WEBVTT - Pulp Fiction with Jake Weisman

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<v Speaker 1>On the beck Dol Cast, the questions asked if movies

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<v Speaker 1>have women in them, are all their discussions just boyfriends

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<v Speaker 1>and husbands or do they have individualism? The patriarchy? Zef

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<v Speaker 1>invest start changing it with the Bedel Cast. Hello, welcome

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<v Speaker 1>to the Bechtel Cast. My name is Jamie, my name's Caitlin,

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<v Speaker 1>and this is our podcast of where we talk about

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<v Speaker 1>women in the movies. Yeah, that is exactly what it is,

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<v Speaker 1>and it's inspired by the Bechtel Test. You're not familiar

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<v Speaker 1>with that. It's yeah, throw yourself into a river, you'd

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<v Speaker 1>walk out the travel or or you can just learn

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<v Speaker 1>from us, because we're about to tell you that it's

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<v Speaker 1>a test that you apply to movies that requires that

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<v Speaker 1>there are two female characters. They speak to each other,

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<v Speaker 1>they have names, and their conversation cannot be about a man.

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<v Speaker 1>Do you want to do a demo really quick? I'd

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<v Speaker 1>love to. Okay, So here's an example of anything fast

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<v Speaker 1>the Bechtel test, Caitlin. Do you think that Meryl Streep

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<v Speaker 1>is happy? Jay? Me? I what is happiness? You know? Who?

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<v Speaker 1>Who am I to say whether or not Meryl Street

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<v Speaker 1>is happy? Meryl? Who? What did I say? Meryl Street

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<v Speaker 1>So that's an example of it past the Bactel test

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<v Speaker 1>because we didn't talk about a man. We talked about

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<v Speaker 1>a steamed actress, Meryl Street. But what if Meryl Street

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<v Speaker 1>is a man and I sucked it up? No, it's wrong.

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<v Speaker 1>There's she's well, Meryl Streep is a woman. We don't

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<v Speaker 1>know how they identify, right, we want to put Meryl

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<v Speaker 1>Street in the box. I wonder if Meryl Street is

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<v Speaker 1>seen Doubt. When are we gonna do a Doubt episode? Soon? Soon? Anyway?

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<v Speaker 1>So yeah, let's pretend that Meryl Street is a woman,

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<v Speaker 1>and the conversation definitely passed the Bectel tests. I've got

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<v Speaker 1>I'm about to break the Bantele test. I've got a

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<v Speaker 1>Mike's Harder lemonade in blood orange today. Yeah, it tastes

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<v Speaker 1>like tang with trash in it. It's good. It's good though,

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<v Speaker 1>it's good. Hey, do you want to have an episode?

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<v Speaker 1>I'd love to. Let's have an episode. Okay, let's introduce

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<v Speaker 1>our guest. He is a co creator and co star

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<v Speaker 1>of the upcoming show Corporate on Comedy Central. It's so good.

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<v Speaker 1>You can watch the first four ups. Now. It's Jake Wiseman.

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<v Speaker 1>Oh not too much. How about you loving the Meryl

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<v Speaker 1>Street stuff? Giggle a live stifle. If you're out there,

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<v Speaker 1>Meryl Street, find me on Twitter. Let's be friends. We'll

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<v Speaker 1>send you something. We don't have any merchandise to send

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<v Speaker 1>you something, it doesn't matter. We've got to get merch

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<v Speaker 1>I still have my hamsters corps in the freezer. I'll

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<v Speaker 1>send you that. Does anyone want that? Yeah, I've been

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<v Speaker 1>I've actually been struggling with what to do with it.

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<v Speaker 1>How often do you touch it once a day just

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<v Speaker 1>to check it? But it's in the But it's in

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<v Speaker 1>a bag, right, It's in a ball in a bag,

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<v Speaker 1>in a freezer, in a ball like a hamster ball. Oh,

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<v Speaker 1>it's in a ball in a bag, in a bag.

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<v Speaker 1>So that my roommates don't see that there's a hamster

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<v Speaker 1>corps in the freezer. Do they listen to this podcast? No?

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<v Speaker 1>I certainly don't. So now I have to design. I'm

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<v Speaker 1>torn between taxidermy and Hollywood Forever Cemetery. And I've been

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<v Speaker 1>putting it off for almost three weeks now, and I

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<v Speaker 1>don't know how much how long you can keep a

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<v Speaker 1>corpse in your freezer. Well, from experience, I'd say up

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<v Speaker 1>to a kidding. I don't know. No, I was really

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<v Speaker 1>on board for taxidermy, but then now now I don't

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<v Speaker 1>want my hamsters passing to be a joke. I loved her.

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<v Speaker 1>I kind of want to just bury her next to

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<v Speaker 1>Jea Jacobar, like my original plan with so what are

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<v Speaker 1>you gonna Are you gonna pay to bury? You're just

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<v Speaker 1>gonna go in there and just do it. Yeah, I

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<v Speaker 1>just need to find someone to go with me, and

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<v Speaker 1>I'll bring like a spoon and then just burrier somewhere

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<v Speaker 1>I'll go. Yeah, okay, come with fun. I think I'm busy,

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<v Speaker 1>but it sounds great. They're believable. No time specified. Okay, fine,

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<v Speaker 1>so what what are we? What's the podcast? We're talking

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<v Speaker 1>today about pulp fiction? This is wait, this is the

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<v Speaker 1>second was the first one you did? We did Kill Bill?

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<v Speaker 1>That was our first episode ever. Okay, yeah, alright, well

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<v Speaker 1>a woman is the lead of that. Yes, so this

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<v Speaker 1>is different. This is a little bit different. Tell us

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<v Speaker 1>when you first saw this or what your history with

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<v Speaker 1>this movie is. I think this movie came out If

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<v Speaker 1>I believe and so, I would have been eleven. I

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<v Speaker 1>do remember specifically when it came out. It was all

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<v Speaker 1>the rage. It was. It was a phenomenon. I remember

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<v Speaker 1>wanting to see it so badly and just pestering my

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<v Speaker 1>dad to see it, and he had already seen it.

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<v Speaker 1>Was everyone. I was talking about how great it was,

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<v Speaker 1>and he's like, we're going to the movies, but we

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<v Speaker 1>can't see pulp fiction. You're too young to see it.

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<v Speaker 1>We're going to see Nobody's Fool instead. Now Nobody's Fool

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<v Speaker 1>as a film starring Paul Newman and Melanie Griffith, and um,

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<v Speaker 1>I've seen it. It actually is a good movie. But

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<v Speaker 1>I was such a brat. I was an eleven year

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<v Speaker 1>year old prick and I was like, no, it's not fair.

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<v Speaker 1>You're not gonna let me see pulp fiction. I'm adult enough.

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<v Speaker 1>And I remember he took me to the He's like,

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<v Speaker 1>come on, we're going to the movies, and I was

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<v Speaker 1>in the backseat just whining. And we got to the

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<v Speaker 1>window and one of the best moments of my life.

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<v Speaker 1>I remember vividly, he goes to for pulp fiction and

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<v Speaker 1>I was like, oh my god, amazing long play. Now

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<v Speaker 1>here's the thing. I was definitely too young to see it,

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<v Speaker 1>and he made a mistake. He's a bad dad, and

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<v Speaker 1>that's why I'm so fucked up. But it was cool

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<v Speaker 1>to see it because it was so like, it was

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<v Speaker 1>such an incendiary movie. It changed filmmaking, it changed everything.

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<v Speaker 1>So that was my like, I do remember that moment,

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<v Speaker 1>and I've seen it, I think a hundred times. I

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<v Speaker 1>mean everyone's seen it a million times. It's just always on,

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<v Speaker 1>it's always talked about. It's like a cultural touchdown. Everyone's

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<v Speaker 1>trying to rip it off ever since it was like

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<v Speaker 1>fifty pulp fiction posters in any given college dorm building.

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<v Speaker 1>One of the issues with like a movie like that,

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<v Speaker 1>whether you let's say you love it, if you love

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<v Speaker 1>like a movie and it changes everything, the problem though,

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<v Speaker 1>is then every movie for the next twenty years is

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<v Speaker 1>a knockoff of that movie and it sucks. So that's

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<v Speaker 1>like the real problem with changing the game is just

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<v Speaker 1>like no one else can do it, but they're gonna

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<v Speaker 1>do it, and so that's annoying. Was that your first

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<v Speaker 1>rate at our movie? I don't think so. I like

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<v Speaker 1>kind of grew up fast Chott web six um and

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<v Speaker 1>just kind of every I've seen everything, I only watch our,

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<v Speaker 1>I've only seen ours. Wild that you probably saw The

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<v Speaker 1>Lion King and pulp fiction Yeah, I think I saw

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<v Speaker 1>what was the space Jam around that time. Yeah, I

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<v Speaker 1>mean fiction, it's brutal, like in rewatching it last night

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<v Speaker 1>just for this podcast, Like, oh this is this is insane,

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<v Speaker 1>this should be X. I think like this is like

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<v Speaker 1>a crazy thing. How could you explain this to anyone? Well,

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<v Speaker 1>the thing I feel like if a movie is rated

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<v Speaker 1>like n C seventeen or whatever, that's what you mean

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<v Speaker 1>by like I'm so old, I call it X. It

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<v Speaker 1>still sounds cooler. There's like bring back X. I feel

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<v Speaker 1>like a lot of X rated movies are rated that

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<v Speaker 1>way because there's some sort of there's like graphics sex

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<v Speaker 1>but usually not like hetero sex, a lot of well

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<v Speaker 1>and and just the idea that sex is like more

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<v Speaker 1>upsetting than violence. It's just like, what are we talking about? There?

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<v Speaker 1>There were on this view and because I haven't seen

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<v Speaker 1>this movie in a couple of years, there were entire large,

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<v Speaker 1>disturbing sections of this movie that I had totally forgotten about.

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<v Speaker 1>I had completely forgotten about the extended rape plot. Yeah,

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<v Speaker 1>with Marcela's who completely forgotten about it? Yeah, that was

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<v Speaker 1>jarring fully awake. Speaking of this movie, getting ripped off me,

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<v Speaker 1>I tell you about a student film that I made

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<v Speaker 1>that basically ripped off of pulp fiction. Yes please. It's

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<v Speaker 1>a roughly seven minutes short called Exchange centers around a

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<v Speaker 1>twenty dollar bill that has like an X marker, like

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<v Speaker 1>someone wrote an X with marker on the twenty dollar bill,

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<v Speaker 1>and it follows among all these different characters who each

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<v Speaker 1>have a certain vice, Like the one guy is like

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<v Speaker 1>a drug addict. They like roll it up and they

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<v Speaker 1>like use the twin dollar bill to snort cocaine. Another

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<v Speaker 1>one is like a gambling person or like a cheater.

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<v Speaker 1>I forget. Is it all the same dollar bill? Yes? Yeah,

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<v Speaker 1>but it connects all these characters and things like happen

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<v Speaker 1>out of chronological order. And I was just like, I'm

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<v Speaker 1>so fucking brilliant. You guys are making this stupid. Yeah,

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<v Speaker 1>I have not seen it in many years. I would

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<v Speaker 1>imagine it. We find it? Can we find? The director's

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<v Speaker 1>cut is on available for purchase on Amazon. Um No,

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<v Speaker 1>I have not put it on YouTube or anything like that.

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<v Speaker 1>I'm far too embarrassed for that. Got there's so much

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<v Speaker 1>embarrassing stuff just like buried out there. I have an

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<v Speaker 1>e book somewhere out there. It sucks that, like the

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<v Speaker 1>only way to do it now is to just be

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<v Speaker 1>so horrible in public and then you maybe get a

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<v Speaker 1>chance ten years later to do something good. Like that's

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<v Speaker 1>the only way to do anything is to be horrible,

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<v Speaker 1>but but for some reason need the validation and not

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<v Speaker 1>cared too much about the shame in an effort to

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<v Speaker 1>one day know what you're doing. But it's like horrible,

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<v Speaker 1>and all your horribleness is fully archived for the world

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<v Speaker 1>to kind when you get good at something. Yeah, I think,

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<v Speaker 1>Like I think also it's weird because I think a

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<v Speaker 1>large part of especially with filmmakers, there's this myth around

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<v Speaker 1>a lot of like male filmmakers like Kubrick and stuff,

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<v Speaker 1>where it's like they're perfect. That's not true. They just

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<v Speaker 1>didn't have YouTube, so they weren't like uploading the shitty

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<v Speaker 1>fucking student films they did. They were burning the negatives

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<v Speaker 1>of the stuffs that sucked and then only putting up

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<v Speaker 1>the stuff that worked, you know what I mean. And

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<v Speaker 1>now there's less of a myth. It's a lot of

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<v Speaker 1>just like, yeah, just be shitty and figure it out eventually,

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<v Speaker 1>Like that's what it is. Wouldn't it be amazing if

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<v Speaker 1>we had the option and like a filmography thing for

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<v Speaker 1>something to be parentheses lost, because that's like, yeah, that's

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<v Speaker 1>like the first couple of years of so many famous directors.

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<v Speaker 1>They're like, oh, we don't we don't know it's done.

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<v Speaker 1>It's like it probably was just bad and someone disposed

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<v Speaker 1>of it. If only that were an option. Well, I

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<v Speaker 1>definitely take down all my old danda videos of like

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<v Speaker 1>really dumb shout I've said, and fully there be found anyway.

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<v Speaker 1>So um, let's do it. Jamie. You've seen this movie

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<v Speaker 1>once before. What's your history with it. I've seen this movie.

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<v Speaker 1>I think this was maybe my third time seeing it.

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<v Speaker 1>I don't know. I mean, I'm late to every movie.

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<v Speaker 1>I've seen doubt five hundred times in every other movie once. Um,

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<v Speaker 1>I saw this movie in I want to say, maybe

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<v Speaker 1>late high school with some friends and everyone thought was

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<v Speaker 1>so fucking cool. And then I saw it again in college,

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<v Speaker 1>same deal. And I saw it last night and this

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<v Speaker 1>is like, I like this movie. I don't have any

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<v Speaker 1>particular attachment to it, but I like it. Sure. Yeah, yeah,

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<v Speaker 1>I saw it for the first time I think in

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<v Speaker 1>high school as well. I remember going to the video

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<v Speaker 1>store and being like, there are certain movies that I

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<v Speaker 1>just need to see because I was like, I'm going

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<v Speaker 1>to be a film major, I have to have seen

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<v Speaker 1>these movies. And I went and I rented Fargo, Pulp Fiction,

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<v Speaker 1>and The Princess Bride, three movies I had never seen before,

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<v Speaker 1>and I watched them. I was like, yeah, that was

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<v Speaker 1>like they were right, these movies are pretty good. Who's they?

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<v Speaker 1>You know? They? It was listical on the Guardian dot com.

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<v Speaker 1>There was one point where, Yeah, I would just like

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<v Speaker 1>look up lists that people I had heard of had

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<v Speaker 1>like made of things that they liked. I'm like, well,

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<v Speaker 1>I'll just go look at that and then spiral out

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<v Speaker 1>from there, which is like a misguided but sort of

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<v Speaker 1>effective way when you're very young to I think it's

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<v Speaker 1>a great way to do it. Yeah. I think it's

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<v Speaker 1>like the only I feel like everything I read or

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<v Speaker 1>watch is just interviews with people who make stuff. They're

0:11:34.360 --> 0:11:37.160
<v Speaker 1>also do that. Yeah, like that's kind of it. Like

0:11:37.200 --> 0:11:38.840
<v Speaker 1>I don't really know how else to do it because

0:11:38.840 --> 0:11:41.839
<v Speaker 1>I don't trust. I think sometimes when you take opinions

0:11:41.920 --> 0:11:44.880
<v Speaker 1>from good friends, there's a real danger there because a

0:11:44.880 --> 0:11:47.240
<v Speaker 1>lot of people that are smart have terrible taste, Like

0:11:47.280 --> 0:11:50.200
<v Speaker 1>they're just not not smart about entertainment, and you're like,

0:11:50.240 --> 0:11:52.440
<v Speaker 1>once you know what they like, Like, I'm having a

0:11:52.480 --> 0:11:55.920
<v Speaker 1>personal problem with people liking three billboards outside having Missouri,

0:11:56.480 --> 0:11:59.720
<v Speaker 1>and it's so horrible and I'm losing friendships. Like like

0:12:00.040 --> 0:12:01.640
<v Speaker 1>it's like I don't I don't want to know what

0:12:01.760 --> 0:12:03.480
<v Speaker 1>friends like. I just want to know what the cool

0:12:03.520 --> 0:12:05.199
<v Speaker 1>people like and then I then at least I will

0:12:05.240 --> 0:12:08.040
<v Speaker 1>be hurt when we disagree. You know, feel free to

0:12:08.040 --> 0:12:10.360
<v Speaker 1>go on your three boboard tiraded and we can talk

0:12:10.360 --> 0:12:15.720
<v Speaker 1>about that there. Yeah. I mean, my whole, like my

0:12:15.800 --> 0:12:19.480
<v Speaker 1>whole formative years were writing down anything that was mentioned

0:12:19.520 --> 0:12:22.000
<v Speaker 1>in this series of Unfortunate events books and then just

0:12:22.080 --> 0:12:25.600
<v Speaker 1>going to locate them. But it was actually very helpful,

0:12:25.640 --> 0:12:27.200
<v Speaker 1>and I like found out a lot of stuff that

0:12:27.280 --> 0:12:30.000
<v Speaker 1>I like and know about now because of those those

0:12:30.000 --> 0:12:32.760
<v Speaker 1>little books. All right, that's good. How cute? I like

0:12:32.840 --> 0:12:37.080
<v Speaker 1>those better than pulp fiction. Okay, sure, I'm gonna go home.

0:12:38.760 --> 0:12:43.360
<v Speaker 1>How would I do a recap of I'll fiction Caitlyn's recap.

0:12:44.040 --> 0:12:46.400
<v Speaker 1>So this is a movie in which the events do

0:12:46.559 --> 0:12:50.320
<v Speaker 1>not happen in chronological order. Are all this thing happens,

0:12:50.320 --> 0:12:52.280
<v Speaker 1>and then this thing happens, But then we flash it's

0:12:52.280 --> 0:12:55.199
<v Speaker 1>a whole thing, so bear in mind. So we start

0:12:55.240 --> 0:12:57.880
<v Speaker 1>out on a couple who are in a dire and die.

0:12:58.160 --> 0:13:01.240
<v Speaker 1>I cannot fucking talk to them to die. Meryl Street

0:13:02.440 --> 0:13:08.400
<v Speaker 1>is on Diner Street, so the movie diner Um. So

0:13:08.480 --> 0:13:12.440
<v Speaker 1>they're in a diner and they announced this is a robbery.

0:13:13.080 --> 0:13:19.680
<v Speaker 1>Then we cut to John, Hey, guys, actually this is

0:13:19.679 --> 0:13:23.040
<v Speaker 1>a robber, Actually a robbery. I know you thought I

0:13:23.120 --> 0:13:26.120
<v Speaker 1>know you though, you're just like dancing up PoCA. The

0:13:26.160 --> 0:13:29.880
<v Speaker 1>guns are real and we want you. We're still going

0:13:29.920 --> 0:13:35.120
<v Speaker 1>to pay for the meal, Okay. So then we cut

0:13:35.160 --> 0:13:38.120
<v Speaker 1>to John Travolta and Samuel and Jackson and they're talking

0:13:38.120 --> 0:13:43.920
<v Speaker 1>about Royal's with cheese. They're chatting, they're having a conversation. Yeah,

0:13:44.160 --> 0:13:49.080
<v Speaker 1>they're like, Wow, six minutes of dialogue equals revolutionary, pretty

0:13:49.120 --> 0:13:51.520
<v Speaker 1>amazing stuff. So they go to these people's apartment on

0:13:51.559 --> 0:13:56.360
<v Speaker 1>behalf of their boss, Marcellus Wallace, who is some sort

0:13:56.360 --> 0:14:01.440
<v Speaker 1>of organized crime mobster type of st bad element, right,

0:14:01.840 --> 0:14:05.080
<v Speaker 1>and they're there to collect a briefcase that's full of

0:14:05.760 --> 0:14:09.720
<v Speaker 1>light bobs. We don't know it's a mcguffin, And they

0:14:09.720 --> 0:14:11.640
<v Speaker 1>are trying to get the briefcase from these people who

0:14:11.679 --> 0:14:14.600
<v Speaker 1>have totally fucked over Marcella's Wallace, and then um John

0:14:14.600 --> 0:14:18.720
<v Speaker 1>Travolta and Samuel Jackson, whose character's names are Vincent Vega

0:14:19.040 --> 0:14:27.280
<v Speaker 1>and Jules win Field went Street win Street, Uh, they

0:14:27.440 --> 0:14:29.720
<v Speaker 1>shoot them up, and then we meet Butch played by

0:14:29.920 --> 0:14:32.800
<v Speaker 1>Bruce Willis. He's a boxer. We meet Marcella's Wallace and

0:14:32.840 --> 0:14:36.040
<v Speaker 1>he's like he basically gives him money to fix a fight.

0:14:36.520 --> 0:14:38.760
<v Speaker 1>And then this is a fun scene because Vincy Vega

0:14:39.000 --> 0:14:42.520
<v Speaker 1>and Jules wind Field slash wind Street show up in

0:14:42.680 --> 0:14:44.520
<v Speaker 1>different clothes when we saw them in before, and we're like,

0:14:44.600 --> 0:14:47.520
<v Speaker 1>what is this all about? Like, wait, is this perhaps

0:14:47.880 --> 0:14:52.440
<v Speaker 1>non linear? Oh my god? The phone. Then vince Vega

0:14:52.480 --> 0:14:55.760
<v Speaker 1>goes and buys heroin from Eric Stolt's. Then he takes

0:14:55.920 --> 0:15:06.040
<v Speaker 1>me and Wallace pretty straight. That part was just a documentary.

0:15:06.880 --> 0:15:09.520
<v Speaker 1>It's just bad writing. He got yeah, he got let

0:15:09.600 --> 0:15:11.760
<v Speaker 1>go of Back to the Future. He was the original dude.

0:15:12.560 --> 0:15:14.560
<v Speaker 1>He was supposed to be Marty McFly and they shot

0:15:14.680 --> 0:15:16.520
<v Speaker 1>most of the movie with him, and then he got

0:15:16.560 --> 0:15:20.120
<v Speaker 1>recast because he just he was just serious. He was

0:15:21.040 --> 0:15:23.440
<v Speaker 1>and you just shouldn't do that. He succeeded too hard.

0:15:23.920 --> 0:15:28.880
<v Speaker 1>People were threatened. So then Vincent Vega takes out Mia

0:15:28.960 --> 0:15:32.200
<v Speaker 1>Wallace played by Uma Thurman, which is Marcellis Wallace takes

0:15:32.240 --> 0:15:35.680
<v Speaker 1>out literally takes out for fun, for fun, not in

0:15:35.720 --> 0:15:39.520
<v Speaker 1>a murdering way. They go out dancing, They go to dinner,

0:15:39.520 --> 0:15:43.080
<v Speaker 1>it's a great time. They go back to her house.

0:15:43.720 --> 0:15:46.560
<v Speaker 1>She finds the heroine that he had bought in his pocket.

0:15:46.800 --> 0:15:49.840
<v Speaker 1>She starts at thinking it is cocaine. Then she o

0:15:50.000 --> 0:15:51.600
<v Speaker 1>d s and he has to go deal with that.

0:15:51.720 --> 0:15:54.080
<v Speaker 1>They go back to Eric Stoltz's house and she gets

0:15:54.120 --> 0:15:59.080
<v Speaker 1>an adrenaline shot. Then we cut to young Butch receiving

0:15:59.360 --> 0:16:06.280
<v Speaker 1>him but maybe that's my SoundCloud wrapper name. He receives

0:16:06.440 --> 0:16:10.160
<v Speaker 1>his dad's watch from Christopher Walking. He's like, your dad

0:16:10.360 --> 0:16:12.560
<v Speaker 1>hit this up his asshole for five years and now

0:16:12.560 --> 0:16:15.160
<v Speaker 1>I'm giving it to you, which is a great plot.

0:16:15.640 --> 0:16:18.760
<v Speaker 1>The whole time we were watching Chris Walking in this movie,

0:16:19.080 --> 0:16:20.440
<v Speaker 1>which he first of all made fun of me for

0:16:20.440 --> 0:16:24.880
<v Speaker 1>calling him Chris Walking. Yeah, Christie, it was actually goes

0:16:24.920 --> 0:16:29.640
<v Speaker 1>by Christie. Is he Chris Walking down the street? Christie?

0:16:29.960 --> 0:16:33.320
<v Speaker 1>He's yeah in Meryl Street. Okay. I was like, wait,

0:16:33.320 --> 0:16:36.360
<v Speaker 1>where are we connecting it? Um? I was just thinking

0:16:36.360 --> 0:16:38.680
<v Speaker 1>about his his scene in Julie the whole time I

0:16:38.720 --> 0:16:41.960
<v Speaker 1>was watching his scene. How many movies is Christopher walking in?

0:16:42.000 --> 0:16:48.320
<v Speaker 1>For exactly one scene? And actually the only two movies

0:16:48.360 --> 0:16:50.680
<v Speaker 1>he's ever been in. He's never been in any other movies.

0:16:50.800 --> 0:16:52.560
<v Speaker 1>Try to think of another one. Can you tell me things?

0:16:52.640 --> 0:16:58.080
<v Speaker 1>I believe it? It's not good there go back and

0:16:58.160 --> 0:17:02.760
<v Speaker 1>rewatch Christopher walkin scene and Julie he doesn't. She has

0:17:02.920 --> 0:17:04.960
<v Speaker 1>no idea he's in the movie. He thinks he's just

0:17:05.000 --> 0:17:08.639
<v Speaker 1>a visiting. They're just like, hey, do you want to

0:17:08.680 --> 0:17:12.119
<v Speaker 1>just talk to ben Affleck for like four minutes? And

0:17:12.160 --> 0:17:16.080
<v Speaker 1>he does. He's holding a cup from Crafty. He's holding

0:17:16.200 --> 0:17:19.600
<v Speaker 1>like a cup with a pattern on it, and he's

0:17:19.640 --> 0:17:22.040
<v Speaker 1>just in a suit. And it's like he thinks he's visiting.

0:17:22.040 --> 0:17:25.000
<v Speaker 1>He doesn't know he's he's never heard of that movie before.

0:17:25.280 --> 0:17:28.000
<v Speaker 1>No one has what happened to Natalie? Would Christopher walkin?

0:17:28.119 --> 0:17:36.080
<v Speaker 1>Tell us? He knows? He definitely huh, Anyway, what's happening

0:17:36.080 --> 0:17:40.080
<v Speaker 1>in the movie. So then we flash forward to adult Butch,

0:17:40.119 --> 0:17:47.080
<v Speaker 1>which is my rapper name, and were again old Butch

0:17:47.160 --> 0:17:50.440
<v Speaker 1>is a pretty good name. But closes at the show, Yeah,

0:17:51.400 --> 0:17:53.360
<v Speaker 1>I have an uncle away, I've talked about every time

0:17:53.359 --> 0:17:55.000
<v Speaker 1>I talk about my uncle Butch on the show, you

0:17:55.160 --> 0:17:59.960
<v Speaker 1>edit it out because he's a criminal. He's a con artist,

0:17:59.720 --> 0:18:04.119
<v Speaker 1>shot out to my con artist uncle. But okay. So

0:18:04.160 --> 0:18:07.360
<v Speaker 1>then in the next scene, we flash forward to adult

0:18:07.600 --> 0:18:10.960
<v Speaker 1>Butch and it's right after his boxing match and he

0:18:11.000 --> 0:18:13.520
<v Speaker 1>has not fixed the match like he promised he would.

0:18:14.000 --> 0:18:17.159
<v Speaker 1>He instead kills his opponent and he's fine with it,

0:18:17.400 --> 0:18:19.560
<v Speaker 1>and he runs away and he gets in this cab

0:18:19.600 --> 0:18:22.399
<v Speaker 1>where this woman's like, tell me what it's like to

0:18:22.720 --> 0:18:28.920
<v Speaker 1>kill a man? As Morelda, right, that's her name, feminist

0:18:29.080 --> 0:18:31.760
<v Speaker 1>icon as Morelda, because all she wants to all she

0:18:31.800 --> 0:18:34.000
<v Speaker 1>cares about is what it's like to kill men. Yeah,

0:18:34.040 --> 0:18:36.919
<v Speaker 1>I am on board, and it's like, yeah, go for it.

0:18:37.240 --> 0:18:41.760
<v Speaker 1>Find out, just turn back and snap Bruce's neck. Figure

0:18:41.760 --> 0:18:46.480
<v Speaker 1>it out. So then Butch goes to his girlfriend and

0:18:46.480 --> 0:18:48.639
<v Speaker 1>they ready to run away, but she's like, funk, I

0:18:48.680 --> 0:18:51.600
<v Speaker 1>forgot your watch and he's like, you stupid bitch, how

0:18:51.600 --> 0:18:55.240
<v Speaker 1>could you forget my father's watch? He flips it tastes

0:18:55.240 --> 0:18:59.560
<v Speaker 1>like you forgot the ass watch and he's mad. So um.

0:18:59.560 --> 0:19:02.480
<v Speaker 1>He goes by to his apartment, but Vincent Vegas, they're

0:19:02.600 --> 0:19:05.199
<v Speaker 1>ready to kill him and he finds his gun and

0:19:05.240 --> 0:19:09.600
<v Speaker 1>he shoots Vincent, and Vincent is dead now, and we're like,

0:19:09.680 --> 0:19:13.600
<v Speaker 1>wait a second, is this linear? Are we gonna see

0:19:13.640 --> 0:19:17.320
<v Speaker 1>this guy? What? I don't know? Then Bot runs into

0:19:17.359 --> 0:19:20.359
<v Speaker 1>Marcella's Wallace, who he had just fucked over for not

0:19:20.480 --> 0:19:23.520
<v Speaker 1>fixing the fight, and then they have this whole fight

0:19:23.520 --> 0:19:26.639
<v Speaker 1>where they like you like, runs Marcella's over with a car.

0:19:27.080 --> 0:19:30.360
<v Speaker 1>They end up in a pawn shop. Kathy Griffin is

0:19:30.720 --> 0:19:33.560
<v Speaker 1>did you see the Kathy Griffin fami? I'm sorry, but

0:19:33.600 --> 0:19:36.520
<v Speaker 1>when he when Marcellus Wallace wakes up and all the

0:19:36.600 --> 0:19:39.840
<v Speaker 1>like people are there with the person who talked to him,

0:19:39.880 --> 0:19:43.480
<v Speaker 1>is Kathy Griffin? Really? Yeah? The red haired help me.

0:19:44.800 --> 0:19:47.520
<v Speaker 1>He was crazy. It was over there all testified for you.

0:19:47.720 --> 0:19:53.440
<v Speaker 1>That's Kathy Griffin. Wow. Wow, I'm altered. That's excited. Didn't

0:19:53.440 --> 0:19:56.200
<v Speaker 1>mean interrupt, but that's a very Oh. I gotta find

0:19:56.200 --> 0:20:00.399
<v Speaker 1>that screenshot post haste. So they end up in a

0:20:00.440 --> 0:20:04.359
<v Speaker 1>pawn shop, bunch of Marcelli's and they're like scuffling, and

0:20:04.359 --> 0:20:06.439
<v Speaker 1>the pawn shop owners like, hang on a minute, let

0:20:06.440 --> 0:20:09.480
<v Speaker 1>me take you down to this sex dungeon. Sorry, we

0:20:09.480 --> 0:20:11.520
<v Speaker 1>were just looking at a screen again. That's quite all right,

0:20:11.600 --> 0:20:14.280
<v Speaker 1>I was just talking about a sex dungeon. So she

0:20:14.400 --> 0:20:18.919
<v Speaker 1>looks great. So this cop shows up. He gets a

0:20:19.000 --> 0:20:22.959
<v Speaker 1>gimp out of a cage and they're like, okay, time

0:20:23.680 --> 0:20:29.520
<v Speaker 1>for me to rape you. And then they that's my

0:20:29.600 --> 0:20:36.560
<v Speaker 1>new race. When you said that, I saw it as

0:20:36.680 --> 0:20:41.840
<v Speaker 1>time than the number four me the number two rape you.

0:20:43.200 --> 0:20:49.360
<v Speaker 1>That's how I thought it was a fully green, classic

0:20:49.440 --> 0:20:54.040
<v Speaker 1>green not to make light of rape. Okay, So buch

0:20:54.040 --> 0:20:57.440
<v Speaker 1>of Marcella's get all tied up. Marcella's gets raped by

0:20:57.440 --> 0:21:01.040
<v Speaker 1>this horrible rapist cop and then Butch is like, actually,

0:21:01.160 --> 0:21:02.600
<v Speaker 1>I'm going to fight my way out of this. So

0:21:02.640 --> 0:21:06.199
<v Speaker 1>he undoes his bondage. He has a sword, does he not?

0:21:06.520 --> 0:21:09.399
<v Speaker 1>He goes up because he's about to lead, punches the gimp.

0:21:09.760 --> 0:21:13.040
<v Speaker 1>He runs away and he's like, wait a minute, I

0:21:13.080 --> 0:21:17.399
<v Speaker 1>can't just let Marcellus suffer this horrible fate. So he

0:21:17.840 --> 0:21:21.000
<v Speaker 1>gets a sword from the punch up, goes back downstairs,

0:21:21.359 --> 0:21:25.160
<v Speaker 1>slices people up, fights for the cop, gets his dick

0:21:25.240 --> 0:21:28.280
<v Speaker 1>shot off in my favorite scene in the movie, and

0:21:28.320 --> 0:21:33.399
<v Speaker 1>then Marcellis and Butcher like we're cool. Then we cut

0:21:33.600 --> 0:21:37.640
<v Speaker 1>to Vincent and Juels at the apartment that we saw

0:21:37.680 --> 0:21:44.159
<v Speaker 1>them at before. Whoa this hoff? It's sure, isn't. This

0:21:44.200 --> 0:21:48.360
<v Speaker 1>isn't what I'm used to. So right another person who

0:21:48.359 --> 0:21:50.920
<v Speaker 1>he had not seen before comes out shoots at them

0:21:50.920 --> 0:21:54.040
<v Speaker 1>but misses, and then Jules has this like religious experience

0:21:54.040 --> 0:21:55.680
<v Speaker 1>where he's like, Wow, what a miracle. I'm going to

0:21:55.840 --> 0:22:00.159
<v Speaker 1>leave this life of organized crime and just like be

0:22:00.240 --> 0:22:05.639
<v Speaker 1>a nice boy. And then they take this guy Marvin

0:22:05.680 --> 0:22:08.800
<v Speaker 1>with I'm going to leave this life of organized crime

0:22:08.880 --> 0:22:15.000
<v Speaker 1>and be a nice boy. My name is Jules. So

0:22:15.040 --> 0:22:17.520
<v Speaker 1>they take this guy Marvin with him there in the car.

0:22:18.320 --> 0:22:21.040
<v Speaker 1>What if we made every person who had committed a

0:22:21.040 --> 0:22:24.000
<v Speaker 1>crime say, in a court of a lot, I'm going

0:22:24.080 --> 0:22:28.920
<v Speaker 1>to be a nice boy now. I know I missed up,

0:22:29.520 --> 0:22:32.440
<v Speaker 1>but I'm going to be a nice boy. Now a

0:22:32.520 --> 0:22:37.600
<v Speaker 1>girl or turn a non binary person, you know, all

0:22:38.400 --> 0:22:43.600
<v Speaker 1>everyone has to say nice boy. Okay. So they take

0:22:44.000 --> 0:22:45.960
<v Speaker 1>this guy Marvin who was at the apartment with them,

0:22:46.000 --> 0:22:48.840
<v Speaker 1>and because I guess they're all pals, and then Vincent

0:22:48.960 --> 0:22:51.800
<v Speaker 1>accidentally blows his head off with his gun. So then

0:22:51.800 --> 0:22:53.959
<v Speaker 1>they have to go to this guy Jimmy's house played

0:22:54.000 --> 0:22:56.879
<v Speaker 1>by our good friend Quentin Tarantino. I'm going to second

0:22:57.000 --> 0:23:02.400
<v Speaker 1>Quentin Tarantino, and then they call this guy Winston Wolf

0:23:02.440 --> 0:23:05.760
<v Speaker 1>Harvey Kitel and they're like, help us clean this up.

0:23:06.000 --> 0:23:08.439
<v Speaker 1>And they're like covered in blood from cleaning out the

0:23:08.600 --> 0:23:10.600
<v Speaker 1>all the crap out of the car. Then they have

0:23:10.640 --> 0:23:12.560
<v Speaker 1>to put on these different clothes. Whoa, those are the

0:23:12.560 --> 0:23:14.639
<v Speaker 1>clothes we saw them in a scene earlier in the

0:23:14.680 --> 0:23:17.879
<v Speaker 1>movie what And then Jules and Vincent go to a

0:23:17.960 --> 0:23:20.960
<v Speaker 1>diner for breakfast, the same one that we saw the

0:23:21.000 --> 0:23:23.600
<v Speaker 1>couple in at the very beginning of the movie. We

0:23:23.720 --> 0:23:26.920
<v Speaker 1>come full circles. We have done. Then there in the

0:23:26.960 --> 0:23:30.040
<v Speaker 1>middle of the robbery, and then basically Jules is like,

0:23:30.200 --> 0:23:32.800
<v Speaker 1>don't take this briefcase. It does not belong to you.

0:23:33.119 --> 0:23:35.720
<v Speaker 1>It's for my boss. He loves light bulbs. And then

0:23:35.920 --> 0:23:38.840
<v Speaker 1>he's just like, don't be be a nice boy. Basically

0:23:38.840 --> 0:23:40.760
<v Speaker 1>he's like being a nice boy. Don't be a robber,

0:23:41.000 --> 0:23:43.639
<v Speaker 1>be a nice boy. By And that's the end of

0:23:43.640 --> 0:23:48.679
<v Speaker 1>the movie, A nice boy by cut to credits. So

0:23:48.720 --> 0:23:53.119
<v Speaker 1>that is the story. Good recap, good recap. Thank you

0:23:53.840 --> 0:23:56.840
<v Speaker 1>did it. You did it, We all did it. It

0:23:56.880 --> 0:24:02.480
<v Speaker 1>was a group effort. Now now, now now that we

0:24:02.560 --> 0:24:05.160
<v Speaker 1>have that out of the way, what shall we discuss, Well,

0:24:05.200 --> 0:24:09.719
<v Speaker 1>we shall discuss the representation and portrayal of women. Well,

0:24:09.760 --> 0:24:13.439
<v Speaker 1>given that I apparently forgot large swaths of this movie.

0:24:13.840 --> 0:24:16.280
<v Speaker 1>There are a lot of female characters in this movie.

0:24:16.520 --> 0:24:18.400
<v Speaker 1>There are there's a lot of Yeah, there's a lot

0:24:18.400 --> 0:24:21.280
<v Speaker 1>to talk about. None of them are apart from me

0:24:21.480 --> 0:24:24.520
<v Speaker 1>A Wallace, I would argue none of them are main characters.

0:24:24.560 --> 0:24:26.320
<v Speaker 1>I would say most of them are more secondary or

0:24:26.320 --> 0:24:30.960
<v Speaker 1>even tertiary. Um, so hardly any of them have any

0:24:30.960 --> 0:24:34.040
<v Speaker 1>sort of influence in the story. In fact, I was

0:24:34.080 --> 0:24:36.439
<v Speaker 1>thinking about like how crucial women are to the story,

0:24:36.640 --> 0:24:39.359
<v Speaker 1>and what the female characters do to contribute to the

0:24:39.400 --> 0:24:41.600
<v Speaker 1>story and influence like the direction that the story takes.

0:24:41.600 --> 0:24:44.159
<v Speaker 1>Because in a movie like this, where there's like an

0:24:44.280 --> 0:24:47.639
<v Speaker 1>ensemble cast, it's really sort of hard to discern who

0:24:47.800 --> 0:24:50.840
<v Speaker 1>is the protagonist because there's like these little vignettes and

0:24:50.840 --> 0:24:55.679
<v Speaker 1>they're all connected. I would argue, no one main character. Okay,

0:24:55.880 --> 0:24:59.240
<v Speaker 1>so I think then it is safe to assume that

0:24:59.359 --> 0:25:01.960
<v Speaker 1>any actor in the movie could do something that would

0:25:02.040 --> 0:25:06.240
<v Speaker 1>significantly impact the story. However, all of the female characters

0:25:06.320 --> 0:25:09.080
<v Speaker 1>we see, none of them really do it in a

0:25:09.119 --> 0:25:12.040
<v Speaker 1>way that moves the story forward, or if they do,

0:25:12.359 --> 0:25:15.159
<v Speaker 1>it's a mistake they've made that the men have to correct.

0:25:15.240 --> 0:25:18.760
<v Speaker 1>For example, so we've got me and Wallace accidentally snorting

0:25:18.760 --> 0:25:21.760
<v Speaker 1>the heroine thinking it's cocaine, and Vincent has to take

0:25:21.800 --> 0:25:23.879
<v Speaker 1>her to his drug dealer to get the shot of

0:25:23.960 --> 0:25:26.920
<v Speaker 1>adrenaline so she doesn't odee and die. In other words,

0:25:26.960 --> 0:25:28.760
<v Speaker 1>she makes a mistake that a man has to fix.

0:25:28.960 --> 0:25:31.920
<v Speaker 1>So that actually watching at this time through was kind

0:25:31.920 --> 0:25:34.440
<v Speaker 1>of because I need the basic plot points. I knew

0:25:34.480 --> 0:25:36.719
<v Speaker 1>that she did that eventually, but the scenes leading up

0:25:36.720 --> 0:25:40.520
<v Speaker 1>to that, she is so in control and she's so active,

0:25:40.640 --> 0:25:44.359
<v Speaker 1>and then kind of at that moment when she makes

0:25:44.520 --> 0:25:48.560
<v Speaker 1>this mistake, she is like kind of damseled right away,

0:25:48.720 --> 0:25:52.240
<v Speaker 1>and um, all the action she's taken is sort of

0:25:52.560 --> 0:25:55.879
<v Speaker 1>totally back pedaled on and she I mean, yeah, women

0:25:55.920 --> 0:25:59.080
<v Speaker 1>are mostly reacting in this story, they're not pushing it.

0:25:59.520 --> 0:26:01.920
<v Speaker 1>What's interesting thing about that, because I was I've never

0:26:01.960 --> 0:26:04.359
<v Speaker 1>watched it from this perspective, because it's a movie based

0:26:04.359 --> 0:26:07.200
<v Speaker 1>in just entertainment. Like, it's clear Quentin Tarantino doesn't give

0:26:07.200 --> 0:26:09.560
<v Speaker 1>a shit about issues, right, He's just like he's trying

0:26:09.560 --> 0:26:11.720
<v Speaker 1>to entertain you. And that's part of the problem with

0:26:11.760 --> 0:26:13.320
<v Speaker 1>some of his movies. Or maybe all of them. But

0:26:13.920 --> 0:26:16.879
<v Speaker 1>it was interesting about the Mia Wallace thing. I was

0:26:16.920 --> 0:26:18.960
<v Speaker 1>thinking about it and I was like, oh, well, she's

0:26:19.000 --> 0:26:23.640
<v Speaker 1>introduced as Marcellus's wife, so that's like how she's introduced

0:26:23.680 --> 0:26:26.320
<v Speaker 1>as a wife, right. But she is such a bold,

0:26:26.520 --> 0:26:29.440
<v Speaker 1>strong character. Her haircut is just cool as ship. She's

0:26:29.600 --> 0:26:31.960
<v Speaker 1>very like, you know, she's leaving the conversation. She like

0:26:32.040 --> 0:26:34.359
<v Speaker 1>tells him too, as you were saying, Jamie, like she

0:26:34.359 --> 0:26:36.320
<v Speaker 1>tells him like you think of something to say, you know,

0:26:36.359 --> 0:26:38.760
<v Speaker 1>she's very active, and then she's like, I want to dance.

0:26:38.840 --> 0:26:43.000
<v Speaker 1>Let's dance. And also when when Vincent comes into her place,

0:26:43.240 --> 0:26:45.160
<v Speaker 1>she's like do this, do that? You know what I mean,

0:26:45.200 --> 0:26:47.760
<v Speaker 1>she's bossing him around, and she's picked the restaurant, she's

0:26:47.800 --> 0:26:51.840
<v Speaker 1>made the reservation, like she's five dollar shake. Yeah. But

0:26:52.359 --> 0:26:54.119
<v Speaker 1>I will say the thing about the heroine is it

0:26:54.240 --> 0:26:57.520
<v Speaker 1>is a man fixing the mistake. But also she takes

0:26:57.640 --> 0:27:00.919
<v Speaker 1>his drugs. She like takes what's not hers, which she

0:27:01.000 --> 0:27:04.040
<v Speaker 1>is active. I mean, I don't know what that means necessarily,

0:27:04.280 --> 0:27:06.760
<v Speaker 1>but she does sort of like move it forward with

0:27:07.160 --> 0:27:09.840
<v Speaker 1>like it wasn't necessarily a bad choice. It was just

0:27:09.920 --> 0:27:14.520
<v Speaker 1>like a genuine mistake. Because the powder is white, right right. Yeah.

0:27:14.680 --> 0:27:16.719
<v Speaker 1>I don't know the intricacies of the Bechdel test, so

0:27:16.800 --> 0:27:19.320
<v Speaker 1>I will learn a lot as we speak. But I

0:27:19.400 --> 0:27:22.600
<v Speaker 1>was but I guess it is him cleaning up that mess.

0:27:23.040 --> 0:27:25.399
<v Speaker 1>But it felt that felt the most okay with a

0:27:25.440 --> 0:27:29.320
<v Speaker 1>female character because she at the end still I feel

0:27:29.359 --> 0:27:31.560
<v Speaker 1>like she still had the ability to like funk Vincent

0:27:31.680 --> 0:27:33.600
<v Speaker 1>over if she told Marcella's But then she was like,

0:27:33.640 --> 0:27:36.680
<v Speaker 1>but then she would die basically if she told him, right,

0:27:36.880 --> 0:27:39.920
<v Speaker 1>which he didn't totally believe. There's like that exchange they

0:27:39.960 --> 0:27:42.600
<v Speaker 1>have after she has revived, and you know, she's like, well,

0:27:42.600 --> 0:27:44.080
<v Speaker 1>I'm not going to tell him because I'd be sucked

0:27:44.119 --> 0:27:45.679
<v Speaker 1>over too, and he's like, well, you wouldn't be as

0:27:45.720 --> 0:27:48.560
<v Speaker 1>fucked over as I would. But she very well made

0:27:48.600 --> 0:27:50.600
<v Speaker 1>because at this point we haven't met Marcel's. We don't

0:27:50.600 --> 0:27:52.479
<v Speaker 1>know what kind of person he is, so what so

0:27:52.520 --> 0:27:54.520
<v Speaker 1>what do you What I was curious about there was

0:27:54.560 --> 0:27:56.280
<v Speaker 1>what do you think would have happened to her that

0:27:56.400 --> 0:27:59.000
<v Speaker 1>she did the drugs? Like that was the problem that

0:27:59.040 --> 0:28:02.360
<v Speaker 1>she's a drug addict and he wouldn't like that. I mean,

0:28:02.400 --> 0:28:05.399
<v Speaker 1>I got the impression that he probably knew that she

0:28:05.600 --> 0:28:08.800
<v Speaker 1>was using drugs. I mean, they're into all sorts of

0:28:08.960 --> 0:28:13.920
<v Speaker 1>you know, like illicit behaviors. But for me, my immediate

0:28:14.000 --> 0:28:18.639
<v Speaker 1>instinct and it's not really followed up on, but I

0:28:18.640 --> 0:28:21.560
<v Speaker 1>thought it was because she did it with a man,

0:28:21.920 --> 0:28:24.280
<v Speaker 1>and like there there's like some sort of well he

0:28:24.680 --> 0:28:27.760
<v Speaker 1>Marcella paid Vincent to take her out and show her

0:28:27.760 --> 0:28:31.240
<v Speaker 1>a good time, basically quote unquote fucked up, even though

0:28:31.520 --> 0:28:34.280
<v Speaker 1>it was kind of out of both of their control. Right,

0:28:34.359 --> 0:28:36.960
<v Speaker 1>So yeah, it's sort of like we can presume that

0:28:37.040 --> 0:28:39.600
<v Speaker 1>like that Marcella's was like take care of her, make

0:28:39.640 --> 0:28:43.320
<v Speaker 1>sure she's safe while I'm gone, because she needs looked after,

0:28:43.880 --> 0:28:46.160
<v Speaker 1>because you're a man and she's a woman and she

0:28:46.240 --> 0:28:49.600
<v Speaker 1>needs protection. But which is why he's doing that in

0:28:49.600 --> 0:28:52.200
<v Speaker 1>the first place, right, right, right, But well, yeah, so

0:28:52.400 --> 0:28:54.720
<v Speaker 1>the way me and Wallace is introduced, like you said,

0:28:55.000 --> 0:28:57.600
<v Speaker 1>Jules and Vincent are talking about her, and they have

0:28:57.680 --> 0:28:59.960
<v Speaker 1>that whole conversation about this guy being thrown out of

0:29:00.080 --> 0:29:03.120
<v Speaker 1>window because he gave her a foot massage. So like

0:29:03.320 --> 0:29:06.520
<v Speaker 1>we hear about this character. I think the point of

0:29:06.520 --> 0:29:10.680
<v Speaker 1>the conversation is to maybe show how much of a

0:29:10.760 --> 0:29:14.280
<v Speaker 1>force to be reckoned with Marcellus Wallace I think definitely

0:29:14.400 --> 0:29:17.400
<v Speaker 1>more like because she's the possession that no one can

0:29:17.480 --> 0:29:22.239
<v Speaker 1>funk with, which basically just objectifies her. She's introduced as

0:29:22.280 --> 0:29:24.360
<v Speaker 1>the wife, right right, right, but I think to be

0:29:24.440 --> 0:29:27.520
<v Speaker 1>the wife of this man Marcella's, and Marcella's is a

0:29:27.600 --> 0:29:31.600
<v Speaker 1>very intense character. He's like, you know, immediately legendary because

0:29:31.600 --> 0:29:34.560
<v Speaker 1>also like the way he's introduced, it's not even on him.

0:29:34.600 --> 0:29:36.360
<v Speaker 1>You don't even see him the way he's introduced. You

0:29:36.360 --> 0:29:38.520
<v Speaker 1>hear his voice, you're just looking at Bruce wellis his

0:29:38.560 --> 0:29:40.120
<v Speaker 1>head and the back of his head. It's like the

0:29:40.360 --> 0:29:41.959
<v Speaker 1>what the mark of the beast or something like that?

0:29:42.000 --> 0:29:43.960
<v Speaker 1>Is that what the band aid is? I always thought

0:29:44.000 --> 0:29:45.719
<v Speaker 1>that's what it was because it's connected to like the

0:29:45.760 --> 0:29:48.240
<v Speaker 1>thing that was in the suitcase, which I feel like

0:29:48.280 --> 0:29:50.720
<v Speaker 1>it's a human soul or something, and like, but I

0:29:50.760 --> 0:29:52.400
<v Speaker 1>think the band aid is supposed to be. That's where

0:29:52.400 --> 0:29:55.280
<v Speaker 1>you like the devil Enters or some bullshit like that.

0:29:55.280 --> 0:29:57.080
<v Speaker 1>That's like something that there's some reason why there's a

0:29:57.120 --> 0:29:59.760
<v Speaker 1>band aid there and then know about that sort of method.

0:29:59.880 --> 0:30:01.560
<v Speaker 1>But he's like, you know, this really intense character, So

0:30:01.640 --> 0:30:04.680
<v Speaker 1>you're like yeah, and like if you're like a drug

0:30:04.880 --> 0:30:11.560
<v Speaker 1>underlordd or overlord. Why would correct because it's like the underworld,

0:30:11.680 --> 0:30:18.480
<v Speaker 1>but you're an overlord, the overlord of the underworld. But yeah,

0:30:18.640 --> 0:30:21.120
<v Speaker 1>it's interesting because like that woman is never gonna be

0:30:21.920 --> 0:30:26.000
<v Speaker 1>if it's a male like drug peddler, it's probably not

0:30:26.040 --> 0:30:28.160
<v Speaker 1>going to be like like he's going to be stronger

0:30:28.160 --> 0:30:30.640
<v Speaker 1>than the female character most of the time, right, Like,

0:30:30.720 --> 0:30:33.800
<v Speaker 1>so she's like a kept woman to some degree. Right,

0:30:33.880 --> 0:30:36.160
<v Speaker 1>But I mean, I think that that's like an interesting

0:30:36.760 --> 0:30:40.240
<v Speaker 1>writing choice that's made in this movie. And again it's

0:30:40.280 --> 0:30:43.160
<v Speaker 1>hard to tell, especially with like early Quentin Tarantino, how

0:30:43.240 --> 0:30:47.040
<v Speaker 1>intentionally it's actually done. But it's like we do first

0:30:47.120 --> 0:30:50.920
<v Speaker 1>year about Mia Wallace as basically the property of Marcella

0:30:51.040 --> 0:30:53.040
<v Speaker 1>that you do not funk with. But then we meet

0:30:53.040 --> 0:30:55.320
<v Speaker 1>her and we do learn more about her background. We

0:30:55.400 --> 0:30:58.000
<v Speaker 1>learned that she was an actress Wheeler. There's more depth

0:30:58.080 --> 0:31:00.600
<v Speaker 1>to her, and she's very open and she takes control

0:31:00.640 --> 0:31:02.560
<v Speaker 1>of the situation. And that was kind of like a

0:31:02.600 --> 0:31:06.480
<v Speaker 1>fun or interesting inversion of getting to know a character

0:31:06.600 --> 0:31:11.160
<v Speaker 1>that is introduced to us as property. But then the well,

0:31:11.160 --> 0:31:12.800
<v Speaker 1>the scene I want to talk about that that really

0:31:12.800 --> 0:31:15.480
<v Speaker 1>bugged me when we were watching it was when she

0:31:15.560 --> 0:31:18.719
<v Speaker 1>does overdose, and then John Travolta brings her to Eric

0:31:18.760 --> 0:31:22.720
<v Speaker 1>Stulton's hounds, where there are god I don't know what

0:31:22.800 --> 0:31:27.240
<v Speaker 1>their names are, but they have names. That scene bugged

0:31:27.280 --> 0:31:30.240
<v Speaker 1>me because I was like, in any like in any

0:31:30.320 --> 0:31:33.760
<v Speaker 1>realistic world, the two women in that scene would have

0:31:33.880 --> 0:31:37.640
<v Speaker 1>resolved that problem and way faster than John Travolta and

0:31:37.720 --> 0:31:41.200
<v Speaker 1>Eric Stults would have and watching them sidelined in that

0:31:41.240 --> 0:31:45.360
<v Speaker 1>scene those frustratustrated me because and they were intentionally sidelined

0:31:45.760 --> 0:31:51.200
<v Speaker 1>for whatever reason, but like they are at least Eric Stults,

0:31:51.280 --> 0:31:55.320
<v Speaker 1>I think girl friend in that scene his wife, his wife.

0:31:57.840 --> 0:32:00.840
<v Speaker 1>She is in the background of the era Seine watching

0:32:00.880 --> 0:32:04.440
<v Speaker 1>it happened very passively, and I don't know like that

0:32:04.520 --> 0:32:07.760
<v Speaker 1>she's sort of well, she's like kind of screaming, and

0:32:07.920 --> 0:32:10.920
<v Speaker 1>Eric Stultz's character, she's sort of depicted as a shrewd,

0:32:10.960 --> 0:32:13.200
<v Speaker 1>but like, why did you bring her here? Like very

0:32:13.280 --> 0:32:18.040
<v Speaker 1>just like nagging and screaming and combative and just difficult

0:32:18.080 --> 0:32:21.320
<v Speaker 1>to deal with. And then her friend Trudy is like,

0:32:21.600 --> 0:32:23.920
<v Speaker 1>for sure, very passive, to the point where she's literally

0:32:24.000 --> 0:32:27.800
<v Speaker 1>just sitting on the couse. Yeah, like she's like team

0:32:27.840 --> 0:32:30.120
<v Speaker 1>there is I thought I did think that like watching

0:32:30.120 --> 0:32:32.640
<v Speaker 1>it this time, like because that wasn't the first time

0:32:32.640 --> 0:32:34.240
<v Speaker 1>I was in arquettes in the movie, She's in it

0:32:34.280 --> 0:32:36.240
<v Speaker 1>the first time he goes there to buy the heroine

0:32:36.760 --> 0:32:39.200
<v Speaker 1>and she is like, she's a wife, and then for

0:32:39.560 --> 0:32:41.960
<v Speaker 1>no real reason, Eric Stults is just kind of a

0:32:41.960 --> 0:32:43.520
<v Speaker 1>piece of ship to her, you know what I mean,

0:32:43.560 --> 0:32:45.800
<v Speaker 1>Like he's just kind of like fuck you. There was

0:32:45.840 --> 0:32:48.560
<v Speaker 1>a really cool moment though, in the Senior were just

0:32:48.600 --> 0:32:51.840
<v Speaker 1>talking about when they stabbed Mia Wallace's heart with adrenaline

0:32:51.840 --> 0:32:54.560
<v Speaker 1>where it made me laugh so hard this time where

0:32:54.960 --> 0:32:57.840
<v Speaker 1>just before like John Trabalta is holding up the ajournalist

0:32:57.960 --> 0:33:00.560
<v Speaker 1>Ari stoltis county three and there's a shot of Rosanna

0:33:00.640 --> 0:33:03.880
<v Speaker 1>ar Kid's face where she's like almost like sexually interested

0:33:03.920 --> 0:33:05.360
<v Speaker 1>in the moment, you know what I mean, She's like

0:33:06.400 --> 0:33:08.239
<v Speaker 1>And that was cool because I was like, that's an

0:33:08.280 --> 0:33:10.800
<v Speaker 1>active choice for her to just be like a fucking

0:33:10.840 --> 0:33:14.800
<v Speaker 1>crazy pervert kind of. And I did enjoy that part

0:33:14.800 --> 0:33:16.520
<v Speaker 1>where I was like, Okay, at least she's like a

0:33:16.640 --> 0:33:19.000
<v Speaker 1>sick oh, you know what I mean, I didn't even

0:33:19.000 --> 0:33:21.640
<v Speaker 1>notice that. It's really funny. It made me. I was

0:33:21.640 --> 0:33:23.480
<v Speaker 1>watching with the female friend and we both laughed really

0:33:23.480 --> 0:33:25.120
<v Speaker 1>hard about it. It was just like it was just

0:33:25.160 --> 0:33:28.320
<v Speaker 1>like kind of random but funny. Yeah, it was like,

0:33:28.360 --> 0:33:32.000
<v Speaker 1>I'm gonna see some ship right now. Also, in Eric

0:33:32.040 --> 0:33:36.520
<v Speaker 1>Stiltson Rosanna Arquette's house, there's a board game called Chauvinist Pigs.

0:33:36.880 --> 0:33:38.640
<v Speaker 1>Really in the back of a shot a lot of

0:33:38.640 --> 0:33:42.360
<v Speaker 1>board games there. There's yeah, it's funny. Yeah that when

0:33:42.440 --> 0:33:45.720
<v Speaker 1>he's looking for the for the black medical book that

0:33:45.760 --> 0:33:49.040
<v Speaker 1>he's screaming about for a good portion of that scene there,

0:33:49.160 --> 0:33:51.880
<v Speaker 1>he walks past this board game called Chauvin's Pigs. Didn't

0:33:51.920 --> 0:33:54.440
<v Speaker 1>notice that either. Again, it's like, well, probably not an

0:33:54.440 --> 0:33:57.800
<v Speaker 1>intentional choice, but I enjoyed it. Sure, um so I

0:33:57.800 --> 0:34:00.160
<v Speaker 1>want to go back to me Wallace. So she is

0:34:00.200 --> 0:34:03.600
<v Speaker 1>initially framed as like this person who's talked about but

0:34:03.640 --> 0:34:06.400
<v Speaker 1>not seen as like, oh, the property of this bad

0:34:06.440 --> 0:34:08.359
<v Speaker 1>guy who's scary and you don't want to funk with her,

0:34:08.480 --> 0:34:09.960
<v Speaker 1>touch her fee because I'll throw you out of a

0:34:09.960 --> 0:34:12.120
<v Speaker 1>window sort of thing. And then we do meet her,

0:34:12.440 --> 0:34:14.640
<v Speaker 1>and like you said, she's kind of she's got a

0:34:14.640 --> 0:34:17.080
<v Speaker 1>lot of autonomy. She's kind of bossing him around, like

0:34:17.120 --> 0:34:19.239
<v Speaker 1>go make yourself a drink, do this, do that, take

0:34:19.280 --> 0:34:21.600
<v Speaker 1>me out, I want to dance, making choices, and we

0:34:21.640 --> 0:34:25.120
<v Speaker 1>also see her she has a personality unlike so many

0:34:25.120 --> 0:34:29.400
<v Speaker 1>female characters we encounter in so many movies, where we

0:34:29.440 --> 0:34:31.840
<v Speaker 1>can get a sense of who she is as a person.

0:34:32.480 --> 0:34:35.319
<v Speaker 1>I would argue the most memorable character from that movie,

0:34:36.080 --> 0:34:38.080
<v Speaker 1>Like I think in pop culture, she's on the she's

0:34:38.080 --> 0:34:40.680
<v Speaker 1>on the poster. Yeah, And I think she's the one

0:34:40.760 --> 0:34:42.959
<v Speaker 1>that I think about, like her hair cut and her eye,

0:34:42.960 --> 0:34:47.840
<v Speaker 1>like you subjects, and I think they're kind of tied

0:34:47.880 --> 0:34:50.919
<v Speaker 1>for first yeah, yeah, which is great. And and when

0:34:50.960 --> 0:34:54.040
<v Speaker 1>you sort of pit them against each other in terms

0:34:54.040 --> 0:34:57.120
<v Speaker 1>of screen time, it's all the more impressive because she's

0:34:57.160 --> 0:35:00.320
<v Speaker 1>not in the movie a ton. It's more Slay the

0:35:00.360 --> 0:35:02.160
<v Speaker 1>Top path that she was the only other time she's

0:35:02.160 --> 0:35:04.160
<v Speaker 1>in the movie is when she's like in a bathing suit,

0:35:04.239 --> 0:35:06.799
<v Speaker 1>just catering to her husband by the pool. You ever

0:35:06.880 --> 0:35:08.920
<v Speaker 1>that I wasn't sure if that was her. You almost

0:35:08.920 --> 0:35:11.920
<v Speaker 1>don't realize it's her, um, but she's just like the wife.

0:35:12.120 --> 0:35:14.279
<v Speaker 1>I just thought maybe that was another woman that, like

0:35:14.320 --> 0:35:18.160
<v Speaker 1>a side loves his wife. I think he loves his wife.

0:35:18.480 --> 0:35:22.600
<v Speaker 1>I think, yeah, I think he does. I don't know,

0:35:22.719 --> 0:35:25.400
<v Speaker 1>he just does not how to show it but then say, no,

0:35:25.719 --> 0:35:28.960
<v Speaker 1>he's got to learn he's in the salt victim, right,

0:35:29.239 --> 0:35:32.600
<v Speaker 1>it's true or Marsalis. But the other thing I want

0:35:32.640 --> 0:35:35.919
<v Speaker 1>to say about that scene in the restaurant is that

0:35:36.200 --> 0:35:39.759
<v Speaker 1>Mia dispels the rumor that a guy was thrown out

0:35:39.760 --> 0:35:42.200
<v Speaker 1>of a window because he touched her feet. She's like,

0:35:42.440 --> 0:35:46.000
<v Speaker 1>do you really believe that? Like that's absurd, and whether

0:35:46.080 --> 0:35:49.960
<v Speaker 1>or not we if it happened that way, because she

0:35:49.960 --> 0:35:52.520
<v Speaker 1>she could easily be lying and being like that, well

0:35:52.560 --> 0:35:55.919
<v Speaker 1>that's crazy, because it is crazy, but she at least

0:35:56.000 --> 0:35:58.840
<v Speaker 1>stands up for herself. I also thought one of the

0:35:58.840 --> 0:36:01.080
<v Speaker 1>cool lines about that because that that scene was really

0:36:01.080 --> 0:36:04.240
<v Speaker 1>interesting where she goes the only time he ever touched

0:36:04.280 --> 0:36:06.480
<v Speaker 1>me was when he shook my hand at my wedding,

0:36:06.719 --> 0:36:08.720
<v Speaker 1>which I thought was a very like that was cool.

0:36:08.840 --> 0:36:11.120
<v Speaker 1>That was like a very intentional choice because it could

0:36:11.120 --> 0:36:14.319
<v Speaker 1>have been a huge but that was a power move. Yeah,

0:36:14.400 --> 0:36:16.400
<v Speaker 1>that was great. I don't know. I mean that whole

0:36:16.440 --> 0:36:21.760
<v Speaker 1>conversation she's completely in, like John Travolta is like in

0:36:21.840 --> 0:36:27.040
<v Speaker 1>her hands entirely, Like she steers that conversation entirely, and

0:36:27.080 --> 0:36:29.640
<v Speaker 1>also like it sounds like she doesn't even know exactly

0:36:30.120 --> 0:36:34.120
<v Speaker 1>what happened. The comment she makes about when men talk

0:36:34.200 --> 0:36:37.000
<v Speaker 1>about things it's like a sewing circle. That was like

0:36:37.160 --> 0:36:40.440
<v Speaker 1>a really fun line in that particular exchange where she's

0:36:40.560 --> 0:36:44.000
<v Speaker 1>you know, directly taking a rude comment usually directed at

0:36:44.040 --> 0:36:47.959
<v Speaker 1>women and saying it to John TRAVLTA great loved it. Yeah, yeah, yeah.

0:36:48.040 --> 0:36:50.360
<v Speaker 1>What she says is when you little scamps get together,

0:36:50.400 --> 0:36:53.080
<v Speaker 1>you're worse than a sewing circle. I love the use

0:36:53.080 --> 0:36:55.840
<v Speaker 1>of the word scamps. Yeah, and then scams can be

0:36:55.880 --> 0:36:59.840
<v Speaker 1>thrown in I'm there good. So then following that scene

0:36:59.840 --> 0:37:03.440
<v Speaker 1>in restaurant, they go back to her house, she invites

0:37:03.640 --> 0:37:06.600
<v Speaker 1>Vincent Vega and and he is like, I gotta go

0:37:06.640 --> 0:37:08.839
<v Speaker 1>to the bathroom and talk myself out of trying to

0:37:08.880 --> 0:37:11.200
<v Speaker 1>fuck her, because that's clearly what he wants to do.

0:37:11.360 --> 0:37:13.800
<v Speaker 1>That's clear what what I think he thinks she wants

0:37:13.800 --> 0:37:16.239
<v Speaker 1>to do. And that's how like how I read that

0:37:16.480 --> 0:37:19.919
<v Speaker 1>was because there's that moment where like they're at the door,

0:37:20.120 --> 0:37:22.120
<v Speaker 1>she's in control, it's her night, you know what I mean,

0:37:22.200 --> 0:37:24.279
<v Speaker 1>and like he I think clearly wants to sleep with her.

0:37:24.280 --> 0:37:29.000
<v Speaker 1>She's portrayed as this like sexual you know, she's like impressive. Yeah,

0:37:29.000 --> 0:37:31.440
<v Speaker 1>and it's just like she's cool and like she's in charge.

0:37:31.760 --> 0:37:33.680
<v Speaker 1>But I thought, you know, there's that moment where they're

0:37:33.680 --> 0:37:35.080
<v Speaker 1>in the door and they're looking at each other's eyes,

0:37:35.080 --> 0:37:37.080
<v Speaker 1>and he's like, is that what you call an uncomfortable silence?

0:37:37.120 --> 0:37:38.759
<v Speaker 1>And she's like, I don't know what that was, you know,

0:37:38.800 --> 0:37:40.560
<v Speaker 1>I don't know what you'd call that. So I feel

0:37:40.600 --> 0:37:42.680
<v Speaker 1>like she's like, you're gonna stick around, We're gonna do this.

0:37:42.880 --> 0:37:45.439
<v Speaker 1>I think she wants that. I don't think she's gonna

0:37:45.440 --> 0:37:48.160
<v Speaker 1>fuck him, but I did feel like she wants to

0:37:48.200 --> 0:37:49.799
<v Speaker 1>be flirted with, you know what I mean, Like she

0:37:49.840 --> 0:37:52.520
<v Speaker 1>wants that attention whatever she's not getting from Marcellus, because

0:37:52.520 --> 0:37:54.520
<v Speaker 1>why the fund isn't he taking her out? You know

0:37:54.560 --> 0:37:57.160
<v Speaker 1>what I mean? I still felt like I think he

0:37:57.239 --> 0:37:59.640
<v Speaker 1>felt like I want to do this, but I obviously

0:37:59.640 --> 0:38:02.280
<v Speaker 1>should didn't. But I did feel like I still felt

0:38:02.560 --> 0:38:06.640
<v Speaker 1>like she was guiding that. Possibly, I'm more interpreted as

0:38:06.680 --> 0:38:10.040
<v Speaker 1>like they were hanging out. She's all high, un coke,

0:38:10.080 --> 0:38:12.319
<v Speaker 1>they're drinking, and he has to be like, well, I

0:38:12.360 --> 0:38:15.040
<v Speaker 1>have an opportunity, possibly, but I'm not going to act

0:38:15.080 --> 0:38:17.080
<v Speaker 1>on it because that would be a betrayal. Of trust

0:38:17.120 --> 0:38:19.600
<v Speaker 1>to my boss Marcellus. So he's like talking to himself

0:38:19.600 --> 0:38:22.040
<v Speaker 1>in the mirror for who knows how long long enough,

0:38:24.239 --> 0:38:27.080
<v Speaker 1>but yeah, he's like but he's like, you're just gonna

0:38:27.080 --> 0:38:29.239
<v Speaker 1>go home and jerk off and just go to bed.

0:38:29.480 --> 0:38:31.760
<v Speaker 1>And then he comes out and she has already snorted

0:38:31.800 --> 0:38:33.680
<v Speaker 1>the heroine and then he has to like jump to

0:38:33.719 --> 0:38:37.439
<v Speaker 1>action to go save her. I interpreted that scene as

0:38:37.920 --> 0:38:41.239
<v Speaker 1>she was manipulating him a little bit, a little bit

0:38:41.239 --> 0:38:44.319
<v Speaker 1>for attention, but also just because she has known the

0:38:44.320 --> 0:38:47.000
<v Speaker 1>whole night that he'll basically do whatever she tells him

0:38:47.040 --> 0:38:50.000
<v Speaker 1>to do, because throughout the night she you know, wants

0:38:50.040 --> 0:38:52.279
<v Speaker 1>to compete in this dance competition. He's like, okay, we'll

0:38:52.320 --> 0:38:54.800
<v Speaker 1>do it. She's like, think of something to say. He's like, okay,

0:38:54.840 --> 0:38:57.200
<v Speaker 1>I'll do it. So she's I think at the beginning

0:38:57.239 --> 0:38:59.880
<v Speaker 1>that seems still fully in control. And then to me,

0:39:00.080 --> 0:39:02.720
<v Speaker 1>that scene where more gn Tribles is talking to himself

0:39:02.760 --> 0:39:06.680
<v Speaker 1>for forty five minutes is like him trying to convince

0:39:06.760 --> 0:39:09.000
<v Speaker 1>himself that he's the one in control and he's the

0:39:09.040 --> 0:39:11.080
<v Speaker 1>one who's going to make the choice, like am I

0:39:11.160 --> 0:39:13.399
<v Speaker 1>going to fuck her? I have to decide what I'm

0:39:13.440 --> 0:39:16.480
<v Speaker 1>going to do when it's sort of made clear that

0:39:16.680 --> 0:39:19.800
<v Speaker 1>entire sequence that he's not the person who's in control

0:39:19.800 --> 0:39:22.920
<v Speaker 1>of he's kind of like a dork there. Yeah, that's

0:39:23.239 --> 0:39:25.000
<v Speaker 1>kind of made to be a dork where she's just

0:39:25.080 --> 0:39:27.560
<v Speaker 1>like That's why I thought it's interesting because he doesn't

0:39:27.560 --> 0:39:29.680
<v Speaker 1>have to save her, but he's not very good at it,

0:39:29.840 --> 0:39:31.360
<v Speaker 1>like he kind of like he barely does it. But

0:39:31.400 --> 0:39:33.440
<v Speaker 1>I just thought it was such an active choice for

0:39:33.480 --> 0:39:36.440
<v Speaker 1>her to steal his drugs like this is mine. And

0:39:36.480 --> 0:39:39.959
<v Speaker 1>that leans into like the whole manipulative thing too, of like, oh, well,

0:39:40.000 --> 0:39:43.000
<v Speaker 1>why you're like trying to talk yourself out of thinking

0:39:43.000 --> 0:39:45.000
<v Speaker 1>that you could fuck me if you wanted to, which

0:39:45.040 --> 0:39:48.160
<v Speaker 1>who knows she takes his stuff? Yeah, and then the

0:39:48.160 --> 0:39:51.160
<v Speaker 1>power dynamic shifts, and that's I don't know, it's it's

0:39:51.200 --> 0:39:54.239
<v Speaker 1>interesting in a story perspective. I mean, I think the

0:39:54.239 --> 0:39:57.120
<v Speaker 1>main takeaway is that it's impressive that we see a

0:39:57.160 --> 0:40:01.480
<v Speaker 1>female character with a personality who's st taken control of

0:40:01.560 --> 0:40:03.799
<v Speaker 1>the situation that they're in that night where you know,

0:40:03.840 --> 0:40:06.000
<v Speaker 1>they're kind of out on the town, but she's sort

0:40:06.040 --> 0:40:09.560
<v Speaker 1>of the alpha of that whole interaction. Um, so there's

0:40:09.600 --> 0:40:12.399
<v Speaker 1>just something we so rarely see that. It was kind

0:40:12.400 --> 0:40:16.040
<v Speaker 1>of refreshing. She just is so good, Like she's just

0:40:16.160 --> 0:40:18.279
<v Speaker 1>such a good actor. It was just awesome. I mean,

0:40:18.320 --> 0:40:20.839
<v Speaker 1>she's you can't take your eyes out. What I also

0:40:20.920 --> 0:40:23.400
<v Speaker 1>liked about her character was like it wasn't just cool,

0:40:23.920 --> 0:40:25.640
<v Speaker 1>Like what I was thinking about this time was like

0:40:25.680 --> 0:40:28.000
<v Speaker 1>she's a failed actor. Like she's kind of has like

0:40:28.040 --> 0:40:30.319
<v Speaker 1>a weird personality, you know what I mean, Like she's

0:40:30.360 --> 0:40:32.920
<v Speaker 1>not she's cool and she like has her thing, but

0:40:33.000 --> 0:40:36.120
<v Speaker 1>she's kind of not like she's a failure and she's

0:40:36.160 --> 0:40:38.120
<v Speaker 1>kind of like some of the things she said, like

0:40:38.239 --> 0:40:41.480
<v Speaker 1>she she reacts a little more excitedly than most cool

0:40:41.600 --> 0:40:44.120
<v Speaker 1>characters would, like she's just kind of she's like a

0:40:44.200 --> 0:40:47.040
<v Speaker 1>drug addict, failed actor and I but she was still

0:40:47.080 --> 0:40:49.240
<v Speaker 1>in control, and I thought that was a really cool

0:40:49.280 --> 0:40:51.400
<v Speaker 1>way to portray someone. Like I was kind of impressed

0:40:51.440 --> 0:40:54.520
<v Speaker 1>by how not like she is cool, but she's like

0:40:54.520 --> 0:40:56.120
<v Speaker 1>like I remember when she was responding about like I

0:40:56.160 --> 0:40:59.200
<v Speaker 1>can't promise you that. If a more stereotypical man were

0:40:59.239 --> 0:41:01.440
<v Speaker 1>writing her, be like I can't promise you that, you

0:41:01.480 --> 0:41:03.440
<v Speaker 1>know what I mean. But she's like, I can't promise

0:41:03.440 --> 0:41:06.680
<v Speaker 1>you that. Like it was more like quirky, which I

0:41:06.680 --> 0:41:09.360
<v Speaker 1>thought was cool. Well that might just be her. I

0:41:09.360 --> 0:41:11.359
<v Speaker 1>don't know if that's more the writing or more just

0:41:11.400 --> 0:41:14.839
<v Speaker 1>sort of her choice as an actor. Hard to say, Man,

0:41:14.920 --> 0:41:18.319
<v Speaker 1>it's great, especially now watching this movie. I mean like, wow, no, Uma,

0:41:18.400 --> 0:41:21.520
<v Speaker 1>Thurwin's just threatening to shoot Harvey Wins, you know the

0:41:21.600 --> 0:41:25.080
<v Speaker 1>time on Instagram. It's great. I love it the whole

0:41:25.160 --> 0:41:27.640
<v Speaker 1>This whole time, I was like, she just she threatened

0:41:27.680 --> 0:41:31.680
<v Speaker 1>to shoot Harvy Wines. Dude, that's so cool. Yeah. Yeah,

0:41:31.760 --> 0:41:34.800
<v Speaker 1>Like I said, we're just so used to seeing very flat,

0:41:35.080 --> 0:41:38.359
<v Speaker 1>one dimensional female characters that were like, it's pretty cool

0:41:38.400 --> 0:41:40.960
<v Speaker 1>to be like, oh, she's she's got more than one dimension.

0:41:41.239 --> 0:41:44.239
<v Speaker 1>And the TV show that she was in, the pilot, Flour,

0:41:44.600 --> 0:41:47.080
<v Speaker 1>sounds pretty cool. Like a show that I would want

0:41:47.080 --> 0:41:51.680
<v Speaker 1>to watch Foxforce five. It's about five cool women being bad.

0:41:51.880 --> 0:41:54.759
<v Speaker 1>I mean it probably wouldn't be great, but I want

0:41:54.840 --> 0:42:01.680
<v Speaker 1>to see Tarantino make that movie for Yeah, And she

0:42:01.760 --> 0:42:03.200
<v Speaker 1>has a sense of humor at the end of it,

0:42:03.239 --> 0:42:07.040
<v Speaker 1>where after she's odeed and nearly died, she's like, hey,

0:42:07.120 --> 0:42:09.480
<v Speaker 1>let's maybe just forget about this. I want to hear

0:42:09.520 --> 0:42:11.799
<v Speaker 1>that joke that I refused to tell you before. And

0:42:11.840 --> 0:42:14.120
<v Speaker 1>He's like sure, and then she tells the dumb catchup

0:42:14.200 --> 0:42:19.880
<v Speaker 1>joke and we all laughed. But we're te heing. And

0:42:19.960 --> 0:42:22.480
<v Speaker 1>she's not the only female character in this movie who

0:42:22.560 --> 0:42:25.760
<v Speaker 1>we see some semblance of personality from, because I would

0:42:25.960 --> 0:42:30.480
<v Speaker 1>say that Fabian has a pretty we only see a

0:42:30.480 --> 0:42:33.040
<v Speaker 1>little sliver of her in this movie. She's only in

0:42:33.400 --> 0:42:36.560
<v Speaker 1>two scenes, but but those scenes are so good. It's

0:42:37.320 --> 0:42:40.280
<v Speaker 1>in a more macro sense, it sucks that her presence

0:42:40.320 --> 0:42:43.560
<v Speaker 1>doesn't have more bearing on the plot. And I would

0:42:43.600 --> 0:42:46.000
<v Speaker 1>say that for almost every female character in this movie,

0:42:46.040 --> 0:42:48.840
<v Speaker 1>with the exception of Mia, where it's like their actual

0:42:48.840 --> 0:42:51.080
<v Speaker 1>effect on the plot, like we're talking about, is not huge,

0:42:51.120 --> 0:42:54.520
<v Speaker 1>but her presence in the movie is so great. Well

0:42:54.680 --> 0:42:59.320
<v Speaker 1>so like Me and Wallace, where if you are oversimplifying things,

0:42:59.800 --> 0:43:03.879
<v Speaker 1>her main contribution to the actual maybe not the characterization

0:43:03.880 --> 0:43:07.160
<v Speaker 1>of the story, but the events of this story is

0:43:07.200 --> 0:43:10.880
<v Speaker 1>that she takes the drugs by accident almost odees and

0:43:10.920 --> 0:43:13.319
<v Speaker 1>it's a problem that a male character has to fix.

0:43:13.560 --> 0:43:22.800
<v Speaker 1>Similar thing happens with Fabian Fabian Fabian Fabian street Um.

0:43:22.880 --> 0:43:26.960
<v Speaker 1>She forgets Bruce Willis is like heirloom watch the but

0:43:30.680 --> 0:43:33.000
<v Speaker 1>and has to he so he has to go back

0:43:33.400 --> 0:43:35.520
<v Speaker 1>and get it, and it almost gets him killed. It

0:43:35.560 --> 0:43:38.800
<v Speaker 1>gets him in this like crazy almost he gets raped

0:43:39.000 --> 0:43:46.480
<v Speaker 1>situation to kill people. So because of her mistake that

0:43:46.520 --> 0:43:50.120
<v Speaker 1>he has to fix. That's her main contribution again to

0:43:50.160 --> 0:43:53.239
<v Speaker 1>the events of the story, not to the characterization of

0:43:53.280 --> 0:43:57.120
<v Speaker 1>the movie, because she does have an interesting character who

0:43:57.160 --> 0:43:59.719
<v Speaker 1>has a personality, again something that we're not used to

0:43:59.719 --> 0:44:02.600
<v Speaker 1>see in movies for a female character to have a personality.

0:44:02.719 --> 0:44:05.040
<v Speaker 1>But I just couldn't help but notice of the female

0:44:05.080 --> 0:44:08.960
<v Speaker 1>characters who do things that influence the direction this story

0:44:08.960 --> 0:44:11.560
<v Speaker 1>takes in a significant way. Both of them can be

0:44:11.600 --> 0:44:14.239
<v Speaker 1>boiled down to a female character making a mistake and

0:44:14.280 --> 0:44:17.160
<v Speaker 1>a man having to fix it. I would also argue

0:44:17.239 --> 0:44:20.800
<v Speaker 1>that the Amanda Plumber, who I believe it's Amanda Plumber,

0:44:20.800 --> 0:44:24.879
<v Speaker 1>the one who is Tim Roth's wife. Um, she kind

0:44:24.920 --> 0:44:28.160
<v Speaker 1>of is bad at her thing too, Like I think

0:44:28.280 --> 0:44:30.719
<v Speaker 1>she's not great at being a robber, you know what

0:44:30.760 --> 0:44:33.880
<v Speaker 1>I mean. She kind of needs his guidance, So I

0:44:33.920 --> 0:44:38.080
<v Speaker 1>was almost she doesn't necessarily funk up, but she's she

0:44:38.239 --> 0:44:40.799
<v Speaker 1>needs hit Like in a similar way, I would say

0:44:40.960 --> 0:44:44.800
<v Speaker 1>is like needs the male counterparts guidance to kind of

0:44:45.200 --> 0:44:46.759
<v Speaker 1>is relying on him to fix it right, because she

0:44:46.800 --> 0:44:48.600
<v Speaker 1>seemed kind of like a loose cannon where she might

0:44:49.040 --> 0:44:51.719
<v Speaker 1>she so such a good actor, like I was like, oh,

0:44:51.760 --> 0:44:55.200
<v Speaker 1>you are so funny and so good. But yeah, I think, yeah,

0:44:55.239 --> 0:44:58.680
<v Speaker 1>she's a little clearly mentally ill. Yeah it's true. There.

0:44:58.719 --> 0:45:01.040
<v Speaker 1>I I struggled with the with the last scene with her,

0:45:01.040 --> 0:45:05.239
<v Speaker 1>in the last scene in particular, where yeah, I was like, oh, man,

0:45:05.360 --> 0:45:07.640
<v Speaker 1>of course you know, of the two, she's the one

0:45:08.000 --> 0:45:10.520
<v Speaker 1>to funk up or like show some sort of weakness,

0:45:10.760 --> 0:45:13.080
<v Speaker 1>and I do I do. I feel like that choice

0:45:13.120 --> 0:45:15.120
<v Speaker 1>had to be intentional to some extent, even if it

0:45:15.200 --> 0:45:18.560
<v Speaker 1>was just like instinct on a male renter's part to

0:45:18.600 --> 0:45:21.120
<v Speaker 1>have the female character funk up. But then there's like

0:45:21.160 --> 0:45:23.959
<v Speaker 1>all these themes, especially with Bruce Willis's character in this movie,

0:45:24.000 --> 0:45:27.840
<v Speaker 1>where the whole ass Watch thing is all about this,

0:45:28.120 --> 0:45:32.239
<v Speaker 1>like it's this whole masculinity plot where he's trying to

0:45:32.280 --> 0:45:37.399
<v Speaker 1>get his father's war heirloom. He you know, doesn't have

0:45:37.600 --> 0:45:40.000
<v Speaker 1>a war to fight, and that's the whole you know,

0:45:40.400 --> 0:45:44.320
<v Speaker 1>where it's Jed X the nineties very whatever. He's fighting

0:45:44.360 --> 0:45:47.200
<v Speaker 1>wars in the boxing ring. He's fighting his own battle,

0:45:47.200 --> 0:45:50.640
<v Speaker 1>all right, But but that like masculine heirloom is so

0:45:50.680 --> 0:45:54.320
<v Speaker 1>important to him that he will cut down fucking whoever

0:45:54.800 --> 0:45:57.880
<v Speaker 1>to get his dad's ass watch instead of oh, I

0:45:57.880 --> 0:46:02.400
<v Speaker 1>don't know, letting it go like so I don't know.

0:46:02.480 --> 0:46:06.440
<v Speaker 1>I mean, all the characters in this movie are very flawed,

0:46:06.760 --> 0:46:09.560
<v Speaker 1>to the point where it was frustrating to see Amanda

0:46:09.560 --> 0:46:13.040
<v Speaker 1>Plumber's character funk up at the end. But I feel

0:46:13.080 --> 0:46:17.040
<v Speaker 1>like I felt that because we hadn't seen enough women

0:46:17.120 --> 0:46:20.560
<v Speaker 1>on screen at all for there to be like we

0:46:20.640 --> 0:46:24.160
<v Speaker 1>see male characters sunk up constantly in this movie. That's

0:46:24.160 --> 0:46:26.040
<v Speaker 1>like not an issue, but there's just like not enough

0:46:26.160 --> 0:46:28.439
<v Speaker 1>female characters with bearing on the plot that we see

0:46:28.480 --> 0:46:32.279
<v Speaker 1>funk up so that it feels equal, right. The really

0:46:32.320 --> 0:46:36.600
<v Speaker 1>interesting thing I thought about Fabian was watching at this time.

0:46:36.800 --> 0:46:38.319
<v Speaker 1>There's actually a bunch of things I thought that were

0:46:38.360 --> 0:46:42.560
<v Speaker 1>very interesting about that relationship. One was when they're hooking up,

0:46:42.960 --> 0:46:45.719
<v Speaker 1>she's like, will you go down to me? And he's like,

0:46:45.719 --> 0:46:47.640
<v Speaker 1>will you kiss it? And she goes, basically, if you

0:46:47.719 --> 0:46:49.960
<v Speaker 1>eat me first, So it was a really great talk

0:46:50.000 --> 0:46:52.319
<v Speaker 1>about consent. And it was also like she's like, you

0:46:52.360 --> 0:46:54.640
<v Speaker 1>make me come first, which I think is great. I

0:46:54.640 --> 0:46:57.560
<v Speaker 1>thought that was really cool because he's like, he's a boxer,

0:46:57.680 --> 0:46:59.360
<v Speaker 1>you know what I mean, Like he's like a meathead.

0:47:00.040 --> 0:47:02.479
<v Speaker 1>So I thought that was cool. But I also thought, oh,

0:47:02.560 --> 0:47:05.440
<v Speaker 1>knowing me that, like she was like giving me oral pleasure,

0:47:05.840 --> 0:47:08.880
<v Speaker 1>and he's like, well you because it not agreeing to

0:47:08.960 --> 0:47:12.200
<v Speaker 1>what she asked, but immediately being like, well only if

0:47:12.239 --> 0:47:14.960
<v Speaker 1>you took my dick also, and she has to be like,

0:47:15.120 --> 0:47:16.799
<v Speaker 1>but you first, because I asked you first, or like,

0:47:17.239 --> 0:47:20.120
<v Speaker 1>I don't know that exchange in general, I don't know.

0:47:20.160 --> 0:47:22.759
<v Speaker 1>I thought that was very much a relationship exchange. I mean,

0:47:22.800 --> 0:47:25.040
<v Speaker 1>I understand what you're saying, Like, I get it if

0:47:25.040 --> 0:47:27.520
<v Speaker 1>it was. But like I was like, at least she like,

0:47:27.560 --> 0:47:29.800
<v Speaker 1>if that had been reversed, that would have been a

0:47:29.880 --> 0:47:32.400
<v Speaker 1>huge problem. Whereas I thought this was at least a

0:47:32.480 --> 0:47:35.919
<v Speaker 1>boxer going down on a tiny woman. I was like, okay,

0:47:35.960 --> 0:47:38.759
<v Speaker 1>like good boxers are giving oral pleasure. This is a

0:47:38.800 --> 0:47:42.239
<v Speaker 1>step forward. Um. The other interesting thing I thought I

0:47:42.280 --> 0:47:43.959
<v Speaker 1>was watching with a female friend and so I asked

0:47:43.960 --> 0:47:45.520
<v Speaker 1>her about it, and we were talking about this, and

0:47:45.600 --> 0:47:49.560
<v Speaker 1>I'm very curious how you feel when he gets mad

0:47:49.719 --> 0:47:53.360
<v Speaker 1>about the watch, you know what I mean. Like, so

0:47:53.400 --> 0:47:55.960
<v Speaker 1>that was a really interesting scene, I thought, So he

0:47:56.000 --> 0:47:58.720
<v Speaker 1>gets mad. He starts yelling. She goes in the corner

0:47:58.760 --> 0:48:01.480
<v Speaker 1>of the room, right where like the wall, at the table,

0:48:01.600 --> 0:48:05.239
<v Speaker 1>like the lampion. I thought, he throws a TV. Right,

0:48:06.000 --> 0:48:08.040
<v Speaker 1>he throws a TV, but not at her. He throws

0:48:08.040 --> 0:48:10.239
<v Speaker 1>a TV at a rage. He's a rageful boxer, so

0:48:10.320 --> 0:48:13.680
<v Speaker 1>he throws a TV. But was So that's like bad, obviously,

0:48:13.960 --> 0:48:16.239
<v Speaker 1>But then what I thought was interesting, and that's what

0:48:16.280 --> 0:48:17.960
<v Speaker 1>I asked my friend. He sits on that chair, and

0:48:18.239 --> 0:48:21.080
<v Speaker 1>you know what, it's my fault. I didn't accurately tell

0:48:21.120 --> 0:48:24.080
<v Speaker 1>you you did your best. I didn't tell you how

0:48:24.120 --> 0:48:27.279
<v Speaker 1>important it was to me, and like, I'm sorry, I

0:48:27.320 --> 0:48:28.880
<v Speaker 1>just gotta go. Don't worry about So he has a

0:48:28.960 --> 0:48:32.160
<v Speaker 1>rage flip out. He liked it has some sort of aggression.

0:48:32.200 --> 0:48:33.879
<v Speaker 1>You could call it violence if you want. I don't

0:48:33.880 --> 0:48:37.120
<v Speaker 1>think it was directed at her necessarily, but maybe. And

0:48:37.160 --> 0:48:39.760
<v Speaker 1>then he's like, I'm sorry. And then in the car

0:48:40.360 --> 0:48:42.920
<v Speaker 1>he's he's like, how could you not you know what's

0:48:42.920 --> 0:48:45.240
<v Speaker 1>important to me? But but I thought it was interesting

0:48:45.280 --> 0:48:50.640
<v Speaker 1>because their relationship was very I thought bizarrely charming because

0:48:50.800 --> 0:48:54.439
<v Speaker 1>it was sort of like almost stereotypical and the way

0:48:54.480 --> 0:48:56.920
<v Speaker 1>that but there was real love there. I thought it

0:48:56.960 --> 0:48:59.319
<v Speaker 1>was the most love in the whole movie in a way,

0:48:59.640 --> 0:49:02.080
<v Speaker 1>and I thought my friend was like, you know what,

0:49:02.160 --> 0:49:07.359
<v Speaker 1>he apologized immediately, and it was kind of interesting where

0:49:07.400 --> 0:49:10.680
<v Speaker 1>he was like really aggressive and but he clearly really

0:49:10.719 --> 0:49:12.680
<v Speaker 1>loved her and he did apologize immediately, and for someone

0:49:12.719 --> 0:49:14.840
<v Speaker 1>who is such a probably like an alt right weirdo,

0:49:16.200 --> 0:49:18.400
<v Speaker 1>I thought it was And so I thought it was

0:49:18.480 --> 0:49:21.839
<v Speaker 1>just interesting for him to to have him apologize immediately.

0:49:22.000 --> 0:49:23.440
<v Speaker 1>And I thought that was like, I don't know if

0:49:23.440 --> 0:49:24.680
<v Speaker 1>it has to do with the Bechdel test, but it

0:49:24.680 --> 0:49:27.640
<v Speaker 1>has something to do with like how a relationship should work,

0:49:27.719 --> 0:49:29.840
<v Speaker 1>you know what. I mean, you make this mistake and

0:49:29.880 --> 0:49:32.200
<v Speaker 1>then you But I don't know. I was he has

0:49:32.239 --> 0:49:35.120
<v Speaker 1>a snap reaction. I mean I could have done without him,

0:49:35.320 --> 0:49:38.239
<v Speaker 1>you know, throwing a TV to the point where she's

0:49:38.280 --> 0:49:42.440
<v Speaker 1>so scared for her safety that she cowers into this crying.

0:49:42.719 --> 0:49:48.160
<v Speaker 1>Seeing that, seeing her default to a corner, I'm like,

0:49:48.360 --> 0:49:50.520
<v Speaker 1>this is maybe not the first time this has happened.

0:49:50.560 --> 0:49:53.160
<v Speaker 1>If she has an instinct to retreat to a corner

0:49:53.480 --> 0:49:55.560
<v Speaker 1>where it's like, if that's the first time that's happening,

0:49:56.280 --> 0:49:58.000
<v Speaker 1>it just didn't seem like the first time. I shared

0:49:58.040 --> 0:50:00.919
<v Speaker 1>that had happened, but then when we him dial back,

0:50:00.960 --> 0:50:05.000
<v Speaker 1>I mean it's hard because also they're fictional. We don't know,

0:50:05.239 --> 0:50:08.640
<v Speaker 1>no one truly knows. He also does flirt with Esmeralda.

0:50:09.080 --> 0:50:11.799
<v Speaker 1>He does see is a little bit of like a brute. Well,

0:50:11.840 --> 0:50:13.520
<v Speaker 1>all the men in this movie, I think that speaks

0:50:13.560 --> 0:50:16.120
<v Speaker 1>to the like hyper masculinity of all the men we

0:50:16.160 --> 0:50:19.120
<v Speaker 1>see in this movie. Like there's no I mean except

0:50:19.160 --> 0:50:22.839
<v Speaker 1>for maybe Eric Stolts. Like all the main characters are

0:50:22.880 --> 0:50:26.960
<v Speaker 1>like non sexual characters. They're just like dripping with like

0:50:27.160 --> 0:50:31.520
<v Speaker 1>toxic hyper masculinity. And sure that's what the movie is about.

0:50:31.560 --> 0:50:33.719
<v Speaker 1>Their job. They're you know, all kind of you know,

0:50:33.800 --> 0:50:38.600
<v Speaker 1>these like bad criminal, you know, boxer gun slinging type

0:50:38.600 --> 0:50:41.480
<v Speaker 1>of guys. But it's hard for me to watch movies

0:50:41.560 --> 0:50:44.759
<v Speaker 1>like that nowadays, just to see so much hyper masculinity

0:50:44.800 --> 0:50:47.040
<v Speaker 1>and have it be celebrated and have people I love

0:50:47.080 --> 0:50:50.120
<v Speaker 1>this movie so much. And whereas of the women in

0:50:50.120 --> 0:50:51.680
<v Speaker 1>the movie, if there was more of a balance, if

0:50:51.719 --> 0:50:56.080
<v Speaker 1>some of those like scary characters were women, Like if

0:50:56.120 --> 0:50:58.560
<v Speaker 1>one of the hit people was a woman in there,

0:50:58.640 --> 0:51:01.120
<v Speaker 1>it just like struck more of a balance, it would

0:51:01.160 --> 0:51:02.640
<v Speaker 1>be easier for me to watch, but now I'm just

0:51:02.680 --> 0:51:06.560
<v Speaker 1>like so over this like celebration of hyper masculinity that

0:51:06.680 --> 0:51:09.239
<v Speaker 1>I'm like that being said, this movie does a better

0:51:09.320 --> 0:51:12.040
<v Speaker 1>job than a lot of them, especially because it kind

0:51:12.040 --> 0:51:15.560
<v Speaker 1>of almost created it, like it created this run of

0:51:15.600 --> 0:51:18.200
<v Speaker 1>like hypers. It's like for it too, because what I

0:51:18.239 --> 0:51:20.040
<v Speaker 1>said at the beginning of the podcast was like I

0:51:20.080 --> 0:51:23.080
<v Speaker 1>truly feel like Quentin Tarantino doesn't give a funk about

0:51:23.120 --> 0:51:25.560
<v Speaker 1>big issues, Like so when he's writing this movie, he's

0:51:25.560 --> 0:51:29.279
<v Speaker 1>definitely not like his writing of Mia Wallace, He's not

0:51:29.360 --> 0:51:32.279
<v Speaker 1>trying to be amenable to feminism. He's just trying to

0:51:32.280 --> 0:51:34.120
<v Speaker 1>write a character you haven't seen before. He's like a

0:51:34.120 --> 0:51:36.439
<v Speaker 1>film nerd who wants to see something you haven't seen before.

0:51:36.480 --> 0:51:39.160
<v Speaker 1>I don't think he's writing it because he thinks men

0:51:39.320 --> 0:51:41.000
<v Speaker 1>should do this and women should, you know what I mean.

0:51:41.040 --> 0:51:43.080
<v Speaker 1>Like he's just like he like he is like a movie.

0:51:43.200 --> 0:51:45.040
<v Speaker 1>He's like all he is is like a movie. So

0:51:45.040 --> 0:51:47.120
<v Speaker 1>he's just shooting out a movie that he wants to

0:51:47.160 --> 0:51:49.279
<v Speaker 1>see because he wants to be cool. Like it's called

0:51:49.280 --> 0:51:51.840
<v Speaker 1>pulp fiction because it's based in all these sort of

0:51:51.880 --> 0:51:53.799
<v Speaker 1>like it's like there's a boxer, there's hitman, it's like

0:51:53.800 --> 0:51:56.080
<v Speaker 1>based in these like fifty cent novels, you know, And

0:51:56.120 --> 0:51:58.880
<v Speaker 1>so I think he more cares about entertainment than anything.

0:51:58.920 --> 0:52:01.040
<v Speaker 1>I don't think he gives a fuck. It's like that's

0:52:01.080 --> 0:52:03.360
<v Speaker 1>why he uses the N word. It's so awful. But

0:52:03.440 --> 0:52:05.680
<v Speaker 1>he's like, I'm not racist, Like he doesn't He's not

0:52:05.719 --> 0:52:07.719
<v Speaker 1>even really thinking about it, you know what I mean.

0:52:07.920 --> 0:52:10.000
<v Speaker 1>He's trying to be cool and he's a man, so

0:52:10.040 --> 0:52:13.200
<v Speaker 1>he can't understand like any issues. And so I think

0:52:13.200 --> 0:52:15.480
<v Speaker 1>it's it's it's hard because you have to judge the

0:52:15.560 --> 0:52:18.360
<v Speaker 1>movie based on what it is. But he seems like

0:52:18.400 --> 0:52:21.520
<v Speaker 1>a crazy sort of person who isn't even really interacting

0:52:21.560 --> 0:52:23.480
<v Speaker 1>in society. But you know what I mean. I mean,

0:52:23.520 --> 0:52:25.800
<v Speaker 1>that's a bad excuse. In two thousands, it's definitely a

0:52:25.840 --> 0:52:29.120
<v Speaker 1>bad excuse. You don't know, it's not an excuse. I

0:52:29.160 --> 0:52:30.920
<v Speaker 1>just mean when I think about him, I don't think

0:52:30.920 --> 0:52:32.319
<v Speaker 1>he has a funk. I don't think he gives a ship,

0:52:32.520 --> 0:52:35.520
<v Speaker 1>you know what I mean. And especially when this movie

0:52:35.600 --> 0:52:38.400
<v Speaker 1>is being made, this like I feel like with and

0:52:38.520 --> 0:52:41.520
<v Speaker 1>when we'll do more Tarantino movies in the future, his

0:52:41.600 --> 0:52:47.160
<v Speaker 1>movies with time become more intentional. It's hard to trace

0:52:47.680 --> 0:52:51.359
<v Speaker 1>intent with this movie where it does just seem like, oh,

0:52:51.480 --> 0:52:54.080
<v Speaker 1>this is cool, this is something I like, Yeah, like

0:52:54.080 --> 0:52:56.640
<v Speaker 1>you're saying something I would like to see, and you

0:52:56.719 --> 0:52:58.879
<v Speaker 1>get a very interesting movie with a lot of stuff

0:52:58.920 --> 0:53:01.439
<v Speaker 1>you haven't seen before it as a result. But then

0:53:01.640 --> 0:53:04.560
<v Speaker 1>the trade off is like it kind of becomes hard

0:53:04.640 --> 0:53:06.920
<v Speaker 1>to analyze because it's like a lot of times we

0:53:07.239 --> 0:53:09.960
<v Speaker 1>see movies where women are either being sidelined or mistreated

0:53:10.080 --> 0:53:14.359
<v Speaker 1>very intentionally because whatever the reason may be, and this

0:53:14.440 --> 0:53:16.719
<v Speaker 1>is just like hard to tell what the intention for

0:53:16.800 --> 0:53:22.000
<v Speaker 1>almost anything is other than this seems cool. Yeah, I

0:53:22.040 --> 0:53:24.480
<v Speaker 1>think it. It's like what's interesting about this movie too.

0:53:24.480 --> 0:53:26.640
<v Speaker 1>It's like a very small budget in movie, you know

0:53:26.640 --> 0:53:28.120
<v Speaker 1>what I mean, Like it's it's it's one of the

0:53:28.160 --> 0:53:31.200
<v Speaker 1>most popular movies ever, but it became this phenomenon, so

0:53:31.239 --> 0:53:34.640
<v Speaker 1>I think it became very influential, probably in a pretty

0:53:34.680 --> 0:53:38.960
<v Speaker 1>negative way to enhancing toxic masculinity. But it was more

0:53:39.080 --> 0:53:41.520
<v Speaker 1>he was just trying to like be cool. I feel

0:53:41.520 --> 0:53:43.439
<v Speaker 1>like I think he wasn't thinking, like at least that's

0:53:43.480 --> 0:53:46.040
<v Speaker 1>just what I get from him, where he's like he's

0:53:46.080 --> 0:53:49.319
<v Speaker 1>reversing tropes to some degree just in what he's doing

0:53:49.320 --> 0:53:52.239
<v Speaker 1>and sometimes yeah, or like someone getting shot in the

0:53:52.280 --> 0:53:54.040
<v Speaker 1>middle of a scene, or like it's two hit men

0:53:54.120 --> 0:53:55.560
<v Speaker 1>just have it, as you were saying, like a six

0:53:55.600 --> 0:53:58.680
<v Speaker 1>minute conversation about like Amsterdam or feet or whatever. It's

0:53:58.719 --> 0:54:01.359
<v Speaker 1>like I clearly when teams like he's concerned with that

0:54:01.400 --> 0:54:04.319
<v Speaker 1>ship and like being having like these scenes and then

0:54:04.360 --> 0:54:07.960
<v Speaker 1>it became this like behemoth and then all these men

0:54:08.040 --> 0:54:10.120
<v Speaker 1>were like I've got to make that, you know, because

0:54:10.120 --> 0:54:12.920
<v Speaker 1>I think the most I feel like the Fabian character

0:54:13.120 --> 0:54:15.360
<v Speaker 1>is actually pretty bad. Like I think that's like a

0:54:15.440 --> 0:54:18.480
<v Speaker 1>pretty bad representation of a woman. Like I think that's

0:54:18.520 --> 0:54:22.200
<v Speaker 1>the worst by far. But I think how come because

0:54:22.680 --> 0:54:26.359
<v Speaker 1>she's a tiny person who seems helpless. She's sort of

0:54:26.360 --> 0:54:28.920
<v Speaker 1>like a fantasy of a woman. Like she's like French,

0:54:29.000 --> 0:54:31.160
<v Speaker 1>has that haircuts kind of like it has like those

0:54:31.160 --> 0:54:33.400
<v Speaker 1>big eyes, and like has these like white shirts. He

0:54:33.520 --> 0:54:35.280
<v Speaker 1>kills it with the white shirts. By the way, everyone

0:54:35.320 --> 0:54:38.640
<v Speaker 1>were amazing white shirts in that movie. Um, Bruce and

0:54:38.960 --> 0:54:44.320
<v Speaker 1>Fabian and h they just the white shirts were amazing. Um.

0:54:44.400 --> 0:54:47.279
<v Speaker 1>She doesn't really do anything. She talks about eating. She

0:54:47.400 --> 0:54:50.040
<v Speaker 1>loves her boyfriend. That's what you know about her, right,

0:54:50.080 --> 0:54:52.400
<v Speaker 1>and then she fox up and it's kind of helpless,

0:54:52.440 --> 0:54:54.600
<v Speaker 1>and then she's just kind of and she cries a lot,

0:54:54.880 --> 0:54:56.759
<v Speaker 1>so it's like kind of like i'd say that's bad.

0:54:56.760 --> 0:54:58.920
<v Speaker 1>But even then I think what he's trying to do

0:54:59.040 --> 0:55:01.880
<v Speaker 1>is just like have like an adorable foreign woman, you

0:55:01.920 --> 0:55:04.000
<v Speaker 1>know what I mean, Like, I don't think he's really thinking.

0:55:04.480 --> 0:55:07.280
<v Speaker 1>It seems like he doesn't. He never even thought about

0:55:07.320 --> 0:55:11.200
<v Speaker 1>the fact that it's like a person. He's just yeah,

0:55:11.360 --> 0:55:14.040
<v Speaker 1>that's what I mean. We do see just a little

0:55:14.239 --> 0:55:17.360
<v Speaker 1>sliver of this character, and she does have I would argue,

0:55:17.440 --> 0:55:20.800
<v Speaker 1>more personality than a lot of female characters having movies.

0:55:20.880 --> 0:55:24.399
<v Speaker 1>But because she all the women in this movie are

0:55:24.760 --> 0:55:28.000
<v Speaker 1>framed as like the romantic partner of one of the

0:55:28.000 --> 0:55:29.960
<v Speaker 1>male characters who we know a little bit better. We

0:55:30.000 --> 0:55:36.960
<v Speaker 1>see actually doing things and and women, I mean, yeah,

0:55:37.000 --> 0:55:41.160
<v Speaker 1>and Esmerelda scene was a little bizarre. I mean cool

0:55:41.200 --> 0:55:47.680
<v Speaker 1>that you see the representation of a woman. The one

0:55:47.719 --> 0:55:50.399
<v Speaker 1>last thing I would say about Fabian before we move

0:55:50.400 --> 0:55:53.640
<v Speaker 1>on from that character is while she does not have

0:55:53.680 --> 0:55:55.759
<v Speaker 1>a lot of baring on the plot, and her main

0:55:55.840 --> 0:55:58.640
<v Speaker 1>significance in the plot is fucking up so that Bruce

0:55:58.680 --> 0:56:02.400
<v Speaker 1>Willis can law into all these other weird scenes and

0:56:02.400 --> 0:56:04.920
<v Speaker 1>eventually hold a katana, which is I think what Quentin

0:56:04.880 --> 0:56:06.759
<v Speaker 1>Tarantino wants the whole time is like how can I

0:56:06.800 --> 0:56:11.840
<v Speaker 1>get from point A to That's the most intend to

0:56:11.920 --> 0:56:13.919
<v Speaker 1>think that's seen by the way, not but that scene

0:56:14.080 --> 0:56:15.960
<v Speaker 1>was really funny when he's in the pawn shop and

0:56:16.000 --> 0:56:18.600
<v Speaker 1>he goes from weapon to weapon to chainsaw and then

0:56:19.120 --> 0:56:24.800
<v Speaker 1>that was super funny. But the exchange between Bruce Willis

0:56:25.400 --> 0:56:29.560
<v Speaker 1>Butch and Fabian and they're talking about bodies at the

0:56:29.640 --> 0:56:33.800
<v Speaker 1>beginning of their exchange together where she's like, there's that

0:56:34.200 --> 0:56:38.360
<v Speaker 1>kind of weird, but I think, kind of good line

0:56:38.760 --> 0:56:41.239
<v Speaker 1>where she's talking about like I wish I had a

0:56:41.360 --> 0:56:43.160
<v Speaker 1>pot belly and he was like, what that would be

0:56:43.239 --> 0:56:45.279
<v Speaker 1>fulk and gross or like what you know? Whatever they're

0:56:45.280 --> 0:56:47.800
<v Speaker 1>they're they're back and forth and it's very relationship talking,

0:56:48.560 --> 0:56:51.719
<v Speaker 1>and then she says that that line of like, oh,

0:56:51.800 --> 0:56:54.480
<v Speaker 1>it's it's so weird that what feels good and what

0:56:54.640 --> 0:56:56.719
<v Speaker 1>looks good to people is seldom the same or something

0:56:56.800 --> 0:56:59.520
<v Speaker 1>like that, and that for me was like whoa, what

0:56:59.640 --> 0:57:03.440
<v Speaker 1>an interesting like that character was used in some way

0:57:04.360 --> 0:57:08.040
<v Speaker 1>that I got a positive takeaway from. Again, impossible to

0:57:08.120 --> 0:57:11.120
<v Speaker 1>know if this is just words that Quentin Tarantino thought

0:57:11.200 --> 0:57:13.680
<v Speaker 1>sounded nice next to each other, or if there was

0:57:13.760 --> 0:57:16.640
<v Speaker 1>some intent next to it, But that whole like relationship

0:57:16.720 --> 0:57:19.240
<v Speaker 1>he's seen between them, I thought pre him throwing a

0:57:19.360 --> 0:57:23.360
<v Speaker 1>TV was very into their relationship. Post him throwing in

0:57:23.520 --> 0:57:26.440
<v Speaker 1>a TV, it's like, now there's some stuff to address. Well,

0:57:26.480 --> 0:57:28.360
<v Speaker 1>there's also that part where she's like, I went to

0:57:28.400 --> 0:57:30.280
<v Speaker 1>pot Belli and he's like, if you had a pot Belli,

0:57:30.320 --> 0:57:32.240
<v Speaker 1>I'd punch you in it, and we're like, ah, feminist

0:57:32.360 --> 0:57:39.560
<v Speaker 1>icon persual. I did want to call attention to all

0:57:39.600 --> 0:57:42.520
<v Speaker 1>the times in which a man in this movie calls

0:57:42.600 --> 0:57:48.240
<v Speaker 1>a woman a bitch or yeah, okay, early on that

0:57:48.320 --> 0:57:52.000
<v Speaker 1>everyone's in a while to any gender. When Jules is

0:57:52.040 --> 0:57:54.640
<v Speaker 1>talking about me and Wallace, he says that like eating

0:57:54.640 --> 0:57:57.080
<v Speaker 1>a bitch out and touching a bitch's feet, they're not

0:57:57.200 --> 0:57:59.960
<v Speaker 1>even in the same ballpark. And then Eric Stultz said,

0:58:00.080 --> 0:58:02.640
<v Speaker 1>is you're not bringing this funked up bitch into my house?

0:58:03.200 --> 0:58:06.480
<v Speaker 1>And then Vincent says about Eric Sails's wife, what a

0:58:06.560 --> 0:58:11.680
<v Speaker 1>fucking bitch, and then Butch says, you know, sorry, you

0:58:11.800 --> 0:58:15.360
<v Speaker 1>know what would make all of this evening if Bruce

0:58:15.400 --> 0:58:21.280
<v Speaker 1>Willis's character's name was bitch so then you would have

0:58:21.360 --> 0:58:25.000
<v Speaker 1>to be you would be young, bitch, I would be adults,

0:58:26.800 --> 0:58:30.600
<v Speaker 1>then old coming and then this isn't a bitch calling

0:58:30.880 --> 0:58:33.480
<v Speaker 1>butch calling her a bit, but it says do you

0:58:33.520 --> 0:58:36.040
<v Speaker 1>know how fucking stupid you are? To Fabian And then

0:58:36.120 --> 0:58:38.280
<v Speaker 1>Juels at the end says like, get that bitch under

0:58:38.280 --> 0:58:44.400
<v Speaker 1>control or whatever. So there's love that one. It's man,

0:58:44.520 --> 0:58:47.800
<v Speaker 1>it's almost as if but it's almost as if the

0:58:47.800 --> 0:58:50.400
<v Speaker 1>male characters in this movie are not feminist icons, nor

0:58:50.800 --> 0:58:53.920
<v Speaker 1>are they okay. So speaking of language, one of the

0:58:53.960 --> 0:58:56.400
<v Speaker 1>other reasons it's hard for me to watch this movie

0:58:56.440 --> 0:58:57.840
<v Speaker 1>and enjoy it as much as I have in the

0:58:57.920 --> 0:59:01.480
<v Speaker 1>past is that the end We're just gets thrown around

0:59:01.600 --> 0:59:07.160
<v Speaker 1>casually all the time, often by white people, either to

0:59:07.600 --> 0:59:10.520
<v Speaker 1>or in front of, or just about people of color,

0:59:10.960 --> 0:59:14.520
<v Speaker 1>and it is just very casual. The way in which

0:59:14.640 --> 0:59:17.439
<v Speaker 1>Quentin Tarantino was like, yeah, let's just drop, He's like, guys,

0:59:17.520 --> 0:59:20.800
<v Speaker 1>I'll do it myself. And also he has a black wife, yeah,

0:59:21.000 --> 0:59:23.919
<v Speaker 1>which is so weird. It doesn't get any it doesn't

0:59:23.960 --> 0:59:26.720
<v Speaker 1>get any lines. You don't even you just know that

0:59:26.800 --> 0:59:31.080
<v Speaker 1>she'd get mad and divorce him because there's a dead

0:59:31.120 --> 0:59:35.080
<v Speaker 1>body in her garage, Like it's also just weird that

0:59:35.160 --> 0:59:39.320
<v Speaker 1>Quentin Tarantino cast himself, Like it's just like all such

0:59:39.360 --> 0:59:42.400
<v Speaker 1>a weird man, Like what is he doing? We were

0:59:42.440 --> 0:59:44.840
<v Speaker 1>talking about this last night where it's like at very

0:59:45.000 --> 0:59:48.200
<v Speaker 1>least Gwen Tardina saw himself in this movie and was like,

0:59:48.320 --> 0:59:51.200
<v Speaker 1>probably not again, Probably we're gonna we're gonna hang it

0:59:51.320 --> 0:59:55.480
<v Speaker 1>up here, which I respect because because most directors that

0:59:55.600 --> 0:59:57.640
<v Speaker 1>are like I want to be in into like they don't.

0:59:57.720 --> 0:59:59.320
<v Speaker 1>They don't know when to say when all the time.

0:59:59.360 --> 1:00:01.680
<v Speaker 1>And he was like, know what, I maybe did a

1:00:01.760 --> 1:00:05.400
<v Speaker 1>crummy job. The N word is like it just is

1:00:05.440 --> 1:00:08.480
<v Speaker 1>a little again. This is another thing where he's like

1:00:08.560 --> 1:00:11.240
<v Speaker 1>trying to be cool, right, And what's interesting about him

1:00:11.400 --> 1:00:14.040
<v Speaker 1>I think because he has written some roles for a

1:00:14.160 --> 1:00:16.600
<v Speaker 1>lot of like famous roles for black characters. There are

1:00:16.680 --> 1:00:19.680
<v Speaker 1>black actors who like defend it, you know, like Jamie

1:00:19.720 --> 1:00:22.680
<v Speaker 1>Fox has or Samuel Jackson has I'm sure Pam Greer

1:00:22.760 --> 1:00:24.160
<v Speaker 1>did you know what I mean? Like things like that.

1:00:24.600 --> 1:00:26.080
<v Speaker 1>But it is one of those things like I'm watching

1:00:26.160 --> 1:00:29.320
<v Speaker 1>him like, oh God, like it's two white characters talking

1:00:29.440 --> 1:00:32.880
<v Speaker 1>to each other sometimes like Stulton Tripleton. It's like why

1:00:33.080 --> 1:00:36.400
<v Speaker 1>is that word there, like is this helping the movie? Um?

1:00:36.640 --> 1:00:39.200
<v Speaker 1>And it it is a little I did feel kind

1:00:39.240 --> 1:00:42.720
<v Speaker 1>of viscerally upset. I was like, oh what or when

1:00:42.760 --> 1:00:45.480
<v Speaker 1>he says it to Samuel L. Jackson, Samuel Jackson doesn't

1:00:45.520 --> 1:00:48.400
<v Speaker 1>respond to that word. I also thought that that was interesting.

1:00:48.520 --> 1:00:51.360
<v Speaker 1>It's like he's just saying clearly they're friends, and he

1:00:51.440 --> 1:00:53.200
<v Speaker 1>doesn't seem to care about it. But it is a

1:00:53.200 --> 1:00:56.520
<v Speaker 1>little like what are we talking about? What are we doing?

1:00:56.960 --> 1:01:01.640
<v Speaker 1>Because it's a white writer director making the choices. A

1:01:01.720 --> 1:01:04.520
<v Speaker 1>black writer and director probably would not have let that

1:01:04.720 --> 1:01:07.400
<v Speaker 1>happen that way. It's it's more just I'm more just

1:01:07.520 --> 1:01:10.400
<v Speaker 1>like like what do you think this is? Heading? Like

1:01:10.520 --> 1:01:16.160
<v Speaker 1>it's so weird because because The Hateful Eight, I saw

1:01:16.200 --> 1:01:19.400
<v Speaker 1>hatfulay in theaters and that movie has the N word

1:01:19.640 --> 1:01:22.360
<v Speaker 1>a lot more than pulp fiction. And I saw it

1:01:22.560 --> 1:01:24.800
<v Speaker 1>with and there were like people of all colors in

1:01:24.840 --> 1:01:26.960
<v Speaker 1>the movie theater and I thought it was horrible. Like

1:01:27.000 --> 1:01:29.600
<v Speaker 1>I was like, this is really unnecessary and I don't

1:01:29.600 --> 1:01:31.480
<v Speaker 1>know why we're doing this, Like it's not like it

1:01:31.520 --> 1:01:35.000
<v Speaker 1>doesn't you don't need that word to get across what's going.

1:01:35.040 --> 1:01:38.160
<v Speaker 1>It hasn't. It does the movie isn't saying anything about race,

1:01:38.320 --> 1:01:39.920
<v Speaker 1>you know what I mean? Like, it's just like, what

1:01:40.040 --> 1:01:43.080
<v Speaker 1>are we talking about here? And I think it bugs

1:01:43.160 --> 1:01:47.880
<v Speaker 1>me no matter where in Quentin Tarantino's uber it shows up.

1:01:48.040 --> 1:01:51.080
<v Speaker 1>It sucks and it's uncomfortable. And especially when in these

1:01:51.120 --> 1:01:54.640
<v Speaker 1>movies where it's famously written by a white guy and

1:01:54.800 --> 1:01:56.920
<v Speaker 1>you know exactly who it is, I feel like it

1:01:57.240 --> 1:02:00.480
<v Speaker 1>makes it all the more uncomfortable to watch it forced

1:02:00.480 --> 1:02:03.640
<v Speaker 1>out of character of any colors mouth. It's just like,

1:02:04.120 --> 1:02:06.400
<v Speaker 1>but this is crazy. It just sort of like to

1:02:06.560 --> 1:02:08.560
<v Speaker 1>hear it like whoa. By the time we get a

1:02:08.560 --> 1:02:12.040
<v Speaker 1>Hateful eight, it's so intentional that it's like, why the

1:02:12.200 --> 1:02:15.040
<v Speaker 1>funk would you still be just like a statement? Yeah,

1:02:15.160 --> 1:02:18.000
<v Speaker 1>it's like no, I can hold onto my words, Like

1:02:18.080 --> 1:02:20.600
<v Speaker 1>it's just that freedom of speech bullshit, which is just like,

1:02:20.720 --> 1:02:23.760
<v Speaker 1>what are we talking about? Um? The last thing I

1:02:23.840 --> 1:02:25.840
<v Speaker 1>want to say about this movie is that there's a

1:02:26.080 --> 1:02:29.480
<v Speaker 1>line that Harvey Kitel's character says, as they're like all

1:02:29.560 --> 1:02:32.760
<v Speaker 1>kind of parting ways, he says, just because you are

1:02:32.800 --> 1:02:35.760
<v Speaker 1>a character doesn't mean that you have character. And I

1:02:35.880 --> 1:02:38.600
<v Speaker 1>think that is a thesis statement for the way so

1:02:38.760 --> 1:02:42.080
<v Speaker 1>many women are written in movies just because they are

1:02:42.200 --> 1:02:46.000
<v Speaker 1>a character in the movie technically doesn't mean they didn't

1:02:46.040 --> 1:02:47.880
<v Speaker 1>think about that. When hearing that line, I just thought

1:02:47.880 --> 1:02:50.280
<v Speaker 1>it was like a kind of a dad joke. I mean, sure,

1:02:50.320 --> 1:02:54.760
<v Speaker 1>that's that's to be I absorbed it, and I was like, hey,

1:02:54.960 --> 1:02:57.480
<v Speaker 1>what a what a way to describe how women are

1:02:57.520 --> 1:03:00.400
<v Speaker 1>portrayed in movies a lot of the time. So really,

1:03:00.480 --> 1:03:03.800
<v Speaker 1>really quick, and this is not like something to be like, hey,

1:03:04.080 --> 1:03:06.439
<v Speaker 1>really quick, can we talk about the brutal rape scene

1:03:06.440 --> 1:03:09.240
<v Speaker 1>in this movie? But it was very taken aback. But

1:03:09.360 --> 1:03:11.480
<v Speaker 1>I must have blacked it out because I just I

1:03:11.680 --> 1:03:13.680
<v Speaker 1>just straight up did not remember this happened in the movie.

1:03:14.040 --> 1:03:16.640
<v Speaker 1>So there is a male and male rape scene in

1:03:16.720 --> 1:03:18.920
<v Speaker 1>this movie, and there's a lot to unpack there. But

1:03:19.160 --> 1:03:22.360
<v Speaker 1>what I thought was another, like okay, that was a

1:03:22.760 --> 1:03:26.880
<v Speaker 1>choice that kind of felt true to the character of Marcellus,

1:03:27.040 --> 1:03:30.200
<v Speaker 1>is that Marcellis basically is like when this will never

1:03:30.360 --> 1:03:33.520
<v Speaker 1>be spoken of again, like and that is the that's

1:03:33.560 --> 1:03:38.680
<v Speaker 1>sort of where like Bruce Willis story closes of like, okay, cool,

1:03:38.800 --> 1:03:40.440
<v Speaker 1>we're never going to talk about the fact that I

1:03:40.560 --> 1:03:44.520
<v Speaker 1>got raped again, and we're going to talk about we

1:03:44.640 --> 1:03:49.600
<v Speaker 1>are not It's not that we have to talk about Kevin.

1:03:49.720 --> 1:03:53.360
<v Speaker 1>So we needed to talk about Kevin. Okay, I won't

1:03:53.440 --> 1:03:55.800
<v Speaker 1>talk about what happened to you, but we do need

1:03:55.920 --> 1:03:58.240
<v Speaker 1>to talk about kept getting need to talk about Kevin.

1:03:58.720 --> 1:04:01.640
<v Speaker 1>He's troubled. Is he's got a bow and arrow in

1:04:01.680 --> 1:04:04.400
<v Speaker 1>the backyard. What's going on with that kid? What a

1:04:04.480 --> 1:04:09.880
<v Speaker 1>weird movie? Let's never do that movie? The show? We don't?

1:04:09.880 --> 1:04:12.040
<v Speaker 1>It turns out we didn't. Didn't. Wait, can you sorry?

1:04:12.040 --> 1:04:13.800
<v Speaker 1>I didn't mean. I did mean to interrupt you, obviously,

1:04:13.920 --> 1:04:16.280
<v Speaker 1>but like, what do you? Can you finish that thought?

1:04:16.320 --> 1:04:19.720
<v Speaker 1>I'm curious? I so I thought that that was an

1:04:19.960 --> 1:04:23.280
<v Speaker 1>interesting and again there's no intent in this movie, but

1:04:23.960 --> 1:04:27.840
<v Speaker 1>hyper masculine reaction to an event like that of like,

1:04:28.200 --> 1:04:32.360
<v Speaker 1>let's never talk about it, and it's not I feel

1:04:32.360 --> 1:04:35.000
<v Speaker 1>like it's not even applied of like because this is

1:04:35.120 --> 1:04:37.880
<v Speaker 1>a traumatic, horrible experience that will affect me for the

1:04:37.920 --> 1:04:40.800
<v Speaker 1>rest of my life. But the implication was more because

1:04:40.880 --> 1:04:44.520
<v Speaker 1>it was embarrassing for me, or like because people would

1:04:44.600 --> 1:04:47.600
<v Speaker 1>make fun of me for it. Like his intent in

1:04:47.720 --> 1:04:50.320
<v Speaker 1>saying let's never talk about it again didn't seem connected

1:04:50.400 --> 1:04:53.840
<v Speaker 1>to the trauma that there would be with an experience

1:04:53.880 --> 1:04:55.520
<v Speaker 1>like that. Well, you know what it's connected to I

1:04:55.600 --> 1:04:58.600
<v Speaker 1>now realize is remember when m Samuel Jackson and John

1:04:58.600 --> 1:05:00.920
<v Speaker 1>Trabalta are talking to the guy is that they shoot

1:05:00.960 --> 1:05:03.040
<v Speaker 1>in the beginning of the movie, and he's like, is

1:05:03.400 --> 1:05:07.200
<v Speaker 1>Marcella s Wallace your bitch? So then theoretically what he

1:05:07.440 --> 1:05:10.480
<v Speaker 1>what this guy did? What the Peter Green character, the

1:05:10.880 --> 1:05:14.360
<v Speaker 1>cop rapist made him quote unquote his bitch, which is

1:05:14.400 --> 1:05:16.600
<v Speaker 1>the worst thing to happen to a guy, Like that's

1:05:16.640 --> 1:05:20.280
<v Speaker 1>what happened there. It's more of like the weird homophobic

1:05:21.240 --> 1:05:25.080
<v Speaker 1>like I can't be the less the receiver of prostate

1:05:25.160 --> 1:05:31.440
<v Speaker 1>pleasure exactly, and and as opposed to any any I mean,

1:05:32.000 --> 1:05:35.320
<v Speaker 1>there's no commentary there, but it was like a very

1:05:35.560 --> 1:05:38.160
<v Speaker 1>sort of a very hyper masculine move by a hyper

1:05:38.200 --> 1:05:41.680
<v Speaker 1>masculine character. But I just thought worth mentioning there's a

1:05:41.720 --> 1:05:44.880
<v Speaker 1>lot to unpack there. What is Marcella's like, three years

1:05:44.920 --> 1:05:47.120
<v Speaker 1>down the line after that experience, he needs a lot,

1:05:47.200 --> 1:05:52.160
<v Speaker 1>He's like this keeps happening to think I'm struggling, Like

1:05:52.240 --> 1:05:55.520
<v Speaker 1>I don't get a new job. I just well, to me,

1:05:55.720 --> 1:06:00.280
<v Speaker 1>it's like Quentin Tarantino being obsessed with like revenge engine

1:06:00.360 --> 1:06:03.600
<v Speaker 1>narratives where like Marcella's gets raped and then he gets

1:06:03.640 --> 1:06:06.560
<v Speaker 1>to exact immediate revenge on his rapist by shooting his

1:06:06.680 --> 1:06:09.280
<v Speaker 1>dick off, and then we don't see what happens after that,

1:06:09.360 --> 1:06:13.680
<v Speaker 1>But which is describes Yeah, which is great, Kill Bill,

1:06:13.720 --> 1:06:17.320
<v Speaker 1>which is just straight up a revenge story. Django unchained

1:06:17.960 --> 1:06:20.160
<v Speaker 1>inglorious bastards. These are all just like stories of like,

1:06:20.720 --> 1:06:22.840
<v Speaker 1>let's just get revenge on these people. So I think

1:06:22.920 --> 1:06:25.080
<v Speaker 1>it's I feel like that scene was put in there

1:06:25.080 --> 1:06:27.600
<v Speaker 1>because he's like, I'm obsessed with people getting revenge for

1:06:27.800 --> 1:06:31.240
<v Speaker 1>doing well. And I also think that there's a little

1:06:31.400 --> 1:06:34.480
<v Speaker 1>part in Quentin Tarantino's a little weird lizard brain that's

1:06:34.520 --> 1:06:40.240
<v Speaker 1>like have people ever seen exactly? That's what it felt like,

1:06:40.720 --> 1:06:43.400
<v Speaker 1>what's cool? He's like trying to do something memorable or cool?

1:06:43.480 --> 1:06:45.400
<v Speaker 1>You know, I really think that's where he's coming from.

1:06:45.520 --> 1:06:47.640
<v Speaker 1>But that, to me makes it so much worse. It's

1:06:47.680 --> 1:06:50.880
<v Speaker 1>like of of like, oh, well, I've never seen this

1:06:51.000 --> 1:06:52.840
<v Speaker 1>on screen. Let me just put it on screen. Let

1:06:52.880 --> 1:06:55.880
<v Speaker 1>me not think about any of the ramifications or how

1:06:55.920 --> 1:06:57.960
<v Speaker 1>a character would realistically deal with this. Let me just

1:06:58.160 --> 1:07:00.920
<v Speaker 1>like I haven't seen this here it I would bet

1:07:01.040 --> 1:07:03.360
<v Speaker 1>all my money that that's exactly what. I don't think

1:07:03.400 --> 1:07:06.240
<v Speaker 1>he has thought about it at all, like even if

1:07:06.280 --> 1:07:09.160
<v Speaker 1>like the masculinity part, which is interesting because obviously he's

1:07:09.200 --> 1:07:11.080
<v Speaker 1>a man, so he can't see what he's doing. He

1:07:11.120 --> 1:07:13.720
<v Speaker 1>doesn't know what he does, I guess, but he's almost

1:07:13.760 --> 1:07:16.160
<v Speaker 1>just like, no, I haven't seen this, so mathematically I

1:07:16.200 --> 1:07:19.040
<v Speaker 1>should do that. Like even with the masculinity part. I think,

1:07:19.280 --> 1:07:21.200
<v Speaker 1>like I would think he thinks he's a feminist because

1:07:21.240 --> 1:07:23.200
<v Speaker 1>he did kill Bill, you know what I mean, But

1:07:23.320 --> 1:07:27.439
<v Speaker 1>he doesn't really. Tarantino for sure thinks he's because he's

1:07:27.440 --> 1:07:29.800
<v Speaker 1>not even he's not even really like think he's Yeah,

1:07:30.120 --> 1:07:32.320
<v Speaker 1>I just think he watches movies all day long and

1:07:32.480 --> 1:07:35.200
<v Speaker 1>isn't a person. But then when Harvey Weinstein is exposed

1:07:35.200 --> 1:07:38.360
<v Speaker 1>as a predor, Quentin Turntin was like, um, that sucks,

1:07:38.640 --> 1:07:42.400
<v Speaker 1>like and there's just god, yeah, I'm sure he thinks

1:07:42.400 --> 1:07:46.520
<v Speaker 1>he's a feminist. Probably well is threatening to murder Harvey

1:07:46.560 --> 1:07:50.400
<v Speaker 1>wat on instagram dot com a true feminist diaom. That's wild. Um,

1:07:50.400 --> 1:07:51.959
<v Speaker 1>we're running out of time, so we should talk about

1:07:51.960 --> 1:07:55.720
<v Speaker 1>whether or not the movie passes the BECTO tests. It

1:07:56.120 --> 1:07:59.520
<v Speaker 1>does in one scene where Jody and Trudy because we

1:07:59.680 --> 1:08:04.520
<v Speaker 1>both know their names. Are talking about Jody's piercings, which

1:08:04.560 --> 1:08:09.200
<v Speaker 1>introduces a new fun Bechtel asterisk to how we interpret it,

1:08:09.600 --> 1:08:13.680
<v Speaker 1>the interpret it interpret the test Street Podcast Meryl Street,

1:08:13.920 --> 1:08:18.400
<v Speaker 1>Meryl Streets Interpretative. So a lot of times when we

1:08:18.439 --> 1:08:20.960
<v Speaker 1>talk about the podcast, people will be like, well, it's

1:08:21.000 --> 1:08:23.800
<v Speaker 1>mainly about the Bucktel test, which isn't we talked about

1:08:23.840 --> 1:08:27.280
<v Speaker 1>how women are portrayed. But new asterisk to the test

1:08:27.320 --> 1:08:30.880
<v Speaker 1>because people ask about our particular interpretation of it. So

1:08:31.120 --> 1:08:33.400
<v Speaker 1>when we see this scene that passes the Backtel test,

1:08:33.479 --> 1:08:37.599
<v Speaker 1>we do not yet know the names of the female characters,

1:08:37.920 --> 1:08:40.120
<v Speaker 1>but we find out what their names are in the

1:08:40.360 --> 1:08:44.479
<v Speaker 1>scene immediately following. For us, because we find out what

1:08:44.520 --> 1:08:46.799
<v Speaker 1>their names are, we don't know when the scene is happening,

1:08:46.840 --> 1:08:49.560
<v Speaker 1>but we learned pretty much right after. Right, Yeah, I

1:08:49.640 --> 1:08:51.880
<v Speaker 1>mean we we have to make all these exceptions or

1:08:51.920 --> 1:08:54.200
<v Speaker 1>else no movies would pass the back Toel tests. Little

1:08:54.240 --> 1:08:57.760
<v Speaker 1>fun nickpicky new asterisk, right, but yeah, we do find

1:08:57.760 --> 1:09:00.040
<v Speaker 1>out their names. So, um, and they are talking. I

1:09:00.040 --> 1:09:02.040
<v Speaker 1>don't think a man gets mentioned once in that conversation.

1:09:02.240 --> 1:09:05.200
<v Speaker 1>They're just talking about Rosanna Arquets. Various piercings all over

1:09:05.280 --> 1:09:09.320
<v Speaker 1>her body, right, just a real Quentin Tarantino for some reason,

1:09:09.360 --> 1:09:13.040
<v Speaker 1>didn't hit the boa. She does say because she's talking

1:09:13.080 --> 1:09:16.920
<v Speaker 1>about her tongue piercing. She's like, it's to make filating better.

1:09:17.280 --> 1:09:22.880
<v Speaker 1>So she's flating whom filating whom probably a man? I

1:09:22.960 --> 1:09:27.600
<v Speaker 1>think that that is that to Heteronavati say, I don't know,

1:09:30.720 --> 1:09:33.840
<v Speaker 1>you're right, I'm sorry, Um okay, Yeah, So that's the

1:09:34.080 --> 1:09:35.800
<v Speaker 1>one scene where it passes the back. I don't think

1:09:35.880 --> 1:09:40.200
<v Speaker 1>any other scenes have two women even interacting interacting. There

1:09:40.320 --> 1:09:43.000
<v Speaker 1>are sometimes two women in a scene, but they don't

1:09:43.120 --> 1:09:45.560
<v Speaker 1>talk to each other, right, like in the restaurant or

1:09:45.600 --> 1:09:49.080
<v Speaker 1>something like that. But yeah, right, let's write the movie

1:09:49.479 --> 1:09:52.200
<v Speaker 1>on our nipple scale, where we write the movie based

1:09:52.240 --> 1:09:56.360
<v Speaker 1>on its portrayal of women zero to five nipple scale.

1:09:56.680 --> 1:09:59.960
<v Speaker 1>This is gonna be tricky because we see female character

1:10:00.120 --> 1:10:04.720
<v Speaker 1>'s who have personalities for once in most names that

1:10:04.880 --> 1:10:07.240
<v Speaker 1>I can Yeah, of the ones that have speaking roles,

1:10:07.280 --> 1:10:09.320
<v Speaker 1>I think almost all of them have names. And there

1:10:09.360 --> 1:10:12.240
<v Speaker 1>are more than one woman in the movie. Um, there's

1:10:12.400 --> 1:10:17.479
<v Speaker 1>like up to five or six with speaking roles. But

1:10:17.640 --> 1:10:21.640
<v Speaker 1>because this is a movie about men and their storylines,

1:10:21.960 --> 1:10:24.800
<v Speaker 1>if there are women, they're sort of framed as the

1:10:24.840 --> 1:10:28.080
<v Speaker 1>girlfriend or the wife, and they're not really contributing that

1:10:28.240 --> 1:10:31.320
<v Speaker 1>much to this story. I'm gonna give it like a

1:10:31.439 --> 1:10:34.600
<v Speaker 1>two I think. And again, it did bother me that,

1:10:34.720 --> 1:10:37.519
<v Speaker 1>like the two main plot points where a woman does

1:10:37.640 --> 1:10:40.840
<v Speaker 1>something to significantly impact the direction story takes is them

1:10:41.400 --> 1:10:43.479
<v Speaker 1>making a mistake that has to be corrected by a man.

1:10:43.840 --> 1:10:46.800
<v Speaker 1>So that bugged me a lot. So yeah, it's gonna

1:10:46.840 --> 1:10:51.000
<v Speaker 1>be two nipples, and I'm going to give my nipples

1:10:51.200 --> 1:10:59.280
<v Speaker 1>to Meryl Street, Meryl Street, Hannes, Meryl Street, please okay

1:11:00.080 --> 1:11:03.360
<v Speaker 1>arts In this movie, I wish alf Molena had perhaps,

1:11:03.920 --> 1:11:07.280
<v Speaker 1>of course, I think he could have done Harvey Kytel's

1:11:07.320 --> 1:11:09.000
<v Speaker 1>part very well. I don't know if you could have

1:11:09.040 --> 1:11:11.560
<v Speaker 1>done it as well as Harvey Kitel. And that's a

1:11:11.640 --> 1:11:14.479
<v Speaker 1>lot because alf Milena is a master of his craft,

1:11:14.520 --> 1:11:16.840
<v Speaker 1>as we know. I think that he could have done

1:11:16.880 --> 1:11:19.080
<v Speaker 1>Bruce will Is his part, and it could have been

1:11:19.080 --> 1:11:22.519
<v Speaker 1>a really fun breakout role for him. He could have

1:11:22.640 --> 1:11:24.960
<v Speaker 1>played He could have also played me a Wallets like

1:11:25.040 --> 1:11:28.040
<v Speaker 1>he's amazing. Certainly, I'm also going to give this movie

1:11:28.320 --> 1:11:33.680
<v Speaker 1>two nipples for the reasons you described. It's interesting when

1:11:33.720 --> 1:11:38.240
<v Speaker 1>you think about Quentin Tarantino's work as a whole, where

1:11:38.560 --> 1:11:43.160
<v Speaker 1>this is his second hit after Reservoir Dogs, which is

1:11:43.479 --> 1:11:48.639
<v Speaker 1>such a male, male, male movie that we barely see

1:11:48.680 --> 1:11:51.200
<v Speaker 1>a woman in the entire fucking thing. So it is

1:11:51.280 --> 1:11:56.360
<v Speaker 1>interesting that he's gradually introducing women into his body of work.

1:11:57.080 --> 1:12:00.599
<v Speaker 1>Pulp fiction is not you know, it's not on the film.

1:12:00.840 --> 1:12:04.840
<v Speaker 1>It's not a it's an actor's film. It's a tone home,

1:12:05.120 --> 1:12:06.719
<v Speaker 1>it's a lot of things. There's a lot of horny

1:12:06.800 --> 1:12:09.160
<v Speaker 1>depth in the film. I think we can argue that

1:12:09.280 --> 1:12:12.200
<v Speaker 1>there's a lot of horny tone poem elements to the film.

1:12:12.680 --> 1:12:15.439
<v Speaker 1>But it's interesting that this is the movie where we

1:12:15.680 --> 1:12:18.040
<v Speaker 1>see Quentin Tarantino start to realize, Hey, what if I

1:12:18.120 --> 1:12:22.160
<v Speaker 1>put a woman in the movie doing literally anything? Yeah,

1:12:22.280 --> 1:12:25.720
<v Speaker 1>there's I it sucks that women are either damseled or

1:12:25.840 --> 1:12:29.400
<v Speaker 1>have basically no bearing on the plot. Uh So I'll

1:12:29.479 --> 1:12:32.360
<v Speaker 1>give it two nippies, And I'm going to give those

1:12:32.479 --> 1:12:37.439
<v Speaker 1>nippies to as moralta very nice jake, what would give.

1:12:37.640 --> 1:12:38.880
<v Speaker 1>So one thing I want to say is I think

1:12:38.920 --> 1:12:40.560
<v Speaker 1>Jackie Brown would also be an interesting movie to do

1:12:40.640 --> 1:12:43.080
<v Speaker 1>on your podcast, because it came right after and it's

1:12:43.120 --> 1:12:46.120
<v Speaker 1>all about. Yeah. Anyway, I think two is pretty accurate.

1:12:46.760 --> 1:12:48.639
<v Speaker 1>Did use man explain to us what movies we should

1:12:48.640 --> 1:12:51.240
<v Speaker 1>do in our podcast? I'm a man. I warned you

1:12:51.760 --> 1:12:53.640
<v Speaker 1>when I emailed you, I said, even though I'm a

1:12:53.720 --> 1:12:55.719
<v Speaker 1>dumb man, I'd like to be your podcast. I warned

1:12:55.720 --> 1:12:57.080
<v Speaker 1>you ahead of time. I was a man. You didn't

1:12:57.120 --> 1:13:01.000
<v Speaker 1>know I was. Yeah, I just think could be interesting. Honestly,

1:13:01.000 --> 1:13:02.679
<v Speaker 1>I just haven't seen Jackie bed in a long time,

1:13:02.800 --> 1:13:06.560
<v Speaker 1>and it's it's about a woman, and it's it's like

1:13:06.800 --> 1:13:08.840
<v Speaker 1>you know, it's it's about Pam Greer and it's like

1:13:08.920 --> 1:13:11.320
<v Speaker 1>a very it's her movie. So it's would be an

1:13:11.320 --> 1:13:13.080
<v Speaker 1>interesting movie to do because it is the movie I

1:13:13.160 --> 1:13:15.760
<v Speaker 1>think after this movie, so it would be interesting to

1:13:15.840 --> 1:13:18.479
<v Speaker 1>see how much he changed. I wish that we had

1:13:18.520 --> 1:13:22.000
<v Speaker 1>done both. Anyway, Um, yeah too. I think it's pretty fair.

1:13:22.080 --> 1:13:24.360
<v Speaker 1>I mean because also again, I mean, I love the movie, Like,

1:13:24.439 --> 1:13:26.120
<v Speaker 1>even with all this stuff, watching it from this angle

1:13:26.160 --> 1:13:28.360
<v Speaker 1>which I never had before, I still love the movie.

1:13:28.400 --> 1:13:30.400
<v Speaker 1>I think it's like super entertaining and ridiculous and it's

1:13:30.439 --> 1:13:33.439
<v Speaker 1>irrelic from childhood, so it's kind of stuck there for me.

1:13:33.560 --> 1:13:36.120
<v Speaker 1>But um yeah, representation of women, I don't think you

1:13:36.160 --> 1:13:39.439
<v Speaker 1>can argue. I think two is being generous. Obviously. Mia

1:13:39.520 --> 1:13:42.200
<v Speaker 1>Wallace is like a pretty awesome character, and I do

1:13:42.400 --> 1:13:44.559
<v Speaker 1>think she really you really remember her, and she's cool

1:13:44.600 --> 1:13:47.400
<v Speaker 1>as shit. But I don't think you can say that

1:13:48.280 --> 1:13:51.000
<v Speaker 1>from a few perspective this helps at all. Um. I

1:13:51.080 --> 1:13:53.600
<v Speaker 1>think in the end, if if anything for gender, it

1:13:53.680 --> 1:13:56.080
<v Speaker 1>has definitely been on the wrong side of history. But

1:13:56.160 --> 1:13:58.200
<v Speaker 1>as a movie, I do love watching it. I have

1:13:58.280 --> 1:14:00.640
<v Speaker 1>to admit I think it's really fun. Jake, thank you

1:14:00.680 --> 1:14:04.000
<v Speaker 1>so much for being here. Where can people find you

1:14:04.080 --> 1:14:07.600
<v Speaker 1>online at Wiseman Jake on Twitter? And that's it And

1:14:07.760 --> 1:14:10.880
<v Speaker 1>but check out what can we say Corporate? Please watch

1:14:10.920 --> 1:14:14.360
<v Speaker 1>Corporate on Comedy Central ten pm on January seventeenth. You

1:14:14.400 --> 1:14:16.280
<v Speaker 1>can also watch the first four episodes right now for

1:14:16.400 --> 1:14:18.280
<v Speaker 1>free on CC dot com. I think you really like

1:14:18.360 --> 1:14:22.759
<v Speaker 1>the show. It's good. It's so good. You can follow

1:14:22.920 --> 1:14:27.519
<v Speaker 1>us on Twitter, Instagram, Facebook, all the good stuff at

1:14:27.800 --> 1:14:30.280
<v Speaker 1>becktel Cast and go to our website bactelcast dot com.

1:14:30.840 --> 1:14:34.519
<v Speaker 1>You can subscribe to Patreon. That would be a blast

1:14:34.600 --> 1:14:36.320
<v Speaker 1>for you. If you did that, then would be a

1:14:36.400 --> 1:14:38.240
<v Speaker 1>blast for you. It would be able to helps us

1:14:38.280 --> 1:14:40.280
<v Speaker 1>out with our production costs. It helps you out by

1:14:40.360 --> 1:14:44.400
<v Speaker 1>getting even more Bactel cast. Wow, what a gift. What

1:14:44.560 --> 1:14:47.000
<v Speaker 1>is timed to be a lot? What a time? Day?

1:14:47.400 --> 1:14:49.679
<v Speaker 1>Is the stuff for Patreon? Is just you two talking

1:14:49.720 --> 1:14:52.439
<v Speaker 1>about men. Yeah, it's just like a list of our

1:14:52.520 --> 1:14:57.960
<v Speaker 1>Google spreadsheet. We should just do an episode where we

1:14:58.080 --> 1:15:02.400
<v Speaker 1>list all of Alfred mill in his movies. I'm going

1:15:02.479 --> 1:15:04.760
<v Speaker 1>to start. That's a different podcast. I just going through

1:15:04.960 --> 1:15:08.840
<v Speaker 1>Alfred Molina's entire body of work with Alfred Mollina. It's

1:15:08.920 --> 1:15:10.400
<v Speaker 1>kind of just the thing for me and Alfred Bileinna.

1:15:10.439 --> 1:15:13.680
<v Speaker 1>I'm sorry. Accept the two of us, I understand, and

1:15:13.760 --> 1:15:18.320
<v Speaker 1>it ends with us hooking every episode. Congratulations, we look up.

1:15:18.960 --> 1:15:23.160
<v Speaker 1>Okay cool, Thanks thanks for listening. Bye,