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Speaker 1: On the beck Dol Cast, the questions asked if movies

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

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Speaker 1: and husbands or do they have individualism? The patriarchy? Zef

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Speaker 1: invest start changing it with the Bedel Cast. Hello, welcome

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Speaker 1: to the Bechtel Cast. My name is Jamie, my name's Caitlin,

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Speaker 1: and this is our podcast of where we talk about

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Speaker 1: women in the movies. Yeah, that is exactly what it is,

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Speaker 1: and it's inspired by the Bechtel Test. You're not familiar

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Speaker 1: with that. It's yeah, throw yourself into a river, you'd

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Speaker 1: walk out the travel or or you can just learn

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Speaker 1: from us, because we're about to tell you that it's

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Speaker 1: a test that you apply to movies that requires that

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Speaker 1: there are two female characters. They speak to each other,

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Speaker 1: they have names, and their conversation cannot be about a man.

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Speaker 1: Do you want to do a demo really quick? I'd

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Speaker 1: love to. Okay, So here's an example of anything fast

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Speaker 1: the Bechtel test, Caitlin. Do you think that Meryl Streep

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Speaker 1: is happy? Jay? Me? I what is happiness? You know? Who?

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Speaker 1: Who am I to say whether or not Meryl Street

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Speaker 1: is happy? Meryl? Who? What did I say? Meryl Street

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Speaker 1: So that's an example of it past the Bactel test

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Speaker 1: because we didn't talk about a man. We talked about

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Speaker 1: a steamed actress, Meryl Street. But what if Meryl Street

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Speaker 1: is a man and I sucked it up? No, it's wrong.

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Speaker 1: There's she's well, Meryl Streep is a woman. We don't

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Speaker 1: know how they identify, right, we want to put Meryl

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Speaker 1: Street in the box. I wonder if Meryl Street is

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Speaker 1: seen Doubt. When are we gonna do a Doubt episode? Soon? Soon? Anyway?

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Speaker 1: So yeah, let's pretend that Meryl Street is a woman,

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Speaker 1: and the conversation definitely passed the Bectel tests. I've got

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Speaker 1: I'm about to break the Bantele test. I've got a

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Speaker 1: Mike's Harder lemonade in blood orange today. Yeah, it tastes

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Speaker 1: like tang with trash in it. It's good. It's good though,

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Speaker 1: it's good. Hey, do you want to have an episode?

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Speaker 1: I'd love to. Let's have an episode. Okay, let's introduce

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Speaker 1: our guest. He is a co creator and co star

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Speaker 1: of the upcoming show Corporate on Comedy Central. It's so good.

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Speaker 1: You can watch the first four ups. Now. It's Jake Wiseman.

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Speaker 1: Oh not too much. How about you loving the Meryl

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Speaker 1: Street stuff? Giggle a live stifle. If you're out there,

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Speaker 1: Meryl Street, find me on Twitter. Let's be friends. We'll

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Speaker 1: send you something. We don't have any merchandise to send

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Speaker 1: you something, it doesn't matter. We've got to get merch

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Speaker 1: I still have my hamsters corps in the freezer. I'll

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Speaker 1: send you that. Does anyone want that? Yeah, I've been

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Speaker 1: I've actually been struggling with what to do with it.

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Speaker 1: How often do you touch it once a day just

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Speaker 1: to check it? But it's in the But it's in

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Speaker 1: a bag, right, It's in a ball in a bag,

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Speaker 1: in a freezer, in a ball like a hamster ball. Oh,

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Speaker 1: it's in a ball in a bag, in a bag.

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Speaker 1: So that my roommates don't see that there's a hamster

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Speaker 1: corps in the freezer. Do they listen to this podcast? No?

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Speaker 1: I certainly don't. So now I have to design. I'm

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Speaker 1: torn between taxidermy and Hollywood Forever Cemetery. And I've been

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Speaker 1: putting it off for almost three weeks now, and I

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Speaker 1: don't know how much how long you can keep a

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Speaker 1: corpse in your freezer. Well, from experience, I'd say up

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Speaker 1: to a kidding. I don't know. No, I was really

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Speaker 1: on board for taxidermy, but then now now I don't

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Speaker 1: want my hamsters passing to be a joke. I loved her.

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Speaker 1: I kind of want to just bury her next to

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Speaker 1: Jea Jacobar, like my original plan with so what are

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Speaker 1: you gonna Are you gonna pay to bury? You're just

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Speaker 1: gonna go in there and just do it. Yeah, I

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Speaker 1: just need to find someone to go with me, and

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Speaker 1: I'll bring like a spoon and then just burrier somewhere

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Speaker 1: I'll go. Yeah, okay, come with fun. I think I'm busy,

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Speaker 1: but it sounds great. They're believable. No time specified. Okay, fine,

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Speaker 1: so what what are we? What's the podcast? We're talking

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Speaker 1: today about pulp fiction? This is wait, this is the

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Speaker 1: second was the first one you did? We did Kill Bill?

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Speaker 1: That was our first episode ever. Okay, yeah, alright, well

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Speaker 1: a woman is the lead of that. Yes, so this

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Speaker 1: is different. This is a little bit different. Tell us

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Speaker 1: when you first saw this or what your history with

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Speaker 1: this movie is. I think this movie came out If

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Speaker 1: I believe and so, I would have been eleven. I

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Speaker 1: do remember specifically when it came out. It was all

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Speaker 1: the rage. It was. It was a phenomenon. I remember

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Speaker 1: wanting to see it so badly and just pestering my

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Speaker 1: dad to see it, and he had already seen it.

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Speaker 1: Was everyone. I was talking about how great it was,

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Speaker 1: and he's like, we're going to the movies, but we

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Speaker 1: can't see pulp fiction. You're too young to see it.

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Speaker 1: We're going to see Nobody's Fool instead. Now Nobody's Fool

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Speaker 1: as a film starring Paul Newman and Melanie Griffith, and um,

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Speaker 1: I've seen it. It actually is a good movie. But

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Speaker 1: I was such a brat. I was an eleven year

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Speaker 1: year old prick and I was like, no, it's not fair.

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Speaker 1: You're not gonna let me see pulp fiction. I'm adult enough.

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Speaker 1: And I remember he took me to the He's like,

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Speaker 1: come on, we're going to the movies, and I was

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Speaker 1: in the backseat just whining. And we got to the

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Speaker 1: window and one of the best moments of my life.

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Speaker 1: I remember vividly, he goes to for pulp fiction and

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Speaker 1: I was like, oh my god, amazing long play. Now

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Speaker 1: here's the thing. I was definitely too young to see it,

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Speaker 1: and he made a mistake. He's a bad dad, and

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Speaker 1: that's why I'm so fucked up. But it was cool

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Speaker 1: to see it because it was so like, it was

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Speaker 1: such an incendiary movie. It changed filmmaking, it changed everything.

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Speaker 1: So that was my like, I do remember that moment,

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Speaker 1: and I've seen it, I think a hundred times. I

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Speaker 1: mean everyone's seen it a million times. It's just always on,

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Speaker 1: it's always talked about. It's like a cultural touchdown. Everyone's

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Speaker 1: trying to rip it off ever since it was like

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Speaker 1: fifty pulp fiction posters in any given college dorm building.

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Speaker 1: One of the issues with like a movie like that,

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Speaker 1: whether you let's say you love it, if you love

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Speaker 1: like a movie and it changes everything, the problem though,

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Speaker 1: is then every movie for the next twenty years is

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Speaker 1: a knockoff of that movie and it sucks. So that's

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Speaker 1: like the real problem with changing the game is just

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Speaker 1: like no one else can do it, but they're gonna

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Speaker 1: do it, and so that's annoying. Was that your first

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Speaker 1: rate at our movie? I don't think so. I like

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Speaker 1: kind of grew up fast Chott web six um and

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Speaker 1: just kind of every I've seen everything, I only watch our,

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Speaker 1: I've only seen ours. Wild that you probably saw The

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Speaker 1: Lion King and pulp fiction Yeah, I think I saw

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Speaker 1: what was the space Jam around that time. Yeah, I

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Speaker 1: mean fiction, it's brutal, like in rewatching it last night

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Speaker 1: just for this podcast, Like, oh this is this is insane,

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Speaker 1: this should be X. I think like this is like

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Speaker 1: a crazy thing. How could you explain this to anyone? Well,

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Speaker 1: the thing I feel like if a movie is rated

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Speaker 1: like n C seventeen or whatever, that's what you mean

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Speaker 1: by like I'm so old, I call it X. It

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Speaker 1: still sounds cooler. There's like bring back X. I feel

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Speaker 1: like a lot of X rated movies are rated that

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Speaker 1: way because there's some sort of there's like graphics sex

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Speaker 1: but usually not like hetero sex, a lot of well

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Speaker 1: and and just the idea that sex is like more

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Speaker 1: upsetting than violence. It's just like, what are we talking about? There?

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Speaker 1: There were on this view and because I haven't seen

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Speaker 1: this movie in a couple of years, there were entire large,

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Speaker 1: disturbing sections of this movie that I had totally forgotten about.

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Speaker 1: I had completely forgotten about the extended rape plot. Yeah,

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Speaker 1: with Marcela's who completely forgotten about it? Yeah, that was

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Speaker 1: jarring fully awake. Speaking of this movie, getting ripped off me,

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Speaker 1: I tell you about a student film that I made

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Speaker 1: that basically ripped off of pulp fiction. Yes please. It's

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Speaker 1: a roughly seven minutes short called Exchange centers around a

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Speaker 1: twenty dollar bill that has like an X marker, like

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Speaker 1: someone wrote an X with marker on the twenty dollar bill,

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Speaker 1: and it follows among all these different characters who each

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Speaker 1: have a certain vice, Like the one guy is like

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Speaker 1: a drug addict. They like roll it up and they

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Speaker 1: like use the twin dollar bill to snort cocaine. Another

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Speaker 1: one is like a gambling person or like a cheater.

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Speaker 1: I forget. Is it all the same dollar bill? Yes? Yeah,

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Speaker 1: but it connects all these characters and things like happen

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Speaker 1: out of chronological order. And I was just like, I'm

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Speaker 1: so fucking brilliant. You guys are making this stupid. Yeah,

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Speaker 1: I have not seen it in many years. I would

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Speaker 1: imagine it. We find it? Can we find? The director's

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Speaker 1: cut is on available for purchase on Amazon. Um No,

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Speaker 1: I have not put it on YouTube or anything like that.

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Speaker 1: I'm far too embarrassed for that. Got there's so much

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Speaker 1: embarrassing stuff just like buried out there. I have an

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Speaker 1: e book somewhere out there. It sucks that, like the

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Speaker 1: only way to do it now is to just be

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Speaker 1: so horrible in public and then you maybe get a

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Speaker 1: chance ten years later to do something good. Like that's

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Speaker 1: the only way to do anything is to be horrible,

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Speaker 1: but but for some reason need the validation and not

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Speaker 1: cared too much about the shame in an effort to

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Speaker 1: one day know what you're doing. But it's like horrible,

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Speaker 1: and all your horribleness is fully archived for the world

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Speaker 1: to kind when you get good at something. Yeah, I think,

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Speaker 1: Like I think also it's weird because I think a

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Speaker 1: large part of especially with filmmakers, there's this myth around

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Speaker 1: a lot of like male filmmakers like Kubrick and stuff,

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Speaker 1: where it's like they're perfect. That's not true. They just

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Speaker 1: didn't have YouTube, so they weren't like uploading the shitty

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Speaker 1: fucking student films they did. They were burning the negatives

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Speaker 1: of the stuffs that sucked and then only putting up

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Speaker 1: the stuff that worked, you know what I mean. And

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Speaker 1: now there's less of a myth. It's a lot of

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Speaker 1: just like, yeah, just be shitty and figure it out eventually,

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Speaker 1: Like that's what it is. Wouldn't it be amazing if

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Speaker 1: we had the option and like a filmography thing for

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Speaker 1: something to be parentheses lost, because that's like, yeah, that's

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Speaker 1: like the first couple of years of so many famous directors.

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Speaker 1: They're like, oh, we don't we don't know it's done.

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Speaker 1: It's like it probably was just bad and someone disposed

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Speaker 1: of it. If only that were an option. Well, I

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Speaker 1: definitely take down all my old danda videos of like

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Speaker 1: really dumb shout I've said, and fully there be found anyway.

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Speaker 1: So um, let's do it. Jamie. You've seen this movie

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Speaker 1: once before. What's your history with it. I've seen this movie.

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Speaker 1: I think this was maybe my third time seeing it.

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Speaker 1: I don't know. I mean, I'm late to every movie.

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Speaker 1: I've seen doubt five hundred times in every other movie once. Um,

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Speaker 1: I saw this movie in I want to say, maybe

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Speaker 1: late high school with some friends and everyone thought was

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Speaker 1: so fucking cool. And then I saw it again in college,

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Speaker 1: same deal. And I saw it last night and this

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Speaker 1: is like, I like this movie. I don't have any

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Speaker 1: particular attachment to it, but I like it. Sure. Yeah, yeah,

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Speaker 1: I saw it for the first time I think in

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Speaker 1: high school as well. I remember going to the video

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Speaker 1: store and being like, there are certain movies that I

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Speaker 1: just need to see because I was like, I'm going

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Speaker 1: to be a film major, I have to have seen

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Speaker 1: these movies. And I went and I rented Fargo, Pulp Fiction,

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Speaker 1: and The Princess Bride, three movies I had never seen before,

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Speaker 1: and I watched them. I was like, yeah, that was

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Speaker 1: like they were right, these movies are pretty good. Who's they?

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Speaker 1: You know? They? It was listical on the Guardian dot com.

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Speaker 1: There was one point where, Yeah, I would just like

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Speaker 1: look up lists that people I had heard of had

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Speaker 1: like made of things that they liked. I'm like, well,

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Speaker 1: I'll just go look at that and then spiral out

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Speaker 1: from there, which is like a misguided but sort of

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Speaker 1: effective way when you're very young to I think it's

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Speaker 1: a great way to do it. Yeah. I think it's

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Speaker 1: like the only I feel like everything I read or

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Speaker 1: watch is just interviews with people who make stuff. They're

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Speaker 1: also do that. Yeah, like that's kind of it. Like

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Speaker 1: I don't really know how else to do it because

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Speaker 1: I don't trust. I think sometimes when you take opinions

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Speaker 1: from good friends, there's a real danger there because a

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Speaker 1: lot of people that are smart have terrible taste, Like

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Speaker 1: they're just not not smart about entertainment, and you're like,

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Speaker 1: once you know what they like, Like, I'm having a

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Speaker 1: personal problem with people liking three billboards outside having Missouri,

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Speaker 1: and it's so horrible and I'm losing friendships. Like like

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Speaker 1: it's like I don't I don't want to know what

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Speaker 1: friends like. I just want to know what the cool

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Speaker 1: people like and then I then at least I will

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Speaker 1: be hurt when we disagree. You know, feel free to

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Speaker 1: go on your three boboard tiraded and we can talk

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Speaker 1: about that there. Yeah. I mean, my whole, like my

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Speaker 1: whole formative years were writing down anything that was mentioned

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Speaker 1: in this series of Unfortunate events books and then just

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Speaker 1: going to locate them. But it was actually very helpful,

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Speaker 1: and I like found out a lot of stuff that

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Speaker 1: I like and know about now because of those those

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Speaker 1: little books. All right, that's good. How cute? I like

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Speaker 1: those better than pulp fiction. Okay, sure, I'm gonna go home.

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Speaker 1: How would I do a recap of I'll fiction Caitlyn's recap.

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Speaker 1: So this is a movie in which the events do

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Speaker 1: not happen in chronological order. Are all this thing happens,

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Speaker 1: and then this thing happens, But then we flash it's

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Speaker 1: a whole thing, so bear in mind. So we start

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Speaker 1: out on a couple who are in a dire and die.

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Speaker 1: I cannot fucking talk to them to die. Meryl Street

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Speaker 1: is on Diner Street, so the movie diner Um. So

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Speaker 1: they're in a diner and they announced this is a robbery.

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Speaker 1: Then we cut to John, Hey, guys, actually this is

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Speaker 1: a robber, Actually a robbery. I know you thought I

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Speaker 1: know you though, you're just like dancing up PoCA. The

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Speaker 1: guns are real and we want you. We're still going

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Speaker 1: to pay for the meal, Okay. So then we cut

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Speaker 1: to John Travolta and Samuel and Jackson and they're talking

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Speaker 1: about Royal's with cheese. They're chatting, they're having a conversation. Yeah,

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Speaker 1: they're like, Wow, six minutes of dialogue equals revolutionary, pretty

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Speaker 1: amazing stuff. So they go to these people's apartment on

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Speaker 1: behalf of their boss, Marcellus Wallace, who is some sort

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Speaker 1: of organized crime mobster type of st bad element, right,

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Speaker 1: and they're there to collect a briefcase that's full of

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Speaker 1: light bobs. We don't know it's a mcguffin, And they

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Speaker 1: are trying to get the briefcase from these people who

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Speaker 1: have totally fucked over Marcella's Wallace, and then um John

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Speaker 1: Travolta and Samuel Jackson, whose character's names are Vincent Vega

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Speaker 1: and Jules win Field went Street win Street, Uh, they

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Speaker 1: shoot them up, and then we meet Butch played by

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Speaker 1: Bruce Willis. He's a boxer. We meet Marcella's Wallace and

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Speaker 1: he's like he basically gives him money to fix a fight.

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Speaker 1: And then this is a fun scene because Vincy Vega

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Speaker 1: and Jules wind Field slash wind Street show up in

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Speaker 1: different clothes when we saw them in before, and we're like,

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Speaker 1: what is this all about? Like, wait, is this perhaps

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Speaker 1: non linear? Oh my god? The phone. Then vince Vega

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Speaker 1: goes and buys heroin from Eric Stolt's. Then he takes

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Speaker 1: me and Wallace pretty straight. That part was just a documentary.

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Speaker 1: It's just bad writing. He got yeah, he got let

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Speaker 1: go of Back to the Future. He was the original dude.

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Speaker 1: He was supposed to be Marty McFly and they shot

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Speaker 1: most of the movie with him, and then he got

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Speaker 1: recast because he just he was just serious. He was

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Speaker 1: and you just shouldn't do that. He succeeded too hard.

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Speaker 1: People were threatened. So then Vincent Vega takes out Mia

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Speaker 1: Wallace played by Uma Thurman, which is Marcellis Wallace takes

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Speaker 1: out literally takes out for fun, for fun, not in

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Speaker 1: a murdering way. They go out dancing, They go to dinner,

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Speaker 1: it's a great time. They go back to her house.

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Speaker 1: She finds the heroine that he had bought in his pocket.

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Speaker 1: She starts at thinking it is cocaine. Then she o

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Speaker 1: d s and he has to go deal with that.

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Speaker 1: They go back to Eric Stoltz's house and she gets

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Speaker 1: an adrenaline shot. Then we cut to young Butch receiving

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Speaker 1: him but maybe that's my SoundCloud wrapper name. He receives

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Speaker 1: his dad's watch from Christopher Walking. He's like, your dad

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Speaker 1: hit this up his asshole for five years and now

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Speaker 1: I'm giving it to you, which is a great plot.

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Speaker 1: The whole time we were watching Chris Walking in this movie,

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Speaker 1: which he first of all made fun of me for

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Speaker 1: calling him Chris Walking. Yeah, Christie, it was actually goes

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Speaker 1: by Christie. Is he Chris Walking down the street? Christie?

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Speaker 1: He's yeah in Meryl Street. Okay. I was like, wait,

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Speaker 1: where are we connecting it? Um? I was just thinking

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Speaker 1: about his his scene in Julie the whole time I

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Speaker 1: was watching his scene. How many movies is Christopher walking in?

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Speaker 1: For exactly one scene? And actually the only two movies

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Speaker 1: he's ever been in. He's never been in any other movies.

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Speaker 1: Try to think of another one. Can you tell me things?

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Speaker 1: I believe it? It's not good there go back and

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Speaker 1: rewatch Christopher walkin scene and Julie he doesn't. She has

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Speaker 1: no idea he's in the movie. He thinks he's just

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Speaker 1: a visiting. They're just like, hey, do you want to

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Speaker 1: just talk to ben Affleck for like four minutes? And

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Speaker 1: he does. He's holding a cup from Crafty. He's holding

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Speaker 1: like a cup with a pattern on it, and he's

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Speaker 1: just in a suit. And it's like he thinks he's visiting.

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Speaker 1: He doesn't know he's he's never heard of that movie before.

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Speaker 1: No one has what happened to Natalie? Would Christopher walkin?

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Speaker 1: Tell us? He knows? He definitely huh, Anyway, what's happening

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Speaker 1: in the movie. So then we flash forward to adult Butch,

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Speaker 1: which is my rapper name, and were again old Butch

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Speaker 1: is a pretty good name. But closes at the show, Yeah,

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Speaker 1: I have an uncle away, I've talked about every time

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Speaker 1: I talk about my uncle Butch on the show, you

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Speaker 1: edit it out because he's a criminal. He's a con artist,

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Speaker 1: shot out to my con artist uncle. But okay. So

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Speaker 1: then in the next scene, we flash forward to adult

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Speaker 1: Butch and it's right after his boxing match and he

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Speaker 1: has not fixed the match like he promised he would.

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Speaker 1: He instead kills his opponent and he's fine with it,

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Speaker 1: and he runs away and he gets in this cab

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Speaker 1: where this woman's like, tell me what it's like to

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Speaker 1: kill a man? As Morelda, right, that's her name, feminist

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Speaker 1: icon as Morelda, because all she wants to all she

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Speaker 1: cares about is what it's like to kill men. Yeah,

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Speaker 1: I am on board, and it's like, yeah, go for it.

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Speaker 1: Find out, just turn back and snap Bruce's neck. Figure

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Speaker 1: it out. So then Butch goes to his girlfriend and

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Speaker 1: they ready to run away, but she's like, funk, I

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Speaker 1: forgot your watch and he's like, you stupid bitch, how

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Speaker 1: could you forget my father's watch? He flips it tastes

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Speaker 1: like you forgot the ass watch and he's mad. So um.

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Speaker 1: He goes by to his apartment, but Vincent Vegas, they're

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Speaker 1: ready to kill him and he finds his gun and

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Speaker 1: he shoots Vincent, and Vincent is dead now, and we're like,

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Speaker 1: wait a second, is this linear? Are we gonna see

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Speaker 1: this guy? What? I don't know? Then Bot runs into

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Speaker 1: Marcella's Wallace, who he had just fucked over for not

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Speaker 1: fixing the fight, and then they have this whole fight

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Speaker 1: where they like you like, runs Marcella's over with a car.

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Speaker 1: They end up in a pawn shop. Kathy Griffin is

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Speaker 1: did you see the Kathy Griffin fami? I'm sorry, but

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Speaker 1: when he when Marcellus Wallace wakes up and all the

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Speaker 1: like people are there with the person who talked to him,

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Speaker 1: is Kathy Griffin? Really? Yeah? The red haired help me.

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Speaker 1: He was crazy. It was over there all testified for you.

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Speaker 1: That's Kathy Griffin. Wow. Wow, I'm altered. That's excited. Didn't

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Speaker 1: mean interrupt, but that's a very Oh. I gotta find

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Speaker 1: that screenshot post haste. So they end up in a

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Speaker 1: pawn shop, bunch of Marcelli's and they're like scuffling, and

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Speaker 1: the pawn shop owners like, hang on a minute, let

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Speaker 1: me take you down to this sex dungeon. Sorry, we

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Speaker 1: were just looking at a screen again. That's quite all right,

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Speaker 1: I was just talking about a sex dungeon. So she

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Speaker 1: looks great. So this cop shows up. He gets a

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Speaker 1: gimp out of a cage and they're like, okay, time

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Speaker 1: for me to rape you. And then they that's my

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Speaker 1: new race. When you said that, I saw it as

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Speaker 1: time than the number four me the number two rape you.

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Speaker 1: That's how I thought it was a fully green, classic

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Speaker 1: green not to make light of rape. Okay, So buch

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Speaker 1: of Marcella's get all tied up. Marcella's gets raped by

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Speaker 1: this horrible rapist cop and then Butch is like, actually,

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Speaker 1: I'm going to fight my way out of this. So

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Speaker 1: he undoes his bondage. He has a sword, does he not?

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Speaker 1: He goes up because he's about to lead, punches the gimp.

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Speaker 1: He runs away and he's like, wait a minute, I

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Speaker 1: can't just let Marcellus suffer this horrible fate. So he

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Speaker 1: gets a sword from the punch up, goes back downstairs,

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Speaker 1: slices people up, fights for the cop, gets his dick

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Speaker 1: shot off in my favorite scene in the movie, and

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Speaker 1: then Marcellis and Butcher like we're cool. Then we cut

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Speaker 1: to Vincent and Juels at the apartment that we saw

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Speaker 1: them at before. Whoa this hoff? It's sure, isn't. This

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Speaker 1: isn't what I'm used to. So right another person who

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Speaker 1: he had not seen before comes out shoots at them

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Speaker 1: but misses, and then Jules has this like religious experience

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Speaker 1: where he's like, Wow, what a miracle. I'm going to

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Speaker 1: leave this life of organized crime and just like be

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Speaker 1: a nice boy. And then they take this guy Marvin

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Speaker 1: with I'm going to leave this life of organized crime

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Speaker 1: and be a nice boy. My name is Jules. So

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Speaker 1: they take this guy Marvin with him there in the car.

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Speaker 1: What if we made every person who had committed a

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Speaker 1: crime say, in a court of a lot, I'm going

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Speaker 1: to be a nice boy now. I know I missed up,

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Speaker 1: but I'm going to be a nice boy. Now a

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Speaker 1: girl or turn a non binary person, you know, all

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Speaker 1: everyone has to say nice boy. Okay. So they take

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Speaker 1: this guy Marvin who was at the apartment with them,

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Speaker 1: and because I guess they're all pals, and then Vincent

403
00:22:48,960 --> 00:22:51,800
Speaker 1: accidentally blows his head off with his gun. So then

404
00:22:51,800 --> 00:22:53,959
Speaker 1: they have to go to this guy Jimmy's house played

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Speaker 1: by our good friend Quentin Tarantino. I'm going to second

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Speaker 1: Quentin Tarantino, and then they call this guy Winston Wolf

407
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Speaker 1: Harvey Kitel and they're like, help us clean this up.

408
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Speaker 1: And they're like covered in blood from cleaning out the

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Speaker 1: all the crap out of the car. Then they have

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Speaker 1: to put on these different clothes. Whoa, those are the

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Speaker 1: clothes we saw them in a scene earlier in the

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Speaker 1: movie what And then Jules and Vincent go to a

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Speaker 1: diner for breakfast, the same one that we saw the

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Speaker 1: couple in at the very beginning of the movie. We

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Speaker 1: come full circles. We have done. Then there in the

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Speaker 1: middle of the robbery, and then basically Jules is like,

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Speaker 1: don't take this briefcase. It does not belong to you.

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Speaker 1: It's for my boss. He loves light bulbs. And then

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Speaker 1: he's just like, don't be be a nice boy. Basically

420
00:23:38,840 --> 00:23:40,760
Speaker 1: he's like being a nice boy. Don't be a robber,

421
00:23:41,000 --> 00:23:43,639
Speaker 1: be a nice boy. By And that's the end of

422
00:23:43,640 --> 00:23:48,679
Speaker 1: the movie, A nice boy by cut to credits. So

423
00:23:48,720 --> 00:23:53,119
Speaker 1: that is the story. Good recap, good recap. Thank you

424
00:23:53,840 --> 00:23:56,840
Speaker 1: did it. You did it, We all did it. It

425
00:23:56,880 --> 00:24:02,480
Speaker 1: was a group effort. Now now, now now that we

426
00:24:02,560 --> 00:24:05,160
Speaker 1: have that out of the way, what shall we discuss, Well,

427
00:24:05,200 --> 00:24:09,719
Speaker 1: we shall discuss the representation and portrayal of women. Well,

428
00:24:09,760 --> 00:24:13,439
Speaker 1: given that I apparently forgot large swaths of this movie.

429
00:24:13,840 --> 00:24:16,280
Speaker 1: There are a lot of female characters in this movie.

430
00:24:16,520 --> 00:24:18,400
Speaker 1: There are there's a lot of Yeah, there's a lot

431
00:24:18,400 --> 00:24:21,280
Speaker 1: to talk about. None of them are apart from me

432
00:24:21,480 --> 00:24:24,520
Speaker 1: A Wallace, I would argue none of them are main characters.

433
00:24:24,560 --> 00:24:26,320
Speaker 1: I would say most of them are more secondary or

434
00:24:26,320 --> 00:24:30,960
Speaker 1: even tertiary. Um, so hardly any of them have any

435
00:24:30,960 --> 00:24:34,040
Speaker 1: sort of influence in the story. In fact, I was

436
00:24:34,080 --> 00:24:36,439
Speaker 1: thinking about like how crucial women are to the story,

437
00:24:36,640 --> 00:24:39,359
Speaker 1: and what the female characters do to contribute to the

438
00:24:39,400 --> 00:24:41,600
Speaker 1: story and influence like the direction that the story takes.

439
00:24:41,600 --> 00:24:44,159
Speaker 1: Because in a movie like this, where there's like an

440
00:24:44,280 --> 00:24:47,639
Speaker 1: ensemble cast, it's really sort of hard to discern who

441
00:24:47,800 --> 00:24:50,840
Speaker 1: is the protagonist because there's like these little vignettes and

442
00:24:50,840 --> 00:24:55,679
Speaker 1: they're all connected. I would argue, no one main character. Okay,

443
00:24:55,880 --> 00:24:59,240
Speaker 1: so I think then it is safe to assume that

444
00:24:59,359 --> 00:25:01,960
Speaker 1: any actor in the movie could do something that would

445
00:25:02,040 --> 00:25:06,240
Speaker 1: significantly impact the story. However, all of the female characters

446
00:25:06,320 --> 00:25:09,080
Speaker 1: we see, none of them really do it in a

447
00:25:09,119 --> 00:25:12,040
Speaker 1: way that moves the story forward, or if they do,

448
00:25:12,359 --> 00:25:15,159
Speaker 1: it's a mistake they've made that the men have to correct.

449
00:25:15,240 --> 00:25:18,760
Speaker 1: For example, so we've got me and Wallace accidentally snorting

450
00:25:18,760 --> 00:25:21,760
Speaker 1: the heroine thinking it's cocaine, and Vincent has to take

451
00:25:21,800 --> 00:25:23,879
Speaker 1: her to his drug dealer to get the shot of

452
00:25:23,960 --> 00:25:26,920
Speaker 1: adrenaline so she doesn't odee and die. In other words,

453
00:25:26,960 --> 00:25:28,760
Speaker 1: she makes a mistake that a man has to fix.

454
00:25:28,960 --> 00:25:31,920
Speaker 1: So that actually watching at this time through was kind

455
00:25:31,920 --> 00:25:34,440
Speaker 1: of because I need the basic plot points. I knew

456
00:25:34,480 --> 00:25:36,719
Speaker 1: that she did that eventually, but the scenes leading up

457
00:25:36,720 --> 00:25:40,520
Speaker 1: to that, she is so in control and she's so active,

458
00:25:40,640 --> 00:25:44,359
Speaker 1: and then kind of at that moment when she makes

459
00:25:44,520 --> 00:25:48,560
Speaker 1: this mistake, she is like kind of damseled right away,

460
00:25:48,720 --> 00:25:52,240
Speaker 1: and um, all the action she's taken is sort of

461
00:25:52,560 --> 00:25:55,879
Speaker 1: totally back pedaled on and she I mean, yeah, women

462
00:25:55,920 --> 00:25:59,080
Speaker 1: are mostly reacting in this story, they're not pushing it.

463
00:25:59,520 --> 00:26:01,920
Speaker 1: What's interesting thing about that, because I was I've never

464
00:26:01,960 --> 00:26:04,359
Speaker 1: watched it from this perspective, because it's a movie based

465
00:26:04,359 --> 00:26:07,200
Speaker 1: in just entertainment. Like, it's clear Quentin Tarantino doesn't give

466
00:26:07,200 --> 00:26:09,560
Speaker 1: a shit about issues, right, He's just like he's trying

467
00:26:09,560 --> 00:26:11,720
Speaker 1: to entertain you. And that's part of the problem with

468
00:26:11,760 --> 00:26:13,320
Speaker 1: some of his movies. Or maybe all of them. But

469
00:26:13,920 --> 00:26:16,879
Speaker 1: it was interesting about the Mia Wallace thing. I was

470
00:26:16,920 --> 00:26:18,960
Speaker 1: thinking about it and I was like, oh, well, she's

471
00:26:19,000 --> 00:26:23,640
Speaker 1: introduced as Marcellus's wife, so that's like how she's introduced

472
00:26:23,680 --> 00:26:26,320
Speaker 1: as a wife, right. But she is such a bold,

473
00:26:26,520 --> 00:26:29,440
Speaker 1: strong character. Her haircut is just cool as ship. She's

474
00:26:29,600 --> 00:26:31,960
Speaker 1: very like, you know, she's leaving the conversation. She like

475
00:26:32,040 --> 00:26:34,359
Speaker 1: tells him too, as you were saying, Jamie, like she

476
00:26:34,359 --> 00:26:36,320
Speaker 1: tells him like you think of something to say, you know,

477
00:26:36,359 --> 00:26:38,760
Speaker 1: she's very active, and then she's like, I want to dance.

478
00:26:38,840 --> 00:26:43,000
Speaker 1: Let's dance. And also when when Vincent comes into her place,

479
00:26:43,240 --> 00:26:45,160
Speaker 1: she's like do this, do that? You know what I mean,

480
00:26:45,200 --> 00:26:47,760
Speaker 1: she's bossing him around, and she's picked the restaurant, she's

481
00:26:47,800 --> 00:26:51,840
Speaker 1: made the reservation, like she's five dollar shake. Yeah. But

482
00:26:52,359 --> 00:26:54,119
Speaker 1: I will say the thing about the heroine is it

483
00:26:54,240 --> 00:26:57,520
Speaker 1: is a man fixing the mistake. But also she takes

484
00:26:57,640 --> 00:27:00,919
Speaker 1: his drugs. She like takes what's not hers, which she

485
00:27:01,000 --> 00:27:04,040
Speaker 1: is active. I mean, I don't know what that means necessarily,

486
00:27:04,280 --> 00:27:06,760
Speaker 1: but she does sort of like move it forward with

487
00:27:07,160 --> 00:27:09,840
Speaker 1: like it wasn't necessarily a bad choice. It was just

488
00:27:09,920 --> 00:27:14,520
Speaker 1: like a genuine mistake. Because the powder is white, right right. Yeah.

489
00:27:14,680 --> 00:27:16,719
Speaker 1: I don't know the intricacies of the Bechdel test, so

490
00:27:16,800 --> 00:27:19,320
Speaker 1: I will learn a lot as we speak. But I

491
00:27:19,400 --> 00:27:22,600
Speaker 1: was but I guess it is him cleaning up that mess.

492
00:27:23,040 --> 00:27:25,399
Speaker 1: But it felt that felt the most okay with a

493
00:27:25,440 --> 00:27:29,320
Speaker 1: female character because she at the end still I feel

494
00:27:29,359 --> 00:27:31,560
Speaker 1: like she still had the ability to like funk Vincent

495
00:27:31,680 --> 00:27:33,600
Speaker 1: over if she told Marcella's But then she was like,

496
00:27:33,640 --> 00:27:36,680
Speaker 1: but then she would die basically if she told him, right,

497
00:27:36,880 --> 00:27:39,920
Speaker 1: which he didn't totally believe. There's like that exchange they

498
00:27:39,960 --> 00:27:42,600
Speaker 1: have after she has revived, and you know, she's like, well,

499
00:27:42,600 --> 00:27:44,080
Speaker 1: I'm not going to tell him because I'd be sucked

500
00:27:44,119 --> 00:27:45,679
Speaker 1: over too, and he's like, well, you wouldn't be as

501
00:27:45,720 --> 00:27:48,560
Speaker 1: fucked over as I would. But she very well made

502
00:27:48,600 --> 00:27:50,600
Speaker 1: because at this point we haven't met Marcel's. We don't

503
00:27:50,600 --> 00:27:52,479
Speaker 1: know what kind of person he is, so what so

504
00:27:52,520 --> 00:27:54,520
Speaker 1: what do you What I was curious about there was

505
00:27:54,560 --> 00:27:56,280
Speaker 1: what do you think would have happened to her that

506
00:27:56,400 --> 00:27:59,000
Speaker 1: she did the drugs? Like that was the problem that

507
00:27:59,040 --> 00:28:02,360
Speaker 1: she's a drug addict and he wouldn't like that. I mean,

508
00:28:02,400 --> 00:28:05,399
Speaker 1: I got the impression that he probably knew that she

509
00:28:05,600 --> 00:28:08,800
Speaker 1: was using drugs. I mean, they're into all sorts of

510
00:28:08,960 --> 00:28:13,920
Speaker 1: you know, like illicit behaviors. But for me, my immediate

511
00:28:14,000 --> 00:28:18,639
Speaker 1: instinct and it's not really followed up on, but I

512
00:28:18,640 --> 00:28:21,560
Speaker 1: thought it was because she did it with a man,

513
00:28:21,920 --> 00:28:24,280
Speaker 1: and like there there's like some sort of well he

514
00:28:24,680 --> 00:28:27,760
Speaker 1: Marcella paid Vincent to take her out and show her

515
00:28:27,760 --> 00:28:31,240
Speaker 1: a good time, basically quote unquote fucked up, even though

516
00:28:31,520 --> 00:28:34,280
Speaker 1: it was kind of out of both of their control. Right,

517
00:28:34,359 --> 00:28:36,960
Speaker 1: So yeah, it's sort of like we can presume that

518
00:28:37,040 --> 00:28:39,600
Speaker 1: like that Marcella's was like take care of her, make

519
00:28:39,640 --> 00:28:43,320
Speaker 1: sure she's safe while I'm gone, because she needs looked after,

520
00:28:43,880 --> 00:28:46,160
Speaker 1: because you're a man and she's a woman and she

521
00:28:46,240 --> 00:28:49,600
Speaker 1: needs protection. But which is why he's doing that in

522
00:28:49,600 --> 00:28:52,200
Speaker 1: the first place, right, right, right, But well, yeah, so

523
00:28:52,400 --> 00:28:54,720
Speaker 1: the way me and Wallace is introduced, like you said,

524
00:28:55,000 --> 00:28:57,600
Speaker 1: Jules and Vincent are talking about her, and they have

525
00:28:57,680 --> 00:28:59,960
Speaker 1: that whole conversation about this guy being thrown out of

526
00:29:00,080 --> 00:29:03,120
Speaker 1: window because he gave her a foot massage. So like

527
00:29:03,320 --> 00:29:06,520
Speaker 1: we hear about this character. I think the point of

528
00:29:06,520 --> 00:29:10,680
Speaker 1: the conversation is to maybe show how much of a

529
00:29:10,760 --> 00:29:14,280
Speaker 1: force to be reckoned with Marcellus Wallace I think definitely

530
00:29:14,400 --> 00:29:17,400
Speaker 1: more like because she's the possession that no one can

531
00:29:17,480 --> 00:29:22,239
Speaker 1: funk with, which basically just objectifies her. She's introduced as

532
00:29:22,280 --> 00:29:24,360
Speaker 1: the wife, right right, right, but I think to be

533
00:29:24,440 --> 00:29:27,520
Speaker 1: the wife of this man Marcella's, and Marcella's is a

534
00:29:27,600 --> 00:29:31,600
Speaker 1: very intense character. He's like, you know, immediately legendary because

535
00:29:31,600 --> 00:29:34,560
Speaker 1: also like the way he's introduced, it's not even on him.

536
00:29:34,600 --> 00:29:36,360
Speaker 1: You don't even see him the way he's introduced. You

537
00:29:36,360 --> 00:29:38,520
Speaker 1: hear his voice, you're just looking at Bruce wellis his

538
00:29:38,560 --> 00:29:40,120
Speaker 1: head and the back of his head. It's like the

539
00:29:40,360 --> 00:29:41,959
Speaker 1: what the mark of the beast or something like that?

540
00:29:42,000 --> 00:29:43,960
Speaker 1: Is that what the band aid is? I always thought

541
00:29:44,000 --> 00:29:45,719
Speaker 1: that's what it was because it's connected to like the

542
00:29:45,760 --> 00:29:48,240
Speaker 1: thing that was in the suitcase, which I feel like

543
00:29:48,280 --> 00:29:50,720
Speaker 1: it's a human soul or something, and like, but I

544
00:29:50,760 --> 00:29:52,400
Speaker 1: think the band aid is supposed to be. That's where

545
00:29:52,400 --> 00:29:55,280
Speaker 1: you like the devil Enters or some bullshit like that.

546
00:29:55,280 --> 00:29:57,080
Speaker 1: That's like something that there's some reason why there's a

547
00:29:57,120 --> 00:29:59,760
Speaker 1: band aid there and then know about that sort of method.

548
00:29:59,880 --> 00:30:01,560
Speaker 1: But he's like, you know, this really intense character, So

549
00:30:01,640 --> 00:30:04,680
Speaker 1: you're like yeah, and like if you're like a drug

550
00:30:04,880 --> 00:30:11,560
Speaker 1: underlordd or overlord. Why would correct because it's like the underworld,

551
00:30:11,680 --> 00:30:18,480
Speaker 1: but you're an overlord, the overlord of the underworld. But yeah,

552
00:30:18,640 --> 00:30:21,120
Speaker 1: it's interesting because like that woman is never gonna be

553
00:30:21,920 --> 00:30:26,000
Speaker 1: if it's a male like drug peddler, it's probably not

554
00:30:26,040 --> 00:30:28,160
Speaker 1: going to be like like he's going to be stronger

555
00:30:28,160 --> 00:30:30,640
Speaker 1: than the female character most of the time, right, Like,

556
00:30:30,720 --> 00:30:33,800
Speaker 1: so she's like a kept woman to some degree. Right,

557
00:30:33,880 --> 00:30:36,160
Speaker 1: But I mean, I think that that's like an interesting

558
00:30:36,760 --> 00:30:40,240
Speaker 1: writing choice that's made in this movie. And again it's

559
00:30:40,280 --> 00:30:43,160
Speaker 1: hard to tell, especially with like early Quentin Tarantino, how

560
00:30:43,240 --> 00:30:47,040
Speaker 1: intentionally it's actually done. But it's like we do first

561
00:30:47,120 --> 00:30:50,920
Speaker 1: year about Mia Wallace as basically the property of Marcella

562
00:30:51,040 --> 00:30:53,040
Speaker 1: that you do not funk with. But then we meet

563
00:30:53,040 --> 00:30:55,320
Speaker 1: her and we do learn more about her background. We

564
00:30:55,400 --> 00:30:58,000
Speaker 1: learned that she was an actress Wheeler. There's more depth

565
00:30:58,080 --> 00:31:00,600
Speaker 1: to her, and she's very open and she takes control

566
00:31:00,640 --> 00:31:02,560
Speaker 1: of the situation. And that was kind of like a

567
00:31:02,600 --> 00:31:06,480
Speaker 1: fun or interesting inversion of getting to know a character

568
00:31:06,600 --> 00:31:11,160
Speaker 1: that is introduced to us as property. But then the well,

569
00:31:11,160 --> 00:31:12,800
Speaker 1: the scene I want to talk about that that really

570
00:31:12,800 --> 00:31:15,480
Speaker 1: bugged me when we were watching it was when she

571
00:31:15,560 --> 00:31:18,719
Speaker 1: does overdose, and then John Travolta brings her to Eric

572
00:31:18,760 --> 00:31:22,720
Speaker 1: Stulton's hounds, where there are god I don't know what

573
00:31:22,800 --> 00:31:27,240
Speaker 1: their names are, but they have names. That scene bugged

574
00:31:27,280 --> 00:31:30,240
Speaker 1: me because I was like, in any like in any

575
00:31:30,320 --> 00:31:33,760
Speaker 1: realistic world, the two women in that scene would have

576
00:31:33,880 --> 00:31:37,640
Speaker 1: resolved that problem and way faster than John Travolta and

577
00:31:37,720 --> 00:31:41,200
Speaker 1: Eric Stults would have and watching them sidelined in that

578
00:31:41,240 --> 00:31:45,360
Speaker 1: scene those frustratustrated me because and they were intentionally sidelined

579
00:31:45,760 --> 00:31:51,200
Speaker 1: for whatever reason, but like they are at least Eric Stults,

580
00:31:51,280 --> 00:31:55,320
Speaker 1: I think girl friend in that scene his wife, his wife.

581
00:31:57,840 --> 00:32:00,840
Speaker 1: She is in the background of the era Seine watching

582
00:32:00,880 --> 00:32:04,440
Speaker 1: it happened very passively, and I don't know like that

583
00:32:04,520 --> 00:32:07,760
Speaker 1: she's sort of well, she's like kind of screaming, and

584
00:32:07,920 --> 00:32:10,920
Speaker 1: Eric Stultz's character, she's sort of depicted as a shrewd,

585
00:32:10,960 --> 00:32:13,200
Speaker 1: but like, why did you bring her here? Like very

586
00:32:13,280 --> 00:32:18,040
Speaker 1: just like nagging and screaming and combative and just difficult

587
00:32:18,080 --> 00:32:21,320
Speaker 1: to deal with. And then her friend Trudy is like,

588
00:32:21,600 --> 00:32:23,920
Speaker 1: for sure, very passive, to the point where she's literally

589
00:32:24,000 --> 00:32:27,800
Speaker 1: just sitting on the couse. Yeah, like she's like team

590
00:32:27,840 --> 00:32:30,120
Speaker 1: there is I thought I did think that like watching

591
00:32:30,120 --> 00:32:32,640
Speaker 1: it this time, like because that wasn't the first time

592
00:32:32,640 --> 00:32:34,240
Speaker 1: I was in arquettes in the movie, She's in it

593
00:32:34,280 --> 00:32:36,240
Speaker 1: the first time he goes there to buy the heroine

594
00:32:36,760 --> 00:32:39,200
Speaker 1: and she is like, she's a wife, and then for

595
00:32:39,560 --> 00:32:41,960
Speaker 1: no real reason, Eric Stults is just kind of a

596
00:32:41,960 --> 00:32:43,520
Speaker 1: piece of ship to her, you know what I mean,

597
00:32:43,560 --> 00:32:45,800
Speaker 1: Like he's just kind of like fuck you. There was

598
00:32:45,840 --> 00:32:48,560
Speaker 1: a really cool moment though, in the Senior were just

599
00:32:48,600 --> 00:32:51,840
Speaker 1: talking about when they stabbed Mia Wallace's heart with adrenaline

600
00:32:51,840 --> 00:32:54,560
Speaker 1: where it made me laugh so hard this time where

601
00:32:54,960 --> 00:32:57,840
Speaker 1: just before like John Trabalta is holding up the ajournalist

602
00:32:57,960 --> 00:33:00,560
Speaker 1: Ari stoltis county three and there's a shot of Rosanna

603
00:33:00,640 --> 00:33:03,880
Speaker 1: ar Kid's face where she's like almost like sexually interested

604
00:33:03,920 --> 00:33:05,360
Speaker 1: in the moment, you know what I mean, She's like

605
00:33:06,400 --> 00:33:08,239
Speaker 1: And that was cool because I was like, that's an

606
00:33:08,280 --> 00:33:10,800
Speaker 1: active choice for her to just be like a fucking

607
00:33:10,840 --> 00:33:14,800
Speaker 1: crazy pervert kind of. And I did enjoy that part

608
00:33:14,800 --> 00:33:16,520
Speaker 1: where I was like, Okay, at least she's like a

609
00:33:16,640 --> 00:33:19,000
Speaker 1: sick oh, you know what I mean, I didn't even

610
00:33:19,000 --> 00:33:21,640
Speaker 1: notice that. It's really funny. It made me. I was

611
00:33:21,640 --> 00:33:23,480
Speaker 1: watching with the female friend and we both laughed really

612
00:33:23,480 --> 00:33:25,120
Speaker 1: hard about it. It was just like it was just

613
00:33:25,160 --> 00:33:28,320
Speaker 1: like kind of random but funny. Yeah, it was like,

614
00:33:28,360 --> 00:33:32,000
Speaker 1: I'm gonna see some ship right now. Also, in Eric

615
00:33:32,040 --> 00:33:36,520
Speaker 1: Stiltson Rosanna Arquette's house, there's a board game called Chauvinist Pigs.

616
00:33:36,880 --> 00:33:38,640
Speaker 1: Really in the back of a shot a lot of

617
00:33:38,640 --> 00:33:42,360
Speaker 1: board games there. There's yeah, it's funny. Yeah that when

618
00:33:42,440 --> 00:33:45,720
Speaker 1: he's looking for the for the black medical book that

619
00:33:45,760 --> 00:33:49,040
Speaker 1: he's screaming about for a good portion of that scene there,

620
00:33:49,160 --> 00:33:51,880
Speaker 1: he walks past this board game called Chauvin's Pigs. Didn't

621
00:33:51,920 --> 00:33:54,440
Speaker 1: notice that either. Again, it's like, well, probably not an

622
00:33:54,440 --> 00:33:57,800
Speaker 1: intentional choice, but I enjoyed it. Sure, um so I

623
00:33:57,800 --> 00:34:00,160
Speaker 1: want to go back to me Wallace. So she is

624
00:34:00,200 --> 00:34:03,600
Speaker 1: initially framed as like this person who's talked about but

625
00:34:03,640 --> 00:34:06,400
Speaker 1: not seen as like, oh, the property of this bad

626
00:34:06,440 --> 00:34:08,359
Speaker 1: guy who's scary and you don't want to funk with her,

627
00:34:08,480 --> 00:34:09,960
Speaker 1: touch her fee because I'll throw you out of a

628
00:34:09,960 --> 00:34:12,120
Speaker 1: window sort of thing. And then we do meet her,

629
00:34:12,440 --> 00:34:14,640
Speaker 1: and like you said, she's kind of she's got a

630
00:34:14,640 --> 00:34:17,080
Speaker 1: lot of autonomy. She's kind of bossing him around, like

631
00:34:17,120 --> 00:34:19,239
Speaker 1: go make yourself a drink, do this, do that, take

632
00:34:19,280 --> 00:34:21,600
Speaker 1: me out, I want to dance, making choices, and we

633
00:34:21,640 --> 00:34:25,120
Speaker 1: also see her she has a personality unlike so many

634
00:34:25,120 --> 00:34:29,400
Speaker 1: female characters we encounter in so many movies, where we

635
00:34:29,440 --> 00:34:31,840
Speaker 1: can get a sense of who she is as a person.

636
00:34:32,480 --> 00:34:35,319
Speaker 1: I would argue the most memorable character from that movie,

637
00:34:36,080 --> 00:34:38,080
Speaker 1: Like I think in pop culture, she's on the she's

638
00:34:38,080 --> 00:34:40,680
Speaker 1: on the poster. Yeah, And I think she's the one

639
00:34:40,760 --> 00:34:42,959
Speaker 1: that I think about, like her hair cut and her eye,

640
00:34:42,960 --> 00:34:47,840
Speaker 1: like you subjects, and I think they're kind of tied

641
00:34:47,880 --> 00:34:50,919
Speaker 1: for first yeah, yeah, which is great. And and when

642
00:34:50,960 --> 00:34:54,040
Speaker 1: you sort of pit them against each other in terms

643
00:34:54,040 --> 00:34:57,120
Speaker 1: of screen time, it's all the more impressive because she's

644
00:34:57,160 --> 00:35:00,320
Speaker 1: not in the movie a ton. It's more Slay the

645
00:35:00,360 --> 00:35:02,160
Speaker 1: Top path that she was the only other time she's

646
00:35:02,160 --> 00:35:04,160
Speaker 1: in the movie is when she's like in a bathing suit,

647
00:35:04,239 --> 00:35:06,799
Speaker 1: just catering to her husband by the pool. You ever

648
00:35:06,880 --> 00:35:08,920
Speaker 1: that I wasn't sure if that was her. You almost

649
00:35:08,920 --> 00:35:11,920
Speaker 1: don't realize it's her, um, but she's just like the wife.

650
00:35:12,120 --> 00:35:14,279
Speaker 1: I just thought maybe that was another woman that, like

651
00:35:14,320 --> 00:35:18,160
Speaker 1: a side loves his wife. I think he loves his wife.

652
00:35:18,480 --> 00:35:22,600
Speaker 1: I think, yeah, I think he does. I don't know,

653
00:35:22,719 --> 00:35:25,400
Speaker 1: he just does not how to show it but then say, no,

654
00:35:25,719 --> 00:35:28,960
Speaker 1: he's got to learn he's in the salt victim, right,

655
00:35:29,239 --> 00:35:32,600
Speaker 1: it's true or Marsalis. But the other thing I want

656
00:35:32,640 --> 00:35:35,919
Speaker 1: to say about that scene in the restaurant is that

657
00:35:36,200 --> 00:35:39,759
Speaker 1: Mia dispels the rumor that a guy was thrown out

658
00:35:39,760 --> 00:35:42,200
Speaker 1: of a window because he touched her feet. She's like,

659
00:35:42,440 --> 00:35:46,000
Speaker 1: do you really believe that? Like that's absurd, and whether

660
00:35:46,080 --> 00:35:49,960
Speaker 1: or not we if it happened that way, because she

661
00:35:49,960 --> 00:35:52,520
Speaker 1: she could easily be lying and being like that, well

662
00:35:52,560 --> 00:35:55,919
Speaker 1: that's crazy, because it is crazy, but she at least

663
00:35:56,000 --> 00:35:58,840
Speaker 1: stands up for herself. I also thought one of the

664
00:35:58,840 --> 00:36:01,080
Speaker 1: cool lines about that because that that scene was really

665
00:36:01,080 --> 00:36:04,240
Speaker 1: interesting where she goes the only time he ever touched

666
00:36:04,280 --> 00:36:06,480
Speaker 1: me was when he shook my hand at my wedding,

667
00:36:06,719 --> 00:36:08,720
Speaker 1: which I thought was a very like that was cool.

668
00:36:08,840 --> 00:36:11,120
Speaker 1: That was like a very intentional choice because it could

669
00:36:11,120 --> 00:36:14,319
Speaker 1: have been a huge but that was a power move. Yeah,

670
00:36:14,400 --> 00:36:16,400
Speaker 1: that was great. I don't know. I mean that whole

671
00:36:16,440 --> 00:36:21,760
Speaker 1: conversation she's completely in, like John Travolta is like in

672
00:36:21,840 --> 00:36:27,040
Speaker 1: her hands entirely, Like she steers that conversation entirely, and

673
00:36:27,080 --> 00:36:29,640
Speaker 1: also like it sounds like she doesn't even know exactly

674
00:36:30,120 --> 00:36:34,120
Speaker 1: what happened. The comment she makes about when men talk

675
00:36:34,200 --> 00:36:37,000
Speaker 1: about things it's like a sewing circle. That was like

676
00:36:37,160 --> 00:36:40,440
Speaker 1: a really fun line in that particular exchange where she's

677
00:36:40,560 --> 00:36:44,000
Speaker 1: you know, directly taking a rude comment usually directed at

678
00:36:44,040 --> 00:36:47,959
Speaker 1: women and saying it to John TRAVLTA great loved it. Yeah, yeah, yeah.

679
00:36:48,040 --> 00:36:50,360
Speaker 1: What she says is when you little scamps get together,

680
00:36:50,400 --> 00:36:53,080
Speaker 1: you're worse than a sewing circle. I love the use

681
00:36:53,080 --> 00:36:55,840
Speaker 1: of the word scamps. Yeah, and then scams can be

682
00:36:55,880 --> 00:36:59,840
Speaker 1: thrown in I'm there good. So then following that scene

683
00:36:59,840 --> 00:37:03,440
Speaker 1: in restaurant, they go back to her house, she invites

684
00:37:03,640 --> 00:37:06,600
Speaker 1: Vincent Vega and and he is like, I gotta go

685
00:37:06,640 --> 00:37:08,839
Speaker 1: to the bathroom and talk myself out of trying to

686
00:37:08,880 --> 00:37:11,200
Speaker 1: fuck her, because that's clearly what he wants to do.

687
00:37:11,360 --> 00:37:13,800
Speaker 1: That's clear what what I think he thinks she wants

688
00:37:13,800 --> 00:37:16,239
Speaker 1: to do. And that's how like how I read that

689
00:37:16,480 --> 00:37:19,919
Speaker 1: was because there's that moment where like they're at the door,

690
00:37:20,120 --> 00:37:22,120
Speaker 1: she's in control, it's her night, you know what I mean,

691
00:37:22,200 --> 00:37:24,279
Speaker 1: and like he I think clearly wants to sleep with her.

692
00:37:24,280 --> 00:37:29,000
Speaker 1: She's portrayed as this like sexual you know, she's like impressive. Yeah,

693
00:37:29,000 --> 00:37:31,440
Speaker 1: and it's just like she's cool and like she's in charge.

694
00:37:31,760 --> 00:37:33,680
Speaker 1: But I thought, you know, there's that moment where they're

695
00:37:33,680 --> 00:37:35,080
Speaker 1: in the door and they're looking at each other's eyes,

696
00:37:35,080 --> 00:37:37,080
Speaker 1: and he's like, is that what you call an uncomfortable silence?

697
00:37:37,120 --> 00:37:38,759
Speaker 1: And she's like, I don't know what that was, you know,

698
00:37:38,800 --> 00:37:40,560
Speaker 1: I don't know what you'd call that. So I feel

699
00:37:40,600 --> 00:37:42,680
Speaker 1: like she's like, you're gonna stick around, We're gonna do this.

700
00:37:42,880 --> 00:37:45,439
Speaker 1: I think she wants that. I don't think she's gonna

701
00:37:45,440 --> 00:37:48,160
Speaker 1: fuck him, but I did feel like she wants to

702
00:37:48,200 --> 00:37:49,799
Speaker 1: be flirted with, you know what I mean, Like she

703
00:37:49,840 --> 00:37:52,520
Speaker 1: wants that attention whatever she's not getting from Marcellus, because

704
00:37:52,520 --> 00:37:54,520
Speaker 1: why the fund isn't he taking her out? You know

705
00:37:54,560 --> 00:37:57,160
Speaker 1: what I mean? I still felt like I think he

706
00:37:57,239 --> 00:37:59,640
Speaker 1: felt like I want to do this, but I obviously

707
00:37:59,640 --> 00:38:02,280
Speaker 1: should didn't. But I did feel like I still felt

708
00:38:02,560 --> 00:38:06,640
Speaker 1: like she was guiding that. Possibly, I'm more interpreted as

709
00:38:06,680 --> 00:38:10,040
Speaker 1: like they were hanging out. She's all high, un coke,

710
00:38:10,080 --> 00:38:12,319
Speaker 1: they're drinking, and he has to be like, well, I

711
00:38:12,360 --> 00:38:15,040
Speaker 1: have an opportunity, possibly, but I'm not going to act

712
00:38:15,080 --> 00:38:17,080
Speaker 1: on it because that would be a betrayal. Of trust

713
00:38:17,120 --> 00:38:19,600
Speaker 1: to my boss Marcellus. So he's like talking to himself

714
00:38:19,600 --> 00:38:22,040
Speaker 1: in the mirror for who knows how long long enough,

715
00:38:24,239 --> 00:38:27,080
Speaker 1: but yeah, he's like but he's like, you're just gonna

716
00:38:27,080 --> 00:38:29,239
Speaker 1: go home and jerk off and just go to bed.

717
00:38:29,480 --> 00:38:31,760
Speaker 1: And then he comes out and she has already snorted

718
00:38:31,800 --> 00:38:33,680
Speaker 1: the heroine and then he has to like jump to

719
00:38:33,719 --> 00:38:37,439
Speaker 1: action to go save her. I interpreted that scene as

720
00:38:37,920 --> 00:38:41,239
Speaker 1: she was manipulating him a little bit, a little bit

721
00:38:41,239 --> 00:38:44,319
Speaker 1: for attention, but also just because she has known the

722
00:38:44,320 --> 00:38:47,000
Speaker 1: whole night that he'll basically do whatever she tells him

723
00:38:47,040 --> 00:38:50,000
Speaker 1: to do, because throughout the night she you know, wants

724
00:38:50,040 --> 00:38:52,279
Speaker 1: to compete in this dance competition. He's like, okay, we'll

725
00:38:52,320 --> 00:38:54,800
Speaker 1: do it. She's like, think of something to say. He's like, okay,

726
00:38:54,840 --> 00:38:57,200
Speaker 1: I'll do it. So she's I think at the beginning

727
00:38:57,239 --> 00:38:59,880
Speaker 1: that seems still fully in control. And then to me,

728
00:39:00,080 --> 00:39:02,720
Speaker 1: that scene where more gn Tribles is talking to himself

729
00:39:02,760 --> 00:39:06,680
Speaker 1: for forty five minutes is like him trying to convince

730
00:39:06,760 --> 00:39:09,000
Speaker 1: himself that he's the one in control and he's the

731
00:39:09,040 --> 00:39:11,080
Speaker 1: one who's going to make the choice, like am I

732
00:39:11,160 --> 00:39:13,399
Speaker 1: going to fuck her? I have to decide what I'm

733
00:39:13,440 --> 00:39:16,480
Speaker 1: going to do when it's sort of made clear that

734
00:39:16,680 --> 00:39:19,800
Speaker 1: entire sequence that he's not the person who's in control

735
00:39:19,800 --> 00:39:22,920
Speaker 1: of he's kind of like a dork there. Yeah, that's

736
00:39:23,239 --> 00:39:25,000
Speaker 1: kind of made to be a dork where she's just

737
00:39:25,080 --> 00:39:27,560
Speaker 1: like That's why I thought it's interesting because he doesn't

738
00:39:27,560 --> 00:39:29,680
Speaker 1: have to save her, but he's not very good at it,

739
00:39:29,840 --> 00:39:31,360
Speaker 1: like he kind of like he barely does it. But

740
00:39:31,400 --> 00:39:33,440
Speaker 1: I just thought it was such an active choice for

741
00:39:33,480 --> 00:39:36,440
Speaker 1: her to steal his drugs like this is mine. And

742
00:39:36,480 --> 00:39:39,959
Speaker 1: that leans into like the whole manipulative thing too, of like, oh, well,

743
00:39:40,000 --> 00:39:43,000
Speaker 1: why you're like trying to talk yourself out of thinking

744
00:39:43,000 --> 00:39:45,000
Speaker 1: that you could fuck me if you wanted to, which

745
00:39:45,040 --> 00:39:48,160
Speaker 1: who knows she takes his stuff? Yeah, and then the

746
00:39:48,160 --> 00:39:51,160
Speaker 1: power dynamic shifts, and that's I don't know, it's it's

747
00:39:51,200 --> 00:39:54,239
Speaker 1: interesting in a story perspective. I mean, I think the

748
00:39:54,239 --> 00:39:57,120
Speaker 1: main takeaway is that it's impressive that we see a

749
00:39:57,160 --> 00:40:01,480
Speaker 1: female character with a personality who's st taken control of

750
00:40:01,560 --> 00:40:03,799
Speaker 1: the situation that they're in that night where you know,

751
00:40:03,840 --> 00:40:06,000
Speaker 1: they're kind of out on the town, but she's sort

752
00:40:06,040 --> 00:40:09,560
Speaker 1: of the alpha of that whole interaction. Um, so there's

753
00:40:09,600 --> 00:40:12,399
Speaker 1: just something we so rarely see that. It was kind

754
00:40:12,400 --> 00:40:16,040
Speaker 1: of refreshing. She just is so good, Like she's just

755
00:40:16,160 --> 00:40:18,279
Speaker 1: such a good actor. It was just awesome. I mean,

756
00:40:18,320 --> 00:40:20,839
Speaker 1: she's you can't take your eyes out. What I also

757
00:40:20,920 --> 00:40:23,400
Speaker 1: liked about her character was like it wasn't just cool,

758
00:40:23,920 --> 00:40:25,640
Speaker 1: Like what I was thinking about this time was like

759
00:40:25,680 --> 00:40:28,000
Speaker 1: she's a failed actor. Like she's kind of has like

760
00:40:28,040 --> 00:40:30,319
Speaker 1: a weird personality, you know what I mean, Like she's

761
00:40:30,360 --> 00:40:32,920
Speaker 1: not she's cool and she like has her thing, but

762
00:40:33,000 --> 00:40:36,120
Speaker 1: she's kind of not like she's a failure and she's

763
00:40:36,160 --> 00:40:38,120
Speaker 1: kind of like some of the things she said, like

764
00:40:38,239 --> 00:40:41,480
Speaker 1: she she reacts a little more excitedly than most cool

765
00:40:41,600 --> 00:40:44,120
Speaker 1: characters would, like she's just kind of she's like a

766
00:40:44,200 --> 00:40:47,040
Speaker 1: drug addict, failed actor and I but she was still

767
00:40:47,080 --> 00:40:49,240
Speaker 1: in control, and I thought that was a really cool

768
00:40:49,280 --> 00:40:51,400
Speaker 1: way to portray someone. Like I was kind of impressed

769
00:40:51,440 --> 00:40:54,520
Speaker 1: by how not like she is cool, but she's like

770
00:40:54,520 --> 00:40:56,120
Speaker 1: like I remember when she was responding about like I

771
00:40:56,160 --> 00:40:59,200
Speaker 1: can't promise you that. If a more stereotypical man were

772
00:40:59,239 --> 00:41:01,440
Speaker 1: writing her, be like I can't promise you that, you

773
00:41:01,480 --> 00:41:03,440
Speaker 1: know what I mean. But she's like, I can't promise

774
00:41:03,440 --> 00:41:06,680
Speaker 1: you that. Like it was more like quirky, which I

775
00:41:06,680 --> 00:41:09,360
Speaker 1: thought was cool. Well that might just be her. I

776
00:41:09,360 --> 00:41:11,359
Speaker 1: don't know if that's more the writing or more just

777
00:41:11,400 --> 00:41:14,839
Speaker 1: sort of her choice as an actor. Hard to say, Man,

778
00:41:14,920 --> 00:41:18,319
Speaker 1: it's great, especially now watching this movie. I mean like, wow, no, Uma,

779
00:41:18,400 --> 00:41:21,520
Speaker 1: Thurwin's just threatening to shoot Harvey Wins, you know the

780
00:41:21,600 --> 00:41:25,080
Speaker 1: time on Instagram. It's great. I love it the whole

781
00:41:25,160 --> 00:41:27,640
Speaker 1: This whole time, I was like, she just she threatened

782
00:41:27,680 --> 00:41:31,680
Speaker 1: to shoot Harvy Wines. Dude, that's so cool. Yeah. Yeah,

783
00:41:31,760 --> 00:41:34,800
Speaker 1: Like I said, we're just so used to seeing very flat,

784
00:41:35,080 --> 00:41:38,359
Speaker 1: one dimensional female characters that were like, it's pretty cool

785
00:41:38,400 --> 00:41:40,960
Speaker 1: to be like, oh, she's she's got more than one dimension.

786
00:41:41,239 --> 00:41:44,239
Speaker 1: And the TV show that she was in, the pilot, Flour,

787
00:41:44,600 --> 00:41:47,080
Speaker 1: sounds pretty cool. Like a show that I would want

788
00:41:47,080 --> 00:41:51,680
Speaker 1: to watch Foxforce five. It's about five cool women being bad.

789
00:41:51,880 --> 00:41:54,759
Speaker 1: I mean it probably wouldn't be great, but I want

790
00:41:54,840 --> 00:42:01,680
Speaker 1: to see Tarantino make that movie for Yeah, And she

791
00:42:01,760 --> 00:42:03,200
Speaker 1: has a sense of humor at the end of it,

792
00:42:03,239 --> 00:42:07,040
Speaker 1: where after she's odeed and nearly died, she's like, hey,

793
00:42:07,120 --> 00:42:09,480
Speaker 1: let's maybe just forget about this. I want to hear

794
00:42:09,520 --> 00:42:11,799
Speaker 1: that joke that I refused to tell you before. And

795
00:42:11,840 --> 00:42:14,120
Speaker 1: He's like sure, and then she tells the dumb catchup

796
00:42:14,200 --> 00:42:19,880
Speaker 1: joke and we all laughed. But we're te heing. And

797
00:42:19,960 --> 00:42:22,480
Speaker 1: she's not the only female character in this movie who

798
00:42:22,560 --> 00:42:25,760
Speaker 1: we see some semblance of personality from, because I would

799
00:42:25,960 --> 00:42:30,480
Speaker 1: say that Fabian has a pretty we only see a

800
00:42:30,480 --> 00:42:33,040
Speaker 1: little sliver of her in this movie. She's only in

801
00:42:33,400 --> 00:42:36,560
Speaker 1: two scenes, but but those scenes are so good. It's

802
00:42:37,320 --> 00:42:40,280
Speaker 1: in a more macro sense, it sucks that her presence

803
00:42:40,320 --> 00:42:43,560
Speaker 1: doesn't have more bearing on the plot. And I would

804
00:42:43,600 --> 00:42:46,000
Speaker 1: say that for almost every female character in this movie,

805
00:42:46,040 --> 00:42:48,840
Speaker 1: with the exception of Mia, where it's like their actual

806
00:42:48,840 --> 00:42:51,080
Speaker 1: effect on the plot, like we're talking about, is not huge,

807
00:42:51,120 --> 00:42:54,520
Speaker 1: but her presence in the movie is so great. Well

808
00:42:54,680 --> 00:42:59,320
Speaker 1: so like Me and Wallace, where if you are oversimplifying things,

809
00:42:59,800 --> 00:43:03,879
Speaker 1: her main contribution to the actual maybe not the characterization

810
00:43:03,880 --> 00:43:07,160
Speaker 1: of the story, but the events of this story is

811
00:43:07,200 --> 00:43:10,880
Speaker 1: that she takes the drugs by accident almost odees and

812
00:43:10,920 --> 00:43:13,319
Speaker 1: it's a problem that a male character has to fix.

813
00:43:13,560 --> 00:43:22,800
Speaker 1: Similar thing happens with Fabian Fabian Fabian Fabian street Um.

814
00:43:22,880 --> 00:43:26,960
Speaker 1: She forgets Bruce Willis is like heirloom watch the but

815
00:43:30,680 --> 00:43:33,000
Speaker 1: and has to he so he has to go back

816
00:43:33,400 --> 00:43:35,520
Speaker 1: and get it, and it almost gets him killed. It

817
00:43:35,560 --> 00:43:38,800
Speaker 1: gets him in this like crazy almost he gets raped

818
00:43:39,000 --> 00:43:46,480
Speaker 1: situation to kill people. So because of her mistake that

819
00:43:46,520 --> 00:43:50,120
Speaker 1: he has to fix. That's her main contribution again to

820
00:43:50,160 --> 00:43:53,239
Speaker 1: the events of the story, not to the characterization of

821
00:43:53,280 --> 00:43:57,120
Speaker 1: the movie, because she does have an interesting character who

822
00:43:57,160 --> 00:43:59,719
Speaker 1: has a personality, again something that we're not used to

823
00:43:59,719 --> 00:44:02,600
Speaker 1: see in movies for a female character to have a personality.

824
00:44:02,719 --> 00:44:05,040
Speaker 1: But I just couldn't help but notice of the female

825
00:44:05,080 --> 00:44:08,960
Speaker 1: characters who do things that influence the direction this story

826
00:44:08,960 --> 00:44:11,560
Speaker 1: takes in a significant way. Both of them can be

827
00:44:11,600 --> 00:44:14,239
Speaker 1: boiled down to a female character making a mistake and

828
00:44:14,280 --> 00:44:17,160
Speaker 1: a man having to fix it. I would also argue

829
00:44:17,239 --> 00:44:20,800
Speaker 1: that the Amanda Plumber, who I believe it's Amanda Plumber,

830
00:44:20,800 --> 00:44:24,879
Speaker 1: the one who is Tim Roth's wife. Um, she kind

831
00:44:24,920 --> 00:44:28,160
Speaker 1: of is bad at her thing too, Like I think

832
00:44:28,280 --> 00:44:30,719
Speaker 1: she's not great at being a robber, you know what

833
00:44:30,760 --> 00:44:33,880
Speaker 1: I mean. She kind of needs his guidance, So I

834
00:44:33,920 --> 00:44:38,080
Speaker 1: was almost she doesn't necessarily funk up, but she's she

835
00:44:38,239 --> 00:44:40,799
Speaker 1: needs hit Like in a similar way, I would say

836
00:44:40,960 --> 00:44:44,800
Speaker 1: is like needs the male counterparts guidance to kind of

837
00:44:45,200 --> 00:44:46,759
Speaker 1: is relying on him to fix it right, because she

838
00:44:46,800 --> 00:44:48,600
Speaker 1: seemed kind of like a loose cannon where she might

839
00:44:49,040 --> 00:44:51,719
Speaker 1: she so such a good actor, like I was like, oh,

840
00:44:51,760 --> 00:44:55,200
Speaker 1: you are so funny and so good. But yeah, I think, yeah,

841
00:44:55,239 --> 00:44:58,680
Speaker 1: she's a little clearly mentally ill. Yeah it's true. There.

842
00:44:58,719 --> 00:45:01,040
Speaker 1: I I struggled with the with the last scene with her,

843
00:45:01,040 --> 00:45:05,239
Speaker 1: in the last scene in particular, where yeah, I was like, oh, man,

844
00:45:05,360 --> 00:45:07,640
Speaker 1: of course you know, of the two, she's the one

845
00:45:08,000 --> 00:45:10,520
Speaker 1: to funk up or like show some sort of weakness,

846
00:45:10,760 --> 00:45:13,080
Speaker 1: and I do I do. I feel like that choice

847
00:45:13,120 --> 00:45:15,120
Speaker 1: had to be intentional to some extent, even if it

848
00:45:15,200 --> 00:45:18,560
Speaker 1: was just like instinct on a male renter's part to

849
00:45:18,600 --> 00:45:21,120
Speaker 1: have the female character funk up. But then there's like

850
00:45:21,160 --> 00:45:23,959
Speaker 1: all these themes, especially with Bruce Willis's character in this movie,

851
00:45:24,000 --> 00:45:27,840
Speaker 1: where the whole ass Watch thing is all about this,

852
00:45:28,120 --> 00:45:32,239
Speaker 1: like it's this whole masculinity plot where he's trying to

853
00:45:32,280 --> 00:45:37,399
Speaker 1: get his father's war heirloom. He you know, doesn't have

854
00:45:37,600 --> 00:45:40,000
Speaker 1: a war to fight, and that's the whole you know,

855
00:45:40,400 --> 00:45:44,320
Speaker 1: where it's Jed X the nineties very whatever. He's fighting

856
00:45:44,360 --> 00:45:47,200
Speaker 1: wars in the boxing ring. He's fighting his own battle,

857
00:45:47,200 --> 00:45:50,640
Speaker 1: all right, But but that like masculine heirloom is so

858
00:45:50,680 --> 00:45:54,320
Speaker 1: important to him that he will cut down fucking whoever

859
00:45:54,800 --> 00:45:57,880
Speaker 1: to get his dad's ass watch instead of oh, I

860
00:45:57,880 --> 00:46:02,400
Speaker 1: don't know, letting it go like so I don't know.

861
00:46:02,480 --> 00:46:06,440
Speaker 1: I mean, all the characters in this movie are very flawed,

862
00:46:06,760 --> 00:46:09,560
Speaker 1: to the point where it was frustrating to see Amanda

863
00:46:09,560 --> 00:46:13,040
Speaker 1: Plumber's character funk up at the end. But I feel

864
00:46:13,080 --> 00:46:17,040
Speaker 1: like I felt that because we hadn't seen enough women

865
00:46:17,120 --> 00:46:20,560
Speaker 1: on screen at all for there to be like we

866
00:46:20,640 --> 00:46:24,160
Speaker 1: see male characters sunk up constantly in this movie. That's

867
00:46:24,160 --> 00:46:26,040
Speaker 1: like not an issue, but there's just like not enough

868
00:46:26,160 --> 00:46:28,439
Speaker 1: female characters with bearing on the plot that we see

869
00:46:28,480 --> 00:46:32,279
Speaker 1: funk up so that it feels equal, right. The really

870
00:46:32,320 --> 00:46:36,600
Speaker 1: interesting thing I thought about Fabian was watching at this time.

871
00:46:36,800 --> 00:46:38,319
Speaker 1: There's actually a bunch of things I thought that were

872
00:46:38,360 --> 00:46:42,560
Speaker 1: very interesting about that relationship. One was when they're hooking up,

873
00:46:42,960 --> 00:46:45,719
Speaker 1: she's like, will you go down to me? And he's like,

874
00:46:45,719 --> 00:46:47,640
Speaker 1: will you kiss it? And she goes, basically, if you

875
00:46:47,719 --> 00:46:49,960
Speaker 1: eat me first, So it was a really great talk

876
00:46:50,000 --> 00:46:52,319
Speaker 1: about consent. And it was also like she's like, you

877
00:46:52,360 --> 00:46:54,640
Speaker 1: make me come first, which I think is great. I

878
00:46:54,640 --> 00:46:57,560
Speaker 1: thought that was really cool because he's like, he's a boxer,

879
00:46:57,680 --> 00:46:59,360
Speaker 1: you know what I mean, Like he's like a meathead.

880
00:47:00,040 --> 00:47:02,479
Speaker 1: So I thought that was cool. But I also thought, oh,

881
00:47:02,560 --> 00:47:05,440
Speaker 1: knowing me that, like she was like giving me oral pleasure,

882
00:47:05,840 --> 00:47:08,880
Speaker 1: and he's like, well you because it not agreeing to

883
00:47:08,960 --> 00:47:12,200
Speaker 1: what she asked, but immediately being like, well only if

884
00:47:12,239 --> 00:47:14,960
Speaker 1: you took my dick also, and she has to be like,

885
00:47:15,120 --> 00:47:16,799
Speaker 1: but you first, because I asked you first, or like,

886
00:47:17,239 --> 00:47:20,120
Speaker 1: I don't know that exchange in general, I don't know.

887
00:47:20,160 --> 00:47:22,759
Speaker 1: I thought that was very much a relationship exchange. I mean,

888
00:47:22,800 --> 00:47:25,040
Speaker 1: I understand what you're saying, Like, I get it if

889
00:47:25,040 --> 00:47:27,520
Speaker 1: it was. But like I was like, at least she like,

890
00:47:27,560 --> 00:47:29,800
Speaker 1: if that had been reversed, that would have been a

891
00:47:29,880 --> 00:47:32,400
Speaker 1: huge problem. Whereas I thought this was at least a

892
00:47:32,480 --> 00:47:35,919
Speaker 1: boxer going down on a tiny woman. I was like, okay,

893
00:47:35,960 --> 00:47:38,759
Speaker 1: like good boxers are giving oral pleasure. This is a

894
00:47:38,800 --> 00:47:42,239
Speaker 1: step forward. Um. The other interesting thing I thought I

895
00:47:42,280 --> 00:47:43,959
Speaker 1: was watching with a female friend and so I asked

896
00:47:43,960 --> 00:47:45,520
Speaker 1: her about it, and we were talking about this, and

897
00:47:45,600 --> 00:47:49,560
Speaker 1: I'm very curious how you feel when he gets mad

898
00:47:49,719 --> 00:47:53,360
Speaker 1: about the watch, you know what I mean. Like, so

899
00:47:53,400 --> 00:47:55,960
Speaker 1: that was a really interesting scene, I thought, So he

900
00:47:56,000 --> 00:47:58,720
Speaker 1: gets mad. He starts yelling. She goes in the corner

901
00:47:58,760 --> 00:48:01,480
Speaker 1: of the room, right where like the wall, at the table,

902
00:48:01,600 --> 00:48:05,239
Speaker 1: like the lampion. I thought, he throws a TV. Right,

903
00:48:06,000 --> 00:48:08,040
Speaker 1: he throws a TV, but not at her. He throws

904
00:48:08,040 --> 00:48:10,239
Speaker 1: a TV at a rage. He's a rageful boxer, so

905
00:48:10,320 --> 00:48:13,680
Speaker 1: he throws a TV. But was So that's like bad, obviously,

906
00:48:13,960 --> 00:48:16,239
Speaker 1: But then what I thought was interesting, and that's what

907
00:48:16,280 --> 00:48:17,960
Speaker 1: I asked my friend. He sits on that chair, and

908
00:48:18,239 --> 00:48:21,080
Speaker 1: you know what, it's my fault. I didn't accurately tell

909
00:48:21,120 --> 00:48:24,080
Speaker 1: you you did your best. I didn't tell you how

910
00:48:24,120 --> 00:48:27,279
Speaker 1: important it was to me, and like, I'm sorry, I

911
00:48:27,320 --> 00:48:28,880
Speaker 1: just gotta go. Don't worry about So he has a

912
00:48:28,960 --> 00:48:32,160
Speaker 1: rage flip out. He liked it has some sort of aggression.

913
00:48:32,200 --> 00:48:33,879
Speaker 1: You could call it violence if you want. I don't

914
00:48:33,880 --> 00:48:37,120
Speaker 1: think it was directed at her necessarily, but maybe. And

915
00:48:37,160 --> 00:48:39,760
Speaker 1: then he's like, I'm sorry. And then in the car

916
00:48:40,360 --> 00:48:42,920
Speaker 1: he's he's like, how could you not you know what's

917
00:48:42,920 --> 00:48:45,240
Speaker 1: important to me? But but I thought it was interesting

918
00:48:45,280 --> 00:48:50,640
Speaker 1: because their relationship was very I thought bizarrely charming because

919
00:48:50,800 --> 00:48:54,439
Speaker 1: it was sort of like almost stereotypical and the way

920
00:48:54,480 --> 00:48:56,920
Speaker 1: that but there was real love there. I thought it

921
00:48:56,960 --> 00:48:59,319
Speaker 1: was the most love in the whole movie in a way,

922
00:48:59,640 --> 00:49:02,080
Speaker 1: and I thought my friend was like, you know what,

923
00:49:02,160 --> 00:49:07,359
Speaker 1: he apologized immediately, and it was kind of interesting where

924
00:49:07,400 --> 00:49:10,680
Speaker 1: he was like really aggressive and but he clearly really

925
00:49:10,719 --> 00:49:12,680
Speaker 1: loved her and he did apologize immediately, and for someone

926
00:49:12,719 --> 00:49:14,840
Speaker 1: who is such a probably like an alt right weirdo,

927
00:49:16,200 --> 00:49:18,400
Speaker 1: I thought it was And so I thought it was

928
00:49:18,480 --> 00:49:21,839
Speaker 1: just interesting for him to to have him apologize immediately.

929
00:49:22,000 --> 00:49:23,440
Speaker 1: And I thought that was like, I don't know if

930
00:49:23,440 --> 00:49:24,680
Speaker 1: it has to do with the Bechdel test, but it

931
00:49:24,680 --> 00:49:27,640
Speaker 1: has something to do with like how a relationship should work,

932
00:49:27,719 --> 00:49:29,840
Speaker 1: you know what. I mean, you make this mistake and

933
00:49:29,880 --> 00:49:32,200
Speaker 1: then you But I don't know. I was he has

934
00:49:32,239 --> 00:49:35,120
Speaker 1: a snap reaction. I mean I could have done without him,

935
00:49:35,320 --> 00:49:38,239
Speaker 1: you know, throwing a TV to the point where she's

936
00:49:38,280 --> 00:49:42,440
Speaker 1: so scared for her safety that she cowers into this crying.

937
00:49:42,719 --> 00:49:48,160
Speaker 1: Seeing that, seeing her default to a corner, I'm like,

938
00:49:48,360 --> 00:49:50,520
Speaker 1: this is maybe not the first time this has happened.

939
00:49:50,560 --> 00:49:53,160
Speaker 1: If she has an instinct to retreat to a corner

940
00:49:53,480 --> 00:49:55,560
Speaker 1: where it's like, if that's the first time that's happening,

941
00:49:56,280 --> 00:49:58,000
Speaker 1: it just didn't seem like the first time. I shared

942
00:49:58,040 --> 00:50:00,919
Speaker 1: that had happened, but then when we him dial back,

943
00:50:00,960 --> 00:50:05,000
Speaker 1: I mean it's hard because also they're fictional. We don't know,

944
00:50:05,239 --> 00:50:08,640
Speaker 1: no one truly knows. He also does flirt with Esmeralda.

945
00:50:09,080 --> 00:50:11,799
Speaker 1: He does see is a little bit of like a brute. Well,

946
00:50:11,840 --> 00:50:13,520
Speaker 1: all the men in this movie, I think that speaks

947
00:50:13,560 --> 00:50:16,120
Speaker 1: to the like hyper masculinity of all the men we

948
00:50:16,160 --> 00:50:19,120
Speaker 1: see in this movie. Like there's no I mean except

949
00:50:19,160 --> 00:50:22,839
Speaker 1: for maybe Eric Stolts. Like all the main characters are

950
00:50:22,880 --> 00:50:26,960
Speaker 1: like non sexual characters. They're just like dripping with like

951
00:50:27,160 --> 00:50:31,520
Speaker 1: toxic hyper masculinity. And sure that's what the movie is about.

952
00:50:31,560 --> 00:50:33,719
Speaker 1: Their job. They're you know, all kind of you know,

953
00:50:33,800 --> 00:50:38,600
Speaker 1: these like bad criminal, you know, boxer gun slinging type

954
00:50:38,600 --> 00:50:41,480
Speaker 1: of guys. But it's hard for me to watch movies

955
00:50:41,560 --> 00:50:44,759
Speaker 1: like that nowadays, just to see so much hyper masculinity

956
00:50:44,800 --> 00:50:47,040
Speaker 1: and have it be celebrated and have people I love

957
00:50:47,080 --> 00:50:50,120
Speaker 1: this movie so much. And whereas of the women in

958
00:50:50,120 --> 00:50:51,680
Speaker 1: the movie, if there was more of a balance, if

959
00:50:51,719 --> 00:50:56,080
Speaker 1: some of those like scary characters were women, Like if

960
00:50:56,120 --> 00:50:58,560
Speaker 1: one of the hit people was a woman in there,

961
00:50:58,640 --> 00:51:01,120
Speaker 1: it just like struck more of a balance, it would

962
00:51:01,160 --> 00:51:02,640
Speaker 1: be easier for me to watch, but now I'm just

963
00:51:02,680 --> 00:51:06,560
Speaker 1: like so over this like celebration of hyper masculinity that

964
00:51:06,680 --> 00:51:09,239
Speaker 1: I'm like that being said, this movie does a better

965
00:51:09,320 --> 00:51:12,040
Speaker 1: job than a lot of them, especially because it kind

966
00:51:12,040 --> 00:51:15,560
Speaker 1: of almost created it, like it created this run of

967
00:51:15,600 --> 00:51:18,200
Speaker 1: like hypers. It's like for it too, because what I

968
00:51:18,239 --> 00:51:20,040
Speaker 1: said at the beginning of the podcast was like I

969
00:51:20,080 --> 00:51:23,080
Speaker 1: truly feel like Quentin Tarantino doesn't give a funk about

970
00:51:23,120 --> 00:51:25,560
Speaker 1: big issues, Like so when he's writing this movie, he's

971
00:51:25,560 --> 00:51:29,279
Speaker 1: definitely not like his writing of Mia Wallace, He's not

972
00:51:29,360 --> 00:51:32,279
Speaker 1: trying to be amenable to feminism. He's just trying to

973
00:51:32,280 --> 00:51:34,120
Speaker 1: write a character you haven't seen before. He's like a

974
00:51:34,120 --> 00:51:36,439
Speaker 1: film nerd who wants to see something you haven't seen before.

975
00:51:36,480 --> 00:51:39,160
Speaker 1: I don't think he's writing it because he thinks men

976
00:51:39,320 --> 00:51:41,000
Speaker 1: should do this and women should, you know what I mean.

977
00:51:41,040 --> 00:51:43,080
Speaker 1: Like he's just like he like he is like a movie.

978
00:51:43,200 --> 00:51:45,040
Speaker 1: He's like all he is is like a movie. So

979
00:51:45,040 --> 00:51:47,120
Speaker 1: he's just shooting out a movie that he wants to

980
00:51:47,160 --> 00:51:49,279
Speaker 1: see because he wants to be cool. Like it's called

981
00:51:49,280 --> 00:51:51,840
Speaker 1: pulp fiction because it's based in all these sort of

982
00:51:51,880 --> 00:51:53,799
Speaker 1: like it's like there's a boxer, there's hitman, it's like

983
00:51:53,800 --> 00:51:56,080
Speaker 1: based in these like fifty cent novels, you know, And

984
00:51:56,120 --> 00:51:58,880
Speaker 1: so I think he more cares about entertainment than anything.

985
00:51:58,920 --> 00:52:01,040
Speaker 1: I don't think he gives a fuck. It's like that's

986
00:52:01,080 --> 00:52:03,360
Speaker 1: why he uses the N word. It's so awful. But

987
00:52:03,440 --> 00:52:05,680
Speaker 1: he's like, I'm not racist, Like he doesn't He's not

988
00:52:05,719 --> 00:52:07,719
Speaker 1: even really thinking about it, you know what I mean.

989
00:52:07,920 --> 00:52:10,000
Speaker 1: He's trying to be cool and he's a man, so

990
00:52:10,040 --> 00:52:13,200
Speaker 1: he can't understand like any issues. And so I think

991
00:52:13,200 --> 00:52:15,480
Speaker 1: it's it's it's hard because you have to judge the

992
00:52:15,560 --> 00:52:18,360
Speaker 1: movie based on what it is. But he seems like

993
00:52:18,400 --> 00:52:21,520
Speaker 1: a crazy sort of person who isn't even really interacting

994
00:52:21,560 --> 00:52:23,480
Speaker 1: in society. But you know what I mean. I mean,

995
00:52:23,520 --> 00:52:25,800
Speaker 1: that's a bad excuse. In two thousands, it's definitely a

996
00:52:25,840 --> 00:52:29,120
Speaker 1: bad excuse. You don't know, it's not an excuse. I

997
00:52:29,160 --> 00:52:30,920
Speaker 1: just mean when I think about him, I don't think

998
00:52:30,920 --> 00:52:32,319
Speaker 1: he has a funk. I don't think he gives a ship,

999
00:52:32,520 --> 00:52:35,520
Speaker 1: you know what I mean. And especially when this movie

1000
00:52:35,600 --> 00:52:38,400
Speaker 1: is being made, this like I feel like with and

1001
00:52:38,520 --> 00:52:41,520
Speaker 1: when we'll do more Tarantino movies in the future, his

1002
00:52:41,600 --> 00:52:47,160
Speaker 1: movies with time become more intentional. It's hard to trace

1003
00:52:47,680 --> 00:52:51,359
Speaker 1: intent with this movie where it does just seem like, oh,

1004
00:52:51,480 --> 00:52:54,080
Speaker 1: this is cool, this is something I like, Yeah, like

1005
00:52:54,080 --> 00:52:56,640
Speaker 1: you're saying something I would like to see, and you

1006
00:52:56,719 --> 00:52:58,879
Speaker 1: get a very interesting movie with a lot of stuff

1007
00:52:58,920 --> 00:53:01,439
Speaker 1: you haven't seen before it as a result. But then

1008
00:53:01,640 --> 00:53:04,560
Speaker 1: the trade off is like it kind of becomes hard

1009
00:53:04,640 --> 00:53:06,920
Speaker 1: to analyze because it's like a lot of times we

1010
00:53:07,239 --> 00:53:09,960
Speaker 1: see movies where women are either being sidelined or mistreated

1011
00:53:10,080 --> 00:53:14,359
Speaker 1: very intentionally because whatever the reason may be, and this

1012
00:53:14,440 --> 00:53:16,719
Speaker 1: is just like hard to tell what the intention for

1013
00:53:16,800 --> 00:53:22,000
Speaker 1: almost anything is other than this seems cool. Yeah, I

1014
00:53:22,040 --> 00:53:24,480
Speaker 1: think it. It's like what's interesting about this movie too.

1015
00:53:24,480 --> 00:53:26,640
Speaker 1: It's like a very small budget in movie, you know

1016
00:53:26,640 --> 00:53:28,120
Speaker 1: what I mean, Like it's it's it's one of the

1017
00:53:28,160 --> 00:53:31,200
Speaker 1: most popular movies ever, but it became this phenomenon, so

1018
00:53:31,239 --> 00:53:34,640
Speaker 1: I think it became very influential, probably in a pretty

1019
00:53:34,680 --> 00:53:38,960
Speaker 1: negative way to enhancing toxic masculinity. But it was more

1020
00:53:39,080 --> 00:53:41,520
Speaker 1: he was just trying to like be cool. I feel

1021
00:53:41,520 --> 00:53:43,439
Speaker 1: like I think he wasn't thinking, like at least that's

1022
00:53:43,480 --> 00:53:46,040
Speaker 1: just what I get from him, where he's like he's

1023
00:53:46,080 --> 00:53:49,319
Speaker 1: reversing tropes to some degree just in what he's doing

1024
00:53:49,320 --> 00:53:52,239
Speaker 1: and sometimes yeah, or like someone getting shot in the

1025
00:53:52,280 --> 00:53:54,040
Speaker 1: middle of a scene, or like it's two hit men

1026
00:53:54,120 --> 00:53:55,560
Speaker 1: just have it, as you were saying, like a six

1027
00:53:55,600 --> 00:53:58,680
Speaker 1: minute conversation about like Amsterdam or feet or whatever. It's

1028
00:53:58,719 --> 00:54:01,359
Speaker 1: like I clearly when teams like he's concerned with that

1029
00:54:01,400 --> 00:54:04,319
Speaker 1: ship and like being having like these scenes and then

1030
00:54:04,360 --> 00:54:07,960
Speaker 1: it became this like behemoth and then all these men

1031
00:54:08,040 --> 00:54:10,120
Speaker 1: were like I've got to make that, you know, because

1032
00:54:10,120 --> 00:54:12,920
Speaker 1: I think the most I feel like the Fabian character

1033
00:54:13,120 --> 00:54:15,360
Speaker 1: is actually pretty bad. Like I think that's like a

1034
00:54:15,440 --> 00:54:18,480
Speaker 1: pretty bad representation of a woman. Like I think that's

1035
00:54:18,520 --> 00:54:22,200
Speaker 1: the worst by far. But I think how come because

1036
00:54:22,680 --> 00:54:26,359
Speaker 1: she's a tiny person who seems helpless. She's sort of

1037
00:54:26,360 --> 00:54:28,920
Speaker 1: like a fantasy of a woman. Like she's like French,

1038
00:54:29,000 --> 00:54:31,160
Speaker 1: has that haircuts kind of like it has like those

1039
00:54:31,160 --> 00:54:33,400
Speaker 1: big eyes, and like has these like white shirts. He

1040
00:54:33,520 --> 00:54:35,280
Speaker 1: kills it with the white shirts. By the way, everyone

1041
00:54:35,320 --> 00:54:38,640
Speaker 1: were amazing white shirts in that movie. Um, Bruce and

1042
00:54:38,960 --> 00:54:44,320
Speaker 1: Fabian and h they just the white shirts were amazing. Um.

1043
00:54:44,400 --> 00:54:47,279
Speaker 1: She doesn't really do anything. She talks about eating. She

1044
00:54:47,400 --> 00:54:50,040
Speaker 1: loves her boyfriend. That's what you know about her, right,

1045
00:54:50,080 --> 00:54:52,400
Speaker 1: and then she fox up and it's kind of helpless,

1046
00:54:52,440 --> 00:54:54,600
Speaker 1: and then she's just kind of and she cries a lot,

1047
00:54:54,880 --> 00:54:56,759
Speaker 1: so it's like kind of like i'd say that's bad.

1048
00:54:56,760 --> 00:54:58,920
Speaker 1: But even then I think what he's trying to do

1049
00:54:59,040 --> 00:55:01,880
Speaker 1: is just like have like an adorable foreign woman, you

1050
00:55:01,920 --> 00:55:04,000
Speaker 1: know what I mean, Like, I don't think he's really thinking.

1051
00:55:04,480 --> 00:55:07,280
Speaker 1: It seems like he doesn't. He never even thought about

1052
00:55:07,320 --> 00:55:11,200
Speaker 1: the fact that it's like a person. He's just yeah,

1053
00:55:11,360 --> 00:55:14,040
Speaker 1: that's what I mean. We do see just a little

1054
00:55:14,239 --> 00:55:17,360
Speaker 1: sliver of this character, and she does have I would argue,

1055
00:55:17,440 --> 00:55:20,800
Speaker 1: more personality than a lot of female characters having movies.

1056
00:55:20,880 --> 00:55:24,399
Speaker 1: But because she all the women in this movie are

1057
00:55:24,760 --> 00:55:28,000
Speaker 1: framed as like the romantic partner of one of the

1058
00:55:28,000 --> 00:55:29,960
Speaker 1: male characters who we know a little bit better. We

1059
00:55:30,000 --> 00:55:36,960
Speaker 1: see actually doing things and and women, I mean, yeah,

1060
00:55:37,000 --> 00:55:41,160
Speaker 1: and Esmerelda scene was a little bizarre. I mean cool

1061
00:55:41,200 --> 00:55:47,680
Speaker 1: that you see the representation of a woman. The one

1062
00:55:47,719 --> 00:55:50,399
Speaker 1: last thing I would say about Fabian before we move

1063
00:55:50,400 --> 00:55:53,640
Speaker 1: on from that character is while she does not have

1064
00:55:53,680 --> 00:55:55,759
Speaker 1: a lot of baring on the plot, and her main

1065
00:55:55,840 --> 00:55:58,640
Speaker 1: significance in the plot is fucking up so that Bruce

1066
00:55:58,680 --> 00:56:02,400
Speaker 1: Willis can law into all these other weird scenes and

1067
00:56:02,400 --> 00:56:04,920
Speaker 1: eventually hold a katana, which is I think what Quentin

1068
00:56:04,880 --> 00:56:06,759
Speaker 1: Tarantino wants the whole time is like how can I

1069
00:56:06,800 --> 00:56:11,840
Speaker 1: get from point A to That's the most intend to

1070
00:56:11,920 --> 00:56:13,919
Speaker 1: think that's seen by the way, not but that scene

1071
00:56:14,080 --> 00:56:15,960
Speaker 1: was really funny when he's in the pawn shop and

1072
00:56:16,000 --> 00:56:18,600
Speaker 1: he goes from weapon to weapon to chainsaw and then

1073
00:56:19,120 --> 00:56:24,800
Speaker 1: that was super funny. But the exchange between Bruce Willis

1074
00:56:25,400 --> 00:56:29,560
Speaker 1: Butch and Fabian and they're talking about bodies at the

1075
00:56:29,640 --> 00:56:33,800
Speaker 1: beginning of their exchange together where she's like, there's that

1076
00:56:34,200 --> 00:56:38,360
Speaker 1: kind of weird, but I think, kind of good line

1077
00:56:38,760 --> 00:56:41,239
Speaker 1: where she's talking about like I wish I had a

1078
00:56:41,360 --> 00:56:43,160
Speaker 1: pot belly and he was like, what that would be

1079
00:56:43,239 --> 00:56:45,279
Speaker 1: fulk and gross or like what you know? Whatever they're

1080
00:56:45,280 --> 00:56:47,800
Speaker 1: they're they're back and forth and it's very relationship talking,

1081
00:56:48,560 --> 00:56:51,719
Speaker 1: and then she says that that line of like, oh,

1082
00:56:51,800 --> 00:56:54,480
Speaker 1: it's it's so weird that what feels good and what

1083
00:56:54,640 --> 00:56:56,719
Speaker 1: looks good to people is seldom the same or something

1084
00:56:56,800 --> 00:56:59,520
Speaker 1: like that, and that for me was like whoa, what

1085
00:56:59,640 --> 00:57:03,440
Speaker 1: an interesting like that character was used in some way

1086
00:57:04,360 --> 00:57:08,040
Speaker 1: that I got a positive takeaway from. Again, impossible to

1087
00:57:08,120 --> 00:57:11,120
Speaker 1: know if this is just words that Quentin Tarantino thought

1088
00:57:11,200 --> 00:57:13,680
Speaker 1: sounded nice next to each other, or if there was

1089
00:57:13,760 --> 00:57:16,640
Speaker 1: some intent next to it, But that whole like relationship

1090
00:57:16,720 --> 00:57:19,240
Speaker 1: he's seen between them, I thought pre him throwing a

1091
00:57:19,360 --> 00:57:23,360
Speaker 1: TV was very into their relationship. Post him throwing in

1092
00:57:23,520 --> 00:57:26,440
Speaker 1: a TV, it's like, now there's some stuff to address. Well,

1093
00:57:26,480 --> 00:57:28,360
Speaker 1: there's also that part where she's like, I went to

1094
00:57:28,400 --> 00:57:30,280
Speaker 1: pot Belli and he's like, if you had a pot Belli,

1095
00:57:30,320 --> 00:57:32,240
Speaker 1: I'd punch you in it, and we're like, ah, feminist

1096
00:57:32,360 --> 00:57:39,560
Speaker 1: icon persual. I did want to call attention to all

1097
00:57:39,600 --> 00:57:42,520
Speaker 1: the times in which a man in this movie calls

1098
00:57:42,600 --> 00:57:48,240
Speaker 1: a woman a bitch or yeah, okay, early on that

1099
00:57:48,320 --> 00:57:52,000
Speaker 1: everyone's in a while to any gender. When Jules is

1100
00:57:52,040 --> 00:57:54,640
Speaker 1: talking about me and Wallace, he says that like eating

1101
00:57:54,640 --> 00:57:57,080
Speaker 1: a bitch out and touching a bitch's feet, they're not

1102
00:57:57,200 --> 00:57:59,960
Speaker 1: even in the same ballpark. And then Eric Stultz said,

1103
00:58:00,080 --> 00:58:02,640
Speaker 1: is you're not bringing this funked up bitch into my house?

1104
00:58:03,200 --> 00:58:06,480
Speaker 1: And then Vincent says about Eric Sails's wife, what a

1105
00:58:06,560 --> 00:58:11,680
Speaker 1: fucking bitch, and then Butch says, you know, sorry, you

1106
00:58:11,800 --> 00:58:15,360
Speaker 1: know what would make all of this evening if Bruce

1107
00:58:15,400 --> 00:58:21,280
Speaker 1: Willis's character's name was bitch so then you would have

1108
00:58:21,360 --> 00:58:25,000
Speaker 1: to be you would be young, bitch, I would be adults,

1109
00:58:26,800 --> 00:58:30,600
Speaker 1: then old coming and then this isn't a bitch calling

1110
00:58:30,880 --> 00:58:33,480
Speaker 1: butch calling her a bit, but it says do you

1111
00:58:33,520 --> 00:58:36,040
Speaker 1: know how fucking stupid you are? To Fabian And then

1112
00:58:36,120 --> 00:58:38,280
Speaker 1: Juels at the end says like, get that bitch under

1113
00:58:38,280 --> 00:58:44,400
Speaker 1: control or whatever. So there's love that one. It's man,

1114
00:58:44,520 --> 00:58:47,800
Speaker 1: it's almost as if but it's almost as if the

1115
00:58:47,800 --> 00:58:50,400
Speaker 1: male characters in this movie are not feminist icons, nor

1116
00:58:50,800 --> 00:58:53,920
Speaker 1: are they okay. So speaking of language, one of the

1117
00:58:53,960 --> 00:58:56,400
Speaker 1: other reasons it's hard for me to watch this movie

1118
00:58:56,440 --> 00:58:57,840
Speaker 1: and enjoy it as much as I have in the

1119
00:58:57,920 --> 00:59:01,480
Speaker 1: past is that the end We're just gets thrown around

1120
00:59:01,600 --> 00:59:07,160
Speaker 1: casually all the time, often by white people, either to

1121
00:59:07,600 --> 00:59:10,520
Speaker 1: or in front of, or just about people of color,

1122
00:59:10,960 --> 00:59:14,520
Speaker 1: and it is just very casual. The way in which

1123
00:59:14,640 --> 00:59:17,439
Speaker 1: Quentin Tarantino was like, yeah, let's just drop, He's like, guys,

1124
00:59:17,520 --> 00:59:20,800
Speaker 1: I'll do it myself. And also he has a black wife, yeah,

1125
00:59:21,000 --> 00:59:23,919
Speaker 1: which is so weird. It doesn't get any it doesn't

1126
00:59:23,960 --> 00:59:26,720
Speaker 1: get any lines. You don't even you just know that

1127
00:59:26,800 --> 00:59:31,080
Speaker 1: she'd get mad and divorce him because there's a dead

1128
00:59:31,120 --> 00:59:35,080
Speaker 1: body in her garage, Like it's also just weird that

1129
00:59:35,160 --> 00:59:39,320
Speaker 1: Quentin Tarantino cast himself, Like it's just like all such

1130
00:59:39,360 --> 00:59:42,400
Speaker 1: a weird man, Like what is he doing? We were

1131
00:59:42,440 --> 00:59:44,840
Speaker 1: talking about this last night where it's like at very

1132
00:59:45,000 --> 00:59:48,200
Speaker 1: least Gwen Tardina saw himself in this movie and was like,

1133
00:59:48,320 --> 00:59:51,200
Speaker 1: probably not again, Probably we're gonna we're gonna hang it

1134
00:59:51,320 --> 00:59:55,480
Speaker 1: up here, which I respect because because most directors that

1135
00:59:55,600 --> 00:59:57,640
Speaker 1: are like I want to be in into like they don't.

1136
00:59:57,720 --> 00:59:59,320
Speaker 1: They don't know when to say when all the time.

1137
00:59:59,360 --> 01:00:01,680
Speaker 1: And he was like, know what, I maybe did a

1138
01:00:01,760 --> 01:00:05,400
Speaker 1: crummy job. The N word is like it just is

1139
01:00:05,440 --> 01:00:08,480
Speaker 1: a little again. This is another thing where he's like

1140
01:00:08,560 --> 01:00:11,240
Speaker 1: trying to be cool, right, And what's interesting about him

1141
01:00:11,400 --> 01:00:14,040
Speaker 1: I think because he has written some roles for a

1142
01:00:14,160 --> 01:00:16,600
Speaker 1: lot of like famous roles for black characters. There are

1143
01:00:16,680 --> 01:00:19,680
Speaker 1: black actors who like defend it, you know, like Jamie

1144
01:00:19,720 --> 01:00:22,680
Speaker 1: Fox has or Samuel Jackson has I'm sure Pam Greer

1145
01:00:22,760 --> 01:00:24,160
Speaker 1: did you know what I mean? Like things like that.

1146
01:00:24,600 --> 01:00:26,080
Speaker 1: But it is one of those things like I'm watching

1147
01:00:26,160 --> 01:00:29,320
Speaker 1: him like, oh God, like it's two white characters talking

1148
01:00:29,440 --> 01:00:32,880
Speaker 1: to each other sometimes like Stulton Tripleton. It's like why

1149
01:00:33,080 --> 01:00:36,400
Speaker 1: is that word there, like is this helping the movie? Um?

1150
01:00:36,640 --> 01:00:39,200
Speaker 1: And it it is a little I did feel kind

1151
01:00:39,240 --> 01:00:42,720
Speaker 1: of viscerally upset. I was like, oh what or when

1152
01:00:42,760 --> 01:00:45,480
Speaker 1: he says it to Samuel L. Jackson, Samuel Jackson doesn't

1153
01:00:45,520 --> 01:00:48,400
Speaker 1: respond to that word. I also thought that that was interesting.

1154
01:00:48,520 --> 01:00:51,360
Speaker 1: It's like he's just saying clearly they're friends, and he

1155
01:00:51,440 --> 01:00:53,200
Speaker 1: doesn't seem to care about it. But it is a

1156
01:00:53,200 --> 01:00:56,520
Speaker 1: little like what are we talking about? What are we doing?

1157
01:00:56,960 --> 01:01:01,640
Speaker 1: Because it's a white writer director making the choices. A

1158
01:01:01,720 --> 01:01:04,520
Speaker 1: black writer and director probably would not have let that

1159
01:01:04,720 --> 01:01:07,400
Speaker 1: happen that way. It's it's more just I'm more just

1160
01:01:07,520 --> 01:01:10,400
Speaker 1: like like what do you think this is? Heading? Like

1161
01:01:10,520 --> 01:01:16,160
Speaker 1: it's so weird because because The Hateful Eight, I saw

1162
01:01:16,200 --> 01:01:19,400
Speaker 1: hatfulay in theaters and that movie has the N word

1163
01:01:19,640 --> 01:01:22,360
Speaker 1: a lot more than pulp fiction. And I saw it

1164
01:01:22,560 --> 01:01:24,800
Speaker 1: with and there were like people of all colors in

1165
01:01:24,840 --> 01:01:26,960
Speaker 1: the movie theater and I thought it was horrible. Like

1166
01:01:27,000 --> 01:01:29,600
Speaker 1: I was like, this is really unnecessary and I don't

1167
01:01:29,600 --> 01:01:31,480
Speaker 1: know why we're doing this, Like it's not like it

1168
01:01:31,520 --> 01:01:35,000
Speaker 1: doesn't you don't need that word to get across what's going.

1169
01:01:35,040 --> 01:01:38,160
Speaker 1: It hasn't. It does the movie isn't saying anything about race,

1170
01:01:38,320 --> 01:01:39,920
Speaker 1: you know what I mean? Like, it's just like, what

1171
01:01:40,040 --> 01:01:43,080
Speaker 1: are we talking about here? And I think it bugs

1172
01:01:43,160 --> 01:01:47,880
Speaker 1: me no matter where in Quentin Tarantino's uber it shows up.

1173
01:01:48,040 --> 01:01:51,080
Speaker 1: It sucks and it's uncomfortable. And especially when in these

1174
01:01:51,120 --> 01:01:54,640
Speaker 1: movies where it's famously written by a white guy and

1175
01:01:54,800 --> 01:01:56,920
Speaker 1: you know exactly who it is, I feel like it

1176
01:01:57,240 --> 01:02:00,480
Speaker 1: makes it all the more uncomfortable to watch it forced

1177
01:02:00,480 --> 01:02:03,640
Speaker 1: out of character of any colors mouth. It's just like,

1178
01:02:04,120 --> 01:02:06,400
Speaker 1: but this is crazy. It just sort of like to

1179
01:02:06,560 --> 01:02:08,560
Speaker 1: hear it like whoa. By the time we get a

1180
01:02:08,560 --> 01:02:12,040
Speaker 1: Hateful eight, it's so intentional that it's like, why the

1181
01:02:12,200 --> 01:02:15,040
Speaker 1: funk would you still be just like a statement? Yeah,

1182
01:02:15,160 --> 01:02:18,000
Speaker 1: it's like no, I can hold onto my words, Like

1183
01:02:18,080 --> 01:02:20,600
Speaker 1: it's just that freedom of speech bullshit, which is just like,

1184
01:02:20,720 --> 01:02:23,760
Speaker 1: what are we talking about? Um? The last thing I

1185
01:02:23,840 --> 01:02:25,840
Speaker 1: want to say about this movie is that there's a

1186
01:02:26,080 --> 01:02:29,480
Speaker 1: line that Harvey Kitel's character says, as they're like all

1187
01:02:29,560 --> 01:02:32,760
Speaker 1: kind of parting ways, he says, just because you are

1188
01:02:32,800 --> 01:02:35,760
Speaker 1: a character doesn't mean that you have character. And I

1189
01:02:35,880 --> 01:02:38,600
Speaker 1: think that is a thesis statement for the way so

1190
01:02:38,760 --> 01:02:42,080
Speaker 1: many women are written in movies just because they are

1191
01:02:42,200 --> 01:02:46,000
Speaker 1: a character in the movie technically doesn't mean they didn't

1192
01:02:46,040 --> 01:02:47,880
Speaker 1: think about that. When hearing that line, I just thought

1193
01:02:47,880 --> 01:02:50,280
Speaker 1: it was like a kind of a dad joke. I mean, sure,

1194
01:02:50,320 --> 01:02:54,760
Speaker 1: that's that's to be I absorbed it, and I was like, hey,

1195
01:02:54,960 --> 01:02:57,480
Speaker 1: what a what a way to describe how women are

1196
01:02:57,520 --> 01:03:00,400
Speaker 1: portrayed in movies a lot of the time. So really,

1197
01:03:00,480 --> 01:03:03,800
Speaker 1: really quick, and this is not like something to be like, hey,

1198
01:03:04,080 --> 01:03:06,439
Speaker 1: really quick, can we talk about the brutal rape scene

1199
01:03:06,440 --> 01:03:09,240
Speaker 1: in this movie? But it was very taken aback. But

1200
01:03:09,360 --> 01:03:11,480
Speaker 1: I must have blacked it out because I just I

1201
01:03:11,680 --> 01:03:13,680
Speaker 1: just straight up did not remember this happened in the movie.

1202
01:03:14,040 --> 01:03:16,640
Speaker 1: So there is a male and male rape scene in

1203
01:03:16,720 --> 01:03:18,920
Speaker 1: this movie, and there's a lot to unpack there. But

1204
01:03:19,160 --> 01:03:22,360
Speaker 1: what I thought was another, like okay, that was a

1205
01:03:22,760 --> 01:03:26,880
Speaker 1: choice that kind of felt true to the character of Marcellus,

1206
01:03:27,040 --> 01:03:30,200
Speaker 1: is that Marcellis basically is like when this will never

1207
01:03:30,360 --> 01:03:33,520
Speaker 1: be spoken of again, like and that is the that's

1208
01:03:33,560 --> 01:03:38,680
Speaker 1: sort of where like Bruce Willis story closes of like, okay, cool,

1209
01:03:38,800 --> 01:03:40,440
Speaker 1: we're never going to talk about the fact that I

1210
01:03:40,560 --> 01:03:44,520
Speaker 1: got raped again, and we're going to talk about we

1211
01:03:44,640 --> 01:03:49,600
Speaker 1: are not It's not that we have to talk about Kevin.

1212
01:03:49,720 --> 01:03:53,360
Speaker 1: So we needed to talk about Kevin. Okay, I won't

1213
01:03:53,440 --> 01:03:55,800
Speaker 1: talk about what happened to you, but we do need

1214
01:03:55,920 --> 01:03:58,240
Speaker 1: to talk about kept getting need to talk about Kevin.

1215
01:03:58,720 --> 01:04:01,640
Speaker 1: He's troubled. Is he's got a bow and arrow in

1216
01:04:01,680 --> 01:04:04,400
Speaker 1: the backyard. What's going on with that kid? What a

1217
01:04:04,480 --> 01:04:09,880
Speaker 1: weird movie? Let's never do that movie? The show? We don't?

1218
01:04:09,880 --> 01:04:12,040
Speaker 1: It turns out we didn't. Didn't. Wait, can you sorry?

1219
01:04:12,040 --> 01:04:13,800
Speaker 1: I didn't mean. I did mean to interrupt you, obviously,

1220
01:04:13,920 --> 01:04:16,280
Speaker 1: but like, what do you? Can you finish that thought?

1221
01:04:16,320 --> 01:04:19,720
Speaker 1: I'm curious? I so I thought that that was an

1222
01:04:19,960 --> 01:04:23,280
Speaker 1: interesting and again there's no intent in this movie, but

1223
01:04:23,960 --> 01:04:27,840
Speaker 1: hyper masculine reaction to an event like that of like,

1224
01:04:28,200 --> 01:04:32,360
Speaker 1: let's never talk about it, and it's not I feel

1225
01:04:32,360 --> 01:04:35,000
Speaker 1: like it's not even applied of like because this is

1226
01:04:35,120 --> 01:04:37,880
Speaker 1: a traumatic, horrible experience that will affect me for the

1227
01:04:37,920 --> 01:04:40,800
Speaker 1: rest of my life. But the implication was more because

1228
01:04:40,880 --> 01:04:44,520
Speaker 1: it was embarrassing for me, or like because people would

1229
01:04:44,600 --> 01:04:47,600
Speaker 1: make fun of me for it. Like his intent in

1230
01:04:47,720 --> 01:04:50,320
Speaker 1: saying let's never talk about it again didn't seem connected

1231
01:04:50,400 --> 01:04:53,840
Speaker 1: to the trauma that there would be with an experience

1232
01:04:53,880 --> 01:04:55,520
Speaker 1: like that. Well, you know what it's connected to I

1233
01:04:55,600 --> 01:04:58,600
Speaker 1: now realize is remember when m Samuel Jackson and John

1234
01:04:58,600 --> 01:05:00,920
Speaker 1: Trabalta are talking to the guy is that they shoot

1235
01:05:00,960 --> 01:05:03,040
Speaker 1: in the beginning of the movie, and he's like, is

1236
01:05:03,400 --> 01:05:07,200
Speaker 1: Marcella s Wallace your bitch? So then theoretically what he

1237
01:05:07,440 --> 01:05:10,480
Speaker 1: what this guy did? What the Peter Green character, the

1238
01:05:10,880 --> 01:05:14,360
Speaker 1: cop rapist made him quote unquote his bitch, which is

1239
01:05:14,400 --> 01:05:16,600
Speaker 1: the worst thing to happen to a guy, Like that's

1240
01:05:16,640 --> 01:05:20,280
Speaker 1: what happened there. It's more of like the weird homophobic

1241
01:05:21,240 --> 01:05:25,080
Speaker 1: like I can't be the less the receiver of prostate

1242
01:05:25,160 --> 01:05:31,440
Speaker 1: pleasure exactly, and and as opposed to any any I mean,

1243
01:05:32,000 --> 01:05:35,320
Speaker 1: there's no commentary there, but it was like a very

1244
01:05:35,560 --> 01:05:38,160
Speaker 1: sort of a very hyper masculine move by a hyper

1245
01:05:38,200 --> 01:05:41,680
Speaker 1: masculine character. But I just thought worth mentioning there's a

1246
01:05:41,720 --> 01:05:44,880
Speaker 1: lot to unpack there. What is Marcella's like, three years

1247
01:05:44,920 --> 01:05:47,120
Speaker 1: down the line after that experience, he needs a lot,

1248
01:05:47,200 --> 01:05:52,160
Speaker 1: He's like this keeps happening to think I'm struggling, Like

1249
01:05:52,240 --> 01:05:55,520
Speaker 1: I don't get a new job. I just well, to me,

1250
01:05:55,720 --> 01:06:00,280
Speaker 1: it's like Quentin Tarantino being obsessed with like revenge engine

1251
01:06:00,360 --> 01:06:03,600
Speaker 1: narratives where like Marcella's gets raped and then he gets

1252
01:06:03,640 --> 01:06:06,560
Speaker 1: to exact immediate revenge on his rapist by shooting his

1253
01:06:06,680 --> 01:06:09,280
Speaker 1: dick off, and then we don't see what happens after that,

1254
01:06:09,360 --> 01:06:13,680
Speaker 1: But which is describes Yeah, which is great, Kill Bill,

1255
01:06:13,720 --> 01:06:17,320
Speaker 1: which is just straight up a revenge story. Django unchained

1256
01:06:17,960 --> 01:06:20,160
Speaker 1: inglorious bastards. These are all just like stories of like,

1257
01:06:20,720 --> 01:06:22,840
Speaker 1: let's just get revenge on these people. So I think

1258
01:06:22,920 --> 01:06:25,080
Speaker 1: it's I feel like that scene was put in there

1259
01:06:25,080 --> 01:06:27,600
Speaker 1: because he's like, I'm obsessed with people getting revenge for

1260
01:06:27,800 --> 01:06:31,240
Speaker 1: doing well. And I also think that there's a little

1261
01:06:31,400 --> 01:06:34,480
Speaker 1: part in Quentin Tarantino's a little weird lizard brain that's

1262
01:06:34,520 --> 01:06:40,240
Speaker 1: like have people ever seen exactly? That's what it felt like,

1263
01:06:40,720 --> 01:06:43,400
Speaker 1: what's cool? He's like trying to do something memorable or cool?

1264
01:06:43,480 --> 01:06:45,400
Speaker 1: You know, I really think that's where he's coming from.

1265
01:06:45,520 --> 01:06:47,640
Speaker 1: But that, to me makes it so much worse. It's

1266
01:06:47,680 --> 01:06:50,880
Speaker 1: like of of like, oh, well, I've never seen this

1267
01:06:51,000 --> 01:06:52,840
Speaker 1: on screen. Let me just put it on screen. Let

1268
01:06:52,880 --> 01:06:55,880
Speaker 1: me not think about any of the ramifications or how

1269
01:06:55,920 --> 01:06:57,960
Speaker 1: a character would realistically deal with this. Let me just

1270
01:06:58,160 --> 01:07:00,920
Speaker 1: like I haven't seen this here it I would bet

1271
01:07:01,040 --> 01:07:03,360
Speaker 1: all my money that that's exactly what. I don't think

1272
01:07:03,400 --> 01:07:06,240
Speaker 1: he has thought about it at all, like even if

1273
01:07:06,280 --> 01:07:09,160
Speaker 1: like the masculinity part, which is interesting because obviously he's

1274
01:07:09,200 --> 01:07:11,080
Speaker 1: a man, so he can't see what he's doing. He

1275
01:07:11,120 --> 01:07:13,720
Speaker 1: doesn't know what he does, I guess, but he's almost

1276
01:07:13,760 --> 01:07:16,160
Speaker 1: just like, no, I haven't seen this, so mathematically I

1277
01:07:16,200 --> 01:07:19,040
Speaker 1: should do that. Like even with the masculinity part. I think,

1278
01:07:19,280 --> 01:07:21,200
Speaker 1: like I would think he thinks he's a feminist because

1279
01:07:21,240 --> 01:07:23,200
Speaker 1: he did kill Bill, you know what I mean, But

1280
01:07:23,320 --> 01:07:27,439
Speaker 1: he doesn't really. Tarantino for sure thinks he's because he's

1281
01:07:27,440 --> 01:07:29,800
Speaker 1: not even he's not even really like think he's Yeah,

1282
01:07:30,120 --> 01:07:32,320
Speaker 1: I just think he watches movies all day long and

1283
01:07:32,480 --> 01:07:35,200
Speaker 1: isn't a person. But then when Harvey Weinstein is exposed

1284
01:07:35,200 --> 01:07:38,360
Speaker 1: as a predor, Quentin Turntin was like, um, that sucks,

1285
01:07:38,640 --> 01:07:42,400
Speaker 1: like and there's just god, yeah, I'm sure he thinks

1286
01:07:42,400 --> 01:07:46,520
Speaker 1: he's a feminist. Probably well is threatening to murder Harvey

1287
01:07:46,560 --> 01:07:50,400
Speaker 1: wat on instagram dot com a true feminist diaom. That's wild. Um,

1288
01:07:50,400 --> 01:07:51,959
Speaker 1: we're running out of time, so we should talk about

1289
01:07:51,960 --> 01:07:55,720
Speaker 1: whether or not the movie passes the BECTO tests. It

1290
01:07:56,120 --> 01:07:59,520
Speaker 1: does in one scene where Jody and Trudy because we

1291
01:07:59,680 --> 01:08:04,520
Speaker 1: both know their names. Are talking about Jody's piercings, which

1292
01:08:04,560 --> 01:08:09,200
Speaker 1: introduces a new fun Bechtel asterisk to how we interpret it,

1293
01:08:09,600 --> 01:08:13,680
Speaker 1: the interpret it interpret the test Street Podcast Meryl Street,

1294
01:08:13,920 --> 01:08:18,400
Speaker 1: Meryl Streets Interpretative. So a lot of times when we

1295
01:08:18,439 --> 01:08:20,960
Speaker 1: talk about the podcast, people will be like, well, it's

1296
01:08:21,000 --> 01:08:23,800
Speaker 1: mainly about the Bucktel test, which isn't we talked about

1297
01:08:23,840 --> 01:08:27,280
Speaker 1: how women are portrayed. But new asterisk to the test

1298
01:08:27,320 --> 01:08:30,880
Speaker 1: because people ask about our particular interpretation of it. So

1299
01:08:31,120 --> 01:08:33,400
Speaker 1: when we see this scene that passes the Backtel test,

1300
01:08:33,479 --> 01:08:37,599
Speaker 1: we do not yet know the names of the female characters,

1301
01:08:37,920 --> 01:08:40,120
Speaker 1: but we find out what their names are in the

1302
01:08:40,360 --> 01:08:44,479
Speaker 1: scene immediately following. For us, because we find out what

1303
01:08:44,520 --> 01:08:46,799
Speaker 1: their names are, we don't know when the scene is happening,

1304
01:08:46,840 --> 01:08:49,560
Speaker 1: but we learned pretty much right after. Right, Yeah, I

1305
01:08:49,640 --> 01:08:51,880
Speaker 1: mean we we have to make all these exceptions or

1306
01:08:51,920 --> 01:08:54,200
Speaker 1: else no movies would pass the back Toel tests. Little

1307
01:08:54,240 --> 01:08:57,760
Speaker 1: fun nickpicky new asterisk, right, but yeah, we do find

1308
01:08:57,760 --> 01:09:00,040
Speaker 1: out their names. So, um, and they are talking. I

1309
01:09:00,040 --> 01:09:02,040
Speaker 1: don't think a man gets mentioned once in that conversation.

1310
01:09:02,240 --> 01:09:05,200
Speaker 1: They're just talking about Rosanna Arquets. Various piercings all over

1311
01:09:05,280 --> 01:09:09,320
Speaker 1: her body, right, just a real Quentin Tarantino for some reason,

1312
01:09:09,360 --> 01:09:13,040
Speaker 1: didn't hit the boa. She does say because she's talking

1313
01:09:13,080 --> 01:09:16,920
Speaker 1: about her tongue piercing. She's like, it's to make filating better.

1314
01:09:17,280 --> 01:09:22,880
Speaker 1: So she's flating whom filating whom probably a man? I

1315
01:09:22,960 --> 01:09:27,600
Speaker 1: think that that is that to Heteronavati say, I don't know,

1316
01:09:30,720 --> 01:09:33,840
Speaker 1: you're right, I'm sorry, Um okay, Yeah, So that's the

1317
01:09:34,080 --> 01:09:35,800
Speaker 1: one scene where it passes the back. I don't think

1318
01:09:35,880 --> 01:09:40,200
Speaker 1: any other scenes have two women even interacting interacting. There

1319
01:09:40,320 --> 01:09:43,000
Speaker 1: are sometimes two women in a scene, but they don't

1320
01:09:43,120 --> 01:09:45,560
Speaker 1: talk to each other, right, like in the restaurant or

1321
01:09:45,600 --> 01:09:49,080
Speaker 1: something like that. But yeah, right, let's write the movie

1322
01:09:49,479 --> 01:09:52,200
Speaker 1: on our nipple scale, where we write the movie based

1323
01:09:52,240 --> 01:09:56,360
Speaker 1: on its portrayal of women zero to five nipple scale.

1324
01:09:56,680 --> 01:09:59,960
Speaker 1: This is gonna be tricky because we see female character

1325
01:10:00,120 --> 01:10:04,720
Speaker 1: 's who have personalities for once in most names that

1326
01:10:04,880 --> 01:10:07,240
Speaker 1: I can Yeah, of the ones that have speaking roles,

1327
01:10:07,280 --> 01:10:09,320
Speaker 1: I think almost all of them have names. And there

1328
01:10:09,360 --> 01:10:12,240
Speaker 1: are more than one woman in the movie. Um, there's

1329
01:10:12,400 --> 01:10:17,479
Speaker 1: like up to five or six with speaking roles. But

1330
01:10:17,640 --> 01:10:21,640
Speaker 1: because this is a movie about men and their storylines,

1331
01:10:21,960 --> 01:10:24,800
Speaker 1: if there are women, they're sort of framed as the

1332
01:10:24,840 --> 01:10:28,080
Speaker 1: girlfriend or the wife, and they're not really contributing that

1333
01:10:28,240 --> 01:10:31,320
Speaker 1: much to this story. I'm gonna give it like a

1334
01:10:31,439 --> 01:10:34,600
Speaker 1: two I think. And again, it did bother me that,

1335
01:10:34,720 --> 01:10:37,519
Speaker 1: like the two main plot points where a woman does

1336
01:10:37,640 --> 01:10:40,840
Speaker 1: something to significantly impact the direction story takes is them

1337
01:10:41,400 --> 01:10:43,479
Speaker 1: making a mistake that has to be corrected by a man.

1338
01:10:43,840 --> 01:10:46,800
Speaker 1: So that bugged me a lot. So yeah, it's gonna

1339
01:10:46,840 --> 01:10:51,000
Speaker 1: be two nipples, and I'm going to give my nipples

1340
01:10:51,200 --> 01:10:59,280
Speaker 1: to Meryl Street, Meryl Street, Hannes, Meryl Street, please okay

1341
01:11:00,080 --> 01:11:03,360
Speaker 1: arts In this movie, I wish alf Molena had perhaps,

1342
01:11:03,920 --> 01:11:07,280
Speaker 1: of course, I think he could have done Harvey Kytel's

1343
01:11:07,320 --> 01:11:09,000
Speaker 1: part very well. I don't know if you could have

1344
01:11:09,040 --> 01:11:11,560
Speaker 1: done it as well as Harvey Kitel. And that's a

1345
01:11:11,640 --> 01:11:14,479
Speaker 1: lot because alf Milena is a master of his craft,

1346
01:11:14,520 --> 01:11:16,840
Speaker 1: as we know. I think that he could have done

1347
01:11:16,880 --> 01:11:19,080
Speaker 1: Bruce will Is his part, and it could have been

1348
01:11:19,080 --> 01:11:22,519
Speaker 1: a really fun breakout role for him. He could have

1349
01:11:22,640 --> 01:11:24,960
Speaker 1: played He could have also played me a Wallets like

1350
01:11:25,040 --> 01:11:28,040
Speaker 1: he's amazing. Certainly, I'm also going to give this movie

1351
01:11:28,320 --> 01:11:33,680
Speaker 1: two nipples for the reasons you described. It's interesting when

1352
01:11:33,720 --> 01:11:38,240
Speaker 1: you think about Quentin Tarantino's work as a whole, where

1353
01:11:38,560 --> 01:11:43,160
Speaker 1: this is his second hit after Reservoir Dogs, which is

1354
01:11:43,479 --> 01:11:48,639
Speaker 1: such a male, male, male movie that we barely see

1355
01:11:48,680 --> 01:11:51,200
Speaker 1: a woman in the entire fucking thing. So it is

1356
01:11:51,280 --> 01:11:56,360
Speaker 1: interesting that he's gradually introducing women into his body of work.

1357
01:11:57,080 --> 01:12:00,599
Speaker 1: Pulp fiction is not you know, it's not on the film.

1358
01:12:00,840 --> 01:12:04,840
Speaker 1: It's not a it's an actor's film. It's a tone home,

1359
01:12:05,120 --> 01:12:06,719
Speaker 1: it's a lot of things. There's a lot of horny

1360
01:12:06,800 --> 01:12:09,160
Speaker 1: depth in the film. I think we can argue that

1361
01:12:09,280 --> 01:12:12,200
Speaker 1: there's a lot of horny tone poem elements to the film.

1362
01:12:12,680 --> 01:12:15,439
Speaker 1: But it's interesting that this is the movie where we

1363
01:12:15,680 --> 01:12:18,040
Speaker 1: see Quentin Tarantino start to realize, Hey, what if I

1364
01:12:18,120 --> 01:12:22,160
Speaker 1: put a woman in the movie doing literally anything? Yeah,

1365
01:12:22,280 --> 01:12:25,720
Speaker 1: there's I it sucks that women are either damseled or

1366
01:12:25,840 --> 01:12:29,400
Speaker 1: have basically no bearing on the plot. Uh So I'll

1367
01:12:29,479 --> 01:12:32,360
Speaker 1: give it two nippies, And I'm going to give those

1368
01:12:32,479 --> 01:12:37,439
Speaker 1: nippies to as moralta very nice jake, what would give.

1369
01:12:37,640 --> 01:12:38,880
Speaker 1: So one thing I want to say is I think

1370
01:12:38,920 --> 01:12:40,560
Speaker 1: Jackie Brown would also be an interesting movie to do

1371
01:12:40,640 --> 01:12:43,080
Speaker 1: on your podcast, because it came right after and it's

1372
01:12:43,120 --> 01:12:46,120
Speaker 1: all about. Yeah. Anyway, I think two is pretty accurate.

1373
01:12:46,760 --> 01:12:48,639
Speaker 1: Did use man explain to us what movies we should

1374
01:12:48,640 --> 01:12:51,240
Speaker 1: do in our podcast? I'm a man. I warned you

1375
01:12:51,760 --> 01:12:53,640
Speaker 1: when I emailed you, I said, even though I'm a

1376
01:12:53,720 --> 01:12:55,719
Speaker 1: dumb man, I'd like to be your podcast. I warned

1377
01:12:55,720 --> 01:12:57,080
Speaker 1: you ahead of time. I was a man. You didn't

1378
01:12:57,120 --> 01:13:01,000
Speaker 1: know I was. Yeah, I just think could be interesting. Honestly,

1379
01:13:01,000 --> 01:13:02,679
Speaker 1: I just haven't seen Jackie bed in a long time,

1380
01:13:02,800 --> 01:13:06,560
Speaker 1: and it's it's about a woman, and it's it's like

1381
01:13:06,800 --> 01:13:08,840
Speaker 1: you know, it's it's about Pam Greer and it's like

1382
01:13:08,920 --> 01:13:11,320
Speaker 1: a very it's her movie. So it's would be an

1383
01:13:11,320 --> 01:13:13,080
Speaker 1: interesting movie to do because it is the movie I

1384
01:13:13,160 --> 01:13:15,760
Speaker 1: think after this movie, so it would be interesting to

1385
01:13:15,840 --> 01:13:18,479
Speaker 1: see how much he changed. I wish that we had

1386
01:13:18,520 --> 01:13:22,000
Speaker 1: done both. Anyway, Um, yeah too. I think it's pretty fair.

1387
01:13:22,080 --> 01:13:24,360
Speaker 1: I mean because also again, I mean, I love the movie, Like,

1388
01:13:24,439 --> 01:13:26,120
Speaker 1: even with all this stuff, watching it from this angle

1389
01:13:26,160 --> 01:13:28,360
Speaker 1: which I never had before, I still love the movie.

1390
01:13:28,400 --> 01:13:30,400
Speaker 1: I think it's like super entertaining and ridiculous and it's

1391
01:13:30,439 --> 01:13:33,439
Speaker 1: irrelic from childhood, so it's kind of stuck there for me.

1392
01:13:33,560 --> 01:13:36,120
Speaker 1: But um yeah, representation of women, I don't think you

1393
01:13:36,160 --> 01:13:39,439
Speaker 1: can argue. I think two is being generous. Obviously. Mia

1394
01:13:39,520 --> 01:13:42,200
Speaker 1: Wallace is like a pretty awesome character, and I do

1395
01:13:42,400 --> 01:13:44,559
Speaker 1: think she really you really remember her, and she's cool

1396
01:13:44,600 --> 01:13:47,400
Speaker 1: as shit. But I don't think you can say that

1397
01:13:48,280 --> 01:13:51,000
Speaker 1: from a few perspective this helps at all. Um. I

1398
01:13:51,080 --> 01:13:53,600
Speaker 1: think in the end, if if anything for gender, it

1399
01:13:53,680 --> 01:13:56,080
Speaker 1: has definitely been on the wrong side of history. But

1400
01:13:56,160 --> 01:13:58,200
Speaker 1: as a movie, I do love watching it. I have

1401
01:13:58,280 --> 01:14:00,640
Speaker 1: to admit I think it's really fun. Jake, thank you

1402
01:14:00,680 --> 01:14:04,000
Speaker 1: so much for being here. Where can people find you

1403
01:14:04,080 --> 01:14:07,600
Speaker 1: online at Wiseman Jake on Twitter? And that's it And

1404
01:14:07,760 --> 01:14:10,880
Speaker 1: but check out what can we say Corporate? Please watch

1405
01:14:10,920 --> 01:14:14,360
Speaker 1: Corporate on Comedy Central ten pm on January seventeenth. You

1406
01:14:14,400 --> 01:14:16,280
Speaker 1: can also watch the first four episodes right now for

1407
01:14:16,400 --> 01:14:18,280
Speaker 1: free on CC dot com. I think you really like

1408
01:14:18,360 --> 01:14:22,759
Speaker 1: the show. It's good. It's so good. You can follow

1409
01:14:22,920 --> 01:14:27,519
Speaker 1: us on Twitter, Instagram, Facebook, all the good stuff at

1410
01:14:27,800 --> 01:14:30,280
Speaker 1: becktel Cast and go to our website bactelcast dot com.

1411
01:14:30,840 --> 01:14:34,519
Speaker 1: You can subscribe to Patreon. That would be a blast

1412
01:14:34,600 --> 01:14:36,320
Speaker 1: for you. If you did that, then would be a

1413
01:14:36,400 --> 01:14:38,240
Speaker 1: blast for you. It would be able to helps us

1414
01:14:38,280 --> 01:14:40,280
Speaker 1: out with our production costs. It helps you out by

1415
01:14:40,360 --> 01:14:44,400
Speaker 1: getting even more Bactel cast. Wow, what a gift. What

1416
01:14:44,560 --> 01:14:47,000
Speaker 1: is timed to be a lot? What a time? Day?

1417
01:14:47,400 --> 01:14:49,679
Speaker 1: Is the stuff for Patreon? Is just you two talking

1418
01:14:49,720 --> 01:14:52,439
Speaker 1: about men. Yeah, it's just like a list of our

1419
01:14:52,520 --> 01:14:57,960
Speaker 1: Google spreadsheet. We should just do an episode where we

1420
01:14:58,080 --> 01:15:02,400
Speaker 1: list all of Alfred mill in his movies. I'm going

1421
01:15:02,479 --> 01:15:04,760
Speaker 1: to start. That's a different podcast. I just going through

1422
01:15:04,960 --> 01:15:08,840
Speaker 1: Alfred Molina's entire body of work with Alfred Mollina. It's

1423
01:15:08,920 --> 01:15:10,400
Speaker 1: kind of just the thing for me and Alfred Bileinna.

1424
01:15:10,439 --> 01:15:13,680
Speaker 1: I'm sorry. Accept the two of us, I understand, and

1425
01:15:13,760 --> 01:15:18,320
Speaker 1: it ends with us hooking every episode. Congratulations, we look up.

1426
01:15:18,960 --> 01:15:23,160
Speaker 1: Okay cool, Thanks thanks for listening. Bye,