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Speaker 1: match for details. It's very difficult to keep the line

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Speaker 1: between the past.

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Speaker 2: And the price. You pleases someone out of the past,

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Speaker 2: we can enter and take possession of a living being.

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Speaker 3: We may be through with the past, but the past

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Speaker 3: is not through with us.

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Speaker 4: Welcome back to the next Picture Show. A Movie of

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Speaker 4: the Week podcast devote into a classic film and the

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Speaker 4: way it's shaped our thoughts on a recent release. I'm

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Speaker 4: Tasha Robinson here again.

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Speaker 5: With Scott Tobias, Keith Hips and Genevieve Koski.

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Speaker 4: On our last episode, we talked about Marie Antoinette Sophia

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Speaker 4: Coppola's adaptation of Antonia Fraser's book Marie Antoinette, The Journey,

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Speaker 4: a rare sympathetic look at the queen best known for

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Speaker 4: saying about her starving populace let the meat cake, a

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Speaker 4: thing she never actually said. Coppola's portrayal of Maria's lonely, isolated, scorned,

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Speaker 4: rich and unhappy suffering in a sexless relationship at the

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Speaker 4: whim of her more powerful husband all winds up being

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Speaker 4: remarkably similar to her retelling of the relationship between Priscilla

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Speaker 4: Bullyu and Elvis Presley in her new movie Priscilla. While

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Speaker 4: Copla didn't take the same glitzy post punk approach to Priscilla,

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Speaker 4: the new movie is once again a book adaptation, this

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Speaker 4: time of Priscilla's memoir Elvis and Me, and once again

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Speaker 4: it's an intimate, sympathetic portrayal of a woman in a

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Speaker 4: man's shadow and under his control. Unlike Marie Antoinette, though

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Speaker 4: Priscilla deals with well documented events within living memory and

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Speaker 4: comes with the blessing of the movie's subject, it still

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Speaker 4: isn't straight documentary filmmaking, but it's much less impressionistic, and

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Speaker 4: in many ways it's much more personal talk through Priscilla

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Speaker 4: and it's connections with Marie Antoinette after this break?

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Speaker 6: Hi, what's your name?

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Speaker 2: Prilla?

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Speaker 6: You like Elvis Presley?

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Speaker 4: Of course, who doesn't.

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Speaker 6: One of the kids listening to This's Day Bobby Darren

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Speaker 6: Fabian and.

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Speaker 7: Just what is the antennare?

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Speaker 2: Mister Presley?

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Speaker 7: Got women throwing themselves at you?

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Speaker 4: Why my daughter?

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Speaker 6: Well, sir, it happened to be very funny.

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Speaker 2: Your daughter.

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Speaker 6: Just must remember sure in her.

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Speaker 7: Age, you don't have to worry about it.

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Speaker 6: Black hair and why may go?

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Speaker 2: I don't know if I like it?

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Speaker 6: You mean, go on yet?

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Speaker 4: So Priscilla, I have some very mixed thoughts on this movie,

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Speaker 4: and I'm pretty curious how you all took it. What

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Speaker 4: do you What did you think of Priscilla?

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Speaker 6: Ad a lot?

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Speaker 7: Yeah, top drawer, Yeah, I thought it was a really

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Speaker 7: really well done. I will get into like sort of

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Speaker 7: the rush through the end of the story aspect, and

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Speaker 7: there's things if you don't know the Elvis Priscilla story,

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Speaker 7: I wonder if you're going to be completely in the

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Speaker 7: dark as so what's going on there? Be sort of

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Speaker 7: the locked into this burden of Gilda cage, you know.

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Speaker 7: Sophia Coppola favorite subject. Well, I think it really worked

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Speaker 7: for me.

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Speaker 4: Honestly, it was incredibly helpful to have Boz Luhrman's Elvis

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Speaker 4: coming out at the end of last year and kind

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Speaker 4: of providing us with a, you know, point by point

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Speaker 4: pocket history of the ups and downs of Elvis's career,

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Speaker 4: because that's something that this movie almost does not touch

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Speaker 4: on at all. And you will occasionally see events happen

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Speaker 4: in a way where you're like, well, something significance going

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Speaker 4: on over there, but I'm not sure why this matters,

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Speaker 4: And if you saw all this last year, you know

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Speaker 4: exactly what's going on. And it's very helpful because Priscilla

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Speaker 4: is just is not interested in those details. But the

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Speaker 4: two movies, while they're radically different approaches with radically different intentions,

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Speaker 4: I wouldn't say that they're in conversation per se. The

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Speaker 4: timing was very useful in terms of making a little

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Speaker 4: more sense of Priscilla.

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Speaker 5: And Sophia Copla, and talking about Priscilla specifically invoked Marie Antoinette,

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Speaker 5: not the movie, but the figure as sort of like

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Speaker 5: how she thought of Priscilla in this context. To answer

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Speaker 5: your question, I liked Priscilla quite a bit. I don't

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Speaker 5: think it's like maybe top tier Sophia Coppola. For me,

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Speaker 5: it does. Priscilla herself is maybe a little too much

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Speaker 5: of a cipher for me. Maybe she'll make herself known

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Speaker 5: a little more and subsequent viewings of this movie. But

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Speaker 5: here we get to know her situation really well, we

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Speaker 5: don't necessarily get to know her really well, like her personality,

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Speaker 5: and like that may kind of be the point because

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Speaker 5: she was never seen as more than an accessory. It

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Speaker 5: seems like a beautiful accessory. But to be fair, that

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Speaker 5: is something that can be said of a lot of

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Speaker 5: Cobla protagonists. I think where it became a little tougher

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Speaker 5: for me in this film is again the end of

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Speaker 5: the film and in her decision to leave Elvis and

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Speaker 5: sort of her gaining agency, And it felt like it

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Speaker 5: came a little out of nowhere. I didn't feel like

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Speaker 5: I had a great sense of Priscilla as a person.

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Speaker 5: I got a great sense of like their marriage and

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Speaker 5: again the sort of situation she was in. I got

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Speaker 5: a great sense of Elvis as a complete dick, which

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Speaker 5: I appreciated that, especially after Boslerman's Elvis, that this film

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Speaker 5: kind of engaged with, like what an asshole he was

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Speaker 5: in a lot of respects, But as far as like

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Speaker 5: how this story resolves and where it resolves, I couldn't

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Speaker 5: quite meet the film there as much as I wanted to.

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Speaker 5: But overall, again, I really like Copela. I like what

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Speaker 5: she does. I am interested in the things she is

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Speaker 5: interested in. So I enjoyed this movie. I think the

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Speaker 5: two main performances are are really really good. I kind

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Speaker 5: of love the perversion of like not having any Elvis

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Speaker 5: music in this movie, which I gather is by necessity

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Speaker 5: they didn't get rights, but it just kind of plays

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Speaker 5: into the extent to which this movie undercuts Elvis as

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Speaker 5: a person and as a celebrity, which maybe is what

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Speaker 5: I came away from this liking the most. But yeah,

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Speaker 5: a lot here well, also not quite enough here in

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Speaker 5: some respects.

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Speaker 6: I don't want to say.

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Speaker 7: I think that this movie starts its purpose if you

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Speaker 7: come away not not like you know this his music

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Speaker 7: or Ellis himself, I guess, but.

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Speaker 5: It separates him from his music, like I think you

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Speaker 5: could you can like Elvis's music and even like respect

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Speaker 5: what he stands for in American culture and celebrity and

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Speaker 5: all sorts of things.

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Speaker 7: He's also realized maybe not someone you want to be

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Speaker 7: married to, Emma, yeah, you know, yeah, or.

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Speaker 4: Just in a relationship to and not married to for

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Speaker 4: a very long period of time.

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Speaker 6: To what you're saying, Genevieve, I think you're right.

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Speaker 7: I do think there is a bit of a cipher

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Speaker 7: to her, in part because that's just kind of her life,

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Speaker 7: not to get ahead, but like kind of like Mari Antoinette,

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Speaker 7: she goes from being bossed around by one family to

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Speaker 7: being bossed around for another. She goes from her father's

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Speaker 7: house to being told what to wear by her husband

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Speaker 7: or her boyfriend slash eventual husband and then his dad

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Speaker 7: as as well. But the one thing I think it's

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Speaker 7: kind of established from the first scene is that she's

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Speaker 7: not anybody's fool. Necessarily, she's not. She has her guard

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Speaker 7: up when she's approached at the diner, and she has

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Speaker 7: a wilfulness that she can use to assert herself when

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Speaker 7: pushed too far. And I think the whole movie is

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Speaker 7: kind of about her. You know, what does it take

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Speaker 7: to actually push her too far to the point where

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Speaker 7: that sort of protective, guarded instinct kicks in for her?

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Speaker 2: Yeah, I mean, she has some very strong moments where

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Speaker 2: she does kind of draw the line, and it's a

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Speaker 2: very hard thing for her to do, given that she is,

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Speaker 2: you know, groomed basically as a fourteen year old in

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Speaker 2: this you know, highly oppressive and also highly seductive environment.

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Speaker 2: I really like this film a lot. I do think

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Speaker 2: it's one of her better films. I love the rigor

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Speaker 2: of it, in the size of it. It feels like

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Speaker 2: a kind of a chamber piece, in that sense of

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Speaker 2: suffocation that can kind of come through with the whole

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Speaker 2: gilded cage thing. I think it's almost brought out more

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Speaker 2: intensely here than almost anything else she's done. And just

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Speaker 2: like being in Graceland, this estate and it all feeling

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Speaker 2: so very very small, so much like a prison, you know,

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Speaker 2: and again you're just you're so coped with such a

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Speaker 2: wonderful job of locking you into this one very fixed

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Speaker 2: perspective in making you have to think about what she

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Speaker 2: can really do in that situation, which is not not

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Speaker 2: a whole lot as it happens. Ah, that's fascinating. I

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Speaker 2: think that Elvis, the way Elvis is depicted in that relationship,

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Speaker 2: the way that he kind of manipulates her, is so

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Speaker 2: beautifully rendered and so subtle and kind of insinuating and creepy,

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Speaker 2: but yet yet not over the top. I mean, I

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Speaker 2: think there's a way that you could have depicted him

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Speaker 2: as this predatory, sort of grooming monster, and I don't.

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Speaker 2: I think I think the film is a lot more

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Speaker 2: subtle than that, and to where you do, all those

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Speaker 2: qualities are very much present, but in a way that

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Speaker 2: feels so persuasive and kind of like kind of gets

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Speaker 2: under your skin, I you know, and also you know

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Speaker 2: you also kind of get that just this is a

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Speaker 2: tribute to Jacob Alaradi's performance, Like you really get this

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Speaker 2: otherworldly charisma that just is like you know, when he's

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Speaker 2: in a room, he's just he is. He is at

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Speaker 2: the center of the room. He's got he's got that

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Speaker 2: height for one, I guess in this case, but like

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Speaker 2: you get it. You get that that there's this there's

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Speaker 2: a power that he has that's so overwhelming and it's

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Speaker 2: always there. And she's so small quite literally in comparison

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Speaker 2: to that. I mean, it's like a Bambi versus Godzilla situation.

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Speaker 5: Well, and he's he's so mercurial too, which I think

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Speaker 5: makes the charisma become a little like sinister and scary,

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Speaker 5: and actually maybe this is a place to bring up

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Speaker 5: one of my favorite scenes, if not my favorite scene,

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Speaker 5: and a scene that almost carries off the shift I

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Speaker 5: was talking about, like not feeling enough of, which is

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Speaker 5: the scene where she they have a big fight and

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Speaker 5: she tells him like, Okay, well then I'm gonna leave

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Speaker 5: and he like immediately says no, no, no, come back. And

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Speaker 5: it's like the moment that she realizes she can flip

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Speaker 5: the manipulation on him, and like that feels like a

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Speaker 5: really important moment in their relationship. And I think I

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Speaker 5: don't want to say, like this is what the movie

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Speaker 5: should have done, but I think like if the movie

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Speaker 5: had like basically gone from their right to the end,

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Speaker 5: it might have worked. I think where it got a

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Speaker 5: little confusing for me is like when we jump ten

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Speaker 5: years ahead and there's this like kind of sexual assault

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Speaker 5: moment in Vegas and that kind of becomes the catalyst

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Speaker 5: of her leaving. Maybe that's like how it actually happened

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Speaker 5: in real life, but I think just in terms of

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Speaker 5: their dynamic, that moment where she kind of flips the

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Speaker 5: script on him and realizes that basically she just says

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Speaker 5: the opposite of what he wants and he'll come back

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Speaker 5: around a sort of reverse psychology basically, and how easy

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Speaker 5: it is for her to kind of make that happen

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Speaker 5: in that moment. That was really striking to me. And

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Speaker 5: I liked that kind of evolution of their time name

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Speaker 5: like a lot.

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Speaker 4: I liked a lot of the evolution. But at the

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Speaker 4: same time, on some level, I feel like this movie

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Speaker 4: like if I was to describe it to anybody, I

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Speaker 4: think it would end up sounding naturally more cohesive and

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Speaker 4: thorough than it plays out on screen. I had a

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Speaker 4: lot of problems with this movie, and in part it's

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Speaker 4: just like I watched this movie before rewatching Marie Antoinette,

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Speaker 4: so I won't say that at the time I was

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Speaker 4: watching it it compared poorly to Marie Antoinette's style and charisma.

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Speaker 4: But rewatching Marie Antoinette afterwards, I was like, this might

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Speaker 4: be a little of what this movie was missing is

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Speaker 4: like a really distinctive point of view, as opposed to

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Speaker 4: feeling like a story that not many people would tell,

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Speaker 4: but told in a way that many people might tell it.

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Speaker 4: There's just not as much distinctive or you know, voicy

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Speaker 4: about Priscilla compared to Marie Antoinette, and the parts of

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Speaker 4: it that our voicy to me are just in which

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Speaker 4: parts she chooses to focus on, and to somewhat to

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Speaker 4: some degree, in the casting, which is very important, but

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Speaker 4: then particularly in the way she collapses. The ending, and

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Speaker 4: it was the third act of the movie just did

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Speaker 4: not work for me. There's so much missing. There's so

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Speaker 4: many steps and stages missing, And I'm with Genevieve, there

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Speaker 4: were way too many parts of this movie where I

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Speaker 4: just didn't feel like I knew enough about who Priscilla was.

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Speaker 4: I knew how she was being presented, and I knew

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Speaker 4: why she was being presented that way, but I didn't

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Speaker 4: know who she was under it all. And I think

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Speaker 4: part of that might be because she doesn't, you know,

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Speaker 4: she's picked up so early in life, she's under so

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Speaker 4: much control from her family, and she goes directly from

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Speaker 4: being kind of a protected and controlled fourteen year old

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Speaker 4: at home to being the house pet of a very

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Speaker 4: successful person who she very much want wants to impress

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Speaker 4: and please. And I think the arc of the movie

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Speaker 4: is her deciding that she wants to be a person.

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Speaker 4: But I just don't think there's enough of that. I

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Speaker 4: think there's way too much watching her be sad and

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Speaker 4: baffled and trying to figure out how to get any

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Speaker 4: of what she wants, which she can't because she doesn't

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Speaker 4: have any power in this situation. And then, in the

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Speaker 4: same way Marie Antoinette kind of starts accelerating the second

265
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Speaker 4: Marie starts having children. This movie accelerates the second she

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Speaker 4: realizes she does have some power in the relationship, and

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Speaker 4: then it blitzes past all of the things that might

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Speaker 4: have been narratively satisfying in terms of her finding herself

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Speaker 4: for her way or her path, and by the end,

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Speaker 4: it's just going so recklessly fast it leaves behind for

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Speaker 4: me any sense of who this character is. At the end,

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Speaker 4: it's elliptical.

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Speaker 2: Come on, I don't know. I like all, I like

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Speaker 2: where it gets us, and I think the other there's

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Speaker 2: some parallelisms here that I think that are worthwhile to

276
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Speaker 2: think about too. With regard to Elvis and and how

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Speaker 2: the way he treats Priscilla is the way he is

278
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Speaker 2: also feeling himself in his own treatment by from his management,

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Speaker 2: from the colonel, from.

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Speaker 5: His interesting that we know, yeah, super interesting that we

281
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Speaker 5: never see the colonel special but.

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Speaker 2: His presence is there, and he has to like he

283
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Speaker 2: has to, he has to do what he's told, he

284
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Speaker 2: has to be at these places. He has this career

285
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Speaker 2: in Hollywood, which is where he has these affairs and stuff,

286
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Speaker 2: but it's also where he is not doing the type

287
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Speaker 2: of acting that he wants to do, and he's getting

288
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Speaker 2: hung up. He's lost in prescription pills. He ends ends

289
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Speaker 2: up in this fairly sad residency in Vegas, and you know,

290
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Speaker 2: he is also trapped as well. And there comes a

291
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Speaker 2: point where those two narratives, these two characters start to

292
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Speaker 2: feel very similar in a lot of the ways in

293
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Speaker 2: which he you know, the one thing about Priscilla is

294
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Speaker 2: maybe that's one aspect of his life that he can

295
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Speaker 2: feels like he can exert control over, because in other

296
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Speaker 2: aspects of his life he has no control whatsoever.

297
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Speaker 5: Well, including actually marrying her, which I wasn't Keith me.

298
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Speaker 5: I'm looking to you for confirmation here, but wasn't. Did

299
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Speaker 5: the colonel basically tell him that he had to marry

300
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Speaker 5: Priscilla because of like a morals clause in this contract?

301
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Speaker 5: I believe, I think, yeah, yeah, yeah, which led to

302
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Speaker 5: that very sad wedding and gloom looking wedding photos that

303
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Speaker 5: we see or reenacted here. But yeah, like the the

304
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Speaker 5: Colonel is such a guiding force here that the choice

305
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Speaker 5: to leave him off screen and leave that parallelism that

306
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Speaker 5: Scott is talking about backgrounded is interesting and I think

307
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Speaker 5: maybe in the wake of Bosler Mins Elvis and Tom

308
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Speaker 5: Hanks's Colonel, it was a little bit of a relief.

309
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Speaker 2: Yeah, Like as I was thinking, like I've kind of

310
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Speaker 2: relieved that that Sophia Coppola left all of Tom Hanks's

311
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Speaker 2: performance on the cut of the floor.

312
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Speaker 5: Right, Yeah, but it is it is a very like

313
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Speaker 5: a kind of important factor here that interesting to just

314
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Speaker 5: kind of leave it for the most part out.

315
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Speaker 7: Yeah, to me, the whole movie is about being locked

316
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Speaker 7: into her perspective and like kind of being you know,

317
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Speaker 7: as we kind of talked about before on the on

318
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Speaker 7: the on the inside looking out, and all these things

319
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Speaker 7: are happening in Elvis's career and they just kind of

320
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Speaker 7: come to her things happening.

321
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Speaker 6: She has to deal with it.

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Speaker 7: It was like, Okay, Elvis is into these sort of

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Speaker 7: like really questionable spiritual spirit books about spirituality. Well that's

324
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Speaker 7: just my life now, or you know, you know, Elvis

325
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Speaker 7: and the Boys just kind of want to tool around the

326
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Speaker 7: yard and have, you know, yuck it up. I guess

327
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Speaker 7: I got to be one of the boys now. And

328
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Speaker 7: it's like so much of her life is out of

329
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Speaker 7: her control, so her movements are fairly restricted as well.

330
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Speaker 7: I mean, she does go to Hollywood that one time,

331
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Speaker 7: but you kind of get the sense that she's just

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Speaker 7: there at Graceland. That's that's her life. And she can't

333
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Speaker 7: even talk to the women her own age that they

334
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Speaker 7: are working in there.

335
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Speaker 5: She couldn't make friends. That was so hard for me.

336
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Speaker 5: That was so hard to watch. And I noticed at

337
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Speaker 5: the end, right before she breaks it off with Elvis,

338
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Speaker 5: when they're kind of like living separate lives in Vegas,

339
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Speaker 5: like she has friends, She's out to dinner with her

340
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Speaker 5: with her girlfriends, you know, and just like having peers.

341
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Speaker 5: It seems to be a big part of her, you know,

342
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Speaker 5: developing the agency and the fortitude to leave, and that

343
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Speaker 5: was denied to her at Graceland.

344
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Speaker 4: A lot of the movie is just about crushing blows

345
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Speaker 4: being dealt to her, like just sort of the sense

346
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Speaker 4: of here yet again is another thing that you're being

347
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Speaker 4: given as a bribe to stay here, or another thing

348
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Speaker 4: that's being taken away from you as a result of

349
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Speaker 4: you staying here. The moment where she's on the phone

350
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Speaker 4: with Elvis and she mentions that she might be taking

351
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Speaker 4: a part time job and he says, that's not going

352
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Speaker 4: to work for me. You have to be there when

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Speaker 4: I call is for me was the most crushing thing

354
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Speaker 4: in the movie. It's a moment where you realize that

355
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Speaker 4: not only does he expect her to be a very

356
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Speaker 4: specific thing for him, but he expects her to be

357
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Speaker 4: at twenty four to seven. She exists for his convenience,

358
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Speaker 4: and he's willing to give her anything on a very

359
00:19:11,480 --> 00:19:14,280
Speaker 4: small menu of things that he thinks should satisfy her,

360
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Speaker 4: you know, clothing and a beautiful house and a cute

361
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Speaker 4: little pet puppy that he presents to her within a

362
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Speaker 4: teeny tiny cage that's just unquestionably representative of her herself

363
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Speaker 4: in her a teeny tiny little house cage. He's willing

364
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Speaker 4: to give her all of these things and like his

365
00:19:32,160 --> 00:19:37,800
Speaker 4: companionship and regard and intimacy, not sexual intimacy, but like

366
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Speaker 4: a close up personal aspect that nobody else gets. But

367
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Speaker 4: in return, she has to do nothing with her life

368
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Speaker 4: except to sit by the phone and wait for him

369
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Speaker 4: to need her, to wait for him to come to

370
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Speaker 4: a point where he wants to call her, where that's

371
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Speaker 4: the thing that he wants to do at the moment,

372
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Speaker 4: rather than playing around with his bro friends or flirting

373
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Speaker 4: with and or making out with Anne Margaret, or shooting

374
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Speaker 4: a film or being on tour. She's an appliance, you know,

375
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Speaker 4: not even an accessory. She's something that he expects to

376
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Speaker 4: be able to plug into whenever he wants and get

377
00:20:11,240 --> 00:20:14,600
Speaker 4: back a very specific kind of like validation and grounding.

378
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Speaker 4: And it's only a reciprocal relationship if she's getting something

379
00:20:19,880 --> 00:20:21,800
Speaker 4: out of it that she wants, and for a while

380
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Speaker 4: she is, and then she isn't. I think that there's

381
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Speaker 4: a lot resonant here. I just think it's very awkwardly told,

382
00:20:28,320 --> 00:20:32,080
Speaker 4: leaving a ton of questions that don't end up feeling

383
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Speaker 4: intriguingly ambiguous so much as they feel just like narrative holes.

384
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Speaker 4: And maybe some of that is just I've been told

385
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Speaker 4: I have not read Elvis and Me. It's sitting at

386
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Speaker 4: the library waiting for me even as we speak. I'm

387
00:20:44,320 --> 00:20:46,239
Speaker 4: really curious to read it. But I've been told this

388
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Speaker 4: is a very faithful adaptation, And I suspect that the

389
00:20:49,320 --> 00:20:52,040
Speaker 4: holes that we're seeing are just areas that she herself

390
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Speaker 4: didn't delve into, and that any interaction that she had

391
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Speaker 4: with Colonel Tom Parker, for instance, might just not be

392
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Speaker 4: here because it's something she doesn't talk about in her

393
00:21:01,320 --> 00:21:05,120
Speaker 4: mom wir. I am certainly very curious whether he sat

394
00:21:05,200 --> 00:21:07,840
Speaker 4: down and had come to Jesus talks with her about

395
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Speaker 4: you have to dress this way, or you have to

396
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Speaker 4: act this way, or you have to do this thing

397
00:21:11,680 --> 00:21:13,560
Speaker 4: or that thing in public, or if it was all

398
00:21:13,560 --> 00:21:15,480
Speaker 4: passed through alous the way we see in the movie.

399
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Speaker 4: But I suspect it might just be something she doesn't

400
00:21:17,560 --> 00:21:19,240
Speaker 4: talk about in the book, so we don't get it here.

401
00:21:19,600 --> 00:21:24,520
Speaker 2: And where is Leslie Nielsen and all this? That's the

402
00:21:24,600 --> 00:21:26,720
Speaker 2: question I want, That's the question I want to answer.

403
00:21:27,640 --> 00:21:30,080
Speaker 2: Why did the film have to end before we get

404
00:21:30,080 --> 00:21:30,920
Speaker 2: to Leslie Nielson?

405
00:21:30,960 --> 00:21:35,159
Speaker 4: Why so I brought this up at the end of

406
00:21:35,200 --> 00:21:38,440
Speaker 4: our Marie Antoinette conversation again because I thought we'd be

407
00:21:38,600 --> 00:21:40,760
Speaker 4: blitzing by it too quickly if we brought it up

408
00:21:40,760 --> 00:21:43,760
Speaker 4: as a connection. But I feel like the big question

409
00:21:44,000 --> 00:21:47,920
Speaker 4: here in this movie becomes why did she stay with him?

410
00:21:47,920 --> 00:21:50,480
Speaker 4: As long as she did. What was she getting out

411
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Speaker 4: of it? Was she in love with him? Was she

412
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Speaker 4: thinking that she was in love with him because she

413
00:21:55,080 --> 00:21:58,359
Speaker 4: was fourteen and had a crush on a star? What

414
00:21:58,480 --> 00:22:01,040
Speaker 4: are we meant to get out of this relationship? From

415
00:22:01,080 --> 00:22:03,480
Speaker 4: her end? We see very clearly when he gets out

416
00:22:03,480 --> 00:22:06,360
Speaker 4: of it, she's just present, and this is a very

417
00:22:06,400 --> 00:22:09,040
Speaker 4: external movie. I just don't think we get much sense

418
00:22:09,040 --> 00:22:11,479
Speaker 4: of her internality. So I'm curious how each of you

419
00:22:11,600 --> 00:22:14,280
Speaker 4: read that, because it strikes me as something that could

420
00:22:14,280 --> 00:22:15,160
Speaker 4: be very open ended.

421
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Speaker 6: How we read why she doesn't leave or what.

422
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Speaker 4: She's feeling during a lot of this.

423
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Speaker 7: For him, well, let's start with why she doesn't leave.

424
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Speaker 7: I think there's this tremendous pressure to, you know, not

425
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Speaker 7: be the woman who left all this. I mean I

426
00:22:29,560 --> 00:22:32,520
Speaker 7: imagine that it's it's there's a you know, you don't

427
00:22:32,560 --> 00:22:34,600
Speaker 7: want to be treated that way. But also I think

428
00:22:34,600 --> 00:22:37,359
Speaker 7: you're in a marriage that you want to make work.

429
00:22:37,440 --> 00:22:40,960
Speaker 7: I mean, I do think that there is some genuine

430
00:22:41,440 --> 00:22:45,679
Speaker 7: affection there, as twisted as it gets fairly quickly in

431
00:22:45,720 --> 00:22:46,680
Speaker 7: their relationship.

432
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Speaker 6: But also, I mean, you know, you got.

433
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Speaker 7: To think of it as someone who's had this, you know,

434
00:22:53,040 --> 00:22:56,520
Speaker 7: I'm Elvis's woman and later wife has been like her

435
00:22:56,520 --> 00:22:59,520
Speaker 7: primary focus for much of her life.

436
00:22:59,560 --> 00:23:01,480
Speaker 6: I mean you want to.

437
00:23:01,480 --> 00:23:03,959
Speaker 7: Say for her entire adult life, that doesn't really even

438
00:23:04,040 --> 00:23:06,480
Speaker 7: cover all the life that's part of.

439
00:23:06,520 --> 00:23:10,040
Speaker 5: Yeah, I mean she's living a fairy tale, you know,

440
00:23:10,160 --> 00:23:14,479
Speaker 5: like this is the ultimate wish fulfillment for a teenage girl.

441
00:23:14,800 --> 00:23:17,920
Speaker 5: You know, there's an amazing shot early in the film

442
00:23:17,960 --> 00:23:20,920
Speaker 5: when he's leaving Germany to go back to the States

443
00:23:21,000 --> 00:23:24,920
Speaker 5: and they're in the car together and she gets out

444
00:23:24,920 --> 00:23:27,440
Speaker 5: of the car and just like kind of melts into

445
00:23:27,560 --> 00:23:32,880
Speaker 5: a mass of others, screaming fans. You know, she's like shots,

446
00:23:32,920 --> 00:23:35,720
Speaker 5: She's like in theory noe, no different from any of them.

447
00:23:35,760 --> 00:23:39,320
Speaker 5: But he picked her, and that feeling of being chosen

448
00:23:39,880 --> 00:23:44,359
Speaker 5: by the most famous, you know, beautiful man, your prince

449
00:23:44,480 --> 00:23:48,360
Speaker 5: charming basically, you know, like you don't walk away from

450
00:23:48,400 --> 00:23:51,560
Speaker 5: that so easily, especially not when you're that young and

451
00:23:51,560 --> 00:23:55,639
Speaker 5: that impressionable and your life has been shaped to a

452
00:23:55,680 --> 00:23:59,840
Speaker 5: certain extent by this person and their music just growing up.

453
00:24:00,520 --> 00:24:04,359
Speaker 5: So you know, I think she didn't leave because it

454
00:24:04,440 --> 00:24:08,719
Speaker 5: was really hard, Like how do you explain that?

455
00:24:09,000 --> 00:24:12,399
Speaker 2: You know too, Yeah, who was out?

456
00:24:12,440 --> 00:24:14,679
Speaker 4: Especially if you haven't had a job because your boyfriend

457
00:24:14,680 --> 00:24:15,760
Speaker 4: won't let you have one.

458
00:24:16,040 --> 00:24:19,600
Speaker 5: Right, and like she didn't have the tools, you know,

459
00:24:19,960 --> 00:24:22,640
Speaker 5: to talk about what was happening to her. We didn't

460
00:24:22,640 --> 00:24:25,919
Speaker 5: talk about grooming. We you know, like it to the

461
00:24:26,000 --> 00:24:30,320
Speaker 5: degree that anyone raised an eyebrow of her being fourteen

462
00:24:30,119 --> 00:24:34,440
Speaker 5: when they met, Like it's kind of smoothed over by history.

463
00:24:35,080 --> 00:24:38,760
Speaker 5: So I think you can certainly categorize this as an

464
00:24:38,800 --> 00:24:42,040
Speaker 5: abusive relationship before the point where it got like physically

465
00:24:42,280 --> 00:24:45,840
Speaker 5: abusive to the extent that it did. But I don't

466
00:24:46,119 --> 00:24:50,400
Speaker 5: think she or anyone around her would have the kind

467
00:24:50,400 --> 00:24:53,000
Speaker 5: of capacity to talk about it or think about it

468
00:24:53,000 --> 00:24:56,640
Speaker 5: that way. It would just be her leaving Elvis. Who

469
00:24:56,680 --> 00:24:58,760
Speaker 5: does that? You know, all of this.

470
00:24:58,760 --> 00:25:02,280
Speaker 4: Makes just so much on a like a rational basis

471
00:25:02,400 --> 00:25:05,600
Speaker 4: or a justification basis, filling in the gaps basis. I

472
00:25:05,680 --> 00:25:07,840
Speaker 4: just wish I felt a little more of it in

473
00:25:07,880 --> 00:25:10,800
Speaker 4: the film. I wish I felt a little more of

474
00:25:10,840 --> 00:25:14,720
Speaker 4: her emotions in a way that wasn't just her kind

475
00:25:14,760 --> 00:25:20,399
Speaker 4: of being forlorn in a fairly homogeneous way throughout the movie.

476
00:25:20,920 --> 00:25:23,480
Speaker 4: I wish I felt more of her fandom when they

477
00:25:23,520 --> 00:25:27,160
Speaker 4: met and she's just sitting there shyly across the room,

478
00:25:27,800 --> 00:25:30,040
Speaker 4: looking at him, but not looking at him with anything

479
00:25:30,040 --> 00:25:35,639
Speaker 4: that feels like hunger or embarrassment or excitement. You know,

480
00:25:35,840 --> 00:25:39,040
Speaker 4: there's a bid ability to her that I think is

481
00:25:39,080 --> 00:25:42,200
Speaker 4: not at all unlikely or uncommon for a fourteen year

482
00:25:42,200 --> 00:25:46,080
Speaker 4: old girl, particularly a very sheltered one who seems ingly

483
00:25:46,200 --> 00:25:49,359
Speaker 4: was very under her parent's thumb. When he first meets

484
00:25:49,400 --> 00:25:52,600
Speaker 4: her and a few minutes into their conversation asks her

485
00:25:52,640 --> 00:25:55,280
Speaker 4: to go upstairs with him, she has every reason to

486
00:25:55,280 --> 00:25:58,480
Speaker 4: expect that he wants to have sex. And she doesn't

487
00:25:58,560 --> 00:26:03,600
Speaker 4: look scared, and she doesn't look thrilled. She bidbly does

488
00:26:03,640 --> 00:26:06,040
Speaker 4: what she's told. And there's so much of that throughout

489
00:26:06,040 --> 00:26:09,200
Speaker 4: the movie that for me, I can I just I

490
00:26:09,200 --> 00:26:12,760
Speaker 4: would have liked to have seen more of more of

491
00:26:12,880 --> 00:26:16,560
Speaker 4: the personality coming to the surface in ways that would

492
00:26:16,600 --> 00:26:19,520
Speaker 4: let me see the difference between the reticence of a

493
00:26:19,560 --> 00:26:24,320
Speaker 4: fourteen year old girl and the weariness of a thirty

494
00:26:24,359 --> 00:26:26,560
Speaker 4: something who's never had a real life of her own

495
00:26:27,240 --> 00:26:29,920
Speaker 4: and is getting to the point where where she really

496
00:26:29,960 --> 00:26:33,480
Speaker 4: wants one. I just I wanted I guess more variability

497
00:26:33,760 --> 00:26:37,959
Speaker 4: the visual cues that we get throughout Marie Antoinette that

498
00:26:38,160 --> 00:26:41,480
Speaker 4: let us know that twenty years is passing. I just

499
00:26:41,520 --> 00:26:43,879
Speaker 4: didn't feel as much of that here in terms of

500
00:26:43,880 --> 00:26:47,920
Speaker 4: the performance. And that's not to say anything against Kaylee Spainey,

501
00:26:48,000 --> 00:26:52,960
Speaker 4: because she does bring like a real charisma and vulnerability

502
00:26:53,000 --> 00:26:55,720
Speaker 4: to this movie. That's that's great, But I just don't

503
00:26:55,720 --> 00:26:57,600
Speaker 4: give the I just don't think the material gives her

504
00:26:57,680 --> 00:26:58,280
Speaker 4: enough to work with.

505
00:26:58,720 --> 00:26:59,400
Speaker 6: Well, I think it does.

506
00:26:59,440 --> 00:27:07,320
Speaker 5: I think I agree, But I still overall enjoyed this movie,

507
00:27:07,359 --> 00:27:11,440
Speaker 5: and I enjoyed those those two performances because to your point, Tasha,

508
00:27:11,600 --> 00:27:15,080
Speaker 5: like the movie does rely a lot on just those

509
00:27:15,119 --> 00:27:18,159
Speaker 5: performances and sort of a degree of inherent charisma on

510
00:27:18,640 --> 00:27:21,399
Speaker 5: both of their parts to get across what is not

511
00:27:21,800 --> 00:27:23,840
Speaker 5: in the script necessarily.

512
00:27:24,480 --> 00:27:27,280
Speaker 2: I just I felt completely propelled through this movie by

513
00:27:27,760 --> 00:27:31,480
Speaker 2: what she was feeling. Tash. I really, I, you know, surprised.

514
00:27:31,520 --> 00:27:34,679
Speaker 2: We very strongly disagree on this. I feel like I

515
00:27:34,680 --> 00:27:38,920
Speaker 2: feel extremely locked into her perspective. I feel like how

516
00:27:39,040 --> 00:27:43,480
Speaker 2: overwhelmed she is right from the start with him, his

517
00:27:43,840 --> 00:27:46,520
Speaker 2: star presence, the fact that he is you know, the

518
00:27:46,760 --> 00:27:49,879
Speaker 2: you know, pretty much the biggest star on earth. You know,

519
00:27:50,440 --> 00:27:52,080
Speaker 2: no fourteen year old is going to be able to

520
00:27:52,119 --> 00:27:55,000
Speaker 2: withstand that, and then you meet him and he's larger

521
00:27:55,000 --> 00:27:56,520
Speaker 2: than life, and I.

522
00:27:56,480 --> 00:27:59,280
Speaker 5: Just you know, he's also showing he's also being vulnerable

523
00:27:59,400 --> 00:28:02,480
Speaker 5: to her, and I think that is, like, you know,

524
00:28:02,560 --> 00:28:05,600
Speaker 5: talking about his mom dying and everything, like there's a

525
00:28:06,040 --> 00:28:08,480
Speaker 5: I'm sure there's a degree of like, oh, he can

526
00:28:08,520 --> 00:28:12,120
Speaker 5: only be himself with me, you know, yeah, for sure, And.

527
00:28:12,119 --> 00:28:15,160
Speaker 2: I think it's probably actually true. I mean there's a

528
00:28:15,200 --> 00:28:19,199
Speaker 2: tremendous amount of intimacy that's established here between the two

529
00:28:19,320 --> 00:28:21,800
Speaker 2: from the beginning that is special and has to certainly

530
00:28:21,840 --> 00:28:24,280
Speaker 2: if you're a fourteen year old or anyone who falls

531
00:28:24,480 --> 00:28:27,359
Speaker 2: you know, first love for anyone. It's like the level

532
00:28:27,359 --> 00:28:31,080
Speaker 2: of intensity is so extreme and she doesn't get to

533
00:28:31,200 --> 00:28:33,600
Speaker 2: like even learn from this experience. It just she just

534
00:28:33,680 --> 00:28:37,520
Speaker 2: has to continue to live through it and all of

535
00:28:37,560 --> 00:28:39,880
Speaker 2: its you know, evolution and lack thereof. I just think

536
00:28:39,880 --> 00:28:41,960
Speaker 2: there's a lot here and I felt like it. I

537
00:28:41,960 --> 00:28:45,400
Speaker 2: guess the book character was richer and more readable and variable,

538
00:28:45,440 --> 00:28:49,200
Speaker 2: I guess than you would felt, Tasha. But because I

539
00:28:49,480 --> 00:28:50,480
Speaker 2: do like this film quite.

540
00:28:50,360 --> 00:28:53,480
Speaker 4: A lot, Well, there is another movie that we could

541
00:28:53,480 --> 00:28:56,800
Speaker 4: compare this one too, and it also features a fourteen

542
00:28:56,880 --> 00:29:00,360
Speaker 4: year old who isn't really capable of expressing some of

543
00:29:00,400 --> 00:29:04,080
Speaker 4: her bigger anxieties about her relationship with a far more

544
00:29:04,120 --> 00:29:07,640
Speaker 4: powerful man, and yet, to my mind at least ends

545
00:29:07,720 --> 00:29:11,680
Speaker 4: up expressing that in a more a more visual, and

546
00:29:11,880 --> 00:29:14,920
Speaker 4: more emphatic way, in a lot of ways. We'll be

547
00:29:14,960 --> 00:29:16,960
Speaker 4: back right after this break to talk about the connections

548
00:29:16,960 --> 00:29:20,960
Speaker 4: between Priscilla and Marie Antoinette.

549
00:29:25,120 --> 00:29:29,640
Speaker 6: And I'm going to imagine it thirs like Margaret.

550
00:29:30,960 --> 00:29:32,480
Speaker 8: Scoopy woman.

551
00:29:32,520 --> 00:29:33,760
Speaker 6: I don't want to hear another word.

552
00:29:34,280 --> 00:29:35,480
Speaker 5: Was there something you're hiding?

553
00:29:35,520 --> 00:29:37,080
Speaker 6: We don't have a goddamn thing to heart.

554
00:29:37,120 --> 00:29:40,040
Speaker 3: You're just being too goddamn aggressive in a manna.

555
00:29:40,360 --> 00:29:41,680
Speaker 6: You know, I think you should go see your parents

556
00:29:41,680 --> 00:29:42,360
Speaker 6: for a little while.

557
00:29:43,920 --> 00:29:46,320
Speaker 3: I'm not going I think you should not a fact.

558
00:29:46,400 --> 00:29:51,840
Speaker 3: I'll help you start packing, Joe. Joe gets set all

559
00:29:51,880 --> 00:29:53,480
Speaker 3: the next flight out of here. She's gonna go see

560
00:29:53,480 --> 00:29:54,600
Speaker 3: your parents for a little while.

561
00:29:54,720 --> 00:29:55,840
Speaker 6: Get her to get out of here.

562
00:29:56,240 --> 00:29:58,240
Speaker 4: Now it's time for connections, when we bring these two

563
00:29:58,280 --> 00:30:00,520
Speaker 4: films together and talk about all the thing that they

564
00:30:00,520 --> 00:30:02,920
Speaker 4: have in common. Genevieve, I think you were the one

565
00:30:02,960 --> 00:30:06,000
Speaker 4: that said in slack when we were laying out some

566
00:30:06,040 --> 00:30:09,240
Speaker 4: of these comparison points, is is this the most point

567
00:30:09,320 --> 00:30:13,240
Speaker 4: for point comparison series that we've ever had.

568
00:30:13,760 --> 00:30:15,479
Speaker 5: I think that was Keith who said that, but it

569
00:30:15,520 --> 00:30:20,040
Speaker 5: was also me who suggested this pairing before seeing Priscilla,

570
00:30:20,240 --> 00:30:23,280
Speaker 5: just kind of based on the knowledge that there would

571
00:30:23,320 --> 00:30:25,320
Speaker 5: be so many point for point comparisons.

572
00:30:25,600 --> 00:30:26,600
Speaker 4: It's kind of nuts.

573
00:30:26,720 --> 00:30:29,720
Speaker 2: I mean, this is the longest list of connections I've

574
00:30:29,720 --> 00:30:30,200
Speaker 2: ever seen.

575
00:30:31,560 --> 00:30:34,120
Speaker 4: I'm just going to keep attributing everything to Genevieve until

576
00:30:34,120 --> 00:30:37,120
Speaker 4: I hit one that's actually was Genevieve. You were the

577
00:30:37,120 --> 00:30:38,760
Speaker 4: one that brought up the fact that both of these

578
00:30:38,800 --> 00:30:43,800
Speaker 4: movies have like misbehaving puppies that the inappropriate protagonist is

579
00:30:44,280 --> 00:30:45,840
Speaker 4: really really emotionally attached to.

580
00:30:46,520 --> 00:30:50,160
Speaker 5: Yeah, it's not even that they're misbehaving, but they're improper

581
00:30:50,320 --> 00:30:53,760
Speaker 5: in this scenario in which our protagonist has found herself.

582
00:30:53,760 --> 00:30:57,600
Speaker 5: Of course, we already talked about relinquishing poor Mops at

583
00:30:57,600 --> 00:31:00,480
Speaker 5: the border of France. I mean, then in Priscilla, you know,

584
00:31:00,640 --> 00:31:05,000
Speaker 5: Elvis gives her this puppy shortly after she arrives at Graceland,

585
00:31:05,120 --> 00:31:07,960
Speaker 5: and she is scolded for playing with it on the lawn,

586
00:31:08,160 --> 00:31:10,680
Speaker 5: like in view of other people. You know, it's like

587
00:31:10,760 --> 00:31:13,800
Speaker 5: it's a you can have this puppy, but you can't

588
00:31:14,080 --> 00:31:17,400
Speaker 5: display yourself with the puppy. I don't know it's but yeah,

589
00:31:17,520 --> 00:31:19,520
Speaker 5: puppy based scolding in both films.

590
00:31:20,120 --> 00:31:22,400
Speaker 4: That was actually a point in Priscilla that I was

591
00:31:22,680 --> 00:31:26,200
Speaker 4: pretty curious about in terms of what she was feeling.

592
00:31:26,320 --> 00:31:29,240
Speaker 4: We start that scene with her already out on the

593
00:31:29,280 --> 00:31:32,080
Speaker 4: lawn of Graceland playing with a puppy in view of

594
00:31:32,120 --> 00:31:36,400
Speaker 4: the gates, and given how big the grounds are, there

595
00:31:36,400 --> 00:31:39,280
Speaker 4: are plenty of other places, a more secretive places she

596
00:31:39,320 --> 00:31:40,240
Speaker 4: could play with a puppy.

597
00:31:40,320 --> 00:31:41,120
Speaker 5: Oh, we never fla.

598
00:31:41,600 --> 00:31:44,360
Speaker 2: You're telling you're going to tell her where she's allowed

599
00:31:44,400 --> 00:31:45,800
Speaker 2: to play with her dog.

600
00:31:46,480 --> 00:31:49,440
Speaker 4: Well, she she is informed that she's not allowed to

601
00:31:50,000 --> 00:31:52,440
Speaker 4: play with the dog, basically in view of the gates.

602
00:31:52,480 --> 00:31:55,880
Speaker 4: She's informed that, you know, she's just she's not allowed

603
00:31:55,880 --> 00:31:58,800
Speaker 4: to be there by a relative of the family who

604
00:31:58,880 --> 00:32:02,080
Speaker 4: is actually not identified in that moment, and then doesn't

605
00:32:02,120 --> 00:32:04,719
Speaker 4: come up again. It's apart from just kind of being

606
00:32:04,760 --> 00:32:08,000
Speaker 4: in the background. I can't help but wonder if she

607
00:32:08,440 --> 00:32:10,840
Speaker 4: was there on purpose though. I mean, if you were

608
00:32:11,160 --> 00:32:14,000
Speaker 4: the consort of one of the most famous and attractive

609
00:32:14,080 --> 00:32:16,720
Speaker 4: men in the world and he wasn't around, and you

610
00:32:16,760 --> 00:32:19,920
Speaker 4: were bored, but at least you had like this adorable

611
00:32:20,000 --> 00:32:23,360
Speaker 4: dog that he had given you. Wouldn't it be tempting

612
00:32:23,520 --> 00:32:27,080
Speaker 4: to position yourself where the public I could see you,

613
00:32:27,120 --> 00:32:31,520
Speaker 4: where the Papa razzi and the hangers on where, especially

614
00:32:31,600 --> 00:32:33,640
Speaker 4: if you're at this point, you know, a fifteen year

615
00:32:33,640 --> 00:32:37,000
Speaker 4: old girl. Wouldn't it be tempting to hang out where

616
00:32:37,040 --> 00:32:40,280
Speaker 4: all of the people on the outside who desperately want

617
00:32:40,280 --> 00:32:42,640
Speaker 4: to be on the inside can see you, and then

618
00:32:42,760 --> 00:32:48,080
Speaker 4: nonchalantly not notice them hungering to be you as you

619
00:32:48,080 --> 00:32:50,360
Speaker 4: sit here and play with your new puppy. I really

620
00:32:50,440 --> 00:32:52,720
Speaker 4: wanted that scene to lead be a little more about

621
00:32:52,760 --> 00:32:54,680
Speaker 4: what she was feeling, but no, it's just about her

622
00:32:54,720 --> 00:32:56,000
Speaker 4: being told no, don't do that.

623
00:32:56,400 --> 00:32:59,920
Speaker 5: I mean, that is one of the really interesting ambiguities

624
00:33:00,200 --> 00:33:03,160
Speaker 5: of Priscilla that I feel we don't the film doesn't

625
00:33:03,200 --> 00:33:06,480
Speaker 5: really land one way or the other, but the degree

626
00:33:06,520 --> 00:33:10,880
Speaker 5: to which, especially when she is so young, she enjoys

627
00:33:10,960 --> 00:33:13,480
Speaker 5: the notoriety, or at least gets a little thrill out

628
00:33:13,520 --> 00:33:15,800
Speaker 5: of it. You know, there's a little scene of her

629
00:33:16,160 --> 00:33:20,440
Speaker 5: cheating on an exam at school by offering her classmate

630
00:33:20,520 --> 00:33:22,000
Speaker 5: to come to Elvis's house.

631
00:33:22,160 --> 00:33:24,480
Speaker 8: You know, I want so badly to know whether that

632
00:33:24,520 --> 00:33:26,360
Speaker 8: paid off and whether that girl got to go to

633
00:33:26,400 --> 00:33:28,120
Speaker 8: a party at all.

634
00:33:28,240 --> 00:33:31,600
Speaker 5: The scenes at the school are really interesting to parse,

635
00:33:31,760 --> 00:33:35,680
Speaker 5: like what she's feeling, you know, because there are these

636
00:33:35,680 --> 00:33:38,560
Speaker 5: whispers and people are gossiping behind her back, and you know,

637
00:33:38,640 --> 00:33:42,760
Speaker 5: it's again very direct connection to Marie Antoinette as far

638
00:33:42,800 --> 00:33:45,880
Speaker 5: as like the whispers at court and the whispers at school,

639
00:33:46,040 --> 00:33:51,560
Speaker 5: you know, but there is sort of a suggestion in

640
00:33:51,760 --> 00:33:55,200
Speaker 5: the performance, in just the way she carries herself that

641
00:33:55,360 --> 00:33:59,680
Speaker 5: she like, she's not necessarily devastated by these whisperings, you know.

642
00:33:59,760 --> 00:34:02,040
Speaker 5: I think there is maybe a part of her that,

643
00:34:02,240 --> 00:34:04,560
Speaker 5: like I said, maybe is getting a little bit of

644
00:34:04,600 --> 00:34:07,840
Speaker 5: a thrill out of the notoriety. And I think what

645
00:34:07,880 --> 00:34:10,880
Speaker 5: you're suggesting Tasha, as far as her playing on the

646
00:34:10,960 --> 00:34:13,640
Speaker 5: lawn with the dog and view of the gates could

647
00:34:13,640 --> 00:34:16,280
Speaker 5: play into that interpretation as well.

648
00:34:17,080 --> 00:34:19,320
Speaker 4: Again, I just wish we had a little more idea

649
00:34:19,320 --> 00:34:21,279
Speaker 4: of what was going on with her. Both of these

650
00:34:21,400 --> 00:34:25,440
Speaker 4: characters of the son being an actual connection don't really

651
00:34:25,480 --> 00:34:29,600
Speaker 4: have anyone to talk to about what they're feeling. Marie

652
00:34:29,600 --> 00:34:33,560
Speaker 4: Antoinette ends up with friends a lot quicker than Priscilla does.

653
00:34:33,560 --> 00:34:35,680
Speaker 4: A lot earlier in the film, but we don't really

654
00:34:35,719 --> 00:34:38,440
Speaker 4: see her talking about her bedroom problems with Louis. We

655
00:34:38,520 --> 00:34:41,880
Speaker 4: don't really see her talking about the expectations that have

656
00:34:41,960 --> 00:34:46,160
Speaker 4: been forced on her. She keeps the conversations safe and frivolous.

657
00:34:46,280 --> 00:34:50,839
Speaker 4: There's a lot of gossip, particularly about DeBerry, and it's

658
00:34:51,520 --> 00:34:55,799
Speaker 4: kind of coldly fun, I think to watch her mean

659
00:34:55,920 --> 00:35:00,920
Speaker 4: girl at agr Argento's de Berry, primarily because of the

660
00:35:00,960 --> 00:35:03,480
Speaker 4: sense of like it literally is the only power that

661
00:35:03,520 --> 00:35:05,279
Speaker 4: she has. She has the power to spend a great

662
00:35:05,320 --> 00:35:08,640
Speaker 4: deal of money on shoes and cakes and dresses, and

663
00:35:08,680 --> 00:35:10,840
Speaker 4: she has the power to be kind of caddy and

664
00:35:11,280 --> 00:35:16,440
Speaker 4: mean and exclusive to the King's courtison mistress, who the

665
00:35:16,480 --> 00:35:21,479
Speaker 4: whole court kind of despises everybody except the king. It's

666
00:35:21,520 --> 00:35:23,759
Speaker 4: just a tiny little bit of power she has, and

667
00:35:24,080 --> 00:35:25,839
Speaker 4: you know, even that is kind of taken away from

668
00:35:25,840 --> 00:35:29,600
Speaker 4: her when she's told, like it's scandalous that you're not

669
00:35:29,719 --> 00:35:32,680
Speaker 4: accepting her. You have to go speak to her so

670
00:35:32,760 --> 00:35:35,080
Speaker 4: that she can speak to you. And then she goes

671
00:35:35,120 --> 00:35:37,640
Speaker 4: and says, there are a lot of people at Versailles

672
00:35:37,640 --> 00:35:42,560
Speaker 4: today and fulfills her obligations. Very very fun little scene.

673
00:35:42,320 --> 00:35:46,520
Speaker 6: Which is apparently historically accurate. Yeah, that's what happened.

674
00:35:47,400 --> 00:35:49,880
Speaker 4: Certainly sounds like it would have been. But there's just

675
00:35:49,960 --> 00:35:53,000
Speaker 4: the degree to which I think neither of them is

676
00:35:53,040 --> 00:35:56,400
Speaker 4: really able to unburden themselves. And in both cases, I

677
00:35:56,400 --> 00:35:58,360
Speaker 4: think that robs us maybe of a little bit of

678
00:35:58,440 --> 00:36:01,520
Speaker 4: perspective of what's going on with them. But in both

679
00:36:01,560 --> 00:36:05,080
Speaker 4: cases it's a it's a way of showing how powerless

680
00:36:05,080 --> 00:36:10,160
Speaker 4: they are. They both have insecurities that they're just not

681
00:36:10,360 --> 00:36:13,440
Speaker 4: in a position to air. You know, if either of

682
00:36:13,480 --> 00:36:16,960
Speaker 4: them were to admit that there were flaws in the

683
00:36:17,000 --> 00:36:20,040
Speaker 4: situation that they found themselves in, they would be opening

684
00:36:20,080 --> 00:36:25,279
Speaker 4: themselves up to scandal and possibly like disapproval from the

685
00:36:25,320 --> 00:36:29,719
Speaker 4: men in their lives, possibly disapproval from the courtiers around them.

686
00:36:30,120 --> 00:36:32,120
Speaker 4: So they have to keep it all bottled up. Both

687
00:36:32,160 --> 00:36:34,520
Speaker 4: of them just have to hang on to all of

688
00:36:34,560 --> 00:36:38,560
Speaker 4: these emotions and to whatever degree they can pretend to

689
00:36:38,640 --> 00:36:41,280
Speaker 4: the world that they don't exist and that they're living

690
00:36:41,280 --> 00:36:44,799
Speaker 4: a much happier lifestyle than they actually are, because that's

691
00:36:44,840 --> 00:36:45,919
Speaker 4: the only way to win.

692
00:36:46,920 --> 00:36:49,160
Speaker 7: There are a lot of connections, Like I'm looking at

693
00:36:49,200 --> 00:36:51,600
Speaker 7: this list, we could we could this could be our

694
00:36:51,640 --> 00:36:52,800
Speaker 7: longest episode ever.

695
00:36:52,719 --> 00:36:54,400
Speaker 6: If we can go through all of them. But I

696
00:36:54,480 --> 00:36:55,000
Speaker 6: wonder if.

697
00:36:54,960 --> 00:36:57,359
Speaker 7: One thing we should talk about is the biggest way

698
00:36:57,440 --> 00:37:01,279
Speaker 7: these films are different, which is stylistically, Marie Antoinette is

699
00:37:01,600 --> 00:37:04,719
Speaker 7: a pop and brightly colored and it really moves. And

700
00:37:05,320 --> 00:37:11,280
Speaker 7: Priscilla is muted and slow and you know, really quiet,

701
00:37:11,520 --> 00:37:14,839
Speaker 7: a very quiet film despite about you know, being about

702
00:37:14,960 --> 00:37:18,560
Speaker 7: Mary Joe rock Star. So how those different approaches play

703
00:37:18,560 --> 00:37:19,560
Speaker 7: into each of these films.

704
00:37:20,000 --> 00:37:22,960
Speaker 5: I was so excited when Priscilla started and we got

705
00:37:22,960 --> 00:37:26,040
Speaker 5: the feet in the shag carpets and like, yes, this

706
00:37:26,280 --> 00:37:29,000
Speaker 5: give it to me, Sophia Coppola, give me that tactile

707
00:37:29,120 --> 00:37:33,799
Speaker 5: opulence that I know you can give me. And immediately like, yes,

708
00:37:33,880 --> 00:37:37,239
Speaker 5: Marie Antoinette, Graceland is Versailles, I get it. And then

709
00:37:37,560 --> 00:37:41,840
Speaker 5: Priscilla definitely has lots of sort of that feeling of

710
00:37:41,960 --> 00:37:46,319
Speaker 5: lush opulence. But it just the palette's different, you know,

711
00:37:46,360 --> 00:37:49,920
Speaker 5: it's it's darker over overall, you know, it's more muted overall.

712
00:37:50,239 --> 00:37:54,719
Speaker 5: Like we do have some bright fireworks see scenes you know,

713
00:37:54,800 --> 00:37:59,879
Speaker 5: here and there, and Graceland is brightly lit, but it's

714
00:38:00,120 --> 00:38:03,120
Speaker 5: not necessarily I don't want to say garish, because I

715
00:38:03,120 --> 00:38:06,200
Speaker 5: wouldn't call Marie Antoinette garish, but it is. It does

716
00:38:06,239 --> 00:38:12,200
Speaker 5: have a very poppy palette. It pops visually and Priscilla doesn't,

717
00:38:12,200 --> 00:38:15,279
Speaker 5: which is so weird because of the era this is

718
00:38:15,320 --> 00:38:18,360
Speaker 5: in is like associated with just color and pattern and everything.

719
00:38:18,600 --> 00:38:20,799
Speaker 5: But then that brings us back to the thing in

720
00:38:20,840 --> 00:38:24,560
Speaker 5: Priscilla where he doesn't want her wearing patterns, you know,

721
00:38:24,800 --> 00:38:28,400
Speaker 5: like he wants her kind of muted, you know, He's

722
00:38:28,920 --> 00:38:32,239
Speaker 5: it seems like he desires her to kind of be

723
00:38:32,480 --> 00:38:36,640
Speaker 5: in this box stylistically, and the film I think, kind

724
00:38:36,640 --> 00:38:41,520
Speaker 5: of follows suits. It's not too rambunctious, it's not breaking

725
00:38:41,560 --> 00:38:44,080
Speaker 5: the rules like we were talking about the way Marie

726
00:38:44,080 --> 00:38:48,000
Speaker 5: Antoinette does. And I think, Tasha, maybe that's why you

727
00:38:48,040 --> 00:38:51,000
Speaker 5: and I are kind of feeling a little cooler toward

728
00:38:51,080 --> 00:38:56,400
Speaker 5: her as a protagonist, because I think with Coppola in particular,

729
00:38:56,600 --> 00:39:01,080
Speaker 5: so much of the emotion of the character comes through

730
00:39:01,239 --> 00:39:05,640
Speaker 5: just in the way that they are visually presented on screen,

731
00:39:05,880 --> 00:39:11,560
Speaker 5: and Priscilla is again definitely lush and opulent and beautiful

732
00:39:11,760 --> 00:39:15,719
Speaker 5: in its own way, but it is a little more

733
00:39:15,760 --> 00:39:17,360
Speaker 5: reserved stylistically.

734
00:39:17,920 --> 00:39:20,640
Speaker 4: I do wonder how much of that that comes from,

735
00:39:20,880 --> 00:39:23,360
Speaker 4: As you say, you know not from the aesthetic of

736
00:39:23,440 --> 00:39:27,520
Speaker 4: the era, but of the aesthetic specifically of these characters

737
00:39:27,520 --> 00:39:30,239
Speaker 4: in this era, because I know from the Vanity Fair

738
00:39:30,360 --> 00:39:34,200
Speaker 4: oral history that a lot of the look of Marie

739
00:39:34,200 --> 00:39:38,440
Speaker 4: Antoinette came from looking at actual dress designs and fabrics

740
00:39:38,440 --> 00:39:43,000
Speaker 4: and patterns, and looking at the room decor and looking

741
00:39:43,120 --> 00:39:47,520
Speaker 4: at not so much paintings, because the paintings, as they

742
00:39:47,600 --> 00:39:52,680
Speaker 4: say in that piece, are very much fictionalized and meant

743
00:39:52,680 --> 00:39:56,279
Speaker 4: to flatter the people being portrayed. But you know, the

744
00:39:56,320 --> 00:40:00,799
Speaker 4: actual furnishings and decor that they still have all kind

745
00:40:00,840 --> 00:40:05,600
Speaker 4: of contribute to this like busy, luxurious, bright pastel environment.

746
00:40:05,880 --> 00:40:09,000
Speaker 4: Whereas if you look at pictures of Priscilla of the era,

747
00:40:09,200 --> 00:40:12,759
Speaker 4: as you say, she's wearing very simple things in terms

748
00:40:12,800 --> 00:40:16,960
Speaker 4: of color, the heavy, heavy eyeliner, the gigantic wigs that

749
00:40:17,080 --> 00:40:20,680
Speaker 4: just completely dwarf her head and body. Like I wonder

750
00:40:20,719 --> 00:40:22,560
Speaker 4: how much of the aesthetic was just sort of drawn

751
00:40:22,680 --> 00:40:27,279
Speaker 4: out of the attempt to surround these two women with

752
00:40:27,800 --> 00:40:32,359
Speaker 4: things that match their environment, that matched their historical look.

753
00:40:32,640 --> 00:40:36,240
Speaker 4: But there's also a degree to which Priscilla being shut

754
00:40:36,280 --> 00:40:39,160
Speaker 4: away in Graceland makes the film a lot more focused

755
00:40:39,200 --> 00:40:44,120
Speaker 4: on not bland, but certainly much less Rococo interiors. I

756
00:40:44,160 --> 00:40:46,800
Speaker 4: think of it as just a much visually darker film

757
00:40:47,320 --> 00:40:49,920
Speaker 4: because when I think about the moments that most struck

758
00:40:49,960 --> 00:40:52,839
Speaker 4: me emotionally, it's her standing there on the phone being

759
00:40:52,840 --> 00:40:55,759
Speaker 4: told she's not allowed to have a job in a

760
00:40:56,000 --> 00:40:58,440
Speaker 4: darkened room with all of the blinds drawn. It's her

761
00:40:58,480 --> 00:41:02,080
Speaker 4: having a playful pill fight with Elvis in their bedroom

762
00:41:02,640 --> 00:41:05,160
Speaker 4: that turns sour because he gets more and more aggressive

763
00:41:05,560 --> 00:41:08,240
Speaker 4: until he hurts her and she finally stalks away, saying,

764
00:41:08,280 --> 00:41:11,640
Speaker 4: you always have to win. You refuse to fight unless

765
00:41:11,680 --> 00:41:14,759
Speaker 4: you can win. It's her, you know, just kind of

766
00:41:14,880 --> 00:41:17,440
Speaker 4: sulking from room to room because she has nowhere to

767
00:41:17,480 --> 00:41:20,080
Speaker 4: go and nothing to do. Whereas when I think about

768
00:41:20,160 --> 00:41:23,319
Speaker 4: Mary Antoinette, I think about her on the lawn, her

769
00:41:23,800 --> 00:41:28,840
Speaker 4: you know, walking through vast gardens or huge airy rooms,

770
00:41:29,080 --> 00:41:33,080
Speaker 4: or hanging out in the podit Trennanon like, surrounded by windows.

771
00:41:33,560 --> 00:41:37,319
Speaker 4: It's just a much airier and more outdoorsy film in

772
00:41:37,360 --> 00:41:39,759
Speaker 4: a lot of ways, so it feels brighter and like

773
00:41:39,800 --> 00:41:43,200
Speaker 4: there's more space, even leaving out the contrast between the

774
00:41:43,200 --> 00:41:48,160
Speaker 4: pastel palette and the you know, kind of shades drawn

775
00:41:48,680 --> 00:41:52,160
Speaker 4: gem stuck inside a drawing room with nowhere to go, Palette.

776
00:41:52,280 --> 00:41:57,040
Speaker 5: Everything smells like cigarettes.

777
00:41:55,680 --> 00:41:58,800
Speaker 4: And hair spray. There's so many shots of AquaNet hairspray

778
00:41:58,840 --> 00:42:01,040
Speaker 4: being applied to be lives in this movie.

779
00:42:01,600 --> 00:42:04,640
Speaker 2: I mean, Versus is a pretty big place. I mean

780
00:42:04,680 --> 00:42:07,400
Speaker 2: it's large, It's got a lot of the grounds and whatnot.

781
00:42:07,440 --> 00:42:12,040
Speaker 2: I was just there over the summer, big place. The

782
00:42:12,040 --> 00:42:13,640
Speaker 2: other thing, too, is I think, you know, as much

783
00:42:13,640 --> 00:42:16,480
Speaker 2: as we talk about the lack of agency that both

784
00:42:16,480 --> 00:42:20,280
Speaker 2: of these women are sort of cursed with Marie, Antoinette

785
00:42:20,320 --> 00:42:24,360
Speaker 2: does have some amount a flex here. She spends she

786
00:42:24,440 --> 00:42:28,000
Speaker 2: makes decisions, she can make decisions. You feel like it's

787
00:42:28,040 --> 00:42:32,160
Speaker 2: a much smaller world that Priscilla is dealing with and

788
00:42:32,480 --> 00:42:35,600
Speaker 2: that the film reinforces. I mean, you know, I've never

789
00:42:35,640 --> 00:42:38,439
Speaker 2: been to Graceland, but my thought of Graceland as being,

790
00:42:38,880 --> 00:42:41,160
Speaker 2: you know, this tourist attraction is that it's everything is

791
00:42:41,200 --> 00:42:44,239
Speaker 2: just huge, big and garish and colorful, and you know,

792
00:42:44,520 --> 00:42:46,359
Speaker 2: you know, it's like a tourist attraction that's where you go.

793
00:42:46,880 --> 00:42:49,360
Speaker 6: Surprisingly not actually it's it's not.

794
00:42:50,520 --> 00:42:52,239
Speaker 2: It's smaller, right, Keith.

795
00:42:52,320 --> 00:42:54,040
Speaker 6: Yeah, Yeah, it's a house.

796
00:42:54,120 --> 00:42:57,160
Speaker 7: I mean it's it's a luxurious house and it's got

797
00:42:57,200 --> 00:43:00,719
Speaker 7: some very of its era decorating choices in it. It's

798
00:43:00,719 --> 00:43:03,200
Speaker 7: not the out of control living inside a theme park

799
00:43:03,280 --> 00:43:05,480
Speaker 7: kind of place you might think it it would be

800
00:43:05,520 --> 00:43:06,600
Speaker 7: if you haven't been there.

801
00:43:06,560 --> 00:43:06,719
Speaker 6: You know.

802
00:43:06,800 --> 00:43:11,319
Speaker 2: I think that it's smallness is something that is emphasized strongly,

803
00:43:11,840 --> 00:43:15,440
Speaker 2: I guess in Priscilla, and it's something the film kind

804
00:43:15,480 --> 00:43:18,000
Speaker 2: of I think sticks to quite effectively.

805
00:43:18,640 --> 00:43:18,799
Speaker 5: Well.

806
00:43:18,840 --> 00:43:21,080
Speaker 4: Speaking of smallness, one of the things that really strikes

807
00:43:21,120 --> 00:43:24,960
Speaker 4: me about Priscilla is how much it's emphasized how small

808
00:43:25,000 --> 00:43:28,719
Speaker 4: Priscilla is compared to Elvis.

809
00:43:28,520 --> 00:43:32,680
Speaker 5: Of the incredible height differential. Every time the full body

810
00:43:32,680 --> 00:43:34,920
Speaker 5: shot of the two of them together, it's like, yes.

811
00:43:35,480 --> 00:43:41,120
Speaker 8: Yeah, and that isn't quite historically accurate, Like it's exaggerated,

812
00:43:41,160 --> 00:43:44,080
Speaker 8: but it's exaggerated for a fact. Like there's a scene

813
00:43:44,520 --> 00:43:46,960
Speaker 8: that we get in one of the press photos that

814
00:43:47,080 --> 00:43:51,279
Speaker 8: was sent out where she's standing against a wall at

815
00:43:51,280 --> 00:43:54,440
Speaker 8: home and Elvis is standing over her with an arm

816
00:43:54,520 --> 00:43:57,239
Speaker 8: out like casually resting against the wall behind her as

817
00:43:57,280 --> 00:43:59,200
Speaker 8: he's sort of leaning over her, and.

818
00:43:59,120 --> 00:44:03,000
Speaker 4: She just feels so trapped. In the movie, it's a

819
00:44:03,040 --> 00:44:07,080
Speaker 4: pretty casual conversation, but the body language is just you know,

820
00:44:07,120 --> 00:44:10,920
Speaker 4: he's not only towering over her, he's kind of cornering

821
00:44:10,960 --> 00:44:14,520
Speaker 4: her against a wall. And the various scenes that we

822
00:44:14,560 --> 00:44:18,360
Speaker 4: have of nakedness in Marie Antoinette, when she's think stripped

823
00:44:18,360 --> 00:44:20,239
Speaker 4: of everything she brought from Austria in order to be

824
00:44:20,239 --> 00:44:22,960
Speaker 4: passed over to France, or when she's standing naked in

825
00:44:23,000 --> 00:44:27,120
Speaker 4: the bedroom waiting for everybody who you know, my feeling

826
00:44:27,200 --> 00:44:30,040
Speaker 4: is if you show up late to the investments ceremony,

827
00:44:30,080 --> 00:44:32,919
Speaker 4: you don't get to interrupt the investments ceremony. But that's

828
00:44:33,000 --> 00:44:35,719
Speaker 4: just me. The way that nakedness is used in Marie

829
00:44:35,719 --> 00:44:39,799
Speaker 4: Antoinette to convey vulnerability, size is used in Priscilla to

830
00:44:39,840 --> 00:44:42,239
Speaker 4: convey vulnerability, and at both of these films, I think

831
00:44:42,280 --> 00:44:46,560
Speaker 4: just have a very conscious sense of the weakness is

832
00:44:46,600 --> 00:44:49,440
Speaker 4: not quite the right word, but I'm looking for a

833
00:44:49,480 --> 00:44:51,480
Speaker 4: good synonym for vulnerability.

834
00:44:51,600 --> 00:44:52,400
Speaker 6: Just like how.

835
00:44:53,719 --> 00:44:58,880
Speaker 4: Physically unprepossessing these two women are compared to the size

836
00:44:58,880 --> 00:45:00,640
Speaker 4: and weight of the history around them.

837
00:45:00,800 --> 00:45:03,799
Speaker 5: It's also tied up in their youth, especially in the

838
00:45:03,880 --> 00:45:07,480
Speaker 5: case of Priscilla, where you know, we've mentioned several times

839
00:45:07,520 --> 00:45:10,759
Speaker 5: now these are both fourteen year old protagonists. But you know,

840
00:45:11,160 --> 00:45:14,320
Speaker 5: as we discussed in the first half. Marie and Louis

841
00:45:14,400 --> 00:45:16,880
Speaker 5: were essentially the same age, There's only a year or

842
00:45:16,880 --> 00:45:19,680
Speaker 5: two between them, whereas there was a ten year age

843
00:45:19,719 --> 00:45:24,160
Speaker 5: gap between Priscilla and Elvis. And I think having that

844
00:45:24,320 --> 00:45:29,040
Speaker 5: big height differential between them underlines that fact strongly. Where

845
00:45:29,320 --> 00:45:32,160
Speaker 5: As in Marie Antoinette, christ and Duns and Jason Schwartzman

846
00:45:32,280 --> 00:45:36,840
Speaker 5: are are pretty much the same size physically, and Jason

847
00:45:36,840 --> 00:45:42,120
Speaker 5: Schwartzman does, you know, kind of hold himself meekly I

848
00:45:42,120 --> 00:45:45,839
Speaker 5: guess certainly at the beginning in a way that translates

849
00:45:45,880 --> 00:45:50,880
Speaker 5: both of their youth and experience in all things, but

850
00:45:51,560 --> 00:45:55,720
Speaker 5: specifically with Priscilla and Elvis, you can't not be aware

851
00:45:55,800 --> 00:45:59,160
Speaker 5: of just how young she is in comparison to him.

852
00:46:00,040 --> 00:46:03,280
Speaker 5: And you see that height difference, even though height obviously

853
00:46:03,320 --> 00:46:05,759
Speaker 5: has nothing to do with age. Does she looks like

854
00:46:05,800 --> 00:46:09,520
Speaker 5: a child? You know, even when she is legally a woman,

855
00:46:09,680 --> 00:46:11,560
Speaker 5: she still looks like a child next to him, And

856
00:46:11,600 --> 00:46:14,320
Speaker 5: I think the film wants you to never really forget

857
00:46:14,480 --> 00:46:16,439
Speaker 5: that element of their relationship.

858
00:46:16,840 --> 00:46:19,560
Speaker 7: I do want to point out what was Spainy's performance.

859
00:46:19,600 --> 00:46:21,839
Speaker 7: When I first saw her, I was like, are they

860
00:46:21,840 --> 00:46:26,439
Speaker 7: going to have two different actresses play pal convincing as

861
00:46:26,680 --> 00:46:29,640
Speaker 7: a fourteen year old, and she really I think one

862
00:46:29,680 --> 00:46:31,879
Speaker 7: of the strengths of the film is a way that

863
00:46:31,920 --> 00:46:36,200
Speaker 7: she very believably ages into an unhappy woman no from

864
00:46:36,239 --> 00:46:36,800
Speaker 7: a teenager.

865
00:46:37,160 --> 00:46:40,840
Speaker 4: Well, part of that transformation comes from the way she's

866
00:46:41,600 --> 00:46:46,360
Speaker 4: dressed and made up, and her her hair dressing changes

867
00:46:46,760 --> 00:46:52,320
Speaker 4: throughout this movie. Her transition from the early teens ponytail

868
00:46:52,880 --> 00:46:57,680
Speaker 4: to this elaborate, behive eyeliner look that she sported to

869
00:46:58,440 --> 00:47:01,879
Speaker 4: going back to a natural hair color and much more

870
00:47:02,000 --> 00:47:04,840
Speaker 4: natural way of wearing makeup as she gets older and

871
00:47:04,960 --> 00:47:08,560
Speaker 4: kind of reasserts her own identity, I think is very telling.

872
00:47:08,880 --> 00:47:11,440
Speaker 4: But that's something that both of these movies do. You know,

873
00:47:11,480 --> 00:47:16,839
Speaker 4: we see a great deal of shopping montage in Marie

874
00:47:16,840 --> 00:47:20,239
Speaker 4: Antoinette or acquisition montage, however you want to think of it.

875
00:47:20,520 --> 00:47:23,720
Speaker 4: But we also see her getting her makeup done, getting

876
00:47:23,760 --> 00:47:27,240
Speaker 4: her hair done, getting her toenails done by a servant.

877
00:47:27,760 --> 00:47:32,160
Speaker 4: There's the you know, hair person that comes in to

878
00:47:32,360 --> 00:47:37,279
Speaker 4: do elaborate stuff with her giant vertical hair going on. Like,

879
00:47:37,320 --> 00:47:40,440
Speaker 4: both of these films are very aware of the nature

880
00:47:40,640 --> 00:47:46,759
Speaker 4: of clothing, makeup, hair and other presentation as a way

881
00:47:46,840 --> 00:47:51,320
Speaker 4: of claiming a particular kind of feminine identity, and both

882
00:47:51,360 --> 00:47:55,080
Speaker 4: of them use all of this kind of stylization as

883
00:47:55,120 --> 00:47:59,080
Speaker 4: a way of describing where the protagonists are in terms

884
00:47:59,120 --> 00:48:02,520
Speaker 4: of their personality, in terms of who is controlling them,

885
00:48:03,000 --> 00:48:06,240
Speaker 4: or where they're being allowed to control themselves, in terms

886
00:48:06,320 --> 00:48:09,799
Speaker 4: of how they're deciding to handle self expression to the

887
00:48:09,840 --> 00:48:10,920
Speaker 4: degree that they're allowed in.

888
00:48:11,360 --> 00:48:15,440
Speaker 5: I mean, with Marie Antoinette, she drove the economy to

889
00:48:15,520 --> 00:48:18,520
Speaker 5: a certain extent, like with her fashion choices, you know,

890
00:48:18,600 --> 00:48:23,680
Speaker 5: like she set the trends and the tailors and the hairdressers,

891
00:48:23,680 --> 00:48:27,560
Speaker 5: and not just at court, but ostensibly like beyond, even

892
00:48:27,600 --> 00:48:29,680
Speaker 5: though we don't really see that in the film, but

893
00:48:29,800 --> 00:48:33,359
Speaker 5: like the fashions and the trends that she follows has

894
00:48:33,400 --> 00:48:37,400
Speaker 5: like a huge trickle down effect for the people making

895
00:48:37,520 --> 00:48:40,719
Speaker 5: those gowns and wigs and whatnot, and all of the

896
00:48:40,760 --> 00:48:44,080
Speaker 5: people at court who buy them. So there is some

897
00:48:44,200 --> 00:48:48,640
Speaker 5: really literal power in her fashion choices here, you know,

898
00:48:48,760 --> 00:48:51,720
Speaker 5: like I said in the first part, like to a degree,

899
00:48:51,760 --> 00:48:57,680
Speaker 5: that is her job other than producing errors. Whereas in Priscilla,

900
00:48:58,560 --> 00:49:02,319
Speaker 5: you know, we have these shopping montages, but Elvis is

901
00:49:02,320 --> 00:49:06,080
Speaker 5: making the decisions. Elvis is telling her she can't wear prints,

902
00:49:06,120 --> 00:49:08,640
Speaker 5: you know, until she wears a print and kicks him

903
00:49:08,640 --> 00:49:13,080
Speaker 5: to the curb. So yeah, like that when she does

904
00:49:13,200 --> 00:49:15,560
Speaker 5: wear a print at the end, like that is her

905
00:49:15,719 --> 00:49:20,239
Speaker 5: like finding power, expressing power in her fashion in a

906
00:49:20,280 --> 00:49:23,440
Speaker 5: way that earlier in the film, it's kind of taken

907
00:49:23,560 --> 00:49:27,839
Speaker 5: from her by Elvis's decisions and preferences as far as

908
00:49:28,080 --> 00:49:31,080
Speaker 5: how she quote unquote expresses herself when she's with him.

909
00:49:31,440 --> 00:49:34,000
Speaker 4: As a kind of fun point of trivia, speaking of

910
00:49:34,080 --> 00:49:38,000
Speaker 4: Marie Antoinette driving me the French economy in terms of

911
00:49:38,480 --> 00:49:42,640
Speaker 4: driving the trends and being the person that fashion emulated,

912
00:49:43,200 --> 00:49:45,960
Speaker 4: the movie itself did the same thing. One of the

913
00:49:46,000 --> 00:49:48,839
Speaker 4: things that came up as I was reading more and

914
00:49:48,840 --> 00:49:51,120
Speaker 4: more about this film is just the degree to which

915
00:49:51,719 --> 00:49:54,799
Speaker 4: a lot of famous fashion designers had very heavily Marie

916
00:49:54,800 --> 00:49:58,759
Speaker 4: Antoinette themed like fall lines after this movie came out.

917
00:49:58,840 --> 00:50:02,360
Speaker 4: It was a big trend, just different different ways of

918
00:50:02,440 --> 00:50:05,680
Speaker 4: interpreting the versa I look really heavily made it into

919
00:50:05,800 --> 00:50:08,680
Speaker 4: that year's fashion shows, which I think is kind of fun.

920
00:50:09,239 --> 00:50:10,759
Speaker 2: Do you think Priscilla is going to have the same

921
00:50:10,800 --> 00:50:11,799
Speaker 2: impact now?

922
00:50:12,239 --> 00:50:15,640
Speaker 4: I really really hope that the beehive look does not

923
00:50:15,680 --> 00:50:19,799
Speaker 4: come back I'm indifferent to the eyeliner look. Cat's eye

924
00:50:19,800 --> 00:50:22,439
Speaker 4: eyeliner has been a thing for quite a while now.

925
00:50:22,520 --> 00:50:26,160
Speaker 4: But like the wigs that look like they weigh about

926
00:50:26,239 --> 00:50:29,799
Speaker 4: forty pounds, I hope that they're not coming back. Maybe

927
00:50:29,800 --> 00:50:34,080
Speaker 4: prints are going to go out of fashion for a while, though, well,

928
00:50:34,200 --> 00:50:36,480
Speaker 4: what else should we talk about? Both of these women

929
00:50:36,640 --> 00:50:40,080
Speaker 4: are stuck in marriages where they can't get laid, and

930
00:50:40,520 --> 00:50:43,680
Speaker 4: it kind of sucks for both of them for a

931
00:50:43,760 --> 00:50:46,400
Speaker 4: variety of reasons. I think it's interesting that both of

932
00:50:46,440 --> 00:50:51,799
Speaker 4: them are just very much trying to get their boyfriend's

933
00:50:51,840 --> 00:50:55,680
Speaker 4: slash husbands to make sweet, sweet love to them, and

934
00:50:56,480 --> 00:50:59,759
Speaker 4: there's not a whole lot of understanding in one case

935
00:50:59,800 --> 00:51:03,279
Speaker 4: of of why it isn't happening. I think for the

936
00:51:03,280 --> 00:51:07,040
Speaker 4: whole idea that historians don't quite know what was going

937
00:51:07,080 --> 00:51:09,960
Speaker 4: on with Louis the sixteenth refusing to have sex with

938
00:51:10,040 --> 00:51:13,080
Speaker 4: Marie leaves the movie in a state of ambiguity. But

939
00:51:13,320 --> 00:51:16,719
Speaker 4: in terms of Elvis just repeatedly saying like, no, that's

940
00:51:16,719 --> 00:51:19,240
Speaker 4: not what our relationship is, I'm not comfortable with that.

941
00:51:20,560 --> 00:51:23,799
Speaker 4: Some very cynical part of me wonders a little bit

942
00:51:23,840 --> 00:51:27,480
Speaker 4: if that's true. As opposed to being something that Priscilla

943
00:51:27,520 --> 00:51:29,880
Speaker 4: said in order to make Elvis not look like the

944
00:51:29,920 --> 00:51:32,280
Speaker 4: twenty four year old that had sex with a fourteen

945
00:51:32,360 --> 00:51:32,680
Speaker 4: year old.

946
00:51:33,400 --> 00:51:35,960
Speaker 7: No, I had a bunch of hang ups. I mean,

947
00:51:36,440 --> 00:51:40,160
Speaker 7: not that not having sex with an underage person is

948
00:51:40,800 --> 00:51:43,399
Speaker 7: a hang up, but I mean I think it kind

949
00:51:43,400 --> 00:51:45,160
Speaker 7: of gets the sense of it's all kind of tied

950
00:51:45,239 --> 00:51:48,960
Speaker 7: up with his ideas toward about motherhood and relationship with

951
00:51:48,960 --> 00:51:52,080
Speaker 7: his own mother. And it has never explicitly stated in

952
00:51:52,120 --> 00:51:56,440
Speaker 7: the film, but which is more interested in not having

953
00:51:56,480 --> 00:51:58,759
Speaker 7: sex before marriage. But there was a lot of not

954
00:51:58,880 --> 00:52:01,879
Speaker 7: having sex after childbirth because Elvis had a thing where

955
00:52:01,880 --> 00:52:04,919
Speaker 7: he couldn't really be with or had a hard time

956
00:52:05,080 --> 00:52:07,040
Speaker 7: being with women who were mothers.

957
00:52:07,320 --> 00:52:09,919
Speaker 5: So yeah, he seems to have a big virgin whore

958
00:52:10,400 --> 00:52:13,640
Speaker 5: hang up right, just in the movie yea Mother.

959
00:52:13,600 --> 00:52:17,279
Speaker 4: Horror apparently, Yeah, that's all good context. However, it is

960
00:52:17,360 --> 00:52:19,400
Speaker 4: it leaves both of these women in the same place

961
00:52:19,640 --> 00:52:23,920
Speaker 4: of one of them is specifically looking to do her

962
00:52:24,000 --> 00:52:28,120
Speaker 4: job by the court by her very domineering mother, which

963
00:52:28,160 --> 00:52:31,600
Speaker 4: is another connection these movies have is very domineering and

964
00:52:31,640 --> 00:52:36,840
Speaker 4: controlling parents. The other just wants sex. And it's honestly

965
00:52:36,880 --> 00:52:39,959
Speaker 4: kind of refreshing to see a movie where a teen

966
00:52:40,000 --> 00:52:43,160
Speaker 4: girl is like advocating for her own desires and her

967
00:52:43,200 --> 00:52:48,319
Speaker 4: own sexuality and pushing back against a controlling man, even

968
00:52:48,360 --> 00:52:50,279
Speaker 4: if in this case it means a sixteen year old

969
00:52:50,320 --> 00:52:53,280
Speaker 4: telling a twenty six year old no, seriously, we should

970
00:52:53,320 --> 00:52:54,920
Speaker 4: have sex when he's not interested.

971
00:52:55,600 --> 00:52:59,920
Speaker 5: Yeah, it's I guess refreshing in both cases that you know,

972
00:53:00,320 --> 00:53:05,040
Speaker 5: sex is proceed from the female perspective with no real

973
00:53:05,120 --> 00:53:10,480
Speaker 5: sense of fear, even though they both have no direct

974
00:53:10,520 --> 00:53:14,000
Speaker 5: experience with it, but they both seem to have a

975
00:53:14,080 --> 00:53:20,840
Speaker 5: pretty I guess, pragmatic relationship with sex, and in Priscilla

976
00:53:21,000 --> 00:53:25,440
Speaker 5: in particular, the fact that she does seem to want

977
00:53:25,600 --> 00:53:27,279
Speaker 5: sex with him, and she does seem to be a

978
00:53:27,560 --> 00:53:32,239
Speaker 5: you know, sexual creature to an extent, it makes that

979
00:53:32,960 --> 00:53:36,120
Speaker 5: betrayal at the end of the film when he tries

980
00:53:36,160 --> 00:53:40,600
Speaker 5: to force himself on her, I think hit even harder,

981
00:53:40,840 --> 00:53:43,239
Speaker 5: you know, in the context of years and years of

982
00:53:43,560 --> 00:53:47,480
Speaker 5: trying to get his interest in this regard as far

983
00:53:47,520 --> 00:53:51,040
Speaker 5: as like his psychology in that moment, like, I don't

984
00:53:51,320 --> 00:53:56,120
Speaker 5: think we have the time to plummet, but the fact

985
00:53:56,120 --> 00:53:59,000
Speaker 5: that sex is not a thing to be feared by

986
00:53:59,080 --> 00:54:04,640
Speaker 5: Priscilla till that moment. I think makes that moment feel important.

987
00:54:04,920 --> 00:54:08,520
Speaker 7: One of the more curious emissions from the film, though,

988
00:54:08,640 --> 00:54:11,239
Speaker 7: is the fact that she was having an affair with

989
00:54:11,320 --> 00:54:15,360
Speaker 7: thing Stone Karate instructor, which is not even really confirmed

990
00:54:15,400 --> 00:54:17,520
Speaker 7: in the film itself, if I remember correctly, But it's

991
00:54:17,560 --> 00:54:18,600
Speaker 7: kind of like, I think.

992
00:54:18,480 --> 00:54:22,920
Speaker 4: It's very gently implied, right, I certainly felt that it

993
00:54:23,000 --> 00:54:23,319
Speaker 4: was there.

994
00:54:23,880 --> 00:54:27,359
Speaker 7: Yeah, but that also kind of gives motivation to again

995
00:54:27,440 --> 00:54:30,879
Speaker 7: not justifying this, but gives motivation to his sexual hostility

996
00:54:31,760 --> 00:54:35,000
Speaker 7: given that his wife was having an affair, which is

997
00:54:35,239 --> 00:54:38,480
Speaker 7: a little unclear in the film, But I think maybe

998
00:54:38,680 --> 00:54:40,720
Speaker 7: it just sort of aspects a certain amount of knowledge

999
00:54:40,719 --> 00:54:41,920
Speaker 7: of the story going in.

1000
00:54:41,960 --> 00:54:44,080
Speaker 6: Perhaps, So that's.

1001
00:54:43,719 --> 00:54:46,960
Speaker 4: A really good segue. We could be here for another

1002
00:54:47,000 --> 00:54:50,359
Speaker 4: hour doing all of these comparisons. I'll just run down

1003
00:54:50,600 --> 00:54:55,640
Speaker 4: really quickly. Again, both of these movies have protagonists whose

1004
00:54:55,719 --> 00:54:59,840
Speaker 4: parents negotiate in order to put them in a relationship

1005
00:55:00,120 --> 00:55:03,440
Speaker 4: as part of the controlling aspect of it. Both of

1006
00:55:03,440 --> 00:55:07,440
Speaker 4: them have anachronistic music. There's a really fun touch with

1007
00:55:07,480 --> 00:55:10,800
Speaker 4: that in Priscilla that I found out from pop culture

1008
00:55:10,800 --> 00:55:12,880
Speaker 4: Happy Hour that we might tag in at the very

1009
00:55:13,000 --> 00:55:15,560
Speaker 4: end of this because it's fun. Both of them are

1010
00:55:15,719 --> 00:55:19,759
Speaker 4: about women having a child in order to confirm their

1011
00:55:19,840 --> 00:55:22,640
Speaker 4: worth and confirm the relationship that they're in. Both of

1012
00:55:22,640 --> 00:55:26,640
Speaker 4: them have these big arcs of a very young person

1013
00:55:26,840 --> 00:55:30,800
Speaker 4: coming into a relationship with no control and gradually asserting

1014
00:55:30,840 --> 00:55:34,480
Speaker 4: themselves and in one case leaving the nest, in another

1015
00:55:34,520 --> 00:55:37,959
Speaker 4: case making the conscious decision to not leave the nest.

1016
00:55:38,560 --> 00:55:43,080
Speaker 4: Both of these movies have men with dude entourages that

1017
00:55:43,160 --> 00:55:45,640
Speaker 4: they like to hang out with while they're neglecting their

1018
00:55:45,680 --> 00:55:47,520
Speaker 4: wives or girlfriends.

1019
00:55:48,280 --> 00:55:50,600
Speaker 5: And another one that just occurred to me in this

1020
00:55:50,760 --> 00:55:55,200
Speaker 5: conversation moments ago, is they both have the female protagonists

1021
00:55:55,680 --> 00:55:59,319
Speaker 5: pursuing extramarital affair later on in life. We didn't even

1022
00:55:59,360 --> 00:56:03,080
Speaker 5: talk about first in Marie Antoinette, but you know, I

1023
00:56:03,120 --> 00:56:06,919
Speaker 5: gather he was a pretty substantial part of her life.

1024
00:56:07,000 --> 00:56:09,879
Speaker 5: He's a not that substantial part of the film, but

1025
00:56:10,200 --> 00:56:12,759
Speaker 5: you know, on balance enough that I think you get

1026
00:56:12,800 --> 00:56:16,040
Speaker 5: a sense that he was definitely around quite a bit.

1027
00:56:16,360 --> 00:56:20,959
Speaker 4: Jamie Dornan in his first role. And also, you know, yeah,

1028
00:56:21,040 --> 00:56:25,360
Speaker 4: the movie Marie Antoinette is much like Priscilla, not entirely

1029
00:56:25,400 --> 00:56:28,600
Speaker 4: specific about whether she had an affair with him. Apparently

1030
00:56:28,680 --> 00:56:34,560
Speaker 4: that also is a likely thing historically, but not the yes,

1031
00:56:36,160 --> 00:56:37,279
Speaker 4: yeah way.

1032
00:56:37,480 --> 00:56:39,800
Speaker 5: Priscilla was close friends with her karate instructor.

1033
00:56:39,840 --> 00:56:43,520
Speaker 4: I guess I think in both cases there's maybe just

1034
00:56:43,640 --> 00:56:46,920
Speaker 4: a sense of you know that this woman is unhappy,

1035
00:56:47,040 --> 00:56:49,279
Speaker 4: you know that she's unfulfilled. You know that there's this

1036
00:56:49,440 --> 00:56:52,800
Speaker 4: very handsome person paying her court that she has a

1037
00:56:53,200 --> 00:56:56,600
Speaker 4: relationship with. You can read it as they're having sex,

1038
00:56:56,719 --> 00:56:58,600
Speaker 4: or you can just read it as they want to

1039
00:56:58,640 --> 00:57:02,399
Speaker 4: be having sex. But either way, it's a very similar relationship.

1040
00:57:02,680 --> 00:57:04,960
Speaker 4: But all of these are things that we don't have

1041
00:57:05,000 --> 00:57:07,560
Speaker 4: another hour to dig into, so I.

1042
00:57:07,400 --> 00:57:07,800
Speaker 2: Want to do it.

1043
00:57:07,960 --> 00:57:08,839
Speaker 6: Fine, I'm good.

1044
00:57:09,800 --> 00:57:11,839
Speaker 5: Let's know, we have to speed right toward the end.

1045
00:57:12,080 --> 00:57:14,000
Speaker 5: Just go right to the last one.

1046
00:57:14,719 --> 00:57:17,400
Speaker 4: No, Keith, you have no power here. I am the

1047
00:57:17,400 --> 00:57:20,160
Speaker 4: host of this episode and I am in control, So

1048
00:57:20,240 --> 00:57:21,880
Speaker 4: I'm just going to leave you on the shelf while

1049
00:57:21,880 --> 00:57:26,000
Speaker 4: I exert my power. Yeah, zipping to the end. The

1050
00:57:26,120 --> 00:57:29,680
Speaker 4: both of these movies have extremely compressed third act that

1051
00:57:29,920 --> 00:57:33,840
Speaker 4: just zip by years without any real sense of what's

1052
00:57:33,880 --> 00:57:37,560
Speaker 4: going on off screen. While well, big important historical events

1053
00:57:37,600 --> 00:57:40,800
Speaker 4: happen in the lives of the men in these movies,

1054
00:57:41,080 --> 00:57:45,520
Speaker 4: we zip past a bunch of kind of impressionistic hiccups

1055
00:57:45,600 --> 00:57:48,200
Speaker 4: in the life of the woman that's at the center.

1056
00:57:49,080 --> 00:57:51,320
Speaker 4: And for me, that's where both of these movies kind

1057
00:57:51,360 --> 00:57:53,800
Speaker 4: of falter. That's where both of these movies kind of

1058
00:57:53,800 --> 00:57:56,000
Speaker 4: lose their way a little bit. It's like they're saying,

1059
00:57:56,760 --> 00:57:59,600
Speaker 4: the part where the woman comes into her own and

1060
00:58:00,120 --> 00:58:03,439
Speaker 4: comes more of a person is much less important than

1061
00:58:03,680 --> 00:58:06,600
Speaker 4: the part where she's like suffering, isolated and lonely. And

1062
00:58:07,080 --> 00:58:09,640
Speaker 4: it's to me a flaw in both of these films. Scott,

1063
00:58:09,720 --> 00:58:12,080
Speaker 4: you are shaking your head, as you so often do

1064
00:58:12,400 --> 00:58:13,000
Speaker 4: when I am.

1065
00:58:12,840 --> 00:58:15,320
Speaker 2: Flattening with I think or is it just all kind

1066
00:58:15,320 --> 00:58:18,560
Speaker 2: of falling apart it both? You know, I mean, I

1067
00:58:18,600 --> 00:58:20,440
Speaker 2: just I just think it's I think. I think. I

1068
00:58:20,480 --> 00:58:26,520
Speaker 2: think the world is just outside activities, outside forces are

1069
00:58:26,560 --> 00:58:30,240
Speaker 2: what dictate these third acts, not not necessarily our greater

1070
00:58:30,320 --> 00:58:33,120
Speaker 2: understanding or realization on the part of our protagonist.

1071
00:58:33,320 --> 00:58:33,800
Speaker 6: I get it.

1072
00:58:33,880 --> 00:58:36,960
Speaker 2: I actually feel like the compression of Priscilla is more

1073
00:58:37,000 --> 00:58:40,000
Speaker 2: sensible in a way the compression of Branch from Net,

1074
00:58:40,040 --> 00:58:44,320
Speaker 2: because it feels just more purposefully elliptical rather than merely rushed.

1075
00:58:44,960 --> 00:58:47,440
Speaker 2: But I think that both they both have some you know,

1076
00:58:47,680 --> 00:58:49,040
Speaker 2: really compelling aspects to them.

1077
00:58:49,120 --> 00:58:51,520
Speaker 4: So well, we'll say that one thing about both of

1078
00:58:51,560 --> 00:58:53,240
Speaker 4: these third acts is that they make a lot more

1079
00:58:53,320 --> 00:58:55,720
Speaker 4: sense if you know the history involved. You know, if

1080
00:58:55,760 --> 00:58:57,320
Speaker 4: you're able to fill in the blessing.

1081
00:58:58,320 --> 00:59:00,920
Speaker 2: Give you a piece she's only going to give you.

1082
00:59:01,000 --> 00:59:03,520
Speaker 2: That's the beauty of the way she makes movies, is

1083
00:59:03,560 --> 00:59:05,440
Speaker 2: like she's not going to give you that stuff because

1084
00:59:05,480 --> 00:59:09,400
Speaker 2: she has the discipline to say, that's outside my point

1085
00:59:09,400 --> 00:59:11,800
Speaker 2: of view. That is not all of this information that

1086
00:59:11,840 --> 00:59:14,720
Speaker 2: you might be craving, that might be a part of history,

1087
00:59:15,080 --> 00:59:17,320
Speaker 2: that's not the point of view I'm reflecting in this movie.

1088
00:59:17,520 --> 00:59:18,760
Speaker 2: So I'm not going to show it to you. You're

1089
00:59:18,760 --> 00:59:20,760
Speaker 2: gonna have to dizzy. You don't have to deal with that.

1090
00:59:21,440 --> 00:59:23,760
Speaker 5: So I like that she's here for the sad girl,

1091
00:59:23,840 --> 00:59:27,160
Speaker 5: not the girl boss, you know, And I respect that,

1092
00:59:27,280 --> 00:59:31,080
Speaker 5: and I think for the most part I like it. It

1093
00:59:30,800 --> 00:59:35,000
Speaker 5: does I think, in the case of Priscilla, maybe throw

1094
00:59:35,040 --> 00:59:37,760
Speaker 5: me off balance with her film as far as like

1095
00:59:37,800 --> 00:59:40,080
Speaker 5: when I'm walking away from it, like what was I

1096
00:59:40,120 --> 00:59:43,680
Speaker 5: supposed to take from this movie? And I'm not always

1097
00:59:44,440 --> 00:59:49,280
Speaker 5: sure because the resolution is so as as Scott says,

1098
00:59:49,280 --> 00:59:53,480
Speaker 5: elliptical and the power of the movie is all in

1099
00:59:53,720 --> 00:59:57,560
Speaker 5: the parts where she is very sad and powerless. Again,

1100
00:59:57,640 --> 00:59:59,960
Speaker 5: like I said, I respect that, I for the most

1101
01:00:00,000 --> 01:00:02,280
Speaker 5: most part like it, but it does, I think sometimes

1102
01:00:02,320 --> 01:00:06,000
Speaker 5: make me feel a little odd that, like, the thing

1103
01:00:06,160 --> 01:00:09,560
Speaker 5: I'm meant to enjoy and respond to most is this

1104
01:00:09,720 --> 01:00:12,080
Speaker 5: woman suffering very beautifully.

1105
01:00:12,440 --> 01:00:14,920
Speaker 4: Yeah, to take it in your terms, Genevieve, if a

1106
01:00:15,000 --> 01:00:18,760
Speaker 4: story is going to be about sad girl becoming girl boss,

1107
01:00:19,360 --> 01:00:21,760
Speaker 4: I would like more, a little more girl boss and

1108
01:00:21,800 --> 01:00:24,320
Speaker 4: a little less sad girl. Like I would like a

1109
01:00:24,360 --> 01:00:26,760
Speaker 4: little more payoff for all this that. I would like

1110
01:00:26,800 --> 01:00:30,600
Speaker 4: a little more vision of what it feels like to

1111
01:00:30,680 --> 01:00:33,560
Speaker 4: live through the things that they've lived through and become fulfilled.

1112
01:00:33,960 --> 01:00:35,360
Speaker 4: I don't want that to be the part of the

1113
01:00:35,360 --> 01:00:37,760
Speaker 4: story that kind of gets hand waved away and like,

1114
01:00:37,960 --> 01:00:40,400
Speaker 4: and a bunch of stuff happened and it was better,

1115
01:00:40,600 --> 01:00:42,720
Speaker 4: although it wasn't really all that much better for Marie

1116
01:00:42,720 --> 01:00:45,120
Speaker 4: Antoinette after that moment, But yeah, do you know what

1117
01:00:45,160 --> 01:00:45,600
Speaker 4: I'm saying.

1118
01:00:45,800 --> 01:00:47,840
Speaker 7: I kind of love the ends of both of these movies.

1119
01:00:47,880 --> 01:00:49,960
Speaker 7: So we haven't talked about the end of Priscilla, but

1120
01:00:50,360 --> 01:00:53,920
Speaker 7: the I found that driving away. Obviously, you have the

1121
01:00:54,000 --> 01:00:56,640
Speaker 7: Dolly parton version of My Wall Always Love You playing,

1122
01:00:56,720 --> 01:01:00,439
Speaker 7: so you're automatically having your heart jerked around on that.

1123
01:01:00,480 --> 01:01:02,600
Speaker 6: This just really this overwhelming.

1124
01:01:02,280 --> 01:01:06,480
Speaker 7: Sense of like all that she'd lost, like everything was

1125
01:01:06,480 --> 01:01:10,240
Speaker 7: built around this relationship, and just like the years that

1126
01:01:10,560 --> 01:01:14,760
Speaker 7: she disappeared into Graceland and then re emerged at with

1127
01:01:14,840 --> 01:01:18,160
Speaker 7: all these years that had just been you know, she'll

1128
01:01:18,160 --> 01:01:21,240
Speaker 7: never get back, that weren't really hers, that were somebody else's,

1129
01:01:21,280 --> 01:01:24,479
Speaker 7: and I kind of facing this really uncertain futures as well.

1130
01:01:24,600 --> 01:01:27,120
Speaker 7: I don't know, I found I found it really quite moving,

1131
01:01:27,160 --> 01:01:30,240
Speaker 7: and just as I found the end of Marantoinette chilling.

1132
01:01:30,280 --> 01:01:33,080
Speaker 7: I mean the final couple, final line, final shot, I mean,

1133
01:01:33,120 --> 01:01:36,040
Speaker 7: it's it's it's amazing, you know, well whatever the rush

1134
01:01:36,080 --> 01:01:37,880
Speaker 7: to get there. In either case, I think that both

1135
01:01:37,920 --> 01:01:40,680
Speaker 7: the ends of both these movies are are remarkable, and I.

1136
01:01:40,680 --> 01:01:41,080
Speaker 6: Also like that.

1137
01:01:41,120 --> 01:01:44,560
Speaker 7: I also like the rushes too, But nonetheless.

1138
01:01:44,160 --> 01:01:47,439
Speaker 5: You putting it in terms of loss, I think makes

1139
01:01:47,440 --> 01:01:51,280
Speaker 5: them both work a little better for me, because we've

1140
01:01:51,320 --> 01:01:54,840
Speaker 5: spent so much of the movie seeing what they have,

1141
01:01:55,160 --> 01:01:58,400
Speaker 5: you know, and what you feel as you walk away

1142
01:01:58,400 --> 01:02:01,320
Speaker 5: for or are torn away from it. In Marie Antoinette's case,

1143
01:02:01,600 --> 01:02:03,520
Speaker 5: is compelling in its own way.

1144
01:02:03,800 --> 01:02:06,840
Speaker 4: That needle drop that you mentioned to Dolly Partons, I

1145
01:02:06,880 --> 01:02:10,680
Speaker 4: Will Always Love You is the thing I was elliptically

1146
01:02:10,680 --> 01:02:13,400
Speaker 4: referring to earlier as something I found out from pop

1147
01:02:13,400 --> 01:02:17,400
Speaker 4: culture Happy Hour that I absolutely love, which is one

1148
01:02:17,400 --> 01:02:19,840
Speaker 4: of the reasons that song is being used there. Stop

1149
01:02:19,880 --> 01:02:23,600
Speaker 4: me if you know this one already. Apparently, Elvis Presley's

1150
01:02:23,680 --> 01:02:27,400
Speaker 4: representation came to Dolly Parton and said, Elvis wants to

1151
01:02:27,440 --> 01:02:30,600
Speaker 4: record this song, but in order to do so, he's

1152
01:02:30,600 --> 01:02:33,560
Speaker 4: going to need fifty percent of the residual rights for

1153
01:02:34,600 --> 01:02:38,400
Speaker 4: available future. And as we know, that's probably because Colonel

1154
01:02:38,400 --> 01:02:41,760
Speaker 4: Tom Parker always wanted a contractually a bigger piece of

1155
01:02:41,760 --> 01:02:44,640
Speaker 4: the pie than was normal in order to fuel his

1156
01:02:44,640 --> 01:02:47,520
Speaker 4: own habits. But in this case, Dolly Parton said, no,

1157
01:02:48,000 --> 01:02:50,600
Speaker 4: I don't need that. So when that music is playing

1158
01:02:50,600 --> 01:02:56,040
Speaker 4: at the end, it's not just an incredibly appropriate sad

1159
01:02:56,280 --> 01:02:59,920
Speaker 4: song about somebody leaving the person they love. It's also

1160
01:03:00,160 --> 01:03:03,360
Speaker 4: very specifically tapping into a little piece of history about

1161
01:03:03,400 --> 01:03:06,360
Speaker 4: somebody who walked away from Elvis and walked away from

1162
01:03:06,400 --> 01:03:09,000
Speaker 4: a connection with him because she could do better on

1163
01:03:09,040 --> 01:03:13,440
Speaker 4: her own. And the depositeness of that moment is and

1164
01:03:13,440 --> 01:03:16,480
Speaker 4: that that musical choice just blows my mind and just

1165
01:03:16,600 --> 01:03:19,040
Speaker 4: kind of speaks to how in both of these films.

1166
01:03:19,080 --> 01:03:23,000
Speaker 4: I disagree with a lot of Sophia Coppolo's artistic choices sometimes,

1167
01:03:23,240 --> 01:03:26,960
Speaker 4: but I never question that they're deliberate and thoughtful and

1168
01:03:27,680 --> 01:03:30,520
Speaker 4: like worked through and very carefully considered.

1169
01:03:30,760 --> 01:03:32,479
Speaker 7: I will say this, it may be a little short

1170
01:03:32,480 --> 01:03:34,960
Speaker 7: sighted if you are the manager of the biggest rock

1171
01:03:35,000 --> 01:03:37,560
Speaker 7: star in the world to have a business structure in

1172
01:03:37,600 --> 01:03:40,560
Speaker 7: place where the best songwriters aren't necessarily going to be

1173
01:03:40,600 --> 01:03:45,640
Speaker 7: drawn to keep their songs if they can do better elsewhere.

1174
01:03:45,720 --> 01:03:47,880
Speaker 6: But I don't know. I think I don't know. I

1175
01:03:48,160 --> 01:03:49,160
Speaker 6: think could have had.

1176
01:03:50,640 --> 01:03:53,080
Speaker 4: Almost sounds like you're saying Colonel Tom Parker was not

1177
01:03:53,120 --> 01:03:55,840
Speaker 4: the best manager that Elvis Presley possibly could have fallen.

1178
01:03:55,920 --> 01:03:57,480
Speaker 7: Well, I also have you know he was someone who

1179
01:03:57,560 --> 01:04:02,360
Speaker 7: wanted to basically didn't really care about burning the resources

1180
01:04:02,520 --> 01:04:03,240
Speaker 7: as he used it.

1181
01:04:03,280 --> 01:04:05,440
Speaker 6: I guess anyway, that's a whole We.

1182
01:04:06,440 --> 01:04:08,960
Speaker 4: Have definitely hit the point where we're drifting away from

1183
01:04:09,000 --> 01:04:11,880
Speaker 4: the women that were supposed to be centering in these

1184
01:04:11,920 --> 01:04:16,880
Speaker 4: stories towards the men who formed the barely glimpsed framings

1185
01:04:16,920 --> 01:04:19,600
Speaker 4: of their lives in these two movies, so it's probably

1186
01:04:19,640 --> 01:04:22,480
Speaker 4: time to move on. Rie Antoinette is streaming free with

1187
01:04:22,560 --> 01:04:25,160
Speaker 4: ads on the CW of all places, and it's available

1188
01:04:25,200 --> 01:04:28,120
Speaker 4: for rental on all of the usual digital services. It's

1189
01:04:28,160 --> 01:04:31,120
Speaker 4: on DVD and Blu Ray as well. Priscilla is currently

1190
01:04:31,160 --> 01:04:31,760
Speaker 4: in theaters.

1191
01:04:32,680 --> 01:04:34,920
Speaker 2: I don't want to see it with ads of the CW.

1192
01:04:36,480 --> 01:04:39,400
Speaker 4: You watched it that way, and it was at times

1193
01:04:39,440 --> 01:04:42,880
Speaker 4: it was hilarious, you know. Somebody would would would come

1194
01:04:43,040 --> 01:04:46,800
Speaker 4: charging in with a pronunciation about something that the Americas

1195
01:04:46,840 --> 01:04:48,760
Speaker 4: were doing, and then we'd like cut to a flow

1196
01:04:48,880 --> 01:04:50,120
Speaker 4: Naise commercial or something.

1197
01:04:50,680 --> 01:04:53,960
Speaker 7: I think weirdly comforting when the commercials kick out, because's like, oh,

1198
01:04:53,960 --> 01:04:56,600
Speaker 7: it's like I'm watching a movie on TV in the

1199
01:04:56,680 --> 01:04:59,520
Speaker 7: in the eighties or nineties or something, you know, except with.

1200
01:04:59,480 --> 01:05:01,800
Speaker 4: Much more a sense that you're still You're still gonna

1201
01:05:01,800 --> 01:05:04,800
Speaker 4: get to see the whole movie and not like sixty

1202
01:05:04,920 --> 01:05:06,800
Speaker 4: five percent of the movie, and.

1203
01:05:06,720 --> 01:05:08,160
Speaker 6: In the right assrat ratio too.

1204
01:05:08,920 --> 01:05:09,800
Speaker 2: Yeah, exactly.

1205
01:05:16,320 --> 01:05:16,520
Speaker 5: Hi.

1206
01:05:16,800 --> 01:05:19,760
Speaker 9: I'm Emily, your friend and jeweler at Shane Company, where

1207
01:05:19,840 --> 01:05:22,960
Speaker 9: fine jewelry is always crafted with care, no matter the price.

1208
01:05:23,400 --> 01:05:27,720
Speaker 9: Mother's Day, birthdays and graduations, weddings and anniversaries, the new

1209
01:05:27,800 --> 01:05:30,240
Speaker 9: job you got and even the one you didn't give.

1210
01:05:30,280 --> 01:05:33,000
Speaker 9: A birthstone necklace, a heart shaped locket made in Italy,

1211
01:05:33,240 --> 01:05:36,120
Speaker 9: or high quality diamond studs you can trade up every year.

1212
01:05:36,400 --> 01:05:39,160
Speaker 9: At Shane Company, we have something for everyone. Because a

1213
01:05:39,200 --> 01:05:42,000
Speaker 9: friend wants you to win the gifting game, visit us

1214
01:05:42,040 --> 01:05:45,200
Speaker 9: in store or at Shaneco dot com. Shane Company, your

1215
01:05:45,240 --> 01:05:46,040
Speaker 9: friend and jeweler.

1216
01:05:51,200 --> 01:05:53,600
Speaker 4: Finally, it's time to recommend a film or film related

1217
01:05:53,640 --> 01:05:56,320
Speaker 4: item that compliments this set of episodes. We call this

1218
01:05:56,400 --> 01:05:58,720
Speaker 4: section your next Picture Show in the hopes that will

1219
01:05:58,760 --> 01:06:01,760
Speaker 4: put some interesting choices on your radar. Scott, what do

1220
01:06:01,760 --> 01:06:02,720
Speaker 4: you have for us this week?

1221
01:06:03,000 --> 01:06:05,040
Speaker 2: Well? I wanted to. I mean, we are at that

1222
01:06:05,160 --> 01:06:08,680
Speaker 2: time of year. We're just an avalanche of good films

1223
01:06:09,360 --> 01:06:12,400
Speaker 2: coming out, and we can't really cover them all in

1224
01:06:12,440 --> 01:06:15,600
Speaker 2: the main episode or even the bonus episodes, but some

1225
01:06:15,680 --> 01:06:19,440
Speaker 2: of them are really worth talking about highlighting. And one

1226
01:06:19,480 --> 01:06:22,959
Speaker 2: of those films I like to highlight is The Holdovers,

1227
01:06:23,160 --> 01:06:27,280
Speaker 2: the new film by Alexander Payne and his second collaboration

1228
01:06:28,080 --> 01:06:32,919
Speaker 2: with Paul Giamatti, who he'd worked with almost twenty years ago.

1229
01:06:33,760 --> 01:06:36,160
Speaker 2: I think is it twenty years in two thousand and

1230
01:06:36,160 --> 01:06:40,400
Speaker 2: four I think was The Sideways, and this is a

1231
01:06:40,480 --> 01:06:45,760
Speaker 2: very similar character, similar dynamic, and similarly works wonderfully. Here,

1232
01:06:46,080 --> 01:06:51,080
Speaker 2: Gimonti plays an ancient CIVI teacher at a boarding school

1233
01:06:51,600 --> 01:06:58,360
Speaker 2: in New England in nineteen seventy and it's the Christmas

1234
01:06:58,360 --> 01:07:03,440
Speaker 2: season and he has been tasked with taking care of

1235
01:07:03,880 --> 01:07:07,600
Speaker 2: any of the students whose rich parents are not for

1236
01:07:07,640 --> 01:07:10,720
Speaker 2: some reason picking them up. So these are kids who

1237
01:07:10,720 --> 01:07:13,040
Speaker 2: are not coming home for Christmas and are stuck with

1238
01:07:13,080 --> 01:07:18,000
Speaker 2: this curmudgeonly teacher. And ultimately it starts as with five

1239
01:07:18,080 --> 01:07:19,960
Speaker 2: of them, and then it is really just reduced to

1240
01:07:20,000 --> 01:07:26,240
Speaker 2: just one very interesting and rebellious teenager, and it's about

1241
01:07:26,280 --> 01:07:29,600
Speaker 2: their relationship. And it also kind of brings in this

1242
01:07:29,640 --> 01:07:32,680
Speaker 2: other character played by Divine Joy Randolph, who sort of

1243
01:07:32,920 --> 01:07:37,360
Speaker 2: runs the cafeteria at the school, and she has lost

1244
01:07:37,400 --> 01:07:42,920
Speaker 2: her son in Vietnam, she fairly recently, so she is

1245
01:07:43,080 --> 01:07:47,040
Speaker 2: sort of in grief. So she's a major part of

1246
01:07:47,040 --> 01:07:49,880
Speaker 2: the film as well as a film that is very

1247
01:07:49,880 --> 01:07:54,120
Speaker 2: evocative of the era and of that particular era of

1248
01:07:54,520 --> 01:07:58,920
Speaker 2: filmmaking of the nineteen seventies. Hal Ashby is certainly a

1249
01:07:59,000 --> 01:08:02,960
Speaker 2: name that's come up, particularly a movie like The last detail, though,

1250
01:08:02,960 --> 01:08:06,760
Speaker 2: this is a much funnier, lighter, and maybe more sentimental

1251
01:08:06,800 --> 01:08:10,560
Speaker 2: film than the last detail. I thought it was, you know,

1252
01:08:10,640 --> 01:08:12,680
Speaker 2: everything that it was supposed to be really funny in

1253
01:08:13,080 --> 01:08:16,920
Speaker 2: moving and beautifully performed, and it kind of one of

1254
01:08:16,960 --> 01:08:19,280
Speaker 2: the things that I thought about watching it was like,

1255
01:08:19,960 --> 01:08:24,040
Speaker 2: how much Alexander Payne wants to be or would be

1256
01:08:24,720 --> 01:08:29,240
Speaker 2: a mainstream studio filmmaker if he was not in the

1257
01:08:29,280 --> 01:08:32,720
Speaker 2: time we live in now, if somehow what he does

1258
01:08:32,800 --> 01:08:35,760
Speaker 2: is what weren't like considered an art film, because like,

1259
01:08:35,800 --> 01:08:38,280
Speaker 2: this is a film that I think is so broadly satisfying.

1260
01:08:38,680 --> 01:08:41,240
Speaker 2: It is a film that you'd feel very comfortable, at

1261
01:08:41,320 --> 01:08:44,519
Speaker 2: least I feel very comfortable bringing, you know, my family

1262
01:08:44,600 --> 01:08:47,040
Speaker 2: to see it. Was just there's something just so like,

1263
01:08:47,479 --> 01:08:51,400
Speaker 2: you know, satisfyingly in the main about this movie, you know,

1264
01:08:51,760 --> 01:08:55,400
Speaker 2: despite it also being beautifully written and performed. I don't know,

1265
01:08:55,400 --> 01:08:57,120
Speaker 2: I really liked it. What do you all think? Because

1266
01:08:57,120 --> 01:08:59,479
Speaker 2: I know a couple of y'all saw it as well. Well.

1267
01:08:59,520 --> 01:09:02,799
Speaker 5: To your point, point, Scott, I saw just this afternoon

1268
01:09:02,920 --> 01:09:07,280
Speaker 5: in fact, with my mom, who our initial plan was

1269
01:09:07,360 --> 01:09:10,519
Speaker 5: to go see Killers of the Flower Moon, which I

1270
01:09:10,560 --> 01:09:14,160
Speaker 5: sadly have not seen yet. But my husband and I

1271
01:09:14,160 --> 01:09:16,000
Speaker 5: were going to go see that, and my mom asked

1272
01:09:16,040 --> 01:09:18,559
Speaker 5: if she could join us for our movie, and I

1273
01:09:18,600 --> 01:09:20,720
Speaker 5: told her that we were going to go see Kill

1274
01:09:20,760 --> 01:09:22,720
Speaker 5: Herself a Flower Moon and that it was three and

1275
01:09:22,720 --> 01:09:25,120
Speaker 5: a half hours long. She's like, oh, maybe I won't

1276
01:09:25,160 --> 01:09:27,080
Speaker 5: come after all, and so we were also think of

1277
01:09:27,080 --> 01:09:28,720
Speaker 5: seeing the whole over and she's like, Oh, I've been

1278
01:09:28,720 --> 01:09:30,040
Speaker 5: wanting to see that, Let's.

1279
01:09:29,840 --> 01:09:30,360
Speaker 2: Go see that.

1280
01:09:30,720 --> 01:09:35,599
Speaker 5: So it definitely has the mom vote there. But it

1281
01:09:35,640 --> 01:09:39,040
Speaker 5: was a packed theater too, on a on a Sunday afternoon,

1282
01:09:39,200 --> 01:09:40,840
Speaker 5: so you.

1283
01:09:40,760 --> 01:09:44,439
Speaker 2: Know, at the end of the screening, I went to.

1284
01:09:44,760 --> 01:09:49,240
Speaker 5: Yeah, it's definitely a crowd pleaser. I can't speak highly

1285
01:09:49,360 --> 01:09:52,760
Speaker 5: enough of Divine Joy Randolph's role, even though I think

1286
01:09:52,960 --> 01:09:58,080
Speaker 5: maming that character Mary lamb Uh as a story said

1287
01:09:58,080 --> 01:10:00,760
Speaker 5: at Christmas is maybe a little on the note, but

1288
01:10:01,600 --> 01:10:07,759
Speaker 5: I'll let it slide. But like all the three core performances, Giamatti, Randolph,

1289
01:10:07,800 --> 01:10:11,639
Speaker 5: and then Dominic sssa Is, who plays the student who

1290
01:10:11,680 --> 01:10:17,960
Speaker 5: stays behind, just a really amazing trifecta the three of them,

1291
01:10:18,080 --> 01:10:24,040
Speaker 5: and all three performances are unexpected in their own way.

1292
01:10:24,080 --> 01:10:27,600
Speaker 5: All three characters are unexpected in their own way. You know,

1293
01:10:27,840 --> 01:10:31,160
Speaker 5: it's a movie that, like it doesn't really pull the

1294
01:10:31,280 --> 01:10:34,040
Speaker 5: rug out from you in any way. But it's also

1295
01:10:34,600 --> 01:10:39,400
Speaker 5: not one where I necessarily knew where it was going

1296
01:10:40,080 --> 01:10:42,760
Speaker 5: in terms of character or narrative while I was watching it.

1297
01:10:42,840 --> 01:10:45,000
Speaker 5: So yeah, I super enjoyed it too.

1298
01:10:45,400 --> 01:10:48,000
Speaker 7: Yeah what else I thought here? I thought that was great.

1299
01:10:48,160 --> 01:10:50,840
Speaker 7: I'm looking forward to seeing it again. And you know,

1300
01:10:50,960 --> 01:10:54,880
Speaker 7: I was very obviously dividary. Randolph is some what I've

1301
01:10:54,920 --> 01:10:56,960
Speaker 7: seen before and liked quite a bit.

1302
01:10:57,000 --> 01:10:59,840
Speaker 5: And she's in the high fidelity Hulu series.

1303
01:11:00,320 --> 01:11:03,600
Speaker 7: From the Only in the Building too. Yeah, yeah, but

1304
01:11:04,520 --> 01:11:07,840
Speaker 7: one I know. But domin Excesso was what a fantastic debut.

1305
01:11:07,880 --> 01:11:09,639
Speaker 7: I think it's a debut, or or at least first time.

1306
01:11:09,640 --> 01:11:13,080
Speaker 5: I first a Wikipedia page, So.

1307
01:11:13,040 --> 01:11:13,799
Speaker 6: Yeah, well.

1308
01:11:15,960 --> 01:11:16,559
Speaker 2: I'll get to work.

1309
01:11:16,600 --> 01:11:18,080
Speaker 6: This time has come.

1310
01:11:18,360 --> 01:11:21,120
Speaker 7: He needs to have a Wikipedia page that readirects to

1311
01:11:21,200 --> 01:11:24,439
Speaker 7: a former employer if if you type in their name. Uh,

1312
01:11:24,720 --> 01:11:26,400
Speaker 7: not that I know anyone like that, but.

1313
01:11:26,640 --> 01:11:31,639
Speaker 2: Uh I should. Also it's some bit of self promotion.

1314
01:11:31,720 --> 01:11:35,799
Speaker 2: I did write a piece for the reveal talking about

1315
01:11:35,960 --> 01:11:40,439
Speaker 2: the Paul Giamatti Alexander Payne collaboration and and uh in

1316
01:11:40,479 --> 01:11:42,800
Speaker 2: the holdovers and Sideways that it.

1317
01:11:42,800 --> 01:11:45,559
Speaker 7: Was good too, and it had an amazing headline which

1318
01:11:45,760 --> 01:11:47,080
Speaker 7: I don't even want to spoil. You have to go

1319
01:11:47,080 --> 01:11:49,200
Speaker 7: to the reveal to see Scott's amazing headline for this

1320
01:11:49,280 --> 01:11:50,360
Speaker 7: face the.

1321
01:11:50,640 --> 01:11:54,120
Speaker 2: I'll say it. I call it the quaffable Wines Wines

1322
01:11:54,160 --> 01:11:56,320
Speaker 2: being w h y.

1323
01:11:56,479 --> 01:11:58,400
Speaker 7: It doesn't work, it doesn't work out loud. You have

1324
01:11:58,439 --> 01:12:02,360
Speaker 7: to see it on the page. Reason, Oh, I see,

1325
01:12:02,840 --> 01:12:03,599
Speaker 7: it's good stuff.

1326
01:12:03,760 --> 01:12:07,760
Speaker 2: This is why we have not hemorrhaged subscribers. They are

1327
01:12:07,800 --> 01:12:10,719
Speaker 2: hanging on for their hanging on for dear life.

1328
01:12:10,840 --> 01:12:13,320
Speaker 5: I just want to clarify that the reason that we

1329
01:12:13,360 --> 01:12:16,040
Speaker 5: are talking about this in your Next Picture show is

1330
01:12:16,040 --> 01:12:18,639
Speaker 5: that it is a film that we kind of wanted

1331
01:12:18,680 --> 01:12:21,599
Speaker 5: to do for the main episode that we had a

1332
01:12:21,600 --> 01:12:24,960
Speaker 5: pairing built in, as Scott already talked about, but it

1333
01:12:25,200 --> 01:12:28,479
Speaker 5: and Priscilla or in theaters at the same time, and

1334
01:12:29,040 --> 01:12:32,720
Speaker 5: I don't think Holdovers is going to be in theaters

1335
01:12:32,800 --> 01:12:37,240
Speaker 5: long enough for us to release in the conversation long

1336
01:12:37,320 --> 01:12:40,040
Speaker 5: enough for us to do it afterwards. So it kind

1337
01:12:40,040 --> 01:12:43,439
Speaker 5: of fell into that like in between the zone that

1338
01:12:44,040 --> 01:12:47,720
Speaker 5: is unfortunately common at this time of year. So we're giving.

1339
01:12:47,439 --> 01:12:48,479
Speaker 4: It it's it's here.

1340
01:12:48,520 --> 01:12:51,760
Speaker 5: Also, we've talked about Alexander Payne on the podcast before

1341
01:12:51,800 --> 01:12:55,080
Speaker 5: we covered Sideways with Another Round, and we have not

1342
01:12:55,200 --> 01:12:57,479
Speaker 5: ever covered Sophia Coppola, so it was too good of

1343
01:12:57,520 --> 01:13:01,280
Speaker 5: an opportunity to pass up. But I we definitely like

1344
01:13:01,520 --> 01:13:01,920
Speaker 5: hold Over.

1345
01:13:02,600 --> 01:13:05,040
Speaker 2: We did a beguiled pairing. We do no.

1346
01:13:07,080 --> 01:13:09,920
Speaker 6: Geez, I don't even know we've done a lot of episodes.

1347
01:13:11,200 --> 01:13:12,120
Speaker 2: Or four hundred and one.

1348
01:13:12,280 --> 01:13:16,080
Speaker 5: Actually you're listening to four hundred and one now, but

1349
01:13:16,280 --> 01:13:19,880
Speaker 5: I'm pretty I'm pretty sure is the residence Sophia Coppola

1350
01:13:19,920 --> 01:13:22,840
Speaker 5: head who actually has not seen on the Rocks, So

1351
01:13:22,880 --> 01:13:25,240
Speaker 5: maybe I shouldn't claim that title, but I don't think

1352
01:13:25,280 --> 01:13:26,120
Speaker 5: we have covered her.

1353
01:13:26,360 --> 01:13:27,559
Speaker 2: Crank Up Your app TV.

1354
01:13:29,240 --> 01:13:31,559
Speaker 6: It's at least essential of her movies. But it's pretty good.

1355
01:13:32,080 --> 01:13:33,160
Speaker 2: Yeah, it's good.

1356
01:13:33,680 --> 01:13:38,600
Speaker 5: Yeah, gracious yeah, I'll watch it soon. This definitely reignited

1357
01:13:39,040 --> 01:13:40,880
Speaker 5: my interest in Coppola.

1358
01:13:40,680 --> 01:13:44,519
Speaker 2: So it's better than Fingernails. Fingernails is on app.

1359
01:13:47,680 --> 01:13:50,479
Speaker 4: Okay, that's quite the jump. It seems like we may

1360
01:13:50,520 --> 01:13:53,840
Speaker 4: have run aground on the Rocks, as it were, so

1361
01:13:53,880 --> 01:13:56,400
Speaker 4: we should probably move on. That's it for this edition

1362
01:13:56,400 --> 01:13:58,559
Speaker 4: of the Next Picture Show. We welcome your feedback on

1363
01:13:58,600 --> 01:14:01,880
Speaker 4: Marie Antoinette, Priscilla, and anything else film related you'd like

1364
01:14:01,920 --> 01:14:04,280
Speaker 4: to talk about. Email us at comments at Next Picture

1365
01:14:04,320 --> 01:14:06,400
Speaker 4: Show dot net, or leave us a voicemail at seven

1366
01:14:06,479 --> 01:14:10,400
Speaker 4: seven three two three four nine seven three zero before

1367
01:14:10,439 --> 01:14:12,760
Speaker 4: we close out this week's episode. Where can we find

1368
01:14:12,800 --> 01:14:13,759
Speaker 4: everyone these days?

1369
01:14:13,960 --> 01:14:17,920
Speaker 2: Scott? Oh, well, you can find me on X at

1370
01:14:17,920 --> 01:14:18,679
Speaker 2: Scott Underscore.

1371
01:14:18,720 --> 01:14:19,120
Speaker 6: Tobias.

1372
01:14:19,160 --> 01:14:21,919
Speaker 2: You can find me on Blue Sky at at Scott

1373
01:14:22,000 --> 01:14:27,200
Speaker 2: Tobias dot whatever the hell it's without any underscore. My

1374
01:14:27,360 --> 01:14:31,759
Speaker 2: main outlet is the newsletter to do with Keith Phipps.

1375
01:14:31,760 --> 01:14:36,200
Speaker 2: That's the Reveal at the Reveal dot substack dot com.

1376
01:14:36,280 --> 01:14:37,400
Speaker 2: And then you can find my work in The New

1377
01:14:37,479 --> 01:14:43,479
Speaker 2: York Times, in Vulture, in Guarding another fine publications. What

1378
01:14:43,600 --> 01:14:45,720
Speaker 2: about you, Genevieve.

1379
01:14:45,880 --> 01:14:50,840
Speaker 5: I am the TV editor at Vulture dot com technically

1380
01:14:51,040 --> 01:14:54,200
Speaker 5: on X and Blue Sky, although not active at the moment.

1381
01:14:54,920 --> 01:14:57,920
Speaker 5: If you want to see pictures from the vacation I

1382
01:14:58,040 --> 01:15:00,759
Speaker 5: just went on, you can find me on Instagra at

1383
01:15:01,080 --> 01:15:05,600
Speaker 5: geneviev Kowski. But that's that's about it. I'm pretty uninspired

1384
01:15:05,640 --> 01:15:10,160
Speaker 5: by talking on the internet these days, so I've kind

1385
01:15:10,160 --> 01:15:12,280
Speaker 5: of been avoiding social media. But I don't know these

1386
01:15:12,320 --> 01:15:14,760
Speaker 5: things EBB and flow, So maybe I'll get back on there.

1387
01:15:14,880 --> 01:15:16,519
Speaker 5: You should follow just in case I do.

1388
01:15:16,680 --> 01:15:22,040
Speaker 4: I guess Instagram has booted me because apparently being on

1389
01:15:22,080 --> 01:15:25,840
Speaker 4: Instagram to see other people's stuff and not posting stuff

1390
01:15:25,880 --> 01:15:28,360
Speaker 4: myself is anathema. So I don't know the answer to

1391
01:15:28,360 --> 01:15:31,720
Speaker 4: this question, Genevieve, But are you still do you? Do

1392
01:15:31,760 --> 01:15:33,679
Speaker 4: you still maintain an active Instagram?

1393
01:15:33,680 --> 01:15:37,840
Speaker 5: Fo dogs active would be an overstatement, but it is,

1394
01:15:38,640 --> 01:15:44,439
Speaker 5: you know, yes, yes, and yeah they pop up, Ladybird,

1395
01:15:44,439 --> 01:15:47,599
Speaker 5: the horgy pops up now and then we need.

1396
01:15:47,439 --> 01:15:51,160
Speaker 4: More splute pictures, always, more splute pictures I.

1397
01:15:51,080 --> 01:15:53,800
Speaker 5: Can provide, Keith, what about you?

1398
01:15:54,479 --> 01:15:57,799
Speaker 7: I am a freelance writer. I write for places like Vulture.

1399
01:15:58,040 --> 01:15:59,800
Speaker 7: I had a piece and Slate recently, a place in

1400
01:16:00,120 --> 01:16:02,679
Speaker 7: a piece in The Ringer recently, and as Scott mentioned,

1401
01:16:02,840 --> 01:16:07,679
Speaker 7: I am the co author of The Reveal, a movies

1402
01:16:07,800 --> 01:16:11,720
Speaker 7: podcast available at the dot substock dot com. And I'm

1403
01:16:11,720 --> 01:16:13,719
Speaker 7: also yeah, I'm on the I'm on the social media.

1404
01:16:13,760 --> 01:16:15,680
Speaker 7: I'm mostly on Blue Sky. I don't I don't. I

1405
01:16:15,720 --> 01:16:17,960
Speaker 7: don't get Scott call you out here. I don't get

1406
01:16:17,960 --> 01:16:20,679
Speaker 7: while you're still there over at X or whatever.

1407
01:16:20,760 --> 01:16:21,120
Speaker 2: Lively.

1408
01:16:21,400 --> 01:16:24,640
Speaker 7: Uh yeah, well, anyway, I'm you can find me a

1409
01:16:24,680 --> 01:16:25,200
Speaker 7: Blue Sky.

1410
01:16:25,120 --> 01:16:26,920
Speaker 4: And enough people fight with him on Blue Sky and

1411
01:16:26,920 --> 01:16:27,639
Speaker 4: he doesn't like it.

1412
01:16:27,880 --> 01:16:30,320
Speaker 7: Yeah, that makes sense. You've got to argue with people

1413
01:16:34,640 --> 01:16:38,200
Speaker 7: about yourself. Atasha, how about you.

1414
01:16:38,800 --> 01:16:42,200
Speaker 4: I still exist on Twitter, which I'm never gonna call X.

1415
01:16:42,360 --> 01:16:46,360
Speaker 4: I'm very rarely post over there. I'm much more active

1416
01:16:46,360 --> 01:16:49,439
Speaker 4: on Blue Sky these days at Tasha Robinson. I am

1417
01:16:49,479 --> 01:16:52,920
Speaker 4: still the film and streaming editor at Polygon dot com,

1418
01:16:52,960 --> 01:16:55,000
Speaker 4: where you can find a whole bunch of more writing

1419
01:16:55,080 --> 01:16:57,759
Speaker 4: coming up, because boy, are we hitting it right now

1420
01:16:57,920 --> 01:17:00,760
Speaker 4: with the movies. You can stay updated on The Next

1421
01:17:00,760 --> 01:17:04,639
Speaker 4: Picture Show at Next pictureshow dot net, on Twitter Twitter

1422
01:17:04,720 --> 01:17:08,120
Speaker 4: I Say Twitter, at Next Picture Pod, and on Blue

1423
01:17:08,120 --> 01:17:11,040
Speaker 4: Sky at the Next Picture Show. You can get bonus

1424
01:17:11,040 --> 01:17:13,960
Speaker 4: content and open discussion at patreon dot com slash Next

1425
01:17:13,960 --> 01:17:17,200
Speaker 4: Picture Show. And as always, we appreciate your ratings and

1426
01:17:17,240 --> 01:17:20,280
Speaker 4: reviews on Apple Podcasts or wherever you listen to the show.

1427
01:17:20,560 --> 01:17:22,800
Speaker 4: And as always, we appreciate your ratings and reviews on

1428
01:17:22,880 --> 01:17:26,120
Speaker 4: Apple Podcasts, Spotify, or wherever you listen to the show.

1429
01:17:26,600 --> 01:17:28,720
Speaker 4: Thanks to Dan the Bake Jakes for his assistance in

1430
01:17:28,760 --> 01:17:31,600
Speaker 4: producing this podcast. The Next Picture Show is proud to

1431
01:17:31,600 --> 01:17:34,519
Speaker 4: be part of the Film Spotting family of podcasts. Please

1432
01:17:34,520 --> 01:17:35,400
Speaker 4: tune in next time.