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Speaker 1: Five, six, seven, eight, higher, not too high? Higher?

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Speaker 2: Did I mention it? Not too high? Lower?

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Speaker 1: Keep going, keep going. You've got this. You've got this

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Speaker 1: cool thrust it, thrust it, thrust it, all right, that's enough.

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Speaker 1: Cut the music, Cut the music. We're done. We're done.

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Speaker 1: I've seen enough. Oh God, you're moving like a tank

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Speaker 1: out there.

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Speaker 2: Home boy.

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Speaker 1: Have you been eating brown rice and vegetables? Feels like

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Speaker 1: you haven't.

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Speaker 2: I'm sorry, I've just been eating so many cheeseburgers. I

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Speaker 2: don't like brown rice and vegetables. Listen, I know you've had.

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Speaker 1: It rough in life. You're here different places I know,

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Speaker 1: and we don't know all those places, to be honest,

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Speaker 1: because it feels like you I have a very shady character, dude,

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Speaker 1: and we have our HR people looking into it. Don't

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Speaker 1: worry about it. But I have to say, as a dancer,

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Speaker 1: and this is just my professional opinion, it feels like

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Speaker 1: you could do it higher but not too high. You

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Speaker 1: could thrust it a lot more. I mean just going

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Speaker 1: to say that. Head on, head on down to verses

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Speaker 1: and get you a little dress and we'll meet back

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Speaker 1: up later on so I can do your nails. What's up?

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Speaker 2: Well, I'll go do all that. I'll you know, make

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Speaker 2: sure my nails are done up. I'll eat some dog

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Speaker 2: food and some puppy chow. But I also, you know,

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Speaker 2: today is a big day on the podcast, Millie. It's

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Speaker 2: not just because we're doing these new dancing sessions, which

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Speaker 2: I don't know how long this will last, but we're

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Speaker 2: also talking about the nineteen ninety five classic show Girls.

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Speaker 1: That is right, we definitely are. It's actually an anniversary.

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Speaker 2: Right, thirty years?

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Speaker 1: Yeah, thirty years of show Girls.

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Speaker 2: That's crazy.

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Speaker 1: I think it's actually crazy as well. And this is

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Speaker 1: a movie that I mean, we're gonna get into this

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Speaker 1: obviously in the episode that we're about to do, but

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Speaker 1: like the persistence of this movie, what's changed? Have we

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Speaker 1: changed as a culture? Has the movie changed? Do you

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Speaker 1: like it more? Do you like it less? All of

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Speaker 1: these things we're about to poke in product and it's

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Speaker 1: gonna be a great episode. I mean, to be perfectly

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Speaker 1: honest with you, I feel like I'm so excited to

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Speaker 1: be talking about this movie finally, because I've never talked

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Speaker 1: about it. I think on a podcast I've never been

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Speaker 1: able to express my I don't know about you, but

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Speaker 1: I've never been able to express these motions. I'm going

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Speaker 1: to be like flailing around in the water in like a.

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Speaker 2: Really nice pool, underground pool, flailing around with like, yeah,

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Speaker 2: maybe there's like a water feature, water cure the water

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Speaker 2: feature on the pool that are flailing under poring champagne

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Speaker 2: on your head. Yes, it's I mean, there's so much

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Speaker 2: to get to, it's unbelievable. We also have a wonderful

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Speaker 2: guest on this episode. Alicia Malone, is going to be

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Speaker 2: on to talk later about one of her areas of expertise,

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Speaker 2: and she has many, but the one she has decided

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Speaker 2: to talk about with us is actors fake drinking from

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Speaker 2: coffee mugs. And that's a really great conversation. I can't

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Speaker 2: wait to get into that with her.

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Speaker 1: It's so oddly specific and I love it. I'm so

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Speaker 1: excited for relation too, because she was my old colleague

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Speaker 1: at TCM and she's really, really smart and we have

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Speaker 1: a really good time with her. That's right, all right,

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Speaker 1: let's go again, ready, casey five, six, seven, eight? Ah

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Speaker 1: huh do you and I've got to.

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Speaker 3: Love me?

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Speaker 1: Check the books? Alrighty, folks, you are listening to dear Movies.

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Speaker 1: I love you. This is a podcast if you haven't

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Speaker 1: figured that out already, where we basically talk about movies,

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Speaker 1: it's four people who are in a relationship with movies.

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Speaker 2: My name is Millie to Jericho, my name is Casey O'Brien.

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Speaker 1: And this is gonna be a great episode. We're obviously

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Speaker 1: very excited to talk about this juggernaut, this cinematic juggernaut,

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Speaker 1: show Girls from nineteen eighty five, and there's gonna be

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Speaker 1: some great, great little bits, So please go on the

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Speaker 1: ride with us. Okay, right off the bat, we got

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Speaker 1: some film news we got to talk about. I actually

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Speaker 1: texted you about this because I was like, we got

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Speaker 1: to talk.

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Speaker 2: About this podcast.

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Speaker 1: So I sent you this TikTok video right of the

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Speaker 1: pop singer Charlie.

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Speaker 2: XCX and Cinephile. Apparently that's what I'm.

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Speaker 1: Here to talk about. So Charlie XCX is now basically

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Speaker 1: doing a film diary on her TikTok where she logs

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Speaker 1: she has a letterbox account and she logs the movies

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Speaker 1: that she watches. And I gotta tell you, I'm okay,

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Speaker 1: I know we're in an era where extremely famous people

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Speaker 1: can somehow access good things. Okay, We're not, like, not

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Speaker 1: all famous people or pop stars are that have like

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Speaker 1: bad tastes and like don't know anything cool? Right, I

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Speaker 1: mean some of them actually do. I mean look at

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Speaker 1: the Criterion closet, like you're like, oh cool, there's like

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Speaker 1: a really cool famous person in there, and they like

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Speaker 1: some really esoteric, you know, centophile classic kind of thing.

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Speaker 2: But can I say something about the Criterion closet. Go ahead, dude,

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Speaker 2: they're letting too many people in there.

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Speaker 1: Okay, that's another film, right, But I got to film

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Speaker 1: right and I've been in the Criterion closet twice, so whoa,

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Speaker 1: Oh yeah baby, I've been in twice.

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Speaker 2: Amazing day. Did did you take a video of it?

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Speaker 1: Hell? No, I'm not at that level. It's like they

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Speaker 1: let me in the Here's the thing, guys, you can

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Speaker 1: get into the closet. I mean, if you like know

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Speaker 1: somebody that works there, you can get in the closet.

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Speaker 1: I worked on Films Truck with Criterion for many years.

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Speaker 1: I was in that closet all the time. Okay, are

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Speaker 1: you able to just take stuff? Well? Yeah, I mean

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Speaker 1: if you get here's the thing. If you go into

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Speaker 1: the closet, the understanding is that you get to pick

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Speaker 1: some things.

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Speaker 2: Okay, leave with something.

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Speaker 1: And I personally was always trying to be very I

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Speaker 1: was not going for broke. I was sure trying to

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Speaker 1: be very tasteful. I didn't want to take too many

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Speaker 1: things because I didn't want to be what's the famous

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Speaker 1: story that my friend Brian told me. My friend Ryan

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Speaker 1: that works there told me that, like because I asked

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Speaker 1: him once. I was like, who was the who was

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Speaker 1: somebody that took like the most DVD's, like somebody just

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Speaker 1: like cleaned you out, and he said, I think it

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Speaker 1: was Juliette Binoche. I certainly did not want to be

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Speaker 1: Juliette Binoche.

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Speaker 2: That's so funny that it was Juliet Banoche, like the

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Speaker 2: height of like regal Parisian actors, like just a beauty

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Speaker 2: and like elegance, and she was the one that took

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Speaker 2: the most. It's so funny.

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Speaker 1: I was like imagining she was doing like a supermarket

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Speaker 1: sweep type of shit where she's just taking her arm

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Speaker 1: and just like clearing up shelves, which I thought was hilarious.

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Speaker 1: But I was like, well, I don't I'm not Juliet Panosh.

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Speaker 1: I don't want to take I'm going to be tasteful

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Speaker 1: and this happened both times that I was in the closet.

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Speaker 1: By the way I was, I was very tasteful and judicious.

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Speaker 1: But anyway, they'll let you in the closet if you

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Speaker 1: know somebody that works there, or if you're visiting, you

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Speaker 1: can go and get the thing that you want. Right

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Speaker 1: back in the day, though, it was really like a

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Speaker 1: rare occurrence to go into the closet like here. Once

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Speaker 1: in a while you'd be like, oh, Actnsvarda is in

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Speaker 1: the Criterion closet. And then now it's become it's a fandango.

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Speaker 1: Anybody can get it.

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Speaker 2: It's a fandango.

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Speaker 1: You don't even have to be associated with movies in

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Speaker 1: any way. You can just be like, I don't know

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Speaker 1: the host of like Love Island and go in there.

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Speaker 2: Yeah, it's yeah exactly. I think before it, but even

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Speaker 2: before I think they let in some non film people,

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Speaker 2: but it would take like a very high level, like

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Speaker 2: it would be something very important. Charlie XCX. You can

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Speaker 2: go in the Criterion closet. Yeah.

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Speaker 1: And that's the thing is that, like we're the age

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Speaker 1: of you know, big content. Anybody can get a Criterion

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Speaker 1: Channel subscription. You can be very very famous and not

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Speaker 1: vapid and stupid, Okay, but I was still surprised at

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Speaker 1: her taste. Like I was still like, oh, she watched

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Speaker 1: two Robert Barsson movies. I'm like, damn, Yeah, that's pretty well.

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Speaker 2: Her top four is incredible.

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Speaker 1: Yeah, what's her top four?

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Speaker 2: I didn't Her favorite films are able for rare was

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Speaker 2: The Addiction Damn, which is an amazing vampire movie. He did.

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Speaker 2: She has Selene and Julie go boding Okay, Mapped to

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Speaker 2: the Stars by David Cronenberg and Phantom Thread. A pretty

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Speaker 2: impressive four favorites. That that's my.

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Speaker 1: Girl right there.

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Speaker 2: Bread.

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Speaker 1: I think she just won us over really in this podcast.

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Speaker 2: I was already a fan.

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Speaker 1: See, yeah, me too. Not for nothing. I was just

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Speaker 1: about to say not for nothing. Many years ago. I'd

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Speaker 1: say it was over a decade ago. This was before

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Speaker 1: brat summer obviously, when she was kind of just on

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Speaker 1: the scene. Perhaps she was doing she did done that

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Speaker 1: song with the Iconopop that I Love It song? There

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Speaker 1: was that what's that thing that she did with is

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Speaker 1: Jack Antonov which is called Bleachers?

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Speaker 2: Is that was she in Bleachers?

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Speaker 3: Right?

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Speaker 2: Or she? Yeah?

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Speaker 1: Because she did that song roller Coaster, She's saying, which

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Speaker 1: that was the first Okay, the very first Charlie XCX

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Speaker 1: song I'd ever heard was roller Coaster, and I was like, well,

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Speaker 1: isn't this charming and lovely? I love this song? So anyway,

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Speaker 1: cut to I'm at the fucking Braves game with my

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Speaker 1: friends Ben in parks that were just like goobers, were

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Speaker 1: just sitting around. It's like a Monday night, and then

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Speaker 1: they announced Charlie XCX is performing after the Braves game,

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Speaker 1: and we were like, oh shit, let's want to stay

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Speaker 1: and watch it. It was fun.

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Speaker 2: She was was this when this was? This was half

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Speaker 2: years ago?

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Speaker 1: Yeah, summer ten, twelve years ago.

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Speaker 2: Oh okay, she was.

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Speaker 1: She was playing the Braves game like for free.

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Speaker 2: She's been around forever because she was on Iggy Azalea's

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Speaker 2: song Fancy.

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Speaker 1: That was the first time I'd ever heard. Yes, that's

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Speaker 1: what it was late.

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Speaker 2: Forever ago, and so it's really cool that she kind

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Speaker 2: of like popped off last summer, like in her early

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Speaker 2: to mid thirties. I think that's cool.

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Speaker 1: Okay, when hold on, I got to find out when

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Speaker 1: that is AliOS On came o, I forgot all about it.

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Speaker 2: I bet twenty thirteen that.

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Speaker 1: Album came out in twenty fourteen, so you're very close.

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Speaker 1: Holy fucking shit, I forgot about Iggyzalea. Oh my god.

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Speaker 2: I think we as a nation did all forget about

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Speaker 2: Iggy azale I think we had to, if you know

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Speaker 2: what I'm saying, I too, we had to let her go.

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Speaker 1: But yeah, so I am very pleasantly surprised at the

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Speaker 1: taste level on Charlie XCX in terms of movies. I

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Speaker 1: kind of want her to come on our podcast. She

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Speaker 1: would never, but I'm.

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Speaker 2: Just saying, Charlie, an open invitation extended to you. Come

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Speaker 2: on and we'll talk about Abel Ferrara's The Addiction, which

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Speaker 2: now I'm looking at Lily Taylor. Her look in The

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Speaker 2: Addiction is not unlike Charlie XCX's look with the sunglasses

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Speaker 2: and the kind of ratty hair.

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Speaker 1: I know that I slipped in a film gripe as

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Speaker 1: we were talking about Charlie XCX's letterbox, but I actually

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Speaker 1: do have a film grape this week, and it's really like,

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Speaker 1: I'm not calling out The New York Times, because why

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Speaker 1: would I do that. Actually I know a lot of

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Speaker 1: people who would. But this whole thing that happened with

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Speaker 1: the greatest films of the twenty first century. Okay, every

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Speaker 1: fucking person on my social media was weighing in on it,

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Speaker 1: you know, big, huge, important like list making thing. And

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Speaker 1: this is my film grape, my film gripe. Is I

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Speaker 1: hate these greatest of All Time lists? I hate them.

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Speaker 1: I've always hated them.

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Speaker 2: You and I are not seeing iday.

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Speaker 1: I knew it. I knew it. I know you love a.

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Speaker 2: Goatlest love a list. I remember in it was either

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Speaker 2: two thousand and six or two thousand and seven. I

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Speaker 2: eagerly opened up Rolling Stone magazine to see who was

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Speaker 2: listed as the best album of the year, and it

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Speaker 2: was m IA's Calla And I remember going yes because

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Speaker 2: that really mattered to me. That just that just illustrates

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Speaker 2: how much lists matter to me.

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Speaker 1: Well, okay, let me why why why do you do

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Speaker 1: you want to know the information? Do you want to

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Speaker 1: be told what's the greatest?

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Speaker 2: Like what?

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Speaker 1: I think it's.

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Speaker 2: Nice for a publication to make a statement being like

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Speaker 2: this is these are the best, and that is like

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Speaker 2: a foundation upon which I can either react and be

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Speaker 2: like ooh, I strongly disagree with that, or if I agree,

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Speaker 2: it's like aha, I am right. I get validation. So

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Speaker 2: I get both kind of validation and argument. I guess,

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Speaker 2: for lack of a better term, but yeah, you need

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Speaker 2: a rudder on your boat.

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Speaker 1: See, I'm very much the opposite. I feel like I

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Speaker 1: like it when I don't know. Maybe it's just my personality.

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Speaker 1: You can't pin me down, baby, I'm not giving you

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Speaker 1: a fucking top one hundred list of anything that I like.

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Speaker 1: We're just like, I mean, I'll just tell you. When

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Speaker 1: we were coming up with the concept of the TCM

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Speaker 1: Underground book, you know, I was a very adamant that

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Speaker 1: it wasn't going to be a fifty greatest Cult Movies

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Speaker 1: of All Time book. That was like something I had

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Speaker 1: zero interest in. I was like, I don't want to

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Speaker 1: rank these shits. I didn't want people to come into

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Speaker 1: my dms for the rest of my fucking life to

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Speaker 1: like debate what made the list and what didn't you know,

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Speaker 1: I just said, here are fifty movies that we think

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Speaker 1: that are we should watch that have aired on TCM Underground,

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Speaker 1: and that's it. There's no ranking, there's no like this

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Speaker 1: is better than that, because I just think it's so

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Speaker 1: it's I just like I am annoyed by it because

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Speaker 1: then I think, my the opposite of what you have

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Speaker 1: just said, which is that I don't like the debating part,

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Speaker 1: because I'm looking at this list right now. Okay, so

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Speaker 1: they published it one hundred to one. These are the

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Speaker 1: best movies that came out in the twenty first century

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Speaker 1: aka of the two thousands, and already I'm looking at

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Speaker 1: this thing. I mean a lot of it is stuff

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Speaker 1: that I like, don't get me wrong. But then I'm like, going, okay,

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Speaker 1: so there are two Wes Anderson movies that are high

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Speaker 1: up on the list, and they're smacked together, like why

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Speaker 1: are they twenty one and twenty two? Like I'm just like,

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Speaker 1: why would they put that like that? And now I'm

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Speaker 1: sitting there going okay, well, haw com up, this is

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Speaker 1: at twenty two. But then you know, finom Thread is

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Speaker 1: at twenty five, Like that's stupid. And I'm like this again,

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Speaker 1: like why I don't like this list? Because I get

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Speaker 1: caught up in the fine details of the ranking and

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Speaker 1: I start getting pissed off. And then I'm like, well,

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Speaker 1: fuck the New York Times. I fucking hate them and

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Speaker 1: I'm not paying for them anymore. See what I mean.

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Speaker 1: I just feel like.

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Speaker 2: It's not productive. It's not healthy. It sounds like.

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Speaker 1: For me maybe personally for you, it sounds like it's

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Speaker 1: your you know, it's like a party time.

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Speaker 2: It's like a party time. I'm having a blast, me

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Speaker 2: and the New York Times doing the tango. I I

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Speaker 2: think you're right. I mean, I'm a I'm a weak

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Speaker 2: minded individual. I need someone to tell me what to

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Speaker 2: do and how to feel and how to think. And

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Speaker 2: uh so I enjoy there being sort of a sounding

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Speaker 2: board for that sure out there. I guess, I think honestly,

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Speaker 2: how these are most useful. This happens when I'm getting

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Speaker 2: into a new band. I will usually be like, for example,

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Speaker 2: I'll be like Guided by Voices albums ranked because I'm like,

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Speaker 2: I want to find out what people think are the

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Speaker 2: best one. And then I'm like, oh, I listened to

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Speaker 2: everyone the one that everyone thought is the best? Yeah,

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Speaker 2: B thousand or Alien Lanes, And now I'm like, where

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Speaker 2: do I go from here? You know? And so you

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Speaker 2: can kind of trickle down to like other things, you know,

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Speaker 2: So that's I do like ranked lists for that practical purpose.

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Speaker 2: But I see what you're saying where it's like it

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Speaker 2: doesn't matter and it is it kind of goes against

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Speaker 2: the concept of art in general, that it can't be

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Speaker 2: ranked and numbered in that way.

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Speaker 1: So okay, so let me ask you this, now that

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Speaker 1: the list has been published, are you happy with the

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Speaker 1: fact that they have told you that the number one

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Speaker 1: movie of the twenty first century is Parasite by Balm Juneoe.

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Speaker 2: Am I happy that they're telling me that they have

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Speaker 2: ordered me to understand that that's the number one the

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Speaker 2: best movie of the twenty eighth first century? But see,

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Speaker 2: here's the thing. I'm like, Oh, I don't think that's

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Speaker 2: the best movie of the twenty first century. Interesting, Yeah,

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Speaker 2: And then I look at number two, Maulholland Drive, and

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Speaker 2: I'm kind of like, that is the movie I think

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Speaker 2: is the best movie of the twenty first century. Wow.

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Speaker 2: So yeah, yeah, I don't know. Well, okay, I don't

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Speaker 2: know how to feel about it.

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Speaker 1: Well, okay, so I but it's making me think. You know,

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Speaker 1: what I do like about this list is that it

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Speaker 1: feels topical, Like all these movies feel topical in some way.

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Speaker 1: It's like, Okay, Parasite, Mulholland Drive, there will be blood,

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Speaker 1: you know, there's all like Moonlight, No Country for Old Man.

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Speaker 1: These are all big great movies that it feels like,

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Speaker 1: you know, get out there's that are part of like

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Speaker 1: the cultural moment of the twenty first century.

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Speaker 2: You know.

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Speaker 1: But then you know, you go further down the list,

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Speaker 1: it starts getting a little little hairy, little hair, a

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Speaker 1: little less importante, which I guess is the point. I mean, like,

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Speaker 1: then one hundred one hundred.

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Speaker 2: Is super Bad and you hate this, Well, the.

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Speaker 1: Funny thing is that I actually think super Bad is funny.

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Speaker 1: I just but again, should it a peer auto list

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Speaker 1: of one hundred greatest movies a forever century? It's like,

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Speaker 1: this is the fucking thing. I'm just like, why are

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Speaker 1: we doing this to ourselves? Can we just have a yeah?

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Speaker 2: And you know, like just to like look at like

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Speaker 2: a number ninety six is Ryan Cougler's Black Panther right now,

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Speaker 2: that movie I do not think is better than a

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Speaker 2: lot of Ryan Kugler's movies. I think fruit Vale Station

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Speaker 2: and Sinners is better than Black Panther. But Black Panther

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Speaker 2: was more of a significant cultural event than those two movies,

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Speaker 2: you know, so like it's not even considering it a movie,

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Speaker 2: it's considering it like a moment, you know what I mean?

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Speaker 1: Exactly.

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Speaker 2: I mean, it's like.

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Speaker 1: And then you throw in something like Agnes Barda The

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Speaker 1: Gleaners and I which is like, okay, that movie in

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Speaker 1: the like notches above Black Panther is so bizarre.

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Speaker 2: I'm just like, yes, it's very bizarre.

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Speaker 1: This is the problem I believe with ranking. So anyway,

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Speaker 1: my point is, I guess we're talking about it. So

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Speaker 1: it did its job.

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Speaker 2: We're shit chatting about it, we're clicking that, we're click

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Speaker 2: baiting all over the Oh, this.

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Speaker 1: Is what they wanted from the very wanted us to

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Speaker 1: do this.

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Speaker 2: But I'm just.

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Speaker 1: Saying for the record, my film gripe is that I

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Speaker 1: hate definitive ranked list of things that just noise.

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Speaker 2: Yeah. Well, and I was trying to think of the

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Speaker 2: opposite of a film gripe, and my initial pitch was

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Speaker 2: film grope. But groping is not good unless you want it,

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Speaker 2: want it, And I'm going to say, in this situation,

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Speaker 2: I want to be it's consensual groping. So my film

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Speaker 2: grope is that I like lists, so kind of like

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Speaker 2: two sides of the coin there, fabulous. Well, should we

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Speaker 2: move on to our film diaries shore our lists? I'm

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Speaker 2: gonna and I'm gonna rank the best movies I saw

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Speaker 2: the best movies of the last week in order.

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Speaker 1: Well, I am two only because I always saw one,

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Speaker 1: so it.

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Speaker 2: Has to be okay, Well, yes, let me know what

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Speaker 2: did you watch? Well, probably we got to open up

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Speaker 2: the diary.

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Speaker 1: Whoa, the thing is disgusting. Frankly, so I watched. Speaking

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Speaker 1: of crand directors, I suppose. Oh, I watched for the

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Speaker 1: very first time. First, I watched this movie from twenty eighteen.

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Speaker 1: It was directed by Lee Chang Dong and it's called Burning.

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Speaker 2: Wow. Now did this movie make the top one hundred

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Speaker 2: movies of the I don't know. I gotta fine go

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Speaker 2: look for it. Okay, never mind, I can't find this.

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Speaker 2: But oh yeah, well, well like The Hull Would Reporter

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Speaker 2: released one hundred best or fifty best movies of the

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Speaker 2: twenty first century a couple of years ago, and Burning

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Speaker 2: was at number thirteen for them. Oh so just sort

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Speaker 2: of interesting.

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Speaker 1: Yeah that's what I uh, I forgot you getting me

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Speaker 1: down this film? Grapehole again, dog?

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Speaker 2: Yeah, grapehole, the gripehole.

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Speaker 1: Maybe we should open up a bar and called the gripehole.

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Speaker 1: You don't like that idea?

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Speaker 2: I don't know there's something kind of unsavory, but grapehole.

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Speaker 1: Okay, so back to burning.

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Speaker 2: Back to burning. Excuse me, I'm sorry for that, Tom.

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Speaker 1: No, that's all right. So I've not seen any Lee

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Speaker 1: Chang Dong movies, although when I was going down my hole,

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Speaker 1: my research hole about him, I didn't realize that, you know,

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Speaker 1: he had done so much as like a writer too

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Speaker 1: and stuff. I mean, I it seems very fascinating to me,

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Speaker 1: and quite honestly, seems like a dude that I would

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Speaker 1: dig a lot, because he is political and has you know,

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Speaker 1: makes makes political films. And here's the thing about so

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Speaker 1: many of these Korean films that I've seen from maybe

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Speaker 1: in the twenty first century, like Burning, like Parasite, is

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Speaker 1: that they and Squid Game I think is another perfect

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Speaker 1: example of this. It's like they're all these kind of

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Speaker 1: films about class. Yeah, and I love films about class.

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Speaker 1: I feel like it's these these films were like films

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Speaker 1: that I really gravitated towards, especially in my twenties, because

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Speaker 1: I was just very activated by issues about class and

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Speaker 1: class warfare and and you know, the rich versus the

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Speaker 1: not rich. I feel like it's even worse now, like

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Speaker 1: we should be making every fucking movie about class, and

427
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Speaker 1: maybe it should. Maybe some of these movies are actually

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Speaker 1: about class, and I don't know it, but like this

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Speaker 1: movie was so interesting because it was like kind of

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Speaker 1: about I mean, it kind of had this like talented

431
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Speaker 1: mister Ripley vibe because Stephen Young's in the film, and

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Speaker 1: he whom I love, very cute, very cute man. He

433
00:24:18,240 --> 00:24:23,000
Speaker 1: plays this kind of I don't know, this like charismatic

434
00:24:23,240 --> 00:24:27,040
Speaker 1: psycho kind of guy. So the baseline story, I'm sure

435
00:24:27,080 --> 00:24:29,280
Speaker 1: you've seen it. I know you did because you locked it.

436
00:24:29,680 --> 00:24:31,600
Speaker 1: But for those who haven't seen it, as basically, there's

437
00:24:31,600 --> 00:24:35,520
Speaker 1: a young man who is, you know, kind of like

438
00:24:35,560 --> 00:24:38,560
Speaker 1: taking care of his father's farm, is kind of like

439
00:24:38,600 --> 00:24:43,840
Speaker 1: a wage order in soul, and then like meets up

440
00:24:43,920 --> 00:24:46,320
Speaker 1: one day with like an old classmate. They kind of

441
00:24:46,440 --> 00:24:47,919
Speaker 1: develop a romance, and then.

442
00:24:47,800 --> 00:24:50,600
Speaker 2: She goes off to Africa for.

443
00:24:50,560 --> 00:24:52,960
Speaker 1: Like a trip, a long trip, and he's like taking

444
00:24:53,000 --> 00:24:55,879
Speaker 1: care of her cat, and even though the cat does

445
00:24:55,880 --> 00:24:58,080
Speaker 1: not appear, and it's that's a whole other side of

446
00:24:58,080 --> 00:24:59,879
Speaker 1: the story. But anyway, she comes back from Africa and

447
00:25:00,040 --> 00:25:03,680
Speaker 1: he's with this like Steven Yun character who's this complete

448
00:25:03,720 --> 00:25:06,840
Speaker 1: opposite type dude. He's like, drives a nice car. He's

449
00:25:07,040 --> 00:25:10,000
Speaker 1: very fancy and rich and has like the polish that

450
00:25:10,119 --> 00:25:12,800
Speaker 1: this other guy doesn't have. And so there's this like

451
00:25:12,920 --> 00:25:17,280
Speaker 1: weird moment where I think the talent mister Ripley thing

452
00:25:17,359 --> 00:25:20,560
Speaker 1: comes to mind. Is where it's like, here's a guy

453
00:25:20,640 --> 00:25:25,000
Speaker 1: who's just doing the most and has this like life

454
00:25:25,040 --> 00:25:28,080
Speaker 1: that I want, and he's obviously wooing this woman that

455
00:25:28,160 --> 00:25:32,040
Speaker 1: I am interested in, and I'm going to figure out

456
00:25:32,280 --> 00:25:36,280
Speaker 1: if he's crazy or not. Yeah, And that's the movie.

457
00:25:36,320 --> 00:25:41,280
Speaker 1: It's basically kind of like a slow burned thriller Identity

458
00:25:42,560 --> 00:25:46,399
Speaker 1: Missing People. Like, it's kind of creepy and fun.

459
00:25:47,119 --> 00:25:47,840
Speaker 2: It's long.

460
00:25:48,000 --> 00:25:50,160
Speaker 1: It's a very long movie. And that's the thing. The

461
00:25:50,200 --> 00:25:52,800
Speaker 1: criticisms that I have read is that it's too long

462
00:25:52,880 --> 00:25:57,240
Speaker 1: and too mandering. I don't think that. Yeah, No, it's

463
00:25:57,280 --> 00:26:01,359
Speaker 1: a great film. I can't wait to see some of

464
00:26:01,359 --> 00:26:05,160
Speaker 1: his other films, Like, yeah, Poetry.

465
00:26:05,359 --> 00:26:10,320
Speaker 2: Poetry is maybe the most devastating movie I've ever seen.

466
00:26:10,400 --> 00:26:12,920
Speaker 2: Oh shit, but it's very good.

467
00:26:13,040 --> 00:26:18,240
Speaker 1: Yeah, well start on my list, on my list.

468
00:26:18,280 --> 00:26:26,040
Speaker 2: Very good, very good. My turn. I saw Mission Impossible,

469
00:26:26,119 --> 00:26:31,760
Speaker 2: the Final Reconi. Maybe I'm just a dumb idiot. You know,

470
00:26:32,160 --> 00:26:37,320
Speaker 2: maybe I'm just a stupid, fat head idiot. And uh,

471
00:26:37,880 --> 00:26:41,240
Speaker 2: because I love these movies. They are totally enticing to me,

472
00:26:41,920 --> 00:26:45,200
Speaker 2: and I this was like most people say, this one

473
00:26:45,240 --> 00:26:50,159
Speaker 2: wasn't very good. It's a mess narratively really yeah, but

474
00:26:50,880 --> 00:26:54,160
Speaker 2: it's still so intoxicating. And some of these like stunt

475
00:26:54,359 --> 00:26:57,840
Speaker 2: set pieces that Tom Cruise goes through. He's in this

476
00:26:57,960 --> 00:27:01,639
Speaker 2: like sunken submarine at one that that scene is so

477
00:27:02,080 --> 00:27:05,280
Speaker 2: intense and frightening, and I'm honestly like, how did Tom

478
00:27:05,320 --> 00:27:09,399
Speaker 2: Cruise not die making this movie? You know, that's like

479
00:27:09,440 --> 00:27:11,520
Speaker 2: always the joke, But some of these stunts, You're like,

480
00:27:12,280 --> 00:27:15,040
Speaker 2: I am actually like shocked he isn't in the ground

481
00:27:15,119 --> 00:27:17,879
Speaker 2: right now. So I had a blast. I'm kind of

482
00:27:18,040 --> 00:27:20,359
Speaker 2: It's supposed to be the last one, but it was

483
00:27:20,440 --> 00:27:21,600
Speaker 2: left very open end.

484
00:27:21,880 --> 00:27:26,879
Speaker 1: She feels like they would never see that coffin you

485
00:27:26,920 --> 00:27:31,600
Speaker 1: know that. Yeah so well, but he's like in his sixties.

486
00:27:31,640 --> 00:27:33,800
Speaker 1: He's like the same age as my mom, and I

487
00:27:33,840 --> 00:27:35,840
Speaker 1: would not want my mom doing the things that that

488
00:27:36,000 --> 00:27:36,560
Speaker 1: man is doing.

489
00:27:36,880 --> 00:27:37,080
Speaker 2: I know.

490
00:27:38,080 --> 00:27:40,919
Speaker 1: Here's the thing, Casey, that I really really truly believe this.

491
00:27:41,000 --> 00:27:45,080
Speaker 1: I mean, he he probably has died like ten times,

492
00:27:45,160 --> 00:27:48,359
Speaker 1: and they just inject him with alien blood that we

493
00:27:48,400 --> 00:27:51,040
Speaker 1: don't know, the public doesn't know about. This is my

494
00:27:51,080 --> 00:27:54,920
Speaker 1: great conspiracy theory, is that Tom Cruise is actually being

495
00:27:55,320 --> 00:27:59,119
Speaker 1: kept alive with alien blood for our entertainment.

496
00:27:59,280 --> 00:28:03,080
Speaker 2: No, actually, I gotta say it is a very interesting theory,

497
00:28:03,160 --> 00:28:05,680
Speaker 2: and I'm frightened of you saying it on this podcast

498
00:28:06,160 --> 00:28:09,160
Speaker 2: in fear that scientologists will come and get us because

499
00:28:09,200 --> 00:28:10,080
Speaker 2: you figured it out.

500
00:28:10,400 --> 00:28:14,680
Speaker 1: I know, even though I feel like their operation has

501
00:28:14,760 --> 00:28:17,680
Speaker 1: seemed to have slowed down in the past few years.

502
00:28:17,720 --> 00:28:22,239
Speaker 2: But the buildings they own, yes, alone, if you are

503
00:28:22,280 --> 00:28:23,840
Speaker 2: ever in LA and you go buy any of these

504
00:28:23,840 --> 00:28:28,159
Speaker 2: Scientology buildings, they're like castle mansions in the middle of

505
00:28:28,200 --> 00:28:29,919
Speaker 2: the city. It's really weird.

506
00:28:30,680 --> 00:28:33,399
Speaker 1: Yeah, But I feel like because there was so much

507
00:28:33,480 --> 00:28:36,040
Speaker 1: I mean, they were like impenetrable for a long time.

508
00:28:36,320 --> 00:28:39,320
Speaker 1: Like I remember when you know, maybe fifteen years ago,

509
00:28:39,360 --> 00:28:41,280
Speaker 1: when I would come to La, people like, don't say

510
00:28:41,320 --> 00:28:43,480
Speaker 1: shit about scientologists because they will come and they will

511
00:28:43,640 --> 00:28:46,479
Speaker 1: ruin your life. I feel like after the Lea Remedy

512
00:28:46,640 --> 00:28:49,680
Speaker 1: Show and just about the modern era, the Internet era

513
00:28:49,760 --> 00:28:52,000
Speaker 1: that took over, it's like they kind of lost their

514
00:28:52,440 --> 00:28:53,320
Speaker 1: sting a little bit.

515
00:28:53,440 --> 00:28:53,880
Speaker 2: O Joe.

516
00:28:53,960 --> 00:28:55,760
Speaker 1: They're staying a little bit. I mean, I don't know,

517
00:28:56,080 --> 00:28:58,440
Speaker 1: don't know. I hear it, don't don't pick it me.

518
00:28:58,760 --> 00:29:00,160
Speaker 2: I don't want to get I might have a new

519
00:29:00,360 --> 00:29:02,640
Speaker 2: I might have a new co host next next week,

520
00:29:02,840 --> 00:29:03,920
Speaker 2: and I might be audited.

521
00:29:04,320 --> 00:29:07,520
Speaker 1: Shit. I want to say, for the record, I think

522
00:29:07,600 --> 00:29:10,120
Speaker 1: we all love that. You love the mission of Possible

523
00:29:10,160 --> 00:29:14,240
Speaker 1: movies because somebody has to. And you're like our man

524
00:29:14,280 --> 00:29:16,920
Speaker 1: on the inside because I won't see him, but I

525
00:29:17,080 --> 00:29:18,000
Speaker 1: like that you like him.

526
00:29:18,400 --> 00:29:20,840
Speaker 2: I love them And I watched them all again in

527
00:29:20,880 --> 00:29:23,360
Speaker 2: preparation for this one, and I just really had a

528
00:29:23,360 --> 00:29:25,959
Speaker 2: fun There you go, We're good any who. On the

529
00:29:26,080 --> 00:29:30,320
Speaker 2: exact opposite end of the spectrum, I watched an Australian

530
00:29:30,360 --> 00:29:34,920
Speaker 2: Front film from twenty twenty two called Monolith And guess what, Millie.

531
00:29:35,360 --> 00:29:39,400
Speaker 2: This is a podcast movie. It is a podcast horror movie.

532
00:29:39,960 --> 00:29:43,320
Speaker 2: It is all takes place in one room with this

533
00:29:43,400 --> 00:29:50,320
Speaker 2: woman making a kind of paranormal conspiracy podcast. She's like

534
00:29:50,360 --> 00:29:53,760
Speaker 2: a disgraced journalist who is launching a new podcast and

535
00:29:53,800 --> 00:29:59,560
Speaker 2: she's investigating these mysterious black bricks that show up at

536
00:29:59,560 --> 00:30:01,440
Speaker 2: people's houses. And it was scary.

537
00:30:01,600 --> 00:30:01,880
Speaker 4: Wow.

538
00:30:01,920 --> 00:30:05,320
Speaker 2: I thought it was good. Okay, okay, And you know,

539
00:30:05,400 --> 00:30:07,040
Speaker 2: it's one of those movies where it like kind of

540
00:30:07,280 --> 00:30:10,840
Speaker 2: it's one all you see is one woman, the whole you.

541
00:30:10,920 --> 00:30:13,000
Speaker 2: She talks to a lot of people for her podcast.

542
00:30:13,240 --> 00:30:16,000
Speaker 2: But it was very effective and it did didn't feel

543
00:30:16,120 --> 00:30:20,720
Speaker 2: like claustrophobic or like it didn't feel like it was

544
00:30:20,760 --> 00:30:24,520
Speaker 2: relying on any sort of gimmick. Sure, you know. So

545
00:30:24,840 --> 00:30:29,840
Speaker 2: it's called Monolith, okay. And it was creepy and interesting

546
00:30:30,080 --> 00:30:32,440
Speaker 2: and I was it was a great just great podcaster

547
00:30:32,600 --> 00:30:34,840
Speaker 2: representation in film. So there we go.

548
00:30:34,920 --> 00:30:38,040
Speaker 1: Hey, that's great. I uh, I kind of want to

549
00:30:38,080 --> 00:30:39,280
Speaker 1: watch this. This looks good.

550
00:30:39,920 --> 00:30:41,920
Speaker 2: Yeah, it was good, really liked it. And then the

551
00:30:42,000 --> 00:30:46,040
Speaker 2: last movie I watched was nineteen ninety eight's Zero Effect

552
00:30:46,360 --> 00:30:49,360
Speaker 2: with Bill Pullman and Ben Stiller. Have you ever seen

553
00:30:49,360 --> 00:30:49,720
Speaker 2: this movie?

554
00:30:49,840 --> 00:30:53,720
Speaker 1: No? And I kept I kept reading about it when

555
00:30:53,720 --> 00:30:56,719
Speaker 1: it came out, and I thought I should, uh, and

556
00:30:56,760 --> 00:30:58,400
Speaker 1: then I never got around to it.

557
00:30:58,400 --> 00:31:02,280
Speaker 2: It's cute, it's fine, and Bill Pullman plays like the

558
00:31:02,360 --> 00:31:10,400
Speaker 2: most private I the most private detective. He uh he yeah.

559
00:31:11,200 --> 00:31:14,480
Speaker 2: It's it's kind of a funny, quirky, little gum shoe

560
00:31:15,600 --> 00:31:21,760
Speaker 2: type movie and it takes place in Portland, and Ryan

561
00:31:21,800 --> 00:31:25,760
Speaker 2: O'Neil's in it, and it's kind of funny seeing Ben

562
00:31:25,880 --> 00:31:29,240
Speaker 2: Stiller in a role like at this time where he's

563
00:31:29,280 --> 00:31:34,280
Speaker 2: not like completely going crazy and he's not shirtless in it,

564
00:31:34,520 --> 00:31:39,280
Speaker 2: not once and but yeah it was fine.

565
00:31:39,480 --> 00:31:41,560
Speaker 1: Hey, we like it. What he does is dramatic when

566
00:31:41,640 --> 00:31:43,760
Speaker 1: Permanent Midnight, like when Ben's.

567
00:31:43,480 --> 00:31:45,880
Speaker 2: Still never seen Permanent Midnight. But that's on my list.

568
00:31:46,000 --> 00:31:48,880
Speaker 1: You'll love it. If you like a serious Ben Stiller,

569
00:31:48,920 --> 00:31:49,880
Speaker 1: you'll love it.

570
00:31:50,160 --> 00:31:50,960
Speaker 2: Sure I do.

571
00:31:51,840 --> 00:31:54,840
Speaker 1: Yeah, when he goes a little serious, little.

572
00:31:54,680 --> 00:31:58,240
Speaker 2: Dark, Yeah, but this was I mean, zero effect is funny,

573
00:31:58,280 --> 00:32:02,000
Speaker 2: it's charming. I've never seen Bill Pullman in like such

574
00:32:02,040 --> 00:32:06,840
Speaker 2: a light role or like a funny, silly role like that,

575
00:32:07,440 --> 00:32:08,960
Speaker 2: maybe Sleepless in Seattle.

576
00:32:09,200 --> 00:32:12,440
Speaker 1: But well, he was in he was in singles, the

577
00:32:12,480 --> 00:32:13,720
Speaker 1: Jersey movie singles.

578
00:32:14,240 --> 00:32:15,440
Speaker 2: You know what, I've never seen something?

579
00:32:16,560 --> 00:32:17,760
Speaker 1: How do I how do I even know?

580
00:32:17,920 --> 00:32:18,239
Speaker 5: You that?

581
00:32:18,280 --> 00:32:20,080
Speaker 1: It's like a formative.

582
00:32:19,640 --> 00:32:22,520
Speaker 2: Text for my Jenny, But do you know it's one

583
00:32:22,560 --> 00:32:25,520
Speaker 2: of those things where it's like singles, like in retrospect,

584
00:32:25,640 --> 00:32:28,760
Speaker 2: it's like it sort of feels like it's like the

585
00:32:28,800 --> 00:32:33,080
Speaker 2: mainstreamification of grunge or something. I don't know. Yeah, so

586
00:32:33,160 --> 00:32:37,240
Speaker 2: I haven't really been sought that one out.

587
00:32:36,960 --> 00:32:38,560
Speaker 1: If you want to. If you if you're calling me

588
00:32:38,600 --> 00:32:42,760
Speaker 1: a poser because I liked singles, you can't. You can't.

589
00:32:42,800 --> 00:32:45,160
Speaker 1: Even though Chris Cornell was in the fucking movie. And

590
00:32:46,160 --> 00:32:50,080
Speaker 1: you know the spoon man, Yeah, most famous. There's a

591
00:32:50,080 --> 00:32:52,960
Speaker 1: lot Eddie Vedder and Jeff Allman from Pearl Jammer in

592
00:32:53,000 --> 00:32:56,760
Speaker 1: the movie. It has like good bones, like in terms

593
00:32:56,760 --> 00:33:00,400
Speaker 1: of I mean Karen Crowe, you know, the people in it,

594
00:33:00,520 --> 00:33:05,120
Speaker 1: like Hampbell, Scott Cara Sedgwick, like you know, yes, it

595
00:33:05,280 --> 00:33:11,719
Speaker 1: is somewhat of a commercial spotlight on this very based

596
00:33:12,320 --> 00:33:17,680
Speaker 1: you know, like serious musical genre that hates posers very strongly.

597
00:33:19,360 --> 00:33:22,400
Speaker 1: But it could be worse. It could be Empire Records,

598
00:33:22,520 --> 00:33:22,840
Speaker 1: is all I have.

599
00:33:23,080 --> 00:33:25,120
Speaker 2: Yes, it could be worse. Yes, it could be Empire.

600
00:33:25,440 --> 00:33:27,200
Speaker 2: The movie I don't like. I don't like that movie.

601
00:33:27,240 --> 00:33:29,680
Speaker 1: But he's but anyway, there's your point. Bill Pullman is

602
00:33:29,680 --> 00:33:31,680
Speaker 1: in that movie. Briefly he does. He has a cameo

603
00:33:31,720 --> 00:33:35,920
Speaker 1: and he plays this like plastic surgeon that's about to

604
00:33:35,920 --> 00:33:42,240
Speaker 1: give Bridget Fonda a breast augmentation. And it's great. He's

605
00:33:42,280 --> 00:33:44,040
Speaker 1: great in it. He's so Bill Pullman.

606
00:33:44,080 --> 00:33:54,680
Speaker 2: He's always kind of doing this. Ya. He's like he's

607
00:33:54,680 --> 00:33:56,160
Speaker 2: always kind of doing that sort of stuff.

608
00:33:57,440 --> 00:33:59,240
Speaker 1: Yeah, now you gotta watch Sigles because that's like his

609
00:33:59,480 --> 00:34:02,000
Speaker 1: entire He's he's got like ten lines and they're all

610
00:34:02,240 --> 00:34:04,400
Speaker 1: like that.

611
00:34:06,040 --> 00:34:09,040
Speaker 2: Okay, Milly, we gotta move on. We got so much

612
00:34:09,080 --> 00:34:12,520
Speaker 2: show left and we we gotta keep moving here. So

613
00:34:12,600 --> 00:34:34,880
Speaker 2: let's close it up. Closed, It's time for our main discussion.

614
00:34:34,920 --> 00:34:40,759
Speaker 2: All right, all right, all right, she said, fine, Showgirls

615
00:34:41,040 --> 00:34:44,759
Speaker 2: nineteen ninety five, Showgirls, Where do we begin with a

616
00:34:44,840 --> 00:34:46,600
Speaker 2: monumental text like this?

617
00:34:48,200 --> 00:34:49,960
Speaker 1: What was the what was the first time you saw

618
00:34:50,000 --> 00:34:50,399
Speaker 1: this movie?

619
00:34:50,520 --> 00:34:53,359
Speaker 2: Just like curiosity, Well, the first time I saw this

620
00:34:53,520 --> 00:34:57,759
Speaker 2: movie was on TV. And this is a very famous

621
00:34:57,960 --> 00:35:03,719
Speaker 2: TV edit because it was on VH one in like

622
00:35:03,760 --> 00:35:06,680
Speaker 2: the two thousands and maybe the late nineties, which is

623
00:35:06,760 --> 00:35:09,440
Speaker 2: crazy to think about because there's so much I mean,

624
00:35:09,520 --> 00:35:13,840
Speaker 2: there's almost no scenes in this movie where everyone's not naked,

625
00:35:14,080 --> 00:35:18,279
Speaker 2: you know. And so what they did is they like

626
00:35:18,520 --> 00:35:21,960
Speaker 2: had this like painted on Have you seen the TV edit?

627
00:35:22,000 --> 00:35:22,239
Speaker 1: Of course?

628
00:35:23,200 --> 00:35:26,200
Speaker 2: Okay, So they have this like digital painted on bra

629
00:35:26,640 --> 00:35:30,879
Speaker 2: basically in every scene to like cover up any nudity whatsoever.

630
00:35:31,400 --> 00:35:34,000
Speaker 2: And I think some scenes were cut entirely, Like I

631
00:35:34,000 --> 00:35:38,120
Speaker 2: have a feeling the pool scene may have been cut

632
00:35:38,239 --> 00:35:41,279
Speaker 2: entirely from the TV edit or part most of it

633
00:35:41,320 --> 00:35:46,160
Speaker 2: was yah, but it had this like ludicrous digital bra

634
00:35:47,480 --> 00:35:50,799
Speaker 2: floating around the TV screen. And that was how I

635
00:35:50,880 --> 00:35:53,160
Speaker 2: first watched this movie.

636
00:35:53,280 --> 00:35:58,040
Speaker 1: Yeah, yeah, I My first time was also on TV. However,

637
00:35:58,880 --> 00:36:03,520
Speaker 1: it was on like HBO or Showtime or something, and

638
00:36:03,560 --> 00:36:08,120
Speaker 1: it was at I watched it at my friend Liz

639
00:36:08,320 --> 00:36:10,959
Speaker 1: Morris's house, but who was one of my best friends

640
00:36:11,000 --> 00:36:13,280
Speaker 1: in high school. She is no longer with us, rip Liz,

641
00:36:14,640 --> 00:36:19,759
Speaker 1: but we for some reason, I swear did she It

642
00:36:19,840 --> 00:36:22,759
Speaker 1: was this thing where like it was on TV. It

643
00:36:22,800 --> 00:36:26,960
Speaker 1: was in the middle of the day. Her mother's house

644
00:36:27,080 --> 00:36:30,120
Speaker 1: was like super countrified, so like she had like a

645
00:36:30,200 --> 00:36:33,479
Speaker 1: bluebell pattern couch and it was there was like fucking like.

646
00:36:34,040 --> 00:36:35,960
Speaker 2: You were painting such a beautiful I know. There was

647
00:36:36,000 --> 00:36:37,320
Speaker 2: like watching show go Oh.

648
00:36:37,200 --> 00:36:40,600
Speaker 1: My god, it was like watching this movie. I was

649
00:36:40,640 --> 00:36:47,040
Speaker 1: like in a cracker barrel liesque living room in the

650
00:36:47,120 --> 00:36:50,839
Speaker 1: Deep South during the day and then show Girls comes

651
00:36:50,840 --> 00:36:52,799
Speaker 1: on and my friend Liz, I feel like she went

652
00:36:53,000 --> 00:36:55,560
Speaker 1: and did like she was like doing laundry or this

653
00:36:55,640 --> 00:36:58,000
Speaker 1: was at her parents' house and I sat there and

654
00:36:58,080 --> 00:37:03,799
Speaker 1: watched Showgirls alone in this country house, and it was

655
00:37:03,880 --> 00:37:09,200
Speaker 1: unedited and it was riveting. Like I was riveted. And

656
00:37:09,239 --> 00:37:11,640
Speaker 1: it was like I was like ninety because this movie

657
00:37:11,680 --> 00:37:14,520
Speaker 1: came out ninety five, so it was probably like ninety

658
00:37:14,560 --> 00:37:17,960
Speaker 1: six when this movie it was on base or pay cable,

659
00:37:19,160 --> 00:37:24,120
Speaker 1: so I would have been I was like seventeen or something.

660
00:37:24,760 --> 00:37:25,560
Speaker 2: Yea, And.

661
00:37:27,200 --> 00:37:30,400
Speaker 1: I, I mean I was riveted. I don't know about you.

662
00:37:30,480 --> 00:37:32,879
Speaker 1: How did you feel when you first saw it? Well,

663
00:37:33,520 --> 00:37:37,719
Speaker 1: I feel like so this movie. Watching it again last night,

664
00:37:38,200 --> 00:37:41,720
Speaker 1: I was like, this movie looks incredible.

665
00:37:42,239 --> 00:37:44,640
Speaker 2: Like the way it was shot. The cinematography I think

666
00:37:44,719 --> 00:37:48,120
Speaker 2: is beautiful, Yeah, and it sort of commands your attention,

667
00:37:48,600 --> 00:37:51,120
Speaker 2: like it feels it makes you like it brings you

668
00:37:51,160 --> 00:37:53,759
Speaker 2: to a place where you're like, this is cinema, this

669
00:37:53,880 --> 00:38:00,040
Speaker 2: is important. Yeah. And so I felt like with that

670
00:38:00,280 --> 00:38:04,120
Speaker 2: kind of visualization of the movie with so much nudity

671
00:38:04,200 --> 00:38:08,560
Speaker 2: and like graphic nudity, and like Elizabeth Berkley is so

672
00:38:08,840 --> 00:38:11,799
Speaker 2: naked in this movie. My god, you really don't see

673
00:38:11,920 --> 00:38:16,200
Speaker 2: movies like this where the main character is like so

674
00:38:16,440 --> 00:38:21,000
Speaker 2: naked in the whole movie. And so it really those

675
00:38:21,040 --> 00:38:25,880
Speaker 2: two worlds coming together of like this looking so good

676
00:38:26,400 --> 00:38:29,600
Speaker 2: and it also having like graphic nudity. It really just

677
00:38:29,680 --> 00:38:32,319
Speaker 2: kind of like makes your mind short circuit while you're

678
00:38:32,360 --> 00:38:34,560
Speaker 2: watching it. So that was sort of my experience, like

679
00:38:34,840 --> 00:38:35,960
Speaker 2: watching it for the first time.

680
00:38:36,080 --> 00:38:38,360
Speaker 1: I think that's kind of that's exactly how I felt.

681
00:38:38,360 --> 00:38:40,919
Speaker 1: I felt short circuited by it. It was just such

682
00:38:40,960 --> 00:38:46,080
Speaker 1: a spectacle. Let me ask you this question, Yeah, did

683
00:38:46,120 --> 00:38:52,239
Speaker 1: you have any affiliation with the children's television show Saved

684
00:38:52,239 --> 00:38:52,640
Speaker 1: by the Bell.

685
00:38:53,040 --> 00:38:54,760
Speaker 2: I watched Save by the Bell all the time. Okay,

686
00:38:55,640 --> 00:38:57,960
Speaker 2: I could sing the theme song right now, Okay, but

687
00:38:58,040 --> 00:39:01,800
Speaker 2: I won't you. But I could just imagine me doing it. Okay,

688
00:39:01,960 --> 00:39:04,000
Speaker 2: when I wake up in the morning and my lamas

689
00:39:04,000 --> 00:39:06,000
Speaker 2: anna Ona, and I think I never make it on

690
00:39:06,239 --> 00:39:08,520
Speaker 2: time by the time I give my books and I

691
00:39:08,600 --> 00:39:10,919
Speaker 2: give myself a look, i'mendacona just in time to say

692
00:39:10,920 --> 00:39:14,680
Speaker 2: the book job bye. It's all right because I said

693
00:39:14,680 --> 00:39:18,080
Speaker 2: by lah blah uh. I don't I see. I don't

694
00:39:18,080 --> 00:39:21,479
Speaker 2: even really remember being like, oh my god, that's Jesse, yes,

695
00:39:21,960 --> 00:39:26,120
Speaker 2: you know. And Showgirls, yes, it was. I think Showgirls

696
00:39:26,160 --> 00:39:29,879
Speaker 2: as like an idea was so I don't remember being

697
00:39:29,920 --> 00:39:32,040
Speaker 2: introduced to that concept that they like someone from save

698
00:39:32,040 --> 00:39:33,360
Speaker 2: by the Bell was in this movie.

699
00:39:33,480 --> 00:39:39,279
Speaker 1: Yes see that? Okay, so full disclosure, you know, as

700
00:39:39,320 --> 00:39:43,280
Speaker 1: I was like going back and rewatching this movie, going

701
00:39:43,320 --> 00:39:47,280
Speaker 1: back and watching special features on the expanded Blu ray disc,

702
00:39:48,120 --> 00:39:51,239
Speaker 1: going through all of the you know, writing and ephemeroa

703
00:39:51,280 --> 00:39:54,840
Speaker 1: and everything about this movie I watched. I rewatched this

704
00:39:55,000 --> 00:39:57,640
Speaker 1: documentary that was made and actually twenty nineteen. I actually

705
00:39:57,680 --> 00:40:01,000
Speaker 1: can't believe it was that long ago by the director

706
00:40:01,040 --> 00:40:05,719
Speaker 1: Jeffrey McHale and it's called you Don't Know Me n Omi.

707
00:40:06,960 --> 00:40:08,960
Speaker 2: No mim alone is the main character played by Elizabeth

708
00:40:09,000 --> 00:40:10,319
Speaker 2: Berkley correct, And.

709
00:40:10,360 --> 00:40:17,200
Speaker 1: It was basically, to me, one of the best examinations

710
00:40:17,239 --> 00:40:20,279
Speaker 1: of this film that has ever been done. Like it

711
00:40:20,320 --> 00:40:24,280
Speaker 1: basically was like a bunch of film critics and cultural

712
00:40:24,320 --> 00:40:28,360
Speaker 1: critics and scholars coming together to talk about this movie

713
00:40:28,719 --> 00:40:31,239
Speaker 1: essentially and all of the different nuances of it that

714
00:40:31,400 --> 00:40:33,920
Speaker 1: takes the way that it was presented when it first

715
00:40:34,320 --> 00:40:39,239
Speaker 1: arrived here in our brains, and then the kind of

716
00:40:39,320 --> 00:40:42,440
Speaker 1: lasting effect and the different reads, I mean, the different

717
00:40:42,760 --> 00:40:47,640
Speaker 1: readings of it from queer audiences or you know, female

718
00:40:47,640 --> 00:40:51,319
Speaker 1: audiences or whatever. It's really interesting. I really ask that

719
00:40:51,440 --> 00:40:54,200
Speaker 1: you all watch it if you haven't and you want to.

720
00:40:54,440 --> 00:40:59,200
Speaker 1: But the thing that was so interesting was that the

721
00:40:59,280 --> 00:41:04,400
Speaker 1: very beginning of it sets up the fervor of everything.

722
00:41:04,480 --> 00:41:07,880
Speaker 1: When this movie came out, like I mean, it was

723
00:41:07,920 --> 00:41:10,840
Speaker 1: just like clip upon clip of like people, you know,

724
00:41:10,840 --> 00:41:13,600
Speaker 1: it was like Cisco and Eebird and you know all

725
00:41:13,640 --> 00:41:15,920
Speaker 1: of these people that were just like shitting on it

726
00:41:16,000 --> 00:41:18,799
Speaker 1: like so hard, and all of the bad reviews and

727
00:41:18,840 --> 00:41:21,480
Speaker 1: all of the like you know, people on Good Warnic

728
00:41:21,560 --> 00:41:23,719
Speaker 1: America talking about how it's the worst movie of all time,

729
00:41:23,760 --> 00:41:27,120
Speaker 1: the Razzie Awards, and then it was like really talking

730
00:41:27,160 --> 00:41:31,280
Speaker 1: about Say By the Bell and how everybody was so

731
00:41:31,440 --> 00:41:34,319
Speaker 1: scandalized that she had been on Say by the Bell

732
00:41:34,440 --> 00:41:37,200
Speaker 1: and was Jesse Spano. And it is an ironic because

733
00:41:37,280 --> 00:41:39,880
Speaker 1: Jesse Spedo was like this feminist and now she's this,

734
00:41:39,880 --> 00:41:42,560
Speaker 1: this and that. And I have to say, like, as

735
00:41:42,600 --> 00:41:45,799
Speaker 1: a person who watched Stay by the Bell as a

736
00:41:45,880 --> 00:41:50,120
Speaker 1: child and was very well acquainted with Jesse Spano as

737
00:41:50,160 --> 00:41:53,520
Speaker 1: a character, I'm with you. It wasn't like this whole

738
00:41:53,560 --> 00:41:57,720
Speaker 1: like I cannot fucking believe like what happened, Like she's

739
00:41:58,840 --> 00:42:01,560
Speaker 1: obviously made a pack with the devil or something like

740
00:42:01,600 --> 00:42:04,520
Speaker 1: she like I guess and for me, I had become

741
00:42:04,680 --> 00:42:08,719
Speaker 1: so used to these like these stories of like I mean,

742
00:42:08,719 --> 00:42:11,000
Speaker 1: if you watch movies, if you're a movie fan, it's like,

743
00:42:11,080 --> 00:42:13,600
Speaker 1: this isn't the first time that a child actor has

744
00:42:13,640 --> 00:42:16,560
Speaker 1: gone dark or has done like fucked up shit. I mean,

745
00:42:16,600 --> 00:42:19,400
Speaker 1: in the documentary they talk about Patty Duke when she

746
00:42:19,600 --> 00:42:21,680
Speaker 1: was in Valley of the Dolls and about how like

747
00:42:21,719 --> 00:42:24,360
Speaker 1: that was so scandalous because everybody loved Patty Duke and

748
00:42:24,360 --> 00:42:26,120
Speaker 1: then all of a sudden she's like strung out on

749
00:42:26,880 --> 00:42:29,440
Speaker 1: pills in a movie. Yeah, you know. So it's like

750
00:42:30,000 --> 00:42:32,239
Speaker 1: to me, it wasn't like a shock that it was

751
00:42:32,320 --> 00:42:36,480
Speaker 1: Jesse Spado quote unquote, that was like, now, Nomi Malone.

752
00:42:37,120 --> 00:42:42,440
Speaker 1: I think it was more about just the just the

753
00:42:42,480 --> 00:42:46,680
Speaker 1: spectacle of the movie, like head to toe. Yeah, you

754
00:42:46,719 --> 00:42:47,200
Speaker 1: know what I mean.

755
00:42:47,960 --> 00:42:51,200
Speaker 2: Well, it's not just that she's in this movie coming

756
00:42:51,200 --> 00:42:54,520
Speaker 2: off like a essentially a children's TV show. Yeah, it's

757
00:42:54,600 --> 00:42:58,960
Speaker 2: also the movie itself and not just the content of

758
00:42:58,960 --> 00:43:01,200
Speaker 2: the movie. But I mean, we can get into this

759
00:43:01,239 --> 00:43:03,000
Speaker 2: now or we can get into it later. But like

760
00:43:04,520 --> 00:43:09,080
Speaker 2: her movement, her acting and her movements in the movie

761
00:43:09,560 --> 00:43:15,040
Speaker 2: are so unusual. I don't even know that's the right term,

762
00:43:15,080 --> 00:43:22,440
Speaker 2: but they're so dramatic and kind of violent and bizarre.

763
00:43:22,800 --> 00:43:25,040
Speaker 2: Like even the way she's like, like the way she's

764
00:43:25,120 --> 00:43:28,239
Speaker 2: like kind of introduced when she gets to Vegas, she's

765
00:43:28,280 --> 00:43:31,879
Speaker 2: like throwing her body around this like looking for her suitcase.

766
00:43:32,239 --> 00:43:36,720
Speaker 2: She like flings herself into traffic. She's eating French fries

767
00:43:36,760 --> 00:43:39,719
Speaker 2: and like throwing the ketchup all over the place. Like

768
00:43:39,760 --> 00:43:44,279
Speaker 2: it's like her movements are really broad and big. There's

769
00:43:44,320 --> 00:43:46,880
Speaker 2: just a lot going on on top of the fact

770
00:43:47,400 --> 00:43:50,400
Speaker 2: that it's sort of like wild that she went from

771
00:43:50,480 --> 00:43:53,120
Speaker 2: like a child's TV show to this type of movie,

772
00:43:53,200 --> 00:43:53,799
Speaker 2: do you know what I mean?

773
00:43:54,040 --> 00:43:58,480
Speaker 1: Yeah, So like wish talk about the acting, yes, because

774
00:43:59,000 --> 00:44:02,440
Speaker 1: that is a I've been a huge point of discussion

775
00:44:02,480 --> 00:44:08,680
Speaker 1: over the years. Is this sort of like extra caffeinated caffeinated.

776
00:44:08,719 --> 00:44:10,120
Speaker 2: That's a great way of saying.

777
00:44:09,920 --> 00:44:16,399
Speaker 1: Real, real, herky jerky acting style of Elizabeth Berkeley. Right. Yes,

778
00:44:17,000 --> 00:44:21,000
Speaker 1: And when I first saw this movie, I did think

779
00:44:21,040 --> 00:44:24,520
Speaker 1: it was fucking hilarious, Like I was like, what is.

780
00:44:24,680 --> 00:44:28,720
Speaker 2: This She's like a caged animal? Yes, I mean really,

781
00:44:28,800 --> 00:44:31,920
Speaker 2: not just in the dancing sequences, but just as a

782
00:44:32,080 --> 00:44:33,360
Speaker 2: person out in the world.

783
00:44:33,480 --> 00:44:38,080
Speaker 1: Yeah, and part of me like I've gone back and

784
00:44:38,120 --> 00:44:40,279
Speaker 1: forth about this for many years because I was like,

785
00:44:40,920 --> 00:44:44,839
Speaker 1: is that her? Or is that something else?

786
00:44:44,960 --> 00:44:45,160
Speaker 2: Isn't?

787
00:44:45,280 --> 00:44:45,520
Speaker 1: Is that?

788
00:44:45,560 --> 00:44:47,760
Speaker 2: Can I read you a quote? Yes? Please? That shed's

789
00:44:47,840 --> 00:44:52,600
Speaker 2: light on this. So Paul Verhoven was interviewed this year

790
00:44:52,840 --> 00:44:58,320
Speaker 2: in far Out magazine and he said about the movie,

791
00:44:58,440 --> 00:45:00,840
Speaker 2: it made my life more difficult, but not to the

792
00:45:00,920 --> 00:45:04,440
Speaker 2: degree it did Elizabeth's. Hollywood turned their backs on her.

793
00:45:04,840 --> 00:45:06,960
Speaker 2: If somebody has to be blamed, it should be me,

794
00:45:07,239 --> 00:45:10,080
Speaker 2: because I thought that it was interesting to portray somebody

795
00:45:10,120 --> 00:45:13,640
Speaker 2: like that. I asked Elizabeth to do all that, to

796
00:45:13,760 --> 00:45:16,840
Speaker 2: be abrupt and to act in that way, but people

797
00:45:16,840 --> 00:45:19,759
Speaker 2: have been attacking her about it ever since. I had

798
00:45:19,800 --> 00:45:21,880
Speaker 2: hoped the end of the movie would explain why she

799
00:45:22,000 --> 00:45:24,919
Speaker 2: acted that way when it was revealed she has convictions

800
00:45:24,960 --> 00:45:27,360
Speaker 2: linked with drugs, but that too turned out to be

801
00:45:27,440 --> 00:45:32,560
Speaker 2: a big mistake. So Paul Verhoven is the one who's like,

802
00:45:32,719 --> 00:45:35,960
Speaker 2: I want is pushing her to do this, and it's

803
00:45:36,040 --> 00:45:38,680
Speaker 2: his vision. And I feel like she was the one

804
00:45:38,680 --> 00:45:44,280
Speaker 2: who got blamed for this kind of caffeinated style of acting.

805
00:45:44,440 --> 00:45:47,040
Speaker 1: Of course, and of course that that would happen, right

806
00:45:47,160 --> 00:45:50,440
Speaker 1: because nobody had seen her really beyond say, by the

807
00:45:50,440 --> 00:45:52,960
Speaker 1: Bell and like if we go back, she wasn't like that,

808
00:45:53,000 --> 00:45:54,480
Speaker 1: I'd say, by the Bell, I mean she had the

809
00:45:54,520 --> 00:45:58,840
Speaker 1: whole like speaking of Captainy, she's so excited, I'm so

810
00:45:59,080 --> 00:46:04,320
Speaker 1: excited scared. Yes, yes, and that had had its own

811
00:46:04,719 --> 00:46:07,200
Speaker 1: she was already an icon for that in that way.

812
00:46:07,400 --> 00:46:10,480
Speaker 1: But to me, you know, there wasn't any suggestion that

813
00:46:10,560 --> 00:46:14,120
Speaker 1: this was like her you know, standard operating procedure as

814
00:46:14,160 --> 00:46:16,680
Speaker 1: an actress, that she was going to be this nutty

815
00:46:17,000 --> 00:46:20,600
Speaker 1: you know. I figured it was probably informed by yeah,

816
00:46:20,680 --> 00:46:25,560
Speaker 1: the direction of the director, but also the character in that.

817
00:46:26,600 --> 00:46:28,600
Speaker 1: Now listen, I want to go on record and say this,

818
00:46:30,040 --> 00:46:33,880
Speaker 1: like there there's an opportunity here to be like super duper,

819
00:46:35,080 --> 00:46:39,799
Speaker 1: you know, like using my film master master's degree to

820
00:46:40,120 --> 00:46:43,640
Speaker 1: you know, really pick apart the like delicate nuances and

821
00:46:43,680 --> 00:46:47,879
Speaker 1: psychology of a character or a film. Okay, I love

822
00:46:47,960 --> 00:46:49,680
Speaker 1: doing that a little bit, but I don't want to

823
00:46:49,760 --> 00:46:55,319
Speaker 1: like also pretend that this movie is like baal Wolf.

824
00:46:55,800 --> 00:46:58,680
Speaker 2: Or something that have to like, you know, you can't

825
00:46:58,760 --> 00:47:01,839
Speaker 2: look at it and be like, actually, it's not ridiculous

826
00:47:01,880 --> 00:47:05,719
Speaker 2: at all, right, because it is very ridiculous.

827
00:47:05,920 --> 00:47:08,640
Speaker 1: And that's exactly and that's the pleasure of the movie

828
00:47:08,719 --> 00:47:11,359
Speaker 1: is that it's ridiculous, But then there's also times when

829
00:47:11,400 --> 00:47:14,200
Speaker 1: you can see it in a more serious way and

830
00:47:14,280 --> 00:47:16,799
Speaker 1: have like an actual take, and it's not this like

831
00:47:17,719 --> 00:47:20,920
Speaker 1: Mystery Science Theater three thousand take. It's like that you

832
00:47:20,920 --> 00:47:23,560
Speaker 1: know something that you actually enjoy and think is good.

833
00:47:23,840 --> 00:47:28,120
Speaker 1: And I do think that, like there's pleasure in her

834
00:47:28,200 --> 00:47:32,320
Speaker 1: acting like that for me, and I think Verhoven obviously

835
00:47:32,360 --> 00:47:35,080
Speaker 1: would know the best. He's right. I think once you

836
00:47:35,280 --> 00:47:41,480
Speaker 1: understand her character herc she is like a feral animal.

837
00:47:41,600 --> 00:47:44,799
Speaker 1: She is like skittish, and because she has had so

838
00:47:44,920 --> 00:47:49,000
Speaker 1: much trauma, she's like living on her own, like like

839
00:47:49,160 --> 00:47:53,400
Speaker 1: trying to, you know, make her her way in this

840
00:47:53,560 --> 00:47:59,480
Speaker 1: extremely seedy business. And she's had drug problems, she's had

841
00:48:00,200 --> 00:48:02,040
Speaker 1: she was at the one point a sex worker. She

842
00:48:02,040 --> 00:48:05,600
Speaker 1: had been sexually abused and everything. So it's like, do

843
00:48:05,640 --> 00:48:08,319
Speaker 1: you blame her for being this way? No, I mean

844
00:48:08,360 --> 00:48:13,720
Speaker 1: her the character is supposed to be fragile and mistrusting

845
00:48:14,520 --> 00:48:19,040
Speaker 1: and skittish and mysterious, and I think that's exactly what

846
00:48:19,200 --> 00:48:20,360
Speaker 1: she did in the movie.

847
00:48:21,120 --> 00:48:23,360
Speaker 2: I think also like I don't I don't think it.

848
00:48:23,400 --> 00:48:25,279
Speaker 2: I don't think like Paul, But it's not one of

849
00:48:25,320 --> 00:48:27,520
Speaker 2: those things where it's like, shame on you, Paul Verhoven

850
00:48:27,560 --> 00:48:29,480
Speaker 2: for trying to do something like that. I think he

851
00:48:29,600 --> 00:48:33,040
Speaker 2: had a good idea and an interesting idea, And I

852
00:48:33,080 --> 00:48:37,799
Speaker 2: think a lot of times, especially American viewers, have one

853
00:48:37,880 --> 00:48:40,840
Speaker 2: single concept of how good acting is supposed to be

854
00:48:40,920 --> 00:48:45,800
Speaker 2: or how acting is supposed to be, and especially today

855
00:48:45,840 --> 00:48:49,319
Speaker 2: in like modern cinema, it's like everything needs to be

856
00:48:49,400 --> 00:48:54,120
Speaker 2: so grounded and muted. If the more grounded, the more muted,

857
00:48:54,160 --> 00:48:57,399
Speaker 2: the more real, and therefore the more good it is.

858
00:48:57,840 --> 00:49:00,480
Speaker 2: But I feel like there is a place in movies,

859
00:49:00,520 --> 00:49:01,799
Speaker 2: and you see it in a lot of David Lynch

860
00:49:01,840 --> 00:49:06,360
Speaker 2: movies too, where like heightened theatrical, over the top acting

861
00:49:06,640 --> 00:49:10,680
Speaker 2: is also good acting, right, It is good performance. It's

862
00:49:10,680 --> 00:49:13,960
Speaker 2: like a tool in the toolbox of movie making to

863
00:49:14,600 --> 00:49:19,560
Speaker 2: have somebody perform in a certain way that creates a

864
00:49:19,600 --> 00:49:24,080
Speaker 2: certain emotion. And her performance in this creates a certain feel.

865
00:49:24,160 --> 00:49:27,040
Speaker 2: You're like, she is out of control, and this makes

866
00:49:27,080 --> 00:49:30,600
Speaker 2: me feel a certain way, and so I like the

867
00:49:30,719 --> 00:49:33,719
Speaker 2: acting in this. I think it's like a good artistic

868
00:49:34,200 --> 00:49:36,680
Speaker 2: you know, leap to make in this movie, and.

869
00:49:36,680 --> 00:49:39,879
Speaker 1: Sometimes it works, and sometimes the character in the storyline

870
00:49:40,400 --> 00:49:42,520
Speaker 1: warrants it, And I feel like, if you're doing a

871
00:49:42,560 --> 00:49:45,520
Speaker 1: movie about Vegas, if you're doing a movie about like nude,

872
00:49:46,040 --> 00:49:50,200
Speaker 1: you know, Vegas Showgirls, then yeah, you gotta get a

873
00:49:50,239 --> 00:49:52,960
Speaker 1: little Kochi with the acting. Yes, so come on.

874
00:49:53,160 --> 00:49:58,120
Speaker 2: Well, and I think she gets blamed for weird script dialogue. Yeah,

875
00:49:58,200 --> 00:49:59,960
Speaker 2: Like some of that dialogue if you read it on

876
00:50:00,160 --> 00:50:03,040
Speaker 2: page you'd be like, what the fuck is this? Yeah,

877
00:50:03,080 --> 00:50:05,879
Speaker 2: like this has to be part of the issue. I mean,

878
00:50:06,280 --> 00:50:12,839
Speaker 2: Paul Verhoven is Dutch and the screenwriter Joe Esterhouse is Hungarian.

879
00:50:12,920 --> 00:50:15,279
Speaker 2: There does seem to be something lost a little bit

880
00:50:15,320 --> 00:50:18,799
Speaker 2: in translation with these With this dialogue, you know.

881
00:50:18,920 --> 00:50:22,640
Speaker 1: I was wondering. We've talked a lot about this movie already,

882
00:50:22,640 --> 00:50:25,520
Speaker 1: but I was like, in the event that somebody has

883
00:50:25,760 --> 00:50:28,920
Speaker 1: never seen Showgirls, Yes, would you do?

884
00:50:29,200 --> 00:50:33,320
Speaker 2: Should I do a synopter? Okay? So our main character

885
00:50:33,560 --> 00:50:37,719
Speaker 2: Nomi Malone played by Elizabeth Berkeley. She is a troubled

886
00:50:37,960 --> 00:50:41,680
Speaker 2: but talented drifter who comes to Vegas with dreams of

887
00:50:41,680 --> 00:50:44,880
Speaker 2: becoming a showgirl. She works as an exotic dancer for

888
00:50:44,920 --> 00:50:47,480
Speaker 2: a time, but she soon catches the eye of Crystal

889
00:50:47,600 --> 00:50:52,000
Speaker 2: Connors played by Gina Gershan, who is the lead show

890
00:50:52,040 --> 00:50:58,520
Speaker 2: girl in the big production goddess know Me auditions and

891
00:50:58,600 --> 00:51:01,800
Speaker 2: gets a part in the show. But Nomi has eyes

892
00:51:01,840 --> 00:51:04,680
Speaker 2: for the top spot that Crystal holds, and she'll do

893
00:51:04,760 --> 00:51:07,560
Speaker 2: whatever it takes to get it. And that does include

894
00:51:07,600 --> 00:51:11,280
Speaker 2: wildly fucking Kyle McLaughlin in a pool with a water feature.

895
00:51:11,640 --> 00:51:14,200
Speaker 2: So on top of all that, she must also navigate

896
00:51:14,239 --> 00:51:18,040
Speaker 2: these psychosexual games that Crystal Connors is playing and attempted

897
00:51:18,160 --> 00:51:22,680
Speaker 2: sex trafficking gone wrong by show management and out running

898
00:51:22,719 --> 00:51:26,799
Speaker 2: her troubled past. So there's a lot happening all at once.

899
00:51:26,840 --> 00:51:28,759
Speaker 1: A lot of meat on that bone.

900
00:51:28,680 --> 00:51:30,520
Speaker 2: A lot of meat on that bone.

901
00:51:30,680 --> 00:51:34,960
Speaker 1: Okay, God bless, I knew this was gonna be a

902
00:51:34,960 --> 00:51:36,360
Speaker 1: big undertaking. I actually told you.

903
00:51:36,400 --> 00:51:37,240
Speaker 2: I was really nervous.

904
00:51:37,320 --> 00:51:38,560
Speaker 1: I was like, oh my god, am I going to

905
00:51:38,600 --> 00:51:41,279
Speaker 1: be able to communicate all of the feelings that I've had.

906
00:51:41,719 --> 00:51:44,560
Speaker 2: Millie held her hand up to the camera, shake it.

907
00:51:45,640 --> 00:51:47,680
Speaker 1: I'd like, hold it stead even the other hand.

908
00:51:48,160 --> 00:51:51,160
Speaker 2: Yeah, this movie is thirty years old, and isn't that

909
00:51:51,480 --> 00:51:54,680
Speaker 2: isn't that wild? Wild? It feels just as relevant today.

910
00:51:55,080 --> 00:51:57,560
Speaker 2: When you see it as a young person, you're like, whoa,

911
00:51:57,600 --> 00:52:01,400
Speaker 2: there's a lot of sex and like, like, truly the

912
00:52:01,440 --> 00:52:06,760
Speaker 2: most nudity BPM in like a major release. Yeah, maybe

913
00:52:06,760 --> 00:52:09,920
Speaker 2: ever Yeah, you know, and then it's also like goofy

914
00:52:09,960 --> 00:52:12,280
Speaker 2: acting and you're kind of holding onto those two things.

915
00:52:12,320 --> 00:52:14,520
Speaker 2: And then as you get older, you're like, there's actually

916
00:52:14,560 --> 00:52:16,600
Speaker 2: a lot more here.

917
00:52:17,320 --> 00:52:22,400
Speaker 1: Yeah, and I you know, it looks great. They look great,

918
00:52:22,640 --> 00:52:29,240
Speaker 1: Like Elizabeth Berkeley and Gina Gershan look amazing naked. Sorry,

919
00:52:29,320 --> 00:52:31,960
Speaker 1: they just do. And they they're beautiful, and everybody in

920
00:52:32,000 --> 00:52:34,600
Speaker 1: the film is beautiful and they do the way that

921
00:52:34,640 --> 00:52:38,360
Speaker 1: they move and the dancing especially is all just like

922
00:52:38,920 --> 00:52:42,200
Speaker 1: to me, it's a very titillating, like I'm like, I yeah,

923
00:52:42,239 --> 00:52:46,200
Speaker 1: that's mission accomplished. That's what they did. And you know,

924
00:52:47,400 --> 00:52:50,960
Speaker 1: there is ridiculousness in the film, and there is camp

925
00:52:51,239 --> 00:52:54,000
Speaker 1: in this film obviously just huge amounts. But at the

926
00:52:54,040 --> 00:52:57,600
Speaker 1: same time it's a sexy movie. It's actually a sexy

927
00:52:57,640 --> 00:52:58,440
Speaker 1: movie to me.

928
00:52:58,880 --> 00:53:02,160
Speaker 2: Well, like Gina Gersh Sean and Elizabeth Berkeley when they

929
00:53:02,160 --> 00:53:06,080
Speaker 2: come out as the Goddess, You're like, oh my, like

930
00:53:06,280 --> 00:53:09,040
Speaker 2: they're beautiful, They're they're beautiful.

931
00:53:09,080 --> 00:53:11,279
Speaker 1: I was like, I mean, Lissa, we talked about the

932
00:53:11,280 --> 00:53:15,520
Speaker 1: thrusted part. Sorry, if I could, if I had the

933
00:53:15,520 --> 00:53:19,800
Speaker 1: opportunity to have that little snatched, tiny waist covered in sweat,

934
00:53:20,120 --> 00:53:23,520
Speaker 1: you know, in those like little hot pants that she's

935
00:53:23,560 --> 00:53:25,200
Speaker 1: wearing in that scene, And I'm like, damn, I would

936
00:53:25,239 --> 00:53:26,320
Speaker 1: love that for myself.

937
00:53:27,520 --> 00:53:31,840
Speaker 2: Can I get into maybe some like more granular plot things?

938
00:53:31,920 --> 00:53:38,759
Speaker 2: Of course, who is Crystal Connor's like, what's someone we

939
00:53:38,800 --> 00:53:42,680
Speaker 2: could compare her to in the real world because in

940
00:53:42,719 --> 00:53:45,360
Speaker 2: the world of this movie, this movie also kind of

941
00:53:45,440 --> 00:53:49,160
Speaker 2: like purports that, like Vegas is more of a center

942
00:53:49,320 --> 00:53:54,040
Speaker 2: of entertainment than I think it is now sure, or

943
00:53:54,080 --> 00:53:56,960
Speaker 2: maybe ever was, because in the movie, she's kind of like,

944
00:53:57,120 --> 00:53:59,960
Speaker 2: they're like, who can replace her with Janet Jackson Paul

945
00:54:00,160 --> 00:54:02,560
Speaker 2: abdul And I'm like, is she as famous as those

946
00:54:02,560 --> 00:54:04,960
Speaker 2: people in the world of this movie? You know, it's

947
00:54:05,040 --> 00:54:07,719
Speaker 2: kind of hard, but she feels like she is.

948
00:54:08,560 --> 00:54:11,719
Speaker 1: Yeah, I mean that I think that's a little it's

949
00:54:11,760 --> 00:54:14,560
Speaker 1: a little magical thinking that you have to do is

950
00:54:14,600 --> 00:54:17,760
Speaker 1: to just imagine that Crystal Connors is like Paul abdol

951
00:54:18,040 --> 00:54:21,920
Speaker 1: or like, yes, I will say I think that Vegas

952
00:54:22,040 --> 00:54:25,080
Speaker 1: was extremely important for a very very long time. I mean,

953
00:54:25,080 --> 00:54:26,919
Speaker 1: I don't know, did you watch the last show Girl

954
00:54:26,960 --> 00:54:30,040
Speaker 1: with your girl Pam Anderson? You gotta watch that what

955
00:54:30,080 --> 00:54:32,640
Speaker 1: the hell is wrong with you? I mean, I know,

956
00:54:32,800 --> 00:54:35,719
Speaker 1: it's a tradition, it's an industry, and like you know,

957
00:54:35,800 --> 00:54:38,120
Speaker 1: I people take it very seriously and I feel like it,

958
00:54:38,239 --> 00:54:41,000
Speaker 1: but it does seem a little old school now. I

959
00:54:41,040 --> 00:54:45,240
Speaker 1: mean you still have people like Bruno Mars and fucking

960
00:54:45,520 --> 00:54:48,880
Speaker 1: like you know, you have the Blue Man Group, and

961
00:54:48,960 --> 00:54:53,640
Speaker 1: like there's still people are making, you know, Vegas Residency

962
00:54:53,760 --> 00:54:56,040
Speaker 1: entertainment and are like people will go and see like

963
00:54:56,120 --> 00:54:59,760
Speaker 1: people will people went to see the Magic Mic shows

964
00:54:59,800 --> 00:55:02,799
Speaker 1: and like, yeah, people love it when like I don't know,

965
00:55:02,880 --> 00:55:05,960
Speaker 1: Christina Aguilera has a Vegas residency. I mean it's like

966
00:55:06,520 --> 00:55:09,319
Speaker 1: it still makes a shit ton of money, So there

967
00:55:09,440 --> 00:55:12,080
Speaker 1: is something. It does have a foothold. I just don't

968
00:55:12,080 --> 00:55:16,120
Speaker 1: think in the modern era. I feel if it certainly

969
00:55:16,360 --> 00:55:21,240
Speaker 1: wasn't like Ocean's eleven, you know what I mean, It's

970
00:55:21,280 --> 00:55:22,440
Speaker 1: a different universe.

971
00:55:22,760 --> 00:55:24,920
Speaker 2: It just I feel like that's one thing where I

972
00:55:24,960 --> 00:55:27,680
Speaker 2: was like having kind of not a hard time grasping,

973
00:55:27,760 --> 00:55:31,200
Speaker 2: but I'm kind of like it's kind of purporting that

974
00:55:31,320 --> 00:55:35,520
Speaker 2: like this is sort of the center of entertainment in

975
00:55:35,560 --> 00:55:37,799
Speaker 2: the USA A little bit. Yes, there's a little bit

976
00:55:37,840 --> 00:55:38,239
Speaker 2: of that.

977
00:55:38,320 --> 00:55:41,960
Speaker 1: Yes, I mean I here's the thing. I if you

978
00:55:42,040 --> 00:55:44,919
Speaker 1: watch the You Don't Know Me documentary, and I think

979
00:55:44,920 --> 00:55:48,760
Speaker 1: this has been written about before, Apparently Gina Grishawan based

980
00:55:49,320 --> 00:55:52,680
Speaker 1: the character of Crystal Connors on drag queens, like she

981
00:55:52,760 --> 00:55:54,479
Speaker 1: was basically acting like a drag queen.

982
00:55:55,440 --> 00:55:55,920
Speaker 2: I see that.

983
00:55:56,440 --> 00:56:00,560
Speaker 1: I do too, And so there is this like over

984
00:56:00,600 --> 00:56:04,359
Speaker 1: the top campness to her performance. And I mean she's

985
00:56:04,360 --> 00:56:05,520
Speaker 1: supposed to be from Texas.

986
00:56:05,840 --> 00:56:06,680
Speaker 2: I love that part.

987
00:56:07,000 --> 00:56:09,560
Speaker 1: That part, the whole like Texas part with her like

988
00:56:09,640 --> 00:56:12,200
Speaker 1: cowboy hats and calling her Darlin and stuff to me

989
00:56:12,760 --> 00:56:16,200
Speaker 1: just really really sets it up for me. I'm like,

990
00:56:16,280 --> 00:56:20,360
Speaker 1: I'm I'm personally big fan of Crystal Connors, big fan.

991
00:56:20,920 --> 00:56:21,440
Speaker 2: H you know.

992
00:56:22,400 --> 00:56:26,200
Speaker 1: I This is the part that I feel like, as

993
00:56:26,280 --> 00:56:29,239
Speaker 1: much as people feel like it's the camp part, I

994
00:56:29,239 --> 00:56:31,440
Speaker 1: actually think it's the anchor of the film. Is her

995
00:56:31,520 --> 00:56:36,320
Speaker 1: relationship with Crystal because it kind of centers the movie. Yes,

996
00:56:36,560 --> 00:56:43,919
Speaker 1: in this like grand tradition of Hollywood tales like All

997
00:56:44,000 --> 00:56:47,120
Speaker 1: About Eve or you know, like Valley of the Dolls

998
00:56:47,160 --> 00:56:51,480
Speaker 1: or anything. This is what makes this movie an actual

999
00:56:51,520 --> 00:56:55,480
Speaker 1: movie in my mind, is the rapport between Crystal and

1000
00:56:55,800 --> 00:56:59,160
Speaker 1: Know Me and how it's this adversarial thing but then

1001
00:56:59,200 --> 00:57:04,440
Speaker 1: there's like kind of like a genuine romance. Actually not

1002
00:57:04,560 --> 00:57:06,480
Speaker 1: kind of, there's a romance. I mean, whether or not

1003
00:57:06,880 --> 00:57:10,480
Speaker 1: they're actually in a lesbian relationship or whatever, but there's

1004
00:57:10,480 --> 00:57:14,319
Speaker 1: still a romance there. And it's Yes, it's it's the

1005
00:57:14,400 --> 00:57:20,080
Speaker 1: tale of you know, the old school star being usurped

1006
00:57:20,160 --> 00:57:23,680
Speaker 1: by the new Jack, the new person in town. And

1007
00:57:24,040 --> 00:57:26,400
Speaker 1: I don't know if it's because I'm older now and

1008
00:57:26,520 --> 00:57:29,680
Speaker 1: I'm seeing people coming down the staircase, if you.

1009
00:57:29,640 --> 00:57:31,600
Speaker 2: Know what I'm saying, Like being as old as i'm,

1010
00:57:31,760 --> 00:57:33,640
Speaker 2: you're behind You're in front of them, and they're behind

1011
00:57:33,680 --> 00:57:34,440
Speaker 2: you on the staircase.

1012
00:57:34,520 --> 00:57:36,240
Speaker 1: You maybe it's you.

1013
00:57:35,920 --> 00:57:39,040
Speaker 2: You're mine, behind you on the staircase, look out for

1014
00:57:39,040 --> 00:57:41,480
Speaker 2: the little beads on the floor. Really, yeah, you're the

1015
00:57:41,520 --> 00:57:43,960
Speaker 2: one pushing me down and then coming to visit me

1016
00:57:44,000 --> 00:57:46,080
Speaker 2: in the fucking hospital being like, can I do your hanils?

1017
00:57:46,200 --> 00:57:48,400
Speaker 2: What happened? She just slipped?

1018
00:57:48,440 --> 00:57:48,640
Speaker 3: Yeah?

1019
00:57:48,680 --> 00:57:50,960
Speaker 2: I don't know. Yeah, but it is kind of interesting

1020
00:57:51,000 --> 00:57:53,400
Speaker 2: that I almost feel like just comparing this to a

1021
00:57:53,400 --> 00:57:56,080
Speaker 2: movie like All About Eve, Like you said, you almost

1022
00:57:56,160 --> 00:58:01,520
Speaker 2: are more sympathetic to know me I'm alone in show Girls,

1023
00:58:01,840 --> 00:58:07,160
Speaker 2: then you are Eve Harrington in All About yeah.

1024
00:58:07,040 --> 00:58:08,640
Speaker 1: No, we all hate Eve Harrington.

1025
00:58:08,840 --> 00:58:12,040
Speaker 2: She sucks, yes, But I do like the kiss at

1026
00:58:12,080 --> 00:58:17,080
Speaker 2: the end where Crystal is like, how about a I

1027
00:58:17,120 --> 00:58:18,960
Speaker 2: don't know what she says, She's like, how about a

1028
00:58:19,360 --> 00:58:23,160
Speaker 2: kiss for mama or something like that. By the way,

1029
00:58:24,680 --> 00:58:27,880
Speaker 2: I was like, I was like kind of touched by

1030
00:58:27,920 --> 00:58:30,000
Speaker 2: how affectionate and sweet.

1031
00:58:29,840 --> 00:58:31,760
Speaker 1: That kiss at the end.

1032
00:58:31,800 --> 00:58:35,120
Speaker 2: I mean, it's hot too, but it's also like you're like, wow,

1033
00:58:35,160 --> 00:58:39,200
Speaker 2: these women really understand each other. I'm sure you know, really.

1034
00:58:39,320 --> 00:58:43,080
Speaker 1: They're really connecting on a spiritual level. No, no, it's

1035
00:58:43,320 --> 00:58:46,880
Speaker 1: it to me is it was almost like the whole

1036
00:58:46,960 --> 00:58:53,760
Speaker 1: game recognized game like confirmation rapped and I like, thank

1037
00:58:53,800 --> 00:58:56,080
Speaker 1: you for.

1038
00:58:55,120 --> 00:58:57,560
Speaker 2: Hurting me, thank you for breaking my knee, thank.

1039
00:58:57,440 --> 00:59:00,880
Speaker 1: You for poisoning me with an omelet. It's like moments

1040
00:59:01,000 --> 00:59:04,840
Speaker 1: that famom thread moment of like I'm cool with this,

1041
00:59:05,000 --> 00:59:09,840
Speaker 1: Like I'm cool with what happened, and you got what

1042
00:59:09,880 --> 00:59:12,320
Speaker 1: you wanted and I kind of got what I wanted,

1043
00:59:12,800 --> 00:59:14,640
Speaker 1: and now we're just better people for it.

1044
00:59:15,360 --> 00:59:15,920
Speaker 2: You know what I mean.

1045
00:59:16,000 --> 00:59:17,880
Speaker 1: And it's hot. I mean it's hot, come on.

1046
00:59:17,880 --> 00:59:20,960
Speaker 2: It's hot, but come on, grow up.

1047
00:59:21,760 --> 00:59:22,720
Speaker 1: Can I ask you a question?

1048
00:59:22,880 --> 00:59:24,160
Speaker 2: Have you please?

1049
00:59:24,200 --> 00:59:28,560
Speaker 1: So there's like the whole scene of them at Spago

1050
00:59:29,560 --> 00:59:35,959
Speaker 1: talking about the dog food puppet chat. I was gonna

1051
00:59:35,960 --> 00:59:37,400
Speaker 1: ask you, have you eaten dog food?

1052
00:59:37,760 --> 00:59:38,760
Speaker 2: I've never eaten dogs.

1053
00:59:38,920 --> 00:59:42,120
Speaker 1: Well, no, it smells awful. Well, you know, and I

1054
00:59:42,160 --> 00:59:46,080
Speaker 1: gotta tell you again. Sorry, I'm going down this rabbit

1055
00:59:46,160 --> 00:59:50,920
Speaker 1: hole of analyzes. People like to make fun of that

1056
00:59:50,960 --> 00:59:54,240
Speaker 1: saying because they're like, that seems so stupid. They're all

1057
00:59:54,320 --> 00:59:56,480
Speaker 1: just they're like looking at each other's nails and they're

1058
00:59:56,480 --> 00:59:59,000
Speaker 1: talking about eating dog food. What the fuck is this about?

1059
00:59:59,480 --> 01:00:01,960
Speaker 1: And I'm like, I don't know. I think it's a

1060
01:00:02,000 --> 01:00:04,760
Speaker 1: way for them to kind of tell each other that

1061
01:00:04,800 --> 01:00:09,360
Speaker 1: we kind of have the same background. Likely theme is

1062
01:00:09,440 --> 01:00:12,080
Speaker 1: like I ate dog food because I was poor and

1063
01:00:12,120 --> 01:00:14,640
Speaker 1: fucked up and had to Crystal Connors is like I

1064
01:00:14,720 --> 01:00:16,480
Speaker 1: ate dog food because I was poor and fucked up

1065
01:00:16,520 --> 01:00:19,360
Speaker 1: and had to looks like we're not so different after all,

1066
01:00:19,800 --> 01:00:22,240
Speaker 1: even though my nails are better than yours. Well, I'm

1067
01:00:22,240 --> 01:00:24,720
Speaker 1: like also too, Like the documentary points out, like one

1068
01:00:24,720 --> 01:00:26,800
Speaker 1: of the film scholars that is in the documentary and

1069
01:00:26,800 --> 01:00:30,880
Speaker 1: I can't remember who it is, talks about how in

1070
01:00:30,920 --> 01:00:36,360
Speaker 1: that scene, the scenario, the visual the scene, the visual

1071
01:00:36,400 --> 01:00:39,280
Speaker 1: component of it flips and it breaks the one eighty

1072
01:00:39,360 --> 01:00:45,960
Speaker 1: rule where yeah, where basically at some point halfway through

1073
01:00:46,320 --> 01:00:51,480
Speaker 1: the Jeena Gershan character, the Crystal Connors is flipped so

1074
01:00:51,520 --> 01:00:56,880
Speaker 1: she's on the other side, and how maybe that was

1075
01:00:56,920 --> 01:01:01,960
Speaker 1: by design, Like about how now it's almost like they

1076
01:01:02,000 --> 01:01:04,040
Speaker 1: went through the looking glass kind of thing where it

1077
01:01:04,120 --> 01:01:07,560
Speaker 1: was like, oh, well now we are the same, like

1078
01:01:07,640 --> 01:01:11,200
Speaker 1: we are through a portal where you can be me,

1079
01:01:12,600 --> 01:01:15,440
Speaker 1: you know, And I'm like, yo, this movie is deep.

1080
01:01:16,320 --> 01:01:18,920
Speaker 1: Fuck what you said about it's Ciskel and Ebert.

1081
01:01:18,960 --> 01:01:19,600
Speaker 2: It's deep.

1082
01:01:20,080 --> 01:01:20,200
Speaker 5: Uh.

1083
01:01:20,240 --> 01:01:22,360
Speaker 2: For those who don't know the one eighty rule, that's

1084
01:01:22,400 --> 01:01:27,440
Speaker 2: like a rule of filming a scene that you need

1085
01:01:27,480 --> 01:01:30,800
Speaker 2: to follow so you won't be confused about the like

1086
01:01:30,920 --> 01:01:34,360
Speaker 2: geometry of where everybody is standing. So basically you can't

1087
01:01:34,400 --> 01:01:37,080
Speaker 2: just be like flip flopping the camera all over the place.

1088
01:01:37,320 --> 01:01:39,480
Speaker 2: You have to like stay on one side of the

1089
01:01:39,520 --> 01:01:43,520
Speaker 2: actors so that you kind of know what's going on.

1090
01:01:43,640 --> 01:01:44,920
Speaker 2: That's essentially what it is.

1091
01:01:45,480 --> 01:01:52,240
Speaker 1: Absolutely, thank you Casey for the scripture that we needed

1092
01:01:52,320 --> 01:01:55,040
Speaker 1: to get through this episode. I what else can you

1093
01:01:55,040 --> 01:01:58,920
Speaker 1: say about this movie, because I mean, I personally I

1094
01:01:58,960 --> 01:02:00,440
Speaker 1: want to talk about it in terms a big, a

1095
01:02:00,480 --> 01:02:05,080
Speaker 1: cult movie obviously, because that's my bread and butter, if

1096
01:02:05,160 --> 01:02:07,520
Speaker 1: you will. Yeah, I actually think this is one of

1097
01:02:07,560 --> 01:02:11,920
Speaker 1: the last great cult movies ever made.

1098
01:02:12,280 --> 01:02:18,920
Speaker 2: Yeah. Well, I think inherently a cult movie needs to

1099
01:02:19,080 --> 01:02:25,440
Speaker 2: not be successful. Yes, would you say that's upon it's

1100
01:02:25,440 --> 01:02:29,080
Speaker 2: a written initial release, I would agree, And this was

1101
01:02:29,120 --> 01:02:31,520
Speaker 2: not successful on its release, but I will note that

1102
01:02:31,600 --> 01:02:34,320
Speaker 2: since its video release, Showgirls has gone on to become

1103
01:02:34,360 --> 01:02:37,000
Speaker 2: one of MGM's top twenty all time bestsellers.

1104
01:02:37,320 --> 01:02:37,840
Speaker 1: Yeah.

1105
01:02:38,080 --> 01:02:42,640
Speaker 2: I totally so that that is where the cult grew.

1106
01:02:43,240 --> 01:02:43,439
Speaker 5: Yeah.

1107
01:02:43,440 --> 01:02:45,560
Speaker 1: I mean I think, like I've been asked to to

1108
01:02:45,640 --> 01:02:48,280
Speaker 1: find a cult movie a hundred million times in my life,

1109
01:02:48,320 --> 01:02:50,400
Speaker 1: and I don't really know what else to say other

1110
01:02:50,440 --> 01:02:52,720
Speaker 1: than it does feel like.

1111
01:02:54,960 --> 01:02:55,240
Speaker 2: Cult.

1112
01:02:55,520 --> 01:02:58,920
Speaker 1: An actual, treed and true cult movie is on some

1113
01:02:59,200 --> 01:03:04,160
Speaker 1: level misunder stood upon its initiative, but then it is

1114
01:03:04,240 --> 01:03:09,320
Speaker 1: reappraised and re examined after. So there has to be

1115
01:03:09,360 --> 01:03:12,320
Speaker 1: a period of time, there's to be a foulo period.

1116
01:03:12,560 --> 01:03:15,920
Speaker 1: Has to be a foul period where people, upon further

1117
01:03:16,000 --> 01:03:19,840
Speaker 1: examination are like, oh, this is whatever, it is like

1118
01:03:19,880 --> 01:03:22,680
Speaker 1: a masterpiece, This is like a flawed masterpiece.

1119
01:03:22,720 --> 01:03:23,320
Speaker 2: But they know.

1120
01:03:23,720 --> 01:03:28,280
Speaker 1: To me, there's no denying that it's that it's a

1121
01:03:28,320 --> 01:03:34,200
Speaker 1: cult movie simply because it's like, what failed seriousness. That's

1122
01:03:34,240 --> 01:03:37,480
Speaker 1: what camp really is kind of about, like a Susan

1123
01:03:37,560 --> 01:03:43,600
Speaker 1: Sontag definition of it. It's being like, it's a serious film.

1124
01:03:44,040 --> 01:03:49,000
Speaker 1: It took a big swing but then missed right. And

1125
01:03:49,040 --> 01:03:51,640
Speaker 1: that's kind of inherently what cult movies are too. It's

1126
01:03:51,640 --> 01:03:53,840
Speaker 1: people that take big swings and try to do things

1127
01:03:53,840 --> 01:03:57,520
Speaker 1: in all earnestness and seriousness, but then just like it,

1128
01:03:57,920 --> 01:04:01,400
Speaker 1: it's too funny, it's too over the time, it's too unbelievable,

1129
01:04:01,440 --> 01:04:02,400
Speaker 1: like whatever it is.

1130
01:04:03,560 --> 01:04:07,520
Speaker 2: Yeah, and it can't really be appreciated at face value.

1131
01:04:07,600 --> 01:04:11,680
Speaker 2: I can see why that happened when it first released anyway, Yeah,

1132
01:04:11,720 --> 01:04:15,520
Speaker 2: like it takes time for that to simmer in. Yeh,

1133
01:04:15,760 --> 01:04:16,360
Speaker 2: come to a boy.

1134
01:04:16,560 --> 01:04:19,320
Speaker 1: Yeah, but I do think it's one of the very

1135
01:04:19,560 --> 01:04:24,080
Speaker 1: last of the great cult exploitation movies. I mean now,

1136
01:04:24,400 --> 01:04:26,000
Speaker 1: I was actually like looking this up. I was like,

1137
01:04:26,120 --> 01:04:28,320
Speaker 1: I just typed into Google, what are some great cult

1138
01:04:28,320 --> 01:04:31,120
Speaker 1: movies of the two thousands of the twenty first century?

1139
01:04:31,120 --> 01:04:34,440
Speaker 1: Maybe we should make that list, And a lot of

1140
01:04:34,440 --> 01:04:37,000
Speaker 1: the stuff that was coming up was not something I

1141
01:04:37,040 --> 01:04:38,600
Speaker 1: was really vibing with.

1142
01:04:39,600 --> 01:04:41,720
Speaker 2: I feel like the twenty first century is sort of

1143
01:04:41,720 --> 01:04:45,400
Speaker 2: marked with like kind of a wink at the camera,

1144
01:04:45,840 --> 01:04:48,960
Speaker 2: like it never like everything kind of has like a

1145
01:04:49,000 --> 01:04:51,840
Speaker 2: sense of comedy to it, or like they don't want

1146
01:04:51,880 --> 01:04:53,400
Speaker 2: to be taken there. It's kind of like the Jim

1147
01:04:53,440 --> 01:04:55,720
Speaker 2: Helper effect of kind of lying, isn't this crazy?

1148
01:04:55,800 --> 01:04:56,000
Speaker 3: Yeah?

1149
01:04:56,160 --> 01:04:58,800
Speaker 2: You know, there's kind of an awareness because people don't

1150
01:04:58,800 --> 01:05:01,880
Speaker 2: want to do things that are too sincere lest they

1151
01:05:01,960 --> 01:05:05,560
Speaker 2: be mocked, you know. And that's why Showgirls is great,

1152
01:05:05,560 --> 01:05:09,520
Speaker 2: because it's like so intensely serious but just ridiculous. You know,

1153
01:05:09,600 --> 01:05:11,600
Speaker 2: people are too are afraid to take that big of

1154
01:05:11,640 --> 01:05:12,040
Speaker 2: a swing.

1155
01:05:12,160 --> 01:05:14,960
Speaker 1: I also think the exploitation element to it as well,

1156
01:05:16,040 --> 01:05:21,040
Speaker 1: being that it's just so there is a lot of

1157
01:05:21,120 --> 01:05:25,400
Speaker 1: salaciousness to the movie, a lot of crazy lines, a

1158
01:05:25,400 --> 01:05:29,600
Speaker 1: lot of crazy little stories tucked in, you know, just

1159
01:05:29,640 --> 01:05:34,840
Speaker 1: like the weird isms of it is. It feels very

1160
01:05:34,880 --> 01:05:39,160
Speaker 1: exploitation tradition to me. Yes, I mean, which I love.

1161
01:05:39,320 --> 01:05:41,360
Speaker 2: I don't know if we've quite touched upon this, but

1162
01:05:41,520 --> 01:05:44,600
Speaker 2: like one thing I don't even it doesn't even really

1163
01:05:44,640 --> 01:05:49,640
Speaker 2: have a term, but her like flailing fish sex move.

1164
01:05:50,880 --> 01:05:53,200
Speaker 2: Do you know what I'm talking about? Do I? She

1165
01:05:53,320 --> 01:05:55,640
Speaker 2: does it twice, she does it in the lap dance

1166
01:05:56,480 --> 01:06:01,080
Speaker 2: and in the pool sex Toronto or whatever, in the grotto,

1167
01:06:01,360 --> 01:06:04,960
Speaker 2: in the water feature, and it is such an outrageous

1168
01:06:05,400 --> 01:06:14,760
Speaker 2: it's like so not sexy and it's so aggressive and wild,

1169
01:06:15,280 --> 01:06:17,760
Speaker 2: and I think that plays a part in its campiness,

1170
01:06:18,160 --> 01:06:20,520
Speaker 2: you know, like it's not trying to be sexy, it's

1171
01:06:20,560 --> 01:06:23,120
Speaker 2: just trying to be wild and outrageous, but in a

1172
01:06:23,240 --> 01:06:25,400
Speaker 2: serious way, you know. Yeah.

1173
01:06:25,440 --> 01:06:29,000
Speaker 1: I mean I think in that moment, perhaps know me,

1174
01:06:29,160 --> 01:06:33,600
Speaker 1: Malone was like, let me show off what I can

1175
01:06:33,680 --> 01:06:38,360
Speaker 1: really do. Let me just show this guy just how

1176
01:06:38,880 --> 01:06:43,040
Speaker 1: wild that I can be, that I can perform for him,

1177
01:06:43,440 --> 01:06:47,720
Speaker 1: and he'll never forget me for this, right, Like he'll

1178
01:06:47,720 --> 01:06:50,680
Speaker 1: never I'm not I'm likely the first woman that flopped

1179
01:06:50,680 --> 01:06:54,440
Speaker 1: like fish yeah, on top of him, on top of him.

1180
01:06:54,560 --> 01:06:56,480
Speaker 1: You think anybody's doing that for him?

1181
01:06:56,760 --> 01:06:58,120
Speaker 2: Maybe not. That's her signature move.

1182
01:06:58,040 --> 01:07:00,400
Speaker 1: That's my signature move, and I'll do it as many

1183
01:07:00,400 --> 01:07:03,280
Speaker 1: times as I can to prove that point. I mean,

1184
01:07:03,280 --> 01:07:06,040
Speaker 1: that's why. Yeah, it's very over the top, like there is.

1185
01:07:07,760 --> 01:07:14,080
Speaker 1: It does feel like it intentionally, like she's intentionally trying

1186
01:07:14,120 --> 01:07:17,040
Speaker 1: to both the character and the actress is essentially trying

1187
01:07:17,080 --> 01:07:22,760
Speaker 1: to call attention to this scenario. But yeah, I mean,

1188
01:07:22,840 --> 01:07:27,240
Speaker 1: I personally think that there is a lot of these

1189
01:07:27,360 --> 01:07:31,600
Speaker 1: moments that are tucked in that feel like old school

1190
01:07:31,680 --> 01:07:36,560
Speaker 1: like Down the Line exploitation stuff, which is exciting to

1191
01:07:36,600 --> 01:07:40,120
Speaker 1: me as an exploitation fan. I mean, and I keep thinking, like, okay,

1192
01:07:40,920 --> 01:07:44,960
Speaker 1: ninety five, you know, we're kind of moving into the

1193
01:07:45,040 --> 01:07:47,800
Speaker 1: late nineties and early two thousands, and yeah, I think

1194
01:07:47,880 --> 01:07:53,120
Speaker 1: the movies started getting way more self aware, and marketing

1195
01:07:53,960 --> 01:07:58,680
Speaker 1: specifically got way more self aware to where, you know,

1196
01:07:58,920 --> 01:08:03,120
Speaker 1: a lot of like companies were kind of hoping that

1197
01:08:03,200 --> 01:08:07,760
Speaker 1: if like a director made a movie that maybe wasn't

1198
01:08:07,800 --> 01:08:09,760
Speaker 1: gonna be like a Down the Line hit, and maybe

1199
01:08:09,760 --> 01:08:11,640
Speaker 1: they could try to market it as a Colt movie.

1200
01:08:11,680 --> 01:08:15,400
Speaker 1: Like that started happening, and then they started making trying

1201
01:08:15,440 --> 01:08:19,920
Speaker 1: to reverse engineer Colt movies, which is impossible to me

1202
01:08:20,600 --> 01:08:23,040
Speaker 1: because that's kind of what they were doing with Napoleon Dynamite.

1203
01:08:23,080 --> 01:08:26,680
Speaker 1: To be completely honest with you, I remember like the

1204
01:08:26,680 --> 01:08:30,040
Speaker 1: marketing for that movie being very gear towards like isn't

1205
01:08:30,040 --> 01:08:34,920
Speaker 1: this movie like so fucking weird? Guys? Like I was

1206
01:08:34,960 --> 01:08:37,080
Speaker 1: in college when that movie came out, and every they

1207
01:08:37,080 --> 01:08:40,200
Speaker 1: were trying to market it as It's like fucking stoner,

1208
01:08:40,280 --> 01:08:43,519
Speaker 1: weird college movie. And I'm just like, that's crazy, Like

1209
01:08:44,040 --> 01:08:47,799
Speaker 1: normally you just showed up to a stoner college movie

1210
01:08:47,840 --> 01:08:52,400
Speaker 1: like eraser Head, Like it wasn't like anybody was marketing

1211
01:08:52,439 --> 01:08:54,479
Speaker 1: it to me as a stoner movie, you know what

1212
01:08:54,520 --> 01:08:56,679
Speaker 1: I'm saying. So it's like I feel like the as

1213
01:08:56,720 --> 01:09:01,040
Speaker 1: the decade moves on late and these or three thousands,

1214
01:09:01,080 --> 01:09:03,120
Speaker 1: like the whole idea of a cult movie starts getting

1215
01:09:03,160 --> 01:09:05,240
Speaker 1: a little bit co opted by the industry, and I

1216
01:09:05,320 --> 01:09:07,519
Speaker 1: just feel like it's rare to see these kind of

1217
01:09:07,560 --> 01:09:13,920
Speaker 1: old school exploitation films where it's so over the top,

1218
01:09:14,280 --> 01:09:18,280
Speaker 1: truly a cult movie, like truly people hated it, like people.

1219
01:09:18,600 --> 01:09:21,680
Speaker 1: That's the one thing that documentary does really well is

1220
01:09:22,000 --> 01:09:26,200
Speaker 1: tell to telling you that America was not vibing with

1221
01:09:26,320 --> 01:09:32,040
Speaker 1: showgirls at all, and that cult had to come from that,

1222
01:09:32,120 --> 01:09:35,759
Speaker 1: it had to come from the idea that people didn't

1223
01:09:36,160 --> 01:09:37,559
Speaker 1: know what the fuck it was.

1224
01:09:37,800 --> 01:09:40,720
Speaker 2: So yeah, I mean, it does feel like it's from

1225
01:09:40,800 --> 01:09:44,920
Speaker 2: an older era in a way, like yeah, that that

1226
01:09:45,080 --> 01:09:47,719
Speaker 2: like it is like the last of sort of a tradition,

1227
01:09:48,400 --> 01:09:50,680
Speaker 2: like you said, yeah.

1228
01:09:50,240 --> 01:09:52,840
Speaker 1: Well, and I don't know, I mean, I don't know

1229
01:09:52,880 --> 01:09:57,080
Speaker 1: what else, Like my question to you, do you think

1230
01:09:57,200 --> 01:09:59,639
Speaker 1: this movie is still like super controversial, Like I don't

1231
01:09:59,680 --> 01:10:01,760
Speaker 1: know what is take on, like how this movie has

1232
01:10:01,880 --> 01:10:03,680
Speaker 1: aged over thirty years.

1233
01:10:04,280 --> 01:10:07,600
Speaker 2: I think watching it again, I've seen this movie probably

1234
01:10:07,720 --> 01:10:10,759
Speaker 2: I would say four times in the last three years,

1235
01:10:11,040 --> 01:10:14,320
Speaker 2: so I feel like I've seen it a lot recently. Yeah,

1236
01:10:14,840 --> 01:10:18,400
Speaker 2: and even again when I watched it last night, I

1237
01:10:18,520 --> 01:10:23,920
Speaker 2: was sort of shocked by how graphic the nudity was.

1238
01:10:24,640 --> 01:10:27,439
Speaker 2: Like some of the things that Elizabeth Berkeley does in

1239
01:10:27,479 --> 01:10:31,680
Speaker 2: this movie are still rather shocking, I felt watching it

1240
01:10:31,720 --> 01:10:36,280
Speaker 2: this time. So I think in that way, you just

1241
01:10:36,520 --> 01:10:42,679
Speaker 2: don't see a major movie like that with that much

1242
01:10:43,160 --> 01:10:48,120
Speaker 2: nudity and sex and sex scenes. And I think movies

1243
01:10:48,160 --> 01:10:51,519
Speaker 2: are getting more and more chaste as the years go on,

1244
01:10:51,920 --> 01:10:56,520
Speaker 2: so I think it came into kind of stark contrast

1245
01:10:56,720 --> 01:11:00,320
Speaker 2: to how movies are coming out now. Certainly there's nudities still.

1246
01:11:00,720 --> 01:11:04,640
Speaker 2: You still see actors and actresses naked in movies, but

1247
01:11:05,560 --> 01:11:09,479
Speaker 2: it's not like it was. And so I think that,

1248
01:11:09,600 --> 01:11:12,759
Speaker 2: I mean, I know that's like such a simple boneheaded answer,

1249
01:11:12,800 --> 01:11:15,439
Speaker 2: but that is honestly what I felt watching it.

1250
01:11:15,520 --> 01:11:19,760
Speaker 1: Yeah, I don't think you actually see nudity in such

1251
01:11:19,800 --> 01:11:23,479
Speaker 1: a high wattage kind of way. Anymore, I feel like

1252
01:11:23,600 --> 01:11:26,200
Speaker 1: nudity feels a lot more natural, and I feel like

1253
01:11:26,240 --> 01:11:33,240
Speaker 1: that's just because there's actually probably i don't know, maybe

1254
01:11:33,280 --> 01:11:36,280
Speaker 1: BEA's permit. It feels like there might be more acceptance

1255
01:11:36,400 --> 01:11:41,360
Speaker 1: of nudity, certainly like male Frontel, which totally. I mean,

1256
01:11:41,920 --> 01:11:44,599
Speaker 1: I've talked about this about the Righteous Gemstones that show

1257
01:11:44,640 --> 01:11:48,360
Speaker 1: the Righteous Gemstones. I was like, listen, this is the

1258
01:11:48,439 --> 01:11:50,400
Speaker 1: Dongaissance is upon us.

1259
01:11:50,479 --> 01:11:53,280
Speaker 2: Obviously, I was gonna say just that you and Danielle

1260
01:11:53,320 --> 01:11:55,280
Speaker 2: Christen of the Donaissance, we are in it.

1261
01:11:56,680 --> 01:11:58,759
Speaker 1: I'm a big fan. I love it. It's a new era.

1262
01:12:01,240 --> 01:12:04,400
Speaker 1: But it almost feels like the nudity that appears these

1263
01:12:04,479 --> 01:12:07,320
Speaker 1: days feels a lot more inherent to the scene. It's

1264
01:12:07,360 --> 01:12:11,519
Speaker 1: like a little slip, it's it's you know, maybe this.

1265
01:12:11,400 --> 01:12:14,040
Speaker 2: Is hyper sexualized nudity totally.

1266
01:12:14,880 --> 01:12:20,080
Speaker 1: Like all the lights, you know, all of the self tanner,

1267
01:12:21,040 --> 01:12:25,960
Speaker 1: you know, everyone's completely shaved, like just the whole Like

1268
01:12:26,880 --> 01:12:31,439
Speaker 1: it's like a very very high watt sexuality, which I

1269
01:12:31,439 --> 01:12:36,040
Speaker 1: feel like that to me, the kind of maybe like

1270
01:12:36,080 --> 01:12:40,240
Speaker 1: them taking some things from like the porn industry type

1271
01:12:40,240 --> 01:12:44,680
Speaker 1: of sexuality or nudity. I feel like that's not You

1272
01:12:44,680 --> 01:12:47,800
Speaker 1: don't see much of that as much anymore, for sure,

1273
01:12:49,400 --> 01:12:54,080
Speaker 1: and so to that point, show roles is pretty shocking. Still,

1274
01:12:54,200 --> 01:12:56,760
Speaker 1: I would say, I'm with you. Yeah, I don't know.

1275
01:12:56,800 --> 01:12:59,800
Speaker 1: This is it's an interesting film obviously if you've never

1276
01:12:59,840 --> 01:13:01,960
Speaker 1: seen I've seen it. I don't even know what to

1277
01:13:01,960 --> 01:13:04,240
Speaker 1: tell you. I don't know.

1278
01:13:05,360 --> 01:13:08,160
Speaker 2: Yeah, maybe as we wrap up this combo, do you

1279
01:13:08,200 --> 01:13:10,519
Speaker 2: have any favorite quotes from the movie.

1280
01:13:10,720 --> 01:13:12,320
Speaker 1: I mean, god, damn, dude, I want to.

1281
01:13:13,840 --> 01:13:15,120
Speaker 2: I'm sorry, just hold on.

1282
01:13:15,240 --> 01:13:17,760
Speaker 1: Let me pull out my notes app and where I

1283
01:13:17,840 --> 01:13:20,400
Speaker 1: keep all my favorite quotes from Showgirls. I mean, this

1284
01:13:20,479 --> 01:13:22,559
Speaker 1: movie is sleazy as fuck, by the way, I mean,

1285
01:13:22,560 --> 01:13:24,479
Speaker 1: this is like part of the joy of it.

1286
01:13:24,880 --> 01:13:27,040
Speaker 2: Speaking of this sleaziness, one of my favorite quotes that

1287
01:13:27,040 --> 01:13:30,760
Speaker 2: I always think about is when Nomi is auditioning and

1288
01:13:31,000 --> 01:13:33,240
Speaker 2: the manager guy I don't know who that is, he's

1289
01:13:33,280 --> 01:13:35,160
Speaker 2: going up to the girls and asking him on questions

1290
01:13:35,160 --> 01:13:39,719
Speaker 2: and stuff, and he goes up to this one dancer

1291
01:13:39,760 --> 01:13:41,679
Speaker 2: and he's like, you've probably taken a lot of classes,

1292
01:13:41,680 --> 01:13:44,840
Speaker 2: and she's like, that's right, I've taken ballet, I've been

1293
01:13:44,880 --> 01:13:48,760
Speaker 2: in this conservatory and he's like, okay, well, the show

1294
01:13:48,800 --> 01:13:51,960
Speaker 2: is called goddess. It's not called classes. I was like,

1295
01:13:52,040 --> 01:13:55,639
Speaker 2: what what the like, well, how do you know she's

1296
01:13:55,680 --> 01:13:57,960
Speaker 2: not good? I was like, is that bad that you

1297
01:13:58,000 --> 01:13:59,760
Speaker 2: took class? I don't know. That was just that's such

1298
01:13:59,840 --> 01:14:01,439
Speaker 2: a funny moment.

1299
01:14:02,200 --> 01:14:06,760
Speaker 1: It's not called closses. I I mean, honestly, there's so

1300
01:14:06,840 --> 01:14:09,240
Speaker 1: many like dirty lines in this I mean, it's just

1301
01:14:09,439 --> 01:14:12,120
Speaker 1: it's really really dirty. I mean my favorite ones are

1302
01:14:12,200 --> 01:14:16,680
Speaker 1: quite honestly, the backstage, the girls backstage, like what do

1303
01:14:16,720 --> 01:14:23,400
Speaker 1: you look at bitch? Just like the dumb caddie backstage,

1304
01:14:23,840 --> 01:14:26,680
Speaker 1: you know, Fandango of the girls who are like, you know,

1305
01:14:26,960 --> 01:14:29,960
Speaker 1: fighting with each other and being mean to each other.

1306
01:14:30,040 --> 01:14:33,639
Speaker 1: I don't know, it's just so it's just so much

1307
01:14:33,720 --> 01:14:37,800
Speaker 1: in this film. Listen what we have. There's so many

1308
01:14:37,840 --> 01:14:40,639
Speaker 1: things maybe we should do. I don't know, we gotta

1309
01:14:40,680 --> 01:14:43,200
Speaker 1: do like some kind of bonus video or something like

1310
01:14:43,240 --> 01:14:47,040
Speaker 1: that for our Maybe we can do another Instagram live

1311
01:14:47,320 --> 01:14:51,440
Speaker 1: and do like a little you know, like a spillover

1312
01:14:52,439 --> 01:14:54,960
Speaker 1: of uh, you know, topics about show Girls that we

1313
01:14:55,000 --> 01:14:57,000
Speaker 1: can just like do because I have so many that

1314
01:14:57,080 --> 01:15:00,000
Speaker 1: we haven't even talked really about Paul Verhoven's career. I mean,

1315
01:15:00,120 --> 01:15:02,760
Speaker 1: we can talk about Colin McLaughlin. I mean, I know

1316
01:15:02,880 --> 01:15:05,720
Speaker 1: that he had like a like crazy experience when it

1317
01:15:05,800 --> 01:15:08,679
Speaker 1: came out, you know, so I don't know, it's just

1318
01:15:08,680 --> 01:15:09,760
Speaker 1: just too much for.

1319
01:15:09,680 --> 01:15:12,360
Speaker 2: This, there's too much. Let's do a fit, Let's do

1320
01:15:12,880 --> 01:15:15,960
Speaker 2: an Instagram live and we can touch upon some of

1321
01:15:15,960 --> 01:15:19,480
Speaker 2: these other things. A part two of Showgirls.

1322
01:15:19,800 --> 01:15:20,599
Speaker 1: I'd be into it.

1323
01:15:20,720 --> 01:15:26,559
Speaker 2: Thank you Millie for guiding us being our Crystal Connor's

1324
01:15:27,520 --> 01:15:30,640
Speaker 2: lead goddess on this conversation.

1325
01:15:31,120 --> 01:15:44,800
Speaker 1: Well, you're welcome, darling. So I'm very excited to introduce

1326
01:15:44,880 --> 01:15:48,799
Speaker 1: our guests for this week's my area of expertise because

1327
01:15:49,080 --> 01:15:52,920
Speaker 1: I worked with this lovely woman for a very long

1328
01:15:52,960 --> 01:15:56,800
Speaker 1: time at Turner Classic Movie Is where I was, you know,

1329
01:15:56,920 --> 01:15:59,200
Speaker 1: for a programmer for I don't know, almost like twenty

1330
01:15:59,240 --> 01:16:02,360
Speaker 1: years or something. But we got to collaborate on a

1331
01:16:02,439 --> 01:16:07,160
Speaker 1: franchise called Tsium Imports, which was our kind of uh,

1332
01:16:07,680 --> 01:16:11,280
Speaker 1: you know, foreign film showcase. It came on kind of

1333
01:16:11,320 --> 01:16:13,519
Speaker 1: late at nights, so it was really fun because we

1334
01:16:13,600 --> 01:16:19,320
Speaker 1: got to program a lot of like risque things. I

1335
01:16:19,360 --> 01:16:22,720
Speaker 1: am very proud to have worked alongside her because I

1336
01:16:22,880 --> 01:16:26,160
Speaker 1: was always is such a champion for her being a

1337
01:16:26,200 --> 01:16:30,120
Speaker 1: host of the network. And being a female authority of film,

1338
01:16:30,240 --> 01:16:33,920
Speaker 1: especially classic film, and she's so sweet and lovely and

1339
01:16:34,000 --> 01:16:37,280
Speaker 1: I want to introduce her. So this is Alicia Malone.

1340
01:16:37,280 --> 01:16:42,160
Speaker 5: Everybody, yay hi, and I have my catworth with me,

1341
01:16:42,280 --> 01:16:45,800
Speaker 5: so be hearing cat purs just a bit of ASMR

1342
01:16:45,880 --> 01:16:47,559
Speaker 5: for you.

1343
01:16:48,880 --> 01:16:51,120
Speaker 4: She loves and a podcast.

1344
01:16:52,439 --> 01:16:54,320
Speaker 1: Have you put her on TikTok or anything yet?

1345
01:16:54,360 --> 01:16:54,600
Speaker 5: Are you?

1346
01:16:54,800 --> 01:16:55,080
Speaker 3: Are you?

1347
01:16:55,479 --> 01:16:59,160
Speaker 4: I'm not on any social media. I'm a weird at

1348
01:16:59,200 --> 01:16:59,639
Speaker 4: a dream.

1349
01:17:00,160 --> 01:17:03,200
Speaker 5: Yeah. I got offered in twenty twenty and honestly best

1350
01:17:03,200 --> 01:17:05,920
Speaker 5: thing I did personally. I know people love it and

1351
01:17:06,000 --> 01:17:09,160
Speaker 5: have used it in the right way, but it really

1352
01:17:09,200 --> 01:17:10,559
Speaker 5: helped me to no end.

1353
01:17:11,240 --> 01:17:15,280
Speaker 1: That's why you look so calm and serene and youthful.

1354
01:17:15,439 --> 01:17:17,680
Speaker 1: I swear like you have a glow about you. And

1355
01:17:17,720 --> 01:17:20,000
Speaker 1: it's because you have no social media. That is amazing,

1356
01:17:20,240 --> 01:17:20,599
Speaker 1: That's right.

1357
01:17:20,640 --> 01:17:22,679
Speaker 4: And I barely go on the internet either.

1358
01:17:22,920 --> 01:17:27,160
Speaker 1: So yeah, oh god, I'm in a bubble. You live

1359
01:17:27,160 --> 01:17:31,240
Speaker 1: in a dream of mine. So I wanted to, you know,

1360
01:17:31,439 --> 01:17:33,800
Speaker 1: I wanted to kind of start out by asking you

1361
01:17:35,120 --> 01:17:38,360
Speaker 1: because again you've probably answered these questions a million times,

1362
01:17:38,439 --> 01:17:42,040
Speaker 1: because I feel like people, you know, people that watch

1363
01:17:42,120 --> 01:17:45,720
Speaker 1: TCM love you. You're one of the hosts on TCM, and

1364
01:17:46,800 --> 01:17:48,600
Speaker 1: you've been so for a long time. I mean you

1365
01:17:48,680 --> 01:17:51,240
Speaker 1: started with film Struck back in the day, right, it's

1366
01:17:51,320 --> 01:17:53,879
Speaker 1: not that kind of how you came into the channel.

1367
01:17:54,360 --> 01:17:55,799
Speaker 4: That's how I came into the TCM.

1368
01:17:55,840 --> 01:18:00,680
Speaker 5: Well, yeah, that was twenty sixteen, rip filmstrect Those were

1369
01:18:00,760 --> 01:18:03,759
Speaker 5: the good old days, were they? I had the best

1370
01:18:03,800 --> 01:18:06,400
Speaker 5: time those two years we worked on Film Struck.

1371
01:18:06,479 --> 01:18:07,160
Speaker 4: It was a dream.

1372
01:18:07,640 --> 01:18:10,759
Speaker 1: It was an absolute dream. Like it's so funny because

1373
01:18:10,800 --> 01:18:13,439
Speaker 1: I feel like I sound like one of these people

1374
01:18:13,479 --> 01:18:16,880
Speaker 1: that can like not forget their high school experience or

1375
01:18:16,880 --> 01:18:19,679
Speaker 1: something around, like, those were the amazing days. I'll never

1376
01:18:19,760 --> 01:18:21,720
Speaker 1: get over it, even though it didn't last, like I

1377
01:18:21,720 --> 01:18:25,400
Speaker 1: guess technically that long, but it was so fun to

1378
01:18:25,439 --> 01:18:29,000
Speaker 1: work on, like from a programming perspective, but also I

1379
01:18:29,080 --> 01:18:32,320
Speaker 1: know that so many people like yourself and like people

1380
01:18:32,320 --> 01:18:34,920
Speaker 1: who were producing pieces for it were getting to do

1381
01:18:35,040 --> 01:18:36,559
Speaker 1: like their best work. It was kind of just like

1382
01:18:36,760 --> 01:18:39,360
Speaker 1: unfettered creativity, right, it really was.

1383
01:18:39,439 --> 01:18:41,519
Speaker 5: I mean, where do you get to do these super

1384
01:18:41,560 --> 01:18:44,360
Speaker 5: niche videos unless you work for Criterion. But getting to

1385
01:18:44,400 --> 01:18:46,600
Speaker 5: work with Criterion, I mean I got to do a

1386
01:18:46,640 --> 01:18:50,439
Speaker 5: closet video and those things now they have Beneffleck on them.

1387
01:18:50,800 --> 01:18:53,360
Speaker 5: I would never get to do one now, but I

1388
01:18:53,439 --> 01:18:55,320
Speaker 5: got to go in there and do a closet video

1389
01:18:55,439 --> 01:18:57,360
Speaker 5: back in twenty sixteen or something.

1390
01:18:58,000 --> 01:19:00,160
Speaker 4: It was a dream. It feels like a dream.

1391
01:19:00,479 --> 01:19:02,559
Speaker 5: And then I always wanted to work on TCM, so

1392
01:19:02,720 --> 01:19:06,519
Speaker 5: finally in twenty eighteen, I did an audition and then

1393
01:19:06,720 --> 01:19:08,160
Speaker 5: I came on board as a host.

1394
01:19:08,840 --> 01:19:12,760
Speaker 1: Yeah. Well, and you know, I think you're perfect for

1395
01:19:12,880 --> 01:19:18,280
Speaker 1: the channel because you are really really knowledgeable about films,

1396
01:19:18,439 --> 01:19:20,280
Speaker 1: and I mean I'm going to, you know, ask you

1397
01:19:20,320 --> 01:19:22,439
Speaker 1: some questions about your books and your new book that

1398
01:19:22,520 --> 01:19:25,479
Speaker 1: just came up fairly recently, but I kind of wanted

1399
01:19:25,520 --> 01:19:29,320
Speaker 1: to go backwards and I kind of ask you, obviously

1400
01:19:29,360 --> 01:19:33,200
Speaker 1: you grew up in Australia, like, how how did you

1401
01:19:33,240 --> 01:19:35,960
Speaker 1: come into film? Was it something that like your family

1402
01:19:36,000 --> 01:19:38,120
Speaker 1: introduced to you. Were you kind of on your own? Did?

1403
01:19:38,200 --> 01:19:41,439
Speaker 1: How did you start liking movies period? I guess yeah.

1404
01:19:41,439 --> 01:19:44,040
Speaker 5: I think we all have a gatekeeper or someone that

1405
01:19:44,080 --> 01:19:47,559
Speaker 5: introduces us to movies, and that for me was my dad,

1406
01:19:47,640 --> 01:19:50,920
Speaker 5: who is still a big film buff. And I have

1407
01:19:51,200 --> 01:19:53,640
Speaker 5: memories of him, you know, I've talked about this, but

1408
01:19:53,760 --> 01:19:56,080
Speaker 5: of him dragging me out of bed late at night

1409
01:19:56,360 --> 01:19:58,800
Speaker 5: to watch Rear Window when I was way too young

1410
01:19:58,880 --> 01:20:01,200
Speaker 5: to watch Real Window because he wanted to introduce me

1411
01:20:01,320 --> 01:20:02,519
Speaker 5: to Alfred Hitchcock.

1412
01:20:02,960 --> 01:20:04,000
Speaker 4: And also growing up in.

1413
01:20:03,920 --> 01:20:06,519
Speaker 5: Australia, I feel like we had a whole mix of

1414
01:20:07,120 --> 01:20:10,719
Speaker 5: content on television and in our movie theaters. It wasn't

1415
01:20:10,760 --> 01:20:13,880
Speaker 5: just Hollywood films, a lot of content from the UK,

1416
01:20:14,160 --> 01:20:18,360
Speaker 5: British films, which is why I maintained that Australian actors

1417
01:20:18,400 --> 01:20:22,280
Speaker 5: are so good at doing both British accents and American

1418
01:20:22,320 --> 01:20:26,240
Speaker 5: accents because we grow up surrounded by hearing them on

1419
01:20:26,280 --> 01:20:30,360
Speaker 5: television and movies, and at the theaters were full of

1420
01:20:30,600 --> 01:20:31,439
Speaker 5: foreign films.

1421
01:20:31,520 --> 01:20:33,640
Speaker 4: So growing up in Australia.

1422
01:20:33,240 --> 01:20:36,599
Speaker 5: Didn't have that distinction between this is a Hollywood film

1423
01:20:36,840 --> 01:20:38,559
Speaker 5: and this is a foreign film in the way I

1424
01:20:38,560 --> 01:20:41,639
Speaker 5: think we do here in America. It was all foreign

1425
01:20:41,640 --> 01:20:45,320
Speaker 5: to me living so far away in Australia. So really

1426
01:20:45,439 --> 01:20:48,840
Speaker 5: just getting introduced to films as a young kid with

1427
01:20:48,880 --> 01:20:49,360
Speaker 5: my dad.

1428
01:20:49,479 --> 01:20:51,799
Speaker 4: My sisters love classic films as well.

1429
01:20:52,240 --> 01:20:55,160
Speaker 5: Didn't realize that I was weird in that respect until

1430
01:20:55,600 --> 01:20:58,439
Speaker 5: I go to our sleepover parties and everyone wanted to

1431
01:20:58,479 --> 01:21:00,519
Speaker 5: watch night Mare on Elm Street and I wanted to

1432
01:21:00,600 --> 01:21:04,320
Speaker 5: watch like The Big Sleep or something. People thought I

1433
01:21:04,400 --> 01:21:07,760
Speaker 5: was very strange, and one story I tell is in

1434
01:21:07,920 --> 01:21:11,320
Speaker 5: high school, I was outraged that people hadn't seen many

1435
01:21:11,360 --> 01:21:13,840
Speaker 5: of the classic films that I loved. So I decided

1436
01:21:13,960 --> 01:21:16,200
Speaker 5: that I would start a film club where I would

1437
01:21:16,360 --> 01:21:19,440
Speaker 5: show screenings and movies and I would give little introductions.

1438
01:21:19,479 --> 01:21:24,080
Speaker 5: Funny that I do that now made posters. I booked

1439
01:21:24,120 --> 01:21:26,559
Speaker 5: the screening room. I had to convince one teacher to

1440
01:21:26,600 --> 01:21:29,880
Speaker 5: stay late in order to show the films. I got

1441
01:21:29,960 --> 01:21:33,240
Speaker 5: up in assembly, even though I was deathly afraid of

1442
01:21:33,280 --> 01:21:36,479
Speaker 5: public speaking, to tell everyone about you should come to

1443
01:21:36,560 --> 01:21:37,280
Speaker 5: my film club.

1444
01:21:37,400 --> 01:21:40,040
Speaker 4: Made myself a little badge. It said film club president.

1445
01:21:40,600 --> 01:21:43,479
Speaker 5: I wore it on my school uniform and not a

1446
01:21:43,520 --> 01:21:47,920
Speaker 5: single person came. And I had two screenings and then

1447
01:21:47,960 --> 01:21:52,240
Speaker 5: they said, yeah, sure, you need to stop the film club.

1448
01:21:52,280 --> 01:21:54,960
Speaker 5: No one's coming, And I mean, yes, I didn't program

1449
01:21:55,000 --> 01:21:55,519
Speaker 5: it properly.

1450
01:21:55,640 --> 01:21:59,679
Speaker 4: I showed Citizen Kane. No one wanted to see in gay.

1451
01:22:01,000 --> 01:22:05,360
Speaker 5: Shame, shame or shame, but funny that I've ended up

1452
01:22:05,400 --> 01:22:08,240
Speaker 5: doing the exact thing now and now people now people

1453
01:22:08,280 --> 01:22:09,240
Speaker 5: come to the screenings.

1454
01:22:09,800 --> 01:22:12,280
Speaker 1: Oh my god. I just felt like a core wound

1455
01:22:12,680 --> 01:22:13,800
Speaker 1: enter my body.

1456
01:22:14,600 --> 01:22:17,439
Speaker 2: God, God, I really felt that the way you set

1457
01:22:17,479 --> 01:22:19,280
Speaker 2: that story up, it really felt like it was going

1458
01:22:19,320 --> 01:22:21,840
Speaker 2: in a dark direction, and I was afraid for young

1459
01:22:21,880 --> 01:22:25,080
Speaker 2: Alicia there. But oh my gosh, Alicia, do you want

1460
01:22:25,080 --> 01:22:28,599
Speaker 2: to explain what your area of expertise is?

1461
01:22:29,120 --> 01:22:29,360
Speaker 4: Yeah?

1462
01:22:29,360 --> 01:22:31,600
Speaker 5: When I heard about that my area of expertise, I

1463
01:22:31,600 --> 01:22:34,719
Speaker 5: felt I could go several directions. Yeah, I've written books

1464
01:22:34,720 --> 01:22:38,439
Speaker 5: about female directors. I have that new book about foreign films.

1465
01:22:38,479 --> 01:22:42,679
Speaker 5: I could talk about classic films. When people think about

1466
01:22:42,680 --> 01:22:44,600
Speaker 5: my film when I think about my film knowledge, I

1467
01:22:44,640 --> 01:22:46,760
Speaker 5: say I know more than most, but less than some.

1468
01:22:46,960 --> 01:22:48,360
Speaker 4: So I'm not an excyclopedia.

1469
01:22:48,400 --> 01:22:51,280
Speaker 5: But I definitely watched a broad range of films throughout

1470
01:22:51,280 --> 01:22:54,760
Speaker 5: my life. And one thing that I thought of immediately,

1471
01:22:54,800 --> 01:22:57,160
Speaker 5: which I wouldn't necessarily call myself an expert on, but

1472
01:22:57,240 --> 01:23:01,080
Speaker 5: more just it's my personal pet peeve, and that is

1473
01:23:02,000 --> 01:23:04,320
Speaker 5: empty cups in movies.

1474
01:23:05,720 --> 01:23:09,120
Speaker 4: Empty coffee cups. It kills me.

1475
01:23:10,320 --> 01:23:16,040
Speaker 2: Now, specifically, do you think is it more egregious in

1476
01:23:16,120 --> 01:23:20,920
Speaker 2: a coffee mug or a takeaway coffee cup or both?

1477
01:23:21,080 --> 01:23:22,520
Speaker 2: Is it equally equally?

1478
01:23:22,560 --> 01:23:24,880
Speaker 5: I mean, I think the takeaway coffee cup with the

1479
01:23:24,960 --> 01:23:28,280
Speaker 5: lid allows the actor to feel like they can flail

1480
01:23:28,320 --> 01:23:31,000
Speaker 5: their arms around a little bit more, which makes it

1481
01:23:31,120 --> 01:23:36,080
Speaker 5: very unrealistic. But also it is painful when you can

1482
01:23:36,160 --> 01:23:39,640
Speaker 5: see into the coffee mug that someone's holding and you

1483
01:23:39,680 --> 01:23:41,800
Speaker 5: can see that it's empty.

1484
01:23:42,479 --> 01:23:45,200
Speaker 4: And it's just something I don't understand. Why why does

1485
01:23:45,240 --> 01:23:45,639
Speaker 4: it happen?

1486
01:23:45,720 --> 01:23:49,839
Speaker 2: And it happens the highest of the highest caliber films.

1487
01:23:49,920 --> 01:23:51,880
Speaker 2: I said this in an email to you, But I

1488
01:23:51,920 --> 01:23:54,960
Speaker 2: just saw the brutalist Guy Pearce is waving around a

1489
01:23:54,960 --> 01:23:58,360
Speaker 2: little coffee cup Willie Nelly not drinking and fake drinking

1490
01:23:58,400 --> 01:23:59,680
Speaker 2: from it. It's just incredible.

1491
01:23:59,760 --> 01:24:02,360
Speaker 4: Yeah, fake drinking. He can tell the fake drinking.

1492
01:24:02,640 --> 01:24:04,360
Speaker 1: Yeah, so that was kind of my I guess my

1493
01:24:04,520 --> 01:24:09,479
Speaker 1: second question then for you is have you seen are

1494
01:24:09,479 --> 01:24:13,560
Speaker 1: there actors that do fake drinking better than others or

1495
01:24:13,560 --> 01:24:16,599
Speaker 1: it is just like a uniform, y'all suck like it's

1496
01:24:16,640 --> 01:24:17,599
Speaker 1: never gonna look good.

1497
01:24:17,960 --> 01:24:21,120
Speaker 5: I have never seen, or yet to see an actor

1498
01:24:21,160 --> 01:24:23,720
Speaker 5: do a perfect fake sip. I don't know why it's

1499
01:24:23,720 --> 01:24:26,120
Speaker 5: so hard to do a sip and a swallow. But

1500
01:24:26,360 --> 01:24:31,880
Speaker 5: even like you're saying, Guy piace Oscar nominee brilliant Australian actor,

1501
01:24:32,360 --> 01:24:37,640
Speaker 5: cannot do a proper sip that is realistic, and it's just,

1502
01:24:37,800 --> 01:24:41,479
Speaker 5: I think especially maddening because you think, why can't there

1503
01:24:41,520 --> 01:24:45,160
Speaker 5: be some liquid? Like why is there not coca cola?

1504
01:24:45,200 --> 01:24:48,519
Speaker 5: If you don't want to drink coffee? Why is there

1505
01:24:48,560 --> 01:24:53,360
Speaker 5: not least water in a takeaway coffee cup? Can we

1506
01:24:53,400 --> 01:24:54,639
Speaker 5: give some weight to the cup.

1507
01:24:55,400 --> 01:24:58,960
Speaker 2: It's interesting because I've heard a lot of actors when

1508
01:24:58,960 --> 01:25:01,639
Speaker 2: they're talking, like doing a fit, like they're talking into

1509
01:25:01,680 --> 01:25:03,840
Speaker 2: a phone. You know, it'd be very easy to just

1510
01:25:03,960 --> 01:25:06,320
Speaker 2: fake that, but I know a lot of actors ask

1511
01:25:06,439 --> 01:25:10,640
Speaker 2: for someone to actually call the other line so that

1512
01:25:10,720 --> 01:25:14,960
Speaker 2: it looks more realistic. And this feels like an even

1513
01:25:15,800 --> 01:25:18,600
Speaker 2: smaller lift to just put some actual liquid in a

1514
01:25:18,600 --> 01:25:22,559
Speaker 2: coffee exactly? Are there any Are there any actors or

1515
01:25:22,600 --> 01:25:25,360
Speaker 2: performances that come to mind where it just really took

1516
01:25:25,400 --> 01:25:27,320
Speaker 2: you out of it when you were watching the movie

1517
01:25:27,360 --> 01:25:31,320
Speaker 2: that that they were fake drink and it's coffee? Do

1518
01:25:31,320 --> 01:25:35,160
Speaker 2: you think it's mostly coffee? Nice all liquid or any

1519
01:25:35,200 --> 01:25:35,799
Speaker 2: hot drink?

1520
01:25:36,280 --> 01:25:38,480
Speaker 4: And it happens a lot in television.

1521
01:25:38,560 --> 01:25:40,920
Speaker 5: I think that my theory is that's where it began

1522
01:25:41,560 --> 01:25:44,599
Speaker 5: in television to sort of cut corners and to make

1523
01:25:44,640 --> 01:25:48,439
Speaker 5: a production quickly. I mean when you look up this

1524
01:25:48,640 --> 01:25:51,840
Speaker 5: subject online, which I did a Google thinking I was

1525
01:25:51,880 --> 01:25:54,880
Speaker 5: the only one had this personal pet people of course

1526
01:25:55,200 --> 01:25:55,799
Speaker 5: many people.

1527
01:25:55,840 --> 01:25:57,360
Speaker 4: There's a whole subredded about it.

1528
01:25:57,479 --> 01:26:00,400
Speaker 5: And people often talk about Gossip Girl and Friends as

1529
01:26:00,400 --> 01:26:03,800
Speaker 5: being two egregious examples because they have a lot of

1530
01:26:03,840 --> 01:26:06,360
Speaker 5: coffee in those shows, a lot of takeout cups in

1531
01:26:06,560 --> 01:26:10,120
Speaker 5: Gossip Girl, a lot of mugs in Friends. But when

1532
01:26:10,120 --> 01:26:12,240
Speaker 5: it comes to movies, the thing that I notice the

1533
01:26:12,240 --> 01:26:15,160
Speaker 5: most all the genre, if you will that I noticed

1534
01:26:15,160 --> 01:26:18,280
Speaker 5: it the most, is in the Hallmark Christmas movie. And

1535
01:26:18,320 --> 01:26:22,080
Speaker 5: those are done quickly and cheaply. But I love a

1536
01:26:22,080 --> 01:26:24,760
Speaker 5: Hallmark Christmas movie. I have such a soft spot for it.

1537
01:26:24,840 --> 01:26:28,240
Speaker 5: I love the predictable beats, I love the low stakes drama.

1538
01:26:28,640 --> 01:26:32,439
Speaker 5: I love the almost kiss, I love the misconception how

1539
01:26:32,439 --> 01:26:34,120
Speaker 5: are they going to get back together? At the end,

1540
01:26:34,439 --> 01:26:38,599
Speaker 5: the grand gesture. For every single Hallmark Christmas movie, they're

1541
01:26:38,600 --> 01:26:42,120
Speaker 5: having some kind of hot liquid and it's usually Christmas related.

1542
01:26:42,160 --> 01:26:45,160
Speaker 5: There's a Christmas mug, or there is a Christmas hot

1543
01:26:45,200 --> 01:26:48,719
Speaker 5: coco that they get takeout from a little a food

1544
01:26:48,720 --> 01:26:51,920
Speaker 5: truck at a Christmas festival, and it's all very nice

1545
01:26:51,920 --> 01:26:54,240
Speaker 5: and festive until you realize that there is nothing in

1546
01:26:54,240 --> 01:26:57,200
Speaker 5: the cup, and then it just destroys my holiday dreams.

1547
01:26:57,520 --> 01:27:02,200
Speaker 1: This is the type of thing where once somebody just

1548
01:27:02,320 --> 01:27:06,400
Speaker 1: says it, then you just start noticing it constantly. And

1549
01:27:06,960 --> 01:27:10,320
Speaker 1: I remember when I when you first when Casey told

1550
01:27:10,360 --> 01:27:11,920
Speaker 1: me that you were coming on a podcast and you're

1551
01:27:11,960 --> 01:27:15,200
Speaker 1: like not drinking out of mugs. I was like what,

1552
01:27:15,560 --> 01:27:17,679
Speaker 1: And of course I was like doing my own research

1553
01:27:17,680 --> 01:27:19,840
Speaker 1: for them, so goodly. Okay, So what are my favorite

1554
01:27:20,120 --> 01:27:22,920
Speaker 1: times in a movie where somebody was drinking out of

1555
01:27:22,920 --> 01:27:25,599
Speaker 1: a coffee cup? I mean, my favorite, well, I actually

1556
01:27:25,640 --> 01:27:28,640
Speaker 1: don't think that he drinks it necessarily. I mean, I

1557
01:27:28,640 --> 01:27:33,080
Speaker 1: could be completely wrong. Is Johnny Guitar the movie Johnny

1558
01:27:33,080 --> 01:27:35,120
Speaker 1: Guitar was Sterling Hayden and he has that like tiny

1559
01:27:35,120 --> 01:27:39,120
Speaker 1: little tea cup at the bar and U you know,

1560
01:27:39,200 --> 01:27:42,559
Speaker 1: and I'm always like, he's got He's it's so funny

1561
01:27:42,800 --> 01:27:44,600
Speaker 1: seeing that little dainty tea cup and he's holding it.

1562
01:27:44,640 --> 01:27:46,200
Speaker 1: I'm like, I bet you there's nothing in that thing.

1563
01:27:46,880 --> 01:27:47,360
Speaker 4: Yeah.

1564
01:27:47,439 --> 01:27:51,160
Speaker 5: I do feel like classic films they had more coffee

1565
01:27:51,200 --> 01:27:53,720
Speaker 5: in the cups. Yes, and maybe it was the pre

1566
01:27:54,200 --> 01:27:58,200
Speaker 5: takeout cup that this all would you know, still change

1567
01:27:58,200 --> 01:27:59,240
Speaker 5: with the takeout cup.

1568
01:27:59,600 --> 01:28:00,519
Speaker 4: But I see.

1569
01:28:00,360 --> 01:28:03,759
Speaker 5: Many classic films where they obviously have coffee in the cuffy.

1570
01:28:03,800 --> 01:28:05,559
Speaker 4: You see it even get poured, and.

1571
01:28:05,560 --> 01:28:09,040
Speaker 5: Even films from the nineties like your reality bites. I

1572
01:28:09,080 --> 01:28:12,840
Speaker 5: mean even Twin Peaks on television, definitely coffee in those

1573
01:28:12,920 --> 01:28:15,920
Speaker 5: cuffs and where did it go wrong?

1574
01:28:16,160 --> 01:28:19,400
Speaker 1: Well, And I was like, to your point, this nineties point.

1575
01:28:19,439 --> 01:28:24,360
Speaker 1: I actually was thinking about the movie Office Space, and

1576
01:28:24,800 --> 01:28:29,000
Speaker 1: there's that like Gary Cole character, Bill Lumberg is, that's

1577
01:28:29,000 --> 01:28:30,559
Speaker 1: his name, and he's like the boss and he comes

1578
01:28:30,560 --> 01:28:32,320
Speaker 1: over with his coffee and he stands in front of

1579
01:28:32,400 --> 01:28:34,920
Speaker 1: the cubicles and like it's just an asshole of people.

1580
01:28:35,479 --> 01:28:38,880
Speaker 1: And I was like, because if you watch like the

1581
01:28:38,960 --> 01:28:40,880
Speaker 1: Seat one of the scenes, like if it's clipped out

1582
01:28:40,920 --> 01:28:43,600
Speaker 1: on YouTube, he does a thing where he SIPs and

1583
01:28:43,600 --> 01:28:46,240
Speaker 1: then he kind of swishes his mouth like almost like

1584
01:28:46,320 --> 01:28:49,439
Speaker 1: there is liquid in the cup. And I'm like, damn,

1585
01:28:49,920 --> 01:28:51,519
Speaker 1: is there liquid in there? Or is he just a

1586
01:28:51,560 --> 01:28:55,400
Speaker 1: really good actor? And then I decided to do a

1587
01:28:55,680 --> 01:28:58,960
Speaker 1: like still a shot like I was just gonna pause it,

1588
01:28:59,240 --> 01:29:01,920
Speaker 1: and I studied it like it was the Zuppruder film.

1589
01:29:02,000 --> 01:29:04,599
Speaker 1: I was like, I zoomed in to try to see

1590
01:29:04,600 --> 01:29:07,479
Speaker 1: if there was anything in the mog and there wasn't

1591
01:29:07,520 --> 01:29:10,400
Speaker 1: anything in it, and I was like, he's just got

1592
01:29:10,439 --> 01:29:12,920
Speaker 1: to be a good actor. Then I can't even an it.

1593
01:29:13,960 --> 01:29:15,040
Speaker 4: Yeah, that is a good actor.

1594
01:29:15,120 --> 01:29:18,160
Speaker 5: Yeah, because my theory was that in the nineties they

1595
01:29:18,200 --> 01:29:22,200
Speaker 5: had coffee in the cups, but I'm not entirely so

1596
01:29:22,360 --> 01:29:25,160
Speaker 5: maybe the early two thousands that's when the coffee started

1597
01:29:25,200 --> 01:29:28,240
Speaker 5: going out of the cups and empty cups. And I'm

1598
01:29:28,280 --> 01:29:31,160
Speaker 5: just so curious about why it happens.

1599
01:29:31,280 --> 01:29:33,920
Speaker 4: Is it a health and safety thing with hot liquid?

1600
01:29:34,680 --> 01:29:38,599
Speaker 5: Is it a thing where actors don't want to drink

1601
01:29:38,640 --> 01:29:40,160
Speaker 5: a volume but then they have.

1602
01:29:40,200 --> 01:29:42,599
Speaker 4: To eat food sometimes in scenes?

1603
01:29:43,080 --> 01:29:46,600
Speaker 5: Continuity same thing they have to eat food, and continuity

1604
01:29:46,640 --> 01:29:49,640
Speaker 5: is there to make sure there's the same level of

1605
01:29:49,680 --> 01:29:52,120
Speaker 5: food that they started with at the scene.

1606
01:29:52,479 --> 01:29:55,880
Speaker 1: Why, Yeah, they could use the spit bucket. Have you

1607
01:29:55,920 --> 01:29:58,720
Speaker 1: ever heard about? Yes, Like when they do scenes and

1608
01:29:58,760 --> 01:30:00,679
Speaker 1: then they just like spit it out in a bucket

1609
01:30:00,920 --> 01:30:03,160
Speaker 1: because they have to, you know, theoretically do a bunch

1610
01:30:03,160 --> 01:30:04,920
Speaker 1: of different takes and they don't want to eat like

1611
01:30:05,040 --> 01:30:08,280
Speaker 1: that every take, so they can spit out coffee. That

1612
01:30:08,320 --> 01:30:16,680
Speaker 1: would be good. Can I potentially bring up real sick yeah,

1613
01:30:17,520 --> 01:30:21,120
Speaker 1: can I bring up a potentially another maybe this is

1614
01:30:21,160 --> 01:30:24,160
Speaker 1: a branch off of this big tree that we're talking about.

1615
01:30:25,000 --> 01:30:31,040
Speaker 1: What are your feelings on toothbrushing in movies and the

1616
01:30:31,080 --> 01:30:34,960
Speaker 1: toothpaste the lack of toothpaste. I've seen that much.

1617
01:30:35,400 --> 01:30:40,200
Speaker 5: Yeah, yes, now you're saying about it. I do recall

1618
01:30:40,240 --> 01:30:43,479
Speaker 5: sing no toothpaste, and again, why why not just put

1619
01:30:43,560 --> 01:30:44,559
Speaker 5: some toothpaste on there?

1620
01:30:46,120 --> 01:30:49,040
Speaker 2: I wonder that's a more vanity thing because you look

1621
01:30:49,080 --> 01:30:53,040
Speaker 2: so silly and rabid if you're like, have the toothpaste

1622
01:30:53,040 --> 01:30:53,799
Speaker 2: in your mouth.

1623
01:30:53,720 --> 01:30:57,240
Speaker 1: But doesn't it take out when you're like somebody? But

1624
01:30:57,560 --> 01:30:59,880
Speaker 1: a lot of times people will pretend to put it

1625
01:30:59,880 --> 01:31:02,240
Speaker 1: on the brush and then what they don't see the

1626
01:31:02,280 --> 01:31:04,200
Speaker 1: little glog or anything, and then they just putting them out.

1627
01:31:04,200 --> 01:31:07,280
Speaker 1: They're just like ho ho ho, And I'm like, no,

1628
01:31:07,520 --> 01:31:10,559
Speaker 1: your teeth are not being cleaned. You're just this is

1629
01:31:10,680 --> 01:31:13,280
Speaker 1: just your own spit. This is nothing on a brush

1630
01:31:13,439 --> 01:31:15,719
Speaker 1: And I don't feel like you have good dental hygiene now,

1631
01:31:16,320 --> 01:31:18,120
Speaker 1: And you know, it.

1632
01:31:18,080 --> 01:31:20,200
Speaker 2: Takes me up and you like that character less as

1633
01:31:20,200 --> 01:31:22,880
Speaker 2: the movie proceeds because of their bad dental heart, Like, I'm.

1634
01:31:22,760 --> 01:31:25,840
Speaker 5: Worried for you now, I know my branch of this

1635
01:31:25,920 --> 01:31:32,000
Speaker 5: big tree is also empty handbags and empty rolla suitcases.

1636
01:31:33,080 --> 01:31:34,759
Speaker 2: Oh yeah, put.

1637
01:31:34,640 --> 01:31:35,320
Speaker 4: Something in it.

1638
01:31:35,479 --> 01:31:39,120
Speaker 5: You can tell when someone's flinging about a handbag that

1639
01:31:39,240 --> 01:31:42,440
Speaker 5: is obviously empty, Yeah, with abandoned.

1640
01:31:42,600 --> 01:31:44,599
Speaker 4: But they should just put a couple of things in there.

1641
01:31:45,400 --> 01:31:48,679
Speaker 1: Yeah, they need like to be putting what most people

1642
01:31:48,680 --> 01:31:51,280
Speaker 1: are putting in these jibags and like extra pair of shoes,

1643
01:31:51,760 --> 01:31:55,640
Speaker 1: makeup kit, like two walllets, you know, like do the

1644
01:31:55,640 --> 01:31:57,920
Speaker 1: whole thing a bottle of water, like carry it. Make

1645
01:31:57,960 --> 01:31:59,879
Speaker 1: it look like you're carrying facts.

1646
01:32:00,160 --> 01:32:02,360
Speaker 5: When you say someone pick up a roller bag with

1647
01:32:02,520 --> 01:32:04,519
Speaker 5: as you know, there's nothing inside.

1648
01:32:04,840 --> 01:32:08,840
Speaker 2: Gosh, Now back to the coffee drinking real quick, or

1649
01:32:09,320 --> 01:32:12,280
Speaker 2: do you do you find that you can even you're

1650
01:32:12,320 --> 01:32:17,120
Speaker 2: such an expert that you can even identify masking techniques

1651
01:32:18,000 --> 01:32:21,719
Speaker 2: of the because I noted one I notice a lot

1652
01:32:21,960 --> 01:32:24,360
Speaker 2: is like someone in a hurry doing a sip and

1653
01:32:24,360 --> 01:32:26,679
Speaker 2: I do have a coffee mug just to demonstrate where

1654
01:32:26,680 --> 01:32:30,320
Speaker 2: they'll be like about to drink and they'll be like, hmmm,

1655
01:32:30,880 --> 01:32:32,680
Speaker 2: I forgot like something like you know, it's kind of

1656
01:32:32,680 --> 01:32:36,280
Speaker 2: an interruption to there. And I feel like that is

1657
01:32:36,360 --> 01:32:38,280
Speaker 2: one of the techniques that I noticed where I'm like,

1658
01:32:38,320 --> 01:32:41,080
Speaker 2: you're not really drinking, You're like interrupting before you get

1659
01:32:41,120 --> 01:32:43,760
Speaker 2: to the drink. But have you noticed any others there's

1660
01:32:44,000 --> 01:32:49,080
Speaker 2: blowing Oh yeah, that yeah, that's a that's a. It

1661
01:32:49,120 --> 01:32:52,040
Speaker 2: does seem the tighter that they grip the cup to

1662
01:32:52,280 --> 01:32:54,320
Speaker 2: I feel like they're the less real.

1663
01:32:54,960 --> 01:33:00,600
Speaker 1: That there's yes, exactly, I've seeing that.

1664
01:33:00,800 --> 01:33:03,000
Speaker 5: And yeah, a lot of the kind of like almost drink,

1665
01:33:03,120 --> 01:33:04,960
Speaker 5: like you come to the mouse and then you don't,

1666
01:33:05,479 --> 01:33:07,479
Speaker 5: And there's a lot of walking and talking. When it

1667
01:33:07,479 --> 01:33:10,880
Speaker 5: comes to having takeout coffee cups. There's a lot of

1668
01:33:10,920 --> 01:33:14,360
Speaker 5: walking and gesturing while you walk, which takes me out

1669
01:33:14,400 --> 01:33:16,400
Speaker 5: of the movie because I know there's nothing in that cup,

1670
01:33:16,600 --> 01:33:18,400
Speaker 5: but they're not even sipping the cup and they just

1671
01:33:18,439 --> 01:33:20,120
Speaker 5: got a delicious cup of coffee.

1672
01:33:20,800 --> 01:33:21,360
Speaker 4: Take a step.

1673
01:33:22,439 --> 01:33:24,920
Speaker 2: It seems like they throw the coffee cup a lot

1674
01:33:25,000 --> 01:33:26,960
Speaker 2: like I feel like when it's a takeaway coffee cup,

1675
01:33:26,960 --> 01:33:28,800
Speaker 2: they'll be like, I'm not drinking this and they'll throw

1676
01:33:28,800 --> 01:33:32,000
Speaker 2: it away, and even like the way it falls through

1677
01:33:32,040 --> 01:33:35,240
Speaker 2: the air, I'm like, there's no, there's nothing in there.

1678
01:33:35,720 --> 01:33:37,120
Speaker 2: It's like floating away.

1679
01:33:37,280 --> 01:33:40,599
Speaker 5: And people have talked about the sound and an empty

1680
01:33:40,760 --> 01:33:43,120
Speaker 5: takeout coffee cup makes when you put it on a

1681
01:33:43,200 --> 01:33:47,240
Speaker 5: desk versus a takeout coffee cup that has drink in it.

1682
01:33:47,360 --> 01:33:49,640
Speaker 4: So you'll see in movies and TV.

1683
01:33:49,439 --> 01:33:52,000
Speaker 5: Shows the harried assistant coming in with the tray, which

1684
01:33:52,040 --> 01:33:54,240
Speaker 5: is another bugger books. You can see that there's nothing

1685
01:33:54,280 --> 01:33:57,840
Speaker 5: in the tray. They're balancing two trays of obviously empty cups,

1686
01:33:58,080 --> 01:33:59,920
Speaker 5: and they take out one cup put it down on

1687
01:34:00,040 --> 01:34:03,080
Speaker 5: Emboss's desk and it just makes that hollow sound.

1688
01:34:03,720 --> 01:34:09,960
Speaker 1: Yes, so you mentioned reality bites. There is some There

1689
01:34:10,000 --> 01:34:13,240
Speaker 1: is a scene in that movie that drives me absolutely bananas.

1690
01:34:13,439 --> 01:34:14,920
Speaker 1: To your point, I think you probably know what I'm

1691
01:34:14,960 --> 01:34:17,400
Speaker 1: talking about. There's a scene where Renonda Ryder and Ben

1692
01:34:17,479 --> 01:34:19,840
Speaker 1: Stiller are out on a date or whatever, and there

1693
01:34:20,000 --> 01:34:22,519
Speaker 1: they're sitting on the back of his whatever it is

1694
01:34:22,680 --> 01:34:28,960
Speaker 1: is convertible, and they're drinking seven eleven slushies or something

1695
01:34:29,000 --> 01:34:31,120
Speaker 1: like that, and they're like the giant like thirty two

1696
01:34:31,200 --> 01:34:35,400
Speaker 1: ounce styrofoam cup with the straw or maybe it's not sterrophone,

1697
01:34:35,400 --> 01:34:37,800
Speaker 1: but it's definitely a takeout cup. And then at some

1698
01:34:37,960 --> 01:34:41,240
Speaker 1: point they start like kissing, but they have these like

1699
01:34:41,320 --> 01:34:43,040
Speaker 1: cups in their hands, and then like that's part of

1700
01:34:43,080 --> 01:34:44,439
Speaker 1: the joke of the scene is that they're trying to

1701
01:34:44,479 --> 01:34:47,680
Speaker 1: kiss with these cups. There's nothing in those cups and

1702
01:34:47,720 --> 01:34:50,080
Speaker 1: you can hear it. It sounds so hollow, and the

1703
01:34:50,080 --> 01:34:52,599
Speaker 1: straw is just kind of like dangling in there with

1704
01:34:52,640 --> 01:34:55,759
Speaker 1: no liquid, and I'm just like, why are they drinking

1705
01:34:55,800 --> 01:34:59,760
Speaker 1: out of empty cups? Like this is not Now I

1706
01:34:59,800 --> 01:35:00,960
Speaker 1: don't I believe they're on a date.

1707
01:35:01,080 --> 01:35:05,719
Speaker 5: Matter texting is anything that takes you out of the movie,

1708
01:35:05,760 --> 01:35:08,519
Speaker 5: that would be a simple fix. It should be fixed,

1709
01:35:09,000 --> 01:35:12,000
Speaker 5: Like even if it sounds ridiculous, it takes me out

1710
01:35:12,000 --> 01:35:14,320
Speaker 5: of the movie, out of the reality, and I annoy

1711
01:35:14,400 --> 01:35:16,639
Speaker 5: all my friends because I lean over like there's nothing

1712
01:35:16,680 --> 01:35:19,760
Speaker 5: in the cup. And recently I just saw A Nice

1713
01:35:19,800 --> 01:35:23,320
Speaker 5: Indian Boy, which is such a lovely, fun romantic comedy,

1714
01:35:23,479 --> 01:35:27,000
Speaker 5: and Millie, you'll appreciate this. There's a lot of references

1715
01:35:27,040 --> 01:35:30,320
Speaker 5: to the Bollywood film DDLJ in there.

1716
01:35:30,200 --> 01:35:31,120
Speaker 1: Great fun.

1717
01:35:32,240 --> 01:35:35,120
Speaker 5: But there's one really hot, warming scene with a brother

1718
01:35:35,160 --> 01:35:38,240
Speaker 5: and sister talking with mugs and there's nothing in the cup.

1719
01:35:38,479 --> 01:35:41,360
Speaker 5: But now I don't believe it. They don't read the relationship,

1720
01:35:41,360 --> 01:35:43,160
Speaker 5: but I believe anything of the film.

1721
01:35:42,920 --> 01:35:49,320
Speaker 1: Yeah is there? Well, okay, so if we could try

1722
01:35:49,479 --> 01:35:55,120
Speaker 1: to maybe dissociate from this evil fact, right if we

1723
01:35:55,160 --> 01:35:56,880
Speaker 1: can try to somehow like put it out of our

1724
01:35:56,920 --> 01:36:00,559
Speaker 1: minds that these are all fakers, all these people faking.

1725
01:36:01,320 --> 01:36:07,320
Speaker 1: Do you have any favorite like coffee seems or coffee actors,

1726
01:36:07,400 --> 01:36:10,639
Speaker 1: like maybe like maybe it's like a Kyle McLaughlin who

1727
01:36:10,800 --> 01:36:13,120
Speaker 1: just drinks a lot of coffee and is really good

1728
01:36:13,120 --> 01:36:15,400
Speaker 1: at it, or like is there somebody that you can

1729
01:36:15,400 --> 01:36:17,479
Speaker 1: think of an actor or just the scene that you love.

1730
01:36:17,960 --> 01:36:20,640
Speaker 5: Yeah, I was thinking about Kyle McGlaughlin just because that

1731
01:36:20,880 --> 01:36:24,080
Speaker 5: is such a hallmark of that show and of his

1732
01:36:24,240 --> 01:36:30,800
Speaker 5: character to have a nice cup of coffee. And also, oh,

1733
01:36:30,880 --> 01:36:34,800
Speaker 5: I was thinking about because it's obvious, like coffee and cigarettes,

1734
01:36:34,920 --> 01:36:35,840
Speaker 5: like movies like that.

1735
01:36:35,960 --> 01:36:37,880
Speaker 4: And I feel like in the.

1736
01:36:37,439 --> 01:36:41,360
Speaker 5: Nineties especially, there was that kind of to me, that

1737
01:36:41,520 --> 01:36:46,120
Speaker 5: American dina culture of having a cup of coffee, getting

1738
01:36:46,120 --> 01:36:48,439
Speaker 5: it palled straight away as soon as you sit down,

1739
01:36:48,520 --> 01:36:50,839
Speaker 5: and even classic films where they would sit in diners

1740
01:36:50,840 --> 01:36:52,880
Speaker 5: and ask for a cup of coffee and a slice

1741
01:36:52,920 --> 01:36:55,840
Speaker 5: of pie. But I feel like it was so much

1742
01:36:55,840 --> 01:37:00,720
Speaker 5: a part of the intellectual culture of nineties movies where

1743
01:37:00,760 --> 01:37:07,320
Speaker 5: they would talk very intelligently and eloquently about big topics

1744
01:37:08,080 --> 01:37:10,840
Speaker 5: while having a cup of coffee and a cigarette, And

1745
01:37:10,920 --> 01:37:14,480
Speaker 5: so those coffee and movies to me sort of intertwined

1746
01:37:14,560 --> 01:37:17,400
Speaker 5: with that kind of like very for both back and

1747
01:37:17,479 --> 01:37:20,080
Speaker 5: forth that I wish that I was part of when I.

1748
01:37:20,000 --> 01:37:21,519
Speaker 4: Was watching these movies as a kid.

1749
01:37:22,160 --> 01:37:25,120
Speaker 1: Yeah, that's so true. I mean, I will definitely co

1750
01:37:25,280 --> 01:37:27,800
Speaker 1: sign on the fact that the nineties was all about coffee,

1751
01:37:28,280 --> 01:37:33,160
Speaker 1: coffee houses and being fake beat nick intellectuals writing poetry.

1752
01:37:33,320 --> 01:37:35,400
Speaker 1: I might I might have dabbled in that a little bit.

1753
01:37:36,160 --> 01:37:38,599
Speaker 2: I was thinking of So I married an axe murderer,

1754
01:37:39,640 --> 01:37:40,360
Speaker 2: that big lot.

1755
01:37:41,600 --> 01:37:42,519
Speaker 1: I love that thing.

1756
01:37:43,560 --> 01:37:45,479
Speaker 4: Yeah, the camera follows it.

1757
01:37:45,960 --> 01:37:48,080
Speaker 2: I do feel like, oh yeah, no, go ahead loo.

1758
01:37:48,280 --> 01:37:50,559
Speaker 5: And I was going to say, I think, especially growing

1759
01:37:50,600 --> 01:37:56,120
Speaker 5: up in Australia and Australia, Australians big coffee snobs, and

1760
01:37:56,240 --> 01:37:59,439
Speaker 5: so we are very particular about our coffee and the

1761
01:37:59,439 --> 01:38:03,360
Speaker 5: way it's made, especially espresso type coffees, the flat white,

1762
01:38:03,680 --> 01:38:06,200
Speaker 5: which was I think created in New Zealand, and they

1763
01:38:06,280 --> 01:38:08,360
Speaker 5: drink it a lot in the UK, but in Australia

1764
01:38:08,720 --> 01:38:11,080
Speaker 5: we're very particular about it. And if you go to Australia,

1765
01:38:11,120 --> 01:38:13,760
Speaker 5: you get excellent coffee. And even when I was back

1766
01:38:13,800 --> 01:38:16,000
Speaker 5: in Australia in twenty twenty three, I stopped off at

1767
01:38:16,000 --> 01:38:19,719
Speaker 5: a gas station and there was literally a barista operating

1768
01:38:19,800 --> 01:38:22,320
Speaker 5: an espresso coffee machine at the gas station.

1769
01:38:22,920 --> 01:38:24,160
Speaker 4: That's the thing. It's Australia.

1770
01:38:24,200 --> 01:38:28,400
Speaker 5: It's all about the espresso drinks, so that's the coffee

1771
01:38:28,439 --> 01:38:33,360
Speaker 5: of choice. But growing up watching movies and particularly American movies,

1772
01:38:33,960 --> 01:38:38,360
Speaker 5: the idea of a diner coffee was just so intriguing

1773
01:38:38,439 --> 01:38:40,880
Speaker 5: to me, the idea of the drip coffee, because we

1774
01:38:40,920 --> 01:38:44,000
Speaker 5: didn't really do that in Australia. You might have instant coffee,

1775
01:38:44,120 --> 01:38:46,040
Speaker 5: but you don't have that kind of drip coffee that

1776
01:38:46,120 --> 01:38:49,960
Speaker 5: comes from the glass, you know. Jug So I remember

1777
01:38:50,000 --> 01:38:52,479
Speaker 5: going to America and going to a diner and being like,

1778
01:38:52,520 --> 01:38:55,160
Speaker 5: I'm going to order a drip coffee.

1779
01:38:54,720 --> 01:38:57,559
Speaker 4: Just like they do in America and I mean in

1780
01:38:57,600 --> 01:38:59,439
Speaker 4: the movies, and it was yeah.

1781
01:39:00,560 --> 01:39:03,120
Speaker 5: Yeah, I had to really change my taste buds to

1782
01:39:03,240 --> 01:39:05,719
Speaker 5: now I like a diner coffee with lots of half

1783
01:39:05,720 --> 01:39:06,120
Speaker 5: and half.

1784
01:39:06,160 --> 01:39:08,640
Speaker 4: But I had to really train myself to that.

1785
01:39:08,760 --> 01:39:10,559
Speaker 5: But it was one of those things that I watched

1786
01:39:10,560 --> 01:39:13,400
Speaker 5: in movies so much that I really had an idea

1787
01:39:14,040 --> 01:39:17,760
Speaker 5: about the mood that it would create to order just

1788
01:39:17,800 --> 01:39:19,200
Speaker 5: a just a cup of coffee.

1789
01:39:19,439 --> 01:39:22,679
Speaker 2: Yeah, yeah, Alicia, It's so funny you say that because

1790
01:39:22,760 --> 01:39:25,960
Speaker 2: I worked I before I got into podcasting, I worked

1791
01:39:25,960 --> 01:39:30,679
Speaker 2: at a fancy, very fancy coffee shop in Venice called Intelligentsia, Yes,

1792
01:39:30,960 --> 01:39:35,639
Speaker 2: and Australians would come in all the time and complain

1793
01:39:35,840 --> 01:39:38,120
Speaker 2: about they drove us nuts. Because there's a lot of

1794
01:39:38,160 --> 01:39:40,439
Speaker 2: Australians that live in Venice and they are very particular

1795
01:39:40,479 --> 01:39:42,960
Speaker 2: about their coffee. They'd always order flat whites and they'd

1796
01:39:42,960 --> 01:39:44,800
Speaker 2: complain that we did it wrong, and I just feel

1797
01:39:44,800 --> 01:39:48,720
Speaker 2: like they were It was always like, oh, no, Australians

1798
01:39:48,720 --> 01:39:52,479
Speaker 2: are going to be making I know. It's so funny

1799
01:39:52,520 --> 01:39:52,960
Speaker 2: you say that.

1800
01:39:53,280 --> 01:39:56,040
Speaker 5: You go to Starbucks and they say, okay, they have

1801
01:39:56,080 --> 01:39:58,880
Speaker 5: a flat white, what size do you want, and you're like, no,

1802
01:39:59,040 --> 01:40:00,640
Speaker 5: I'm out because.

1803
01:40:00,360 --> 01:40:01,160
Speaker 2: It comes exactly.

1804
01:40:02,280 --> 01:40:02,479
Speaker 4: Yeah.

1805
01:40:03,600 --> 01:40:06,200
Speaker 1: Well, this has been amazing. I'm so glad that you

1806
01:40:06,320 --> 01:40:08,760
Speaker 1: came and talked to us about this. I feel like

1807
01:40:08,800 --> 01:40:11,799
Speaker 1: you're blowing people's minds with this information. I mean honestly,

1808
01:40:11,840 --> 01:40:14,120
Speaker 1: I didn't I didn't even know about it until you

1809
01:40:14,479 --> 01:40:15,639
Speaker 1: agreed to appear.

1810
01:40:15,880 --> 01:40:18,920
Speaker 5: So sorry, You're you're gonna be annoyed from now on

1811
01:40:19,080 --> 01:40:25,120
Speaker 5: because it is literally every single movie and every single

1812
01:40:25,240 --> 01:40:27,559
Speaker 5: TV show, Like I can't even think of examples because

1813
01:40:27,600 --> 01:40:29,400
Speaker 5: it's every single one. Yeah.

1814
01:40:29,800 --> 01:40:33,800
Speaker 2: Sorry, we've ruined movies for all of our listeners. But

1815
01:40:33,840 --> 01:40:35,880
Speaker 2: that's okay, Yeah, it's the truth.

1816
01:40:36,560 --> 01:40:39,080
Speaker 1: Well, I wanted to ask you before you take off.

1817
01:40:39,120 --> 01:40:42,519
Speaker 1: I wanted to talk a little bit about your new book, maybe,

1818
01:40:42,720 --> 01:40:46,080
Speaker 1: like tell people about your prior book, which I know

1819
01:40:46,120 --> 01:40:49,960
Speaker 1: you mentioned is about female directors. But then the new

1820
01:40:49,960 --> 01:40:52,680
Speaker 1: one is very cool and I feel like I have

1821
01:40:52,720 --> 01:40:55,160
Speaker 1: a personal stake in it. I just I feel very

1822
01:40:55,320 --> 01:40:56,760
Speaker 1: I feel very emotional about it.

1823
01:40:56,800 --> 01:40:58,439
Speaker 4: So go ahead, you should do.

1824
01:40:58,560 --> 01:41:02,959
Speaker 5: I mean, I wrote three books for a smaller publisher

1825
01:41:03,040 --> 01:41:04,320
Speaker 5: about women in film.

1826
01:41:04,400 --> 01:41:05,800
Speaker 4: The first one, Backwards and the.

1827
01:41:05,840 --> 01:41:08,519
Speaker 5: Keels, was sort of just an overarching look at the

1828
01:41:08,560 --> 01:41:10,720
Speaker 5: history of women in film and the.

1829
01:41:10,680 --> 01:41:12,839
Speaker 4: All the various obstacles that they have faced.

1830
01:41:13,880 --> 01:41:17,879
Speaker 5: Then people asking me about what are your favorite films

1831
01:41:18,439 --> 01:41:20,800
Speaker 5: made by female directors? So I did a second book

1832
01:41:20,840 --> 01:41:24,200
Speaker 5: called The Female Gaze, which is all about female directors.

1833
01:41:24,360 --> 01:41:27,160
Speaker 5: And then I did a third book called Girls on Film,

1834
01:41:27,200 --> 01:41:30,559
Speaker 5: which is more personal book about growing up loving movies,

1835
01:41:30,640 --> 01:41:33,360
Speaker 5: well being a woman loving movies and all of the

1836
01:41:33,439 --> 01:41:37,960
Speaker 5: various intricacies that that brings up. And so after that book,

1837
01:41:38,040 --> 01:41:40,599
Speaker 5: I told everyone that I was done.

1838
01:41:40,640 --> 01:41:43,439
Speaker 4: I was like, no more books. It's really hard. I'm

1839
01:41:43,439 --> 01:41:47,840
Speaker 4: done with writing books. Yeah, well really it's a tough job.

1840
01:41:47,920 --> 01:41:51,320
Speaker 5: But I had always harbored a secret desire to have

1841
01:41:51,400 --> 01:41:54,519
Speaker 5: a TCM Live book because they do such a good job,

1842
01:41:54,560 --> 01:41:58,480
Speaker 5: as you know with your book TCM Underground, beautifully constructed,

1843
01:41:59,280 --> 01:42:04,479
Speaker 5: nice photos, a proper editorial team and a beautiful book

1844
01:42:04,520 --> 01:42:08,160
Speaker 5: you can have on your coffee table and TCM fans

1845
01:42:08,160 --> 01:42:10,880
Speaker 5: who are so supportive of all the books. So when

1846
01:42:10,960 --> 01:42:15,040
Speaker 5: the editor from Running Press Sydney Sapala approached me about

1847
01:42:15,080 --> 01:42:18,799
Speaker 5: writing a book for TCM library, I had to say yes.

1848
01:42:19,240 --> 01:42:21,280
Speaker 5: And I started to think about what I wanted to

1849
01:42:21,280 --> 01:42:24,120
Speaker 5: write about, and I felt like it was missing the

1850
01:42:24,160 --> 01:42:29,040
Speaker 5: TCM library more books about foreign films. So I started

1851
01:42:29,040 --> 01:42:31,120
Speaker 5: thinking about, okay, well that's a big topic.

1852
01:42:31,439 --> 01:42:34,719
Speaker 4: How am I going to write a book on international cinema?

1853
01:42:34,800 --> 01:42:38,400
Speaker 5: I say, because I include plenty of English speaking films,

1854
01:42:38,439 --> 01:42:40,599
Speaker 5: you know, from Australia and from the UK and from

1855
01:42:40,640 --> 01:42:41,240
Speaker 5: New Zealand.

1856
01:42:42,000 --> 01:42:45,920
Speaker 4: And I thought maybe I'll write my favorite films.

1857
01:42:45,960 --> 01:42:48,000
Speaker 5: And I started to list out all the films that

1858
01:42:48,040 --> 01:42:49,559
Speaker 5: I would love to write about, and I got to

1859
01:42:49,600 --> 01:42:52,880
Speaker 5: something like two hundred and sixty three and then I thought, Okay, I.

1860
01:42:52,840 --> 01:42:54,880
Speaker 1: Can't do that film down.

1861
01:42:55,080 --> 01:42:57,160
Speaker 5: I've got to pair that down to at least around

1862
01:42:57,160 --> 01:42:59,439
Speaker 5: fifty films. That's sort of the manageable level when it

1863
01:42:59,479 --> 01:43:03,439
Speaker 5: comes to write a book. And then I thought, well,

1864
01:43:03,760 --> 01:43:06,240
Speaker 5: I'm definitely not going to write the greatest Films of

1865
01:43:06,280 --> 01:43:09,040
Speaker 5: all time because that book has been written many times.

1866
01:43:09,360 --> 01:43:12,960
Speaker 5: And what could I possibly have to add to a

1867
01:43:13,000 --> 01:43:15,519
Speaker 5: conversation about eight and a half and seventh Samurai that

1868
01:43:15,560 --> 01:43:19,200
Speaker 5: hasn't already been said. So then I started thinking about

1869
01:43:19,200 --> 01:43:21,080
Speaker 5: the way that I like to watch films and the

1870
01:43:21,120 --> 01:43:25,360
Speaker 5: way that used to program TCM Imports Millie, which is seasonally,

1871
01:43:25,520 --> 01:43:28,280
Speaker 5: so you always think about the month that you're watching

1872
01:43:28,320 --> 01:43:31,759
Speaker 5: the film on TCM, the various holidays that it's around,

1873
01:43:32,320 --> 01:43:34,639
Speaker 5: And that's how I love to watch movies. I mentioned

1874
01:43:34,680 --> 01:43:37,880
Speaker 5: Hallmark Christmas movies. I love watching those around Christmas time.

1875
01:43:38,240 --> 01:43:43,200
Speaker 5: I love watching Halloween films, scary movies around Halloween, fall

1876
01:43:43,320 --> 01:43:46,719
Speaker 5: films when the leaves start to fall, and summer films

1877
01:43:46,800 --> 01:43:49,040
Speaker 5: to inspire me to go out to the beach. So

1878
01:43:49,240 --> 01:43:51,800
Speaker 5: I thought about it that way, and that ended up

1879
01:43:51,840 --> 01:43:55,400
Speaker 5: being a much more eclectic way to look at films,

1880
01:43:55,439 --> 01:43:57,960
Speaker 5: and it ended up with a list that is quite

1881
01:43:58,080 --> 01:44:00,920
Speaker 5: wild in the selections. It's not you know, I think

1882
01:44:00,960 --> 01:44:03,160
Speaker 5: when you write about your favorite films, you could have

1883
01:44:03,200 --> 01:44:06,519
Speaker 5: a tendency to include many of the same genres or

1884
01:44:06,520 --> 01:44:09,760
Speaker 5: the same type of actors, or the same countries. But

1885
01:44:09,840 --> 01:44:12,240
Speaker 5: this made me go a little bit wider and deeper

1886
01:44:12,439 --> 01:44:15,800
Speaker 5: and think about it more so. It's not necessarily my

1887
01:44:15,920 --> 01:44:19,000
Speaker 5: favorite films, but there are some favorites. There are films

1888
01:44:19,000 --> 01:44:23,080
Speaker 5: that aren't necessarily favorites, but all are interesting to talk about.

1889
01:44:23,120 --> 01:44:26,360
Speaker 5: And then, as you know, Millie from programming TCM imports

1890
01:44:26,360 --> 01:44:30,000
Speaker 5: for so long, what's interesting is both the connection they

1891
01:44:30,040 --> 01:44:34,880
Speaker 5: have to classic films, Hollywood films, American films, and people

1892
01:44:34,920 --> 01:44:38,920
Speaker 5: can relate to them, and also the scope that you

1893
01:44:38,920 --> 01:44:41,240
Speaker 5: get to talk about these films in you're not only

1894
01:44:41,280 --> 01:44:44,000
Speaker 5: talking about the film, the making of the film, or

1895
01:44:44,000 --> 01:44:47,559
Speaker 5: even just the filmmaker, but the country, the trend of

1896
01:44:47,560 --> 01:44:50,760
Speaker 5: the country, the political moods, everything that was happening at

1897
01:44:50,760 --> 01:44:52,439
Speaker 5: that time when that film came out.

1898
01:44:53,280 --> 01:44:57,160
Speaker 1: Absolutely no, I this is so wonderful. I'm so glad

1899
01:44:57,240 --> 01:45:00,759
Speaker 1: that you did this. Book. It needed to be done.

1900
01:45:01,439 --> 01:45:04,080
Speaker 1: It looks gorgeous. I mean you've got like, you know,

1901
01:45:04,760 --> 01:45:09,360
Speaker 1: Penelope Cruise on the cover with like Mastrianni and Black Girl.

1902
01:45:09,400 --> 01:45:12,320
Speaker 1: I mean, it's awesome and it's available now. It just

1903
01:45:12,360 --> 01:45:14,160
Speaker 1: came out right like a month ago.

1904
01:45:14,200 --> 01:45:18,760
Speaker 5: I came out in April twenty two. And by the way,

1905
01:45:18,760 --> 01:45:20,439
Speaker 5: I have to say, Melly, every time I go to

1906
01:45:20,479 --> 01:45:23,320
Speaker 5: the film festival or I talk to TCM fans, the

1907
01:45:23,400 --> 01:45:26,720
Speaker 5: thing I hear over and over again is I miss Underground.

1908
01:45:27,240 --> 01:45:30,519
Speaker 5: Oh you really miss Underground. I'm like, yeah, I know,

1909
01:45:30,720 --> 01:45:32,639
Speaker 5: we miss Underground and we miss Milly.

1910
01:45:33,120 --> 01:45:35,400
Speaker 1: Oh, thank you for saying that. That's very sweet of you.

1911
01:45:35,439 --> 01:45:37,719
Speaker 1: I miss you guys too. But I'm also I still

1912
01:45:37,720 --> 01:45:40,479
Speaker 1: watch the network constantly, Like I'm like, even though I

1913
01:45:40,479 --> 01:45:42,360
Speaker 1: haven't been there for a couple of years, I was

1914
01:45:42,439 --> 01:45:44,960
Speaker 1: just like, I still watch it. I'm still I still

1915
01:45:45,080 --> 01:45:47,040
Speaker 1: turn it off because it is like literally the best

1916
01:45:47,080 --> 01:45:51,200
Speaker 1: place to see like any film, but mostly the classics

1917
01:45:51,560 --> 01:45:54,280
Speaker 1: and foreign titles. Like it's the best channel on cable.

1918
01:45:54,320 --> 01:45:56,479
Speaker 1: I hate to say it as much as as much

1919
01:45:56,479 --> 01:45:59,400
Speaker 1: as I might have a grape about DZM in some capacity,

1920
01:45:59,439 --> 01:46:02,400
Speaker 1: I'm like, no, it's actually the best channel and you're

1921
01:46:02,439 --> 01:46:05,400
Speaker 1: a big part of that. So congratulations with everything is there?

1922
01:46:05,720 --> 01:46:07,439
Speaker 1: Are you working on anything else, like, do you want

1923
01:46:07,439 --> 01:46:08,439
Speaker 1: to tease anything?

1924
01:46:09,920 --> 01:46:14,599
Speaker 5: Well, if if you're fans of the HBO show Gilded Age,

1925
01:46:14,960 --> 01:46:17,519
Speaker 5: as I am, I love that felt that show. I'm

1926
01:46:17,520 --> 01:46:21,439
Speaker 5: doing the third season of the podcast, which is starting soon,

1927
01:46:22,040 --> 01:46:25,120
Speaker 5: the third season of the shows and this time, as

1928
01:46:25,160 --> 01:46:28,400
Speaker 5: you know, podcasts are role video now, so it's a

1929
01:46:28,520 --> 01:46:31,080
Speaker 5: video podcast in addition to an audio podcast.

1930
01:46:31,320 --> 01:46:35,680
Speaker 4: Now I have to say, Gilded Age drinking tea. No,

1931
01:46:35,680 --> 01:46:37,640
Speaker 4: no liquids in those cups, so I need to have a.

1932
01:46:37,680 --> 01:46:40,719
Speaker 2: Talking production right there, thank god.

1933
01:46:41,040 --> 01:46:44,080
Speaker 5: Right there they pour the tea, but the tea they're

1934
01:46:44,120 --> 01:46:47,120
Speaker 5: actually drinking is just it's an empty cup, unfortunately.

1935
01:46:47,800 --> 01:46:51,080
Speaker 4: But I'm doing that and then yeah, really.

1936
01:46:51,000 --> 01:47:02,519
Speaker 3: That's living a lovely quiet life in Maine.

1937
01:47:04,160 --> 01:47:07,240
Speaker 2: Okay, we're coming back with the employees Pick section of

1938
01:47:07,280 --> 01:47:09,639
Speaker 2: the show, where we recommend a movie based on the

1939
01:47:09,640 --> 01:47:12,280
Speaker 2: theme of the discussion we had today. And oh we

1940
01:47:12,360 --> 01:47:16,960
Speaker 2: have so much, so much things to pick from, so

1941
01:47:17,000 --> 01:47:20,519
Speaker 2: many good options to pick from. Mellly, what's your employees Pick?

1942
01:47:20,760 --> 01:47:24,960
Speaker 1: I am not going to choose, even though I should,

1943
01:47:25,400 --> 01:47:29,719
Speaker 1: I am not going to choose the sequel to show Girls,

1944
01:47:30,080 --> 01:47:36,200
Speaker 1: which is called show Girls Too Pennies from Heaven, featuring

1945
01:47:37,280 --> 01:47:40,360
Speaker 1: the actress Rita Riffle, which who played Penny in the

1946
01:47:40,400 --> 01:47:46,120
Speaker 1: film Penny akaa hope. Okay, so technically there was a sequel,

1947
01:47:46,200 --> 01:47:48,439
Speaker 1: and I do have this. I have a rip of this.

1948
01:47:48,439 --> 01:47:50,200
Speaker 1: Somebody ripped it for me. I think my friend David

1949
01:47:50,640 --> 01:47:53,879
Speaker 1: ripped it on a disc for me, and I actually

1950
01:47:54,040 --> 01:47:57,200
Speaker 1: haven't seen it yet, but it is literally on my

1951
01:47:57,720 --> 01:47:59,439
Speaker 1: console table in front of my television.

1952
01:48:00,640 --> 01:48:03,120
Speaker 2: I think in thirty years will be a reappraisal and

1953
01:48:03,240 --> 01:48:06,040
Speaker 2: people will appreciate Showgirls. Two Pennies from Heaven.

1954
01:48:06,560 --> 01:48:09,920
Speaker 1: Yeah. Is it Rina Riffle or Rina Raffel anyway, it

1955
01:48:09,960 --> 01:48:13,439
Speaker 1: was produced by and distributed by her production company, Rina

1956
01:48:13,560 --> 01:48:15,920
Speaker 1: Rafel Films. I think it's some incredible.

1957
01:48:16,320 --> 01:48:20,160
Speaker 2: The budget was thirty thousand dollars, written and directed by it.

1958
01:48:20,520 --> 01:48:23,280
Speaker 1: I mean, come on, that's just gonna be like a

1959
01:48:24,520 --> 01:48:25,280
Speaker 1: honorable mention.

1960
01:48:25,360 --> 01:48:26,719
Speaker 2: I suppose, yes.

1961
01:48:26,840 --> 01:48:30,800
Speaker 1: So anyway, my reco my actual employee pick for this

1962
01:48:30,840 --> 01:48:35,679
Speaker 1: week is I mean, it's probably real basic, I suppose,

1963
01:48:35,760 --> 01:48:38,800
Speaker 1: but I'm gonna go the Gina Gershan route and I'm

1964
01:48:38,840 --> 01:48:43,760
Speaker 1: going to pick bound from nine oh ninety six. It

1965
01:48:43,800 --> 01:48:48,200
Speaker 1: came out the year after Showgirls, Brand New Wish like

1966
01:48:48,280 --> 01:48:54,000
Speaker 1: maybe a little over a year Blu ray on Criterion.

1967
01:48:54,680 --> 01:48:57,799
Speaker 1: The Wakowski Sisters, Holy shit, this movie rules.

1968
01:48:57,880 --> 01:48:59,759
Speaker 2: I love Battles. This movie is incredible.

1969
01:49:00,320 --> 01:49:01,840
Speaker 1: It's so good, isn't it.

1970
01:49:01,840 --> 01:49:05,559
Speaker 2: It's so good And it's just like the Wakowski's were

1971
01:49:05,720 --> 01:49:09,519
Speaker 2: so good. Just that's like their first movie and it's

1972
01:49:09,600 --> 01:49:13,240
Speaker 2: it's so it's incredible. Yeah, it's a great, great film.

1973
01:49:13,680 --> 01:49:18,360
Speaker 1: Joey Pants, Joe PANTALOONI is sleaziest fuck in this film.

1974
01:49:18,560 --> 01:49:22,200
Speaker 1: It's so good. I mean honestly, like if you did

1975
01:49:22,200 --> 01:49:24,400
Speaker 1: a double feature of Showgirls and Bound.

1976
01:49:24,360 --> 01:49:27,519
Speaker 2: Damn oh, I'm having a great time. That's a great

1977
01:49:27,560 --> 01:49:30,280
Speaker 2: double feature. There's a picture of I think it's at

1978
01:49:30,320 --> 01:49:34,240
Speaker 2: Sundance Film Festival of Joey Pants, Gina Kershawan and Jennifer

1979
01:49:34,240 --> 01:49:37,320
Speaker 2: Tilley all in a hot tub together and Joey Pants

1980
01:49:37,400 --> 01:49:39,439
Speaker 2: is smoking the cigar and he's got his arms around

1981
01:49:39,720 --> 01:49:41,800
Speaker 2: the two of them and they it's like they look

1982
01:49:41,880 --> 01:49:43,080
Speaker 2: like they're having the time of their lives.

1983
01:49:43,240 --> 01:49:47,960
Speaker 1: God, and well, if you want to do a double

1984
01:49:48,000 --> 01:49:50,559
Speaker 1: feature of show Girls and Bound with me, you can

1985
01:49:50,600 --> 01:49:54,200
Speaker 1: email us at dear movies at exactly rightmedia dot Com

1986
01:49:54,560 --> 01:49:58,920
Speaker 1: provided that I have time, but I love Bound, and I.

1987
01:49:58,520 --> 01:50:01,000
Speaker 2: If it fits into her calendar, she will will.

1988
01:50:02,160 --> 01:50:04,439
Speaker 1: I love Bound, and I'm so glad it got a

1989
01:50:04,479 --> 01:50:07,080
Speaker 1: Criterion release. It's so good, So that's my pick.

1990
01:50:07,240 --> 01:50:11,360
Speaker 2: It's really you can see why the Wakowskis were allowed

1991
01:50:11,360 --> 01:50:15,559
Speaker 2: to do a big budget blockbuster movie after making that movie.

1992
01:50:15,600 --> 01:50:19,840
Speaker 2: It's just so good, so good. I'm gonna pick another

1993
01:50:20,080 --> 01:50:22,840
Speaker 2: Paul Verhoven movie. It's actually I think the movie he

1994
01:50:22,880 --> 01:50:27,760
Speaker 2: made after Showgirls, and that is nineteen ninety seven's Starship Troopers.

1995
01:50:28,120 --> 01:50:30,320
Speaker 2: I can't believe he got such a big budget after

1996
01:50:30,520 --> 01:50:33,160
Speaker 2: the flop of Showgirls to make this movie. But he

1997
01:50:33,280 --> 01:50:36,200
Speaker 2: did exactly what he did with Showgirls. He's like, he

1998
01:50:36,280 --> 01:50:42,680
Speaker 2: made this like outrageous movie that no one understood and flopped.

1999
01:50:43,840 --> 01:50:48,800
Speaker 2: And Starship Troopers is so violent. It's the first R

2000
01:50:48,920 --> 01:50:52,880
Speaker 2: rated movie I ever saw. I was nine years old,

2001
01:50:53,520 --> 01:50:58,720
Speaker 2: and there's so much violence, there's nudity. It is really outrageous,

2002
01:50:59,080 --> 01:51:04,000
Speaker 2: and it's all about fascism and it's about a fascist

2003
01:51:04,160 --> 01:51:07,280
Speaker 2: state and this is what that looks like and why

2004
01:51:07,320 --> 01:51:10,439
Speaker 2: that is bad. But a lot of people did not

2005
01:51:10,520 --> 01:51:15,559
Speaker 2: understand that fascist commentary at the time, and uh yeah,

2006
01:51:15,640 --> 01:51:18,439
Speaker 2: but it is a really good sci fi movie with

2007
01:51:18,800 --> 01:51:24,840
Speaker 2: Denise Richards and Neil Patrick Harris and Casper what's his name,

2008
01:51:25,439 --> 01:51:29,879
Speaker 2: van Deen? Is that his name? Casper Van Deen, Jake Busey,

2009
01:51:30,240 --> 01:51:34,799
Speaker 2: Michael Ironside. It's amazing, Clancy Brown. I love this movie.

2010
01:51:34,840 --> 01:51:36,639
Speaker 2: I watched this movie all the time.

2011
01:51:36,760 --> 01:51:39,000
Speaker 1: Yeah, if you go back at our feed right now

2012
01:51:39,040 --> 01:51:41,720
Speaker 1: on Apple, I think there was an episode where I

2013
01:51:41,760 --> 01:51:43,960
Speaker 1: talked about I did Starship Troopers for I saw what

2014
01:51:44,000 --> 01:51:47,519
Speaker 1: you did and it was such it was such a

2015
01:51:47,520 --> 01:51:49,960
Speaker 1: blast to rewatch again. I mean I I mean it

2016
01:51:50,040 --> 01:51:52,920
Speaker 1: was hard to pick an employee pick because I definitely

2017
01:51:52,920 --> 01:51:56,120
Speaker 1: wanted to go to the Verhaven route initially, but you

2018
01:51:56,240 --> 01:51:58,120
Speaker 1: made a good choice, Starship Troops.

2019
01:51:58,160 --> 01:52:04,599
Speaker 2: Thank you, Starship Troopers. Love it amazing, what a great episode.

2020
01:52:05,200 --> 01:52:08,799
Speaker 2: Passionate aditions run high here on Deer Movies.

2021
01:52:08,800 --> 01:52:10,720
Speaker 1: I love you. Yeah. I think we're gonna have to

2022
01:52:10,760 --> 01:52:14,320
Speaker 1: do sec a sequel to this episode on our Instagram live,

2023
01:52:14,360 --> 01:52:17,879
Speaker 1: so check for those things if you are on the internet.

2024
01:52:18,400 --> 01:52:19,120
Speaker 2: Absolutely.

2025
01:52:19,520 --> 01:52:22,720
Speaker 1: Okay, So in the future, you know, usually we give

2026
01:52:22,760 --> 01:52:25,080
Speaker 1: out film advice. We didn't this time because we just

2027
01:52:25,120 --> 01:52:29,639
Speaker 1: were too chatty, but we love it when people write

2028
01:52:29,760 --> 01:52:32,680
Speaker 1: us and need recommendations, or if you want to talk

2029
01:52:32,720 --> 01:52:35,280
Speaker 1: about like a filmography for somebody, or if you've got

2030
01:52:35,280 --> 01:52:38,800
Speaker 1: a film gripe or a film consensual growth.

2031
01:52:39,240 --> 01:52:43,080
Speaker 2: Like a film consensual growth right, please.

2032
01:52:42,800 --> 01:52:46,519
Speaker 1: Do all of that at Dear Movies at exactlyrightmedia dot com.

2033
01:52:46,520 --> 01:52:49,280
Speaker 1: And if you want to, it would be great. If

2034
01:52:49,320 --> 01:52:53,120
Speaker 1: you want to leave us a voicemail, just record it

2035
01:52:53,160 --> 01:52:55,160
Speaker 1: on your phone and like the notes app or something

2036
01:52:55,200 --> 01:52:58,479
Speaker 1: like that or the voice memos app, and then send

2037
01:52:58,479 --> 01:52:59,880
Speaker 1: it to us. Make sure it's under a minute so

2038
01:52:59,880 --> 01:53:00,880
Speaker 1: we can actually play it.

2039
01:53:01,000 --> 01:53:04,760
Speaker 2: And yeah, So I love all the people that have

2040
01:53:04,840 --> 01:53:09,080
Speaker 2: written in and given us voicemails. Some really they're just great,

2041
01:53:09,200 --> 01:53:09,719
Speaker 2: great stuff.

2042
01:53:09,960 --> 01:53:11,720
Speaker 1: I was looking through the emails, by the way, like

2043
01:53:11,760 --> 01:53:13,400
Speaker 1: I don't I don't do this often, but I was like,

2044
01:53:13,439 --> 01:53:16,840
Speaker 1: I'm going to pop in the emails and somebody like,

2045
01:53:16,920 --> 01:53:20,080
Speaker 1: so obviously we're we got somebody that talked about how

2046
01:53:20,120 --> 01:53:23,559
Speaker 1: you were their unrequited crush because we talked about that. Yeah,

2047
01:53:23,560 --> 01:53:25,840
Speaker 1: and then somebody wrote me a love letter.

2048
01:53:26,400 --> 01:53:27,760
Speaker 2: Yeah, oh yeah, I forgot to report that.

2049
01:53:27,760 --> 01:53:29,880
Speaker 1: Oh thanks for telling me, because I was just sitting

2050
01:53:29,880 --> 01:53:31,519
Speaker 1: in there and I was like, damn, who wrote this?

2051
01:53:32,320 --> 01:53:35,519
Speaker 2: Yeah, so we're accepting love letters, people telling us they

2052
01:53:35,520 --> 01:53:38,400
Speaker 2: have crushes on us. We like all of that stuff

2053
01:53:38,439 --> 01:53:42,960
Speaker 2: a lot, and it won't be right on the show,

2054
01:53:43,520 --> 01:53:46,160
Speaker 2: but we do appreciate it. Well, maybe we'll read it

2055
01:53:46,160 --> 01:53:47,960
Speaker 2: on the show if it's really well written or something.

2056
01:53:48,000 --> 01:53:50,479
Speaker 2: But we accept all of that at Deer Movies at

2057
01:53:50,520 --> 01:53:54,000
Speaker 2: Executretmedia dot com. Uh, follow us on our socials at

2058
01:53:54,040 --> 01:53:56,679
Speaker 2: Deer Movies I Love You on Instagram and Facebook. Our

2059
01:53:57,120 --> 01:54:01,559
Speaker 2: letterbox handles are at Katie Leo Ryan and at end

2060
01:54:01,600 --> 01:54:03,880
Speaker 2: of Jericho. And you can listen to Dear Movies I

2061
01:54:03,880 --> 01:54:07,000
Speaker 2: Love You on the iHeartRadio app, Apple Podcasts or wherever

2062
01:54:07,040 --> 01:54:08,479
Speaker 2: you get your podcasts.

2063
01:54:08,800 --> 01:54:11,160
Speaker 1: That is right, Well, Casey, let's talk about next week.

2064
01:54:11,600 --> 01:54:13,799
Speaker 2: Oh my god, Yeah, we're doing a newer movie.

2065
01:54:13,880 --> 01:54:15,840
Speaker 1: We are, and I must feel like we had to

2066
01:54:15,960 --> 01:54:18,240
Speaker 1: because I had so many people in my life like

2067
01:54:18,320 --> 01:54:20,519
Speaker 1: send me a message and ask me my take on it,

2068
01:54:21,080 --> 01:54:22,639
Speaker 1: and so when I pitched it, I was like, CAZy,

2069
01:54:22,720 --> 01:54:24,519
Speaker 1: let's just do an episode about it because we're gonna

2070
01:54:24,560 --> 01:54:28,000
Speaker 1: have to. But we want to talk about the new

2071
01:54:28,080 --> 01:54:32,560
Speaker 1: movie that came out this year that was the follow

2072
01:54:32,640 --> 01:54:37,280
Speaker 1: up by the director Sline Song her film Past Lives

2073
01:54:37,280 --> 01:54:38,640
Speaker 1: that came out a few years ago. We're going to

2074
01:54:38,680 --> 01:54:45,400
Speaker 1: talk about Materialists, starring Dakota Johnson, Chris Evans, and Pedro Pascal.

2075
01:54:46,640 --> 01:54:49,160
Speaker 1: And it's going to be interesting because it's that very

2076
01:54:49,200 --> 01:54:51,000
Speaker 1: new movie came out very recently.

2077
01:54:51,160 --> 01:54:56,280
Speaker 2: So it's another kind of themeless episode. Well, we're just

2078
01:54:56,320 --> 01:54:59,760
Speaker 2: gonna really zero in on this movie and figure out

2079
01:54:59,760 --> 01:55:01,920
Speaker 2: what the the hell is going on because people are

2080
01:55:01,960 --> 01:55:02,680
Speaker 2: talking about it.

2081
01:55:03,600 --> 01:55:08,640
Speaker 1: Yeah, and it's yet another movie storing a love triangle

2082
01:55:08,840 --> 01:55:10,360
Speaker 1: of people. What's up of this?

2083
01:55:12,200 --> 01:55:14,000
Speaker 2: We'll see, We'll find out, all.

2084
01:55:14,040 --> 01:55:18,840
Speaker 1: Right, Casey, thanks again for your studying discourse on a

2085
01:55:18,880 --> 01:55:22,040
Speaker 1: masterpiece and I had a good.

2086
01:55:21,840 --> 01:55:25,200
Speaker 2: Time me too. Thank you Alisha Malone for being on

2087
01:55:25,200 --> 01:55:27,120
Speaker 2: the show. Great chatting with you.

2088
01:55:27,520 --> 01:55:29,280
Speaker 1: All Right, everyone, see you next time.

2089
01:55:29,800 --> 01:55:30,200
Speaker 2: Bye.

2090
01:55:32,520 --> 01:55:35,680
Speaker 1: This has been an exactly right production hosted by me

2091
01:55:36,120 --> 01:55:39,760
Speaker 1: Milli to Cherico and produced by my co host, Casey O'Brien.

2092
01:55:39,960 --> 01:55:43,760
Speaker 2: This episode was mixed by Tom Bryfogel. Our associate producer

2093
01:55:43,800 --> 01:55:47,160
Speaker 2: is Christina Chamberlain, our guest booker is Patrick Cottner, and

2094
01:55:47,200 --> 01:55:49,080
Speaker 2: our artwork is by Vanessa Lilac.

2095
01:55:49,240 --> 01:55:52,160
Speaker 1: Our incredible theme music is by the best man in

2096
01:55:52,200 --> 01:55:54,040
Speaker 1: the entire world, The Softies.

2097
01:55:54,320 --> 01:55:58,240
Speaker 2: Thank you to our executive producers Karen Kilgareth Georgia hart Stark,

2098
01:55:58,400 --> 01:56:00,400
Speaker 2: Daniel Kramer and Milli Cherco.

2099
01:56:00,680 --> 01:56:04,240
Speaker 1: We Love You Goodbye became