01:23:36,320 --> 01:23:38,639
Speaker 6: like the implication that I need to create an event

1592
01:23:38,960 --> 01:23:42,120
Speaker 6: for y'all to talk, it's like, yeah, maybe she maybe

1593
01:23:42,120 --> 01:23:45,519
Speaker 6: she never notices Albert. But I mean, the only crime

1594
01:23:45,560 --> 01:23:47,400
Speaker 6: of that is that we don't get to see Hitch

1595
01:23:47,680 --> 01:23:50,120
Speaker 6: the movie, like, and I'm saying that like as a

1596
01:23:50,160 --> 01:23:53,080
Speaker 6: metal problem. That's not what is the actual problem of

1597
01:23:53,120 --> 01:23:56,559
Speaker 6: her not meeting Albert Brenneman, Like I'm sure if there's

1598
01:23:56,600 --> 01:23:59,479
Speaker 6: another Albert Brennaman out there, she would be given the

1599
01:23:59,520 --> 01:24:02,759
Speaker 6: same series of circumstances she would meet them. But he's

1600
01:24:02,800 --> 01:24:04,680
Speaker 6: making it like this is a good man, and I'm

1601
01:24:04,680 --> 01:24:06,760
Speaker 6: going to force to show you why it's a good man,

1602
01:24:06,800 --> 01:24:09,040
Speaker 6: which is largely a lot of the cultural commentary that

1603
01:24:09,080 --> 01:24:11,680
Speaker 6: we have now in which people are like trying to

1604
01:24:11,720 --> 01:24:14,360
Speaker 6: force each other to see, well, this is a good man,

1605
01:24:14,479 --> 01:24:15,840
Speaker 6: or this is a good woman, or this is a

1606
01:24:15,840 --> 01:24:20,400
Speaker 6: good partner in a very prescriptive and saying this is

1607
01:24:20,400 --> 01:24:24,040
Speaker 6: what you should be liking, when I mean the truth is,

1608
01:24:24,080 --> 01:24:26,880
Speaker 6: we know, like the heart wants what it wants, and

1609
01:24:26,960 --> 01:24:30,000
Speaker 6: the tech boxes that you have in your life rarely

1610
01:24:30,040 --> 01:24:33,800
Speaker 6: match the person that you end up falling in love

1611
01:24:33,840 --> 01:24:36,880
Speaker 6: with or want to be long term partnered with or whatever.

1612
01:24:36,920 --> 01:24:41,240
Speaker 6: And I feel like again that grappling is not entirely

1613
01:24:41,360 --> 01:24:43,640
Speaker 6: there in this film, which makes it say and I

1614
01:24:43,680 --> 01:24:45,920
Speaker 6: think something that something that makes it probably would have

1615
01:24:45,920 --> 01:24:48,759
Speaker 6: beaten them better, would have been some sort of a

1616
01:24:48,800 --> 01:24:52,960
Speaker 6: failure where hitchkind say sorry, guess she just didn't like you.

1617
01:24:53,439 --> 01:24:55,400
Speaker 6: If that would have happened in the film, then at

1618
01:24:55,479 --> 01:24:57,680
Speaker 6: least we know like, hey, we did the thing, we

1619
01:24:57,720 --> 01:25:00,000
Speaker 6: did your bag of tricks, we gave you the confidence,

1620
01:25:00,120 --> 01:25:02,880
Speaker 6: and she still didn't like you. If that had been

1621
01:25:02,880 --> 01:25:04,400
Speaker 6: in the movie, then I'll be like, oh, this is

1622
01:25:04,439 --> 01:25:07,600
Speaker 6: with intention. They're actually grappling with this thing, because at

1623
01:25:07,680 --> 01:25:10,360
Speaker 6: least they're giving the women agency to say like, yeah, great,

1624
01:25:10,360 --> 01:25:12,080
Speaker 6: you found my dog. I never want to talk to

1625
01:25:12,080 --> 01:25:15,080
Speaker 6: you again, exactly.

1626
01:25:15,160 --> 01:25:15,599
Speaker 2: Yeah.

1627
01:25:16,120 --> 01:25:20,160
Speaker 1: And then also, I mean, specifically with the Albert Brenneman situation,

1628
01:25:21,200 --> 01:25:24,680
Speaker 1: what does he like about Allegra? We never find out

1629
01:25:24,800 --> 01:25:27,560
Speaker 1: aside from us being able to assume that she's beautiful

1630
01:25:27,680 --> 01:25:28,840
Speaker 1: and he's attracted to her.

1631
01:25:28,880 --> 01:25:35,600
Speaker 2: But beyond that, it's almost like he's being shallow. Yeah, right, that,

1632
01:25:38,520 --> 01:25:40,800
Speaker 2: which is fine, just admit, Like.

1633
01:25:40,920 --> 01:25:44,599
Speaker 1: So there are these problems, but I do think that

1634
01:25:44,640 --> 01:25:47,720
Speaker 1: the movie's heart is in the right place in a

1635
01:25:47,760 --> 01:25:52,080
Speaker 1: way that for example, what women want, No, that movie's

1636
01:25:52,080 --> 01:25:54,040
Speaker 1: heart is in the exact wrong place.

1637
01:25:54,320 --> 01:25:57,559
Speaker 2: So yeah, because Hitch genuinely grows as a character, which

1638
01:25:57,560 --> 01:26:00,599
Speaker 2: you cannot say for most men in rom coms definitely,

1639
01:26:00,720 --> 01:26:04,320
Speaker 2: or most characters has. Honestly, there's one thing I was

1640
01:26:04,360 --> 01:26:06,639
Speaker 2: not aware was a part of the conversation around this movie.

1641
01:26:06,720 --> 01:26:09,280
Speaker 2: But it's a conversation we have had about Will smith

1642
01:26:09,360 --> 01:26:11,400
Speaker 2: movies on this show before.

1643
01:26:11,520 --> 01:26:12,880
Speaker 1: I think I know where you're going with this.

1644
01:26:13,360 --> 01:26:18,799
Speaker 2: Yes, is there is a casting conversation around this movie.

1645
01:26:19,040 --> 01:26:21,720
Speaker 6: Yes, I know this now too.

1646
01:26:22,560 --> 01:26:26,479
Speaker 2: Yeah. So I was not aware, and thankfully scholarly journal

1647
01:26:26,479 --> 01:26:30,000
Speaker 2: Wikipedia brought me up to speed and there's a lot

1648
01:26:30,000 --> 01:26:33,639
Speaker 2: of information about this. But basically Will Smith said that

1649
01:26:33,960 --> 01:26:38,800
Speaker 2: Eva Mendez was cast and or offered this lead role

1650
01:26:38,920 --> 01:26:42,000
Speaker 2: because the producers of the movie were worried about the

1651
01:26:42,000 --> 01:26:45,720
Speaker 2: public's reaction if the part of Sarah was played by

1652
01:26:45,800 --> 01:26:49,160
Speaker 2: a white actress, which is of course praying on all

1653
01:26:49,200 --> 01:26:54,440
Speaker 2: of these anxieties around on one side, an interracial relationship

1654
01:26:54,479 --> 01:26:58,840
Speaker 2: between a black actor and a white actress specifically, which

1655
01:26:58,880 --> 01:27:01,320
Speaker 2: we could get we've obviously talked about many times on

1656
01:27:01,360 --> 01:27:04,600
Speaker 2: the show. And hopefully you live in the world and

1657
01:27:04,640 --> 01:27:09,439
Speaker 2: you're aware of how frequently black men are stereotyped as

1658
01:27:09,600 --> 01:27:14,200
Speaker 2: being predatory towards white women, specifically but they also didn't

1659
01:27:14,240 --> 01:27:16,639
Speaker 2: want to cast a black actor in this movie because

1660
01:27:16,680 --> 01:27:20,920
Speaker 2: then it would be perceived as a movie. And then

1661
01:27:21,280 --> 01:27:25,040
Speaker 2: it is the feeling of Hollywood to this day for

1662
01:27:25,080 --> 01:27:27,720
Speaker 2: the most part, that they can't promote the movie in

1663
01:27:27,720 --> 01:27:29,200
Speaker 2: the way that they want. They can't promote it to

1664
01:27:29,240 --> 01:27:31,720
Speaker 2: a general audience, which is their way of saying a

1665
01:27:31,720 --> 01:27:34,559
Speaker 2: white audience. And so the way that they split the

1666
01:27:34,720 --> 01:27:36,880
Speaker 2: difference here, and there's a quote from Will Smith. I'm

1667
01:27:36,880 --> 01:27:40,919
Speaker 2: not stating this is fact, but by casting a Latina

1668
01:27:41,000 --> 01:27:45,080
Speaker 2: actress in this role, that is their way of getting

1669
01:27:45,160 --> 01:27:49,040
Speaker 2: around it being either an interracial relationship between a black

1670
01:27:49,040 --> 01:27:51,280
Speaker 2: actor and a white actress, but it's also not quote

1671
01:27:51,320 --> 01:27:55,040
Speaker 2: unquote a black movie, and that way it's okay for

1672
01:27:55,200 --> 01:27:59,439
Speaker 2: general audiences. Of course, none of this is Eva Mendus's problem,

1673
01:27:59,600 --> 01:28:02,120
Speaker 2: but I want to share Will Smith. I'm not sure

1674
01:28:02,160 --> 01:28:08,280
Speaker 2: exactly when he gave this interview, but he said of

1675
01:28:08,320 --> 01:28:11,240
Speaker 2: this casting choice, he said, there's a sort of accepted

1676
01:28:11,280 --> 01:28:13,439
Speaker 2: myth that if you have two black actors, a male

1677
01:28:13,479 --> 01:28:16,000
Speaker 2: and a female in the lead of a romantic comedy,

1678
01:28:16,200 --> 01:28:18,479
Speaker 2: that people around the world don't want to see it.

1679
01:28:18,840 --> 01:28:21,439
Speaker 2: We spend fifty something million making this movie so the

1680
01:28:21,479 --> 01:28:24,200
Speaker 2: idea of a black actor and a white actress comes up.

1681
01:28:24,479 --> 01:28:26,880
Speaker 2: That'll work around the world, but it's a problem in

1682
01:28:26,920 --> 01:28:31,120
Speaker 2: the US. There has been a lot written about this.

1683
01:28:31,200 --> 01:28:34,760
Speaker 2: I've looked up some other examples where clearly this is

1684
01:28:34,880 --> 01:28:37,680
Speaker 2: like well trodden ground but in the year sort of

1685
01:28:37,760 --> 01:28:40,040
Speaker 2: leading up to Hitch and these are examples I wasn't

1686
01:28:40,080 --> 01:28:44,400
Speaker 2: aware of because I was not alive. Bravely, but in

1687
01:28:44,479 --> 01:28:48,120
Speaker 2: nineteen eighty nine there was an interracial relationship between a

1688
01:28:48,120 --> 01:28:51,040
Speaker 2: black man and a white woman on All My Children,

1689
01:28:51,160 --> 01:28:54,400
Speaker 2: and it got an actor fired because his character became

1690
01:28:54,520 --> 01:28:59,400
Speaker 2: so unpopular. Allegedly, there was an example on a different

1691
01:28:59,439 --> 01:29:03,440
Speaker 2: world where this also happened, where there was like boycotts

1692
01:29:03,479 --> 01:29:07,160
Speaker 2: of the show. And so this is I mean, obviously

1693
01:29:07,240 --> 01:29:12,280
Speaker 2: the history of interracial relationships outside of Hollywood has been

1694
01:29:12,400 --> 01:29:17,360
Speaker 2: so horrifically policed and continues to be in Hollywood. But

1695
01:29:17,880 --> 01:29:20,200
Speaker 2: where we talked about it before was in Bad.

1696
01:29:20,040 --> 01:29:23,280
Speaker 1: Boys one and Men in Black and Men in Black,

1697
01:29:23,320 --> 01:29:27,000
Speaker 1: because both of those movies have a white woman cast

1698
01:29:27,280 --> 01:29:30,960
Speaker 1: as what would be the love interest to the Will

1699
01:29:31,000 --> 01:29:35,360
Speaker 1: Smith character in probably any other movie, but because it's

1700
01:29:35,560 --> 01:29:37,800
Speaker 1: a black male protagonist as like the lead of the

1701
01:29:37,840 --> 01:29:41,000
Speaker 1: movie and a white woman. There are no on screen

1702
01:29:41,080 --> 01:29:43,919
Speaker 1: kisses or any It's.

1703
01:29:43,760 --> 01:29:47,400
Speaker 2: Not it doesn't actually, yeah, and this movie is very

1704
01:29:47,439 --> 01:29:49,440
Speaker 2: much a part of that same conversation.

1705
01:29:50,360 --> 01:29:55,519
Speaker 6: It's I mean, it's problematic in many ways, and this

1706
01:29:55,600 --> 01:29:58,479
Speaker 6: is like obviously a relic of those times. But there's

1707
01:29:58,520 --> 01:30:01,120
Speaker 6: also a way in which we especially when it comes

1708
01:30:01,160 --> 01:30:04,720
Speaker 6: to interracial relationships between black people and white people specifically,

1709
01:30:04,760 --> 01:30:08,160
Speaker 6: because this is still an interracial relationship, like we talk

1710
01:30:08,160 --> 01:30:10,720
Speaker 6: about what's going on in a hitch, but like specifically

1711
01:30:10,720 --> 01:30:14,760
Speaker 6: with white people and black people specifically. Like there's a

1712
01:30:14,840 --> 01:30:18,360
Speaker 6: conversation that happens, especially amongst the black community about what

1713
01:30:18,400 --> 01:30:21,360
Speaker 6: this means, especially for black men and white women. But

1714
01:30:21,520 --> 01:30:25,400
Speaker 6: also what's happening right now with Love Island and Nicolandria,

1715
01:30:25,479 --> 01:30:28,360
Speaker 6: which is a black woman and a white man. Another

1716
01:30:28,439 --> 01:30:32,559
Speaker 6: conversation is also being formed within the black community. But

1717
01:30:32,600 --> 01:30:34,960
Speaker 6: when it comes to the screen, when it comes to Hollywood,

1718
01:30:35,000 --> 01:30:38,160
Speaker 6: there's a way in which the anticipation of what is

1719
01:30:38,200 --> 01:30:41,320
Speaker 6: going to be well received or not is really a

1720
01:30:41,360 --> 01:30:46,160
Speaker 6: reflection of our actual behavior. Because I do believe that

1721
01:30:46,200 --> 01:30:49,040
Speaker 6: if they cast a black woman in this role, all

1722
01:30:49,080 --> 01:30:52,120
Speaker 6: of a sudden, the soundtrack is different to this film.

1723
01:30:53,280 --> 01:30:56,519
Speaker 6: The way that their marketing is entirely differently is different,

1724
01:30:56,600 --> 01:30:58,920
Speaker 6: and there's people are that will look at this and say, oh,

1725
01:30:59,000 --> 01:31:01,760
Speaker 6: I don't know if that for me. But if we

1726
01:31:01,840 --> 01:31:04,800
Speaker 6: actually went down into a checklist, like even something like Hancock,

1727
01:31:05,040 --> 01:31:08,919
Speaker 6: in which Will Smith is theoretically partnered with charlie' Starren

1728
01:31:09,360 --> 01:31:11,600
Speaker 6: and there they broke up, they're no longer in a

1729
01:31:11,680 --> 01:31:15,200
Speaker 6: relationship in the film, so we don't get any steamy

1730
01:31:15,200 --> 01:31:18,320
Speaker 6: hot seeds between Charlie Starren and Will Smith, you know

1731
01:31:18,360 --> 01:31:19,960
Speaker 6: what I mean. But then if you start going down

1732
01:31:19,960 --> 01:31:21,800
Speaker 6: a checklist of all these Will Smith, who is a

1733
01:31:21,920 --> 01:31:24,559
Speaker 6: light skinned black man, the colorism guilds in there too,

1734
01:31:24,840 --> 01:31:26,880
Speaker 6: if you start to think about that and think about

1735
01:31:26,880 --> 01:31:29,559
Speaker 6: who they pair him with, then it really starts declare

1736
01:31:29,600 --> 01:31:33,240
Speaker 6: to be like man. So is this on us, the

1737
01:31:33,320 --> 01:31:37,200
Speaker 6: viewing audience or is this on Hollywood? Who's saying based

1738
01:31:37,240 --> 01:31:39,479
Speaker 6: on your be But I feel like Hollywood say was

1739
01:31:39,600 --> 01:31:41,639
Speaker 6: based on your behavior. We don't think you're gonna watch

1740
01:31:41,680 --> 01:31:44,800
Speaker 6: this movie, which we'd have to do more examples of

1741
01:31:45,680 --> 01:31:48,920
Speaker 6: that being the case. But it's frustrating to say, like,

1742
01:31:48,960 --> 01:31:50,560
Speaker 6: you put another black person in this now it's a

1743
01:31:50,560 --> 01:31:53,080
Speaker 6: black film, and we can't. We can't watch it anymore.

1744
01:31:53,120 --> 01:31:54,840
Speaker 6: The last thing I'll say is the studio covers this

1745
01:31:55,040 --> 01:31:58,519
Speaker 6: very well. The studio on Apple TV Plus with Seth Rogen,

1746
01:31:59,600 --> 01:32:01,800
Speaker 6: it covers this very well. What it talks about. There's

1747
01:32:01,800 --> 01:32:04,760
Speaker 6: an episode about them making a kool Aid movie and

1748
01:32:04,800 --> 01:32:08,200
Speaker 6: they talk about race casting specifically there, which I encourage

1749
01:32:08,240 --> 01:32:10,760
Speaker 6: everyone to go watch because they talk about the very

1750
01:32:10,840 --> 01:32:13,599
Speaker 6: nuanced way this idea of too many black folks makes

1751
01:32:13,640 --> 01:32:16,559
Speaker 6: it a black film. Now can we market it? Which, yes,

1752
01:32:16,640 --> 01:32:19,920
Speaker 6: you can is the real answer. But I think it's

1753
01:32:19,920 --> 01:32:22,800
Speaker 6: something that it's a conversation worth continuing.

1754
01:32:22,840 --> 01:32:26,639
Speaker 1: I would say absolutely yes. Before I knew about this

1755
01:32:27,240 --> 01:32:32,439
Speaker 1: very deliberate casting choice, I was just watching the movie.

1756
01:32:32,640 --> 01:32:36,519
Speaker 1: I was like, Wow, unlike a lot of rom coms,

1757
01:32:36,560 --> 01:32:40,240
Speaker 1: and specifically romcoms set in New York City, this movie

1758
01:32:40,320 --> 01:32:45,639
Speaker 1: does not center whiteness. There is this interracial, multi ethnic

1759
01:32:45,800 --> 01:32:49,880
Speaker 1: relationship happening. But I did I was like, I bet

1760
01:32:50,000 --> 01:32:53,719
Speaker 1: that was a very deliberate choice. Did the reading about

1761
01:32:53,720 --> 01:32:58,160
Speaker 1: it found out? My suspicions were very much confirmed, and

1762
01:32:58,880 --> 01:33:02,920
Speaker 1: I just had anticipated that they were very deliberately making

1763
01:33:02,960 --> 01:33:06,280
Speaker 1: these casting choices to make it quote unquote palatable to

1764
01:33:06,680 --> 01:33:11,080
Speaker 1: a white audience, and that worked because the movies what

1765
01:33:11,240 --> 01:33:13,880
Speaker 1: the third highest grossing rom coong of all time. It

1766
01:33:13,920 --> 01:33:17,519
Speaker 1: grossed three hundred and seventy one million dollars at the

1767
01:33:17,560 --> 01:33:22,439
Speaker 1: box office. You know, this was a very deliberate marketing

1768
01:33:22,560 --> 01:33:24,519
Speaker 1: slash investment choice.

1769
01:33:24,720 --> 01:33:28,760
Speaker 12: Well, and but the thing I find where the industry

1770
01:33:29,160 --> 01:33:32,639
Speaker 12: says these things as if this is going to be true,

1771
01:33:32,920 --> 01:33:36,000
Speaker 12: And we've seen so many times that the way that

1772
01:33:36,400 --> 01:33:40,920
Speaker 12: marketing campaigns for Hollywood movies are designed are not necessarily

1773
01:33:40,960 --> 01:33:44,439
Speaker 12: based around reality. They're based around the prejudices all of

1774
01:33:44,479 --> 01:33:46,040
Speaker 12: the people who dictate.

1775
01:33:45,680 --> 01:33:49,360
Speaker 2: What happens in the marketing campaign. And so while it's like,

1776
01:33:49,400 --> 01:33:52,680
Speaker 2: I like there is some gray area here of like

1777
01:33:53,479 --> 01:33:57,160
Speaker 2: if there were a black actress playing Sarah and they

1778
01:33:57,280 --> 01:34:00,479
Speaker 2: just committed to marketing it the same amout as they

1779
01:34:00,479 --> 01:34:03,519
Speaker 2: would if Eva Mendez is in that role, it's very

1780
01:34:03,560 --> 01:34:06,840
Speaker 2: possible the movie would still do very well. And like

1781
01:34:07,080 --> 01:34:11,360
Speaker 2: that doesn't preclude racist audience members who are going to

1782
01:34:11,840 --> 01:34:14,760
Speaker 2: pigeonhole this movie as a quote unquote black movie. But

1783
01:34:15,360 --> 01:34:18,200
Speaker 2: I also feel like that that kind of stuff is

1784
01:34:18,200 --> 01:34:22,599
Speaker 2: sometimes used by marketing people to say, well, we had

1785
01:34:22,640 --> 01:34:26,439
Speaker 2: to and it's and it's the audience's fault, and it's like, well,

1786
01:34:26,439 --> 01:34:28,720
Speaker 2: there's a lot more going on than it's not it.

1787
01:34:29,600 --> 01:34:32,280
Speaker 2: The audience is definitely a part, a huge part of it,

1788
01:34:32,680 --> 01:34:35,200
Speaker 2: but you can't say that the audience is forcing your hand.

1789
01:34:35,240 --> 01:34:37,559
Speaker 2: The audience doesn't know until you market it to them.

1790
01:34:37,920 --> 01:34:41,040
Speaker 6: I would strongly encourage both of y'all and the listening

1791
01:34:41,040 --> 01:34:43,240
Speaker 6: audience to check out. There's an episode of the Town

1792
01:34:44,400 --> 01:34:48,160
Speaker 6: where in which they talk about Centers specifically, and I'm

1793
01:34:48,240 --> 01:34:51,200
Speaker 6: forgetting the guest's name who was on there, but fought

1794
01:34:51,240 --> 01:34:55,840
Speaker 6: tooth and nail to specifically say what happens when you

1795
01:34:56,000 --> 01:34:59,120
Speaker 6: market films that are black and what that looks like

1796
01:34:59,160 --> 01:35:03,000
Speaker 6: in terms of World War gross versus domestic gross, which, like,

1797
01:35:03,080 --> 01:35:06,719
Speaker 6: it's a conversation that is still being had even right now, because,

1798
01:35:06,920 --> 01:35:10,320
Speaker 6: as most of us know, when Sinners came out, Variety

1799
01:35:10,400 --> 01:35:13,400
Speaker 6: puts out this piece in which it's like Sinner's had

1800
01:35:13,439 --> 01:35:16,759
Speaker 6: a great opening weekend, but profitability is still very far away,

1801
01:35:17,040 --> 01:35:19,080
Speaker 6: in which everyone's like, why are you talking about the

1802
01:35:19,080 --> 01:35:22,800
Speaker 6: movie in this way? Like you're basically like like hamstringing

1803
01:35:22,840 --> 01:35:25,679
Speaker 6: it for some reason instead of talking about the path

1804
01:35:25,680 --> 01:35:27,320
Speaker 6: that it could go. And of course Centners goes on

1805
01:35:27,360 --> 01:35:29,400
Speaker 6: to break records and do very well and make a

1806
01:35:29,439 --> 01:35:31,600
Speaker 6: lot of money at the box office, especially for a

1807
01:35:31,680 --> 01:35:34,400
Speaker 6: RAT and R movie. But you're right, like the marketing

1808
01:35:34,400 --> 01:35:37,880
Speaker 6: when you talk about actually spending the money, you do

1809
01:35:37,960 --> 01:35:41,559
Speaker 6: see that there are returns that come. Even if it's

1810
01:35:41,600 --> 01:35:45,000
Speaker 6: considered to be a black film or even a woman

1811
01:35:45,080 --> 01:35:48,160
Speaker 6: film or a queer film, you still have to spend

1812
01:35:48,200 --> 01:35:50,479
Speaker 6: the money to get people to see it. And I

1813
01:35:50,520 --> 01:35:54,000
Speaker 6: think there's like there's this shirking of duties that happens

1814
01:35:54,240 --> 01:35:57,040
Speaker 6: amongst Hollywood studios because of that assumption, well, we're not

1815
01:35:57,080 --> 01:35:59,200
Speaker 6: gonna spend the money because they're not gonna come, Like, well,

1816
01:35:59,200 --> 01:36:00,920
Speaker 6: if you spend the money, they're definitely not gonna come.

1817
01:36:01,040 --> 01:36:02,720
Speaker 2: If you don't spend the money, no one's gonna come.

1818
01:36:02,760 --> 01:36:04,280
Speaker 2: And then you're just gonna blame it on the audience

1819
01:36:04,320 --> 01:36:07,080
Speaker 2: again exactly. I feel like we're in a big period

1820
01:36:07,080 --> 01:36:10,760
Speaker 2: of that in streaming as well, where there's a lot

1821
01:36:10,800 --> 01:36:15,320
Speaker 2: of talk around like, well we we diversified our streaming product,

1822
01:36:15,320 --> 01:36:17,040
Speaker 2: but now no one's watching it. It's like because you

1823
01:36:17,080 --> 01:36:20,160
Speaker 2: don't promote it the masses.

1824
01:36:20,280 --> 01:36:22,880
Speaker 1: I'm excited to listen to that episode though, of the

1825
01:36:23,000 --> 01:36:26,439
Speaker 1: Town on Sinners, because we'll be covering that movie pretty soon.

1826
01:36:26,320 --> 01:36:29,160
Speaker 6: So definitely put this in your research.

1827
01:36:29,479 --> 01:36:30,200
Speaker 1: Cool for sure.

1828
01:36:30,840 --> 01:36:31,160
Speaker 6: What else?

1829
01:36:31,240 --> 01:36:32,680
Speaker 2: What else we got? What else we got?

1830
01:36:32,800 --> 01:36:38,479
Speaker 1: Hitch, Grandma, We've got the rampant heteronormativity of this movie.

1831
01:36:39,640 --> 01:36:44,160
Speaker 1: There are a few queer characters, and I believe all

1832
01:36:44,200 --> 01:36:48,599
Speaker 1: of them are identifiably queer and not just queer coded,

1833
01:36:48,720 --> 01:36:52,720
Speaker 1: based on usually one tiny line of dialogue where you

1834
01:36:52,800 --> 01:36:57,920
Speaker 1: have Jeff, who is Sarah's colleague, played by Nathan Lee Graham,

1835
01:36:58,120 --> 01:37:01,559
Speaker 1: who I recognize from Zoolander. Of course, there's a part

1836
01:37:01,600 --> 01:37:05,760
Speaker 1: where he's meeting with Hitch, pretending to hire him, and

1837
01:37:05,760 --> 01:37:10,720
Speaker 1: then Sarah's other colleague is like, wow, Jeff's actually managing

1838
01:37:10,800 --> 01:37:14,599
Speaker 1: to play it straight, and so, oh, I missed that.

1839
01:37:14,680 --> 01:37:17,960
Speaker 1: There's that thing that I guess identifies him as a

1840
01:37:18,000 --> 01:37:19,120
Speaker 1: gay man, and.

1841
01:37:19,280 --> 01:37:21,400
Speaker 2: He put it's always in the blink, and you miss

1842
01:37:21,400 --> 01:37:22,439
Speaker 2: it exact for sure.

1843
01:37:23,040 --> 01:37:28,439
Speaker 1: And then there's Raoul, the doorman of Hitch's building, played

1844
01:37:28,439 --> 01:37:32,160
Speaker 1: by Molick Patolli aka Jonathan from thirty Rock.

1845
01:37:32,920 --> 01:37:34,880
Speaker 2: Yes, Oh my gosh, and they're they're making him do

1846
01:37:34,960 --> 01:37:35,840
Speaker 2: an accent.

1847
01:37:36,040 --> 01:37:40,360
Speaker 1: And play a character whose ethnicity is not his at all. Yeah,

1848
01:37:40,360 --> 01:37:44,240
Speaker 1: because he is Indian American and the character he's playing

1849
01:37:44,560 --> 01:37:46,800
Speaker 1: I think is suggested to be LATINX.

1850
01:37:47,080 --> 01:37:47,360
Speaker 2: Yeah.

1851
01:37:47,640 --> 01:37:48,920
Speaker 1: I feel like there was just like one of those

1852
01:37:48,960 --> 01:37:54,320
Speaker 1: classic Hollywood casting you know, racist brown people. They're all

1853
01:37:54,360 --> 01:37:57,840
Speaker 1: the same, right, no one will notice the difference in

1854
01:37:57,880 --> 01:38:01,880
Speaker 1: any case. The character of Raoul says that he needs

1855
01:38:01,920 --> 01:38:06,519
Speaker 1: to bring his partner a mirror somewhere amazing. And then

1856
01:38:06,600 --> 01:38:11,640
Speaker 1: there is Maggie aka magnus Alegra's best friend, who I

1857
01:38:11,680 --> 01:38:14,360
Speaker 1: think this one is a bit more coded than explicit.

1858
01:38:14,720 --> 01:38:18,720
Speaker 2: Yeah. He asks if Kevin James is gay, which is

1859
01:38:19,000 --> 01:38:22,200
Speaker 2: honestly maybe. I was like, oh, I guess this character

1860
01:38:22,280 --> 01:38:23,320
Speaker 2: is supposed to be gay.

1861
01:38:23,360 --> 01:38:25,400
Speaker 1: I didn't, That's what I interpreted to.

1862
01:38:25,640 --> 01:38:25,880
Speaker 2: Yeah.

1863
01:38:25,960 --> 01:38:28,960
Speaker 4: No, I think you're right. I just it was a

1864
01:38:28,960 --> 01:38:32,040
Speaker 4: messy one. Yeah, they're all messy one. They're all for sure,

1865
01:38:32,040 --> 01:38:34,920
Speaker 4: they're all messy. The movie does not care about their

1866
01:38:35,000 --> 01:38:38,800
Speaker 4: romantic lives at all. It only cares about the large

1867
01:38:38,840 --> 01:38:42,000
Speaker 4: number of straight people's romantic lives. Hitch does not work

1868
01:38:42,040 --> 01:38:45,599
Speaker 4: with queer people. It seems it's only straight men who

1869
01:38:45,680 --> 01:38:49,639
Speaker 4: want to date women. All three of these queer characters

1870
01:38:49,720 --> 01:38:53,639
Speaker 4: are only in the movie basically to help the straight

1871
01:38:53,680 --> 01:38:58,200
Speaker 4: people or to be overly concerned about the romantic lives

1872
01:38:58,400 --> 01:39:01,400
Speaker 4: of their straight friends. So it's, you know, the classic

1873
01:39:02,200 --> 01:39:05,439
Speaker 4: two thousand's era queer representation you see in a wrong

1874
01:39:05,560 --> 01:39:09,240
Speaker 4: com I mean, yeah, it's a barely representation for sure.

1875
01:39:09,520 --> 01:39:14,519
Speaker 1: And then you have the rampant homophobia of Hitch's character

1876
01:39:14,640 --> 01:39:19,360
Speaker 1: when he freaks out when Albert kisses him, which we've

1877
01:39:19,400 --> 01:39:22,360
Speaker 1: touched on a little bit, but again, it's just like

1878
01:39:22,400 --> 01:39:26,479
Speaker 1: the classic no homo, oh my god, a man kissed me.

1879
01:39:26,720 --> 01:39:31,400
Speaker 1: I have to spit in like dry heave and all

1880
01:39:31,400 --> 01:39:34,479
Speaker 1: that kind of thing, because it's so gross that he

1881
01:39:34,600 --> 01:39:38,960
Speaker 1: touched my lips for half a second. But also like,

1882
01:39:39,120 --> 01:39:42,960
Speaker 1: maybe Albert shouldn't have surprise kissed him. Maybe this whole

1883
01:39:43,080 --> 01:39:48,680
Speaker 1: ninety ratio is bad and I've been obsessed with it

1884
01:39:48,720 --> 01:39:49,519
Speaker 1: for twenty years.

1885
01:39:49,880 --> 01:39:51,040
Speaker 6: Is a problem here?

1886
01:39:51,520 --> 01:39:54,920
Speaker 2: Yeah, yeah, I think what Hits just learned is that

1887
01:39:55,840 --> 01:39:59,559
Speaker 2: it's too close. It's too close. But he will not

1888
01:39:59,760 --> 01:40:02,559
Speaker 2: hes not at a point in his life where he's

1889
01:40:02,600 --> 01:40:07,400
Speaker 2: ready to reevaluate the system. I do agree with you that, Renald.

1890
01:40:07,479 --> 01:40:09,960
Speaker 2: I do think that he will grow as a person.

1891
01:40:10,640 --> 01:40:13,719
Speaker 2: He will as a fictional man, will will grow.

1892
01:40:14,240 --> 01:40:17,360
Speaker 6: I would imagine Hitch two tackles all of this every

1893
01:40:17,400 --> 01:40:20,360
Speaker 6: complaint we have, Like there's there's going to be a

1894
01:40:20,479 --> 01:40:24,880
Speaker 6: main Like the main consulted person would be queer, and

1895
01:40:25,040 --> 01:40:27,160
Speaker 6: there would be Hitch learning along the way, and he'd

1896
01:40:27,200 --> 01:40:31,479
Speaker 6: probably have like a woman partner that's helping him. Maybe

1897
01:40:31,720 --> 01:40:34,479
Speaker 6: Eva Mendez is helping him with his business. Like there's

1898
01:40:34,800 --> 01:40:37,000
Speaker 6: there's going to be They're definitely doing a lot more

1899
01:40:37,040 --> 01:40:39,240
Speaker 6: in the sequel. I would say, it's demonstrate it. We've

1900
01:40:39,280 --> 01:40:41,320
Speaker 6: taken a progressive step forward, you know what I mean,

1901
01:40:41,400 --> 01:40:41,960
Speaker 6: So more of.

1902
01:40:41,920 --> 01:40:47,320
Speaker 2: A queer eye energy. Yeah, yeah, that's right. Yeah, which

1903
01:40:47,400 --> 01:40:51,640
Speaker 2: is classic television, classic television. I'm afraid to revisit the

1904
01:40:51,640 --> 01:40:53,680
Speaker 2: old series because I watched it with my mom. I'm like,

1905
01:40:53,680 --> 01:40:57,000
Speaker 2: I'm sure there's problems, but I loved it so much. Yeah,

1906
01:40:57,040 --> 01:40:59,120
Speaker 2: And I also I'm like, who knows if we get

1907
01:40:59,200 --> 01:41:02,320
Speaker 2: Hitch two, I don't know what even Mendes his character

1908
01:41:02,360 --> 01:41:04,480
Speaker 2: is going to do. What with the collapse of journalism.

1909
01:41:04,560 --> 01:41:07,400
Speaker 2: I think she probably lost her apartment. Unfortunately, she has

1910
01:41:07,439 --> 01:41:10,240
Speaker 2: a podcasts.

1911
01:41:10,280 --> 01:41:11,479
Speaker 6: All journalists have podcasts.

1912
01:41:11,479 --> 01:41:14,679
Speaker 2: Now, Yeah, it's Sex and the City to Yeah, yeah,

1913
01:41:14,760 --> 01:41:19,000
Speaker 2: it's true. As far as the Bechdel test goes, no

1914
01:41:20,000 --> 01:41:25,120
Speaker 2: question Mark, you say no, I feel like hitch looms

1915
01:41:25,240 --> 01:41:29,400
Speaker 2: large over every conversation in this movie, or or Albert

1916
01:41:29,520 --> 01:41:30,360
Speaker 2: I guess as the case.

1917
01:41:30,400 --> 01:41:33,600
Speaker 1: Maybe yeah, I mean there are scenes where Sarah and

1918
01:41:33,640 --> 01:41:36,360
Speaker 1: her friend Casey talk, but it's almost always about like

1919
01:41:36,920 --> 01:41:41,880
Speaker 1: heterosexual dating. So no, And then Allegra, I don't think

1920
01:41:41,960 --> 01:41:47,200
Speaker 1: talks to any women. If so, it's never a meaningful conversation.

1921
01:41:47,400 --> 01:41:50,840
Speaker 1: So I think this is a no to the Bechdel test.

1922
01:41:51,160 --> 01:41:54,960
Speaker 2: Yeah, they did give Sarah a friend, which again is

1923
01:41:55,000 --> 01:41:58,719
Speaker 2: more than you sometimes guess. But let's talk about the

1924
01:41:58,760 --> 01:42:01,560
Speaker 2: most important metric to ever exist.

1925
01:42:01,680 --> 01:42:05,479
Speaker 1: The Bechdel cast nipple scale, in which we rate zero

1926
01:42:05,520 --> 01:42:08,800
Speaker 1: to five nipples based on examining the movie through an

1927
01:42:08,800 --> 01:42:15,280
Speaker 1: intersectional feminist lens. I will give this maybe a two

1928
01:42:15,640 --> 01:42:17,840
Speaker 1: two and a half. It feels like a split down

1929
01:42:17,840 --> 01:42:21,479
Speaker 1: the middle for me, where again it's leaning into some

1930
01:42:21,520 --> 01:42:27,320
Speaker 1: pretty formulaic rom com tropes of the time, lots of

1931
01:42:27,680 --> 01:42:30,920
Speaker 1: a woman who's so focused on her career that she

1932
01:42:30,960 --> 01:42:34,479
Speaker 1: doesn't have time for a boyfriend. Everything we've talked about.

1933
01:42:35,200 --> 01:42:37,759
Speaker 1: I'll give it two and a half nipples. I'll give them.

1934
01:42:38,720 --> 01:42:42,040
Speaker 1: I'll give one to Eva Mendez, I will give one

1935
01:42:42,479 --> 01:42:45,720
Speaker 1: to and the tenant.

1936
01:42:46,280 --> 01:42:48,000
Speaker 2: Yeah, friend of the show apparently.

1937
01:42:48,280 --> 01:42:50,519
Speaker 1: I don't know how he is as a person or

1938
01:42:50,520 --> 01:42:54,960
Speaker 1: what his politics are, but he's a frequent director on

1939
01:42:55,040 --> 01:42:59,160
Speaker 1: the show, so good for him. He's directed some iconic movies.

1940
01:43:00,000 --> 01:43:04,080
Speaker 1: And then I'll give my half nipple to the impending

1941
01:43:04,200 --> 01:43:07,599
Speaker 1: draft of Hitch two, which I propose that we all

1942
01:43:07,720 --> 01:43:08,599
Speaker 1: write together.

1943
01:43:09,240 --> 01:43:15,840
Speaker 2: Incredible, an extremely hitched movie. Yes, I'll also go two

1944
01:43:15,880 --> 01:43:20,679
Speaker 2: and a half, which I'm so surprised to hear myself saying, I, Yeah,

1945
01:43:20,720 --> 01:43:22,599
Speaker 2: I was pleasantly surprised by this movie.

1946
01:43:23,280 --> 01:43:28,120
Speaker 14: And it is very much plagued with all of the

1947
01:43:28,200 --> 01:43:31,360
Speaker 14: products of its time gags you would expect in a

1948
01:43:31,400 --> 01:43:34,200
Speaker 14: movie like this. It's a weird one where I do

1949
01:43:34,280 --> 01:43:37,480
Speaker 14: believe it's heart is in the right place, but it's still.

1950
01:43:37,640 --> 01:43:41,880
Speaker 2: Dressed up like every other movie like it of its

1951
01:43:41,920 --> 01:43:44,439
Speaker 2: time whose heart isn't in the right place. So it's

1952
01:43:44,520 --> 01:43:49,040
Speaker 2: just a weird watch. But revisiting it, I get why

1953
01:43:49,080 --> 01:43:51,559
Speaker 2: people like why people still have a lot of love

1954
01:43:51,600 --> 01:43:54,040
Speaker 2: for this movie. I also think, you know, this is

1955
01:43:54,080 --> 01:43:58,800
Speaker 2: the highest grossing rom com starring a black actor ever,

1956
01:43:58,920 --> 01:44:03,720
Speaker 2: and that is like a worth celebrating. And yeah, and

1957
01:44:03,800 --> 01:44:07,519
Speaker 2: I do believe hitch would learn from his experience. I

1958
01:44:07,560 --> 01:44:09,679
Speaker 2: also don't think Hum and Sarah are gonna stay together,

1959
01:44:09,840 --> 01:44:12,799
Speaker 2: and I think what they both need is a healthy breakup,

1960
01:44:12,880 --> 01:44:18,120
Speaker 2: and that is what is going to really set hitch free.

1961
01:44:18,720 --> 01:44:21,800
Speaker 2: Two and a half nipples. I'm giving them all to

1962
01:44:22,000 --> 01:44:24,280
Speaker 2: Eva Mendez to do with what she pleases.

1963
01:44:24,720 --> 01:44:26,800
Speaker 1: Yes, Ronald, how about you?

1964
01:44:27,160 --> 01:44:29,160
Speaker 6: I think I liked it a little bit more than y'all,

1965
01:44:29,400 --> 01:44:32,800
Speaker 6: but not much more. I'd say three nipples, and I

1966
01:44:32,840 --> 01:44:38,120
Speaker 6: would give one to the growth of Alex Hitchins, one

1967
01:44:38,240 --> 01:44:43,840
Speaker 6: to the charm of Alex Brenneman, and I'll probably give

1968
01:44:43,920 --> 01:44:48,120
Speaker 6: my third nipple to the aesthetic of the film. It

1969
01:44:48,280 --> 01:44:53,160
Speaker 6: felt very much like Ocean's eleven doublewares Prada. You know,

1970
01:44:53,200 --> 01:44:57,360
Speaker 6: they're very like slick like specific scoring that you hear

1971
01:44:57,560 --> 01:45:00,800
Speaker 6: and sheen over the film. I really enjoy that, and

1972
01:45:00,840 --> 01:45:03,360
Speaker 6: it just brings me back to a different era. They

1973
01:45:03,479 --> 01:45:07,880
Speaker 6: really don't make them like this anymore. But for all

1974
01:45:07,920 --> 01:45:09,720
Speaker 6: of the reasons that you said, I don't think it

1975
01:45:09,760 --> 01:45:13,040
Speaker 6: could go above three nipples. So yeah, yeah.

1976
01:45:13,040 --> 01:45:15,880
Speaker 2: Thankk you. Yeah, this was so much fun. The HH

1977
01:45:16,000 --> 01:45:17,960
Speaker 2: episode was everything I dreamed in more.

1978
01:45:18,920 --> 01:45:20,160
Speaker 6: I'm glad. I'm glad to be.

1979
01:45:20,160 --> 01:45:23,240
Speaker 1: Here where can people follow your work? Follow you on

1980
01:45:23,280 --> 01:45:25,880
Speaker 1: social media plug away.

1981
01:45:25,960 --> 01:45:28,960
Speaker 6: You can follow me on Instagram and threads. That is

1982
01:45:28,960 --> 01:45:31,439
Speaker 6: where I am the most prolific in my posting at

1983
01:45:31,520 --> 01:45:33,760
Speaker 6: Oh It's Big Round. That's at O H I T

1984
01:45:34,040 --> 01:45:36,639
Speaker 6: S B I g R O N, which is also

1985
01:45:36,680 --> 01:45:39,479
Speaker 6: where you can find me on letterbox and you can

1986
01:45:40,040 --> 01:45:42,560
Speaker 6: subscribe to my podcast wait for It spelled w E

1987
01:45:42,760 --> 01:45:44,960
Speaker 6: I g h T and Leaving the Theater where I

1988
01:45:45,000 --> 01:45:47,719
Speaker 6: review films as I'm walking out of the theater.

1989
01:45:48,160 --> 01:45:48,439
Speaker 1: Hmmm.

1990
01:45:49,280 --> 01:45:50,320
Speaker 2: Love that that brocks.

1991
01:45:51,520 --> 01:45:55,200
Speaker 1: You can follow us mostly on Instagram as well as

1992
01:45:55,280 --> 01:46:00,000
Speaker 1: our Patreon aka Matreon, where we do two bonus episode

1993
01:46:00,160 --> 01:46:03,920
Speaker 1: every single month, plus access to the back catalog, all

1994
01:46:04,000 --> 01:46:08,200
Speaker 1: for five dollars a month. Imagine And with that, should

1995
01:46:08,200 --> 01:46:11,639
Speaker 1: we leave ninety percent of the way out of this

1996
01:46:11,800 --> 01:46:15,439
Speaker 1: episode and let the listeners leave the other ten percent

1997
01:46:15,560 --> 01:46:16,439
Speaker 1: and you can do the rest?

1998
01:46:17,160 --> 01:46:24,120
Speaker 2: Bye bye. The Bechdel Cast is a production of iHeartMedia,

1999
01:46:24,240 --> 01:46:27,080
Speaker 2: hosted and produced by Me Jamie Loftus.

2000
01:46:26,960 --> 01:46:30,439
Speaker 1: And me Caitlyn Dorante. The podcast is also produced by

2001
01:46:30,560 --> 01:46:32,080
Speaker 1: Sophie Lichtermann and.

2002
01:46:32,120 --> 01:46:33,599
Speaker 5: Edited by Caitlyn Durrante.

2003
01:46:33,680 --> 01:46:34,439
Speaker 2: Ever Heard of Them?

2004
01:46:34,920 --> 01:46:38,360
Speaker 1: That's me and our logo and merch and all of

2005
01:46:38,400 --> 01:46:42,120
Speaker 1: our artwork in fact, are designed by Jamie Loftis ever

2006
01:46:42,160 --> 01:46:42,639
Speaker 1: heard of her?

2007
01:46:42,840 --> 01:46:43,639
Speaker 2: Oh My God?

2008
01:46:44,080 --> 01:46:46,519
Speaker 5: And our theme song, by the way, was composed by

2009
01:46:46,600 --> 01:46:47,720
Speaker 5: Mike Kaplan.

2010
01:46:47,600 --> 01:46:50,720
Speaker 1: With vocals by Katherine Voskrasinski.

2011
01:46:50,240 --> 01:46:53,080
Speaker 5: Iconic and a special thanks to the one and only

2012
01:46:53,439 --> 01:46:54,720
Speaker 5: Aristotle Acevedo.

2013
01:46:55,240 --> 01:46:59,080
Speaker 1: For more information about the podcast, please visit Linktree Slash

2014
01:46:59,120 --> 01:46:59,840
Speaker 1: Bechdel Cast